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Photographs from IMAXTREE.COM
Down a raised runway of shimmering black sand, against a deep sunset glow, the models strode out to meet their audience against the haunting music of Italian composer Ennio Morricone.
Soft, elegant layers—considering that this is for AW16—was surprising light. Perhaps, it was the line of devilishly cut trousers, executed perfectly and cut just above the ankle, to work in harmony with the Berluti shoes.
After all, it takes a maestro to fluidly command equal harmony to both the footwear and the clothing; Berluti’s Artistic Director Alessandro Sartori is one such genius.
The soft suiting, feather-light nappa and sharply cut jackets (we are already making our wish-list) in a striking palette of burnt orche, wine, powdery lilac and browns complemented the Berluti shoes perfectly.
The iconic Alessandro was hand-stitched in a tattoo pattern in collaboration with New York-based tattoo artist, Scott Campbell. Models sported delineating line markings—reminiscent of early American tribal tattoos—and Campbell’s own snake motif graced the backs of the bombers in a reticulated hand-stitch.
The unexpected use of rubber soles, half in a contrast colour, gave classic shoes a visual twist. This carried through in the evening, even for formal renditions—leather lace-ups had their heels streaked with a hint of glinting metal to resemble a precious seam. Fitting for Berluti.
See the full Berluti A/W 2016 collection here.
Boston-born Jason Basmajian’s first collection for Cerruti 1881, since he took over as Chief Creative Director, has a finesse that pays tribute to the house that Nino Cerruti built.
From fabrics in monochromatic herringbone and grey checks, all of which were developed exclusive from the legendary Cerruti wool mills, to working with sartorial menswear tailoring, Basmajian has drawn on styles of classic men’s silhouette to excellent effect.
Three-piece suits and heavy wool overcoats with shearling collars bring to mind a dapper Cary Grant.
Inspired by textures such as wood, concrete and rust, the Cerruti collection boasted fine suiting. A sleek two-buttoned double-breasted paired with a turtleneck stood out especially in homage to Nino Cerruti’s style and remained just as relevant for the season.
There was also the injection of modern technical fabric. A micro-woven herringbone, which Basmajian used for cropped bomber-style jackets and in matching backpacks, for a collection that balanced itself perfectly between the then and now.
See the full Cerruti A/W 2016 collection here.
“In the ritual show square, lit by stark, red neon to the thud of electronic body music, an idea of rites of passage is played out in a palette of black, red and white… .” So goes the official press statement for the AW16/17 Dior Homme collection that played out in the converted old Tennis Club in Paris.
In a neon-red skate and chandelier-styled set designed by Etienne Russo of Villa Eugénie, Kris Van Assche’s young men were the modern hybrids of a brave new world.
From the first looks of most proper suiting, complete with the delicate whimsy of a sharp ribbon tie (only bow-ties were present in the collection, Van Assche having eschewed the formal tie), the collection was a sharp mix of New Wave overlaid with accents of skater style.
Forgoing the limitations ascribed by following certain dictates, his Dior man wore both sharp, cropped suiting and wide-cut voluminous trousers with equal ease.
Talk about confidence—soft materials like velvet and a wool pullover in a red and white Fair Isle knit (a closer look reveals emblems of Christian Dior’s personal lucky charms—the star and the number ‘47’) might have appeared cosy, almost homely, but in Van Assche hands was transformed into a look that was fresh, complex and completely modern.
The boys in their beautifully mussed-up hair, surely the best bed-head styles we’ve seen so far, stalked out in ensembles of red, black and white—the three colours that Van Assche used to convey the entire mood and direction of his collection.
From plaid overcoats and full-on red and black micro-check suiting, to at least twenty variations of black coats, each differentiated by detailing such as quilting, contrast piping, buckles rivets and shearling or fur collars and all pretty much wardrobe-worthy.
Leather was also used in generous amounts but always subtly, it’s most iconic manifestation is as a full single-breasted suit complete with wide-cut trousers. The total effect is one of luxurious nonchalance, wear it and assume the attitude.
See the full Dior Homme A/W 2016 collection here.
Photographs from Alessandro Lucioni/IMAXTREE.COM
Against a backdrop of bright taffy pink, designer Riccardo Tisci’s Givenchy man is a nomad of the frontiers. Except, instead of the great prairie plains and desolate open lands, he stalks the side-streets of the urban jungle with his attire morphing to suit the environment.
From black leather jackets enforced with copper rivets that formed little pin-points of burnished metal across the garment, to fringed wool and pin-striped coats, there were references of the Wild West. We are talking about western tipped collars and round-necked cowboy collared inner shirts, a new logo pattern that was used in some of the heavy overcoats, a cobra motif that appeared in various permutations and a skull and crossbones faded print motif in a war helmet.
All in all, a tad sinister and more than a little confusing in terms of his final vision for the whole collection.
But stalwart fans will still be happy, after all, he’s made a strong statement for zippered blazers with hoods come AW16, which might just be his ace in the collection.
See the full Givenchy A/W 2016 collection here.
We’ll say it now: this collection was a winner.
It was light, insouciant and infinitely wearable. Creative Director Lucas Ossendrijver’s offered a refreshing take on tailoring. The editors along the front row were craning their necks to catch the detailed construction of jackets.
In menswear, a suit, is a suit, is a suit. The finer elements are in the details, and you’ll be hard-pressed to find something done that’d have you taking a third glace. But Ossendrijver’s blazers with their deconstructed seams, ruched fabric which resembled paper—that had been crushed and then straighten out—and smooth cut single-breasted chest panel—that seem to just skim the body (did we mention this was all in one jacket?)—was definitely worth the attention.
