Moncler and Rick Owens Offer Closer Look at Tour Bus and Collaborative Apparel

After introducing the surprise tour bus collaboration, Moncler and Rick Owens have offered a slightly more intimate look at the bus and collaborative apparel. Inside, one can see a muted gray interior, complete with matching facilities and a spread of special puffer jackets.

Created especially for Owens and wife Michèle Lamy to travel America’s West Coast, the custom tour bus is all-gray on the inside, with a matching sink/toilet hybrid. In line with Owens’ blunt interior design, the bed is placed on an elevated slab that complements the flat, raised couch upholstered in vintage army blankets. Laden with a full rack of puffer jackets and other collaborative garments, the bedroom also plays host to a padded wall, which encircles the room and reaches up to the ceiling.

Expect the Moncler x Rick Owens garments to launch in late 2020 alongside the made-to-order bus — the duo have specifically not yet offered an exact release date.

Source: Hypebeast

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UNIQLO U Spring/Summer 2020 Collection

As UNIQLO prepares for the seasonal shift, artistic director Christophe Lemaire and his Parisian team introduce their latest UNIQLO U offering. Spring/Summer 2020 edges towards workwear, with a wide array of approachable staples given the Lemaire twist and realized in versatile hues.

Over 40 individual items inform the menswear collection, centering around updated workwear and military silhouettes. Rain-fighting parkas and generous trench coats complement work shirts and double-knee trousers, all offset by beach-ready fare. This includes lightweight Cuban shirts, pin-tucked shorts and plenty of baggy T-shirts. Striped patterns and bold shades of red, blue and green grant extra visual interest to the versatile garments, complemented by daily drivers like collarless cardigans and baggy jeans.

Source: Hypebeast

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Spyder FW20 Collection

With a consistent focus on performance without refusing to compromise on style, sports fashion brand Spyder returns with its collection for Fall/Winter 2020. Looking to address the dual demands of today’s active city-dweller, the latest range consists of a number of pieces inspired by the architecture and street art of the contemporary metropolis.

Spyder’s high-performance materials stem from the company’s research and development efforts within their Techwear line. From reflective effects to geometric color blocking, the breathable windproof materials are more advanced than ever. Think: laser-cut windbreakers, joggers, bombers, T-shirts and more.

Creative Director Christopher Bevans took inspiration from city grids and subway metro maps to create the bright blue, yellow, pink, and orange tones of the Spyder Lifestyle range. The eye-catching colors make up the bold attitude of anoraks, tracksuits, hoodies, tank tops and waterproof jackets.

Source: Hypebeast

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Givenchy's SS20 Campaign "Couple" Starring Marc Jacobs and Charlotte Rampling

Marc Jacobs and Charlotte Rampling take the spotlight for Givenchy’s Spring/Summer 2020 campaign. Revisiting its signature “couple” theme, the French fashion house celebrates individualistic beauty and the self-assured attitude emblematic of Givenchy. Capturing Jacobs and Rampling together and individually, the campaign juxtaposes masculine tailoring with feminine pieces and prints.

Shot by famed photographer Craig McDean, the campaign showcases the New York-based designer and Paris-based actress’ strength and character in “Givenchy sitting” style of portraiture. Dressed in contrasting black and white, Rampling folds Givenchy’s Bond shopper bag under her arm, while Jacobs, dressed in a patterned, form-fitting shirt, carries an over-sized waist bag. With mystery, elegance and sophistication, the duo highlight a range of Givenchy’s accessories, including this season’s star handbag, ID93, in yellow suede and the Mystery bag in cognac leather.

In the campaign’s accompanying video, Rampling offers Jacobs a master class in the dramatic arts. The actress plays along with Jacobs’ extravagant, over-the-top acting skills, even using a Givenchy heel as a telephone in a humorous scene.

Source: Hypebeast

FASHIONADO

MARIA ARISTIDOU COUTURE SS 2020: PARIS FASHION WEEK

Maria Aristidou SS2020 knit couture collection is, in every respect, inspired by the Art Deco movement of the early 20th century. When the need for change following World War One spread in all aspects of art and design from buildings to furniture, jewelry, fashion and every day objects. 

Similar to the Art Deco movement the collection combines bold styles with fine craftsmanship and rich materials representing luxury, glamour and exuberance. 

Maria Aristidou’s BOLD collection, guided by the essence of shape to form clean, geometric designs with vivid colors and vibrant patterns using knit fabrics, represents a challenge for both men and women to deviate from the norm, be BOLD and dive into the fascinating abyss of Art Deco inspired shapes and colors of knit couture.

The magic of knitwear inspired the designer to first explore and then create, using luxurious threads, elaborate techniques, and various knit patterns. The craftsmanship of detailed hand embroideries adds to the uniqueness of Maria Aristidou's fabric collections for the couture evening and accessories.

The process of each collection production starts from the fabric design. Yarns such as wool, viscose, lurex, cotton, silk and velvet (depending on the season) are ordered from France and Italy.  Then, a series of patterns are designed in great detail followed by a series of tests to decide on the yarns to be used for each pattern, how thick or thin the fabric will be, color sampling combinations, hand-embroidery design testing, quality and durability checks etc.  The whole design and production processes take place in Cyprus.

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FALL 2020 PRADA MENSWEAR

As a swelling and ominous bass obscured heroic but fading trumpets the lights came up over a Prada set that closely resembled one of Giorgio de Chirico’s metaphysical paintings. There were two bare but Palladian-proportioned arched piazzas; in the middle of each was the statue of a man on a horse on a podium—classic 19th-century masculine heroism.

