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Ty Lue who was LeBron James top choice to take over the vacant head coaching job of the Los Angeles Lakers will not be sitting courtside when next season tips off. According to reports, negotiations between the former Cavaliers head coach and the Lakers fell through.
League sources told ESPN contract negotiations between the Lakers and Lue ended with the parties not reaching an agreement at all.
Lue and his representatives turned down the Lakers’ offer Tuesday, league sources said. The Lakers, then on Wednesday offered Lue a deal in the range of three years and $ 18 million, after which Lue’s side pulled out of negotiations.
According to the sources, Lue’s camp was seeking a five-year deal with a salary commensurate with a championship résumé.
Beyond an inability to agree on contractual terms, the Lakers had proposed several scenarios involving their preferred candidates for assistant coaches, including Jason Kidd, sources said.
Looks like Laker fans will have to wait a little bit longer for the return of the Showtime era. The dysfunction is on ten in the Los Angeles Lakers organization. On top of not being able to secure the deal with Ty Lue, Stephen A. Smith is reporting that people close to Lakers’ president Jeanie Buss are telling her to trade LeBron James.
With Lue out of the picture, ESPN reports the former Orlando Magic coach Frank Vogel and Juwan Howard are currently being considered for the head coaching position. We shall see how this plays out, but this is definitely not what LeBron James signed up for when he joined the Los Angeles Lakers.
Photos: Jason Miller / Getty
Name: Jenny Fax
Main message: Taiwanese designer Shueh Jen-Fang takes fragments of childhood memories and turns them into avant-garde collections. For her latest offering she put her stamp on an innocent picnic, with sweet, pastel lace dresses paired with candy-striped blouses. True to form, nothing was quite as it seemed, with acid-washed denim skorts that were so low-waisted they put on display the granny panties attached underneath. Plush balloon dresses had boning to create voluminous, sculptural shapes, while tweed tops were shrunken into tiny, frill-adorned bandeaus. The show closed with a vinyl puffer coat with a hood that zipped all the way up to create a cartoon-like character, and a white split cape that billowed behind like a pair of angel wings.
The result: The collection struck just the right chord between the bizarre and charmingly unique, a weirdly fun take on a fairy-tale-like dreamscape.
At first glance, designer Natalie Ratabesi’s latest collection for her line Tre by Natalie Ratabesi was instantly invigorating, the racks in her showroom filled with a bold palette of reds (pinks to maroon) and even fluorescent orange. Ratabesi explained the red hot palette stemmed from the Netflix documentary, “Wild Wild Country,” while inspiration from the Eighties influenced her designs and gold jewelry laden models of her look book.
For fall, Ratabesi explained she wanted to reinforce her strengths. Strong pants — pink denim in lieu of blue, a great new band pant with adjustable Velcro sides on the waistband to wear higher or lower on the hip, and updated combat pants — as well as layering pieces inspired from men’s wear. Tailoring proved strong once again, like a burgundy suit set styled ever so cooly under a standout new cropped little poly padded jacket. Whether it was her colorblocked blouses or sensual, fluid gowns, Ratabesi’s collection continued her strong, and very cool, point of view through refreshing designs.
Name: The Dallas
Main message: Fumie Tanaka’s modern take on classic style elements was foreshadowed by its venue: a French restaurant with mosaic tiled floors, arched doorways and Art Nouveau hanging on the walls. But when the lights went up, the opera changed to thumping bass and the models strutted around corners in looks that showed a deft mix of the traditional and the now. Long, flowing dresses in rich hues and floral prints shared the runway with leopard-print pantsuits with lace overlays, sheer, slinky knits and workwear-inspired jumpsuits. Tanaka expertly mixed print and texture, incorporating plush faux fur, ivory and black checked wool, sky blue chiffon, and metallic lamé. Track pants with lace side stripes and oversize proportions on basic jackets gave classic pieces an air of modern, streetwear cool.
The result: Tanaka turned out a solid, cohesive collection of versatile separates that meld femininity and a relaxed, street-ready sensibility.
Main message: Takeshi Kitazawa’s spring presentation was part runway show, part performance art, with models emerging on the runway in pairs before engaging in various interactions in front of a simple set: drinking a cup of water, swapping jackets, cutting open a feather pillow, or one presenting the other with a piece of paper on which was written “do something boring.” All this took place to a voiceover soundtrack of men describing their dreams, but the significance of it all was not immediately clear.
Kitazawa sent out tailored or wide-leg trousers with high waists together with tiny cropped tops and jackets. There were shirts with sheer chest panels, bandage tube tops, tailored coats, a leather biker jacket and trench, and suit jackets with key fobs safety pinned to them. Many looks were pantless, instead including only a pair of briefs or a bodysuit. As with most of Dressedundressed’s collections, everything was unisex and in neutral shades of black, white and beige. Half of the models wore black masks with silver eyelets to see through, which together with belts worn on wrists, gave the offering slight BDSM undertones.
The result: The clothes were well cut and there was some interesting proportion play, but the collection
Name: Noma T.D.
Main message: Masako Noguchi and Takuma Sasaki have been designing their brand for more than a decade, but their latest collection was the first one they presented at Tokyo Fashion Week. First they showed a short film directed by Rinko Kawauchi with music by Hiroshi Fujiwara. Titled “Harmony,” it showed simple, everyday scenes at a family country house and the surrounding wilderness as winter changes to spring.
Next, a black curtain opened to reveal eight models in relaxed, outdoorsy Noma T.D. looks. A pajama-like set of flannel pants and a shirt in a big, bold check pattern was paired with a black fishing vest for men, while a gray, navy and dark green floral print satin dress peeked out from under a plush wool coat for women. There was also a blue tie-dyed sweatsuit, a shirt embroidered with large flowers, and a quilted black coat with striped satin sleeves in black and deep blue.
The result: The offering, while small, showed a balance between street-ready and outdoorsy pieces, making it well suited for the modern urbanite.
Main message: Yukiko Ode and Hideaki Yoshihara reimagined classic military pieces for fall, rendered in oversize proportions and tech fabrics. Voluminous toggle and shawl-collar coats in Army green and skirts made of swinging fringe shared the runway with structured jersey dresses that were striking in their simplicity. The designers also showed their latest collaboration items: eyewear by Julius Tart Optical, tote bags by Chacoli, wedges by Beautiful Shoes, and puffer jackets, long down coats and rain jackets by The North Face.
Ode and Yoshihara showed their skills with sumptuous outerwear that was both cozy and elegant, as well as beautifully draped dresses and asymmetric knits that came alive with movement. Their textures were equally rich, ranging from corduroy and wool flannel to fur and technical fabrics.
The result: The collection had a clear point of view and beautifully constructed clothes, once again demonstrating why Hyke is one of the strongest brands in Japan at the moment.
Main message: Tapped by Italian manufacturer Saldarini to help promote its Cashmere Flakes line, this season Mitsuru Nishizaki put his spin on the company’s quilted puff outerwear, which is stuffed with cashmere filling rather than goose down. To give the jackets and coats a more urban vibe, he added oversize wool patch pockets or snap-on sleeve covers, or chose unconventional colors such as bright blue or dusty pink, which contrasted with the nearly all-black and navy offering. Nishizaki mixed the outerwear with pieces from his main line, including long floral dresses, tonal checked skirts and track pant-inspired trousers.
The result: While the collection included some unexpected choices and will surely be well received by consumers, it lacked the “wow” factor that viewers hope to see during fashion week.
Main message: Takayuki Chino has been heading his own brands for over a decade, but as one of the winners of the 2019 Tokyo Fashion Award, he staged a runway show for the first time this season. With it, he showed his audience just why Cinoh has reached levels of popularity that many Tokyo brands can only hope for, being carried by top retailers across Japan.
The designer showed a relaxed, slightly disheveled sophistication. A leopard print, plush fleece pantsuit and long, fringed straight skirts for women shared the runway with men’s suits that were reimagined with pullovers in the place of button-front jackets. Long satin dresses, pleather overalls, fuzzy knits and easy fit trousers were given a subtle injection of Nineties grunge when paired with oversize plaid jackets and shirts. The theme was also hinted at in the show’s soundtrack, which included an instrumental backing track of Nirvana’s 1991 hit “Smells Like Teen Spirit.”
The result: With equal parts elegance and comfort, it was a collection that will surely resonate with Tokyo’s fashion-forward youth, without alienating older consumers.
Name: Nobuyuki Matsui
Main message: The first clue that Nobuyuki Matsui’s first Tokyo Fashion Week outing was going to be something unusual was the invitation: a small cardboard box holding a single air pillow, on which details of the show were printed. When audience members arrived, they were asked to step over the back of long benches in order to reach their seats. The long, narrow runway was strewn with air packaging, some filled with goose down, which popped under the models’ feet, adding a strange kind of percussion to the soundtrack.
Some of the clothes also incorporated the pillow-like pouches, which were tied with strings to coats or stuffed inside a tan leather vest that was cut to look like another form of packaging material. But the concept didn’t run through the entire collection, and some looks of simple pants and shirts felt bland and unimaginative. More interesting was Matsui’s modern take on tailoring, which included pullover vests and suits with exposed stitching, contrast fabrics, and trousers that were either cropped or cinched with belts at the ankle.
The result: The collection showed ingenuity and a fresh take on some men’s wear staples, but it was inconsistent and would have benefited from
Main message: One of the six winners of the 2019 Tokyo Fashion Award, Yuya Nakata’s fledgling brand (established only two years ago) aims to make “timeless modern wear with the best materials and details.” For the brand’s first collection shown on the runway, it did just that. The silhouettes were classic and refined, including different cuts of long coats, tailored trousers and calf-length dresses. And while they were beautifully cut to move with the body, it was the fabrics that set them apart from simple basics. Wool blends in sky blue and red, ribbed knits in the perfect shade of medium gray, a fine, bone-colored twill, and a trio of cloths all in dusty pink all begged a second look.
The result: A newcomer on the Tokyo fashion scene, Nakata proved himself as one to watch with a collection that went beyond elegant to something new and undeniably modern.
Main message: Shiho Shiroma lucked out with unseasonably balmy weather for her outdoor fashion show, held right in the center of Shibuya, Tokyo’s most buzzing neighborhood. It was also a wise choice for a venue, as her clothes looked right at home in one of Japan’s fashion centers — although the logo-covered backdrop left much to be desired. She showed basics with a twist, mixed with less conventional pieces. Simple shift dresses were made interesting with structural belts and one-shoulder harnesses, some trimmed in frills. While overall the neutral-toned collection had a modern feminine feel, there were also ample military and athletic influences. Wide-leg olive pants and khaki trousers had snaps all down the outer leg, allowing them to be opened up so they billowed with movement, wool arm covers were reminiscent of skaters’ elbow guards, and bomber jackets were turned out in navy and mustard lace or cropped in burgundy satin with balloon sleeves. Ankle-length sweatshirt hoodies were splashed with botanical patterned embroidery and sequins, and cotton twill tanks, dresses and trenchcoats had overlays on one half of a gossamer-thin, sheer tech fabric.
The result: Just the right amount of asymmetry, mixed influences and contrasting textures made for an
Main message: Always one of the bright spots during Tokyo Fashion Week, Takeshi Osumi and Yuichi Yoshii’s men’s brand mixed easy tailoring with streetwear, outdoor and women’s wear influences for fall. Models walked the grass-like carpeted runway in retro, relaxed snakeskin print suits paired with satin double-breasted shirts and neckerchiefs, or velvet pants with roomy overcoats. The more casual looks included dad jeans, hooded sweatshirts and duck canvas jackets, all in neutral shades of gray, brown, khaki and black, interspersed with pops of purple, green and orange.
Osumi and Yoshii played with proportions, shrinking trenches and puffer jackets into crop tops and styling them over wool coats and loose sweaters. Moto, letterman and toggle jackets were chopped up into bib-like pieces and layered over outerwear, while a series of coats and jackets were cut from two contrasting fabrics: olive corduroy and gray wool flannel, or plush fleece with the same snake print from earlier pieces. Subtle feminine touches came in the form of silk scarves worn as belts over coats, and a handful of equestrian print jackets and shifts. The brand also debuted its latest collaboration products, including quilted bags made with Outdoor Products and a black satin bomber designed
Name: The Reracs
Main message: With her inaugural show during Tokyo Fashion Week, Naomi Kurahashi displayed just how to present classic pieces on a runway without boring the audience: make sure to have plenty of variety, use beautiful textiles, keep the pace quick, and employ inventive styling choices. The brand lived up to its profile, which says that it’s “backed by quality and practicality,” but proved that it has so much more to offer.
The collection was made up of variations on a pretty basic theme: straight-legged or relaxed, jogger-style trousers paired with V-neck sweaters or just about any kind of outerwear imaginable, all turned out in neutral tones of gray, black, navy, white and beige. But the superior construction and luxurious textiles elevated the collection beyond simple classics, with suiting material showing a drape resembling that of matte jersey, and a black pleather poncho turning more heads than it would have if it had been made from animal skin. The fabrics were so beautiful on their own that there was no need for flashy prints, but occasional flashes of Fair Isle, argyle or checked patterns kept things interesting.
The result: Kurahashi has been designing The Reracs for nearly a decade, but proved
Main message: What do you get when you mix sharp tailoring and a wide range of textures with subtle bondage influences? Keisuke Yoshida’s latest offering, which was shown on a slick red runway with stairs in the center and models all with bandaged heads. A short suit with an oversize, double-breasted jacket was worn over pleather leggings punctuated with cutouts and buckles, while slinky dresses in headline printed mesh or lamé jersey were gathered all over for a balance of sexy and conservative.
There were structural elements as well, with tails of coats clipped to the backs of collars to create a vague origami effect, and sleeves that were either ballooned and extra long or topped with boned shoulder plates rivaling a football player’s padding. High-wasted pants with rows of rope fastened with toggles were paired with satin blouses trimmed in exaggerated Western-inspired yokes.
