#trenchcoat raf

[ask-the-toy-box]

[gnigniwardrobe]

Veronique Branquinho: F/W04 Twin Peaks Collection.

Graduating from the Royal Academy of Fine Arts in Antwerp in 1995, Veronique Branquinho is a fashion designer who often flies under the radar when compared to the attention other historic Antwerp designers such as Raf Simons and Martin Margiela receive. Since retired as a designer as of 2017, her aesthetic as a designer for both womenswear and menswear could be described as a blend of casual and formalwear with a specific focus on the contemporary styles of Europe in the late 90s/early 2000s. Known for her toned down color palette, and elegant tailoring, Veronique Branquinho was adored by many at the time who desired her reserved takes on both men's and womenswear basics.

Usually unassociated with being conceptual in her collections, for her Fall/Winter 2004 menswear show she defied this and recreated the world of David Lynch's experimental crime series, Twin Peaks. The show's presentation took place in a recreation of a setting synonymous with the show called "The Red Room". Models in the show were dressed in attire similar to the styles and aesthetics of the characters in Twin Peaks, the way the models were presented reflected specific scenes from the series. Sherpa jackets, plaid patterns and chunky sweaters referenced the clothes seen worn by the residents in the small logging town which the series takes place.

Veronique Branquinho, a designer who emerged the same time and from the same place as many of fashion's historic figures, is not one who should be overlooked when analyzing late 90s/early 2000's fashion. Veronique Branquinho not only provided runways with tasteful and alluring classic designs, she proved herself as a designer who was also capable of designing complete conceptual collections that conveyed a captivating story to an audience.

source: @archivepdf on instagram

Being invited by Pitti Immagine was the perfect opportunity for Veronique Branquinho to do a first live presentation. Veronique Branquinho looks upon men’s fashion as a selection of indispensable evergreens worn by realistic man, rather than focusing on idols, muses or remote stars. Due to her subtle approach to menswear, Veronique has always been reluctant to do a classical catwalk setting, the Teatro Goldoni enables her to stage an alternative event which presents the collection to it’s full potential. The performance is not shown by professional models, but “real life” men. Together with choreographer Sam Louwyck, she created a scene, set in an alienating atmosphere, inspired by the “red room” from David Lynch’s Twin Peaks, with its typical zig-zag floor and red curtains. For Autumn-Winter ’04-’05 she shows brown tuxedos, tuxedos refined by subtle detailing such as contrasting collars in burgundy or brown satin. Moreover she combines these details in perfect harmony with more casual garments: turtleneck jerseys worn under ceremonial shirts with pleated inserts, cumberbands, foulards, ceremonial trimmings on sweatersleeves. Furthermore she hints at the world of hunters and lumberjacks, using recognisable materials and designs: sharp cut coats in traditional loden with a boxpleat at the rear, waxed cotton trenchcoats, parkas finished with a fake fur trim at the hood and duffelcoats with red sheppard lining. Checks are predominantly present through the collection: the same red sheppard pattern reoccurs blown up and handknitted in shetland jumpers, in jackets with sheepskin lining and biaiscut details and in wide lumberjack shorts with similar biaiscut details and pleats at the rear. The concept is emphasized by layering the different checks and knotting both shirts and pullovers around the waist, pants are tucked into the boots.

source: Scott on a random blog from 2004

[seaboundnovel]

I haven't written in so long omg let's attempt this I guess, I'm gonna get the outline for the ball done next because I know how it goes pretty clearly in my mind and already have part 2 of the ball written up so now I do rafuca part hooray,

Okay scratch that this turned into a prelude for the ball instead because raf is distracting i blame him im very weak, this is like 7 months after the last scene I wrote lmao luv continuity

Evening rolls around quick enough after such a hectic day of getting everything ready for the party or well "the grand birthday ball" as Cas so helpfully kept reminding raf whenever he called it a party, "this was bigger this was much more important than a simple party the pirate had no idea" blah blah blah

Raf tugs on the sleeves of the jacket luca had altered out for him "Can't have you in red if I'm in gold, we'll clash" he'd said definitively a few days prior before whisking the garment up to his study, raf didn't even get a chance to say anything before he had gone

