Tuesday, July 5, 2022

CATEGORY

Culture

PHIPPS Gold Label is the blueprint for making vintage fashion modern

This story originally appeared in i-D’s The Earthrise Issue, no. 368, Summer 2022. Order your copy here.Since its founding in 2018, PHIPPS – the Paris-based label headed up by Spencer Phipps, an affable Californian with a passion for rock climbing and perhaps fashion’s best-kept beard – has won over industry folk and fashion fans alike for its inimitable, vintage-y sensibility. That’s not to say that the patched denims, park ranger shirts and pieces redolent of sports memorabilia it purveys look secondhand, but rather that there’s something to the spirit of outdoorsy Americana they’re imbued with that makes them feel like gems you’d have to carefully comb countless Beacon’s Closet rails to find. In recent seasons though, that vintage-y feel has morphed into actual vintage – for a sizeable part of PHIPPS’ offering, at least. Through PHIPPS Gold Label, Spencer has unpicked assumptions that a fashion brand should be solely committed to selling ‘new’ clothes, presenting a precisely curated and customised edit of vintage pieces alongside his mainline collections. Specifically sourced to sit within the PHIPPS aesthetic universe, and embroidered with the brand’s logo, the garments that make up the Gold Label are given a fresh lease of life. Awar wears socks NIKE. Shoes UNDERGROUND. Granted, the current fashionability of the resale market is undeniable, with brands increasingly keen to explore potential avenues into the secondhand sphere, motivated by the urgent environmental case for fashion companies to develop circular production solutions – alongside the lucrative success of resales platforms like Depop and Vestiaire Collective. The intentions behind PHIPPS’ venture into vintage, however, are altogether more humble and frank. “When I started PHIPPS, one of the pillars of the brand was sustainability, and trying to do things in the most responsible way possible,” explains Spencer Phipps, sitting at his sun-dappled studio in the 10 ème arrondissement. “At a certain point though, when I was thinking about what is the most environmentally responsible way to do a pair of jeans and a flannel shirt, I realised that I hadn’t ever bought a new pair of jeans. I’ve only ever worn vintage. So I just wondered if there was a way to put that in the brand.” An ethos of cross-pollination is what spurred the creation of PHIPPS Gold Label – though that’s not what it was known as at the very beginning: it simply existed as a capsule of vintage pieces quietly nested within the main offering. “We did it as a test. I put some pieces in the show, and didn’t really say anything,” he recalls. “And I then put a little area in the showroom, just to see if anyone would get it, and people freaked out. Like, all these buyers were coming in and being like, ‘How do I get this!’ I was, like ‘Well …’” It’s that approach that has allowed PHIPPS Gold Label – which spans customised 90s Man United shirts and Team Utah wrestling singlets, humble plaid shirts and briefs signed by Hulk Hogan – to sit so cosily within the brand’s universe. It’s the reason why “in our shows, we can take a suit from the mainline and put a vintage tee underneath it, and it doesn’t feel gimmicky,” Spencer explains. Saskia wears bracelet stylist’s studio. Earrings (worn throughout) model’s own. Shoes UNDERGROUND. That meticulously curated edit of vintage items has since evolved into what Spencer describes as an “experimental upcycling project”, with everything from cotton T-shirts to rarities like Yao Ming’s basketball jersey from the 2005 All Star game given the PHIPPS treatment: the latter piece, for example, features an embroidered logo and has been spangled with glinting gold stars. “It’s a little bit like modern couture,” Spencer notes. A notable point in his favour are the more accessible price points, even for “pieces that are crazy collectable and super rare.” Granted, choosing to work exclusively with vintage clothes has certain challenges, not least trying to scale a business where the materials you work with aren’t in reliable supply. Sure, there is a lot of secondhand clothing out there, but trying to source multiple items in wide-ranging size runs – like while sourcing for a collaborative capsule with Browns Fashion – is no simple task. Byul wears necklace stylist’s studio. Still, while some retailers come to Spencer with a specific brief in mind – for LN-CC’s 10th birthday, for example, the Dalston-based concept store asked for a run of birthday and anniversary T-shirts – others have leaned into what makes vintage shopping so distinct: the surprise factor. He’s even begun to offer a “mystery box” – a lucky dip selection of sorts, where buyers don’t quite know what they’re going to get until their order arrives.“I always say, ‘Trust me, it’s gonna be cool, there will be very collectable weird stuff, but you just have to trust us!’” Spencer says. It is something that an increasing number of retailers are starting to do. A large part of the reason why is that, with Gold Label, Spencer has managed to pick out pieces that nod to the past without feeling encumbered by it. “It’s about being contemporary,” he says. “It’s vintage but not necessarily nostalgic. I like to use these sorts of pieces to tell a modern story, and to have a point of view that feels very current – that looks at the way people are dressing now, and how those vintage pieces can be built into something that feels very today.” Saunders wears t-shirt (worn underneath) ARIES ARISE SS18. Jewellery (worn throughout) stylist’s studio. Shoes UNDERGROUND. It’s certainly an approach that feels relevant from an aesthetic standpoint, but it’s also one that’s pertinent against the backdrop of the global fashion industry’s abysmal proclivity for waste production. “Vintage is ultimately the most responsible way to shop and participate in the fashion industry,” Spencer says. “You’re not using any new raw materials. You’re even saving clothes from sitting in a warehouse, and you’re getting a unique item.” Still, while PHIPPS Gold Label was founded with the intention of demonstrating a responsible approach to clothing production, that hasn’t diminished the fashion credibility of the end results. Niche, distinct, and at times downright nerdy, they’re clothes created (or curated in this case) by one fashion fan for other like minds. “I’m out here just trying to find better solutions that are also viable business options, rather than being like, ‘We have to change everything and start from scratch!’” he says. “It’s about asking, ‘What can I do?’ So let’s explore vintage – I like it, other people like it, and let’s see if other brands respond in the same way as it grows.” Without naming names, it should be noted that they have. Still, in testament to the benevolence of his character, it’s not something that Spencer’s at all bitter about. “Ultimately, I’m just happy to be a part of the conversation, and part of that is also about not adopting the mindset of, ‘Well, I’m a sustainable brand and you can’t be because that’s my point of view!’ Let’s all be!” Puck wears socks DICKIES. Shoes ADIDAS. Briefs HANRO. Boxers MARC BY MARC JACOBS. Hat UNDERGROUND. Necklace and belt stylist’s studio. Shoes ADIDAS. Bracelets stylist’s own. Socks NIKE. Mayor wears necklace stylist’s studio. Sunglasses stylist’s studio Follow i-D on Instagram and TikTok for more from the new issue. Credits Photography Lola and PaniFashion Dan SablonHair Naoki Komiya at Julian Watson using Kiehl’s Creme with Silk GroomMake-up Crystabel Riley at Julian Watson Agency using BYBIPhotography assistance Milan RodriguezFashion assistance Lily Leetah HillHair assistance Makoto HayashiMake up assistance Ayesha AnandjiProduction Canvas RepresentsPost production INKCasting director Samuel Ellis Scheinman for DMCASTINGCasting assistance Alexandra AntonovaModels Puck Schrover at Platform Agency, Awar Odhiang at Models1, Saunders at Premier, Byul at IMG, Saskia Jesson and Mayor Dutie at EliteAll clothing PHIPPS GOLD LABEL

Pictures from Mexico City pride

Last week, thousands descended upon Mexico City to march in the Pride parade. The photographer Dorian López was there, watching it unfold through the lens of his camera. Below are the photographs he took, alongside his thoughts on the day.The second largest pride march in the world happens in the country with the second highest number of transfemmes murdered globally. That is how contradictory Mexico is. Right now, the country is trendy — specifically Mexico City and some of its tourist spots — and one can come to believe that we live in a paradise of acceptance and well-being. But it is not like that: Mexico City is a bubble; here all of the power is concentrated, but that makes us blind to what happens outside of it. The problem is very serious and violent. It’s such a sad reality. In many places people are living badly, and at a time like this I can’t help but notice those contradictions: a gay pride co-signed by the state? The same state that does not protect the gay community?  Celebrating, making ourselves visible, allows us to continue living with dignity while recognising those who are no longer with us. Rebuilding ourselves is a vital and urgent matter now: a way to rediscover ourselves while simultaneously denouncing the violence that we experience at the hands of the state. We march for those who cannot march. We march for all those who gave their lives so that others could live peacefully. Credits Photography Dorian López