The result: Yoshida’s collection was just fantastical enough to find itself at home on the streets of Tokyo, without taking itself too seriously.
Main message: For her second outing during Tokyo Fashion Week, Mari Odaka took inspiration from Tokyo’s changing landscape ahead of the 2020 Olympics, as well as from two films: Andrew Niccol’s 1997 “Gattaca” and Jim Jarmusch’s 2013 “Only Lovers Left Alive.”
Odaka created her own surreal landscape on the runway with large squares of gold Mylar illuminated by fluorescent tube lights, accompanied by a soundtrack of jarring noise. She deftly mixed contrasting textures, showing pleated chiffon trousers together with an unevenly knit scarf that resembled static on a TV, but in red and navy. A shimmering, open knit long skirt resembling a spider web glistening in the morning sun was paired with a cold shoulder black sweater with spots of ivory fringe. There were also pantsuits with relaxed, slit-ankle trousers in black on black floral brocade or pale gray suiting trimmed with tiny ruffles. An oversize grandpa sweater worn as a minidress and a red and black tracksuit with chevron detailing lent a retro vibe.
The result: The designer proved her fledgling brand to be one to watch with a strong collection of relaxed yet elegant pieces in interesting textures.
“Everything’s wickable, breathable…we spent four years developing fabrics,” Tory Burch explained during a walk-through of her latest collection for her high-performance sportswear brand, Tory Sport. Burch added that through her recent collaboration with Soul Cycle (a seven-piece capsule which launched on March 6) she was most excited about hearing feedback from real athletes — from full marathon runners to yogis — who have been surprised and highly impressed by its functionality. A fall favorite (and best-selling) call out included a chevron printed legging and matching bra in oatmeal brown (which sits in the collection under Burch’s new neutral program). Said leggings and bras could be piled under her continually wonderful knits or great new outerwear (a puffed, sleeping bag coat or half-quilted, half-sherpa fleece jacket).
For fall, Burch infused a study of contrasts throughout: watercolor-inspired tie dye versus clean, bright color blocking (in red, purple, navy, royal blue) and chevron graphics when it came to palette and prints, or lightweight nylon ripstop running jackets versus chunky, puffed down coats when it came to outerwear. Within the golf and tennis categories, a new white hybrid skort with a ruffled side perfectly depicted the brand’s overall contrasting play on sporty femininity.
Toni Maticevski upped the focus on tech fabrics, “And seeing how they translate into things that are wearable.”
The attitude stayed dressy, though. Gathered into architectural folds, a gold and silver foil jersey used on gowns was surprisingly light and soft, with foil effects also surfacing on a black wool-cashmere coat. A capsule of black-and-white chiffon evening pieces peppered with high-tech flocking in animal-meets-floral motifs were striking.
The designer broke the mood with a romantic section of dresses, including a long ivory tulle gown with a pleated top and short pale pink skirt embroidered in organic strips of metallics and sequins which lent an artisanal charm.
The pièce de résistance in the handiwork intensive collection was a floor-sweeping pastel gown covered in circular tea-stained ruffles.
One of the key themes from the Black line was transparency, with signature gabardine coats flipped inside out to put their inner workings on display, the seams exposed, as well as reversible pieces, with a split-personality coat with beige linen on one side, black silk on the other.
A uniform storyline included coats mixing houndstooth with a monochrome Y’s tartan, lovely black blazers with cutouts of jewel-tone motifs lifted from Persian carpets used to evoke medals, and a series of pinstripe coats with the stripes bleached into the fabric, as well as bleached color-blocking effects.
The Pink line offered a capsule of textured knits, including a seamless cashmere sweater; feminized spins on men’s shirting fabrics, applying details like lace and ruffles to gingham and striped styles, as well as a capsule of sweatshirts playing on the band T-shirt graphics used for Prince and the Revolution’s Purple Rain Tour in the mid-Eighties.
“It’s kind of funny when you think about seasons anymore because what’s winter for someone is summer for another,” described Galvan’s Katherine Holmgren. ”There’s always so much travel in-between different locations and climates and temperatures.” Having an international customer who shops in varying climates, the team from Galvan looked to their creative director, Sola Harrison’s, recent trip to Bali to infuse a wintery jungle theme into their fall lineup. Lush green leafy hues ran throughout — simply sophisticated in floor-length slips or more daring in an emerald green sequined blazer with fringed details. Acid green also made an appearance in scuba-like materials, like a bustier minidress, mixing the surfer, beachy vibes and jungle landscapes of Ubud and Uluwatu.
“We’re always trying to make eveningwear — glamorous, yes — but with a dash of fun and youth…and a cool factor that’s often missing,” Holmgren described. The brand continues to do so — fall meant updated sequined — as well as velvet devore-offerings (in a great leafy print). A special edition hand-placed tiger printed velvet devoré shirtdress and slinky “Bali” scarf printed — found during Harrison’s travels — gowns made for great additions to round out the collection of multiple-climate appropriate attire.
While he showcased his latest fall collection to buyers according to the traditional schedule, Antonio Berardi skipped any classic shows or presentations during fashion week this season. His beautiful collection was actually revealed to journalists with one-on-one appointments in his Milan showroom and via a range of images portraying fashion icon Catherine Baba.
“The idea that the collection starts in my world is given over to someone else, who makes it fit in her world, and the eventually of it becoming part of someone else’s universe on a totally different level is perhaps the most exciting thing of all,” Berardi said on Baba’s interpretation of her clothes.
Her bold personality actually exalted the already distinctive spirit of the collection — which, designed to complement the pre-fall range, was more focused on cocktail and evening attire.
Continuing to offer his own take on his inspiration from the year 1968 — already the theme of pre-fall — Berardi played with the sharp and the precise mixed with the soft and bohemian. A white minidress with scalloped edges and flared sleeves exuded the same feminine allure as another short dress, worked in overblown checks, showing exaggerated ruffles.
Lengths got longer in a hot pink gown revealing precise vertical
A Seventies-style faun-colored intarsia coat figured among the rich range of shearlings, as the brand continues to steer the focus away from fur, also mixing textures on coats, contrasting shaved and fluffy surfaces and playing with prints, including a leopard motif, to broaden the category’s appeal.
Brought in to design the second edition of the brand’s Pieces capsule of six upcycled furs was André Walker who got creative with mink scraps. Items included a black mink jumpsuit masquerading as corduroy, a cream shirt in sheared mink, and a showstopper fringed sheared-mink intarsia dress with a face print based on one of Walker’s artworks. Sporting labels signed by Walker, the pieces will be produced in limited-edition series.
Amsterdam-based Moroccan designer Karim Adduchi’s mission in Paris was to present a line of more commercial ready-to-wear looks, ranging from jacquard coats in a woodland print to a tailored blazer with details including 3-D buttons with a design inspired by berbère culture and belt loops at the waist.
But his couture pieces grabbed all the attention, especially the twists on traditional Moroccan garb, like a top and skirt honed from finishings sourced from every city that the designer has visited in his homeland, including colored tassels in earthy hues that formed the skirt.
Also drawing the eye was a red silk scarf dress and a long gown with a split made from an artisanal striped wool with raw seams.
One of the key themes from the Black line was transparency, with signature gabardine coats flipped inside out to put their inner workings on display, the seams exposed, as well as reversible pieces, with a split-personality coat with beige linen on one side, black silk on the other.
A uniform storyline included coats mixing houndstooth with a monochrome Y’s tartan, lovely black blazers with cutouts of jewel-tone motifs lifted from Persian carpets used to evoke medals, and a series of pinstripe coats with the stripes bleached into the fabric, as well as bleached color-blocking effects.
The Pink line offered a capsule of textured knits, including a seamless cashmere sweater; feminized spins on men’s shirting fabrics, applying details like lace and ruffles to gingham and striped styles, as well as a capsule of sweatshirts playing on the band T-shirt graphics used for Prince and the Revolution’s Purple Rain Tour in the mid-Eighties.
Having cycled through a number of formats and creative directors in the last few years, Capucci is banking on an injection of youth to restore the brand to the glory days of its founder, Roberto Capucci.
The label’s owner, businesswoman and art patron, Paola Santarelli, has appointed her daughter, Vittoria Bonifati, as artistic coordinator, with Valeria Giampietro as art director. They, in turn, have drafted Luisa Orsini and Antonine Peduzzi, the “It” girls behind the handbag label TL-180, to refresh the brand.
Staging a presentation in Paris for the first time, Capucci unveiled a capsule collection based on the more wearable portions of its archive. The couturier, now 88, has been a friend of the Santarellis for decades.
“He was very close with my grandmother and my mother. My mom’s wedding dress was designed by him, and also my grandmother had a lot of clothes designed by him, so I’ve known him for quite a bit, and he comes still to the atelier. He has some clients and makes haute couture,” Bonifati said.
A tunic top and cropped flared pants featured subtle black-and-white Op Art stripes that were stitched together from dozens of fine strips of fabric. A collarless coat with a scalloped edge
Katie Hillier and Luella Bartley cast their eyes to the Eighties, and to the pop colors and patterns of Kansai Yamamoto. Their collection was wild, full of color and languid proportions in the form of a check Zoot suit, its jacket slashed open at the front, and a camel pinstripe suit with a short jacket and roomy, tracksuit-style trousers. Blouses and dresses were draped, folded, knotted or tied, as in a silk raspberry dress with statement sleeves and piratical flair, and a black tuxedo jacket with a cascade of jewel-toned, fringed silk spilling from the back. The collection had its New Romantic moments, too, in the form of a white poet’s blouse with wide ruffles around the neck and wrists, and cotton striped shirts with layered sleeves and long flowing tails. These clothes, with their dramatic proportions and look-at-me colors, aren’t for everyone: Only the cool kids need apply.
For fall, An Vandevorst and Filip Arickx had a country girl in mind — low profile but feminine, used to roaming the outdoors. Not one to put up with vestimentary restrictions. So they cut open the sleeves of her suit coat, lining them with zippers in case she wanted to close them back again. Shirt sleeves, too, were opened in this way, but with buttons. There was no planned color scheme — fabrics were chosen for their qualities, and then crafted into garments, making it more spontaneous and perhaps less intellectual, explained Vandevorst. Loose, tan trousers had a sporty, orange ribbon running up the leg while a silky purple shirt had piping details on the cuff, western style and one shoulder. Also in the lineup, season staples: a long, pleated skirt and smart outerwear, including trenchcoats.
Reflecting the label’s new emphasis on accessories, the showroom presentation was dominated by boots, sneakers and handbags galore — all shapes and sizes. Bags were mostly square-shaped, stamped with the label’s signature cross. Footwear options included a chunky-heeled ankle boot with zebra stripes on the front and lizard skin on the back — suitable, no doubt, for that country girl hitting the city streets.
The message would have to come from the garments; due to a scheduling conflict, Susana Clayton wasn’t in Paris to present her debut collection for Joseph.
They spoke for themselves. Clayton had clearly done her homework and crafted a sturdy lineup that relayed the label’s particular breed of chic, British cool. A laser focus on trousers turned up an array of surefire staples — flattering waists, luxurious fabrics, slightly flared. Knitwear was chunky and oversize, yet sleek, including a handsome cape-shawl topped with a turtleneck, as well as the widest scarf ever — with yarn fringes. Moving down the rack, each piece, it seemed, called for individual consideration — the simplicity conveyed by a new, streamlined approach. Tailoring was sharp, but also purified, and Clayton skimmed the collars off of some pieces, including the coats. Leather work was another strong point, and the collection included well-cut burgundy trousers and a tunic dress. Also striking was a black, goat hair coat.
This was a strong debut, and a well-managed segue from the previous designer, Louise Trotter, who has moved to Lacoste. Relaying the label’s past strength — trousers! — Clayton also managed to spin it forward nicely.
For his fall lineup, Esteban Cortázar had different types of women in mind. He doesn’t like it when people ask who his client is — an exercise he likens to putting someone in a box.
“I don’t just appeal to one kind of girl,” he said, noting the same garment draws different personalities — and ways of wearing it.
That point he drove home with a diverse collection, toggling between sensual elegance and a funky cool, all of it emphatic, which is one of the reasons it worked.
Considering “Breakfast at Tiffany’s” — influence for sharp and simple lines with graceful silhouettes — he took Holly Golightly for a spin in the Caribbean. This brought added flourish — a bit more skin and lots more color, mostly solids — yellows and pinks — but also a crazy print with religious motifs and a wild cat.
One of his muses was a friend, the stylist Michelle Elie, who modeled the looks.
“She’s not afraid of piling it up, being more eccentric, playing with silhouettes, with proportions,” he said, pointing to a photo of her with layers that included six bucket hats in bright colors, hot pink gloves over a sheer, pink sleeve, and knit leggings under a
Life bubbled under the all-black exterior of Kei Ninomiya’s silhouettes. The designer, who learned his craft at Comme des Garçons, themed his collection around roses, which were sported by models on blood-red headpieces created by artist Makoto Azuma, infusing the silhouettes with an organic feel.
The first looks, rigid structures made of ruched taffeta taking over the models’ bodies, hinted at alveoli, while an overskirt with dangling black taffeta threads, worn over a nude tulle skirt, looked like spider’s legs.
Further along, classic pieces like leather biker jackets morphed into different creatures entirely: on one look, a jacket was progressively weaved in to what looked like a round wicker cage, a gleaming leather contraption encasing the entire lower part of the model’s body. The same structure was thrillingly applied to the top of a dress, cradling the model’s torso up to her neck.
There was a strong sense of protection: organza tops had thick wraparound corsets bunching up the waist, while some silhouettes sported leather harnesses with what looked like blown-up tubes coming out to form full skirts. The silhouettes got bigger as the collection progressed, leaving the all-black look for touches of flesh pink and bruised purple: models’ heads peeped out from
Alienation is the common thread that runs through Léa Dickely and Hung La’s collections with their acerbic, uncompromising esthetic. Staging their first runway presentation this season in a cavernous garage space, they played on the convention of dressing to blend in — inspired by manuals offering advice for Stasi agents on how to go incognito — spiked with jarring moments of look-at-me bravado.
