Dior Homme SS10 Dazed Digital Review/Interview

The second Kris van Assche outing of the week hit the Paris catwalk on Sunday afternoon in the shape of Dior Homme. It was a beautifully elegant and simplistic version of tailoring that was shown in a market space in the Republique area. A white Dior labelled carport door was slowly raised to unveil Cold Love, van Assche’s spring summer vision for the French super label.

Out marched a mainly tailored army of tall and slender models. Most suits came in black, but there were elements of green and brown throughout. Beige was stylishly put underneath the suit jackets, creating a subtle look. See-through fabrics were not only used in tops, but also in jackets and coats. The main theme was Kris' deconstructed collars and lapels. There was a flowing feeling in many garments, which was often accomplished with over sized lapels. Kris van Assche took full use of the craftsmanship at Dior to flex his lining muscles. Sometimes the lining featured as a separate layer under the jacket, sometimes on top of it. Dazed spoke to the designer quickly in between his chats with Karl Lagerfeld and r’n’b artist Usher…

Dazed Digital: What was the general theme behind the collection?
Kris van Assche: It was about using the Dior atelier to it full extent, and to show how good it is. That’s why we had the inside of the tailoring on the outside.

DD: Is it tricky to balance your own label with Dior Homme?
Kris van Assche: No, because they are very different and working with Dior allows me to do things I can’t do with my other label.

DD: It was quite a minimal collection!
Kris van Assche: I think it’s a very typical Dior Homme collection, playing on the strengths of the label.

DD: What piece from the collection would you buy as a customer?
Kris van Assche: The jacket I’m wearing now – a sleeveless black suit jacket with a felt collar and two push buttons.

Cerruti Paris SS10

Like most re-vamped fashion houses, Cerruti has a heavy heritage to keep alive. The problem - not just for Cerruti – have always been how you respect the traditions of the brand, at the same time as you push the boundaries and give the label a reason to exist today. Cerruti is, at the end of the day, about a good suit - and creative director Jean-Paul Knott has luckily continued to perfect that noble tradition. In many ways, Cerruti is a showroom label, since the supreme quality of the structured and refined fabrics can only be appreciated when feeling them.

For spring summer 2010, Knott had rented out Musée de l’Homme and filled it with a collection of minimal and simplistic designs. Had you had a chance of a closer you look, you would have seen that many of the tailored pieces came in a typical sportswear fabric, and the other way around. Knott successfully gave the clothes character by buttoning-up all the shirts, and removing any signs of ties. Additionally many shirts – and even coats – featured three-quarter-length sleeves, and as a way of showing off the design potential that lies within the entire Cerruti team, over sized t-shirts in both leather and suede was paraded down the catwalk.

That fabric combination continued in the shoes; classic desert boots in one half suede, one half leather. They were definitely a show highlight and a contender to the Best Shoe of the Paris SS10 menswear week title. The colour palette was reassuringly Cerruti inspired; monochrome with stylish spots of moss green, burgundy red and camel brown. This was Jean-Paul Knott's last Cerruti show, and the current edition of this classic brand has only been going for a few seasons, but there is no doubt that Cerruti is gearing up for a fight to re-take the Paris fashion crown. Watch this space.

Rick Owens Paris SS10

When you go to a Rick Owens show the words ‘what it says on the tin is what you get’ springs to mind. Most designers have signature details and garments, but Rick has a signature look. But that’s not bad though. If you want preppy button down shirts you go to Thom Browne, if you desire a casual double-breasted jacket visit a Dries van Noten shop, but whatever you do, don’t go to Owen’s new South Audley Street in London (or to any other branch, for that matter), because that just ain’t him! No, Owens does techno fashion. It’s about pushing clothes – the fabric, fit, shapes, colors, accessories, everything – to its very limit.

