It was while at Barcelona Fashion Week, looking over a German Influencer’s shoulder, that the digital world looked incredibly small. She was busy scrolling, liking and commenting on pictures on Instagram. All the images looked like fellow Influencers.
We’ve had all this talk of “engagement", and brouhaha about methods of promotion, see bots, but it dawned on me that this is an audience invested in their own engagement. It’s real, but then what is real in the virtual, social media world? What is the correct form of “engagement”?
Left - No Likey
It’s basically people engaging with themselves and why are we surprised that people who like their own self-image are doing it? People have created pods to allow groups of other people to know when they have posted and to mutually like and comment the posts, increasing engagement. It’s basically what you do with your friends, but more organised and business like. It’s fine if you’ve got the energy for it. I haven’t.
She needs to like and engage with other influencers, and vice versa, to keep the momentum up, but are the numbers outside these circles actually worthy of note? It’s really hard to know. It’s pretty much the same with magazine circulation figures.
It’s also like the Fyre Festival. How were the influencers to know that a festival, scheduled months in advance, was going to be a disaster? People promote things in good faith and hope people stick behind their promises and obligations. We can all look back in hindsight and wish to do things differently or not at all.
The “Instagram police” are busy telling people what they should and shouldn’t do, but people are manipulating things all of the time. Who made the rules for the game in the first place? It’s the nature of SEO, or even more old fashioned, people buying mailing lists. It’s businesses trying to promote themselves, which certainly isn’t new.
I would never condone buying followers, that’s plain wrong, on any platform, but getting software to do what you could do yourself is a clever use of time, isn’t it? I tried the follow/unfollow method a few years ago, when I was struggling to grow followers and asked a friend how they were growing their’s. I saw it like scheduling posts or using something automated. I stopped when I realised I really didn’t care enough. Others saw it as cheating. I’ve never denied it.
We’re all at the whims of giant corporations moving the digital goalposts all of the time. Whether it’s Google or Facebook or whoever, people are continually adapting and trying new things. It’s the nature of the business. It’s how they promote themselves and work things to their advantage. We’re all digital micro-plankton bobbing along on their electronic sea.
In the decade since I started TheChicGeek I’ve always valued words and opinion and that’s why Instagram never really worked for me. It did give me TheChicGeek character, though, which I’m grateful for. I pride myself on having a distinct point of view and opinion and it would be odd if I didn’t have an opinion on this subject. I feel like I owe some sort of explanation to the people and brands I’ve worked with over the years. This blog has always been my passion and focus and always will.
We’ll probably look back on this hysterical witch hunt in a few years and wonder why anybody really cared. Hopefully, all this negative energy will implode the whole darn thing. It’s time for something new anyway.
Read - You're Fyred! The Anti-Influencer Backlash has begun...
Fashion trends come and go, it’s in their nature, but, every so often, there is a trend which seems to carry on, continue to grow, get bigger and bigger, look unstoppable and you can’t judge when it’s going to run out of steam. One thing for certain is, they always will, but it’s just trying to pinpoint the moment when something peaks.
Left - Buy? Bye, Balenciaga?! - Zapatillas Triple S - € 725
The trend I'm referring to is the chunky, fugly trainer. The have proliferated so far down the fashion food chain that every designer, brand and retailer has brought out their own version, so, it was obvious to ask, when will this fugly trainer madness end?
This is a trend that started building three years ago, which, in fashion trend terms, is a long time. During that time we’ve seen them get bigger and badder, with the end result of people looking like they were wearing concrete blocks on their feet. I’m looking at you, the Triple S!
Learning when to call a trend in fashion takes experience, but, also, a lot of guess work. It takes instinct, an amount chutzpah and the early data to say when something is about to start its descent.
“It’s a “trend” that will see people paying £150 for a pair of shoes which they won’t be wearing in about 4 weeks time. I think many are over it already.” says Katie Owen, Founder, Sargasso & Grey, a British shoe company that create fashionable wide fitting shoes for women who have wide feet.
