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The 10th issue of Fantastic Man for autumn/winter 2009 is out on magazine stands now. It features a dashing Ewan McGregor on the cover. Along with a story on the accomplished actor is a spread with Vogue’s dandy-at-large Hamish Bowels, an interview with Chanel’s cosmetic creative director Peter Philips, a series of remarkable style stories, and so much more.

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Developed by the same duo that brought you BUTT, Gert Jonkers and Jop Van Bennekom have found the most plausible solution for the magazine and publishing fiasco. Rather than put out a disposable monthly with ill considered design and content, they present a tome of aesthetic and tactile pleasure twice a year (though I would be even more pleased if it were quarterly). From the art direction to the fashion editorial to the writing, and even the paper quality, the magazine is flawless through and through.

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EDWARD | If Duckie Brown loses some of it’s oomph when it comes to reaching out to a younger, hipper, man they’ve remedied it with their newest collaboration with Odin. Not just a mere diffusion line, its DB’s interpretation of the Odin man as defined by owners Eddy Chai and Paul Birardi. The collection is a simple mix of menswear essentials, in luxury fabrics and perfect proportions. And the best part is, no piece will retail for over $500. All the Gellers, Ervells, and Hamiltons of the NYC menswear scene better watch out.

  • Duckie Brown and Odin Launch Edward Line [WWD]

Lindsay Lohan and Estrella Arch’s anticipated debut for Ungaro.

 

Glimpsed in the pages of the newest Fantastic Man:

 

“I try to take my PA everywhere. She takes care of the buzzing iPhone, the restaurant bill, and she notes things that might otherwise escape one’s attention. Like the other day, when she overheard a conversation at the table next to us: apparently HEDI SLIMANE will be back in fashion next spring.

– Jina Khayyer   

TopTen

Throughout the menswear collections was a feeling of the late 80’s and the early 90’s, a look back to the soft ethnic inspirations of Armani, Ray Petri’s buffalo style, the era’s strange masculine fervor that seemed at once bullish and poetic, and its hard earned, unbridled optimism. Casting this season has seen a change with more men of color on the runways since the early 90’s, a promising sign of new perceptions in beauty. Something is in the air. That period, like our own, found designers and consumers reconciling a decade of excess and consumption, waning towards an essentialist point of view, and grabbing at any reference they could that would allow them to feel grounded and whole. The best collections understood this energy, absorbed that energy, and transmuted it into something new.

The stakes are higher now than they were 20 years ago. At that time, designer mens fashion was a minuscule niche, its importance no further realized than accessories and handbags. But in the past 10 years it has become an industry engine of its own, more than a platform for fine tailoring; designers have used their menswear collections to voice their perspective on the world and to subvert the male identity into so many varied dimensions. Just in time for the new decade, here are the top 10 collections that are boldly pushing ahead, defining a new era.

AMERICAN YOUTH

Hedi Slimane has been the biggest proponent for youth culture, it’s been his obsession; his early interest in the adolescent figure, his references to skater culture, and later indie rock bands. Since he left Dior Homme it’s been expressed in his photography rather than his collections but the interest is still strong. Now we see Slimane turn his eye towards a specific kind of youth, the American one. In a series of curated films Slimane investigates the genre as an archetype with it’s own mythology as told by some of the greatest film makers of our time (Larry Clark, Gus Van Sant, Francis Ford Coppola). The fashion inspiration to be found in this disc set should prove to be a treasure trove for ideas and a much appreciated glimpse into the current workings of one of fashion’s greatest innovators.

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PRUDENCE | Patrik Ervell is rare bird in fashion in that it’s not exactly “fashion” that he designs. His clothes, based on traditional male suiting, vintage military active wear, and folk references, are more in line with London’s Margaret Howell than any of the avant-garde labels that have gained ground in the past few years. He slowly updates the wardrobe and favors discretion and detail over flamboyance and flair. He’s not one to chase a trend or even invent one for that matter, but you’d be surprised of the growing audience for clothes just like his.

If there is any qualm with the way he works it’s that Ervell’s collections could be viewed as repetitive and predictable, but this season he shook it up by adding prints to his vocabulary. Using oxidization and metallic chemical reactions Ervell developed a “rust” print that created textural interest rather than an ostentatious print effect. The look garners interest but is subtle enough to be worn without having to feel like a peacock. Patrik reprised his slim suit silhouette and updated his signature parachute piecing with a longer cotton jacket. All notable advancements but the collection is a few developments short to make the leap that after 3 years, you’d hope it would. If Patrik could only step out of his comfort zone, or rather expand it, he might be able to give us some real news and not just nice clothes.

