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The visionary eye behind ...a moment in... is Anne Chapelle who succeeded to gather the talents of nine multidisciplinary minds. They collaborate anonymously to create authentic moments of life, love, respect, and luxury.

Llama’s in Meadows. White. Off-white. Moments. Moments in Time. Just moments.

Imaginary landscapes, lines erased.

… a moment in … was created by Anne Chapelle as the spiritual source of creativity for a select team of nine people. Each one of nine has an individual gift to contribute to the whole… and together they are one. … a moment in… creates authentic collections in collaboration with a diverse group of talented artists.

Singular becomes plural. Quiet mirrors reflect all.

The collections are made by a collective of designers and artists who care for beautiful things and want to share this continuously through sincere values and integrity.

Moments, moments in time. Just moments.

They achieve this by selecting the finest materials and applying genuine tools and craftsmanship. This fusion of industry experience and collective creativity is what makes …a moment in… unique, inspiring and an exhilarating experience for both you and us.





After originally studying architecture, Kimmel switched his focus to fashion, apprenticing under Italian pattern makers before launching his eponymous line, which gained immediate notice for its assured mix of workwear utility with sartorial luxury—plus a good dose of art world irreverence.

The collection was inspired and immortalized by Jim Krantz, the photographer behind the iconic Marlboro Man advertising campaigns amongst much more. Kimmel finds a way to bring americana, whether it be western inspired as is seen in this collection, or workwear inspired as it has been in the past, to a modern culture, like no other.

Kimmel’s recent lookbooks have been shot by Warhol lensman Gerard Malanga and have featured an unorthodox roster of models, including Dennis Hopper, artist Dan Colen, and GQ’s own Glenn O’Brien.

Adam Kimmel’s inspirations for this latest season take him on a journey through one of America’s cornerstones of culture as it re-creates the look of cowboys in a modern day setting. A small look into what’s at hand includes the quintessential cowboy boot as well the incorporation of simple yet iconic usages of stars through a minimalistic design.




Famous for his decadent runway shows and prodigious mastery of construction (he trained on Savile Row as a teenager and was tapped to design couture for Givenchy at 27), McQueen is variously inspired by the military, morbidity, and any number of far-flung tribes—often in the same collection.

Skipping the runway this season, McQueen collaborated with photographer David Sims on a short film depicting a nearly nude, emotionally agonized artist smearing clay on walls. From the screening room, guests proceeded to inspect his spring collection – including suits and workwear daubed with paint - hung on racks. While this season has produced a major trend toward lived-in looks, McQueen has taken pauvre chic to extremes, adding stains to a perfectly cut doublebreasted Prince of Wales suit and goring holes in oversized cardigans.

McQueen also oversees a successful women’s line, as well as the diffusion brand McQ and a sportswear collection for Puma.


References to the struggle of art making added novelty to the clothes – decorated with line drawings, abstract prints and patchworks.





Ann Demeulemeester made her debut in London (1986) together with the other five members for the “Antwerp Six”. In 1992 she presented her first solo ladies collection in Paris, followed by her men’s collection in 1996.

Leaving behind the influential, rustic poets of a year ago, Demeulemeester delivered a cosmopolitan collection that, despite its soft and flowing fabrics, was streetwise and even pugilistic, as seen in hooded silk robes, ankle-laced sneakers and billowy, sateen sportswear battened down by wide leather belts and cummerbunds.

Ann is famous for having minimal and simple silhouettes that have no boundaries for men and women. She also often creates contrast with fabrics by using textiles such as fine leather with heavy wool. Demeulemeester treats garments as if they are alive and believes each piece will inherit the individual form of the person who wears it.

Other tough-guy accessories included army boots and leather necklaces resembling barbed wire. The palette was restricted to black, white and peach. And shirts, save for a couple of screen-printed tops, were simple.




He’s often called a designer’s designer and compared to Yves Saint Laurent in his ability to feel and shape fashion. As the creative director for the iconic house of Balenciaga, French-born Nicolas Ghesquiere, 35, has spent the past nine years shaping his own fashion vision as well as that of the greater global fashion business.

Designing well for a storied house means respecting the past and forging into the future – a balancing act at which Nicolas Ghesquière excels. Referencing the architectural shapes of founding couturier Cristobal Balenciaga, he spun them forward into a collection that is sartorial, modern – and diverse.

His signature silhouette of skinny pants and blouson jacket, a vestige of Ghesquiere’s obsession with the ‘80s (think Bow Wow Wow), is a virtual staple in fashion’s contemporary market.


“The tailoring is graphic and construction compact,”Ghesquière said. Sharply cut jackets – some in thick linens – looked rich,as did an ottoman silk coat in pale green. Riffing on a subtle Japanese theme, there were high, kimono collars and gleaming metallic samurai sandals. There were also terrific screen-printed T-shirts and sturdy denim jeans and jackets. Although still in its infancy - men’s wear launched in 2004 - Balenciaga men’s wear is building towards a complete and more accessible wardrobe.





Investors revived Balmain in 2005, and brought on designer Christophe Decarnin. And for a label that was once known for ultraelegant evening attire with a draping and pleating focus, Decarnin’s appointment took it toward tough-chic, thigh-grazing, body-skimming looks—a sensibility that embraces the quintessential trendsetting French party-girl.

Christophe Decarnin hints at an element of sophisticated grunge for his latest collection. Not afraid to pair the tailored jacket with ripped denim, Balmain’s young man represents a nonchalant, yet fashionable attitude in relation to style. Decarnin keeps augmenting the wardrobe of the filthy-rich rebel, based on what he likes to wear himself. Decarnin continues to build the Balmain man’s wardrobe with military and motorcycle influences on T-shirts, jeans and sleeveless sweatshirts. This rough, rock ‘n’ roll guy is the perfect arm candy for the sharp-shouldered, short-skirted Balmain girl.