The GUi-DE: erotic footwear and mental health art meditations

Happy Monday! The new week is here and with it comes the chance to delve deep into some fresh culture and fashion. Here’s your latest look at the i-D Guide.  Wear… Coach x Tom Wesselmann, OOO Ukraine Pride T-shirts and Carne Bollente’s horny shoes A pop art pioneer from the 60s, Tom Wesselmann’s vibrant work gets a 2022 re-up in the hands of Coach, who’ve collaborated with his estate on a collection of handbags, apparel and accessories. Be it bejewelled lips you’re looking for, or some poppy illustrations of domestic still lives (think apples, vintage radios, makeup bags), there’s bound to be something that will catch your eye. Head over to the Coach website here to buy it now. As the war continues on Ukrainian soil, LGBTQ+ residents still living there remain under threat, and don’t have the capacity to celebrate Pride in the same way many in the rest of Europe can. In order to raise money for local charities, the fashion magazine Out of Order has linked up with several iconic artists, including Anne Imhof, to create T-shirts you can buy now to help support those on the ground. Check them all out here. And finally, if you’re looking for some new sliders or sneakers for summer, look no further than Paris brand Carne Bollente’s erotic footwear debut. Arriving with arguably the gayest campaign of the year thus far (they’ve had to censor an arsehole, if that’s the proof you’r looking for), their collection of sleek and easy shoes feature smiley faces, bunny rabbits and the brand’s iconic miniature Kama Sutra-esque figures. Dark room ready, we say! Buy the new collection here, and check out Carne Bollente’s work on SSENSE too. Watch… This Much I Know To Be True Directed by Andrew Dominik, who will shortly unleash his apparently deranged Marilyn Monroe biopic Blonde onto the world, this comparatively more low-key movie charts the working relationship between musician Nick Cave and his Nick Cave and the Bad Seeds collaborator, Warren Ellis. This movie hit theatres globally back in May for one day only, but for those who missed it, you can catch it on MUBI from 8 July. Read… I’m a Fan by Sheena Patel We are in an era of unhinged relationship fiction, and Sheena Patel’s compulsive-sounding debut has piqued our interest. Written inventively, with quick, snapping chapters and in alluring skittish prose, it charts the dynamics of a relationship between the narrator and an unfaithful partner, in turn painting a wider picture of patriarchal power, sociopathy and social media. You can buy it physically here. Alternatively, grab the eBook. Listen to… Peach Fuzz Here at i-D, there’s nothing we love more than a pop supergroup. Hence why the arrival of Peach Fuzz — the collective moniker of music makers Samia, Raffaella, Sara L’Abriola, and Victoria Zaro — is so exciting. Their debut single “Hey Dood” is a song about awkward party conversations. Hard relate. You can stream it above and prepare for the arrival of their EP, Can Mary Dood the Moon?, on 22 July. Pre-order that here. See… The Party Is Over by Isaac Andrews The 19-year-old London artist Isaac Andrews, whose been hosting exhibitions and making work since he was in high school, presents a series of selfless self-portraits that interrogate the nature of identity and mental health for the men and boys of his generation. Titled The Party Is Over — a name inspired by a 1970 documentary about the life and work of James Baldwin — his oil paintings will be on display from 8-12 July at the Old Truman Brewery, London. A portion of the proceeds raised from the sales of the work will go to mental health charity Mind. More information can be found on Isaac’s Instagram here. Follow i-D on Instagram and TikTok for more good advice.

What your June 2022 looked like

i-D closed out 2020 with My Year in a Photo, a 12-month retrospective that brought in hundreds of incredible submissions from all over the world. We enjoyed it so much that from now on, we’ll be running it as a regular feature. At the end of each month, we’ll open our inbox to photographs from anyone and everyone — just email photography@i-d.coOnce again we received even more submissions than the month before, making the process of editing this story even harder. For anyone whose images did not make the cut, please do keep sending us your photography, as we’ve been overwhelmed by the quality of the submissions and want to keep sharing as much of it as possible. Mariely Torres, 22, Massachusetts, USA “My sister, Melanie, on her 18th birthday, when we spent the day swimming in Austin.” @marielytorres Kalenga Nkonge, 50, Lusaka, Zambia “My two boys in the car in the morning about to head off to school. Our little car is old with worn out seats but I love it. It makes for special moments like this.” @bonkoti John Efstathiadis, 24, Athens, Greece “Shot of my friend David in front of a visual installation. Tote bag wrapped around his neck, which gives an obscure look in his figure.” @john_ef Eric Anthony, 21, Nevada, USA “The cholos in my neighborhood used to mean-mug me just like this whenever I'd pass by them.” @northcraw Masahiro Ishida, 25, Oita, Japan “If I can be me. I've always been fine with that. Here. I'm dreaming.” @_masahiroishida Matthew Kayode, 24, Lagos, Nigeria “Serenity, took this photo at Tarkwa Bay, an island far away from the hustle and bustle of my city.” @pharsirme Rambo Ding, 27, Shanghai, China “When he came home from work, he tried to hug the cat, but was scratched.” @ramboding_ Jasmijn van Buytene, 27, New York, USA “Letting love speak.” @timeisindifferent Janevit Suthanasirichai, 27, Bangkok, Thailand "Auntie Wan, she sells Pad-Thai in Bangkok’s little Myanmar for 30 years. This picture I take during a talk about Burmese migration to Thailand because of the Myanmar coup in 2021." @janevitw Adetolani Davies, 21, Lagos, Nigeria “Capturing the youth culture in my city.” @karmathagreat Giorgia De Bortoli, 25, Treviso, Italy “June is that month when you start to shake off the weight of the year and even old friendships are rediscovered.” David Powers, 31, California, USA “My friend Jordan nearly died — should have died, really — two years ago. He doesn't remember it but they say the car that hit his motorcycle sent his body 40 feet down the highway. We celebrated his wedding this month, and I caught this moment of embrace between he and another friend. Life is special. We might die but we might make it out alive.” @david_actually Nhlamulo Mhlanga, 21, Johannesburg, South Africa "I was with my friends at a festival, and I saw this guy in a moshpit enjoying himself." Yuzhen Wang, 28, Sydney, Australia “Performance of the queer / sex worker pole dance collective Club Chrome at long running queer techno night Club Mince in Sydney, Australia.” @yuzhenw.info Anaïs Lalitte, 31, Paris, France “I took this picture during my trip to Cameroon in the administrative district of Yaoundé. People offer on the street to take pictures of you for your identity documents. This man took a picture of me with a Canon in a tiny room and then printed it out. Finally, I took his picture too.” @anaislalitte Hannah Dove, 21, Edinburgh, Scotland “New friends in Hamburg, Germany.” @hannahkdove Frankie Perez, 33, New York, USA/Montreal, Canada "Full circle. Olya and I making images once again at totally different stages in life than before." @pluralist_ Eeshwa Jiwan, 21, Delhi, India “I miss feeling safe on lonely roads with strangers.” @cactuscalling Mick, 33, New York, USA “My camera is a great ice-breaker. I just ask, ‘Can I take your photo?’ DIY rules!” @canapeaches James Tennessee Briandt, 30, Accra, Ghana “Celebrating Homowo, a traditional festival, by shooting guns in the air. It is a way of calling the spirits and communicating with them. As you can see, no guns or violence in this image, on the contrary, these men are bound, almost as if meditating together, forming a giant body connected by these stripes.” @jamestennesseebriandt Peter Aallyn, 20, New York, USA “We have so much more to do, but in these moments we can be still.” @Peteraallyn Fares Akhaoui, 20, London, UK “This turned out a lot more romantic than I expected.” Reina Kubota, 21, Yamanashi, Japan “You in the sea of trees.” @kumachabin Abed El-Latif Khalifah, 19, Beirut, Lebanon “I felt blue that day, naked in the room observing myself in the mirror, vulnerable yet… at ease.” @_warmthanddaisies Andrea Solórzano, 23, Villanueva del Rosario, Spain “More often than not I feel overwhelmed by the quietness of this place, it seems like we live the same day over and over again. But sometimes I am reminded of the beauty of its people and the simplicity of their way of living.” @sarti_andrea Mariana Correia, 21, Porto, Portugal “Celebrating Pride Month in Porto.” @mariana  Luis Cross, 24, London, UK “A photograph I took of Pierre as he gets his hair braided in a local Parisian hairdresser.” @luisxcross Michiel Telier, 18, Nevele, Belgium “The days of cold weather and heavy rain were over, we could experience the joy of jumping into a pool once again.” @michielsdayoff Goro Kosaka, 38, Tokyo, Japan “This is the June edition of a series we have been photographing daily since 2017. It started out as a diary of a child's growth, but now many elements have been captured. All I can think strongly of is, thank you for today.” @56kosaka Lisa Zechinato, 26, Lima, Peru “I fell from the third floor three years ago. After reconstructing my face, what is left are my teeth. I think it's better to take it well, laugh, and enjoy that I'm alive.” Ruth Hunduma, 25, Addis Ababa, Ethiopia “Mum talking about the Italian invasion.” @ruthievenus Credits All images courtesy the artist