Beige and brown tailoring provided the uniform backdrop in the form of voluminous trench coats, tailored jackets, wide flared pants and baggy masculine shirting with pointy Seventies collars, the concept of status knocked home by styling the looks with Louboutin stilettos.
Dickely and La played on the notion of what is real and what is fake, using leather and rubber interchangeably and challenging the observer to identify which is which on coats, pants and dresses.
Their nonconformism emerged through violent pops of color — bright red, vivid yellow — the latter worked for example as a zebra print or a psychedelic motif on a fitted shirt that once again harked back to the Seventies, an era of predilection for the designers.
Heritage can be stifling. How far can Leonard’s signature printed silk motifs actually go? Since her nomination as creative director of the house in March 2016, Christine Phung has been striving to take the brand’s identity to new heights. Sometimes her modern take works; at others it feels constrained.
The fall 2019 collection was the latter. Themed around a plane trip to Jaipur, India, the show was accessed thanks to boarding passes. Silk eye masks were laid out on seats, while on the runway models rolled Tumi suitcases, held printed neck pillows and one even wore a safety jacket. These were fun gimmicks, but they couldn’t distract from the busy prints that were splashed over total looks: in dominant tones of pink, orange, blue and purple, long silk dresses, fluid jackets, shirts, short kimonos and caftans were covered in garish orchid motifs. Most silhouettes were barely more than holiday dresses for heiresses; others looked like stewardesses from a particularly flashy airline company.
Gold lamé touches on the three black silhouettes were more convincing, taking the prints straight to evening wear. Phung played with nuances: printed silk details were ingeniously placed around wrists and belt linings on wool coats and pinstriped suits, while
Virgil Abloh had a tongue-in-cheek message for those who think his Off-White brand is a license to print money: the invitation for his fall show was a clear plastic envelope filled with fake bills. Some included the soon-to-be-scrapped 500-euro note.
Though the streetwear label slipped from the number-one spot on global fashion search platform Lyst’s latest quarterly index of fashion’s most desirable brands and products — to a still-impressive number two behind Gucci — its “if you make it, they will buy it” aura appears intact.
In fact, Abloh seems so confident in the brand’s momentum that he now barely includes its signature markers — ironic quotation marks, diagonal stripes and industrial-themed belts — in his runway shows. Instead, he uses the stage as a platform to expound on his brand values.
“There’s an empowered woman, a young woman, that I’m enjoying not treating as a passing trend,” he said in a preview. After collaborating with Nike last season on a track-and-field-themed show, this time he delved into motor racing, inspired by the Rockford Speedway, a Nascar race track near his home town of Rockford, Ill.
“I’m not into sport, because we’ve kind of exhausted that idea, but I’m into male-dominated niche culture,” he
DESIGNERS AND AGENTS
DESIGNERS AND OWNERS: Husband-and-wife duo Caterina Serena and Gianfilippo Gherardi.
BACKSTORY: The two partners launched AVN five years ago in Bologna, Italy. Everything is made in Italy and the idea behind the brand is streetwear, that’s cool for young people. Gherardi’s family has been in the fashion business for 40 years with the brands Ter et Bantine and Hache, designed by Gherardi’s mother, Manuela Arcari. During their summer vacation at their St. Barts villa, called Avalon, they decided to come up with a new brand. AVN is an acronym for Avalon.
KEY PIECES: The pink puffy coat, used scarves featured on tops and pants, and several patchwork looks.
WHOLESALE PRICES: Prices range from $ 200 for pants and skirts up to $ 400 for the puffer coat.
DESIGNER AND AGENTS
BRAND: Hansel from Basel
DESIGNER and OWNER: Hannah Byun
BACKSTORY: “I grew up loving ‘The Sound of Music,’ and I always called myself Hansel from Basel. I like things that are charming and quirky,” she said. She started the business in 2007 with women’s legwear and added kids and men’s wear. Her father had a sock factory in California and she grew up around sock machines. “I loved to see how they were made. Eventually he
Fatboy SSE has become one of the many social media stars who’s decided to parlay his online fame into a music career and while it hasn’t exactly proved fruitful, it’s still a dream worth pursuing.
Today the social media comedian links up with YFN Lucci for in the visuals for “12 Days” where the two flaunt all kinds of cash, ice, and big boy Benz’s. We hope they ain’t borrow them whips from Tyga cause if so it’s likely to get repo’d at any second.
ILoveMakonnen meanwhile pays tribute to his man Lil Peep (RIP) and for the Fall Out Boy assisted clip to “I’ve Been Waiting” hits up the beach to walk a dog on the boardwalk before he hops on some rides to enjoy life.
Check out the rest of today’s drops including work from Bas, Rod Wave, and more.
FATBOY SSE FT. YFN LUCCI – “12 DAYS”
LIL PEEP & ILOVEMAKONNEN FT. FALL OUT BOY – “I’VE BEEN WAITING”
BAS – “PURGE”
ROD WAVE – “RED LIGHT”
LUH SOLDIER – “WHAT HAPPENED”
DIGGIS FT. THIRSTIN HOWL THE 3RD – “SKILLIN SOUND”
ROME STREETZ & FUTUREWAVE – “FORTUNE FAVORS THE BOLD”
For the brand’s first runway presentation and his first full collection as creative director, Nikola Vasari succeeded in bringing together with casual ease streetwear influences with grunge and glam references inspired by music icons such as Courtney Love, Grace Jones and Lou Reed.
The lineup was a further step in a more focused direction for the edgy label, a balance of tailoring, flou and streetwear with an edge. There was some standout outerwear — a ruched jacket in green jacquard that Vasari described as a “party bomber” was among the most striking pieces.
Animal-print motifs were key to the glam vernacular, as on a zebra-print minidress in a holographic metallic fabric or bright prints in purple, red and black on some of the later flamboyant looks, while grunge references were seen in the form of distressed knitwear or the embroidered chains that adorned several designs.
Elsewhere, a hand-painted and fur-trimmed parka was pure Faith Connexion. Other outsized outerwear pieces were paired with racy looks, as in a dress made up of strips of lace like bandages across the body.
Dominated by a largely monochrome palette, the collection offered further pops of color in the form of a green sequined shift dress or the multicolored
Albino Teodoro’s fall mood board had heraldic drawings from a Thirties linotype, the late designers Cristóbal Balenciaga and Gianfranco Ferré, and Fifties magazine covers designed by Roman Cieślewicz.
The hodgepodge of references yielded a charming collection that played around uniforms with a feminine touch, mostly pantsuits and coats. A double-breasted cashmere topper with structured shoulders and a column-like silhouette featured stitched piping and engraved metallic buttons with a military feel. Sleek suits were crafted from wool crepe in bright tones, such as magenta and aquamarine.
“There’s always a feminine touch I want to inject,” Teodoro said. To wit: a billowing collar added softness to a severe top made of black Vatican canvas, and ruffled sleeves added a dash of glamour to an elongated blazer.
For evening, the heraldic wallpaper prints appeared on a shirtdress and slouchy overcoat combo, which looked chic.
Presented under neon cloud shapes, Arthur Arbesser’s second collection for Fay, the Italian outerwear specialist owned by Tod’s group, was based around the idea of a timeless wardrobe. “I want to make sure it’s a brand that both my father and my nephew would want to wear,” explained the 36-year-old, who also designs for his own brand.
Looks from this coed collection were playfully layered. On women’s silhouettes, short leather gilets in rich bordeaux and cream were worn over coats in contrasting hues, transforming a classic wool peacoat into a statement piece. “The gilet becomes almost like an accessory,” Arbesser said. “There is this idea that you can easily spice up an item, while at the same time keeping it classic and functional.”
The collection felt current, which is partly due to its theme: Arbesser took inspiration from the symbol of the cloud in both the meteorological and digital sense, looking at our modern obsession with data storage. The designer swapped nylon for caramel leather on the brand’s signature “4 Ganci” jacket, recognizable thanks to its four hook fastenings, and added a hood, making it instantly more relaxed. Another version in pristine white vinyl looked fresh and modern.
Raincoats and short jackets, worn
This collection, in 50 shades of neutrals, might just win the prize for most comforting collection of Milan Fashion Week. Simon Holloway, Agnona’s artistic director, may have been going for grunge, but what he served up was so much better.
There were textured coats, some long and lean, others in bathrobe styles, wide-leg trouser suits with elongated jackets in chocolate, cream, taupe or olive, and turtlenecks roomy enough to accommodate two small people.
Ribbed scarves skimmed the floor, opaque knitwear fluttered and models wore beanies. Even the footwear was a comfort, cream combat boots or slip-on sandals and socks in stone, gray or mud.
Holloway said he was thinking about the moment he left university in the early Nineties, and that eye-opening grunge aesthetic, “but I wanted to do it in a super-elevated way.”
He certainly didn’t disappoint, enveloping his models in double-face cashmere, tweed jersey, flannel, leather and quilting right down to the shirts and underpinnings — manna for the Agnona customer who’ll want to wrap themselves up, kick back and hum a few strains of “Come as You Are.”
The coat, of course, is the first thing coming to people’s minds when they think about Max Mara. The brand’s iconic piece was celebrated with the Max Mara Atelier fall collection, 14 outerwear shapes injected with impeccable elegance.
Realized with couture-like constructions and luxurious materials, the collection took inspiration from the neo-expressionist artworks of Mimmo Paladino. Gold linings and details were hidden inside the pieces for an extra touch of exclusivity.
Looks telegraphed a discreet femininity influenced by a mannish sensibility, worked in a restrained color palette of black, gray-beige, rust, blue and orange. Styles included a covetable double-breasted model showing pleats on the side creating a charming 3D volume, a “foulard” design to softly wrap around the body, as well as a trench-like number cut slimmer through the bodice and then showing a slightly flared silhouette enhanced by an obi belt.
A urban attitude was introduced via a zippered cashmere bomber, the front crafted from mink fur, while the mohair cardigan-coat oozed luxurious ease.
Everyone was a winner at Moschino Thursday night when creative director Jeremy Scott created his own “Price Is Right”-style game show as a backdrop for his fall collection, complete with shiny new car, washer-dryer, bedroom set, refrigerator and more.
“It’s hard not to be a fan of game shows growing up in America,” Scott said backstage. “You see glamorous girls in glamorous outfits and it’s all about the luck of chance. It’s a very American idea that you can turn your life around, go from rags to riches with that lottery ticket or by selling that screenplay. There is something about it that captures the imagination.”
Students of Scott may remember that this is not the pop provocateur’s first entrance into game-show territory. In 2001, “Wheel of Fortune” (the real one on TV) invited Scott to make over Vanna White, back when he was still an up-and-comer on the L.A. scene and not atop a European luxury brand. For five shows, she wore Scott-designed outfits while turning the tiles, including a dress printed with dollar bills bearing the designer’s face. WWD documented the whole thing, giving him his first cover.
Storyteller Scott returned to the well on Thursday, and he went all-in this
Setting aside the ironic, playful graphics, which characterized their early efforts, Diego Marquez and Mirko Fontana embraced a more urban, glamorous aesthetic.
“The irony is still there but is expressed in a different way,” said Marquez, referring in particular to the intentionally wrong proportions characterizing some of the pieces. For example, a pair of jeans showed an exaggerated high waist and a T-shirt had oversize, boxy shoulders.
A playful touch was introduced via fox fur coats worked in neon colors, also appearing on the threads giving an eye-catching touch to cable knit sweaters and minidresses, while a range of frocks, which seemed designed for young disco queens, featured precious crystal embroideries and cascades of degrade sequins.
Even if the designers’ intention to step out of their comfort zone is definitely remarkable, this collection, which missed a certain cohesiveness and probably the so-called X factor, demonstrated that Au Jour Le Jour still needs to find clear aesthetic codes to fully develop its repositioning strategy.
Emilia Wickstead immersed herself in “The Godfather” trilogy, enchanted by the quintessentially Southern Italian charm and refinement that defined Francis Ford Coppola’s film series.
For her latest fall presentation, she took over the Art Deco restaurant Le Caprice, hosting an intimate salon-style show and transporting her guests back to this nostalgic universe, complete with classic Italian music, head scarves, pearls and lavish fabrics galore.
The character of Mary Corleone — played by Sofia Coppola in the film — and her signature berets were at the center of the story line dreamed up by Wickstead.
The designer also drew from the men’s wear codes on-screen, delivering tailored jumpsuits and mannish coats in a traditional palette of chocolate brown, or draping leather over a suit — a reference to the movies’ distinct gangster vibe and abundance of leather jackets.
Wickstead ensured that she translated this old-school charm to her own universe of modern femininity. Cue androgynous wool tweeds done in midi dresses with voluminous long sleeves, pleated A-line dresses featuring wallpaper prints that could have easily been taken out of one of the lavish rooms on the movie set and romantic bouclé tweed suits accessorized with pearl-embellished headscarves, like the ones worn by Corleone.
For the finalé, Wickstead
With a debut collection that’s just hitting the shop floor, Riccardo Tisci is still under the microscope at Burberry, and he’s had to work rapidly — and publicly. There are shareholders to please and stores to fill, 442 worldwide, plus franchises and wholesale outlets, and a drumbeat of monthly T-shirt, hoodie and accessories drops sold via Instagram. The company, which has a market capitalization of 8 billion pounds on the London Stock Exchange, is also in transition mode under new chief executive officer Marco Gobbetti, with big plans for growth.
Tisci took a step forward for fall, tightening up the show, clarifying his vision and making a return to that classy streetwear for which he’s known. His lineup featured tailored coats with puffers tacked to the back or with big faux furry hoods bursting from the collars. He tore apart rugby shirts and stitched them into a dress, punk-ed up leather baseball jackets with little phrases like “Burberry isn’t good for you” down the woolen sleeve, and gave a shearling a tough edge with slicks of black patent leather.
