Fall To Earth - Yves Saint Laurent Rive Gauche A/W 2008 (A Look Back)

   On rare occasion, people e-mail me regarding the designer reviews I occasionally do and some of them like to ask why I do them at all, citing reasons such as a disconnect from my or their aesthetics, quibbles with the designs, a minor grievance with the styling, skinny models. You know, serious stuff

   I know where they're coming from, but it must be said that classicism should not involve an ignorance of fashion. Everything changes - even menswear - and it's a passion of mine to look for the good amongst all the mutables. Your father's 1980s suiting is not your own 2009 look because fashion and common sense reasoned that oversized shoulders and chests were nothing short of unbecoming and lacking in refinement and sleekness (though I readily note that most of my suits are from the 1980s and buck many of the cliches of the time with nary a care). Over this year, I've noted that older gentlemen, some of whom read this column, are appreciative of my ensembles, but frankly, those outfits would be worthy of no one's attention if I wasn't able to take inspiration from more than the history books or my father's wardrobe

   Still, if there's one thing I'm unashamedly fond of, it's exhuming a particular past and bringing it back to life. So it is with Stefano Pilati's YSL Rive Gauche collection of la dernier automne et hiver, which ran with menswear designs that were seeded in the same decades that the House first came to prominence under its not forgotten founder; the 1960s and 1970s. Retro-modern is an awful, hackneyed label, but it's an easy shorthand that does partially describe these garments and the ethos behind them. Thankfully, I swallowed a dictionary once, so I'm certain more erudite vocabulary shall be forthcoming, perhaps somewhere in the final paragraph. And even if the clothes are now a year in the past, 'tis the season for old inspirations

   Totally swank and utterly energetic, the collection and presentation succeeded in evoking a time that, if not necessarily better dressed, was certainly more sartorially attuned to days and nights of luxe, glamour, fantasy and awe. Capably memorialising an era in which men dressed to get away from it all; to feel like stars, Pilati's creations seemed attuned to a particularly louche but elegant and creative spirit. This feeling was instantly encapsulated by the Thin White Duke stylings of fitted jackets with sweeping lapels and the floor sweeping lengths of Oxford Bags that comprised the suiting and immediately let onlookers discern where Pilati's heart was at

   One of the core values of 1960s and 70s tailoring was about accentuating of the male form, expressing this ideal through grand and form fitting cutting. Pilati modified this vision for the days of now through a classically autumnal colour palette, a lack of flaring (in reality, the wide dress trousers are cut more or less straight), an emphasis on fine, if not ultra-luxurious materials and a pinch of the psychedelia and pure glam that characterise his source material. The coupling of this restraint with a more generalised reference to two distinctive decades distinguishes the collection from the similar regenerative nostalgia produced by Tom Ford, whose boldness of colour and slim cut trousers only somewhat apply here

   It's actually the use of colours that proves to be one of this collection's secret strengths. Much of the outerwear took on this aspect, being proffered in apple green, pale salmon, peach, electric blue and yellow, and all of it to a particularly natural effect. Rather than a garment that used colour to shock, what actually resulted were pieces that were very well constructed and realised and which so happened to be made in colours less rarely seen on most men's outer garments. As an extra mark of characterisation, the selection of fabrics for pieces such as motorcycle jackets tended towards the unexpected such as wool felt. The most unanticipated item of all was the hybrid of an overcoat, a cardigan and the classic opera cloak that made me curious as to how many besides myself would covet it.