Expansions are also in the works, adding staff, a shoe line with Giuseppe Zanotti, and the label’s first men’s collection in Paris in January 2009.




Ohio-born Sternberg began his career as an agent at CAA, but the Ari Gold lifestyle wasn’t for him. “I was always just a part of the team,” he says, “and I’m not interested in anything less than running the team.”

Scott Sternberg’s ability to tell a story without creating obvious detailing means Band of Outsiders stays more timeless than most, but still creates market interest.

Since launching in early 2004 with a collection of shrunken button-down shirts and narrow ties, Sternberg has steadily expanded his offerings and now produces a full men’s line. In 2009 he was named menswear designer of the year by the CFDA.


The story this season is about the sand, hammocks and fun in the sun. French New Wave meets classic Americana. “Like what your dad wore,” says Sternberg, “but reinterpreted for the future.” Designer Scott Sternberg once again presented a really strong Spring/Summer 2010 Collection. Short pea coats, well cut blazers, rolled up pants and shorts, and all that mixed with the latest Band of Outsiders for Sperry footwear made for an overall great look. You also find a nice series of dip-dyed ties and shirts in the collection.




“No bunk, No junk, No imitations” was Barneys original slogan when it was founded in 1923.

Band of Outsiders designer Scott Sternberg is a no-bullshit kind of guy. So when he debuts an exclusive line for Barneys and calls it “No Bunk! No Junk!,” that’s a promise you can believe. The line, which stocked six Barneys locations for the holidays, boils down to a few spot-on basics, all done in crisp black and white.

The dichotomy of designer suiting and discount prices was the first inspiration in designing this focused capsule collection. Scott wanted to do something special for Barneys that tied into the heritage. Jay Bell and he talked about the heyday of the 80s when Barneys really created a new uniform for new york men - black and white, european, sleek and chic.


It’s Sternberg’s slightly twisted take on power-dressing: a basic black suit in not-so-basic corduroy; a leather jacket that doesn’t take itself too seriously; and a plaid shirt that’s just...a really great-fitting plaid shirt. (The guy knows what doesn’t need fixing.) Elevated black and white basics with a band edge: a black corduroy suit (vs. a slick black suit), black british wax wear quilted waistcoat and trench, a washed black barracuda jacket, black wool pique tuxedo, crisp white cotton twill shirt, etc. Size and silhouette are the same as other band of outsiders collections.



The line somehow feels above the trend, despite the timeliness of the pieces they produce (studded combat boots, disintegrating Levi’s with square spikes on the back pockets and leather jackets studded to perfection). But the offerings at Bess feel like the launch of the craze, not the result.

New York-based vintage-inspired clothing and accessories label, Bess, has garnered a cult following. For spring/summer 2010 collection, the brand keeps to their signature distressed feel and studded embellishment pieces with custom Converse sneakers, creepers, leather boots, backpack, messenger bag, duffel and fanny pack.

In order to reconcile the infatuation with all things rock right now, expect to see this as a legit version that won’t fade away into 2009 obscurity.





Founded by Laura and Vittorio Moltedo in northern Italy’s Veneto region, Bottega initially made its name with footwear, bags, and accessories crafted from the area’s renowned hand-woven leather. These days, the label is just as well known for its effortlessly luxurious tailored clothing.

Tomas Maier is all for real clothes for real men, but who said guys can’t have some fun, too? The designer decided men “need more excitement,” which he delivered via new shapes, sanguine colors and bold prints. If anyone can design tie-dye pinstripe jackets, pink sweaters or a red suit in a maple leaf motif - and make it appeal to the regular guy - Maier can.

Credit for that goes to creative director Tomas Maier, who joined the brand in 2001. “I don’t like overly visible colors,” Maier has said of his ultra-refined approach. “I like to see the guy rather than the clothes.”

“We wanted to offer clothes that are particularly individualistic. Changing the shape of the pants and breaking the silhouette with color add an energy, even a brashness, that feels invigorating,” Maier said of his show at Bottega’s new headquarters on Via Privata E. Marelli. Neapolitan-tailored jackets were paired with crisp linen trousers that tapered into a narrow cuff, some cinched with an elastic to better show off glossy loafers. While there were strong-shouldered suits, and even a few double-breasted tuxedo jackets, a luxurious beachcomber look prevailed, with degradé sweaters, sumptuous leather bombers and feather-light safari coats in military green among standout looks in a bold and beautiful collection.




Though famous for its signature red, black, and tan check, Thomas Burberry’s brand was founded on function: It invented waterresistant gabardine in 1880 and later pioneered the first trenchcoat, which was modeled after officers’ outerwear in World War I.

While countless brands are adopting the elegantly disheveled look pioneered by Christopher Bailey a year ago, he’s now steering Burberry Prorsum in a more tailored direction, but with the same offhand attitude. The show started with a gloomy, rainy-day wardrobe of slouchy sportswear including drop-crotch trousers, fine sweaters looped with bondage straps, coated trenches and quilted car coats.

The line had a major resurgence in the nineties, which has only continued under Christopher Bailey’s creative stewardship.


Then came suits, which, though they were sharply tailored, looked slept in. Much of the outerwear had wax coatings and plenty of flap pockets. Canvas rucksacks and oversized leather backpacks heightened the rugged, outdoorsman vibe, while Chelsea boots grounded everything in the city. Bailey treated the audience to delightful tissue-weight, unlined blazers and trenches with puckered seams, and more fine-gauge cashmere sweaters—all in powdery pastels. Their effect was like the sun coming out.