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Former Cloak designer Robert Geller has established himself as the top purveyor of clothes for the downtown hipster boy, the male counterpart of Alex Wang if you will. His Spring 2010 collection kept that vibe but this season he pushed his look a bit too close to Lucas Ossendrijver’s repertoire at Lavin Homme. In recent years, Ossendrijver and Alber Elbaz have thoroughly developed a romantic vision for the newly defined Lanvin man. Feminine luxe, playful colors, and a sophisticated boyish humor have made their line one of the most distinct and recognizable menswear labels out there. And it’s a shame I was able recognize it on Geller’s own runway. In this economy, when the need to provide clothes that are truly unique and special is vital, Geller missed the chance to declare a distinct message of his own. His staples were all there, skinny trousers, military jackets, but their filter of Parisian chic was not  convincing enough.

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IMAGE ISSUES? | It’s not that Steven Cox and Daniel Silver ,the duo behind Duckie Brown, are bad designers or that they’re incapable of designing cool clothes, yet when it comes to their styling, casting, and overall presentation it just doesn’t come together. The designers are innovative and their ability to realize their customer in so many directional ways is impressive. For spring 2010 they moved away from the body with ethnic inspirations laying somewhere between early 90’s Armani and London’s breakthrough menswear talent James Long. Their drop shoulder zip-up, overlong jacket, and liquid pleated shorts will be big ideas on either side of the Atlantic. They aren’t afraid of trying out a new idea and often they’ll execute it better than most menswear designers based in Paris or Milan. But whoever is handling their PR and overall image needs to rethink the brand a bit, as good as the clothes are, the message is getting lost. Photos: Marcio Madeira for style.com.

Photos: Betty Sze for Models.com

Photos: Betty Sze for Models.com


DON’T STOP NOW »

FREAKY FRIDAY | Emanuel Ungaro was a master and enjoyed the esteemed pedigree of being one of Balenciaga’s first assistants. His couture was of the best, and in the 80’s he exploded when, along with Lacroix, he defined the look of wealth, excess, and extravagance.

La Lohan photographed by Mert Alas and Marcus Piggott for Interview 2.09

La Lohan photographed by Mert Alas and Marcus Piggott for Interview 2.09

He retired in 2005 closing the couture business and leaving the RTW to his protégé Giambattista Valli. The young designer who shared Ungaro’s Italian heritage masterfully interpreted Ungaro’s Latin flair but clashed with the new owner Asim Abdullah (who had just purchased the brand from the Ferragamos) and left to start his own label. And since then the company has been in tumultuous flux, having gone through a series of design directors in only a few years (Vincent Darre, Peter Dundas, and now Esteban Cortazar have all come and gone). But the eyebrow raiser on this recent snafu is that at the source of their woes is a troubled, former child star with a penchant for theft, drug abuse, and DJ lovers — a Miss Lindsay Lohan.

To say that Lohan was the one that ousted Cortazar is not entirely fair although it is understood the designer is suing the company on the basis that they breached his contract when Ungaro hired Lohan to come on board as “artistic advisor.” Cortazar was never the savant the fashion industry had hoped for when at 18 he was showing his collection at NY fashion week. When it was announced that Cortazar was going to take over Ungaro the industry wished him luck but it was understood but never spoken that the designer had little chance to succeed where so many other and more gifted designers had failed.

The reviews of his three runway collections (a resort collection was shown just as shit hit the fan) were mediocre if not mortifying for the venerable house. The collections lacked the kind of design sophistication expected for Paris or even the young Latina customer that Cortazar seemed to be beckoning, Balmain’s Christophe Decarnin and Peter Dundas (now at Pucci) showed better fare for that customer.

Now Abdullah hopes that celebrity will give the brand the appeal it couldn’t get with a star designer (if faint and distant). They have hired on Estrella Archs, a veteran of Prada, Pucci, and Lacroix, to work with Lohan on the collection. The idea is simple; to tap into the newly revitalized archetype of the rich, vulgar, and sexy woman that Cavalli has been designing into for years but who Balmain has only now made chic and popular, managing to expand the genre far beyond its natural limits.

