FxF: Climb.

Perhaps one of the most enjoyable things to do as a film student is apply Freudian psychology to the most arbitrary and random of objects/persons/places. A firm favourite (pun intended) is identifying phallic symbols; from an innocent cigarette to a mere lipstick, everything - according to our good friend Sigmund - can be considered as a signifier for a penis.

This filmic collaboration between NY-based artist Collier Schorr and menswear designer Tim Hamilton features the more athletic pieces by Hamilton and a rather large rope which ostensibly hangs from a ceiling. Were I writing this entry as an article for Film Quarterly I could probably go as far as to venture saying that the struggle to climb the rope is symptomatic of the young man's struggle to overcome impotence. But, thankfully, I'm not, so let's just enjoy the clothes...

For more on Hamilton do check out the v. handsome Horst's no holes barred interview with the designer himself.

REMINDER: Win A*Men by Mugler.

Just a gentle reminder to enter the insanely easy competition to be in on the chance to win a 50ml bottle of A*Men by Thierry Mugler. Courtesy of Arnotts, you need never smell less than positively delish. For full details follow this link.

Topman Trench Coat Project: Not Befitting for the Ball but...

The next four weeks will see me contend with four fat essays, two major balls (the formal kind...), and the rather pressing problem of zero tuxedos. This may seem over-dramatic to many of you, but, firstly, you have no idea how important these essays are, and secondly, if I'm essay-researching I can't find the requisite time to source a bitchin' tux for the Film, Music and Drama dept.'s Film Noir ball.

Granted a tux is a wardrobe staple but, resigned to the thought the Dublin market wouldn't proffer much choice for my taste, I've kept putting the prospect of purchasing one to the back of my mind. You know what would be so much more convenient? If I could pull off one of the trench coats from the latest (and, brace yourselves, last!) Topman collaborative project. I mean, what film noir detective sans trench is worth his salt?

In the vein of previous designer collaborations (the white shirt and trousers projects) Topman have enlisted some of some smaller-scale menswear designers to re-create the classic coat. For a noir nut and self-professed outerwear-obsessive, this is for me perhaps the most exciting project. Miharayasuhiro (J-designers really understand the importance of a well-designed site, check it out), Tim Soar, stylist Alister Mackie, B Blessing, and Topman Design (naturally) have all lent their respective visionary touches to the trench with covetable results.

^ Tim Soar. Love the loose cut and no-fuss aesthetic of this one but it deviates too much from the original trench for me.

^ B Blessing.

^ Topman Design. The hands-down winner as regards innovation, esp. love the way it's belted.

^ Miharayasuhiro. Classic and perhaps even conservative. Still, the slightly darker than beige hue had me from the get-go.

^ Alistair Mackie. V. reminiscent of Burberry Prorsum for me. Still, love the shade, not so sure about the too-slim fit and short length.

Favourites?

Images from Ftape

Q+A: Bernice Kelly of Macha Jewelry

A lot of descriptions on the "About" page (or equivalent) of brand websites are so often lacklustre and hopelessly generic. Not so for Macha Jewelry, which prides itself on its aesthetic of "quiet rebellion". Isn't that kind of great? I think that's what I aspire to; a sartorial combination of the subtle and yet interesting and unexpected. Founded by Irishwoman and former fashion designer, Bernice Kelly, and now based in London, the brand proffers rough-around-the-edges but undeniably beautiful pieces for men and women. We talked Barbour, lost-wax casting and bespoke.

Who and what is Macha Jewelry?

Macha was set up as a reaction against the corporate fashion world I used

to work in. I created and own the brand, and aside from some amazing

interns, do pretty much everything myself. It's a 'back to basics' Fine

Jewellery brand, influenced by the rawness and humility of home (Macha

comes from the Irish name for Armagh) with the emphasis on modernising

classic pieces.

Describe the Macha aesthetic...

I guess Macha pieces have a kind of rugged elegance, and a sense of

nonchalance, for both men and women. I love that they revive some kind of

distant memory in people when they wear them, and inspire new connotations

after some time. A journalist recently wrote that 'Macha emphasises

rawness over polish and flash for previously worn appearance', that pretty

much hit the nail on the head.

