Fall of Fashion

Fashion took a swift and in sync fall out of my mind with the retails sales dive. The drib in consumer purchase brought drab collections as the focus was to sell, SELL, SELL! The industry's response was sending out long-lasting, "classic", mostly minimal luxury pieces and more tired, repeated trends; this — in combination with the sex-sells plot issues from Dazed and Confused, V Magazine, S Magazine and everyone else — made me feel like such a tool as a fashion follower. What exactly is it that I'm a fan of here? I'm feeling like a victim being as bored as I am. Lot of mediocrity.

The flagrant days of artistic expression on the catwalks have contracted as high fashion's concern is keeping the money coming in. You've heard it over and over now: days of excess are behind us (again), and minimal's making a sensical, synchronized return and I'm, like, ...yawn.

I'm even more bored by everyone's trying to "too obviously" and "too literally" bring 'em back. For men in 2010: more single-color-toned suits, more shear, more transparent techno-fabrics, more body conscious lines, sleeveless blazers and short-shorts? More? (I know I sound like I'm hating on everything but you know, there's exceptions.) Several houses and designers like Mihara Yasuhiro have taken an approach where they make the most interesting of basic pieces with signature twists as a response to economic influence but, frankly, I hate to be reminded. (Those double-rolled... or shorts over shorts look (?) though...... !) Best attempt seemed to be "doing you" for some truly talented designers, duh. And Calvin Klein's is of course sure feeling comfortable on playing a mix of the trends and own traditionalism.

Maybe I've been following fashion long enough to predict and spot trends, have my personal aesthetic fall out of line with designers as I've matured and just become a bit jaded by the biz. The appreciable thing about the ill economy are the refresh clicks. As pressure's on business: labels/designers file for bankruptcy, heads in personnel resign, magazines go under, ad tactics change — all making room for fresh ideas, new and experimental combinations, new takes and an overall different approach to all sides of the industry.

Maybe it'll all happen for it's own good. Or maybe all this is me projecting my own personal situation in ways.. but Truth is things are always changing; we're dealing with a shock and everyone's had some lessons learned, so everyone's wants to steady the helm. Quite honestly, we've all got a part in it. Think of where you're spending, who you're supporting and improve fashion's taste factor often right where it begins: the street.

VidFlip: Vogue Hommes No. 2

mondblog VidFlip: Vogue Hommes Japan No. 2 from Raymond Navarro on Vimeo.

Vogue Hommes Japan Issue No. I was no disappointment. Finishing the first flip through the premiere issue, you pretty much know it was a must-have and that you’d probably got a new favorite mag in your hands.. that you likely can’t read. The cover was so obviously foreign, so definitely refreshing and Hedi Slimane's photography, Nicola Formichetti's styling and the altogether moment in men's fashion seemed in sync with Ash in “Samurai Fiction.”

With last year's American presidential election gaining international attention and the last superpower falling into deeper debt/shit, one could’ve spotted the American trend just as Luis Venegas' decided on an all-American Electric Youth! Issue, Vogue Hommes Japan's staff drafted the The Americas issue's editorial calendar and Raf Simons sent down red, white and blue color-blocked suit.

To say the least, the issue is better than good. Department pages make references to designers like Romain Kremer, Bernhard Willhelm and Mihara Yasuhiro, and tell on Gang Gang Dance, Ricardi Tisci and American designers Tim Hamilton, Robert Geller and Patrik Ervell. Shun Watanabe styles the proclaimed "It Boys" Simon Nessman, Matvey Lykov, Jethro Cave along with, of course, one or two very exposed others and the Venetia Scott’s photography and Alister Mackie styling combination steals best editorial with simple, steel portraiture of some numb, resilient Euro-looking youth clad in — what else but — stars and stripes.

The "Go West, Young Man" ed' shot by Slimane, styled by Formichetti had its moments with Hood By Air masking and the captures of a brazen bald eagle and limp American flag waving somewhere up above. The main detraction was the modeling; it was — truthfully — awkward, amateur and came with no sense of personality. Some were, in fact, kind-of candid shots but their with all the options they had, why they had to put so many... dull, dead shots must be beyond me. It seemed the number of photos on the 28-page spread also diluted the series and elements just didn't seem to align well enough to leave too grande of an impression.

The "Generation Soul The Season 09" casting, though, was, man, so tight. Marcus Lloyd and Saleiu Jalloh from red alongside DNA's Marcel Castenmiller made a harmony in Josh Olins' studio shoot. Other models in the shoot, Shih Han, Ali Mehrabian and VNY's Robert, struck some effortless looks and poses in N.Hoolywood, Raf Simons, KTZ, Commes des Garçons Plus Homme, Damir Doma, Maison Martin Margiela, Number (N)ine and damn.. Patrik Ervell, Marc by Marc, John Lawrence Sullivan, Thom Browne.. I mean, fuck. What’s good? What’s there.

