It all started with Raf Simons with his AW16 collection and, now, it’s the knitwear neckline du jour. The quintessentially British cricket jumper has been grunged up and distressed and become less gentleman's summer sport and more urban and edgy thanks to designers such as Alessandro Michele at Gucci. Brands such as Stella McCartney and Kent & Curwen have all done their interpretation of the cricket V and there's plenty of mileage in this style as many brands such as the Spanish knitwear brand, Sweaterhouse, is showing them for AW17. If you don't want to pay designer prices then pop to your local sports store, university or school shop and buy the largest size they have.
Left - Raf Simons AW16
Left - AMI - £225 - matchesfashion.com
Below - Prada SS17
Left - Stella McCartney - £570 MRPORTER.COM
Left - Gucci - £560 - MRPORTER.COM
Below - Kent & Curwen - £495 - MRPORTER.COM
Left - Raf Simons AW16
Left - Smart Turnout - £149
Below - Cambridge University - Magdalene College Cricket Sweater - Ryder & Amies - £110
This bag is the bomb. Actually, Troubadour should call this the ‘Bomb’, as it hasn't got a name.
British accessories brand, Troubadour, produce some great luggage and accessories and has, over the last few years, been growing their range and developing and enhancing their products.
I’ve been watching their progress and they know exactly what their stylish customers want: capacity, functionality, quality and understated branding.
If this was a ‘designer’ bag it would easily have a 1 in front of the number. It’s a giant holdall slash rucksack that could easily hold a week's holiday or trip. Stitch-free straps are injected with technical rubber for comfort and an external side pocket, top flap and internal mesh side pockets complete the design. The fabric body is strengthened by the crossing over leather straps while keeping the weight down.
You’ll look like a chic Action Man and carrying it will be the most stylish workout you’ve ever had. Now, squat!
Left & Below - Troubadour - Fabric + Leather Duffle - £895
London’s men’s fashion week got its Ronseal title, this season, replacing the old London Collections: Men moniker. The change didn’t make any difference to the lack of content and money, unfortunately, but, hopefully, it meant more to the wider public with many still not realising there even was a men’s fashion week in London.
Left - Daniel W Fletcher Presentation
London and Britain, is good at fashion, we’re good at menswear, we should celebrate it and this is the event to do that at. Twice a year, we come together, test the temperature of the industry and move forward in the way fashion always does. There will always be ups and downs and better and worse seasons, but ultimately it’s big business, from luxury to high-street, and we’re one of the best at it. Let’s champion that.
LFWM is just more pointless than previously, yet still necessary. It needs to be done, otherwise other cities will take the focus away from London and London needs to seen as a centre of ideas and fashion.
When we leave Europe, the British Fashion Council need to lobby the government for more funding for an industry that employs so many people and encourages people to visit and shop in the UK. If we’re going to build a successful post-European future we need to focus on areas we are good at. Creativity is one of those areas. Fashion links many of these together and is the energy and catalyst for newness.
When then pedestrianise Oxford Street, fashion weeks should move there into see-through marquees and become inclusive to those interested in it and bankrolling it on the pavements either side.
What’s the opposite to ‘having a moment’? Because this is what menswear is currently facing. It’s not solely a London problem, affecting all the main fashion cities, but as fashion is a business, when it needs to change and save money, things get cut.
There was lots of talk during LFWM about whether this would be the last one, but I think if it was going to disappear it would have done so this season. The doom and gloom of the last LC:M was replaced with an optimism that things can only get better and the acceptance that those big brands, now missing, are gone. It’s okay, nobody died.
This was a medicated fashion week. A fashion week on Prozac. Things weren’t as important as before, so it felt more democratic. The must-have tickets didn’t exist so people were more equal than ever. The have and have-nots of fashion weren’t as separate and it felt more inclusive and less frantic.
One of the problems I have it predictablity. Designers showing exactly what you think they’re going to show. They don’t move their collections on. I don’t expect a 180 u-turn every season, but as nobody is really buying anything anyway what do they have to lose? They just make you wonder why you turned up. A signature style is fine, but a designer known for tasteful newness will always excel.
