Article by Marriam M Mossalli – Arab News
Last week, you got front row seats to Kenzo, Dior Homme, Hermes and Qasimi. We traveled from the old traditional minimalism of the Dutch Amish to the futuristic Armageddon of the Arab nomad.
Today, Arab News brings you the second edition of coverage from Men’s Fashion Week in Paris. Highlighting the lines of Lanvin, the Amish classicism of Louis Vuitton, and the modern minimalism of Rick Owens, we tell you what to covet in order to be flawlessly en vogue for next fall.
Louis Vuitton Autumn/ Winter 2011
Louis Vuitton
Although Roy Orbison’s “In Dreams” from the 1989 Lynchian masterpiece played background to Louis Vuitton’s Autumn-Winter 2011-2012 collection, no Blue Velvet was seen on the runway. Instead, menswear Studio Director, Paul Helbers, under the artistic direction of Marc Jacobs, explored the ultra simplified palette of the Amish, with bold injections of eccentric oddity, inspired by surrealist film director, David Lynch.
Describing this unique pairing of Amish design elements with Lynchian overtones, Helbers evokes an “unworldly boy wanderer” as he discovers America. “We have gone back to cut and construction, which is why this collection is almost all black to emphasize shape and technique. Jackets are sculpted around the body almost like shields. The intrigue comes in contrast materials like rubberized, matte Macintosh with metallic python and sun bleached wide wale corduroy in unexpected combinations that take on a new beauty.”
The somber minimalism of the conservative Amish inspired the predominantly monochromatic black palette of this collection, while flashes — and sometimes floods — of Motel Red gave it an undeniably Lynchian narrative. Matte and shine contrasts added to the surrealistic oeuvre of the collection. In the Amish tradition, buttons were replaced by more discrete hook and eye closures, while shapes were more robust and possessed conservative scoop necks. Velvet dress jackets and coats, as seen in Lanvin, were also a staple for LV.
Louis Vuitton Autumn/ Winter 2011
Ties softly belted jackets and pants, or were looped around like a scarf, instead of worn in the traditional manner, knotted at the neck. Knits were tailored like jackets, and woven tailoring mimicked knits. Even the Amish macramé provided an overall softness punctuated by sharp, tailored details. The Amish undertone was seen again in band collar shirts and jackets patched in stripes, on the sides and sleeves. Muted patterns gave the coats texture and an alluring mystery.This winter, the LV man possesses an enigmatic demeanor that is both seductive and envy inducing. The jackets are a must-have, while the entire collection appeals to both the conservative and avantgarde dresser. The last look in particular consisted of a black blazer in “Frayed Monogram” dévoré velvet, with a needle punch pattern and hand embroidered sequins of forbidden embellishment that perfectly captured the essence of wandering luxury. Take my word for it, that jacket is sure to be a pre-ordered favorite amongst most Kuwaiti men! And it wouldn’t be a Louis Vuitton show without the accessories! Iconic bag styles were presented in new permanent leather, Damier Infini — ultra-soft leather embossed in LV’s signature check. The Keepall, Neo-Greenwich and Porte-Document de Voyage were showcased on the runway in Motel Red, Glacier Grey and Anthracite — one of the main colors of the season. In addition to this new leather statement, briefcases and small satchels, adorned with trunk locks, were reproduced from vintage Louis Vuitton models as an ode to the renowned house of luxury.
Lanvin Autumn/ Winter 2011
Lanvin
“A visual essay on how to make young men elegant, but with a 21st-century aesthetic.” (Fashion Wire Daily)
It’s unanimous! International editors all agree: Lanvin’s Fall-Winter collection was an unrivaled exercise in the art of tailoring that undoubtedly places this show among the top five of the season.
Men’s designer Lucas Ossendrijver and Lanvin creative force Alber Elbaz brought their usual surreal flair to fashion with a collection that manipulated the male silhouette and redefined the contemporary notion of classicism. The mix of Old World tradition and raw edginess of the future clashed together to form a surreal and subversive collection that was tailor-made for the Lanvin man. Re-interpretations of the 1920’s Oxford Baggies were seen billowing down the runway through Ossendrijver’s unique cuts, which he described as “tailoring used in a sportswear way.” Tapered, slim trousers of woolwere also present, but it was Lanvin’s baggy slacks that stole the show, especially when paired with sharply tailored and tightly fitted jackets. The young models strutted down the runway with a furious confidence of the wolf of Red Hot Riding Hood by American animator, Tex Avery. Wide-brimmed rabbit felt fedoras and Bordeaux lambskin gloves further accessorized them into the world of the forward-thinking, and often controversial, animator.
Lanvin Autumn/ Winter 2011
Calfskin and python loafers brought an old school sophistication that Lanvin is synonymous for, while magnets instead of buttons added a contemporary casual touch to reinterpreted double-breasted officer coats. Lanvin’s collection was classic on the surface and cutting-edge and modern in the details — the quintessence of Lanvin’s tour de force of bringing the gentleman allure of the past back to the present. For Elbaz, this collection was “a return to elegance — the word is always being used to describe old people. When you talk about the young, it’s always ‘cool’ or ‘sexy,’ but we wanted to introduce elegance to the young.”
As girls often reiterate: “I want Lanvin, not flowers!” — a motto the brand often decadently sequined on shirts and girls often dreamily chant — will no doubt be adopted by men all over after seeing this winter’s collection.
Rick Owens
“Service, duty, devotion… we don’t hear those words enough,” mused the designer, Rick Owens, whose inspiration seemed to span from Ancient Egyptian slaves to spiritual Tibetan monks. His outerwear reflected the designer’s signature flair for introducing contemporary cuts, from the slightly cutaway blazer that opened the show to the closing of puffed jackets.
His collection contained the type of primal aesthetic that makes Owens a favorite amongst those who yearn for modern minimalism. The black leather skirt worn over pants was the latest variant of an Owens signature and was a repeated look on the runway. Speaking for Khaleeji men, Rick Owens explains the appeal of the traditional garb with its open skirt dress. “A guy wearing a dress is such a functional thing, easy as a flannel shirt. Extreme and practical at the same time.” The short kilt-like skirt was reminiscent of drawings one might find inside the ancient pyramids of Giza, while the cowls and robes toward the end of the show possessed a pious mien of popes, priests and monks. Owens also got in touch with his inner warrior with elaborate sashes that evoked the deconstructed obi of a samurai and crisscross metalwork that appeared as a visual representative of a bandolier.
Rick Owens Autumn/ Winter 2011
Rick Owens Autumn/ Winter 2011
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