Ushering in Autumn: my-wardrobe.com for AW10.

Is it usually this stiflingly hot in London? In so many ways the English capital doesn't seem so far removed from Dublin but anything weather-related is an exception. Yeah, you have a few showers here now and then but the constant humidity is nigh on unbearable most of the time and I'm not usually in fear of extensive sunburn when running crawling to the corner shop back home.

While this Summer may have brought me sky-high levels of vitamin D, it's also ushered in a sort of sartorial lethargy; vests, shorts and shoes sans socks are all I can manage when a walk to the Tube is bound to prove more tropical than temperate. So, naturally, I've already started thinking about what'll be on offer come Autumn/Winter and the folks at my-wardrobe.com were more than willing to inform about the choices for padding for the impending weather change.

The v. lovely Susannah and Ashleigh gave me a thorough run down of what's on offer, from Stone Island to Paul Smith, Grenson boots to Mulberry bags.

Personally, I'm not huge on utilitarian clothing or conforming to the mantra of function over form. Don't get me wrong, I embraced the workwear trend as wholeheartedly as the next man donning boots and denim shirts pretty regularly, but as a rule I'm not hunting for the latest fabric finish that'll keep me insulated/dry/bulletproof etc. etc. That said, Stone Island are offering pieces that seem to strike the balance between the two, providing a potential purchase that seems practical yet stops short of un-pretty.

A suitable alternative to the now ubiquitous Barbour, the below Belstaff waxed jacket was also a great find. The quilted texturing, chocolate hue and buckle detail at the collar combine to just win my favour over the Royal Family's firm favourite.

But it was the introduction to the coming season's eveningwear that had me shaking ever so slightly like a crack addict in desperate need of a speedy fix, only the fuss was over...er...blazers in place of narcotics.

^ D&G navy blazer

^ Paul Smith black velvet blazer

The AW selection was also strong on footwear with brogues prevailing as undisputed shoe of the season and I can't really complain.

^ An impressive array of brogues. Considering securing a mahogany pair for myself.

^ Really beautiful Grenson suede and leather boots with brogue detailing.

^ More well-crafted bags than you can shake a stick at.

Now, time to call this weather-realted whining to a halt and enjoy what's left of Summer '10. Couldn't do any harm to just talk about attire for the wetter, windier months, though - what's on your wishlist?

WIN: Field Day Tickets from Fullcircle in association with Bugged Out.

It's been press days galore this past week which has left me slightly short on blogging time. But I have thought of the the perfect way to make it up to those of you who've been missing regular-ish posts and love a good Field Day.

That brand I've so lauded for its clean and somewhat spare aesthetic, Fullcircle, is hosting a very special stage in association with all night electro/techno touring party, Bugged Out, at London's Field Day this Saturday July 31st and are v. generously proffering two pairs of tickets to the event!

From a Simian Mobile Disco DJ set to cabaret, inimitable East London style to gawk at to food from the peeps who are responsible for all the deliciousness back home at Electric Picnic (VSC Events, for those of you who don't know), there'll be something for everyone down Victoria Park way on Saturday.

SO, in order to enter simply follow me on Twitter if you're not already doing so (@malemode) and send your name to buggedout [at] fullcircleuk.com, with 'Male-Mode.com' in the subject line. Another competition so insanely easy it should be criminal - get entering now since this comp must close Friday morning at 10.00am!

Spread the word!

And just to get you in the mood...

Ehud Men AW10: Home From War.

Interning isn't all lugging bags of clothing here, and sending press releases and invites out there, you do learn a lot in the process. Aside from the countless nuggets of industry knowledge I've acquired so far, I've also been introduced to several new designers and labels, thanks to a helpful boss who's sole concern is not - thankfully - piling on the donkey work.

Just last week I was poring over stylists' email requests for shoots when I came across the lookbook for Ehud. Founded by CSM grad Ehud Joseph, the label sets out, like many other new labels attempting to carve out a niche in this fast-growing market, to disregard the staid conventions of a lot of menswear and re-define the term for the contemporary man. Although there's a sneak-peek of Joseph's SS11 collection already available for view online, it's the AW10 collection I'm fawning over, here.

Enlivening classic tailoring with eye-catching prints, Ehud succeeds in offering a collection that derives its appeal from its wearability as much as it does from its understated flamboyance. Inspired by an architectural sensibility, Joseph ensures his silhouette isn't staid by ranging from the slim and body-conscious (a printed rollneck) to the more traditional (the trenchcoat further below). I caught up with the Amsterdam-based designer to talk motivation and inspiration...

What motivated you to become a menswear designer?

