Maison Margiela Spring/Summer 2017 Couture Review

     Every season John Galliano for Maison Margiela just gets better and better as a collaboration. Galliano is a sheer genius no doubt, and the Marigela house codes of anonymity, deconstruction, and storytelling fit perfectly. This season, Galliano and the Margiela team explored the way a garment is constructed for their "Artisianal" collection, as well as the filters we put on clothes today. It all started with fabric manipulation; how the garments were pulled apart to create something new. These new creations were strapped together, warped, and buttoned in a modern way. The multiple types of fabrics were all jumbled together, dissarranged like patchwork with high contrasts. Strips of silk and wool were draped everywhere on the body and into the model's hair. As the collection progressed, intricate crystal detailing came woven in and red fabric was introduced. A few of these red looks seem to reference Galliano's first collection for Marigela only two years ago, the "Artisianal" Spring 2015 collection. These looks were mostly in tulle, with a reoccurring face motif. However these faces were morphed and edited in the same way Snapchat filters do. It is interesting to see a highly-regarded designer like Galliano to directly reference something that seems so silly, but it is surely a sign of our times and a token of our culture. The faces became more abstract, as fabric began to billow around the models like fog, until a beautiful face made of tulle by artist Benjamin Shine came out on a clinically white coat. For the finale, the doors at the end of the catwalk flew open, to reveal a massive black sphere of floating fabric, like a storm cloud, that cascaded over the audience when spun around. A cohesive and extraordinary collection done by an extraordinary collaboration. 

Comme Des Garçons Spring/Summer 2017 Ready-to-Wear Review

     The elusive designer Rei Kawakubo is bored with showing clothes on the runway. Instead, she is creating magnificent sculptures onto the human body. They speak as art would about the current world we are living in. Absolutely rich in craftsmanship, these billowing works of art are sewn, embroidered, and draped into romantic silhouettes. In fact, this was the most beautiful collection ever done at Comme Des Garçons. This collection references everything that has come before it within the house and really summarizes the brand as a whole. It is incredibly remarkable that a brand like Comme Des Garçons has managed to transcend decades and not follow the frivolous trends that exist in the fashion world. Comme Des Garçons is its own bubble that transcends fads and creates works at every price point that are beautiful and people still have an immense desire to purchase. This collection in particular was gothic, counter-cultural, and breathtaking. Flat and structured black wool and velvet with white ruffles and bows emulated a girly yet twisted style. Lederhosen with pleats flying off the body in black acid wash fabric was just one example of creating surrealism with clothes. There were countless other examples of surrealism with extremely deep references woven in. Sinister beauty oozed from the surface with the extremely dark color palette and use of latex. Plastic also covered the models faces in a perverse way. Perhaps they're suffocating under the weight of consumerist culture. Perhaps they're committing suicide. Perhaps Kawakubo is explaining her distaste for a world that only cares about the 2-D synthetic image that only appears real. Maybe she's speaking about this Instagram culture, where everyone is taking pictures of the events that they go to, rather than enjoying the experience and creating a screen of separation between the individual and the outside world. Whatever the intention may be, every aspect of this collection has more to do with the real world and all of it's problems, rather than the superficial trends of the fashion industry. 

Maison Margiela Spring/Summer 2017 Ready-to-Wear Review

     Space-age strangeness and soft materials graced this Maison Marigela by John Galliano collection. This time around individual pieces and sets stood out, giving it a wearability and digestibility that didn't happen when the clothes were piled on and on like previous collections under Galliano. Rather, Galliano was much more about the street, pushing forward clothes that people can actually throw on and instantly look incredible in, with insanely amazing makeup and accessories, of course. These looks are ever more enticing, without being too boring. It's much more inviting to put these specific pieces together, rather than totally destroying them and wrapping them around your body in a fabulous way. There is of course the regular intense mixing of garments that shouldn't belong together, yet they do. New inventions in color combinations made everything cutting-edge and fresh, making it unlike any other show in Paris. A delicate black lace dress with detailed embroidery paired with glove-like space boots was one example of the post-modern mix that created something new. Also, an ensemble of a near-black plaid trench coat dress belted with a patent leather waist belt, black leather platform pilgrim boots, plastic bracelets over the jacket, and a brown leather messenger bag was a personal favorite look. Perhaps the story behind the look is that she's a futuristic business woman with a bit of a kooky side but is still professional and intimidating when she needs to be. Whatever the case may be, it was exceptional. The incredible technique of Galliano for Marigela has been posted on this website more than once, but there is little to complain about. Galliano is a mastermind of fashion and always has been. This was certainly justifying that point. So sorry, haters of Galliano for Maison Margiela (if there is still any of you left) but this is Fashion with a capital F!