The minimal print design associated with many men's magazines isn't too exciting but still not at all offensive. Set designs by Gary Card, though, are some of the more striking visual appeals The Americas issue had to offer. The Tim Burton-inspired looking hands cradling designer scents is somewhere at the top of my list for shortest, most memorable editorials featuring zero models.

One strange, can’t help but notice promotion made its way as an editorial in Vogue Hommes Japan. My guess is Dior Homme paid for the six-page advertisement/editorial styled by Shun Watanabe and shot by Karim Sadli. The clothes looked better than ever before, and I was surprised to see something mildly hot help in heat up the issue. With sinking sales and dips in advertising, we'll likely be seeing the likes of these promotional editorials in other fashion publications. I still can’t decide if I mind. Guess not too much.

Well, check out the ‘flip and enjoy. And if someone finds the editorial feature on Raf Simons' Art List, please forward it my way. I'm missing out on so much not with Vogue Hommes Japan not knowing Japanese.

VIDFLIPS COMING SOON

VidFlip: RUSSH #25

mondblog VidFlip: RUSSH #25 from Raymond Navarro on Vimeo.

Heard of Russh? — the Australian monthly publication for young women, cousin to Teen Vogue and Nylon. If it were the cousin of Nylon, references to houses such as Givenchy, Balmain and Rick Owens would definitely make Paris Vogue the influential sexy, single aunt to the down under publication. A good counterpart comparison would be its the "edgier" side of a magazine like the Italian Flair publication.

The first issue of Russh I’d ever obtained was in the summer of 2007 in Los Angeles not far from the sidewalk of stars at a newsstand where the pavement was hot, the breeze was cool and trannies on the street hit on you with no shame. What first grabbed me about Russh were the several candid, backstage photos of the girls (then a lot of Lily, Sasha, Tanya, Agyness and so on) throughout the entire magazine. The girls were fresh, the tips were spot on and trendy pulled of well. This in sum with the several Australian brands unbeknownst to an American sure spiced it up.

Shopping tips on how to “pinch the look” and numerous shot-outs to its advertisers in this issue filled the issue. Brands like Willow and Kate Sylvester find themselves in several of the editorial shots while also in the thick of the ad pages. The relationship between the content and advertising was a little too obvious in this issue but every magazine has got their loyalties. In a tough time for ad sales, publications have got to give reason to advertisers to hold on tight and ride out the economic ups and downs.

Design in the magazine is simplistic, minimalistic. Just about all text is in black ink, headlines in a bold serif'd type giving it a "tabloid"-like look said friend Alexandra felt. No daring or bold designs here — no bad design either.

The editorials —highly feminine, pretty girly, you could say — are sexy and quite distinct from editorials in Nylon, Teen Vogue or Seventeen. Strange and sophisticated references in issue #25, like those of Veruschka and Syd Barrett, also help give the publication an identity perceptibly different from other teen ‘zines.

The cost of clothing pieces in the “pinch the look” department pages do make one wonder, though. Who at a young age is really affording that $110 Tigerlily zip-up-the-middle one-piece and the $400 silence is golden slashed leather top? It’s a clue the magazines aims for a diverse (yet mostly young) age demographic and for reasons of taste, it can sometimes do a magazine better.
The content inside is consistently young and fresh, just like its models and features on designers like Christopher Kane and those at Preen make for a simple, enjoyable read for those outside the young age group. If you happen to dig it, look it for out on newsstands and bookstores, it’s popularity is beginning to spread and with good reason. Just wish I’d known of the Karlie cover last issue — damn.

VidFlip: V Magazine #57

mondblog VidFlip: V Magazine, Issue 57 from Raymond Navarro on Vimeo.

V's Spring Preview issue takes a step up from its predecessor. In at about the same weight as V56, what makes V57

 dazzle is the delivery of Nick Night's photo shoot with Lily Donaldson held at SHOWstudio. The live photo shoot was

 a thrill to watch as Donaldson struck pose after pose, leap after leap in those highly coveted heels and her Sam (McKnight) styled hair.

Visions of Donaldson wearing all Balenciaga, Lanvin, Maison Martin Margiela to that

 sole Jil Sander earring, were ripped and rendered on painted cardboard sheets giving the editorial the

 entrancing and complimentary contrast needed to pull of a great studio shoot. You've got to see it for yourself.

The biggest bummer of the issue is the one and only new shot of Grace Jones on the inside. Following her cover-

moment on Dazed and Confused last year, I was hoping for a gripping Grace fashion editorial but instead there were

 rehashed file photos such as past promotional shots and album covers. Talk about a disappointment.

