Psychosis in style.

After countless close viewings and re-viewings of the infamous 'shower scene' in Hitchcock's Psycho, with a view to establishing how Soviet montage is employed as an element of the editing style, rather than the codes of the continuity system (don't ask...), you'd be perfectly justified in thinking I'd had enough of unmitigated gore for one evening. Alas, this messy, scarlet affair proves strangely irresistible, and therefore - by extension - my deteriorating sanity due to exams (just two weeks!).



Er, in less psychotic speak, this array of macabre portraits inspired by American Psycho perhaps carves (harhar) a new trend for your consideration this Spring Summer - serial-killer-chic. Think the bloodiest-of-red blazers in velvets (or another suitably lurid fabric) cut sharp (just as you would your victims), crisp white shirts and vests (to remind everyone you're of a perfectly sane, white-collar demographic) and a plentitude of black, preferably in leather, too. Get especially creative with accessories i.e. any old thing from your abattoir will do.

Shot by Matt Irwin and styled by Robbie Spencer for Dazed. Check out the rest of the editorial here.

Images from Dazed Digital

Bucking Convention: Steve Doyle of Buckstyle.

While print publications such as Fantastic Man, 10 Men and GQ Style have consistently put forth quality content in the realm of menswear, online equivalents seemed non-existent until, that was, Buck Magazine took its gloriously Dandy-self to pages of the teh interweb to offer sartorial advice, purvey imaginative photo-editorial and clarify just what all the fuss is about for PJs this Spring Summer. I had a natter with Buckstyle editor-in-chief and genuine dandy article, Steve Doyle.



Editor-in-Chief Steve Doyle

1. You are a self-professed creative director, stylist and journalist. What's your professional background? Did you study prior to taking these jobs?

I did study, yes, but not in these fields. My degree was in Japanese Studies, which I studied at the School of Oriental and African Studies (SOAS), University of London. I took classes in everything to do with Japan – such as history, economics, and cinema – and I speak the language (though since Buck started, my Japanese seems to get worse every day!). After uni, I didn’t know what I wanted to do with myself and ended-up taking a job in the city with an advisory firm called KPMG. This lasted about a year before I thought enough is enough, life’s too short to be bored doing a job I don’t care about, and decided to take the plunge into fashion and magazines. I had always kept up with fashion, and had often considered journalism as a career. I launched my school’s newspaper when I was 14 and from 16 worked every Friday at the BBC’s offices in Birmingham (where I grew-up) working on programmes such as Clothes Show Live and Style Challenge (one of the first makeover shows - I was completely obsessed with it at the time!)

Styling and Journalism are jobs that you can study but generally people get better at them with practice, rather than through college. Most stylists and journalists I know didn’t study those things in particular. In a similar way, creative direction is about having ideas and turning them into something visual. Anyone can do it but it requires a great amount of self-confidence – to instruct a team of your own vision and be able to listen to other people’s criticisms. I learn and, hopefully, improve with each shoot, and this is certainly my favourite work of all the things I find myself doing.

2. How would you describe your favoured styling aesthetic? You've mentioned New Dandyism, how do you define this look?

I guess my style is quite formal when compared to some stylists. I like restriction – buttoned-down collars on buttoned-up shirts. I like fitted pieces, sometimes tight, and traditional tailoring with sharp shoulders and pinched waists. But with this, the dandy element adds the frivolous, such as the bow-tie, and clashing colours. I love contrasts, such as clashing plaids or a pair of Doc Martens paired with a Barbour jacket. You could call it the Broadway Market aesthetic in some ways; more grown-up, never teen, quite sober and proper. I find it fascinating that sober, proper men’s clothing - such as bow-ties, cummerbund
s, black-rimmed specs, side-parting hairstyles etc – can today, on young men, look alternative and revolutionary. I am amazed that even now my moustache is greeted with stunned faces whenever I leave the confines of E2. It really throws some people because it challenges pre-conceptions and I guess that sums up the fashion styling I try to create – challenging pre-conceptions by subverting what a young man should be.

3. You launched, and are now editor and publisher of BUCK magazine. Can you tell us a little about the magazine and it came to be?

In the summer of 2007, I decided I could no longer take my previous job in the city and did a lot of soul-searching about what I wanted in life. My mum and sister were killed in an accident in 2006 and, as you can imagine, it took a fair while to just be able to get on with the normal day-to-day things. Eventually though, I came to a point where I felt strong enough to say to myself, life’s too short for this boredom, I’m going to seize this chance while I’ve still got it and go after my dream. And so I decided I would launch a men’s fashion magazine based upon my favourite men’s mag Men’s non-no in Japan, and then quit my job.