   The earlier citing of Tom Ford as a comparison point is key beyond the obvious connections to the House of YSL, the fondness for the 1970s and both lines having their production handled by Zegna. Superficially, one could present arguments as to why the two collections could not co-exist during the same season, but there are clear differences in vision as well as nuances. Ford's styling is quintessentially Nutter's of Savile Row, with particular attention to the shoulder and chest in a manner that is almost brash. These tics, combined with nipped waists and fuller sleeves tend to make for a more British affair that is then infused with colours and fabrics that are halfway between patrician heritage and old Hollywood. Pilati's, by contrast, is softer, a touch more relaxed and beguilingly playful. Physical examination of the jackets also revealed that they were rather lightly structured and softly tailored, in a manner that befits an Italian designer and the legacy of continental tailoring. It's no small gift to make such heavier and warmer wools handle and wear almost as lightly as summer cloths - such attention goes a long way in promoting desirable clothing

   Pilati's flights of fancy are at their best when they take direction from his own "Last of the International Playboys" dandified aesthetic; seemingly, he's one of the last men on earth who upholds a somewhat Romantic ideal in his manner of dress and deportment. Favouring cropped trousers, silk scarves, loafers and rollnecks, he embodies a now rare classical style of discreet glamour, often with nods to the open shirts, slim dress trousers and high heeled boots that adorned young men in the 1960s. Therefore, his best work tends to manifest when it contains references to his own manner of mode, which in turn can anchor imaginative flights of fancy such as a blazer cut to mimic a cardigan and military cuff dress trousers:

   Some time ago, I designated a past Junya collection as my ideal summer aesthetic. It would be more than safe to say that this is mine for winter. It motivated me to purchase a rollneck and the two pairs of trousers I own from it are easily amongst the best in my rotation, well made for preening and dancing. And it reminds me that sometimes the thrill of dressing to enjoy one's nightlife is reward enough. So, that was YSL's A/W 2008 - a collection to make any lounge lizard put a little more grace and swagger in his step

   Laisser les bon temps rouler

Fashion Thought of The Day

For now, this says it all

From The Fashion Museum, Bath. Image by Master-Classter at StyleForvm

Junya Watanabe's Year of the Gentleman, Part Two

   I'd never known a fashion collection speak so directly to what I feel could be my idealised aesthetic, particularly in the summertime. After all, for this moment, I've almost achieved it. I'm happy to thrift, to inherit, to use eBay, to go High Street and discerningly acquire at deep discounts, but the JW CdG Man S/S08 show had me considering its extraordinarily high retail prices with genuine intent

   And that almost never happens

   It was the show that sealed my fate. The average runway presentation puts my mind in one of about 3 places: "must have the entire outfit" "would wear that jacket, nix the trousers," "what the hell is that meant to be?" While the latter two speak for themselves, I've never actually purchased and worn an entire runway outfit - this isn't "Monkey See Monkey Do" - nor have I worn an outfit entirely inspired by one. But I've come so very close to this and the current summer collection, and it isn't hard to appreciate why

   With the exception of the more outré ensembles featuring effervescent paisley shorts, sportcoats or trilbies - perhaps de rigueur for the likes of Patrick McDonald on a resort vacation - the show presented an improbably sustainable run of desirable appearances that flirted with practically every trend that has seen men's fashion through the last few years, pushed the bounds of Watanabe's self-imposed traditionalism for all it was worth and somehow ended up as the last word in contemporary dandy gear

It's particularly notable, and impressive, just how much different a lanky man looks in the Lacoste safari jacket compared to myself

   Certainly, something of a mannered, elusive, better-dressed-than-all spirit pervaded matters. The models's walks intermingled with the stationary gathering of the guests, who stood and assessed the viewing in an austere, brightly lit space, waited on by an impeccable man in a double breasted white jacket and a black silk necktie. One of the models was snapped whistling through a turn and doffed his dark Panama hat to the waiting photographers, while another strode with nonchalant ease, a hand in his pocket and confidence and haughtiness hinted across his face. Yet such mannerisms seemed rather unplanned and in full accord with the theme that Watanabe aimed for, terming his creations "Relaxed Suiting"

   This was very much a presentation for the smart dresser who wore his clothes to live, much in the manner that dear old Fred Astaire would roll up and throw his freshly bespoke suits against the wall to rid them of their "newness." And roll ups were certainly driving many of the ideas. The wrinkles evident in so many of the garments were created by tightly tying them into a ball and leaving them overnight. Meanwhile, every single trouser on show was roll cuffed for maximum offbeat elegance (and some jacket sleeves too)