The designer has never made a secret of his intentions: He wants to dress everybody — mothers and daughters, fathers and sons —
Some designers are responding to the dire political mood in the U.K. by darkening their color palettes and toughening up their fabrics.
Michael Halpern is instead delving further into his fantastical world of sequins and all things shiny and over-the-top.
For his fall range — shown in the Deco ballroom of a Mayfair hotel — he referenced Russian illustrator Erté to create striking Twenties-inspired silhouettes and colorful, multilayered prints echoing Erté’s fantastical illustrations.
“There’s nothing rooted in reality here. Why can’t a fish have wings?” said Halpern, pointing to a print featuring leopard patterns mixed with illustrations of fish morphing into birds.
He wanted to flex his muscle beyond his signature sequined creations, applying his fantasy prints on voluminous duchesse satin coats; showcasing his draping skills with a series of more pared-down jersey maxidresses in bright yellow or fuchsia; or playing with a striking gel organza fabric and working it into a draped minidress or a one-shouldered top featuring a long train.
Yet Halpern is not ready to completely let go of sequins just yet. In fact, he thinks he has “barely scratched the surface with what you can do with sequins.”
He sprinkled a healthy dose of sparkly creations here, renewing them by cutting or
EXHIBITIONIST: Phoebe English showcased pieces from her fall 2019 women’s wear offering at the Morley Gallery in South London at an exhibition called “Inanimate, Animate. (Only) Half the Reflection,” a show in two parts, the second of which features 30 charming marionettes wearing to-scale pieces from her archive.
The person-sized clothes, which made their debut during the men’s shows last month in a presentation, were suspended from the ceiling on rotating mechanisms that afforded close-up inspection of the intricate techniques that have earned her a loyal following.
There was a black pinafore dress with T-shaped cuts outlined with wide satin stitch embroidery, and a delicate white mesh harness.
“We call this coat, ‘The Coat of Dreams (and of Nightmares)’,” said English, fondly nodding to a black topper made from a great many patches of recycled black fabric, each piece encased in fine silk tulle. The kind of deceptively simple, thing that a cursory glance sets the mind to thinking, “Right, black coat” but an up-close eye-ball reveals all its complexities.
The space was scented by Timothy Han, who used the aromas of birch tar and dry wheat from his “On the Road” fragrance to emphasize English’s focus on natural sustainable fabrics, and Johanna Burnheart performed
“My husband gave me this photo a long time ago, it’s of the Venice Beach Rock Festival in 1967,” designer Winnie Beattie remarked, holding up a picture of the back of a girl seemingly swaying with her hand in the air facing the festival landscape. “I was like ‘Oh my God that looks like such a “Warm” girl to me,’ like the spirit, so it kind of started this whole festival vibes for me — not in a Coachella — but in a 1967 Venice retro [way].” Influenced by the image’s energizing yet easygoing spirit, Beattie sought out to elevate the relaxed fashion depicted through modernized silhouettes.
The collection included a lively mix of silks and velvets in pieces that could be, “super earthy-hippy or super sophisticated,” as she put it. For instance, new wide-leg, relaxed pants in burnt orange velvet with a matching loungey jacket or Chinese dragon printed slightly-shimmery lurex jumpsuit. Beattie’s familiar printed frocks came in wonderful updated floral and striped colorways; two of the best came in short A-line minidress silhouette. Ditto to her uber soft, solid cotton voile jacquard blouses with smocked cuffs and collar and short-sleeve long dresses. Beattie successfully emulated the folky festival vibes
“You have to come to New York to see a private couture show.”
That observation came from no less an aficionado of the haute genre than Sidney Toledano. Surely the couture notion crossed some other minds of those exiting the Marc Jacobs show on Wednesday night after what was a dazzling display of fashion.
Jacobs scaled everything back but the fashion impact. He showed 40 looks, fewer than his typical 60-plus, to an audience far smaller than usual. Yet he kept the show at the vast Park Avenue Armory, where he installed a reflective black glass floor and hired the American Contemporary Music Ensemble to perform live. He positioned the quartet off in a corner, far from the runway but well-lit and very much in view as the models proceeded out, each commanding the space solo and exiting fully before the next girl emerged. It all coalesced into a haunting dialogue between intimacy and distance.
The clothes were exquisite. “Each [look] will be an exaggeration of our view of who each of the women is,” Jacobs said during a preview. “For lack of a better word, it’s like a cabine of women we love.” Perhaps the most loved: Christy Turlington Burns, who last
Batsheva Hay hosted a sort of theater piece to present her fall collection. While a few women were working at sewing machines, the models, including actress Christina Ricci and musician Melissa Auf der Maur, walked down the stairs of an empty retail location in SoHo after reading small excerpts of love songs at the microphone. They were dressed in frocks and separates that were inspired by “me being taken around the Salvation Army when I was a teenager,” the designer said before the show.
The brand’s signature prairie dresses, cut with high necklines and pouf shoulders trimmed in ruffles, were rendered this season in a range of fabrics — from red velvet and a shiny orange silk taffeta to a cloth printed with images of Holly Hobbie. The same motif also gave a retro, childlike feel to cropped pants with ruffled cuffs, which were matched with a floral top. A blue apron dress revealed a sweet Peter Pan collar, while a rose-shaped application embellished a ruffled frock crafted from a white and green striped cotton. Though the collection was heavy on Hay’s signature dresses, they were juxtaposed by a few separates and an outerwear style, a dark green velvet coat embellished
PARIS — Karl Lagerfeld is adding a dash of New York glamour to his Paris-based line: the contemporary brand has recruited Olivia Palermo to collaborate on its fall collection.
The influencer will style pieces from the line and cocreate five bespoke designs as part of the partnership, which will run parallel to the brand’s previously announced collaboration with fashion editor Carine Roitfeld, who will also select an edit of fall pieces.
Palermo, whose polished style has made her a regular of international best-dressed lists, brings with her an Instagram following of 5.8 million. A fan of bold prints, bright colors and relaxed suiting, she has previously worked with brands including Piaget, Banana Republic, Pretty Ballerinas, Aquazzura and Nordstrom.
“Being able to collaborate with the visionary and iconic Karl Lagerfeld is truly incredible,” Palermo, the founder and chief creative officer of her own group, said in a statement. “I am so proud to bring our shared vision to life on this project and infuse my own eclectic perspective to Karl’s fall 2019 collection.”
The brand, in turn, described her as “a champion of confidence, entrepreneurship and creativity.” Her selection, under the label Karl Lagerfeld Styled by Olivia Palermo, will launch at Karl Lagerfeld stores, online
Designer Moon Choi has been in the fashion game with her eponymous label for just around two years. Within that time, she’s established a gender-fluid identity of minimalist dress that relies on traditionally mannish styles with conceptually driven touchstones. The brand is broadly appealing, namely because unique references underlie her spare, modernist inclinations.
Choi said she was inspired by the duality of movement and human emotion for fall. “I believe life is not a single layer. It’s about experiences and movement. I really thought about how the garment flows with our bodies and emotions.” To show that thread of movement, she lightly twisted and wrapped the lines of garments in ways that naturally follow the body. For instance, a new category of chic jersey knit tops in dusty tones of mustard and grayish-green were twisted at the torso as if the wearer had turned around; ditto for a similarly body-hugging navy dress.
She balanced familiar open-panel coats against unexpected drama, notably with an impossibly chic trench coat with asymmetric construction and floaty panels along the sleeves that were meant to represent multi-layered identity. The dynamic between warped edges and straight lines was infinitely attractive.
The collection was just as much a statement on
“Tough but happy” is the attitude that Amy Smilovic requested of the models walking the Tibi catwalk on Sunday afternoon. That was also the overall mood of the collection, which combined the brand’s signature minimal, urban-chic aesthetic with charming, vibrant colors and eye-catching details, such as the sparkling sequins embellishing the sleeves of clean-cut dresses with snap buttons.
“Curiosity, exploring, modern details, but not too much,” said Smilovic backstage after the show, summing up the driving forces and the main ideas behind her collection. In her desire to shake up heritage with experimentation, for example, she peppered city separates with sporty drawstrings and embellished sleeveless frocks and midiskirts with quilted duvet inserts; knitted sweaters got the deconstructed treatment.
Tuxedo blazers showing constructed shoulders worn with mini skirts had an early Nineties’ feel, while the glossy printed crocodile leather skirts styled with soft, cozy knits and the fluid dresses with bow collars styled with boots exuded Seventies’ cool.
New mini bags with chain straps introduced a cute note to this sensible wardrobe for empowered working women — a lineup for girls who are tough but happy, indeed.
Derek Lam 10 Crosby design director Shawn Reddy is feeling preppy for fall. He name-checked Ali MacGraw’s character in the 1970 movie “Love Story” as his seasonal muse. In the movie, MacGraw goes to Radcliffe College, once the sister school to the all-male Harvard. “It’s such a visual movie,” Reddy said during a walk-through.
The idea came through on shirting with a knit yoke and built-in scarf details that can be tied around the neck, and also with some tops with rugby strips cut on a bias that ran diagonally down the garment. Looser micro-check suiting, a new blazer shape for the season with a nipped waist silhouette, and new zipper and button details could be paired with one of the plaid puffer outerwear options. Each had a preppy vibe but were injected with a light design twist.
With fall comes the lead-up to winter events. Reddy offered up crew neck cotton tops with feathers cascading at the waistband and sequin wide-leg pants, a fun take on the signature pajama pants a Derek customer knows well. Here they were done in silver, black and rose gold.
Faux-fur accessories added a rich layer to the contemporary collection, with super soft options including trapper hats, gloves, oversize bags and
For fall, Chiara Boni explored new territories with her signature stretch jersey fabric. She paired it with velvet to create shiny suits and fitted dresses, while tactile patterns inspired by opulent brocades were rendered in skintight separates punctuated by ruffles and sheath frocks embellished with peplum details.
Playing with fabric combinations, the designer dressed up jersey frocks with tulle sleeves and heart-shaped embellishments at the bodice. The flamboyance of wallpaper-like floral motifs enriched by golden threads was tempered by the mannish suiting patterns of a very feminine skirt cinched at the waist with a jewel-like belt.
Highlights included a black and gold fluid maxi dress injected with a folkish attitude, as well as a ballerina-like frock with a romantic bow that seemed designed for a modern Sabrina.
Ulla Johnson’s fall collection combined bold patterns, rich textures and flattering silhouettes in a lineup that exuded a romantic, adventurous and poetic sensibility. But its many diverse ideas were unified by an elegant, sophisticated attitude.
Nomadic and subtly bohemian references injected a charming feel into the clothes, which seemed designed for a chic globetrotter exploring the world with style.
Shearling coats with tick stitching that created check patterns, as well as striped vests and overcoats with a rustic feel were matched with safari-like separates in graphic motifs, maxi leather skirts embellished with macramé inserts, as well as corduroy separates with tops that had draped, maxi shoulders. Flowers blossomed on both a sumptuous, maxi ruffled dress worked in a shining devore velvet and on jacquard frocks and separates lightened up by shimmering metallic threads.
The collection’s overall hyper-feminine allure was savvily tempered with more urban and minimal styles, including a workwear-inspired jumpsuit crafted from cream white denim, which was also used for a pair of carrot pants matched with a beautiful Peruvian baby alpaca handmade crochet sweater exuding exquisite sartorial quality.
Armed with impeccable taste and a very distinctive tone, Johnson delivered another solid collection that brought an intriguing multicultural, romantic vibe to
“I’m saying that this collection reminds me of ‘the Medicis going to the disco,’ which is a ridiculous quote,” Markarian designer Alexandra O’Neill demurred. As unrealistic as the idea might sound, her stellar fall lineup seamlessly melded fanciful femininity with sparkling disco fever.
Gowns came in velvets, traditional brocades and classic floral prints with puffed sleeves and dramatic ruffles, but given a modern edge with shimmering, glitzy details. For instance, a black velvet ballgown and fanciful velvet “tracksuit” both came festooned with rhinestone trimming, while a floral brocade gown boasted a dramatic ruffled bust.
Channeling a more obvious disco vibe were dazzling minis: a holographic pink wrap dress with puffed shoulders and bow made of a viscose fabric that “would literally go up in flames” according to O’Neill, or a really great ruched black-and-white spotted number. Playful details — hearts, bows, flowers, rhinestone belts — adorned dresses and separates throughout, adding to the fun femininity. Each piece in the 40-look collection was strong, but melding the two ideas into her aesthetic is where O’Neill’s collection truly shone.
In a sprawling State of the Union address, President Donald Trump’s attempts to call for bipartisanship largely fell flat with the assembled Democrats, including House Speaker Nancy Pelosi and New York Representative Alexandria Ocasio-Cortez.
Even though this may be his sophomore collection, Victor Li has luxury on the brain.
On his latest trip to Hokkaido, Japan, “I asked myself what I would put into my suitcase from a traveler perspective,” Li said at his presentation, which was held at the Japan Society.
This translated into a sophisticated traveler’s wardrobe, with classic pieces including a taupe shearling jacket worn with soft pink cashmere sweatpants; a cream double-breasted overcoat and a suit offered in three different fits: American, European and a kimono jacket version.
Some of the more fashion-forward pieces, such as an embroidered blanket jacket and a black leather parka, gave the offering that extra luxe feel.
Li also launched accessories this season, offering a nylon waist bag, and two duffel style bags — one in canvas and one in leather.
Whether or not your next trip is short or long, Li definitely knows that comfort and elegance are key.
It probably was a good call for London-based designer Paula Canovas del Vas to show her ready-to-wear collection during Paris Couture Week, a traditional setting that made her high-voltage silhouettes all the more striking.
Inspired by the surrealist work of film director Alejandro Jodorowsky, Canovas del Vas, a Central Saint Martins graduate, played with volumes, proportions and materials with abandon. There were bright orange fringe dresses, faux fur skirts, short coats and gloves, exaggerated bunched-up shoulders and a couple of cycling shorts. Technical materials like Lycra were paired with wool creations embossed with giant flower motifs, an old technique popular in the South of Spain, where the designer hails from.