After I finished art school I tried to be an artist but I found that expressing myself through art didn't work. Initially I trained in the technical aspects of garment construction for fun but as I started making clothes I found that I was able to express ideas, stories and moods more affectively through clothing than I ever managed to through art.

Once I started making collections I also found that I enjoyed the immediacy of the process and the way I could reinvent the story every few months.

Where did you train?

I did a degree in Fine Art in New Zealand. My main fashion training was a Masters at Central Saint Martins.

What other brands/houses did you work for before establishing your own label?

I worked for Michalsky in Berlin and did consultations for Tim Soar in London and Mattijs in Amsterdam. I also worked for a big retail chain in the Netherlands for a year. While designing mass fashion is very educational it's very nice to be able to be creative again!

What inspires you?

I find small snippets of life, experiences, either real or made up, as the most potent starting point. Once a story comes into focus I try and build a fuller picture through visual research. I love uniform detailing, traditional structuring and the architectural aspect of garment cosntruction, so drawing through these ideas and seeing where they go is a very exciting part of the development process.

I am also increasingly interested in fabric treatments and manipulations.

Your AW10 collection seems to strike the optimum balance between outdoorsy ruggedness and an understated but still ornate chic. What was your starting point for the collection in terms of inspiration?

I wanted to create an imaginary wardrobe of a soldier returning home from a war. The past lingers on in the way he dresses showing the influence of his previous experience as he embarks on a new, urban life.

The designs tried to combine uniforms and performance clothes and then alter them into classic city styles. This ranged from reversible coats with a protective coating on one side, and a classic wool on the other, through to army style pants in noble fabrics. We also developed modern camouflage which was inspired by early computer graphics from the 80's.

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Find the rest of the collection here.

FxF: Talenthouse & A Shaded View on Fashion Film.

I could ramble lengthily on why film is the new medium for presenting fashion but I dare say it'd prove a considerable pain in the ass taking into account you're all already aware of this. Cheaper than erecting extensive catwalks, more in tune with contemporary media and the viral approach to marketing, and just, well, a little bit brilliant, film is fast consolidating its place as the sister fashion never really had. Until now.

For me, it was my recent interview with William Richard Green that put everything into perfect perspective. In particular, it was this statement from the emerging menswear talent:

"I think that film is a great format to present fashion - a more controlled and more mood-orientated medium than a catwalk show which at the same time retains the defining sense of fashion as a moving, rather than static, medium."

Ace - wouldn't you agree? Anyway, I've just realised I've completely failed in initial aim to cut short any tangential talk so I'd like to draw your attention to this - the A Shaded View on Fashion Film competition established by Diane Pernet in association with Talenthouse, judged by Pernet and everyone's favourite precocious editrix, Tavi. It's currently at the voting stage so get viewing and have your say.

Entries range from a film in which a model sporting a variety of whimsical hats engages with eggs (no, not in that sense), variously crushing, throwing, and eating them (Three Eggs by Mich Dulce) to one in which two women swathed in fabric battle Wu Shu style (Let Me Go by Hieu Phan). My fave so far? Definitely Einstellung's Skull & Bones, an eery flick which seems to draw on both film noir's sensuality and horror's disturbing mise-en-scène.

Who's getting your vote?

Topman's TKO.

I've said it before and I'll say it again - does fashion really need to move so fast? With the relentlessly high turnover of collections it seems that once you've just about managed to achieve some semblance of a grasp over a particular season and various designers' endeavours for said season, it's on to the next, the new, the fresh, with the result that you're entirely overwhelmed unless you're a dedicated stylist, journalist or some other kind of fashion professional who spends a good deal of their time trawling through slideshows on Style.com.

Or, then again, maybe I'm making excuses. Either way, I couldn't relate the Topman boxing style boots I happened upon this morning to the runway in any shape or form. Of course, I instantly recognise this as a consequence of my own ignorance rather than their randomness considering Topman's success derives almost solely from its translation of runway trends to high-street-appropriate price-points.

^ Presuming (be warned that this is conjecture) JPG's collaborated with Nike on these.

^ Topman Boxing Style Boots

A few minutes research later and I find that Jean Paul Gaultier advocated the same theme in his AW10 knock-out (!) collection in which he sent bloodied but beautiful would-be boxers down his Paris catwalk in cashmere, velvet, leather, and thick knits. Oh, and boxing boots, of course. Aha. So this is where Topman has gleaned its inspiration from.

Still, despite its having-been-shown-on-the-runway legitimacy (I know that's not the case for those more taken with the idea of personal style rather than the slavish following of trends but...) I'd certainly be having doubts regarding this style for everyday-wear. Yeah, you can chuck on a pair for a night out with tongue firmly in cheek and you'll garner plenty of lulz but these aren't, I reckon, built to last. Thoughts?

