Last contribution of the year by photographer Adrián C. Martín, this is the work I did for the erotic wear from brand MaleBasics. The model is Gabriel García, who is also a profesional dancer.
↧
Professional Dancer Gabriel García by Adrián C. Martín
↧
Max, Liam & Antonny by Santy Calalay
Max, Liam & Antonny from PRIMO Mgmt these buddies having a sexy real prime time in Sai Ying Pun, Hong Kong, shot by talented Santy Calalay.
↧
↧
“Behind The Scenes” Photoshoot with James Rothschild
First suitable submission phoshoot by photographer Jeremy Holden, come and meet his work features James Rothschild. Jeremy quoted: –“The concept of the photoshoot was of something that resembled a set & hence, we’ve dubbed it “Behind The Scenes”. Both Paul dela Merced & I collaborated with South African model, James Rothschild, who is represented by AVE Management”. Apparel were a mix of Zara & HOM.
Creative Team:
Photographer – Jeremy Holden (http://jeremyholdenphotography.com/)
Concept/Stylist – Paul dela Merced (http://pauldelamerced.com/)
Model – James Rothschild from AVE Management
↧
UP ON THE ROOF
Up on the roof is Uruguayan male model Alexander Lyson a beautiful fit young blond male model where all spotlights are obsessive with him in Lima Peru. Photographer Angel Ruiz has a splendid clever eye to capture the best assets.
And if this world starts getting you down
There’s room enough for two
Up on the roof
↧
SUMMARY 2015: BEST PHOTOGRAPHERS BY FASHIONABLY MALE
Best Photographers of 2015 summary and highlights, everything you need to know. According to Fashionably Male stats of 2015, these are the best shots, visitors, readers & followers supported this posts through this year.
15 – FASHIONABLY MALE PRESENTS DIEGO MARTINEZ BY LIDIA APARICIO (NSFW)
14 – EXCLUSIVE FOR FASHIONABLY MALE CAM ALLISON BY CALVIN BROCKINGTON
13 – NSFW |COLBY KELLER & WILL WILKE BY GABE AYALA FOR TYPE/FACE MAG
12 – FASHIONABLY MALE EXCLUSIVE QUINTON WYNN BY MICHAEL DAR
11 – STEVE RAIDER BY PARIS DE ARES
10 – QUINTON WYNN BY HAYDEN SU
9 – RUSSIAN HUNK ANATOLY GONCHAROV STRIPS DOWN
8 – STOP AND STARE A NEW BEN TODD CAPTURED BY HAYDEN SU FOR FASHIONABLY MALE
7 – KIRILL DOWIDOFF BY SERGE LEE PHOTOGRAPHY
6 – NSFW: WHO’S JULIAN JIAMACHELLO
5 – WARWICK ROWERS 2015: NAKED FOR YOU, ME, AND EVERY LGBT
4 – ROY ROBSON SPRING/SUMMER 2015
3 – NSFW JULIEN BY MIKEL MARTON PHOTOGRAPHY
1 – NSFW EXCLUSIVE FEATURING PABLO HERNANDEZ BY MATTHEW MITCHELL
SO BY THE TIME WE FINISHED OUR RANKING OF THE BEST PHOTOGRAPHERS, ACCORDING TO OUR VISITORS AND READERS, THESE WERE THE BEST PHOTOGRAPHERS OF 2015. WE LOOK FORWARD TO YOUR COOPERATION FOR THIS 2016. BUT REMEMBER IS NOT A COMPETITION. THIS IS ONLY FOR INSPIRATION.
THANK YOU VERY MUCH FOR THE BEST PICTURES YOU HAVE SHARED EXCLUSIVELY FOR FASHIONABLY MALE. HAPPY NEW YEAR 2016 AND BEHOLD THERE’S WAIT TO COME…
↧
↧
SUMMARY 2015: BEST MALE MODELS BY FASHIONABLY MALE
They are coming to stay, giving their best face, strinking to pose their bodies, to be a male model is rough nowadays.
Here are the best revelations and newcomer and also top models, according to our stats from January to December of 2015.
