Rakuten Fashion Week Tokyo: Nine Notables

These may not be names we get to see and buy here, but follow them we sure can

If the Japanese can organise the Tokyo Olympics in the middle of a raging pandemic, while the capital was (and still is) in a state of emergency, it would not be unreasonable to assume that they could put together a Tokyo Fashion Week (TFW). And they did. But the annual event no longer goes by that name. The old TFW had been struggling to stay on its feet, until Rakuten came along as official title sponsor in August 2019. The Japanese “e-commerce giant” Rakuten pulled out of Singapore in 2016, just after two years of operations here, and retrenching staff on the fifth day of the Lunar New Year—one ill-advised HR move that startled the industry. Known as “the Amazon of Japan”, it lost the accolade that year (website closures also included Indonesia and Malaysia, and in Europe) to, yes, Amazon. Rakuten Group’s business has become varied since, and now includes telecommunications. Still, its e-commerce connection is not severed, and, with the company’s motto “Shopping is Entertainment”, remains a huge part of Japan’s online shopping culture and hive.

To bring more heft to mere sponsorship, Rakuten also created the sibling “by R” project to “support the fashion shows” of Japanese designers (both new and established), “with the goal of broadening the horizons of talented young designers in Japan and showcasing the country’s designer fashion to the world”, according to a company statement. It does not say what the criteria of selection are. Only two are picked. Recipient of the support at the inaugural “by R” shows last year were Undercover and Beautiful People, both labels benefitted from “planning assistance and event management for the fashion shows”, as well as the “stream(ing) of videos of both shows on the Rakuten Fashion online fashion shopping website for free, with the goal of helping to further raise awareness of the brands”. This season, two awareness-not-quite-required names were selected for Rakuten to “power”: White Mountaineering and Kolor.

White Mountaineering in a garden

Kolor in a subway train

Rakuten Fashion Week Tokyo this year, which began on 30 August and ended last Saturday, surprised many industry watchers as it did not take place in the more traditional month of October. The orgainisers moved it to be even ahead of New York Fashion Week, which begins tomorrow. Two weeks before the shows started, The Japan Times called the new dates the “shock of the month” and reported that media and buyers were “caught off guard”. Some observers thought that the new dates were to better accommodate those brands that offer menswear, usually shown earlier than women’s. It is, however, unclear how this will affect international buyers’ timetable (are they still travelling?), but with the sudden rescheduling, the Tokyo shows seem to target the domestic market, which has always been sizeable, and continues to be encouraging. According to a Reuters report, published on the first day of the shows, “Japan’s retail sales rose for a fifth straight month in July (a rise of 2.45% from the same month a year earlier), beating expectations”. That was clearly off to a good start.

Rakuten Fashion Week Tokyo’s 48 brands offer a varied mix of IRL shows (with or without audience) and video-films, some more compelling than others. For many designers, a physical presentation is still the more desirable option, even when not all could present to an audience. As Yosio Kubo said through a video presentation, “There was a tendency that digital announcements were enough due to the corona, but there are still many things that cannot be done. After all, I think that the physical fashion show will continue. You can see it from various angles and smell it. I feel it and realize the importance of the parts that cannot be covered digitally. That is why I think that the fashion show will not end even though it is an old system.” Digital-only fashion weeks may be seeing the last of their heydays.

All of the following brands featured are not, as far as we are aware, available here. We have been following them in our annual visit to Tokyo, which unfortunately had to come to a halt in 2020, but this does not mean that we cannot continue to enjoy their creative output. We hope you’d take pleasure in them too.

De_Caffeine Homme

The Bunka Fashion College-educated, Seoul-based designer Avizmo Jo is a proponent of “New Normcore”, based on the big-in-Japan fashion movement Neo-Dadism—essentially the meeting of what is considered art and the minutiae of everyday life. The designer’s post-graduation label De_Caffeine Homme, conceived in 2018, offers “trendy style(s) that you can enjoy freely in your life, like decaffeinated coffee”, according to their communication material. It is not entirely certain if Avizmo Jo is a real name since it does not sound Korean (some members of the Japanese media refer to the moniker as a brand, even framing it with inverted commas), but his designs marry the realness of what men increasingly want—nothing too formal or business-y—with details that are often surprising, such as this season’s multiple collars/collarless treatment on a single shirt. Almost-traditional tailoring is strong with masculine silhouettes that are relaxed by not exaggerated.

Hare

Hare is part of the Tokyo-based fashion retail company Adastria’s stable of more than 25 mid-priced-to-affordable brands, such as Rage Blue, Lowrys Farm (that exited Singapore in 2015 just after three years here), and Niko and… (currently wildly popular). Regular visitors to Tokyo would be familiar with Adastria brands although they may not know which company is behind them. Hare is one such label, often seen in teen hotspots such as Lumine Est in Shinjuku. Established in 2003, the label, categorised as a “mode brand” in Japan, is put together by a team of in-house designers who translates the key trends of the season into looks that straddle fashion-school-graduation excesses and high-street salability. This season, oversized shapes dominate, with a welcome dose of technical fabrics and rich prints. The layering suggests a far more sophisticated leaning than what the brand is noted for in stores.

Hyke

Hyke was launched during the 2013 autumn/winter season, but designers Hideaki Yoshihara and Yukiko Ode—married to each other—have worked together since 1998. Their eight-year-old label is very much followed in their homeland, where could be consider the Luke and Lucie Meier of Japan. Winners of the 35th Mainichi Fashion Grand Prix in 2017, the designing duo is known for their strong tailoring with feminine touches. For spring/summer 2022, their strength in pattern making and modern fabrication are again evident. Menswear styles are tempered with puff-sleeved dresses, sometimes paired with unlikely accessories such as a helmet bag. Just as striking are the strong but simple tops, teamed with waist-gathered skirts that are cut from shinny, technical fabrics. A collection that truly stands out for its grown-up, intelligent attitude.

F/CE

Although the brand has a clothing line, F/CE is popularly known for their bags, including serious camping backpacks that could rival The North Face. And, their cool retail space in Shibuya called Root General Store. Founded in 2010 by Satoshi Yamane (with Asami Yamane designing the womenswear), F/CE is a go-to RTW label among those in the know. Mr Yamane has quite an impressive CV: a former designer at Men’s Bigi and, later, sales and marketing manager for Crocs Japan before moving up to become the shoe brand’s chief designer. Like quite a few of his fellow Tokyo creatives, Mr Satoshi is also a musician, playing the bass guitar with his post-rock band, cheekily named Toe (there are three studio albums to boot). Perhaps, it is this background in commercial footwear and indie, guitar-based music that Mr Yamane is able to lace F/CE with a considerable dose of edgy cool: utilitarian styles paired with outdoor wear and holiday garb, and the brand’s wearable and desirable bags.