Right Tod’s - Shoeker No_Code_02 in High Tech Fabric - £450
I knew it was all over when I saw a chunky trainer from LK Bennett. Yes, the home of the home counties kitten heel has moved into the chunky trainer arena. A stylist friend had been to their #SS19 press day preview, before Christmas, and had taken an image of the shoe and put it on their Instagram Stories. Instantly images of Sam Cam in a Roland Mouret or Kate Middleton picking Prince George up from school flashed across my mind, and it was then that I knew it was over. Stabbing a stiletto into the heart of this youth driven trend, this is what kills trends; when the parents start to wear it.
Another case in point, Tod’s, long the bastion of the nobbly driving shoe, flew the fashion press over to Milan for the big reveal of a new product in October, 2018. It turned out all the fuss was over a new trainer/sneaker or “shoeker”, as they’re calling it. The Tod’s “No_Code”, they said, “represents the constantly evolving change we’re seeing in the design industry, a progressive more elastic world that has no boundaries. We are living in a world where we are constantly on the move, whether it’s a boardroom meeting or weekend coffee with friends, the way we dress needs to adapt with ease.”
While not exactly a chunky trainer, the Shoeker - this name is not going to catch on - showed the attention these middle aged brands are giving to casual footwear and trainers. It was unveiled as part of the Tod’s No_Code brand umbrella, designed by Korean designer Yong Bae Seok who before joining the world of footwear at Tod’s, worked in the automotive industry. This is a trainer or sneaker for dads, who want to spend £450 on a pair and wear it to work along with their Donegal tweed jackets and slim jeans.
“Fashion is constantly trying to reinvent and occasionally we come across a novelty style that sticks. It then doesn’t matter if it’s flattering or a clever design, the hype takes over and makes it a sellout. The chunky trainer is a classic case of shoe marketing that we will look back at, and.. well, cringe, in all honesty,” says Paula O’Connor, Fashion Director. “You wouldn’t see Sarah Harris.. Jackie Kennedy , or (all hail ) Kate Moss in a pair, so leave we’ll alone .. “ she says.
When “Sneakers” is the first drop down on the shoes section on zegna.co.uk you know what the brand’s new priorities are. Another luxury “dad brand", the minute the kids see their parents in these, they’ll be ditching them faster than you can say “Jeremy Clarkson”.
When ASOS announced its shock slowing of growth before Christmas, one of the most interesting snippets of information from ASOS CEO, Nick Beighton, was that, in menswear, they had seen "a slowdown in sneaker brands, which has been quite dramatic”, he said.
It is well known the young male shoe buyer was becoming the biggest consumer of footwear - read more here - and it was trainers and sneakers he was buying. There could be many factors at work here, but undeniably the market is saturated and the trend has run its course. Trainers will continue to be a huge business, but it won’t be a “thing” anymore.
Left - Ermenegildo Zegna - Leather Cesare Sneakers - £540
Designer brands liked this trend because they could increase the prices for chunkier styles and nobody would complain that they were made from plastic and glue. The margins and volumes are huge.
There was interesting data from the NPD - the industry authority for the footwear market - on Q4 2018 footwear: "The 'democratization' of Adidas’s Yeezy franchise also led unexpected gains, with sales up more than 6X. Whether Yeezy can withstand the pressure of the expanded allocation remains to be seen.”
This is a classic case of over exposure and the generation gap killing a trend. The clock on your chunky trainers is counting down, so get stomping in them now.
It turns out Christian Dior liked English food. Clearly a charmer and a man who knows his audience, Dior had a strong relationship with London and the British royal family. Many of you probably saw snippets of this exhibition on people's Instagrams when it was in Paris last year. This is the same, but with an added room explaining his relationship with London. The Victoria & Albert museum did the same with Alexander McQueen's Savage Beauty.
This giant Dior exhibition, the largest ever in the UK, charts the miraculous growth and influence of Christian Dior up to the present day.
The staging and room sets are stunning. The lighting and displays make everything look sumptuous. The only negative is, the space will quickly become congested, as there isn't much room to move, so I would recommend visiting this early or later in the day.
