Latest news with #Launchmetrics
Fashion Network
2 days ago
- Entertainment
- Fashion Network
Paris: Juun.J revisits tailoring, Officine Générale refines the wardrobe
Published June 29, 2025 Men's fashion has many facets. Between the wardrobe of the businessman and that of the artist, there are a thousand-and-one nuances that can be introduced to create a wardrobe that is inventive, desirable, but also practical and comfortable. This was demonstrated on Friday by the Parisian label Officine Générale and the South Korean label Juun.J, in two completely opposite registers, on the occasion of the Paris Men's Fashion Week dedicated to Spring/Summer 2026. Officine Générale, spring-summer 2026 - ©Launchmetrics/spotlight The Rue Jules Chaplain was the venue for Pierre Mahéo this season, where his company's headquarters are located right next to the Mk2 Parnasse cinema, creating a friendly, summery atmosphere from the outset. The collection was called "Pariviera", blending Officine Générale's typical Parisian style with a more relaxed, seaside feel. "It's a little geographical fantasy, which I tried to translate into clothes with a collection designed to cope with the heat," explained the entrepreneur-designer. A great deal of attention was, therefore, paid to materials, to make them as airy as possible and give the garments suppleness. Several outfits were made from poplin—a parachute fabric. Others were made from featherweight stripes in a blend of cotton, linen, and Tencel. Shirts and suits were offered in seersucker weighing in at just 110 grams per linear meter, offering an air-draped body feel. Suede jackets and small leather jackets were naturally the softest, while silk featured for the pajama-like shirt was worn almost as a jacket over a white T-shirt and flowing pants. The Mao collar shirt was also on the rise. Jackets, devoid of structure and lining, were tied at the waist like a sweater, tone-on-tone with shirt and pants. Silhouettes fluctuate, garments flowing without dwelling on the body, which was barely exuded lightness and nonchalance in this wardrobe with its neutral palette, punctuated by nautical details, from sailor knits to shirts with windbreaker collars. Models crossed the street in flip-flops or comfortable leather slippers, a scarf tied like a Keith Richards headband, sometimes daring to wear a shell an indolent gesture, they tucked their shirts into their pants without buttoning them. A scoubidou cord woven from cotton strips served as a belt. They rolled up their sleeves to shorten them, while the hem of the pants was hastily rolled up. And off they went for a stroll along the beach. Juun.J, spring-summer 2026 - ©Launchmetrics/spotlight At Juun.J, clothes were split and peeled. All pants, for example, were systematically lined with another model in a different fabric, hung along the right leg like a large side panel. Another suggestion was to unbutton the pants at the top on the side, leaving the waistband to fold down the front to reveal another pair underneath. Leather pants or shorts were revealed under wool trousers, jeans appeared under a banker's suit, off-road fatigues were revealed under canvas always, the Korean designer worked with large volumes, but this season he abandoned his usual streetwear vein for greater, almost couture sophistication. Suits were tailored to create a precise silhouette inspired by the elegance of the 1940s, while suggesting the power dressing of the flaunted imposing shoulders, then tightened at the waist, while tailored pants drape into generous shapes. Suits were worn with flip-flops. At the other end of the spectrum, summer shorts were paired with loafers and high the Juun.J man went wild, donning a tuxedo jacket over a denim tank top, or opting for a sailor look in a striped knit with a boat neck, white cotton pants with black stripes and a small woolly hat. In his wardrobe, there was no shortage of leather jackets, nylon bomber aviators, military jackets, and canvas overalls. "I wanted to show the big chains or ties errors that boys and girls make when it comes to fashion and clothing. But also how these mistakes can be transformed into a very cool and unique form of fashion," explained designer Jung Wook Jun. Copyright © 2025 All rights reserved.