Fresh from six years at Central Saint Martins (and a consultancy gig with Donatella Versace), Scottish designer Christopher Kane launched his eponymous label with sister Tammy, a textile whiz who runs the business end, helps with fabric development, and serves as the studio’s fit model.

London fashion designer Christopher Kane releases a new collection of t-shirts from his eponymous label, Christopher Kane. All focus on all-over style prints, each featuring a wealth of color usage and interesting subject matter. The shirts are created from 95% Viscose with 5% Lycra, making for an excellent, soft and long lasting fit.

Kane’s edgy direction leans toward designs that pop— literally. Known for expert tailoring and unexpected embellishments,




Starting her career as a costume designer, Kawakubo developed Comme des Garçons (French for “like the boys”) as a denim-heavy brand before launching menswear in 1978 and debuting her all-black, “antifashion” designs in Paris in 1981.

Throughout the Paris shows, designers have shown tartans, African prints and nautical stripes, but Rei Kawakubo was the only one to pack all three themes into the same garment.

Since then, she’s come to embrace a range of bold patterns, colors, and constructions (think tailored glen plaid jackets with silk ties sewn to the front), especially through her collaborations with Junya Watanabe.

That she did, in patchwork trousers and blazers with collages of colorful panels, pockets and silk neckwear appliqués. Skullcaps and ornamental strands dangling from hips, at times worn with dark suits and white shirts, seemed to reference Orthodox Jews. The garments were familiar, such as loose suits and mini kilts over trousers — only the embellishments were new.




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Though the Dior brand originated in 1946, Dior Homme—at least as it’s thought of today—came into being in 2001, when Hedi Slimane took over as creative director and brought a welcome dose of rock ‘n’ roll to men’s fashion.

Since his appointment two years ago, Dior Homme designer Kris Van Assche has wrestled with the suit, which is the house’s signature. For spring, he delivered his best interpretation yet with an ultralight collection that was elegant, directional and recognizably Dior.

His radically slim new silhouette was both a commercial and critical success (it also famously inspired fashion legend Karl Lagerfeld to drop more than 90 pounds so he could wear the clothes). Slimane left Dior in 2007 and was succeeded by former assistant Kris Van Assche, who has begun to put his own stamp on the collection.

First, Van Assche introduced a new Dior Homme trouser — roomy, pleated and tapered at the ankle. Above the waist, he played with transparency and layering, leaving two-button cotton jackets unlined to reveal their construction and the raw-edge shirts and waistcoats underneath. An unlined silk raincoat, which floated over a Japanese cotton jacket with delicate raw edges, was a standout. Van Assche mixed sartorial savoir faire with more streetinspired elements in just the right doses, and with plenty of confidence. Sleeveless jackets, for example, were edgy and soigné, while leather lapels on formalwear were striking.





In 1990, six years after showing their first women’s collection, Dolce and Gabbana debuted their men’s line in Milan. It’s been a steady quest for fashion world domination—with jeans, shoes, accessories, fragrances, and the diffusion line D&G—ever since.

When Domenico Dolce said before his and Stefano Gabbana’s show that it would be “molto gigolo,” they weren’t kidding. In a season shaping up to be all about discretion, the designers went full throttle in the other direction, opting for flesh and flash galore.

Across the board, the duo’s offerings tend to exhibit equal parts flash (leopard-print scarves, Studio 54-worthy blazers) and finesse (impeccably tailored suits, sleek button-downs, luxe leather goods).

“It’s a homage to male beauty,” Dolce said before the show. The designers piled embellishments on to just about everything in this mostly black and white collection, from dinner jackets embroidered with sequins and metallic beading to silky shorts and velvet slippers. Even a racy black bathrobe came embedded with crystals. A boxy clutch-like bag in calf leather and crocodile added to the bold statement. Shredded jeans with silky linings underneath and silk charmeuse shirts, some with tuxedo bibs, pushed opulence to the extreme. Most men will probably dial down the machismo and hone in on the sharply tailored suits, perforated leather bombers and roomy pants.




The son of a menswear shop owner and grandson of a tailor, Van Noten graduated from the Antwerp Fashion Academy in 1980 and founded his own line six years later.

No more ugly chic for Dries Van Noten. He’s bringing beautiful back with a global swirl of prints, a soothing palette of natural and inky hues and a relaxed silhouette evocative of loungewear. Shown outside the Paris Bourse, while a truck loaded with speakers pumped club music toward the runway, even the most finely tailored suits with exaggerated shoulders were purged of any businesslike sensibility.

While still best known for his womenswear—he dressed Cate Blanchett for the Oscars in 2008—Van Noten has gained increasing notice over the past decade for his men’s collections, in particular his architectural take on suiting.

Hand-printed pocket squares sagged lazily from the jackets. Three-pleat trousers were cropped and tapered and hinted at martial arts. Blazers and vests were knotted with fabric belts or waist ties, giving them the same robelike look as the soft trenchcoats that, along with sheer billowing parkas, were the key outerwear items.


Mills from at least six countries yielded batiks, ikats, block prints, madras, pinstripes and micro checks. One could only guess where this worldly fellow was going in the clothes.




Despite their label’s droll name, Cox and Silver are dead serious about tailoring. Their often-colorful collections are largely handmade and hand-finished, which helped the international duo (Cox, a Tommy Hilfiger alum, is British, while Silver, a former glove designer and daytime TV producer, hails from Canada) earn a CFDA nomination in 2006.