Hair was twisted in aerials sticking up from the models’ heads and curving devil’s horns protruded from the front of tops. Mohair shoes — the “Diablo” flats and boots, real showstoppers — were a true work of art, made by eight different artisans.
“There is a real sense of craft to what I do, everything is handmade,” Canovas del Vas said backstage. Bringing together the OTT aesthetic of East London, where her studio is based, and the traditional craftsmanship of Murcia, the Southern Spain region where her family is from, the designer’s creations are both an accurate
“Yeohlee throws herself a challenge,” the designer said of her namesake fall collection during a preview at her store. Never mind the mathematical or geometric undertones of her deceptively minimalist designs. She was speaking to the season’s sustainable arc, where she dived into years worth of archival fabric and inventory to create a wholly upcycled range.
Sustainability is arguably the most widely discussed issue facing the fashion industry today, and it’s become an umbrella term for a range of good practices. For Yeohlee Teng, it means endurance, and being able to reinvent old fabrics for the modern day. There were a host of standouts, including a neon day-glo fabric from 2003 cut into an athletic-leaning jacket and joggers, plum melange silk taffeta from 2008 rendered into languid pants cut on the bias, and silk duchess satin from the Nineties reimagined into a voluminous yet lightweight baseball jacket that maintained a great ballooning shape.
Cohesion was Teng’s biggest challenge, and she managed to unify looks with a sculptural and modernist hand that held a gender-ambiguous thread. Outerwear highlighted these elements best, and included a wide-neck coat with high-low hem that was actually one width of square fabric, and a regal black-and-silver duchess satin
Fall marks four years since Kobi Halperin launched his line, and as such, the designer was feeling nostalgic about beginnings, in terms of both the brand and his personal life. An avid traveler, Halperin often mines the cultures of far-flung locales to influence an aesthetic heavy on prints and detailed embroidery. He didn’t disappoint in those areas, offering a breadth of warm, inviting patterns culled from carpet textiles in his homeland of Israel.
Upon first glance, there was noticeable variety in terms of color, texture and patterns. It was a lot, and all quite polished and elegant given the mashup of prints. There was a seamless blend of skirts with washed out rug patterns and the ornate novelty blouses for which he’s known, and with graphic ikat separates complementing crushed velvet tops with vintage-leaning baroque embroidery. It wasn’t all so literal — white lace was created with carpet motifs Halperin brought back from flea markets in Tel Aviv, and feathers punctuating elevated knitwear mirrored decorative tassels that framed rugs. He was drawn to carpets for their connotations of comfort and feeling at home.
He made a point to highlight a casual element the Kobi way through silky blouses with puff shoulders, crushed
For her secondary label, Isabel Marant doubled down on comfort, considering what she would want to wrap herself up in when the weather turned chilly. A fuzzy plaid shirt thus became a poncho, its zip-up collar adjustable for extra warmth. An oversize, quilted vest, too, looked cozy — it had texture, in the form of braid patterns — and smart, as well, cinched at the waist with a leather belt. The designer was equipping her young, fashion-conscious customer with solid outerwear that doubled as a protective layer.
Another example came in the form of a thick brown leather jacket, like a pilot’s jacket from the last century, repurposed for a new era — the shoulders had Eighties-style extra puff. A pale purple sweatshirt was embellished with quilted shoulder patches, and an acid-washed jean jacket had a fuzzy wool collar.
For dressier occasions, she offered an elegant black lace dress, snug in all the right places for sexiness, and an extra ruffle for a touch of the romantic. Her peasant blouses had large sleeves and two ruffles on each shoulder.
She kept her waists high and the sweaters chunky, for the most part. The collection was all about being in the comfort zone: the
With only a few seasons under her belt, Isabel Marant has found her groove for designing her fledgling men’s wear line. The fall collection hit a new level of confidence, offering relaxed and stylish pieces that translated her codes into a youthful offer for men in the market for something out of the mainstream.
“It’s mostly a story of a good cut, good fabrics, good colors — it’s not about dressing a man who’s super fashion-conscious, but rather to dress a man for everyday life, with a bit of style and a bit of attitude,” she said.
The Eighties vibes prevalent in her women’s lines transferred over in the form of loose, windbreaker-style cuts with rounded shoulders — a house signature. Examples included a light pink sweatshirt with ivory patches, a thick brown leather bomber and a thin shiny silver jacket with khaki and copper panels that zips up the front. Further addressing the outerwear craze, she delivered trenches, an autumn-toned camouflage raincoat and a cosy reversible shearling coat.
Other highlights included a faded pink boiler suit and an added touch of humor on the back of a dark corduroy jean jacket: embroidered with a wolf face it reads “I howl my
Andrea Rosso focused on repurposing the internal lining of military jackets this season, upcycling it into other forms. “We call this collection ‘Re_enforce’ because we give strength to something that did not exist before,” he said, citing as an example parka liners that became bombers.
“Every product is unique because it’s vintage,” continued Rosso, who chooses deadstock with which to work from warehouses. “We love to unstitch, restitch and to give another view of the garments.”
He sliced Belgian camouflage jackets in two, turning one part inside out before reconstructing the halves together and adding pockets for symmetry. Sweatshirts were reconstituted, too.
U.S. Air Force sweatpants were given the Myar logo on one side, with some dyed in pink, orange or light blue. Swiss military camouflage was dyed light blue, and on the jacket’s back a swatch of the original material was sewn on.
“This is somehow maintaining the past, but with a modern view of it,” Rosso said. He reworked numerous types of uniform pieces, such overpants, with pockets and reflective touches, to become urban trousers.
For the first season, Myar created various sized bags from scrap materials. “We tend to give a second life to everything that we can,” Rosso said.
And for the third year,
For Michael Michalsky, becoming creative director of Jet Set was like coming full circle. As a teenager growing up near the German city of Hamburg, he would take the train into town on Saturdays to window shop at the luxury sportswear brand’s store.
Eventually, he managed to buy one of its jackets on sale. That orange bomber jacket from 1984 has been reissued as part of Michalsky’s first collection for the St. Moritz-based label, which celebrates its 50th anniversary with a series of drops celebrating archival designs from its Eighties heyday.
“Jet Set during that time was in Germany, Austria, Switzerland, Italy the non plus ultra luxury sportswear brand, basically. If I look back on it now, they created a segment that now every luxury brand really wants to get into,” he said.
“Ever since then I had a love affair with the brand, because I have always been very fascinated and very smitten by sportswear,” he added.
Jet Set couldn’t have dreamed of a better advocate for its revival. With a passionate eye for detail, Michalsky pointed out the technical details – many borrowed from U.S. military garb – on ripstop bomber jackets, heavyweight cotton T-shirts and performance ski suits.
Each drop will be
Jason Basmajian stuck to urban territory for fall, familiar landscape for the label as he continues to fashion it as a modern and upscale option. He uses the term “elevated sportswear.”
“The cross-pollination between sportswear and tailoring has always been a very natural DNA to the house — I think we keep refining and detailing it down,” he said, speaking backstage before the show.
Down the runway, he sent a handsome, belted suit jacket in pinstripes, fetched from the archives and refined for a contemporary audience. In a sign he’s reaching to meet a lasting fixation with outerwear, the options multiplied as the show advanced: trenches, an exquisitely tailored windbreaker, a structured puffer coat for women and the finest leather jackets — one eye-catching bomber had a gathered leather waist and panels of silky fabric. Accessories held their ground, expanding even, to include a tablet case and a camera bag.
“It’s quite deceptively simple in a lot of ways,” Basmajian said, noting the workmanship and choice of fabrics behind the lineup, which in addition to the puffer offered more pieces for women.
Sabina Sciubba of the electronic dance group Brazilian Girls animated the show with a performance, singing in three languages.
New management led by
Sean Suen had a powerful storyline for fall, but the clothes also stood strong on their own.
He named the collection Ghost Town, after his childhood home of Fengdu in China, now covered by the waters of the Three Gorges Dam. The town still exists in his mind, which he continues to explore as a memory. To symbolize its gradual disappearance, Suen offered fraying edges and a fading gray color scheme on a simple, felted trouser and sweater set. For the move to higher ground, the model was equipped with an oversize, chunky knit bag in a silvery gray, slung over one shoulder, stretching down to skim the ankle.
In contrast was knitwear from childhood photographs, wavy stripes drawn on a collared sweater, in a hot-cold color palette of orange, mustard, gray and black.
Suen operates in elegant territory as reflected in this lineup, which proves especially relevant as men’s fashion edges upward. Sleek suits carried an element of deconstruction, a house signature, with a broad panel that cut across the chest diagonally, like a stiff blanket skewed to the side, but carrying certain elements of the jacket, like a breast pocket. One panel in black, quilted velvet jutted out further than usual,
“Respect” was one of the words spelled out on the walls of the Kiton showroom in Milan. “We must not forget where we come from,” said chief executive officer Antonio De Matteis. “I think too many are losing their way.”
To avoid that trap, Kiton’s core customer remains central to the brand and he is a global traveler—whether for business or pleasure. And that man needs a light, deconstructed suit that can be pulled out of a suitcase without any fuss. “Formal wear becomes smart casual clothing,” said De Matteis. One that comes with price tags that can reach between 30,000 and 50,000 euros in the case of soft vicuña jackets.
Exclusive fabrics continued to add new touches to Kiton’s staple Prince of Wales or houndstooth jackets. Four-ply cashmere jackets and hoodie shirts stood out, flanked by military styles similar to parkas with fur collars or reversible quilted jackets and a cashmere coat lined in weasel, nutria or mink combined with a double face garment with an extractable fleece lining.
Mariano and Walter De Matteis, the twin brothers and sons of the ceo, presented the third collection of their KNT line, which employs the same premium fabrics as Kiton but with a sportier
The creative duo known as Dan and Shan staged their intimate presentation in a shallow pool of water. Scrunched up satin arms trailed from the backs of shirts and extended from trouser legs. They were dragged through the water, and then wrung out from time to time.
Much like the shallow pool, the clothes were fluid, loose and relaxed. There were satin shirts in light steel or pale blue with oversize collars. Silk scarves came looped around the waist or tied at the neck.
As with seasons past, the designers continued to explore notions of gender-blending by playing with silhouettes. Trousers were cinched high on the waist. Some were flared while others were straight-leg. Tops were cut asymmetrically.
This season, they also played with textures: a green crinkled overcoat with buttons running down the back was a standout.
Missed our W25 event in 2018? Stay tuned…we’ll have more this fall.
Andersen brought a Copenhagen chill to her collection, which unfolded in the vast outdoor courtyard of Broadgate Plaza, near Liverpool Street station. She certainly came prepared, placing little disposable glove warmers on each chair for guests, and sending out a lineup of cozy knits and plump fur coats — in addition to lots of pinstripes and hand-painted prints.
The designer said she wanted to fuse the idea of streetwear with classical tailoring and luxury fur, as the lines between catwalk and street have blurred beyond recognition.
She worked charcoal pinstripe fabric into karate-style suits, puffers and tracksuit bottoms sealed with reflective tape. Her long, swooshing pinstripe topcoats had a gangster-ish feel to them. That pairing of formal and sporty worked beautifully, although it remains to be seen what bank, law firm or judge will let those outfits through the door.
Andersen worked lots of color into the collection, too, via freeform, hand-painted prints on shirts and hoodies and a terrific lineup of knitwear, including cable-knit leggings for a cold January night, and boxy color-blocked sweaters in rich combinations including corn and mint green.
Color also came in the form of fat, luscious fur coats. They were long and silvery, hip-length and baby blue, or short
In a dark tunnel in East London, designer Arashi Yanagawa brought punk and gothic rock alive again.
As the underground band Wild Daughter performed center stage, Yanagawa delivered a collection that let him revel in his ongoing obsession with music and subculture, filled with Nineties-inspired punk and rock references.
There was animal print and leather galore: Slim snakeskin pants were layered under a leopard-print tunic; trench coats came in glossy taupe or black leather; classic tailored suits were paired with corsets or see-through mesh tops, and leather jackets featured metal fringing.
Elsewhere, Yanagawa piled on the patterns and texture, layering snake and leopard-print separates with check coats or mixing matte and glossy leathers.
The rock star references and wet-hair, dishevelled look of the models had a whiff of Hedi Slimane and felt a little too nostalgic of a time long gone.
But Yanagawa’s expert tailoring, as in a range of roomy, big-shouldered coats in heritage fabrics, added a more contemporary spin — and showed that he has the potential to take his designs in new, more current directions.
LONDON — The first weekend in January is never an easy one, but London has the antidote, with a lineup of streetwear and luxury stores and restaurants serving everything from classic British to Taiwanese food, all of which will be open during London Fashion Week Men’s.
London store End.
END OF THE LINE: British property group Shaftesbury has expanded its retail portfolio, opening the first London outpost for the online men’s wear store, End. Occupying 9,000 square feet on the corner of Broadwick and Marshall Streets, the two-story glass-fronted space offers a range of collections from labels including Off-White, Gosha Rubchinskiy, Nike and Adidas Consortiums. The store, which already has units in Newcastle, England, and Glasgow, Scotland, features modern furnishings such as marble staircases and glass showcases.
End is part of a strategy by Shaftesbury to position Soho as a go-to destination for emerging brands. The company has been offering reasonable rents in the neighborhood, which is a few minutes’ walk from Oxford and Regent Streets. Shaftesbury has also helped to install Supreme, Palace, Carhartt and Dukes Cupboard, a multibrand retailer, in the neighborhood. Samantha Bain-Mollison, head of retail at Shaftesbury, has been driving the strategy. She describes End as “influential, with a renowned selection of directional and globally sourced men’s wear.” — Hannah Connolly
Gender ambiguity in fashion has been a hot button issue this year, with many retailers and brands embracing a fluid approach to dress. Designer Ji Oh knows it, and has a design ethos rooted in subverting classic men’s wear for women that boasts broad appeal.