Another, is this idea that fashion collections look a certain way. It’s all a bit graduate Fashion Scout, and was new sometime in the Thatcher era. The bong-bong-bong music and po-faced press releases suck the life out of the spectacle and the audience and has the bullshit detector on max. Fashion always needs its wanky, taking-itself-too-seriously label, I get that, but there’s only so much eye rolling one can do.
So, let’s think positive. When things hit rock bottom things can only go up. This half glass full attitude to men’s is what will keep it going. Those big brands disappearing will create room for something new: a vacuum for the future. The future is close, we just need to entertain ourselves until it arrives.
I've always been a big fan of Belgian designer, Dries van Noten, but he was very slow to embrace the internet and e-commerce so his collections haven't been as visible as other brands or designers over the last few years.
He's finally got with the programme and this season's collection is beautiful. He's used military embroidery and details to decorate his menswear collection. I particularly like the use of this medal ribbon which looks like a (Gucci) snake from a distance. Because it's medal ribbon it feels masculine and complements this traditional military style trench coat which has the addition of two large and handsome external pockets. This is a great update of a classic coat style.
Left & Below - Dries van Noten - Radley Grosgrain-Trimmed Wool-Blend Trench Coat - £1410 From MrPorter
Happy New Year, Chic Geeks. What a year. Fashion years are a bit like dog years, so much happens and so much is forgotten about, while other things, unpredictably, have such an impact and filter out into the mainstream. Here's what I can remember from 2016. Tweet me your thoughts on #TheChicGeekAwards
Best Label of 2016 - Loewe
There weren’t many labels to rival Gucci this year, and while I (still) love it, I wanted to recognise something else. J W Anderson creates ‘fashion’ which is becoming harder and harder to find these days. Being the head of the Spanish label, Loewe, pronounced Loo-wavay, it has allowed his ideas to be polished with their skills in leather goods and skins.
He has created a clean high-fashion label out of Loewe, it’s almost like a male Celine, but with touches of humour and seasonal difference which gives it life without being too gimmicky and themed. If only we could afford it. He’s done such a good job here it wouldn’t be a surprise if he got the top job at Louis Vuitton, eventually.
Best New Label of 2016 - Gosha Rubchinskiy
‘Designing’ since 2008, this Russian designer is part of the non-fashion, sportswear trend that infiltrated the po-faced - read East London - side of fashion, this year. While he didn’t create anything new, he subverted like a professional and hit the sweet spot when it came to pricing the designer market. There’s a real market for affordable designer clothes and the Comme backed Gosha is cleaning up with his sweatshirts and skater style pieces. We’re spending more time in the gym and this is being reflected in our clothes and this is where it meets high-fashion with a side order of 80s charity shop.
Best High Street of 2016 - ASOS
With annual sales now standing at £1.4bn, ASOS is the ‘high-street’ giant of the internet. It’s obviously doing something right and it wins TheChicGeek Award for best high-street for its pure experimentation and ridiculousness. From Yeezy inspired Mad Max looking outfits to Gucci pussy-bow shirts, ASOS has the depth of choice at a price everybody can afford.
Where once the high-street copied designers, now, due to the sheer volume of product needed, they come up with their own ideas and run with it. Just don’t buy the ‘Super Skinny Fit’. Sequinned trousers, anybody?
Best Grooming Product 2016 - Boldking Razor
The razor market is dominated by the big players who out discount each other to monopolise the supermarket and pharmacy. They do innovate, but slowly, so it was nice to hear of a small player thinking differently.
The big difference here is the blades are further apart to prevent clogging, which, if you have thick, coarse hair, will happen a lot. Plus the razor comes with a suction cup to put on your mirror or sink, out of the way. Simply yet effective.