After taking the ideas of protection and coverage to extremes in recent seasons, Duckie Brown’s Daniel Silver and Steven Cox now look to explore the opposites: exposure and vulnerability. The designers also left behind their jocular flourishes in favor of a grown-up and sophisticated attitude. Gauzy T-shirts and sheer silk shirts, printed with refreshing vertical stripes and oversize plaids, lent a leisurely sensuality to the airy and refined collection. Light tweeds and flaxen fabrics, made into relaxed blazers and safari jackets, served as the counterpoint to the gossamer tops, while frontal pleating and angled side seams pumped volume into chic shorts.

In Fall 2009, the twosome launched a highly successful collaboration with the legendary footwear brand Florsheim.


Skimpy swimsuits — flimsy, ruched and high waisted — were obviously intended to provoke, but even those were on key with the overall island-holiday tone.



Pugh trained at Central Saint Martins and launched his women’s line in 2005. Three years later, he won France’s ANDAM Fashion Award, the same prize that first fueled the careers of Martin Margiela and Viktor & Rolf.

After opting out of showing his men’s collection in June, Gareth Pugh mixes the best of both worlds to create a dismal yet refreshing Spring 2010 presentation. Combing the world of men and women and showing both together on the same runway, Masculine shapes took on a new androgynous appeal. Instantly taking the mind to a place of, the men’s equivalent to women’s body-con dressing. Body-con meaning, “body conscious”. Making for something new this season to rival the “man-clutch”, seen both at Versace and Dolce & Gabbana recently.

Only launching his men’s line back in January 2009, Gareth Pugh has managed to find the easy medium that makes for absolute brilliance. When looking at a Pugh show, it is somethings hard to imagine what a world were to look like if the runway looks were copied complete form headto-toe.

This season, Pugh kept with his new found love of the clean triangular patterns, which are seemingly becoming his signature, presenting them in the form of pants and even a textured jacket. Drifting away from absolute black, the designer showed a lighter color palette (well at least in terms of Pugh). Though mainly sending a message of how to perfectly play with proportion. Looking throughout the 13 look segment, you will see jackets cropped, trenches long, and shredded knit slightly oversized yet fit to standard.




Since Hubert de Givenchy’s 1995 retirement, the couture house he founded has passed through many a skilled hand (Galliano, McQueen). The men’s line, meanwhile, briefly went dark following the founder’s departure and was relaunched in 2005 with Ozwald Boateng at the helm.

The dapper rapper is commonplace these days and Riccardo Tisci is tempting him with Givenchy. The designer was inspired by Nineties America for a collection of “elegant street couture” that is becoming his hallmark for men. Tisci opened with a crisp white suit with a banded-collar shirt, gold rings shoved on each of the models’ fingers for an added boost of bling.

Two years later, design was moved in-house, and two years after that, womenswear head Riccardo Tisci grabbed the reins, taking the collection in a more provocative—and critically successful—direction.


Each exit that followed riffed on the fashion-meets-sportswear theme. Baggy basketball-style shorts and tank tops, some in mesh, were paired with tailored jackets with mini storm flaps. Shirts spangled with gold stars paid homage to Michael Jackson, while the bejeweled red tartans draped over shoulders or tied around the waist nodded to Guns N’ Roses front man Axel Rose. Tisci also referenced Morocco with keffiyeh-style hoodies and bold geometric-print silk shirts and leggings.




What started out as a small luggage and leather-goods shop founded by Guccio Gucci is one of the world’s most prominent fashion empires. Guccio’s sons led the brand to luxury-goods ascendance in the seventies, but it wasn’t until Tom Ford’s arrival in 1994 that the label’s clothes started to outshine the accessories.

After lingering in nightclubs for a few seasons, Gucci finally got a good night’s sleep and awoke refreshed - in the capital of Brazil. Frida Giannini specifically cited as inspiration the mid-century architecture of Oscar Niemeyer, who designed many public buildings in Brasilia. She translated their modernity into slim suits in white cotton jacquards and piqués, then furnished those with vintage Seventies patterns on shirts and ties. Sportswear alluded to wind sports like sailing. Jackets made of leather, neoprene and nylon—still mainly white, but with blocks of blue and gray—looked built for speed. Most of the Gucci bling had been swept out to sea, leaving just glinting zippers and snaps.

Fendi alum Frida Giannini took over in 2005, repositioning the brand with a lighter, brighter, and more youthful aesthetic. “The typology of the Gucci man,” Giannini has said, “is strong, young, confident—kind of a bad boy.”

As a counterpoint to this high-tech athleticism, handmade intarsia sweaters featured folkloric patterns, magnified to graphic effect. The patterns extended into evening suits, with shimmery trims or in glossy silk prints and jacquards. Giannini banished ties for evening. Even exotic leather goods looked more casual. Crocodile and python skins were processed for a matte, rubbery texture. Classic loafers ceded the floor to less formal driving moccasins and high-top sneakers. In sum, the collection was a restrained vision of the good life, but still showed the Gucci man a groovy, good time.




The vision, the mission and the philosophy of Italia Independent are, in large part, included in its name. Italy is not only the place where the companyis based and operates, but it’s also the main inspiring place and the moving force of the projectcompany Italia Independent. I-I’s projects are conceived, devised, achieved and entirely manufactured within the Italic borders. I-I is a project born out of the urgent need to update made in Italy to reload made in Italy to create MADE IN ITALY 2.0 This claim and this philosophy are by no means the denial of over more than twenty years’ work by those who built up “made in Italy”.

Italia Independent believes in “made in Italy”, in attention paid to details, quality, style, simplicity and artisan production processes. For this reason they work with small and middle-sized companies and artisans who stand out in their trade: Arfango for the handmade shoes, sartoria Sartena for the jackets’ and clothes’ cut, neapolitan camiceria Finamore for the I-I four buttons.





The restraint Sander displayed in her eighties and nineties heyday helped define the minimalism that dominated the era. Sander sold a major stake in her company to Prada in 1999 and left the label soon afterward.

