Men’s / New Glamour. Maison Margiela AW18


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.

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Collage by Edward Kanarecki.

Men’s / Marble. Dries Van Noten AW18


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.

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Collages by Edward Kanarecki.

Men’s / Sisyphus. Rick Owens AW18


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?


Collage by Edward Kanarecki.

Men’s / Voyager. Haider Ackermann AW18


My love for Haider Ackermann is indescribable, really. His aesthetic, his style, his sensibility for colours and textures. The autumn-winter 2018 collection rotated somewhere around Moroccan souks and Japanese bath houses, at least this is how I’ve perceived it. Oriental, but not direct. Whether Ackermann’s man is a nearly mythical lifetime voyager or a guy from Paris wearing his velvet varsity jacket and high-waisted satin trackpants on the daily basis, I have the same feeling every season after seeing the designer’s show: I want to be, or at least look, like this man. Obsessed.


Collage by Edward Kanarecki.