Marc Jacobs Spring/Summer 2017 Ready-to-Wear Review

     In uncertain times within the fashion world, Marc Jacobs has concocted a business strategy that combines his old diffusion line, Marc by Marc Jacobs, into his main brand to make the vision available to more customers. The brand has been going through with this plan for two years now, and can be seen on the runway with the mix of $200 denim jackets paired over $2,000 embroidered dresses and nearly everything in between. For example, in the Fall 2016 collection, there was layering of cheaper denim jackets over sequined bell-shaped skirts that were more than triple the price of the jacket. This time around for Spring, Marc Jacobs built up a massive rave filled with thousands of soft lights. When it comes to raves, an individual goes to forget something, escape reality, and enjoy the surreal, by usual use of hallucinogenic drugs. It makes sense then, to have vibrant colors smeared into Marie Antoinette-esque fabricated gowns that were slashed short to reveal sky-high platform boots. There was also 1990s inspired shimmery prints on tailored pants and jackets in powder blue, lilac, and soft pinks. A celebration of youth sub-cultures of today as well as yesterday. Blitz Kids, Lolita, grunge, and glam rock all danced around as inspirations for the anti-subtle looks that stopped through the wide and ethereal set. Once dissected into individual garments, the clothes themselves carry on the theme of showy Americana that Marc Jacobs has been playing with in these past few years. In fact, some of the pieces are actual repeats of pieces that came a season or even a year before it, just in different fabric or color to match with the current collection. This is something new in fashion. Rather than chucking out everything that was done before in a previous collection and completely restarting, some staple pieces are constantly available but made new again with the new runway collection, making them appear fresh and have a longer shelf life at the same time. Psychedelic and fun twists and turns finished off a New York Fashion Week that is otherwise tragically boring and commercial without Marc Jacobs.

Balenciaga Spring/Summer 2017 Menswear Review

     Demna Gvasalia was digging through the Balenciaga archives when he found the thing that first inspired this first menswear runway presentation for the brand. It was an unfinished jacket made by Cristbál Balenciaga himself, missing a sleeve. The finished jacket was seen on the first look, a new chapter for the house of Balenciaga. It dwarfed the model, and was such a massive square proportion you instantly knew that it was both dated, but also something very forward for fashion overall. Massive boxy jackets matched with fitted shorts and knee high leather heeled boots. This was the general silhouette until the suits suddenly shrunk and caved in to the torso and the shorts became shrunken trousers. The contrasting oversized jackets and shrunken suits translated into much more casual military jackets, with "BALENCIAGA" baseball caps and giant yellow and blue leather bags, like those used at IKEA. How people actually wear clothes in the streets. Ecclesiastical lace then began to peak out from under coats like aprons, and began a theme of priesthood in all black and swirling embroidery on scarfs like priest stoles and buttoned up black jackets like uniforms. Ministerial purple embroidery on a vest so shrunken it appeared like a corset on one model and a red variant hit the ecclesiastical theme home. Demna Gvasalia has truly changed Balenciaga already with this first menswear runway in the brand's history, and challenged menswear and what men actually wear in a luxury way.