The branding is really good. Gone are the muscles and steamed up mirrors: replaced by cute graphics and chatty instructions. This feels modern, it feels like there’s no pressure to be a certain type of man, it’s simply about shaving and doing a good job. Time to start shaving again. Hello, Boldking. More here
Best Grooming Brand 2016 - Buly
Parisian brand, Buly, takes you back to a fantasy time of apothecaries and Renaissance snake oil salesmen where there’s a tortoiseshell comb for every part of your body. Where things have more meaning than is obvious, at first, and time-honoured traditions are bottled and squeezed into metal tubes and glass jars. This brand is all about the packaging which is always a big thing when it comes to grooming and beauty products.
I’ve tried the toothpaste - orange, clove and ginger - and the shaving cream - read more here
They add a difference and excitement to the grooming routine and the products work. They’re not cheap, but they’re special and feel like a historical treat.
Fragrance of the Year 2016 - Dunhill Icon Absolute
2016 was a bit of a disappointment from mainstream fragrance brands. The power of the fashion brand has waned and their offerings don’t feel as special or as premium as they once did. People are moving towards niche and specialised fragrance houses which offer something of quality, but at a higher price, usually.
Fashion brands and their licensees are too quick to release and they don’t commit to the fragrances they produce and thus fall by the wayside very quickly. I wanted to choose something more mainstream. Technically, this came out in 2015, but I only discovered it, this year. Even though Dunhill Icon won TheChicGeek Award last year, this Absolute version is completely different in a good way.
The top notes are bergamot and black pepper, middle notes are saffron, black rose and jasmine and base notes are agarwood (oud), tobacco leaf and leather. It smells really exotic and rich and warm and keeps you coming back for more. It doesn’t really last, but that’s okay, it’s not ridiculously expensive. I’ve smelt this on a few people over the year and it’s instantly recognisable. This really is rather good if you like something rich and intoxicating.
Most Stylish Programme 2016 - Deutschland ‘83
Forget the shoulder pads and power dressing, Deutschland ’83, was a lesson in Eastern European sportswear and military dressing. It was the great pop soundtrack of 80s classics that got us channelling our East Berlin realness and Vetements irony that made us want to stay firmly behind the wall.
Best Menswear Collaboration 2016 - Craig Green X Bjorn Borg
Affordability seems to be the word of 2016. Collaborations needs to tap a new market or appeal to those priced out. That’s why H&M always seem to do so well. Craig Green teamed up with Bjorn Borg this year to produce a collection that didn’t meet in the middle, it just gave the great unwashed Craig Green at a price they could afford. His samurai favourites were here in a capsule collection of unisex pieces. Doubles your market, natch!
Special ChicGeek Award 2016 - Dover Street Market
While the world tipped towards online, and the high-street continued to try to pile it high and sell it cheap, Dover Street Market moved.
It became what it should have always been. It got a proper retail space and had a flow and order to it. It’s dedication to designers and their visions will make Dover Street Market the hardcore venue and destination for devotees of the catwalk and its silliness. This is serious fashion for those who can’t see the humour in it all, but mock what you will, it’s nice that a Dover Street Market as good as this one exists in London.
Most Stylish Man of 2016 - Jared Leto
If you’re going to be a ‘style icon’ you need to take risks. We can all do a Thom Sweeney three piece suit with a horseshoe waistcoat and look the part, but it’s those little touches and breaking-out-of-the-mould outfits that gets TheChicGeek nod.
I’ve never been a fan of Jared Leto, not really sure why, but since he became Alessandro Michele’s dress-up doll, he’s really committed, with both GG logoed feet, to the Gucci renaissance. Some have been hits, other misses, but it’s definitely not safe and hats off to him.
Turkey of 2016
We got a lesson in how not to launch a website this year with Condé Nast’s style.com. The much delayed and anticipated site was supposed to use their expertise and kudos in the luxury market to rival Net-a-Porter and matchesfashion.com by using the power of their magazine brands and offering a new take on curated commerce. What we got was a quiet launch of something that didn’t have much content, was a shopping portal and didn’t offer anything new in a saturated luxury market. It will be interesting to see whether they further commit to this or quietly shelve it and put it down to experience. Read more here
What are your thoughts? #TheChicGeekAwards
Yesterday, The Evening Standard reported the new chief executive of Debenhams, Sergio Bucher, is cutting back on some of the older fashion designers who have been selling ranges at the department store for decades as he tries to freshen up its cool credentials.
