Men’s AW 18/19 Collection Highlights
Maison Valentino “Authentic rebellion has a grace. For the past few seasons, Pierpaolo Piccioli has been exploring his vision of masculinity, one that casts off gender stereotypes to focus on individual expression. After cycling through punk
“Authentic rebellion has a grace. For the past few seasons, Pierpaolo Piccioli has been exploring his vision of masculinity, one that casts off gender stereotypes to focus on individual expression. After cycling through punk and streetwear, his journey led him to post-punk performers such as Adam Ant, The Cure and Visage. In line with his ethos of quiet rebellion, the New Romantic influences were subtle, such as a smudge of eyeliner here, a silver spike stud there. The latter were placed on the sleeves of a slim navy double cashmere coat and a lightweight black parka, giving a fresh touch.
Miuccia Prada came home to the Nineties- and to black Nylon, the fabric that made the brand’s name at the start of the decade. Utilitarian, rational and industrial, Nylon is the emblem of the industrial side, and it was completely unusual back then to use. However, fast-forward to today’s collection, and it’s definitely street chic, with silhouettes made from layers of black nylon, such as padded hoodies with wide zipper pockets, snap-front jackets, baggy trousers and rain caps- giving a youthful feel, to their old foundations they started with.
Fendi took travel to new heights, at a show that was heavy on utilitarian pieces, for the modern flier- but the sort who turns left after stepping onto the plane. The new designs and vintage Fendi bags, were laced with humorous touches and a mix of sport, spelling street and heritage nods. A collaboration with the artist Reilly Hey, a Royal College of Art graduate, saw a series of words such as ‘family’, ‘faithful’, ‘fancy’, ‘friends’ and ‘fabulous’ emblazoned on the designs. They are key, and represent our values, Silvia Fendi said of the words.
For autumn, Creative Director Andreas Melbostad, collected inspirations from around the globe to inject a new spin into Diesel Black Gold’s signature urban and utilitarian look. Tribal and folkloric accents, were combined with slightly bohemian silhouettes, in both the men’s and women’s lines. The masculine outfits included straight, slim trousers worn with a range of striped tunics, Baja sweaters with side slits, as well as rich outerwear, such as front-pocket jackets with Navajo-inspired jacquard inserts, as well as eye-catching Mongolian fur coats and leather biker jackets punctuated by metallic and stone beads.
Go big-or go home, was Donatella Versace’s rallying cry for this joyful, post-modern mash-up of preppy, punk, street and Versace Home accessories. She said the season was all about ‘dressing in layers’ with thick, gold fabric fringe snaking its way across jackets and sweatshirts, and fabric tassels swinging from bags and belt hoops. The home accessories didn’t stop there, the bold swirling medallion prints on puffers, coats and long hoodie tops, Versace’s signature was present throughout the collection too. This standout designs had an exaggerated, comic feel to it- with the bright, clashing colours, mixed-up tartan patchworks and printed silks.
Alexandre Mattiussi’s approach for fall was a steady continuation of his take on the male contemporary wardrobe. The designer checked off all the de rigueur references, both in the genre, and his own glossary: suede and leather blousons, the duffle coat with rope toggles, the cropped trouser legs, and a classic camel overcoat. Most original designs were the separates picked out of silhouettes and infused with punk notes, such as checked double breasted blazers, and slim crop trousers.
Yusuke Takahashi was inspired by the whirlwind of urban life, for his autumn collection for Issey Miyake, with which he set out to create a new work wear- combining functionality and vitality. The designer continued to experiment with fabric techniques, such as stitching stretch tape into garments for a fitted design and using reversible materials. No two motifs were the same, thanks to their techniques leaving results to chance. That all contributed to the novelty of the line, which was built on layered pieces, plus the juxtaposition of colours and textures.
Kim Jones’ last collection for Louis Vuitton was never going to be just about the clothes. An atmosphere of heightened anticipation reigned in the Palais-Royal, in the centre of Paris, where the British designer staged his final men’s show for the French luxury brand after seven years at the helm. The designer delivered his trademark mix of luxurious tailoring, and upscale streetwear glossy, such as burgundy aviator jackets paired with glazed monogram denim trousers, or a silver herringbone coat over a metallic silk flight suit. He marked his finale event by inviting two friends, catwalk queens, Naomi Campbell and Kate Moss, to take turns on the catwalk, drawing cheers from the audience, wearing glazed monogram raincoats with nothing but hiking boots.