It's a long black trenchcoat with gold buttons and gold trim all stitched on by luca himself, raf tugs on the jacket sleeves again, it's been far too long to even remember the last time he'd wore something so extravagant and well fitted

"You know you'll ruin all my hard work if you keep pulling at it like that"

Raf turns to luca to protest that he obviously wouldn't do that, but his words catch in his throat once he sees the other

Luca stands there draped head to toe in white and gold, intricate patterns pressed across the fabric of his waist coat, gold buttons, and detailing throughout that matches rafs own. In place of his usual heavy shoulder cloak is an almost see-through shimmering cape, the glitters among it moving like the tide as he walks towards him, catching the last rays of sunlight coming in through the windows. His hair is down for once too which he notices belatedly, eyes roaming up and down the others figure as he reaches out and wraps a hand around lucas waist, a low hum leaving him at the contact.

Luca laughs warmly as he moves his hands to rest on rafs shoulders while the older leans down to start kissing under his ear

"I take it you like the outfit then?" he purrs, fingers playing with the hair at the nape of rafs neck

"Like is an understatement," he replies, breath warm against the skin as he squeezes his waist, earning a snort and a light shove away as luca starts to fix up their clothes again

"You know we can't be late for this. It is my party, after all," he says as he gives himself a once over before turning to leave

"Don't you mean it's your 'grand birthday ball,' " raf says in a voice, clearly mocking cas as he holds the door open for luca, who slaps his arm lightly in reprimand as he walks past

"Oh hush you, he's just very particular about big events like these, yknow a bit anal" he defends as he links his arm with rafs, leaning his weight against the tallers side as they walk

Raf scoffs. "Please, if anything anal was going on with him, there's no way he'd be as much of a tight ass as he is. The guy clearly needs some action," he finishes with a shrug

Luca lets out a gasp as he smacks his arm again. "Raf, oh my god, please never talk about cas like that. I do not want to think about him that way," he laughs, his cheeks warm from embarrassment

Raf takes the opportunity of turning down a quieter hallway to press luca up against the wall, leg pushing between the prince's thighs as he lifts his chin to meet his eyes

"Oh sweetheart, why would you need to think about anyone else while you have me right here?" He asks, eyes narrow as his other hand trails down lucas side to hold firmly at his waist. His thumb brushes against the edge of the waistcoat as the shorter squirms under his touch

Luca whines quietly as he's held in place while rafs thigh presses against him, colour high on his cheeks and brows furrowed as he stares up at the other.

"Y-You know you're ah-all I ever think about..." he sighs softly as he presses down against the thigh once before raf pulls away, luca lets out a groan of annoyance as his eyes scrunch shut in frustration

"I know, I just like hearing you say it~"

Luca doesn't need to look up to know that raf has a shit eating grin on his face right now. He can hear it loud and clear

"Oh, you possessive egocentric asshole, that was low even for you," he declares his distain as he attempts to fix his hair in one of the hallway mirrors

Raf just laughs, hands moving to help the other. "So true, yet you still love me. It sounds like a you problem, honestly," he finishes straightening luca back up before taking care of himself, though he still looks much more put together than the former

Luca huffs, a pout on his lips till it slowly shifts into a saccharine smiles as he leans his body weight against the other again. "I suppose it is a me problem then," a sigh leaving him as he moves his lips against the others' ear, eyes locked in the reflection "but if you don't make up for that little stunt later, I'll be making it your problem, Captain." His voice is soft, but his eyes say everything raf needs to know, his own face warming at the implications. He's both terrified and aroused.

Luca lets out a laugh as he leaves the other speechless, taking his hand and heading towards the hall again

"I hope you'll make this an enjoyable night for me, Rafael," luca says absentmindedly as he links their arms again since they're approaching the doors

"Believe me, little prince," raf starts as he takes the doors handle in hand. "This will be a night you'll never forget."

He pulls the door open and luca walks into an ocean of applause and well wishes.

Cas makes his way over to the pair. He moves to take lucas hand in his own, leading him out onto the floor. Signalling for the band to start playing, he and luca take front and centre for the first dance of the evening.

With the prince's arrival, the music starts, and the night finally begins.

