LOU DALTON
Dalton said that her uncle gave up grammar school to work her grandmother’s farm. So the collection was inspired by workman like. From the opening look—a suit of sorts, with matching wide-wale cord overshirt and oversize, cuffed trousers—the collection had the rode-hard-and-put-away look of real muck-about clothes. (What passed for a three-piece suit, somewhat truer to the name, were matching track pants, a blazer, and a zip-up shirt in houndstooth wool, suggesting a farm lad's idea of sophistication, with a chavvy edge that was a world away from Savile Row. The collection giving an effect was oddly charming. She showing heavy bleach denim and what really shocked that she did denim look in baby-doll pink. She is saying this is not historical re-creation and she don’t want it to be too heritage. Doing collaboration with traditional English Shoemaker Grenson on thick-soled lace –up boots.
ASTRID ANDERSEN
Seeing movie-brutal that presenting someone confident wearing long coat and that one is actually gangster could be inspiration for this collection. She wanted the guys have a feminine side and sensitive but still aggresive and a bit brutal. Feminine was the shine from the hair and luxurious from color gold, turquoises, and icy blue. Like everyone knows that Astrid Andersen will always be jersey and for something different, at this fall you’ll see a logo with half melted and smeared.
TOPMAN DESIGN
An infusion of baby blue and Chinese red was perhaps intended to evoke visions of a better life for these boys. So, maybe, were the aspirational tailored suits. The collection showing the dark duffels paneled in PVC, the huge overcoats, overpowering knitwear, and baggy pleated wool pants paired with chunky footwear. John Cooper Clarke said that the show is the dedication for Bryan McMahon, the stylist which died on New Year’s Eve.
HARDY AMIES
Mehmet Ali as design director saying the collection influenced by military thing. Military outerwear, in particular the patch and bluff pockets that featured on peacoats, Harrington jackets, cropped blazers, an evening overcoat and a reversible bridge coat in a check with nylon facing. The classic fabrics were in a muted palette, and denim made its debut in a slim-fit style in two dark washes. The shoes — nubuck and pebble-grain leather double monks and tasseled loafers — were the product of an ongoing collaboration with Grenson.
MAN
Twenty-fifth birthday of Bobby Abley was influence of this show. The Mickey Mouse Club theme played as an opening. The Disney font was repurposed to spell out BRAINS, DREAM ON, and BYE. Caps, made in collaboration with the milliner Piers Atkinson, sprouted Mickey ears or Maleficent horns. The effect was ghoulish—at least it was as paired with the motifs of barbed wire and the cages (shades of McQueen and Hannibal Lecter) that held the models' mouths open in tooth-baring snarls. Abstract figures inspired by Matisse's jazzy, late-career cutouts were literally collaged onto floor-sweeping overcoats and elongated jackets. Taylor made good use of custom tweeds (a nod to his Irish heritage), but the exaggeration of his cutting doesn't always amount to flattery on the body.
CHRISTOPHER KANE
Proper tailored suits and coats, in jacquards textured like snakeskin, instantly linked the clothes to his Pre-Fall collection, a celebration of the serpent. Also connecting to his womenswear was the use of black as the building block. But where Kane's men's collections will always diverge from his womenswear is their infusion of the quality he calls "super-boyishness". there were adorable cabled angoras in royal blue, orange, and the extraordinary toxic green that was so striking in Pre-Fall. There was a blue vinyl parka, a simple pleather mac, and a sleek black thing Kane called "an opera coat for boys." And, of course, those money-in-the-bank tees and sweats, deliciously squirming with serpentine molecules.
LEE ROACH
Roach’s aim is to modernize the way men wearing clothing. With his signature that jacket and coat closed to one side strap the collection was minimal modern. The tunic, often turtleneck-ed, is his answer to the fussiness of shirts. He uses the lightest padding to distinguish his outerwear. The slight lapel in a contrast fabric; a new sense of drape in his "biker" jacket; the introduction of straps as a decorative, as well as functional, element; and, above all, a shift in the way he works, keeping the raw spirit of the toiles, roughening up the formerly pristine finish. As you know that One Direction Zayn Malik as his visible client.
JONATHAN SAUNDERS
Jonathan Saunders is about going to do something about something at this collection. His presentation clarified was how Saunders is evolving his own cast of characters: dreamy, poetic, urban, ambiguous. His boys, all cheekbone and Weimar-slick hair, had an air of effete decadence, but they were posed on giant dirty speakers pumping The Fall and Throbbing Gristle. Nothing like Mark E. Smith or Genesis P-Orridge to add an edge of dangerous unpredictability. The most striking effect, however, was achieved when Saunders laboriously hand-colored a precious Arts and Craft-style print in felt-tip pen, then wrapped it in bands of bleach. He had no clue at all how it would turn out. "Vandalizing," he called it. So it is already one of Fall 2014's happiest accidents that, cut into a blouson and pants.
RICHARD NICOLL
There were jersey tops labeled DISCREET and BRUTAL, taken from titles on Brian Eno's 1975 album, Discreet Music, partly because Nicoll claimed inspiration from Eno's fascination with the subliminal effect, but equally because the words suggested opposites, and that was what he insisted the collection was built around: discretion versus decadence, chaos versus order. There was chaos in his approach to clashing patterns, textures, and colors, much less restrained than usual. That lack of restraint also applied to a vibrant, jazzy palette—from icy citron to deep, sensual violet—that once again asserted Nicoll's position as London's most accomplished menswear colorist. He said he was ready to celebrate that he had stopped worrying.
J.W. ANDERSON
The new J.W. Anderson show was suited, booted, and polished in an entirely different way from before—even if those suits would be barely recognizable to many of London's other menswear players, and those boots…well, they were moiré vinyl hobby heels. Anderson has never made apologies for pushing the boundaries well past the point of comfort. This collection was a renewed insistence on the cardinal J.W. values. But it has sweetened him, to very good effect. There were still architectural explorations—the wrapped, cropped trousers key among them—but even they seemed, in the context of puff-sleeve sweaters and tabard tunics, appealing and approachable. And think how good they might look on a woman—an odd thought for menswear, but one that has nevertheless been murmured more than once over the course of the London shows.
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There is over 50 mens fashion show from london, new york, paris, milan. So I did my best to review all of them that's the reason why I made this post part 1. I'll make another part as soon as I can so make sure you keep watching my blog.