Fall/Winter 2011-2012 Men's Fashion Trends - Aviator Jacket

Trussardi 1911 ,Lanvin ,Burberry Prorsum ,Hermès ,Trussardi 1911


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Balenciaga Fall/Winter 2011-2012

Salvatore Ferragamo Fall/Winter 2011-2012

Peeking through the seams of Salvatore Ferragamo’s latest outing was a nod to the easy cool of the 70′s and a desire to show that menswear can be both masculine and remarkably soft with warm sentiments. Embracing a relaxed pacing of separates and outerwear, fall’s collection boasted dark rich hues of autumn, contrasted against sensational flesh tones. Resonating a refined luxury, carried off with little to no effort, the range quickly turned to a lifestyle, gently touching upon western and militaristic influences. From strong tailored overcoats and suede trousers to buttery soft leather, Salvatore Ferragamo excelled in paying compliments to the heart of their man–robust, personal and adaptive.

Tim Banks review

At Salvatore Ferragamo, Massimiliano Giornetti opened with neutral creams and winter whites, but it was a red herring of sorts. Over the course of his collection, out marched a series of colorful suits—full tone-on-tone looks, in fact, in penny-bright copper, bottle green, and oceanic teal. The driving spirit was the seventies: the slightly boot-cut three-piece suits, acres of lapel, and all the suede. The soundtrack cued up the Doors and Lou Reed. "What I really want to tell is a story of a sensual man," Giornetti said at his studio the day before the show. Sensual it was—sometimes too much so. A few overly literal looks would have been best left back in the seventies. That said, swagger is emerging as this season's Milanese have-to-have, and at Ferragamo it was even built into the shoes: heavy-soled horse-leather boots crisscrossed with buckled straps. "Making the sole heavier is really making the guys walk with more strength and energy in the show," Giornetti explained. Let's say it: They strut.


source: Style.com

Louis Vuitton Fall/Winter 2011-2012

The latest collection from Louis Vuitton finds its inspiration in an unlikely source, more precisely–Amish. Subscribing to a bleak state of affairs, the latest outing from Louis Vuitton saw a blackout where suiting was the main attraction. Playing with technical fabrics and a jarring use of vibrant orange, the lineup consisted of the French house playing its hand at tailoring while utilizing modern lines and shapes for a sophisticated feat.

Tim Blanks review

The new Louis Vuitton collection was basic black in palette and mood, appropriate given that Paul Helbers, who heads the menswear design team, was inspired by the monochromatic dress sense of the Amish and the disturbing oeuvre of David Lynch. That recipe for a split personality was served on a runway wreathed in shadow, to the tune of Roy Orbison's "In Dreams" (which, after its appearance in Lynch's Blue Velvet, probably still soundtracks some people's nightmares twenty-something years later).

One central conceit of the collection was the doubled jacket, as in a lush shearling that trailed an attached leather parka like a tail, or a jacket that had a puffa vest built into it. One suit left its vest dangling in back. It was part of an ensemble—jacket, pants, shirt, and dangling puffa—in a flaming vermilion the polar opposite of the somber shades that otherwise dominated proceedings. The show notes called it Motel Red. And the splits just kept on coming.

A Motel Red blouson unzipped to reveal a peek of quilted black leather (Lynch's motels concealed dark secrets, too). The footwear was schizophrenia in a shoe. And the final evening jacket in dusty black dévoré velvet looked well and truly worn in, almost Amish in its sobriety, bar the sprinkle of sequins that added a sparkle of sin. It was the last flicker of light in a suitably strange parade.

source: Style.com/

Dolce & Gabbana Fall/Winter 2011-2012 Mens Shoes

Burberry Prorsum Fall/Winter 2011-2012 Menswear

Approaching the fall/winter 2011-2012 season with endless color and exaggerated proportions, Burberry Chief Creative Officer Christopher Bailey looked to a coat for all seasons. Creating his very own weather boy, Bailey’s outerwear stole the show as usual. Embracing the unexpected, the 60′s provided the inspiration for slick raincoats, quilted finishes and a rainbow of checks. Gathering pleats and reworking tweed, Bailey once again delivered an easily cool showing for a timeless label.