15 – DUSTIN MCNEER BY FRITZ YAP
14 – STEPAN PEREVERZEV BY SERGE LEE PHOTOGRAPHY
13 – JARED NEWMEYER FOR FASHIONABLY MALE BY JEFFERY BEASLEY
12 – DEREK ALLEN WATSON BY DAVID WAGNER
10 – EXCLUSIVE FOR FASHIONABLY MALE JESSE INGLIS BY RICK DAY
9 – SAM MORRIS X JOE MCCORMICK
8 – EXCLUSIVE FOR FASHIONABLY MALE ALEX DERITA BY JEFFERY BEASLEY
7 – ADAM PHILLIPS BY LUCAS FERRIER FOR DOMINUS MAG
6 – BLAKE POSTMA BY RAY JOHN PILA
5 – CASEY FIELD BY LUCAS FERRIER
4 – COLE MONAHAN FOR JÓN MAGAZINE
1 – PIETRO BOSELLI BY DARREN BLACK PHOTOGRAPHY
WE WANT TO THANK EACH AND EVERY ONE OF YOU WHO VISIT, COMMENT, GIVE LIKES, AND FOLLOW US ON ALL SOCIAL NETWORKS. THIS SPACE IS TO INSPIRE, MOTIVATE AND CARRY ON. WE HAVE MANY SURPRISES FOR THIS 2016.
HAPPY NEW YEAR!
FASHIONABLY MALE
↧
MARK RONSON FOR LA CONFIDENTIAL MAGAZINE BY KARL SIMONE
British DJ producer Mark Ronson is in the new cover of LA Confidential Magazine the full fashion story photographed by talented Karl Simone connected with stylist Kashi Mai Somers to make a great work. Mark besides a really good musician, looks so stunning in Dolce & Gabbana dress and shoes, some Marc Jacobs shirts, Gucci and Jimmy Choo slip-ons.
You really got the beat of Mark Ronson’s hit “Uptown Funk” feat. Bruno Mars:
Get now
Enjoy!
↧
Andrew Coimbra Spring/Summer 2016 Campaign
Andrew Coimbra released his Spring/Summer 2016 campaign, featuring Brandon at MSA Models NY, Erik at Swish Model Management, Steve, Jason, Matthew, Travis, Sadiq, and Dale at Plutino Models, shot by Mckenzie James.
source: fuckingyoung!
↧
Topman Design Fall/Winter 2016 London
LONDON, JANUARY 8, 2016
by LUKE LEITCH
Back to Hogwarts! The first show of the menswear month was all about snap catch-ups—What’s up with your hair? Does my face look suspiciously immobile? Which Jonas brother is that?—and sniffing for the first spoor of the season ahead.
Gordon Richardson and his Topman Design team delivered a collection with an Oscar Wilde skater-boy vibe. Backstage, further categorizations were pitched thick and fast, from grunge to analogue to athleisure to feminine to fearless: Richardson delicately evaded them all. “It should be the right mood for now, but whatever the right word for that is, I don’t know.”
Post Alessandro Michele, certainly. Topman and its sister are intensely sensitive to the lightest gust of aesthetic consensus; here the florals, the blousy shirt hems used as skirting under jackets, narrow waistcoats or robes, plus the anonymizing voluminous blanket/duster coats, and the lushly unorthodox color palette were touched by 2015’s nu-Gucci hurricane. There was an admirable depth to the pentimento layering of decorative fabrication techniques: Dévoré velour was double-printed and watermarked.
Jackets featured hard, defined shoulders but were unstructured below. They fell way down the body to complement loose, gently fluted trousers, invariably over suede sneakers with embroidered floral details. The silhouette inhaled again via a high-waisted tarnished-finish biker and a shearling-collared and pocketed nylon blouson. A turmeric flared suit in crushed velvet would have seemed a challenging sell 18 months ago—especially for a brand as youthful as this one—but today the suggestion seemed reasonable. More bankably desirable were the embellished washed denim looks, just a touch oversized, and those fuzzy warm overcoats.
↧
↧
Nasir Mazhar Fall/Winter 2016 London
LONDON, JANUARY 8, 2016
by LUKE LEITCH
To raise Nasir Mazhar’s hackles, just say, “streetwear.” He palpably snarls at a word he feels comes laden with an implicit marginalization. That might just be a little oversensitive. Yet he delivered a comprehensive rebuff to any such marginalizers—real or just perceived—in a collection peopled by imagined clubbing characters as richly cast as their clothes were diverse. The Darth Vader bucket-head looks were attention grabbing, if stagey. Much more pragmatically memorable was a fitted tracksuit considerately ruched to inflate the man within. Dance floor lingerie for men and women, liberally strapped and worn over pulled-down denim, was effective podium provocation.
