Interestingly this show tackled the legacy of David Lynch from a fashion perspective and indeed we could probably leave it up to Masanori Morikawa (Christian Dada) to be the right person to be able to do this with his deconstructionist Dadaist imperfection-is-beauty view of the world – and if then one imagines the setting of beautiful Japanese techniques and fabrics where East and West easily blend together, where David Lynch colors are intact and with here and there some raffled imperfections as if the ugly canvas would be boring deeper into your vision than the actual print thereon – then look, here is that denim rag-doll overcoat which you can see in the slideshow below as part of an inspiring and festive collection. For here is art on the runway.

Here are some of the details. For we see corporate brands who are sponsoring (like Kappa for sportswear and Dickies for workwear) in inverted and obverse poses in deconstructed formats and in ugly colors as if indeed this would be the latest concept art you did not hear of yet in a museum of modern art near you, as so much of this stuff in the museum is often impossible to appreciate unless you actually know each thought and each breath taken by the conceptual artist that created the works.

So when by the runway it is nice indeed to be able to appreciate such work in all it sartorial delight with short references only, which in this case are of course the colors and work of David Lynch (spirals, and other graphics), the deconstructive ideas and Japanese traditional techniques (check the Kimono – collars and the silks) of Christian Dada, and the deliberately perverse inversions of modern corporate logos.

And it must be said that the latter is definitely progress from some years ago when companies would never allow their brand logo to be touched and to be ‘remade’ into something entirely different. But then in 2014 came Louis Vuitton allowing their logo to be ‘destroyed’ by some famous designers and artists (the Iconoclast collection) and ever since this idea of creatively destroying logos has been adapted by other companies as well.

And that leaves us with the Rose as a signature in this collection, which no matter how hard artists try, even if by any other name, will always still be a rose.
























Words by Sandro and photos from Christian Dada.

Watching those Rock Chic Beatle wigs in vibrant anime style pass by on the RYNSHU runway can be lots of fun and we hope you get a good impression from the pictures below. Because this old Japanese master who changed his name many times but who eventually settled for RYNSHU always managers to deliver.

This time he is inspired by a rock tune music video he has been working on in collaboration with musical artists, but the basic concepts for his collections are always nearly the same: Classy Japanese techniques that go back ages, a wealth of fancy materials (Alpaca, Cashmere, silks, and viscose), flower embroideries and special stitching, and aye, those many shades of black supported with some cool sotto voce hues like eggplant, fuchsia, lilac or midnight blue.

This all always for a grand show makes. And if you then still add to this those androgynous anime looks as if it is the latest installment of your local cosplay event the picture becomes complete.

RYNSHU has a store in Paris on 270 rue St Honoré and undoubtedly would be an excellent stylist for a major movie release in Hollywood one day if he is not already collaborating on a similar project. And yes, hence all the praise, celebrities are seen at the RYNSHU events but thank god not every designer frequented by the Instagram elite has yet gone mainstream. For it is often the mainstream that has the ability to kill off an original style by demanding that the speed of reinvention and innovation is increased manifold. But there is nothing to reinvent here it is just perfect as is.

Therefore, that the Rock Chic of RYNSHU may last forever.






















Words by Sandro and photos from RYNSHU

Going to a Boris Bidjan Saberi show is always a guilty pleasure that leaves you for wanting more. So to the next show you go. Despite the theme always being the same. Long lost travel. Overcoming impossible obstacles. Adventurism and masculinity from a forgotten era before Disney bought Star Wars. Think Dune (there is a reason this fabulous book was never put on a film again). More so think Chronicles of Riddick. Radiation goggles. Leather hides and straps with buckles made from mysterious rare earth materials or tar-like synthetics with properties never seen before. Monochrome colors for long dusty roads that never end. Sunsets or dawns that never come. You get the drift as you drift away slowly when watching this gem of a show.

