“Unbutton that coat — you’ll find another one underneath,” says the Korean-born designer Rok Hwang, 34, as he points to a mannequin wrapped in a dun gabardine trench coat. The piece can be worn as either one layer or two, joined or separated by a set of buttons at each shoulder. Hwang bases many of his designs on this technique, a splicing together of garments that adds functionality while shifting expectations of what a wardrobe staple can, and should, look like. “People describe my design process as a form of deconstruction,” he says, “But actually, I’m reconstructing — I like taking something that already exists and giving it new shape and meaning.”
It’s a bright February morning and Hwang is showing me around his expansive North London studio. The space — a former karate club — is considered and efficient; there’s a cutting room, an office area and a long wooden table, where his team takes breaks. Hwang’s designs frame the edges of the studio, leaving a wide corridor of open space that the designer calls his “studio runway,” where he encourages his staff and models to move around in his pieces. Later that week, he and a team of 10 will fly to Paris, to begin preparations for their first show, which will take place in a dark, red-lit basement in the city’s Ninth Arrondissement. “In four days, none of this will be here,” he says with a giggle, gesturing at the racks of clothes that line the studio, which is otherwise uncluttered the way a gallery is. There are wide-leg cobalt trousers, pulled and twisted at the seams, paisley shirts with detachable cuffs and more double-layered overcoats — styles Hwang has quickly established as signatures.
Since launching his own label, Rokh, in 2016, Hwang has examined the key components of the classic wardrobe — coat, trousers, shirt — then reassembled them in new, cleverly askew ways. After he graduated from Central Saint Martins with a B.A. in men’s wear, the school’s legendary professor Louise Wilson urged him to study women’s wear for his M.A. “I still don’t really know how or why she suggested this, but I am forever grateful. She gave me the confidence to move forward, to find a match,” says Hwang, who wanted to create clothes for women that were not defined by gender stereotyping. In 2009, his M.A. graduate collection earned him the L'Oréal Professionnel Creative Award. It also brought him to the attention of Phoebe Philo, who asked him to join her team at Celine as a ready-to-wear designer. That invitation was “life-changing,” Hwang says.
After three years with Philo, he freelanced at Chloé and then Louis Vuitton, before designing collections under his own name. In 2018, Rokh was nominated for the LVMH Prize and awarded the Special Prize. “I’d learned so much, especially at Celine, and it just felt like the right time,” he says of launching his label. Subtle Philo-isms can be felt within the loose layers of Hwang’s designs, in his tailored pieces that are angled slightly askance on the body and in his precise cutting. “I joined Celine when the brand was just coming into being,” he says. “I learned about business by being part of one.”
With that, he takes me to the small cutting room at the back of the studio. Surrounded by wooden shelves stacked with rolls of fabrics (charcoal, coral and ecru), the team — all-female and recruited by Hwang over the last three years — are cutting a black-and-burned-orange paisley silk shirt that can be worn with or without a pair of trailing sleeves. There’s an element of choice imbued in Hwang’s designs, one that women are left to make for themselves. Though these are among the team’s busiest days of the year, they’re working calmly from a place of focus not panic. “We’re not in a rush. We want to do things well here,” he says of Rokh’s pace and priorities. “I don’t take the brand lightly, it is my career, my pathway, my only job, so decisions are made with thought.”
Hwang’s designs too are the product of the kind of acute introspection that requires both time and patience. His collections are rarely bound to references pinned to a mood board; instead, he draws on his own memories. “I grew up in Texas,” he explains, “I lived with my dad in a caravan in a really secluded part of Austin. It wasn’t particularly luxurious but it was so rich in color and the forest was just outside. In this collection, I wanted to reassemble that memory and other memories from my youth.” He is reviving — or “reintroducing,” as he puts it — styles that Rokh has offered before, such as silk-lined gabardine trench coats. But he’s introducing new designs, too, including free-flowing floral dresses — like those “my mum used to wear” — and an ensemble comprising a brown-and-black, marble-effect bralette and PVC pencil skirt which “reminds me of the quirky furniture dad had inside the caravan.”