On Friday, in south Paris’ Bercy area, that’s exactly what the LA born-and-bred designer did. No fooling around, no tiptoeing – just pure hardcore attitude. Naturally there was transparent t-shirt fabrics and distressed leather jackets, but there was something else in the air; a knowledge – from both Rick and the audience – that this is it, this is a core Owens collection. The angular collar shapes, the layered tops and bottoms, the long knitwear dresses diagonally cut to the armpit, the cropped trousers and simple black boots, beautifully cut waistcoats and necklaces that was more like Roman breastplates than anything else, stood out.

Sure, the trainers were big and weird and I’m not too crazy about the multi-coloured leather jackets (white, beige and black) and why were they wearing beanie hats in a summer collection, but that’s all details. The bigger picture is as close to a Rembrandt as Paris got. And the Russian techno soundtrack rocked – my ears ached for hours!

Wooyoungmi SS10

Like a painter obsessing over his art - adding details and perfecting his creation - Korean designer Wooyoungmi had a seemingly similar relation to her spring summer collection, which was showed in the beautiful Palais de Tokyo. Fittingly the collection was titled The Painter and accompanied by a film showing the designer in question painting dots.

But this was not clothes to wear when painting; they were far too nice for that! So instead the connection was made through over sized pockets and an army of zips to control them, enabling the wearer easy access to a brush or napkin. The fabric covering elbows, shoulders and knees were often sliced and diced to make movement easier. Wooyoungmi staple pieces – waistcoats and trench coats – featured throughout, but had also undergone the deconstructed procedure.

Elegantly put together by stylist Andrej Skok, the Paris-based designer used pale pink and tones of nude and peach, contrasted with darker colours like blue, grey and brown. Sometimes these colours were combined as a few shorts and trousers were two-toned. There was an overall focus on arms and legs, but also the accessories impressed, especially the wooden sunglasses, rolled-up bags and garden inspired gloves. Another stellar showing from Wooyoungmi!

Raf Simons Paris SS10

We all change and mature – it’s called growing up. What we said, did and wore even just five years ago might be looked upon with disgust by ourselves today. Time doesn’t take hostages; move on or be left behind! For the last few years, that’s exactly what Raf Simons has done. Maybe it started around the time he took over at Jil Sander. Whatever his reasons, it is in his full right to further his label and to find new inspirations and influences.

And so he did. Snakes and belts dominated his spring summer outing, and I suppose, in a way, they’re very much related! It started out very plain though. The first handful of models wore simple – but beautiful - suits with white shirts and no ties. Then the first belt appeared. Not in an unusual way (this was after a Paris catwalk show after all) unless you think it’s weird to tie a belt around your suit jacket. In mostly dark colours, Raf continued to challenge his formal wear and coats; he added several belts to one outfit, he attached silk sleeves on top of the jacket, bomber jackets got multiple zips and he deconstructed suit jackets to the point that some only had the shoulders (or the back, or the front…) left and the rest was made out of an entirely different fabric.

One highlight was actually four plain short-sleeved shirts that came out in one go in navy blue, grey, black and burgundy red. They had breast pockets and epaulettes and were the only really old school Raf Simons pieces in his traditional army uniform style. Then the snakes started coming; first as v-neck details, then as full-blown transparent tops and, finally, on jeans. But what surprised the audience the most were perhaps the car shoes. Had you told a hardcore Raf fan a few years ago that he would be seeing car shoes , he wouldn’t have believed you. Raf Simons truly has grown up, and maybe it’s time that we do it, too.

Romain Kremer SS10 Dazed Digital Review/Interview

The term ‘directional menswear’ were just about invented for Romain Kremer’s designs, and even though he had powerful adversaries on Sunday evening – extreme heat and a severely delayed schedule – he managed to captivate his audience and kept them focused to the bitter end. He did this by creating a grim and futuristic vision of a world where masks have to be constantly used for protection.