   Having seen and purchased some of the clothes, I can confirm that they're a genuine delight, but the true value certainly lies in its tailoring. A Lacoste safari jacket made out of recut, overdyed polo shirts and utilising features such as armpit guards could quite possibly be the apex of lightweight outerwear, but the other collaborations were just as thrilling. A short safari suit made out of Brooks Brothers Oxford cloth was similarly inventive, while the ante was upped on the longterm Levi's collaboration when Watanabe actually recut the jeans jackets into sportcoats and safari jackets rather than simply cutting them in different fabrics as before, though the gingham cloth certainly helped in that regard

   The own label jackets were just as charming - aside from the wrinkles, there was variety to be had in four front patch pockets; foulard or floral print half lining; leather and elbow patchwork; the memorable coffee bag redesigns; madras blazers; cotton, linen, ramie; and a variety of warm weather weights. Some were so thin a camera flash could expose the lining for a single instant and if that wasn't enough display, some of the jackets inventively featured their lining above the second button on a 3-button configuration, displayed by rolling the first button point into the lapels (3 roll 2, so goes the parlance)

   And the JW shorts suit, 2 years on, is still about the only take that doesn't seem wholly silly. The proportional balance of matching a shorter jacket to knee length shorts and opting for a cut with a slimmer, rather than skintight, waist and natural shoulders made them an enticing proposition

   Other strong showings came from the knitwear designs, which were heavy on classic argyle and cricket stripes arranged in a less conventional manner and rendered in bolder, yet considered, colours than by, say, Gucci. The shirts were also delightful and progressed from plain pastels to the currently-ubiquitous gingham to wrinkled foulard-printed shirts. My inner Jermyn Street fanatic was immediately sold by the emphasis placed on French collars, and only a little disappointed that the matching white cuffs were not designed for links. The appearances of the latter shirts were matched to colourful, candy striped loose-fit trousers that appeared initially uneasy, but ultimately seemed to cohere into a witty take on current pyjama-derived dressing

   The preference for smart, sturdy shoes also worked to keep the collection grounded (per se), and were accurately matched to the shorts, chinos and jeans. And the hats were simply fantastic; varied in colour, style and hue, the hatbands composed of the same print cottons as the linings, shirts and jackets. Watanabe was so enamoured of them that he used both the men's and women's hats in each show.

   As he is wont to do, the later women's collection was a fantastical version of this one, utilising the cricket jumper, reworking the shirts into floaty, voluminous wrap dresses or short jumpsuits and even creating a women's version of the panelled, stitched charcoal suit that could be bought with either matching trousers or a shirt. No one riffs on a theme the same way Watanabe can


   And what of the themes? One of the similarities I neglected to include in the previous dissection was a resemblance to Paul Smith’s A/W 03 collection; all sturdy shoes, country checks and somewhat boxy, slim-and-short-cut suiting. This had a beguilingly subdued mix of youthful Paul Smith-esque colours with Etro-like patterns and emphasised a much more European outlook to Junya's work this time. Although his traditional manifesto always holds true, Watanabe is often considered to be an American nostalgist and the instinct was strong amongst some to connect the pastel pieces, cricket v-necks and short suits to Thom Browne and preppydom. And this would be selling the wide-ranging styles of the pieces rather short

   Indeed, a variety of influences can be gleaned if one looks closely. Naval stripes and the prints suggested early 20th century seafaring and resort holidays. The coffee bag theme and the messy formality put one in mind of Deep South river workers, just the types to roll up their cuffs and get soaked, emerging with clothes shrunken and clinging to their frames. And Frillr.com, recognising that there is no single overriding influence, memorably described the aesthetic as "a Coffee worker born in Italy, raised in New York around the 50s, who then went west and worked at some farm with Thom Browne"

   But I think my fellow StyleForvm member, Fuuma, was particularly accurate in citing Lanvin as an influence, pointing out that the European dandyism, "manchild mash-ups" (an all-ages appeal exemplified by the varying ages amongst the models), nontraditionally cut suiting and washed, wrinkled smart fabric was straight out of the Elbaz & Ossendrijver playbook, albeit filtered through Watanabe's own wilder and personalised insights. And such a recombinant form of dress speaks highly of his unerring eye for hybridisation


