London Fashion Week Men’s: ten brands to keep an eye on

London Fashion Week Men’s: ten brands to keep an eye on

Collater.al Contributors · 4 years ago · Style

The new year has just started but fashion is never left behind, it always looks forward. London Fashion Week Men’s is responsible for a later office comeback, last Saturday light was shed on the collections and trends that will rule the next winter season.

The British capital is renown for its innovation and experimentation and, this time again, the curatorial aspect of the various presentations left us breathless. From the models walking through pottery urinals covered in moss to the clones and cyborgs introduced by Xander Zhou, surely London designers know how to be talked about! But, a part from scenography, what we’ve seen on he catwalks partly confirms the trends we’d already announced for 2019, revisiting menswear classics (like the full suit or the leather jacket) and suggesting to keep on playing more and more with accessories, which from finishing touches become real protagonists.

As always, our focus is on streetwear and sportswear, and here we’re listing the brands we most impressed by:

Liam Hodges

Liam Hodges is the British designer grown under the tutorage of stylist Simon Foxton, Royal College of Art, class ’94. His creation explore masculinity with a polysyllabic expressivity, translating into wide silhouettes, patch working and sportswear and streetwear. His influences span from the Hip Hop and skate wear universe to English paganism, sportswear and Post Punk culture. His latest collection “Mutations in the 4th Dimension” is a fine mix of all this. Striped polo shirts and t-shirts are finished with Fergus Purcell (the graphic designer behind Palace, Ashley Williams and AriesArise) style prints and sentences evoking martians. The collections boasts two collaborations: first with emerging brand Stain Shade, for Tye Dye prints; second with Italian sportswear brand Ellesse, with whom he revisited key skiwear pieces of the brand, turning skiing jackets and pants into comfy daily streetwear. Among the accessories, confirmed the balaclava trend for 2019 too.

Cottweiler

Cottweiler was established in 2016 by designer duo Ben Cottrell and Matthew Dainty. This season they brought us to a 12-floor-underground car park, an environment surrounded by pottery urinals covered in moss and fake car flashing lights. The setting evokes the dark alleys of London’s East End and the collection pushed the boundaries of menswear codes. Golfers and cricketers, with hundreds and dog walkers, boast a formal sportswear, made of zipped up sweaters, multi-pocketed vests, and trousers with ankle bands. Completing the look, accessories (caps with Mercedes and Lotus logos and innovative buckles for the belts – could they become new Alyx competitors?) and shoes made in collaboration with Reebok, a hybrid between sneakers and loafers.

Robyn Lynch

Robyn Lynch is an Irish designer debuting this year at London Fashion Week Men’s. A recent graduate from Westminster University, her collections are a tribute to her heritage. We can see it from her color palette where, next to white and deep blue, green is predominant. Her monochrome looks are made of tracksuits, zipped sweatshirts, jumpers and hunting coats. While the silhouettes (resembling 80s sportswear style) are repeated, materials alternate. Nylon tracksuits are styled with knitted jumpers and vests, while all is completed by cotton trousers and shirts. Great space is left to accessories: one-shoulder backpacks and pail & nylon or knitted beanies.

Alex Mullins

Alex Mullins launched his eponymous brand in 2014, after finishing his academic path at Central Saint Martins and Royal College of Arts. He immediately stands out for his ‘hand made’ stile, suggested by the use of custom made textiles and advanced production practices. He draws inspiration from traditional menswear apparel, which is revisited in contemporary key. His latest collection is, in fact, a reinterpretation of traditional tailorings, whose proportions are subverted: blazers almost reach the knee and the sleeves cover hand knuckles, while the trousers gain a wider and softer shape. Another inspiration source for the collection was the motocross world, from which he repurposes shapes and colors of jackets and trousers.

Saul Nash

Born and raised in North-East London, Saul Nash is a dancer who, after finishing Performance Design studies at Central Saint Martins, dedicated to fashion design. His ‘STATIC | MOTION: A Conversation Part II’ is an evolution of his graduate collection at Royal College of Arts, where he undertook a masters degree in Menswear. The garments presented are a perfect meeting point between the two disciplines that marked Saul formative path: dance and fashion. A luxury sportswear collection showcased through a dance performance choreographed by the designer himself, allowing him to show the qualities of his clothes at best. His sportswear silhouettes are loose and soft, refined by zips and cords that enable the wearer to customize them according to own’s taste and needs.

