EDITORIALS, TRENDS + DESIGNER PROFILES
Photography: Harry Fellows www.harryfellows.com Styling: Cannon at Judy Casey www.judycasey.com Model: Paris at Muse Management Makeup: Chico Mitsui for NARS cosmetic Hair: Kozmo at Bryan Bantry Manicurist: Krysty Williams for Picture Perfect Nails First Assistant: Ijfke Ridgley Styling Assistant: Amber Stolec & Jorge Rublacava Location: Loft 402 www.loft402.com
Obakki | Smythe | Marie Saint Pierre | Serendipity | Kelly Madden | Malorie Urbanovitch | Paul Hardy | Lara Presber | Emogene Couture
By Beryl Bacchus
Designer Profiles - Vancouver, Toronto, Montreal, Edmonton, Calgary
By João Paulo Nunes
William Richard Green’s autumn/winter 2011 collection stands out for its eclectic influences and its intention to deconstruct the idea of luxury. This is done by resorting to strong influences from outdoors menswear and relaxed grunge tailoring. Green claims that the inspiration for the collection is the ‘Viking’ and its uncouthness as the antithesis of lavishness. However, it seems more accurate to describe his garments and accessories as paying homage to British sartorial tradition and to the rebellious urban tribes and subcultures of the second half of the twentieth century. In his promotional material, Green has indicated that his work is partly inspired by the free-spirited approach to life that he gained during his formative years in the English countryside. He was born in 1985 in Worcestershire, and spent his childhood and teenage years in that West Midlands English county before moving to London to study fashion. In 2009, he earned a degree from Central Saint Martins College of Art and Design with a collection that he dubbed as ‘wearable manly menswear’. He also trained at London’s Savile Row, a world centre for menswear tailoring. There, he went through important training in pattern cutting and gained useful insights into sartorial craftsmanship. The academic training at Central Saint Martins and the skills that Green gained during his period of practical experience allowed him to embark on an ongoing process of questioning the more traditional mores of menswear and luxury. At the same time, there is little doubt that this young designer has been firmly embracing his British identity. This dedication is strongly evidenced in the decision to produce only in the UK and source fabrics predominantly manufactured in Britain.
By André DeVeaux
Workplace Cool Essentially the look which most despised, we saw it on the subways during the evenings rush hour and considered only for those who couldn’t keep their painful but appealing shoes on; this look has repeatedly been seen on our runways throughout the last few seasons, which means it’s here to stay well, at least for this season. Add a pair of clean sneakers to formal-trousers topped off with a leather duffle bag and varsity-style jacket, for a look which translates from work to a late-night gym session. Belted Waists Adding a waist-belt to the outer-layer of your outfit essentially “cinching the waist” can take your pieces in a new direction effectively jazzing up a relatively casual-look and giving it that formal edge; this however is not a look for everyone; it takes confidence and pure fearlessness to keep this from looking feminine. My recommendation is to stick to muted-colors and only add the belt to pieces that keep your torso looking masculine by nipping the waist and emphasizing the ‘V’/‘T’ shape of your shoulders and back. The belt should never rise higher than your belly-button area. Leather Vs Denim A trend that’s been bubbling under for quite some time now, maybe it’s the risqué feel of leather paired against what’s considered the epitome of comfortable fashion, denim. Whether it’s a denim jacket with leather sleeves or just simply a pair of leather trousers, add a dash of brawn to your outfits by mixing in a leather piece with some denim to create this spin-off biker style. PVC & Leather Pants Feeding off the current trend for all things daring in fashion, leather or PVC pants maybe both are the must have things to bring your winter wardrobe into 2011. Think slim and drain-pipe fits as opposed to boot-cut and straight-legs to keep this look looking fresh and not dated. Remember the key thing here when buying is to think quality not the cost, well within region. Don’t compromise too much or you may just regret it with a compromising split in the crotch area or the rear. Splash of Red Every season we have that ‘it’ colour, that colour that dominate the rails in trendy stores, that color that’s your first choice out of all the others, that color which feels like it just goes with everything, this season make that color Red. You may decide to go with a head-to-toe look or just opt for that one statement piece, either way make it red and get ready to paint the town. Short-Shorts Most are thinking why I would wear short-shorts in winter yet alone wear short-shorts at all; well this look isn’t for the faint-hearted however it will take you right into Spring/Summer 2012, also adding a refreshing twist to any tops you picked up earlier this year. The key to making this work is to glance back on where fashion has already been, think 80s-sportswear then add a 2011 short-short to it and your done. Blazers, Shirts, Polo-Tees, Vests, whatever you think suits will work, drop it with some luxury-sneakers, white slouchy-socks and you’re done. Short Shorts should leave at least 2-inches hanging room from your crotch-area when standing.
