The ed­i­to­rial team’s pick of the best.

VOGUE Hommes International (English) - - CONTENTS - By OLIVIER LALANNE and LOÏC PRIGENT


Here’s a nice sur­prise to cure the post–sum­mer blues: Bally has given it­self a style makeover and un­veiled a bril­liant col­lec­tion of un­com­pli­cated wardrobe ba­sics to en­chant fans of un­der­stated luxe. Gor­geous cash­mere top­coats and knits, the soft­est leather blousons, and a line of ac­ces­sories des­tined for cult sta­tus, like this dis­creet week­end bag bear­ing the Swiss gi­ant’s logo. Time to book some el­e­gant week­end get­aways.



—You could say it was a home run. A grand slam. Sheer heaven. The open­ing of Paris menswear fash­ion week, Valentino’s Au­tumn–Win­ter run­way show, sim­ply knocked the socks off the Vogue Hommes ed­i­to­rial lot. It has to be said that for any chap on the look­out for cloth­ing with character, strong lines and to–die–for fab­rics, with just the right amount of chutz­pah and fan­tasy, Pier­paolo Pic­ci­oli and Maria Grazia Chi­uri, who have been at the cre­ative helm of the Ro­man em­pire since 2008, have come up with an ir­re­sistible col­lec­tion. Judge for your­self: a long–line re­versible top coat in sable cash­mere; a gor­geous wool suit in a cam­ou­flage print (!sig­na­ture Pic­ci­olo" & "Chi­uri!); a strict frock coat in wine leather lined with grey flan­nel; loose yacht­ing knits; im­pec­ca­ble turned–up jeans worn over loafers in car­bon leather with twin buck­les; and a feather–light mi­cro– coat printed with bright squares that might have come from a four–handed ex­er­cise by Josef Al­bers and Mark Rothko. And that’s only for starters. The en­tire col­lec­tion was in­stant clas­sic pul­sat­ing with mouth–wa­ter­ing moder­nity.

You’d also need to rave about the phys­i­cal re­la­tion­ship with th­ese ul­tra–ar­ti­sanal clothes, about its con­tact on the skin, and the in­flu­ence of cut on pos­ture (!Pic­ci­oli"& Chi­uri, it will be re­mem­bered, cut their teeth in the Cou­ture stu­dios of the Rome–based en­ter­prise!) as the ic­ing on the cake of a vi­brant les­son in high fash­ion. Op­u­lent and non­cha­lant (!call it op­u­lently non­cha­lant or non­cha­lantly op­u­lent if you will!), simultaneously cere­bral and frivolous, im­pul­sive and re­fined, un­der­stated yet self–ev­i­dent, Homo Valenti­noso is un­doubt­edly a com­plex character, but is the hero of the sea­son.



At just 25, the af­fa­ble Paris–born model can pride him­self on be­ing the only French male top model. With his aris­to­cratic bear­ing and re­laxed non­cha­lance, he is on ev­ery cat­walk that counts, courted by ev­ery lead­ing pho­tog­ra­pher from Bruce We­ber, Stephen Meisel and Willy Van­der­perre. He has his head squarely on his shoul­ders, and a win­ning smile that rarely leaves him. The dandy of cool, who di­vides his time be­tween Paris and New York, cul­ti­vates a low–pro­file style but never goes un­no­ticed. Traje de luces, DJ or white T– shirt? I’d go for the white T–shirt.$ An act of cour­tesy to re­vive? Male gal­lantry. One for the scrapheap? Con­formism. $ Logo or slo­gan on a white T– shirt? Slo­gan, ev­ery time.$ Em­broi­dered mono­gram: yes or no, and if yes, where and how? A plague on em­broi­dered mono­grams!$ Favourite fancy dress party cos­tume? Peter Pan! $ Num­ber one cloth­ing no– no? Base­ball caps worn back to front.$ Num­ber two cloth­ing no– no? Kilts worn with un­der­wear.$ Footwear no– no? San­dals with socks.$ All– time icon? Serge Gains­bourg.$ All– time turn– off? (%WWII French se­rial killer%) Doc­tor Pe­tiot.$ Beard or mous­tache? Beard.$ Print fluo un­der­pants with a big logo tat­tooed on the waist­band or bear– print box­ers? Box­ers with the black patches of a Friesian cow or neu­tral Y– fronts.$ Tie or har­ness? Tie. Apart from its prac­ti­cal as­pect, it is still a mark of el­e­gance.$ Ir­re­sistible item of women’s cloth­ing? Mini–skirts.$ Least ir­re­sistible? High–waisted, nipped–in trousers.$ V– neck or crew? Crew.$ Shoes for go­ing out? Loafers.$ Socks? All–pur­pose black.$ An item of cloth­ing stolen from your fa­ther? A frock coat and a top hat.$ Sleep­ing at­tire? In the buff.$ Fra­grance? A bound­less plea­sure for the wearer and for the peo­ple around you who smell it. But it has to be the right one%…$ Man bag: a night­mare? The con­tents of a man bag are more con­ve­nient when you can put them in your pocket. $ Ex­am­ple of most– hated snob­bery? Snob­bery is un­bear­able be­cause of the snob­bery that goes with it.$ The nerdy de­tail you’d keep? Trousers tucked inside your socks.$ The old­est item in your wardrobe? A shirt with a floppy col­lar that be­longed to my grand­fa­ther.$ Some­thing bought and never worn? A white shirt. $ What do you wear for the after– party? The same as in the evening — as com­fort­able as pos­si­ble.$ Out­fit for sport? Shorts and a T–shirt.$ Burial at­tire? A clown out­fit, to make ev­ery­one smile.