Tim Blanks review

There is, in case you haven't noticed, a royal wedding about to go down in London, so it was tempting to extract regal references from Christopher Bailey's latest collection for the most heritage-based of all English fashion companies. The neat little coats were the sort of thing young princes might have sported in days gone by, and the ermine-look fur trim had obvious royal connotations, even it was in fact something called "jaguar mink." But the real backstory was both bigger—and smaller. Small first. In the bottomless Burberry archives that are such an inspiration to him, Bailey found an ad campaign from the early sixties where every single image was photographed in different weather conditions. And that—cue the big picture—instantly led him along to the current, utterly ga-ga global weather situation.

Bailey is nothing if not focused. He decided on a coat for all seasons as his theme for Fall 2011, and that's exactly what he offered. There were myriad accompanying permutations of skinny pants, suits, and knitwear that was lacquered or cable knit in combo with furry doeskin. But the Main Event was The Coat in weights that were variously suitable for rain or wind or snow. Here's testament to focus—just as with Bailey's aviator jacket collection last Fall, almost every single coat was an object of lust, from the buffalo-check biggie that opened the show to the "jaguar mink" coat that closed it. Bailey used color astutely—an orange duffel, a pea-green military coat—but he also nailed subdued city camels and tweeds (fur-collared for luxe). And he closed his show with a full-on catwalk rainstorm, courtesy of his special-effects team. The only other designer who dared corral the elements was Alexander McQueen. In his own, much more subtle way, Bailey is as daring.

The kicker for the whole event is that every coat is available on Burberry.com until January 23. "Personalizing technology" is Bailey's game plan. "It makes the whole world smaller, more intimate," he said after the show. Sure, it's a spur to sales, but it goes beyond that; Bailey's acknowledgement of the universality of what he's doing is as timely as the inescapability of the climactic conditions that inspired his latest work.

Source: Style.com

Jil Sander Fall/Winter 2011-2012 Menswear

A master of progression, Raf Simons takes the Jil Sander man on a journey from spring’s colorful bursts of color and narrow proportions to boxy shapes and darkness. Throwing in a subtle shift of texture and oversize pocket details, Simons’ knack for refined but simple tailoring gets a powerful kick of subdued quirk for a collection that is undeniably Jil Sander.

 Tim Blanks review

Raf Simons claimed he wanted to go back to the roots of Jil Sander's menswear for Fall. He was thinking about the reduction, the purity, the very specific fabrics, and even the Amish influence on those early days. But ultimately, it was his own take on the elements that constitute "Jil Sander" that determined the nature of the collection.

Intriguingly, Simons designed without a single piece of clothing from the archive in his studio, which is probably why the most immediate cross-reference was his own Spring womenswear for Jil. For his women's show, he talked about "a mille-feuille of color." Here, it was subtly adapted, particularly in the doubled turtlenecks. Pink lined a parka hood, yellow shone from under a swirling charcoal coat. The experimental volumes of the women's clothes were toned down but still implied, for instance, in the caped back of a blouson. And the chunky parkas that cut such a dash last season made a welcome reappearance. So that was the Raf-ness of the show.

The Jil-ness came through in the plain, felted square-cut suits—three buttons, high closing. They were paired with similarly shaded tops and, even when colored broom yellow or cyclamen, they had a distinctly sober air. Simons elaborated on the sobriety by using the quilting of the Amish as the signature detail for jackets, pants, and tops. On the other hand, he injected an ironic note by duplicating the nobility of the handcrafted Amish tradition with the most advanced fabric technology. That's where Raf-ness and Jil-ness reunited—and it felt so good.

source: Style.com/

Dolce & Gabbana Fall/Winter 2011-2012 - RED LOOKS

Embracing fiery red and rich furs for their fall/winter 2011-2012 collection, Dolce & Gabbana infused their prized Italian machismo with a youthful zest. Shaking up their usual casting with a variety of faces, the designing duo put on display a myriad of influences. From the classic musical styling of Bryan Ferry to the label’s ongoing fascination with the working man or a spunky take on tomorrow’s scholar, Dolce & Gabbana impressed with velvet, color and an endless amount of charm. Rounding out the collection with pinstripes, braces and wingtips, the label put a cool new spin on the marriage of old and new style motifs.

