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10 The Global Edition of The New York Times

Tuesday, June 24, 2008 Men’s Fashion
Portrait of a gentle man — and his war chest
From Page 9
trating on a framing neckline. From that
open arc at the top, pieces were layered
with Prada’s artful mix that can make
even a tank top and a pair of shorts look
fresh. An elongated, tunic-length polo
shirt looked especially enticing.
This was not a show like last season’s
flesh-crawling exploration of Fellini-
esque sin. But Prada has a way of set-
ting off trends — like the pajamas that
are now all over town. Suspending
clothes from halter-neck straps might
seem unlikely. But watch the ectoplasm
of invention as it spreads.
Alexander McQueen’s powerful
show was more ‘‘sexplicit’’ because he
entered the gender arena with a war
chest of ideas and inspiration for both
sexes. Using the opportunity of a run-
way show to send out a dozen looks from
his women’s cruise collection, the de-
signer strengthened his message, which
was all about the body and illusions.
‘‘Smoke and mirrors translated into
clothes,’’ said McQueen backstage, re-
ferring to that cliché of the magician.
But against a white-lighted backdrop,
the designer created an exhilarating
exploration of the male and female fig-
ures, using graphics to shape the sil-
houette, recalling the 1960s op art ex-
periments of artists like Bridget Riley.
In this shadow play on tightly mol-
ded clothes, there was indeed smoke —
curls of it printed or even embroidered
on jackets and tops, while psychedelic
color highlighted a pant waistband or
the sole of a gleaming green shoe.
Among the precision tailoring, con-
trasting matte and shiny surfaces,
second-skin tulle and Lycra sweaters in
flesh colors were marked with a rib
cage of pattern — that male chest once
again the focus of fashion.
A triangular vest, with two flaps
forming a new geometry across the
torso, was Emporio Armani’s contri-
bution to the new man. Whereas this
line once seemed like a sporty younger
brother to the signature Giorgio Armani
brand, this show seemed like a full-
blown fashion event, with stars of sport
and screen, including the rumpled
heartthrob Josh Hartnett, front row to
promote the ‘‘Dia monds’’ fragra nce.
Perhaps that gemstone was the in-
spiration for the vests, which, as so of-
ten in the designer’s show, were made
rather too persistent an idea. Yet they
did give a jaunty air to the tailoring, ex-
posing flesh at neck and at the midriff
under suits that mixed textures like
herringbone and pinstripes. Although
the show had a particular pants shape
— wide-ish but caught with a pleat at
the ankle — the Emporio man had
plenty to experiment with, from frilled,
Prince Charming knickers to baggy
harem pants with pajama-stripes. But
Armani put his stamp on the focus of
his collection when the geometric vest
was replaced by the stamp of an eagle
— the Emporio logo on bare flesh.
Salvatore Ferragamo is expanding
in India — and that was the inspiration
for the sunset pinks and orange that in-
vaded the white and neutral shades in
the collection. The designer Massimili-
ano Giornetti plucked other Indian em-
blems, like looped scarves, strands of
pearls or flowered necklets that either
hung free or were absorbed into shirt
fronts as a flutter of frills spilling down ANTONIO MARR AS
the chest — in focus, once again.
It all added up to a dressy show, and what the designer called ‘‘an ironic
where even sweaters were in decorated way of playing the art game.’’ Ma rras’s
openwork or with fancy buttons and skill was in cutting the sweetness of the
where the romance of the Raj over- red roses that hung in a trellis above the
whelmed the sportswear reality of set, or occasionally appeared on a
modern life. Except, of course, at the white shirt, by working on a graphic
feet, where the Ferragamo range grid. Sweaters, with a perfume of days
reached from buckled brogues through gone by, had geometric patterns, while
sleek white patent shoes with ribbons slim suits were worn with a cutaway
for laces to gilded ostrich moccasins, vest — only this time over a shirt and
worthy of a modern maharajah. with a floppy bow, which is the nearest
With a decoration dangling from the this Milan season has come to the elu-
chest like a fob watch, Antonio Mar- sive necktie.
ras worked his magic mix of a romantic
past and an easy present. His inspira- Suzy Menkes is fashion editor at the
tion was the Italian artist Luigi Ontani International Herald Tribune.

