Edit: Entertainment Jokes
Unexpectedly, the "demon wind" and "hooligan fashion" on the West Coast actually blew to Paris Fashion Week.
Internet celebrity Wan Qianhui's outfit covers the pot on the body, the big round ball is strangely shaped, and the European and American actresses are even more "hooligans", with low-cut half-exposed stockings and pullovers, and wet dancers dancing in wine glasses, which is extremely charming.
The models on the catwalk have black gauze and white flowers like the underworld, as well as white sparkling diamond pullovers and other thrilling outfits.
The Paris show was full of "hooligan fashion" and eye-opening, and the designer's ideas were too advanced to accept.
At the funeral exhibition in Tianjin, there was also a staggering scene, which was supposed to be a solemn and solemn occasion, but a group of models wore various styles of clothing on the catwalk.
The female models are dressed in clothes with national style elements, with chic wrists and collars, but the facial makeup is as terrifying as "dead man's makeup", which makes people shudder.
The male models wore blue suits with black suit pants and small leather shoes, which looked high-end and classy, but looked out of place in such an occasion.
There are also models dressed in clothes similar to those of Qing Dynasty empresses, graceful and luxurious with a touch of weirdness, the two exhibitions seem to have nothing to do with each other in appearance, and each attracts people's attention in its field.
When attentive netizens began to dig deeper, they were surprised to find that there were some subtle similarities hidden between the two exhibitions.
These elements are like a bridge, connecting two originally unrelated worlds together, which has aroused heated discussions among the majority of netizens.
Emotions were high among netizens, who expressed strong dissatisfaction and doubts about these similar elements.
Most people think that these exhibitions are presented in a way that is too out of the ordinary, almost to the point that there is no bottom line.
They feel that in the process of pursuing profits, these designers have completely forgotten the moral bottom line and aesthetic concepts.
These designs are not only shocking, but also unacceptable.
Many netizens said that these designs not only disrespect the deceased, but also subvert and desecrate traditional culture.
They feel that these designers have completely ignored the importance of culture and history in their pursuit of so-called "innovation" and "uniqueness".
Some netizens bluntly said on social platforms: "I really can't appreciate such fashion!" "They feel that these designs are not only aesthetically pleasing but also devoid of humanity and morality.
They called on designers to be more respectful of culture and history, and not to sacrifice their moral bottom line and aesthetic concepts for the sake of short-term profits.
There are also a few netizens who disagree, they think that although these clothes look a little weird, it does not mean that there is no beauty.
Some people even said, "These clothes look so cute, I want to wear one too!" Such voices are weak, but they also reflect the diversity and inclusivity of the fashion industry.
What's even more interesting is that some netizens have opened their minds and given all kinds of absurd display ideas.
It has been suggested that a "death-themed" collection be included at Haute Couture Fashion Week, where models walk the runway wearing clothing related to the deceased.
There are also proposals to add "fashion elements" to funeral fairs, so that the deceased can also leave this world in the most beautiful way.
Although these suggestions are a bit outrageous, they also reflect people's unique understanding and thinking about fashion and death.
When we look back at these two exhibitions, it is not difficult to find the cultural clash and aesthetic transformation contained in them.
At Paris Haute Couture Fashion Week, designers tried to break through traditional aesthetic concepts and show the diversity and inclusiveness of fashion through quirky shapes and alternative combinations.
This kind of avant-garde design is often difficult to be accepted and understood by the public, and even causes some controversy and questioning.
At the Tianjin Funeral Exhibition, what should have been a solemn and solemn occasion was given a fashionable element.
Although this crossover attempt allows the deceased to be presented in front of people in another way, it also raises questions about the relationship between the deceased and fashion.
In this process, we can't help but ask: where is the boundary between fashion and the deceased? What should we make of this cross-border attempt?
The blurring of the boundaries between fashion and the deceased not only allows people to appreciate fashion but also face the heavy topic of the deceased.
It is this controversy and conflict that fills the fashion industry with endless possibilities and creativity.
In the future, we look forward to seeing more creative, in-depth and connotative fashion works.
I hope that people can look at the relationship between fashion and the deceased more rationally, and let fashion become a bridge between life and death rather than a barrier.
As the fashion industry continues to evolve, designers are increasingly inclined to showcase their creativity and talent by pushing the boundaries of tradition and convention.
This kind of "artistic experimentation" sometimes touches the bottom line of ethics and morality.
The controversial designs that emerged at Paris Haute Couture Fashion Week and the Tianjin Funeral Show are the epitome of this phenomenon.
For designers, they may think of their work as an expression of art, an exploration of the boundaries of fashion.
In the eyes of the public, these designs may be seen as disrespectful to the deceased, or even a desecration of traditional culture.
This difference and conflict is exactly what the fashion industry needs to face and solve.
The fashion industry, as a creative and artistic industry, is inherently diverse and inclusive.
Different designers have different design concepts and styles, which also makes the fashion industry full of endless possibilities and creativity.
This diversity does not mean that the public's aesthetics and sensibilities can be disregarded.
As practitioners in the fashion industry, designers should be responsible for their work and respect the public's aesthetics and feelings.
They should lead the way with innovative designs rather than attracting attention through controversy and conflict.
Fashion and the deceased seem to be two completely different concepts, but they are inextricably linked to some extent.
Fashion is the love and pursuit of life, while the deceased is the end of life and memory.
When we combine fashion with the deceased, we may find a way to live in harmony.
For example, the introduction of fashion elements in the funeral industry allows the deceased to leave this world in the most beautiful posture, and at the same time can also provide an emotional sustenance and remembrance for the living.
In the same way, more thinking about life and death can be added to the fashion industry, so that fashion is not just a superficial decoration, but also a kind of awe and respect for life and death.
In the face of the controversies and challenges of the fashion industry, we can't help but wonder where the future of fashion will go.
While pursuing innovation and breakthroughs, we also need to respect the bottom line of tradition and ethics.
Only in this way can the fashion industry develop in a healthy and orderly manner, and truly bring people the enjoyment of beauty and emotional satisfaction.
In the future, we look forward to seeing more innovative and meaningful fashion pieces come out.
We also hope that the fashion industry can strengthen self-discipline and supervision, avoid overly extreme and controversial designs, and let us look forward to a better and harmonious fashion future.