So for those of you who are new to the work of this middle aged master, Boris Bidjan Saberi, besides being a prolific designer, is also an adventurer, an ice climber, and a cave explorer, who is apparently quite capable in channeling his inner Han Solo from experience so that in artistic life he finds the creativity and the energy to put up futuristic characters for all to be seen – aye encountered – as personas on the runway.

We’re here …

In the past we had the chance once to try on one of the boots that belongs to the costumes and they are mighty heavy, pointy, and frankly – dangerous to boot. We also had the experience of sampling his dark perfume and again completely in line of character of his stark and dark and dusty creations this dusky smell fell right home. So it is funny to think that the Boris Bidjan Saberi Flagship store is in Barcelona, which is such a colorful and happy place, whereas then it must be said that there is also a store somewhere in Gotham – New York.

Which ultimately may be more of the right fit as a setting for this type of the Boris Bidjan Saberi Philip K. Dick universe:

“You mean old books?”

“Stories written before space travel but about space travel.”

“How could there have been stories about space travel before –“

“The writers, made it up.”

― Philip K. Dick in Do Androids Dream of Electric Sheep?
























Words by Sandro and photos from Boris Bidjan Saberi.

And now for something completely different!

For while the calendar Fashion Week Homme AW 18 is slowly progressing in Paris, Haute Couture is already starting. Mind you that ‘haute couture’ is a term protected by law in France and that therefore you will not be able to find it in New York, London, or Milan – that is to say – at least not for men. Because haute couture basically means beautiful and incredible fabrics made entirely by hand into high end dress wear from beginning to finish. No budget required or necessary. No price tag possible. These are priceless items for which no market exists. They are hors norm – exceptional items, the stuff for red carpets and old world galas where the music comes not in stereo or mixing sounds but with violins leading discrete orchestras playing a rhapsody. And thus, where London, New York, Milan, and Hong Kong have bespoke tailoring – only Paris has couture.

Just as men’s fashion shows often have a woman or two on the runway to show and illustrate diversity in shape, form, and color, it is not well-known that sometimes the haute couture presentations will indeed also have a couple of men who are facing the very daunting task to walk the runway with the ladies. And of course these men will flat out fail if this were a competition so as to look as great as only a woman can, but what is interesting here for Best Dressed Man is that when you put men and the women together in one show for Homme that the end result is different than when you see men and women together in a show for Couture.

For at Homme what you get to see is a rather boring genderless made-for-the-trend unisex wear fit one and for all and ready for the latest street style, whereas when you see men and women together in Haute Couture that the women will look very feminine and the men beautiful while the style will be timeless. And that’s a big difference.

So enter here couturière Yumi Katsura from Japan with a grand show in the Imperial Room of one of Paris’ old grand hotels not so far from place Vendôme with a collection called Bonds, a word to represent the link between East and West in the art of painting nature, and enter two men on the runway between women wearing the most beautiful creations. Theme is nature and wildlife on prints created through silk dying (Yuzen).

And what now shows miraculously is that both male and female identity – side by side – is beautifully preserved, complimented, and safeguarded, rather than confused, mocked, or aye – erased altogether as we so often see happening in the less traditional shows for Homme. It is thus the beauty of diversity that shines in the Yumi Katsura Haute Couture collection, and the not the mindless deconstruction thereof. Or in this case, couture beating homme.

Avant-gardists, progressives, and other gender neutral fashionistas please take careful note.

Words by Sandro and photos by Yumi Katsura.

There is never a good fashion week in Paris without including Officine Générale because of its timeless French streetwear chic. And just like Agnès b., Officine Générale is always a refreshing reminder that in France at least ‘yes, it is possible to make beautiful clothes for men from 18 – 77 years old’. But that is not to say that one size fits all. For even though what you see in the runway may seem traditional and elegant, this does not mean that very careful attention is paid in how the ready-to-wear items are made. And this, besides its French flair and class, is what gives Officine Générale the edge.