Irenisa

Yohji Yamamoto alums Yu Kobayashi and Yuji Abe used to be the revered 77-year-old designer’s pattern maker and product development specialist respectively. Launched during the autumn/winter 2020 season, Irenisa is a menswear label that does not quite look back at the co-founders’ fashion pedigree. Instead, both men have forged forward with an aesthetic that they called “chic with sarcasm”. It is not certain that the sarcasm is immediately discernible, but Irenisa do not shy away from the elegant, and the the seemingly basic. Upon closer examination, one sees the three-dimensionality of the cuts and how they allow the comfortably-fitted separates to envelope the body without excess and without confining it. A jacket looks like a jacket, a shirt looks like a shirt—no needless deviation.

Rainmaker

In Tokyo, Rainmaker is unusual in that it is based in Kyoto, the cultural and historical heart of Japan. Although one does not associate the city with fashion, it is considered a textile hub, especially for kimono silks (the best are still hand-woven and hand-dyed). It is in this artisanal environment that Rainmaker was conceived in 2013 by Kohichi Watanabe and Ryutaro Kishi. The duo’s aesthetic for both the men’s and women’s lines have always been heavy on crafting that tends to characterise those brands not operating out of Tokyo. From traditional fabrics to dyeing techniques to the relaxed silhouettes, there is something refreshingly retro-urban about Rainmaker’s looks. This season, blue in all its glorious subtle shadings—indigo naturally not to be omitted—determines the collection’s Japanese-ness, if it can be so described. Set apart, the clothes will not stump the adventurous pattern maker, but when worn, these pieces feel like the best pieces of a mature wardrobe.

Sartograph

One of the newest labels of the season, Sartograph was launched only last year, yet designer Shinsuke Nakano’s collection is so confidently put together that the clothes feel like the work of much more seasoned hands. A Central Saint Martins graduate, who benefited from winning Alexander McQueen’s Sarabande Scholarship, Mr Nakano completed his PhD at CSM. Sartograph, although only into its second season, offers no lack of technical finesse. Mr Nakano has been described as a minimalist designer, but it isn’t the minimalism of say, the ’90s. Within the discipline of the traditional tailoring, utilitarian workwear details—sometimes in the form of wearable accessories—are incorporated, almost like graphic design. The result is unmistakably contemporary, without traipsing into the much trampled grounds of streetwear.

Sise

Seishin Matsui’s Sise is a Tokyo Fashion Week regular. Conceived in 2010, Sise came into prominence after securing a place as a finalist at the 2015 Woolmark Prize. The line is often described by Japanese media as “minimalistic”, but, increasingly, Mr Matsui explores more complex cuts and styling that are reminiscent of the ’90s Japanese avant-garde, seen, perhaps, through European lenses. Colours are mostly kept muted to better reveal the subtlest of details and silhouettes—still body-respecting that they avoid leaning on exaggeration. Although Sise offers menswear, it is the women’s collection that is presented at Rakuten Fashion Week Tokyo, and like the other stronger looks shown this season, Sise’s sits comfortably on the side of androgyny without jumbling too much the male/female sartorial divide.

Yoshio Kubo

Yoshio Kubo showed his modestly-staged IRL collection in his office/atelier in Nakameguro, Tokyo’s hotbed of edgy labels, marking a welcome return to the Tokyo calendar after showing in Milan and Paris for the past five years. Among the names in this list here, Yoshio Kubo is possibly the most internationally-recognised. In Asia, the line was sold in Bangkok and Hong Kong, and here at Club 21. Although Nr Kubo’s clothes are not considered so subtle as to escape the curious mind, he does hope to encourage consumers to “think about the design and details of clothes again”, presumably as opposed to the thoughtless consumption of fast fashion. A graduate of Philadelphia University’s school of Textile & Science and a former assistant with American couture designer Robert Dane of The Danes for four years, Mr Kubo’s work is not separated from impeccable refinement, even when the final looks—as in this season’s curved lines within relaxed tailoring—tend to place him among the leading Japanese avant-gardists.

Photos and screen grabs: Rakuten Fashion Week Tokyo/respective designers. Collage: Just So

When Fashion And Functionality Are Friends

Sacai sticks to what they do best

It is surprising that Sacai’s Chitose Abe didn’t stick around in Paris after presenting the Jean Paul Gaultier couture collection three weeks ago. You’d think that since she was already there, she’d show her menswear after that. After all, Sacai has been showing in Paris since 2011 (except during these pandemic times). Instead, she returned to Tokyo and issued a set of photographs for the brands men’s spring/summer 2022 collection (and the women’s resort) that was shot in Paris—possibly before she left—at the Odéon-Théâtre de l’Europe on the Left Bank and its surroundings. Odéon-Théâtre de l’Europe is one of the six national theatres of France, and the present building (1819) is the third iteration. The original building was inaugurated by none other than Marie Antoinette. It was here that Beaumarchais’s Le Mariage de Figaro debuted some two years later. Despite the building’s historicity, the photos projected an unmistakable street vibe. Ms Abe isn’t, perhaps, ready for an IRL show or maybe doing couture took its toll. Despite the heady schedule (there was also last month’s Dior men’s capsule designed in Tokyo and the KAWS collab, just to name two), she did produce the men’s collection, albeit showing it off-season, or, rather, not during PMFW. This has not reduced the impact that Sacai’s clothes tend to have, alongside her compatriot (and former colleague) Junya Watanabe, on the Paris menswear season.

Sacai has been consistent in that respect. And just as consistent is her weakness for collaborations. Just these past two months, she has paired with close to half-a-dozen names. So it’s no surprise that she is at it again, this time with ACRONYM, the German brand esteemed by streetwear die-hards. For Sacai, functionality isn’t permutations of the sweatpants (although there were those matched with chinos, we vaguely recall). For her, they would have to be existing clothes—or brands—already deeply performance-oriented. It is, therefore, understandable why she finds a connection with ACRONYM, the 27-year-old brand, whose co-founder Errolson Hugh was appointed as creative director of the resurrected Nikelab ACG in 2014 (he left in 2018). Rumours had in fact appeared online before the Sacai spring/summer 2022 reveal that a collab between the German and Japanese brands was in the works. And then there they are—the “cross-pollination”: striking water-repellent techwear for the urban-sphere, featuring utility pockets, bonded seams, and watertight zippers. Military details include one side of velcros (so that you can provide your own name tags?) and both brand’s predilection for unusually placed pockets—this season, slightly off-centre in the front, so that they won’t look too much like a built-in chest rig.

