As the Covid-19 pandemic continues to curtail the fashion week schedule, we round up the brands which are bringing sartorial sway to the S/S 2022 menswear shows, whether presenting collections physically or online, from London, Milan, Pitti and Paris.
‘Amen Break’, a seven second four-bar drum loop central to seminal hip-hop and jungle, that filtered across genres and mainstream music to become the most popular loop in musical history, was a metaphorical symbol of Virgil Abloh’s S/S 2022 epic collection video – directed by Mahfuz Sultan and starring Lupe Fiasco, Goldie, Saul Williams and GZA – which focused on the concept of transmitted ideas across generations and facilitating waves of change. Inspired by the lie of Lupe Fiasco’s father, an African drummer and member of the Black Panther Party, who grew up on the Southside of Chicago, Abloh’s story centred on a father and son united by loss and crossing into a dream world. On their path, whether winning through woods of silver birch trees or witnessing samurai comabat, they encounter figures of the elder and younger generations, marked by hybridised tailoring, sportswear and streetwear silhouettes, from belted suits sported with crumpled top hats to bovver boy baggy denim and rainbow leather bomber jackets.
A huge rotated lamp positioned on high illluminated the S/S 2022 designs featured in the Homme Plissé Issey Miyake offering. In style synonymous with the technical Japanese brand, the collection was divided into several categories, including the ‘Body Movement’ series, featuring fluid silhouettes like sleeveless jackets and leggings with a paint and sand print tracking the undulating lines of the human body. Plus the innovative ‘Leno Stripe’ series, which employs karamiori (leno weave) a traditional weaving technique that creates net like structures. These grids were transformed into vests with interior pockets and loose shorts, enhanced with a stripe detail formed by the label’s signature pleating.
Pierced, buckled up, leather-clad, there was a rebellious riff to the models who strode to an intense rave soundtrack amongst Burberry’s sand dune-lined setup at London’s Royal Victoria Docks. ‘I wanted the collection to capture that free spirit of youth and its honest and daring attitude, that sense of experimentation and fluidity…. It’s a very raw energy that’s infectious, exciting and full of life. Like an awakening,’ said chief creative officer Riccardo Tisci, of the men’s and women’s collection, which abounded in bodily affirmation, raw seduction and experimentation. For men, oversized tees were transparent, signature trenchcoats sleeveless and decosntructed, trousers utilitarian and buckled and pocketed. For women, strap dresses had a fluid metallic appeal, outerwear was imagined in clear vinyl and with zebra print inflections and bikinis wrapped in ties around the body. In the wake of the Covid-19 pandemic, young generations around the world have lost out on adventure. For Tisci, they’ll be coming back with a bang.
’I was inspired by the archive fabric and shape wise, looking at the codes of the house but never copying them’ says Nicola de Felice of his debut menswear collection for the heritage Parisian house, which looked to update archetypal silhouettes like a workwear jacket, ’valuable for one to wear’. De Felice nodded to the first men’s iteration of a short Courrèges jacket, softly shouldered with mulitple pockets, and paired with a vinyl tank top and cap and fluid ribbed trousers. There was a contemporary sensuality to his sophomore women’s Resort silhouettes – an extension of his debut for A/W 2021 – which nodded to subtle A-line silhouettes and bold cut-out designs, like sunshine yellow pinafores with a hole stamped from the chest and flaring mini-dresses paired with thigh high boots. The designer spoke or bringing a ’sharp aspect’ to styles that might appear vintage, focusing on a white women’s coat inspired by a 1976s style, the back crafted without a seam, subtly cocooning.