Of course, the next model wore swimming trunks – still with mask – so no one doubted that there would still a time and a place for fun in the future. And that is just what Kremer is good at; fun. At the end of a hectic week, this was just what the doctor had prescribed; shutter sunglasses, layered fabrics that was cut out to form circles, strong tones of purple and red, lighter tones of mint and white. Dazed & Confused own menswear editor Robbie Spencer stylishly put the show together, and the pair actually managed to make some of Kremer’s outlandish looks wearable – we all need swimming trunks, but let’s hope the masks will not be necessary any time soon! Dazed Digital had a quick chat with Romain after his show…

Dazed Digital: What was the idea behind the masks and body socks?
Romain Kremer: It was about exploring, but also protecting us from, the toxic world we live in.

DD: What materials did you use?
Romain Kremer: It was mostly Lycra, I often use a synthetic fabrics.

DD: Which piece is your favourite from the collection?
Romain Kremer: I really like the last look. The model wore a blue grey outfit with a mask that had a white top half and white ears attached to it!

Backstage photography by Steeve Beckouet.

Lanvin SS10 Dazed Digital Review/Interview

Judging by the post-show interest in talking to, saying hi to or just looking at Alber Elbaz and his menswear designer Lucas Ossendrijver, the Lanvin spring summer presentation was a no-questions-asked success. As per usual there was an eagerness among the crowds to mingle with the models and Lanvin staffers, but this was quite something. But it just goes to show that the label is considered one of Paris’ big guns. And it’s not only fashion editors who love it; other designers also appreciate the Ossendrijver’s work – Thom Browne was at the show, looking mighty impressed.

The summer was, initially at least, quite dark. Lots of black and grey suits entered, making the otherwise fairly boyish Lanvin man look hard and determined. It was an unusual sight, but the smart and buttoned-up feel soon gave way to what we know and love Lanvin for: loosely fitted suits in sombre colours, with a casual tie hanging nonchalantly. The cooler-than-thou theme continued with sequined tops, and a few check prints on shorts and t-shirts. For accessories Lucas had chosen a stylish headband visor and, rather more curiously, fake moustaches that were drawn on the model’s upper lips. Nice shades of green and burgundy red impressed the most, and many people are surely already saving up to get their very own Lanvin suit for next summer. The last minutes of the show belonged to Salt’n’Pepa’s Push It Real Good, and no doubt Lanvin did just that. When the dust had settled Dazed chatted quickly with Lucas Ossendrijver…

Dazed Digital: Some looks were a bit harder than what we’re used to!
Lucas Ossendrijver: Yes, for a lot of seasons we have been exploring softness, and I think the softness is still in the clothes, but the image is more edgy.

DD: Where did you find the inspiration?
Lucas Ossendrijver: We left the fashion laboratory we work in and went down onto the street for that!

DD: How would you describe it in a few words?
Lucas Ossendrijver: I’d say it’s about individualism and anti-uniform

DD: What piece from the collection is your favourite?
Lucas Ossendrijver: I don’t have just one favourite – they all make sense together!

Backstage photography by Giovanni di Nunzio.

Ann Demeulemeester SS10 Dazed Digital Review/Interview

In the early afternoon on Saturday, half way through this edition of Paris menswear week, droves of fashionable and in-the-know people travelled to Metro Trocadero and walked the short journey to Musee de l’Homme. The occasion was another installment in Ann Demeulemeester’s fashion empire; her spring summer 10 menswear show. The air was thick with excitement, people gasped for air – a combination of great clothes and extreme heat!

What we saw was an exercise in perfection. Even from a distance one could tell that Ann’s fabrics – like her structured suit fabrics – were beautifully made, and finely detailed, as her tuxedo jackets with sequined lapels proved. Colour wise there was lots of skin-toned beige, quite literally as well. Many Demeulemeester models came out showing their chest, but it all blended in and made sense with her aesthetic vision. And it wasn’t just jacket lapels that had been decorated with sequins; sleeveless tops, and even cardigans, came out covered in the shimmering detail. The classic Demeulemeester tailoring was of course present; loose-fitted jackets in white and black, low cut leather waistcoats, and cropped trousers.