In this collection we see beautiful sweaters made from special fabrics like Scottish yarn for example that took time to source. We do not notice seams so that the clothes fall more casual – with more nonchalance – around the body. Textures are softened rather than – pop culture be cursed – heavily printed, hardened, or emblazoned across. Military uniforms appear as a leitmotiv. And there is interesting contrast of washed out denim vs classy and soft fabrics. Finally we notice ‘dated’ colors which may very well be the best part of this winter collection. Khakis and browns will do that to you. That forgotten decade 80’s look. But all in the pursuit of the natural. That free flowing casual French attitude of laissez–faire – just let it go – which may very well be the secret of the success of Officine Générale around the world.

Highly popular in America and around the world in 130 selling point locations you can find them at Barneys New York. In Paris in two stores and at Bon Marché of course. And most recently with a new store in London on Beak Street. It’s not surprising this brand is going places with its timeless French streetwear chic because it’s simple and beautiful and does not look to set or create a trend. For who needs Pop Culture if you are French?

And that brings us to one item in this collection that may become the well-noted exception to this conception: Mexican Police boots from the 90’?! A stark original and some seriously dangerous retro that spells trouble and which may very well cause a new trend or cult following. More like France gone Tarantino.
























Words by Sandro and photos from Officine Générale.

The Agnès b. show and collection this week in Paris is as elegant and timeless in its beautiful simplicity as ever and because indeed it is becoming difficult to still find nice words to describe her style and way with fabrics, it came as a welcome relief that Agnès herself is always very keen in her press release to write down very precisely not only what the collection is all about and how it was inspired, but also that she always likes to leave a few encouraging words and some motivation for those who so admire her creations.

So here from above as per directive from the boss herself here is a short guide for gentlemen on how to wear it in style when you dress:

  • Dare to be yourself
  • Mix raw materials with sophisticated materials
  • Be authentic
  • Be faithful to your own values
  • Assert yourself
  • Pick a full jersey outfit: coat, jacket, pants, and shirt
  • Never sacrifice to your style
  • Keep a couture style always
  • Make it wear easy

Inspiration for this latest Agnès b. marvel of a collection came from the early seventies, from Bob Dylan, from the rock band the Animals, and from the desire to always create new personalities from different eras in this case bringing back the Parisian dandy from the streets of yore.

With this type of class on display one of course cannot fail to spot then some unusual items which may seem out of style today but which are really timeless menswear stalwarts if you think about it: the knickerbocker with pulled up socks, berets and classy hats, simple windbreakers, wool pullovers in faded colors, tweed patch pocket jackets, wide cotton trousers, etc. etc. and this list goes on and on and on to show you (just take a look at the slideshow) that in order to look timeless and elegant and feel great and wear a simple smile on your face rather than a sullen urban scowl that you really need no trendy urban chic or contemporary cool or popular clothes – because life is not about you after all when you finally get away from your smartphone. No, the latest Agnès b. grand collection proves once again that dressing nicely for men is, and always was, about feeling happy and looking good, and stylish, and comfortable. No likes necessary.
























Words by Sandro and photos from Agnes b.

This dapper and pretty show collection by French brand Etudes was always going to be somehow halfway political as there is always something interestingly collectivist and genderless about the Etudes menswear conceptions when following their shows, and this time no exception (we imagined the stale look of square, brute, and odorless Mao jackets) but surprise, surprise then that to popularize the stalwart line items which were nevertheless painted on notes from the underground (show setting was a basement underground of a brutalist Parisian building) when we noticed the familiar logo of the New York Times appearing as a print signature in this otherwise beautiful AW 18 collection.

Oh well, granted that the NYT logo is quite pretty, fashionable, and iconic in and off itself so that indeed the NYT print with its mean lean Gothic letters looks great on the runway set on scarves, sweaters, or T-shirts, but we still have some troubling questions when the press release for the show then introduces the New York Times as a publication which is “… a weathervane of opinion within fashion and the arts.” And so it appears that fake news excellent trends makes these days – even on the runways in Paris as a meme.