Images from GQ.com and Topman

William Richard Green AW10: Testing the Limits.

While menswear may occupy prominent positions in both the Milanese/Florentine and Parisian fashion industries, London has relatively recently awoken to the talent knocking rather loudly on its door. With the launch of MAN and the continued support for designers showcasing their vision via NEWGEN MEN etc., UK menswear designers are now finally enjoying unprecedented attention from press worldwide. No, LFW's menswear day may not bring hoards of buyers to the smaller fashion capital, but magazines and bloggers the world over are entranced.

CSM graduate William Richard Green marks the beginning of the next emerging wave of menswear designers eager to sustain interest in London's menswear-makers. Having bettered his craft at some of the city's more traditional clothiers: bespoke tailors, Henry Poole, and furriers, Hockley, Green's work is that sought after blend of the traditional and trustworthy and boundless imagination (his being instilled during his childhood spent in the countryside of Worcestershire). Rugged rubber and denim are mixed with more playful prints and details to form an aesthetic that's just as interested in the lad the man once was.

I caught up with the designer to pick his brains on inspiration, motivation, and fashion and film.

What motivated you to become a menswear designer?

Mainly, the challenge of having to overcome the restrictions of menswear. In contrast to womenswear, menswear is very much rooted in tradition and the popular notion of what is appropriate for a man to wear and my work is very much based on the tension created in the process of testing these limits. A good example is the rubber duffle coat from the AW10 collection: a classic men's garment but executed in a material evocative of rather different uses.

What inspired your AW10 collection?

The AW10 collection is loosely based on themes found in the movie Escape from LA - all outfits originate from a melange of images drawn from the different characters that populate John Carpenter's dystopian vision.

For example, the eyepatch, the coat shape and the use of gun holster-like harness straps are a direct homage to the protagonist Snake Plissken, while the use of distressed material and cut-outs refers to the predominantly punk-influenced social setting and the use of rubber quotes the wetsuits seen in the film's surfing scenes. Like the film, the collection combines a multitude of references and influences and overall mirrors the cobbled-together mend-and-make-do aesthetic of Carpenter's future humans.

This is especially noticeable in the choice of fabrics for the AW10 collection, which range from commonplace material like wool suiting and denim to more eclectic choices like inside-out rubber or a blanket recycled from a porn movie set, which ended up becoming a chunky bomber jacket.

The AW10 fashion film you produced with Zaiba Jabbar was a great success, is the filmic format something you'd consider in terms of presenting collections in the future?

I think that film is a great format to present fashion - a more controlled and more mood-orientated medium than a catwalk show which at the same time retains the defining sense of fashion as a moving, rather than static, medium. Photoshoots frequently fail to convey this. A film is more native to the way we usually perceive fashion - in motion yet in a setting not as artificial and more at-our-leisure than a show, with the crucial difference of giving designer and director the opportunity to still highlight and emphasize the defining characteristics of the pieces and to convey the collection's underlying themes. Thus, it is highly probable that my future collections will continue to be presented in film!

_________________________________________________

Watch Zaiba Jabbar's film for William Richard Green here. Check out his blog here. Keep posted for more on William Richard Green SS11.

SU75: Leather and Liberty.

Those of you who know me would probably raise an eyebrow in confusion/utter shock were you to consider me dressing in either: a) vibrant colour, and/or b) vibrant prints. I wouldn't quite go as far as to say my style is monochromatic but I'm no flaming dandy either. So, if an opportunity to work in something that bit more visually stimulating in a not so squint-inducing way presents itself, then chances are it's worth a look.

Parisian brand SU75 was something that I, on first glance, wasn't all too hot on due to the styling of its lookbook which had the potential to be quite eye-catching but ultimately gave a contrived impression. Also, paper-boy caps and jeans aren't exactly the height of Parisian chic, or if they are, then let's reconsider its title of fashion capital. Chiefly, though, and at risk of sounding like a real sartorial puritan, it was due to the prints on the lining.

But closer inspection had me reconsidering the benefits of a classic leather jacket with a 60s-esque twist. Established in 2002, the brand's already managed to land itself in over 200 multi-label stores worldwide which really is no mean feat. Add to that, their collections (they offer women's as well) are crafted from lambs' leather and Liberty cotton. Aside from styling that's just a tad off, this really is a range of wearable and high quality classics.

LCF MA Review: Omi Magazine.

