WORDS Conor Davage
For Pretty Green’s latest Black Label collection, they have locked into the mid-60s as a catalyst for both social change and the birth of many staple menswear trends. More specifically the Peacock Revolution of that time, which has been a recurrent influence in menswear ever since. It is for this reason that this period holds such a prominent place in the items contained within the Black Label.
This is most recognisable not only by the chosen styling of the lookbook, but also by the model's Mick Jagger bowl cut while posing on elements like carpets and arm rests which look well acquainted with vintage markets or aged living rooms.
The clothing itself stays true to the central focus of the collection. Marked by floral and stripe patterns, materials like leather and suede and accompanied by a wash of pastel pinks and creams to cement the era of reference. Indeed, the collection is grounded in a nonchalance, achieved through neat, clean lines, and a ‘wear it how you feel it’ attitude.
By way of their tribute to the Peacocks as cultural icons, the Black Label collection by Pretty Green has produced items which reflects their many forms. For a casual Peacock look, they have elevated the traditional track top with plush velour and overarm lace trim embellishments. For this collection they also introduced a Prince of Wales check mac, with slim cut, William Halstead fabric and concealed front bottoms.
In sum, Pretty Green’s Black Label is rooted in modern menswear, built on a legacy of revolution, freedom and experimentation.
WORDS Conor Davage
What happens when you fuse neatly tailored formal wear with the edgy, rock ‘n’ roll of biker culture? This is what occurred at the Dior Homme AW18 show in Paris, and the answer is a beautifully curated collection by the design house which boasts ‘Le New Look 1947’.
The expertly crafted tailoring created striking silhouettes of the models who donned the pieces, with cinched waists and emphasised shoulders. These features were then accentuated further with belts worn over suit jackets and overcoats. For the most part, suits were styled with crisp white shirts, polos and striped knitwear. These represented subtle nods to previous seasons, only this time the ideas were fully formed and evolved.
This can be seen in the unlikely combination of camel and navy double breasted jackets, bomber-style coats, and pin stripes with buzz-cut motiff-styled hair, repeated tribal patterns and flame graphics commonly associated with motorcycle gangs on Route 66.
Other looks were styled like 90s teen skaters, which saw the same flame graphic emblazoned onto tees, worn over shirts and paired with elliptical sunglasses, baggy denim jeans and sneakers. The only autumn/winter add-on being a neckerchief and various sizeable off-the-shoulder bags to seal the ever-recognizable Dior Homme aesthetic.
WORDS Conor Davage
Against a backdrop of red backlit scaffolding, unfinished half-plastered walls and wooden makeshift platforms which paved the route of the catwalk, anticipating guests were introduced to a theme which appeared to be paired-back and raw.
On show, however, was the opposite. The clothing heavily featured ostentatious patterns of check, tartan, florals, leopard print and geometric shapes. Materials like leather, suede, silk, shearling and knitwear sat amicably next to textured, intricate embroidery. The overarching theme appeared to be contrasting opulence.
The inspirations, according to the show notes, were just as diverse as the eclectic choices of patterns and materials. It “takes as its starting point the elegant modernism of the British male”. To this, they add “the tailors of Saville Row” and “pony kids of Ireland” – the former apparent by crisp tailoring, while the latter emerges through the nonchalant and oversized outerwear.
These exaggerated prints and textures were reeled in by the more modest and preppy styling, which saw many of the garments paired with v-neck sweaters, polo-neck jumpers, formal shirt and tie combinations and cropped, slim trousers. For AW18, McQueen cannot be summed up by one word or influence, and that is the point.