With the exception of some ironic white piping and two feathered arcs around his name on a logo sweatshirt, the collection was all black—Mazhar said he was taking a sabbatical from color. In photographs this inkiness will swallow up detail, which is a shame because there was a lot of it; the intricate folds and layered construction on many of these looks gave the illusion of technical function both tough and pretty. There were tangible nods to old-school woolen Yukon workwear rendered in nylon, a knowing hat tip to clubbing codes past in a shawl-collared jacket, and even hints of Jacobean jerkin in his gilet shapes for men and women. It is streetwear—sorry, Nasir—but that’s to belittle neither the medium nor the exuberant invention of this collection.
↧
Craig Green Fall/Winter 2016 London
LONDON, JANUARY 8, 2016
Ask Craig Green—British fashion’s favorite conceptualist—how he feels about being labeled thus, and he wrinkles his nose a bit and grins incredulously. “We never start with a concept,” he shrugs. “It’s just things that feel right.” Maybe that’s why Green’s shows, and his clothes, resonate quite so loudly. There isn’t a great deal of gumption being thrown around when he describes his clothes: It’s all about fabrics and techniques. And Sylvanian Families. “They inspired all the colors at the start,” he said, swiftly adding, “. . . maybe I shouldn’t tell you that.”
As ever, the layers of references embedded in Green’s garms are only matched by the ones each individual viewer reads into them. All those small parts add up to a big whole. It links back to what feels right: This time, Green was thinking, in abstract terms, about the new and the old, about disposability—he mentioned tear-away hospital scrubs, which his clothes often superficially resemble—versus things you keep forever. “Like the blankets,” he said, throwing his hands wide to indicate the intricately embroidered, quilted, washed, and re-washed coverlets that resembled the ones Linus clutched in the Peanuts comic strips.
Those ideas were played out again and again: A bouclé was, in Green’s words, “like an old towel”; silks and leathers (the first time Green has used either) were heavily processed, by hand, washed, and re-washed, the subdued sickly colors a riposte, he said, to last season’s acid brights. By contrast, other garments were either strapped firmly—permanently—against the body, or dissected by lacing or buttons only half fastened, as if caught in a moment before furling away. That notion, of the dispensable versus the everlasting, is something fashion is tussling with as part of a bigger picture right now. It’s why brands are differentiating between “fashion” and “luxury,” the former referring to flibbertigibbet seasonal upheaval, the latter to staid styles built to last forever. Conglomerate CEOs are struggling to wrap their heads around reconciling those two antithetical conceits; seeing a designer as green as Green nailing it is arresting.
Thinking back to Linus, and indeed to all our childhood blankies, I couldn’t help but stumble across the notion of protection. That’s why we cling on to those scraps of cloth, after all—to feel protected. Green opened his show with a tailored hazmat suit—he referenced uniforms; layering tailoring; the pourpoint doublets of medieval knights, stuffed to pad out the convex shapes of plate armor. Green called the down-stuffed pads clutched in models’ hands or dangling from their belts his “punching bags.” He was initially going to strap them around his models, as if armoring them against the world.
It’s difficult to pinpoint why this collection felt so right, as Green says. But it did. Perhaps it’s because, as global financial markets shudder, again—$2.3 trillion was wiped off them this week—we all want to feel protected. Maybe Green himself feels wary, and unsure, a young designer showing in a turbulent industry, whose very foundations are shifting as we watch. But how prescient he built protection into his collection, because Green’s clothes—his talent—are just that. They’re his armor against the vagaries of the fashion world. And they’re utterly exceptional and unique. No concept needed.
↧
Richard James Fall/Winter 2016 London
Richard James has a mean copywriter. Read this abridged opening stanza from his Fall presentation notes: “The collection sounds its horn hard, hoists the red ensign, and puts its exotic cargo under a silver gray sky at London’s docks in 1935.” It was enough to conjure a pretty vivid (and cacophonous) imaginative vignette while waiting for showtime. (I kept thinking about the boarding scenes in Titanic, admittedly 20 years earlier and not in London, but full of seafaring English grandeur nonetheless.)