One of few prints featured two merged birds, originally a photo by Ann’s husband Patrick Robyn. Another highlight was two silk robes, worn over a thin knitted hoodie, making it look like the robes boxers wear before a match. So people left satisfied, knowing that whatever happens in our crazy world you can always rely on Ann Demeulemeester for a good show. Before the presentation, Dazed Digital spoke to the designer…

Dazed Digital: What are the main feelings running through the collection?
Ann Demeulemeester: It’s an intriguing dialogue between the body and the garment, a sensitive balance of sensuality and strength, of tenderness and power. It’s also about enlightenment and innocence, but an innocence that is almost provocative in its innocence.

DD: How did that transform into the clothing?
Ann Demeulemeester: The clothes work as a second skin, There is a lot of naked skin in the show, but the nakedness works with the clothes and that’s the dialogue between the body and the garment!

DD: There are some beautifully light colours in the collection!
Ann Demeulemeester: Yes, I have light beige colours inspired by skin and the enlightenment led me to white and light blue. But there is also black in there. It’s very important that there is strength in the collection as well, and it comes in the shape of black leather!

DD: So it’s about using opposites?
Ann Demeulemeester: Yes, opposites and tension, but it’s very delicate – it’s a fine line! This time around I really wanted to concentrate on the garments, voluntarily I made it much more pure.

DD: How would you sum the collection up?
Ann Demeulemeester: It’s about sensuality and the way I think a man can be very sensual without losing his masculinity.

DD: Which piece is your favourite from this collection?
Ann Demeulemeester: But you can’t just have one piece, you would be naked. No, I can’t choose – they’re all my children, don’t make me choose between them!

Backstage photography by Giovanni di Nunzio.

Miharayasuhiro SS10 Dazed Digital Review/Interview

Mister Mihara might be famous for his record long collaboration with trainer giant Puma, but anyone who’s anyone will know that his real claim to fame is the perfectly balanced tailoring. In the finest cut and fabric, a few of the suits looked like they were made for casually lounging in on a Sunday afternoon – and that, folks, is rare for formal eveningwear.

He is also clearly able to juggle several sources of inspiration. This time around, for his spring summer 2010 show, he focused on as many as three main themes; desert Bedouins, outer space and army influences. With beige, grey, moss green and a smoky blue as the main colours, Mihara sent out model after model in Sahara desert attire. This after a quite long musical and visual intro, featuring space related images and sounds.

Once properly warmed up, Yasuhiro launched into a fashion tirade of layered shorts and long shirts, some of which almost touched the ground. The silhouettes were quite loose, sometimes even hinting at harem-trouser-looseness! The colour palette was, as mentioned, fairly sombre, but for good measure Mihara chucked in a red sequined shirt and a pair of shiny silver shorts. Something for everyone! Dazed Digital managed to sit him down afterwards, which in itself was an accomplishment. Mihara has loads of energy, which he willingly showed at his post-show peek-a-boo, where he, instead of just showing his face, ran around the rectangular catwalk - to the amusement of his gathered fans!

Dazed Digital: Where did you get the storyline for this collection?
Mihara Yasuhiro: From a famous book called Le Petit Prince by Antoine de Saint-Exupery. It’s about the main character in the book, a young boy who lives on an asteroid planet called B612.

DD: What was the mood and atmosphere?
Mihara Yasuhiro: People are so negative these days, I wanted to inject some brightness, that’s why I had embroidered roses on some pieces.

DD: Except for the khaki and beige colours, how was the collection Bedouin inspired?
Mihara Yasuhiro: There were many layers in the show, but if you look really close you’ll see that they are all very light, thin and transparent.

DD: Utility was also big this season?
Mihara Yasuhiro: I like pockets and other utility details so they always feature.

DD: There weren’t so many trainers this time around – have you grown tired of them?
Mihara Yasuhiro: No, we still do trainers but for this collection I wanted a more chic style in the shoes.

DD: What’s your favourite piece from the collection?
Mihara Yasuhiro: The oversized shirts - they look like shirts but should be worn as a coat.