This is pure fashion escapism and is a visual feast, illustrating womenswear from the second half of the 20th century.
From the "New Look" of 1947 to Maria Grazia Chiuri's present incarnation of Dior, every Creative Director is covered.
John Galliano steals the show and illustrates how he took Dior couture to the maximum of its creative possibilities. It leaves you wanting a solo Galliano exhibition.
Everything in the exhibition is couture and handmade and there's a beautiful rainbow display showing all the accessories and costume jewellery.
Dior is one of the biggest brands in the world, today, and while this is a fantastic display, I didn't leave knowing anymore about the man himself. The exhibition is fairly light on information, but I guess the idea is for crowds to flow and for the museum to really pack in the numbers.
Dior sent the benchmark for mid-20th century femininity and it's fascinating how the brand continued to grow even though he died just over a decade after the company was established. Dior is one of the most coveted of French fashion houses and, while the last two creative directors haven't been particularly inspiring, it's interesting to see how that shape of 1947 continues to resonate.
Christian Dior: Designer of Dreams - Until 14th July 2019 - £20
While you're at the V&A, you could visit the Mary Quant exhibition.
Whenever I see film of the Beatles, it’s the latter years and their last performance on the top of their offices on Savile Row that really inspires me sartorially.
Ringo in his red PVC coat, drumming away, is a sight for sore eyes. This colourful, playful and experimental period of menswear is back for those of us brave enough. I still dream after this Tom Ford psychedelic shirt - here
Available now, this “Prospect Road” print from Liberty of London dates from 1968, just one year before that final Beatles rooftop gig. It’s bold, but shows a confidence and a Lucy-In-The-Sky dreamlike quality.
TheChicGeek says, “I would wear with a dark suit and plain knitted tie.”
The biggest retail opening of 2018 was Coal Drops Yard in Kings Cross. This former Victorian railway sidings for coal coming into London from the north has been transformed, thanks to Thomas Heatherwick, into a contemporary retail destination.
Left - Koibird in Marylebone
While the kissing roofs are elegant and memorable, the rest of the development is less inspiring. The brand list is the type concocted by an architect who is shopping like a design magazine rather than the realities of retail in 2019. It feels a bit 10 years ago and doesn’t acknowledge the recent Guccification of the world. We really doesn’t need anymore boring “designer” shops.
A case in point is the Paul Smith store. Housed in the former Bagley’s nightclub, you’d expect some sort of crazy ecstasy interior: testament to the many clubbers who wore Paul Smith on the dance floor. But, no. There’s even a white wall.
It’s 2019 and we’re in the “Age of Bonkers” when it comes to retail and if a shop doesn’t have you reaching for your phone to take a picture straight away then they’re clearly doing something wrong. Retail needs to wow, it needs to shock, it needs to entertain, otherwise you can get everything else online.
You need people to mouth “that’s cool” when they walk in or see something, especially when you’re trying to create a destination, as is the case here. This isn’t need: this is visitor attraction with the hope of souvenirs purchased. It’s that excitement and rush of shoppers' adrenaline that makes people glad they left the house. It’s not just about being conceptual, it’s about fun, wit and being relatable and current.
We often forget how experimental retail once was. From the Victorian pioneers of the department store to the independent boutiques of the 60s to the cool minimalism of the 90s and this was all pre-internet. Now, it’s more important than ever to give physical retail a fighting chance and bonkers it should be.
Examples include Koibird in Marylebone and Gentle Monster, the Korean eyewear brand, who opened their first UK store on Soho’s Argyll Street last year, both creating and refreshing interiors that stimulate and keep people coming back.
The Koibird store recently closed for two months while the interior was changed from their beach concept to their ski store. Founder, Belma Gaudio, established Koibird out of her frustrations of not being able to find clothes to match her holiday destinations. The new ski concept is another instagrammable interior featuring the colourfully rounded Koibird “K”. “Koibird is on a mission to inject some much needed playfulness into skiwear.” Gaudio told British Vogue when she recently unveiled it.
