The ed­i­to­rial team’s pick of the best.

VOGUE Hommes International (English) - - CONTENTS - By olivier lalanne and loïc prigent

a morn­ing coat with a mil­i­tary air worn over a plung­ing V–neck cardi­gan; and a great­coat that wrapped around like some cu­bist plaid in Klein blue, brick red, or smoul­der­ing mus­tard … There were also a few in­spired de­tails of stag­ing ( knit sleeves folded back over the jacket wrist, silk scarves worn next to the skin ), while a toned down range of colours ( navy, white, slate, sand, or lavender ) defini­tively stamped Pi­lati’s touch on the ven­er­a­ble fash­ion house. Revo­lu­tion it was not, more a sub­tle rein­ter­pre­ta­tion of the male wardrobe, some­where be­tween pow­er­ful lines and del­i­cate de­tail­ing, which the Mi­lanese master with the Hem­ing­way beard takes to new heights of se­duc­tion. —For his first run­way show un­der the Zegna banner, ste­fano pi­lati brought the house down. In record time, more pre­cisely in 42 looks, he sent out a wardrobe to die for, ratch­eted the “tra­di­tional” DNA of the lux­ury Ital­ian tai­lor up sev­eral notches, and re­ally got you itch­ing to dress up. That takes some do­ing, th­ese days … Dip­ping into the well of fab­u­lous fab­rics for which the firm is justly famed, Pi­lati has de­vel­oped a fluid, clas­si­cal yet vi­brantly con­tem­po­rary line, thanks to his un­beat­able proportions and acute sense of styling. Just what that means for mere mor­tals is this: sharp trousers worn un­der a flow­ing trench coat; raglan sleeves; a sa­fari jacket with mas­sive shoul­ders and pinched waist; an evening suit worn un­der a top­coat as light as the breeze, with the ca­sual look of a dress­ing gown; the time­less shirt and tie but worn un­der­neath a trans­par­ent feather–light cash­mere tank top;

Dries on show

— On 1st March, Dries Van noten took over the Paris Musée des Arts Dé­co­rat­ifs for an ex­hi­bi­tion de­signed as a di­a­logue be­tween his cre­ations and his sources of in­spi­ra­tion — fash­ion, cin­ema, the fine arts, etc. The im­pres­sive show brims with the per­sonal po­etry of the An­twerp–based de­signer, who for the past three decades has been the driv­ing force be­hind a sub­tle ec­cen­tric­ity in menswear. How would you sum up the ex­hi­bi­tion de­voted to you at the Dec­o­ra­tive Arts Mu­seum? It’s very per­sonal, in­ti­mate even. I re­veal my in­spi­ra­tions, what touches me. Peo­ple will be able to work out how I cre­ate. Along­side my clothes there are works of art, from El­iz­a­beth Pey­ton to Bronzino, and from Yves Klein to Fran­cis Ba­con. There’s an in­cred­i­ble seascape by Thierry de Cordier, too. I also went dig­ging in the Arts Dé­co­rat­ifs’ fash­ion ar­chives, so Ba­len­ci­aga, Dior, and Schi­a­par­elli are fea­tured, as well as de­sign­ers from the 1980s like Yo­hji Ya­mamoto, Thierry Mu­gler, Jean Paul Gaultier, and Gianni Ver­sace. The early 1980s was a very im­por­tant pe­riod for me be­cause it was when I was study­ing at the An­twerp Academy, and the cre­ativ­ity there was to­tally OTT. It was the time when cre­ativ­ity mi­grated from cou- ture to ready–to–wear. And that’s quite some­thing, be­cause all at once, young peo­ple could at last buy way–out cloth­ing. What’s the most un­usual item in the ex­hi­bi­tion? Per­haps the pair of boots that Pierre Cardin de­signed for Baron de Redé for the Bal Ori­en­tal in 1969. What does Paris mean to you? Fash­ion, with­out a doubt. Paris is a city that burns up a lot of en­ergy. Liv­ing, or sur­viv­ing in Paris is re­ally in­tense. There are too many things to see, and too many in­flu­ences, what with the exhibitions and the peo­ple on the streets or in the metro. I find it ex­haust­ing, and I’m happy to get back home, to An­twerp. Next year you’ll be cel­e­brat­ing the 30th an­niver­sary of the launch of your menswear col­lec­tions. How do you think that fash­ion has evolved over those three decades? The 1980s were a time of in­cred­i­ble free­dom, of tremen­dous ex­u­ber­ance for men, largely thanks to Jean Paul Gaultier. The 1990s poured some cold wa­ter on that. Min­i­mal­ism — the black suit and white or black T–shirt — took over ev­ery­thing. To­day, I have a sense that men are be­ing bold once again. With­out suc­cumb­ing to ex­trav­a­gance, I can sense them shift gen­tly back to­wards more imag­i­na­tive cloth­ing. Which item of cloth­ing would you have loved to in­vent? Jeans, of course — they’re the mag­i­cal item of cloth­ing. What rates as el­e­gance th­ese days? Feel­ing good, and show­ing that you feel good. What will Dries Van Noten man be wear­ing this sum­mer? Flo­ral prints.

“Dries Van noten in­spi­ra­tions” runs un­til 31st Au­gust at the Musée des Arts Dé­co­rat­ifs, Paris.

they get ev­ery­where


—It makes you think. All those brands hun­kered down in high–se­cu­rity bunkers as they con­coct their next cat­walk col­lec­tion. And then whammy! Turns out that they’ve all been en­veloped in some sort of col­lec­tive un­con­scious and come up with, wait for it, Prints! Prints ev­ery­where for Spring/Sum­mer 14! Flo­ral, pic­ture post­card prints of well–known mon­u­ments, Hawai­ian ( de rigueur ), op art and pop art! The print jazzes up an oth­er­wise clas­sic sil­hou­ette and tells us silly is OK, fun is OK. The fash­ion houses, gucci ( fea­tured ), praDa and saint Lau­rent paris among them, have thought things through and given us plenty of imag­i­na­tive scope for chill­ing out with­out look­ing like a style ji­hadi.

ob­ject of


Leather train­ers


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