Martine Rose Fall 2020 Menswear

Martine Rose Fall 2020 Fashionado

“This is my daughter’s school, and it’s really great and optimistic. I just wanted everyone to feel that,” said Martine Rose. “Kids, young people, education are our future and we should invest in them. Primary schools are magical. The teachers are here, there’s a lot of people with kids—it’s another community, isn’t it?”

People still talk of the open-air show that Rose put on in a neighborhood square in Chalk Farm for summer 2019; it really was one of those atmospheres that make misty-eyed memories. She was one of the first designers to sit a fashion audience among local residents. Warm, friendly, inclusive vibes, without being saccharine, are what she’s very good at fostering. This time, we were sitting in the hall of the public school that Rose’s four-year-old attends, surrounded by children’s art, banners commemorating the anniversary of the women’s suffrage movement, and boards asking kids, “What kind of leader will you be?” It created that same sort of local family vibe, to start with.

As a character, Rose is a strange mix of unpretentiousness and self-belief. One of her favorite games is playing with logos and slogans. “Martine Rose Expect Excellence” read one. The words “Tottenham, Croydon, Clapham Junction, Tooting” were woven into jacquards on her big, lairy tailored jackets, name-checking all the areas in London that Rose and her family have lived and worked in. She’s actually a champion of the ordinary and the bizarre—and her talent in fashion is that she doesn’t make any distinctions between them, or between what’s considered beautiful or ugly. “The inspirations are always the same. It’s always about outsiders,” she said.

Nor does she particularly comply with seasons, or doing something completely new every time she has a show, which is according to when she feels like it. Her street-cast crew were indeed her avatars of oddness, from the side-swiped frizzes on the top of their heads, to the margins of extra sole beneath their feet, in collab with Six London, according to show credits.

In between, Rose clothed her neighborhood heroes in pieces she said she’s reprised from her archive, “with a bit of friction” from something sexy. Black latex made an appearance as she cut a signature wrap-fastened jacket as an elongated coat-dress, and put kilt buckles on a tight, shiny pencil skirt. Womenswear? No, she hasn’t really done that before. Rose may be a responsible, education-promoting mom of two in her 40s these days, but it was no stretch to imagine her in these bits and pieces back in the day when she was dressing up to club in the ’90s.

Those who buy Martine Rose are, similarly, believers in the offbeat and the slyly subversive, as well as others of the romantic persuasion that there is or ought to be an underground way of dressing. (Whether that’s actually been killed off in the age of constant self-documentation by Instagram is a moot point.) If she intends it or not, her black leather western waders are a dead cert for a street-style pose-parade outside some show at a men’s fashion week in the not very distant future.

There is a lot to appeal to the male fashion geek too: Those who are in the know understand what the Farah brand meant to the Jamaican community peacocks of style in the ’70s and ’80s, including pants with perma-creases, as worn by Rose’s uncle, “but this time expanded to XXXL proportions.” Messing with heads and proportions is also a Martine Rose specialty. The way she belts trousers hitch-up high with a spoof circular metal R-logo buckle, for instance. Ditto with her interpretation of the Casuals’ habit of knotting sweaters around their necks on the way to soccer terraces and pubs in the ’80s; she’s melded the shape to become scarves.

Others may be attracted to Martine Rose pieces because they are just cool and simple to wear; men who don’t want to be carrying a massive brand overstatement around with them. The checked coats fit that practical bill; so do her frill-front shirts. Geek fact: When she started out on her own over a decade ago, Martine Rose tested the waters with a small line of shirts. The waters said that a tide of in-people, designers, stylists, and editors wanted to get their hands on them. Which is how, little by little, Martine Rose became one of the most influential designers’ designers, while remaining exactly who she is, becoming a doting mom, and proudly showing off the neighborhood she comes from. Cheers to all of that, Martine.

Source: Vogue

FASHIONADO

Charles Jeffrey Loverboy Fall 2020 Menswear

“It was a modern-day Scottish sacrifice,” said Charles Jeffrey at the beginning of his show debrief. There was an installation of a hollowed-out tree hung with CDs and topped by a disco ball silhouetted against the dark on a platform at the end of his runway—a place for the ritual propitiation of the ancient, abused forces of nature. So it seemed, as his characters came and went, some dressed in costumes hung with horse brasses and sporting huge equine quiffs, others in Loverboy tartans, and still more in pannier dresses. Another sect looked like a cult of eco-paganists clinging together in their own dance of lament.

Let’s leave the narratives aside for a minute. What you see in these show pictures, shorn of surrounding context, is a clear view of his most accomplished, extensive setting out of his stall as a designer yet. Jeffrey has traversed that stage of his career where he’s presented generalized symbolic statements and reached a point where his tailoring fits impressively and sexily, starting with a teal all-in-one trompe l’oeil suit. His waisted, puff-shouldered jackets, flared asymmetric suits, and tartan trousers have magnetic swagger, and he’s gathered in a put-together softness in flower-sprigged prints. Good dresses. Great coats. Fun, bright Loverboy-fanboy sweaters and jersey polos.