8 TV shows to watch this July

From a Resident Evil series to new sitcom Uncoupled, with Neil Patrick Harris as a suddenly-single gay man in his 40s, Amy Charles lists this month's best shows to watch and stream.(Credit: Apple TV+)1. Black Bird Sentenced to 10 years in a minimum-security prison for drug dealing without the chance of parole, Jimmy Keene was set to wait out his stretch. But he's given the chance of a lifetime: to enter a maximum-security prison and befriend a suspected serial killer whose case is up for appeal, extract a confession and the locations of bodies from him, and then be given his freedom. Inspired by true events and adapted from Keene's memoir In with the Devil – co-written with investigative journalist Hillel Levin – Black Bird promises to be a psychological study of one man trying to extract answers from another, and work out whether he is telling the truth. Starring Taron Egerton (Rocketman) as Keene and Paul Walter Hauser (Richard Jewell) as Larry Hall, the killer in question, Black Bird is the creation of renowned novelist Dennis Lehane, whose books include Shutter Island and Mystic River, both themselves adapted into hit screen thrillers. The supporting cast includes the late, great Ray Liotta, playing Egerton's father in one of his final screen roles, alongside Greg Kinnear (As Good As It Gets) and Sepideh Moafi (The Deuce). Watch the trailer for Black Bird here. The first two episodes of Black Bird are released on Apple TV+ on 8 July, with the rest following weekly(Credit: Barbara Nitke/ Netflix)2. Uncoupled Seventeen years is a long time to spend with someone – and for 40-something Michael (Neil Patrick Harris), whose husband walks out on him, readjustment back to the single life after all that time in a relationship is no mean feat. This new comedy from Sex and the City and Emily in Paris creator Darren Star will see Michael trying to get to grips with a thoroughly changed dating world. The series got into hot water last year when it emerged that it had dropped a character – a Latina housekeeper – after backlash from actor Ada Maris, who had read the script and told Variety that the character was "hurtful and derogatory". Speaking to the Guardian, Harris said that he "applauded" Netflix for taking the step to remove the character. With Star's other shows bringing in legions of dedicated fans, Netflix will surely be banking on this to be a hit. Watch the teaser trailer for Uncoupled here. Uncoupled is released on 29 July on Netflix(Credit: Prime Video/ Amazon Studios)3. The Terminal List "There's evil in this world, the likes of which you can't possibly imagine," says James Reece (Chris Pratt) in the trailer for this new revenge action-thriller. Adapted from Jack Carr's best-selling novel of the same name, The Terminal List follows James Reece, a US Navy Seal who lost 12 colleagues during a covert mission. Back home with his family, Reece is traumatised, but determined to find out what happened to his platoon and take down the dark forces still at large. Pratt also serves as executive producer, and Constance Wu (Crazy Rich Asians), Taylor Kitsch (Friday Night Lights), Jeanne Tripplehorn (Mrs America) and Riley Keough (American Honey) make up just some of the star-studded cast. A review of the original book in The Washington Times said it "grabs you from the start and never lets go. The action is explosive. And the suspense will blindside you." Let's hope the same applies here. The Terminal List is released on 1 July on Prime Video(Credit: HBO)4.   The Rehearsal How far would you go to reduce the uncertainties of everyday life? This new comedy explores the possibilities of rehearsing for life's biggest moments, using a construction crew, a team of actors, and seemingly unlimited resources. It's written, directed and starring Nathan Fielder – co-creator of cult series Nathan For You and executive producer of HBO's How to With John Wilson – who announced the release of the series to his 470,000+ Twitter followers with a short clip of the show featuring people watching a parent and baby on video monitors: so far, so mysterious. Speaking to Louis Theroux in Interview magazine two years ago, Fielder hinted at a change of pace in what he's creating, saying "now, I'm working on new stuff that addresses more accurately where my head's currently at." If it is anything like his other comedy though, expect wince-inducing irreverence. The Rehearsal premieres on 15 July on HBO and HBO Max in the US(Credit: Carla Oset/ Netflix)5. The Longest Night It's Christmas Eve at the Monte Baruca psychiatric prison in Madrid, where dangerous serial killer Simón Lago (Luis Callejo, The Fury of a Patient Man) is being held. An armed gang surround the prison and cut off communications, with the aim of capturing Lago. But warden Hugo (Alberto Ammann, Narcos) isn't going down without a fight. Created by Víctor Sierra and Xosé Morais, two of the creators of Néboa, and directed by Sky Rojo's Óscar Pedraza, this Spanish-language thriller series looks set to be chock-full of explosive, high-octane action. Watch the trailer for The Longest Night here. The Longest Night is released on 8 July on Netflix(Credit: BBC/Hartswood Films)6.  The Control Room When someone dials 999, life-and-death decisions are made very quickly. Set in Glasgow, The Control Room follows Gabe (played by Iain De Caestecker, Agents of Shield), a call handler whose world is turned upside down when he receives a call from a distressed woman who appears to know him. Gabe must work out who this woman is, and make decisions which could have life-altering consequences. Written by Nick Leather (Murdered For Being Different), this thriller also stars Joanna Vanderham (Warrior), Sharon Rooney (My Mad Fat Diary), Daniel Portman (Game of Thrones) and Taj Atwal (Line of Duty). Speaking when he was announced as the lead, De Caestecker said "The Control Room is one of the most exciting scripts I've ever read, I was on the edge of my seat the whole time so I'm thrilled to now be bringing it to life." Watch the trailer for The Control Room here. The Control Room will be released in July on BBC One and BBC iPlayer in the UK(Credit: Apple TV+)7.  Surface Billed as a "sexy, elevated thriller", the San Francisco-set Surface sees Sophie (Gugu Mbatha-Raw, Belle) wake up from a traumatic head injury with severe memory loss following an apparent suicide attempt. As she's guided through recovery by her husband and friends, she begins to ask whether what they're telling her about her life is real. Created by Veronica West (High Fidelity), with direction from Sam Miller (I May Destroy You), it also stars Oliver Jackson-Cohen (The Haunting of Hill House), Stephan James (If Beale Street Could Talk), Ari Graynor (The Disaster Artist) and Marianne Jean-Baptiste (Without a Trace). The blurb for the show describes Surface as "a story of self-discovery which contemplates if we are pre-programmed to become who we are, or if we choose our own identity," so expect major twists and turns as Sophie tries to find the truth. Watch the trailer for Surface here. The first three episodes of Surface are released on Apple TV+ on 29 July, with the rest released weekly(Credit: Marcos Cruz / Netflix)8.  Resident Evil For more than 25 years, Resident Evil titles have been some of the gaming world's most popular. The survival horror franchise has spawned an empire of spin-offs including novels, six films, comics, and now, finally, after years of development, a live-action TV series. The show is set across two timelines: in the present-day, teenage siblings Jade (Ella Balinska) and Billie Wesker (Siena Agudong) move with their father Albert (John Wick's Lance Reddick) to New Racoon City, the home of the sinister Umbrella Corporation. Cut to 2036, and Earth is a very different place: there are now six billion zombies – people who have been infected with the so-called T-virus – and only 15 million humans left, as Jade fights for survival. Showrunner Andrew Dabb (Supernatural) told Gizmodo that the show is true to the games' roots, saying: "It's got the blood and the guts and the gore and the monsters and the secrets and the betrayals and all that stuff. And I hope people really respond to that." Watch the trailer for Resident Evil here. Resident Evil is released on 14 July on Netflix Love film and TV? Join BBC Culture Film and TV Club on Facebook, a community for cinephiles all over the world. If you would like to comment on this story or anything else you have seen on BBC Culture, head over to our Facebook page or message us on Twitter. And if you liked this story, sign up for the weekly bbc.com features newsletter, called The Essential List. A handpicked selection of stories from BBC Future, Culture, Worklife and Travel, delivered to your inbox every Friday.

Gucci for your poochie and a look into the Pradasphere: What's in Fashion?