A-Cold-Wall

Also within the last collection presented by Samuel Ross for A-Cold-Wall the performative element was an integrating part of the show: the public watched the catwalk from behind an aquatic path surrounding the runway, where dancers covered in grey were twisting and crawling. Guest star the barking Dobermann, who disappeared in the dark with the same speed at which he appeared. The atmosphere and music (also by Samuel Ross) referred to the anxiety and restlessness we breath nowadays. Sweat models were looking behind themselves in paranoia while walking under a weak and glinting light. The collection pulled out statement pieces of practical daily wear: trench coats, padded vests and trousers, workpants, polo shirts and turtlenecks. Characteristic were the innovative cut-outs, that allowed for the beneath multilayered outfits to show. Other then cross-bodies, bags and suitcases completed some looks too and, scarves with geometric patterns and hats covering the ears, were the final touch for a collection in full Samuel Ross style.

Per Gotesson

He also boasts a degree at Royal College of Arts on his cv. Introduced in the fashion circle by Fashion East in 2016, Per Gotesson’s collection are a personal reinterpretation and menswear essentials. His style is marked by Scandinavian minimalism, together with his capacity to deconstruct traditional silhouettes. The key pieces of his collection are the ripped multi-layered t-shirts e and muted-toned shirts left undone on the t-shirts. There’s also reversed denim and full suits in tartan or black; but the peculiarity lays within the trouser shape, getting years beyond the skinny model (we told you so!). Trousers are marked by asymmetric seam-lines that provide the garment with a bell silhouette, perfectly matched to his coats and hats with fur details.

Craig Green

Craig Green was winner of 2018 of British Fashion Council’s Best Designer of the Year Award. His latest collection is a result of experimenting with new tailoring techniques, textiles and materials, like the ones from industrial packaging or colorful plastic bottles used to create a complete full look – hat included. Apart from tartan suits presenting cut outs instead of pockets and on the elbows, and kaftan-necklines tops, available also in semi-transparent fabrics, Craig Green reinterprets a 60s silhouette on the trousers design and on the trench coats reaching almost knee length. Other elements we were impressed by, the pink and green prints on the raincoats, available also in grey and black, and his signature trousers with oversized pockets.

Floyd Hogan

A graduate from New York Parsons, Madeline Hogan designs under the acronym of Floyd Hogan, the brand subverting stereotypes of masculinity, and she also works as a Materials Designer at Nike. Her collection is inspired by bodybuilders and the world of WWE at its peak, in the 70s and 80s. Voluminous, least to say, jackets referencing wrestler’s inflated chest and biceps, cet in contrast with the tight printed shirts and jumpers matched underneath. Trousers with sticking out bulges alternate with silky high waisted shorts and shirts with exaggerated collars. Among Floyd Hogan’s wardrobe essentials there’s also printed t-shirts and leather coats with big shoulders, available both in black and light blue.

Xander Zhou

Last but not least regarding importance and special effects, Xander Zhou, representative of Chinese New Wave. He let a series of clones, doctor-engineers and their creations, new born babies held between arms or in buggies, extraterrestrial beings and cyborgs, walk down the runway giving life to his futuristic garments. The clothes are characterized by brights colors, like the ones featured on spatial suits, finished with multi-functional belts. The doctors wear straight pants and blue polo shirts (the blue of doctors’ gowns), turtlenecks resemble the sci-fi costumes of the 70s and the leather jackets seem like they just came out of Matrix. Dominant the presence of comfy fleece sweaters, which you can see above in white and grey. The Supernatural, Extraterrestrial & Co collection explores the human and technological development, where genetically modified humans will take the place of ordinary people.

Text by Enrica Miller

London Fashion Week Men’s: ten brands to keep an eye on
Style
London Fashion Week Men’s: ten brands to keep an eye on
London Fashion Week Men’s: ten brands to keep an eye on
1 · 11
2 · 11
3 · 11
4 · 11
5 · 11
6 · 11
7 · 11
8 · 11
9 · 11
10 · 11
11 · 11
Picasso’s style is a story of a friendship

Picasso’s style is a story of a friendship

Andrea Tuzio · 1 week ago · Style

When talking or writing about Pablo Picasso today it is necessary to make a brief but due introduction. 
The Spanish painter, sculptor and lithographer was without any doubt an unparalleled genius, unique, extraordinary and at the same time also troubled, restless, dark, troubled, problematic and, apparently, also fierce and cruel.