In the opening to the video for Lanvin’s Resort women’s and men’s S/S 2022 collections, a sunglasses-clad female model sits in hair and make-up, scrolling through escapist beachside images on her phone. Cue the viewer being transported into a trippy, tropical vista, courtesy of a hazy Noughties soundtrack thanks All Saints’ Pure Shores. There was an effusive, nostalgic atmosphere to a collection defined by bold, travel-inspired pieces, which had an easy mix-and-match aesthetic. Think Japanese wave painting print scubas suits paired with plaid coats and exaggerated thong flip-flops, floral print dresses with tassel trim, retro tracksuits and cropped boucle jackets teamed with mini skirts. In a beachy wooden cabin, models lounged in hammocks, played backgammon and engaged in a giggly Chinese whispers. It’s exactly where you want to be.
Many of us have felt nostalgia for the clothes and silhouettes we sported pre-pandemic, or for the mundane moments in life which now appear so simple and carefree. Nostalgia was also on the mind of Jonathan Anderson, who for his third photographic collaboration with Juergen Teller, mounted images of his eponymous brand’s men’s S/S 2022 and women’s Resort collection in the foiled cardboard frames you often find edging kitsch school photographs. He was also taken by the privacy and freedom of dressing up alone in your bedroom, reinterpreting mundane silhouettes, like a fleece or striped top, slacks or camisole through a ‘voyage of newness’. Fleece tracksuits, beaded dresses and vests were splashed with a strawberry print inspired by a eighteenth century painting of a squirrel nibbling on berries, ubiqutous rubber sliders were splased with the ‘JW’ anchor logo, jogging bottoms puddled like harem pants and retro sports jackets were emboldened with florals. ‘Glorification of being who you are,’ Anderson added of the offering’s impetus.
Customarily, Giorgio Armani hosts his runway shows at his brand’s HQ Teatro in Milan, a majestic minimalist structure designed by Tadao Ando. It was one of the first locations to be shut down last February at Milan Fashion Week as the Covid-19 virus began spreading throughout Italy. It was prescient therefore that for S/S 2022, Mr Armani showcased his collection away from a stadium seated theatre, but in the intimate garden of his home, where his early shoes were held. Titled ‘Back to where it started’ the collection was an elegant ease-fuelled offering of insouciant tailoring, new suiting silhouettes, and sportswear shapes: white rolled up chinos paired with a foulard-lined single button navy blazer, Ikat jacquard waistcoats and Bermuda shorts, glossy silk safari jackets and preppy V-neck sweaters. Relaxed and refined, and debuted in a domestic setting, what could be more fitting for the new normal of today’s world?
A simple summer holiday: clear sea, warm sand, a touch of tan, a concept which once seemed almost mundane in its ease, which is now so scant. Miuccia Prada and Raf Simons played on this dichotomy for S/S 2022, describing the collection as a ‘utopia of normality’ and transporting Prada’s viewers to a Sardinian beach landscape, which models strode into via a surrealist red tunnel. It’s a skin-revealing Prada packing list for summer (a theme which has run throughout the Milan shows, perhaps a response to being shrouded under sweats for so long), featuring fuschia towelled hooded jackets, organic deck chair stripe vests and thigh-flashing all-in-ones and wiggle-detail woolen micro shorts layered with mini skirts. There was a subversive spin to these silhouettes, which also featured more traditional tailoring pieces, like ribbed cardigans, baggy suit trousers and pinstripe jackets. The soon to be most coveted piece on the beach? Bucket hats with sporty built-in sunglasses or zipped pouches for your spare change.
Photography: Daniele La Malfa-Paolo Fichera
Confined to one space, one city, one country for so long our personal sense of perspective have never felt so prescient. Silvia Venturini Fendi drew on this concept for S/S 2022, transporting Fendi collection viewers to the brand’s Roman headquarters inside the Palazzo della Civiltà Italiana, which boasts panoramic views of the seven hills of Rome, the Apennine mountains and the Mediterranean Sea. There was a light sense of freedom to the collection, which revelled in both loose and body-flaunting silhouettes in sugary, pastel tones, from navel-revealing cropped jackets to long shirts sported with bare legs, transparent trench coats to pocket-detail shorts. Prints had a panoramic appeal, including a cartographic print of Rome and abstract patterns which resemled the striking strata of rock or marble, splashed over city coats are shaped into fleece. There were ‘It’ accessories that appealed too, including micro Baguette bags worn as necklaces and bucket hats turned upside down and transformed into bags.