Comme Des Garçons Homme Plus Spring/Summer 2017 Menswear Review

     "The King Is Naked" was sketched onto the back of a latex like clear cape in the closing look of the Comme Des Garçons Homme Plus collection by Rei Kawakubo, legendary designer known for her anonymity and avant garde creations for the Comme Des Garcons brand. The motif, for this collection, was mysteriously too easy to dissect. Usually Comme collections are an enigma, nearly impossible to understand and always make the viewer question what they are seeing. This collection, however, was all about Han's Christian Anderson's "The Emperor's New Clothes", a nearly 200 year old fairytale describing human nature in regards to power, influence, vanity, and the power of the swindler. The fable is short, nearly 1500 words when translated into English, telling of a vain king who lived for clothes, and poured his power, influence, and money into his garments. A few swindlers who falsely portrayed themselves as incredible weavers, who's clothes were so fine and fantastic that they were light as air, and only the noble and truthful people could see the full beauty. These swindlers managed to gain the king's ransom to produce attire for him to walk in for a parade, and they pretended to weave and sew garments that weren't actually there at all, all the while the noblemen were too afraid to say anything, because they themselves thought that perhaps they weren't noble enough to see the clothes. The king couldn't see the clothes either, but refused to expose his inner thoughts for a fear that his subjects would see him as unfit for the position as king. He dresses in nothing, and shows off in a parade where every single member of his ruling couldn't see the clothes, but pretended to see it, in fear. It takes one innocent child to say the truth: "But he isn't wearing anything!" Instantly he is dismissed, but the townspeople begin to realize the truth, and the king does as well, but carries on with the parade in spite. All of this may seem like a silly story, but there is a much deeper meaning about ignorance, fear, and fashion. Rei Kawakubo with her men's collection must be making a statement about the current state of the fashion industry. Currently luxury houses have found it interesting to make clothes that cost thousands of dollars look disheveled, with rips and tears for the sake of fashion. It is shallow, and fashion should be taken to deeper and more thought provoking extremes, in my opinion. The PVC clothes were all nearly invisible, with floating buttons and stitches. This motif paired with the brand's signature black created an edginess I live for in fashion. There was also a lot of collaboration in this collection, with Nike shoes and art company Forasetti's signature prints worked into suits, like the gazing eyes of the townspeople looking at the king in the fairytale. This aspect of the fairytale brings up a very interesting point: powerful people are vulnerable because they are exposed to the public eye. There was venerability in the story, with the king, the perfect example of poshness and control to the townspeople being taken a fool and exposing himself, just as the models in the fashion show had their boxer briefs exposed underneath the transparent clothes. Another aspect of the physical clothes, were the slogans, "The King is Naked", " Beauty is in the eye" "It's my fashion", just to name some. Never have I ever seen a Comme Des Garcons Homme Plus shown with these explicit slogans. These slogans almost make it too east to interpret this fashion show, which raises suspicion. Is there more to this collection behind the easy interpretation?

Wales Bonner Spring/Summer 2017 Menswear Review

     Rising star Grace Wales Bonner has crafted yet another collection that brings to mind African men's culture and history, as well as masculine sexuality and identity. Cut from mostly pure whites and uniform blacks with little added color for effect, these clothes shape around the male body in a different way that I think has ever been seen in tailoring. The shapes of the clothes themselves spark interest because they are rather gender defying. The pants are not straight legged pants, but could be interpreted as a skirts, if one doesn't look too closely. Twists in shirting across the chest like sashes intrigues, with a sense of regalness to simple men's shirting, particularly Western men's shirting. Embroideries like African crochet techniques bring a personal touch and meaning to Bonner's styling.  It is interesting to see African culture inspiring a grand fashion collection that is honest and from the heart, rather than something superficial and exploitative. This is because Grace Wales Bonner herself was born of a Jamaican father and English mother. Her paternal grandfather  was a tailor, someone who would be making the traditional African celebratory garments that were always custom to what the customer wanted. There was no fast fashion in those days and certainly not in that culture, as we see increasingly today. Therefore, everything was made to last, and to fit perfectly to the specifications of the buyer. This must've had an influence on Grace, who's unique yet highly dignified menswear offerings stand out from the highly manufactured and ill-fitted clothes the world is currently becoming covered in. Grace is a fantastic new designer who's emerging talents should be heard around the world, and is potentially a game changing designer for offering clothes that are so incredibly authentic. 

