Mar 10, 2016
where men are headed in the coming century. The days of the buff machismo are fading, leaving
men confused. Some have embraced this newer concept of a well-groomed, well-dressed,
intellectual man, while others, afraid to let go of the brute “I AM MAN!” complex, have resisted for
fear that they may become some feminine butterfly, devoid of the testosterone of their forefathers.
No matter where you find yourself in this emerging social conundrum, we can all agree that times
are changing, and the Spring-Summer 2011 shows were no exception. On a superficial level, the
fashion world was merely doing what it does best: creating new trends to replace the current ones.
However, on the grander scale of things, one might think of this summer’s mens fashion shows as
a preview of the decade to come. There were numerous colors and trends, but the overarching
concept was an exploration of shapes: belting of coats and shirts, very clean modern lines, and
fitted jackets paired with looser pants. After the chaos cleared, it was apparent that designers
were exploring the future of men.
The most noticeable trend of the Spring-Summer 2011 menswear shows was an exploration
of shapes. Many designers changed up the slimmer cuts from the last decade, pairing tailored
jackets with looser cut pants. The combination of a more fitted jacket on top with a wider legged
pant on bottom seemed like a good compromise. The tailored jackets trimmed the body but the
wide leg pants had a comfortable ease to them. Prada and Commes de Garcons even toyed with
bigger shorts, which might be a little more enticing considering three of Austin’s four seasons are
hot, hotter, and hottest.
There has been an undercover buzz within the global community about
If tailored jackets aren’t
form fitting enough for you, a slew
of designers were also belting
everything they could get their hands
on. Everyone from McQueen to
Burberry to Gucci were wrapping
trenches, jackets, cardigans, and
shirts with belts to create a form-
flattering look. Admittedly, some
belts were so tight and so high they
gave some models hourglass shapes
that might pass as women’s wear.
But don’t you Texans fret. I admit,
I’m not “hardcore” enough to don
an Alexander McQueen cummerbund
that high up my torso, but there
were several designers who belted in
ways most guys might consider.
Designers like Versace, Louis Vuitton,
and Kris Van Assche kept the belts
looser and lower to keep a more
masculine shape. If done correctly, it
can make men look leaner and taller
allowing us to spend a little less time
at the gym and a little more time
enjoying summer with the lady-folk.
If belting is still too crazy
for you, never fear. For every belted
jacket and loose pant sent out on
the runway, there were cleaner, more
tailored looks to match. Prada,
Burberry, and Raf Simons made sure
to keep the tailored man happy.
These clean lines and crisp fabrics
created looks that seemed to define
what modern menswear has become
and will continue to be, which brings
us to our next point: color and lack
thereof.
Fitted, clean classics are
nothing new, so names like Calvin
Klein, Jil Sander, and Prada brought
“trendy” by way of solid, bright
colors. “The” color, if there even was
one, was green. Shades varied by
designer, from D&G’s picnic green to
the mintier shades of Viktor & Rolf,
Hermes, and Louis Vuitton.
Not ready to commit to a
Crayola wardrobe? That’s fine too,
because black and white dominated
the runways like none of the other
colors could. For every look with
color in it, there were five more of
black and white, and this color
scheme spread across a wide range
of looks. Avant-garde names like
Dior Homme, Rick Owens, and Kris
Van Assche used the color on designs
even I wouldn’t mind trying on for
size. More conventional names like
Dolce & Gabanna, Versace, and Thom
Browne kept it simple in all the
right ways.
But wait. Jackets? Black??
Pants??? How will we Austinites
survive in this summer heat with
layers and dark colors? As if by
some fortunate act of fate, the
fashion industry spared us for the
summer of 2011. How? Lighter
fabrics and sleeveless everything,
that’s how. You heard it right guys.
You better start pumping that iron
now. Dior, Versace, Givenchy, Yves
Saint Laurent, and Burberry featured
sleeveless jackets, shirts, cardigans;
you name it. These sleeveless
alternatives are a surefire way out of
a heatstroke. And the jackets, well
many designers used lighter fabrics
like linen and even more fashion
houses tossed in some sheer fabric
shirts under a jacket every so often.