Italian DJ Lorenzo Senni created the heady and hypnotic soundtrack for the Milanese brand’s S/S 2022 video, centred on a sun-drenched beach, and featuring models sprawled on craggy roles, standing in shallow water on on the shoreline and floating out at sea. Founder Massimo Giorgetti looked to Stephen Milner’s photographs, from the Spiritual Good Time series, are the inspiration behind the offering, which have a surf-meets-rave sensibility, swathed in colour and print. Think off the shoulder striped sweaters, conch shell intarsia cardigans, neon shorts, Lycra leggings and cargo pants all paired with beach ready accessories, like zesty sliders, bucket hats and chunky framed sunglasses. Giorgetti is ready for the beach and he’s not leaving till sunrise.
The sun-soaked setting of Los Angeles inspired the Italian tailoring label, who looked to California-cool Nineties dressing codes for S/S 2022. This culminated in louche tailoring and elegant daywear in oceanic and sunrise tones, from fuschia to moss green, aquamarine to sand, and luxurious fabrications like buckskin leather and suede. For summer, the Canali man, whether meandering in Milan or driving down Sunset Boulevard, will be sporting slouchy bomber jackets, floral silk bowling shirts and natty neck ties. The most outré ensemble? A hot pink suit paired with a white tee.
The world has experimented with a series of self-care methods in the wake of Covid-19. For S/S 2022, Dolce and Gabanna turned their attention to ‘light therapy’, and to the South Italian tradition of light festivals, were areas are illuminated with a seemingly infinite array colourful lights. The near-100 look strong catwalk collection was presented IRL at the brand’s Metropol Theatre space in Milan and featured Noughties-inflected sportswear and tailoring, swathed in prismastic beads and gems. Metallic jacquards, stained glass and paint-splattered prints also featured in the offering, which abounded in nostalgic silhouettes, like oversized denim, slouchy bomber jackets and flesh-revealing shirting.
The American label brings an intrepid touch to any location, and for S/S 2022 it had its sights set on both the city and the country. This meant durable and versatile men’s and women’s designs, with a utilitarian flair, camoflage-meets-florals print parkas in vibrant tones, grey melange tracksuits, dusty pink workwear jackets and pocket-detail shorts. The brand has used spring to celebrate its heritage, with the second drop in the offering titled ’Reimagined Americana’, featuring oversized outerwear and paisley shirting.
New social spheres, new dressing codes, new normal: Alessandro Sartori mused on the new routes we find ourselves meandering within in a post pandemic-world with a film featuring models navigating different realms, from the paths of mazes to the steps of ampitheatres. The artistic director has spent the last couple of seasons musing on new requirements of tailoring, sartorial codes that merge sophistication with ease, function with flair. For S/S 2022 this was translated into silhouettes with a light elan, like collarless kimono shapes, utilitarian chore coats, long dusters, oversized overshirts and silhouettes without padding or internal construction. Fabrics were gauzy and luxurious, like featherlight nylon, silk and fluid glazed wool, tones had a water-inspired liquidity from calcite to grainy white and practical flourishes were seen in the form of padded paper leather slippers, foldable backpacks and canvas work bags.
The Italian luxury house masterfully merges sartorial codes, bringing the finest materials to elegant-yet-infinitely insouciant silhouettes. For S/S 2022 this take came courtesy of tailoring which had a laid back lilt, like double-breasted pinstripe suits paired with denim shirts, Prince of Wales check jackets layered with loose jeans and white chino trousers sported with a shirt, tie and soft leather biker jacket. Softly padded suede gilets, pocket detail Bermuda shorts and plaid shirts were also Cucinelli’s summer check list, with pieces imagined in organic shades, from washed aquamarine to sand.