Right - Gentle Monster Argyll Street, Soho
Gentle Monster, a Korean sunglasses and optical glasses brand founded by Hankook Kim, was established in Seoul in 2011. “I wanted the products to look as if they were being exhibited.” said Kim in 2016. Today, they have over 40 stores worldwide and employ 6 people to design its eyewear compared to 60 people to design the store visuals. This shows the priority of their interiors within the company and the Seoul flagship is transformed every 25 days.
While these types of continual makeovers can be expensive, it can also be minimised with enough imagination. This is the traditional idea of changing windows becoming a fully immersive and experiential retail experience.
Fragrance is something physical and as such, Ostens, a new perfume brand by Laurent Delafon and Christopher Yu, has created a pop-up store in Marylebone, to showcase its debut. Open until the end of February, it is an abstract showcase of their new brand.
“We love Gentle Monster, we love spaces that drag you in , that speak to your curiosity. And this is the main idea behind Ostens: olfactive curiosity and discovery through the exploration of the ingredients.” says Delafon.
“So, we set up the space in 3 distinct areas, part of ‘journey’ taking you from the ingredient to the perfume: the Rose oil from Isparta, in the neon lit front room, magnified and presented like an objet d’art.” he says.
"All the rooms are appealing, they are fun, they are instagramable, and they are attracting people that wouldn’t necessarily been attracted by a ‘normal’ perfume shop.” says Delafon. “If you create spaces that are enjoyable, exciting and surprising places for your consumers to interact with the brand, you enhance their experience, and you make the whole purchasing act much more than simply about the product.” he says.
“The idea is to change the whole set-up of the store every two months. Like an art gallery would change its exhibitions. We intend to move Ostens to a central location, where the store will be more of a white box in which we will be able to rotate sculptures, videos installations, theatre sets, interactive displays..To parody Magritte…’this is not a perfume shop’!” says Delafon.
Left - New fragrance brand, Ostens, launching with a bonkers pop-up shop in Marylebone
Retailers are fighting for people’s time. You need something to grab people’s attention, make them stop and have a desire to enter and explore. Half the battle is getting your product in front of people, then at least you have a chance of a sale.
The home page on Koibird’s website reads “Never Boring…” and this is exactly how physical retail needs to think.
All fashion roads lead to Paris. While the Paris landscape is fractured with many smaller trade shows and showrooms competing for people’s time, it’s also the place where orders are written and retailers and people finally commit to the season. Word on the street was brands were deciding to forgo Florence’s Pitti Uomo for showrooms in Paris to justify the time and expense of doing the men’s fashion week circuit.
Left - Outside one of the Paris trade shows, Tranoi
Here are the trends and brands to know from Paris for AW19:
British fabrics are having a huge renaissance, none more so than for the AW19 season. E. Tautz has reworked the traditional black and white tweed into a vortex design that is both contemporary and respects the qualities and attraction of this type of fabric. Charles Jeffrey Loverboy turned up the dial on tartan with bold blue and red. This is a designer making the transition from the conceptual to beautifully cut and made pieces.
Right - E.Tautz tweed
Left - Charles Jeffrey Loverboy tartan
People are beginning to yearn for dressing up again. Tired of sportswear and the grunge aesthetic, this is a new idea of wearing something more dressed at anytime of the day. British designer, Bianca Saunders, captured this perfectly with extra ruched shirts a dark palette.
Left - Bianca Saunders AW19
Following on from Mary Katrantzou’s chesterfield sofa coats and Anya Hindmarch’s chubby hearts, it’s the men’s turn for something to take the cushion in a world full of sharp edges. This is from Virgil Abloh’s second collection for Louis Vuitton which was inspired by Michael Jackson. Overinflated much?!
Left - Louis Vuitton AW19
Heat bonded pockets and steel poppers are some of the details on menswear to make it perform and look high-tech. Mammunt Delta X is a new label, it debuts this SS19, from Swiss heritage mountaineering company Mammut. Using their 150 years of outdoor expertise, it is offering something younger and more urban to satisfy the insatiable thirst for element protecting products.