After that, I worked my way around lots of different magazines gaining experience of the industry, including Wonderland, Dazed & Confused and Vogue. And after Vogue I felt I was ready to start, or as I prefer to say, ready to start making mistakes! You need absolute confidence to start a business but also the knowledge that there will be mistakes and the whole thing could end-up a disaster. So, from May 2008, I began getting my team together, finding offices and a distributor, and we launched the first copy of Buck on October 30th. We printed three issues as a monthly and have now closed the print edition, focusing attention solely on the website Buckstyle.com. I always wanted Buck to be for young men who are interested in style but want it presented in an accessible way. From the start, I developed a philosophy for our clothing pics called D.V.H – Designer, Vintage, High Street – and we included all three of these in every shoot, and still do on Buckstyle. Essentially, the magazine was for young Bucks who know their own style and do their own thing but want to see what’s new around and how other guys are styling themselves. The reaction from people like yourself has been overwhelming and I feel so happy that so many guys ‘got it’. When I receive an email, like I did the other day from a guy living in Yorkshire, who told me he’d read Buck and completely connected to it, it justifies all the effort.

4. Also, what with the closure of numerous magazines in recent times the environment must be growing tougher. How do these current economic troubles affect BUCK? Or do they?

Well, as I said, we’ve had to close the print edition. Times change and we have to adapt with them. Print is incredibly difficult now. In fact, the timing for the launch of Buck couldn’t have been worse really! But I don’t regret it for a minute. Now I’m focused on pushing forward online, trying out every new technology that comes-up; there’s still so much to try!

5. Have you a favourite menswear designer/brand? If yes, then why?

There are many that I love. For the Autumn/Winter season coming, my favourite show was by Les Hommes – they have a really strong aesthetic, strong but feminine at the same time. Amongst the new crowd, London has some wonderful menswear designers gaining more and more recognition – Carolyn Massey and Lou Dalton for instance. From the old guard, I adore Lagerfeld. Not for his menswear, but just for him. I think he’s such an inspiration if you work in fashion. As soon as the Chanel show ends, he’s over that collection; it’s all about tomorrow and the next new thing. That attitude is what moves things forward.
6. What's your favourite film - something Godardian by any chance?

Haha! I like Godard but my absolute favourite film is quite obscure. In fact, it’s very difficult to get hold of now. It’s called Naniwa Elegy, by Kenji Mizoguchi. It was made in 1936 in Japan at the time the fascists were in power just before the second world war, and it’s an extraordinary tale of a young woman who decides she’s not going to be a downtrodden dutiful daughter to her drunk of a father, but instead is going to wear make-up, smoke and live her own life. It’s a very feminist movie and really surprising the first time you see it.

Photos (except top) from 3 Ways to Wear Pyjamas. Photographer: Guy Stephens, Stylist: Celia-Jane Ukwenya, Model: Ritchie Foster @ Select, Grooming: Sarah Barrow.

Check out Steve's blog here.

Courtesy of Carréducker - a hankering after lizard boots.

Lizard (!) Boots - eh...yes, please.

Too many hours of intensive revision leads to too few changes of shoes I've found - I must have lived in just two pairs of battered monochrome plimsolls for the past two weeks. Fine if that's your thing but fundamentally boring if you're a fan of more is more (this rule I apply only to footwear though...) like myself. While I'm - for the most part - hopelessly frivolous when it comes to shoes, I do recognise the importance of at least one, or two (or three?) pairs of understated, yet impactive, well-fitting formal shoes. Problem is, I tend to quite ignorantly dole out notes for shoes that look as if they're of high quality rather than actually engaging in a little investigation to actually uncover the truth. So, news of the seminal cobbling pair Deborah Carré and James Ducker (Carréducker) has been resoundingly positive.



Green Winkers.



The innards of a Carréducker creation.

Not only do they offer a bespoke service, they also offer courses (in London, and they've recently started in New York) in the rapidly dying craft of hand-sewn shoemaking. Yet another reason to seriously consider in a transatlantic jaunt, though cross-channel would perhaps be more cost-effective...

Check out their blog for a detailed insight into the art.

Images from Carréducker and The Moment

What lies beneath: Not just flesh.

Is fashion art? The question's been posed countless times and to be frank, I've never actually came down decidedly on one side or the other but, undoubtedly, some manner of symbiotic relationship exists between the two concepts and I find I'm inevitably interested when the two become one as exemplified by London-based art and design (and numerous other creative disciplines) collective Underlining Colours.