Not another bloody magazine. That's generally my unjust and too aggressive response to being informed that yet another publication has been launched in what has to be considered by all accounts a market entirely saturated. Being an avid fan of print publications from the established, Vogue Hommes International, to the somewhat more niche, Fantastic Man, to online mags like the stellar London-based Fashion156, the above reaction is one more racked with anxiety rather than raw hatred.

I love both print and online media but fashion publications have a serious problem. As we all know, the sad truth of publishing anything fashion-related generally depends on hefty investment from advertisers. If this criterion isn't filled, then the mag in question is usually relegated to a v. small space in the market or, worse yet, it finds itself shutting down (and I don't mean in the Rachel Zoe positive sense).

Gay lifestyle magazines are not a world apart either. With so many men reading gay lifestyle magazines taking an avid interested in fashion and so many men's style magazines catering with their often homoerotic editorial to a gay market, the line between the two grows increasingly blurred. Both genres tend to hanker after advertisers' budgets by publishing banal content that's fit between seemingly never-ending pages of eau de toilette, underwear, and sunglasses.

So, to cut short my rambling, a magazine needs to say something to survive. Enter Ravi Kelay, creator of Omi Magazine. Initially conceived as an MA project, Omi is a magazine which seeks to re-define all that connotes 'gay lifestyle magazine'. Featuring portraits of young gay men or those of a non-normative sexuality (and no, they're not oiled, topless, or pictured with a dumbbell in each arm), insightful articles on everything from body image to Johnny Woo, as well as v. impressive editorial that's more fashion-forward than flesh-flaunting, this is exactly what the magazine market needs. Publishers take note.

I caught up with Ravi to ask about it all (and do click through above to see the rest of the content - my shoddy Photoshop skills could only do so much)...

What inspired Omi Magazine?

What inspired OMI magazine was the fact that I went into a newsagents in Soho and noticed that the new edition of Attitude and the Gay Times was out and out of curiosity picked it up after having not read if for years. After having read it I realised how little relevance it had to my life at that point in time and how most of my gay friends were of a similar opinion and how strange it was that there wasn't a magazine out there catering to gay men like myself, who weren't overtly obsessed with the gay scene and still wanted something that would cater to use free of these ideas of a stereotypical representation of homosexuality.

Can you describe the process of creating the magazine?

The process of putting the magazine together was both stressful and incredibly rewarding. There were the contributors that were eager to take part who ultimately flaked out to the unexpected gems that you happened across who contributed some amazing work. Also, I think by collaborating with people the magazine definitely evolved and as a result, I feel, became a much stronger piece of work as a whole. I think with any project of this nature the most important input you can get is other people's take on, and interpretation of, the ethos of what I was trying to achieve.

Will production of Omi continue or was it purely for your MA?

I am very interested in continuing production of my project post my MA and am looking to maybe launch it later this year.

Do you feel fashion perpetuates gay stereotypes or does it work to undo them?

I think it is too simplistic to say that whether fashion perpetuates or counteracts gay stereotypes. There is the whole stereotype about gay men who work in fashion but I think that the days of the queeny fashion gay are long passed and that, by and large, fashion as a whole perpetuates a much more positive representation of gay men in general.

The Life and Times of Mr Classic.

'Etiquette' and 'dress codes' are generally two terms I squirm to hear in the same sentence as 'style'. Fashion at its most fundamental is an accessible form of self expression which enables the wearer to - variously - make a political statement, convey their emotional state be it conflicted or carefree, put on show aspects of their personality that would otherwise remain unseen, etc. The concept of personal style (well, my own at least...) is at odds with sartorial rules and regulations.

^ Jeremy Hackett looking suitably suave.

That said, formalities of dress do have their place in the contemporary world and tradition often heavily informs our respective personal styles. Jeremy Hackett, successful business executive and author of "Mr Classic" - an anecdotal, incisive, critique of men's style, is someone who's not got much blue blood flowing in his veins (as far as I'm aware) but is entirely aware of the importance of preserving the classical nuances of menswear. And did you know he has a blog?

Entitled "Jeremy Hackett - The Mr Classic Blog", this rather basic but still quite brilliant blog informs its reader of everything from the correct manner in which to tie a bow-tie to what summer staples you'll need on holiday. Less interesting are, of course, posts on the seemingly weighty consequences of undoing a shirt button - I mean, really? In typically British fashion Hackett makes this conservative statement:

"My own personal preference is to undo just the top button. I find this more than sufficient in the heat of a British summer [...] Besides, I find that more than one button gives off a faintly 'gigolo-esque' impression"

By those standards I'm the whoriest rent-boy in town wearing a t-shirt.

But, on a more serious note, it's definitely worth your while checking out. Posts like this one on the politics of tie colours make for rather an interesting read.