Ms Abe cannot, of course, do away with military looks—the MA jacket, for one (also an ACRONYM fave). The first look (are they still sequenced even with photographs?) is dominated by another version with fresh details: the front of the yoke (curved) brought lower, along which runs zippers (presumably to secure hidden pockets, the distinctive off-centre pouch pocket, as well as additional flaps and pockets and seams for the sleeve. For fans, which are purportedly growing by the legion, such is the thrill of a Sacai garment—there is much to see and appreciate in just one item, and that, in turn, is value for money. You get more parts than a regular MA jacket (or any other outerwear) and the bragging rights to show off a fetching sum that really is greater than its parts. And if those components are not enough, there is the bringing together of disparate garments that Sacai has built its name on, although, unusually, there are fewer of them this season, or, perhaps, just not immediately discernible.

There are pieces that are closer to the sportif, and outers that wouldn’t be out of place at a higher altitude, among rocks and trees. But most of the pieces would really do well within urban environs, such as the 6th arrondissement of the Odéon-Théâtre de l’Europe. In addition, buffalo checks and paisley bandana prints (pattern on pattern, print on print) would appeal to those for whom even the modest motifs are necessary to make an online impression, as do stronger colours, such as wellies-yellow, vivid turquoise, and a pink so unmissable it can only be called hot. Ms Abe may be partial to these not-typically-masculine colours, but, contrary to what was evident in Paris weeks earlier, she did not show anything that bear a semblance to skirts. Is it possible that, despite pronounced aesthetical shifts, Chitose Abe still prefers her menswear to be unmistakably so?

Photos: Sacai

Junya Watanabe’s ‘Exploracore’

Inspired by the works of British fashion photographer Jamie Hawkesworth, Junya Watanabe’s spring/summer 2022 collection is peppered with alluring neo-ethnic touches that are ready for some unknown quest

Enticingly wearable and irresistibly fab have always been how fans of Junya Watanabe view his effortless melding of work wear and the artistic, incorporating into the line collabs with heritage brands across the globe. In many ways, Mr Watanabe is a fashion vagabond. There is no fixed point on which to stay put. This season, he looks at the travel photography of Jamie Hawkesworth (specifically the Bhutan photos, such as those published in Holiday), admired by fellow Brit J W Anderson, who paired with the former for both Loewe and his collaboration with Uniqlo. In the accompanying collection notes, Mr Watanabe quoted the photographer saying, “It’s such an incredible feeling turning up to a place with no ideas or expectations, and just walking and exploring and taking photographs—it’s incredible what you find.” The same feeling can perhaps also describe encountering Mr Watanabe’s designs: you do not know what to expect, but you won’t be disappointed. For those familiar his work, Junya Watanabe may be destination familiar, but there would always be unexplored territory and untasted fare.

Mr Watanabe’s work this season riffs on Asian motifs, prints, and details, which he has intermittently done in the past. More pronounced now are his use of visuals by Asian illustrators: Chinese illustrator/artist, Shenzhen-based Rlon Wang; Japan’s pop art fave Keiichi Tanaami, Nepalese artist/Californian resident Ang Tsherin Sherpa, Thailand’s fashion darling Phannapast Taychamaythakool, and Vietnamese children’s book illustrators Phung Nguyen Quang and Huynh Kim Lien. But rather than just use them as patterns on fabrics, he has employed them as he would with parts of his favourite garments. The prints are used on yokes—like bibs, some are in grid form, some as repeated patterns, some as a single delineation of, say, a head. There are prints used as linings of jackets too. A surprising large number of T-shirts with those artists’ illustrations are shown. In fact, this seems to be the summeriest collection of the menswear season, even when there considerable outers too.

Presented against what looks like a makeshift art gallery, randomly placed with Mr Hawkesworth’s photographs, and accompanied by a soundtrack featuring Ryuichi Sakamoto’s Ma Mere L’Oie (from 1984’s Ongaku Zukan) and Thousand Knives (from 1978’s same-name album), the collection seems to be focused on—as Mr Sakamoto also sang in Ongaku ZukanSteppin’ into Asia. The original opening track features a chorus of children singing, which sounds suitably Bhutanese, although in the album, references were made to Tibet and Paradise Lost. While Mr Watanabe is not susceptible to the obvious, the Asian-ness is seen in the fabrics, some evocative of Bhutanese textiles made into the national costumes of gho and kira for men and women respectively, as well cropped and draped trousers with shapes that recall the Thai sarouel (fishermen’s pants). In fact, the whole collection comprises separates that are truly approachable and commensurate with the present desire for clothes that are relaxed (we resist using the word ‘lounge’!). The silhouettes suggest something more for the outdoors than a corporate meeting room, but Junya Watanabe has never been a business wear label, and those who succumb to it’s charms tend to be individuals in the creative business, and the many unshakable diehards.

As usual, there are collaborations galore, including his on-going work with The North Face, Levi’s, and New Balance. Others include Ark Air (blousons!) Dickies (work pants), Brooks Brothers (shirts and blazers), and also the Harajuku vintage outlet BerBerJin, which Time Out calls a “classy vintage store”, from which select pieces are printed with Mr Watanabe’s choice images from those illustrators mentioned above (not sure how those can be produced in large quantities). There is clearly a sense of sartorial adventurism here. Regional prints meet the Tokyo-urban, folk costumes convene with work wear, hipster sandals stride alongside hypebeast sneakers, all in an unmistakably happy convergence. We call it ‘exploracore’.

Photos: Junya Watanabe/Comme des Garçons

A Lifetime Less Ordinary

Undercover has not gone Madstore bonkers. Their latest offerings are not as street-bent as the brand is known for. Are these clothes for some secret commune?

In troubled times, do people dream of a monastic life? Or something close to that? Undercover’s first set of photos from their pictures-only presentation of their spring/summer 2022 collection suggests a retreat to some place less manic, more bucolic. This is not the setting we imagine Jun Takahashi, stalwart of the Harajuku street scene of the early ’90s, would place his designs in. But there they are, shot against lush hillside greenery, with a foreground of wooden decking that looks like a verandah of someone’s country home. Or, some monastic hideaway. Perhaps it is the hat that each of the first ten models has on—something akin to what a Taoist priest might wear?

The collection is called Once a Lifetime. It is not immediately clear what Mr Takahashi is alluding to. Could it be the pandemic? The WFH? The difficulties in putting a collection together during such a time? Or that maybe, for once in a lifetime, we need clothes that are a reflection of assuring and positive realness? Like the output of so many of the Japanese menswear designers this season, there’s an outdoorsy vibe to the clothes (outside is safer than inside?). But these are not really trekking togs although they wouldn’t be out of place anywhere on a trail (you’d need the right shoes, though). What’s appealing is that they look ready for any rough-and-tumble, for any weather condition, for serious use, not just for leisure pursuits. They are are not challenging clothes, but they have a lure that says, with their addition, you don’t need to revamp your wardrobe.

