Off and Running
NYFW: Men’s kicked off with shows by the likes of Palomo Spain, No Sesso and Sundae School.
The Collections
New York
Palomo Spain
Alejandro Gómez Palomo continued his journey through Spain in the early 20th century for fall. This time, the offering was inspired by Ballets Russes, a Russian ballet company that came to Spain during the First World War.
That translated into bohemian Russian dancers mixed with flamenco heritage and resulted in an array of maxidresses with poet sleeves, silk printed pajamas and a headturning velvet cape with a feathered hood.
The collection appeared more masculine and somber this time through the introduction of sleek tailored suits in black and gray shades.
“This is a new take on what I've been doing with women's, but now I'm taking a strong base of tailoring and bringing it into my universe,” he said.
Gómez Palomo also ventured into moreconventional outerwear styles in a set of voluminous nylon anoraks that, thanks to their careful construction, blended easily with the rest of the offering.
Although the invited crowd was enthusiastic about the well-executed collection, Gómez Palomo still needs to prove Palomo Spain is a commercially viable brand. The addition of tailoring is a step in the right direction. — Alex Badia
No Sesso
Over the last few years, Pierre Davis, who is based in Los Angeles, has built a tight community of creators around her line, which is meant to target all ethnicities, genders and sexualities — “no sesso” means no sex/no gender in Italian.
Members of that community — musicians Steve Lacy and Kelsey Lu, for example — appeared in the show wearing looks inspired by Glamazons and business girls. In the No Sesso world, business women, men and nonbinary individuals go to work with their hair in doobies or bouncy, Sixties-style wigs. They wear the working girl staples — suits, blouses and shirts — but reinterpreted in imaginative ways.
One portion of the show featured velour, which Davis said was inspired by Sean John's velour sets from the Aughts but reenvisioned as actual suits with broad shoulders and decorated with rhinestones spelling out “No Sesso” on the butt.
Another portion presented suiting fabric turned into a voluminous down jacket with an oversize collar or half a blazer sewn to a nude dress that was adorned with a string of pearls. The traditional pussy bow turned up on intricate knits, a signature for No Sesso, and a backless blouse. Suits took on a more fluid structure as well, coming in hand-dyed silks. Davis imagined another version of the suit as pleated miniskirts paired with matching shirts that she updated with voluminous sleeves. Davis also played with leather. Strips of snakeskin and leather were made into a corset with gold grommets, floppy bucket hats and an attachment to a classic white shirt.
It's clear that Davis has a different perspective, which is nice to see in New York, and myriad ideas that she's able to bring together in a cohesive way. — Aria Hughes
Sundae School
Dae Lim is designing a smokewear line at an opportune time. Last season, medicinal marijuana wasn't legal in South Korea, where he's from — it is now — and the legalization of recreational weed wasn't imminent in New York, where he currently lives. He likens this time, which he calls the Green Rush, to the Gold Rush, and used that to inform his collection.
Western references were the foundation of the line, but they were filtered through Lim's viewpoint, which mixes workwear with traditional Korean garb and humorous graphics. That translated to pants updated with pleats, ceremonial knots and ankle wraps, tattoo turtlenecks covered in images of Chinese immigrants during the Gold Rush, and jackets with hanbok details. Outerwear included long down coats, while denim jackets were embellished with flames. The line was accented with tooled leather accessories meant to make a blunt or vape pen easily accessible.
Lim said his concept is resonating with retailers. He continues to be carried by Vfiles and was recently picked up by Barneys in New York and Los Angeles along with Intersect in Shanghai and Forty Five Ten in Dallas.
Lim has created a collection that celebrates weed without dumbing down craftsmanship. The focus is the clothes. The fact that they can accommodate a blunt is just added functionality. — A.H.
Victor Li
Even though this may be his sophomore collection, Victor Li has luxury on the brain.
On his latest trip to Hokkaido, Japan, “I asked myself what I would put into my suitcase from a traveler perspective,” Li said at his presentation, which was held at the Japan Society.
This translated into a sophisticated traveler's wardrobe, with classic pieces including a taupe shearling jacket worn with soft pink cashmere sweatpants; a cream double-breasted overcoat and a suit offered in three different fits: American, European and a kimono jacket version.
Some of the more fashion-forward pieces, such as an embroidered blanket jacket and a black leather parka, gave the offering that extra luxe feel.
Li also launched accessories this season, offering a nylon waist bag, and two duffel style bags — one in canvas and one in leather.
Whether or not your next trip is short or long, Li definitely knows that comfort and elegance are key. — Luis Campuzano
David Hart
David Hart offered a total palate cleanser for fall, showing a five-piece, sartorially flavored collection centered around men's wear basics. “I started with the question, ‘What do you need for the season?' A great suit, a great merino, a great turtleneck and pleated trousers,” he said.
The minimalistic designs were inspired by the boy bands of the Nineties and eschewed the Fifties and Sixties references that had become Hart's trademark in past years.
The designer was picked up by Groupe, the incubator concept created by James and Gwendolyn Jurney to help finance emerging designers.
“It's a support system that protects young guys like David from too much risk,” James Jurney said. “And we believe in him.” — Jean E. Palmieri
Krammer & Stoudt
For Krammer & Stoudt, tapping into the grittiness of Californian culture is what Mike Rubin does best — and each time it gets just a little more eccentric. This season was no different, with a lineup centering around the California desert rock scene from the late Sixties/early Seventies and influenced by the music and art of Don Van Vliet, an American singer-songwriter otherwise known as Captain Beefheart.
“Think an updated Joshua Tree Inn," Rubin said backstage.
Though a bit gritty, the offering featured everything from an oversize creamcolored suit in wide-wale corduroy and a leopard print coat to a fitted doublebreasted black suit.
A standout was a hand-painted upcycled Giorgio Armani brown leather trench — a one-off that the brand was planning to sell immediately after the show as part of its first move into see-now-buy-now.
The label also collaborated with military brand Cockpit USA to showcase its take on a classic brown leather bomber jacket with a shearling collar.
Whether it was a partnership or a oneoff, the collection once again managed to remain true to the brand's roots in the Southwest and Southern California subcultures, a look for which it's quietly gaining a reputation. — L.C.