We know, we know. How on earth could there be more fashion that you may have missed during the last month of Cruise shows and menswear collections? Well, you’d be surprised. Spare a thought for cats and dogs the world over. Why should they get to miss out on all the sartorial fun? This week, we bring you news of Gucci’s debut pet collection, Dior’s latest hats (perfect timing for July sunshine), and more collaborations, campaigns and a recap of all of our fashion week coverage for you to catch up on during this rare but brief lull in fashion weeks (Haute Couture Week begins on Monday; mark it in your calendars). Here’s what’s in fashion. Images courtesy of Gucci Gucci for your poochie  No, your four-legged BFF may not be Paris Hilton’s accessory or the gemini vegetarian Bruiser Woods from Legally Blonde but that doesn’t mean they can’t be just as pampered. Gucci Lifestyle – which in just under a year has continued to surprise us with its drops of stationary, skateboards, gaming, travel accessories and cuddly toys – is now venturing into the world of canine and feline fashion. Within the debut collection, the iconic double G insignia hangs from colourful leather collars, while others are gold studded. Gorge doggie knitwear in red and white stripes or pink with green hems look like the tiny equivalent of something we could totally see Harry Styles wearing. The classic Gucci monogram print covers coats, carriers and a very luxurious looking pet food dish, whilst a blockier contrast red and blue print adorns a cat bed, bowl and adorable polo top. Even leashes come with distinctive green-red-green Gucci stripes to make turn your beloved dog’s walkies into, well, a catwalk. Much of the items are made from recycled polyesters, cottons and the Gucci-invented eco-friendly fabric Demetra, following in the house’s commitment to sustainability – so your kitty can feel good about not adding to the global environmental crisis. Check out the full collection from the Gucci website. TG A look inside Dior’s latest collaboration Before the men’s shows kicked off in full swing, there was Cruise, the annual extravaganza where the world’s most monolithic fashion houses take their shows on a travelling circuit around the world. Dior took theirs to Seville, Spain, for a collection that was as-Spanish-as-castanets (you can read all about it here). But given that it’s now July, and the glare of the sun is upon our brows, we thought we’d take a moment to delve into one of the key takeaways from the show: the hats! As Stephen Jones once told us, when you think of the Dior silhouette — there is always a hat. For the show, he collaborated with local Andalusian artisans Fernandez y Roche to create the wide-brimmed straw-and-felt hats that adorned almost every look in the show. Watch the video above to find out more about how they’re made. A. Roege Hoeve / Image courtesy of NEWTALENT Latimmier / Image courtesy of NEWTALENT P.L.N. / Image courtesy of NEWTALENT NEWTALENT is the fashion incubator for Copenhagen’s bright new star designers Over the past few years, Scandinavia has slowly but surely been shaking off its reputation as a hub for understated, safe chic, in large part thanks to Copenhagen Fashion Week, the region’s foremost fashion showcase. Alongside the globally established names like Ganni, Soulland and Stine Goya, the biannual event in the Danish capital is increasingly becoming known as one of the most intriguing places to discover bright new talents – and at the forthcoming iteration in August, that will be more so the case than ever before. That’s because SS23 will inaugurate NEWTALENT, a brand new emerging talent support scheme founded with the intention of incubating the future stars of the Nordic region’s fashion ecosystem. Through grants, mentorship, spots on the official show schedule, showroom & sales support and more, the programme will offer indispensable support to three young brands this season: conceptual knitwear maverick A. Roege Hoeve; Latimmier, a label that challenges preconceived notions of masculine expression in fashion; and P.L.N, a broody punk-suffused offering from Balenciaga alum Peter Lundvald Nielsen. Keep tuned for more on what they serve up at CPHFW in August! MS Sergio Tacchini and Yardsale have made a film about teen hedonism Italian tennis heritage brand Sergio Tacchini’s link up with Yardsale already excited us all with their retro 90s capsule collection made up of terry cloth tracksuits in black with pink detailing and white with gold detailing, and hoodies, tees and polos with bold artworks and vintage logos adorning them. Now, a new short film for the collaboration shows the youth, hedonism and street-ready style at the heart, as a girl in paris rants to her uncle about her brother’s super chill lifestyle, only for the uncle to revel in nostalgia at his own careless days of yesteryear. TG Images courtesy of Prada Prada gets personal with Hunter Schafer and Kendall Jenner If you cast your minds back to the Prada AW22 runway, you will remember that it was a celebration of womanhood and femininity in all its forms, not just the uber-sexualised pin ups or the bookishly demure that we’re so often used to seeing in both fashion and pop culture at large. Now, in a campaign photographed by David Sims, those ideas are expanded upon with many of the original cast of famous faces from that runway including Euphoria’s Hunter Schafer and Kendall Jenner. Each – wearing the same items they wore in the show, Hunter in a butch vest and Kendall in feathers and frou-frou – has been stunningly shot alongside a still life that intriguingly captures a part of their story. For Hunter that’s a chewed baby pink pencil. For Kendall, a used leather bound and locked notebook. For other models, it’s a pair of dice, a porcelain cat or a well-played-with basketball. All very intriguing! TG Image courtesy of Nike Nike welcomes Jacquemus to the famille Earlier this week, the Jacquemus SS23 show in the salt marshes of Provence clogged up Instagram feeds all over the world. The show marked a new partnership with Nike, for which Jacquemus joins the ranks of Sacai and Martine Rose as the latest designer to bring an elevated approach to sportswear. Pieces from his upcoming collection were dotted throughout the show, like a knitted polo dress, fencing gloves, Nike-logo-strapped bralettes and Simon’s take on the Humara sneaker, originally released in 1997, in a palette of neutral, earthy tones. The long-term partnership is sort of like another marriage for Simon, who is due to be marries this summer, and will be now bringing his brand of sensual feminity to Nike’s women’s sportswear for years to come. Hypebaes, rejoice! Here’s everything you need to know about Men’s SS23 For the fashion crowd, it’s been a chaotic month. For many houses and labels, the past few weeks have been the first spring summer menswear shows they’ve had in nearly three years and so they were ready to come back with a bang. In London, Martine Rose took to an old gay sauna for his showing for kitch take on London’s seedy side while Ahluwalia paid a nuanced tribute to African culture from across the continent. In Milan, Versace had brazenly sexy homeware while Prada went for crisp, simple tailoring. Finally, in Paris, Loewe and Dior did a bit of gardening, Rick Owens and Y/Project went apocalyptic and Louis Vuitton said a final loving goodbye to Virgil. Click here to see all our reviews from the SS23 menswear shows. TG Follow i-D on Instagram and TikTok for more fashion news

Maryam Nassir Zadeh touches down in Paris

Last summer, Maryam Nassir Zadeh realized that she was embarking on a new chapter of her life. The designer’s namesake label, signature shop and even her personal ethos have shaped how people dress in New York over the last 15 years, but suddenly she was spending a lot of time abroad, specifically, at her showroom in Paris. It’s located in a brightly-lit apartment where she spent weeks reflecting on her brand, her hopes for the future and her travels — collecting vintage jewelry, textiles, homewares and various treasures in flea markets across Italy, France, Greece and Istanbul, Turkey, which inspired her debut menswear collection in 2020. Naturally, Maryam decided it was time to open a new shop to bring MNZ’s wardrobe staples to the city of light, alongside vintage finds from all around the world.“I've talked about this before with you with the men's launch, but I had that idea for so long,” Maryam says over tea at Hotel Grand Amour. “Sometimes dreams are on the back burner and it’s so easy to be like, ‘that’s not going to happen.’ But you just have to do it. I always thought a Paris store would be a dream.” So, last week during Paris Fashion Week Men’s, Maryam opened the doors to her second shop at 97 Rue Lafayette in the 10th arrondissement. Lining the walls are white shelves that mirror those in Maryam’s downtown New York store — you know the ones — where she and her team artfully, and very sparsely, arrange silk scrunchies, leather belts and handmade bags, and glass jewels. The setup was inspired by her grandma’s shop in Tehran in the mid-70s, where she would sell custom hats and treasures from Europe at a time when many people weren’t traveling outside of Iran. With Maryam’s own personal touch — she plans to be the sole curator of the shop’s stock — and her unique collection of found goods, the Paris location takes this feeling that’s so ingrained within the Maryam Nassir Zadeh brand one step further. “As an artist, it's so important for me: the curation part,” she says. “I think it really needs to be alive more within the business. Everything becomes such a routine as a designer, when I'm showing and when I’m not. For so long, with my New York store, my energy has been disconnected in a way. It's multi-brand and it's formulaic. I’m behind the team that styles it and I'm behind the merchandise because I helped buy it, but there's some things that don't have my essence, my touch — the vibe.” “Of course, everything [MNZ] is my creative vision,” Maryam adds. “But with my fashion, in the end, it becomes everyone's thing. This is an exciting, really dear project to me because I feel like it's my sketch. It’s my art project.” Alongside the delicate sheer tops and skirts of SS22 is pottery from the south of France and Italian glassware, “things that are most precious” in Maryam’s own home. There are lace dresses and camis from Venice, handmade bracelets from Mexico. The shop is located on the fifth floor in the apartment where Maryam decided to make her latest dream a reality, and where the designer will continue to stay while she’s in town. “​​I want customers to know that I live there and could be popping around,” she says.  In addition to the one-of-a-kind homewares and vintage on display, opening her Paris shop also marked the launch of custom beach towels made in Spain — they’re inspired by the designer’s favorites at La Residencia in Deia, Mallorca — and a line of graphic tees designed with Istanbul-based artist, model and Yillar Ziyan skater Izzet Biçer. “He's kind of punk, DIY, and I've always wanted to do a branded MNZ T-shirt,” Maryam explains. “He made me this book of sketches and it was so personal. I picked out my favorite moments and he's doing them all by hand.” The designs represent Maryam Nassir Zadeh’s first ever branded tee, which was first seen on the runway at New York Fashion Week last season. However, they also represent a full circle moment for the label. After Maryam graduated from RISD in 2001, she spent the summer going back and forth between flea markets in Europe to collect textiles.  “When I had my collection in my early twenties, I used to do these one of a kind tees,” she says. “I'd go to flea markets in Paris, buy textiles and collage them on T-shirts. There were a couple shapes and I was decorating and painting them. For my next show, I think it's really time for me to connect back with the textiles.”  There is a very specific feel to Maryam Nassir Zadeh’s designs and her new shop; a distinct spirit, an atmosphere. Her intention with the space is to curate “a vibe”. It’s personal, wholesome — and that’s what makes her clothes so appealing to a new generation of New Yorkers who attach far more meaning to where they shop than ever before. In buying MNZ you’re buying into the dream — “the umbrella theme of the store, of starting mens, of it all, is dreams; things that are sacred to you that you’ve always wanted.” “It's so natural and sincere to a person — their path, visions and manifestations of what they want to do,” Maryam explains. “It's about timing. Love is like that too. That's the beauty of life, I feel, when it comes down to your gut feeling of what gives you happiness and joy. The store is a reflection of when your gut instinct kicks in. You feel like all of a sudden you have this idea that clicks — it's the intuition, the timing — everything kind of flows from there.” Follow i-D on Instagram and TikTok for more fashion.

