About This Collection
We dwell among disguises – from extrovert costumes to the imperceptible make-up cover-ups, these external facades are perceived by the naked eye. Do we always accurately analyse the internal pretences that lay beneath this surface? Everything is not always what it seems. Through repetition and rehearsals, many are masters of make-believe. In 1909 an icon emerged from this mastery: Mei Lanfang. His portrayal was an exceptional skill, on expertise. His perfectly timed, poised, pretensions of female characters made Peking Opera more pleasing. He was one of the Great Dan during the golden era of Peking Opera. Three of this icon’s most iconic opera performances, ”The Drunken Beauty”, “Yu Zhou Feng” and “Peony Pavilion”, are mirrored through silhouettes, details and prints. Vincent Li fuses the aesthetics of drunkenness, madness and dreaminess through a blend of misty-coloured materials, loose-woven linen and softened silhouettes. Styles incline towards ambigender. Established rules of menswear are bent as Li explores movement in his work.
我们住的伪装之中 – 从外型服装到难以察觉的化妆掩盖，我们的肉眼仅仅察觉到这些表面。我们会总是准确地分析到外表下所隐藏的吗？所有的一切并不像它看起来一样。通过重复和排练，很多都是以假乱真的高手。梅兰芳： 1909年一个偶像应运而生。他的表演是出众至极。他完美的，和泰然自若的，旦角的唱作让京剧变得更加赏心悦目。他一生最为经典的三个作品 － “贵妃醉酒“， “ 宇宙锋“， “牡丹亭”， 在这个系列中运用版型，细节，和印花将这些映照出来。设计师Vincent Li通过混合飘渺色的材料，宽松的亚麻编织和软化轮廓融合传达出了醉，疯和梦的美学。风格倾向于对中性。设计师在探讨了他的设计理念中， 弯曲了传统男装的既定规则。