   I'm still in love with much of this, two years after I first saw the photos. A different way of looking at tailoring but without sacrificing good taste and a gentleman's attention to detail. Wonderful colours and a laid back presentation. Smart shoes, smart socks, smart hats

   Glib as this may be, who says tradition is boring? Or that it should not co-exist with high fashion? Not Junya Watanabe - and clothing is all the better for him

Your author trying on his JW wrinkled sportcoat with floral lining. It will see many more outings in better weather, though I think the buttons may have to be changed

It's been over a year and I still need this jacket in my life. My time will come

Images from Men's Style and Imaxtree.com via NY Mag

Pop Culture Thumbs-Up - 31/05/09

   This is Karen Gillan, the first companion for the Eleventh Doctor in next year's all-new Doctor Who series. I approve. I can imagine the trickle of information increasing over the summer to maintain interest in the remaining specials and beyond

   Hickey A/W09, via A Continuous Lean - worth a glance to see one of the most striking Sartorialist subjects take the stage as Hickey's mannequin

   Much as I maintain a healthy disinterest in Britain's Got Talent, I must approve of the winners - who doesn't love a dance crew?

   Observant as ever, Bill Cunningham does one of his sporadic weigh-ins on NYC men's outfits in a slideshow entitled 'Boundless.' In the microcosm of the world's cultural capital, dressing up is king

   "I'm extravagant in ways that relate to my heritage" - celebrated man of letters Gay Talese on his love affair with suiting. It truly is all in the details. If that quote does not become his epitaph - I'm sure he's said better - then I'd like it to be mine

   UK-specific - Sky1 stealthily nabbed House season 5 whilst Channel 5 was procrastinating and episode one went out earlier tonight. It's an uneven season, but stick with it - the highs are as emotive and hilarious and thought-provoking as ever, and if you're at all emotionally invested in the Damaged Doctor, the finale just might crack your heart

   Late addendum: Eminem vs. Bruno. Nothing distracts from the ills of the world like a gross-out moment on national TV that will probably lead to a major vendetta (as long as it really was unscripted, of course. Which it wasn't)

    Pointless note: the last entry in this column was on the 13th. How palindromic

Junya Watanabe's Year of the Gentleman, Part One

   Anyone who's discussed clothing with me for more than 5 minutes of their time knows that at this particular moment in my life, Junya Watanabe Comme des Garçons Man is indisputably my favourite line of men's clothing. Let me extrapolate on that

   Around the time I first immersed myself in the online rabbit hole of style websites and the warrens of discussion forums, his name would often come attached with enough superlatives to make most other designers insecure for life. His interview with style writer Charlie Porter was the only reason I have purchased an issue of i-D magazine since my student days. His womenswear is justly more acclaimed, but nevertheless, he expertly produces four collections a year across both gender markets that intersect his visions of practicality for one and fantasy for the other with shared themes, prints and even cuts. And his influence on me is such that I've practically graduated to wearing a garment designed by him once a week

   But the ease in which I can integrate his designs into my aesthetic is one of many reasons that inspire my affection for his work. And I don't think that was any more apparent than when he debuted his Spring/Summer 2008 line, as well as its successor for Autumn/Winter. So, in the name of backwards logic, I'll start with the latter

   An admission - I don't own any pieces from the recently departed A/W08 line (yet). It was an engagingly dandified take on American Trad and varsity looks that perfectly exuded the credo of "a new feeling for basics" that concludes the manifesto on the transparent blue flexi card attached to each new piece (the card is a rather Japanese sentiment, much like their giving of gifts and instinct for amazing record packaging)

