Much has been hypothesised about how we are likely to choose to dress post-pandemic, and how we will approach the summer fashion trends of 2021. Will a new Roaring Twenties usher in drama and decadence, or will we hold onto the low-key leanings we welcomed when spending so much of our time confined at home during lockdowns? Frankly, we recommend riffing between the two opposing mindsets, and modulating between the rarefied and the relaxed, the elegant and the ease-fuelled. A sure-fire way to succeed? Sporting a knee-length tunic dress over trousers.

The tunic-over-trousers trick is smart yet insouciant, and a go-to look for those not quite ready to don just a dress.

For those with a more minimalist mindset, Hermès’ pared-back take on the trend features a dress with a built-in scarf, and nods to the purist fashion mood of the 1990s, when elemental design was a winner.

At Boss, meanwhile, the brand’s jewel-toned dresses feature sleekly seductive cut-out back details, a dressed-up look that is perfectly balanced out by teaming the pieces with more adrogynous, tailored trousers.

Left to right, pet bag, by Prada, H95 headphones by B&O, chain necklace by Louis Vuitton, room spray by Byredo

Summer fashion trends 2021: tunics-over-trousers

At Fendi, the nonchalant tunic-and-trousers combination is enhanced by the fashion brand’s equally carefree window-pane print, a motif on a gauzy sheath dress that suggests dappled summer light and puts us in daydreamy mood.

Elsewhere, Jil Sander’s intricately constructed leather design reflects the focus on ‘visual textures’ of the brand’s creative directors Lucie and Luke Meier. ‘The emphasis on garments and accessories to get you through the day felt right,’ the duo say of the relaxed silhouettes in their S/S 2021 collection for Jil Sander, which revelled in voluminous cuts and fluid lengths. 

All this easy tunic-and-trousers elegance is a reminder that you can always dress up, even while dressing down. 

A common style trick over the last 12 months has been to throw a tailored blazer over a tracksuit for a impromptu Zoom meeting, or to pop a smart layer over loungewear when nipping outside for essentials. Now that there's more opportunity to embrace elegant dressing codes, an elevating women's jacket should be the top item on your shopping list. Here we present the brands for bolstering your smarter spring mood, whether you're easing back into office life or simply sitting en plein air.

Lanvin: Hit the right buttons

Lockdown has made us more aware of life's smaller details. Lanvin's elegant double-breasted jacket accentuates the body with eye-catching mother-and-daughter motif buttons.

Paul Smith: Hot under the collar

Months at home put you in a more relaxed state of mind? Layer up in a sleek textured shirt, as demonstrated by Paul Smith's luxurious leather design, which also features a handy front pocket.

Max Mara: Coffee-break colours

The chicest way to celebrate your first coffee outdoors? Complement your cappuccino with your clothing, courtesy of Max Mara's smart, organically hued blazer. This silhouettes scores office-worthy style points, even if you're only sitting in the park.

Petar Petrov: In good sport

If you're unsure you'll ever separate yourself from sports-inspired comfort, Petar Petrov has the ease-fuelled answer. The Viennese brand's sleeveless leather anorak speaks of luxurious yet laid-back style.

Paco Rabanne: All dressed up

Glam has been perilously low on our style radar. Keen to inject some going-out inspired chic into your wardrobe? We suggest sporting Paco Rabanne's double-breasted coat as a mini dress.

Louis Vuitton: Buckle up

Bring some belted bite to your blazer with Louis Vuitton's waist-cinching buckled jacket. This silhouette has a futuristic, deconstructed silhouette, a fitting way to embrace today's new world.

Chanel: Stay in touch

Jacket, £1,950; shirt, £1,450; trousers, £950, all by Fendi. Photography: Alexandre Guirkinger. Fashion: Benoit Martinego. Originally featured in the May 2021 issue of Wallpaper* (W*265)

With social distancing limiting our sense of touch, tactile fabrications take on a new importance. Chanel's bouclé jacket revels in the maison's signature fabric, accentuated with beaded embellishments.

Boss: The palette cleanser

Spring calls for palette-cleansing colours. Draw attention in optic white silhouettes, like Boss' minimalist duster coat. The simplest way to avoid grass stains? Carry a picnic blanket when embarking on a sit-down sortie.

Gucci: An exotic escape

If an exotic escape feels like something of a pipe dream, let tropical prints and motifs take your fancy instead. For spring, Gucci's casual button-up jacket shows an affnity for the eye-catching pattern of snake skin.

Hermès: Make it minimal

Look to Hermès for an incredibly elevated take on 1990s minimalism. Sometimes pared-back silhouettes have the most power, as demonstrated by this zip-up leather coat, which is conceived in the finest of fabrications.

Peter Do: Utilitarian attention

For the more adventurous of dressers, consider the apron your new take on outerwear. Peter Do's version is sumptuous in its tactile finish, and should be worn to reveal a flash of flesh.

Bottega Veneta: Craft flair

A hand-crafted finish will draw attention, whether you're sitting outside on a terrace or sauntering through a city street. Bottega Veneta's denim jacket features a delicately crocheted hooded detail, fusing sportswear with sophistication. 

INFORMATION

A version of this article first appeared in the April 2021 issue of Wallpaper* (W*264) – available to download here

Feel like your workout wardrobe is giving you the run around? Here, we present the men's sportswear brands that will guarantee you hit the ground running, whether you're aiming to beat your personal best or simply putting foot to pavement.

Sunspel

Fresh from its collaboration with Studio Nicholson, the British label continues to hit the ground running with the release of its first activewear collection. The offering, which assimilates the brand's classic styles, including Sunspel's Classic T-shirt, Riviera Polo and Loopback Trackset, features silhouettes imagined in ‘drirelease;, a comfort fabric which performs to keep the body cool. For active wear aficiandos, look out for Sunspel's next release in November - an offering of base layers imagined in soft merino wool.

sunspel.com

Mr Porter and District Vision

Luxury men's retailer Mr Porter and LA-based holistic running brand District Vision have hit the ground running. The duo have announced the launch of an eleven-piece capsule collection of running apparel and accessories, which blend technical finishes with sartorial swerve, featuring colour blocked training tees and shorts, retro caps and sunglasses. The designs, which are breathable, moisture-wicking and have functional flourishes, including thumbholes to keep sleeves in place have been designed to enhance the practice of mindful running - a tenet of District Vision's design DNA. Synonymous with this spirt, the collaboration supports  Mr Porter's Health In Mind initiative, which raises awareness around mental wellness through movement and performance.

mrporter.com

Adidas x Marimekko

Fresh from unveiling its prototype collaborative trainer design with Sillicon Valley sneaker brand Allbirds, Adidas has announced its latest link up with Finnish brand Marimekko. The label, renowned for its energetic take on prints and colours, has partnered with Adidas on its first men's and women's performance line, which features swimwear, outerwear and cycling gear, in a range of eye-catching patterns. This graphic cycling jersey has been imagined in a moisture-wicking Aeroready fabrication, made in part using Primeblue, a fabric formed from recycled plastic bottles, and has two-tone undulating print. High performance meets haute patterning for a style-meets-speed sensibility.