“No more street style,” Mr Takahashi told Highsnobiety in 2019. He has largely kept to his word. Since his spring/summer 2020 show, Undercover has put out pieces that can add variety to one’s closet, to go beyond what many guys consider comfort clothes. For close to 30 years, Mr Takahashi’s streetwear (not entirely an accurate description since he has offered more than that), with its own conceptual heft and visual flair, was what many aspiring designers look to for some old-fashion inspiration. Mr Takahashi has an uncommon eye for graphic uniqueness that so impressed Valentino’s Pierpaolo Piccioli that the latter initiated a collab with Undercover for spring/summer 2020, featuring Mr Takahashi’s somewhat otherworldly visuals (flying saucers!), placed in not-the-usual spots on the clothes (this collab, to us is the “pinnacle”, not the one with Off-White in 2019!). While there is now a moving away from those elements that make Undercover the brand among those who truly know and are cool at the same time: the beloved graphics remain: T-shirts, roomier than ever, come with colourful shapes that wouldn’t be out of place in a Alexander Calder mobile.

As usual, the outers are alluring. Japanese designers simply have a way with them, and even the unassuming windbreakers show the Undercover predilection for the progressive, and in a sheer nylon the colour of amber. The blazers are beautifully relaxed in silhouette, quite the antithesis of the couture versions shown in Paris that men are now thought to lust after. There is also the hoodie/cargo jogger sets with bag label Eastpak to make the regular customers happy. But this post can’t be complete without mentioning those comforter-like robe-coats—two appearing at the start of the photo set. How these will find their place in a guy’s regular wardrobe is not immediately clear. There is something utterly relaxed about them, and protective. They defy the need to be paired with anything that says ‘fashion’, holding up on their own with positive elan. Perhaps this is the continual appeal of Undercover—they just make handsome, desirable clothes.

Photos: Undercover

The Hills Are Alive

White Mountaineering shows stylish outdoor clothes to live in

In Japan, there are spectacular open outdoor spaces to go to unwind and escape. And they are beautiful, immense and beckoning, too. Just any view, any angle of majestic Mount Fuji will leave you in no doubt the extent of nature’s striking gifts for the island-country. And for all seasons too (the colours!). Unsurprising, therefore, that the Japanese love exploring their stunning outdoors. White Mountaineering too—it is against a verdant hillside (and soundtrack by the uplifting electronic sounds of Yehezkel Raz and Jameson Nathan Jones) that the Japanese label presents their spring/summer 2022 collection, perhaps giving the brand the visual context it has never really needed. O’er vales and hills, to quote Williams Wordsworth, the models (a cast of just 18) walk down meandering tracks and on wooden footpaths over bubbling brooks. This is one of the most refreshing collections of Paris Fashion Week. Nothing arid! There is no desperate hope that after the pandemic eases, we will party like there’s no tomorrow. White Mountaineering has more pastoral pursuits.

‘Gorpcore’, of course, comes to mind. But Yosuke Aizawa is not such an obvious designer and White Mountaineering is not The North Face. Called Ain’t No Mountain High Enough, which, frankly sounds a little camp to us (anything that references the Supremes usually is, even when no Motown sound is heard!), the collection proves that even if the clothes are bound for the hills, they can still have the slickness of the city, and you wouldn’t look like you need to change before going downtown. If you step into White Mountaineering’s Tokyo flagship in Daikanyama, the log-cabin-like fixtures might remind you of ski stores in Niseko, but the merchandise are decidedly urban in their aesthetical bent and stylishness. These are worn by city folks with a holiday home—and somewhere to go—in the mountains.

White Moutaineering often notes that their clothes “blend into daily life”, but this isn’t akin to Uniqlo’s Lifewear. Lines are blurred: Seemingly simple pieces have the technical advantage of performance wear. Even if you need a suit for apres-hike soirees, it comes in such relaxed shapes (and are lapel-less) that they would not be different from wearing a cardigan-and-slacks combo, almost erasing the divide between casual and dressy. Even if there’s the severity of the functional, the collection do bear some semblance of fun. Mr Aizawa is no slouch when it comes to the slouchy that is sleek and designed with some twist of detail. Bomber jackets have the cheeriness of their souvenir cousins, walking shorts come with prints of fruits (some cut into halves—apples, lemon, dragon fruit, pomegranate!) or phoenix-like bird creatures, utility jackets are with front-centre chest pocket, bombers have the pockets of truckers, shirts have the pockets of utility jackets, trousers are half-cargos, half-chinos (pleated!), and we could go on. To be sure, these are not hybridisation in the vernacular of Sacai. Mr Aizawa, a former employee at Comme des Garçons, was a protégé of Junya Watanabe, and it is in the latter’s work that he finds common ground, but in aesthetically different ways.

White Moutaineering is, perhaps, more prescient than the credits accorded them would have us believe. When the brand was launched back in 2006, outdoor clothing was not part of fashion as we know it today. Now, even hip-hop styles cop the garments worn by hikers, after all the vintage track jackets and pants have become limited in their ability to provide deep inspiration (interestingly, Mr Aizawa is a serious hip-hop fan). White Mountaineering was born out of its founder’s love of outdoor sports, particularly snowboarding, and therein lies the brand’s realness and authenticity within what Mr Aizawa likes to refer to as “mode” (French for fashion). After a season of what-to-make-of-them looks, it is refreshing to see this (mountain) runway-to-(city) sidewalk relatability, or what SOTD contributor Ray Zhang calls, with palpable relief, “for the rest of us”.

Screen grab (top) and photos: White Moutaineering

Walking On The Spot

Kolor is on track to delivering some of the coolest clothes, when it’s time to mingle and impress

You can always depend on Kolor to colour what could be turning out to be the pandemic-influenced preference for drabs. Fashion is grappling with loungewear-goes-to-the-street on one hand and ready-to-party-clothes-for-all-occasions on the other. Many designers believe that when things go back to normal (as they surely must), we we will want extraordinary clothes that look like they truly deserve the attention that is now mostly lost to a disease people are sick of. Junichi Abe does not negate the truth that when we’re out of the woods, we’d want comfortable clothes, as well as those that say we’re embracing fashion again. And these could be garments that are the sum of what we have worn before, pre- or, hopefully coming soon, post-pandemic. A happy amalgamation of all those that had brought us joy and comfort, in ways that they had not been able to in the past year, at least visually.

Yet, if the spring/summer collection looks a tad similar, it’s because Mr Abe’s design approach this season seems like a version 2.0 of his autumn/winter 2021 collection. Could this be a natural progression of designs started during the lockdowns that struck so many countries and progressed to a time when social restrictions are still very much a part of our lives? Perhaps that could also explain Kolor’s presentation. The space is the neutral confines of, say, a theatrical black box. The models walk on a short treadmill (barely half the length of what you would find in a gym, and operating at a speed that would feel like a stroll). Despite the walk, the models are essentially in the same spot. An observation of how we are all essentially in one position, at the same time, even if the optimists among us think we’re heading towards a better place? And does the pair of flanking robotic arms with cameras attached to them, to zoom in on the walkers—garment parts recognition, too, enabled?—work like contact tracing devices and apps, tracking us and the clothes we wear? How this must delight the fashion police!