Alexander McQueen Spring/Summer 2017 Menswear Review

     Alexander McQueen opted out of a runway show for the house's men’s Spring/Summer 2017 collection. Instead of the problem of having too strong of a theme and simple references like the last Spring/Summer collection the year before, this collection showed multiple different motifs. There was an element of India exoticism in embroidery and structure of some of the fantastic overcoats. Images and prints of the safari like zebra and leopard pelts and cave drawings on entire suits and soft jackets display a theme of humid climates and the ecosystem of Africa throughout. An interesting interpretation of leopard print which covered suits layered onto models who were standing on top of a leopard pelt in the set gave a twisted sense of animal hunters of the past, those rich aristocrats who boasted about their killings in the safari. The more exotic, the better, as they saw. Separate, but still relevant in theme, Darwinism was a key word used to describe last fall’s menswear collection, and I think of it this time around too, interestingly enough. Perhaps it’s the leopard, or the note-like diagrams of tigers with handwriting and postage stamps. It sort of ties everything together, this sort of talismans collected by Englishmen of the past from the East and Africa. The word "talisman" was used in describing the jewelry of the fall men's collection as well. The large crystal earrings and mouth piercings adorned by almost every model are menacing and mesmerizing, to say the least. It is fantastic that the jewelry is beautiful and delicate, but also hard with sinister undertones. But then again that’s always been the spirit of McQueen. Delicacy and darkness, but strong. McQueen menswear itself offers modernity, not just stuff old suits that look tired and too historic. The footwear, interestingly, contrasts with the embroidered frock coats and celebration suiting because they are classically shaped sneakers. These sneakers add an pleasing sense of ease to the collection, something that wakes up a collection that some may consider too formal. I liked that this collection was a softer and lighter version of the last menswear collection, because that particular collection was a turning point for McQueen menswear. In this collection, there is the similar contradicting historical yet modern tailoring, but in breathable materials with leg room and some of the arms cut off. McQueen menswear is stating its codes during a time in fashion where everything seems to be changing and the idea of luxury fashion seems to be uncertain to many of its critics and commentators. In fact, McQueen menswear seems stronger than the  overtly commercial and almost superficial womenswear. Hopefully, we see as much care and creativity in womenswear in the future of McQueen as in menswear, but we shall see. McQueen menswear this season inspires and creates a moody world partially separate from the boring reality of today.

Alexander McQueen Spring/Summer 2016 Ready-to-Wear Review

     Sarah Burton made it known to everyone who asked that this collection was inspired by the Huguenot people, a French Protestant sect that settled in Spitalfields during the late 17th century. The Huguenots were excellent embroiderers, who were fantastic at making silks, making Spitalfields one the greatest silk exporters at that time. According to legend, when they made the pilgrimage to London, many Huguenots only had seeds and bulbs of different florals in their pockets. It is important to understand Sarah Burton's references when dissecting an Alexander McQueen collection, because without it, it could assumed that this collection (or any collection she has headed) as just another stint at Victoriana or an interpretation of the Arts and Crafts movement. However, as excellent as these inspirations are regardless, there is always a much deeper meaning within the exquisite clothes at Alexander McQueen. Firstly, there seems to be an element of fragility and softness in this collection that I feel moves the brand forward because it is something Lee Alexander McQueen had never done. Rather than transforming the women into sea creatures, murderous animals, or mentally insane patients, as Lee McQueen would've done, Sarah Burton manages to show the pure woman in soft makeup and lightly brushed locks and send them down the wooden catwalk in soft wrapped silks, sliced and frayed taffeta, and expert tailoring. This collection is separate from different McQueen collections because there wasn't anything strict about it. No corsetry, no binding with harnesses, only soft clothes with couture-like embroidery. In previous collections like VOSS (Spring/Summer 2001), for example, the clothes were so spectacular and original that many deemed them unwearable. This collection, however, was still spectacular and original but most, if not all, of these clothes are wearable. Fantastic coats that seem organized and deconstructed at the same time, soft dresses and kimonos in dusty pinks and creams, and embroidered denim jackets and distressed jeans are all examples of this. Some of the best pieces included warped coats and jackets that had a decadence of historicism and modernism. There was heavy silver chains over some jackets that were incredible, along with thinner necklaces over dresses that will sell well. In conclusion, this collection was seminal and beautiful with soft beauty and intoxicating historicism. 