The big news from her fall range was a distinct focus on recontextualizing classics to draw in more male consumers. It’s a wonder why she hasn’t introduced the idea of “unisex” clothing into her collections before. She used the term loosely as trousers, like a quirky pair of “blazer pants” or another with pleating on just one side, are fit differently for guys and gals.
She shot her look book on both male and female models — twice in the same outfits — to show an inherent neutrality. Off-beat shirting looked just as cool on him as on her, as did striped trousers; the pleated skorts cut one leg higher than the other, though sharp and clean, were definitely geared for more eccentric fashion enthusiasts.
There were a lot of pieces here that demonstrated experimental restraint. The aforementioned shirting, for instance, were easy to wear even with asymmetric construction or manipulated fabric gatherings along the chest. Speaking of,
French fashion house Chanel takes over New York City’s Metropolitan Museum of Art to debut its new pre-fall Metiers d’Art collection. Rough Cut (no reporter narration)
Tuesday’s fall finale episode of “This Is Us” was so good it literally brought Mandy Moore to tears!
As the weather gets cooler, the scents get warmer. That’s the tradition, anyway: Fall fragrances are known for woody, spicy, or amber notes. Whereas warm weather scents have a fresh, floral lift, fall ones lean more heavily into the cold category, preparing us for the deep and musky tones of winter. The best thing about these transitional colognes and fragrances for fall is that many can work all year long.
If you’re in the market for a seasonal fragrance with subtle warm notes, or if you’re hunting for a year-round scent, consider these options. Some are brand new, some recently revived, and some are longstanding consumer favorites. All of them, however, are the best colognes you can sport this season.
The post The Best Fall Colognes and Scents You’ll Want to Wear All Year Long appeared first on Men's Journal.
- Whiteboard discussion
- Categories of healthcare costs and how each could cost less
I fund my Periscopes and podcasts via audience micro-donations on Patreon. I prefer this method over accepting advertisements or working for a “boss” somewhere because it keeps my voice independent. No one owns me, and that is rare. I’m trying in my own way to make the world a better place, and your contributions help me stay inspired to do that.
See all of my Periscope videos here.
Find my WhenHub Interface app here.
The post Episode 315 Scott Adams: Why Healthcare Costs Could Fall by 75%. With Whiteboard appeared first on Dilbert Blog.
It’s worth repeating: The key to making casual refined is perfect pairing. Weekend staples can mesh with your high-end pieces, dressing up what was once a purely casual look. Case in point: This fall outfit turns track pants into a sleek ensemble you’ll want to wear every day of the week.
The Hugo Boss Banks2 dress pants/sweats hybrid punches way above its weight class alongside this Polo Ralph Lauren wool-cashmere blend crewneck sweater. The Hugo Boss white sneakers are just icing.
Hugo Boss Fashion Show Capsule relaxed-fit pants with satin tape
[$ 398; hugoboss.com]
Hugo Boss tennis-style sneakers in burnished leather
[$ 398; hugoboss.com]
The post The Perfect Fall Pairing: Cashmere Sweater, Relaxed-Fit Pants, and White Sneakers appeared first on Men's Journal.
In need of some travel accessories that’ll become travel necessities? After all, when you’re constantly jetsetting for work (or play), it pays to have some trusty standbys you can rely on. We’ve put together three of our favorites for fall 2018. All you need to do is plan your great escape.
[$ 598; michaelkors.com]
Equally utilitarian (in a good way) is a pair of aviators—like the Prada Linea Rossa.
[$ 320; sunglasshut.com]
And of course you need a fine ball cap to conceal bedhead. We like the 100 percent organic cotton Outerknown Horizon Snapback.
[$ 20; outerknown.com]
The post A Sleek Weekender, Aviator Sunglasses, and More Stylish Travel Accessories for Fall 2018 appeared first on Men's Journal.
Classic denim shirts looks will never go out of style. But fresh dyes, sharp cuts, and more durable builds are revving up the old standbys.
When it comes to above the waist, denim button-ups are the best way to stay comfortable without looking careless.
Whether you’re going for a more polished dark-wash look in the Mavi Rio Deep Brushed shirt, a light-wash retro vibe courtesy of the Kooples, or a monochrome moment from Belstaff, you can’t lose.
Pick your favorite below. They look fantastic alone or layered with your favorite sweater or jacket.
The post The 3 Best Denim Shirts to Look Effortlessly Cool This Fall appeared first on Men's Journal.
Autumn: It seems like every year this season pops up out of nowhere, tightening its pumpkin spice-flavored grip across the northern hemisphere. But no matter how you slice it, you’re gonna have to gear up those feet with some reliable footwear. And what better way to defend your dogs than leather boots. For the guys who won’t allow rain, snow, sleet, and everything in between stop them in their tracks (or you just want some stylish boots to wear), here are a few of the best leather boots for men to buy this fall.
From chukkas to hard-working and sturdy boots you can take on a hike, these will be able to last you through the wintertime in style. And once you find the right fit for you, don’t forget to wax up and weatherproof your boots.
Few things in this world are as comfy as a hoodie. Weekend staples like a sweatshirt and track pants are no longer just for couch potatoes. Smart pairings and accessories can dress up what was once a purely casual look.
The soft, zippered layer with throw-on ease even has its own built-in weather shield. It’s a go-to, but the wrong one can call to mind an unemployed gamer.
Thanks to renewed attention to casual clothes from the biggest brands in fashion, it’s not hard to find an upscale iteration, such as the Sunspel Men’s Cotton Loopback [$ 225; sunspel.com], worn here under a luxury overcoat like this feather-soft cashmere one from Ermenegildo Zegna [$ 4,695, zegna.com].
It’s a slam-dunk combo of unfussy comfort and effortless cool.
The post How to Dress Up a Hoodie to Look Cool, Casual, and Polished for Fall appeared first on Men's Journal.
© A Decca Records Release; ℗ 2018 Sugar S.r.l., under exclusive license to Decca Records, a division of Universal Music Operations Limited
When it comes to sweatpants, most people just grab the ratty old pair that’s been decaying at the bottom of their closet and give up on the rest of their outfit.
We say it’s time to change that.
So whether you’re still not over the athleisure trend or you just want to replace your worn-out sweats with something a little more stylish, try kicking your game up a notch by picking up a pair of these elevated sweatpants guaranteed to leave you feeling comfortable and looking good.
From street fleece to tech fleece, here are our picks for fall 2017.
Reebok will launch a fall campaign Tuesday that ties in with the rerelease of the Aztrek, an off-road runner introduced in 1993 that has futuristic layers and a chunky design that embraces the heart of the Nineties sneaker style. The campaign features six Nineties-raised tastemakers for a content series titled “Aztrek: ’90s Re-run.”
The Aztrek, which was relaunched at retail this summer and sells for $ 90, is unisex and epitomizes the “dad sneaker” trend. It is sold at Champs and Reebok.com.
Featured in the campaign is humorist and social media personality Jay Versace; vintage streetwear reworker Sara Gourlay of Frankie Collective; cult vintage shop owner Kirk Tilton of For All to Envy; Jordan Page, a retro style expert and streetwear archivist, and Josh Matthews and Angie Chavez, vintage collectors and curators.
Each partner was shot in rare vintage NIneties Reebok gear that they personally curated or custom-created, resulting in five “one-of-one” capsule collections, all of which will be available for anyone to enter to win on reebok.com (for free), starting today. Sourced from their personal wardrobes, and coupled with vintage shopping, each collection pays homage to the style of the Nineties, as well as the Aztrek’s distinctive design elements and colorways.
The collections of
You no longer need to choose between fashion and function this fall.
That’s because the world’s most stylish brands now offer great-looking threads that are as attractive as they are rugged and durable. Take this warm technical parker from Hugo Boss (above, $ 845; hugoboss.com). Its sleek all-navy look is cool enough for city streets but it’s also made from a polyamide fabric that won’t crease or tear if you brush up against a few sharp corners in the great outdoors.
Here are some more standout fall pieces that embrace the best of both worlds.
The ballistic nylon in this Burton Tinder Tote ($ 71.95, amazon.com) and the Fyre Scout Boot ($ 258, thefyrecompany.com) might not have met the bullet-blocking standard its WWII-era creators wanted, but it’s damned good at resisting everyday wear and tear.
The same goes for the cotton-polyamide blend in Belstaff’s Burfield Park shearling-lined parka ($ 1,895, belstaff.com).
Classic watch brands—like Breitling, Rolex, and Omega—have a long pedigree of looking sharp and working hard. Their watches have storied backgrounds, serving as timepieces for astronauts and race-car drivers alike.
If you’re looking for timeless investment pieces to upgrade your collection, here are four classics you should consider. They’re sharp yet durable, so they’ll stay in perfect condition when it comes time to pass down to your kid… if you can bear to part ways with ’em.
The post The Most Ruggedly Handsome Watches to Invest in This Fall appeared first on Men's Journal.
Even when you’re not on an expedition, layering is key, especially in fall. Not sure how to pair your shirts, sweaters, and jackets without looking frumpy? Mimic this classic look to perfectly pair and layer your basics.
A wool sweater like this one from Tommy Hilfiger ($ 99.50; tommy.com) is light and moisture wicking and has a high warmth-to-weight ratio. It pairs nicely with an equally resilient suede bomber ($ 445; tommy.com) and Michael Kors’ dark-wash, slim-fit denim shirt ($ 128; michaelkors.com).
Check out more of our favorites for fall:
The post How to Layer Your Clothes This Fall Like an Expert appeared first on Men's Journal.
© ℗ © 2018 HighBridge, a division of Recorded Books
There are more than a few ways to ease yourself into technical style. For fall 2018, we’re seeing duds with bulletproof durability and supercharged style trending that are perfect for the boardroom or the bouldering wall. Here are some of our favorite pieces to add to your wardrobe.
Tommy Hilfiger’s workwear-inspired utility pant ($ 90; tommy.com) is extra durable; Hugo Boss’ Piñatex sneakers ($ 348; hugoboss.com) are cut from a sustainable leather alternative; and the coated canvas in Ermenegildo Zegna’s gray Chevron backpack ($ 1,295; zegna.us) might have a longer lifespan than you do.
Styling by Alex Silva for Bernstein & Andriulli
The post Technical Style, Coated Canvas, and Sustainable Leather: The Fall Trends You Need to Know appeared first on Men's Journal.
Fall’s unpredictable. The onset of hurricane season brings deluges, mucky debris, and wind that whips all matter of dust and dirt at your ankles. You need kicks that can shield you from the unpredictable.
The season’s best boots are made from an array of materials, but they have two things in common: lug soles that can grip both tough terrain and slick concrete, and tall shafts that protect your ankles from brambles, puddles, and everything in between.
Whether you’re the type to wear T-shirts until it’s subzero or you can’t wait to get in your ultra-warm down jacket, you can’t disagree that a great sweater really racks up miles in your wardrobe. You can throw it on in the temperamental in-between weather we get when the seasons change, use it as a layering tool, or when it’s finally cold enough, have it keep you warm on hikes, trails or even just in the office. In short, you need a sweater that keeps up with you, and we might’ve found just the one.
The Robert Graham Blackburn Sweater is designed to be one of the most versatile items in your wardrobe. It’s made of 100 percent merino wool, so it’s delightfully soft and plush (read: not scratchy at all). The geometric triangular space dye jacquard adds a cool texture to a tried-and-true silhouette, while the contrast knit at the cuffs adds a decidedly playful touch to the anything-but-basic knit.
The Blackburn Sweater comes in a full range of sizes, from XS to 4XL. The one drawback? It’s dry clean only, so you can’t just throw it into your washing machine.
How many pieces does a woman need to feel chic and comfortable around the clock? Seven, according to Donna Karan. And she actually named them the “Seven Easy Pieces.” Believing in the power of layering to meet the diverse needs of contemporary life, the designer conceived a fall collection filled with smart, easy-to-wear styles that can be mixed and matched to build effortless, sophisticated outfits.
From basic but beautifully crafted jersey tops and bodysuits to chiffon maxi skirts and hyper-soft suede pants to tuck inside feather-weight suede boots, everything was infused with a luxurious nonchalance.
Adjustable and detachable details made the pieces highly versatile. A hooded padded parka could be buttoned up to make it shorter and a nylon skirt featured ties to wrap around the body transforming its shape.
The lineup’s adventurous, nomadic vibe was elevated by the covetable patchwork shearling vests and the silk tunic embellished with embroideries and printed velvet inserts, while a pretty suede jumpsuit had a sporty yet refined attitude.
Expressing a very specific lifestyle — elegant, relaxed and cultured — the collection was unique and special, as befits the personality of its creator.
Eminem didn’t necessarily ether rappers on his latest album, Kamikaze, but he sure as hell had a little venom for them.
In his visual to “Fall,” Em finds himself dealing with the negative fallout from his previous album, Revival, and ultimately ends up on the run from a shadow that’s stalking him like George Zimmerman.
Back on the block DJ Durel and the Migos cool off with some friends and fam at a block party where everyone’s turning up OG style in the early 90’s themed clip to “Hot Summer.” No one opened the pump for old school’s sake?
Check out the rest of today’s drops and some joints you might’ve missed over the weekend including work from Rich The Kid, Kxng Crooked and Family Bvsiness, and more.
EMINEM – “FALL”
DJ DUREL & MIGOS – “HOT SUMMER”
RICH THE KID – “LEAVE ME”
KXNG CROOKED & FAMILY BVSINESS – “WELCOME TO CALIFORNIA”
MYA – “GOT MY OWN”
BLAC YOUNGSTA – “UH UH”
AL JAZEERE – “OG BOBBY PT 2”
KRIS THE $ PIRIT – “RACK$ ”
SAUCE WALKA FT. HOODRICH PABLO JUAN – “MONEY GANG”
QUINCY WHITE – “MIRROR”
JALLAL – “THE TRUTH”
EARTHGANG – “UP”
WARM BREW – “PSYCHEDELIC”
A look at the best broadcast, streaming and cable has to offer as the fall TV season begins.