Fashion Network
2 days ago
- Entertainment
- Fashion Network
The Japanese shine in Paris with Junya Watanabe, Mihara Yasuhiro, Comme des Garçons, and Kenzo
Published June 29, 2025 Japanese designers once again captivated in Paris, where they unveiled inventive and sophisticated collections during this year's Men's Fashion Week dedicated to Spring/Summer 2026. Like Junya Watanabe Man, who revisited tailoring, Maison Mihara Yasuhiro, who celebrated everyday fashion, Comme des Garçons Homme Plus, which reinterpreted the suit, and Nigo at Kenzo, who mixed genres with a zest of madness. Junya Watanabe Man, spring-summer 2026 - ©Launchmetrics/spotlight After last winter's deep America and lumberjacks, Junya Watanabe Man this time looked to more refined shores, brilliantly interweaving styles and eras. A Chopin waltz on the piano plunged guests into a chic, baroque past, where men sourced their clothes from the finest weavers. The classically tailored jackets were made-to-measure in sumptuous brocades and damasks, precious fabrics, and striped velvets. Most were upholstery fabrics sourced from antique markets. Jackets were worn shirtless with slightly flared pants and jeans, sometimes with a sailor shirt. Dark glasses add the finishing touch to this new dandy style. The same fabrics were used in denim jackets worn over his peasant overalls. "This time, I was interested in something old but seemingly new, or something new, born of the reproduction of old objects," said Junya Watanabe in his note of intent, who also multiplied collaborations as with each of his men's collections, calling on Camper, Lee, Levi's, New Balance, and Tricker's, among music suddenly turned jazzy, while the rebel vein showed its nose in tweed suits with tight, knee-length pants constructed like biker pants and paired with little camel trench coats. Long, loose-fitting white bib shirts hybridized with chunky metal chains, ties, or silk scarves, which were also found embedded in jeans.A series of superb jacquard sweaters closed the show with soothing bucolic images, while in the final looks jackets and coats reproduced tapestry-like views of Venice and Florence. Comme Des Garçons Homme Plus, spring-summer 2026 - ©Launchmetrics/spotlight Tailoring was also at the heart of Comme des Garçons Homme Plus' collection for the next summer. The suit was revisited and reinterpreted in two contrasting versions. In technicolor or black and white, in masculine fabrics or harlequin fantasies, classic or unstructured first part of the collection featured a series of suits in cheerful prints with graphic and colorful patterns, composed of straight, tight pants and frock coats inflated at the sides and draped at the back. This was followed by models in black fabric with exploded construction. Sleeve tops unravel as they fall to mid-arm, ruching ribbons escape down trouser legs through zipped slits, and hips take on volume via whalebones. "I feel like we could really use someone powerful like a shaman to bring us back to peace, love, and brotherhood," commented designer Rei Kawakubo in a note, who also interpreted the Bermuda suit in black or white cotton piqué with short jackets and fluctuating pants. Then everything seemed to blend together. The fluid jackets of light-toned pleated suit-tailors were enhanced by XXL collars and lapels in brightly colored felt. Long, multicolored vests slipped over double-breasted banker suits or micro-check suits, sometimes adorned with ruffled collars. Models presented themselves with long hair waving down their backs or tied in thick braids, a giant double-cuffed cap screwed onto their heads, and boots and fishnet socks on their feet. Maison Mihara Yasuhiro, spring-summer 2026 - ©Launchmetrics/spotlight In these times of war, Mihara Yasuhiro viewed her new collection as an ode to ordinary people and the everyday wardrobe. Her fashion seems to be built from the smallest of elements, a veritable eulogy to simplicity, as illustrated by this crocheted cap. An old tracksuit, a worn-out sweater, or a pair of faded pants were plucked from the back of the wardrobe and put together in a totally improvised way. A bit like the percussive music that accompanied the show, whose musician was none other than a child tapping and rubbing on a table with two pencils.A few playful accessories underlined this everyday life, which could suddenly turn out to be extraordinary. These included a banana worn