We all dress like we’re in the Scooby Doo movie now

20 years have passed since the Scooby Doo movie arrived in cinemas, singlehandedly changing the culture for the terminally online, queer people, and — most importantly — die-hard fashionistas. For the past two decades, most people (read: critics) have looked back upon the film with a sense of malaise, remembering it as an “awfully cheesy” cash cow; a “dumb” dud with a CGI dog protagonist that, as one writer put it, was “the worst special-effects creation of the year”. But for every detractor, a die-hard stan has come to the fore, recognising its many merits. What those critics didn’t know was that Scooby Doo would, in spite of this, become a masterwork of era-specific fashion references. Released in 2002 and written by Guardians of the Galaxy director James Gunn, the R rated version of the film — which included explicit stoner jokes, a love affair between Daphne and Velma, and excess cleavage that had to be CGI removed in post production — never saw the light of day. Instead, we were given a film that simultaneously harboured the spirit of a tame 2000s Nickelodeon horror and the fashion references of a 70s B-movie.  PVC gogo boots; bell bottoms; tank tops and shell necklaces: even for a movie released in 2002, Scooby Doo hit cinemas feeling like a fashion relic. After all, the Mystery Gang — Velma, Daphne, Fred, Shaggy — had barely changed aesthetically since the show’s 1969 premiere. But that stuck-in-the-70s wardrobe doesn’t extend to the film’s secondary characters and extras, seemingly all of whom are dressed in the Tony Hawk, skater fuckboi garb of the time (think: rock band vests, frosted tips and three-quarter-length shorts). But as the fashion cycles continue to come around, the fashions of Scooby Doo (2002) feel eerily like how we dress in the streets today.   The movie perfectly encapsulates the current style overlap of now: the coalescence of the 70s and 00s. Everywhere we look, the fashion-forward are in flares and skater jeans; barely-there tops and band T-shirts. Look to the runway and you’ll find looks that could, realistically, be transposed onto the Scooby Doo cast too.  Fred walked so Harry Styles could run. In the film, the staple hunk played by Freddie Prinze Jr. wears a mix of preppy 70s Americana chic consisting of v-neck sweaters, neckerchiefs, cerulean flares and ribbed vests (all screaming Raf-era Calvin Klein 205W and Gucci), while his navy distressed leather gives of an air of Glenn Martens’ Diesel. Then you have his love interest Daphne, played by Sarah Michelle Gellar, whose head-to-toe purple wardrobe gives the same energy as Valentino AW22 and would work perfectly on Dua Lipa today. Versace SS22? Daphne would die for it. The flowy, pastel numbers from Blumarine SS22? The perfect beachwear for her holiday on Spooky Island.  Shaggy, of course, is eternal fashion inspo for anyone who wants to lean into their scuzzy stoner moment. He acts as the transitory figure in Scooby Doo’s halfway foray from vintage into its (then) contemporary setting: half-flared brown corduroy jeans combined with a half-short-sleeve-over-long-sleeve T-shirt, like a guy who shops in the basement of Dover Street Market. Velma’s distinct shade of orange? Valentino had a similar zhuzhed up version in their couture collection, providing the series’ resident geek with indelibly sexy partywear should she need it. Alternatively, if she tore away the bottom of her turtleneck and hiked up her skirt to three inches, she’d almost have a look ready for a Miu Miu runway. Look elsewhere within the movie’s wardrobe and you’ll find Rowan Atkinson’s villain and movie extras wearing tops that could easily be part of a coveted Heaven drop, or a 2018 Vetements collection. Then there’s Scooby himself, donning a gorgeous organza floral gown and sunhat that appears to have wound up on the moodboards of many a designer today.  That this would happen — a kid’s movie capturing the fashion zeitgeist 20 years after its critically-blasted release — is unique, but inevitable: inspiration sprouts in places we least expect. Now, when (not if) you revisit the Scooby Doo live action movie — and its sequel, should you fancy it — you can pore over the frames to find your next going out look. The inevitable question is: what mid-00s childhood relic will predict the fashion future next?  Follow i-D on Instagram and TikTok for more off-piste fashion takes.

