Fashion Week
A/W 2011 Menswear

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Day 1

Ermenegildo Zegna Jil Sander Burberry Prorsum

Day 2

Bottega Veneta Emporio Armani Vivienne Westwood Missoni Prada Moncler Gamme Bleu

Day 3

Gucci Versace Pringle of Scotland Alexander McQueen

Day 4

DSquared2 Neil Barrett Giorgio Armani Z Zegna

Ermenegildo Zegna

In the same week that Prada announced the opening of a design and research office in Hong Kong, the Zegna men's runway was littered with an unusually beefy number of thin-framed Asian models. China, where Zegna first landed 20 years ago, was clearly on the Italian label's mind this season, as was new technology, another buzzword that is increasingly captivating the fashion set. Zegna's plunge into the digital world took the form of a ‘convergent reality experience’, dreamed up by Avatar veteran James Lima, where real models floated in and out in a live performance before the audience, together with a filmed performance on the walls in front of them. The performance, dubbed 'LIVE-D' (instead of the ubiquitous 3D) used green screens to superimpose models right on the Bund or atop the Great Wall of China, where they then stepped off the screen and landed in real life on the runway. Gimmicky? Sort of. But they get points for originality. And Zegna's true forte - plain fabulous clothes that walk the perfect line between smart and casual - is what really lingered with the audience anyway.

Ermenegildo Zegna

Jil Sander

‘I like the idea of t-shirts for winter’, Raf Simons said backstage after his fall menswear show in Milan. And after seeing his versions – boxy, shaped in quilted nylon or padded silk that stood away from the body - goosebumps aside, we do too. Part of their allure, as well as most of the show's, was the magically delicious palette of colours that are slowly becoming this Belgian designer's most effective imprint on the German fashion house. Simons has a natural knack for unusual colour combinations that have visually combustible results. Who would think for example that bright watermelon, hot tangerine-orange, peacock green and studious navy could ever sit on the same outfit, and do so with such easy grace? Simons is effortlessly becoming one of contemporary fashion's most able colourists.

Jil Sander

Burberry Prorsum

Who says that fur and water don't mix? Christopher Bailey, who went positively furry at Burberry this season with shaved mink coats, Astrakhan drivers' caps, fur T-shirts and cowhide-printed fur jackets, proved that a late fall shower is nothing he can't conquer. After all, Burberry knows a thing or two about how to dress in a thunderstorm. So for his finale, in which the models were drenched in a waterfall of rain that tumbled in a perfect vertical line from the ceiling (and which was miraculously and simultaneously seeped up by special drains built into the runway), the fur-clad models were safely ensconced in clear plastic rain slickers with black leather trim. If the audience had any doubts about the efficiency of Burberry's products against the elements, they were certainly put to ease with this clever demonstration. Our choice for slip-proof evening shoes? The black patent leather hiking boots with a white creeper sole.

Burberry Prorsum

Bottega Veneta

Tomas Maier is not one to brag, let alone engage in simple backstage chit chat about his collections for Bottega Veneta - lucky for him the clothes do all of the talking. This season the discourse revolved around a chic sort of rumpled-ness on softly crinkled washed leathers or wool suits with a rain-dripped effect woven into the garment. The result offered intriguing texture without ever shouting ‘pattern!’ from the rooftops. A palette of muted shades interspersed with the occasional pop of ochre or lime corduroy was beautifully chosen, underscoring the understated but highly covetable lexicon of luxury on which Bottega has built its base. As an added bonus, the finale of velvet jacket tuxedos paired with wool pants appeared as if they had just (purposefully) unrolled out of a suitcase and could just as easily roll right back up.

Bottega Veneta

Emporio Armani

Although the 'golf caddy' intro to this show had a campy slant, the rest of the collection revealed some of the terrific work on which Giorgio Armani has built his three-decade career. Most exciting were the body-skimming camel coats, devoid of tricks and unnecessary extras, which were paired with buttery-looking grey wool flannel pants with subtle knit edging on the hem. The concept of a streamlined fluidity continued with pared-down shearling coats, some with handkerchief hems, and sleeveless jackets. Armani is the king of the well-cut jacket and when he goes back to what he does best - focusing on the smooth contours of the body rather than superficial decoration - as he did beautifully with his finale of black waistcoats covered with long black jackets - the result is the pure polish that we love.