Possessive raf make me go brrrrrr, really tho he isn't threatened by cas he just isn't blind like luca is so he's like grrr bark bark go away my prince mine. This was so much shorter than other bits I've done but I'll probably flesh it out more eventually or keep it as like a transition chapter idk idk. Also there is context for raf being all grrr bark bark about cas w luca but I just haven't written it yet lmao

[s-n-o-w-p-i-e-r-c-e-r]

so I messed around with this pic of Jack for Sassoon, I know the uniform isn't the same but it was similar enough that I just had to try...!

I'm pretty happy with the results :)

[nordklassen]

[1000sassa1000]

Daryl Fox-Hurley

wears Raf Simons SS06 trenchcoat for Dazed & Confused, March 2006

photo by Will Davidson

styling by Nicola Formechetti

[eyang215-blog]

Burberry and Calvin Klein

As our team dives into the recent branding strategy of Calvin Klein, several parallels exist that are reminiscent of Burberry’s past branding troubles. Like Burberry, Calvin Klein had started with a strong image. While Burberry had centered around the image of classic, British heritage, Calvin Klein had centered around the sexy, casual, young American. Both Burberry and Calvin Klein then suffered a degradation of this brand as their products became more ubiquitous. The two brands then tried to course correct by elevating the brands into the world high fashion. However, while Burberry succeeded in this step, Calvin Klein’s rebranding fell flat. Calvin Klein had hired famed fashion designer Raf Simons as its new creative director, who sought to bring a fashion-forward European style to the brand. This style, a drastic departure from traditional Calvin Klein, did not resonate with Calvin Klein’s customer base, and led to a significant downturn in sales. 

Calvin Klein could learn from the steps that Burberry took to elevate its brand. Looking at the traditional 4 Ps of marketing could help categorize these steps.

1. Product

Burberry took a measured approach in updating its products. Their first step was not to create new things, but to remove existing ones, cutting their SKUs from 100,000 to 24,000. This helped curtail the ubiquity problem that Burberry had faced. Burberry also struck a balance between “continuity” products, which were more traditional and timeless, and “fashion-oriented” products. In both types of products, Burberry stuck with traditional imagery such as the classic Burberry check print to continue appealing to its core consumers. For its most fashion-forward experiments, Burberry used the sub-brand Prorsum to avoid potential damage to its core brand. Calvin Klein, on the other hand, strayed away from its core consumers by not maintaining a “continuity” line of products, and continued to use the Calvin Klein name for trendy products that deviated from the classic Calvin Klein look and feel. Perhaps by using sub-branding and a more conservative product approach, Calvin Klein could venture into the luxury world without alienating its core consumer. 2. Price

Burberry strategically increased their price to elevate their brand into a higher luxury status. This worked well for the company, considering Burberry’s staple items included durable outerwear such as trenchcoats. These items could be considered investments in functional equipment as well as status symbols, so there would be a higher willingness to pay for these items. Calvin Klein, on the other hand, had staple items such as underwear and jeans, which typically do not command a high willingness to pay. Thus, raising the price for these items risks straying away from the consumer base. 3. Placement

Burberry wisely chose to limit its distribution and retail presence, as well as its licensing partners, to reduce the feeling of ubiquity that plagued the brand. Calvin Klein products can be found in large retailers such as Target, and therefore its brand has become increasingly associated with inexpensive clothing. When Raf Simons took over and began to focus more on runway-style clothing, this created a jarring disconnect between the cognitive associations many consumers had built and the image Raf was trying to portray. In order to successfully elevate the Calvin Klein brand, the company must first consider shifting its product placement to match a more exclusive feel. 4. Promotion Burberry hired famed photographer Mario Testino to help advertise its new products. Testino chose to juxtapose Stella Tennant wearing a Burberry trenchcoat and Kate Moss wearing a bikini in Burberry check. This created a dual imagery, with Stella representing the traditional and aristocratic side of Burberry and Kate representing the more modern, racy side. This was very successful in appealing to two different types of Burberry customers while still maintaining a unique and consistent brand image through use of Burberry’s check pattern. Calvin Klein, on the other hand, updated its logo (rendering past products “outdated”) and focused exclusively on fashion-forward promotion through surreal imagery that had little resemblance of past Calvin Klein advertising. Perhaps by sticking to traditional Calvin Klein imagery (subtle color-palettes, greyscale, people-focused), the company may be able to more subtly push itself towards the luxury setting.  ---------------------------------------------------------------------------------------------------------