There was much to be seen
and even more to think about during
the Spring-Summer 2011 Menswear
shows at the end of last June.
Changing shapes were indicative of a
changing man. Bright colors and the
lack there of, rounded out a full
spectrum of possibilities. Will I
begin tying belts under my chest to
achieve an hourglass shape? No, but
I might try one on closer to the
waist. Sheer shirts? We’ll have to
talk about that one. However, change
may be inevitable, the fashion world
is exploring new ideas and opening
new doors for men whether we want
to walk through them or not.
The important thing to
keep in mind is that even though we
might not be ready to wear a tight
sheer shirt, we can at least consider
a tailored jacket with a looser pant,
or if a man be so brave, putting a
looser, darker sheer shirt underneath
that jacket. The world is moving
into a new decade, and I for one
don’t want to stay stuck in the
plaid-shirts-and-work-boots look that
seems to have such a strong hold on
Austin. As I said before, we men
don’t have to go to the avant-garde
extreme, but we can at least begin
to consider the more masculine
interpretations. Will these looks even
reach Austin? That is up to local
buyers and the male consumers that
influence their decisions. ~ IAN MILAN
Editor-In-Chief All photos Style.com
The Satorialist
Now here‟s a controversy sure to pull on the seams of the
fashion realm: men‟s skirts. This spring/summer line from H&M, male
models were sporting various styles, and among them were dark-
colored, pleated, calf-length skirts. The recent line is not the first
design of skirts for men.
The trend has been lurking in the underground world of
fashion for years, even centuries, now slowly emerging with full
support from a growing group of quite loyal, almost cult, followers.
Even historically, the skirt was worn long before pants or shorts
were invented. Many designers, along with Gautlier, have been
experimenting with this concept for years now, through very subtle
male skirts paired with everything from suit jackets to casual shirts.
Marc Jacobs himself is a fan, if not the ultimate current trend-setter
of skirts becoming a staple in male wardrobes. Now, thanks to H&M,
skirts are now available for every man who wants one. This fashion
trend deserves to be put to the test and given a real chance to
catch on worldwide, both on and off the runway. However, even if
the skirts prove to be more practical and comfortable than pants,
they may not become a revolutionary trend due to social stigmas
and decided masculinity.
Today women have the social and fashion right to wear
what was once strictly defined as „menswear‟ (shorts, pants and you
name it) while men only have the options of the two
aforementioned pieces. Only through recent years have women been
able to push through their own stigmas of wearing ties, slacks, and
more “masculine” clothing. Should men be denied the same
opportunity? These skirts, are not the least bit ostentatious on the
contrary, they are rather sophisticated and could be seen as a
comfortable, yet stylish alternative to slacks. For the majority of
men, their masculinity is at stake. For others, this is a perfect
opportunity to expand upon a concept that until now was only
accepted in previous centuries. As with any avant-garde act or
change, it will not tread lightly on the established societal rules.
This fashion trend is ready to turn some heads and change some
perceptions.
Runways aside, skirts for men have been taking the nation
by force with Utilikilts* since 2000. The company began in Seattle,
WA and has adopted a unique method of advertisement and
production. News of the kilts is passed along via word of mouth and
the company forgoes mass production, only creating the requested
Givenchy-Style.com
amount of utilikilts per customer. Starting at $100 for one kilt, their popularity has sparked a sort
of cult following of men who are breaking the constraints and sporting these skirts both on and off
the job. Utilikilts* seem to have provided men of all sorts and sizes with these kilts, and though
there‟s not much versatility within this company in particular, the rise of the trend will more likely
trigger designs of various styles, ranging from skirts worn for construction, hiking, and wedding
attire. The Utilikits* website even holds contests to showcase the best utilikilt picture.
If H&M sparks this trend, Utilikilts* may have to expand their collection. The modern skirt
is masculine, practical, and debatably fashionable. We have yet to see the age of the miniskirt, but
until then, one thing is certain: Utilikilts* fans are making sure skirts are here to stay.