Emporio Armani

Vivienne Westwood

Vivienne Westwood's styling methods are purely instinctual. ‘We just chose the clothes to suit the lads by intuition’, the designer declared in her show notes. Bow ties, round collars, rivet-hole earrings and mandolins were just a few of the amusing and often preppy details that gave each of these ‘lads’ their highly personalised look. The casting of this show is consistently exceptional, and yet with the models' shiny pin-curled hair and glistening crimson lips, one wonders if Ms Westwood was thinking more of dames than lads this season. Strangely enough, the effect of these transgender heads was arrestingly beautiful rather than freakishly trannie and offered a mad-poet undercurrent to the young intellectual vibe of the clothes.

Vivienne Westwood

Missoni

Angela Missoni's game plan for the Missoni runway has for the last several seasons been the same: she picks a single concept and dresses it up, down and sideways. The single-minded approach may run the risk of repetition but in Missoni's case it brings a dose of consistency and a singular message to the house's knitwear. This time a muted palette of greys and mauves was applied to the seasonal silhouette of loose-hipped, pegged trousers and layered knit outerwear that ranged from sweater jackets and thermal coats to knit puffers. The idea of knit outerwear, which is gaining traction amongst menswear designers worldwide, is a no-brainer for Missoni, who can whip up a zig-zag pattern with eyes closed. But this season the pattern was toned down to muted confetti or tartans on the clothes, while a cool flash of color striped across the sides of the suede shoes underfoot.

Missoni

Prada

Was that heavy metal music we heard in the hallowed halls of Prada? 'I struggled with the music all week,' said Miuccia Prada backstage post-show, wearing a skyscraper pair of Miu Miu sandals and a lurex top. 'Nothing worked. So then I thought, "well there's metal in the clothes - hmmm, how about Metallica?"' The hardcore trash music provided just the right unexpected yet desperately needed contrast to highly clinical clothes that had been scrubbed of all crassness. The metal Ms Prada mentioned was disco-ready metallic lurex, used as second skin sweaters, and pared with ‘office clerk’ nerd pants and minimal, oversized boxy coats. Throughout the show, a discourse emerged on retirement-style leisurewear - sweatsuits were re-conceived as shiny compact jersey two pieces with chevron motifs, while slip-on boots and lace ups had geriatric comfort soles in the same color built in to the design. Best of all were nylon baggy pedal pushers worn with striped knee socks - and shoes grandpa could attempt to do a few laps in.

Prada

Moncler Gamme Bleu

There is much to love in a Thome Brown-designed, Etienne Russo-produced fashion show for Moncler Gamme Bleu. In the American-born menswear provocateur and the Belgian events whizz, Moncler owner Remo Ruffini has found a winning creative combination that never makes a fashion show a boring ride back and forth on a white runway. For Fall the duo took their high jinks to a riding stable on the outskirts of Milan near the San Siro soccer stadium. English hunting - with all of its high-brow acctrouments- was the theme, which started with a troupe of trotting horses with riders in sharp red jackets and white pants. That grand moment was followed by models who tugged along beagles on red white and blue leashes. The clothes were a mash up of hunting themes where checks and plaids and tweeds found new life on quilted vests, riding jackets, mackintosh coats and skin-tight overalls. The clothes - tightly focused and exquisitely made - were much more cooperative than the dogs who were much more interested in stopping to sniff the damp soil than to prance around the flashing camera lights, but the entire spectacle was again a refreshing respite from the fashion norm.

Moncler Gamme Bleu

Gucci

The Gucci show invitation, covered in a dusty rose suede-like finish, was about as far away from the traditional slick plexiglass plate that creative director Frida Giannini has relied upon season after season, signaling a softening up found on her men's runway for fall. Rather than her earlier work with acid brights or bold graphics, Giannini relied on more mature, muted earth tones and pastels. Sharp-shouldered slim suits in putty or tobacco were beautifully contrasted with shirt and ties shades of mauve or salmon beneath. The collection signaled Giannini's willingness to continue the more grown up, polished discourse she set last season. Even when her men were wearing sweaters or sporty outerwear, they always had a proper tie and shirt along for the ride. Which is not to say the Gucci man is destined for a high-rise cubicle. Indeed, the ostrich and crocodile skin jackets and a Mongolian Lamb coat with six-inch long fibers that bounced along with the models' walk were anything but office-appropriate.