It was often compelling to see the execution of Savile Row dandyism meeting early maritime industrialist touchpoints; a Prince of Wales–checked suit, for example, reflected that steely London mist in palette and a nautical (daresay, naughty-cal) lean through its widened lapel and double-breasted blazer. Another yellow gray jacket, also double-breasted but boxier and not part of a suit, captured the “cool cachet” of ocean-going when worn over a basic polo shirt. There were some question marks, though. The frequent use of teal, a hard color if ever one existed, steered the catwalk at times into fussy waters. Ditto for a semi-ombré turtleneck jumper woven in over-saturated Union Jack tints. However, if you’re a James loyalist, you’re a color loyalist in tandem, as the brand has never been shy of a strong hue.
What functioned most impressively here (and, somewhat ironically, what also felt the most contemporary) was an adherence to the deeply English roots of the collection’s nexus. A melton jacket with a narrow double-closure of buttons (its rusty threading certainly recalled the shipyard) and a cinnamon, high-sleeved trench satisfyingly fitted the focus.
↧
Christopher Raeburn Fall/Winter 2016 London
This collection was full of fine clothes which many men—this one included—would be delighted to alight upon in-store. The denim, quietly adrip with the rounded-tipped lines of a Germain raindrop camouflage, was dark and sleek and gorgeously made. So too was the broad selection of enveloping, brown or gray wide-yarn oversize knits and their more fitted leopard or rain-camo intarsia finer-gauge cousins. There were some fine flashes of a very slightly off-tone red—almost precisely the same shade that we saw at Maharishi and Astrid Andersen yesterday—on an opening parka and an interesting cross-body bomber inspired by Christopher Raeburn’s Mongolian source material. The last two looks made from recycled army snow ponchos were satisfyingly Muppet-esque show-closers, but most of this show’s parkas and bombers and the rest of the usual coat-rack suspects were notable for their restraint. That red and those raindrops apart, there was little of the quirk Raeburn usually delivers. As a show experience it lacked shock and awe.
Backstage Raeburn, 34, was rightly proud of the fabrications and balance of this collection. He is moving to a new studio soon, and has cultivated retail partnerships that include Dover Street, Selfridges, and Harrods. He said: “The other thing for me, being honest, is that it’s exciting growing up with the brand. Maybe there are things that I designed five years ago that I’m too old for now.”
Here in London we want to have our cake and eat it; we lament when a fashion designer who started on the fringes with something experimental to say later produces more modulated, conventionally pitched, commercially conceived clothes instead. And then when British designers fail to find business success and are forced to shutter, we wonder why. Today Raeburn chose the wiser course—for when push comes to shove, what’s the approval of the few compared with the custom of the many?
↧
↧
Alexander McQueen Fall/Winter 2016 London
The challenge facing Sarah Burton each menswear season is considerable, yet can be concisely summarized: How to work within the McQueen confines of tailoring, without winding up on the stuffy side of the fence? The label’s founder apprenticed at one of the starchiest and most traditional houses on “The Row,” Anderson & Sheppard, making suits for the Prince of Wales. But he used that tradition to buck the system—more visibly for women, granted, on whom an impeccably tailored menswear suit can look sharp and a little subversive, rather than staid.
For Burton, some seasons are more successful than others. Like this Fall. The designer started off, she said, in the London museum devoted to Sir John Soane. That ignited an interest in collecting, specifically in Charles Darwin and his voyages to accumulate specimens. “Talismans,” Burton called them. “Collecting, traveling. Obsession.” Obsession is a great word for McQueen clothes—and this collection was obsessed with McQueen talismans. The specimens Burton alighted on were butterflies and moths, examples of which were woven into the very fabric of her tailoring—jacquards laid out like a lepidopterist’s dream ensemble, or embroidered in swarms across coats and blazers.
Moths are, of course, a McQueen talisman—live versions appeared in two of his shows, their likeness in numerous others. They were the most evident manifestation of a number of classic McQueen references here today, culled from collections for him and her alike. For Fall, Burton’s McQueen men had their own contemporary savage beauty, with their punkish, pierced faces, cheeks seemingly impaled on safety pins dribbling filigree chains. “I would never dare call it ‘street’,” Burton balked. “But I wanted it to feel relevant to now.” The collection did, even when it boldly trod on Lee McQueen’s toes, in frogged hussar’s jackets and red barathea wool scrolled with jet, couture, and Victoriana melding together. Those were atypical menswear, but typical McQueen. The menswear references were archetypal British tailoring—officers’ mess dress, voluminous greatcoats, tautly cut double-breasted suiting. The feminizing touches were subtle—ribbons of velvet hemming coats, or as tuxedo-stripes trailing past hemlines, embroideries of jet and diamanté, and all those butterflies. But they had impact.
