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Drapes and soft colors: how to dress a man in search of serenity

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Drapes and soft colors: how to dress a man in search of serenity

In Paris, fashion is often extreme, interrogative, uncompromising, but perhaps the current time requires something else: something more subtle, delicate and reassuring. The week of men’s ready-to-wear has just begun, so it is too early to say – the coexistence of everything and more is equally Parisian – but at the moment what emerges is a search for serenity, for levity, which is also a way to further evolve this male now devoid of certainties and holds, to give him a soft and convincing concreteness.

Hed Mayner takes the poetics of the found object to new levels of expression. Some models, on the catwalk, are adorned with coffee spoons like long earrings, without this being a forcing; they wear Sangallo sheets transformed into seraphs or long tunics, open back sweaters, huge jackets and Bermuda shorts that look like skirts. The effect is of a touching delicacy that emanates grace and awareness, qualities that every man, more or less aesthetically evolved, should cultivate. Mayner lives and works in Tel Aviv, and in a short time he created a language of his own, as a true author, personal and cohesive, unaffected by the trifles of fashionable conversation.

Color and imponderable lightness are mixed in the beautiful proof of Taskcapable of a lyrical linearity that only the Japanese can really do, while Bianca Saunders captures the movement of a hand that tightens the jacket or sweater to the chest in small draperies full of poetry. The collection moves impalpable, tender; there is a lot to fix in terms of tailoring, but the evanescent aesthetic fascinates.

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The simplicity of The mayor, usually somewhat austere, vibrates with a new sensuality, made of pale colors and prints, and is glorified by the tableau vivant presentation in which it is the audience that passes the center, not the models. Nudity, bows and libertine ponytails give a licentious thrill to the fashion show Louis-Gabriel Nouchi. They are mostly styling and casting gimmicks – complacently varied and shaggy – because the product is clean and essential, but not bland, and the balance of runway gimmick and sales reality works, with an emphasis on bandage panties and liquid jersey.

In Paris, the new delicacy is so pervasive that it even touches the usually very black shores of Givenchy. The set is white, and the water on which the models walk, their feet sealed inside irremissable rubber boots, looks like milk. Apart from the chromatic change, the creative director Matthew Williams reiterates forms and styles of streetwear, which is his world of origin, elevating them in the execution of the atelier. There is no shortage of desirable pieces, but it is the overall design of his Givenchy project that still does not find its way, and that moves little beyond the affirmation of an evident and sterile coolness. The lack of vision, however, cannot be attributed only to Williams: it is Lvmh that does not seem to have very clear what to do with the historic and mistreated maison.

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