Photographs © Rainer Torrado, courtesy of Jean Paul Gaultier For his Spring/Summer 2013 menswear collection, Gaultier sought inspiration yet again in sailor tailoring and imagery (as often witnessed in previous collections, namely his trademark buttoned panel sailor’s trousers, Breton tops in horizontal blue and white stripes, and cape-back tops) but added an exotic dimension by picturing his garments worn by sailors in the far-flung shores of India. As such, his customary designs were contrasted against a range of bold colours, patterns and designs inspired by Indian landscape, social history and religion (such as shades of red and yellow, layered fabrics and pleated harem pants), and were mixed with elements that evoked travel story-telling, as manifest in clothes richly printed with sailing and fishing motifs or meticulously encrusted with minute beading on dark fabrics as a way to represent starry nights in warm climates. At the same time, the seafaring passage of time and space could be glimpsed in patterns inspired by the rhythmic movements of waves in the ocean such as textured striped seersucker fabrics, pinstripes that discretely vanished and faded into plain colours on wool jackets, trousers or overalls, or stripes that changed directions to create dynamic patterns in cotton tops. In addition, waxed linen was used in some outerwear pieces to evoke water and sea travel, and the rough masculine world of maritime existence as symbolised by sailors’ tattoos could be discerned in delicate and feminine rich embroidery and lace. Despite the very successful incorporation of Indian imagery into his Spring/Summer 2013 menswear collection, it was in the mastering of details that Gaultier struck sartorial gold again. This was evident in astonishing features or broader design choices, such as the careful and playful positioning of buttons, the subtle deconstruction of traditional tailoring by introducing layering and asymmetrical cuts, the adoption of bright summery colour (a rare vision during the latest Paris Men’s Fashion Week), and the stunning pleating (with contrasting colour stitching) that created a kilt-like effect by adding a removable back skirt to shorts or to the wondrous raincoats.

Designing Outside of the Box Sitting at a small, circular table adorned with a telephone and a lone sketchbook, Stanley Carroll appears poised yet inherently at ease. The designer — who first launched his eponymous label three decades ago — has the air of an accomplished creative-type, speaking confidently yet modestly about his long list of accomplishments. The most notable of which, however, is his resolve to honour artistic integrity above all else. “In being the kind of designer that I try to be, the focus is primarily creative,” Carroll says from his Edmonton studio. “You’re working in a professional environment so you have to address the realities of a commercial industry, but at the crux you’re trying to make a creative statement that’s true to you. If I don’t think a dress is exemplary of my style, I won’t use it no matter how good it is.” This dedication and self-assuredness has come to define the designer, whose aesthetic is a rare breed of minimalism peppered with European sophistication. The latter comes from a childhood spent in Holland, before Carroll relocated to Canada with his family at age 16. “The minimalistic aspect of my clothing is what makes it believable, while the European twist is what keeps it interesting,” he says. “My brain will always lean towards a European mindset of dressing for a number of reasons. Stylistically, I think Europeans tend to be a bit more comfortable in their skin and are more inclined to experiment, which really inspires me.” Apart from European street style and café culture, Carroll’s influences vary seasonally and encompass everything from travel and literature, to pop culture and even his own life. This season, Carroll sums up his sartorial offerings in three words: Happy, whacky and eclectic. The latter stems from the diverse fabrics Carroll sourced from around the world, lending equal parts whimsy (think dresses covered with airy clouds) and ethnic appeal (sari materials and tribal-inspired prints) to the collection. “The fabric story is bigger for me this season that usual, so there’s more print and a lot more colour than I normally use,” he says. “I still experiment with shape and volume, but this use of fabric has provided a new aesthetic for me.” The designer could have based his company out of a more fashion-forward city, yet true to maverick form, he chose instead to call Edmonton home. This calculated move speaks not only to Carroll’s individuality, but to his rejection of prescribed industry standards as well. “I’ve always found it very limiting, and after a while you start to question why things are done a certain way,” he says. “So there are a number of things that I looked at that the industry does for understandable reasons, but I decided it’s just not for me.” Like limiting himself to creating on a seasonal basis, or even selling his collections through retailers. Instead, the veteran designer creates on an ongoing basis, opting to sell his work online and through pop-up shops, a method he finds particularly successful. “The one great advantage to living and working in a place like Edmonton is that there are no rules; if I were in Toronto I would have been stylistically pigeonholed a lot sooner, where looks and markets are determined for you. You might do well commercially, but creatively you work in a box.” And if there’s one thing that Stanley Carroll is not, it’s creatively stifled. “What you encounter each and every day will to some extent impact you, and people who work in creative environments tend to develop their voice this way,” he says. “Simply put, inspiration comes by waking up every morning and looking around.” Style blogger Andrew Eirich credits Carroll as a major influence, and has admired his work since he first saw the designer present his Spring/Summer collection at Western Canada Fashion Week last year. “Stanley has a chicness and simplicity to his designs that make them incredible and timeless. The ease and elegance of his clothing stems from his natural ability to understand and create great fashion,” Eirich says.     Models: Andrew & Elizabeth Makeup: Amber Prepchuk Photographer: Richard Siemens