You've used blackened finishes and wax casting. Tell us a bit more

about the techniques you employ to create your men's collection...

Pieces are hand crafted in a traditional way using a hand saw, a series

of files, and a soldering torch.

When I find the time, and inspiration, I carve intricate pieces from wax

and have them cast into the appropriate metal. This type of 'Lost-wax casting' is an ancient art, widespread in the 18th century, only very

small amounts are made at a time, and everything is touched by hand. It's

great to be able to bring handmade back into the marketplace.

What one item of jewelry is key for men/should men wear?

The 'Keith' bracelet is a classic essential. Hand woven over a full day at

the Macha studio. Oh, and the Exile ring is a magnificient reminder of

history, inspired by an 19th century carving knife.

Tell us a bit about the bespoke service you've recently launched...

After many years designing for clothing brands where styles are dictated

to the people by the brand, it felt natural to be open to ideas (and to

keep sane in an often solitary business).

It's so nice to make something that's not totally about you, and to have

these opportunities to produce a collaborative style.

The idea is that anyone can go to the Macha store online, and find an idea

thats interesting for them as an individual. They can ask a question

about any bespoke product to start the discussion with me. After settling

on a piece they would like to purchase, I create a listing in the

Bespoke section that they can buy online. Each customer is then helping

to drive the brand forward in some small way.

Who/What inspires your design?

Actually, there's nothing better than a classic for me, a western film,

Star Wars, a practical old chair, brands like Barbour and Savile Row

tailoring, Southern American blues, odd places and events I visit like

Marfa in Texas, the Twinsburg festival in Ohio, some good old fashioned

entertainment! And of course all of the people that cross my path.

Info on stockists here. Photos by Dan McMahon.

WIN: A*Men by Thierry Mugler Giveaway.

Though I never thought the time would actually come, it seems Spring is finally rearing its much more benevolent head in Dublin. On Monday we actually enjoyed a blue sky for longer than an hour (!). Madness by Irish climactic standards.

To usher in the season I'm donning semi-sheer shirts, opting for lightweight trousers in place of dark waxed jeans, and swapping overcoats for Jimmy Dean-esque bombers. If you're not quite on the same wavelength just yet, Arnotts have provided a little encouragement which should see you some Spring/Summer good-spiritedness. Up for grabs, courtesy of one of Dublin's most design-savvy department stores, is a 50ml bottle of A*Men by Thierry Mugler.

Since this arrival of the Spring season sees my sanity return somewhat, I'm making this all terribly easy. All you need to do to be in with a chance to win this heady and yet appropriately unheavy fragrance of bergamot, coffee, vanilla and musk is answer the following question...

Prior to revolutionising fashion Mugler busied himself with which of the following pursuits?

A) Blogging B) Ballet C) Bed-making

I did say it would be ridiculously easy. Email your answer followed by your full name and address to cillian[at]male-mode.com by Friday March 12th.

London Menswear AW10: Orschel-Read's Fageln.

With all the Topman-sponsored platforms for designers that have emerged in London these past few seasons, it's been easy to forget one of the best. Vauxhall Fashion Scout sponsors a selection of emerging designers each season to show or exhibit their work at one of the city's most architecturally breathtaking (and Pelayo-approved) venues, the Freemasons' Hall on Great Queen St.

Last season I had the pleasure of sitting second row for Satyenkumar's showing of his ethereal, candy-coloured SS10 collection, and just last Wednesday I was lucky enough to delve into a realm of fables and culture-clashing courtesy of CSM-grad and Swedish designer Orschel-Read. I'd been kind of captivated by Orschel-Read's AW09 Mourning for Orland collection prior to this, so the whole affair was doubly exciting.

Inspired by the beauty of female birds, the early work of English textile designer William Morris and the ceiling murals of Stockholm's Storkyrkan Cathedral, Orschel-Read produced a veritable fashion feast which mixed the quiet femininity of soft-hued prints with the more robust tailoring inspired by the traditional uniform of the Japanese samurai. Detail was abundant as garments were lavishly embroidered, the palette was juxtaposition of soft fleshy tones with those of a more earthy kind and the silhouette drew inspiration from the importance of menswear tailoring while also giving a nod to a casual sportswear sensibility. Being nosey and an avid fan, I had to ask a few questions...





