Call it Dancing on the Valentine because J – Pop still rocks in 2017 like a long forgotten British boy band did back the eighties. And no, the images you are seeing are not produced with film studio blue screen technology but are actual rooftop images over Paris on the most perfect summer afternoon one would be able to imagine with a backdrop of the Grande Arche de la Défense in the far distance with a summer breeze softly blowing and small white clouds gently floating across the open sky – it’s all real. Thus the Rynshu SS18 collection likes to celebrate the freedom of the infinite sky (press release).

Old master designer from Japan Masatomo Yamaji who changed his artistic name three times before finally settling on Rynshu has been doing Paris runway shows since the nineties and has a very distinct cult following including some rock and pop stars, which is far from surprising when you more closely study his marvelous creations which we would want to dub Pop-Couture. For here there is undoubtedly a wealth of intricate and fine design underlying all the glitz and the glitter when you know anything about the Japanese sartorial arts.

Kimonos. Embroidered messages called kanjis for good luck. Phoenix symbols on all outerwear. Collage techniques with black and white cottons. Transparent silks. Camouflage patterns. Inkjet prints. Golden weaves. Colored threads. Flowers. Blacklining techniques. Organdi even. Or Lame. The refined workings all which require hard labor and all well worthy of the name Pop Couture, which would make each piece of this admirable SS18 collection a highly prized item in and of itself alone.

Thus, flash-flash-flash and flex-flex-flex, Rynshu gives you that funny feeling that you get when something special is about to happen so that everyone suddenly grabs for their cameras and – in a reflex – you want to be there too: Yo, quick, get it on film! For here is the Rynshu perfect summer rooftop collection SS18.

Words by Sandro and photos from Rynshu.

























A press release that opens with the brave words …

‘During the Victorian era, women wore an extensive amount of underwear.’

is definitely worth reading. And also for a dangerous promise makes where men’s fashion is concerned, especially if this is the first time that, as a young Asian designer, you are bringing your collections to the big audience in Paris, France. But then again you are sponsored by Marangoni which is about the best Art school on the planet that money can buy, as well as by Tranoii, one of the world’s top organizers when it comes to fashion events, so, aye, why not be risqué and lay it all out for all to see, as if you are some latter day Peter Paul Rubens, trying to satisfy the insatiable tastes and (dis)likes of the wealthy and the demanding of your time, which in this case would surely mean the millennial Instagram elite.

A portrait of the artist as a young designer.

A portrait of the artist as a young designer.

Yes, for splendidly here is getting in touch with your inner angel through the beautiful Chin Mens SS18 collection simply called Underlinens, in a reference to what was once hiding beneath the structural garments that women would wear to create that well-known yet painful Victorian silhouette, a soft and silky fabric for protection which has the ability to save gentle and sensitive skin from rougher and harder exterior materials, and from the vain impressions of buttons, hooks, and straps – but then for men. This is the genius of the Chin Mens SS18 collection.

And indeed, why should men today not be able to tap into their inner baby, their inner little angel, if they feel like doing so, by means of wearing something aesthetically or sensually pleasing – in the comfort of the privacy of home? Something made of white and creamy cotton or linen. Something loose and soft and refined for the home wardrobe, which undoubtedly medieval knights would have plenty of after returning bloodied and full of grime from yet another dirty battle. In fact, under linens must have been a staple for men until even late in the 17th century in Europe when techniques for the mass production of underwear did not yet exist.

So after leaving your inner demons on the battle field, by all means dear men, find out about your inner angels, when you get home safely, and dress up – splendidly and beautifully – in Chin Mens SS18.

Word by Sandro and photos from Chin Mens.



























This was a show that had always escaped us at Best Dressed Man so we were very grateful to be invited, and indeed Hed Mayner SS18 proved to be everything we expected and more as the venue for the runway show was the giant marble patio under the sky high columns of the Palais Brongniart (imagine the US Supreme court building) while a cool breeze pitched the perfect temperature for both guests and models alike.

That this ambiance of the antique world matched the collection on the runway is no small feat, but then you will have to realize that Hed Mayner’s hometown is Jerusalem and that perhaps with his upbringing in French couture he indeed has the ability to tap into those age-old styles which hark back to the Proche-Orient – aka the near east, which gives him the talent to redefine classic western menswear into something which looks like modern urban chic but with a firm page out of book of One Thousand and One Nights.