Basil Racuk: Indulging the iPad.

The iPad. State-of-the-art, multi-faceted technological friend or cumbersome, obscenely expensive foe? Despite interviewing a certain accessories designer who's just purchased hers and isn't the least bit regretful, I'm still somewhat unconvinced. iPad cases, however, I feel I can judge more effectively what with fancying myself somewhat of a half-arsed aesthete.

Basil Racuk, the California-based artisan designing for the leather goods label of the same name, has just released a delectable and rather sizeable pouch which accommodates your iPad, iPhone and iNewspaper (LOL jk...Apple hasn't to my knowledge gone quite that far just yet).

Crafted using both machine- and hand-stitching, the case conforms to Racuk's signature rustic chic, minimalist aesthetic that caught my eye months ago.

^ Available in latigo and oil tan qualities and in dark brown, British khaki, vegetable tan, and black. The case retails for $972.

As the man himself has said of the product: "It's so hedonistic and usage-specific...flying in the face of all this 'fiscal responsibility'. It gives me the chills but at the same time I kind of love it.". Too right. But, then again, this isn't your average totem of über wealth but an item much more subtle and which offers a much greater degree of longevity instead.

Find Basil Racuk online, at Leffot, 10 Christopher St, NYC and at Guild in Venice, California from September.

Stitch 2010: Ksubi and Swear.

So attending trade-shows featuring seriously desirable footwear when in dire need of a new pair of Summer shoes probably wasn't a genius idea in retrospect. Still, while these may not be arriving on the market for another 6+ months, it's never a bad idea to remember to research before purchase.

Ksubi (formerly known as Tsubi) was not a brand I had expected to see whilst roaming through the Old Billingsgate Market. Now famous for its denim, the Australian fashion label and the connotations it's always had for me didn't exactly correlate with what I saw on offer.

^ The perfect pairing of leather and suede.

^ These had something of Prada about them. Probably the metal detailing reminding of those studded shoes.

^ Oddly attracted to these hiking-esque boots although 'outdoorsy' is not one of the adjectives you'd be using to describe me any way accurately. Love the smokey hue of the style on the left.

^ Blue suede. Honestly, what more do you want? Though, not overly keen on this Chelsea style.

Just a couple of paces on from the treasure trove of Ksubi boots and more was the upcoming SS11 collection from a brand that's always been a firm favourite - Swear.

Having chatted with the v. amiable Brand Director, Jorge, I was informed that the brand's undergone somewhat of a makeover with fresh design talent having been drafted in (Cordwainers grad, Matthew Taylor, and womenswear designer, Simona Citarella) for the design team headed up by new Creative Director, Dominic Webster, who's set to ensure success for the brand having previously worked his magic at H by Hudson. There's also been a subtle name change from the former, more ballsy, "S***R", to the much more easily comprehended (on the international platform), Swear.

But the shoes. Oh, the shoes.

^ Easily the sexiest pair of shoes I've happened upon in months. Can't really think of anything that screams (or should that be jollily whistles?) 'dandy' as loud as these.

^ Not to sound like some over-enthused infomercial but - all the statement-making style of a good shoe with the ventilation of a sandal. Need these now stat.

^ Thinking these will prove popular with Pelayo Diaz lookalikes.

Saving starts now.

Stitch 2010 - Am Golhar: Knitwear Born Anew.

Truth be told, knitwear has never really succeeded in getting me hot under the collar. Present in designers' collections in the form of a v-neck jumper here, a chunky scarf there, wool seems often to be relegated to use in a bland group of garments and nothing more. Enter Am Golhar. A Textiles grad from Central Saint Martins, she's rapidly challenging knit-related preconceptions as part of her sartorial overhaul - basically, she's to menswear what Tim Ryan is to women's.

While browsing through all on offer at Stitch, Golhar's innovative take on knitwear quite literally stopped me in my tracks. Enthused as she is talented, Golhar explained to me her vision and probably wondered why I was so vigorously nodding my head - all in agreement, of course.

Having honed her craft at JW Anderson (working on the knitwear for his AW09 show), Golhar sought to challenge men's knitwear conventions with the following want-inducing results.

^ One of the few, but highly covetable, leather pieces in Golhar's AW10 collection.

^ Leather pants with a lattice effect which looked a little baggy in the lookbook but would make a perfect accompaniment to the robust knits if cut a little more slimline (left). Loved the offbeat nature of this insect pattern (right).

^ SS11 lookbooks.

^ The highlights of the SS11 collection. Golhar creates the illusion of lace with these brightly hued lightweight Summer knits.