Except, naturally, not quite. The horse and rider were constructed like those cardboard dinosaur statues for kids, from insertable, flat, anonymizing sections. Said Mrs. Prada in her post show debrief: “I wanted an equestrian statue, but of course equestrian is not politically correct, so I told Rem [Koolhaas], ‘Let’s do an equestrian that is totally non-heroic.’”

Which allows us to canter on to the clothes. These were bookended between the bare-armed tank top looks at the top and high notch-collared two-button topcoats at the end: two particularly Prada-ish chapters in the recent masculine narrative of dress. Between them, even if Mrs. Prada indicated it wasn’t the intention, we seemed to take a survey of various professionally specific styles of dress seen through a house eye. There were young executives in three-piece suits or mismatched tailored separates, portfolios thrust between arm and hip, in different volumes of jacket. We transitioned to rural worker in mid-calf boots and oversized corduroy jacket, then onto a more urban kind of Prada hipster freelancer combination of the previous two categories that mixed elements from both and inserted some technical touches and piped sport raised graphics on pocket flaps. Two Macintosh-like rubberized coats matched with baggy pants tucked into beaten leather galvanized sole boots (plus rectangular lensed shades) were a little scientist-fights-contagion. Following those was an absolutely wicked green half-length coat that seemed particularly fashion show reviewer.

De-formalized top-to-toe cotton day pajamas with small ruffled bibs and some great treated shearlings followed. We arrived at those last two topcoats via a series of knits and silks patterned with punchily-colored gridded graphics whose palette nodded to the earlier separates and seemed related to the lavender and olive shapes on the set. They also shared something with the (Google searched in the back of the car) fabric patterns associated with Koloman Moser and other artists of the Vienna Secession (mentioned in an aside by Mrs. Prada during the treasure hunt chat at the end).

“Let me say what’s the point of this show,” she obligingly added: “That in the big—not ‘confusion’—but the complication of the current time between the world going wrong or going better, the discussion on sexes, on surviving or not… I thought to give an indication that the only thing that makes me calm and optimistic is to give value to work… to give value to things that matter in your life and your work. And so the creativity is mixed with technicalities, which is a little bit similar to the Secessionist period when ideas, creativity, and actual work had to be all together.” And going back to that post-triumphant equine statue, was this also about the nature of contemporary heroism? “Not heroic, but heroes… I want to give a hope that in this casino [translation: chaotic world] if you do well your job, paired with intelligence, and with culture, then this already is something… It’s to give respect to work, to effort, to fatigue, and to what is difficult.”

Source: Vogue

FASHIONADO

Fendi Fall 2020 Menswear

Shortly after his participation at the LVMH Prize event last year, the shortlisted designer Kunihiko Morinaga of Anrealage was approached by Silvia Fendi. Would, she asked, he consider being part of her next menswear show? Morinaga said yes, of course, and backstage this morning he could be found watching the final lineup. Fendi, he noted, is a seriously big operation.

When his looks came out the planned Anrealage coup de théâtre did not quite come off. Those of us who attend his women’s shows in Paris could anticipate what to expect, but for the rest of the audience the transformation of his four looks from white slate to logo’d and patterned when placed under UV light was too subtle to startle.

However, that isn’t to say they didn’t make a fitting closing gesture at a show whose very interesting collection felt like it was about putting what is conventionally on the inside on the outside, and about modularity, and about technology, and about the place of classicism in an iconoclastic age—this collection was about a lot. It also looked good.

Backstage, Fendi said her reach-out to Morinaga had come out of the thinking that led to her solar women’s show shortly before that LVMH event last September and because her early thought of this menswear collection had included the notion of “transforming garments.” Away from Anrealage’s photochromatic transformation, Fendi’s shape-shifting attire including three-panel coats in fur or different tones of flannel that could be unzipped according to whether you planned to wear an overcoat, a jacket, or a bolero. There were also pants (from the front) and skirt (from the back) hybrids, which moved easily and looked attractive. There was another dialectic in the patterned jackets, coats, and hats: Some were in patched shearling that looked like cashmere, others in tufted cashmere that looked like shearling. “I want to give everybody the choice,” said Fendi.

She said her fundamental agenda was “to work on the essentials of the classic wardrobe of a man of tomorrow,” and one especially clever, modernizing twist on the classic was bringing the contours of linings and inside pockets to, a whole panoply of coats, vests and jackets. For good measure, Fendi added several credit card pockets and an AirPods compartment, and revived the historical cigar pocket. On contrast tailored jackets, leather jackets, and even shaved shearling, these outlines were both attractive and functional.

Another almost Surrealist but simultaneously functional play on interior and surface was the presentation of bags that appeared to be pieces of Fendi yellow packaging, rather than actual Fendi products. There was an oversize Fendi shopper in leather, and multiple Fendi boxes that were more like tiny trunks. Opening a box to reveal an item designed to be nearly identical to its packaging would surely be the ultimate Barthesian feedback loop.

The packaging riff extended to the garments via yellow taping stamped with Fendi Roma that defined the seams of certain outerwear pieces, and knit bags which had a satisfyingly hand-wrought roughness to them but that also resembled shoe and garment holders. For footwear, Fendi proposed a luxurified version of a mid-calf gumboot, also seen at Dolce, Ferragamo, and Prada. This was a collection rich in obvious luxury, in that the fabrication and construction was both extremely elevated and expertly done. It was also rich in ideas and ambition—a much more subtle but potent ingredient for luxury—and there were in those inside-out pieces quite probably a few of the future classics Fendi said she aspired to.

Source: Vogue

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