Citizens of the underground indeed, because such was the theme of this show, and it must be said that the collection comeback signature of safety orange on dark olive, on camel, against shades of black, with some Prince of Whales in electric blue, while Adidas and Salomon provided fancy city loafers, and while the carabiners with parachute cord and climbing rope in multicolor were used as belts or decorations, with those genderless appearances, and the classy tailoring, and last but certainly not least (see if you can spot it) the magic appearance of Fritz the Cat in print, that all these things taken together made for a versatile and eclectic AW 18 Etudes collection which yet managed to keep its equilibrium and unity of purpose despite any avant-gardist progressive studies (études) undoubtedly preceding the actual défilé on the runway.

Or maybe just because of it. Because Etudes New York Times may yet become like Louis Vuitton Supreme. All they need is to come out of the underground basement and start a pop-up store. And perhaps call it Bolshevism Inc.























Story by Sandro and photos from Etudes.

Sean Suen is from Beijing and as such is drawing direct inspiration for the AW 18 collection from the story of the life of Pu Yi aka the Last Emperor of China. Therefore see if you can see in the pictures of the collection below the three stages of the last emperor’s life story, and if you can distinguish one from the other, a journey from boy-emperor to emperor to prisoner and accused war criminal to ultimately respected citizen after the age of empire is over. The story is set in the first half of the 20th century.

After a very successful first entry onto the Paris runways one year and a half ago today people now look forward to the latest Sean Suen collections with an anticipation of expecting classy traditional bespoke and tailoring, in soft palette colors, darker for winter and lighter for summer, but gifted and lined with the sly sensuality of oriental forms and shapes, a concept and a design which, for once, does not set out to break a mold, to dissect traditions, to deconstruct beautiful menswear, but to simply emphasize natural beauty, and perfect shape, good gait, and dapper walk.

It’s exactly this what is missing in so many collections on the runways these days which only try to shock and awe by being disruptive or vulgar, but no, young designer Sean Suen probably keeping in mind China’s deep cultural and historical civilization and traditions, does not need to prove himself in such contemporary popular way, but like an old master would who already paints his creations with a soft brush, with gentleness, and with charm, steers directly for the classical interpretations of a new elegance.

Because it is traditional elegance which is the birthright of man for when he wears something that fits well and looks good – no extra cuts, tears, kinks, or hoodies or jeans necessary. And thus the only thing ‘trendy’ thing you will notice in the collection AW 18 below is the use of oversized jackets and sweaters but that was done so as to highlight the story of the life of the last emperor as a boy.

So, to sum it up, as the British would say – that there is no substitute for class. And we will repeat it here once again that the beautiful creations of Sean Suen give us at Best Dressed Man confidence that perhaps the future of classical bespoke fashion for men – outside the city of Milan of course – for this millennium may very well belong to China.

So please forget K – Pop and J – Pop. Because that is so vulgar, so passé, if not straightforwardly outré. But let’s let Sean Suen take us back to the old tailoring traditions of the Middle Kingdom called Cathay.























Story by Sandro and photos from Sean Suen.

Hed Mayner again pushing the boundaries of sartorial class with his background in French couture with a sumptuous collection of oversized Chic L’Endroit à L’Envers, an inside-out kind of chic which tackles every trend of the moment but which manages to stay super classy, wearable, and yes – playful.

First thing that must be noticed is that by using only Sotto Voce colors in the palette that thereby you keep things traditional, and that by using classic suit shapes and forms you will guarantee the level of distinction and class that is needed to have your show’s elegance, and add to that traditional quilting, cottons and wools, but then from there on the collection becomes playful like a rollercoaster in what the press release names …

… habitual daily gestures becoming adventurous in an unusual setting …

as this is where the deconstruction and dissection sets in (décorticage), the peeling away and the hulling of the traditional sartorial items, with the interesting twist that Hed Mayner starts his re-creation process from the inside-out – called l’endroit à l’envers in French.

