August 22 2014

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3 posts tagged "Tim Soar"

In New York, Young London Calling


It’s surely a coincidence—right?—that the first day the London Showrooms and its clutch of young designers hit New York, so did a blast of rainy, London weather.

It didn’t stop the mass of editors who came for the Showrooms’ press viewing at the Soho Grand yesterday, where Mary Katrantzou, Holly Fulton, Michael van der Ham, J.W. Anderson, and more of the city’s up-and-comers (and their collections) were holding court. No surprise to find a crush at the penthouse suite. Interest in British fashion feels greater than at any time in recent memory. “I feel like London’s been an emerging talent itself for such a long time and I think it finally felt like it emerged,” said the day’s hostess, Sarah Mower, the British Fashion Council’s ambassador for emerging talent. “There’s been a real coming together, a critical mass of talented people who have been working away quietly and methodically for such a long time. Suddenly we had really strong collections from Meadham Kirchhoff [above], Mary Katrantzou, Christopher Kane, Erdem; they look mature now—they’re proper small businesses who people are really taking notice of…there’s a buzz with substance behind it in town.”

Katrantzou agreed. “I got a feeling that with some people, something clicked, and it was very real,” she said of the response to her Fall show (left). “They came to the showroom and you felt that it was very positive—I was amazed to feel that response.” Her koi-pond print pieces and fleurette-dotted dresses remain showpieces, but Katrantzou also expanded into knitwear this season, an especial boon for retailers. “It brings a completely different story for people to buy into,” she explained.

Men’s designer Tim Soar was also celebrating a season of firsts: his first full womenswear collection, with menswear-inspired pieces, like a raw-edged tuxedo jacket and a blocked, backless dress that had begun life as men’s suiting separates. In its first season, the line has already been picked up by some of London’s best stores. Looking at his covetable leathers, like a long, black leather skirt and a fur-collared varsity jacket, it wasn’t hard to imagine why.

Holly Fulton’s Coco Chanel-in-Scotland-inspired collection was also on display, with bright red lip prints not only appearing on silk maxi dresses and printed pants, but also on oversized enamel earrings. Fulton is working on a new project, she whispered, one that transcends the fashion sphere—her graphic prints being especially adaptable to such things—but wouldn’t say more for the moment.

Jonathan Anderson of J.W. Anderson—another menswear designer who recently added women’s to his repertoire—was exciting special attention as well. (Mower singled him out as especially promising among the new guard.) His paisley-print tops (left) and angora knits—long dresses for women, cropped sweaters for men—were exciting in a kind of loony, late-sixties way. His collection looks modern, but as Mower pointed out, Anderson, like many of his compatriots, is using older techniques and long-established craftsmen; his outerwear, for example, is made by the same factory that makes jackets for the English gunmakers Purdey and Sons. Meadham Kirchhoff, showing in a room across the penthouse, sources English-made Linton tweed (the same tweed, incidentally, Coco Chanel herself used to use). “One thing I’m really excited to see is that all this great production is being done in the U.K. It’s really precious to all of this generation that things are made by craftspeople near home,” Mower said. “Without being tub-thumping about sustainability and the rest of it—that’s [just] what’s close to them.”

Photos: Courtesy of the BFC

The Latest Visitor To Saint-Tropez, Young London Takes On The Track Jacket, And More…


First Chanel, then Louis Vuitton, now Lanvin—the rush to Saint-Tropez continues. Elbaz and co. are the latest to open a shop in St.-T, and they’ve got other plans too—including a refurbished Web site and the new Fall campaigns, like the Meisel-shot womenswear ads starring Magdalena Frackowiak, Anja Rubik, and Mariacarla Boscono (pictured). [WWD]

The World Cup commentator you’ve gotta read is…Hilary Alexander?! Turns out the Telegraph‘s fashion critic has a healthy extracurricular interest in footer—and she’s been live-tweeting games at @hilaryalexander. [Fashionista]

It’s a good time to be a young designer in London. Nike is the latest brand to collaborate with emerging designers, giving Katie Eary, SIBLING, Julian J Smith, Tim Soar, Felder Felder, and Hannah Marshall free reign to rejigger the N98 track jacket. The results, predictably, are loud. [Vogue U.K.]

And bad news for NYC shoppers: As of Saturday, all of Manhattan’s Apple stores are sold out of iPhone 4s. If you want one, you’ll just have to…oh, yeah, order online. Why wasn’t everyone doing this in the first place? [Racked]

Photo: Steven Meisel/Courtesy of Lanvin

MAN Day Does Its Homework


Carolyn Massey is making good use of her Rolodex. The menswear designer’s Fall 2010 collection (pictured, left) kicked off LFW’s MAN day yesterday, with help from some high-profile friends (Little Boots, who created the soundtrack, and Hannah Martin, who created the jewelry). But she also got a boost from one very low-profile one—namely, an anonymous man on the inside who arranged what she described as “unprecedented” access to an archive of military apparel patterns. “It was a way of legitimating the reference,” Massey explained of her studies of the old patterns, which shaped the construction of the collection’s smock tops and flight suits. Not that she didn’t put her own stamp on the clothes. Massey injected petal pinks and beiges into her otherwise neutral palette and moved into prints, inspired by Ray Johnson’s postal art.

J. W. Anderson, who shared the morning runway with Massey, was also inspired by the old—old friends, old lovers, and old iterations of himself, he said, and offered a collection steeped in nostalgia for salad days (pictured, right). Fringed and patchworked coats and bags referenced items made, of necessity, from blankets, while stitched-up Frankenjeans conjured a poor man’s mending. The look was punk-inflected, with lots of plaids and studs, but the attitude was more dreamy than hard. Anderson said after the show that he was in a Joycean frame of mind. Was that a reference to wandering Leopold Bloom? The collection did have a peripatetic quality, and you could almost imagine his men rambling around town in their studded Swedish military boots. Would-be wanderers could get instant gratification: Anderson was offering a selection of items from the collection for immediate sale via, those stamped and numbered boots among them. (The journey’s already begun, apparently—by press time, the boots, were already sold out.)

The literary also made an appearance later in the day, at Tim Soar. In Soar’s case, the idol was Proust, and the idea was the remembrance of things past. (Ah, that old chestnut.) Soar took that notion literally: He explained that he saw his new collection as a remix of the “greatest hits” of menswear over the past 150 years. The argyle sweater, for instance, was updated with leather diamond inserts, and the dress shirt turned up as a sheer blouse. Soar tightened up his proportions for Fall and said after his show that he had based his tailoring on studies of old patterns, which emphasized a front-to-back construction rather than the contemporary side-to-side. Rather less technically, Soar went on to note that his focus this season wasn’t so much on creating “looks” than on creating luxe garments. “I think that’s how people dress, really,” he noted. “They find something they love, and they find a way to work it into the wardrobe.”

Photos: Ray Tang / Rex / Rex USA