The very best of Paris Fashion Week Men's SS23

Et voilà, la grande finale! Yes, after two whirlwind stops in Europe’s other two fashion capitals – London and Milan – we’re now into the final stretch, with five full days of the finest men’s fashions that Paris has to offer. As per usual, we’ll be covering the longest of the three June fashion weeks by way of a rolling round-up, with fresh updates on the latest happenings to be posted right here each day. Wanna know about Glenn Marten’s latest whackily warped outing for Y/Project? Comme and Junya’s long-awaited return to the Paris schedule? Or what Louis Vuitton’s first full collection designed in the wake of Virgil Abloh’s passing looked like? Well, here’s where you’ll find out! Images courtesy of gorunway.com Kenzo Though the collection Nigo showed on the final day of Paris Fashion Week Men’s was only his second for Kenzo, walking into the show venue, it was clear that the Japanese forefather of streetwear has made swift work of carrying over his cultish fanbase to the French house. Sure, there were the bevy of celebs kitted out in the bright knits and appliquéd baseball jackets that anchored his debut collection for the brand, but the point was really hammered home when you scanned the bleachers lining the runway and saw a bevy of show attendees waving literal Kenzo varsity flags. Granted, that was in large part because they were planted on their seats, but they only fuelled the spirit of excitement that characterised the clothes themselves. Inspired by the DC Brand Boom of 1980s Japan, when the work of the since-legendary coterie of Japanese designers presenting in Paris “co-existed with a local influx of casual, pop-driven Character labels distinguishable by their use of colourful and cartoonish animal motifs”, as the show notes read, the collection echoed this duality of formal rigour and poppy eccentricity. The yoke of an indigo denim workwear jacket came in zingy leopard print, and tattersall tactical vests were worn over loose suits in contrasting checks. Tartan blazers with sailor collars were worn with flouncy denim culottes, and shirt and tie sets were printed with illustrations of elephants  – elsewhere, cartoon characters were knitted into intarsia sweaters and appliquéd to the varsity jackets that Nigo is fast making a cornerstone of his tenure at the brand – the perfect pieces to cop to show that you’re a true fan. MS Images courtesy of A-Cold-Wall* A-Cold-Wall* While most of the week’s collections were seen passing by in a flash on the runway, for A-Cold-Wall*’ debut presentation in la ville lumière, Samuel Ross was keen to give his audience the chance to really grapple with his latest body of work up close. In a roomy gallery space off the typical show circuit in Belleville, the London-based designer was even there himself to walk visitors through the introduction to a bold new chapter for the brand – walk in a literal sense, given that looks from the brand’s three product lines were installed about the space like sculptures, specifically curated to bring the nuanced interrelations between the more commercially-minded pre-collection, the creatively innovative ready-to-wear, and a brand new artisanal offering into relief. Elegantly suspended on wires in the white-washed space, the pieces from the latter line in particular – which is targetted at A-Cold-Wall*’s substantial base of art and design-obsessive customers – were expertly curated, elevating them to the status of art object. While A-Cold-Wall* has previously been known for its tech-savvy approach to textile development and form, here, the work felt distinctly handwrought. Brown canvas chore jackets – the product of a new collaboration with Timberland – were handwarped, with wires fitted in its channels, allowing the piece to hold its ghostly form. Starched mesh pullovers felt as though they’d been interred and exhumed years later, as if the design process had been left up to mother nature. That haphazard feel informed the streaked dye patterns of an intentionally crinkled fine knit jumper, and the whitewash on an bright-orange marble-print leather coat, destined to fleck off over time with each wear. While it made perfect sense to inaugurate the line with a static presentation, they’re clothes that we also can’t wait to see in action – a privilege we’ll all be privy to come January, when the brand is set to make its Paris runway debut. Trust us when we say that we’re counting down the days! MS Images courtesy of gorunway.com Kiko Kostadinov The themes of Kiko Kostadinov’s collections often take a bit of chewing to process. Much the same can be said for the clothing that the London-based designer creates, which rarely reveals the brooding complexity of its design at first glance. This season is, in most respects, no exception. The conceptual framework for the collection he presented yesterday in a stately library – notably his first collection officially shown on the Paris schedule – was a knotty one. Inspired by the work of acclaimed Vietnamese artist Danh Vo, whose work draws on emblematically American artefacts to deliver acerbic critiques of the nation’s imperialist present and past, Kiko was inspired to explore how he could adopt a similar perspective in approaching the Ottoman rule of his native Bulgaria. Rather than stoke the acrimonious narratives that still fuel tensions between his homeland and modern-day Turkey, instead, he set out with the intentions of appreciating the rich aesthetic history of the Ottoman empire and finding ways to reframe garments that typically conjure memories of trauma. The swooping drapes of the uniforms once worn by medieval Janissaries – elite Ottoman foot soldiers – informed the belting of reversible tailored overcoats and the bands of cotton towelling and shimmering jacquard that buttoned on the collars and welt pockets of boxy blousons. The attempt to renegotiate the relationship between Kiko’s homeland and its former oppressor extended to the integration of motifs that nodded to the bucolic oil paintings of mid-century Bulgarian artist Zlatyu Boyadzhiev. The abundance of shearling and moccasins worn by the subjects in his earlier figurative work, for example, translated to the collection’s generous panels of stone grey towelling and mossy blue Suri alpaca, and its tongueless, long-laced shoes built on Asics soles. While the specificity and personal weight of the references Kiko drew on this season could have proven alienating, here, that’s avoided by the sheer fact that there are few people out there who couldn’t see themselves in the clothes on offer. In what is undoubtedly his most accessible collection to date, subtle riffs on staple pieces abounded. The designer’s notorious technical tricks were still present, but more subtle than ever before. Collarless wool jackets and suit trousers were fully reversible, proving that just as much attention has been paid to the striped lining as to the outer. The lower legs of another pair of pants snapped off to become a breezy pair of culottes. Seersucker shirting featured an innovative ventilation system, as did the brand’s first full leather jacket, a riff on a classic men’s harrington. Granted, those that have always found themselves drawn to the niche references and nerdiness of Kiko’s designs will still find that here, but it’s great to see him put out work that will broaden his appeal to a whole new set of fans. Images courtesy of gorunway.com Mowalola Any seasoned fashion week goer knows that you often have to look beyond the official for some of the most buzzed-about moments. This season, that was proved on the penultimate day of Paris Fashion Week by Mowalola, the loudly-hyped London label that, after three years away from the runway, made its anticipated return. It did so with a collection titled ‘Burglarwear’, an exploration of the crime of theft and the grit and conviction it takes to commit it – as well as a proudly raunchy celebration of the body. As you’d expect from a collection that looked to caricatures of thieves for its source material, black balaclavas were joined to slinky ribbed knit bodysuits, slashed at the navel, and appeared in leather iterations that nodded to gimp masks. Beyond this obvious interpretation of the theme, Mowalola Ogunlesi adopted a more figurative perspective, looking at the act of theft as less the consequence of “a certain personality type or chosen life path”, read the show notes, and more to do with accessing a dormant state of mind that resides within all of us. As such, the typologies of robbers that Mowalola set within her sights went beyond the jewellery heist villains of Hollywood films. Wool suits comprising bumster trousers, jackets with v-cut hems and dramatically cropped pinstriped capes and skirts nodded to Wall Street bankers, while ecclesiastical gowns and itsy-bitsy panties with crucifix cut-outs called out the clergy. Comic book supervillain-y solos were emblazoned on tight-fitting tees, while, in other looks, the theft in case was a little more literal, with bondage-y lace-up minidresses and halterneck miniskirts robbed of the modesty-preserving swatches of fabric. Perhaps the most interesting pieces, though, were those that constricted more than they liberated. Wool sleeves that bound the arms either in front of or behind the body and lace-fronted hooded dresses with a single armhole intentionally constricted the wearer; in the case of a hooded white vinyl column dress, its construction forced the wearer’s arms behind their head, causing their elbows to jut up towards the sky. These looks elicited, Mowalola told us backstage, the idea of what it means to be stolen – to be a kidnap victim, for example, to something or someone else. If there’s one thing that Mowa managed to steal with her defiant comeback, though, it was the hearts and minds of her audience. MS Images courtesy of Acne Studios Acne Studios After two years of limitations on large gatherings, the lifting of restrictions has resulted in a boom in some of the most joyful group celebrations of all – yes, weddings! In the midst of this post-pandemic boom in nuptials, Jonny Johannson, the creative director of Acne Studios, reflected on his own big day – as well as the many he’s been to recently. It wasn’t quite the formality or tradition of the occasion that drew his attention, though, but rather the curious contrasts that characterises most weddings – “the joyfulness, the dressing up, the kitschy-ness” of it all. “In a sense, it’s one of the most serious days of your life, but it’s also fun and ridiculous,” he says. As such, the collection he presented by way of a lookbook shot by Sharna Osborne was less about celebrating what you’d typically wear to a wedding, and more focussed on “unpicking the proposition of occasionwear” and bringing a “kitsch, spontaneous feeling” to the fore. Here, that’s achieved by taking the rudiments of the genre, and passing through a prism of unabashed camp. Sharp two-piece suits are reimagined in pearly satins, with the same fabrics used as gaudy linings for roomy wool overcoats. Body-swaddling crew neck sweaters are rendered in baby pink yards and shredded, and chintzy slogans like ‘For Better, For Worse’ and ‘Forever Mine, Forever Yours’ are rhinestone on t-shirts and printed on scrims of laces. Clothes we’d gladly say ‘I do’ to! MS Images courtesy of gorunway.com Paul Smith Attending a Paul Smith show, one naturally expects to see a parade of very good suits. And this season, attendees were not disappointed on that front. What may have surprised them, though, were the sorts of suits they saw. Rather than the traditional dark-wool two-piece you instinctively associate with commuters and city boys, or the three-piece sort typically reserved for more formal occasions, the brand’s latest show brimmed with tailoring that seemed to be pitched at an audience with a distinctly fresher perspective on the medium. That is, as Paul explained post-show, due to the fact that suiting has found a whole new set of Gen Z admirers – proven by the fact that almost a quarter of Paul Smith’s customer base is between 18 and 20 years old. This, then, appeared to be a collection designed with exactly them in mind. Silhouettes were notably relaxed with long-lined notch-lapelled blazers in lightweight checked wools styled over loose midi-shorts, striking an almost skater-ish tone. Elongated poplin shirting came in graphic contrast pinstripes, while billowing coats came in clashing psychedelic prints and broad pastel brushstroke stripes. They were clothes that exhibited the sense of craftsmanship that Paul has honed over more than five decades, reframed for today. MS Images courtesy of gorunway.com Marine Serre In recent seasons, Marine Serre has proven time and again that she’s not really one for a run-of-the-mill fashion show, opting for immersive film screenings or multi-day exhibitions instead. That’s with good reason, though — to present her work in a ‘traditional’ runway format would be to undercut the values on which her young, rapidly expanding house was built. Marine, after all, is a designer who does things differently – whether that’s in terms of her innovative approach to making up and recycling the foundation of her brand, or her casting, which, in Paris especially, is notable for its consistent representation in terms of race, age and body time. These were all features that defined the show she staged at an athletics club on the outskirts of Paris on the week’s penultimate night, with this spirit of inclusion even extending to the audience, which included 1000 members of the general public. In what was described as “an emotional opening ceremony”, members of the Marine Serre team were followed up by athletes in the brand’s swimwear spun from recycled fibres. Bodycon dresses cobbled together from denim bands were offset by those grungy draped gowns composed of second hand scarves, and poppy pink boucle jackets with piped pockets were in fact crafted from regenerated towels. In a reiteration of what lies at the core of the brand’s aesthetic codes, the show closed out with a parade of the crescent moon-printed mesh bodysuits, worn by models of an all-encompassing range of gender and racial identities and body types, among them Sevdaliza and Lourdes Leon. It was a fitting close to a show that iterated the values that all fashion houses would do well to adopt – values that prioritise work towards a better future for the planet and all those that live on it. MS Images courtesy of LỰU ĐẠN LỰU ĐẠN Since founding LỰU ĐẠN last year, Hung La – also known as one-half of cultish London-based luxury label Kwaidan Editions – has designed with the intention of articulating Asian masculine identity in ways that the fashion industry typically hasn’t allowed for. For its third collection, Hung turned his focus to the villainous archetypes of 80s Japanese detective shows and film noir – tormented detectives, slick gangsters, addled techno ravers, and biker gang bosses. Rather than lean into first-degree clichés, however, the collection imbued these archetypes with emotional subtlety and depth. In a lookbook shot by Fumi Homma, the dark sensuality of black leather bootcut suiting was counterposed by the fluid drape of a vented vanilla macintosh and billowing jersey sweats. Fuzzy wasp-striped knits and tiger-printed silk shirts suggested an almost-camp exuberance, while bold-shouldered blazers and moto-jackets implied a not-to-be-fucked-with severity. As eclectic a mix as that may sound, what defined the collection’s 24 looks – and grants them their success – is a specificity that firmly anchored each look in a particular world. As character-driven as its underpinning narrative may be, though, never did it err towards stereotype – rather, these were clothes clearly created for people in command of their own stories. MS Images courtesy of gorunway.com Junya Watanabe For a designer typically categorised as avant-garde, perhaps the most striking thing about the collection that Junya Watanabe presented on the third day of the week was how openly it celebrated culture at its most mass. Rather than lean into the esoterica that has characterised a fashion culture increasingly obsessed with the chaotically weird, the logos of some of the world’s most ubiquitous brands were patched on jeans and caps — Coca-Cola, Netflix and Honda among them. They didn’t read, however, as official collaborations but rather as po-mo “quotes” – a Kathy Acker-ish yen for lifting and displacing symbols that are such common fixtures of our current cultural landscape that they’re basically common property. The garments that Junya used as templates for this exploration were similarly commonplace – Americana menswear staples like carpenter jackets and cargo trousers; trucker caps and knitted cardigans; beaten-up leather biker jackets and stonewashed denim jeans. Decorating these pieces, though, were samples from the works of artists that have themselves shaped the face of pop culture as we now know it – Andy Warhol’s Campbell’s Soup can and Marilyn Monroe screen-print were splashed on intarsia sweaters, and the inimitable squiggles and scrawls of Jean-Michel Basquiat and Keith Haring paintings were printed on shirts, blazers and jeans. From a designer who is a figure of pop cultural lore himself (cf. the track on Ye’s Donda dedicated to him), this felt like an astute acknowledgement of the cut-and-paste nature of how culture pushes itself forward, mapping out its future by cobbling together fragments of its own past. MS Images courtesy of Courrèges Courrèges As much as summer is about dressing up, it is – just as crucially – about dressing in as little as possible, too. Indeed, summer is the time to show skin. While that’s a long-since accepted truth in womenswear, in recent seasons, it’s begun to inform menswear collections, too. A paean to the freedom of the season, Nicolas Di Felice’s latest