Trousers by Tim Soar, necklace by JW Anderson



Flesh by Niclas Heikkinen (Vest by Bjork & McElligot, trousers by Tim Soar & necklace by JW Anderson)

I first heard about them in relation to their latest issue: #10 provocatively entitled Flesh which explores the interrelationships of Botticell, Gianni Versace, Bruce Weber and Miami pastels (just a little genius, don't you think?) but the collaboration which interested me chiefly was #8 Brothers, which addresses issues of masculinity and brotherhood within the context of London.



Runaways by Piero Visconti & Pok U Chan (Jeans by Topman, necklace and rings by Hannah Martin)

What's more, their collaborations of effort frequently feature some of personal menswear faves including Deryck Walker and Siv Stoldal which reflect the themes of the editorials so well. Rest assured, they've got material for you too, ladies.

"Une Histoire d'Homme" - through Gucci canvas bags and more.

Am rather pleased to announce Artcurial, the highly-successful Parisian auctioneering outfit, are poised to present "Une Histoire d'Homme". A collection of luxury vintage finds from the staples: Goyard and Gucci bags and accessories and a hefty offering of ready-to-wear, to the fine-points of style: Namiki pens and Elie Bleu cigar-boxes (honestly I'd consider sparking up a habit if only to house my deathsticks in such finely-crafted wooden things of wonder), Une Histore d'Homme certainly seems to promise an opportunity to nab something with which one can truly customise their personal aesthetic. Oh, I'm also told there'll be "rare and unusal objects" so - hopefully - you can be every bit the foppish Victorian voyeur for the day and partake in many's a Darwinian discussion - "Have you seen my collection of rare batwings?" - "You know, I'm not entirely sure I have but you really must peruse my extensive assortment of cats' eyes!"...

Elie Bleu creations.

Er...anyway, if the items up for grabs weren't reason enough, the whole event's to take place in the rather splendid, neo-classical 'temple of the arts' (pictured top) - Hôtel Marcel Dassault at 7 Rond-Point des Champs Elysées, Paris which houses all the cultural sophistication you could possibly require. Dandies fetch your walking canes - the auction takes places June 9th.

Images from Artcurial and Elie Bleu

Some retail respite muchly needed.

Most sincere apologies for the erraticism regarding posts this past while, but annual exams loom once more. So it's less pondering on sartorial dandyism and more studying the technical traits of Italian Neorealism. However, I do promise updates but don't mind too much if they're of extreme infrequency. Other than that this post doesn't have a particular theme but a few random observations/proclamations of lust/tip-offs never went astray did they?

For those of you that know me at all you'll find yourself in full agreement when I say I've a bit of a thing for blazers. It's partly the uniform allure, partly inherent tailoring and also the much-needed squaring/broadening of my rather narrow shoulders. And this Summer I'm falling more than head-over-heels for ice-cream pastels, particularly beige. Enter this rather beateous thing from punkweak purveyor (er...you wouldn't think it from this) Viv Westwood.



Linen to keep you cool and piping to ensure another cool. You really couldn't ask for more now could you?

Well, for those of you fanatical about rugby, it's quite possible you could find yourself asking for more. Normally, I'd send you somewhere else post-haste. But, low and behold, here 'tis. The genteel lads and ladies of my-wardrobe.com are giving away a £1000 rugby package guaranteed to bring much revelry - it includes a tickets to the Guinness Premiership Cup Final, £500 to spend on a whole manner of clothing from their site and, naturally, a fridge full of the black stuff. Enter here.

Or, if that's not your bag, then this might be - hoho! (obv. temporary breaks from blogging lead to dire humour - I'm sure you'll forgive in time). These good-enough-to-eat leather accessories are from London label Skive & Toole, who emphasise fine detailing - unique fastenings and stitching, as well as top quality. Swell.







Images from my-wardrobe and Dazed Digital

Q+A: Rohan Kale.

London-based LCF graduate Rohan Kale has, I reckon, provided the most apt Summer inspiration: bold, bright silks and a boutonnière or two. Enjoy some brief insight...

1. Tell us a bit about your design background/Where did you study etc.?

Before coming to the UK, I completed my Diploma in Fashion Design from
NIFT Mumbai. This training has been crucial in my development as a
designer. I was offered a place on the 2nd year of the BA and went on
to graduate from LCF. My graduation collection impressed the right
ones and I was offered an MA at LCF with the Harold Tillman
Scholarship. Since I wanted to do a post grad at some point, this was
an opportune moment!

