New York Menswear-an Overview

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from the jcreport...
American Man
New York
Since the New York menswear shows are unceremoniously collapsed in with the women's presentations, there's a lack of clear perspective on the new (and not so new) crop of local talent shaping the hybrid dress up/dress down styles of American menswear. Here are some of the tastemakers.
Retailers such as Barneys and Maxfield, who both carry Libertine, are aware of the label's impressive rise over the last four years, but is everyone else taking notice of Libertine's influential reach across menswear? Not only is the label's signature aesthetic (designed by Johnson Hartig and Cindy Greene) — silk-screened characters on jackets and shirts and frayed edges on everything — a staple on NYC city streets, in rock videos, and on the backs of celebrities, the label has inspired a slew of high street imitators hoping to copy the purpose and vision of their rock star line.
Carol Lim, co-owner of Opening Ceremony boutique in New York says, "guys are interested in dressing up with more structured pieces, especially blazers but even three-piece suits." No surprise there, it's been in our forecast but what may surprise is Lim's revelation that Cloak (which also has a Meatpacking district store) is currently her hottest selling menswear line with Rachel Comey in hot pursuit. Working at an organic pace for several years now, Cloak's designers Alexandre Plokhov and Robert Geller are extremely focused and produce collections partial to strong structured lines, utility detailing, and bold use of seam. Stateside, they have been creating a DSquared like buzz over the last few seasons. Winning a 2002 Ecco Domani Fashion Foundation Award for menswear was undoubtedly a mixed blessing of international attention and an expectation that Cloak will need to translate that buzz into business.
The design strains of Rachel Comey's two-year-old line belie her American roots. A bit sporty, a touch country, usually quirky, and retro sophisticated, Comey focuses her lens squarely on über-cool boys, including David Bowie who jumpstarted her career when he wore one of her shirts on the David Letterman Show. Now with a women's line Comey is dressing up the rock chicks, too. Obedient Sons is also in that rocker group, albeit with the infusion of more tailoring. They've recently partnered on Seize Sur Vingt's new project, Groupe 16sur20, set to become a menswear destination in Nolita, along with Unis down the street where men are turning for utility basics.
It's no surprise that Marc by Marc Jacobs sought Oliver Helden to consult on their technical designs, Helden is a serious technician of the old school variety as evidenced by the detailed work of his menswear. Heavily influenced by architecture and a treasure trove of arcane references, it's impeccable tailoring with a dandy flair that's getting his two-seasons-old collection a lot of attention in New York. One of 2004's Ecco Domani winners, Harmon from Andrew Harmon is a collection of beautiful suits, jackets, slacks, and knits for men and women with a wonderful sense of Americana that offers distinct deviation for a younger audience.
There's Yoko Devereaux, who's frequently mentioned on these pages, for tightly marketed collections, increasingly sharp tailoring, and approachable casual wear that have men embracing the label worldwide. Duckie Brown and Ron-n-Ron, also profiled here, are key members of the line up — the former for applying striking and unexpected colors to suits and jackets, the latter for working in that sweet spot of masculine clothes that resonate with straights and gays alike. In fact, this duality is a mark of many of the brands defining current American menswear. They're zoning in on the dandy and casual needs of today's man.
-Michael Cohen
 
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Photos:
Cloak s/s '05
Oliver Helden f/w '04
Rachel Comey f/w '04
Obedient Sons f/w '04
Harmon s/s '05
 

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Interesting... One of the problems is American designers are struggling to create the similar buzz that Tom Ford gave to Gucci...

These upcoming designers are interesting... but I put my money in the Belgium designers right now... with Veronique, Own, and many many others which I think has more buzz than what's featured here....

But some interesting pieces...
 
I'm quite enamored of Own! Unfortunately, I haven't been able to buy the pieces that I like here because what arrives at Atelier are either not what I wanted or don't end up looking/fitting as desirably as they looked on the runway. I hear they're designing the new Cacharel mens line!

Anyhow, here's what I think of whhat's on the American menswear map:

Cloak has been one of the biggest, most buzz-worthy labels in years, and they deserve it, because when you see their pieces, there is a full-fledged aesthetic that is very consistent, and frankly, quite different from what's out there. As a result, I probably have way too many Cloak pieces in my wardrobe (sometimes you end up looking like you slipped out of the Cloak runway, which in terms of personal style isn't necessarily desirable, but hey, there are worse fates! :wink:) Thankfully, Cloak has some high production standards ( also some issues they need to address, but minor) so the clothing can feel as luxurious as the price tags. I have one shirt style from them that has 17 individual pieces in the pattern! It must drive their production companies nuts! :lol:

When Harmon started causing some buzz over a year ago, I tried contacting them directly to get more info and find out where to see the clothing but received no response whatsoever (subsequent collections on the runwqay have left me less than interested as well, but I'm hoping to like the next collections). right now it's looking very vintage YSL on the runway, but I have yet to see any actual store carry them in NYC to be able to try on the clothing and see whether or not they deserve attention.

