New York Fashion Week offers little by way of men’s fashion – the spotlight shines on women’s clothing here in the American fashion capital. Yet this season the men’s schedule was particularly emaciated, which was packed with Thom Browne on Tuesday evening. To run an “Annie Hall” Quip: the men’s clothing was forgotable. … yes, and also such small portions.
Only one designer, Todd Snyder, a J. Crew -aluin who set his claim as an America’s last line of defense against the roaring tide of casualization showed a collection fully designed for men.
His show, inspired by memories of the Saint-Germain-des-Prés-district of Paris in the 1980s, found Mr. Snyder good at his element and offered a classics with a twist buffet.
Do you want a tweed suit with herringbone? Mr. Snyder has it. An overcoat with raglan sleeve? What about a handful? Corduroy pack with folds? Say less.
There was nothing wrong with his collection (except perhaps, the attack by Schoolboy Shorts, who felt like a misunderstanding on a shivering February day), but there was also little in it that the heartbeat increased.
Mr. Snyder is a realist. He dresses many men who would break out in hives if you sat down to watch a catwalk show. They just want tight pants. He gives that to them. Yet there were a few, although not enough, in this collection. A striped fuzzy sweater that was aware of Johnny Rotten, and a Risqué Band-Ballen Black shirt with translucent sleeves left Mr. Snyder running away from that safe haven of “would Paul Newman have worn this?”
Mr. Snyder has settled as the friendly guide for the unskilled male shoppers of America. He should trust himself to push them a little further.
At Calvin Klein Collection it was quite clear which direction things were on their way: the 1990s. The HerenSembles sprinkled in the debut of Veronica Leoni for the label were a capable, as cold, Boxticking of Clinton era Modes: the graphite gray adjustment; the hanging, diluted blue jeans and modest flannel shirts; And especially shoes from square toe.
These to-the-point designs nodded to the pre-Y2K glory of Calvin Klein. (Mr Klein himself, who left the brand in 2002, was present in a routine black suit.) But I also saw many of the 90s Prada, when the designer of the men, Neil Barrett, was winked at the offer On prosaic corporate codes.
Calvin could have used more wink. As far as debut was concerned, this was then right – an indication that Mrs. Leoni had done her homework. The question remains: for which man is this? If you want an inconspicuous, squeezed suit or a workaday shirt, you can find one of theory or vince or even uniqlo-op, what told me, a price that is much lower than the new Calvin Klein sails at the reboot Making this reboot an uncomfortable market proposition.
The Jamaican designer Edwin Thompson did not organize a catwalk show for his Theophilio label this season, so I searched his collection online. (Mr. Thompson won the CFDA Award for emerging designer of the year in 2021, but has been frank about the peaks and valleys to keep the company standing.)
By viewing it on the screen, Rue made me that I had not seen the clothes up close, especially a number of very cunning-and-the-family bricks flared pants. All the more because the Theophilio collection came on the internet on the same day that Kendrick Lamar was wearing his division Laars-Cut Jeans during the Super Bowl Half-Time Show. The Flare-Aissance picks up steam.
This week’s real surprise came when I received an e -mail from Safa Taghizadeh, the designer of Cobra SC in Los Angeles. Cobra was a label that I used to see regularly around this time of the year, but the last Instagram was from almost a year ago and I thought it was completely stuck.
In a Teeny hotel room in the Bowery Hotel, Mr. Taghizadeh explained that the Covid-19 Pandemie had struck him hard. Then he split from his partner, Christopher Reynolds, the C in sc. Mr. Taghizadeh held the label churn, largely as an adapted clothier for celebrities. (While I left, Jennifer Lawrence’s husband, the art gallerist Cooke Maroney, was on the road.
Mr. Taghizadeh rose to reuse the label. I saw buyers biting. On steel racks that were clamped at the foot of the bed, generous ribbed knits, bomber’s bombers were tailor -made wool and boxy packs with double rice in Basil Green and Sepia, making it clear how Mr Taghizadeh had succeeded in Want to float by making red carpet clothing for actors for actors. Such as Joel Kinnaman and Gavin Leatherwood.
There was nothing groundbreaking, but it was enough to re -confirm Cobra as a label to underline.
The strongest ideas for men of the week came from Eckhaus Lattawitch just as straight pijans and cunning, but classy knits, including a particularly fantastic black ribbed cardigan with a cornflower blue hem. Also to be seen was the well -known funky palate of mustard and shiitake browns from the label.
But what made this collection so powerful were the leather jackets and shoes, produced in collaboration with ECCO Kollective, an Avant -walkers from the Danish shoe brand. It resulted in oil-lying zipper with grumpy hems and muscle man sleeves-a silhouette from the 80s that was reminiscent of Claude Montana. The buttery jackets hung Jauntly on the models, as if they were made of sweater, not hide.
This doctrine was Lux. So Lux that they might earn the highest praise you can lobe for an American brand: they belonged to Paris Fashion Week, not New York.