There was a two-sided press release with this show. On one, a swirling, free-associative Scottish reel through folk tradition, art inspirations, and reimagined Glaswegian youth culture, undercut with intergenerational anger: “An older, hidden generation have made brutal calculations, and we’ve inherited their catastrophe.” On the other was his densely printed “Manifesto For Conscious Practice,” which contained the most salient takeaway. “We are working every day to improve our processes and working practices to ensure that we mindfully and with accountability respect our environment as much as we respect the people on whom the brand relies,” it began. “As part of this drive we are continuing to place equal value on human wellbeing alongside financial growth.”

Performing and costuming a fashion show confrontation with dystopian ecological disaster is one thing—many fashion shows have an undertow of this today. It’s another matter to actually do something concrete about it. Jeffrey is making that effort. Having gathered his team to study the weekly online sustainability course offered by the London College of Fashion, he is establishing better practices.

For Jeffrey, it goes beyond choosing to use GOTS-certified cotton, cutting down on chemical processes, and using recyclable plastic in packaging. “I think it’s about localism,” he said. “It’s about making sure that with the people you hire, that you’re giving them opportunity and training them. In a logistical way, too, it’s making sure that nothing transports too far, that fabrics are sourced nearby; that our teams go out to the factories we use to make sure the standards are okay.”

It was localism which circled him back to his Scottish roots for this collection. “I visited the Orkney islands and witnessed this pagan ceremony which has been going on for over 200 years. It’s a pageant that’s all about loving nature, amongst the rural families that live there.” The Horse Ceremony of Orkney involves ploughing contests and elaborate hand-crafted costumes. Their influences permeated the mad Teddy Boy horse-mane quiffs, the leather harnesses, and the lines of pom-pom, heart-shaped embroideries. Traveling on to Glasgow, he studied Margaret Mackintosh’s arts and crafts flower drawings.

Back to nature, again. Charles Jeffrey is a responsibility-taker and a realist; he didn’t hold back on acting out the doom he and his younger employees fear in this show. But he’s nevertheless a romantic, and a leader too. That must give those who work for him a rallying, optimistic sense of fun and purpose, even as they put on a show warning of impending disaster.

Source: Vogue

FASHIONADO

E. Tautz Fall 2020 Menswear

“Fashion, a world of consumption and destruction that heaps misery upon human beings and reaps damage on the planet on a scale almost no other industry comes close to matching.” Phew. It’s fair to say that Patrick Grant sounded pretty agonized in this E. Tautz collection’s press release. Happily, that agony resulted in a 26-look set of clothes that prompted, well, if not quite ecstasy, then certainly something much improved upon misery.

Grant is a designer whose refined throwback sensibility—Savile Row 2.0.2.0—very often results in beautifully silhouetted and fabricated menswear which sometimes skates perilously over the thin ice of anachronism. Here we saw it again in a collection that combined hints of lubricious decadence (especially the sexy, luxe-trashy asymmetrically paneled Louboutin pumps over tube socks) with wide-eyed schoolboy Englishness (or at least Edinburgh-flavored Englishness) in surgically cut post-Oxford bags and matchy-matchy tropical twill chinos and blousons.

As shoehorned-in via that opening quote, however, the emphasis here was on sustainability. About 50% of the collection Grant reckoned was made from repurposed fabrics, much of it provided by Astco, an industrial recycler whose boss happens to be a Grant bespoke client at Norton & Sons and who pitched in with the denim and shirting. Then there was the darning and patching, executed by students from the Royal College of Needlework (also an often-time collaborator of Sarah Burton’s). This saw irregular check patches insinuated upon herringbone outerwear, or herringbone patches upon check suiting, or layers of differently washed denim patched onto denim. In the suiting especially it was interesting, adding a depth of patina and pentimento, a roughness, to that most surface-defined of menswear genres.

Backstage Grant railed like a Shakespearean lead with a BBC reality show contract about the conflicting instincts that mutual fealty to fashion and ecological survival stir up, then disclosed he has started darning his clothes, which in turn prompted a very senior and glamorous Hearst editor to disclose that she now darns her pantyhose (is Hearst in trouble?). The fundamental point about E. Tautz is that if you like it then buy it because the quality is superb. You will wear it until you, not it, are due for recycling. Unless we all decide to go naked, that’s about as ecologically sound as fashion can be.

Source: Vogue

FASHIONADO

Bianca Saunders RTW Fall 2020

Bianca+Saunders

Bianca Saunders re-created dancehall parties for her presentation and focused on movement and contrast for her new collection. The space was sectioned off into curtained partitions where models grooved to dancehall music. “I wanted to create a peep show idea of the dancehall scene, because dance can be quite sexual and when you’re at a club, despite being surrounded by people, you’re very much in your own moment,” she mused.

Despite their tailored construction, the clothes were designed to dance in. Saunders curved seams, twisted fabrics and moved shoulder seams closer to the neck so that it would shift. Long overcoats had double hems that moved easily over long and loose shirts. A bleached and fluid denim ensemble stole the show.

By altering its construction, Saunders breathed new life into these men’s wear staples.

Source: WWD

FASHIONADO

Roland Mouret Pre-Fall 2017

Roland Mouret Pre-Fall 2017

“They know exactly what they want."

-Roland Mouret

Roland Mouret Pre-Fall 2017

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