Alfred Dunhill SS10 Dazed Digital Review/Interview

How do you choose which designer to head what ancient fashion house when its time has come to be re-vamped? It’s an interesting question because for every successful Raf at Jil, Hedi at Dior and Ghesquire at Balenciaga, there are just as many that fail to live up to expectations. Luckily that’s not the case with Kim Jones at Alfred Dunhill. Sure, there were probably a few eyebrows raised when the über cool and slightly ironic Umbro impresario took over last year. But oh, how wrong they were. The combination of Dunhill’s exquisite heritage and Jones’ menswear expertise has proved successful. He might only have designed two seasons but already a pattern is clear; Kim’s modernisation of Dunhill is enhancing the original qualities of the luxury brand, not hiding them. Move over Burberry, you are no longer the only quintessentially British brand on the scene.

On a revolving platform Jones had built a mountain of silver suitcases, continuing Dunhill’s tradition as a travel brand. Like with many clothes, the suitcases featured the AD logo, one that we can probably expect to see lots of in the future. To a gorgeous New Order soundtrack, we saw classy navy blazers – some plain, others with a sophisticated check pattern – and short mac coats in grey tones. Panama hats and grey flint stone sunglasses furthered the well-travelled look. No upper class inspired collection is complete with out at least one double-breasted suit, and Jones delivered several. Also a classic pea coat saw the light of day.

The trousers were well cut; without belt loops, but with side buckles. Certain aspects of the show, like a four-buttoned navy suit jacket, made for an army uniform-esque feeling. But what can be a better source of inspiration than a Royal Air Force officer on leave? An hour before his show, Kim Jones talked Dazed Digital through the collection.

Dazed Digital: How would you describe the collection?
Kim Jones: There was a travel theme, but I also thought a lot about Alfred Dunhill himself and his customers, like the Duke of Windsor. It was about updating their style and looking at the traditional idea of menswear but adding technological aspects to it.

DD: Where did the idea for a silver suitcase come from?
Kim Jones: The original is travel bag from the 1920’s and designed by Alfred Dunhill. We just modernised it!

DD: How would you describe the original Dunhill label?
Kim Jones: It was actually a quite quirky brand, they did things like key watches.

DD: What would you say are the key Dunhill pieces that have survived time?
Kim Jones: The travel blazer, the white shirt, the good mac and eveningwear

DD: You said there are three different stages in the collection – what are they?
Kim Jones: We have the explorer section, the military inspired eveningwear part and the first bit is daywear but with a clear reference to the Duke of Windsor.

DD: How much of the collection is Kim Jones and how much is Alfred Dunhill?
Kim Jones: My brief to myself is to leave it entirely Alfred Dunhill, but there’s always going to be elements of my quirkiness in there, like the glasses and the silver suitcase.

DD: What is your favourite piece from the collection?
Kim Jones: Definitely the silver suitcase, I’m having one of those!

Backstage photography by Giovanni di Nunzio.

Tim Hamilton SS10 Dazed Digital Review/Interview

Tim Hamilton might be the poster boy for New York City coolness, but this is Paris dahling, and time to prove yourself. Moving show city can be stressful at the best of times – new audience, atmosphere and expectations – but for Hamilton it seemed even more daunting. “Did they like it out there?” was one of the first things Tim worryingly asked when Dazed made its way backstage. Sure they did!

How often do you see someone try to alter the shape and function of a white shirt? Well, Hamilton did it by not only making it collarless, but also adding a deep V-neck to it. Additionally he gave it a front tail, as opposed to the more common backside version. Others had adjustable waists, enabling the wearer to decide shape and form.