   Despite the notoriety of Thom Browne's alterations to the silhouette of tailored suits, the pervasively shorter image was an exploration undertaken by Watanabe as far back as 2003 when his A/W04 collection showed in Paris, which not only showed shrunken suiting, but also darted and cut away fabic at the points where the body's movement would take place within the suit (or joints and 'pits to the rest of us). And if there's one thing that Watanabe gets very right where Browne can falter, it's in making this shorter look seem appropriate and wearable, much more linked to the well-cut "bum freezer" jackets of the 60s and 70s than the slightly off-kilter boxiness or blood flow-constricting tightness of Browne's work (although I'm also aware that Browne's customers may choose not to emulate his infamous look)


   But this background knowledge makes for a good starting point to delve into the collection, as do the Browne comparisons. Usually, a Junya collection has a title, and although I didn't find an official one anywhere, Dover Street Market referred to it as "Junya Watanabe's Way of Dressing Up," which works for me. The overall look is smartened up, but there's a hint of mischief in jackets that include trim running along the hem and quarters, including a paisley pattern that debuted in the previous season

   The runway ensembles showed a look that was utterly gentlemanly and easily emulated if the proportions are correct - the rolled-up cuffs on the trouser bottoms easily balanced out the particularly short lengths of the jackets and allowed for an utterly daring, but fun, display of one's socks. This was where the show excelled, by bringing the Edwardian holidaygoer look into an archetype that took hold around 40 years later on an entirely different continent. Perhaps it was the use of such trad staples and silhouttes but for some reason, the rolled up look felt rather unique to this particular archetype and did not feel beholden to the aforementioned Edwardian look, nor to the greasers that also appeared during the 1950s. And whilst it's more of a nod to Watanabe's well-documented fondness for punk, the inclusion of porkpie and trilby hats and the shortened trousers added an element of idiosyncratic refinement into a look that usually utilised bold madras and checks to inject a playful element into its ensembles. In actual fact, the use of such patterns in Watanabe's colection was rather subdued, opting for duller compositions on cardigans as overall patterns or patch pockets, and also cut into panels and attached to the backs of shoulders and arms on recut Brooks Brothers shirts to inject a subtly whimsical element into them

   This whimsy continued with the backs of various jackets, trousers and even suits presenting a different aesthetic at the back - racing stripes, nylon tracksuiting, striped knitting and wool checks all appear as each garment is turned around. A sportier, collegiate image was represented by nylon and wool varsity jackets rejigged as sportscoats with leather sleeves that could still appeal to, and stand out with, a smarter look


   Whilst a lot of it appeals to my sense of fun, I believe that part of the reason I didn't gravitate to this collection as closely as I have to some of the others was due to the persistent sensation of the collection being gimmicky. Many of the pieces felt overly designed due to their double-sided construction, which made it difficult to find one's sense of self in wearing them. (Un)usually, Watanabe would get around this by using a more subtle form of hybridisation, merging two disparate pieces such as a military jacket and a blazer into one by adding the details of the former to the shape of the shape of the latter, or presenting a biker jacket in bright, boiled wool instead of leather. This season was less exploratory in that respect, opting to display sartorial quirks and fabric choices rather than the subtle insights of the designer that has allowed him to put fresh-yet-mostly-restrained spins on traditional pieces in a way that is unmatched by any other

   It's not a good feeling to realise that a Watanabe item could effectively be bought elsewhere from other brands - repp ties are available from various outlets, even moreso if you attended public/prep/private school or a top tier college - and while it easily stood apart from the inevitable Browne comparisons due to the injection of its own ideas, the collection did not quite create "a new feeling" for tradition - if anything, it felt greatly beholden to the past


   Nevertheless, there were some great ideas to be found when Watanabe's instinct for cross-pollination took hold. Workwear met suiting with hammer loops and nail pockets on smart trousers, the leather sleeves of the aforementioned varsity sportsjackets appeared on Gloverall duffel coats that were actually from the boy's collection, and trousers were constructed in a jean factory and triple-stitched accordingly. But these sorts of ideas were elementary for a Watanabe collection, and what I consider to be his best work will certainly be analysed in future entries

