It's a draw for classic men's clothing: three-piece, double-chest, roped shoulder. The kind of pedantic fixings have been sensible out of fashion too late, since men's clothing has swung towards the motorcycles instead of tailor-made suits.
It has certainly not been evident at the London Fashion Week But in recent seasons, focused as it is on emerging talents, whose major differences have come, mainly from destroying traditional men's wardrobe components.
But it seems that the autumn / winter 2019 men's season has marked a return to spivvy, polished, interwar styles popular by the TV series Peaky Blinders. Half a dozen of the performances have been rooted in that period – granted Charles Jeffrey's Loverboys dressed in Flapper dresses, but it was a tartan flat-capped look that could easily be imagined on lethal Tommy Shelby.
Which could almost all suggested by the label Kent & Curwen, established as a Savile Row suite and recently revived under designer Daniel Kearns – along with David Beckham, who part-owner the label and understandably has great importance in the campaign. The brand has created a collection of capsules in collaboration with the BBC crime film. It sounds like a strange mix (and honestly I don't understand the exact ramifications – with the stars – the costume designers? Uncertain), but in reality makes perfect sense. And not just because it will attract attention (I just wrote a lot about it).
The collection will come in the store just as the fifth series is launched in September, in a nice advertising item. It also fits in because Kent & Curwen was founded in 1926, and this collection – collab and otherwise – is stacked near the style of the style, which still has the appeal and relevance of men's wardrobes. The models looked like well-bred English public schoolboys (via a time drama), which ducking under the low-lintel doorways of the neo-Gothic 1890s showroom at London's Temple Place in their Brideshead revised shelf.
The appearance has been repeatedly repeated – the college-striped blazers, rugby sweaters, the melton wool duffel coats and the swinger officer's great coats are troops of men's clothing that appear, apparently, every few seasons on various catwalks of fashion. But these were, if they were rude, at least genuinely done, and given Kent & Curven's antecedents, they had authenticity. Kearns also suggested what is already striking as the next season's key element: The Big Checked Coat (deliberate capitalization). It was dazzling in one word.
One of the tires was clear at Astrid Andersen – who mentions because Andersen has been one of the great advocates of the aforementioned sportswear. Strangely, this time, she tracked the genealogy of the training session right back to the 1920s, and suggested an elevated pile of sportswear silhouettes; The training suits came in vintage look in cable-knit, along with slithery pajamas and baseball shirts and kimono and large, baggy cardigans. It was fuzzy – texturally and thematically – that Andersen had undertaken not to tailor or trace, and instead offered something woven between them. Her point of view is usually love or loathe, and the stronger for it. This felt a little light.
Hussein Chalayan could never be described. He is an indisputable, incomprehensible intellectual, a "philosopher", a "thinker", and many other words in quotation marks that generally mean in fashion that clothes are heavy with serious concepts. However, his men's clothing shows a consistent defeat of the hand – and deserves far more attention and recognition than it gets. This time, Chalayan even seemed to be having fun, titled his collection "Suppository" – a real threaded often on his work, which he had embraced here. "Pretense on all media can healthfully lift us away from our reality," read a somewhat heavy-in-cheek manifest on each seat. "Add wealth to the monotony of our lives."
These were not pretentious clothes at least. Granted, Fluoro Yellow and Orange Lipstick Chalayan slathered on his male models came across as slightly affected. But the clothes themselves, inspired by riding, fetishism and military maneuvers – apparently, rubber salos are the current base for all three activities – amazing. Peep-show windows were cut between different layers, and braces and textile garments folded around the body. Trousers were weird and soup, draped, inflexible; but the outer garments stand out as some of the finest we probably will see, especially short, wide short kimono sleeves, camel, navy and – of course – a checkered wool.
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