Sustaining the Brand

Now that Burberry had solved its branding problem, what next? Burberry now faces issues in keeping its brand perception strong - reality TV stars that do not represent the classic English culture are now wearing the brand, the Burberry check has become used uncontrollably (e.g. the car seat upholstery of a co-founder of a record label), and Burberry must now carefully consider its product expansion strategy. 

I believe that Burberry can accomplish this by experimenting with its classic check pattern - using new, more expensive materials intricately interwoven into the check pattern may allow Burberry to continue to use the imagery that its consumers crave while also creating a barrier to copycats and those wishing to use the pattern outside of purchasing Burberry clothing. 

For Calvin Klein, this is a problem they do not need to worry about yet. First, they must fix their brand image as Burberry did. 

[theo-the-door]

I’ve realised that the only three coats I have are my captain Jack Harkness coat which is an RAF greatcoat that goes to my ankles, my John Constantine trenchcoat, and my ski jacket. None of which particularly work for just wearing on a weekend long trip especially since there is not enough suitcase space for an RAF greatcoat, if there was I’d be bringing that coat

[teenagedirtstache]

trenchcoat Louis Vuitton; dolcevita Polo Ralph Lauren; diving shorts Raf Simons. Guanti Miu Miu

[thenavymagazine]

#TheNAVYMagazine 82. Let’s Talk about New #Vintage (2) _ 제2차 세계대전 당시 군인들이 입은 트렌치코트(#Trenchcoat)와 항공 점퍼(#FlightJacket) 등의 전투복이 현대 기성복을 확립했다는 사실은 끊임없이 쏟아지는 ‘새로움’ 앞에 종종 잊히곤 한다. _ 이처럼 패션계에서 ‘#빈티지’는 꽤 오랜 시간 적절한 위치에 놓이지 않았다. 오래된 것으로부터 받은 영감을 굳이 드러내고 싶지 않았던 디자이너들의 눈속임이었을 수도 있다. 하지만 요즘 패션 브랜드와 디자이너들, 소비자들은 빈티지가 생각보다 주위에 흔히 존재한다는 사실을 안다. 구식으로 치부한 패션을 오래된 부모님 옷장에서 발견하는 행위만이 그 존재 이유가 아니란 뜻이다. _ 고작 십수 년이 채 되지 않은 패션 아이템이 ‘#고전(#classic)’으로 인정받고, 그들에게 받은 영향을 직접 드러내는 패션 브랜드 역시 점차늘고 있다. _ 이러한 변화를 상징적으로 보여주는 기사가 지난 2016년 1월 초순, 미국 <#보그(#VOGUEUS)>에 올라왔다. 지난해 #디올(#Dior) 아티스틱 디렉터 자리에서 물러난 #라프시몬스(#RafSimons)가 2003년 만든 파카세 벌이 미국 온라인 경매 사이트 #이베이(#eBay)에서 20,000달러(USD) 넘는 가격에 판매되었다는 소식이었다. _ 라프 시몬스의 2003년도 가을/겨울 ‘#클로저(#Closer)’ 컬렉션은 전설적인 그래픽 디자이너 #피터새빌(#PeterSaville)과 협업한 디자인으로 유명한데, 역시 전설적인 록 밴드 #뉴오더(#NewOrder)와 #조이디비전(#JoyDivision)을 위해 만든 그래픽을 피터 새빌이 직접 옷 위에 프린트한 작품이었다. 처음 발매되었을 때 이 밀리터리 코트의 판매 가격은 한국 돈 100만 원 전후였다. _ 2015년 구글(Google)이 선정한 ‘전 세계에서 가장 많이 검색한 패션 디자이너’ 1위를 차지할 만큼 동시대 가장 큰 주목을 받은 패션 디자이너가 고작 13년 전 만든 옷이 한정판 예술 작품만큼이나 가치 상승을 이뤘다. _ 믿기 어렵다면, 지금 당장 이베이에 ‘Raf Simons’를 검색해보길 권한다. 라프 시몬스 초기 컬렉션 MA-1 재킷은 이번 시즌 그 어떤 라프 시몬스 옷보다 비싼 가격에 거래되고, 심지어 2007년 즈음 몇십 달러에 팔린 스웨트셔츠도 수백 달러를 호가한다. 아직 살아 있는 것은 물론이거니와 현재도 고급 패션 시장에서 큰 인기를 누리는 라프 시몬스가 ‘빈티지’ 지위를 획득한 것은 특별한 의미가 있다. _ 브랜드 정책상 ‘할인 불가(#NoSale)’를 고수하는 유서 깊은 패션 하우스들도 많지만, 세계적으로 단독 매장 시스템을 구축하지 않은 패션 브랜드들은 시즌 마감 시점에 반값 혹은 그 이하로 가치를 내린다. 라프 시몬스 최신 컬렉션을 할인가격에 구하는 건 지금도 어려운 일이 아니다. 다만, 그의 컬렉션을 동시대에 접하지 않은 젊은 고객들이 요즘 #청년문화(#YouthCulture)의 시초로 라프 시몬스 초창기 컬렉션을 다시 찾기 시작하면서 ‘(동시대 디자이너의) 빈티지를 수집하는’ 개념이 생긴 셈이다. _ by The NAVY Magazine © #Steve wears early @RafSimons collections. Photograph by The NAVY Magazine, Styled by #NamgungChul @namgungq.

