Ports 1961
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REVIEW
COMPLETE COLLECTION
MILAN, January 17, 2012
By
Ports' Ian Hylton was feeling debonair for Fall. He spoke of a thirties gentleman as his inspiration, dressed to lounge—though let it be said that "lounging" in the thirties had connotations light years away from the sweatsuit-casual lounge of today. And, actually, when half the century-old knit labels in Milan are tripping over themselves to introduce cashmere sweatpants, a more refined brand of louche isn't unwelcome.Hylton's silhouettes were drawn from Brancusi, and modeled on the shape of the obelisk. There were some that were soft and fluid on top, and larger below, with wide trousers; some were the opposite, with square-shouldered jackets and trimmer pants. Some had both the shoulders and the pants, cinched in at the center with nipped jackets and oversize waistbands.Going all-in on the hourglass look might challenge Mr. 2012 (more so than, say, Mr. 1932), but the pieces individually were undeniably sharp and looked to be expertly made.
Hylton emphasized the "discreet luxury" of his new collection—discretion that was, at least in a runway setting, occasionally too discreet. The somber-toned collection, almost entirely in black and gray, had elegance to spare, but might've benefited from a bit of spark. Some heat was generated, ironically enough, by the thick oval-framed glasses, added for what he called an "intellectual touch." He sported a pair himself, suggesting that a good designer may be his own best customer. Smart.
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