“And that’s our story,” Hwang concludes, walking back toward the rails of clothing, “that’s how we are creating and working here. This is an important moment. It’s a celebration marking everything we have done — and a new starting point.”B:
彩霸王论坛综合资料【棕】【须】【推】【开】【门】，【瞅】【见】【了】【坐】【在】【椅】【子】【上】【的】【矮】【人】【王】，【他】【面】【露】【喜】【色】，【很】【是】【着】【急】【的】【走】【过】【去】。 “【尊】【敬】【的】【国】【王】，【您】【的】【子】【民】【布】【莱】【恩】·【棕】【须】【归】【来】。” 【棕】【须】【虽】【然】【心】【急】，【但】【较】【为】【稳】【重】【的】【他】【还】【是】【没】【有】【忘】【记】【该】【有】【解】【的】【礼】【节】，【只】【不】【过】【一】【旁】【陪】【国】【王】【下】【棋】【的】【彩】【虹】【须】【就】【被】【他】【忽】【略】【了】。 【彩】【虹】【须】，【是】【灰】【铁】【堡】【的】【老】【矮】【人】【了】，【曾】【经】【跟】【着】【国】【王】【一】【起】【将】【分】【散】【在】【各】【地】
“【你】【是】【和】【陈】【大】【人】【一】【起】【回】【来】【的】【吗】？” 【她】【的】【眼】【神】【似】【笑】【非】【笑】，【带】【着】【略】【微】【的】【嘲】【讽】。【姬】【沐】【有】【片】【刻】【失】【言】。 “【是】” “【呵】，【子】【书】【姑】【娘】【当】【真】【是】【没】【脸】【没】【皮】，【你】【的】【夫】【君】【都】【死】【了】，【你】【竟】【然】【还】【和】【别】【的】【男】【人】【勾】【搭】。” 【云】【绵】【厌】【恶】【的】【看】【着】【眼】【前】【的】【两】【个】【人】。 “【云】【绵】!【注】【意】【你】【的】【言】【辞】。” 【没】【想】【到】【的】，【这】【次】【影】【沐】【呵】【斥】【她】【之】【后】，【云】【绵】【竟】【没】【有】
“【奈】【奈】【未】【你】【想】【毕】【业】【了】？”【书】【房】【内】，【年】【轻】【人】【听】【到】【桥】【本】【奈】【奈】【未】【跟】【自】【己】【说】【起】【和】【毕】【业】【相】【关】【的】【话】【题】，【他】【不】【禁】【从】【眼】【前】【的】【船】【模】【上】【抬】【起】【头】，【看】【向】【了】【自】【己】【的】【弟】【子】。 【桥】【本】【奈】【奈】【未】【手】【中】【把】【玩】【着】【一】【门】【还】【没】【有】【她】【小】【拇】【指】【长】【的】【黄】【铜】【火】【炮】，【不】【由】【得】【点】【了】【点】【头】：“【五】【年】【半】【的】【时】【间】，【我】【感】【觉】【有】【些】【累】【了】。” 【听】【到】【桥】【本】【奈】【奈】【未】【这】【么】【说】，【年】【轻】【人】【也】【不】【由】【得】【叹】【了】
【一】【边】【围】【观】【的】【阿】【娣】【和】【雷】【普】【莉】【看】【到】【立】【刻】【嘻】【嘻】【笑】【起】【来】。【陈】【玉】【莲】【眼】【珠】【一】【转】，【气】【哼】【哼】【跑】【过】【去】【和】【她】【们】【打】【闹】【起】【来】。 【边】【强】【笑】【着】【摇】【摇】【头】，【对】【冯】【程】【程】【说】：“【程】【程】，【以】【后】【玉】【莲】【再】【敢】【骚】【扰】【你】【就】【告】【诉】【我】，【我】【会】【惩】【罚】【她】。” “【不】【用】，【我】【没】【事】【的】，【反】【正】……【以】【后】……【不】【过】，【我】【现】【在】【还】【没】【准】【备】【好】。” 