Working also with heavy wool in a checked patterned, the detailing appeared in the subtle folds and facets worked into a large overcoat with contrast piping, a soft statement of rumpled ease.
There was a sense of luxury being lived-in, being worn, loved and maintained. Fur coats were gradated with spray-paint, as were sneakers and a canvas biker jacket was finished with a frayed collar, as though a cherished pre-loved piece.
There was a hand-wrought element to the collection, from the tie-dyed silk shirts and spray-painted shoes to the corded leather netting and a patchwork ponyskin and leather jacket that looked both lush and a touch nostalgic.
And if you fret that AW16 is too heavy for our tropical weather then you’ll be happy to know that Ossendrijver has also just recently reissued some of his archival sneaker styles in celebration of his ten years at Lanvin.
See the full Lanvin A/W 2016 collection here.
This season, Jonathan Andersen takes his man-boy out into the wilderness. It has been an on-going theme—it seems—for Loewe’s Creative Director with many of his past season's collections falling into an escapist and imaginary world of boyhood wonderment.
A floor-to-ceiling wallpaper installation brings us to an abstract terrain similar to one found at Ciudad Encantada in Cuenca, Spain. The Loewe man treks through the rock formation draped in knits and humongous leather backpacks emblazoned with hand-painted mushrooms.
Key picks are a suede wrap coat with shearling collar and their new military bag in beautiful khaki green leather. This, against a soft silk shirt with a pterodactyl print and organic cotton high-waist trousers, sets the Loewe man apart.
We say go for the worn studded boots with their denuded two-tone leather outer and pick up a hand-painted man-clutch. Collectible-much.
Photograph from Loewe
The minute the music started we knew that we were in for a treat. And Smith didn’t disappoint.
From the roll-neck knits and their mod-inspired striped collars, to the statement coats in seafoam-green and postbox-red—which were worn over paisley shirts—and zip-front knits and roll-necks.
Coats were cut boxy, adding a crisp shape to narrow trousers and knitted inners, some of which seemed to draw reference from vintage cycling jerseys with their raised zippered collars, which given Smith’s love for cycling, would not be misplaced.
The pieces were executed beautifully: trousers cut slim with the overcoats and with generous volume when paired with the blazers.
Classic leather belts with good-sized metal buckles accentuated the suit looks, which were worn with the knits for a fresh take that seemed loosely-inspired by ’70s British rock-styles.
The styling was spot-on and infused the total look with an uncompromising confidence and energy—and speaking of spot-on, we were digging the polka–dot slip-ons that some models sported. All 32 looks made for a sound reminder of why Paul Smith’s been so successful for so long.
See the full Paul Smith A/W 2016 collection here.
With a completely different style of presentation, Raf Simons’ labyrinth of wood forced his audience to interact with, and, in some cases, to be at an almost uncomfortably close proximity from the models.
The intimacy wasn’t limited to humans. Combined with the loose, oversized raw-edged knits and subtle collegiate accents, the show ran without music. Instead, the recorded conversations and interviews from film director David Lynch and composer Angelo Badalamenti were played throughout the session.
It made for a surreal experience. Bright colors of red, mustard, and a striking primary blue undershirts and knits, contrasted with the slightly sinister feel of the presentation—compounded by the heavy black overcoats that layered some of the ensembles.
See the full Raf Simons A/W 2016 collection here.
"The core of man's spirit comes from new experiences." —Jon Krakauer, Into The Wild.
Maria Grazia Chiuri and Pierpaolo Piccioli go west as they bring their Valentino man on a journey through the wild frontier. Fabrics of the great outdoors—heavy denim, suede, wool, waxed canvas, together with Navajo-style print, are incorporated into jackets, coats and suiting.
Jackets are heavily embellished with detailed beading and tassels; a fringed leather jacket has the galaxy painted upon it by hand whilst shoes and bags exhibit the signature house studs.
Highlights point to the lean black suits and long black coats finished with tiny white beads—that makes up a patterned visual story. Inspired by the Pearly Kings, the finished look is unique and exceedingly elegant.
The creative duo guides us through the raw beauty of the Pacific Northwest, which is contrasted against the urban beat of city punk (cue chunky silver rings and studs—lots of them) and an uncompromising silhouette in black. And the collection seems a pastiche of completely disparate references; the final result is straight in spectacular.
See the full Valentino A/W 2016 collection here.
"I was inspired by Paris, old and new."—Kim Jones, Men's Artistic Director of Louis Vuitton.
An elegant collection composed in a restrained, somber palette, Jones referenced Alexis Von Rosenberg. The aesthete Baron of Redé—whose effortless man-of-the-world style and panache—gave rise to the soft flowing trenches in silk and tie-front cashmere robes replete with collars and intricate diamante pins in the Louis Vuitton logo.
And, as impressive as the feather-light stainless steel mesh floating delicately above the runway by Japanese artist Ohmaki Shinji, was Jones introduction of “Roketsu”—the artisanal technique of layering indigo-dye and wax together to create a completely unique effect on the super lightweight nylon and leather jackets.
A nod to travel and the influence of Japonaism, the crackled finish of each piece made for a unique texture, one that would set off an autumnal wardrobe nicely.
See the full Louis Vuitton A/W 2016 collection here.
Played to a perfect pitch by designer Yohji Yamamoto, the usual monochromatic palette was at full swing. From oversized scarves and thick peasant layers, coats and jackets finished with Mao collars—which models paraded around in his signature monochrome palette—each with a mandatory braid worked into their hairstyle.
The collection’s playful scrawls asserting both ownership and identity, seemed to be a response to the tension that growing up brings. The complex layers, that seem deceptively simple until closer observation, reveals the incredible detail of the cut that Yamamoto plays up so deftly.
See the full Yohji Yamamoto A/W 2016 collection here.
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