We see kimono jackets, double breasted long gowns, and of course Jesus Sandals, some made in whole or in part as a finishing touch of dark brown Israeli tent canvas. A fantastic and recognizable signature for a fantastic venue, and all that was missing on display were long lost sands at the bottom of the grand marble temple, for here antiquity meets Urban Chic – Hed Mayner’s exclusive style Chic Proche-Orient.

For here we find refined but unassuming luxury of the east meeting the classic style of the west, and it is beautiful, but also discrete as thankfully not too many colors are used, but earthy masculine colors only – like navy, like military khaki, like white or black, and different shades of brown. Neither are fabrics used (washed wool, denim, Japanese cotton, nylon mesh, and twill) too outrageous nor complex, but just recognizable and simple, which makes for a SS18 collection which, despite its originality, is still to be carried in a distinguished Sotto Voce – which means you will have to go unnoticed on the streets despite being dressed in Hed Mayner’s sartorial class.

Words by Sandro and photos from Hed Mayner.
























Officine Générale is well-known in America as the typical French brand goes the mile with the SS18 collection to prove that you really do not have to bend yourself over backwards as a designer by constantly changing signatures or by inventing yet the latest or newest trend in order to be true and comfortable to your very own trusted style.

There is too much of that in the cutthroat competition which is the world of fashion. And too many brands are reaching for straws by looking for ‘disruption’ or ‘change’ or ‘rebellion’ or that sad catch-all phrase called ‘the future’. No, none of this is really necessary when what you advocate in your designs, your patterns, your colors, your concepts, and in the fabrics that you use is simply elegance – French elegance in this case.

And this is what Officine Générale is really good at. The concept is simple in that the collection is supposed to give simple confidence and comfort to those who wear it. The design is a middle-of-the-road but classy tailoring in style with sharp French cuts but only made from superior fabrics made in either Italy, Britain, or Japan. The details and the stitch are refined, if not sophisticated. This is casual chic at its best and it is no coincidence that on Google trends you can follow the global rise and appreciation of the word ‘chic’ which mirrors the course of the stock chart of the Apple company. Casual chic is IT.

But like we said last time when we covered Officine Générale, what is so very important when wearing French made jackets, coats, sweater, and slacks casually with loafers or sandals and perhaps without any socks, is that, well – that you know how to wear it! For French casual is meant to dress you down and not to dress you up. Wear your shirt outside your belt and not tugged in. Have your collar stand up and not neatly folded crisply together. Stick your hands – please, please – deep into your pockets by all means. Or let the cuffs hang loose unbuttoned in the wind. And above all do not be conscious about the way you walk or the way you talk. Just let it hang loose. It’s called laissez-faire or let it go in English!

If then by hazard or chance one day you are spotting those washed out soft hue pastel colors dressed down in your latest Officine Générale SS18 and somebody asks you a question on the streets, do not feel obliged to respond immediately in a business-like and correct fashion. No! In reply rather mumble something impossibly difficult to understand while attempting to light a cigarette fumbling for a lighter you do not appear to be able to find as you subtly show off your Officine Générale casual French chic.

Because, as Oscar Wilde once quipped while living in exile in France:

“Every good conversation always starts with a pose.”

Words by Sandro and photos from Officine Générale.

























Sankuanz is back with yet an enormous effort to push the boundaries of what type of fabrics, linens, and materials may be used in the pursuit of pushing the boundaries of what men today can wear as streetwear.

When last time in January designer Shangguan Zhe from China was bold enough to introduce to us bio-shock hazardous materials suits (hazmat) as a form of streetwear for which fabrication includes DuPont materials, aramid fiber, and the non-fictional odorless, tasteless, yet surprisingly non-toxic space material called UHMWPE (ultra-high-molecular-weight-polyethylene), this time around he manages to bring to the runways of Paris materials looking like plaster by using linen suits woven into overdyed cottons, as well silica gel-based fabrics, which is starting to make the independent observer wonder strongly as to where the boundaries of fabrics end and where begins the world of materials.

That’s not to say of course that there is no concept or colors to this show, and that is precisely the genius of it, that the Sankuanz SS18 collection manages to integrate the cutting edge of fabrics technology with a nice sense of style, Italian style in fact, which is accomplished by using the works and art of Cy Twomble (an American exiled in Rome) as a backdrop for inspiration for the show. This means Mediterranean colors throughout (sandy, lime, beautiful reds) in light pastels, and raw, raw scribbles and patterns and motifs – think Pollock but then in Rome with brighter colors and a little bit more graffiti-like, yet with Italian curves and style.