adidas.co.uk

Fila x MSGM

In celebration of its 110th anniversary – a milestone reveling in anticipated collaborations – sportswear behemoth Fila has teamed up with kaleidoscopic Italian brand MSGM, on a pattern and colour-splashed tennis collection. The offering, which will be showcased at the Paris Grand Slam's Roland Garros tournament, which starts on 24 May, features cloud-like tie-dye jackets and tees, in bubblegum shades and black, with a subtly retro flair. ‘Fila, for me, is the tennis court,' says MSGM founder Massimo Giorgetti, of the winning collaboration. ‘I wanted to give a romantic interpretation of it, echoing a cinematic world. My main inspiration for the short skirts came from Lea Pericoli, the Italian tennis champion whose fashion choices on the court turned heads in the 1960s. In visiting the Fila archives, I was surprised by how much they have done over the decades. I just had to remix and update it.' Game, set, style match.

msgm.it

Courser

Performance wear buffs are always on the lookout for fabrications that will enhance their activity. It's a common complaint for trainers to wear out over time, and for their toes to thin and degrade. But when it comes to the upper of Courser's designs, runners need not fear. The label's brightly toned trainers, glinting with metallic accents, are formed using a combination of buttery nubuck leather, bonded with an aerospace-originating lightweight fabric which is 15 times stronger than steel. The brand's unrippable designs, dreamt up by its fashion veteran founders and husband-and-wife duo Michael Petry and Laurie Spiro, are made in Italy, bringing a sense of artisanal luxury to the innovation-pushing silhouettes. Traditionally, a sports shoe is left to mold on its upper for less than 20 minutes. Courser's do so for 24 hours, achieving the ultimate in shape and comfort.

courserworld.com

Pressio

Putting the sportswear industry through its paces, newly launched performance brand Pressio champions sustainable and transparent practices. Using recycled yarns sourced from the world's leading suppliers, the brand employs water-saving dye-free technologies to produce its knitted compression-focused designs, which include MAPP, a Muscle Alignment Power Print. The brand's New Zealand-born founder Jamie Hunt has a winning background, having previously founded renowned sportswear label 2XU (think collaborations with Yeezy) and raced as a professional triathlete for 13 years. Keen runners look to Pressio's All Sports and Run collections, aimed at high-intensity and endurance workouts, plus a range of swell-reducing compression socks, formed from waste Econyl yarns.

pressio.com

Boss x Russell Athletic

German brand Boss may be synonymous with suiting, but for spring, its chief brand officer Ingo Wilts has unveiled a casuals-focused collaboration. Boss has teamed up with American sportswear purveyors Russell Athletic – the Kentucky-based brand which invented the crew neck sweatshirt in 1926 – on an offering which features Nineties-inspired tracksuits, trainers, caps, backpacks and hoodies with a ‘Boss Athletic' logo. Keen to take the collaboration further afield? Tailoring meets sportswear in an offering of relaxed suiting, which boasts a sporty side stripe detail.

hugoboss.com

Veja

It took sustainable French sneaker brand Veja four years to start competing with the sportswear world and develop its first post-petroleum running trainer The Condor. Now with launch of its sophomore design, The Marlin, the label has a new spring in its step. There's performance-enhancing punch behind the style, which is impeccably lightweight and breathable, and boasts a snug bootie tongue fit and a shock-absorbing and durable natural latex L-Foam cushion. Other eco-friendly fixtures? The upper inserts of the 'V' logo sneaker are made using Pebax – a fibre formed from 100 percent ricinus oil – which is both lightweight and supportive. 

veja-store.com

Chances are, that after months in slouchy separates, you're considering splashing out on something a little smarter. The post-pandemic world calls for a return to more rigorous dressing codes, from tailored suits to smart jackets to shirting. Can't decide which tailoring style to invest in? Here, we present a selection of shapes and silhouettes, guaranteed to enhance your out-out wardrobe, from brands including Prada, Salvatore Ferragamo, Ermenegildo Zegna and Marni.

Tailored suits: how to smarten up your act

The nylon jacket

A sure fire way to bring a relaxed ease to suiting? Opt for a style in a sports-inspired technical fabric. Case in point: Prada's suit jacket, imagined in the brand's signature nylon fabric.

The pinstripe jacket

A pinstripe blazer is the pinnacle of the 1980s Wall Street wardrobe. Add a touch of 2021 insouciance with a pattern in a wider stripe. This tailored suit speaks of power but is pleasingly laid-back too.

The asymmetric jacket

For the more avant-garde, a jacket with an aysmmetric fit ticks all your alternative buttons. Opt for a style that fastens off-centre. This will brings an eye-catching edge to your collar proportions and corresponding shirt and tie choices.

The workwear jacket

If you can't quite imagine yourself in a fitted jacket, a more workwear-centric silhouette is for you. Think boxy, oversized and with a four-button fastening and opt for stiffer utilitarian fabrics like cotton-drill or canvas.

The skinny jacket

Obsessed with the skinny silhouette that dominated early Noughties fashion? Button yourself into a narrow blazer shape and pair with an equally skinny trouser silhouette. The Noughties has never felt so now.

The white jacket

When black-tie events return to our schedules, you'll want your tailored suit to stand out. Opt for a pristine white tuxedo jacket with a luxurious satin lapel. Avoid red wine and colourful cocktails at all costs.

The oversized jacket

A slouchy, unlined jacket makes for a comfortable spring silhouette. Wear with a light underlayer, like a T-shirt or gauzy jumper, for laid-back modern ease, a look that’s enhanced when rolling up your sleeves.

The check jacket

While check or plaid jackets might feel a touch fusty, they're instantly updated with feel-good colours. Steer away from browns and greys and explore a colour palette rich in turquoises, purples and greens. 

Fruit and vegetables are good for us. We all know that. But what if our clothes counted towards our five a day? Would that make the planet healthier, too? We are told the one thing we can do to reduce our carbon emissions is to eat less beef, so the next step would be to wear less leather. We also know that cotton production is water-intensive and polluting. So the next generation of textiles made from apple peel, grape pulp, oranges and pineapples is here not a moment too soon. Never mind eat more greens. What we really need is to wear them.

First, though, designers need to know where to find these healthy new fibres and, in January, the Future Fabrics Expo in London showcased the best of them. The exhibition was the brainchild of Nina Marenzi, who in 2010 founded The Sustainable Angle, a not- for-profit organisation that aims to help reduce the environmental impact of the fashion industry, and Amanda Johnston, a curator and consultant.

Part of their mission is to showcase alternatives to non-renewable, oil-based polyesters and cotton. ‘In their place, we are seeing an increase in recycled synthetics and regenerated cellulosic materials from varied plant-based sources,’ said Marenzi. At the expo, there was a veritable cocktail of fruit-based fabrics on show, including Vegea, made from grape waste from the wine industry, Orange Fiber, from the Italian citrus industry and producing a textile so soft and luxurious it has already been used by Salvatore Ferragamo; Frumat, a leather alternative from apple waste; and MycoTex, a mushroom-based textile that can be modelled into clothes without the need to cut and sew.