[ladystylestores]

For Stylists, COVID-19 Stopped Ad Campaigns, Celebrity Dressing, More – WWD

https://ift.tt/3ckqS6R

The COVID-19 pandemic has impacted the fashion world in numerous ways, forcing designers, manufacturers and retailers to come to a screeching halt and, for good and bad, take a breather. For some top stylists, the pause has meant placing on hold confirmed ad campaigns and magazine shoots, styling runway shows and celebrity dressing gigs.

The lockdown also has allowed the industry to recognize that quality rules over quantity, and that going forward there needs to be a greater emphasis on artistry and craftsmanship over simply speed and size. Leading stylists — who have privileged access to designers and almost every brand’s most expensive creations — generally got into the industry because of their fascination with fashion, with many of them treating clothes as collectibles, pieces that either had limited runs due to how intricate or ornate they were, or were a piece from a designer no longer alive.

Each has his or her own criteria as to what makes a piece special.

With that in mind, WWD caught up with stylists around the globe to discuss the personal archives they have assembled over the years, resulting in a trip down Fashion (Memory) Lane. The journey uncovered pieces from designers who have had an immense impact on fashion over the last 25 years, ranging from Alexander McQueen and Helmut Lang to Azzedine Alaïa, Marc Jacobs and more.

Here, a peek into stylists’ closets.

GARTH SPENCER

“I think the bag is one of my favorite pieces. It’s functional but decadently decorative, like a run-over soda can. Helmut Lang’s aesthetic has always felt timeless because of its ability to have never regressed in style or relevance to the world of design. Only physical decay and usage are what’s causing it to become extraneous. So it now lives in a bag of its own.”

BILL MULLEN

Marc Jacobs, fall 1997. “This is the world’s greatest sweater. Period. And I still wear it. Constantly.”

JULIE RAGOLIA

“This Chanel jacket was the first designer piece I purchased as a young stylist, perhaps around 2007. Though Victorian in style it’s a windbreaker, which I found funny. I often wear it while riding my bike around NYC, then crumple it into a bag. I don’t believe that clothing should ever be too precious to be functional. I’m at my farmhouse in the country where everything, including Chanel, needs to have practical ability. This jacket is a reminder to myself to make smart, long-term purchases, and to always find them fun. And if it gets muddy while planting, that’s also OK.”

ANNE CHRISTENSEN

“This dress is from the Callaghan collection by Nicolas Ghesquière, spring 2001. I remember seeing the show and loving the Grecian-meets-rocker vibe! The draping of the dress and the sash with a metal triangle in the back still look modern.”