Describing the latest collection from Jil Sander as minimalist would be an understatement. Comparing the upcoming fall 2009 collection with spring 2010, Raf Simons has toned the overall Jil Sander look back drastically. Instead of heavily structured pieces featuring narrow shoulders and cinched waists, the spring collection is relaxed and falls in a natural fashion. Call it simple, but from the bowl cuts to the predominantly white color palette, Simons has created a collection that is likely to be unique to its season. Clean and uncluttered, the stark white collection of modestly slim silhouettes with Simons’ signature hemlines and the simply chic illustrations is a valiant effort.

She made a brief return a few years later, only to depart again in 2005, after which Raf Simons was named creative director. Since taking over, Simons has incrementally put his signature futurist stamp on the collection.

The inspiration for so many gradations of white came from the work of the Japanese-French painter Tsuguharu Foujita. One of his paintings, a light and watery depiction of decadent Western bodies, served as a backdrop to this whisper quiet show. The chief look was a reproduction of Foujita images splashed over filmy knitwear or pants. A suite of perfectly cut midnight blue suits hinted at something more substantial.




Jeanne Lanvin made hats, womenswear, children’s clothing, and fragrance for 37 years before offering a proper menswear collection in 1926. After her death in 1946, the company passed between various relatives and financial conglomerates before it was bought by a Taiwanese firm in 2001.

Whether or not Albert Elbaz and Lucas Ossendrijver set out to unsettle their viewers, their spring show under the red lights of the Salle Wagram ballroom certainly challenged traditional notions of masculine conformity. “It’s about individualism and the antiuniform,” explained Ossendrijver, Lanvin men’s wear director. “We didn’t go to the studio. We went to the street,” chimed in Elbaz. While some elements appeared overtly feminine — platinum blonde wigs, high-waist pleated pants and stiff, silky fabrics — they were tempered with traditional gentleman signals: micro-check shirts, rep ties and even pocket squares. Jaunty visors and pencil moustaches added a retro twist.

Alber Elbaz was appointed creative director, which jumpstarted the label’s remarkable resurgence. Though overseen by Elbaz, Lanvin’s menswear is chiefly designed by Lucas Ossendrijver, whose mastery of technique and love of luxury have helped restore the label to prominence.


Looks ranged from an all-business slate blue suit to a don’tmess-with-me sleeveless gray jacket with a black back panel. Silk shorts, tartan sportswear and cropped leather blousons completed the young, provocative mix. Fabrics included satins, tweeds and silks, proportions mixed (slim and elongated or ample and cropped) and colors predominantly dark (counter to this season’s soft and muted palette). The panoply of options successfully countered today’s uniform culture.




Born in Florence, Leonello Borghi was drawn from an early age to the world of accessories. After working in Paris with Prada and its Japanese partners for three years, Borghi moved to New York. In 1999, Borghi was tapped to collaborate with Giorgio Armani on his inaugural accessories collection.

This season, Borghi utilizes exotic skins, glossed perforated leathers, and bold hardware to reinvent the handbag in a surprising yet functional way. Whether you desire a structured tote, an oversized clutch, or unisex weekender, there is something for everyone in this versatile collection. Alluring skins of python, stingray, and frogskin, saturate the collection, which is compiled of statement pieces that exude a sense of empowerment, pride and artistic value.

In the summer of 2001, Borghi realized his childhood dream and launched his premiere men’s accessories collection. His bags were such a hit with women that in 2002 he debuted his first women’s accessories collection.


The neutral color palettes of black, safari, and olive are the perfect contrast to balance out the sleek yet urban silhouettes; ideal for everyday use. While oversized, voluminous shapes define and remain the core of Borghi’s aesthetic, additional features like expandable zippers reveal contrasting colors as well as increase the size of the bag. Lastly, innovative placement of the pockets and straps, reinforce the function and distinct versatility of this collection.



He launched his first luxury street wear collection in 1994; a set of ten cashmere four ply knit sweaters. He presented his collections to the best luxury boutiques in New York , and resulted in an order totalling 400 pieces. This success established his reputation as the “King of Cashmere� by the American press.

Lucien Pellat-Finet has been freelancing in the fashion industry for years, and dreamed of a day when he would own his own store. This event was the spark that set off the fire of a creative explosion that has been the bane of high-ranking, discriminating fashion-addicts worldwide.

Fashion enthusiasts were drawn to the super highquality materials used, as well as the unique (intarsia) design symbols that have become his most visible trademark.




The reclusive Belgian designer studied alongside Dries Van Noten and Ann Demeulemeester at Antwerp’s Royal Academy of Fine Arts; worked briefly for Jean Paul Gaultier; and launched his deconstructivist, anti-iconic womenswear in 1988.

Nothing is as simple as it seems chez Margiela. What started off as an all-white offering, such as a sharply cut leather waistcoat worn with a pair of pintucked trousers, gave way to the more elaborate, including a slim suit sprouting a subtle jacquard flower motif, or an artisanal trenchcoat with flower cutouts that revealed its inner lining.

Menswear followed 11 years later and has since attracted a cultlike following big enough to support boutiques (each painted almost entirely white) in several countries. In 2002, Diesel founder Renzo Rosso bought a majority stake in the house of Margiela, which launched a well-received home line in 2009.


A distinctive hand-knit patchwork cardigan and an elegant cotton jacket with excess fabric spilling over the lapels proved that less — and more — can coexist.





After making waves in womenswear (including winning a Perry Ellis Award from the CFDA in 1987 and getting fired from Perry Ellis following 1992’s infamous grunge collection), Marc Jacobs introduced his men’s line in 1994 (which has since nabbed its own CFDA).