2. How do you define your design aesthetic, and what inspires it?

I am always inspired by colour. And my strength is tailoring. My
design aesthetic often tends to be a combination of the two. I get
inspired very quickly by most things that catch my eye. People or
objects with strong identities – for example a rose. Or camouflage.
The visual impact is for me the most important aspect of my creation.
This combined with tailoring to create form. My MA collection, ‘The
Two Christians’ is my homage to my two favourite designers – Lacroix and
Dior. And that should not surprise you!

3. I've heard you've undertaken freelance projects for brands - can you select one as your favourite?

Oh, this is totally different! I have designed and developed clothes
for many brands like Dunlop, Berwin&Berwin, John Rocha and Maine New
England at Debenhams. I have been very lucky to be able to work for
the high street alongside developing my own work. It teaches you a lot
and I feel it is important for any designer to be very aware of this
aspect of the industry. There are often challenges. Like the work I
did for an adventure-clothing brand, which strangely shares my name –
Rohan. It’s definitely the best work I have done as it involved very
intelligent and purposeful designing. To make things work and look
good is a different sort of creativity!

4. At the LCF MA show you won the opportunity to exhibit as part of On/Off - can you tell us a little about the experience of showing for the first time?

It was awesome! Lee Lapthorne awarded me the On/Off prize and I had to
remake one of my outfits to be exhibited during London Fashion Week.
My new sustainable start studded suit had images of Isabella Blow,
Hilary Alexander, Hamish Bowels, Naomi Campbell and the list went
on. It was my first time to be in the spotlight on a world stage and I
enjoyed the experience thoroughly. It is definitely one of the best
places to network.

5. Some of the most striking pieces from your collection are multi-coloured, shimmering silky affairs - do you feel these looks are representative of the new, slightly more feminized man many designers have been envisioning?

Men are now not experimenting with colour and fabrics like silk – they
wear it with much ease and confidence. I think over the last few years
we have seen rigid boundaries that surround menswear disappear and men
today look good in what they wear. I also don’t think it is effeminate
to wear colour or shiny fabrics.

6. What's next for Rohan Kale? Have you any interesting projects/shows in the pipeline?

You will have to wait and watch on this one!

Images from catwalking

Suits on Sunday.

What with last week's undoubtedly sober choice and the newfound optimism I'm experiencing (right before exams - who'd have thought it?) I felt this week called for something that usshered in the Summer period that little bit more, even if it's with resolute subtlety. Tokyo-based Satoru Tanaka, having established his menswear line in 2003, has been producing collection upon collection of minimalist attire made their own with subtle design flourishes and embellishments.

Tanaka has had no formal training and doesn't seem to resemble another of those designers, whose innovation is made possible solely through connections and wealthy parents. Its his passion for his singular aesthetic that leads to the creation of, for example, the suit below (SS09) which I was first notified of by Mens Rag. Now, perhaps it's just the styling that I'm enamoured of (note to self: in dire need of some shoe-string bow-tying) but I reckon the suit itself holds its own. The buttoned-cuffs of the pants, the three-buttoned jacket and the dramatically notched lapel all constitute the appeal of something as practical and chic as this. Apparently, Tanaka offers a bespoke VIP service (entitled Polite) in Tokyo too. Now taking that for a test-drive would make a man's Summer.



Images (edited) from Mens Rag

Matthew Williamson for H&M: For tie-dyers only, perhaps.

I've always maintained Matthew Williamson's womenswear was/is decidedly "er..." or, if I'm being brutally frank, somewhat "bleh...". Such a profusion of colour-saturated patterns and prints combined with blocks of brash colour e.g. eye-pain-inducing royal blue, can prove a little too busy for my taste. Thus, I was eager to see if I'd be as thoroughly indifferent about the menswear constituent of his H&M collab.

The result? Well, yes, predominantly. It's another giant sartorial vat of candy-colours and tie-dye garments fit only for those planning to embark on an acid trip or two. That said, taken as separates these pieces would definitely hold strong appeal for me. For instance, the tee, on the right above (and possibly the shorts - though only for use in festival-mode) would pair well with some cuffed white or slate grey shorts cut just above the knee.



The suits, too, are attractive, esp. the dapper-and-dandy navy affair with the zig-zag piping. As for the remainder of the collection, well, I wouldn't if I were you...



Available May 14th AFAIK

Images from refinery29