Kolor has always been about the compositional. Increasingly, it is more so. Their individual pieces feel like parts of clothes we are familiar with that are taken apart and then reassembled on those we are still familiar with. The less imaginative might think these are scraps or remnants from the sampling room, but upon closer inspection, it can be seen that they are not odd bits and pieces of an upcycling project (if only fashion upcycling is this good-looking). The parts are ‘site-specific’ and are knitted and woven to be placed in those exact spots that they are destined to reside in. Despite the seeming randomness, a collar remains a collar, a yoke stays where it is supposed to be. They come together as a coherent whole, not some fashion Frankenstein (as our description might make them out to be): a jacket still looks like a jacket, a sweater is recognisable; so is a dress. The result maybe off-beat, but they are not weird or require a manual to wear. They may look a tad busy (how do we iron them? Can the parts be dismantled?), and sometimes we do wonder if we need clothes with such extraneous additions, but a closer look at them will excite those who are intrigued by such dressmaking intricacies and improbabilities.

A co-ed collection is shown and, for both men and women, the approach is the same. These are not hybrid clothes; these are clothes with parts, not necessarily from the type of garment on which they appear. The first look for men typifies those to come: a top coat appears to have the top left half of a pique polo shirt, draped over the shoulder of the same side, but the collar seems to be part of the inner garment, the actual polo top, which seems to sport three collars! A simple collar and we’re fixated. But they are hydra-collars! As it turns out, the coat too has a polo collar and the actual polo has a collar and a half (forgive us if you are not following. See the second top photo)! What’s with all those collars? That’s why Kolor is a joy to behold: it does not immediately make sense. These are not quite as much cut and sew than rip and tack. Where do they begin and where does one find the end? Sure, many consumers do not need fashion to challenge the mind. Just make me look good, goes the common plea. But why settle for less—a lot less—when there could be more to play with and to dress the mind?

Screen grabs (top) and photos: Kolor

Music Cred To Boost Whatever That Needs Boosting

Dior has enlisted Travis Scott for input. Is Kim Jones showing off just how well connected he is?

Why do it alone when you can do it with someone else? Serial collaborator Kim Jones is at it again. Just fresh off a design partnership with Sacai, he has paired with Travis Scott to give the hip-hop star, considered one of the most stylish of them all, a jab at designing luxury clothes. Mr Jones’s Dior is increasingly a community club for people he appreciates to come and lend their voices. Many are not from fashion, but the art world. Sacai’s Chitose Abe was the second fashion professional after Shaw Stussy (the collabs with Alyx and Yoon Ahn yielded only accessories) to be invited. Ms Abe is considered a mountain of a talent and will soon present her debut haute couture for Jean Paul Gaultier, yet she was asked to collaborate on a 57-piece, off-season capsule Dior collection. Mr Scott, whose fashion talents are as a “style icon”, with a “cool wardrobe” and prolific drops in sneakers and other streetwear items linked to his name, gets to do the main line of a main season.

It is not likely Travis Scott’s input is the same as Chitose Abe’s, yet the Dior spring/summer collection features him as their star collaborator. For those in doubt of Mr Travis’s skill level (admittedly we are among the many; we still are), Dior released a video clip on Instagram, showing La Flame working (er, looks to us he was struggling) at a sewing machine. But that perhaps doesn’t matter as fans of the brand and the man would likely find that cute. What matters is the name—also the father of Kylie Jenner’s daughter (we do not know if the parents are married or if they are even together). Perhaps, just as importantly is Mr Scott’s standing as a fashionista and a fashion impresario. The collab is known as Cactus Jack Dior, so named because of the support to youngsters that Mr Scott’s Cactus Jack Foundation, a spin-off of his Cactus Jack Records (there is also a books division Cactus Jack Publishing), offers to those seeking fashion education. There were initial problems with the use of the Cactus Jack name—even the WWE tried to stop it being trademarked as the professional wrestler Mick Foley shares the same (nick)name—but Dior presses on with the association.

The image that the cactus often brings to mind is a desert, and it is in this (make-believe) setting that Dior’s show was staged. (Arid lands are themselves a recurrent set theme this menswear season.) This desert tableau is, according to the house, to “celebrate” Christian Dior’s first visit, in 1947, to the United States, where his first port of call was Texas (Mr Scott is Texan!), “whose grand canyons and huge dusty deserts made a lasting impression”. But the runway now isn’t quite that arenaceous vastness; it is prettified—to better frame what pre-show publicity had the media called a “blockbuster collaboration”. Everything is oversized: the desert roses, the cacti (naturally), fungi and a cattle skeleton head. So is the star power. Following the show, the press called it “the first major celebrity fashion moment”. The clothes? Just watch what Travis Scott wears!

In a 2017 interview with GQ Australia to promote his collaboration with the Aussie brand Ksubi, Mr Scott said, “I’m not like a fashion designer, but (the output of the collab) is like a piece of my brain.” In all likelihood, fashion for surviving the desert is the furthest from the designing duo’s minds. It is not immediately clear what is Mr Scott’s contribution to the partnership (other than the graphics such as the cartoonish Dior logotype), but styling tricks are more apparent than disruptive designs. Recurrent are the jackets, worn with the peaked-lapels upturned to reveal their bi-coloured underside. Other lapel shapes are given similar treatment so that the look is near-Edwardian primness and slimness. The lapels, with the left over the right, are held up together with brooches, designed by Dior’s resident jewellery designer Victoire de Castellane, that are attached to a chain and secured to the left ear, just like an Indian nose chain, except fastened to a spot on the jacket just below the collarbone. Every model in such a get-up looks affected. More dressed down are the oversized T-shirts, pulled over tailored looks (lapels worn conventionally), like a teen mistakenly wearing a concert tee instead of a sweater, over a suit instead of under. There are, of course, sweaters, but what their specific place is in fashion, set in a desert is not quite clear.

Not to be left out are the feminine silhouettes seen elsewhere during these past fashion weeks. Floaty poncho-shirts with busy scribbles by American artist George Condo, bell-bottom pants and those that could be unzipped from the hem of the outseams to give a wider leg opening, and layered shorts that could give the impression of skirts at a quick glance keep to the overall mood of the moment. Accessories are similarly less mannish. Apart from the jewellery (and whatever those sparkly danglies swinging from belt loops are), there are the getting-smaller-by-each-season bags (is the man bag still of popular usage?). For once the Saddle bag—now even with a saddle handle!—seems be to be set in the right context. Giddy-up! This is perhaps a cross-border triumph of inclusivity for Dior: a British designer collaborating with an African-American designer from Texas. The brand has a Black-creative ally. At last.