Gucci

Versace

Even Versace, the house of carnal delights, is not immune to the heady perfume of elegance that is wafting above menswear at the moment. Slim suits, black ties and starched shirts were everywhere on Donatella Versace's fall runway. Granted the dressed-up mood had a dark undercurrent, thanks to bondage-style leather belts worn over Astrakhan lapel coats and suit jackets. And being a sort of rocker chic herself, its no surprise that Donatella threw some bubbled and blistering black leather into the mix, in the form of spray-on trousers, sleeveless coats and long waistcoats worn over camel-hair suits.

Versace

Pringle of Scotland

Relying on the nimble hands that sprung from heritage British fabric mills, together with Pringle's own traditional Scottish knitters, creative director Clare Waight Keller spun out a collection that blended knits with worsted cashmeres and Harris tweeds on big, bulky, oversized, outerwear. While everyone else in Milan is trying to jump on the knitwear bandwagon, the nearly 200-year-old Scottish brand has legitimate bragging rights to knits. Waight Keller did that heritage proud by twisting traditional English shooting jackets and parkas into knitted coats with oversized leather hoods or cowl and funnel necks. Every piece looked cosy enough to cuddle up on the couch with, while mega-gauge jumpers that appeared to have been knitted straight from grandma's living room and blown-up cable-knit jumpers all had the length and the thickness of winter coats.

Pringle of Scotland

Alexander McQueen

The first five looks out at the McQueen show had our mouths wide open. There was a red-hot sweeping military coat with a deep vent and upturned black Astrakhan collar, a fan-like curly shearling collar on navy sailor coat and a layered wool and leather sheath sleeveless overcoat, all paired with tapered red jersey sport-pants and shiny shoes. Focused and refreshingly original, this felt like the most personal part of a collection that largely paid homage to the favorite haunts of designer Sarah Burton's former boss, Alexander McQueen. The tartan capes, plaid flannel suits and driver's caps with patent visors were a polite nod to McQueen, but Burton made them her own with the down-to-earth tailoring and styling that never got too tricksy. We're looking forward to seeing more from this well-formed protégé.

Alexander McQueen

DSquared2

The snow-covered stage set for DSquared2's fashion show, with its giant boulders, dried-up branches and stove-heated wooden cabin, appeared to have been snatched directly from the set of Anthony Minghella's 'Cold Mountain'. And there was certainly a whiff of the film's Inman character in the flat-brimmed black felt hats and the quirky way the models were walking that suggested they had just spent the last 36 hours on horseback. But the Canadian twins' own original (and inimitable) stamp came in the form of the horn-rimmed library glasses that the models wore, along with their modern-cut leather jackets and layers of cooking aprons, crinkled puff-sleeve shirts and shiny shoes. The show was less wacky than other Caten outings, but struck an oddly perfect chord for this menswear brand, which doesn't need to do anything more dressy than great American outdoorswear.

DSquared2

Neil Barrett

We loved the light installation in the middle of the Neil Barrett fashion show in Via Savona. Designed by Barrett's in-house design and architectural team, a vertical series of suspended fluorescent tubes looked like futuristic icicles. Frozen water was more than apt for this collection, which was rooted in underwater scuba gear. Barrett cleverly gave the sea material an urban slant with night-urchin leggings crafted from a collage of bonded neoprene, leather and woven fabrics. 'It was a very complicated process', Barrett said backstage, 'but we got it just right'. The sporty patchwork scuba trousers, which Barrett dubbed 'the new skinny jean for men', were worn with stiff pea coats or oversized parkas with hardcore black leather hiking boots.

Neil Barrett

Giorgio Armani

The classic idea of the man in the grey flannel suit was reinterpreted by Giorgio Armani for his fall menswear collection. Though there were iterations of the traditional version, grey flannel also morphed into a sport-style soft track-suit, which opened the show paired with an oversized floor-grazing coat. Though grey knitwear worked its way into two-piece suiting, it also got broken up and paired with some of Armani's favourite classics, like fluid velvet trousers or zipped-up blouson jackets in a washed tailored fabric. Most outrageous moment? The point at which two men took to the runway wearing ski parka jackets and pants that had been wrapped in beach sarongs, printed with a giant blown-up black-and-white image of the designer himself.

Giorgio Armani

Z Zegna

Digital needle punching, whereby two different materials are fused together without using a single stitch, was all over the Z Zegna runway. Creative director Alessandro Sartori used the cool technique to bond leather with cashmere flannel, or to apply cashmere felt detailing onto hand-knit sweaters. Most impressive was when he brought the process to his 'futuristic jackets', flannel-lined leather that was down-padded with neoprene. The materials were laser-sealed and gave the impression of a leather jacket that had been stiffened into metal armour.