Maison Margiela Spring/Summer 2016 Ready-to-Wear Review

     John Galliano's latest collection for Maison Margiela was a kaleidoscopic success. By now it is understood that Galliano's directing and the house of Margiela's techniques together make a beautiful pair. There is an element of DIY and reworking of exquisite techniques that makes the fashion modern. The clothes shimmered and flowed around the highly stylized models in a way that is absolutely breathtaking and unexpectedly humorous. The looks are steely, chic, powerful, and playful, sometimes in all the same garment. Also, there is an element of androgyny that Galliano has played with before that I feels right for the time. Today there seems to be a question of importance of or the relevance of gender in fashion and in clothes. This is something near and dear to my heart currently because I personally believe that clothes should not be gendered, and that people shouldn't be required by society to wear something assigned to them by their sex. In this collection, I feel that Galliano has the same concept in mind. He explores and travels from masculinity and femininity in an almost, dare I say, Bowie-esque way. Acid green pantsuits, geometric and bright eye makeup, and strange proportions are perhaps examples to prove my point. On another aspect of this collection, I would agree with several journalists who have pointed out a oriental play on detailing and styling. I understand the references, but frankly I believe that there is thousands of other pieces of inspiration that goes into designing a collection like this. Yes, there is geisha-like styles of hair, makeup, and embroidery, but there is also countless of other things in the pot besides the East Asian inspiration. For example, I see a lot of 1960's futurism in this collection. The silvery gowns and white spaceship-like shoes are prime pieces that highlight this idea. Case in point, this collection is fabulously complex without being too heavy. It's a breath of fresh air while embracing maximalism rather than minimalism. I really think we need to embrace creativity and we need to have fun in fashion, rather than allowing fashion to become something that is too simplistic without much thought or commentary on the world we live in. I hope that more designers, new and experienced, will look at this collection as inspiration for future ideas because I truly do love the complexity that goes into Maison Margiela currently. 

Gareth Pugh Spring/Summer 2016 Ready-to-Wear Review

     Gareth Pugh is a designer who can be quite unpredictable. Show-goers have often stated that the nuances of his shows always seem unexpected and different. I would say that this show is perhaps the biggest shift I've seen since I began following Gareth Pugh. For one, this collection seemed a lot less heavy, dark, and somber. Usually, even for Spring, Pugh's clothes are hefty in layering and materials. However, this time around the bouncy fabrics wafted off the models in electric reds, blacks, and whites. When there was hardness and weight, like the black leather dresses, it was cut short, allowing model's legs and arch-killing stiletto high heels to show. In fourteen of the looks, legs were covered in second-skin latex tights. At first glance, most people would view the styling of this collection as clownish or pertaining to the circus, but when you read into it under you understand Pugh's influences, you see that the biggest influence of this collection is the performance artist Leigh Bowery. Bowery might not be a household name, but he was a truly unique and strange individual who can be described perfectly as a living work of art. His canvas was himself, and his infamous club Taboo in the mid 1980's. I think Gareth Pugh really brought the attitude of those club kids to the catwalk, with high energy music, models, styling, and constructions. All of the outerwear was draped and belted in excellent geometric shapes, making the actual clothes extremely forward-pushing, something not very common in an environment obsessed with nostalgia. Overall, a fantastic, high energy collection that was unexpected and fantastic for Gareth Pugh.