Following the transition to licensee Staff International, Marc Jacobs men’s wear is as cool and commercial as ever. Referencing downtown New York in the Eighties as well as Sid Vicious, details throughout the collection include seams hand-traced in ink, zipper trims, and a lipstick-kiss motif. Key styles include pleated shorts reminiscent of the kilts favored by Jacobs, elongated tuxedo jackets, and all manner of biker jackets.

With its bright colors and irreverent prints (courtesy of Paris design firm M/M), the collection combines the puckish spirit of the youngerskewing Marc by Marc Jacobs with a more grown-up sensibility.




While traveling down the French Riviera, Marc Marmel relaized there was a niche for stylish travelers throughout the world which was not being addressed.

The line is comprised of six basic pieces in sizes which are perfect for carry-on ffor a long week-end. The concept is simple: Leather that looks old and well-traveled, but is not. Each piece looks like a treasaure you might discover in your grandparents’ attic. However, one need not worry about scratches and cracks. You can feel just as comfortable throwing them into check in if you do not feel like carrying them on the plane.

Inspired by the vinatage pieces of Hermes and Louis Vuitton, Marc Marmel created an exclusive line of luxury, handmade luggage and accessories, which compares to no other in the world.


Like an oyster, the exterior might be rough, but inside you will find a pearl. Every piece is lined in beatiful bright colored silks; something no other luggage line offers. Marc Marmel can now be found in only the most exclusive department stores and boutiques throughout the world.



This collaboration between the heritage-focused European skiwear company Moncler and the suit-centric Thom Browne may have taken some by surprise.

Big-band music filled Piscina Cozzi, a Mussolini-era indoor swimming pool, taking the audience back in time. A squad of models lined up in identical white cloaks and goggles before 20 of them disrobed and took to the lap pool. Thirty-two strolled around the pool in summery suits and rainwear.

But Browne’s performancestyled anoraks, downfilled blazers, and quilted wool pants showcase an athleticism that the designer, an alumnus of Notre Dame’s swim team, had previously kept under wraps.

The truncated silhouettes and retro sensibility were unmistakably Thom Browne, but with Moncler logos. Finally, the whole cast filled a grand stairway, and Browne took his place among them, waving like a beloved head of state.




Smith, an avid cyclist with hopes of going pro, had his dream deferred after a major crash at age 17. A few years later, after a spate of tailoring classes, he opened a small shop in Nottingham, and six years after that, began showing his namesake label in Paris.

The chilled-out sense of being on holiday ran through this sportswear-driven and appealing collection. Espadrilles, vintage Hawaiian and Parisian postcard prints and a recurring cloud motif all declared the wearer’s intention to relax. The only suits were made of either pastel colored poplin or shiny, papery fabrics. Meanwhile, the tailored looks that were the most passably businesslike were actually an array of separates.

Smith’s brand—centered around the concept of traditional suits and dress shirts colliding with explosive colors and stripes, and sometimes eccentric details—has since expanded worldwide with a number of offshoot collections.


Paul Smith frequently takes inspiration from gentlemen’s sports, but this time the sportswear had the techy fabrics, zips and cinches of contemporary athleticwear. The collection may have been unusually modern for Paul Smith, but it still delivered his colorful and cheerful point of view.





In 1978, Miuccia Prada took over her grandfather’s leather goods shop in Milan and stocked it with a sought-after women’s collection, soon-tobe-iconic handbags, and, in 1993, a full men’s line.

Miuccia Prada has a knack for cutting through the noise and she succeeded again with a modern collection inspired by black-and-white movies and big-city life. “The vacation mood is impractical now. We must embellish our everyday life and build something more pleasant daily,” Prada said before the show. So rather than “running off to Hawaii,” Miuccia’s man is dressed for a summer in the gray city, decked out in a plethora of slimly tailored suits in micro patterns, plus perforated knits, jackets, hats and shoes.

Largely unpredictable from one season to the next, her sharp and immaculately tailored looks are almost always bellwethers for the industry at large.

First out were double-breasted jackets with thin lapels, followed by layers of mesh cardigans and vests, which were grainy and lightweight. “Let’s make the city suit more relaxed,” Prada said, which she did by mixing chevrons, houndstooth and Art Deco swirls. A soundtrack that crackled with cell phone interference or the rumble of passing cars added to the urbane drama — as did cutoff tailored shorts and raw-edged silk shirts. They rounded out a collection that, despite its monochromatic nature, was anything but onedimensional.




After starting out by selling skinny black suits to a coterie of clued-in Europeans, the self-taught Simons brought his futuristic but wearable designs to a wider international audience.

Let others ride the wave of futurism: Raf Simons continues his newfound fascination with classicism. “Fashion is so blurred these days. We need new men with new codes,” Simons said after his show, staged in blooming private gardens. The designer opened the show with five dark suits — and his tailoring prowess dominated throughout. Innovations included drop shoulders, roomier fits and reverse seams. “It’s about deconstruction and reconstruction,” said Simons, who added technical nylon sleeves and panels to some jackets. Simons broke the Wall Street procession with a harness-like orange belt that slashed through a two-button jacket as if to say: Brace yourself. Belts snaked around suits, sometimes diagonally, and lashed sleeves and even throats. Then in slithered snake prints on pants, shoes and sheer tops, along with oversize crests stitched on the back pockets of white jeans.

In 2005 he took on the additional role of creative director at Jil Sander; a lower-priced line, Raf by Raf Simons, was launched in 2006; and a 12-piece collaboration with Fred Perry debuted in 2008.

Such symbols o ­ f conspicuous consumption seemed an ironic counterpoint to a sophisticated, confident collection. “Everything is a little bit disturbing,” Simons insisted backstage. And elegant, too.






