来源 ：中国体彩网 2019-12-15 02:24:13|免费天下彩票
Five days after Christmas, the Danish designer Cecilie Bahnsen stood in her serenely decorated basement studio in Osterbro, a leafy residential neighborhood in eastern Copenhagen, with one of her team members. They considered all of the work that still needed to be done for her fall 2019 runway collection, her fifth to date, which was showing in a month. She had an idea, but it had not yet translated into a single garment. “Something interesting often arises from situations where you feel cornered or under pressure. It adds a dynamic that you can’t create on your own,” she reflected recently, as she walked through her narrow studio on a misty January afternoon. Her pace seemed surprisingly calm for a designer who was 72 hours out from her show. “It actually hasn’t been that hectic this time around, compared to the first couple of shows that we did,” she added.
When Bahnsen, 34, presented her first runway collection of gauzy ruffled pieces, in the Copenhagen Opera House in February 2017, the interest from buyers was immediate and widespread, and not long after she was shortlisted for the LVMH Prize. Her brand has introduced a new ethos to Scandinavian women’s wear, offering pieces that are both unabashedly romantic and exquisitely finished but also relatively straightforward in their shapes. Last year, facilitated by a growing demand for her pieces, she grew her team from one to five full-time employees, allowing her to focus on what she does best — design — while expanding the operations side of the company. Now, her collections can be found at over 60 retailers worldwide, including Selfridges in London and Dover Street Market, whose New York location will host an installation by Bahnsen next week.
After completing her master’s degree in women’s wear design at the Royal College of Art in London, Bahnsen joined the design team at the British label Erdem, where she remained for three years (she has also worked in print design at John Galliano in Paris). “I’d always dreamed of creating a universe that was entirely my own, but I knew that I had to become knowledgeable about all the mechanics and processes that go into running a brand,” she said of launching her own label in 2015, a transition for which she returned to her native Copenhagen. “I felt there was something missing in the Danish landscape that represented both pragmatism and inherent beauty,” she explained, “something that Danish design has been synonymous with since the midcentury.”
Bahnsen has now become renowned for her refined but seemingly effortless dresses that combine the fine detailing of French couture and the simplicity of Scandinavian design. But for fall 2019, she wanted to break away from the dress-heavy collections of past seasons and include a small selection of outerwear — slouchy lace-trimmed quilted coats with Peter Pan collars — and knitwear (boxy handcrafted sweaters with scalloped crochet edges). The offering also includes Bahnsen’s first shoe design: a hiking boot-cum-formal shoe in a combination of silk sateen and rubber, designed in collaboration with the Italian brand Diemme. “This collection has a darker and more gloomy sentiment to it,” she explained, “it’s more unhinged than what my collections have been in the past. It’s more mystical and less innocent.”
The show took place in a former 19th-century power station in the inner harbor of eastern Copenhagen — a raw, airy venue that felt fitting for pieces that blend work wear details (large square pockets) with lighter finishes. From afar, the looks have clean silhouettes, but up close, Bahnsen’s handcrafted details reveal themselves, as on a white fil-coupé dress embroidered with black and yellow flowers or an oversize white poplin dress with delicately scalloped edges. “I wanted for this intermeshing of the unhinged and the controlled to be reflected in the sound design too,” said Bahnsen. For the show, she collaborated with the Danish electronic composer Trentemoller, known for his ambient tracks that integrate sounds from nature. “We work closely with people that we’ve known for years — most of them even friends of ours,” she explained. “There’s a sense of familiarity in it that gives you a somewhat tranquil feeling in the otherwise bustling process of creating a show.”B:
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【上】【官】【婉】【儿】【笑】【道】：“【杨】【大】【人】，【请】【跟】【我】【来】，……” 【杨】【清】【心】【说】：“【呃】，【不】【吃】【饭】【了】【吗】？”【心】【想】【这】【武】【则】【天】【想】【干】【嘛】，【怎】【么】【就】【不】【逼】【着】【自】【己】【吃】【饭】【了】？” 【杨】【清】【心】，【出】【来】【这】【紫】【宸】【殿】【的】，【打】【开】【后】【门】，【楼】【台】【之】【上】，【小】【兰】【抚】【琴】，【一】【首】【古】【琴】【曲】《【清】【音】【流】【云】》。 【楼】【台】【之】【外】，【高】【峡】【流】【云】，【人】【随】【飞】【鸟】【穿】【云】【去】。【数】【峰】【著】【雨】。【相】【对】【青】【无】【语】。【岭】【上】【金】【光】，
【逆】【风】【成】【长】，【向】【死】【而】【神】。 【我】【觉】【得】【应】【该】【是】【一】【个】【有】【意】【思】【的】【故】【事】，【大】【家】【可】【以】【来】【看】【看】。 【新】【书】【更】【新】【会】【稳】【定】【的】【多】。 【直】【接】【搜】《【书】【名】》【或】【者】【点】【击】【作】【者】【页】【连】【接】【都】【可】【以】【找】【到】~