I have tried to like Rachel Comey's stuff but have yet to find a piece I like enough to buy in the past 4 seasons that I've been perusing them - she's almost like a Vivienne Westwood~cum~Heatherette vibe to her style, but nothing strikes me as high enough quality both design-wise and production-wise to merit actual purchase. Oh, there are some really high-concept ideas, but it still feels very experimental and doesn't fit perfectly yet. Everything I put on of hers, I inevitably take off disappointedly.

Libertine are so far a one trick pony for me. The pieces themselves rely too heavily on the over-screened imagery, and when a company like Urban Outfitters can do exactly the same thing they do for one iota of the price, it becomes hard for me to justify buying their stuff. As far as I'm concerned, it's like Project: Alabama: great idea, but show me some real design, not a craft show. I'll buy from a brand if I think their brand has design legs, because I like supporting future collections that will have newer ideas. I wasn't interested in any of the pieces at Barneys nor Jeffrey - the prints were nice, but the patterns of the clothing themselves were nothing I wanted to look at or even try on. I even found some Libertine knock-off at a small vintage store in Nolita, and designers, unable to really pinpoint an exact Libertine signature because of the very general idea of silk-screening over vintage (or vintage-looking) pieces, couldn't tell it wasn't.

Ducky Brown - they seem like a mix of Libertine decoration & Gene Meyer color to me, with a touch of Paul Smith tailoring thrown in for quirks - higher quality design, whimsical details. I've liked a couple of pieces at barneys, but didn't feel excited by the entire collection. Yet.

I have yet to see Obedient Sons & Olivier Helden's collections in the store level, but I hope it's only a matter of time. That said, I wasn't too sure I like Olivier Helden's stuff from the magazines, but we'll see (sometimes the styling just gets in the way).
 
I MUST HAVE THAT JACKET BY CLOAK!!!

they sell ducky brown in browns in london i havnt been exited enough as to buy anything yet, pretty similar to paul smith
 
Galliano guy said:
I MUST HAVE THAT JACKET BY CLOAK!!!

they sell ducky brown in browns in london i havnt been exited enough as to buy anything yet, pretty similar to paul smith
Would you be able to wear that often in Spring in London? Here in NYC, I think we'd likely need to wait til Fall to get any kind of extended wear out of it, esp. since it's leather.
 
Galliano guy said:
yeah you could wear it all the time its bloomin freezing here lol
Hah, guess my staying no longer than 5 days at a time in London isn't enough to warrant knowing. Go for it! They had a good spot in Selfridges last time I looked - downstairs, right across from Nicole Farhi (And quite an ample amount of shelf space for such a new designer - go Cloak!).
 
I wish Tess Giberson would start doing some men's stuff. I think she'd do some beautiful things. Already she's got the elements to do so: great structures,precise cutting,good quality in construction....and she does the handicraft too. Which would help give men more choice. Something we desperately need right now.

As for the designer's on topic,I have yet really to see anything from these designers(except Cloak) that have leapt at me. Thing is,I find more times that none,NY designers just do not know how to cut like European designers. Perhaps,it's a skill still premature to America,I don't know. I just find the majority of the shapes rather generic looking. They experiment so much on the surface,but rarely do I see good cuts.
 
Scott said:
I wish Tess Giberson would start doing some men's stuff. I think she'd do some beautiful things. Already she's got the elements to do so: great structures,precise cutting,good quality in construction....and she does the handicraft too. Which would help give men more choice. Something we desperately need right now.

As for the designer's on topic,I have yet really to see anything from these designers(except Cloak) that have leapt at me. Thing is,I find more times that none,NY designers just do not know how to cut like European designers. Perhaps,it's a skill still premature to America,I don't know. I just find the majority of the shapes rather generic looking. They experiment so much on the surface,but rarely do I see good cuts.
There might be more truth to your statement that you imagine: Alexandre Plokhov of Cloak was schooled in Europe, being Russian. That's one of the reasons I didn't end up doing my own line - if I can't make it myself from scratch, I didn't feel justified in starting a line just based on my ideas on paper, and having someone else make the patterns...
 