【冯】【程】【程】【低】【着】【头】【艰】【难】【的】【磕】【磕】【巴】【巴】【的】【把】【话】【说】【完】，彩霸王论坛综合资料【吴】【三】【桂】【拥】【兵】【自】【重】【又】【在】【关】【外】【守】【国】【门】，【朝】【廷】【对】【他】【的】【态】【度】【向】【来】【都】【是】【小】【心】【谨】【慎】，【生】【怕】【一】【个】【不】【小】【心】【戳】【到】【他】【的】【敏】【感】【部】【位】【造】【成】【严】【重】【后】【果】。 【宁】【远】【大】【捷】，【吴】【三】【桂】【毫】【无】【疑】【问】【居】【首】【功】，【但】【一】【味】【的】【给】【他】【戴】【高】【帽】【会】【让】【其】【更】【飘】【飘】【然】，【若】【敲】【打】【下】【一】【个】【不】【慎】【敲】【痛】【了】【他】【又】【会】【尥】【蹶】【子】，【这】【是】【个】【难】【题】，【而】【如】【今】【崇】【祯】【帝】【想】【听】【听】【小】【太】【监】【的】【意】【见】。 “【赏】【罚】【分】【明】，【有】
“【嘭】——” 【最】【先】【落】【下】【的】【是】【浩】【克】，【尽】【管】【是】【第】【一】【次】【遭】【遇】【空】【间】【牵】【引】【带】【来】【的】【位】【移】【改】【变】，【但】【浩】【克】【出】【色】【的】【身】【体】【天】【赋】【还】【是】【让】【他】【在】【第】【一】【时】【间】【就】【做】【出】【了】【最】【佳】【应】【对】。 【没】【有】【想】【象】【中】【的】“【跳】【楼】【式】”【狼】【狈】，【浩】【克】【在】【半】【空】【中】【就】【很】【好】【的】【控】【制】【住】【了】【身】【体】【平】【衡】，【并】【完】【成】【了】【转】【体】【性】【的】【修】【正】，【最】【终】【以】【一】【个】【双】【腿】【半】【曲】【式】【的】【跳】【立】【动】【作】【落】【地】。 【坚】【固】【的】【地】【面】【以】【他】
【通】【过】【那】【些】【老】【兵】【的】【描】【述】，【托】【尼】【大】【致】【了】【解】【了】【一】【下】【当】【年】【所】【发】【生】【过】【的】【事】【情】。 30【年】【前】【左】【右】，【这】【个】【地】【下】【监】【牢】【里】【关】【押】【了】【一】【位】【贵】【客】——【当】【时】【还】【是】【第】【二】【王】【储】【身】【份】【的】【凯】【丽】【王】【女】，【为】【了】【增】【加】【阅】【历】，【游】【遍】【周】【边】【各】【国】。【而】【在】【游】【历】【白】【鹭】【帝】【国】【的】【时】【候】，【凯】【丽】【王】【女】【机】【缘】【巧】【合】，【随】【着】【伊】【吾】【商】【会】【的】【船】【只】【一】【起】【来】【了】【雅】【玛】【台】【国】。 【凯】【丽】【王】【女】【的】【运】【气】【很】【不】【好】，【她】
“【战】【争】【打】【的】【是】【什】【么】？” “【就】【是】【情】【报】！” 【毛】【文】【龙】【侃】【侃】【而】【谈】【道】：“【陛】【下】【的】【意】【思】，【是】【想】【让】【我】【们】【组】【建】【一】【支】【强】【大】【的】【海】【上】【登】【陆】【部】【队】，【然】【后】，【在】【黄】【太】【极】【偷】【袭】【京】【师】【之】【时】，【趁】【势】【掩】【杀】，【然】【后】【尽】【可】【能】【的】【一】【举】【定】【乾】【坤】。” 【孔】【有】【德】【不】【敢】【相】【信】【的】【看】【看】【向】【了】【毛】【文】【龙】，【挠】【着】【头】【瞪】【着】【茫】【然】【的】【眼】，【粗】【声】【粗】【气】【的】【说】【道】：“【啥】，【建】【奴】【竟】【然】【还】【敢】【打】【我】【们】【的】