[49]

[51]

I AM MAN NOW SOMEONE REMIND ME HOW MANLY I AM

Edited by Autumn Ashley

where men are headed in the coming century. The days of the buff machismo are fading, leaving

men confused. Some have embraced this newer concept of a well-groomed, well-dressed,

intellectual man, while others, afraid to let go of the brute “I AM MAN!” complex, have resisted for

fear that they may become some feminine butterfly, devoid of the testosterone of their forefathers.

No matter where you find yourself in this emerging social conundrum, we can all agree that times

are changing, and the Spring-Summer 2011 shows were no exception. On a superficial level, the

fashion world was merely doing what it does best: creating new trends to replace the current ones.

However, on the grander scale of things, one might think of this summer’s mens fashion shows as

a preview of the decade to come. There were numerous colors and trends, but the overarching

concept was an exploration of shapes: belting of coats and shirts, very clean modern lines, and

fitted jackets paired with looser pants. After the chaos cleared, it was apparent that designers

were exploring the future of men.

The most noticeable trend of the Spring-Summer 2011 menswear shows was an exploration

of shapes. Many designers changed up the slimmer cuts from the last decade, pairing tailored

jackets with looser cut pants. The combination of a more fitted jacket on top with a wider legged

pant on bottom seemed like a good compromise. The tailored jackets trimmed the body but the

wide leg pants had a comfortable ease to them. Prada and Commes de Garcons even toyed with

bigger shorts, which might be a little more enticing considering three of Austin’s four seasons are

hot, hotter, and hottest.

There has been an undercover buzz within the global community about

If tailored jackets aren’t

form fitting enough for you, a slew

of designers were also belting

everything they could get their hands

on. Everyone from McQueen to

Burberry to Gucci were wrapping

trenches, jackets, cardigans, and

shirts with belts to create a form-

flattering look. Admittedly, some

belts were so tight and so high they

gave some models hourglass shapes

that might pass as women’s wear.

But don’t you Texans fret. I admit,

I’m not “hardcore” enough to don

an Alexander McQueen cummerbund

that high up my torso, but there

were several designers who belted in

ways most guys might consider.

Designers like Versace, Louis Vuitton,

and Kris Van Assche kept the belts

looser and lower to keep a more

masculine shape. If done correctly, it

can make men look leaner and taller

allowing us to spend a little less time

at the gym and a little more time

enjoying summer with the lady-folk.

If belting is still too crazy

for you, never fear. For every belted

jacket and loose pant sent out on

the runway, there were cleaner, more

tailored looks to match. Prada,

Burberry, and Raf Simons made sure

to keep the tailored man happy.

These clean lines and crisp fabrics

created looks that seemed to define

what modern menswear has become

and will continue to be, which brings

us to our next point: color and lack

thereof.

Fitted, clean classics are

nothing new, so names like Calvin

Klein, Jil Sander, and Prada brought

“trendy” by way of solid, bright

colors. “The” color, if there even was

one, was green. Shades varied by

designer, from D&G’s picnic green to

the mintier shades of Viktor & Rolf,

Hermes, and Louis Vuitton.

Not ready to commit to a

Crayola wardrobe? That’s fine too,

because black and white dominated

the runways like none of the other

colors could. For every look with

color in it, there were five more of

black and white, and this color

scheme spread across a wide range

of looks. Avant-garde names like

Dior Homme, Rick Owens, and Kris

Van Assche used the color on designs

even I wouldn’t mind trying on for

size. More conventional names like

Dolce & Gabanna, Versace, and Thom

Browne kept it simple in all the

right ways.

But wait. Jackets? Black??

Pants??? How will we Austinites

survive in this summer heat with

layers and dark colors? As if by

some fortunate act of fate, the

fashion industry spared us for the

summer of 2011. How? Lighter

fabrics and sleeveless everything,

that’s how. You heard it right guys.

