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I AM MAN

Edited by Autumn Ashley

NOW SOMEONE REMIND ME HOW MANLY I AM


There

has been an undercover buzz within the global community about 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.


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 formflattering 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.

~ IAN MILAN Editor-In-Chief

All photos Style.com

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.


PLEASURE

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 darkcolored, pleated, calf-length skirts. The recent line is not the first design of skirts for men.

The Satorialist

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


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 thereâ€&#x;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

Givenchy-Style.com


VIVIENNE WESTWOOD

BORN

Vivienne Swire was born in 1941 and moved with her family to London at the age of 17.

LEGACY PUNK, corsets and platform heels

EDUCATION

MUSE

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.

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.


101 REASONS WHY WE LOVE AUSTIN

PEOPLE,
PLACES,
THINGS
 Street Musicians [52]

[54] Barton Springs

[53] Service

Menswear The Copa

[55]

[58] Esther’s

Follies [62]

Mt. Bennel

[63]

[59]

Random Art Exhibits

Lucy in Disguise [65]

Dog Friendliness [64]

Peter Pan Golf

[56] Texas Longhorns [60] Swing

Dancing

2ND Street Shopping [57]

[61]

Waterloo Records [66]

Estilo


[67]

Eeyore’s Birthday Party

[68]

Zilker Park

Alamo Drafthouse [69]

Zilker Botanical Gardens [71]

[70] Laguna Gloria

[72]

Dave on the Drag Austin City Powerplant

[73]

Keeping Austin Weird [74]

[75] Leslie

Cochran Christma s outfit: $15 Mismatche d sock s: $.35 Libby Lu Headset: $15 Keeping Austin weird: Priceless

[76]

Ballet Austin

[77]

Dell

Bats Under Congress [78]

Austin Museum of Art [79]

Photo @ freerepublic.com

[81] Hamilton Pool

[80]

Green Belt


Pin-

[82]

Uncommon Objects [84]

[83] Stag

Ups No city love s pin-up mode ls a s much as Austin.

The Domain [85]

[86]

“The Drag” [22] [87]

Ultimate

Frisbee

6th Street [89]

[88]

Canoeing at Zilker

[17]

[90] Bows &

Toy Joy

Arrows

Long Center for the Performing Arts

[91]

South Congress [93]

Scooters

[92]

[95]

[96]

Cathedral of Junk [97]

Lake Travis [99]Stubbs

Vulcan Video

[98] Vintage Clothing [100]

The Hideout

[101] Book People

Rumor has it this is also one of celebrity chef Anthony Bourdain’s favorite places in Austin!

[94] Supporting

Local Businesses


FANTASY


WE 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.

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


September Issue Part 2