 Click to view Dolce & Gabbana Fall/Winter 2011-2012 Menswear Collection

Dolce & Gabbana Fall/Winter 2011-2012 Menswear

Embracing fiery red and rich furs for their fall/winter 2011-2012 collection, Dolce & Gabbana infused their prized Italian machismo with a youthful zest. Shaking up their usual casting with a variety of faces, the designing duo put on display a myriad of influences. From the classic musical styling of Bryan Ferry to the label’s ongoing fascination with the working man or a spunky take on tomorrow’s scholar, Dolce & Gabbana impressed with velvet, color and an endless amount of charm. Rounding out the collection with pinstripes, braces and wingtips, the label put a cool new spin on the marriage of old and new style motifs.

Click to view Dolce & Gabbana Fla/Winter 2011-2011 RED LOOKS

fur jackets....

Tim Blanks review

There was a brilliant Dries Van Noten show some years back that celebrated Bryan Ferry's early-seventies leopard-clad glamness, but his subsequent career as rock's Most Elegant Man has been a significantly under-exploited inspiration in contemporary menswear. Until today, that is, when Domenico Dolce and Stefano Gabbana made him the launchpad for their latest collection. Ferry's record covers were all over the mood board, his music was all over the show, and there he was on the seasonal "icon" T-shirt. It seemed entirely appropriate, then, that the man himself was front-row center. But the show's theme, Sartoria Eccentrica, actually had much less to do with Ferry's own classic style than the designers' re-tailoring of anything classic, starting at Savile Row, for a much younger audience.

The singer's taste for West End girls is well-documented—the beauteous Amanda Sheppard was at his side today. The clothes on the runway, though, were better suited to East End boys. Low-rise, multi-pocketed pants were slung off skinny suspenders. One model sported Freddy Krueger stripes and a trilby casually tossed back on his head. There was a spiffy edge to a checked, fitted, double-breasted jacket, while cropped, double-vented jackets and those pegged, low-slung pants created a boxy, bubble-butted silhouette that added beef to the already buff models. Add that to the chunky, bovver-ready footwear and these boys were a bit of rough fighters, not lovers. But wasn't Bryan Ferry famously a slave to love?

Domenico and Stefano threw the lovers a bone with a couple of pavé-sequined jackets in pink and black, then they closed the show with their own quintessential march past of black velvet jackets and distressed Dolce denims. Call it glam for a brash, butch new age. As for Ferry's more rarified brand of contemporary glamour? That remains to be explored another day.

source: Style.com/

Ermenegildo Zegna Fall/Winter 2011-2012

Layered with tender love and care, Ermenegildo Zegna’s man made a sound impression with the house’s signature strength in craftsmanship. Piecing together tweed and houndstooth, tradition met the combative nature of the future with fitted looks, complete with belted holsters. No doubt outfitting fall’s hero, orange, red and burgundy added a pleasant touch to fantastically belted numbers that felt altogether masculine, while resonating a soft quality to be admired.

My favorite looks :

Tim Blanks review

To inaugurate its second century, Ermenegildo Zegna looked East, to China, the market that is likely to dominate the company's future. And, in concert with such a prospect, the presentation was a high-tech green-screen extravaganza, orchestrated by James Lima, a visual consultant on Avatar.

"In the Mood for China," read the on-screen pre-show title. But the soundtrack was the saturated melancholy of Kar Wai Wong's In the Mood for Love, and it was the romance of the past that dominated the collection. Like Marco Polo, the first Italian to make it to Asia seven centuries ago, the new Zegna man was a traveler in search of the exotic.

The visual cue for the collection was a centuries-old scroll that depicts life in China during the period when Polo arrived. Its ornate, gilded design was duplicated on shirts, scarves, lapels, jacket linings, the runway, and even the jacquard that covered the cushions in the show space. And the Zegna clothes were a complement in the sense that they evoked the wardrobe of the kind of explorer who might devote his life to the discovery of such a scroll. It wasn't only the obvious Indiana Jones things, like the belted jackets or the footwear or the leather pouches or the rugged outerwear. It was also the feeling of casual connoisseurship that underpinned the luscious tweeds, checks, and leathers.

An evening finale integrated east and west, with Chinese red and gold accenting tuxedos. Again, the mood was romantic, more Shanghai in the 1930's than the 2010's. But surely that's the spirit fashion should bring to the juggernaut collision of Occident and Orient.

source: Style.com