JAY MASSACRET

“This is a Mao jacket from the spring 2007 Yves Saint Laurent Collection by Stefano Pilati. I’m really loving this piece at the moment. I love the allover photo print of a group in close proximity — the image is of crowd-goers at the seminal Woodstock festival in 1969. I also like the ease of wear (I’m a sucker for a good work jacket).”

HECTOR CASTRO 

Spring 2018 Kim Jones for Louis Vuitton leather trenchcoat in Navy blue.

“Runway looks speak to me on many different levels. The Vuitton trench I am wearing is one of the lightest pieces I own being totally unconstructed with no lining. In this strange time more than anything the idea of protection has become important for me. When I wear this trench, it feels simple, chic, a bit “Matrix”-y and I always feel protected in it. I have a love for leather, so a piece I can wear all of spring and again in the autumn months.…I just had to have it! More than ever it feels like such a good time to dig through your closet and find those pieces that really make you happy and pull them out. This trench is one of those items. I hope to have it forever.”

MOBOLAJI DAWODU

“I’m a big fan of uniforms, if it works, keep wearing it!

“I never go out without a hat, I have this hat in many different shapes and colors from around the world.  

“Moscot are my go-to glasses, love them, I won’t take them off — indoors or out.

“Got this jacket from the Caruso spring 2017 collection, the tailoring is impeccable and white/off-white outerwear is always elegant. I’ve had this neon sweatshirt for seven or eight years, I still exercise in it.

“Overalls — I’m a big kid and I mean, you really can’t go wrong with Clarks, also this color!

“A true gentleman wears a scarf…”

LUKE DAY

“My favorite archive piece at home right now is from the Versace spring 1994 collection, which was a truly seminal era of the brand. In my teens I was obsessed with Versace, I grew up with campaigns torn out of the pages of Vogue covering my walls and I have collected some great vintage pieces over the years. This chainmail tank top is originally from a Versace shoot for L’Uomo Vogue in 1994 with the British band Take That, photographed by Tiziano Magni.”

GRANT WOOLHEAD

“I’ve held onto lots of my clothes over the years and I’ve also let lots of pieces go. The things I tend to keep are either modern classics that still feel relevant to my wardrobe today or they are pieces that define a time or a memory for me. This beautiful peacoat is from Raf Simons’ men’s wear collection for Jil Sander, I think it is from his debut collection for Jil back in 2007. It’s an incredibly heavy wool coat, fully lined and it’s quite a boxy number that when I wear it kind of swings around, which I like. You can make great shapes with it. I always like to wear it with skinny jeans or slim trousers in a Mod-ish way with a clumpy shoe like it was dressed in the original show. This is another one of those classic pieces that never seems to date.”

JESSICA DIEHL

“Nicolas’ Balenciaga was an obsession of mine (not alone there) and that season’s Cristóbal tribute was one of my many favorites during his tenure. At the time they had these glorious sample sales and I stumbled upon this piece — it never made it into my favorite show, but was therefore not produced and one-of-a-kind — so a perfect justification for an outrageous price tag. But a kind of ‘couture’!

“The craftsmanship and construction were truly stunning, but even so it felt light. Not only that, it felt of value. No one does retro/futurist/modernist like Nicolas. 

“There are too many memories to count, but my favorite would have to be wearing it in a barn in Missouri surprised at how a ‘Rhinestone Cowboy’ theme really welcomed some couture, and how a cowboy boot can really change a look.”

TABITHA SIMMONS

“I have always been such a huge fan of Alaïa, when I found this in a vintage store my heart skipped a beat as it was from one of my favorite collections he did. My heart belongs to daddy!!!”

PATRICK MACKIE

“My Schott Perfecto Biker jacket which I bought when I moved to New York City some 15 years or so ago. I purchased it from this wonderful vintage store on Greenwich Avenue called Star Struck. The store no longer exists, which makes me sad, especially in terms of sustainable fashion and New York vintage shopping becoming harder as owners struggle to continue their business. This jacket holds a special place in my heart. I wore it everywhere dressed up and down, it traveled with me from far-off shooting locations such as Cairo for W magazine (2010) to the dance floor of the Beatrice Inn. This classic jacket has lived!”