Left - Mammunt Delta X AW19
Jupe by Jackie has become come something of a cult label known for its hand embroidery. Established in 2010 by Dutch fashion designer Jackie Villevoye, Jupe by Jackie uses master embroiderers from the Indian province of Uttar Pradesh to work her designs onto items of clothing. J-B-J is a new, younger brand, from Jackie’s son, offering the signature embroidery on T-shirts and more casual pieces.
Left - J-B-J yeti, all hand embroidered
Made from plastic waste, Norden is a new outer label made entirely of single use plastic. Their “U-Trust” verification program provides customers with comprehensive certification designed for a high level of transparency. The Fiber Print technology validates the authenticity of the products, with complete analysis of all fabrications to support the certifications. All of the garments are free of fur, feathers, leather and all other animal by-products. There’s even an internal water bottle!
From Left - Norden - All made from plastic waste and include a water bottle
Part of London’s Fashion East show during LFWM, Dublin designer and recent MA Westminster graduate, Robyn Lynch, referenced old football supporter footage from the Irish television channel RTE in her first collection. This tone-on-tone, normcore collection took the best of Ireland and injected sports and technical details. This sleeveless Aran sweater with side adjusters is a perfect example of this.
From Left - Fashion East debut collection from Irish designer, Robyn Lynch
Finding stylish American basics is much harder than you think. Those grey army sweats which make any man look like Steve McQueen are very subtle to get right. Knickerbocker says it is a “factory born brand” and is transparent about its manufacturers which are mostly in Portugal, but do include the USA.
The standout item is the sailor-like hooded grey sweatshirt to wear On The Town a la Frank Sinatra!
The two main Berlin men’s trade shows, relevant to the UK market, SEEK and Premium, had a switch up for the AW19 season. SEEK, the younger, more streetwear and sportswear focused show pushed its separate area for skate fashion, Bright, into the main show space. What this did was make the show feel more outerwear heavy and technical and showed a definite turning away from branded sportswear for AW19.
Premium on the other hand made the correct decision to reorder their show spaces: mixing the brands and giving the feeling of discovery rather than uniform looking halls. Premium is, just that, more premium, targeting an older demographic with the deeper pockets to buy more expensive clothes and finishes.
Left - Inside the main hall at Premium, Berlin
Here are the big AW19 trends coming out from Berlin and the labels worth making a note of:
Post Sportswear Preppy
The sportswear juggernaut was bound to slow at some point and we’re seeing the beginnings of it for AW19. The overall feeling was of less branding and colour and the idea that sportswear to segue-waying itself into new areas. Retro sportswear is going out the door and morphing into either more technical or preppy product. A perfect example of this is Champion doing branded rugby shirts. It’s still sportswear, but it’s moving back into the preppy area of menswear. This will be how preppy returns to fashion.
Left - Lacoste 80s college jacket
Right - Champion showing the segue way from sports into preppy with rugby shirts
The Recycled Renaissance of Denim
Always eco-conscious and sustainably minded, the German shows have always been home to brands trying to change the system and limit fashion’s impact. Denim, one of the world’s most destructive fabrics in terms of pesticides, water and dyeing, needs a way back into fashion.
Two Dutch brands, Butcher of Blue and Mud Jeans are pioneering reusing and recycling denim. Butcher of Blue reworks vintage and Mud Jeans asks for its old jeans to be returned to be completely taken back to the raw fibre and remade. They also offer a leasing service - €7.50 a month, €29 sign up - for those who don’t want to own. Around 40% of the new jeans are from old jean fibres.
HNST, a new German jeans brand, claims to include 56% of reused denim fibres in its new jeans with the rest being Tencel. People donate their old jeans and electrolytes are used to fix the indigo to the fabric and make the dye soluble. Expect more of this from the bigger denim brands.
Left - HNST denim recycling old jeans into new
Corduroy has been making inroads back into menswear over the last few winters. Biscuit and forest green are the main colours, here, as it spreads from coats and trousers into accessories and footwear. Related to the remerging preppy trend, corduroy offers a fresh collegiate take in warm team colours.