As the days grow shorter, our sleeves grow longer. And as our friends cuff themselves to their winter loves, we cuff our sleeves and chop hearty vegetables or fireplace logs, then sprawl out under the covers while being spooned… by the season’s best flannels. After all, there’s no better swaddle than the following nine shirts.
And, just to clarify: Flannel is not the same as plaid. Flannel refers to the material used—wool, cotton, or yarn, softly woven. Plaid is the checkered design, often printed on flannel.
Now, click through and find your perfect match—maybe plaid, maybe not, always comfortable.
Now that it’s fall, the days of just wearing your button-up to work—or your favorite name-brand T-shirt when you take a fine lady out on a date—are temporarily over. The upside? It’s time to add another layer to your dashing fit.
But just because there’s a chill in the mornings doesn’t mean you have to throw on a huge parka with several sweaters underneath. The fall season is all about colors and style. For some people it’s your last chance before winter to show off your personal style flavor before it gets too nippy out. Because once that temperature starts getting disrespectfully cold, the main priority becomes staying warm as opposed to looking fashionable. (Unless you live in California or Florida or something—and if you do, then a bomber jacket is all you need.)
Point is: You’re going to need a jacket that will pop, but keep you warm at the same time. Something you can wear with a button-up shirt and tie, or just a plain T-shirt. Something that will complement joggers, jeans, and chinos. You want a bomb-looking jacket this fall. In fact, to be a little more specific, you need a bomber jacket.
Take a breeze through our top trendy bombers of fall 2017.
Need to stay warm and cozy this fall, but still want to look cool and breezy?
We’ve rounded up nine of the season’s best sweaters: cable-knit and turtleneck, cashmere and fitness-friendly. (And fine, even if a few of them are technically sweatshirts, we’ve got you covered for every occasion.)
You Fall In My Zoo Enclosure, You Fuc…
You fall in my zoo enclosure, you dead.
Submitted by: A Flamingo
Keywords: zoo flamingo flamingo zoo gorilla zoo gorilla death gorilla zoo death cincinatti zoo cincinnati zoo hurambe the gorilla
We’re in the awkward phase. (No, not puberty.) We’re talking about that time between fall and winter when the weather can swing from 74° in November (thank you, global warming) to a see-your-breath 30°…in one afternoon.
When those days come around, the average outerwear typically doesn’t cut it. Put on a winter coat and you’re overheating; leave the house with only a light jacket and you’re shivering as the car warms up. What you need is a transitional jacket—something as versatile as the weather you’ll be facing every day.
Here, we’ve rounded up our favorite transitional jackets. From bombers to rainwear, denim to leather, these 10 picks will keep you dry, comfortable, and stylish as hell no matter what the weather throws at you.
Don't Believe What They Say About Fal…
The internet is overrun with dumb headlines and thumbnails that talk down to us, don’t make any sense, or are just plain lazy. So we troll them.
Submitted by: Darren Miller
Keywords: headlines news trolling
Raven Gates and Adam Gottschalk are still going strong!
Kensington Palace says Prince Harry, and his wife, the former actress Meghan Markle, will be touring Australia, Fiji, the Kingdom of Tonga and New Zealand this fall.
The Woolmark Co. has teamed with 3.1 Phillip Lim to develop a fall collection and ad campaign.
Collaborating with Woolmark, designer Phillip Lim sourced a selection of innovative fabrics and yarns to produce 24 key women’s wear pieces designed with Australian merino wool. The capsule also includes Lim’s first production of a wool puffer coat, which will be featured in the campaign.
Lim and Woolmark will host special in-store events at select Saks Fifth Avenue and Lane Crawford locations, timed with the capsule’s delivery in October.
“Our ‘Merino Series’ speaks to the spirit of individuality, a core tenet of the 3.1 Phillip Lim brand ethos,” said Lim. “For this capsule, we wanted to utilize wool in unexpected ways and reimagine its boundaries. We explored the character of a lavish nomad with colors, dusted by the sun, silhouettes patch-worked together and playful, exaggerated proportions — an eclecticism collected from travel and memory.
“Whether it is the oversized puffer coat, the checked suit, or the color-blocked panne-pressed trench, I found the breadth and possibility within the material to be quite compelling for the modern woman’s wardrobe,” said the designer.
3.1 Phillip Lim and Woolmark have teamed up for fall capsule.
Stuart McCullough, managing director of The Woolmark Co.,
Main message: One of the winners of the 2018 Tokyo Fashion Award, Kohei Nishimura has been quietly building a fan base for his designs for over a decade, and participated in Tokyo Fashion Week for the first time this season. While he designs for both men and women, his pieces have a unisex quality. He used suiting fabrics for relaxed and casual trousers, pullovers and anoraks, while turning out easy suits from softer fabrics such as velour. Cozy, long sweaters and long scarves rounded out the offering.
The result: Nishimura proved himself to be deserving of his award with a tight, collection of easy pieces that mix and match together across colors, textures and genders.
What do you get when you try to combine Parisian cool-girl attitude with British nonchalance and Americana-loving irony in the hands of a trend-synthesizing contemporary player like Sandro? A fall collection rife with mismatched jolie laide layers that hit the bull’s-eye of fashion’s current obsession with streetwear gritty/glam. It was a mishmash of statement outerwear — faux furs, tailored plaids, workwear denim and short puffers — layered over sweatshirts, trackpants, long skirts, cropped and distressed denim and dorky socks and trainers. Topping things off were sweatshirts and giant scarves printed with broadly positive, feminist messaging (“Women;” “Love”).
“For me, it really is a project about starting a new culture around the brand; even the photographs are more about the women than they are the clothes,” Casey Cadwallader mused about his debut fall presentation for Mugler. His approach was focused and smart: to start by designing signatures and pieces that are meant to last and mix in a few shocking pieces. For instance, Cadwallader said he would like to re-create the collection’s cropped, black leather jacket season after season, mentioning, “I think sometimes fashion moves faster than the clients and I’d rather make it so if you see something in a magazine in six months, you might still be able to buy it.”
The same idea of signatures went for great spiral cut jeans, offered in a frayed light wash with matching jacket, clean dark and white washes as well as in green velvet, all of which were high-waisted and shaped to the hip in a very Mugler way. Tailoring also made for an important aspect of the collection, through sharp, rounded wool suiting, styled with sleek, color-blocked cycling leggings and shorts, and was nicely offset by more feminine pieces, like a fluid pink superfine jersey dress.
Look who the new guy on campus is now.
Brad Pitt was spotted at the Massachusetts Institute of Technology back in November, E! News can confirm.
And while you may think this…
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Fall is that in-between season when the weather seems to have a split personality, bouncing from the 70s to the 40s sometimes in the space of a few hours. It requires dressing with forethought.
Flannelâs soft touch and incomparable warmth have made it a go-to fall shirting fabric for almost as long as âfall shirtingâ has been a concept. A good fashion historian will tell you that the fabric emerged in Wales sometime in the 17th century as a less-scratchy alternative to traditional woolen garments.
The post 11 Not-So-Standard Flannel Shirts to Keep You Warm This Fall appeared first on Men's Journal.
This seasonâs go-to layer is not quite a shirt and not quite a jacket. The âshacketâ steals a little from both and packs the warmth and ease to get you through chilly times. Below, seven of our favorites.
The post 7 Shirt Jackets, Your New Favorite Style Hybrid, Ready for This Fall appeared first on Men's Journal.
Filson has been turning out durable outdoor gear for over 120 years. And though Danner hasnât been around as long (theyâre a spring chicken by comparison, at just 85 years old), the Portland-based footwear maker has built up a similarly high reputation for manufacturing great boots. To hear that the two were teaming up for a collaboration meant a guarantee of hardcore, long-lasting quality â and thatâs exactly what youâll get with their new Grouse Hunting Boot.
The post Filson and Danner Team Up for The Ultimate Fall Boot Collaboration appeared first on Men's Journal.
Though the weather in some areas of the country (cough, New York, cough Atlanta) might lead you to believe that weâre living in a perpetual state of summer, at some point chillier temperatures, colored foliage and hiking weather will be here. And when that happens, the latest release from Uniqlo U will be waiting
The post A Stylish, Affordable Fall Wardrobe Is Waiting For You at One Cool Store appeared first on Men's Journal.
The extended summer so many of us seem to be experiencing may be keeping our sneakers, boat shoes, and loafers in rotation just a little longer than we expected. But soon enough, boot weather (wind, rain, sleet, and even snow) will be here to push them all the the back of our closets. With that in mind, we rounded up the pairs we canât wait to wear this season â from a new take on the classic Timberland to a tough, handmade pair of hiking boots from the relatively young brand Feit. Take a look at the best fall boots a guy could ask for below.
One of the few benefits of colder weather is that staying warm outside requires wearing more clothes. Layering provides opportunity to become a Russian nesting doll of style, stacking one awesome piece on top of another to build a fantastic outfit. With that in mind, weâve broken down the six layering options you need to stay warm and look cool all fall and winter long.
The post The 6 Essential Fall Layers Every Man's Closet Needs appeared first on Men's Journal.
Trigère, as in Pauline Trigère, is back.
“Who?” asks anyone under the age of 40 in this industry.
Maybe that’s not fair. Millennials can be fashion historians, too. But for those who aren’t: Pauline Trigère was a French-American designer, known for elegant tailoring, reversible capes and coats and being an early champion of the jumpsuit. She founded her house in 1942, was the first American designer to celebrate a 50th anniversary and received the CFDA Lifetime Achievement awards the year after. She closed her ready-to-wear business in 1994 and passed away in 2002 at the age of 93. Her brand, full of heritage though it is, has been silent for decades.
And now it’s being revived in a most curious way at the hands of a Canadian businessman named Peter Lewis, who bought the trademark from Trigère’s now-deceased sons. Lewis prefers to remain behind the scenes — he declined to be interviewed — but tapped a fellow Canadian designer, Franklin Benjamin Elman, to helm the revival. He presented the first collection by appointment on Sunday.
The audience Elman appeared to want to target is young ladies, those who likely aren’t familiar with the name Trigère. So it was interesting that Elman chose to use
“I didn’t get a dress until this morning! It was still on a machine,” Claudia Li exclaimed while noting how stressful putting together her fall presentation had been. Thankfully the dress in question — made of burnt orange sequins with contrasting graphic black lines — made it and was a clear bright spot in the lineup.
The designer has felt the weight of a gloomy social landscape this past year and wanted to put out a message of hope, which she did charmingly. There were vibrant pops of hot pink and cactus green balanced with cheerful prints and an aesthetic attitude that was more confident and elevated.
While researching stories about silence, Li came across Turkish fairy-tale, “The Silent Princess,” in which a cursed prince, even on the brink of death, finds the will to carry on. It was a potent message of resilience. “I felt like there is hope. You need to keep going and be determined. It’s about endurance.”
Season to season, Li displays a more mature hand. Indeed, this range felt more rounded out and approachable, with different brand “isms” like structure and playfulness applied in more minimal ways. Her penchant for volume was seen as exaggerated collars on
Adam Lippes does refined daywear with connotations of ease and insouciance. He’ll say he doesn’t do red carpet, yet the playfully roomy micro sequined gown a model donned in his new Brooklyn Heights residence would have you begging to differ. Lippes is an entertainer, and he wanted to show where the clothes would typically live — namely dinner parties and less formal events. Light bites were served while models lounged and roamed about, showing how the clothes move while maintaining a sense of approachable polish.
Lippes began with research into paisley prints, tracing their modern era production to Paisley, Scotland. Interestingly enough, there wasn’t any paisley in the collection, but the elegant range was rife with heritage textiles made and sewn in Scotland. A key fabric was a Harris tweed bonded to Chantilly lace, whose months-long craftsmanship could only be admired up close. It was cut into a mannish-yet-loose coat, which had a balance of structure and softness that flowed through the rest of the collection. Outerwear was hefty while separates like wide leg trousers, Fair Isle cashmere skirts and multicolored tweed prints on silk were soft and fluid. There weren’t age limitations, but the scuba knit plaid top or bomber tucked
Nicole Miller decided to not stick to a specific theme this season. During a backstage interview before the show, the designer said she wanted to create a collection reflecting what real girls wear every day. This search for realism, which is certainly influenced by the huge impact of street style on contemporary fashion, led to in mixed results on the catwalk. The combination of masculine and feminine references played a pivotal role in the lineup, which featured a wide range of sartorial elements mixed with military and romantic details.
For example, a wool suit was splashed with a camouflage pattern, which was also reworked in an artsy, abstract version on a hoodie worn with a leather miniskirt. An orange quilted parka was injected with a utilitarian feel, while a biker leather jacket was embellished with metallic eagles, which also punctuated an asymmetric silk dress. Ranging from grungy and androgynous to urban and contemporary, the collection was a tad confusing with an overabundance of motifs.
A more lively attitude emerged when Miller kept things simple and feminine. A fluid blouse paired with coordinated silk pants, both worked in a romantic floral pattern, as well as a handkerchief dress combining botanical prints with a
Not long ago, the
words corduroy jacket may have conjured visions of what a
fashion-challenged professor would wear to keep warm on a walk across campus on
an autumn day. But this season, everythingâs changed â designers
and brands have taken the material and applied it to the classic, and newly trendy,
shape of the trucker (the two-flap-pocket jacket made famous by Leviâs decades
ago). Corduroy has become a soft yet rugged alternative to denim, adding
texture to otherwise familiar shapes. Some of our favorite ways to wear it, below.
The post How to Wear Corduroy, the Undisputed Material of Fall 2017 appeared first on Men's Journal.
Raf Simons set up his own interpretation of a Flemish still-life painting — an opulent tableaux of fruits, red wine, loaves of bread and impressive flower arrangements — as the backdrop for his fall collection, titled “Youth in Motion.”