Photos: Dior

Two Of A Kind: Riddle This!

One green costume is showing up as a bag

The Riddler vs Louis Vuitton

Virgil Abloh is good, very good. He can reference anything, and the results would be lauded and loved. In just one spring/summer 2022 collection, he can go, with considerable ease, from the winner of the inaugural Queen Elizabeth II Award for British Design’s unmistakable wrapped-up heads to comic super-villain the Riddler’s distinctive costume with those questions marks against that green. But only now, at the maison of Louis Vuitton, the Riddler’s onesie is still his. Mr Abloh has, without question, taken the question marks (in similar font and in different sizes) and the extreme green, but has turned them into a Keepall Bandoulière! It went almost unnoticed among the many other bags shown if not for the very bright colour and the very black interrogation points.

DC comic fans are familiar with The Riddler (aka Edward Nygma), the computer-genius and former employee of millionaire Bruce Wayne. In the comic, the Riddler was convinced by a prostitute he met in a bus that he could be a super villain! When he first appeared as the Riddler in 1948’s Detective Comics, he was kitted in what was commonly referred to as a unitard—essentially a catsuit. It was green (but not as bright as later versions) and littered all over with questions marks in different sizes. He also wore a purple domino mask that matched a rather wide belt with a squarish buckle. The Riddler’s costume went through several changes through the years. A suit, too, was introduced (so that he’d be better dressed when meeting Mr Wayne?). The onesie was tweaked frequently, some time appearing with one single punctuation mark, right in the middle of the chest.

The unmistakable five-sided side of the Keepall Bandoulière

in 1995’s Batman Forever, the Riddler, played by the inimitable Jim Carrey, wore what was then described as a return to the “original costume”. It was a leotard that Mr Carrey was surprisingly able to pull off well. Costume designers Ingrid Ferrin and Bob Ringwood gave the union suit a rather youthful fit (no doubt still tight), with more question marks, placed in graphically fetching randomness. Mr Carrey’s the Riddler had other costumes too, mainly a jacket (not blazer) in the style of the Stalin tunic (some might think it looks like a Mao suit!) that was also green and floridly logo-ed, but it was the leotard that most movie-goers remember. And it is this outfit that seems to be the inspiration behind the Louis Vuitton bag.

The Keepall is considered one of LV’s most popular weekenders. Introduced in 1930, it has been made in different colours and fabrics, and has enjoyed interpretations by the American brand Supreme and the Japanese artist Takashi Murakami. Mr Abloh made the Keepall the must-have when his first remake at his debut season with LV was an iridescent version in transparent embossed Monogram PVC, attached with a chunky cable chain. There has been many versions since, but none we can remember that can be traced to what super-villains wear. We can really hear the Riddler questioning: “Riddle me this, Louis Vuitton. Why won’t you leave me ALONE?”

Photos: Warner Bros/DC Comics and Louis Vuitton

In Praise Of Excess

Call it medley or pastiche, there is a lot going on at Louis Vuitton menswear for spring/summer 2022. But their fusion of influences and gimmickry, and a nod to Japan are, at best, pretentious

One white girl wearing a qipao (旗袍) to a prom is cultural appropriation, but a black man wielding a katana (かたな or samurai sword, also 打刀) for no apparent reason is not. Such is our complicated and unbalanced world. Louis Vuitton’s spring/summer 2022 collection once again explores other earthly divisions and cultures unfamiliar, and Virgil Abloh is the uniter, bringing together differences—aesthetical, visual, racial, ethnical, and sexual. Through his designs, he is “dialoguing” with opposites and is serving as “conduit” between poles, two of many key words he shared with WWD. And the katana? Why did it appear first, after shoes and a skirt? And why did the end featured it? Some online commentators linked it to the kendo demo seen in the second half of the video-show. But in kendo, the participants use a shinai (竹刀 or bamboo sword), not a katana. The katana is considered a symbol of Japan. Its much admired blade is seen as embodiment of what the mysterious samurai stands for: mannered, refined, and if need be, swiftly ferocious. Is Mr Abloh using the katana to cut through the conflicts of the world? Token exorcism!

The show/collection is loaded with so many symbolisms and obscure references and strange body movements that, after just five minutes of an unnecessarily long 16.44-minute video, we’re tired out. Called Amen Break, it is not a recess from the utterance used after a Christian prayer, but a drum break (a short drum solo that is commonly used as a sample loop) from the B-side of the 1969 track Amen, Brother by the soul group, the Winstons. We know not as much about hip-hop music as we should. According to hi-fi specialist Cambridge Audio, this “six important seconds in music” are extremely ”popular amongst producers over the last thirty years”. For the rest of us, listen to Amy Winehouse’s You Know I’m No Good for an idea (those who need something more obvious, try The Prodigy’s Firestarter) or the soundtrack of the show. Amen Break is considered one of the most sampled drum beats of modern music, yet, unbeknown to many listeners, the original band never received any royalties for that snatch of percussion, until recently. In a woke society, a debate about copyright in music was aroused, It is clear Mr Abloh, himself a musician, is using this to mirror what is happening in fashion and to ask if its really that bad to ‘sample’ design since the practice of sampling and consequently re-sampling is so widespread and blatant—even appreciated—in music. Similarly, isn’t Black culture just as widely appropriated, wondered Virgil Abloh, now the vanguard of Black-aesthetic globalism?

As with the LV autumn/winter 2021 show, Mr Abloh has created a multi-tableau set-piece with a massive model-cast—in pandemic-is-over close proximity. At times, they are all packed as if in a bus station, even writhing together. It is hard to make out what the stylised movements mean, or the physical nearness to each other. Do they make the clothes look better? Give it some context? We couldn’t tell. But desolation seems to be the preferred state these days. LV, too, chose the same, starting with a rocky grey terrain and then into a mock forest of birch (with canned thunder and strobe-light lightning), and then onto a wood-walled auditorium in which a game of chess is played, oddly undisturbed by people shuffling (and, again, as in a bus station) and a kendo session. According to LV’s own description, the presentation is “an abstract interpretation of the story of artist Lupe Fiasco (the American rapper)” that “depicts a father and son united by an unnamed loss, crossing a dream world to deliver a message to the other side.” Operative word: “abstract”, and it’s so abstract that it is disruptive to the enjoyment of the filmic pitch. The show may be a metaphor for whatever metaphor the world now needs, but if it requires the oft-cited forty-odd-page book (sent to the media) to explain it all, then perhaps there are too many metaphors and symbolisms and the superfluous for one event.