The catwalks were awash with color and prints, with the atmosphere one of true summer fun in the sun. Innovative materials and the reinterpretation of traditional ones, such as the net processing on leather, was an overreacting trend. What was most significant however were the more architectural innovations and the reworking of traditional tailoring and proportions, which together bring to light a new fashion for spring/summer 2012. Nomadic Chic We are absolutely in love with this trend! We call this trend “Nomadic Chic” because it takes inspiration from a global collective from Japanese tailoring to American heritage. This trend definitely looks to push an individuals style by opening their eyes to cultures, places and people beyond their immediate proximity. We live in a multicultural environment which is precisely why we picked this as one of our 4 major trending categories. There are no real rules on how to achieve this look aside from taking a deeper look into your culture for inspiration and that of your friends. Fight for Bright Moving forward from the very masculine blue, other brights lit up the catwalks in Milan/Paris. Parrot greens, oranges and highlighter yellow contrasted with warm hues of berry. The trend is easy to wear: interpret it with knitwear or even leather, while for the more daring a few tailored suits in bright fluo pink color made an appearance on the spring/summer 2012 catwalks. All Meshed Up See through mesh knitwear seems to be man’s alternative to lace for women in spring/summer ’12. Sexy yet sophisticated, these knits are the perfect way to show some flesh and keep cool in the summer heat. Why not embrace the trend further and move onto netwear? In Dolce & Gabbana’s spring/summer ’12 collection the net is presented in different sizes, colors and materials and used either transparent or lined for jackets, trousers, shorts, T-shirts, bomber jackets, tracksuits and sweaters. Printed Elegance Prints, prints and more prints! If there is one trend you pick to follow this season then this is “it”. Almost every brand this S/S is indulging in some variation of this trend. Whether you’re mixing plaids with stripes, prints with plaids, solids with prints, or prints on prints, there are no limits to what you can do. How do you nail this look? Well, though this trend appears to have no rules we do suggest maintaining a base color scheme when creating your ensemble. This will enable you to piece together the right items for the perfect look.

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.

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

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.

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.

On most occasions, the first music notes of a fashion runway show set the tone for the collection that ensues. In Todd Lynn’s display for his Autumn/Winter 2011/12 collection at London Fashion Week, one had to wait until the final parade of models to the sound of T. Rex’s song “The Children of the Revolution” to understand how the designer intended his message to be summed up by the audience. After all, this was a song that, when it was released 40 years ago, was popular with teenagers while some elements of society regarded it as essentially pro-communist propaganda. In the expanding luxury market propelled by affluent consumers in emerging post-communist economies, Lynn’s established reputation for designing leather and fur garments rides the zeitgeist wave of the successful process of merging creativity and profit. Lynn has had a penchant for leather and fur for quite a while, and his latest designs using these materials in shades of beige, black, grey and maroon are no exception. The collection’s repetitive examples of footwear and tailoring (as evidenced in the numerous trousers with draped fabric over pockets, dresses with asymmetric sleeves, and several high-necked, zipped up jackets) contrasted with some original designs that are worth noting. In fact, despite relying on the reiteration of commercially safe designs, Lynn’s talent was at its strongest in the elegant high-top trainers for men, deconstructed garments with pleated fabrics, overcoats fastened diagonally, and stylish zipped high gloves. Having developed an image as a designer of rock and roll cool garnered over years of making clothes for artists in the music industry, Lynn may see 2011 as the year that marks a turning point in his career. In truth, this is not a collection for the children of the revolution. These are garments for the former rebellious children who have grown and now turn to designers like Lynn for items of clothing that exude luxury and creativity.