ALISTER MACKIE 

Alister Mackie wearing an Alexander McQueen hat designed by Philip Treacy from the 2002 show — photographed by Venetia Scott at Marc Jacobs’ Halloween party in New York.

“This piece is very precious to me as it was part of the Hans Bellmer-inspired collection shown at the Conciergerie in Paris. I had an unforgettable experience working on the fittings for this collection with Lee and Sarah.”

TONNE GOODMAN

“It is my Azzedine Alaïa black leather trenchcoat from the mid-Eighties. I have coveted it for three decades. It is perfectly in style this very moment and will be forever.”

TOM VAN DORPE

“My favorite archive piece is this Maison Margiela jumpsuit, I have been wearing it for years. At work or at home.”

MELANIE WARD

“My love affair with vintage clothing began when I was 13. I can’t say that I have just one favorite piece from my clothing archive, but I love all of my vintage Azzedine Alaïa, especially the little suede and leather bra tops he made and I have worn them all a lot. Azzedine’s clothes always make me feel good in my skin and that is really important to me.”

“I bought the vintage Azzedine Alaïa in the Nineties and I believe he designed it in the early Eighties.”

JIM MOORE

“Sometime between 1996 and 1997, designer Helmut Lang relocated to New York City from his hometown of Vienna, Austria. He opened his flagship boutique on Greene street in SoHo and it was mad cool. The store was always restocked in time for the weekend, so I’d race to Greene Street on Saturday morning, hoping to score anything in black in a European size 54. His clothes were timeless and time-sensitive at the same time. The designer once said, ‘you will wear my clothes until they fall apart.’ A truthful quote that should have been stitched into every garment he created.  

“At one point, I found myself needing three of his black coats, each one for a different occasion and change of climate. A cotton moleskin reefer was perfect for an early fall weekend, a cashmere topcoat was a must for trips to Milan and Paris for the men’s shows, and a fur-trimmed parka was stylishly useful for a brutal New York City winter.

“It was the outerwear that really got me excited. This is the one that has been hiding out in my closet in Palm Springs, Calif., still in fashion and as stylish as ever, even in a pandemic.”

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[lindyhunt]

Looks We’d Love to Steal From the Fall 2019 Menswear Shows

Gender neutral clothing lines have become the norm as opposed to an outlier, and the merging of men’s and women’s looks into a single show demonstrates how the fashion week format is changing, but it was really this year’s past red carpet that made the best argument for the dissolution of binary gendered codes of dressing. In 2018 we saw Timothée Chalamet in an Alexander McQueen suit emblazoned with painterly florals, Ezra Miller in a floor-length hooded puffer dress by Pierpaolo Piccioli for Moncler (complete with oxblood lipstick), Troye Sivan in a see-through mesh top under a fiery red Valentino suit, and Chadwick Boseman in an all-white Versace ensemble dripping with gold embellishments and jewellery.

It’s a mood we expect to see continue right through to the future if the latest menswear shows are anything to go by. Sure, there were pin-striped suits and sweatshirts over shorts, but there was also intriguing draping, prints, asymmetry, intuitive layering and bold colourblocking, none of which can—or should—be classified as “for men” or “for women.” Click through the slideshow below for some of the looks we’re (mentally) adding to our closets this year.

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

1/10

Menswear Fall 2019: Dior

This expertly draped sash/suit combo is bold and unconventional yet somehow still classic—a heck of a look either Lakeith Stanfield or Tilda Swinton would slay on the red carpet.

2/10

Menswear Fall 2019: Hermes

This combination of teal and mint green is so refreshing we’d like to replicate it ten different ways.

3/10

Menswear Fall 2019: Kenzo

We’d wear this plaid blanket coat cinched with a skinny belt over cropped trousers and mules to lift up a dreary winter day.

4/10

Menswear Fall 2019: Givenchy

A trenchcoat resembling an oil slick never looked so cool.

5/10

Menswear Fall 2019: Loewe

In the hands of Jonathan Anderson, a classic longline coat is transformed into a statement piece thanks to smart colourblocking and tasselled hems that mimic scarves.

6/10

Menswear Fall 2019: Raf Simons

His tenure at Calvin Klein may have come to an abrupt end but this baggy sweater with photographic patches from old David Lynch films proves he’s still on top of his game.