“I wanted to take the stuffing out of it,” said Burton. She was referring to softer tailoring specifically—silk jackets and coats based on foliate oil paintings, for instance, or the chiffon overlay on wool. But she could have been talking about the collection in general, where wing-collared shirts were starchy but came without ties and trousers, slouched over down-heel sneakers.
Burton could also have been talking about her kid-glove attitude toward Lee McQueen’s legacy—a legacy that has been seen by more than a million people, across two continents, in that “Savage Beauty” retrospective. That was womenswear-specific, but there has thus far been a hangover in her menswear shows, which have sometimes felt like museum pieces, staid and reverential; and other times like a museum’s gift shop, packed with crass looky-likey spin-offs designed purely to make money.
Subtly deferential rather than overtly referential, covetable rather than commercial, this McQueen collection trod another path—namely, its own. That Burton is able to do this without abandoning the house’s hallmarks and legacy is a mark of her swelling confidence, evident—finally—for men and women alike. This was as strong as any show she’s presented in Paris. The McQueen moths summed the whole thing up: They originated in memento mori, Renaissance paintings packed with hidden meaning that act as reminders of our own mortality. There, moths and butterflies symbolize the soul. It’s appropriate that they proliferated here, because soul was something this McQueen collection had in spades.
↧
Moschino Fall/Winter 2016 London
Jeremy Scott’s Moschino is polarizing, but undeniably entertaining. His brand of humor is Pop-ier, wackier, more sugary than Franco’s, but that’s not a negative: Scott is a designer who hits the bull’s eye of contemporary look-at-me preoccupations. Everything he shows can be Snapchatted or Instagrammed pretty much without hesitation. The collection he unveiled tonight, in a Mayfair church setting, was as vivid as ever, yet there was a shrewdness apparent, thanks to collaborative input from British agitprop artists Gilbert & George.
“I wanted to do supersaturated clothes, so I had tea with them,” said Scott. “And as I was telling them my ideas for the collection, they said, ‘Why don’t you take from our archive?’ So from the crosses to the heads to the slogans [which appeared fast and furious on virtually everything] there were so many wonderful things I was able to incorporate.” Evidently, G&G’s color-rich graphics had catalyzed yet another chromatic tsunami in Scott’s ever imaginative brain—his Fall collection was a rainbow in druggy, rave-y neon, right up to fluorescent-painted earlobes and coifs. (The chapel surroundings called to mind the Limelight, a ’90s Manhattan nightclub which was also located in a church, and some of whose denizens Scott dressed.) Denim had a spray-paint treatment, with folds and seams appliquéd on (think trompe l’oeil worn by nineties clubkids). Awesome Dr. Martens–style boots, cutouts of which functioned as the show invite, received the same graffiti. Collegiate stripes were also worked in early, either in scarf or shirt form, lending a grotesquely preppy element.
In a way—and this is relative considering Scott’s outrageousness—there was also an elemental bloodline in the clothes. “A lot of the shapes are quite simple, and I did a lot of collaging,” he said. “Almost like garments put together—like a knit sweater with MA-1 sleeves.” Collage can also be attributed to Gilbert & George: Jourdan Dunn—who walked as part of Moschino’s women’s Pre-Fall, which was shown concurrently—wore a hooded aviator jacket with a knit panel inset down the back and slogan-stamped sleeves. (Elsewhere, one notable example of that was SPUNK, which flanked the shins of jeans). Lucky Blue Smith opened and closed the show in Lisa Frank brights, but the silhouette and many other pieces were forthright: a suit up front, and a trench to round it out.
With Neneh Cherry, Noomi Rapace, Lucky, Jourdan, and even Taboo from the Black Eyed Peas on hand, Scott, typically, brought a bit of fame and flashbulbs to the otherwise lowish-profile London Collections: Men. And like it or not, that’s a huge part of his package, a sort of superficial Pop curation, and extravagance for the sake of fun. As the finale stomped, Michel Gaubert’s remix of “Like A Prayer” by Madonna came thudding in—and at the line, “everyone must stand alone,” you couldn’t help but grin. Scott is a lone wolf for sure, but his magnetism means he’ll always have a pack in tow.