- Photographs by Greg Swales - Makeup by James Kershaw - Styled by Sandra Sing Fernandes - Braeden at Mode Models
- Photographs by Greg Swales - Makeup by James Kershaw - Styled by Sandra Sing Fernandes - Megan M at Modemodels
By Jacqueline Parrish
Known for exquisite tailoring and minute-attention to detail, the quirky designer of the Montreal-based, self-titled label Dimitri Chris delivered an impeccable F/W ’10 runway show. A collection brimming with tailored tweeds, suits and vests, knee high equestrian boots, page boy hats and a smattering of houndstooth and plaid, the smartly attired models could have –in all reality- walked right off of the catwalk and climbed onto a horse, forest bound. British to the core, Chris succeeded in marrying together the essence of the English hunting culture with modern, wearable clothes. I was fortunate enough to make it backstage to interview Chris about his latest collection; bearded with dark, fly-away hair, I towered over the designer. Smartly attired in a grey vest, grey pants, and a red and white checkered bowtie, the short-in-stature designer reminded me of a mad scientist; an Albert Einstein of fashion, if you will: What sets you apart from other menswear designers? Are there a lot of menswear designers? We have Bustle and Dubuc and Philip Sparks. We all have a different aesthetic. Bustle has their own distinct quirky look and Philip Sparks, while still into the tailoring, has a more laid-back and relaxed look. My background is in tailoring and that plays into the collection. I want to push the envelope There’s room for everyone. I loved the coats with the built in scarves; I thought it was a brilliant concept! Thank you! You see, a lot of my friends were bitching and complaining that they are always losing their scarves, having to tuck them into their sleeves. So I said “There you go. You don’t need to worry about it”. Who is the Dimitri Chris Man? I’d like to say it’s a young professional. Somebody starting out in his life, in general being social and business and cultural, but obviously it’s hard to want to cater to just a select clientele. That being said, it’s very wearable. The garments are very wearable. The idea behind ‘Master of the Foxhounds’ was derived from English hunting culture; where did you come up with the concept? I was inspired by British culture, royalty and their traditions and lifestyle and hunting, which is their leisure sport. The collection is very British. What do you hope to bring to the table in terms of men’s fashion? Wearable garments with an emphasis on tailoring. And what can we expect from you in the future? To be there. You can expect me to be there.
BY JOÃO PAULO NUNES
In stark contrast to the tight-fitting, tailored suits and jackets inspired by menswear of the 1970s many designers at the recent fashion shows in Milan and Paris opted for a completely contrasting approach to designing overcoats for Autumn/Winter 2011/12. For the cool months of next year, the designers’ collective decision to choose oversized coats indicates the adoption of a trend that favours deconstructed, boxy shapes. In most designer collections shown, these shapes eliminate the contours and overall physicality of the male body by omitting the waist line and allowing the fabric to drape freely from the shoulders. In addition, a recurrent option has been to adopt narrow and sloping shoulders with little or no padding thus only relying on the pulling of fabric at the sleeves to give shape to the garment while its length often goes below the knees. After the return of a moderate version of the 1980s shoulder pads in the first decade of the 21st century, this trend seems to be a resurgence of the anti-power shoulder that many Japanese designers adopted in the 1990s, and that subsequently permeated the designs of Western designers, too. More interestingly, if one bears in mind that the 1990s rejection of large shoulders and sharp silhouettes was a subtle way to voice social concerns by designers, and consumers that rejected a fashion of excess and capitalistic overindulgence, at a time when movements of social unrest seem to be taking place all over the world. This trend can be interpreted as an interesting coincidence or an apt metaphorical comment on the state of world. Coincidence or not, fashion plays an important role in all that we do, and a new style can bring a fresh perspective and reflection of changing times.