In a first season with no bifurcated bottom for even the guys, Raf Simons shows that a collection can be almost genderless
The first thing that catches our attention are the shorts. Or what we think are shorts, but they turn out to be quite different: they are not divide into legs. So these are skirts? Of course, it is increasingly apparently that men are welcoming non-bifurcated bottom and the like into their wardrobes, and Raf Simons seem to be catering to these guys (and those gals for whom pants are as dispensable). In fact, there are no trousers in the co-ed collection (or maybe there is just one?). Both men and women are attired to show off legs—if not entire limbs, definitely calves. Mr Simons, we do not think, is trying to feminise his menswear offering. They still look masculine, even when many of the pieces are mostly associated with womenswear. Yet these are clearly conceived and sized for a masculine body, not necessarily brawn. In fact, is doubtful a muscular fellow would look good in these somewhat vertically-linear clothes.
The skirts, to be sure, are not ‘skorts’. They also not too skirt-like, nothing similar even to, say, a tennis skirt. We are initially stumped because the silhouette of the skirts that are worn, at least on the men, are very similar to walking shorts—nothing micro about them either. Nearly all of them end at the knee. So do the tunic-like one-pieces. Is it appropriate to call them dresses, even after so many celebrities (American mostly, from what we have seen, not counting Harry Styles or Troye Sivan), are wearing them with some regularity now? To be certain, many folks—even Raf Simons customers—would not consider them synonymous with a male wardrobe. The boat neck with cap-sleeves or another, similar, but with a gathered neckline—could these be as all right, if not trendy, as they are for women, on whom the fall of the dresses, whether tunic or trapezoid, are a study in sophisticated simplicity? Or are they now simply more sophisticated on men?
Even the shirts are not spared elongate-to-skirt-lengths. But what’s particularly interesting are those that could have been a business shirt in a former life. From Arrow to allure? But these are not your company accountant’s button-downs, nor even Gordon Gekko’s contrast-collared dress-stripes. They are, for one, definitely larger, as if cut by a patterner who is anti-fit, but unlike, say, the boyfriend shirt, or what Dakota Johnson wore in 2015’s Fifty Shades of Grey, these are not sized for someone else. The collar circumference is not too large and the shoulders do not drop too much, even when the sleeves are longer than the standard up-to-the-centre-back-of-your-hand, with the cuff unbuttoned. They are like hanfu sleeve length, and even come with comparable handfu cuffs: extra wide. Despite the shirts’ business vibe, they are styled to look more blouse/tunic/dress (take your pick), even under sweaters.
This spring/summer 2022 fashion week season sees the ushering in of The Swap, designers taking the place of their designing chum’s to interpret the other brand’s signature looks. Given that there is more than a mere whiff of Prada in the Raf Simons collection, is it possible that Miuccia Prada was given some dresses to design? Surreptitiously? The navy or black A-line one-pieces, with their definite shape, modest lengths, and school-uniform-proper, but not girly styling seem a direct leap out of Ms Prada’s distinctive playbook. That Mr Simons would be influenced by her inspiring co-designer at Prada is hardly surprising. But if there is one thing the world needs right now is less of the similar with the other.
Screen grab (top) and photos: Raf Simons