~ Arianna Gazis
VIVIENNE WESTWOOD
BORN Vivienne Swire was born in 1941 and moved with her family to London at the age of 17.
EDUCATION PUNK, corsets and platform heels
LEGACY
Vivenne Studied fashion and silversmithing at the Harrow School of Art. She left to get a head start on earning an income and became a primary school teacher.
MUSE
Last year’s muse was Pamela Anderson, this year Westwood loves Michelle Obama.
Sparkiness
Westwood designed the wedding dress for the 2008 Sex and the City movie. Today her designs promote causes she supports, such as, anti-consumerism and environmental protection against global warming. In 2005 she designed shirts that read, “I Am Not a Terrorist. Please Don’t Arrest Me,” intended to take a stand against proposed anti-terror legislation at the time. Westwood has the status of “Dame”.
Memorable
Collections
Her first collection in 1981, Pirate, included shirts with billowing sleeves, brocade britches and models in pirate hats) Savage, Buffalo and Punkature.
PEOPLE,PLACES,THINGS
[58] Esther’s Follies
[64] Dog Friendliness
[54] Barton Springs
101 REASONS WHY WE LOVE AUSTIN
[57] 2ND Street Shopping
[55] The Copa
[52] Street Musicians
[65] Peter Pan Golf
[62] Mt. Bennel
[63] Lucy in Disguise
[60] Swing Dancing
[53] Service Menswear
[59] Random
Art Exhibits
[56] Texas Longhorns
[66] Waterloo Records
[61] Estilo
[77] Dell
[67] Eeyore’s Birthday Party
[69] Alamo Drafthouse
[79] Austin Museum of Art
[74] Keeping Austin Weird
[80] Green Belt
[78] Bats Under Congress
[81] Hamilton Pool
[75]Leslie Cochran Chr istmas outf i t : $15 Mismatched socks: $ .35 Libby Lu Headset : $15 Keeping Aust in weird : Pr ice less Photo @ freerepublic.com
[68] Zilker Park
[72] Dave on the Drag [70] Laguna Gloria
[71] Zilker Botanical Gardens
[73] Austin City Powerplant
[76] Ballet Austin
[101] Book People Rumor has it this is also one of celebrity chef Anthony Bourdain’s favorite places in Austin!
[95] Cathedral of Junk
[89] 6th Street
[88] Canoeing at Zilker
[22] [85] The Domain
[99]Stubbs
[91] South Congress
[82] Pin-Ups No city loves pin-up mode ls as much as Aust in.
[92] Long Center for the Performing Arts
[100] The
Hideout
[86] “The Drag”
[93] Scooters
[90] Bows & Arrows
[96] Vulcan Video
[83] Stag
[94] Supporting Local Businesses
[97] Lake Travis
[17] Toy Joy
[84] Uncommon Objects
[87] Ultimate Frisbee
[98] Vintage Clothing
can imagine Alexander McQueen as he
leans toward his last interviewer in a
conspiratorial manner and laughs in his
approachable, unabashedly Cockney panache,
“I’m talking fantasy, but I don’t think it’s far
from reality. Five years.” And it’s true –
known for grandiose creations with a macabre
flair, Alexander McQueen created a vision of the
future, of the taboos that his clothing
cheerfully broke. His shows make unexpected
gifts to fashion of exquisite prints,
groundbreaking shapes, and futuristic lines.
There has been rain, fire, holograms, chamber
music groups, scrap metal, and machines that
spray-paint white dresses. An Alexander
McQueen collection is nothing if not pure,
sartorial fantasy. Then, on February 11, 2010,
reality beat the crap out of fantasy and all hell
broke loose.
In the aftermath of the designer’s
untimely death, the fashion world struggled to
steady itself on its feet. Alexander McQueen was
never a Martin Margiela, no esoteric designer
shrouded in mystery.