as a pendant, a tube of toothpaste threaded through a metal case suspended from a chain, and a paper bag-shaped handbag containing a wand and a bouquet of flowers. And let's not forget the patches scattered across pants and shirts, where the letters of the slogan "ordinary people" were displayed in disorder in the fun graffiti of Navinder Nangla, the dyslexic street artist from Northampton. "Don't tag me" also appeared in large letters on some of the usual, Mihara Yasuhiro mixed different pieces together, playing on stratifications and surprising constructions with dual identities, front and back. The shirt came in a striped poplin on the front and denim on the back, while the khaki nylon jacket on one side became a silver bomber on the other, and the canvas pants were nothing more than tracksuits seen from behind. Other facetious garments included double-collared shirts, three-in-one hoodies, jackets worn by two or tops with two pairs of sleeves in two different sizes. Very practical. Kenzo, spring-summer 2026 - ©Launchmetrics/spotlight Mischievous humor also ran through the Kenzo collection, where creative director Nigo resurrected the joyful, playful spirit of founder Kenzo Takada with an energetic runway show at Maxim's, an emblematic address in Belle Epoque Paris, transformed for the occasion into a nightclub, where girls and boys raided their wardrobes to create the craziest collection's eclectic mix-and-match of styles and influences, from Kenzo Takada's 1970s studio to Nigo's streetwear community and Andy Warhol's Factory, was a mix of retro inspiration, Japanese culture, subversive punk, pop, and shirts were tied at the collar with a lavaliere-style ribbon. Tuxedo jackets were offered in vibrant colors and ended up as satin-trimmed kimono jackets. Proud red officer or hussar jackets were also available. Archival prints, such as big flowers and tiger stripes, took over many pieces, including shirts, pants, and hooded jackets with teddy bear ears. Pants were loose and baggy. Accessories were not to be outdone, with hotel slippers, vertiginous platform bowling shoes, bags, and caps covered in patches, colorful straps falling down the sides, long glamorous knitted gloves. A collection rich in ideas and references. Perhaps a little too much. Copyright © 2025 All rights reserved.
Fashion Network
2 days ago
- Entertainment
- Fashion Network
Craig Green: From Abbey Road to Arts et Métiers
Published June 29, 2025 The most fertile imagination in menswear, that would be Craig Green for the uninitiated, staged his latest show in Paris on Sunday, and it was, in a word, sensational. Craig Green spring/summer 2026 collection in Paris - Launchmetrics Riffing through materials, epochs, cultural references and diverse artistic moods to create the most original menswear of the European runway season that began in Florence at Pitti 12 days ago and ended in the French capital today. 'I started off with the Beatles, which in Britain are seen as part of the furniture. But this was about how prolific they were. I liked the idea of the potential of youth,' explained Green in his critic-packed backstage. His opening look echoed the cover of the Beatles album "Help!", where the Fab Four pose like cool French members of the Maquis, with Hamburg ship captain caps. Though Craig's hero's cape coat was cut diaphanously with shards, tails and triangles of fabrics. Like many cast members, the model had a handkerchief dangling from his mouth. A reference, the designer explained, to an ectoplasm of fabric, referencing both the mind-expanding drugs which so influenced the Beatles music and a canine image, since it 'was quite dog-like in a weird way.' Which led into Green's bang on nouvelle coats, taken from the patterns of coats for dogs. And hinting at clerical collars, which Craig marvelled, 'are weird hard white plastic that you cannot stain, which I didn't know.' Craig Green spring/summer 2026 collection in Paris - Launchmetrics Dog coats that became sleeveless padded parkas, one in the same mustard yellow as the sand on the runway in this show staged inside the Musée des Arts et Métiers, a museum of science and industrial artefacts. An ideal home for a Craig Green show. 