↧
Katie Eary Fall/Winter 2016 London
How strange that the passing of David Bowie should come as his aesthetic ghost is already haunting the Fall 2016 men’s runways. Katie Eary’s show, for instance, bore his unmistakable imprimatur—jiggy, Ziggy graphic pattern; flowing silk; and that newly coined fashionable notion of gender fluidity that’s thus far come bound up in the simple notion of a man wearing a woman’s blouse. Which, in itself, is pretty Bowie.
Eary remarked that she was inspired by an Alec Lindsell documentary, The Sacred Triangle, exploring the creative exchange between Bowie, Lou Reed, and Iggy Pop. Indeed, part of the reason Bowie dubbed his Spiders From Mars frontman “Ziggy” was because it sounded a bit like Iggy.
The slipstreaming and swapping of references, genres, and indeed garments was Eary’s big idea for Fall. She threw a few female models into the mix too, although with teased beehives, dolly bird eyeliner, and marabou-puffed mules, their gender wasn’t terribly fluid. Neither was their teetering gait. Regardless of the androgyny of the attire of Ziggy or Iggy, I’m fairly sure neither would dare don those mules, for simple health and safety reasons rather than anything more ideological.
Would they wear the rest? Possibly. Eary had done her homework—or had at least watched a few dozen YouTube videos to get the superficial style of the trio of stars down pat. Jeans came in metallic leather that glistened like Warhol’s Factory walls; silk billowed in caftans printed with koi carp, possibly a reference to Mr. Fish, the London designer whose peculiar clothes were worn by the likes of Mick Jagger and, indeed, Bowie. They also had a bit of the Ossie Clark and Celia Birtwell about them—a big compliment. Maybe too big, but still, credit’s due.
Less successful were high-zipped retro sporty tops in panne velvet—a fabric of questionable practicality for winter and even more doubtful taste that has been popping up all over the place at London’s men’s shows. Here, it ended up looking like Eary had cut a few outfits, Von Trapp–style, from old curtains. Not sure Bowie would ever wear that.
↧
Christopher Kane Fall/Winter 2016 London
The literal incorporation of motifs you see on the streets into clothes made to be worn on them is a path well beaten, most recently by Anya Hindmarch and Jeremy Scott. Today Christopher Kane followed this road too, but went at it in entirely his own direction. Well, not quite entirely: Kane’s creative ignition was first turned by the automobile assemblage of John Chamberlain.
The mangled, angled vortices of impact explored by Chamberlain were adapted by Kane as plastic zigzag trims on the pockets of mid-thigh hoodies, the outline of chest panels on double-patterned shirts, and a navy-on-gray sweater. A great concatenation of time-lapse lightning bolts juddered in white down a black tracksuit, and in black up a white mac—a serious look. A montage of jumbled, disordered shapes, like Chamberlain’s work up close, was applied as pattern to knits and intarsia suiting.
Other, non-Chamberlain, street-sourced details included T-shirts dripped with grids of high-visibility green. Dark denim and some fine shearlings—loose, and some of them a touch ’80s—were licked with more lurid shades from the palette of driver awareness. The underside of Kane’s coats’ cuff straps came lined with the type of reflective fabric favored by wary cyclists—one parka was coated in aluminum so rigid when manipulated as to so be sculpt-able by its owner. The silhouette was more freeway than street: Trousers were wide and straight and styled with asymmetrical turn-ups; outerwear verged on the cocoonish. Nylon bombers (very, very well-made), pants, and tees were printed with a great illustration of Chamberlain’s crashed cars. Having not scoured Kane’s rails for a little while, it was a pleasant surprise to see how his once-afterthought menswear output has broadened into a carefully balanced, pretty-much-complete offer.
↧
↧
Burberry Fall/Winter 2016 London
Has any musician affected menswear more than David Bowie? Of course not: The menswear business should have paid him royalties. At today’s Burberry show, the first of significance since the news broke this morning of Bowie’s passing, the house paid impromptu tribute to the most exuberantly original re-inventor of them all. Before and after the show, his songs played. And makeup artist Wendy Rowe applied a glittery stardust sprinkle to the cheekbones of the models.