Add to this grand tableau a cartoonish and ever-pervasive-on-the-runways-of-today trend of oversizing everything, and voila, here we have Sankuanz on the march in its latest study on sartorial exploration into the unknown. It must thus be clear then to the reader that Sankuanz SS18 succeeds where it sets off to do something new but that is long not finished yet with the show today. Not by a UHMWPE mile…

Words by Sandro and photos from Sankuanz.
























Having a background in both theatre and choreography Mr Vibskov – besides being a cult and celebrity designer at this point in time – is the grandmaster of the grand stage of the lost puppet show of our forgotten dreams when we were once innocent children. He manages to bring back alive with every new show those haunting images of early childhood dreams and nightmares which never really leave you when you grow old. They are still there. And voila, there they are!

After introducing his creations gently and calmly they seem to slowly come alive and eventually will parade in firm staccato with perfect precision like a toy soldier army on a war path along and by the silently gawking fashionistas, press, friends, and other dignitaries and fans. Mr Vibskov then comes out in the end so as to safely lead the grand army back into the cupboard himself where they get locked up for another six months until the next show will be about to start again. Strangely then that this marvel of a show still manages to get better over time which is evidenced by the reaction of the crowd which now remains seated in the end as if to expect an encore.

But dreams do usually not come back to haunt one twice.

The show’s theme: Sleep, dreams, bed, sleeping bags, nightmares, and pillows; and an occasional book on the ground which will put you to sleep. Rich, colorful, vibrant, and original – the Henrik Vibskov SS18 collection rocked (with a little bit of help by Gentle Monster) even some pop/rock-stars. And that’s because masterclass never needs any praise. Or likes on Youtube.

You will be able to find Mr Vibskov’s creations in New York City until August 6th at the MAD Museum.

Words by Sandro and photos from Henrik Vibskov.
























Creative director Jonny Johansson for ACNE brings us yet another stylish homey-slash-outdoors display of sartorial gifts for which Sweden is so famous, the walk into the woods from the home, or in this case the walk from the city to the summer home, which well, of course has to be made in the full comfort of the house-slash-trench coat, so that, hey, if it rains you are prepared, but if the sun shines and you happen to arrive on the veranda of your wooden outdoor retreat, you can well, also lounge – and in that very same suit coat until you fall asleep mind you.

Thus we may need more suit coats in this world, that is for sure, but we may have to thank Mr Johansson and ACNE for bringing this marvel to our collective attention.

And as is their habit and style, ACNE in Paris this time around again preferred to give a presentation where one can actually study the sitting (or lounging) model rather than to have a runway show, which makes sense, because journalists and artists and photographers will have an easier time studying the creations before them, rather than when the models are on the move.

The creamy pastel and woody colors you see on display are straight from the Swedish outdoors and even carry their own Swedish names, as in Falurod Red and Dalabla Blue, and to make things really feel super homey some of the patterns used have adopted the feel of tea towels (that ubiquitous and oh so important asset in any Nordic kitchen where your cups are always neatly polished) as well as the occasional summer shade curtain keeping out the long white nights of the summer outdoors. Here you will see sweet comfort derived from the outhouse and garden variety of interior decorations well found in Swedish second outdoor homes. A great concept for style indeed. Rustic and homey. And comfortable.

Add to that trousers or slacks that are spacey and roomy strung up lightly but high with gabardine sash belts, and of course easy going crochet sweaters and flower embroideries on the seams of your long cut suit coat, not to mention the sandals and the slippers, and boom, all of a sudden the overall image that appears is a marvelous Nordic answer to the Southern home bathrobe (think films in where the Don is spotting one at the pool), with the brilliant twist of course that this one also functions as a trench coat – which means you may be able to escape your enemies still when they come unexpectedly knocking on your door.

“Run boss, run, they are knocking on the door.”

“But where is my coat?”

“You are wearing one already, this is Sweden, and it is called a suit coat.”

“What, but we were just getting out of the pool?”

“Never mind, just run, the woods stretch far and deep behind the yard.”

Words by Sandro and photos by ACNE.
























As this was always going to be classy collection, here Agnès is recreating that old French summer chic, the smart/casual that Americans would know from Ralph Lauren but with a distinct twist of French flair and with that recognizable loose and comfortable French cut.

