Designers bow to Bowie for 2014 spring-summer
From Bowie-inspired glam rock to LA beachwear, the Paris men's show had it all, writes Elisabeta Tudor
Nods to David Bowie were everywhere in Paris. Whether as an embroidered motif on a Lucien Pellat Finet jumper for Thom Browne's quirky military styling (think runway models in uniforms with heels and red lipstick) or as a youthful rock 'n' roll metaphor from Saint Laurent, you simply couldn't escape the Paris menswear shows without spotting a reference to the British glam rocker.
Leading the pack for spring-summer 2014 was Hedi Slimane's collection for Saint Laurent. His "heroin-chic" and malnourished looking boys with a "greased lightning" attitude kicked off the show wearing sequined and sleek smoking tuxedos or teddy and leather jackets worn over cropped Breton-striped jumpers and paired with high-waisted slim pants that clung so tight that they could have been second skin.
You simply couldn't escape the Paris menswear shows without spotting a reference to the British glam rocker
Meanwhile, Kenzo's Carol Lim and Humberto Leon left the Asian-inspired warrior style of their last collection (showcased at Pitti Uomo) and returned to their California roots with a collection inspired by the beaches of the West Coast … Venice beach, to be more precise.
The looks featured hand-drawn graphic patterns of waves and chunky stripes in shades of blue as well as typical Californian slogans in black and white fonts which adorned breezy linen trousers, boxy jumpers, neoprene tees and sporty blousons with functional openings on the sides - the ideal L.A. skater-boy wear.
Kim Jones at Louis Vuitton played up the American Dream with a luxurious road trip through the United States, exploring the beloved stereotypes from boy scout, preppy mama's boy, to rebel outsider and prom king.
Another trend was the intrusion of sportswear into formal tailoring. A case in point were Kris Van Assche's collections - the one for his eponymous brand and another for Dior Homme. The "less is more" designer kept his style sleek and clean, but also turned out to be a fierce pattern player. At Dior, his cubist patchwork on monochrome silhouettes could be seen on various suits in shades of rusty Bordeaux and dusty grey.
Finally, Aldo Maria Camillo at Cerruti 1881 deserved a standing ovation. The brand has long struggled to find a style - and to keep its designers for more than two or three seasons. But the winds of change that Camillo brought not only saved the maison's reputation but gave a beautiful take on Nino Cerruti's heritage.