Here we we will not address the personal issue related to Picasso’s life nor the purely artistic one, here I will try to analyze his personal style, the one related to the ephemeral par excellence, fashion.

2023 is the 50th anniversary year of Pablo Picasso‘s passing, and given his enormous influence also on the aesthetics of artists in the collective imagination-from Picasso onward if one wanted to depict an artist one relied precisely on the Spanish genius-I decided to take a little trip “into the closet” of Pablo Picasso.

A style archetype with few equals, Pablo Picasso set an aesthetic marker that is still propagated in so many contexts today.

What comes out from the countless photos depicting the artist at a first distracted glance is a seemingly sloppy, improvised, careless look, but the truth tells us just the opposite!

For 16 years Picasso relied on the skilled hands of his personal stylist as well as one of his closest friends, the tailor Michele Sapone. Originally from Bellona, province of Caserta, Michele was born in 1912 and was immediately very willing from a business standpoint. 

First a bricklayer, then a farrier and finally a tailor as early as age 20 in the tailor shop of mastro Carluccio, Carlo della Cioppa, in his hometown. The urge to leave southern Italy was strong, and after being in Turin where, thanks to the intense social, political and cultural life, he had the opportunity to make his skills as a tailor known. Because of the war he moved to Split, where he met the partisan Slavka, who would become his lifelong companion and with whom he would have two daughters.

Once he moved to Nice after the war, where he worked as maitre coupeur at Seelio Tailleur- Chemisier, he met Pablo Picasso by chance-thanks to mutual friend and poet André Verdet-who was living in Cannes, in his famous villa called “La Californie.” 

That meeting became the beginning of a 16-year-long collaboration and intimate friendship, during which Michele Sapone became in effect “Picasso’s tailor.” 

That fabric craftsman from the province of Caserta did not just “dress” Picasso; he created and sewed the clothes for him, trying to capture all the complex and indefinite facets of his very difficult character. 

It is the early 1950s and both protagonists in this story are imbued with a very strong creative energy. Soap was obsessed with “thinking of what to invent for the man who had invented everything”.

The first work Michele made for Picasso was a trouser “à la Courbet” that the artist loved from the first moment and that became the first piece of a union that led Sapone to create at least 200 pants, a hundred jackets and dozens of coats of all shapes and fabrics, but always of the highest quality. 

Pablo Picasso loved stripes, indelible from everyone’s memory are the mariniére T-shirts he wore thickly, as well as the short shorts and espadrilles, his brown leather strap watch, his loose sweaters with buttons or without , the baggy pants, the V-shaped sweaters, the wide-brimmed hats and the jackets shorter than the canons of the time – by this expedient he tried to “hide” his height, Picasso was 5 feet 3 inches tall.

Let me close with a tidbit: on October 25, 1956, Picasso’s 75th birthday, Sapone gave the artist a new jacket that Picasso immediately wore, saying he would keep it on all day.He immediately loved that jacket: made of brown and black horizontally ribbed velvet with a collar without lapels, with an opening on the chest but no buttons. Soap called it a “Mao jacket”, but in fact the tailor was referring to a work jacket that Bellona peasants wore while working. 

A story, that of Pablo Picasso’s style, about creativity, art and craftsmanship and at the same time about a friendship that will mark the lives of the protagonists forever. 

Credits: Il sarto di Picasso Luca Masia (SilvanaEditoriale)

Picasso’s style is a story of a friendship
Style
Picasso’s style is a story of a friendship
Picasso’s style is a story of a friendship
1 · 12
2 · 12
3 · 12
4 · 12
5 · 12
6 · 12
7 · 12
8 · 12
9 · 12
10 · 12
11 · 12
12 · 12
Karl Lagerfeld’s immortal style

Karl Lagerfeld’s immortal style

Andrea Tuzio · 3 weeks ago · Style

We are just over 3 months away from the most important and glamorous event in the fashion world and beyond, the Met Gala 2023.
Earlier in the day yesterday, the Costume Institute unveiled that co-chairing Anna Wintour at the event to be held on the first Monday of May and opening this season’s show will also be Penelope Cruz and Dua Lipa, rounding out the quartet composed of actress Michaela Coel and His Majesty Roger Federer.

This year’s Costume Institute exhibition at the Metropolitan Museum in New York will be dedicated to the immortal Karl Lagerfeld, one of the most important, visionary and decisive designers of all time.
The retrospective will be titled Karl Lagerfeld: A Line of Beauty and will be a journey through the career of the designer whose unique vision contributed to the history of the maisons he worked for, above all Chanel and Fendi.

