February 12, 2011 New York
By contrast, Spurr said in his studio a few days before the show, his new collection is "a lot more European in its approach." By this, he means dark: Save for an excursion into a rich, pumpkin-colored gold, the clothes on offer were almost exclusively black, white, and gray. "It's definitely a more sinister take on menswear," he said.
It may have its roots in commerce. "We need to increase and expand our international distribution, and guys in Europe wear black," he said candidly, but leveling the palette had the added effect of highlighting what's so strong about the label in the first place. Spurr is a tailor par excellence, and one who has a sharp way of bending fabric to his whims, not only with cuts, but with tricks, too. Take a graduated-stripe suit, its pinstripes close together at the jacket's front, widening subtly to greater distance at the back. The result: a guy who looks smaller in the gut and wider across the back—just as he'd hope to.
Sinister, it turns out, works for Spurr—maybe even better than the suavity he used to channel. There were menacing touches, like the hand-knit cashmere hoods and leather-and-cashmere driving gloves, that underlined the point a bit too strongly. But trading James Bond, his lodestar of old, for the Bond villain proved a very good fit. The bad guy's usually sexier than the do-gooder, anyway. Case in point: Ed Westwick, brooding somewhat maliciously from the front row.