That's true,actually. I think that's why so many here are so inadequate when it comes to every bit of making clothes. Personally,if I were to do something,I simply must take courses in every aspect of the game. The craft game. Tailoring,is so key in making a good,quality structure.

That's why I like Tess Giberson so much is because,at Rhode Island,she learnt to be a tailor....and you can see in her collections,its a skill she utilizes every season. But not just tailoring in general,it seems she takes a cue from Savile Row's precision.

I'm with ionn,though,when he says,he'll stick with Belgian designers. They do everything down to perfection. All skills are necessary to them.
 
Is there a schedule for NY Mens fw 0506 week already?
 
It's nice to see some thing creative out of new york.

I love Cloak & Rachel Comey:heart:
 
Scott said:
I wish Tess Giberson would start doing some men's stuff. I think she'd do some beautiful things. Already she's got the elements to do so: great structures,precise cutting,good quality in construction....and she does the handicraft too. Which would help give men more choice. Something we desperately need right now.

As for the designer's on topic,I have yet really to see anything from these designers(except Cloak) that have leapt at me. Thing is,I find more times that none,NY designers just do not know how to cut like European designers. Perhaps,it's a skill still premature to America,I don't know. I just find the majority of the shapes rather generic looking. They experiment so much on the surface,but rarely do I see good cuts.

Agreed :flower:
 
I know I go on and on about it,but it's a subtle skill that can really the change the shape of a garment. Its something that keeps its fresh and contemporary even if one is working with traditions and such. I don't why,as I'm sure it's something school's teach,but the skill level just doesn't seem on par with what Europe or Japan is doing.
 
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Scott said:
I know I go on and on about it,but it's a subtle skill that can really the change the shape of a garment. Its something that keeps its fresh and contemporary even if one is working with traditions and such. I don't why,as I'm sure it's something school's teach,but the skill level just doesn't seem on par with what Europe or Japan is doing.

Could it be that this country is too young (especially in developing a style conscious class of people) and does not have a tailoring tradition?
 
faust said:
Could it be that this country is too young (especially in developing a style conscious class of people) and does not have a tailoring tradition?

I would say that is part of it. I would also point out that there is a severe shortage of people in the trades--any trades--in the States. We're (the U.S.) are programmed to finish high school, go to college, and come out as a white-collar worker. It is the surest road to some sort of financial stability. The degree of risk involved in learning tailoring--with an eye towards starting a label, or reaching a prominent position in a design house--is astronomical, compared to the amount of risk involved in studying to become an actuary.

I think I would point to the combination of these two factors--lack of a tradition, and how we measure achievement--as main reasons for the perception about American tailoring. Theorizing..
 
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kLm said:
I would say that is part of it. I would also point out that there is a severe shortage of people in the trades--any trades--in the States. We're (the U.S.) are programmed to finish high school, go to college, and come out as a white-collar worker. It is the surest road to some sort of financial stability. The degree of risk involved in learning tailoring--with an eye towards starting a label, or reaching a prominent position in a design house--is astronomical, compared to the amount of risk involved in studying to become an actuary.

I think I would point to the combination of these two factors--lack of a tradition, and how we measure achievement--as main reasons for the perception about American tailoring. Theorizing..

I do not think there is a lack of tradition in tailoring or the art of constructing fine clothing. I believe it rests with what people feel are important, and in America its money as stated above. Even look at the fall of couture. Peoples values are in a different direction now.
 
Speaking as a junior year design student of Parsons I have a couple of things to say.

We do learn draping and construction at school as we make garments all the time and even have a junior and the big senior show/senior thesis (I know this is even more so the case with FIT).

However, understanding of tailoring to the extent of being on par with creating something like Charles James Worth or Cristobol Balenciaga is not what they teach us. There's a menswear tailoring class if you hope to understand construction to a highier degree.

I think what happens is that fashion in America is more about what's going to sell. I know speaking from my Parsons experience we're taught to consider who's your customer, your market, pricepoint, etc.. I know some students feel doing all that kills the creativity of their designs, but for me it only helps.

To also touch on the cut and construction thing again, we have to do flats with the correct seaming and construction lines for any garment illustrated for our assignments.

I don't know who's to fault in this. American design schools are filled with students who are looking to do creative things. So maybe it's all about the commercial viability of the designs. It may just be about no one wants to back these individuals.
 

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