I take my cue from this news and, a month away from the 4th year since the German designer’s passing, try to tell you about Karl Lagerfeld’s personal, peculiar and inimitable style.

If there is one character of our contemporary times that anyone, or almost anyone, could recognize through solely his look and aesthetic, it is certainly the “Kaiser”.

Lagerfeld was one with his style, expressing his personality. His signature and defining elements remained the same for years but, just as his vision and work evolved along with the totality of his look.

The image that has rightfully entered the collective imagination is certainly that of the legendary ponytail she has been wearing since 1976. First characterized by a raven black and then by an almost immaterial white, made so by the daily and manic use of Klorane dry shampoo. 

Another essential element of Lagerfeld’s look is the ever-present white shirt with a high, super starched collar that the German designer used to commission from the tailors at Jermyn Street, Hilditch & Key in central London-he apparently had more than 1,000 of them in his closet. 

Accessories also play a key role: the ties, the black sunglasses characterized by a very thick frame, and the ever-present gothic-flavored jewelry made ada hoc by Chrome Hearts or those with a vintage aesthetic from Lydia Courteille’s Parisian jewelry store. 

About himself Karl Lageferld described himself as follows in an interview with the Observer in 2007: “I am a caricature of myself, and I like it. It’s like a mask. For me, the Venice Carnival lasts the whole year”.

Karl Lagerfeld’s immortal style
Style
Karl Lagerfeld’s immortal style
Karl Lagerfeld’s immortal style
1 · 8
2 · 8
3 · 8
4 · 8
5 · 8
6 · 8
7 · 8
8 · 8
The theme of mental health in Alexander McQueen’s SS01 show

The theme of mental health in Alexander McQueen’s SS01 show

Andrea Tuzio · 4 weeks ago · Style

There are moments that make history, moments that remain forever in the imagination of those fortunate enough to see them, to participate in them, and the ability to think about them and turn them into something that has forever and indelibly marked the course of events.
Without fear of contradiction, one such moment in the contemporary fashion world is undoubtedly Alexander McQueen’s Spring/Summer 2001 show entitled “Voss”.

Let’s start by saying that to call it simply a “show” is extremely reductive, that was something that crossed all kinds of boundaries and was able to amalgamate fashion, art, performance, social denunciation and raising awareness of a topic that is more important and contemporary today than ever before, mental health.

Sublime, enchanting, shocking, powerful, engaging and destabilizing, Alexander McQueen’s SS01 fashion show was all this and more. An almost theatrical portrayal of an extremely complex and still denigrated human condition, that of mental instability and all those mental health-related difficulties that affect a huge segment of the human population at various levels. 

One of the most well-known, famous and revolutionary fashion shows of the British designer who passed away at the age of only 40 in 2010, “Voss” is a lofty moment in contemporary fashion history in all respects..

The title of the show is a reference to nature, its beauty and enchantment (Voss is a Norwegian town famous for the wild and wonderful nature in which it is located) and in fact the garments in the collection reflect this very aspect – see the clothes also constructed with natural and animal elements such as shellfish shells and stuffed birds. But there is another one that is much more important and hidden before the eyes of everyone present and beyond: the context and setting of the show.

A large glass catwalk-like box placed in front of the spectators and the many photographers invited to the show and was the nerve center of the entire show. 

White tiles like those typical of a psychiatric hospital as well as walls composed of mirrors like those we find in interrogation rooms, used to control what goes on inside without being seen and, as a final element, another glass box but covered with metal to hide the contents. 

McQueen’s choice was to drop the audience immediately into a surreal and eerie atmosphere: for more than an hour the audience was left to wait for the show to begin while they could only see themselves reflected on the mirrored walls of the box with only the sound of a very slow and continued heartbeat in the background. 

In this way the designer also directly involved the audience, pushing them into a condition of stress and anguish, almost as if they were experiencing a kind of coercion to stay there, sitting and forced to wait. The same coercion of people forced to live trapped in a condition that is very difficult to understand, to share, and that often still leads, in many cases, to marginalization due to repression and superficiality (although things are fortunately changing thanks to normalization and awareness on the issue of mental health). 

The models moved as if they were vulnerable and helpless, gripped by fear and anguish, of those who are forcibly locked up not only in physical place but in a place of the soul and mind from which it is difficult to escape. 