'I was also obsessed by harvest yellow, the color of that era, late '60s, early '70s, and loved the idea that babies cried more and people have more arguments in a yellow room,' he laughed. A show that included super original tunic jackets and safaris with all sorts of cross straps, grommets and tags - made in blends of solid hues and micro floral prints. Think super chic strait jackets. Worn with asymmetric shorts or some fantasy trousers in panels of bleached out windowpane checks. In a runway season of shorts, and at a moment when half the men in the current giant tourism boom Europe is witnessing are wearing shorts, Green made by far the coolest: scrunched up dhotis; silk cargo shorts; upside down blazer shorts. After seeing those looks, one understood another inspiration, which Craig described as people 'trying to play LPs backwards to find messages. Which is very different to now.' Craig Green spring/summer 2026 collection in Paris - Launchmetrics Many looks worn by models with tiny robotic shades with punchy lights, made from the lights of doll's house. Riffing 'on the Beatles and the psychedelic era and the idea of mind-opening drugs. Like LSD, as they were kind of allowed to, which again now seems kinda alien.' At his finale Green went for floral fantasy, as he admitted that getting older, you 'like to garden more, and cling to the earth. Which the young never do.' A brilliant final quartet of panels of fabric florals, posh paisleys, daffy roses or orange phantasies – in finely draped parkas and dusters. In a mixed recycling moment, these came from vintage bed sheets, his team found 'that were quite smelly and weird. It's interesting how people all feel comfortable sharing sheets, but not underwear." Green now does shows just once a year. Last year in London, two years ago in Paris. 'I think once a year is less anti-social for my team, it's the most they can bear,' explained the thoughtful Craig. Most models this Sunday walked on fab' new triple welt brogues-meets-grand slam golfer collage layering shoes, the designer's latest linkup with shoemaker, Grenson. But at the finale, four models were barefoot. Abbey Road cover style in the Marais. Or zen masters on LSD from Merseyside, forever on the road. And, with the greatest respect to all Craig Green's colleagues, the climax to the most important menswear collection this season. Optima Temporis, as my Jesuit Latin teacher used to say. Copyright © 2025 All rights reserved.
Fashion United
5 days ago
- Business
- Fashion United
Jonathan Anderson reboots Dior menswear with subtle subversion and commercial savvy
Jonathan Anderson walked on to the Dior stage on Friday with the hardest brief in luxury fashion: reignite a 9.5 billion euro powerhouse whose growth has begun to slow and whose identity, at least on the men's side, has drifted since the Hedi Slimane era. The 40-year-old Northern Irishman is hardly a novice. LVMH took a minority stake in his JW Anderson label in 2013 and, in the same breath, installed him at Loewe, where he built the once-sleepy Spanish brand into a cult enterprise (and created the Puzzle bag in the process). The inevitable next step, Dior, finally materialised this spring after a messy sequence of leaks: a departure from Loewe, an initial appointment to menswear, and, following Maria Grazia Chiuri's exit last month, full control of every Dior line. A marketing breadcrumb trail In the week before the show, Dior's image machine offered clues. American art royalty Jean-Michel Basquiat and socialite Lee Radziwill, both captured by Andy Warhol, floated across mood-board teasers. A shaky Super-8-style film lingered on peonies, a chateau and a wooden canoe adrift on still water. Viewers, like the canoe, were asked to wait. Context: revenue up, momentum down The waiting has had real-world stakes. Dior's turnover quadrupled between 2017 and 2023, yet HSBC flagged a slowdown from Q1 2024, citing consumer resistance perhaps to relentless price hikes and shifting priorites. Delphine Arnault, Dior's chief executive, now talks less about fireworks and more about 'quality and craft'. For Anderson, the unspoken mandate is clear: deliver covetable product, bags, sneakers, ready-to-wear, and a point of view that can translate into sustained demand. Dior Men's SS26. Credits: ©Launchmetrics/spotlight Dior Men's SS26. Credits: ©Launchmetrics/spotlight The collection: Saltburn meets Warhol On the runway the pressure translated into nonchalance. Shirts half-tucked, collars popped, one trouser leg rolled, looks that recalled the louche decadence of Saltburn spliced with a Warholian downtown shrug. The tailoring, less razor-sharp