Agricultural waste is becoming a serious business. Jayesh Vir, co-founder and president of banana fibre start-up Green Whisper, says ‘the eco- bre market is expected to reach $74bn by 2020’. His banana fibre uses a process free from chemicals and the resulting textiles are lightweight, high strength, super absorbent, stain proof and fire retardant. Already Vir is in talks with various brands in the US, Asia and France – about shoes and clothing – as well as hotels and an airline.

Similarly ambitious is Agraloop, a new system that transforms waste and residue from pineapple, banana and sugar cane into yarn. Dubbed ‘Crop-A-Porter’, it will reward farmers for doing something productive with their leftovers (which are otherwise burnt or left to rot, producing CO2 along the way), as well as making a low-carbon, smart resource for creating biodegradable textiles. Agraloop won the 2018 Global Change Awards – an event created by the H&M Foundation in an effort to find future solutions for our fashion and textile industry.

For brands such as H&M, as well as luxury giants such as Kering, there is a race to close the loop on non-sustainable virgin materials. The brands that invest in sustainable new materials will be the ones we’ll still be talking about, and wearing, in 20 years. H&M has a goal of using 100 per cent ‘recycled or other sustainably sourced materials’ by 2030. ‘We have supported the production of materials derived from citrus peel, grape skins and stalks, and pineapple skin,’ says Giorgina Waltier, sustainability manager for H&M UK and Ireland. ‘In the future, we hope to incorporate as many of these new materials into our collections as possible.’

Petit Pli – Clothes that Grow

Stella McCartney has led the way as a luxury vegetarian brand and now she is increasingly looking to carbon-free alternatives for her sought-after, cruelty-free ‘Falabella’ tote bags and vegan Adidas Stan Smith trainers. McCartney has partnered with Bolt Threads, an American start-up that is developing Mylo, a lab-grown leather made from mycelium, the underground root structure of mushrooms. Their first Mylo ‘Falabella’ bag was exhibited as part of the V&A’s ‘Fashioned From Nature’ exhibition last year.

And now a new generation of designers is picking up the torch. One such is Paolo Carzana, currently on a Kering sustainability scholarship at London’s Central Saint Martins. He graduated from the University of Westminster in 2018 with an extraordinary collection made exclusively from reclaimed fabrics and Piñatex, an alternative to leather made from pineapple leaves.

Piñatex founder Carmen Hijosa has been working on creating an alternative to leather since the 1990s, when she was consulting for the Philippine leather export industry. Shocked by the level of pollution she saw from traditional leather production, she set out to find a non-petroleum, plant-based, low-carbon leather alternative. She went to London’s Royal College of Art to research her idea to turn pineapple leaves into a hard-wearing material and Piñatex is one of the biotech fabrics already available on the market – it is used by shoe brands Artesano and Nae Vegan, as well as in trainers by Boss, and biker jackets by Altir.

In 2019, the company plans to scale up sales and production, with its sights set on interiors and car interiors, as well as fashion and accessories. And there is no shortage of raw material – pineapples are the second biggest tropical fruit crop in the world (mangoes are number one). They come wrapped in 20-25 fibrous leaves that all go to waste when they are picked; this by-product, which previously had no value, can now provide rural communities with additional income.

For designers like Carzana, the plant-based provenance and environmental footprint of new materials like these is everything. ‘We need to work intensively with these materials, showing that hand-crafted, thoughtful garments can be made with these textiles and be more interesting than animal-based products,’ he says. ‘It is working with nature rather than against it.’ And when the result is clothes that look good enough to eat, that makes perfect sense. 

As originally featured in the March 2019 issue of Wallpaper* (W*240)

Scene setting: In recent weeks, Instagram feeds have been clogged with the shadowy, kaleidoscopic outlines of those visiting Olafur Eliasson’s immersive retrospective at the Tate Modern, featuring his figurative shadow works. The sustainability-minded artist, who uses his works to push an environmentally-aware narrative has featured in Milan. On the Missoni catwalk, he collaborated with the house on a sunflower shaped solar phone charger handed out to guests. In the industrial venue which hosted Boss’ show – and introduced its move from New York to Milan – figurative shadows were cast in purples, oranges and cerulean, recalling the artist’s work.

Mood board: The German brand may have moved to Milan but its aesthetic focus was on the relaxed, sporty attitude that is associated with New York fashion. The laid back offering, rich in leathers, silks, cottons and graphic prints which nodded to the layout of Manhattan, was imagined was presented in a series of colour schemes, from Hudson River blue to Big Apple red, and a spectrum of white, yellow and beige. For women, there were fluid dresses with subtle frill details, sharp tailored coats and pencil skirts and nipped with utility pockets. For men, double-breasted suits, leather hoodies and glossy macs. 

Finishing touches: The mid-heel ‘naked’ sandal isn’t going anywhere, and here it was imagined in a spectrum of different leathers. For men, Oxford shoes were updated with a chunky sole and constructed in bright pool blue and seafoam turquoise.

Mood board: Inspired by Manhattan's art scene and the well-heeled, gallery hoppers of Chelsea, Hugo Boss presented a modern wardrobe of menswear and womenswear founded on architectural and design influences. Understated yet confident and armed with an attention to detail, the collection - which was almost completely made up of monochromatic ensembles - blended classic tailoring with fluid, wearable dresses and sport-inspired knitwear.

Best in show: Despite suiting being a longstanding part of Boss's heritage, creative director Ingo Wilts didn't hold back from tweaking proportions for a refreshing spin on tradition. Double-breasted silhouettes for both men and women were more fitted in the body (closer to a three-button suit's fit), while ever so slightly relaxed in the sleeve. Trouser shapes also sported a more athletic look, while luxurious fabrics and sophisticated worksmanship helped to anchor each piece's refined nature.

Sound bite: Wilts said, 'I wanted to go back to our heritage and tailoring. I wanted the collection to be dressed up but still in a casual way. Sportswear for me nowadays doesn't only mean sneakers and track pants. You can have beautifully tailored pants with a sportswear jacket. This is the idea of elevation in the brand.' 

Mood board: The carefree attitude of the Californian coast was a touchstone for Boss this season – its first womenswear showing since the departure of former creative director Jason Wu. Under the stewardship of chief brand officer Ingo Wilts, the collection drew inspiration from coastal cities and the modern houses overlooking the Pacific Ocean. This translated into pieces that displayed both an architectural sensibility and a surf-inspired feel. Geometric prints that echoed surfboard stripes, utilitarian drawstring details on tailored pieces and parkas made from neoprene-like wool were just some of the ways that the two became one.

Best in show: Tailoring, always a Boss signature, was an alluring fusion of clean elegance and laid-back charm. Softer structures and airy, textured fabrics like crinkled cotton and paper-touch cloth brought a relaxed, summery feel to suits for both men and women, especially when teamed with shades like light teal, orange and soft blush. Blouses and skirts also exhibited a keen attention to detail, as seen through precise pleating and crinkling that was achieved by hand. The addition of unexpected utilitarian details such as drawstrings and contrasting stitching also brought a sport-inspired flair.