You better start pumping that iron

now. Dior, Versace, Givenchy, Yves

Saint Laurent, and Burberry featured

sleeveless jackets, shirts, cardigans;

you name it. These sleeveless

alternatives are a surefire way out of

a heatstroke. And the jackets, well

many designers used lighter fabrics

like linen and even more fashion

houses tossed in some sheer fabric

shirts under a jacket every so often.

There was much to be seen

and even more to think about during

the Spring-Summer 2011 Menswear

shows at the end of last June.

Changing shapes were indicative of a

changing man. Bright colors and the

lack there of, rounded out a full

spectrum of possibilities. Will I

begin tying belts under my chest to

achieve an hourglass shape? No, but

I might try one on closer to the

waist. Sheer shirts? We’ll have to

talk about that one. However, change

may be inevitable, the fashion world

is exploring new ideas and opening

new doors for men whether we want

to walk through them or not.

The important thing to

keep in mind is that even though we

might not be ready to wear a tight

sheer shirt, we can at least consider

a tailored jacket with a looser pant,

or if a man be so brave, putting a

looser, darker sheer shirt underneath

that jacket. The world is moving

into a new decade, and I for one

don’t want to stay stuck in the

plaid-shirts-and-work-boots look that

seems to have such a strong hold on

Austin. As I said before, we men

don’t have to go to the avant-garde

extreme, but we can at least begin

to consider the more masculine

interpretations. Will these looks even

reach Austin? That is up to local

buyers and the male consumers that

influence their decisions. ~ IAN MILAN

Editor-In-Chief All photos Style.com

PLEASURE

The Satorialist

The Satorialist

Now here‟s a controversy sure to pull on the seams of the

fashion realm: men‟s skirts. This spring/summer line from H&M, male

models were sporting various styles, and among them were dark-

colored, pleated, calf-length skirts. The recent line is not the first

design of skirts for men.

The trend has been lurking in the underground world of

fashion for years, even centuries, now slowly emerging with full

support from a growing group of quite loyal, almost cult, followers.

Even historically, the skirt was worn long before pants or shorts

were invented. Many designers, along with Gautlier, have been

experimenting with this concept for years now, through very subtle

male skirts paired with everything from suit jackets to casual shirts.

Marc Jacobs himself is a fan, if not the ultimate current trend-setter

of skirts becoming a staple in male wardrobes. Now, thanks to H&M,

skirts are now available for every man who wants one. This fashion

trend deserves to be put to the test and given a real chance to

catch on worldwide, both on and off the runway. However, even if

the skirts prove to be more practical and comfortable than pants,

they may not become a revolutionary trend due to social stigmas

and decided masculinity.

Today women have the social and fashion right to wear

what was once strictly defined as „menswear‟ (shorts, pants and you

name it) while men only have the options of the two

aforementioned pieces. Only through recent years have women been

able to push through their own stigmas of wearing ties, slacks, and

more “masculine” clothing. Should men be denied the same

opportunity? These skirts, are not the least bit ostentatious on the

contrary, they are rather sophisticated and could be seen as a

comfortable, yet stylish alternative to slacks. For the majority of

men, their masculinity is at stake. For others, this is a perfect

opportunity to expand upon a concept that until now was only

accepted in previous centuries. As with any avant-garde act or

change, it will not tread lightly on the established societal rules.

This fashion trend is ready to turn some heads and change some

perceptions.

Runways aside, skirts for men have been taking the nation

by force with Utilikilts* since 2000. The company began in Seattle,

WA and has adopted a unique method of advertisement and

production. News of the kilts is passed along via word of mouth and

the company forgoes mass production, only creating the requested

Givenchy-Style.com

amount of utilikilts per customer. Starting at $100 for one kilt, their popularity has sparked a sort

of cult following of men who are breaking the constraints and sporting these skirts both on and off

the job. Utilikilts* seem to have provided men of all sorts and sizes with these kilts, and though

there‟s not much versatility within this company in particular, the rise of the trend will more likely

trigger designs of various styles, ranging from skirts worn for construction, hiking, and wedding

attire. The Utilikits* website even holds contests to showcase the best utilikilt picture.