Clockwise from left - Superga, Kangol, Far Afield, Averse
For those men wanting colour and pattern, tartan is the fabric of the AW19 season. First seen on the catwalks of London, tartan is a masculine way of putting interest safely into a any man’s wardrobe. Portuguese brand, Averse, had classic Black Watch, and Schneiders offered something more appropriate for those Rupert The Bear wannabes.
From Left - Schneiders, Averse
Long-Line Arctic Parkas
This is a trend that needs another winter to build, but get in early. Expect many more of these for AW20. In a saturated coat market and the oversized trend blowing up - pardon the pun - the arctic parka is getting longer and more cocoon like.
The American, but Italian run and owned, Refridgwear, has done a collection with a German designer, (they wouldn’t name just yet), where the bottom foot of the jacket can be simply added and taken away. All for around €500. There were a few more brands, such as Woolrich, doing similar long-line styles at Pitti Uomo.
Left - Refridgwear collab with a yet unnamed German designer, the bottom section is detachable
A father a son team, Tom & Adam, from Riga in Latvia, feature wearing their own product on the website and in imagery. Made in Latvia, designed in Paris, this new underwear and swimwear brand is trying to get us off our cheap addiction and slipping into something with more quality.
Trunks - €35, Swimshorts - €150
A Design Collective
A new British casual shoe brand offering value in the luxury, minimal cup-sole market. Made from Italian leather in Portugal, the people behind A Design Collective currently do private label and are now launching with the Common Projects customer in mind with this £130 sports shoe. Launches July.
Barcelona based, Brava Fabrics, manages to tread that fine line between fun and immature. Their Spanish made fabrics feature yellow submarines, llamas - the new unicorn? - and the ever nostalgic cassette tapes. The fun side of hipster.
This type of padded outdoor slipper could be the new slider. New British brand, Coma Toes, certainly hopes that’s true with their collection of padded sports slip-ons. I’ve seen something similar from The North Face before, but there’s always room for a new, well-priced and casual footwear trend. Watch this space...
Offering great value and made in London outerwear, Wax London is a husband and wife design team. They aim to bring the manufacturing of traditional British outerwear back to the UK. These are complimented with staple essentials of jerseys, knits and shirts crafted in Portugal and Italy.
Salzburg based, Schneiders, is a quality outerwear producer with traditional alpine shaped and loden type fabrics. In the upper price points, the product is made in Romania, but from premium fabric and fur finishes. For the modern Cecil Beatons.
Thei-Sprint began in 1935 with Heinz Theisen, a man who dedicated his life to professional cycling. Born in the textile district of Moenchengladbach, after World War II he began making his own equipment, jerseys and gear.
In 1965 he returned to his roots and began designing cycling equipment again. With his own knitting machines, he made jerseys and beanies for local teams together with his wife in their basement. The “Thei-Sprint“ brand was born.
By 1985 Theisen had joined the renowned Telekom and Coast cycling teams as a mechanic. His final triumph came in the 1988 Seoul Olympics where Theisen won gold as a chief mechanic with the West German track cycling team. He is famous for his red beanie which they continue to make proudly in Germany.
Shaving giant, Gillette, introduces “Gillette SkinGuard Sensitive” designed to stop the irritation many men with sensitive skin experience when shaving. The “innovative” razor places a breakthrough “SkinGuard” bar positioned between two of Gillette’s blades to gently smooth and flatten the skin away, taking the pressure off the blades during the shave.
Due to the blades’ position, hair is only pulled and cut up to 2x in each stroke, which reduces tug and pull. Many multi-blade razors use each blade to gently tug the hair outside the follicle, trimming each hair in rapid succession while they remain extended. Once the blades pass and the hair retracts, it has been trimmed below the surface of the skin. This kind of close shave is optimal for many men, but for others can contribute to skin irritation or a propensity for ingrown hairs.
This gives guys with sensitive skin a comfortable shave without the irritation. With research certified by the British Skin Foundation (BSF), Gillette SkinGuard Sensitive is clinically proven to stop shaving irritation.