menswear offering embodies this liberated sensibility that’s making itself felt across the genre, presenting impeccably chic, subtly chic staples that look as good off the body as they do on it. Strange as that may sound, that’s down to a particular motif that ran through this season’s menswear collection — a faux leather strap found across the fronts of zippered wool blazers, the backs of vinyl coats and leather biker jackets, and even denim jeans. It allowed each piece to be peeled off and slung over the shoulder like a drape-y tote; clothes that accessorise – rather than cover – the naked body in all its glory. Of course, all the pieces on show can actually be worn in the traditional sense, and in the interest of doing the effort invested in their design justice, it’s worth noting that this season saw Nicolas draw upon the house’s little-known nautical heritage, introducing a hint of seaside flair. The patterns for this season’s leather jackets, for example, were in fact adapted from a wetsuit that André Courrèges designed in 1981, and the house’s iconic thigh-high moon boots have been adapted for the men’s line in tech-y neoprene. For anyone looking for a comfortable middle ground between showing some skin while still maintaining a bit of coverage, you’ll find just that in this season’s twisted-and-slashed logo-printed tees – which hang open to reveal the chest and obliques – or the asymmetric tank tops with shoulder-framing cut-outs. Clothes that are the next best thing to wearing none at all. MS Images courtesy of gorunway.com Hermès There are fashion shows, and then there are Hermès shows. While the former often riff on the comings-and-goings of trends and the fleeting obsessions of designers, the latter is always a constant stream of timelessly delicious clothes and accessories for the man who has everything, like a soothing ASMR track in a maddeningly noisy world. That doesn’t mean to say that it’s ever boring — and, despite what you may think, it’s rarely ever beige. In fact, in the case of Véronique Nichanian’s latest collection for the French house, it couldn’t be further from either. A rainbow spectrum of bright, fruity colours (lemonade, lagoon, lilac, melon, orange) came down the cobblestones of the Manufacture des Gobelins, one of the world’s last remaining tapestry manufacturers (craft, it’s always present chez Hermès). Fresh-faced boys in solar knits, lilac nylon-like satin windbreakers, roomy bermuda shorts and breezy suits made from pyjama cotton came down the catwalk, looking like they’ve just stepped off a boat — even though it was lightly raining during the outdoor show. That said, the boys could have just pulled up the hoods of their lightweight parks in colourful satins, which — when worn with the myriad bucket hats — had a hint of day-raving festival goer. Whatever the summer holiday you prefer, there was something here for you. A central motif throughout was a “remixed” tattersall check, slightly distorted, which Véronique said was meant to evoke the way that swimming pool tiles are distorted by water. It affirmed the obvious, that there was a distinct holiday spirit to the collection, affirmed by the leather-lined neoprene sandals and canvas tote bags, perhaps full of beach day essentials. Suits were less 9-to-5 and more Riviera, often worn with open blousons and featuring perfectly slouchy carrot-top trousers with elasticated waists. These are the kind of clothes that make you want to quit your job and live in a perpetual state of vacation. And this being Hermès, the hallmarks of summer style were imagined in unbelievably luxurious fabrics: a bucket hat in lilac crocodile, silk tank tops with seahorse prints, lightweight parkas in colourful satins, cashmere pullovers for cool summer nights and crinkled linen jackets that may as well have been grabbed from a brimming suitcase upon arrival at a hotel. As far as sartorial inclinations go, that’s a feeling that will never get old — much like the rarified luxury goods that Hermès does best. OA Rick Owens Yesterday, at Rick Owens’ SS23menswear show, we literally sat and watched the world burn. Well, not much the world itself, but rather ostensible representations of it. Spherical orbs dangled from cranes, were set alight, and plonked into a pool installed in the courtyard of the Palais de Tokyo, over and over again. While it could’ve been read as a cipher for the seemingly endless avalanche of disasters — physical and social — that have blighted our newsfeed of late, the scale of what Rick was nodding to was a little grander. Rather, it was an investigation of “senseless destruction on repeat since the beginning of time”. Head here for the full review. Comme des Garçons Homme Plus Rei Kawakubo is back in Paris, following two years of showing her Comme des Garçons collections in Tokyo. And it couldn’t be more timely to have her return to menswear at a time when masculinity is in crisis. In the typically traditional menswear landscape, Comme des Garçons Homme Plus is a rare bird of provocation. With her menswear, Rei often seeks to dismantle the canon of men’s clothes, cryptically imbuing her collections with messages that feel like coded wisdom for making sense of what’s going on in the wider world. So, it was perhaps given that we’re living in terrifying times — governed by men, it should be noted — that she decided to shutter the windows in a derelict Paris warehouse and send out guys in killer-clown masks, harlequin prints and layered frock coasts with slasher zig-zag hems. The soundtrack of eerie slasher-flick scores, from Suspiria to Halloween, set the tone for a brooding darkness and a creepy assertion of forced smiles, bright colours and a deranged sense of fun amid the suspenseful fear lingering in the air. Head here for the full review. Images courtesy of gorunway.com Amiri After a string of shows — digital and physical — that have served as odes to its native LA, this season saw Amiri’s return to the Paris calendar. If the glorious weather at the brand’s show in the Jardin des Plantes was anything to go by, though, it was clear that Mike Amiri’s plan this season was to bring California with him on his journey across the pond. That came through strongly in the relaxed flair that coloured the collection — quite literally, with its predominant palette of sky and sea blues, faded pinks and stone greys. Shirts and jackets with wide-cut sleeves slouched off the shoulder and gently fluttered with each step, and wide-leg trousers in allover logo prints and cashmere-pooled at the ankle had the boxy proportions of skate pants. As ever with Amiri, though, that So-Cal casualness was elevated by an exacting standard of luxury and craftsmanship — paisley basketball shorts were crafted from cashmere, and football jerseys had crocodile leather panels. Cable knit pullovers came in gossamer merinos, and a bomber jacket was hand-embellished with crystal stars. This was a collection that served as a reminder that wherever Mike Amiri shows, he’ll always bring the essential spirit of California cool with him. MS Images courtesy of gorunway.com Issey Miyake Any brand that makes its mark on fashion history typically does so thanks to a distinct set of core design values. For Issey Miyake, one of its most notable is a commitment to creating fashion rich with a sense of joy and movement — to making clothes that, if not necessarily athletic in their intentions, are designed to facilitate leaps and bounds of joy. That made itself strongly felt in the Japanese house’s menswear show staged in the courtyard of the French postal service’s headquarters, just across the way from the Louvre. Opening with a suite of quiet tailored looks in the line’s signature finely pleated polyester, the tempo started to build when a troupe of pastel clad models – or so we thought at first – appeared atop a scaffold. They then began to elegantly twist down the construction and on to the main floor, where they delivered a fully-fledged acrobatic performance that more than vindicated the moveability of the clothes. If that wasn’t convincing enough, then the following troupe of dancers that pranced and spun about the floor in gently billowing, psychedelically colourful garments – almost like human pinwheels – certainly were. All in all, it amounted to a collection that attested to broad horizons that lie in honing a single approach, and the rapturous joy of wearing clothes you can move in. MS Louis Vuitton Arriving at the Yellow Brick Road set of Louis Vuitton’s SS23 menswear show at the Louvre, it soon became clear that this was a very different kind of spectacle to the one Virgil Abloh made his debut for the house with, just over four years ago. Back then, the road was straight-and-narrow, clearly leading to the Emerald City and all its promises and bright lights. This time, however, it was a bit more complicated. The first show that Virgil did not directly work on, the Yellow Brick Road here twirled into a Mobius strip, swivelling into infinity — just like the legacy that Virgil left behind. ‘Infinity’ was the official name of the collection, the final chapter of Virgil’s brief-yet-brilliant tenure at the house founded in 1854. Read our full review here! Y/Project In a show staged in a bucolic garden setting in a secondary school on Paris’ Left Bank, Glenn continued the prodigious streak he's already had this year, showcasing a body of work that reaffirmed the deliciously off-kilter, twist-it-and-screw-it-up approach to elegance that has propelled him to his current status as one of the most intriguing designers working in fashion today. Read our full review here! Givenchy The Parisian house’s first standalone menswear show since Matt Williams arrived at the gilded salons of 10 Avenue George V — this was a show that was definitively more Top Boy than Breakfast at Tiffany’s, the 1961 film that propelled Hubert de Givenchy to international stardom. Buff boys with buzz cuts emerged through a white mist in a veritable feast of uniform-like tailoring — slashed at the knees, like typically distressed jeans — and heavily-branded sportswear, like two sides of the sartorial coin for schoolboys eager to risk detention for subverting the dress codes of their grey uniforms. Click here to read our full review! Images courtesy of gorunway.com Bianca Saunders Since taking home the ANDAM Prize last year, Bianca Saunders is a designer whose star has been firmly on the rise. That was attested to when you saw the eager crowd who had turned out en masse for the London-based designer’s start of the day show – her second in Paris. For their early rise, they were treated to ‘Hard Food’, a collection that drew its name from the starchy accompaniments of a typical Jamaican meal – dumplings, yam and plantain. While an obvious nod to Bianca’s own Jamaican heritage – a throughline for her brand – it admittedly may seem a rather esoteric title for a fashion collection on first reading. It was, however, a nod to an implicit contradiction it embodies – namely that when hard food is prepared, it’s actually pretty soft. A similar sense of contrast informed the clothes. The solidity of stark denim jackets featuring Bianca’s signature blockish draped shoulder and hulking leather bombers with low-swooping fronts was complemented by louche twinsets in iridescent satins – turtleneck-and-trouser twinsets shimmered with each step, and shirts in what looked like sumptuous lining fabrics featured subtly swooning drapes at the chest. This duality even informed individual pieces, with structured trench coats turning round to reveal quivering draped backs, and cargo-ish canvas-like trousers featuring a domed, gathered reverse in cotton poplin. Elsewhere, Bianca expanded the visual remit of her universe by way of cleverly manipulated prints and new finishes – looks in silver-foiled leather introduced a dash of glamour into the mix, while lurex knit twinsets with slashed and reattached collars subtly glinted as they moved, almost like television static. Grid prints were warped, mimicking the bulges of the body beneath, and this season’s signature graphic was in fact a hand-collaged distortion of a step-by-step recipe for hard food, bringing the collection’s figurative interpretation of its point of departure full circle. For her most expansive and ambitious collection to date, Bianca proved exactly why people keep coming back and queuing up for whatever she’s serving. MS Images courtesy of John Alexander Skelton John Alexander Skelton John Alexander Skelton is gloriously out of sync with much of the fashion industry and its restrictive commercial systems. He stands above the enforced newness of seasonal trends and the superficialities of merchandising. John’s work is instead approachable and human, slower and smaller and considered, aesthetically it looks like very little else being crafted in London. It exists in a parallel world, one where the industrial revolution hadn’t quite panned out the way it did, while leaning into the earthiness of Victoriana. He dives into the material histories of garments and the beauty of fabrics and the narratives that various silhouettes contain. His SS23 collection was a narrative continuation of his work last season, specifically the character of Benjamin Pollock, a Victorian toy shop owner. “I found that there is a joy in projecting onto a character that little is known about,” John explained, “and a freedom that allows the mind to wonder.” So John started thinking about Benjamin’s summer wardrobe, and by extension his hobbies and interests, his life and life in general in Victorian London. Research is central to much of Skelton’s fashion practice, whether it’s historical or into the fabric itself. Here, he was looking to the Docklands – the heartland of London’s heavy, industrial past – and the lives that existed at their fringes. “There is a sense that the area possessed a certain exoticism mixed with hard labour and various trades that benefited from their proximity to the river such as the leather tanneries that used to exist in Bermondsey,” he explained. But the ruins of the past as they exist today are part of the collection too, John’s clothes find sympathy between the two eras, and reach towards timelessness. There’s a lightness to the clothes here too; soft linens, the playful over-functionality of those multi-button shirts and jackets, the comfort of an old sandal, the decorative appeal of the embroidery and print. John imaged Benjamin Pollock as a Mudlark, foraging along the banks of Thames where the lookbook was shot, and found his connection to the past through this bricolage. “There is a certain magic and wonder that comes with the fact that these fragments of objects, that were once the possessions of our ancestors, are simply among the mud and pebbles of the foreshore for anyone to find,” John explained. But there’s no point standing outside the system if you don’t offer up something that it doesn’t; and that’s exactly what John does. His clothes exude a rare sense of humanity, and that’s what makes them so desirable. FP Images courtesy of gorunway.com Egonlab Over at the Palais de Tokyo, the first day of Paris shows always plays host to one of the city’s buzziest young labels of the moment, EGONlab. On a sharp upward trajectory since taking home the Pierre Bergé award at the ANDAM Prize last year, the label – run by duo Florentin Glémarec et Kévin Nompeix – has cultivated a reputation for impeccably chic tailored silhouettes flecked with a spirit of high drama and club-ready sexiness. This season brought all of those things together with aplomb, in a collection that riffed on the time-honoured theme of Alice in Wonderland. Other than a handful of cartoonish bunny prints, though, the trippy children’s story seemed to translate more into a general sense of escapism that permeated the clothes. The primness on a long-lined cream-wool overcoat and a smocked lace polo-neck were counterposed by the libidinal flair of itsy-bitsy shorts and thigh-high boots in black leather, and tight vest-tops were spangled with paillettes. Wide-legged denim jeans styled with jaunty, raw-hemmed miniskirts over the top were angstily distressed, while shirts and pyjama-ish trousers came in gossamer fabrics. MS Images courtesy of gorunway.com John Elliott If you want to make a big first impression for your first ever show in Paris, then a surefire way of doing so is to make the topography of the famously pretty city a part of your show. For its debut presentation in the global fashion capital, American label John Elliott did just that, taking to the sculpture-dotted roof of the Centre Pompidou – the high-tech art museum at the city’s heart – to show its latest collection before a sweeping view that took in the Eiffel Tower, the hill of Montmartre and a speckled swathe of zinc roofs in between. It was a classically romantic setting that leant into a similarly classically romantic vision of fashion. Comprising elevated, eminently wearable staples, it was a far-reaching, wardrobe-minded offering. Wide-set, round-shouldered outerwear in light, dusty hues conveyed a relaxed, summer-y ease, the casual tone they struck echoed by combat trousers in mint green and short-shorts for boys and girls alike. They were counterbalanced by the more evening-y tailored looks – elegant slim suits worn styled with gabardine overcoats and skinny ties – and slinky dresses seen towards the show's close. These pieces – particularly the cocktail numbers – exhibited the brand’s technical nous by way of the sternum-baring draped, a skin-revealing sensibility that informed the knitwear, which was broken up by bands knitted from invisible thread. Overall, it was a confident proposal that demonstrated verve and versatility. This may have been John Elliott’s first Paris presentation, but it looks like they’ll be here to stay. MS Follow i-D on Instagram and TikTok for more from the SS23 menswear shows.

