MIRROR | RORRIM
There is no hiding in a room full of mirrors. This was a lesson I learned at the Thom Browne and Chapter presentations last week. At Thom Browne the show began on the street; a stylish mob of shrunken suits and polished brogues. Click click— the rapid fire of a camera shutter, it was Bill Cunningham. He had joined a small crowd which had gathered around the entrance to the Skylight Modern. It was a paparazzi welcome for Gabrielle Union and Dwayne Wade. Quickly losing interest, the designer’s disciples casually dialogued while beginning the descent into the chilly, concrete labyrinth. Groups at a time were ushered in. An office door was all that stood between reality and Browne’s fantastical imaginarium.
Inside, uniformed models lined the mirrored walls of the designer’s funhouse. A brass typewriter, stapler and sheers lay on a table in the far center. A drawer ajar and a chair slightly pushed aside, gave the allusion that Browne himself, had been sitting there, then suddenly had gotten up, leaving his Grimm’s Fairy Tale behind. It was brilliant. Unnerving.
If Thom Browne’s collection was fairy tale, Chapter’s “Displacement” was nightmare. Ritualistic chanting bellowed from the hollowed walls of Industria Superstudios. Models grimaced something sinister in boxy bombers in olive and black —mirrors fixed between them. A “reflection of our past and a look to the future,” the program stated. Three dimensional patterns, “inspired by the geometric reflections of the kaleidoscope,” found their way onto many a smocked bottom and outerwear piece. A forlorn color palette of over-dyed plum, blood, lavender, navy and olive fabrications added a worn and sobering affect to an otherwise standard streetwear collection. At Skylight Clarkson Square, the official New York Fashion Week: Men’s site, Robert Geller and Greg Lauren stomped me back into actuality.
Riding hats that shaded peripherals, corset waistband belts, over-sized accessories done in collaboration with Siwa and complex prints— the only thing scary about Robert Geller was how badly I wanted to buy everything. Yet, it was nostalgia which drew Geller to these mouth- watering concoctions, relishing a childhood spent vacationing on Germany’s North Sea. These memories announced themselves specifically, in a wave pattern splashed across an anorak and several looking shorts. Muted hues of army green and khaki suggested utilitarianism— looks to be worn by an adventurer. An urban traveler, traipsing through the jungles of the Sahara or even just the grocery line at Trader Joe’s.
At Greg Lauren, (as in nephew of Ralph), the actor and painter turned fashion designer, debuted not only his new menswear collection but also his tattered image of man. As in ripped, stained, patched and pieced. Items such as: a hand dyed, antique hemp, zip-front, shore jacket; a patchwork duffle pea coat; charcoal tent cargo overalls and dirty white tanks were among the menu at Lauren, served with a side of smudged coal miner face, sweat and probably cough too. For authenticity’s sake. Yet, despite the stylish exorbitance, there was something very proud, masculine and distinctly American about the work, done in a way only a Lauren could capture.
A CLASS OF ITS OWN: EPONYMOVS BY HVRMINN
Even the most indifferent of suit wearers cannot help but have an affinity for Eponymovs by Hvrminn. Now in its fourth season, the rough and tumble suiting label, (which also operates as a made to measure), is considerably the chicest find outside of Saville Row. Against a Godfather like soundtrack, a roguish bunch stood before a gaggle of photographers, editors, stylists and Nick Wooster, in the sleekest rendition of Mafioso musings I’ve ever seen. Slicked back hair, fedoras tipped— the collection was rough in testosterone and flawless in construction. After all, it takes talent to make a camo suit look dashing.
LOUD AND LUXE
Los Angeles-based designers, William Anzevino and August Getty of Anzevino Getty, presented something far less hardened. The sophomore labels latest presentation, continued to pull from an ethos doused in the fantasy of luxury California living. Models posed in iron cages— go-go boys in suede jumpsuits, Parisian jacquard t-shirts, and birch bark printed suiting, against the backdrop of vocal-less EDM [electronic dance music]. A scene to be photographed. Invitees instantaneously reached for their phones. I glanced at the program, I chuckled. It read, “Instant Instagram Appeal”.
“Luck” was in the cards at Ricardo Seco, the title of a collection inspired by the ancestral Mexican card game, La Loteria. A propaganda ploy introduced by Spanish settlers to the indigenous tribes of Mexico and still practiced today. Seco chose four cards: the palm, the card of “freedom and nature”; the heart, the card of “loyalty and passion”; the scorpion, the card of “audacity” and the mermaid, the card of “mysticism, dreams and imagination” to tango across a myriad of leather, cotton, and neoprene.
– Article by Malcolm Thomas for The Untitled Magazine