Finishing touches: Large, versatile tote bags and elegant leather bucket bags helped to perpetuate the all-occasions feel of the collection. Finished off with sporty rubberised sneakers, derby shoes for men and strappy sandals with geometric heels for women, Boss’ latest incarnation is perfectly suited for modern living.

Mood board: it was a fitting finale for Jason Wu at Boss. In the five years since he took the reins as artistic director of Boss womenswear, Wu has successfully brought a fresh eye to the label’s suiting staples - a perspective that was especially palpable this season. Wu’s references to the minimalist artist Robert Morris, who was an inspiration for the season, took shape as more sculpturally shouldered tailoring, as well as dresses that skimmed the body. Combined with the use of menswear fabrics, and elegant detailing such as asymmetric panels and gently cascading pleats, the concise collection was a poetic finale to Wu and Boss’ union.

Best in show: clean lines have always been a hallmark of Boss and Wu’s knack for breaking those lines has provided just the right amount of disruption that still loyally represents the brand. From high slits in shift dresses, to angular cutaways to the back of an evening dress, Wu’s sense of linearity and ability to manipulate it was what stood the most.

Finishing touches: accessories were sparse this season, but a zebra print, top handle tote bag seemed to sum up the tone of the collection succinctly. Relaxed in shape but paired with a ladylike top-handle and the graphic black and white print, it was modern, wearable and chic - qualities that Wu has established for the Boss brand.

Mood board: Athleisure may be here to stay, but in Hugo Boss’ good hands, it doesn’t mean having to sacrifice crispness or sophistication. In a clever union of sportswear tropes and sleek tailoring, the brand presented a collection that mixed its signature suiting with athletic oversized outerwear, crinkled and quilted trousers and swarthy wool-cashmere capes, all in the heart of midtown New York. Drawing inspiration from the iconic motifs of baseball uniforms and sports logos, Boss applied details such as drawstring ties, ribbed cuffs and piped shirt edges, to its stylistic hallmarks for a renewed energy.

Best in show: Tailoring will always be a Boss calling card, and for this season, the introduction of new proportions and silhouettes such as double-breasted greatcoats and cropped trouser lengths, demonstrated the brand’s inherently innovative spirit. Whether rendered in technical stretch-nylon or more classic pinstripe wool and presented in hues ranging from off-white to grey, brown and cognac, there was an underlying jauntiness and a fresh fluidity to the label’s breadwinning suits, jackets and trousers.

Sound bite: Speaking backstage after the show, Boss’ chief brand officer Ingo Wilts said, ‘our idea was always about sports tailoring - the idea of bringing the trend of athleisure into our heritage. We've shown in New York before and we love showing in New York. One sport that [is always] on the radar here is baseball, so we brought this theme [out] in a very sophisticated way. Athleisure is very important because it's not anymore that you wear a suit [all the time], it's more about the [overall] wardrobe.’

Like the soaring temperatures in Florence, the biannual Pitti Uomo trade fair, now in its 92nd edition, rose in global excellence this week, its rotating roll-out of international designer guests featuring London designer JW Anderson, German label Hugo Boss, who presented its younger counterpart label Hugo, and Virgil Abloh’s New York-based label Off-White. Abloh’s show marked a moving collaboration with Jenny Holzer, who recently worked on a limited-edition cover for our July issue (W*220).

Guests were also treated to Christian Louboutin’s staging of a Bike Polo tournament in the centre of the city, and even popped to a sneak preview of ‘The Ephemeral Museum of Fashion’. The exhibition, held in the spaces of the Galleria del Costume of Palazzo Pitti, and curated by Olivier Saillard, features nearly 200 pieces from the 19th century to present day, by designers including House of Worth and Gucci.

In fitting with Hugo Boss' guest status, Bart De Backer, senior head of Hugo menswear design, and Jenny Swank Krasteva, Hugo Woman senior head of creative, explored the status of the artist as an outsider for the label's S/S 2018 collection. The nighttime show, housed in a huge disused cigar factory, featured a long concrete catwalk sprayed with graffiti and illuminated with hundreds of suspended candles. The space was fittingly bedecked with brushstrokes and sketches, while the collection – featuring artful raw edges and loosely tied floral motifs, overall silhouettes and loose coats – veered towards an arty palette of of neutral shades and splashes of bright yellow, Hugo red and blue.

‘When we were working on the collection, we found a lot of photographs of Basquiat wearing designer brands,’ the Hugo designers explained. ‘He was wearing them in a very unconventional, non-precious way. This image of the artist wandering around in his own bubble, creating his own fashion aesthetic, was the starting point.’ This sense of personal style culminated in a play with proportion – for men, doodle print bags were blown up to XL size and for women, embroidery details had a DIY edge. The collection itself acted as a canvas for the London designer Charles Jeffrey LOVERBOY, whose prints featured on mesh t-shirts and hand-painted organza dresses. ‘His unique style and strong vision of things fits in so well with the ideas and DNA of Hugo,’ De Backer and Krasteva explain.

From an emerging London label to a renowned name on its schedule, JW Anderson presented his Pitti debut in the gardens of a Villa La Pietra, a Renaissance villa in the hills outside Florence. Guests walked through its gardens, populated with lemon trees, topiary and geometric flower beds, before nestling on the floor on cushions. Behind them in the evening sun, stood grand figurative sculptures covered with dust sheets, and on the catwalk stood seven fabric sculptures by the Loewe Craft Prize finalist Anne Low (Jonathan Anderson is also creative director of the Spanish luxury house).

A grand location yes, but the collection marked a more pared back version of the designer’s aesthetic, honing in on beige chino shorts, roll-up jeans, cable-knit sweaters, Breton striped jumpers and a collaboration with Converse. Prints riffed on the Coca Cola logo and came in multicoloured panel love hearts. Anderson’s three year stint as the creative director of Sunspel marks his malleability to move between more subversive and commercial design. His guest status at Pitti marks not just a move in show city but a move towards a new customer.

A cellophane wrapped orange t-shirt acted as the invitation for Off-White's S/S 2018 show. It not only highlighted designer Virgil Abloh’s collaboration with Jenny Holzer, but also featured printed instructions for securing a lifevest- a hint at the political connotations of the show, in particular the Syrian refugee crisis. For the hour and a half long nighttime spectacle, held outside in the enormous front courtyard of the Palazzo Pitti, Holzer projected huge scrolling texts onto the walls of the vast renaissance building, taken from writings documenting war and conflict. Moving excerpts were taken from texts by Omid Shams, Ghayath Almadhoun and by current voices on on the Syrian and Palestinian conflict, living today in exile in the EU and US. Scrolling texts also included thirty verses by the Polish poet Anna Świrszczyńska, who was a military nurse during the Warsaw Uprising of 1944.