The two Middle Eastern legends join the likes of Emma Stone, Madonna, Geri Halliwell and Mick Jagger for ‘To Beirut with Love’., Sherihan Donates Iconic Dresses to Sotheby's Celebrity Charity Auc...

After the horrific explosion that rocked Beirut’s port on August 4th, there has been an outpouring of support from across the world. From simple donations to NGOs and charities working on ground, to musicians pledging profits from sales, the support has come from all quarters. One of the most unique, however, is set to come from Sotheby’s. The world famous auction house is embarking on a mission with non-profits, Creatives for Lebanon and Art for Beirut, to raise funds for those impacted by a tragedy that has aggravated an already in-crisis Lebanon, as the country’s economy sits in slump. Bringing together the worlds of fashion and art from leading contemporary artists, fashion houses and jewellery designers, ‘To Beirut with Love’ is opening bidding from December 7th to 15th and will feature a whole range of memorabilia and items from internationally recognised celebrities. Among the regional contributions is a silk haute couture gown belonging to Egyptian actress, Sherihan, which she wore in her iconic Thousand and One Nights fawazeer show in 1987. The signed dress will be up for bidding at a price of £18,000-£25,000. Meanwhile, a beaded chartreuse gown estimated to be worth £20,000- £30,000.by famed Lebanese designer, Elie Saab, is sure to be another headturner. There are also pieces from leading names in the international fashion industry, including giants like Giambattista Valli, Ralph & Russo, Azzedine Alaïa as Prada, as well as Christian Louboutin who will offer one bidder the chance to create a custom-made pair of their signature heels. Perhaps one of the highlight items among the auction collection is a dress worn by actress Emma Stone on the Oscars red carpet in 2015 (pictured below), while titans of jewellery have also stepped up, including Dior, Bulgari and Damien Hirst have contributed pieces.The auction will also feature a hearty slice of British music history. Spice Girl Geri Halliwell’s iconic outfit from the ‘Wannabe’ music video for the band’s debut single will be featured at a starting bid of £4,000-£6,000. Alongside this, legendary rocker, Mick Jagger, will auction a jacket from his 2017 European tour, Madonna has contributed a matador-inspired costume from Lebanese designer Nicolas Jebran and The Who’s Pete Townshend is doing likewise with a signed guitar.These are just a few of the starring pieces featured in the charity auction, which have converged together to give back just a small piece of what Lebanese creatives have given to the global community through art, the common ground and universal language which unifies the community. “Lebanon is home to an artistic community whose contributions to the cultural landscape cannot be overstated,” Edward Gibbs, Sotheby’s Chairman for the Middle East, said of the auction. “The explosion in the Port of Beirut this summer sent shockwaves through the city and the world, impacting every sector of society in Lebanon with countless tales of loss, damage and displacement. Sotheby’s has come together with our partners to host the auction ‘To Beirut with Love’ to provide much-needed relief and funds to aid the healing process.” The auction will be held in collaboration with IMPACT Lebanon and LIFE (Lebanese International Finance Executives), and the proceeds will be shared amongst five charities including Nusaned, Beit El Baraka, and Baytna Baytak, Fanar, and House of Christmas.

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