Samuel Ross has long postulated on human kind’s relationship with external design forces, whether postulating on man’s affiliation with Brutalist architecture or how people are affected by constant geological shifts. The London-based designer summarised his brand’s S/S 2022 collection in four words: ’Motion. Form. Oscillate. Converge’, tenets that have new meaning after 18 months of isolation and restriction. For spring, the brand’s streetwear-inflective protective silhouettes, were rendered in bold and elemental hues, with pieces like technical capes, cagoules and padded vests, cocooning the body. In the label’s collection fiml, models strode through an urban metropolis, pacing metal staircases and tarmas, in aquamarine, orange and lime sportswear, with shielding pocket and straps, their silhouettes layered up, with totes, shoulder bags buckled to the torso and pouches strung around the neck.
In Diesel’s S/S 2022 collection film, a model surveys the red sky of a rocky planet, a symbol of the Italian brand’s vision for the future, spearheaded by Belgian designer and Y/Project founder Glenn Martens. In a preview to the collection, Martens discussed his desire to reintroduce a ‘core’ collection to the label, explaining that in just three months he’d streamlined the brand’s supply chain into more sustainable channels, relocating manufacturers and operating through certified suppliers. Martens has bought an easy sense of the avant-garde to the brand’s DNA, which spans everyday denim and sportswear. Think 5-pocket denim jeans with inbuilt Cowboy boots, jackets with a recycled paper print inspired by delivery boxes and trompe l’oeil effect tights and tops, plus hybrid designs which reflect the designer’s splice and dice approach at Y/Project, like aysmmetric skirts shaped from coats. ’I wanted the belt to be the backbone of a garment,’ Martens added, nodding to bandeau tops, t-shirts and jackets in-built with chunky buckles.
The London-based utility expert nodded to Japanese and Italian designers of the Eighties, who merged ’sport and modern luxury.’ This translated into technical silhouettes riffing on early mountaineering wear, including zip-detail nylon jackets and balooning trousers, jersey hoodies with circular inserts, silver cagoules and panelled jackets. Jonsson used a variety of high performing fabrications, from Loomstate Ventile and PU coated cotton, with materials naturally dyed using native Icelandic plants, Common Lady’s Mantle and Thistle. Adding to this organic air, the brand’s technical creations were paired with softly crocheted shoulder bags.
There was a soft sense of wrapping, draping and cocooning to Qasimi’s S/S 2022 offering, which was presented in the grounds of St Ann’s Court in Surrey, a modernist country house built in 1936, designed by renowned architect Sir Raymond McGrath in collaboration with celebrated garden designer Sir Christopher Tunnard. Architecture was essential to the structure of the collection which nodded both to stark Brutalist lines and ’muqarnas’ –a geometric style of vaulting found in Islamic design. Shirting in exotic fuchsias and oranges draped in asymmetric cuts around the torso, ’tarbousha’ – a woven tassel which is intrinsic to the wardrobe of a male Emirati, was used to accent khaki jackets and sweeping A-line skirts, while renchcoats were laser cut like militaristic net canopies. Lines and curves existed equilibrium, tones were head-turning and design references roving.
An imaginative sense of narrative inspires Erdem Moralioglu’s collections, which nod to imagined adventures of both royalty and bohemians. For the brand’s debut menswear collection, this sense of story was paramount, and nodded to the little sea-bound brother of Moralioglu’s women, featuring ensembles inspired by figurative and textural Patrick Prockter paintings or the wardrobe of artist Derek Jarman, pottering in the gardens around his famed Dungeness seaside retreat Prospect Cottage. The youth-focused and ease-fuelled offering nodded to Jarman’s knitted tank tops, worn cords and boiler suits, reinterpreted in cotton jacquard and floral printed cotton. Roll neck cable knit jumpers and striped vests had a nautical appeal, and toile de Jouy bucket hats a boyish sensibility. Moralioglu imagined city-meets-city silhouettes, with his imagined protaganists leaving a black tie affair in London, bound for the coast, sporting Cummerbunds with bright knitwear and sandals and billowing blousons and shorts. §