Add to all that his unusual choice of fabrics (key words include industrial, vinyl, intergalactic dust and wax) and you have quite an Paris opener. The collarless trend continued on trench coats, some of them cut daringly low on the chest. There was a shiny and shimmery feel to the collection due to the vinyl and silver, but that was in certain parts levelled by the masculinity of utility belts. For a designer who has worked with both American high street kings (Michelle Obama favourites J.Crew and polo shirt giants Ralph Lauren), this was far from a commercially viable collection. But perhaps Hamilton wanted to take on Paris with blazing guns? Well, guessing won’t get us anywhere, so we asked…

Dazed Digital: How is it showing in Paris compared to across the pond?
Tim Hamilton: This is an extreme high, this is like the real deal. No offence to New York but Paris is better – there is so much going on back to back, there’s a certain pace to it and everyone that was invited turned up.

DD: What was the red thread going through the collection?
Tim Hamilton: The idea was to keep my New York roots - the well-suited and dressed-up look, which I brought to Paris with toxic-coated material in a minimal style.

DD: You re-worked the white shirt quite heavily for this collection, didn’t you?
Tim Hamilton: I’ve been doing the standard shirt for some time now, the one that your mother makes you wear, and I thought ‘why not re-invent some new shapes’ so it’s almost like the longer shirts become outerwear when they’re layered. With the different necklines I just wanted something a bit more modern.

DD: It was all very dark and monochrome – any chance of colours next time?
Tim Hamilton: I love colour, but this time around, with the fabrics I was using, it was more suitable in darker tones. I did inject some royal blue and a bit of navy, but I really felt like the palette should be quite sombre. But I do like to experiment, so who knows for the future!

DD: What was your favourite piece from this collection, what would you have bought for yourself as a customer?
Tim Hamilton: I’d buy some of the outerwear, the coated and crackled pieces that appear to be leather.

Kris van Assche SS10 Dazed Digital Review/Interview

Kris van Assche was a bit unlucky at his SS10 show, because from time to time his presentation was almost out done and overwhelmed by gangs of rogue protesters, who made a racket next to the catwalk. No one knew what they were upset about, but it’s not likely to have been Kris and his clothes. The Belgian designer showed a monochrome collection, per usual, and kept up his theme of playing around with tailored shapes. There were less sportswear influences then before, which is one of the looks Kris has pioneered in the past. Instead we were treated to extra long shirts, jackets and t-shirts. Layering was big as van Assche expanded on his loose silhouette from last season.

Kris has a bit of a reputation for tackling the design challenge that is the trouser. We all wear them, but not so much can be done about pushing its creative boundaries. In the past, Kris has experimented with harem-style trousers and, as we saw last time around, cargo pants with oversized pockets. Now he showed loose fitting shorts, layered with either leggings or trousers. The most unlikely pairing though, most have been the boot crossed with a sandal. As unusual as that sounds – and looked – it worked, like with most things Kris van Assche does. Afterwards, Dazed Digital stole a few minutes of his precious time…

Dazed Digital: How would you describe the collection in just a few words?
Kris van Assche: An African in New York !

DD: How did that come about?
Kris van Assche: My inspirations come from the city streets, but also from my travels. For me, a cool look today is a mix of different looks, it has it origins in several countries and cultures. And an African in New York says it all, I think!

DD: So what were the African bits from the show?
Kris van Assche: The long shirts, the wrap-around scarf, the sandals, the sand coloured clothes, and also the music. The blue colour I used is called Tuareg blue, which is an African tribe.

DD: And representing New York City?
Kris van Assche: The end result was supposed to look urban, it’s just that it had its origins from around the world.

DD: What is it with you and trousers - you seem to be pushing for a trouser revolution?
Kris van Assche: They break up suits, I’m always trying to loosen up the stiffness in suits. And they are quite important, you never see anyone without them!

DD: What was your favourite piece from this collection?
Kris van Assche: I guess my choice for the summer would be the shorts.

Backstage photography by Giovanni di Nunzio

Dries Van Noten SS10 Dazed Digital Review/Interview

I’m still not sure the weather worked in Dries van Noten’s advantage or not. It had been dry all day long, almost too dry. The thunder was coming and people complained about headaches. Rain was coming, and the catwalk, originally placed out in the open, was moved in under roof, but still outside. The thunderstorm came and frenetic rain hit the tarmac for a while. Just as the first model stepped out, a van turned into the courtyard of Place de la Bourse, playing loud music from a dozen massive speakers. On top was the show DJ who not only supplied the model’s walking beat, but also entertained all the curious fashion civilians who had gathered around to view the spectacle.