After the last model on the runway, who walked down the runway in a bodice made of microscope slides painted blood red and a red skirt of ostrich feathers, the lights went out, the music stopped, and the only background noise returned to a slow heartbeat. 

Once the lights come back on, the steel-covered box opens and shows its interior: writer Michelle Olley naked, with a respirator, a pair of horns, lying on a chaise longue and surrounded by butterflies, like a post-apocalyptic Venus.

An ending that leaves the viewer open-mouthed and speechless, but at the same time forces the viewer to reflect in an almost overpowering way on one of the most sensitive and relevant aspects of our lives: the treatment, understanding and acceptance of mental disorders at all levels. 

The theme of mental health in Alexander McQueen’s SS01 show
Style
The theme of mental health in Alexander McQueen’s SS01 show
The theme of mental health in Alexander McQueen’s SS01 show
1 · 8
2 · 8
3 · 8
4 · 8
5 · 8
6 · 8
7 · 8
8 · 8
Infinity in the collaboration LV x Yayoi Kusama

Infinity in the collaboration LV x Yayoi Kusama

Andrea Tuzio · 4 weeks ago · Style

The one between Louis Vuitton and Yayoi Kusama represents more than just a collaboration that brings fashion and art together. 
This 2023 of the French fashion house directed (for the womenswear part) by designer Nicolas Ghesquière began under the banner of color and timeless beauty, but not only.

The idea of the LV x Yayoi Kusama collaboration, was born during the 2020 pandemic and echoes the first joint venture between the iconic Japanese artist and the maison of the LVMH group in 2012: a true dialogue that takes a step further by seeking infinity, representing the obsessive search of Kusama, class of ’29, since she was 10 years old. This quest is expressed artistically through her now characteristic polka dots, colorful and repetitive, which have invaded the entire Vuitton universe dialoguing precisely with the French maison’s monogram.

Bags, jackets, pants, glasses and accessories covered in Yayoi Kusama’s Infinity Dots become collectible works of art that, thanks to sharing extremely recognizable and immediate codes (polka dots and monogram), speak to anyone. 

The Japanese artist’s quest for infinity is reflected in the campaign dedicated to the LV x Yayoi Kusama collection, whose name is actually Creating Infinity, in a very strong push toward perpetuity, eternity, immortality.

The project has globally involved the brand’s best boutiques and the most important billboards around, such as the robot in the likeness of the artist painting her polka dots in the window of the New York store on Fifth Avenue or the huge 3-D images that camp out towering over everything and everyone in Tokyo, or even the huge installation on the splendid Champs-Elysées building that houses the maison’s beautiful boutique in Paris, covered in the colorful polka dots and a giant Yayoi Kusama painting them directly on the building’s walls.


Of course, Milan was also involved in this project, with the reopening of the former Garage Traversi, closed for 20 years and brought back to life, which Vuitton made its home during the renovation of the historic Palazzo Taverna headquarters. The second floor of the rationalist building designed by architect Giuseppe De Min in the 1930s-the first multi-story garage in Milan-is dedicated to the French fashion house’s special projects, including Creating Infinity itself. The worlds of Kusama and Vuitton merge in an immersion of what is the world of the Japanese artist: her Infinity Dots, black in this case, invade the yellow space, while the Metal Balls reflect the surrounding space in a sort of infinite repetition. 

The campaign dedicated to the LV x Yayoi Kusama collection is equally impressive. Shot by photographer Steven Meisel and under the creative direction of Ferdinando Verderi, Vuitton has assembled a series of absolute top models in a feast of color in which play and dream coexist perfectly. 

Bella Hadid, Gisele Bundchen, Christy Turlington, Liya Kebede, Senegalese-born model and photographer Malick Bodian, Chinese model Fei Fei Sun, Natalia Vodianova, Dutch model Parker Van Noord, American Karlie Kloss, Dutch model Rivanne Von Rompaey, Chinese He Cong, American supermodel of South Sudanese descent Anoki Yai, and finally, after a period of absence from the scenes, U.S. model and actress Devon Aoki.

Infinity in the collaboration LV x Yayoi Kusama
Style
Infinity in the collaboration LV x Yayoi Kusama
Infinity in the collaboration LV x Yayoi Kusama
1 · 6
2 · 6
3 · 6
4 · 6
5 · 6
6 · 6
Other articles we recommend