Men’s – Velcro is Cool. Marni SS17

June 20, 2016 | Design & Culture by Ed

A Marni woman has her signature – she’s extremely edgy, all in her fancy, bold prints. But a Marni man is quite unclassified, and Consuelo Castiglioni understood that well. The lesson was learnt, good for her, and a much-above-the-average effect is here: spring-summer 2017 season at Marni is unexpectedly the best menswear collection to date, with a soft point for both, normality and eccentricity. You want to be this guy, really – he’s this skinny, good-hearted soul, with his hair brushed back nonchalantly; there are high chances you will spot him at Fondazione Prada, being in awe of Louise Bourgeois’ haunting sculptures, or see him in a park, reading a book. However, don’t think he’s like a Gucci man – oh no. This boy is into functionality, blurring his style somewhere between utility and playfulness.

Although at a first glance, most of his wardrobe seem to be pretty formal, there are a lot of surprising twists. Under an over-sized, beige cocoon coat, there’s a cheerfully printed blouson with an orange collar. The pants from this show are on everybody’s lips in Milan, even though we’re already after Prada’s nomad backpacks. Tailoring was sliced open in back and re-fastened with Velcro panels. Banal, isn’t it? But to an extend, Velcro fasteners seem to be unexplored in the world of high fashion, and only Marni could nail them. Consuelo re-sees boring clothes, and makes them as fun as children’s gadgets. A poplin shirt becomes cool a casual offer, rather than an office choice, thanks to additional volume in the shoulders. Meanwhile, footwear is too good to be true – and as you all well know, I’m a sucker for sandals, and Marni has some new, exciting silhouettes I would love to have… Bravo, Consuelo, for making your Marni boy relevant and, well, a life-goal!

Men’s – Robert Mapplethorpe. Raf Simons SS17

June 18, 2016 | Design & Culture by Ed

It’s the first time in a while, when Pitti Uomo feels exciting. This season, the fashion editors and buyers have seen Gosha Rubchinskiy take on Italian culture; the same day, Raf Simons presented one of his most defining collections in his career. The standing fashion show for spring-summer 2017 was a special occasion – it was a nod to Robert Mapplethorpe, a controvertial American, who was known for his unconventional black-and-white photography. During his lifetime, the photographer shot such extraordinary characters as Patti Smith or Andy Warhol, but also, he was famous for his highly BDSM polaroids, flower still-lives (often compared to erect phallus) and nudes of female wrestlers.

The photographer, who began the cult of erotic photography in the 70s, was the main, well-visible and fully acknowledged reference point for Raf this season. Rather than simply putting famous Mapplethorpe photographs as prints on tops, Simons challenged himself to make his inspiration something much more profound. “Every boy is a representation of a piece of work” – this is how the designer described the models, with dark, curly hair and skinny black pants. Some looked like the original characters taken out of Mapplethorpe’s polaroids, wearing leather biker caps and voluminous, white shirts. Oh yes, the shirts. The over-sized silhouettes reassembled white walls of a gallery, perfectly exposing these defiant and somewhat deviant visuals. Debbie Harry, with a stern face, looked at you from under a cropped V-neck sweater; a penis photo on a striped t-shirt wasn’t a surprise, keeping in mind Robert’s late obsessions. Wherever you turned, you could sense respect for the photographer, coming from Raf’s heart. The focus was on the clothes – the images weren’t shouting, leaving space for the pieces to speak for themselves. It’s not a one-season-only type of collaboration between an artist (specifically, Mapplethorpe Foundation) and a fashion designer. It’s a collection, where everything is about the rebellious attitude, with a very clear, labelled reference. Other designers should take a note from Simons on how to name their inspirations, in order not to become accidental copycats.

Men’s – Calm Men. Wales Bonner SS17

June 16, 2016 | Design & Culture by Ed

Grace Wales Bonner, 25, the London-based menswear designer, has been announced as LVMH Prize 2016 winner (along Vejas Kruszewski, who won the second prize), gaining the a major back-up for her eponymous brand. But in fact that’s just one of the reasons I’m writing about her today. The latter is her latest, break-through outing during London Fashion Week, which is pure poetry. When creating her label, Bonner’s main aim was to break the stereotype of black male fashion as aggressive, popularly seen in posture of hip-hop sweatpants and rapper’s gold chains. Wales Bonner’s work focuses on black male sexuality, unconventional masculine identity, and mainly afro-American cultural experience.

With a background of growing up in South East London and having a Jamaican dad, Grace looks forward to show the masses a new diversity in fashion, but from a totally different perspective – it’s much calmer, gentler, not as bold as in Stella Jean‘s way. This season, she was inspired particularly by Ethiopia’s emperor from the 30s, Haile Selassie, who was famous for blurring the African rituals with his own, military coronations and “style”. Tailoring, the season’s ultimate highlight, was embellished with crystals, all in traditional crotchet and meticulous embroidery. Her decorated, slightly dandy-ish men are accompanied by female models, who wear similarly androgynous pieces – gender fluidity is nothing new to us in London. But according to Wales Bonner’s vision, male beauty becomes something much more unexpected, yet highly signature. Her debut runway show was a bomb – and with LVMH’s funds, Grace will surely keep doing her thing.

Men’s – Gender Culture. Casely-Hayford SS17

June 12, 2016June 12, 2016 | Design & Culture by Ed

The father-and-son duo, Joe and Charlie Casely-Hayford, have many reasons to call spring-summer 2016 collection one of the biggest highlights of their career up to date. What pleasantly surprised everyone during the show was the fact that the fash-fam introduced a womenswear capsule, accompanying their festival-cool menswear looks. “We’ve been asked about doing it for years,” said Charlie. “Now felt right. We want to dress a woman who is a partner to the Casely-Hayford man—but she is very much independent and different to him too.” Their debut in the world of women was like the feeling of a breeze by the sea, so refreshing. Jacquard, which was used in coats production, was made with a more than 200-years old weaving mill, while the dresses with knitted details in sharp, summer-y colours, will be the right choice for warm days. Casely-Hayford is known for top-notch tailoring, but in contrast to their Savile Row friends who do strictly elegant suits, this label breaks the well-known conventions. No wonder why the women’s part was as focused on perfectly-cut blazers as men’s, and was equally edgy. The moodboard behind the collection was filled a variety of British music movements, from 70s rock and Jimi Hendrix to 00s grime and Mick Jagger. With all that diversity in mind, there was a sharp game of oriental patterns, paisley, bleach splashes and tie-dye textiles. Also, spot the richness of jewellery – tribal necklaces and pendants (which looked like great, flea-market finds) were worn nonchalantly by both genders with embroidered robe-coats and denim jackets. Looking forward to see how Joe and Charlie will continue their new, even more daring chapter in fashion!

Men’s – Dark Nostalgia. Thom Browne AW16

January 26, 2016January 26, 2016 | Design & Culture by Ed

There was an elusive, Rene Magritte mood during the Thom Browne autumn-winter 2016 presentation for men. Just like in the surreal paintings of this Belgian artist, the New York-based designer staged a nostalgic, mournful collection of meticulously detailed coats and suits. Note the chaotic stitches which jut out of the coat above – and the pants, which look tattered and old. Even the socks have little holes. But there is beauty in this type of rawness, and Browne is absolutely aware of that. The hats which dramatically obscured models’ faces were made in collaboration with a long time friend of the designer, Stephen Jones Millinery.

As for the end of a very, very good fashion month of menswear, the New Yorker’s collection felt like a delightful dessert (even though it wasn’t as colourful as you might suspect a dessert to be). Time for haute couture, and the remaining labels with their pre-fall look-books…