TheChicGeek says, “Gillette is the dominant force in men’s shaving by a country mile. But, over the past few years, many up-starts, mostly notably subscription services like Harry’s, have been eating into their market share. Read more ChicGeek reviews about the competition here
Their new woke advert, getting away from the hyper-masculine “The Best A Man Can Get” moniker, is trying to show a more cuddly and modern side of Gillette.
Owned by the giant Procter & Gamble corporation, Gillette is probably the most innovative of the razor brands, having the deep pockets needed to research and fine tune this type of technology. They need to continually pull away from the competition, offer newness and improvements if they want continue their dominance.
Sensitive skin is a problem for many guys - (44%) of men have tried shaving less often to try and reduce the irritation they suffer due to their sensitive skin according to Gillette’s research.
Gillette obviously want us to shave more, but this type of sensitive skin razor can be used by all guys, obviously. I previously liked their “FlexBall” razor, but I don’t think that is in here, as it’s not mentioned.
I also used their complementary SkinGuard Sensitive shaving foam, and I can report that this is one of the BEST shaves I’d had for a very long time - THIS IS NOT SPONSORED!!!!
There was no pull and I had to check it had actually cut the hairs as there was no sensation with the movement of the razor. It was smooth and close and felt effortless.
One thing I feel Gillette doesn’t compete with its rivals on is the perception of value. Though, to be fair, at £8.99, this does feel cheaper than their usual prices, especially for a new product.
I just don’t understand why they can’t be more generous with the blades. You buy the razor with one blade and then, almost straight away, you need to purchase a box of expensive blades before you’ve even tried or grown to love this one. It feels expensive, short-sighted and, also, tight on the side of Gillette.
I would charge £10-£12 for this and put in 3 extra blades. It feels generous, creates more brand loyalty and leaves guys feeling that they’ve got something good for a good price and they don’t have think about buying anything razor related for a few months. Skin isn’t the only sensitive thing when it comes to shaving. Price is too.”
Above Left & Below - Gillette SkinGuard - £8.99 www.gillette.co.uk
It was most likely those wrinkly Ugg boots, looking like an oversized Shar-Pei, that garnered Y/Project its recent and biggest amount of attention. The Paris based label, headed by Belgian designer, Glenn Martens, has been lumped in with that Off-White/Balenciaga cool wave of recent years. Martens, 35, has been at Y/Project for the past 5 years, taking over from founder, Yohan Serfaty, when he died in 2013. His first assistant, Martens, was an Interior Architecture graduate and an alumni from the Royal Academy of Fine Arts in Antwerp.
Left - Y/Project's signature waders
This season’s guest designer at Florence’s Pitti Uomo, this was the label’s AW19 show of men’s and womenswear, bringing forward their usual date from Paris.
Forget the museum, it was a night at Florence’s famous Santa Maria Novella monastery, next to the central station and known for its smellies. Guests were given torches as they entered the huge, darkened church and we followed the hundreds of mini flashlights into the cloistered quadrant where the catwalk ran around the four sides with the models ending up like chess pieces in the middle.
Divine despite the cold, the columns and erect cypresses were silhouetted onto the shaded honey walls as the models took a turn on what has to be one of the longest catwalks ever. One model was hobbling in her lemon yellow stilettos before she’d reached the fourth side and on into the soil centre.
What we saw was a delight of design. Yes, a designer actually trying to design something and, the majority of times, pulling it off. There’s such a difference between a designer, here, and an editor, the majority of brands, who just reconfigure and fine tune things. The word here was reconstruction. Your eye followed seams and there was an itching want to open it all up and look inside: seeing where things were going to and how they worked. This is the kind of stuff that interests us fashion geeks and isn’t something Zara can easily replicate, and, as such, makes you crave the original.
Right - Y/Project AW19 - First men's bag and shoe collection
This was the debut of the brand’s men’s footwear and bag line, both hand-crafted in Italy.
The signature waders were there, but in rigid, shiny plastic, almost like creased trousers with the shoes attached. There was plenty for the tailoring revivalists. A new tuxedo jacket appeared where the satin label was pulled out to create a 3D effect with the button. This is difficult stuff to get looking right. Fringed scarves resembling Turkish carpets added to accessorises, plus pinstripes and this season’s pattern du jour, tartan.