It’s a bold move and seemingly addled with more problems than a single blog post could list, but in these tough times it’s innovation that will prove successful. Their first collaboration will bow at Paris fashion week this October and while the industry should hold its verdict until the collection hits the runway, it is my gut feeling that this latest tangent in getting Ungaro back on track and out of the red will prove no more successful than any of the previous attempts. But good luck to the two of them, and we shall see.

In recent years fashion has been transformed from runway folly to a full powered entertainment engine. A slew of television programming and movies have seemingly demystified the glamorous industry, awarded the average American entitlement to the secret world, and have democratized a medium that’s main appeal once rested on its exclusivity. Sex in The City, The Devil Wear’s Prada, Project Runway, and America’s Next Top Model all have raised awareness and generated interest for the industry but have failed to promote a discerning viewpoint or even a hint of verisimilitude, churning out shallow lies to hawk beauty products during commercial breaks.

The September Issue is far removed from this “fashion” genre, and is, to be frank and upfront, one of the best documentations of the industry (in this case the magazine world) that has yet to be produced. R.J. Cutler has chronicled the conception and execution of one of the fashion and publishing world’s most cherished tomes: The Vogue September Issue. It is THE issue of the year, setting the tone and the trends for the next six months. For Conde Nast it is an advertising sales coup, for retailers it is a cheat sheet for best sellers, and for a young fledgling designer it is the chance of a lifetime to have your name and your clothes entrenched in the hearts and minds of 13 million women in America. And then some.

chloe-sevigny-fw-2009-opening-ceremony-7Main Entry: ²unisex
Function: adjective
Date: 1968

  1. : not distinguishable as male or female 
  2. : suitable or designed for both males and females

Main Entry: an·drog·y·nous
Pronunciation: \an-ˈdrä-jə-nəs\
Function: adjective
Etymology:
Latin androgynus hermaphrodite, from Greek androgynos, from andr- + gynē woman — more at queen
Date: 1651

       

  1. : having the characteristics or nature of both male and female

     

  2. a : neither specifically feminine nor masculine > 

    b : suitable to or for either sex 

     

  3. : having traditional male and female roles obscured or reversed

     


 

IT’S ALL TOO common mix up in fashion, not understanding the difference between unisex and androgyny, such confusion cheapens the radical realities of transgendered dressing. So when indie magpie, Chloë Sevigny, and hipster retail kingpin, Humberto Leon, put together a genuinely unisex line for fall, I couldn’t help but get excited.

Madonna scammed the subculture in her 1990 hit song “Vogue”, Beyonce has ripped it to shreds with her “Sasha Fierce” persona, even Ciara has recently given a nod to house culture with her newest single “Work”, yet the voguing scene remains in obscurity seen only in its past through “Paris is Burning.” What people fail to find out is that the scene is very much thriving and is one of the most innovative and relentless arenas for expression,  glamor, power, and community–as it has always been. Thank you producers at MTV for allowing your programming to become a voice for something more than arrogant, overfed, heterosexual, alcoholic, slutty, white young adults and their privilege. Visit Vogue Evolution — ABDC’s first all gay dance group — on their space.

MORE VIDEO + PICS BELOW FOLD.

L'Officiel Homme's Tribute to Black Men in 1989

L'Officiel Hommes' tribute to black men in 1989

Raf Simons has established himself as the eminent pioneering voice in menswear. His radical approach to traditional tailoring, youth culture, and streetwear has laid the map for designers to follow. Just as prolific as his clothes is his marketing technique, or lack there of. Simons did not advertise nor did he pander to fashion media, he let his clothes speak for themselves. For his runway shows, Simons was unusual in using mostly street casted models, many of whom were either black or came from another ethnic background.

The idea was that Simons wanted to represent his own reality, to communicate it through the clothes and the presentation, isolated from the status quo of fashion beauty standards. Yet things have changed, Raf Simons’ business is growing and his relationship with Italian clothing firm Futurenet has brought on big business corporate pressures. Since fall 2008, Simon’s runways have been all white.

rafforasicsThe gleam of bright neon on the feet of the models at Raf Simons fall 2009 show has turned out to be a collaboration with Asics. Oki-Ni has them for $371.06 here. Are they a genuine force that only the fashion elite could truly understand or are they in fact the vomitrocity they first appear to be?

Alexander Wang photo via ThreadTrend

Alexander Wang photo via ThreadTrend

Reposted from ashadedviewonfashion.com

Hot on the heels of Obama’s ‘teachable’ race moment- an Alexander Wang request – and a personal thank you

Dear Shaded Viewers,

Hot on the heels of Obama’s remark about the Gates affair racism still haunts America even after Obama’s election. Which ever side of the argument you are on, it is clear that we still have a lot to learn about racism.

