Men’s – Mastodon – Rick Owens AW16

January 22, 2016January 22, 2016 | Design & Culture by Ed

Looking at the solemn faces of Rick Owens‘ models, who walked down the concrete runway in their furry, fluidic garments, it’s visible that the designer translates a hard topic into his creative vision. Owens called his new collection “Mastodon“, referring to the world’s global problems by creating a dark, apocalyptic story. The designer mentioned that his life-partner (and my fashion godmother) Michèle Lamy had begun keeping bees on the rooftop of their home in the heart of Paris in order to help them after 2015’s hottest summer – and he instantly thought about the endangered world. ” What about the ecological anxiety we are all feeling? What is the worst possible scenario?”

Definitely, according to Rick, it’s not that bright. Heavy, sheep-skin cocoon-like hoodies were styled with over-sized sweat-pants; black, aviator jackets looked quite mournful on the black and white background. The textures play an important role in this collection – “I want to say I vomited this out,” is how the designer summed up the way the strips of fur and wool bubbled around the bodies of street-cast models. Moreover, some of the looks basically focused on a long, flowing silhouette of a dress – however, the models’ heavy-metal inspired make-ups said a loud NO to any possible, feminine or even gentle side of a man. Even though some of the slouchy pieces felt comforting. “Hope for the best, but prepare for the worst” Owens added pessimistically.

Men’s – Old Story. Haider Ackermann AW16

January 21, 2016 | Design & Culture by Ed

“It was all about clash, just the same old story” is how Haider Ackermann described his autumn-winter 2016 collection. In fact, he is right – the new collection revives the designer’s masterful skills with layer and texture clashing. The rock’n’roll attitude was present, too, with the flaccid mohawks on models’ heads and a wardrobe full of skinny leather pants and shirts. The richness of textiles is Ackermann’s other signature. The olive-green and blue velvet jackets contrasted with woolen pants and chic coats while the oriental, jacquard suits made a statement of an elegant men, who is more decadent than ordinary. It’s old-school, but spicy at the same tine. If you’ve seen the film titled Only Lovers Left Alive by Jim Jarmusch, you will surely understand what I feel about this collection – it’s for a vampire-guy who strolls around Tangier with Tilda Swinton, listens to a local indie-signer and seeks his next prey for blood. Even though this vision seems to be highly surreal, it has that elusive “something” that makes my love for Haider’s menswear passionate. Really, I wish I could dress the way his man does, but I would have to dramatically lose some weight…

Men’s – Nightmares and Dreams. Raf Simons AW16

January 21, 2016 | Design & Culture by Ed

Autumn-winter 2016 is the first collection delivered by Raf Simons since his abrupt departure from Dior. And the anticipation was equal to the success of this collection, which feels like a remix of Simons’ best styles combined with the newest ideas coming straight from his genius mind. David Lynch was the primary point of the collection – the director behind Twin Peaks and Blue Velvet appealed to Raf’s eerie vision from the very beginning – and this collection, shown in a labyrinth venue and presented by disturbingly looking models, had a specific, nightmare-like feeling. Tattered and abbreviated high-school jerseys (the American youth from Detroit and Tulsa has always fascinated the designer) were over-sized and hung out of the deconstructed pea-coats and vests. Moreover, the show invitation mentioned the Elm Street, too – so no wonder why the neon-orange knit made me instantly think of the infamous serial killer from this horror.

To highlight AW16’s sinister, yet elusive mood, Simons called the collection Nightmares and Dreams. “I always like creating beautiful things,” he said, “but it’s interesting when something’s weird, something’s dark. Something goes wrong.” Like the XXL duvet jackets, which the designer openly compared to Martin Margiela’s most iconic creation. Margiela is an important person for Raf and for his career – in reality, it was a Margiela (anti)fashion show that triggered Simons’ interest in entering the fashion industry. “But it was more about how I felt—something so meaningful, so totally from the heart that show, that collection.” Other pieces that caught the standing audience drool over were the Boy Scout uniforms, skinny trousers and layered, white shirts which were tacked under the elongated sweaters in a messy way.

It’s good to see that such a unique talent like Raf Simons hasn’t changed even a bit after a much more corporate brand like Dior – this enigmatic collection represents the identity of this Belgian designer and his creative independence. It feels like Paris re-welcomes Raf Simons with a loud applause after his womenswear affair, even though he had started his men’s fashion in the early 90’s.

Men’s – Structures. Lemaire AW16

January 21, 2016 | Design & Culture by Ed

Christophe Lemaire is the go-to designer for a guy who needs a solid and structured wardrobe of daily essentials. A soft flannel shirt; black shearling jacket; Shetland tweed topcoat; high-waisted denim pants. Also, the two, both elegant and casual, pair of shoes – polished black derbies and white moccasins. Indeed, sometimes the codes of Lemaire need an ease-up – however, if talking of the seasonless must-haves, this supremely French label is always a reliable choice.

Men’s – Power of Recurrence. Gucci AW16

January 19, 2016January 20, 2016 | Design & Culture by Ed

You might believe it or not – but I am kind of dissapointed with the recent Gucci collection, designed by Alessandro Michele. I know that lately I was getting over excited about the designer’s latest womenswear outings, which have appealled to me so much – but this autumn-winter 2016 collection is just too predictable. Firstly, the vision of Michele at Gucci is so eccentric, signature-filled and bold that his collections will always look… well, nearly the same. It just feels that the house won’t turn into a new direction and it will always keep that slightly eerie, vintage mood. From one side, it might become an opulent Armani-kind of house, where nothing changes. But from the other side, it means that the brand won’t get influenced by one-season trends. And that’s good, though.

Speaking of recurrence – the best-selling “Gucci bloom” print is still here. The L’Aveugle Par Amour embroideries are back on the denim jackets. The furry, horse-bit Gucci loafers are again on the runway – and I still feel a burning desire for them. The Italian craftsmanship is the right privilege for the house. Even the designer’s muses and favourite films play a role – Kate Bush, David Bowie (there was a beautiful homage paid to him during the show with an embroidered BOWIE varsity jacket) and Twin Peaks keep the eclectic mood. The pieces that highlighted the collection? Male chokers, for which I will never forgive Alessandro; pilgrim dresses for the women’s part; velvet tracksuits with floral embroideries; LA-neighborhood-boys-and-cowboys combo which surprisingly made think of Hedi Slimane’s Saint Laurent guy. Whether or not this collection feels messy and deja vu, Alessandro Michele can be praised for his stubborn belief in the neo-nostalgic vision. Nevertheless, a fresh breath of air would be just perfect for him.