Utility wear references in the collection, like bright orange lace up boots, eerie hooded-shirts and wide-collared cagoules resembled both lifeguards uniforms and the apocalyptic protective gear worn during a nuclear fallout. Oversized plastic shoulder bags, flat bottomed and in searing orange, resembled miniature lifeboats, while puffer-jacket gilets and paper nylon jackets riffed on the life vests alluded to in the brand's show invitation. The clothes, illuminated in spotlight against the palatial backdrop, acted as a stark reminder of the world’s present political climate, contrasted in stark detail to grandiose architecture of a time gone by.

INFORMATION

For more information, visit the Pitti Immagine website

A touch of southern sensibility kicked off New York Fashion Week Men’s A/W 2017 in the cellar of The Beekman Hotel, as Billy Reid brought the famous Shindig festival he holds each summer in Florence, Alabama, to New York City. The designer’s A/W 2017 collection was every bit as much a portrait of his own life; his friends – like model Karen Elson and actor Alex Sharp – starred in the show, which was marked by the Beat inspiration he garnered from an exhibition at the Centre Pompidou. Quilted corduroy jackets, plaid sport coats and cashmere turtlenecks exuded the casual-cool vibe that makes up the brand’s DNA.

At Garciavelez, the artwork of Gordon Matta-Clark influenced the intersecting geometries of the collection’s pieces. A grid print on a nylon raincoat was juxtaposed against a custom embroidered hoodie. The grid reappeared on a pair of sweatpants, but with an overlapping floral print for an element of softness.

At Ovadia & Sons, twin brothers Ariel and Shimon Ovadia looked to their childhood in Israel as inspiration, placing Hebrew phrases on football shirts and menorah patches on bomber jackets. Patterns and fabrics were bold and varied; trousers were imagined in camouflage and velvet, and teamed with scissored leopard print knit scarves and silk jacquard coats.

That evening, N Hoolywood's Daisuke Obana applied the 'look' of homeless people across the United States to a series of heavy, layered garments, hanging knitwear scarves over puffer jackets and chunky sweaters.

The German fashion giant Boss presented its first men’s runway show in a decade at Skylight Modern. Chief brand officer Ingo Wilts had the modern traveller in mind, incorporating Boss’s suiting heritage from the 1980s and 90s. Wilts played with proportions, slimming the silhouettes for a more contemporary approach. Large ring zipper accents adorned shirting and knit turtlenecks. The collection’s outerwear was among its strengths; shearling embellished leather jackets and parkas had an artful bagginess to them, with large pockets on the back that could carry travel documents, or a newspaper.

Patrik Ervell also looked to the 90s for A/W 2017, with a collection inspired by the early rave scene. Turtlenecks, boxy jackets and straight-leg trousers were paired with the athletic Starter parkas that dominated United States during that decade. A wave of soft pink – on a parka, coat and vest – complemented the collection's darker tones.

Kenneth Ning fused technology with fashion through a live runway that was projected on to a giant screen. For the Gordon Gekko-inspired collection he used stock market numbers as the backdrop for a filmed fashion show, reimagining traditional tailoring with widened sleeves, and pairing a knee-length orange sweater over a white collared shirt.

Raf Simons’ New York debut took place that night at the Gagosian’s 21st Street location, his eponymous brand's first stateside outing ahead of his inaugural collection for Calvin Klein. The first look featured an exquisitely tailored, knee-length tuxedo coat, cinched at the waist with the words ‘Walk With Me’ in gaffer tape, and paved the way for a number of structured outerwear pieces.

Simons’ ode to New York, an oversized sweater with exaggerated sleeves and the Milton Glaser-inspired ‘NY’ initials, demonstrated the designer’s enthusiasm for his new home, despite America’s unsettling political climate. The rest of the knitwear was especially strong, referencing the designer's fascination with youth culture through slouchy striped sweaters with breast pocket accents. Utilitarian influences were also seen in the collection, in a long workwear-inspired shirt and trousers, a more masculine contrast to the fitted vests and beaded necklaces. If Simons’ first New York collection is any indication of what’s to come, then things are looking good.

Bode, the label by New York-based Emily Bode, created a Cape Cod-inspired home for the backdrop for its A/W 2017 presentation, decorated with vases of lilies and colourful checked pillows. Pyjama-style suiting, shirts and loose jackets were created using vintage fabrics, artfully quilted into checked and geometric constructions.

Willy Chavarria took on a political approach, looking towards Chicano fashion and the Black Power movement. The presentation began with the models enclosed in a chain link cage, a symbol of oppression, before they were let loose. The designer placed various messages – ‘Savour Kindness’ and ‘Capitalism is Heartless’ – in the collection, placing them among the baggy athletic apparel-inspired shirts.

Farther east, Orley, the label founded by Matthew, Alex and Samantha Orley, took its style cues from the late folk musician Nick Drake. Fine Italian wool and Loro Piana yarns were used in striped suiting and classic knit polos, a signature item for the line. The designers, who won the Swarovski Award for Menswear in 2016, placed unusual marbled, matte stones onto the shoulders and fronts of sweaters. They also reimagined the bomber, giving it more of a 70s feel.  

Back at Skylight Clarkson Square, General Idea’s Bumsuk Choi unveiled a crowd-pleasing collection – a burgundy bomber with a contrasting black turtleneck was a refreshing new riff on the shape, and eyelets, buttons and zippers made for interesting detailing. The oversized proportions were balanced without being too overbearing.

Then came the finale – veteran designer John Varvatos rented out the nightclub/theatre Diamond Horseshoe for a Wild at Heart–themed collection that involved the rebellious, rock-and-roll look of the brand. Leopard print was a dominant theme on motorcycle jackets, coats and blazers. Lacing detail finished off the skinny trousers. The silhouettes were slim and fitted, appropriate for a hip indie band on the road.

Hugo Boss chairman and CEO Mark Langer and Guggenheim Museum director Richard Armstrong named artist Anicka Yi as the recipient of the biennial Hugo Boss Prize in New York last night.

'The Hugo Boss Prize marks a highlight in our partnership with the Guggenheim Museum and we are proud that it has now been at the core of our arts program for twenty years,' said Langer. 'We would like to extend our sincerest congratulations to the winner and express our gratitude to the jury and the Guggenheim Museum for their dedication and support.'

Yi will receive the prize, which awards the winner $100,000, administered by the Solomon R Guggenheim Foundation, and a solo exhibition at the Guggenheim that will open April 2017. The New York-based conceptual artist often involves the themes of scent and tactility in her work, working with fragrance and creating sculptures out of scented soap.

She has created soap paintings that comment on luxury consumer culture, and she has also boiled shredded Teva sandals, recalled powdered milk, thermal clay, a steeped Swatch, and a cell phone jammer, among other things as a commentary on, according to Yi, 'industries that constitute our identity.' Yi beat out a shortlist of five other finalists, who included Cuban performance artist Tania Bruguera, British artist Mark Lecky, American artist Ralph Lemon, American painter Laura Owens and Egyptian artist Wael Shawky.

Several of the past winners — who include Matthew Barney (1996), Pierre Huyghe (2002), Rirkrit Tiravanija (2004), Tacita Dean (2006), Danh Võ (2012) and Paul Chan (2014) — have gone on to have major careers in art.