WE Famous for a personality as massive as his
creations, McQueen shaped a brand that was as
much a function of character as design. It
seemed doubtful that such a legacy could be
continued by another designer without missing
the mark or producing a cheap imitation.
McQueen required a brand that could not only
continue to produce extravagant, fantastical
pieces, but to produce them with the meticulous
English tailoring technique for which its founder
was celebrated.
Known as “Lee” to the people around
him, McQueen began his career in design on
Savile Row in London, somewhat akin to the
Garment Center in New York and affectionately
dubbed “the golden mile of tailoring.” As an
apprentice for Gieves & Hawkes, McQueen
worked on garments provided for Queen
Elizabeth II, the Duke of Edinburgh, and the
Prince of Wales – an experience which no doubt
continued to manifest itself in the expert
construction of McQueen’s clothing. At the same
time, a successor of Alexander McQueen had to
be ready to maintain the haute couture aesthetic
that truly distinguished the brand.
Following John Galliano, McQueen
was appointed Chief Designer at Givenchy,
refreshing couture with gothic extravagance
to create a dark luxuriousness that carried
over distinctly into his eponymous line.
Gareth Pugh, famous for his Goth and
futuristic sensibilities, was one of the first
names to be thrown about as a potential
successor. While his dark aesthetic is not too
far from McQueen’s own, it is always a risky
business to head a brand with an entirely
new designer, and the possibility left the
fashion world anxious.
Then, with a surprisingly little
amount of fanfare, Gucci Group – which
holds 51% of the company – announced
that Sarah Burton would be stepping into
the shoes of Creative Director at Alexander
McQueen. It was as if the choice were too
obvious to be considered sooner: Burton had
worked for the brand for fourteen years and
had served as head of the women’s wear
division. A graduate from Central St. Martin’s,
which has produced some of the most
fashion-forward designers of this generation
including Phoebe Philo, Christopher Kane,
and Alexander McQueen himself, Burton also
completed McQueen’s highly acclaimed last
collection for fall 2010, proving herself more
than capable of taking up the late designer’s
reins.
This past June, for resort 2011, Sarah Burton
presented her first collection under the
McQueen name to a world uncertain of the
brand’s future. It suffices to say that Burton
dispelled whatever reservations detractors
may have had about a new designer at the
McQueen helm. Lee’s aesthetic is still there
– the futuristic prints, defined shoulders,
daring shapes, the regal air – but Burton
has also managed to place her own stamp
on the brand. There is a new ladylike
element to her nevertheless edgy aesthetic,
with creamy nude tones, chiffon, and lace
tempered by McQueen’ signature volume and
unusual draping.
The shoulders are softer, the hemlines a little higher, but
longtime fans of Alexander McQueen will not find the
embellishments and exquisite brocade missing. In an interview
with CNN three years ago, McQueen reflected on his
continually developing vision for his brand: “Time changes,
and we live in different circumstances. So at McQueen, we try
to reflect the changes in circumstances in which we live.”
Sarah Burton is continuing the line in just the way McQueen
would have wanted – she is changing it.
Resort 2011 represents anything but a clean break
from the past, yet Burton cleverly balances the McQueen
legacy with an infusion her own, feminine aesthetic. The
result is a fresh perspective of the elegance and edge we
have come to expect from Alexander McQueen. However,
resort lines are noticeably more commercial and toned-down
than their spring and fall counterparts. So the real test for
Sarah Burton will be her spring 2011 collection to be shown
in September. We can only guess what new fantasy the house
of Alexander McQueen will paint for us next.
~Lisa Siva
Credits
Editor in Chief Ian Milan
Managing Executive Editor Autumn Ashley
Head Photographer Chris Nguyen
Staff Arianna Gazis
Andie Salazar
Lisa Siva
Danilo Aquino
Special Thanks
Wilhelmina Brown, Spectacle Sunglasses, Tikkr, Girl Next Door, Gallery D, Homeslice Pizza,
Blake Asaad, Ricky Hodge from Kemistry Salon, Jeffrey English from Sephora, Gimme
Nom Nom