While still at design school, the Southern California-born Owens became known as a master pattern cutter. After establishing his own line (and winning the CFDA’s Perry Ellis Award) in 2002, he moved to Paris to oversee the label, along with that of furrier Revillon.

Rick Owens is hardly your average all-American. But for spring the designer, who uprooted from Los Angeles to Paris, paid tribute to his compatriots via Gothic twists on American favorites. “I heard myself in an interview being very critical about American tourists, so I wanted to make up for it by paying tribute to them,” Owens said.

Today his name’s synonymous with a kind of drapey, disheveled noir elegance.

The designer piled dark denim jackets over lengthy T-shirts, while pants were often cropped below the knee to show off chunky, boot-like sneakers. The homage even extended to jeans and fanny packs, worn under high-tech outerwear. Still, draped jerseys with transparent fronts are hardly for the average Joe.




From his millinery studio in the heart of Harlem, Rod Keenan produces men’s hats in innovative and fashion forward styles. Keenan produces his designs in the timehonored couture tradition, combining his modern vision with handcrafted skills which emphasize detailed construction and use of fine and unusual materials.

For men’s dress hats with pure vintage appeal, don a Rod Keenan creation. Find these classics like the broad brim, long-hair beaver fur felt fedoras. Of course, once you see the contrast gros grain trim, triple bow, bound edge, and variable brim (2 inches wide in front and 2 1/2 inches wide on the sides and back), you’ll be ordering at warp speed. The satin-lined JFK men’s hat (in Black or Chocolate) is another couture fur felt fedora. The stingy brim turns up sharply in back, making for a very distinctive silhouette.

Keenan studied fashion in Paris at Parsons School of Design before returning to New York where he received his millinery degree from The Fashion Institute of Technology.




The fashion press loves a quirky backstory, and Kate and Laura Mulleavy had a doozy of one when they hit New York in the spring of 2005. Among other charming evidence of outsiderdom, the sisters were reported to operate out of a cottage behind their mother’s house in Pasadena, California.

Rodarte has made the push into menswear with an exclusive collection of high-end sweaters and cardigans. BNY has an array of unique colorways. The sweaters are a mixture of knit fabrics culminating in a light weight knit, with stitiching that is too perfect to be random.

These self-taught creatures, the dispatches breathlessly implied, were naĂŻfs who had simply taken their dressthe-dolly games to a radical extreme. (Never mind that both went to Berkeley, Kate studying art history, Laura English literature.)




Greg Chait, 31, parlayed his experience working at a talent agency to launch the cult denim label Ksubi and, more recently, his own line, the Elder Statesman. He began the latter with a simple goal: to produce the ideal cashmere blanket.

“The collection was based on a trip to Big Sur I took last year in terms of the colour palette. I spent a while roaming around the area and the collection is a direct result of that. I developed items such as cardigans, roll-neck sweaters and hats. The feeling is still very free-spirited chic rather than crunchy and hippy.

Today, the collection features two dozen items, including the Baja sweater, a Mongolian goat wool interpretation of the old Guatemalan surfer hoodie.


My fabrics are created from scratch. I do everything in most cases starting with the fibre and sometimes the yarn. The fibre comes from Mongolia and is either hand spun in Mongolia, Canada, or on the Navajo Indian Reservation. That is only for now as I am exploring new places to make my yarn. I am having them woven in India and on The Navajo Reservation, with hand knitting in Canada and the US, and looming in the US. This will be expanded as well. Some yarns are from Italy. I am exploring Ethiopia and some other locations known for unique methods and great craftsmanship. In addition to garments, I have also extended my collection to hand-made Buffalo horn eye glass frames which are made in Germany.�



The Row, a luxury apparel and accessories brand by Ashley and Mary-Kate Olsen, was launched in 2007 as a simple mission to make the perfect T-shirt. Getting its name from the historic Savile Row, The Row’s aim is to offer an updated take on bespoke tailoring to modernday basics. In the Fall of 2009,

The thing with celebrity lines has always been that the celebrities should themselves know fashion, and or surround themselves with people who know fashion. The Row is a perfect example of a collection that shines in its simplicity and attention to detail . The spring/summer 2010 collection, is sleek and modern made of apparel that any man would have in his wardrobe as his favorite.

The Row grew to include men’s wear. The Row’s style philosophy does not believe in trends, but rather places a sharp focus on clean lines, ultra-refined silhouettes and the perfect fit. The Row apparel is 100% manufactured in the USA.




Ten Thousand Things’ designers David Rees and Ron Anderson have the perfect instinct for brilliant design, inspired by fine chaining, and executed in both minute scale and more recently, larger works of art featuring many one-of-akinds.

The Ten Thousand Things collection possesses a natural, time-worn look which belongs in anyone’s fine jewelry collection for years to come.


These talented designers search out hard to find pearls and gemstones, including amazing sapphires and tourmalines, making each piece by hand in 18 karat gold or sterling silver settings. The result is an irregular beauty which can be small and precious, or bold and freeform. The name Ten Thousand Things is taken from a Daoist philosophy: “One thing begets 10,000 things”, and confirms that creativity, at least from this pair of designers, is infinite.



Thom Browne got his start in fashion by designing for Club Monaco, then founded his own line in 2001. He’s since built a loyal following for his radically shrunken—and meticulously tailored—take on the staples of a man’s wardrobe. In 2006, Browne was tapped to design Brooks Brothers’ more fashionfocused Black Fleece line, and in 2008 he was named creative director for Moncler Gamme Bleu.