Alexander McQueen Spring/Summer 2016 Menswear Review

     Last season, Alexander McQueen presented a collection of regiment members of the Great War boasting "honour", "valour", and "truth" on the chests of the models. This season moved to the sea and the Navy. This was evident in the nautical motifs such as star compasses and anchors in navy blue printed on off-white suits. The first two looks in fact, were sharply tailored and stark white with navy embroidery printed on the chest of jackets and down the legs of trousers like tattoos. The second look specifically had faux epaulettes and badges on a double-breasted jacket. The overall color palette of the collection was a mixture of navies, cobalt blues, blacks, and whites, with a few total denim blue looks that were distressed at points.  The last three looks were covered in a collage type print made of 18th century maps and their coinciding sea monsters. There were kaleidoscopic prints covering entire suits like patchwork pieces of a striped flag. Another, rather curious, print was of what looked like sumo wrestling positions or some other type of fighting. The nautical theme was exampled in one jacket in particular that had large metal eyelets like portholes along a long navy hull of a ship. During the presentation, I couldn't help but notice that the strongest pieces in the collection were on top. The massive double-breasted jackets and asymmetrical sweaters are always a focal point on each look that displayed them.  The overall cuts of the clothes, including the trousers, were looser and more flowing then past seasons. Cropped white trousers flowed freely and suit trousers were hemmed just above the ankle. There was a mixture of shoes that morphed from polished derbies to high top sneakers and hybrids in between. Overall, it was  a strong collection with nautical inspiration to push the Alexander McQueen menswear front further. 

Givenchy Spring/Summer 2015 Ready-to-Wear Review

     I think its about time I address this Givenchy collection. Deep and rustic color palliate, lace up high heeled sandals with second-skin leather pants, and symbols of gypsies are some of the major themes. What made this collection for me was the edginess, a word I fear I use too much. But honestly, without edginess, would anything be really new? Regardless, Ricardo Tisci's inventions for next spring were sexy, strong, and full of spice. The clothes were menacing and beautiful, tough, and flowing, lacy and leathery. This collection has much more character, different from the usual "street-style" looks Tisci has made Givenchy known for. The lacey fabric and the lace up motifs on chests combined classic frivolity and of-the-now sexiness.

     

Alexander McQueen Spring/Summer 2015 Ready-to-Wear Review

      Alexander McQueen's Spring/Summer 2015 collection was shown in a black oak room that displayed two massive white sculptures of orchids. The brilliant white sculptures were designed by Marc Quinn, an artist who focuses on nature as well as the human condition. It brought an artistic beauty the show worked around in. When the first model emerged, her knee high lace up boots clacking to the beat of the music. Her face was incased in a black plastic mask that brought about an avant-garde feel. With McQueen, avant-garde is always expected. There was a harmony of Eastern influences. Samurai armor-like harnesses and face masks layered over soft florals of kimonos. This wasn't all together new territory for McQueen, considering Lee McQueen's Spring/Summer 2001 "VOSS" collection, which dealt with Eastern Exoticism, for example. However of course, that collection was much more uncomfortable and extreme. This time around, Sarah Burton has relaxed the aggression and given a much more soft and elegant look for the McQueen buyer. This doesn't mean that Lee McQueen is lost, it isn't an abandonment and reinvention of the brand. There still is avant-garde dark beauty that made people pay attention to Alexander McQueen. Upon further investigation into these beautiful clothes, I noticed that harnesses and different panels aren't neatly sewn together or layered over each other. Rather, they were pieced together loosely, exposing thin amounts of skin. So, the not all the clothes aren't as simple as they may seem. Sarah Burton must love her details. But of course, the devil is in the details, as they say. Even though the clothes were heavily structured with sharp tailoring and rich fabrics, there was a sexuality to it all that's quite riveting. Perhaps it's the shiny black leather straps up against sheer sleeves. Perhaps its hard black leather painted with vibrant reds and whites. There's a force in this collection, it makes me smile that it hasn't been lost in the brand since the loss of it's creator more than four years ago.

Gareth Pugh Spring/Summer 2015 Ready-to-Wear Review

     Finally! Insanity during fashion month. I don't mean the usual fashionistas running around every major city to see fashion shows but a show itself. I feel as though that this fashion month has been very corporate, very commercial. They were standard clothes practically expected from specific designers. Though Gareth Pugh is know for avant-garde and creative, this collection stood out. Instead of the typical bright colors, light fabric, and florals ("Florals, for spring? Groundbreaking."), Pugh devised a collection of thick, natural-colored looks that have restored my faith! Blacks contrasted whites in beautiful overall geometric prints. The presentation also displayed burlap like fabrics after soft white fabrics that were often shredded for added effect. Hoods, high leather boots, and absurd headgear that seem to belong in "American Horror Story". The entire presentation is spectacular. In fact, this collection is a first to Pugh; his first presentation not on a runway. That didn't matter, the concept of shock was still there. The clothes stood for themselves and were absolutely perfect. With avant-garde styles you have the negative possibility of the clothes looking too "costumey". This was not the case at all. Luxurious chiffon was shredded and silk to look like the burlap. "Frayed luxury" was what Gareth Pugh stated about this collection. The entire collection is extremely smart in the sense that its unexpected, but forward thinking and plausible.