INFORMATION

For more information, visit the Hugo Boss website

Scene setting: Boss enlisted Chameleon Visual to conceptualise the set design for its spring/summer 2017 show. The collaboration resulted in a backdrop filled with vivid, circle-shaped lights that pulsed on demand.

Mood board: Jason Wu looked at the vibrant hues and architectural lines of David Hockney’s pool series as the starting point. The result was full of bold colour – electric blue, scarlet and forest green – and sleek, curved detailing that was sporty, yet tailored.

Finishing touches: Wu finished off a strapless blue dress with sheer green sleeves. Internal drawstrings and adjustable straps gave the collection a more relaxed feel.

Scene setting: Ever since Jason Wu took the helm as artistic director, Boss has embraced a strong architectural and design sensibility that continues to come to the fore. This season, the modernist touches couldn't be clearer with a grid of Breuer-esque ceiling lights decking out the industrial show space at Skylight Clarkson. The design-centric setting was completed by a De Chirico-style archway that models walked through.

Best in show: Boss' architectural signature was consciously applied to the female form this season, with undulating lines that traced the figure being a consistent theme throughout. A blend of precision and imperfection (curvilinear seams were rendered in contrasting fabrics that added texture), this ingenious spin on the notion of tailoring also manifested in dresses that were made out of strips of hand-frayed chiffon, which allowed glimpses of skin underneath to come through.

Finishing touches: Boss' accessories embraced the same interplay of contrasting textures. There was also the appearance of a new, generously sized hobo shape in a patchwork of suede, calfskin and calf hair. Softly structured, yet teamed with a broad woven shoulder strap, the bag is as versatile partner to the strong, power-packed collection.

For the second edition of the Hugo Boss Asia Art Award, the brand extended its remit beyond mainland China. An independent panel of international directors and curators working in Asia were chosen for their understanding of cultural contexts and regional zeitgeist. Forty artists were whittled down to six, the criteria being their artistic response to their geo-specific Asian backgrounds. Artworks on display range from sculpture and installation, video art, painting and performance. 

Larys Frogier, director of the Rockbund Art Museum in Shanghai, and chair of the Hugo Boss Asia Art jury explains, ‘I wanted to have a constant evolution. The challenge is to open mainland China, which often overlooks its neighbouring countries for Europe and America. The intra-Asian connections are really important if we are to build a strong Asian art scene and make the prize visible internationally.’

Myanmar artist Moe Satt slashed silk Burmese umbrellas and then inserted zips: ‘they’re broken but evolving, like my country’s society.’ He democratises symbols of erstwhile royal privilege because ‘umbrellas can now be used by all’.

Maria Taniguchi from the Philippines, explores art as the materiality itself, its place in time, in history and in our visual compendium. Her brick painting series demonstrates rigorous composition and technique while her sculptures and videos present a logical order and rhythm. ‘The work is about investigating the structures for making art. The video ‘I See, It Feels’ is a conjectural situation set up between a person and a scanner. The other video ‘Figure Study’ imagines a room in an artist’s mind and what kind of junk might be there; what sort of calcified elements might be in this fictional artist’s mind?

Another development from the last edition sees a series of lectures and studio visits taking the discussion to Beijing, Taipei, Manila and Yangon. Dr Hjördis Kettenbach, head of Hugo Boss cultural affairs says, ‘We want to promote the award and the artists, but we also want to debate with students and people in the art world. Not just another exhibition but an open dialogue.’

The winner will be announced on the 26 November 2015 and will receive a stipend of 300,000RMB to continue developing their artistic practice. For Frogier, the award must not appear laboured or seen merely as another group show. ‘We respect artistic autonomy. We don’t want to instrumentalise the artists to illustrate the prize. They must be challenged to make their own statement related to their own creations.’

INFORMATION

Hugo Boss Asia Art 2015 is on view until 3 January 2016

ADDRESS

Rockbund Art Museum
20 Huqiu Road
Huangpu District
Shanghai

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This S/S 2016 season, Boss creative director Jason Wu was preoccupied with the Bauhaus principals of form and function. The theory of the Weimar ‘school of building’ tied in nicely with the Germany-based brand’s solid foundation – cemented by the fundamentals of tailoring. On the runway classic clothing archetypes – the white shirt, the summer suit  – found themselves spliced with organza or inserted with fringing to soften the collection’s prominent asymmetrical detailing.

By contrast the Park Avenue show space’s concrete flooring and blonde wood backdrop was enlivened by boldly painted wooden pillars that dotted the length of the runway. Each was coloured with geometric patterns that picked up the collection’s dominant flame, dove, white and zest yellow hues. Brought to life by production company Bureau Betak, the space's abstract columns also served as a perspective window from which to view each look on its own individual merit.

Mood board: The cool, colour blocked columns holding up the Boss space set the tone for a graphic, clean collection based on precise tailoring and pared-down, no-frills feminine dresses.

Best in show: There were lots of terrific trouser – the forgiving new shape at Boss is wide legged and cropped – but the real show stoppers were the line up of 3/4 slim silhouetted dresses with criss-cross backs or delicate rows of shaved micro-fringing.

Finishing touches: The convenience of no-nonsense shoes is one of fashion’s greatest gifts to modern women. Wu’s version looked like souped-up Birkenstocks: slide-like leather sandals with rubber soles that were as cosy as summer slippers. Also noteworthy? The hard cased handbags with puzzle patchworks that gave the lady-like shapes a graphic elan.

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Konstantin Grcic at the bow of the Hugo Boss IMOCA 60 yacht, for which he  has designed the branding and interiors. The unusual black hull relies on specialist paint by BASF that includes a reflective layer to avoid overheating.

Watch a 'behind-the-build' and interview with Grcic and Alex Thomson above

In nautical evolutionary terms, the modern racing yacht is the fittest and fastest. Competition creates a ruthless efficiency in boatbuilding, and the world’s oceans become testing grounds for advanced materials and new design. Most importantly, the sea is the toughest arena on the planet, and technology has to work seamlessly in what is the ultimate test of endurance.

Hugo Boss has supported ocean racing since 2003, when the German fashion brand became the sponsor of Alex Thomson Racing. British sailor Thomson, having won his first round-the-world race in 1999 (at 25, he was the youngest skipper ever to win such a competition), currently holds a clutch of distance records. He has competed in the gruelling Vendée Globe solo round-the-world race since 2004, coming in third in the 2012 event. The next Vendée Globe sets sail on 6 November 2016 and the 41-year-old skipper’s ambitions now rest on a remarkable new yacht that’s been hand-built on the south coast of the UK.

Informed and shaped by Thomson’s own extensive experience, and styled, inside and out, by long-standing Hugo Boss collaborator Konstantin Grcic, the yacht was built at Green Marine in Hythe, Hampshire, to specifications set out by IMOCA, in a process overseen at every stage by Thomson.

The Vendée Globe was founded in 1989 as the only non-stop, round-the-world race for the solo sailor. Typically, competitors spend between three and four months at sea, entirely alone and unable to set foot on dry land (otherwise they’re disqualified). The technical and physical challenge is immense.