Thom Browne staged this year’s show at his New York store on Hudson Street. Talking about his spring collection, referencing it as “mermaids in war paint”, Browne explained that the this season “was an evolution. It was showing a lot of different shapes for [him].” It’s true that Browne’s latest collection showcases a wide variety of silhouettes, but it is at the cost of his signature suit. Almost absent, Browne instead focused his intentions on cuts and prints that are largely inaccessible.

While Browne’s business remains relatively modest, it’s hard to overstate his influence on the shape of the modern men’s suit (including, incidentally, those sold by Club Monaco).

For a designer who was rumored to be having financial problems that are likely attributed to his eccentric designs, only later to deny it, then said to have a diffusion line, only to squash it as an inaccurate report, Browne is ballsy. There is just no other way to put it. Going against the grain, Browne paints a picture of effeminate cuts, bold colors, cropped bell bottoms, skirts, sequined frills and polka dots in abundance. We might not understand Browne’s crazy world, but there is no denying that he is a visionary.




Originally a glove manufacturer launched in 1911, the Trussardi company eventually blossomed into a “Made in Italy” staple when the founder’s grandson, Nicola Trussardi, started designing leather goods and accessories.

Fuse an obvious Native American influence and an easygoing Bohemian flair for style and you have the latest collection from Trussardi 1911. Trussardi’s Creative Director, Milan Vukmirovic has successfully crafted a collection that illustrates a constant theme, while providing diversity and a path varied enough for any man to travel regardless of his susceptibility to fashion risks. At times dark, other times vibrant and bold or neutral and grounded like the sands of the desert, the spring collection provides its fair use of color. Color is beautifully weaved in and out amongst thin feather adorned tanks, paisley prints, boxy blazers, shoes and outerwear. Waistcoats are double buttoned, blazer sleeves cropped and fringe modestly applied at times for character.

Nicola’s daughters have taken over, with the youngest, Gaia, helming the creative vision for the womenswear line, and Beatrice taking charge of the company’s business affairs, including attracting new talent, like Milan Vukmirovic, to relaunch the menswear label, Trussardi 1911.


The collection plays it low-key with light washed denim and studded jackets before upping the ante with beautiful camel toned suede and a stunning cropped tuxedo jacket. At the end of the day, Vukmirovic’s work at the creative helm of Trussardi proves that under his direction, Trussardi 1911 is about taking conceptual risks in order to inspire those who are fashion conscious to rethink their own style boundaries.



Miles Chapman always had a good visual eye as an editor (he helped Tina Brown reinvent Vanity Fair), but he claims he’s “as surprised as anyone” by his new incarnation as a jewelry designer.

There are chains to suit all sorts, each of them unique. One comes with corgi charms that “walk” down a chain that links a tiny Buckingham Palace and a crown, while another, dubbed Trouvé, recycles the beautiful watch chains of nineteenthcentury dandies.

Diagnosed with Parkinson’s disease, he needed to do “something fiddly” to keep his fingers nimble, so he started breaking up and reconfiguring the silver chains he’s been collecting from flea markets for years.

There’s also a practical range, from which to dangle keys or specs, and Chapman is already on to bracelets as well as delicate bondage chains.




Yamamoto’s first line, Y’s—a women’s collection heavily influenced by men’s clothes—debuted in 1972. His namesake label launched in Paris a decade later (menswear was added in 1984), kick-starting a long career of avant-garde designs—deeply influenced by ancient Japanese traditions of beauty and functional dressing—that are often far removed from current fashion-world trends.

Yamamoto explored austerity of design in a strong lineup that worked a snappy-gentle dichotomy, even if glum hair and makeup tried hard to camouflage the prettiness of the clothes. He opened soberly with a lean, long suit but then started baring shoulders and chopping skirts into minis, often ditching jackets in favor of crisp white shirts, some with puffed shoulders, that introduced a Victorian air. It was all delightfully fresh, and, by Yohji standards, as spare as it gets.

Yamamoto is the only Japanese designer to have received the Chevalier de L’Ordre des Arts et des Lettres from the French Minister of Culture.


Or so one thought, until Yamamoto turned to the subject of decomposition. In a season of too much faux tattering, T-shirts appliquéd with random, ratty circles looked genuinely edgy, but when paired with holey-moley pants, the impoverishment turned too perfect. Not so, however, for the series of delicate wallpaper-print floral dresses and jackets. Seemingly discovered in an attic after being forgotten for generations, they bore their wistful decay with elegiac grace.





The Algerian-born Yves Saint Laurent moved to France at 17, became head designer of Christian Dior by age 21, and started his own collection five years later (menswear was introduced in 1974). Over the course of his legendary career, Laurent transformed the fundamental silhouette and form of both women’s and men’s fashion.

In men’s wear, the suit is often perceived as a sacrosanct structural form, almost impossible to modify in significant fashion. Not so for Stefano Pilati. The Yves Saint Laurent designer took a bold and freewheeling approach to modernize tailoring for spring. “I want to help men be a little more open with the way they dress, to shift the identity of tailoring … and work on finding a man’s uniform outside the conventional suit,” Pilati said before the show. First, a contour-conscious, double-breasted jacket with two buttons and a cutaway hem was paired with high-waist pleated pants. The conventionbreaking then extended to casual wear with T-shirts fashioned into jacket-like shapes or dramatic, draping tunics. Underscoring the relaxed approach, Pilati sent out shirts with faded polka dots or stripes and knitwear with inconsistent ribbing, while washed leather over motorcycle jackets added a wilder look.

Tom Ford briefly inherited the YSL reins before his exit from the Gucci Group, and since 2004 the collections have been ably overseen by Stefano Pilati. Saint Laurent died in 2008.

Yves Saint Laurent’s men’s wear is for a sophisticated customer - “contemporary but not young,” according to Pilati - and for spring, the designer brought just the right dose of freshness to the elegant man’s world.







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