This collection mixes militaristic tailoring with feminine hues/prints. Would you consider this fusion of the masculine and feminine key to the collection?

A certain balance between masculine and feminine is something that underpins much of the Orschel-Read brand, not only the AW10 collection. This is an exploration of a concept that Virginia Woolf discussed in her 1928 novel Orlando - that there is no divide between men and women. There are differences, but many more similarities.





Any interesting stories/anecdotes regarding the production of the collection?

One of the themes of this collection was 'hidden detail'. As the collection went on the details became more and more hidden. In addition to all the under-collars being embroidered and the pockets being hidden inside of pockets, there are many hand-stitched details that can not be seen without taking the garments apart.

Describe the Orschel-Read man.

The Orschel-Read man has impeccable taste and is highly aware of his personality and how he expresses himself through his appearance. He is a true gentleman with a certain shy sexiness. He has a keen eye for detail and for quality.

________________________

Not to mention Gaga's a fan. The otherworldly jewellery is by Marie Parsons.

Images by Luke Nugent and Paul Morgan

FxF: The Third Wave.

People are usually surprised when they learn of my not studying something fashion-related. I mean, obviously, I have a significant interest but the prospect of countless hours bent over a Singer cursing unsteady hands and unruly fabric ensured I never even conceived of the thought to study the art. Well, there was also the small matter of my being bereft of any semblance of handcrafting/artistic talent.

So I chose Film Studies (and German but shhh, at least I get to go to Berlin next year) and haven't looked back. Any why would I when these two major art-forms are now in the habit over overlapping v. often? Film operates much like fashion - ever eager to identify the young talent which will revolutionise the form, influenced by trends which emerge with a furore and die out unbeknownst to most a little later. On the other hand, fashion cites film as an endless source of inspiration and film now provides a new - often, much cheaper - medium for the presentation of a designer's collection. It enables the designer to imbue the film's own style (using techniques of editing, a particular soundtrack and a great deal more choreography than is permissible as part of a runway show) with their design aesthetic.

Naturally, then, it's time to start featuring these instances of creative crossover. For the first in this series, here's the result of a collab. between ballet choreographer Benjamin Millipied and sportswear brand Y-3 for The Last Magazine which makes tracksuits and mesh appealing as ever - The Third Wave.

Directed by The Last Magazine's Magnus Berger

Co-directed by Jacob Sutton

Produced by The Last Magazine's Tenzin Wild

Choreographed by Benjamin Millepied

Styling by Alistair McKimm

London Menswear AW10: Carolyn Massey's Obsolete Prototype C53.

Sometimes getting out of bed early proves so very worthwhile. Case in point: Carolyn Massey's AW10 show Obsolete Prototype C53, recently held on LFW's menswear day. While I may have rolled off the sista's couch amid jet-lag-assuaging sleep in order to allow time for trekking to Manor House tube station, I was - just a minute into the show - reminded of how privileged I was to witness Massey's genius work its sartorial wonders once again. Yes, I know this sounds gushing, but it's difficult not to be when a designer manages to bring together all of the aesthetic elements that inform your own personal style.

This season, Massey was inspired by a body of military patterns (many of which date back to WWII) sourced from an anonymous donor, which were suited to her trademark - and my preferred - silhouette - strong shoulders and not-too-lean trousers. The palette, which moves from dusky to dark, derives from a fondness for the "Tokyo morning sunrise" so that the stark robustness of the military is offset by the soft rose-tinted stripe or pair of trousers.

Undoubtedly, though, the impact was carried to its full potential by men's jeweler Hannah Martin's who, adopting military insignia as a starting point, fused heritage with contemporary to produce badges that resembled ninja death-stars but were so much more. Obv.

Oh, and as you're aware, previous seasons saw leggings for men (Tisci), Massey now proffers fishnets for the boys and I can't honestly say I'm averse...

Images from The Fashionisto