This is what Jay Gatsby would wear had F. Scott Fitzgerald been French, because Agnès went all the way back to elegant summer times of the thirties for her inspiration. Yet those unspoiled private beaches and private gardens where old time elegance is still in style still exist in France, if you know you what you are looking for. France can be a private place after all, and following Agnès drive in the SS18 collection to find pure and simple colors, and matching this with openwork stitches, with poplin boxer shorts, and with working shirts with patch pockets (from the prospectus) comfortable shapes and looks of the forgotten summers of yore are being created.

Agnes SS18 story

Agnès then goes on to claim that the SS18 collections are …

…des vêtements pour tous, pour toujours, pour la vie … de tous les jours.

(clothes for all, for always, for life … of all days)

Which of course is nice when you can remember that in the past not many people had the ability to vacation Jay Gatsby style, but that today, if you really try, that you could probably pull it off even if you have little money. So much for progress and equality through the sartorial arts which of course has always been a famous topic around the world and especially here in France, where, indeed even today, one would still have to first find a private garden, or that private beach, or a calm retrait forestiere before quietly being able to enjoy that special moment in the beautiful sun.

In Agnès b. SS18 of course with no questions asked.

Words by Sandro and photos by Agnès b.
























Sometimes before a show it is better to read the press release first, and imagine what the collections are going to be like, rather than to first take look and only then try to decrypt what wealth of sartorial assets you just witnessed. And especially so with Christian Dada – the designer known as Masanori Morikawa from Japan – because on the fabrics and materials used and for the sheer number and richness of techniques that come into play for the collection, one would never have even a humble guess as to the intricate workings of the creative process — not even as a journalistic expert.

But that is precisely what ‘couture’ is of course, for the menswear design by Christian Dada is not ready-to-wear, not prêt-à-porter, and not even high-end or haute gamme, in that here all is done by hand with refined techniques involving complex and sensitive materials, a lot of them coming from Japan.

And that is what then creates a special recognizable style which here at Best Dressed Man we like to call Christian Dada Punk Couture, for we have seen this show many times, and you’ll find that as the golden thread that weaves through all the creations of the designer is a Dadaist idea of creative destruction, of beauty through imperfections, which the show likes to announce with the theme of ‘Losing Power’. And indeed such a cry may set a standard for the creative processes at work here, but when we also take into account the different jacquards (brocades, damasks), plaid cottons, bleached blouses, the different beads and embroideries, the artistic prints, and the marvelous variety of patterns on show on the runway, then we can only come to the conclusion that the Christian Dada SS18 collection is all power gained.

It’s called the power of style.

Words by Sandro and photos from Christian Dada.

























This is the second time BDMOTP is covering Etudes and the remarkable thing is that indeed this fashion for men is very thought out, that there is a real concept behind it, just like last time, and that this time around what the SS18 collection is celebrating is, well, that ubiquitous Parisian metro of yours which everybody in the world knows – perhaps only second in fame or infamy to the London Tube or the New York Subway, but hey, who has never heard in this life of the word ‘Metro’ with its direct reference to the word metropolitain of course.

That slimy, grimy, dank giant labyrinth which cuts through Paris like holes in a dirty cheese, infested with rats, shelter to the homeless and gypsies, who knows it not? Its giant shredded posters bending over curved walls, Parisian couples kissing right before the doors slam shut, the sound of shivering and shrieking ghost trains rumbling in from the underground – which colors does it celebrate, besides safety yellow, and workmen’s blue or grey? Well, here in Paris we call it RATP green, named after the organization that runs the system, but for all other purposes you can call it Aqua, after the green component of Aquamarine.

A beautifully studied concept and creation by Etudes for here we find the colors of the underground workmen, the colors of the metro, the pattern of stripes straight from the metro tickets, and the fabric and the looks of utility, of use, of those who work to keep the metro system clean, and safe and sound. Even the sub-officious pre-war costume grey comes back in the palette. We witness dungarees and workwear and workmen’s shoes and, for those who know the metro system of Paris well – the show is henceforth aptly called Vertige by Etudes, which of course means vertigo in English, that feeling to which most tourists as well as Parisian could patently subscribe once you stumble to get off just in time after the doors slam closed behind you after yet another roller coaster ride which left you sitting quite literally on the edge ..

This is, voila, the latest brilliant concept wear yet by Etudes – which needs no introduction.

Words by Sandro and photos from Etudes.

























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