Milan Fashion Week Spring/Summer 2015 Favorite Looks

    As the third big Fashion Week this month, Milan seriously impressed. Big names like Prada, Gucci, Versace, Dolce & Gabbana, and Fendi brought new ideas for their fantastic and well-known clothes. Costume National presented great looks in lush fabrics like suede and lace, in mostly dark colors with a shock of deep purples and blues towards the end.  Overall, Milan was exciting! Next, perhaps the biggest Fashion Week of the month: Paris!

Prada Spring/Summer 2015

London Fashion Week Spring/Summer 2015 Favorite Looks

    London Fashion Week showcased some great designers last week, and I would like to post my favorite looks and highlights from London. This collection of looks relates my previous post on New York Fashion Week because of the selections of looks in dark as well as stark shades.

Tom Ford Spring/Summer 2015

Christopher Kane Spring Summer 2015

J.W. Anderson Spring/Summer 2015

Photo Credit: Style.com

NYFW Spring/Summer 2015 Favorite Looks

     If you haven't noticed (which is nearly impossible considering the media attention), it's New York Fashion Week. Every September, multiple American designers all present their Spring/Summer 2015 collections. Here is a composition of my favorite looks throughout the week. Not surprisingly, I either prefer dark, rich colors, or stark whites. Or a combination of both.

Proenza Schouler Spring/Summer 2015

Marc by Marc Jacobs Spring/Summer 2015

Marc Jacobs Spring/Summer 2015

Public School Spring/Summer 2015

Opening Ceremony Spring/Summer 2015

Photo Credits: Style.com

Men's Coveralls in Fashion

     While viewing the latest menswear trends on websites like GQ.com and Style.com, I noticed a very interesting concept for Spring 2015: the men's coverall. Or as Style.com calls it, the "male onesie". I don't particularly like that name for it, but it is what it is. It was shown on designer runways like Louis Vuitton, Kenzo, and 3.1 Philip Lim.

AMI Spring/Summer 2015

      I couldn't imagine ever wearing a coverall until now. Fashion changed my mind. Whenever I thought of one, it reminded me of tire shops and mechanics. Now, I see the appeal. It keeps your top half matching your bottom half, it easy to put on, it creates a complete look, and you can dress it up. You could high end accessories and layers to create a good mix of unconventional and stylish.  I'm sure there are other eccentric men like me who would love to tackle this trend. As for me, I'm digging around Automotiveworkwear.com and Dickies.com  looking for the perfect short-sleeved black coverall in a size Small.

John Varvatos Spring/Summer 2015 Menswear Review

     The soft whites and grays at John Varvatos' Spring/Summer 2015 presentation were refreshing and alluring. The historical cuts on those gray jackets were just my style. Each look was seemingly paired with a soft scarf wrapped easily under the outerwear. And there weren’t just gray shapely jackets, but dark and timeless blazers, waistcoats, cardigans, and even a white moto jacket with multiple zippers. The looks were modern yet aged, feminine yet masculine, and timeless yet avant-garde. Totally full of romance. The wilted grayscale flower pins graced lapels and breasts like they were boutonnieres. I think John Varvatos is very interesting in the fact that he understands menswear and morphs it into whatever he likes. I mean to say that he understands that not every man dresses the same. He can create things that are feminine on a man, without going overboard. His clothes still contain a strong element of masculinity. That blend in clothing entices me. I believe that idea of blending is reflected in my personal style. All of the clothes were in grayscale, with a few exceptions of faded roses and browns. It seems ethereal, almost like a fairytale. All of the pieces, including the sunglasses and bags are undoubtedly sellable. Bottom line: John Varvatos is still and has always been an incredible rock star for menswear.