7/10

Menswear Fall 2019: Issey Miyake

I see this cozy, frayed-edge coat providing just the right touch of cool to an airport uniform of a tee, cropped trousers and sneakers.

8/10

Menswear Fall 2019: Sacai

Chitose Abe is a master of deconstruction and she strikes again with this zippered, cold-shoulder-esque chunky knit with contrasting panels.

9/10

Menswear Fall 2019: Dries Van Noten

Part wool sarong, part printed trouser, this look is worthy of endless discussion.

10/10

Menswear Fall 2019: Louis Vuitton

We’d wear this look—conceived by design wunderkind Virgil Abloh—exactly as is, no questions asked.

[jessicakehoe]

Looks We’d Love to Steal From the Fall 2019 Menswear Shows

Gender neutral clothing lines have become the norm as opposed to an outlier, and the merging of men’s and women’s looks into a single show demonstrates how the fashion week format is changing, but it was really this year’s past red carpet that made the best argument for the dissolution of binary gendered codes of dressing. In 2018 we saw Timothée Chalamet in an Alexander McQueen suit emblazoned with painterly florals, Ezra Miller in a floor-length hooded puffer dress by Pierpaolo Piccioli for Moncler (complete with oxblood lipstick), Troye Sivan in a see-through mesh top under a fiery red Valentino suit, and Chadwick Boseman in an all-white Versace ensemble dripping with gold embellishments and jewellery.

It’s a mood we expect to see continue right through to the future if the latest menswear shows are anything to go by. Sure, there were pin-striped suits and sweatshirts over shorts, but there was also intriguing draping, prints, asymmetry, intuitive layering and bold colourblocking, none of which can—or should—be classified as “for men” or “for women.” Click through the slideshow below for some of the looks we’re (mentally) adding to our closets this year.

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

Photography via Imaxtree

1/10

Menswear Fall 2019: Dior

This expertly draped sash/suit combo is bold and unconventional yet somehow still classic—a heck of a look either Lakeith Stanfield or Tilda Swinton would slay on the red carpet.

2/10

Menswear Fall 2019: Hermes

This combination of teal and mint green is so refreshing we’d like to replicate it ten different ways.

3/10

Menswear Fall 2019: Kenzo

We’d wear this plaid blanket coat cinched with a skinny belt over cropped trousers and mules to lift up a dreary winter day.

4/10

Menswear Fall 2019: Givenchy

A trenchcoat resembling an oil slick never looked so cool.

5/10

Menswear Fall 2019: Loewe

In the hands of Jonathan Anderson, a classic longline coat is transformed into a statement piece thanks to smart colourblocking and tasselled hems that mimic scarves.

6/10

Menswear Fall 2019: Raf Simons

His tenure at Calvin Klein may have come to an abrupt end but this baggy sweater with photographic patches from old David Lynch films proves he’s still on top of his game.

7/10

Menswear Fall 2019: Issey Miyake

I see this cozy, frayed-edge coat providing just the right touch of cool to an airport uniform of a tee, cropped trousers and sneakers.

8/10

Menswear Fall 2019: Sacai

Chitose Abe is a master of deconstruction and she strikes again with this zippered, cold-shoulder-esque chunky knit with contrasting panels.

9/10

Menswear Fall 2019: Dries Van Noten

Part wool sarong, part printed trouser, this look is worthy of endless discussion.

10/10

Menswear Fall 2019: Louis Vuitton

We’d wear this look—conceived by design wunderkind Virgil Abloh—exactly as is, no questions asked.

The post Looks We’d Love to Steal From the Fall 2019 Menswear Shows appeared first on FASHION Magazine.

Looks We’d Love to Steal From the Fall 2019 Menswear Shows published first on https://borboletabags.tumblr.com/

[nordklassen]

[villains-tokyo]

-new item- u.k buying British 60's raf rain trench coat \19800(+tax) #britishvintage #englishvintage #vintagecoat #raincoat #trenchcoat

[tamaraneanlives]

WHEN RAF CAME IN WEARING THE TRENCHCOAT FROM THE MOVIE