A well respected stylist requested clothes yesterday from Alexander Wang for an honored and respected singer that happens to be a woman of color. She received the e mail listed below within 20 seconds of her e mail request.  The story so totally disgusted me that I decided  to publish  the 3 e mails. The first is  from the PR asst, then the stylist’s reponse and finally a thank you from the same PR assistant who was happy to regain her spine and with it her integrity. For obvious reasons the performer, stylist and PR assistant will go unnamed. Of course Alexander Wang is welcome to put forward his own explanation of this unfortunate situation and I would be more than happy to publish it  in this post.

Reply From the PR Asst to sylist’s request:

Unfortunately due to our limited number of samples none of these are available right now for your shoot dates!

Thank you for your request and  I look forward to working with you in the future.

PR Assistant

From the Stylist in response to PR Assistant’s e mail:

Thank you for your quick decision, I am a stylist, whom through out my career, living and working in the industry for 18 years in Europe, cannot imagine such an obviously personal response. As we are referring to the brand ALEXANDER WANG, it sems that he has no intention of ever supporting such singer/celebrities like ______________.and others like her, with whom give him the ground to achieve success outside of the US. How disappointing, that he has allowed this sort of personal decision to be made. As a publisher and editor of my own magazine, I could never underestimate the response or reputation of this matter and of course you are, as a PR asst. forced to send this response by the order of Alexander Wang himself. How shocking and embarrassing this is…wow, All the best, ______________

From the same PR Asst:

I want to thank you for your email yesterday. I had been struggling to keep my integrity intact as PR assistant at that company and your email gave me the confidence yesterday to walk out entirely. You are entirely right about Alexander Wang, and I am proud to no longer be associated with the company. I can now regain my spine and walk tall again.

Thank you again.

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Quietly classic looks from Dries Van Noten, Marc Jacobs Collection, Hermes, and Patrik Ervell

QUIET CLASSIC | Mies Van Der Rohe’s overused adage “less is more” may very well be a cliché but its meaning is especially important for now. Often interpreted as a call for minimalism it could instead suggest “essentialism”- a reduction of form down to the essential rather than the absolute least. What does this mean for our wardrobe? It means that we should resist displaying our taste by how many fashion pieces we can afford and then wear all at once. It means that taste should be displayed via good judgment and possessing the eye and discipline to choose only a few select pieces of substance in model and make. Flashy fashion pieces only serve to expose your lack of fiscal sense as it exclaims the money wasted on a temporary style. That is not to deny the importance of a directional piece here and there, but let’s not be confounded by desires for attention; it’s unbecoming to be a victim.

A good fit, beautiful finishings, lovely fabrics, luxe details, alluring silhouette, versatility from day to evening, and good value… clothes should be acquired with connoisseurship in garment quality, awareness of one’s body, and least of all the need to buy into trends at the sacrifice of your individuality. You will be amazed at how much more they say.

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I could go on about how Dries Van Noten has been solely responsible for elevating ethnic motifs and inspiration into the sophisticated sartorial echelons and bringing them into our urban world. I could also go on how as one of the most copied womenswear designers in the world he outshines that genius with his menswear collections. I could also say, that as a designer who has kept his profile low (no advertising, no PR tricks), he has been able to offer some of the best quality and lowest prices in his market…

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Ricardo Tisci’s hard edged, flagrant, and often questionable in taste collections have been given a lot of flak, his latest menswear presentation for Givenchy is no exception. For spring 2010 he reprised his Latino hero, this time with souvenirs from a trip to North Africa. In the context of European fashion, where Milan and Paris reign and where it’s a predominately Caucasian audience with “Europeo” tastes, his collections are indeed tacky, vulgar, and what some may consider tedious. But you move to the Latin or even the Urban world and its meaning changes from that of vapid flash and charmless bling to a harmonious mix of cultural expression, as relevant and potent as the lives beyond white Europe and North America that they are inspired by.

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Absent from men.style.com and almost completely unknown to even the most astute fashion followers, Giuliano Fujiwara is slowly creeping back into the awareness of the industry and consumers. They’re doing it with stellar collections designed by Masataka Matsumura who has done much over the past few seasons to return the house to it’s former heights in the early 80’s and 90’s.

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