Please forgive me for taking the liberty, but this matter is crucial, so I can only use "I" to express it. In the past, this is what I have been avoiding...

Although fashion as a creative system has entered a dangerous dead end, as a substitute for genius and huge sums of money, it determines everything and guides taste and identity in the most insidious way, but I still try to stay enthusiasm.

I try not to get bored with myself, and don't fall into the kind of derogatory "I see everything" mentality, which will lead people to reject this place and create a paralyzed heart that is unnecessary for the good times of the past. Nostalgic mood. After all, Azzedine Ala?a said: "It's fun to understand the past, but you have to live in the moment."

However, although my intentions are good -- or may be because of these intentions -- I am hard to feel optimistic. Moreover, at the fashion show, I find it harder to feel any kind of emotions - even anger. Most of the time, I really don't care, I feel cold and bored.

This is the problem here and now: fashion has given us an endless array of carefully crafted images, endlessly well-marketed products, printed one inch at a inch, but without any emotion. No emotion, nothing will last. This is why we find ourselves craving more, feeling empty and unsatisfied.

Today's fashion is cold and cynical – when it replaces inclusive narratives, the word is being abused and superficially abused. True inclusiveness, if brought into the hidden realm of high-end designer fashion, will be a challenging and revolutionary concept, but the word itself has lost all its meaning.

At present, the only emotion that the fashion industry seems to be actively looking for is the instinct that motivates people to buy. That's it. This makes my work as a critic more and more difficult: I rely on the emotions I see to activate my thinking process. However, if there is a lack of emotion and feeling, I will slow down and even stop, which may eventually lead to silence.

This article may be much shorter than expected. I can end it here. But I won't.

At the men's wear week that ended in Paris, it was a gorgeous event, with only a few minutes of hot energy, so that my enthusiasm continued to burn. Despite having grown into a slow, six-day event, Paris did not bring us anything in this season. Fashion trends range from one fashion show to another, eager for a rare light.

In fact, men's fashion topics are shifting from the bold vision of over-the-counter streetwear to a new formal calming gloom. The stylish pendulum naturally swings from one extreme to the other. After experiencing the trend of street dressing, and the accompanying lazy sweatshirts and lazy sneakers, it is time to make the cold cut and return to elegance.

However, as more and more brands – Dries Van Noten to Jil Sander, from Valentino to Dior – introduce new tailoring apparel in soft tones and loose styles, it is found that although new temperance may appeal to consumers But it's actually a dangerous fashion show because they end up looking rather boring.

This is the case with Dior. The focus on precision structures is Italian, not French, and is almost tangible for Emporio Armani products. This makes some outstanding projects without much narrative. In this sense, the pleated belts used to pay tribute to the draping – the haute couture technique of hanging the fabric on the model, feels a bit reluctant, even if it looks attractive.

At Louis Vuitton, Virgil Abloh deconstructed Michael Jackson's life, sometimes even literally, whether as a man or as a fashionable man, wearing a pleated long skirt (this with Hedi Slimane's Dior Homme menswear is somewhat similar), "We Are The World" in the banner stitching (this is a fairly obvious metaphor) and high-end streetwear. Tailoring is eye-catching, but looks awkward in terms of level and size.

But if you remove all the storylines and the inclusive narrative of "you can do it", and ultimately all the cool elements of social media, Virgil's Louis Vuitton doesn't look particularly exciting. There has been little progress from the previous term of creativity to the present. The only change - a huge shift - is in public relations. This show looks neither hot nor cold, neither cold nor hot is never a good thing.

Talents like Hedi Slimane, who have caused disagreements, have injected some real dynamism into the current stagnation of clothing, making this slender tie suddenly attractive, and this generation used to wear only sneakers. Yes, this is the Nth repetition of some old-fashioned Slimane-style images. It doesn't push things forward, but it has gorgeous effects, indicating that formal clothing can be displayed on the runway without letting you play. yawn.

In the more rough areas of the GmbH design, there are more custom-made garments – cheesy illegal breeds, mixed with sportswear and blind worship, becoming a strong fashion statement. Here, the form is not even an option, but it is interesting to see that Benjamin A. Huseby and Serhat Isik are trying new areas. The rising star, Ludivic de Saint Sernin, pursues a distinctly sexy element. He designs a series of tailored tops, slender images and faux-triangled briefs, which are stupid but appealing.

At Alyx, merging the world of performances with ultra-dry, ultra-cold, futuristic cuts into a single series is a welcome advancement for the brand. Matthew Williams's design is more mature and is no longer limited to the underground industry. He still needs to find a balance between active designer fashion and the right designer fashion, but he is on the right path.

Therefore, Paris does not bring us anything, but when it brings us something, it is an outbreak - or a punch. There is a lot of ambiguous drama, especially in today's new – if soft – normative aesthetic atmosphere, which resonates. Like Undercover's "Wind Clock" blends "Allan Poe", coupled with the drama and realistic Rhapsody through time and space, such a shocking release is now rare. What is fascinating is that it combines the realities of urban clothing (flower shirts, coats, pullovers) with outstanding prints and unforgettable dramatic effects.

Jonathan Anderson's first fashion show for Loewe is one of the highlights of the season: a perfect hodgepodge of sporty and formal elements with a bit of metamorphosis and a little exoticism. This design can be transformed into a versatile and great design that you can't guess, but it's also true, both for fashionistas and for real men. This is really an amazing achievement.

Kawakubo has locked the guests in the cupboard of a room, letting them make a harsh sound, making them crazy, and let them wear black, strong, abnormal clothing, full of historical references and chains. It is both nihilistic, vital, and therefore attractive: it is the best rebellion.

But only Rick Owens really touched people's pain. Owens reinterprets his inspiration with his own rigorous aesthetic: Larry LeGaspi, who interweaves vulgarity with seriousness, control and indulgence, is exciting, feels like a commentary to that moment, and is an escape from the moment. A feelingless, lifeless way of fashion. The high heels, platform shoes, skin and fabrics on and around Owens were abandoned, feeling like the middle finger being thrown into the tradition. A strong, soul-filled person. This is what it means: the soul.

Today, this is more necessary than ever, otherwise fashion will only make you feel cold.