MODA / FASHION
Žilijen Dosena („Rabanne“) Trendseterke kažu da nema ničega sličnog osećaju ha- ljine Žilijena Dosene na koži. Njegova odeća je uzbudlji- va i često zbunjujuća, ali bez izuzetka odlučno erotična. Kao i „Rabanne“, koristi materijale koje nikad ne biste zamislili kao tkaninu, poput metalnih alki koje su viziona- ra mode proslavile davnih šezdesetih. Tada su po Pari- zu nicali automati koji su izbacivali „Paco Rabanne“ mi- niće spakovane, prigodno, u konzervu. Kada je Žilijen Dosena pre deset godina imenovan za kreativnog di- rektora kuće „Paco Rabanne“, ulozi su bili relativno niski. Rabanov rad se dojmio krajnje anahrono u kontekstu aktuelne mode i, premda nemerljivo značajan, delovao je kao da mu je mesto u muzeju, a ne na pisti i (još ma- nje) ulici. Dosena je ozbiljno ušao u ambiciozno revitali- zovanje arhiva, proučavajući tehnike kojim se Pako slu- žio u radu. „Veza između tela i materijala za njega bila je gotovo fetišistička“, govori Dosena o kultnoj prirodi au- torskog potpisa Paka Rabana, svog prethodnika koji je preminuo početkom februara prošle godine. U vreme kada sve na revijama izgleda kao da je već viđeno na In- stagramu, Dosena stvara odeću koja provocira, tera na razmišljanje i na papiru deluje kao da nikad ne bi mo- gla da funkcioniše – ali uprkos tome, fascinira. Radeći u ateljeu, Dosena i njegov tim teže upravo toj lakoći i jed- nostavnosti. „Da ne deluje kao scenski kostim, već kao prava haljina“. JULIEN DOSSENA (RABANNE) Trendsetters say that there’s nothing quite like the feeling of a Julien Dossena dress on the skin. His clothes are excit- ing and often confusing, and decidedly erotic without ex- ception. Like Rabanne, Dossena uses materials that you’d never imagine as fabric, like the chainmail that made Ra- banne famous as a fashion visionary back in the ‘60s. It was then that vending machines appeared around Par- is to dispense Paco Rabanne mini-skirts that were con- veniently packed in cans. When Julien was named crea- tive director at Paco Rabanne ten years ago, the stakes were relatively low. Rabanne’s work gave the impres- sion of being supremely anachronistic in the context of current fashion, and despite being immeasurably signif- icant, it seemed to belong more in a museum than on the catwalk and (even less) on the streets. Dossena se- riously took on the mission of ambitiously revitalising the archive, studying the techniques that Paco had used dur- ing his work. "That relationship between the body and this kind of material, for him [Rabanne], was what he found al- most fetishistic," says Dossena, revealing the iconic na- ture of the auteur signature of his predecessor Paco Ra- banne, who passed away in early February of last year. At a time when everything appearing at fashion shows looks like it’s already been seen on Instagram, Dossena makes clothes that are provocative, thought-provoking and, on paper, look like they could never work – but that fascinate nonetheless. Working in the atelier, Dossena and his team strive precisely for that lightness and easiness. “For it not to be a costume, but for it to be a real dress.”
Piter Hokings („Tom Ford“) Neponovljivi Tom Ford je uz puno pompe napustio marku koja nosi njego- vo ime u aprilu prošle godine, a ubrzo je objavljeno da će se u Fordovoj ko- ži naći njegov dugogodišnji saradnik Piter Hokings. „Osećam da sam se za ovo pripremao ceo život“, egzaltirano će istaći Piter. Ne samo što po- javom i stilom evocira fordovsku estetiku već je krajnje očigledno u kojoj meri je radostan što rukovodi obimnim stilskim nasleđem koje je Ford us- postavio. „Naravno da je velika odgovornost upravljati brendom u novom pravcu, a istovremeno poštovati Toma i sve što je napravio“, kaže Piter, koji je radio rame uz rame sa njim 25 godina, i tokom Fordovog mandata u „Gučiju“, ali i u samostalnoj kući. „Mnogi kreativni kodovi i dizajn referen- ce po prirodi stvari su nam slični. Koristiću ih da kreiram sopstveni pečat glamura, seksepila, elegancije i lepote“. Tema seksipila sa etiketom „Tom Ford“ ne može se izbeći budući da ga je upravo ta erotomanska vizura sa kojom je pristupao svemu od odela do parfema učinila velikanom mo- de 20. i 21. veka, a kuću „Tom Ford sinonimom za žudnju“ u svakom smi- slu. Piter tome prilazi iz novog, drugačijeg ugla: „Poimanje seksepila je su- bjektivno, a moja vizija će verovatno biti daleko suptilnija od Tomove“.
PETER HAWKINGS (TOM FORD) It was last April, with much fanfare, that the irreplaceable Tom Ford left the brand that bears his name, after which it was quick- ly announced that his longtime collaborator, Peter Hawkings, would find himself stepping into “Ford’s shoes”. “I feel like I've been pre- paring for this my entire life,” Peter extoled. He not only evokes the Ford aesthetic with his own appearance and style, but also the extent to which he is thrilled to be managing the voluminous styling legacy established by Ford is infinitely evident. “Obviously it's a huge responsibility to move the brand for- ward while respecting Tom and the legacy that he's created,” says Peter, who worked in unison with Ford for 25 years – both during Ford’s tenure at Gucci and at his independ- ent house. “So many of his codes and de- sign references have become ingrained in me. I've used that to create my own codes – of glamour, sexiness, elegance and beauty.” The topic of sexiness is unavoidable when it comes to the Tom Ford label, given that it was precisely the erotomaniac vision with which he approached everything from suits to perfumes that made him a fashion great of the 20 th and 21 st centuries, and led to the house of Tom Ford becoming synonymous with lust – in every sense. Peter approach- es this from a new and different angle: “The notion of sexiness is subjective, and my vi- sion is probably going to be more subtle than Tom’s.”
Njegova odeća je uzbudljiva i često zbunjujuća, ali bez izuzetka odlučno erotična His clothes are exciting and often confusing, and decidedly erotic without exception
66 | Kreatori » Designers
Designers » Kreatori | 67
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