Images: men.style.com

Setting the Style: Antonio Azzuolo

   It must be said, a lot of new designers don't just appear with the kind of pedigree, experience and class that Mr. Azzuolo's résumé boasts. A Ryerson University, Toronto graduate with a B.A.A. in Apparel Design (specialisation: Men's Tailoring), he achieved first place in the menswear category at the prestigious "Festival des Jeunes Stylistes de Hyères", having based himself and his work in Milan. Taking the opportunity presented by the award to move to Paris ensconced him in the offices of Kenzo and Hermès for over ten years, but perhaps his most gilded appointment was as design director for Ralph Lauren's Purple and Black Labels. Until he decided to strike out on his own. And naturally, that's where his work gets really interesting

   Beyond his achievements and accolades, Azzuolo carries an exposure to Italian bespoke tailoring that may as well be the result of DNA encoding, though that kind of argument carries greater weight considering both of his parents worked in fashion. But his background is not the only signifier of his potential for success, as his instinct for aesthetics has the rare blend of practicality and desirability that should be a bedrock in men's fashion. Azzuolo has a facility for cuts that are realistic and youthful without appearing as pastiche or cliché, and his responses to the various fashion trends of these hyperkinetic times gives a classical appearance to a majority of his pieces

   Which is just as well, because the lost aristocratic look is hardly a widespread phenomenon in today's world, but fans of slim trousers, bold primary colours, prints, dashing double breasted jackets, cropped tailoring and practical-yet-regal hooded coats are going to be keeping tabs on this line. Especially me. The a.a. collections are not sold in London, which leads one to wonder, "Isn't this exactly what Liberty is for?"


The line trades on menswear staples, building up the look of its customer through consistency and seasonal adaptability. Scarves add interest in looks all year round, while the accessories of gloves and buttonholes emphasise the completeness of a gentleman's look that can often be missed by today's sartorialists, who are perhaps too conscious of appearing overly layered or styled. Azzuolo's reference points have been bandied about in both interviews and articles, but it would be remiss of me not to point out the clean European refinement that pervades his work and makes the viewer instantly aware of his bespoke background. Add to this the old school rock'n'roll elements of tight fits, fingerless gloves and ostentatious use of opulent fabrics and accoutrements, and the line takes on a particularly energetic aspect

   Although he doesn't specifically reference the period, I can't help but think that the Bright Young Things, in a 21st century incarnation, would happily be clad in his designs. Other designers trading in updates of - and twists on - traditional menswear look to produce work that's more calculated in appearance, all shiny, flashy fabrics, barely controlled patterns and excessive or unnecessary detailing that verges on unviewable vulgarity. There isn't any of that here. This is a line that reflects the interests and personal history, rather than the lifestyle obsessions and glitz worship, of its creator. It's a line that just seems to make sense


   The work of his stylist, Sally Lyndley, is invaluable in promoting the attractions of the label. On the runway and in the photoshoots, her contributions emphasise the freedom of breaking suits down into adaptable pieces and, just as necessarily, balances the standard youthful appearance of the models with the bearing that Azzuolo's tailoring seems to instantly impart. On reviewing his debut show, The New York Times's The Moment made instant comparisons to Gossip Girl's moody manipulator, Chuck Bass, but this is more of a different animal to the teen idol, balancing layering and flair with more restrained palettes and an instinct for elegance than is seen whenever Ed Westwick is onscreen. But if there's any synergy between these two, it's an important one - a young man drawn to the idea of dressing up is always a boon, moreso if he has a creative taste that he can express through distinct, well kempt looks. And, tenuously or not, this link gives the line an additional shot of pop culture-friendly relevance


   This is far from the first post in blogworld on Azzuolo, and definitely not the last. Ordinarily, amongst a designer's product, there's normally one collection that inspires me with inquisitiveness and appreciation. Sometimes, two. Rare is the one that consistently keeps me watching, but if Azzuolo can parachute into my ones to watch with such efficiency, I'd be surprised if I didn't still care about him in 3 years time

Photos: a.a. and Men's Style

An interview with Azzuolo

More information, photos, press and contacts at a.a.