If H&M sparks this trend, Utilikilts* may have to expand their collection. The modern skirt

is masculine, practical, and debatably fashionable. We have yet to see the age of the miniskirt, but

until then, one thing is certain: Utilikilts* fans are making sure skirts are here to stay.

~ Arianna Gazis

VIVIENNE WESTWOOD

BORN Vivienne Swire was born in 1941 and moved with her family to London at the age of 17.

EDUCATION PUNK, corsets and platform heels

LEGACY

Vivenne Studied fashion and silversmithing at the Harrow School of Art. She left to get a head start on earning an income and became a primary school teacher.

MUSE

Last year’s muse was Pamela Anderson, this year Westwood loves Michelle Obama.

Sparkiness

Westwood designed the wedding dress for the 2008 Sex and the City movie. Today her designs promote causes she supports, such as, anti-consumerism and environmental protection against global warming. In 2005 she designed shirts that read, “I Am Not a Terrorist. Please Don’t Arrest Me,” intended to take a stand against proposed anti-terror legislation at the time. Westwood has the status of “Dame”.

Memorable

Collections

Her first collection in 1981, Pirate, included shirts with billowing sleeves, brocade britches and models in pirate hats) Savage, Buffalo and Punkature.

PEOPLE,PLACES,THINGS

[58] Esther’s Follies

[64] Dog Friendliness

[54] Barton Springs

101 REASONS WHY WE LOVE AUSTIN

[57] 2ND Street Shopping

[55] The Copa

[52] Street Musicians

[65] Peter Pan Golf

[62] Mt. Bennel

[63] Lucy in Disguise

[60] Swing Dancing

[53] Service Menswear

[59] Random

Art Exhibits

[56] Texas Longhorns

[66] Waterloo Records

[61] Estilo

[77] Dell

[67] Eeyore’s Birthday Party

[69] Alamo Drafthouse

[79] Austin Museum of Art

[74] Keeping Austin Weird

[80] Green Belt

[78] Bats Under Congress

[81] Hamilton Pool

[75]Leslie Cochran Chr istmas outf i t : $15 Mismatched socks: $ .35 Libby Lu Headset : $15 Keeping Aust in weird : Pr ice less Photo @ freerepublic.com

[68] Zilker Park

[72] Dave on the Drag [70] Laguna Gloria

[71] Zilker Botanical Gardens

[73] Austin City Powerplant

[76] Ballet Austin

[101] Book People Rumor has it this is also one of celebrity chef Anthony Bourdain’s favorite places in Austin!

[95] Cathedral of Junk

[89] 6th Street

[88] Canoeing at Zilker

[22] [85] The Domain

[99]Stubbs

[91] South Congress

[82] Pin-Ups No city loves pin-up mode ls as much as Aust in.

[92] Long Center for the Performing Arts

[100] The

Hideout

[86] “The Drag”

[93] Scooters

[90] Bows & Arrows

[96] Vulcan Video

[83] Stag

[94] Supporting Local Businesses

[97] Lake Travis

[17] Toy Joy

[84] Uncommon Objects

[87] Ultimate Frisbee

[98] Vintage Clothing

FANTASY

can imagine Alexander McQueen as he

leans toward his last interviewer in a

conspiratorial manner and laughs in his

approachable, unabashedly Cockney panache,

“I’m talking fantasy, but I don’t think it’s far

from reality. Five years.” And it’s true –

known for grandiose creations with a macabre

flair, Alexander McQueen created a vision of the

future, of the taboos that his clothing

cheerfully broke. His shows make unexpected

gifts to fashion of exquisite prints,

groundbreaking shapes, and futuristic lines.

There has been rain, fire, holograms, chamber

music groups, scrap metal, and machines that

spray-paint white dresses. An Alexander

McQueen collection is nothing if not pure,

sartorial fantasy. Then, on February 11, 2010,

reality beat the crap out of fantasy and all hell

broke loose.

In the aftermath of the designer’s

untimely death, the fashion world struggled to

steady itself on its feet. Alexander McQueen was

never a Martin Margiela, no esoteric designer

shrouded in mystery.

