What an energizing time for men’s design. While womenswear has customarily commanded the market, this is set to change, as indicated by information from Euromonitor. Womenswear still represented the greatest offer of the more extensive US$1.7 trillion (Dh3.672tn) attire and footwear showcase in 2017, with menswear representing not as much as a quarter. In any case, the statistical surveying firm figures that men’s lines will beat ladies’ in the vicinity of 2017 and 2022, with deals extending by a compound yearly development rate of two for every penny. “This is because of men putting a more prominent accentuation on their appearance, fuelled by the ascent of web-based social networking, and clothing regulations for men softening universally,” says Marguerite Le Rolland, an excellence and mold expert at Euromonitor.
With the spring/summer 2019 menswear demonstrates having wrapped up at Florence’s Pitti Uomo, and in London, Paris and Milan (with just New York left to exhibit), it feels like a strong new vitality is rising. With the ongoing relocation of Kim Jones from Louis Vuitton to Dior (now retitled Dior Men), the landing in Louis Vuitton of Virgil Abloh, and the dispatch of menswear at Cavalli and Maison Margiela, it feels like the start of another period. Different names bounced city (Saint Laurent from Paris to New York and Craig Green from London to Florence) and even old names like Lucas Ossendrijver, inventive chief of menswear at Lanvin, talked about another vocabulary of usefulness.
With his introduction for Vuitton, Abloh close down his commentators with a surprising show abounding with new thoughts, while Jones at Dior Men went for a walk through the house’s broad documents. Prada made a stride over from its standard highbrow idea and conveyed one of its most grounded shows generally (and conceivably the season’s briefest shorts). Here are six patterns that got our attention.
While hardly surprising for a summer presentation, the sheer variety of shorts on offer was slightly unexpected. Kenzo went for board-short lengths in a wallpaper-esque rose print, while Bermuda shorts appeared at Valentino (paired with floral zip-throughs and bucket hats fit for Liam Gallagher). At Loewe, they appeared as an oversized matching shorts-and-shirt combo in tie-dyed linen. Lanvin went for a preppy feel in summer pinstripes, while Dior Men sent out crisp, grey suit shorts, which were the same length as the matching blazer. At Prada, few blushes were spared with knitted micro-shorts in retro 1960s patterns.
Alexander McQueen offered unzipped, rolled-down boilersuits (pictured). Caught at the hips with thick leather belts and paired with heavy boots, this was workwear remade. Ready-to-wear newcomer MCM delivered jumpsuits in glossy parachute silk, while at Balmain, the boiler was in washed denim, hooded and worn under a distressed denim jacket. In its first foray into menswear, Maison Margiela offered lavish silk Japanese blossoms embroidered on to a red all-in-one.
For Dior, Jones elongated a lapel to create a side-fastening jacket, while Lanvin embedded half a waistcoat into an outer jacket. Alexander McQueen sliced a trench coat in half to create a sleeveless cape over a sharp suit, while for Vuitton, Abloh melded shirts and phone cases into one, and carved waistcoats out of quilted leather. Rick Owens went all out with light nylon tops, trousers and parkas built around tent poles.
Comme des Garçons delivered shrunken suits (think fabric ironed too hot) topped with shocking pink airtex tops, slashed open and worn as neck warmers, while Versace favoured oversized hooded sports jackets in fluorescent green. Vuitton, meanwhile, went for a more tailored approach, layering lime green body holsters over shirts and orange gloves.