This was contemporary cool, bit not aching or gimmicky. You could see different age groups in these clothes and wearers enjoying the newness and the details. It felt like the direction we’re headed in. From the deconstructed and harsh reality of recent years, back to a glamour of construction and playing with new ideas while still keeping it real.
This feels like the last of this type of designer we’ll see at Pitti Uomo, as I predict a return to more tailoring and Italian industry brands, but, Martens, lead us into temptation and away from the sportswear grunge to a higher sophistication. Could Martens become the Y/Prophet?
London Fashion Week Men’s - LFWM - was stripped back in more ways than one, this season. While the bones of the skeleton schedule were showing through, it was the lack of themes on the catwalks that really raised questions. What we were given was a genderless, season-less and sex less display of menswear: a casstratrated men’s fashion week. The rumour mill was flying that LFWM will soon be merged with the women’s London Fashion Week. It’s worth noting, there were as many female models as men, so, if gender is becoming less of a differentiation, then London Fashion Week will become just that, and the two separate halves could make a whole.
Left - Alex Mullins AW19 - Girls for Boys?
If the men do return to the women, it needs to be as equals and not just a day tagged on at the end. Menswear is outgrowing womenswear, and is always seen as the less established and important sibling from brands who see ii as an add-on and not a priority. It’ll be interesting to see which brands are brave enough to give menswear equal billing.
Men’s fashion needs stereotypes to challenge, it needs boundaries to push and lines to blur, if all the lines have been erased, aren’t you just floating into nothingness? And that’s what it felt like a bit here. Menswear collections entirely shown on females models - Alex Mullins produced an entire men's show featuring only female models - more non-binary club kids dressing up in dated womenswear or six pack revealing T-shirts for the coldest months of the year: it was the male minimised.
As for gender, the whole big reveal of a chick-with-a-dick is no longer shocking, nor interesting, nor original. Art School showed a collection that didn’t look good on either gender and, Charles Jeffrey, the Uri Geller of the London scene, continued with more theatrics, but, in his defence, when the feathers stopped flying and the smoke and mirrors were turned off, the collection looked more accomplished and could hold its own alongside any other designer in-store.
This lack of focus made for a schizoid season, and it was brands like E. Tautz, which didn’t do anything particularly new, that created a pull and yearning for collections featuring something beautiful again. Bored with sports, bored with fugly, the next men’s movement will be a return to something you want to enjoy and cherish rather than Instagram and discard.
That most British thing of all, the weather, was totally missing during LFWM. It’s all about “drops”, and “Autumn/Winter” is delivered in the middle of the summer, but, before, many brands and designers would start with this idea of “Winter” or, rain, which made Burberry. That probably had something to do with bigger budgets and fancier staging. Larger and more established brands used to like to ram home the cold weather feel, already visualising the windows, and while this idea is dated, at this LFWM, many of the clothes could have been for any month, anywhere, at anytime. So, what makes it 2019?
Sex was missing too. Even the hyper masculine muscle boys at Astrid Andersen were covered up for a luxury pyjama party. It was as though men were getting ready to go into hibernation until all this woke madness blows over. Though, Per Götesson, showed T-shirts pulled up to reveal the stomach, perfect for those social media body fascists. “It’s about equal parts vanity and fragility.” he says. “Each piece is designed three dimensionally around the body. We are applying techniques perhaps more common in womenswear and couture where lines and proportions in movement are taken into consideration. The jersey pieces are developed using this process, it is about finding a balance between strength and fragility.” And, there was me just thinking it was about likes on Instagram. Back to creating a male pecking order, As soon as one thing disappears, a new line or goal is revealed to differentiate the masses: that unattainable 8-pack separating the men from the boys.
Right - Art School AW19
Fashion is about selling change and, as a designer or brand, you need to create desire for that change into what you are presenting at that moment in time. Genderless, season-less, sexless, can equal nothingness. Just please don’t make men redundant.