WE Famous for a personality as massive as his

creations, McQueen shaped a brand that was as

much a function of character as design. It

seemed doubtful that such a legacy could be

continued by another designer without missing

the mark or producing a cheap imitation.

McQueen required a brand that could not only

continue to produce extravagant, fantastical

pieces, but to produce them with the meticulous

English tailoring technique for which its founder

was celebrated.

Known as “Lee” to the people around

him, McQueen began his career in design on

Savile Row in London, somewhat akin to the

Garment Center in New York and affectionately

dubbed “the golden mile of tailoring.” As an

apprentice for Gieves & Hawkes, McQueen

worked on garments provided for Queen

Elizabeth II, the Duke of Edinburgh, and the

Prince of Wales – an experience which no doubt

continued to manifest itself in the expert

construction of McQueen’s clothing. At the same

time, a successor of Alexander McQueen had to

be ready to maintain the haute couture aesthetic

that truly distinguished the brand.

Following John Galliano, McQueen

was appointed Chief Designer at Givenchy,

refreshing couture with gothic extravagance

to create a dark luxuriousness that carried

over distinctly into his eponymous line.

Gareth Pugh, famous for his Goth and

futuristic sensibilities, was one of the first

names to be thrown about as a potential

successor. While his dark aesthetic is not too

far from McQueen’s own, it is always a risky

business to head a brand with an entirely

new designer, and the possibility left the

fashion world anxious.

Then, with a surprisingly little

amount of fanfare, Gucci Group – which

holds 51% of the company – announced

that Sarah Burton would be stepping into

the shoes of Creative Director at Alexander

McQueen. It was as if the choice were too

obvious to be considered sooner: Burton had

worked for the brand for fourteen years and

had served as head of the women’s wear

division. A graduate from Central St. Martin’s,

which has produced some of the most

fashion-forward designers of this generation

including Phoebe Philo, Christopher Kane,

and Alexander McQueen himself, Burton also

completed McQueen’s highly acclaimed last

collection for fall 2010, proving herself more

than capable of taking up the late designer’s

reins.

This past June, for resort 2011, Sarah Burton

presented her first collection under the

McQueen name to a world uncertain of the

brand’s future. It suffices to say that Burton

dispelled whatever reservations detractors

may have had about a new designer at the

McQueen helm. Lee’s aesthetic is still there

– the futuristic prints, defined shoulders,

daring shapes, the regal air – but Burton

has also managed to place her own stamp

on the brand. There is a new ladylike

element to her nevertheless edgy aesthetic,

with creamy nude tones, chiffon, and lace

tempered by McQueen’ signature volume and

unusual draping.

The shoulders are softer, the hemlines a little higher, but

longtime fans of Alexander McQueen will not find the

embellishments and exquisite brocade missing. In an interview

with CNN three years ago, McQueen reflected on his

continually developing vision for his brand: “Time changes,

and we live in different circumstances. So at McQueen, we try

to reflect the changes in circumstances in which we live.”

Sarah Burton is continuing the line in just the way McQueen

would have wanted – she is changing it.

Resort 2011 represents anything but a clean break

from the past, yet Burton cleverly balances the McQueen

legacy with an infusion her own, feminine aesthetic. The

result is a fresh perspective of the elegance and edge we

have come to expect from Alexander McQueen. However,

resort lines are noticeably more commercial and toned-down

than their spring and fall counterparts. So the real test for

Sarah Burton will be her spring 2011 collection to be shown

in September. We can only guess what new fantasy the house

of Alexander McQueen will paint for us next.

~Lisa Siva

Credits

Editor in Chief Ian Milan

Managing Executive Editor Autumn Ashley

Head Photographer Chris Nguyen

Staff Arianna Gazis

Andie Salazar

Lisa Siva

Danilo Aquino

Special Thanks

Wilhelmina Brown, Spectacle Sunglasses, Tikkr, Girl Next Door, Gallery D, Homeslice Pizza,

Blake Asaad, Ricky Hodge from Kemistry Salon, Jeffrey English from Sephora, Gimme

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