While Grcic is creating the identity and branding that’ll announce Hugo Boss to the world, he’s also playing a critical product design role inside the hollow superstructure, where ballast, stores and equipment are squeezed in with Thomson’s ultra-compact living space. Making this space work well could essentially decide the outcome of the race.

Thomson has worked closely with Grcic to make this space as efficient as possible, building a wooden mock-up to explore every option. ‘Konstantin comes from a different area [of expertise] and has a different perspective,’ says Thomson, ‘but the boat has to be light. There’s no sink, no toilet, no conventional bunk. You have to prioritise what’s important,’ he says, likening the tiny cabin to like being inside a bass bin, with constant, ear-shattering noise and movement.

‘There’s no room for experimentation,’ says Grcic. ‘If something fails he has to be able to repair it while he’s racing.’

The boat’s livery is dominated by a big, bold Hugo Boss logo, as one might expect. ‘It’s strong and simple and fits well on a raceboat,’ says Grcic. The hull itself is black, an unconventional decision only realised with the use of a specialist dual-layer paint, originally intended for automotive applications, with an embedded reflective layer beneath a black surface to keep temperatures down.

This will be Thompson’s fourth attempt at the Vendée Globe. ‘As a sailor you want to go south, the Roaring Forties and Furious Fifties, where the waves are big and well spaced. It’s exhilarating and scary,’ says Thomson. ‘The Indian and Pacific Oceans are tough. You’re really isolated, thousands of miles from help. Your fierce competitor is also your best rescue squad. So there’s a strange bond you don’t see in other sports.’

Thomson is a breed apart, and he knows it. Fewer than 100 people have ever completed a solo round-the-world race. For Hugo Boss, the boat, the team and the race are a major marketing expense that is not without risk. ‘I’ve been allowed to build an extreme machine that’s just for me – it’s very ostentatious really. Its 20,000 individual pieces have all been handcrafted,’ Thomson says. ‘It’s an amalgamation of all the good things I’ve seen on boats in the last 12 years.’

Grcic’s livery will ensure the Hugo Boss IMOCA 60 cuts an impressive figure as it slices its way around the world; its low hull, 30m mast and 650 sq m of sails all create an impressive sight at speed. Few pieces of industrial design are so singularly focused as the racing yacht, and the stakes could not be higher. If all goes well though, Thomson, Grcic and Green Marine will have come together to create a boat that rules the waves.

For the unabridged version turn to page 122 of the September 2015 edition of Wallpaper* (W*198)

Rick Owens: Everyone at fashion week has seen a fringe or two in their time, whether it's sported by a catwalk model, famous face or even a handbag. But an invitation? That's novel, even to us. Rick Owens is to thank for this one, sending a suede-covered, embossed board coated in deep tan and mouse grey suede, fringed by - you guessed it - a trim of luscious locks. Bonkers and brilliant in equal measure

Anya Hindmarch: The doyenne of tongue-in-cheek, Hindmarch sent a miniature textured leather road sign attached to a spot-varnished card, warning us of the dressed-up diversions that lay ahead. It seems she may have tempted fate; the show indeed held London's fashion crowd up, though the eventual M25-inspired runway-meets-motorway (and Little Chef breakfast) more than made up for it

Mood board: It appeared as though Jason Wu had cut his Boss collection with a scalpel for A/W, drawing architectural lines and folds on hard-edge, double faced wools and flannels.

Best in show: One particularly fetching, body-skimming grey wool dress came with a sliced out bodice that looked like window slits onto the skin.

Finishing touches: This was a show with great footwear, namely the perfectly proportioned riding boots that featured calfskin fronts and grey wool covering the backs.

Fashion week, nowadays, is about much more than just the collections. Showmanship is the name of the game, and in the meticulously executed sartorial extravaganzas, the sound space is an element that no producer or designer can afford to overlook. Music royalty - past, present and future - is enlisted to ensure a full assault on the senses. Here, we bring you New York Fashion Week's catwalk mega-mix from the S/S 2015 womenswear collections.

SATURDAY 06/09

Lacoste
'All Under One Roof Raving' by Jamie XX; 'Goodies (Remix)' by Kingdom; 'Ooops! (Oh My) (Tweet Oops re-edit)' by Hudson Mohawke; 'Sexual Eruption (Instrumental)' by Snoop Dogg; 'Stay (Marius Horsturz Edit)' by Rihanna
Music production: Michel Gaubert

Alexander Wang
'Eject Fast Forward' by Click Click; 'God Created The Beat' by Matrixxman; 'Boneless' by Starsweeper; 'Biggie Bounce' by Diplo; 'Like This' by Linkoban; 'Bend Ova' by Lil Jon
Music production: Frédéric Sanchez

Altuzarra
'Rosemary's Baby Main Theme' by Krzysztof Komeda; 'Suspiria' by Goblin; 'Suspiria (Rvng Prsnts Mx5 Featuring Justine D'; '14 Water Drums' by Curd Duca

SUNDAY 07/09

Victoria Beckham
'New Dorp. New York' by SBTRKT; 'Lights' by Sohn
Music production: Frédéric Sanchez

MONDAY 08/09

3.1 Phillip Lim
'Ambush' by Last Japan; 'All I Ever Need' by Caribou; 'Where I Belong' by Gui Boratto; 'Can't Do Without You' by Caribou
Music production: Sebastien Perrin

Donna Karan
'Suvelo (Cuban Mix)' by Tribal Target; 'Sin Plomo' by Nature Groove; 'She' by Alice Smith
Music production: Kevin Edwards & Kris Bones

Rag & Bone
Original soundtrack by Thom Yorke and Nigel Godrich

TUESDAY 09/09

Marc by Marc Jacobs
'The Blue Danube' by Johanne Strauss II; 'My House' by Chuck Roberts; 'Hackney Parrot (Special Request VIP)' by Tessela; 'Danube Love' by Franz Lehar; 'GT Turbo' by Mella Dee; '3am Eternal (Blue Danube Orbital Mix)' by KLF; 'Radio Babylon' by Meat Beat Manifesto

Diesel Black Gold
'Metal on Metal (Stereo Difference) from Trans Europe Express' by Kraftwerk; 'Voices' by Neon; 'Dub In My Eyes' by Depeche Mode; 'We Are The Axis (Daniel Avery Remix)' by The Asphodells; 'Shake "Nickel Ride"' by Cowboy Rhythmbox
Music production: Michel Gaubert

WEDNESDAY 10/09

Michael Kors
'Be My Baby' by Linda Ronstadt; 'Be My Baby' by The Ronettes; 'Be My Baby (Orchestral)' by Thomas Roussel; 'Then He Kissed Me (Orchestral)' by Thomas Roussel 
Music production: Michel Gaubert

Boss
'How Did The Affair End?' by In Flagranti; 'Romeo & Juliet' by Abel Korzeniowski; 'Factory Floor' by How You Say; 'Sun Position' by The Persuader; 'The Four Seasons' by Vivaldi
Music production: John Gosling & Steve Mackey