Usually, seasonal collections reflect, well, the seasons. But increasingly they mirror whatever you can glean from the things you see around you and the people you meet. LV’s busy proposals are a lot less summery than what we are used to (as we write this, our news feeds are filled with reports of Russia suffering one of their hottest summers in memory) for a season characterised by heat (even, more and more, in spring). What throws us off track at the start are—seriously—the ear muffs! Or, are they some powder-puffs-as-UV shields that we have yet encountered? And then more to make us sweat: the padded, gambeson-like vests (including a long version and even ones in the form of maxi-skirts), bulky (fake?) fur coats, outers and pants worn as if they are PPEs, puffer jackets with hoodies that look like helmets, the thick layering—sweater (with hoodie pulled up to completely cover the head), top coats, padded vests, and gloves, and the said ear muffs (were they thinking of the South Pole or similar?). And if all that do not make you feel that you might need cold-weather dressing, there is even a suit with images of the Alps and and kindred Alpine splendour!

The lack of lightness for a season associated with airy clothes aside, there seems to be a deliberate attempt to do away with conventional line planning so that off-season items can be included to expand the product offerings and bloat the SKU. Apart from the padded gloves, there are the fluorescent ushanka (the Russian fur cap with ear flaps), the stuffed animals (covered with LV monogram, of course), and the almost-knee-high calf-warming snow boots. Belts are aplenty too, not only leather belts with decorative buckles, but also soft fabric belts (worn tied rather than buckled) that go with many of the outers. Would they be sold individually? And there is no forgetting the many bags you do not yet own (a guitar bag or, better still, a back pack in the shape of a koinobori, the Japanese carp-shaped windsock?). As one product development manager remarks to us, “Virgil Abloh’s doing for LV bags what Marc Jacobs was never able to do during his entire time there.” We look out for the equivalent of last season’s massive aeroplane bag (after failing to spot the city-scape top), but there is nothing as useful to encourage social distancing.

The lightest-looking outfit is a track top and bottom in sheer and somewhat iridescent fabric (worn over an opaque tracksuit, which makes the sum less light!). In fact, the tracksuit—very much associated with rap culture: think Wu-Tang Clan, whose founding member GZA, the “spiritual head”, is featured in the show—are central to the collection. It’s styled with a tailored vest. The high-low pairings (only now, we can’t really call an LV tracksuit low) are characteristic of Mr Abloh’s melding of styles and cultures. Belts, treated like a martial arts obi, are tied around the waist of tailored garments, as if securing one’s kenogi (uniforms worn by kendo competitors), ready for a fight—even vests are similarly tied at the natural waist with a belt. This emphasis on the waist is perhaps consistent with the overall feminising of the aesthetic that Mr Abloh is increasingly adopting for LV now that men, too, can wear whatever they what.

As if targeting Lil Nas X and Billy Porter, the collection boasts a staggering amount of skirts. Even when skirts and dresses for guys are now part of popular culture, are they de rigueur in today’s male wardrobe? To be certain, Mr Abloh has shown skirts before, but not 18 of them in one show. Do men need this many of them to choose from? Even a tiered pouf that women are buying a lot less, or the padded variety? Because if there’s anyone who can make skirts for men mainstream, it’s Virgil Abloh? The feminising includes the scallop edges of a no doubt striking white top coat and a spiffy blazer. Men can now wear tailoring that’s sharp and pretty as well. Perhaps fashion that emerges from the fog of the pandemic is to see who can say something, if not shout the loudest. Mr Abloh’s LV (now in its seventh collection, as hinted on the banner of the kendo match ground that reads in kanji, “第七回国際発表大会 or 7th International Presentation Tournament”) is a visual rojak of checks, stripes, tie-dye, colour gradation, image-less jig-saw, decal disorder, Slender Man, and (what appears to be) photo prints. These and the staggering jumble of garments may show that the LV atelier is truly able, but what’s Mr Abloh, in the end, really trying to proof?

Screen grabs and photos: Louis Vuitton

Two Of A Kind: Breastplates

Now that the chest rig is so 2018, perhaps its time for something else to protect the torso?

It’s rather curious to us that warm-weather (or cruise) dressing would require additional gear to trap air to the torso, while arms are totally uncovered. Isn’t it true that with the heat (year after year not letting up), many prefer not to layer? So the suddenly popularity of the breastplate is rather curious. Okay, so far it’s just from two labels: first Dior for cruise 2022 and Burberry for spring/summer 2022, but would these armour-like extras be prelude to a wider trend? Sure, these are not really an outer layer. Do you even consider them clothes? Surely not accessories! But since they are worn and would likely remain on the body throughout the duration of their stay (unlike a bag, which are frequently parted with the body), they might be considered garments?

Breastplates, sometimes also known as chestplates have, in fact, been around for a long time. Often associated with battle wear, they can be traced to antiquity, as seen on Greek warriors, such as the Athenian hoplites. As the elite hoplites had to provide their own panoply or full suit of armour, they had theirs custom-made. This included the breastplate—mostly made of leather and bronze. Only wealthy Greeks, therefore, could be a hoplite. Breastplates slowly fell out of fashion until their resurgence in the Middle Ages. By the 14th and 15th centuries, they were basically very much part of the standard battle order, and remained so all through the Napoleonic wars in the 19th century. In Asia, breastplates were worn too. There were the Chinese xiongjia (胸甲) Japanese do, although both were more like a cuirass—it covers the back as well. Closer to our shore, there was the Majapahit Empire’s karambalangan, sometimes reported to be lavishly gold-embossed! Today, the bullet-proof vests that the police use are believed to be directly descended from the breastplate.

Do Dior’s and Burberry’s breastplates have any protective quality? Frankly, we do not know. Dior’s bib-like versions—although shown in Athens—aren’t quite like those worn by the hoplites or even the goddess Athena (often depicted wearing one over her peplos). Their version looks like chestplates Amazons of Themyscira (later known by the more familiar Paradise Island) might wear—more Queen Hippolyta than Princess Diana. The abstractly-shaped and loose version at Burberry appears more like a shrunken apron with a rather shapely hem that recalls the bottom edge of the bodices worn by Italian women of the 16th and 17th Century. Whichever you’re drawn to, wear these equivalent of a face-mask-for-the-torso with something sleeveless underneath. And breathe.

Photos: Dior and Burberry respectively

Sleeveless At Burberry

It’s a season to hack parts of clothes off. Why not sleeves?