 Though the strange and cinematic editorial featuring the likes of Abbey Lee, Catherine McNeil, Eniko Mihalik and Andrés

 Velencoso grew on me, after an initial reaction of, What the fuck? I was stirred by the unexampled

 shoot begging me to question why I did or didn't like certain photos; I liked that I was challenged  — I concluded

I really was a fan of the Sebastian Faena concept shoot.

Thanks again to V for always bringing a variety of conceptions in glamour, style and grace.

What's going at Interview?

The fall of the year 2008 — Interview awoke refreshed and restated as the crystal
ball of pop when one of GQ's most stylish men Glenn O'Brien and former creative
director of Vogue Paris Fabien Baron became editorial directors just as Karl Templer
had come in as new creative director for the Brant Publications magazine. Several
other changes like a new features editor and new talent director also came in and
the fruits were sweet. Their premier starred Kate Moss as covergirl, included a very
memorable Maison Martin Margiela editorial, featured Stefano Pilati and Woody Allen
interviews and came thick, perfect-bound and chock-full of ad confidence with its Prada,
Burberry, Y-3, Chanel, Yves Saint Laurent, Marc Jacobs, Versace, Miu Miu and other
double-page-spreads preceding department pages. It was the sexier, more fit and interesting
cousin of the American publication Vogue, and at a bargain of a new subscription price,
it was almost silly if you hadn't caught wind on the magazine's updates and subscribed.

This month: everyone expected a new look, sure not to disappoint, as the Parisian design
duo Mathias Augustyniak and Michael Amzalag compromising M/M Paris took over as creative
directors upon Fabien Baron leaving Interview with Karl Templer in this January. (Some
think control, some think sales figures — I'm hoping new magazine collaboration, though I might
be feeling a W or American Vogue mind-boggle for the fun of it.) The new look includes a 70's-inspired
title type, Zac Efron on the cover and an inside look that struggling with itself: one part of M/M Paris'
progressive, one part still the Interview we know and like — and it's underwhelming. The past two
covers featured actresses Mary-Kate Olsen and Lindsay Lohan, so the young one trend
was no surprise, but really — the future? Don't push things on us now, Interview
— you hadn't like that before. (Recent previous title lines were "It's New, Pussy!,"
"La Lohan," and simple headlines like "James Franco by Gus Van Sant."


The look would undoubtedly settle and further intrigue one would assume, their creative
direction for Vogue Paris and Purple in the past has been brilliant. But while content
continues inspiring design — there might be something to worry about if your focus is a mix
of rebranding and to selling issues as advertising is down across most markets.

What if you don't have any content? Because freelancers are going without pay?

According to a recent WWD article, contributors to Andy Warhol's Interview are claiming
e-mails and phone calls have gone unanswered regarding payments since Glenn O'Brien
and Fabien Baron's takeover, leaving writers in the dark about their pay in bleak times.
Referring to a thread on the discussion boards of mediabistro.com titled "Interview
Magazine = “not paying right now,” WWD reports one user's comment: “As of today [Feb. 11],
I checked my invoice status with them and was told ‘funds are tight’ and that all the
writers will be paid, but ‘not right now," posted herecomestheend.

The following are a list of good points made in the thread but not published in the WWD article:

wordy-guy: "Interview is notoriously slow in paying their work for hire people.
However, having been through the remuneration routine many times with the
magazine myself, I would advise you not to fret too much. True, times are
tough and the bosses are well paid, but Interview's circulation is higher than ever,
and nothing I have seen indicatesthey are close to going out of business. Every
time I work for Interview, it takes longer than I think it should to get paid, and
the payroll department never seems to have any sense of urgency about the issue."

RockinRonD: "DO NOT succumb to Interview's heinous payment policies simply because it's Interview."

Contributor herecomestheend: "I don't want to fracture my relations with the
publication, but I certainly won't work for free. I'll keep checking in. As well as
talking to other freelancers for the magazine to encourage them to bitch about it,
as well."

mel79: "'I'd reply to their "not right now" email with a firm reminder of the
payment terms of your contract and a not-so- subtle hint that you intend
to be a squeaky wheel."

But things since then seem to be changing as writer Nina Green took advice
from the forum, then soon got her pay: "I took [the] advice and wrote a letter to the
Chief Financial Officer Deborah Belucci at Interview, and I picked-up my
check today."

Interview's negotiations and writer transactions have made a theatre in the pop
culture mag-Media circles, and one would hope no one begs for a Zac Efron-encore
but we've definitely subscribed in for the exciting and surprising year for Interview,
that's for sure.

Raise your hand if you're interested in Interview VidFlips.