Prom­i­nent ears — aka “jug” ears — are the new bub­ble butt. On the cat­walk, mod­els with prom­i­nent ears are in the as­cen­dant. And not only at avant–garde shows. Even the big–name events fea­ture Prince Charles auric­u­lar looka­likes. The ears are true stand­outs, like those be­long­ing to ac­tor Rus­sell Tovey in the HBO se­ries Look­ing. They are ex­hib­ited, as a sort of re­venge against all the child­hood jibes (%and not so child­hood ones, like Howard Hughes’s de­scrip­tion of Clark Gable’s ap­pendages: “His ears make him look like a taxi­cab with both doors open”%). Ears that could stop a penalty shot from Karim Ben­zema or ri­val Dumbo’s are at last be­ing recog­nised as an as­set in the charm lex­i­con. As a sym­bol of can­dour, in­tu­ition, and four–square blokei­ness, pro­trud­ing ears are the new, of­fi­cial, pho­to­graphic must– have in the men’s fash­ion world.



J.W. An­der­son is a blue– eyed blond, barely 30 and about to wreak de­struc­tion on the fash­ion world. His ar­rival at Loewe was ac­com­pa­nied by a tidal wave of ad­ver­tis­ing hype aimed at all fash­ion cap­i­tals. Loewe doesn’t do things by halves. It has a new logo, de­signed by Paris graph­ics stu­dio M#/#M, and a lot of ad­ver­tis­ing shots show­ing a chair, a bag and key rings. And there was also a se­ries of late 1990s fash­ion shots by Steven Meisel for Ital­ian Vogue, per­haps to evoke the peace­ful sea­side at­mos­phere J.W. An­der­son wants to in­ject into the brand. In one of the pho­tos, a model is wear­ing a frock de­signed by Karl Lager­feld, who agreed to its be­ing used to­day — an ad­ver­tis­ing ges­ture whose im­port could be de­bated for hours. That is in­du­bitably the Span­ish la­bel’s aim: to arouse cu­rios­ity and stim­u­late the ap­petite, recre­ate a Cé­line ef­fect with a much–hyped Bri­tish de­signer who has all of London at his feet.

J.W. An­der­son knows how to com­mu­ni­cate. LVMH took a mi­nor­ity ('but sig­nif­i­cant') stake in the brand last year. Sin­gle–mind­edly ex­per­i­men­tal, he has also worked at the very pin­na­cle of luxe with Donatella Ver­sace on Ver­sus, and in hy­per­fast fash­ion, col­lab­o­rat­ing with Top­shop for sev­eral sea­sons. So, Ir­ish–born J.W. An­der­son can do lux­ury. He can do de­sir­able, too, and get con­sumers buy­ing. Donatella Ver­sace says: “What I like most in his work is at first I didn’t un­der­stand what this guy was do­ing. It was so provoca­tive, so dar­ing, so fear­less, that it es­caped even me.”

“Cloth­ing has to make you think, ask a ques­tion, and start a de­bate,” he told the Bri­tish press. And his clothes have def­i­nitely scan­dalised, as with his menswear col­lec­tions, which came in for shrill crit­i­cism from the UK tabloids, en­raged by what they didn’t un­der­stand. The show fea­tured boys in bustiers, tulip shorts, and leather mini– dresses. Sales im­me­di­ately soared. “There’s noth­ing shock­ing in my sil­hou­ettes. I force my­self to push a line as far as it’ll go, to work with dis­pro­por­tion and con­struct a new sil­hou­ette. Peo­ple come to me for a unique ex­pe­ri­ence, to look for some­thing or a pro­por­tion that’s new to them.”

Soon after be­ing turned down by Cen­tral Saint Martins, he was picked up by Manuela Pavesi, the grande dame of Prada, and hired. It was she who en­cour­aged him to ex­ag­ger­ate, and it was at Prada that he re­ally cut his teeth, learn­ing as he went. “I went to the core of the business. It was there that I learned to sell clothes, to merge cre­ativ­ity and the com­mer­cial. You have to man­age the two, oth­er­wise you’re out of work and de­pressed. You have to see your clothes on as many peo­ple as pos­si­ble, there’s no other way: fash­ion can’t just be elit­ist to­day.” He’s a con­cep­tual de­signer, who’s also aware of com­mer­cial re­al­ity. He checks out the bou­tiques and tweaks the win­dow dis­plays, striv­ing to at­tract the pub­lic’s eye by arous­ing their cu­rios­ity. “In my work, there’s al­ways this jux­ta­po­si­tion be­tween very ad­vanced re­search and clas­si­cism. To show some­thing with some­thing dif­fer­ent about it. That’s what ob­sesses me.”

At Loewe, the J.W. An­der­son line is likely to be in­tense. There’s leather too, ob­vi­ously, in the shape of a patch sewn onto a shirt or a sweater. There are leather es­padrilles, both re­laxed and totemic. He says he doesn’t know much about Spain, apart from hol­i­days in Ibiza, an in­flu­ence vis­i­ble in the five–star loose– fit­ting shirts, in the dress–down vibe of the col­lec­tion, new to Loewe. The Asian me­dia are al­ready ob­sess­ing about his shoes dec­o­rated with Mec­cano parts. The new hy­per­Loewe fash­ions will leave no one un­moved, and J.W. An­der­son is even slated to shake up the way we sell and buy luxe.


Printed mono­grammed can­vas and leather 24– hour bag Saint Lau­rent by Hedi Sli­mane

OB­JECT OF DE­SIRE Wool cap Gucci

OB­JECT OF DE­SIRE Leather and metal knot key ring, leather and metal Mec­cano broach, and “Fla­menco Oro” suede and leather knot bag Loewe

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