Briefly: Men’s MFW SS19

June 20, 2018 | Design & Culture by Ed

This season, I had a dilemma whether to skip the menswear season, or not. I honestly felt exhausted at one point with all the collections, lookbooks and shows coming up, and getting grip of what’s winter and what’s summer. And in case of menswear, I was especially appalled with the fact that every designer considers spring-summer 2019 to be a full-on sport trend. And everyone has a pair of ‘some’ sneakers, just to be like Balenciaga with their top-selling Triple S (which, by the way, is everywhere, and I can no longer look at)! But when I was quite sure I won’t write anything about men’s this time (plus the 69% of voters on my Instagram poll said ‘skip the season and chill!’, partially consolidating my decision), I couldn’t ignore those two collections coming from Milan. Marni and Prada, you’re very good to boys this season I must say.

What I love about Francesco Risso‘s Marni is his haphazard, yet appealing ‘collage’ way of doing things. The designer was thinking of vintage sportswear. Staged in an old carpark, guests sat on bouncy exercise balls, while the models’ (plus-size guys, elderly men and the designer’s friends) outfits were reminiscent of a football fan 70’s style, with retro polo shirts, check trousers and deconstructed varsity jackets made of different textiles. From yellow tank-tops to striped, knitted culottes, there’s lot to love in Risso’s latest collection. Note the prints – Florian Hetz’s photos of naked bodies and Betsy Podlach’s paintings of human beings were used on the back of the shirts and many other pieces.

Miuccia Prada also had something to do with sportiness, but not that much. Here, her intelligence and profoundness emanates in every piece of clothing. For the fashion show, inflatable, pink stools by Verner Panton – an exclusive re-edition of the 1960s piece, produced by VERPAN for Prada – were used as the guest seats. If talking of the clothes, Prada constructed a dialogue between male sensuality (ruffled shirts, very short shorts, florals) and utility-wear (lots of nylon and padded trappers we’ve seen in Miuccia’s resort show in New York). All that mixed with boldly printed sweatshirts and zipped jumpers. I definitely like this certain dynamism that was perceivable throughout the collection.

But the rest of menwear… well. Let’s see if Paris will be better. Quite exicited for Jacquemus’ first menswear collection ever, and Kim Jones’ debut at Dior Homme.

All collages by Edward Kanarecki.

Men’s / William Blake. Ann Demeulemeester AW18

January 21, 2018January 21, 2018 | Design & Culture by Ed

Ann Demeulemeester certainly is one of the most poetic designers / labels, and Sébastien Meunier is fully aware of that. A poetry reference, in form of William Blake, could happen to be too literal. But, the result is just the right balance of the house references, poetic ‘way of dressing’ and Meunier’s personal romantic aesthetic. In adopting the British Romantic’s work for Demeulemeester, the designer composed a collection that was more than just clothes. Those were the emotions, as well. Having been most moved by Songs of Innocence and of Experience, he featured the book’s cover on a velvet-ribboned tank top worn with a velvet shirt and skinny, black pants. Loose sleeves, ‘undone’ shearling coats and tasselled belts were another details, noticeable in between the lines, of Sébastien’s smooth direction at the Belgian brand.

Collage by Edward Kanarecki.

Men’s / New Glamour. Maison Margiela AW18

January 21, 2018 | Design & Culture by Ed

In his first menswear collection for Maison Margiela, John Galliano does what he tries (sometimes with success, sometimes not) at the womenswear line – present the new glamour. From deconstructed trench coats to elongated and exaggerated Savile Row jackets, that was a very bold outing of show-boys in their rubber swimming caps and mummified head-pieces. When speaking of Galliano, it’s always about the tiniest detail – he’s the haute couture craftsman, after all. Even if I’m not a total fan of this collecton, I like that idea of over-the-top glamour that John leads towards the men’s wardrobe – like the biker jacket corset. Also, I’m happy to see him venture again into menswear. Waiting to see more.

Collage by Edward Kanarecki.

Men’s / Marble. Dries Van Noten AW18

January 20, 2018January 20, 2018 | Design & Culture by Ed

Oh, Dries. It all started with an over-sized, checked brown coat, and ended on a real rhapsody of colour. Hand-painted marble technique was used to create the unique prints for Dries Van Noten‘s autumn-winter 2018 collection, which was an absolute surprise at the end of the show – the models walked down the runway, wearing their hybrid jackets, bombers and coats the other side. Even if ignoring the ‘inside’ part of the collection, Van Noten didn’t dissapoint this season. From Western-influenced shirting to lovely, chunky knits, it was an outing that offers the Dries classics.

Collages by Edward Kanarecki.

Men’s / Sisyphus. Rick Owens AW18

January 19, 2018 | Design & Culture by Ed

Rick Owens‘ collections aren’t there to just please everyone around with a pair of ‘must-have’ sneakers. ‘Sisyphus’, the autumn-winter 2018 collection’s name, is an example of how the designer reacts towards the surrounding world, and the industry. “I think we’re entering this period of conservatism and creative smallness. And that’s me being very judgmental, but it’s frustrating. I’ve had a lot of resistance in things that I’ve wanted to do creatively—technical resistance—and it kind of discourages you from trying to create things. But then I think, ‘Why do I think that my stuff is so worth telling that I have to force it?’ And then that makes me think of aggression: How much does it take to really be a designer; to insist that you be listened to?”, is how he questioned himself and other matters that affect today’s designers. The collection itself was quintessentially Rick: big volumes, dark colours, deconstructed garments. But the identity behind every single piece is so powerful, that it doesn’t really matter that the designer didn’t do an entire performance, or chose a far-fetched runway venue. Focusing on the end product is the most important. Also, in the world of Owens, pretty much everything is brand-made. One of the key fabrics was a softly felted-looking material that the designer said was based upon his favourite Berber blanket. “I’m trying to do as many exclusive fabrics that we develop ourselves, with people that we’ve known from the beginning. I’m trying to make all of the collection exclusive: making things as profoundly mine as possible. If I could water the cotton with my tears, then I would!” That’s what you call a beautiful devotion. So, is it all so Sisyphean in the end?