Only it wasn’t so much of a spectacle. Dries’s shows, albeit full of brilliant clothing, are never much of a talking point. The Belgian designer has several times said he doesn’t like showing pieces that won’t end up in the stores. That means we get an honest and wearable effort, but one that lacks attention seeking pieces. He left that to the thunder and his DJ.

It was almost like Dries went for a Best Of collection. We saw all the stuff we’ve come to love him for; double-breasted jackets, casual trousers, deep V-neck T-shirts, parka coats, lounge cardigans and button-less polo shirts. A shirt jacket and a wrap-around waistcoat stood out. What we also noticed was the sombre colour scale and the ever-lasting prints. They’re of course one of the reasons we adore him, no one does ethnic designs and prints and like him. When the thunder (and the show) had finished, Dazed Digital sat down with the man himself to let him explain the show.

Dazed Digital: What was the general theme of the collection?
Dries van Noten: There was a sartorial feel to it. It is something I had already started but felt I wanted to continue with. It was about putting sophistication back into it and using the best fabrics, like English wool, but also for the ethnic materials. It was very important that they were the real stuff and authentic.

DD: Where did you get inspiration for the prints?
Dries van Noten: They are typical Indian block prints. I used Madras motifs and the Sanskrit sign for ‘infinity’.

DD: The colour scale sometimes seemed a bit dark for a summer collection!
Dries van Noten: Well, I like it that way. For me, summer doesn’t always have to be bright, white and light, it can be dark as well.

DD: Was it a bit of a Back to Basic collection?
Dries van Noten: Not really, because I always change something, like the epaulettes on a trench coat, or the buttons on a jacket. That’s what menswear often is about. It was more about an evolution for me. Like with the Ethnic Elegance – I’ve done ethnic before but never in an elegant way. I wanted to bring that look into the city, with shiny shoes and so on.

DD: What’s your favourite piece from the collection?
Dries van Noten: I really like the Ikat pants!

Photography by Giovanni di Nunzio

Alexis Mabille SS10 Dazed Digital Review/Interview

And we’re off. The Paris spring summer 2010 shows started early on Thursday morning with one of the brightest stars on the fashion scene. Alexis Mabille, famous for attaching bow ties to just about everything, showed his first ever stand-alone menswear collection after doing unisex shows since 2005. We were promised a collection mirroring his own personal style, and got a colourful and sparkling – yet wearable – ensemble for everyday use.

In Angelina, Coco Chanel’s favourite hot chocolate café, Mabille set out to make smart jeans and shirt/cardigan combos the new suits, while suggesting we wear silky tuxedo jackets to the office. It was soon clear that Mabille is one for mixing work with pleasure; he showed a collection (introduced and described by a conférencier) that catered for each and every moment in the day of a busy and “mischievous dandy”, be it morning meetings, hot lunch dates, cultural museum visits or a spot of dancing at the famous club Baron.

We saw his obligatory bow ties take a back seat for once, mainly appearing as an accessory rather than a centrepiece. Sometimes it was pinned to the neck, other outfits had it casually hanging loose from one shirt collar. Smaller bows, in metal, worked as belt buckles. Decorated Converse trainers featured throughout. The standout pieces included a floral silk robe, embroidered in gold and white, and a double-breasted, presented as a Dressed to Kill outfit. But the piece de la resistance was a silk evening tuxedo overall, crowned with rhinestone-jewelled buttons. Mabille calls his designs Bourgeois with a Twist, but Preppy Glamour will also work just fine. Dazed Digital managed to sit Alexis down for a chat after his show.