than Slimane's fabled skinny suit, was offset by playful twists: a vampiric cape, a cable-knit in peony pink, Oscar-Wilde bows adorning the neck, coats in drapey tweeds. Anderson's British eccentricity surfaced in tailcoats fastened with Napoleonic buttons and the ubiquitous look of a chino and polo shirt was reimagined as a nod to aristocratic decay, pleated, loose, and worn with the ease of someone who has never had to try too hard. Dior Men's SS26. Credits: ©Launchmetrics/spotlight Dior Men's SS26. Credits: ©Launchmetrics/spotlight Were the cargo shorts and polos special? Perhaps not. But in their casual iteration they reset the palette, signalling that everyday wear is once again fair game for high fashion, and, crucially, high turnover. Commercial chess moves Accessories telegraphed intent: a hybrid sneaker-deck shoe, bright book bags, sweaters emblazoned with a refreshed lower-case Dior logo—bait for Gen Z and a lodestar for retail. Denim returned with pocket stitching first introduced by Slimane, proof that Anderson is willing to cannibalise house history where it works. And all this is only the start. By LVMH arithmetic Anderson will produce roughly 18 collections a year across men's, women's, leather goods and his own label, a workload that would fell lesser talents. Yet his track record suggests an ability to inject nuance into the mundane: tweak a heel, pop a collar, ignite a cash register. Dior Men's SS26. Credits: ©Launchmetrics/spotlight Dior Men's SS26. Credits: ©Launchmetrics/spotlight What the creases say Christian Dior once championed post-war polish; Anderson's wrinkled shirts propose something different. Perhaps dressing up now feels performative, or perhaps life—pandemic, conflict, cost-of-living angst—is simply too short to iron. Either way, Anderson has staked out a fresh clearing in the Dior forest. The real test will be whether this studied casualness converts into queues outside the stores. In a year, the peonies, like the revenue charts, will show whether the house is blooming again. Dior Men's SS26. Credits: ©Launchmetrics/spotlight Dior Men's SS26. Credits: ©Launchmetrics/spotlight
Fashion United
6 days ago
- Entertainment
- Fashion United
Bagpipes and lace: Egonlab celebrates Brittany at Paris Fashion Week
Luxury label Egonlab presented its spring/summer 2026 collection on Wednesday as part of the FHCM programme, the official Paris Fashion Week schedule. Thirty-four silhouettes charmingly evoked Brittany's rich sartorial history, reflecting extensive research into the region's archives. Needle lace and porcelain shirts 'Rooted in Breton heritage, the collection blends coastal tradition with urban elegance', read Egonlab's show notes. For founders Florentin Glémarec and Kévin Nompeix, evoking Brittany was a tribute to their grandfather, René Glémarec. Brittany was also expressed in the detail of a bagpipe carried under the arm by several silhouettes in the show; in pointed ruffs that recalled details of Breton costumes; and through pieces of lace placed on the head, similar to the needle lace from the commune of Plougastel-Daoulas. Egonlab SS26. Credits: ©Launchmetrics/spotlight There was also a sleeveless top with golden embroidery resembling that of a 'bigouden' costume preserved in the Finistère departmental archives. Egonlab SS26. Credits: ©Launchmetrics/spotlight Finally, the wide folded lapels were reminiscent of traditional Breton men's shirts or the wide-brimmed crossed shawls once worn by women. The final look was a trompe-l'œil piece made of porcelain with artist Flávio Juán Núñez. It was a loose, short-sleeved white shirt. Egonlab SS26. Credits: ©Launchmetrics/spotlight The SS26 collection also saw the luxury brand launch several collaborations, including Havaianas flip-flops, Longchamp bags and Bearbrick accessories. Egonlab SS26. Credits: ©Launchmetrics/spotlight Egonlab SS26. Credits: ©Launchmetrics/spotlight The richness of Breton clothing culture has been at the centre of luxury brand collections several times. One of the most memorable was perhaps French designer Jean Paul Gaultier's autumn/winter 2015 collection, whose show opened with the sound of a foghorn and the cries of seagulls, according to a report in Vogue magazine. It notably featured references to 'bigouden' headdresses and typical white embroidery. This article was translated to English using an AI tool. FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@
