If you don’t know it yet, camouflage is one of the biggest trends of the season. And Valentino is making a killing on their selling floor with their
Top 5 Men's Trends For Spring/Summer 20131 of 30Camouflage
The military-inspired motif is the hottest print in menswear seen in everything from shirts to shoes. Valentino
modern take on the military print — used as panels on clothes with an unexpected shot of color or as a print on sneakers. The Valentino camouflage sneakers with the studs on the back are in fact the hottest item for spring and there are waiting lists for them. Camo also appeared in the collections of Dries Van Noten, Comme des Garcons and Gant by Michael Bastian and it will rule over fashion until the fall 2013 season.
Stripes of every variety — from nautical to pinstripes to rugby, from horizontal to vertical — are also a strong motif for spring. Almost every look that Tommy Hilfiger showed had a stripe of some sort. At Dior Homme there were plenty of nautical-inspired sweaters as at J. Crew. And Michael Kors went graphic with a black and white vertical striped blazer.
If fall 2012 was all about varsity jackets and hybrids of it, spring’s favored topper is the upgraded baseball jacket. Hermes showed one in light white leather and Gucci’s came in ochre colored suede. And Christopher Bailey at Burberry Prorsum showed baseball jackets in electric shades of blues and purples.
The soft gelato colors we’ve come to associate with spring are taking a back seat this season and giving the spotlight to neon colors, brighter and punchier, either as whole ensembles or just as slivers on the soles of shoes.
Navy and gray suits are well and good in a corporate setting but if you work in a creative field or if you want to make a splash on the weekends, why not slip into a lime colored suit? Or perhaps one in fuchsia or traffic light red? It takes balls to wear something that’s not your average blue suit, I know, but if you can master the confidence and the attitude to pull it off, why not?
Click on the slideshow to see the hottest spring 2013 trends for men.
MS: Do you believe there are rules in fashion? Do you consider yourself to be a rule breaker?
RK: I'm not interested in rules, or whether they are there or not. I do not consciously set out to break rules. I only make clothes that I myself feel are beautiful or good-looking. People maybe say that this way of feeling is against the rules.
MS: You've spoken occasionally about the constant need for newness in your work. Is newness the ultimate goal of design? How would you rank it relative to function and beauty?
RK: What new means to me is something that doesn't exist already and that I haven't seen before. The image I have made once is already no longer new to me, so you could say the goal is not to be found in eternity. Beauty and function are different things, but luckily they have a mutual connection. But the fundamental values around which I built CDG, i.e., creation and new, have no connection to beauty and function.
MS: Do you feel that the fashion industry has become too corporate?
RK: The corporateness of the fashion industry tends to take away or distort the freedom of creation.
MS: Comme des Garçons is an independent exception. What are the benefits of independence? What are the downsides?
RK: The benefit is that I am free, and I don't take notice of the downsides.
MS: Given the state of the fashion world today, do you think a designer could start out independently, as you did, and maintain that independence even while growing to a global scale? Is the world today as hospitable to designers as it was when you began?
RK: I think the fashion world has never been a comfortable, easy place to be in. I mean, in terms of always having to fight to be free to make what one wants.
MS: Where do you see the next great designer coming from?
MS: When you first decided to show in Paris, were you apprehensive about what the reaction would be? Did the reaction you received surprise you?
RK: I always had good reactions from people with a good eye and a vision…and very terrible reactions from those who are afraid of people who are different to others—at the beginning and even now. I have never worried about it too much.
MS: You are one of a handful of designers who generally prefer not to give interviews. Does fashion—either all fashion or your own fashion—lose something in the explanation?
RK: I don't like to explain the clothes, how I made them, the theme, et cetera. It's because the clothes are just as you see them and feel them. That's what I want…just see and feel them. How I thought about them, where any idea came from, what the process is, is not something I like talking about to people.
MS: You have a reputation for seriousness, but in private, I've heard it said that you are very funny. And your collections are distinguished in part by their wit. Is humor an important component of your work and your process?
RK: Nothing to do with the work. The path to making things is tough. The process allows no margin for being funny. It is like a hand-to-mouth world.
MS: You come to New York rarely, but you'll be traveling here more this year to design and then to unveil the newest Dover Street Market. What are your impressions of the city so far, relative to Tokyo or Paris?
RK: Nothing special. Wherever I go, my work is one…the same.
MS: At your Dover Street Market stores, you showcase the work of other designers as well as your own. Why is that important to you?
RK: I have always liked the idea of synergy and accident…the idea of sharing space with other creative people or people who have something to say. We call it beautiful chaos…anything can happen, nothing is decided.
MS: Fashion is taking another look at punk this year, as the subject of the annual Costume Institute exhibition. What does punk mean to you?