The press release claims it as …

a bourgeois repertoire cut differently from within:

  • Oversize it, yes again, in each and every show this week in Paris everything is oversized, it’s the trend
  • Use different sizes at the same time, like oversize level one, level two, level three
  • Overlay it and underlay it in contrasting colors of different materials
  • Wrap it and drape it, another Paris runway trend this week
  • Collapse collars and cuffs over and about
  • Let it hang (like your tie over your shoulder and your shirt out in well-studied nonchalance) and certainly don’t button or zip anything
  • Loosely wear studied spectacles

Et puis voilà – there you have it – now you will come to see what Hed Mayner likes to call ‘form following function’, with what we can see the function being to look classy and cool all at the same time, while the forms and cuts while staying within the realm and boundaries of sartorial bespoke, still manage to give the impression of contemporary streetwear chic (draped, loose, and oversized).

No questions asked – the Hed Mayner AW 18 collection is a grand success.
























Story by Sandro and photos from Hed Mayner.

This show was simply called ‘Lapped’ probably because the models on the runway were draped and wrapped into their winter menswear rather than to be dressed or clothed in it and, frankly, in a way this makes sense when it is really cold outside, and if then you can still manage to move about in high designer streetwear chic you – and the designer Juun J. from Korea – will have done something right. For it is never too cold to go in style.

Covering Juun J. before we noticed the same signature of lots of exaggerated oversized menswear drapes which seems to be the hot topic of Paris FW this winter with every second designer who presents (and thus a trend), but we know that Juun J. did this popular feature all along in previous years as well, so perhaps that his draping and lapping will catch on as a trend in the coming year as well.

Nevertheless we see here the one hot item museum of modern art piece pop up once again – the reversible jacket blazer-coat, or coat-blazer jacket, hmm reversible coat-jacket – where the one side is coat and the inside a street jacket, the latter functioning as a scarf to be wrapped sleeves and all around your neck when you wear it as a coat. Well, check it out below in the pictures so you get the idea rather than reading this sentence again.

But that is not the only signature noticeable for Juun J. who loves to go either genderless, or gender neutral, or non – gender with his collections which is achieved as is well known in the industry by putting loads of tall slim models of both genders in wide and oversized clothes, while giving them carry on hand bags, and by adding some jewelry, caps, and hoodies so that no one would still know from afar if this is a men’s or a women’s show, but hey what can we say, because as they say – beauty is only skin deep.

And so it is with this fab and posh genderless streetwear chic AW 18 collection and a special honorable mention must go to the marvelously lapped drapes set in colorful Prince of Wales and Scottish Square patterns (some hounds tooth and pin stripes as well) as these items defy the standard Juun J. collection signature colors of military green with shades of black. So here is our request: to drape it. Lap it. And color it. Pattern it. Wrap it. But please don’t paint it black. Because this Paris winter has been dark enough (lowest hours of sunshine since weather records began).

Juun J Paris Fashion Week Men Fall Winter 2018-19 Paris January 2018Juun J Paris Fashion Week Men Fall Winter 2018-19 Paris January 2018Juun J Paris Fashion Week Men Fall Winter 2018-19 Paris January 2018Juun J Paris Fashion Week Men Fall Winter 2018-19 Paris January 2018Juun J Paris Fashion Week Men Fall Winter 2018-19 Paris January 2018Juun J Paris Fashion Week Men Fall Winter 2018-19 Paris January 2018Juun J Paris Fashion Week Men Fall Winter 2018-19 Paris January 2018Juun J Paris Fashion Week Men Fall Winter 2018-19 Paris January 2018






















Story by Sandro and photos from Juun J.

Page 1 of 1412345...10...Last »