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Menswear boldly struts into the future
February 8, 2009, Sunday
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Print Edition
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LAVIN: Alber Elbaz didn't need to send out a young Barack Obama look-alike to convey a message of change. Lanvin's fall collection spoke for itself - and it was stunning.
"We wanted to deliver an optimistic message, give people something real and find the real solutions to their clothes, change things and propose newness," said Lucas Ossendrijver, Lanvin's menswear designer. And how. The collection was awash with striking new silhouettes, including a voluminous pleated trouser worn with a soft jersey jacket, reflecting the personal style of Elbaz, Lanvin's creative director.
Shown in the courtyard of the Lycee Carnot, the collection whispered a military schoolboy theme - think jaunty caps and slim pants tucked into lace-up boots - but the overwhelming message was full-throttle chic, reminiscent of Elbaz's breakthrough moments with Lanvin women's. Softly tailored coats - some double-faced to reveal contrasting colors on lapels or cuffs - flowed over unstructured jackets with raw edges. A trenchcoat cinched at the waist and double-breasted jackets with gathers on the back were among the handsome new volumes.
Raf Simons: The biggest shock that Raf Simons, a consummate futurist, could have given his audience was a lineup of flawless, classic suits - and that's exactly how he opened his powerful fall show. "It goes straight back to when I started," said Simons, who launched his label in Antwerp in 1995. Thus, he drew in design elements suggesting strength and action, putting some of his handsome young models in high-tech sneakers instead of lace-up dress shoes, for example. As the show progressed, suits sprouted sleeves of contrasting colors or were layered with long-sleeved shrugs made of fine knits, or turquoise or pink neoprene.
Dior Homme: Kris Van Assche pared down the list of signatures he has applied to the Dior man, making for a concise, shorter show. Taking "angles" as his theme, Van Assche worked asymmetrical closures and geometric cutting into his entirely black-and-white collection, injecting mild references to punk (zippers, bindings and earrings) and 1980s new wave. He maintained the stretch pants and the pleated parachute pants, and the latter shape acquired an off-center, fold-over waistband.
Other new statements included neck treatments such as tall, crumpled cowls and striking shirts with contrast tabs crossing the throat.
John Galliano: The designer's elaborate looks were organized around a cast of witty characters, weaving a spell of desirability around commercial fare. Layers of toile de jouy and logo-printed jersey followed, all oversize and streetwise. Then Pan, the half-man, half-goat appeared, half-dressed in couture-like feathered pants, torso bare and dusted. Galliano quickly gave these goat-men something decent to wear: handsome shearlings and washed-leather jackets. For the underwear portion of the show, barristers traipsed by in updated briefs.
"We wanted to deliver an optimistic message, give people something real and find the real solutions to their clothes, change things and propose newness," said Lucas Ossendrijver, Lanvin's menswear designer. And how. The collection was awash with striking new silhouettes, including a voluminous pleated trouser worn with a soft jersey jacket, reflecting the personal style of Elbaz, Lanvin's creative director.
Shown in the courtyard of the Lycee Carnot, the collection whispered a military schoolboy theme - think jaunty caps and slim pants tucked into lace-up boots - but the overwhelming message was full-throttle chic, reminiscent of Elbaz's breakthrough moments with Lanvin women's. Softly tailored coats - some double-faced to reveal contrasting colors on lapels or cuffs - flowed over unstructured jackets with raw edges. A trenchcoat cinched at the waist and double-breasted jackets with gathers on the back were among the handsome new volumes.
Raf Simons: The biggest shock that Raf Simons, a consummate futurist, could have given his audience was a lineup of flawless, classic suits - and that's exactly how he opened his powerful fall show. "It goes straight back to when I started," said Simons, who launched his label in Antwerp in 1995. Thus, he drew in design elements suggesting strength and action, putting some of his handsome young models in high-tech sneakers instead of lace-up dress shoes, for example. As the show progressed, suits sprouted sleeves of contrasting colors or were layered with long-sleeved shrugs made of fine knits, or turquoise or pink neoprene.
Dior Homme: Kris Van Assche pared down the list of signatures he has applied to the Dior man, making for a concise, shorter show. Taking "angles" as his theme, Van Assche worked asymmetrical closures and geometric cutting into his entirely black-and-white collection, injecting mild references to punk (zippers, bindings and earrings) and 1980s new wave. He maintained the stretch pants and the pleated parachute pants, and the latter shape acquired an off-center, fold-over waistband.
Other new statements included neck treatments such as tall, crumpled cowls and striking shirts with contrast tabs crossing the throat.
John Galliano: The designer's elaborate looks were organized around a cast of witty characters, weaving a spell of desirability around commercial fare. Layers of toile de jouy and logo-printed jersey followed, all oversize and streetwise. Then Pan, the half-man, half-goat appeared, half-dressed in couture-like feathered pants, torso bare and dusted. Galliano quickly gave these goat-men something decent to wear: handsome shearlings and washed-leather jackets. For the underwear portion of the show, barristers traipsed by in updated briefs.
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