Gucci’s tropical tour

From Page 9
inspiration was apparently a Brooklyn-
based indie band. And the aim was,
fairly and squarely, a focus on product.
While other designers are easing off
bags, the Gucci guy loves his tote, espe-
cially, no doubt, the one with ‘‘Gucci’’
screaming from its flower-strewn sur-
face; or perhaps the bag traced with the
Day-Glo orange that brought fluores-
EMPORIO ARMANI SALVATORE FERR AGAMO cent colors out of the nightclub and in-
Photographs by Chris Moore/Karl Prouse to the daylight. Giannini’s reference to
the ‘‘f luo-kids’’ of the youth music
scene might have been explored more
ful ly.
The shoes, too, were resolutely hit-
of-the season styles, from bright
painted flowers to the famous loafers
in a trio of colors or fringed with a
colored dingle-dangle at the heel.
You can’t fault Gucci on the quality of
its handwork. The airbrushed florals on
leather were exceptional. Nor should Gi-
annini be criticized for making a com-
prehensible show. It started with suits
(one even traced with tropical blooms)
and with colorful patterned shirts and
neckties. Ties! Aren’t they out of fashion
this Milan season? But, hey, Gucci sells
ties. And jewelry. So necklets of jingly
things were there for the picking.
The faintly formal suits were fol-
lowed by the luxury leather jackets,
some graphic knits and loose floral
shorts. And then, down with the lights
and on with black or white evening
suits, embellished with floral embroid-
ery and with semi-precious stones
fastening the belts. The only products
missing from the parade were swim
pants to add a little more heat to the hot
house and the new Gucci Pour Homme
fragrance being launched on Monday.
The show was well planned and ex-
ecuted. Yet Giannini can’t seem to
bring to Gucci that sliver of emotion or
shiver of the unexpected that turns a
competent collection into a fashion
moment. Perhaps the designer is trying
too hard to adhere to a now aging
concept of season-specific clothes to
mirror the ‘It’ bags. But fashion is less
concerned now with one-season won-
ders. And it was hard to trace any sus-
tainable and renewable source of cre-
ativity in Gucci’s Tropical Tour.
— Suzy Menkes
GUCCI

Fashion times 18
MILAN
he in-house design team behind the Gianfranco Ferré
T menswear show took the runway element out of the
fashion equation, deciding to present all 18 of its looks at
once on a raised white dais in the center of a starkly empty
room.
It was a wise decision for, at first blush, the collection
came across as standard menswear fare in dark, neutral,
river stone colors. By giving the audience a close look at the
line, it focused the eye on the underlying craftsmanship
that is hard to spot while seated at a catwalk show.
Touch the handwoven mohair suit that has been treated
to keep the wearer cool in the hot summer months. Stroke
the polyester jacket lined in pashmina that skims the body.
Spot the embossed leather details, string-thin belts and
kangaroo pocket on a seemingly innocuous knit sweater.
The general feel of the collection, with its subtle
pinstripe suits paired with lightweight knits and weekend
wear of semi-sheer tops and relaxed pants, was casually
elegant and well in keeping with the codes of the house that
Ferré built. — Jessica Michault

VIVIENNE WESTWOOD

Gypsy on the road

MILAN
t goes without saying that Vivienne Westwood follows
I her own path. And true to form, the off beat and eccentric
was once again the name of the game for her spring/
summer 2009 menswear show.
Taking the rough and tumble gypsy traveler as her
inspiration, Westwood sent out a collection on the backs of
bruisers who could wear whatever they pleased, no matter
how far-fetched, because no one would dare to whisper
even the slightest criticism.
So out came the drop crotch pants with oversized
buttons; shirts with their sleeves rolled up and their cuffs
flapping in the wind, as if half ripped off. And muscle tees,
boxer shorts, square-toe carpetbag shoes, oversized belt
buckles and thick gold chains all had their moment on the
r unway.
But what held this fierce caravan of a collection together
was the graphic element seen in the inventive mix of stripes
and checks. Vertical and horizontal patterns were matched
up in ways that looked powerful, not overpowering. And
what muscled, tattoo-covered, greasy-haired man does not
want that?
— Jessica Michault GIANFR ANCO FERRE