Reed Krakoff
Original soundtrack by Sebring Revolution

Proenza Schouler
'Amarant 8' by Scanner; 'Procrastination' by Demdike Stare; 'Amarant 2' by Scanner
Music production: Michel Gaubert

THURSDAY 11/09

Ralph Lauren
'Lioness In Love' by The Afrika Connection; 'The Here And After' by Jun Miyake; 'Soleil Chaleur (Soleil + Chaleur + Toi + Moi)' by Ariane Moffatt; 'Did We Live Too Fast' by Got A Girl; 'Mama' by Khadja Nin

Calvin Klein Collection
'Camouflage' by Scanner; 'Kendo For Yukio Mishima' by Matmos; 'Moss Garden' by David Bowie; 'Some Are' by David Bowie; 'Dune' by Chloe
Music production: Frédéric Sanchez

Marc Jacobs
'Etude 1' by Nadia Sirota; 'Etude 1A' by Nadia Sirota; 'Computer Voice Narration' 
Music production: Steve Mackey

Jason Wu took the bumpy texture of corrugated glass as a jumping off point for his spring fabric selection at Hugo Boss, with subtle yet intriguing results. The vertical-lined surface concept yielded a sweeping array of micro-plisse forms on the runway - from tiny knife pleats that were cut into lace, or even onto tulle overlays that dropped to mid calf above knee-length dresses. The pleats gave a gravitas and weighty structure without saddling the garments with bulky weight, and the effect was newly feminine for Boss, which has spent decades in the sober category of business-minded tailoring. And though he played effectively with micro beading and tweed surfaces that looked like shards of broken glass, Wu kept all of his lines super clean and clear, drawing everything from mini A-line skirts, cotton poplin shirts and pencil dresses in sharp straight lines. The tension felt right, if safe, but definitely saleable - which is the name of the game in today's big brand world.

Jason Wu's inaugural turn as artistic director of Hugo Boss saw the no-nonsense German label morph into a style-savvy butterfly. The brand's new incarnation was an intelligent fusion of the house's DNA and Wu's touch for delicate femininity. Crisp tailoring and the use of heavier menswear fabrics was balanced with nipped-in waists and more womanly silhouettes. Minimalist dresses laser cut from wafts of silk, boasted sheer architectural panels reminiscent of Bauhaus architecture. Deconstructed plaid patterns adorning pencil skirts and shift dresses also enhanced the collection's overall linearity. Wu demonstrated a particularly keen understanding of the needs of today's woman with details like deconstructing power dresses into two piece separates and adding dramatic backless details to more conservative pieces. Modern and exciting, Hugo Boss is forging a whole new path.

2013 is a banner year for Hugo, a full two decades since the Hugo Boss diffusion line hit stores with its first menswear collection. Like any rational 20-year-old, the brand began the year with a birthday bash - a fashion show and after-party to kick off Berlin Fashion Week. To keep the party going, today a capsule collection of 20 pieces for men and women hits its stores.

The range of basics by Bart De Backer and Eyan Allen - designers of Hugo menswear and womenswear respectively - are smart, sleek, almost futuristic in concept, true to the label's avant-garde approach. The collection is built in a streamlined palette of black, white and red - the essential shades of the brand's archives. Trousers are slim and cropped just above the ankle; white shirts are inset with slim panels of black; suits are adorned with barely-there hardware and a timeless white wool coat has no visible fasteners at all.

The designers have not forgotten the accessories. They've included a classic black leather handbag and overnighter and the requisite pair of shades. Perhaps most memorable, however, are the shoes. Allen's black leather ankle boots for women are punked up with back zippers and a slash of red on the heel. Men's brogues in austere black leather by De Backer get a hit of colour in a pair of red laces.

The collection is available online and at select Boss stores across Europe, with prices starting at £150.

At Berlin Fashion Week last week, an abandoned factory was the dramatic setting for the 20th birthday bash of Hugo by Hugo Boss. Formerly a hub where painters, carpenters, metalworkers and sculptors crafted sets for Berlin's opera houses, the Opernwerkstätten's vast industrial halls housed the label's A/W 2013 runway presentation and buzzing after-party.

At the helm of the capsule brand from Hugo Boss are designers Eyan Allen and Bart De Backer. Centred on the theme of reflection, the duo presented a meticulously considered collection that belied the line's youth, featuring sharp, futuristic and almost entirely symmetrical silhouettes.

On the men's side, De Backer opted for a conservative approach, with minimal suits that only deviated from their cleanliness in luxe detailing like leather lapels and patchwork shoulders.

If Allen's portion of the presentation mirrored De Backer's in its clean structure and smart tailoring, the similarities ended there. The Hugo woman, although as elegant as her male counterpart, is decidedly edgier with plunging necklines and geometric cutaways. Both designers adhered to a relatively muted palette of black and camel, however, peppered throughout with Hugo's signature piquant red.

Initially introduced as a menswear line, Hugo was first launched in 1993, growing quickly to include womenswear. The output of Hugo is decidedly more experimental and avant-garde than its sibling lines at the German fashion house and has propelled to new heights since Allen and De Backer took over. Bravo boys, here's to another 20 years...

German artist Hans-Peter Feldmann was announced last night as the winner of the eighth Hugo Boss Art Prize, in an awards ceremony at the Guggenheim Museum in New York. Feldmann, who lives and works in Düsseldorf, explores the phenomena of visual culture. He creates installations in which images and everyday objects - collected from different commercial and domestic sources - are put together in carefully constructed settings or serial forms.

Partnering with the Guggenheim Foundation, the prize recognizes artists who push the boundaries of contemporary art to create fresh perspectives. And to bolster that crusade, the biennial winner takes home a handsome stipend of $100,000 alongside a coveted solo exhibition at the Guggenheim in New York.

Commendably, the prize imposes no restriction on age, gender, nationality or media. The jury – a formidable panel of international curators, artists and collectors – chooses artists entirely by the body of work they have produced throughout their careers. Past recipients have included the likes of Matthew Barney, Douglas Gordon (1998) and Marjetica Potrč.

This year’s crop of entrants – Cao Fei, Hans-Peter Feldmann, Natascha Sadr Haghighian, Roman Ondák, Walid Raad and Apichatpong Weerasethakul – ranges in age and their diverse portfolios run from sculpture and photography to mixed media, essays and even sound.

An exhibition of Hans-Peter Feldmann's work will take place at the Guggenheim, New York, from 20 May - 5 September 2011.

Hugo Boss are the latest label to dip a toe in the technology pool, with very pleasing results. Where other houses in the past have overlooked the phone’s function in favour of good looks, the designers at Boss have been scrupulous to make sure their offering works as slickly as it looks.

The black finish and 2.8” touch screen display may be de rigeur in the fashion phone, but the 3G+ technology and 5-megapixel camera make for a model that functions to the standards we expect. That’s not to say they’ve scrimped on aesthetics to include such specifications – the personalised interface is one of the finest on the market.

As far as fashion phones go, Boss is definitely living up to its name.