Backstage, Christopher Bailey said Bowie’s influence was: “huge when I was growing up. He was the music that I got inspired by as a kid. He kind of showed you different ways of living, of expressing your personality, in his music and fashion. And there was the way he lived his life; there was such a private side to him and such a flamboyant side. He had huge impact on many people, certainly me. Not yesterday but the day before we were looking at a picture of Bowie wearing a Burberry trenchcoat in the ’60s. We’d just been literally talking about his influence. And then, this morning . . . it’s incredibly sad.”
Mark Ronson was in the celebrity section: As “Starman” was playing on the PA, we asked for his thoughts. He said: “Actually I had this friend, who died six—no nine—years ago now. And we played ‘Starman’ at his funeral. That has nothing to do with anything you just asked me, but I just thought about it. Yes, it does feel pretty weird to be at a fashion show. Pretty much he probably affects everybody—so much in music, so much in art, so much in fashion. I don’t have an eloquent way to put it. It’s sad. But then, his music will be affecting generations. It has already affected three generations—his, to mine, to the next—and it will be that way I’m sure for hundreds of years.”
So Bowie was very much in the room. And while it was a little weird to be at a fashion show, it seemed apposite too. Kind of right. Beneath the Bowie, this collection was notable for both its depth and (seeming) simplicity: Depending on your perspective, it was either a collection without a concept or a collection whose concept was so broadly all-encompassing that it defied the categorization.
The meat and potatoes of it, in short, was outerwear. Of almost every kind. And—via the Burberry archives—drawn from every vintage. In 1856, the year Burberry was founded, Queen Victoria watched a fleet review at which the hundreds of craft comprising the then-largest navy in world—from ironclads to gunboats—sailed past for her delectation. This show was a fleet review of Burberry outerwear: The flotilla included red-flashed greatcoats, checked topcoats, military capes, several dreamily felted duffle coats, Arctic parkas, fishtail parkas, multiple trenches—of course—truckers, bombers, blousons, piuminos, furs, reverse-shearling aviators, and a few tailored jackets for good measure. The key piece, though, seemed to be the track top—sometimes half-zipped, sometimes full—which was used once or twice as outerwear but more often as the connective membrane between all the genres of and subgenres of the coat worn above them. White zippered, and with a loose long collar that allowed for both pragmatic and aesthetic protection of the body, the Burberry variation on the generic late-’70s nylon track top provided a blank space—which later sparkled in sequin applications—upon which to present the clothes above. Unless below suiting, the pants were most often military-track hybrids, narrow and light, often with cavalry flashes down the leg. These were worn above dark, simple sneakers with rubber nodules on the toe and contra-color sliver foam soles, or loafers.
If there was a unifying theme, it was Unifying. Last November Burberry announced that 2016 is the year it merges all of its lines—Prorsum, London, and Brit. “Something old, something new, something borrowed, something blue,” was the quote on the press notes. Here those traditional criteria for an auspicious wedding were met by the archive coats, a new satchel bag, the track tops, and a blue-bodied, red-flashed peacoat, respectively. “It’s about standing for something and being proud of who you are,” said Bailey, “saying that this is your personality, with everything working together in a world that’s changing quite dramatically.”
↧
Bobby Abley Fall/Winter 2016 London
For FW16 Bobby Abley takes us away from the cold and rain to the sunny and vibrant Rio Carnival. Inspired by the summer he spent in Brazil last year, Abley has pulled out all of the stops to fuse his signature streetwear style with carnival culture and translate it all into a largely wearable collection worn by a casting of bronzed and buff models.
Abley’s preferred collaboration, Disney, returns this season featuring characters from the lesser-known ‘Saludos Amigos’ feature film. Model Matty Carrington from Select is styled as a contemporary streetwear Mickey Mouse in some voluminous red shorts, a black torso-less hoodie and some yellow Nike trainers, while Ashton Gohil of Elite Models is styled in a more current version of a carnival reveller in printed sportswear, some tasseled socks and a cap, and accessorized with a whistle around his neck.
Backpacks adorned with metre-long brightly dyed peacock and striped pheasant feathers in green, yellow, red and blue mimic the plumed carnival costumes of Rio, while still maintaining Abley’s streetwear aesthetic by having them grounded firmly in conventional territory with hoodies and tracksuit bottoms.Bo
↧
This is Denis We by photographer Maurizio Montani
Intrigue looks, awesome physique, great attitude, he knows how to pose, model choreographer and dancer meet Denis We stunner handsome model posing for the lens of Maurizio Montani. Big applause!
Facebook: http://facebook.com/deniswe
↧