His inspiration this season was “Christiane F.,” the 1981 cult film directed by Uli Edel about the dangers and realities of drug addiction. “I thought he was going to put some pictures on T-shirts,” Edel said. “I didn’t realize the whole show was based on the film. It was a long time ago.”
Indeed. But Simons modernized the theatrical production by juxtaposing it with a driving techno soundtrack and colorful laser lights for that rave feel he loves so well.
The opening look — a boxy plaid coat with contrasting yellow lining over a deconstructed turtleneck with draping side panels and ultrafitted satin cargo pants — served to introduce his new silhouette.
The abundant tailored offering mirrored that silhouette with oversize blazers and skinny pants accessorized with elbow-high latex gloves.
While the theme of the show may have been dark, the use of bright colors including red, yellow, tangerine orange and purple helped to soften the mood.
Drug references surfaced both subtly, as patches on scarves and
Name: Nick Graham
Main message: Leave it to Nick Graham to break with the status quo. Instead of staging a traditional runway show or presentation, he took over The Manderley, a “small, dark and smoky” nightclub at the McKittrick Hotel for an intimate musical performance. As lead singer, Graham sang five self-penned songs from his upcoming album “Soundtracks From Films Never Made.” The band and staff were dressed in pieces from Graham’s fall collection, Metropolis, which featured lots of patterns including exploded windowpanes, graphic plaids and an overall retro sensibility. “It feels more dressed up,” he said. The brand’s new graphic underwear and hosiery were also on display.
The result: In a world in which experiential marketing is the new buzzword, Graham has been a master of the trend for years.
Everything old is new again. Just ask Todd Snyder.
The designer closed the first day of New York Fashion Week: Men’s with what was arguably his finest collection to date. Snyder seamlessly blended an old-school sensibility with a totally modern aesthetic in a lineup that had an overarching romantic feel.
The opening look of an ultrathin, belted tweed coat over a denim jacket and jeans set the tone for a collection that was soft and full of nostalgia.
What started last season with more billowy proportions continued this time with an array of pleated pants, sack suits and shrunken school-boy sweaters.
The collection was also more colorful this time around, with muted pinks, brighter blues and grandfatherly yellows breathing new life into the preppy cardigans and fleece hoodies that also provided a chic collegiate touch.
Snyder’s longstanding partnership with Champion also moved into new territory this season with an update of the Fifties-era “running man” logo the designer emblazoned on the front of herringbone sweatshirts with matching joggers.
“It’s really an eclectic mix of different styles,” Snyder said of the vibe described in the show notes as “part aesthete, part athlete, part Savile Row rebel.”
And judging from the rousing ovation at the end of the show
Canadians really do have an affinity for the ice rink.
In the visuals to “Miss You” Tory Lanez, Cashmere Cat and Major Lazer hang out at an ice rink where they chill on a Zamboni and enjoy the company of a fleet of figure skaters that do dances that would break the average man.
Meanwhile further to the south side of things, Kodak Black lets viewers get a glimpse of his rap star life and the perks that come with it in his clip to “Fall Thru.”
Check out the rest of today’s drops including work from Moneybagg Yo, Charlie Puth featuring Boyz II Men, and more.
TORY LANEZ, CASHMERE CAT & MAJOR LAZER – “MISS YOU”
KODAK BLACK – “FALL THRU”
MONEYBAGG YO – “NO LOVE”
CHARLIE PUTH FT. BOYZ II MEN – “IF YOU LEAVE ME NOW”
AUDIO PUSH – “PUMP FAKE”
TEE GRIZZLEY – “COLORS”
SMOKEPURPP – “GEEK A LOT”
Crewneck sweaters are essentially the Swiss Army knife of knits: theyâre the versatile staple piece that can work with everything else youâre planning on wearing this fall. That familiarity and ubiquity makes them a great place for designers to experiment â itâs as if theyâre a blank canvas thatâs just waiting for the right artist.
The post The Sweater Your Fall Layering Rotation Is Missing appeared first on Men's Journal.
The sun isnât a summer-only phenomenon, which means that the advent of fall is no reason to forgo a pair of sunglasses. In fact, autumn is the perfect season to showcase a different, slightly more restrained look that a great pair of sunglasses will help you nail down.
The post Why You Can’t Wear the Same Sunglasses in Fall That You Wore All Summer appeared first on Men's Journal.
John Varvatos went “rogue” for his fall show, eschewing the official fashion calendar to present on the eve of Grammys weekend in New York.
He selected an old synagogue on the Lower East Side and filled the front row with musicians and executives in town for the big event at Madison Square Garden: all three Jonas brothers, Thomas Rhett, Young Paris and Rita Ora among them.
It was ironic then that this season, Varvatos showed less of a rock ’n’ roll aesthetic than in the past. “I never think of us as rock ’n’ roll,” the designer said backstage before the show. “That’s other people’s perception. But it does have an edge to it.”
Instead, the designer set out to “change it up,” with a show he titled “John Varvatos 2.0” that “explored the notion of looking back to look forward,” according to the show notes.
He turned to his greatest hits over the past 17 years — textured fabrics, handknit sweaters, hand-finished leathers and pumped-up trainers — modernized in terms of silhouette and materials — to offer his take on the street “and how we’re living today.”
Despite the slightly oversized proportions, the collection was not streetwear — intentionally. “I appreciate streetwear but I’m
“It’s Couture Baby,” proclaimed a red neon sign overlooking the nave of the American Cathedral in Paris, where Rabih Kayrouz showed his fall collection. It was and it wasn’t, as the designer mixed one-off creations with ready-to-wear in his display, which blended softly tailored daywear with high-shine evening gowns.
Kayrouz likes to bring a performance element to his shows, which this season featured ballet dancer Marie-Agnès Gillot alongside jewelry designer Noor Fares — making a cameo appearance as the bride — and writer Sophie Fontanel.
Swathed in a navy mohair coat and orange felt dress, Gillot appeared several times during the show, sliding down the marble steps of the chancel and rolling on the marble floor. Her impassioned performance, which she kept up even as the designer was taking his bow, threatened at times to overshadow the clothes.
Because contrary to what his groovy sign may proclaim, Kayrouz is not a showman when it comes to designing. Working in a palette of navy, khaki, orange and white, he showed variations on trenchcoats, peplum tops and paneled dresses aimed at a confident woman who shrugs off trends.
After-dark options included a bustier gown in an iridescent fabric covered in nude tulle, and a sleeveless gold
Corduroy formed the centerpiece of Sandro’s lineup for fall, turning up in all shapes and sizes. Thick for the rusty brown trouser and jacket ensemble; superthin for its elegant cousin, a navy blue suit ideal as eveningwear. Designer Ilan Chétrite employed the fabric for more unusual styles, including a letterman-style jacket with elegant white leather trimmings on the pockets. A cozy, camel-colored duffle coat had a fleece lining.
The brand worked with the performance textile specialist Helly Hansen for the sporty line, which included a coat for snowboarders. Pants ran straight, chopped at the ankles, for a contemporary twist to the Seventies-infused collection. Chétrite cited childhood Polaroid shots as inspiration, which was felt in the color palette, with mustard and camel featuring prominently. This was a smart collection, relaxed and modern.
Paris is a glorious place. Paris isn’t a panacea to remedy a collection low on newness. Proenza Schouler’s Lazaro Hernandez and Jack McCollough are extremely talented, highly skilled designers with a point of view and a sense of daring. They’re the ones who set New York youthquake in motion more than a decade ago. Now, like countless others across the industry, they’re facing essential fork-in-the-road questions, including how to continue to develop their business and, as reported in WWD last week, whether to reembrace New York as part of a small collective of cool-reputation designers who would show on a December-to-June schedule.
The above may have been points of distraction that played into the disappointing fall ready-to-wear collection McCollough and Hernandez showed on Monday. Or maybe not. After three compelling outings that began with their remarkable spring 2017 collection, this may maybe a mere creative breather. Not every serve is an ace. Backstage postshow, McCollough spoke “a new type of eclecticism,” and Hernandez, “A little bit of this, a little bit of that. A little bit of West Coast, a little bit of East, a little bit of New York showing in Paris,” he said. “The whole thing is just a global community these days, and we wanted something
An edge emerged in Katie Chung’s first solo show. “There’s a lot of big change of our muse,” she said backstage before the display, explaining he no longer is a classical artist but one of today — with multifaceted pursuits.
“They’re interested in sports. At the same time they are interested in vintage,” continued Chung, ticking off, as well, the likes of suiting, tailoring and streetwear, calling these guys — and the collection — “the new romantic bohemians.” “I tried to mix them altogether.”
Still, Wooyoungmi’s aesthetic remained consistent. Chung maintained the label’s traditional slouchy silhouettes for some fall looks, including the opener — an oversize sartorial suit — plus topcoats, blazers and shirting. On the other end of the spectrum were the leather trousers and jeans, creating a healthy tension between what’s refined and rougher.
Much was on trend, such as the retro tracksuit worn over an oversize flannel shirt and paired with pointy white cowboy boots.
Though maybe a tad bipolar, this collection was fun and of the moment overall.
For fall, Bill Gaytten wove touches of Asia into a sleek and fanciful offering for a cosmopolitan crowd.
“It’s a little bit Asian, but not literally so,” said Gaytten, pointing to details like modified versions of cheongsam fastenings. From the past, he borrowed mainstays like the snug, quilted coat relied on for generations and reinterpreted it for modern city life — in silky orange with flower-print panels. Suit jackets were double-breasted, with blanket stitching to soften the look.
Noble fabrics included a tapestry jacquard in bronze and black, which he used to make a series of ultrachic overcoats, jackets and even cargo pants. For woman’s pre-fall, he embellished one jacket with a row of long, black tassels. Kimono references in pieces for women came in multiple forms, with a thick, camel cashmere coat serving as lush outerwear, while a flowing, black jacket in a turquoise, pale pink and orange flower motif offered a sensual alternative to the tuxedo blazer.
Inspiration came from the craftsmanship of the Tibetan plateau as well as Anna May Wong, the glamorous Hollywood actress who recast the image of Chinese Americans in the Thirties.
Gaytten lifted a chunky, knit cardigan in black and white, with pockets the perfect size to
Beijing-born Sean Suen — who studied graphic design and fine arts before veering off into fashion — presented a cinematic collection that tapped into the doomed fate of one of its most famous inhabitants, China’s last emperor Puyi. During a preview, the designer mentioned that he had recently seen the 1987 Bertolucci film and that the generational perception of the man seemed to evolve from a semi-villainous focal point, to a remote historical figure.
In keeping with the Chinese designer’s previous efforts, the lineup focused on tailored shapes, silhouettes retained a monastic “East-meets-West” sensibility by borrowing indiscriminately from martial outfits, classic tailoring and workwear.
Suen’s painterly sensibilities come to express themselves through his sartorial work, and lend themselves to this kind of implicit storytelling. But even without knowing the igniting thought, the slow descent from the imperial throne to a form of layman anonymity was clear, say, in the gradual softening of the shoulders — from the stricture of a shoulder cape to the roundness of the natural articulation — as it was in textures. Suen went from the richness of a wool embossed with an astrakhan pattern on a voluminous fur-collared blouson, to the bareness of a black suit. One mottled
“Authentic rebellion has a grace. It does not scream, it is a state of mind,” read the Valentino show notes.
For the past few seasons, Pierpaolo Piccioli has been exploring his vision of masculinity, one that casts off gender stereotypes to focus on individual expression. After cycling through punk and streetwear, his journey led him to post-punk performers such as Adam Ant, The Cure and Visage.
In line with his ethos of quiet rebellion, the New Romantic influences were subtle — a smudge of eyeliner here, a silver spike stud there. The latter sprouted up on the sleeves of a slim navy double cashmere coat, or a lightweight black parka. A leather jacket would have been too formulaic, Piccioli argued.
“It’s about the personal gesture,” he said backstage. Behind him, a series of mood boards displayed images including a portrait by Italian Renaissance painter Lorenzo Lotto, dreamlike photographs by Duane Michals, and Keith Richards cavorting topless through a Belle Epoque mansion.
“It’s about the freedom for men to be exactly who you are. I think this is a moment when men are thinking about themselves. After centuries of rules, men maybe in these [last] three decades are trying to express themselves,” Piccioli added, by
What better start to Paris Men’s Fashion Week? And to the year, while we’re at it.
Horns tooting, Alejandro Gómez Palomo this season put the conservative country set and hunting world through his madcap spinner. In an altogether more masculine and commercial collection, relatively speaking, the designer opened with bottle green Dickens-esque capelet coats and skinny pants in a dark, cool, wool-striped fabric, tricked with foxtails and ring belts with S&M undertones.
The Elizabethan-style period dressing bit — think guys in doublets with slash sleeves, pleated brocade tunics and onion-shaped hose like puffed shorts — was where it all exploded.
The silver sequin chainmail dress with green capelet was a real head-turning moment. As were the silk brocade chaps. Other looks, like the stately black cape dusted with crystals, had a turn-of-the-century, woman-in-mourning feel, with the designer’s work recalling early John Galliano, pulling from a lot of different source material.
But for all the camping around, the craftsmanship was exquisite, especially the intricate shoulder constructions. Hunting hats with splays of feathers and fringed leather bags finished off the looks.
A drapey camel trenchcoat with a pale blue shirt with ruffles on the collar had the perfect balance.
There was a liberating, gender-free, fairy-tale mood. But the
For Rossignol’s Studio collection, Andrea Pompilio showed respect for the history of the brand and said he wished to “telegraph the precision and technicality” of the company’s expertise in the mountains for “daily, performing city pieces.”
The designer highlighted Rossignol’s down jackets, rendering them season-less and ultralight. Pompilio layered the pieces, designed to be combined freely. A standout look comprised a padded corduroy jacket with knitwear intarsia and a removable ecological shearling collar, worn over comfortable and loose pied-de-poule pants.
Functional details, such as snap-hooks and ski-lift badges, became decorative elements for the city, as did mesh pockets, applied on the sleeves of a checkered shirt in vivid and contrasting orange and blue.