If legs of trousers and bottom halves of bodices are superfluous for spring/summer 2022, sleeves are too. You can be quite sure of that when Burberry shows much of their collection sans sleeves. Of the 45 looks (excluding those shown with just pants), 38 feature sleeveless tops or outers. We are not referring to tank tops—those are there or overalls—they are there too; we are pointing to those traditionally made to cover arms, but now not: trench coats, top coats, car coats, bombers, and the list goes on. Riccardo Tisci have decided to do away with the extra fabrics needed to shape the tubular protuberances, retaining not even half of it nor a little capped sleeve. The opening look perhaps sums it up: a traditional Burberry trench coat worn with arms exposes. As the trench coat has raglan sleeves, removing them along the seams means the result is an upper that’s rather halter. To butch it up, the trench is worn with a white sleeveless muscle tee underneath, which makes the getup look like a butcher’s. Is Burberry proposing a new work wear, while others are promoting play wear?

Burbbery’s video presentation was shot in London even when they show during the current Paris Fashion Week. This time, the location is a desert-looking part of a once-derelict Millennium Mills in Royal Victoria Docks, East of the capital. This could be a barren set for a Mad Max movie, and the tough looking lads could be members of a fashion-forward biker gang, navigating post-apocalyptic times. To augment the rawness, the thumping soundtrack (UK duo Shpongle’s oddly fitting Strange Planet) is provided to seem like the viewer is watching the proceedings with headphones that have no noise cancellation. The music drifts in and out, all the while you can hear the shuffling of feet against the sandy ground (regrettably, you can’t really see the footwear). The ambient sounds are so deliberate that you can even hear dogs barking in the distance. Again, unlike others, this is not some conduit to joy. This is like moving from lockdown to desolation.

Despite the arid setting, this could possibly be Riccardo Tisci’s most spirited (fertile is somehow not quite the right word here) men’s collection for Burbbery yet. Netizens are already calling this a return to form—as seen during his time at Givenchy. The face jewellery is certainly evocative (those bridge clips and lip rings are going to find their way to Zara!) and those graphics on shirts and tees. But perhaps most missed is Mr Tisci’s hard-edge treatment of traditional menswear pieces, imbued with a distinctive street wear spirit. This season, there is a sizeable selection of outerwear and they manifest Mr Tisci’s flair for deconstructing/reconstructing military wear (the trench coat was first created for British troops fighting in World War I) and work wear into modern clothes with an edgy undertone. We are conflicted if sleeveless anything makes a good central idea. Not since the sleeveless plaid shirts and denim truckers of the grunge era in the mid-’80s have we seen this much biceps. But this isn’t a nostalgic step back into the past, not a nod to Raf Simons’s sleeveless blazers of his early years (okay, perhaps a tad). This is Mr Tisci exhaling and articulating. Burberry is humming again.

In the past three years of his tenure, the most recognisable British brand had been in a strange place: somewhere between intriguing but not quite embraceable. Oftentimes, when we visit their stores here, they are ghostly quiet. We do not know if its the merchandise or the buying. The menswear frequently appear avuncular desperately trying to be cool (graffiti on checks?!) With spring/summer 2022 collection, we would be happy to have a close-up of the hunky and structured shapes: bodice-and-collar-only trench coats; boatneck outers that could be the trench coat’s hipper cousin; the raglan tank tops with irregular cut-outs (which reminds us of a Louis Vuitton X Comme des Garçons tote from 2014); the breastplates; and those tops printed with a monotone, flat image of them; and the pants with the horizontal straps (what could they secure?). In short, there would be a lot more to see.

Screen grab (top) and photos: Burberry

Prada’s Rompers For Men

And other arm- and leg-baring pieces for the spring/summer 2022 season

The end of the tunnel is the sea. That’s Prada’s message of positivity during a pandemic, already suggested in this season’s eye-catching pop-ups. Models walked in an angular, red-lacquered, purpose-built passageway that ends in the open air of the sea. Prada calls this the “Tunnel to Joy”. The emotion isn’t so palpable, but you could almost smell the coastal salt. In the first frame of the model stepping outside, the camera pans to the ground and leather slip-ons strike the soft sand. The contrast with the red hard floor prior is immediately discernable. Come out to the outdoor (it is the seaside of Sardinia). Here, you’ll be free. Isn’t freedom the key message of Milan Fashion Week? Even with the radiant reemergence in mind, Prada has resisted the IRL fashion show. Yet, its half city, half seashore presentation isn’t bereft of the energy missed by those who have not been able to attend large-scale physical events. It has retained the sleekness, minimalism, and the vim of Prada shows.

And what do you wear to meet joy? First up, rompers, one of the key products in the likes of The Editor’s Market. For men, Miuccia Prada and Raf Simons bring together shirts and shorts as onesies (top pic), all in what appears to be the shirting fabric of cotton poplin. To be sure, these are not shortened jumpsuits. They have the ease and playfulness of rompers—garments initially associated with children’s clothes. Ensuring that their leisure intention isn’t mistaken, prints are incorporated: ’50s-looking tattoo-illustrations spread randomly across. If you want something more traditionally masculine, there are a couple with bold, vertical, unbalanced stripes. Next, there are the abbreviated ‘skorts’—skirt-meets-shorts combo—that, for any wearer, are half way to donning an actual skirt. But it isn’t immediately clear, while we watched the show on our PC, if what is shown is a skirt over shorts or that the front panel hangs like an apron. Either way, the skirt component isn’t ambiguous.

There is a surprisingly large show of skin—invariably arms and a lot of legs (phew, no midriff! Well, one: he is, after all, going to the beach!). Out of the 39 looks, 33 feature shorts/skorts. We do not remember a Prada Men’s collection that had only six pairs of trousers (in the last spring/summer season—before Mr Simons came onboard—there were no shorts!). That’s just 15 percent of all the bottoms shown. Is that a prediction that men will not be buying longs next year or that they want to look like they’re in primary six all over again? For the past year, the loungewear that many people supposedly adopted is mostly associated with joggers. Even when shorts are ideal at-home wear, it is the trousers worn by runners after a run that have been in the spotlight. As guys slowly move away from the confines of WFH, could it be that shorts would be preferred, as play takes priority over professional pursuits? The potential mass adoption of shorts and the common leg-baring would no doubt bring immense joy to the environment-protection activist Ho Xiang Tian!

A Prada collection is not a Prada collection without the quirky pieces—even more, with Raf Simons in the picture. Items you would not find in an average bloke’s wardrobe: knitted mock-turtleneck bibs, square-neck tank tops, blousey sleeveless boat-neck tops, and floral hoodies. But perhaps most desirable are the accessories, in particular the head wear. The bucket hats will likely be the most trendy and trending. This season, they come with a longer triangular brim in the rear, like a bobby’s custodian helmet, worn front-to-back—and the chin straps too. Some of them have a usable triangular (coin?) pouch above that brim extension in the back (longer to shield the neck from the sun?), while others have slots in the sides to welcome the arms of sunglasses so that the eye wear may perch right on top of the head wear. Looks like, next summer, limps can go quite bare, but not heads!

Photos: Prada