22 posts tagged "Dior Homme"
The Spring ’15 menswear collections have marched down the catwalk in London, Florence, and Milan, and are now under way in Paris. Before the new clothes hit the runway, we’ve asked some of the most anticipated names to offer a sneak peek. Per usual, it’s a busy time for all—designers and fashion followers alike—so we’re continuing our split-second previews: tweet-length at 140 characters or less. Our entire collection of Spring ’15 previews is available here.
WHEN: Saturday, June 28
WHAT: “With this collection, the dialogue with Christian Dior continues—his personal signature is present. It’s about travel from the city to the sea, where the bourgeois meets the bohemian.”—Kris Van Assche. The designer sent us a sneak peek of his Spring ’15 collection, above.
What is the allure of Dior Homme circa 2015? That is a question that remained top of mind for Kris Van Assche when conceiving his latest collection. The collection, while labeled as Spring, exists independently from what will appear during men’s fashion week in Paris at the end of the month. Essentially, this is a Resort offering, but Van Assche is hoping that we resist the semantics and focus on the details that matter—like, for example, the precision suiting in seasonless weights and shirts that stand out for their novelty finishings.
During a visit to the Paris showroom, it became clear that Van Assche has picked up where Fall’s linear theme left off. Last season’s sharply drawn lines have given way to sweeping “circuit” curves and kinetic zigzags as embroidery across cotton poplin shirts and light wool pants. The well-spaced dot motif has intensified into graphic pattern—think television static as a knit jacquard and gabardine.
“Pieces from one season respond to pieces from another season,” the designer explained via e-mail. “It is a natural movement since it reflects the evolution of my research on a men’s wardrobe.” That research is most evident in the way he created an elongated, transformable jacket that blurred the lines between Dior Homme’s strict polish and Van Assche’s urban ease. The depthless blue of a leather Perfecto could not have been achieved without much trial, if not error. And apparently, the subtle striping within the weave of a cotton wool—referred to as “rayures aléatoires” (shuffled stripes)—represents a closely guarded handcrafted technique.
For a collection intended to transcend seasonal constraints, Van Assche chose the most timeless of tones: red, green, and blue. A refracted prism palette, he said, channels the visual idioms put forth by early electronic music groups two decades ago. As for all those thumbnail-sized rubber triangles—sometimes stitched onto pockets, sometimes anchoring cuffs—they will demarcate this particular Dior Homme collection in lieu of a logo. Whether they return or not is of less importance than how Van Assche views Dior Homme as a sounding board for incremental innovation. “I’ve always pursued, in different ways, the idea of an ideal wardrobe,” he wrote. “As these collections become more and more important, they become part of a continuum.”
Following in the footsteps of such luxury houses as Balenciaga, Burberry, Michael Kors, Dior Homme, and more, Céline is heading east. WWD reports today that the French house, helmed by Phoebe Philo, counts China as one of its top five most important markets, and to celebrate, will hold a runway show and exhibition in Beijing on Thursday. Céline’s popularity is just another indicator of the shift in China’s aesthetic tastes. Formerly, the luxury market there was all about status, logos, labels, and flash (i.e., if you were wearing Vuitton, you’d want everyone and their mother to know it). As the market—and its heavy-hitting consumers—evolves, subtler (but no less luxurious) brands like Balenciaga and Céline are becoming more appealing. Interesting, considering as China’s logomania dies down, the West’s obsession with label-baring wares is experiencing a major resurgence. Something for the Met to explore in its forthcoming exhibition, perhaps.
Considering the fashion industry’s increasing investment in the East (see Dior Homme’s, Burberry’s, and Michael Kors’ recent shows in Shanghai, and Balenciaga’s presentation in Beijing), it’s no surprise that the Met is allegedly looking to China for its major Costume Institute exhibition next spring. According to WWD, details about the show are scarce, and a sponsor and participating designers have yet to be confirmed. The museum is also reportedly planning an additional show for the fall. We’ll bring you more info about both expos as we receive it, but in the meantime, we highly suggest you go check out Charles James: Beyond Fashion, which opened a whole twelve days ago.
China has emerged at the forefront of the fashion conversation with major brands such as Burberry, Dior Homme, and, most recently, Michael Kors hosting blowouts in Shanghai to build their respective presences in the region. Over the past few days, however, the country has earned negative attention after a group of more than sixty foreign models were taken into custody by officials for working illegally under tourist visas (as opposed to obtaining correct Schengen or working permits). Four people were confirmed to have been arrested, and the others will most likely face deportation. The crackdown occurred following a fake casting the Beijing police staged at Chinese agency M3, which presumably represents several of the suspected offenders. Breaking news suggests that additional models have been arrested in Guangzhou after disclosing the addresses of model apartments to authorities in efforts to cooperate. Since then, models have been advised to keep a low profile and avoid walking around in public with their portfolios and comp cards.
All of this speaks to larger problems the model industry faces, and China isn’t the only place where models run into paperwork problems. Here in the U.S., many fresh faces have gotten their big breaks during New York fashion week before having acquired proper working visas. But those types of girls are often placed with major agencies of international repute, which generally go the extra mile to ensure their models are accounted for with appropriate international visas. And so, most likely those indicted models belonged to comparatively shady agencies (that might take a shortcut and opt for easier-to-obtain tourist visas). Many suffer through professional issues, not unlike those depicted in the gripping documentary Girl Model. These are often young Eastern European girls who don’t speak a word of Chinese (or English, for that matter) and are struggling to make ends meet by stringing together jobs and staying in the country longer than their contacted period of time. You’re not about to see someone like Karmen Pedaru getting arrested. Still, these girls should have a voice, too, and it’s organizations like the Model Alliance that are making it a point to educate models about their rights and raise awareness for these issues.