Dazed Digital: Did you choose Angelina as a show venue because of the Chanel heritage?
Alexis Mabille: Yes, but his is also where I showed my first collection, so it’s a bit like a come back. Plus I like it here because it’s so small, there is a family feeling in here. And everyone sits so close to the catwalk that you can see fabrics and details better.

DD: So you’ll come back again?
Alexis Mabille: This place is a bit like with your favourite cardigan – you wear it over and over again!

DD: Speaking of cardigans, there were quite a few of those in the show!
Alexis Mabille: Yeah, I like using basics that I have updated with a twist, like cardigans, white shirts and bow ties. And the pieces don’t always have to be perfect – sometimes they’re too slim or the sleeves are too short.

DD: You used to do only unisex clothes, are you still interested in that concept?
Alexis Mabille: Very much so. Most clothes you see here will be re-cut and altered to fit women as well. When I do women’s tailoring, I always fit them on men first, because suits hang better on them.

DD: How did your obsession with bow ties start?
Alexis Mabille: A friend and me started making them as a joke and gave them our friends, and many of them are stylists and fashion editors, who used them for shoots. It took off really quickly so I started Treizeor, which is an accessory line devoted to bow ties.

DD: What ‘s your favourite piece from this collection?
Alexis Mabille: I really like the white deconstructed shirt with a fake tail. The tail is not part of the shirt, it continues down on the trousers.

Louis Vuitton SS10 Dazed Digital Review/Interview

Even though Marc Jacobs has fought hard to keep all his shows on schedule since That Incident, the Louis Vuitton SS10 show ran 30 minutes late. But it wasn’t so much his fault, and let alone his Studio Director Paul Helbers, the man responsible for this collection. No, it was more down to the chaos caused – pre and post show – by American super R’n’B group Black Eyed Peas, who’s job it was to fill the gaping void left by Kanye West from last season. There was catwalk chaos for a while, but LV has always been a hot ticket, American bling stars present or not, and it’s not so much to do with Vuitton being trend setting, but more about being the ultimate definition of pure luxury and class.

This time around, Helbers looked to the hustle and bustle of New York City for inspiration. Through the speakers came the Big Apple’s soundtrack; car horns, shouting, police sirens, jazz saxophones and, of course, Velvet Underground. The scene was set, cue an army of jackets in Taxi Cab Yellow and light-weight coats in a bright red, representing stop lights. Utility was big throughout, and a fair few models had detachable hoods strapped on, others sported belt bags. A reintroduced Taïga collection meant leather goods were a plenty, but the over-sized rucksacks blended in nicely with the theme.

We also saw jackets in all shapes and colour; cropped ones, silk tuxedos, the classic LV M65 inspired jacket with multiple pockets and trench coats covered in abstract prints. Marc Jacobs’ Louis Vuitton always make an impression, and SS10 didn’t fail, but it always come down to one thing; this is more about style than fashion. At the end of it, Dazed Digital stole a few words from Helbers.

Dazed Digital: What was the main idea behind Gentlemen Butterflies?
Paul Helbers: I wanted something that was sportswear related, and that’s where the bike messenger idea came from. They come from all over the place, live in New York and bring elements with them from where ever they’re from, mixed in with hi-tech pieces from New York

DD: How would you describe it?
Paul Helbers: It’s kind of an active and dynamic silhouette but in a very elegant way. But some is also roughened up a bit, which makes it suitable for travelling.

DD: Was there a particular mood in the collection?
Paul Helbers: It’s cool, relaxed and about doing whatever you feel like doing, so there is a very positive and liberated feeling in there.

DD: Why did you call the collection Gentlemen Butterflies?
Paul Helbers: That’s what I call the bike messengers. We took inspiration from their wings, like jacket and shirt collars and so on.

DD: What’s your favourite piece from this collection?
Paul Helbers: I really like the biker blazer, which is like a traditional blazer that has been re-cut in a way that almost looks like a sports jacket. It’s one of my favourite items this time around, I would wear that all the time. But I also like the sequined shoes!

Photography by Giovanni di Nunzio.