Monday, January 24, 2011


The end of the show and the backdrop of it...Amazing

It's decided: my main squeeze for Fall 2011 has got to be Paul Smith. Lately I've been crazy about two things when it comes to style, 1.) the 50s and 2.) what male models wear when they're not made up to fit, say, the John Galliano show. Paul Smith was not of the 50s, but for this collection, I'd consider changing to the 60s-70s for some fresher take on dressing. These times were getting groovier than its slightly sober predecessor years and it's quite good to see some action (or at least, an implication of it) for this season.

Paul Smith takes us to the 60s-70s when the Beatles were starting to loosen up a bit. The collection in a nutshell, boasts terrific, slim trousers, great color combinations and loose jackets and chic "just-throw-it-on" suits that instantly add the edge to any look.

Personally, Paul Smith gets a perfect 10  because this is the mood I've aspired to. That model-off duty ease mixed with a careful consideration for sartorial juxtapositions makes it sound complicated, but when you're naturally inclined to "wanting to look good", this is a result. Though looks are zeroed in on a blase philosophy, they still hold up to looking dressed... like the case of a hybrid between a cardigan & dinner jacket in a fuzzy black, worn with a buttoned-up off-white shirt, gray trousers and a camel belt plus dashing shoes could be opera house worthy. Surely it's not prissy as the rest of Paris fashion week and that's exactly the beauty of it. When things have been aiming for a calm, olden feel, Paul Smith brings us some cool youth to freshen up.

Cardigans come knitted and chunky in  mustard and pale brick red, the superb pairing of sky blue chambray and camel anything makes a pleasing comeback from Spring 2010. To keep things a little more sophisticated, neutrals such as gray, oatmeal, onyx and steel blue have grounded looks to an impressive cool thanks to trousers, coats and plain buttoned shirts. The shock of potent yellow on a toggle coat and the energy of a red-orange on an oversized baseball jacket are played well, making sure that colors like these are minimal so as not to excite us to a sugar rush. 

There were moments of a real, gritty Mick Jagger-esque reference like how a smooth teal jacket peeks from a grainy gray overcoat, or how silky, printed shirts (probably leopard) are well-balanced with dark coats and thin camel leather belts. These ones had given so much more "scratch" to a young vibrance that the collection wore.

The notes say that it's a mash-up of California's laid-back vibe & some of Paul Smith's true British punk, also the collection is a product of a vintage luxurious ideal. Then if you put the face of the moon on the background (because Blanks' says Smith was inspired by the beauty of it) with models looking like rockstars fresh from last night's concert, it reads something worth hyperventilating over. And maybe it is. When there's this much to take in, this much of reference to cross-check and this much you suddenly feel like your wardrobe's missing, the designer's doing overboard designing or impressively well. In Paul Smith's case it's the latter. The last time I had fallen this crazy over a collection was of Robert Geller's Spring 2011 collection and now that I think of it, it may be just a partiality of mine towards taking it easy and at the same time rocking looks like you are, well either a model off-duty or a rockstar, even in dreams. But I'd want to believe that this strikes a universal cord...I mean, come on, who wouldn't want to be this good-looking?



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