About time. They desperately need a clear out. They haven’t named who is going yet, but they’ve already said they want to shift the focus of the stores away from fashion to more experiences like dining and beauty.
Left - Who is for the chop at Debenhams?
When ‘Designers at Debenhams’ started Debenhams was one of the first retailers on the British high-street to acknowledge and react to the growing demand from consumers for a ‘name’ on a product. It was a genius move at the time. After seeing their success, other retailers such as Marks & Spencer copied with Autograph, while, strangely, never put anybody’s name on it?!
That was 23 years ago and Debenhams hasn’t moved it on. They’ve stuck with the same crop of designers and 23 years in fashion is a couple of lifetimes, especially how fast it is today. The menswear, in particular, with the exception of Hammond & Co. hasn’t seen any new life or blood for years.
At past press days, where they preview their new collections, they’ve shown me 4 rails of men's clothes, all different ‘designers’, but all looking the same because they are designed by the same people.
Many of these designers have grown fat and lazy with Debenhams. Making millions while Debenhams has become a sea of grey, black and navy. While the men’s high-street has embraced so much over this time, Debenhams has stuck with an older customer who they disappointly underestimate with their product mix. A 45 year old man today is very different from the 45 year old man in 1993.
It has lost any form of excitement and point of difference. This seems an obvious and much needed step in the right direction. Department stores are looking old-fashioned at the moment: they have to make themselves relevant if they are to survive. You have to create newness all the time with the likes of John Lewis and Amazon biting at your heels.
Bucher will update on his strategic plan for Debenhams in April.
I have a theory about magazines.
I’m not anti-magazines or printed media just because I’m a blogger, but, the fact is people are buying fewer magazines and newspapers and the younger generation hasn’t grown up with the habit of paying money for magazines or printed media.
Left ChicGeek Records - You spin me write round, baby, write round...
Many people, especially in the big cities, are happy with the free printed copies they are given. Publications have gone free to increase circulation and this impresses the advertisers, but anybody who has seen the piles of uncollected Evening Standards at the end of the day will realise that many of these numbers may not ring true.
Even some of the free ones, in a crowded market, are closing - see the men’s free magazine, Coach, which announced it was going online only last week.
People only have so much time and inclination to read something instead of draining their phone battery getting the same information the day before. What will happen to the numbers of copies picked up with increased wifi and internet speeds on public transport, I wonder?
Anyway, records sales hit £2.5m last week compared with £2.1m for digital, with the surge partly attributed to Christmas gift buying. Vinyl has also experienced eight consecutive years of growth, despite almost dying out around 2006.
There are many reasons for this. People are streaming music and no longer downloading and the cost of vinyl is much higher than digital music. Also, the older generation who haven’t got used to storing music on computers and downloading, and have a high disposal income, have rediscovered their love of vinyl and have started buying again and not just old, classic albums. Comparing monetary sales skews the results. Obviously sales of digital music is higher in volume than vinyl, but, it’s still increasing and shows the power in nostalgia.
It’s not all hipsters.
Anyway, back to my magazine theory. More glossy magazines are going fold and disappear and I think this is going to only speed up. Many publishers are merging editorial and advertorial teams to reduce costs, but they've been doing this for years and many are leaner than a butcher’s pencil with no fat left to trim. They've been too focused on the bottom line and not on delivering what people want. It's like they don't know what people want, anymore, and have become too advertiser facing.
The industry will hit its own 2006, like vinyl, and then they’ll be a niche revival of magazines and printed media featuring great photography and things you need to touch, feel and see in print. Much like vinyl, selling for £25 a time, we’ll be prepared to pay the going rate for a magazine, which is much more than what we’re paying for it now. What do you say?