AW19

Men’s – Eclecticism. Loewe AW19

| Design & Culture by Ed

Loewe’s decision to show its menswear during Paris fashion week couldn’t be better. Jonathan Anderson’s exquisite work for the Spanish brand has to have the motion of a runway. A look-book/showroom presentation doesn’t necessarily work that way, so the previous seasons for men felt a bit under the radar, and even… still? But the autumn-winter 2019 line-up was exactly that: vibrant, bold, full of energy, and optimism that was beautifully reflected in the joyously eclectic elements of the collection. Let’s start from the beginning. A yellow, canvas sculpture by Franz Erhard Walther was the focal point of the show space at Maison de l’UNESCO. Fragments of clothing were strapped to the freestanding piece (‘Gelbe Modellierung’ from 1985), which resembled the cross-section of a wardrobe. Walther’s artwork influenced Anderson’s designs this season, as they were all about mixing, matching, deconstructing and, lightly saying, playing. As usual with Jonathan’s work at Loewe, everything was very artisanal and made with great affection. Whether we’re speaking of the XXL, rough-looking cardigan made of different yarns and threads, heavily patch-worked sweater or a trench coat constructed out of wool scarves. But the collection’s ‘show-stealer’ award goes to the boots. Well, not just regular boots. We’re talking of unzipped boots, going all the way up to a belt. “We were looking at gaiters and fishermen. It was early-’80, kind of, when we unzipped them. It created kind of flaps – Western, but non-Western. It was how to take something fetish and de-fetishize it.” This sort of ‘odd’ seduction was as well applied to tailoring. Looks were slim in the torso, with flared pants. Some of the suits were in houndstooth (styled with a pink puffer jacket), some had a one, satin lapel. “We’d done the suit in the women’s collection – we kept the waist, and extended the back,” said Anderson. “There’s something quite chic and suave about it.” The tailored pieces reinterpreted the nearly forgotten, cosmopolitan elegance of men. Others felt like they were suited for an adventure, or were brought back from some remote destination. Collected and curated into an outfit – like the huge ‘fishnet’ knit or the multi-coloured, fringed bags. Summing up. Together with Marni, Loewe is my ultimate favourite of the season.

Collage by Edward Kanarecki.

Men’s – New New Look. Dior AW19

| Design & Culture by Ed

It’s just the third runway collection from Kim Jones, but it’s already visible that his Dior has the new, new look. The Dior man is somewhere between deluxe athleisure, composed of utilitarian styles and comfortable fits, and a couture dandy, a territory that lets Jones embrace the brand’s truest haute heritage – which used to connotate with womenswear, only. The autumn-winter 2019 collection was a pure fashion moment we all waited for the entire season. Models didn’t exactly “walk” the runway, but stood still on a moving sidewalk. Suiting was given an air of elegance with draped, floor-sweeping sashes in satin and leopard print faux fur. What brought the line-up a truly exquisite touch was the collaboration with artist Raymond Pettibone. Jones used his illustrations for all the hand-made embroideries and embellishments, that covered the tops and shirts. Spectacular.

Collage by Edward Kanarecki.

Men’s – Silver Swagger. Junya Watanabe AW19

| Design & Culture by Ed

Remember my post on Brioni’s latest collection? The ‘zaddy’ is in fashion. And for real good, according to Junya Watanabe. Stylish daddies united in the designer’s autumn-winter 2019 collection shown during Paris fashion week. Aged 40 and up, those guys looked far cooler than today’s teen ‘influencers’ (ad that’s a 19-year-old’s honest opinion, by the way). Watanabe focused on reinterpreted workwear and everyday essentials, done in his signature patchwork style. There were those grown-up, day-blazers and not-too-formal shirts, but as well a lot of cropped silhouettes (like one of the corduroy pants) and, oh my, yes, Breton-stripe tops. All that topped with those very well-nurtured beards. Junya called the entire line-up ‘silver swagger’. Jokes aside, but ageism is a problem in modelling across all genders – so seeing an entire collection worn by mature men, who aren’t necessarily professional models, is refreshing. Into this.

Collage by Edward Kanarecki.

Men’s – Timeless. Lemaire AW19

| Design & Culture by Ed

Lemaire’s menswear collections aren’t obvious, but also not over-complicated. They aren’t drowned in Instaworthy runways. They just are, presented in a showroom and in their look-book. But what’s most admirable about Christophe Lemaire and Sarah-Linh Tran’s contribution to menswear is that their designs always look timeless. Even if the designers mention any inspirations, those musings are very personal and not too literal. “There are some references, like Nick Cave. His Birthday Party period, when he used to have his suits made in Hong Kong. Slightly ’70s,” Christophe said. But the two wanted to focus more on the shape this season. Tran added: “The silhouette is maybe more defined, and the shoulder more shaped than in previous seasons.” From loosely fitted blazers and classic trench coats to signature ‘work’ shirts and Portuguese, heeled boots, I want every single thing from this line-up. Even the berets, made in collaboration with Laulhère, look compelling. While Sarah and Christophe surely had something else on their mind, I kind of see their autumn-winter 2019 collection as the wardrobe of some Paris-based archaeologist, maybe historian, who actually looks very chic (in an intellectual way)… just a thought.

Collage by Edward Kanarecki.

Anti-Social. Vetements AW19

| Design & Culture by Ed

Vetements‘ spring-summer 2019 collection was violent. But Vetements’ autumn-winter 2019 outing felt even more aggressive. Somehow, I’m not surprised. Demna Gvasalia (and his collective) isn’t afraid of speaking what’s on their mind, whether it’s confronting the difficult past, hard present or uncertain future. The label found inspiration in the dark web, where drugs, guns and other illegal, even more frightening things are available and sold worldwide. Hacker style? Geek chic? Yes, but cross out the latter, ‘fashion’ word. The collection was called “Anti-Social” and opened with a twisted homage to Steve Jobs. The distinctive, black turtleneck worn with a pair of jeans read: “Warning: what you are about to see will disturb you. There is a dark side of humanity the censors won’t let you see, but we will. View it your own risk.” An item that will sell out within a moment, but has a meaning that’s not as frivolous as it may seem. Other than the Vetements classics – XXL hoodies, floral tea-dresses, distorted puffer jackets – this offering had something you would never consider a fashion statement: anonymous-wear. Black fleece masks inside hoods and  jackets with flaps covering the face with a peep-hole for looking out (and, occasionally, for taking photos through). “I realize there is no privacy. When I’m on public transport, doing work on my phone, I often see people overlooking it, or taking photographs of me,” Demna said after the show. An avalanche of contemporary problems appears in your mind, when you think of it: surveillance society, facial recognition technology, the fear of revealing our true selves without the social media filter. But then, the balaclavas make you think of terrorists and fierce protests that move like a tsunami through such countries as France. Gvasalia and Vetements sense danger and crisis that spread across our world. They know fashion won’t help it out, but at least, might inform the ones who want to be informed. To some extent, at least.

Collage by Edward Kanarecki.