RK: The spirit of punk lies in not ingratiating oneself to preordained values nor accepting standard authority.
MS: Some have complained that fashion has stagnated; you yourself have said that the media has enabled uninteresting fashion to thrive. Can this situation change? What would allow that to happen?
RK: I doubt the situation can change. It's because in the world where money rules, the appreciation of the value of true creation is low.
MS: Are advertisers too powerful now in the way that they dictate fashion coverage?
MS: Your Fall 2012 "flat" collection has been incredibly influential, and many are noting elements of it reverberating through several Fall '13 collections. Are you aware of this borrowing? Do you consider imitation the sincerest form of flattery, or disappointing?
RK: I am not really aware of this and not too interested either.
PARIS — Junya Watanabe’s shows are always held on Saturday morning, prompting the usual sullen greeting, “Hello, and where’s the coffee?” Mr. Watanabe provides. He also gave his customers a nice bunch of clothes along familiar Watanabe story lines. These included couture-shaped dresses and loose-back jackets that combined leather and tweed, motorcycle jackets mixed with knitting, and cute, low-riding patchwork jeans. Among the fresher looks were skimmy dresses made from oblong scraps of plaid wool and silk, and worn over black tights.
Over all, the attitude was more street than couture, with a slight punk feel. Embedded in the show were round leather shoulder bags and a few garments that Mr. Watanabe did with Loewe, the Spanish leather-goods house owned by LVMH.
Paul is DJ Spooky all the time,” said music engineer Dan Yashiv, who collaborated with Spooky on his 2010 mixer app, which has racked up over 15 million downloads. Well, maybe not all the time. He ran into Mr. Miller in Rio a few years ago, and the two spent a day knocking back caipirinhas on the beach. “I’m just remembering that as the moment he was totally just a person. It’s rare to find him relaxed, guard is down, he’s not working, he’s not networking, he’s not planning the next thing.”
A fiendishly cold evening in mid-February found Spooky at home, being a person, or doing a pretty good approximation of one. Home is a Duane Street loft bursting with books, records, CDs and DVDs, some forming dozens of knee-high piles on the bamboo floor. Dust bunnies huddled between towering stacks sporting things like an oversize tome on the history of the Afro and Richard Dawkins’s A Devil’s Chaplain. Rolled-up maps, posters and flags sprouted from boxes shoved up against giant speakers. A tower of CDs leaned in the direction of shelves stocked with 80 bottles of cologne; his favorite is Comme des Garçons 2, a spicy scent in an asymmetrical silver flask. Dangling from garment racks and piled in rumpled pyramids were his many jackets, the chicly utilitarian kind with lots of pockets.
'Future Beauty': High fashion as high art at SAM | Art review The Seattle Times Beginning austerely, with a grouping titled “In Praise of Shadows,” the exhibit immediately takes us back 30 years, when Rei Kawakubo's landmark early-'80s work shocked...
Asian designers centre stage at Paris fashion FRANCE 24 Later Thursday, influential Japanese designer Yohji Yamamoto will also present a collection while Friday will see shows by two more Asian designers -- Juun J.
Rei Kawakubo wanted guests for Comme des Garçons to see the clothes in detail, so before her show on Saturday afternoon she moved the front rows closer, narrowing the long runway in a metal-craft warehouse. You could have touched the clothes. That might have been the idea, but it was not necessary. Ms. Kawakubo’s extreme tailoring was easy to parse.
Rosettes, tubes and lumps of classic menswear fabric were embedded in outfits of the same material, creating weird volumes and textures but also feminine decoration. Checked outfits were papered with overlapping squares of checks. There were also a few lumpy looks in rose velvet or lace, but the most extreme outfits were in a deeply saturated, multihued print. We’ve seen this kind of technical virtuosity from Ms. Kawakubo before, but it was interesting to see how feminine symbols, like rosettes, were absorbed into masculine tailoring — and how the masculine forms exploded into decoration.
COMME des GARCONS PLAY x Converse Pro Leather Low | Preview stupidDOPE.com Although it seems like ages ago, it was only 2009 when the COMME des GARCONS PLAY and Converse collaboration impressed all with its simplistic yet bravado laced style.
Sharing your scoops to your social media accounts is a must to distribute your curated content. Not only will it drive traffic and leads through your content, but it will help show your expertise with your followers.
How to integrate my topics' content to my website?
Integrating your curated content to your website or blog will allow you to increase your website visitors’ engagement, boost SEO and acquire new visitors. By redirecting your social media traffic to your website, Scoop.it will also help you generate more qualified traffic and leads from your curation work.
Distributing your curated content through a newsletter is a great way to nurture and engage your email subscribers will developing your traffic and visibility.
Creating engaging newsletters with your curated content is really easy.