VidFlip: POP, Winter 2009

mondblog VidFlip: POP Winter '09 from Raymond Navarro on Vimeo

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It's buh-bye to winter, what's up to spring — I had second thoughts about posting one more winter issue or starting off

the season with spring, but Katie Grand's last issue at POP should be shared with everyone. It makes for a smooth

transition as the winter issue features spring collections from Junya Watanabe and Giles Deacon.

Nevermind the Drew Barrymore cover. (I guess?) 

Katie Grand gives the Giles' luke-warm SS/09 collection a styling (on Jessica Stam, Magdalena Frackowiak and

others) that's had me take a second, third and fourth look at the collection. Paper shirts and paper skirts? I

can almost hear the crunch, the crinkle, and I like it.

I can't not mention the sick job Natasha Vojnovic pulling a Bowie wearing only the Dolce and Gabbana cruise

collection. Katie Grande does it again. But it's the last time she does it for POP. Grand now moves on as editor-in-

chief of the new "edgy," unlike-the-rest Condé Naste publication titled "LOVE." The jump-off icon issue blazes a 

nude Beth Ditto shot by Mert & Marcus with an art aesthetic certainly relatable to POP. 

But POP isn't going anywhere. “We are working hard on a complete revamp of the magazine to provide a broader

point of view, focusing also on art, contemporary culture and the globalization of all things Pop related,” the new 

editor-in-chief Dasha Zhukova told WWD. And so expect a big turn with the 21st issue of POP as her friend and new 

artistic director Olympia Scarry will help to "stamp" a re-invented identity to the 8-year old London glossy. Will it be 

fit or will it just flop — we won't find out for another five months...

The Man of 2009

The economy’s stalled but menswear clothing still finds itself in forward fashion — still adapting, still surprising — much unlike the winter womenswear collections of the new season.

For 2009’s spring, Bernhard Willhelm showcases a collection dressing men for our much needed renaissance. Willhelm does a do up in menswear vocabulary, introducing doublets and jerkins paired with voluminous bloussoned shorts cinching at the leg, flowing from the waist — all topped off with those every-season-must-have Willhelm leather high-top sneakers. It’s an MC Solaar bumpin’ Shakespeare clad for an anonymous sex club romp. He’s got his going-out-underwear underneath it all and while you can tease his dress, he doesn’t really give a fuck because no other man comprehends the more fluid erotic economies of when people’s professional lives are in the slumps.

One of the more notable rebirths of the fall/winter season came in a different way. At the Missoni Homme label designs and styling were modernized for a look reliant on its signature knitwear, but styled for a much more mysterious Missoni man. If the previous seasons were a bit unsexy, this time bikers boots, peeping thumbs, soft-layered pieces and slim trousers could make no one resist. In combination with hypnotic, abstract and fractured deep blues and reds, olive green and browns — the collection made for a hard, confident, young man you want to unwrap and have on your side when all the shit goes down. The Missoni man looks new, cool, calm and confident — for forever. Favorite piece had to be those slightly distressed, deep but bright blue jeans with a slight shine under the catwalk lights.

While some shed skin, others armored to weather through the worst — as they did at Prada.
Miuccia Prada suited for man for the dark, stark winter for the near future. While the previous fall/collection connected the fragility of the male identity with his attire, this season’s toughened to roughen aesthetic includes leather stud-adorned pants, shirts, jackets, shoes. One of the subtler and more arresting pieces was the black leather headband with chain-linked studded tassels suited for some fearless feat by the Prada outsider. Call it “dark,” call it “edgy,” but not at all “gawthic.”

Much of the same concepts of strength, protection and survival were found in the young Londoner Gareth Pugh’s collection. Pugh never fails to test the conventionalism of wearability as if to beg, don’t stop dreaming! Through the nightmares reaching the bright side — while others designers focused on how to sell — Gareth dressed the more intrepid, imaginative hero you know parties from London to New York, Tokyo and then back. High shoulders, signature patent leather patterns, prickly-coated coats and sharp angles (done better than Dior Homme) enveloped the risen dead characters of our buoyant hopes.
We might suffer now, but the growing pains come with devoted development. Less work, less money — yes — but what fruits could be a healthy change for many.

“In the 19th century, leisure was seen to be the place where we would realize our humanity, where we could come into our own,” said Benjamin Kline Hunnicutt, a Professor of Leisure Studies at the University of Iowa. “Now, leisure is suspect. It becomes suspect after the Great Depression after the Second World War,” wrote Shaila Dewan in a The New York TImes article titled “Will Furloughs Change America’s Workaholic Culture?”

Hunnicut goes on to explain that leisure time in our societies are seen as a “woman’s domain,” because handling a 40+ hour week is what a real man does. Pff. Men tend to believe “…if you don’t center your life on a job, you can’t lay claim to your masculinity,” claims Professor Hunnicut.

So that lost masculinity might be what's up with skirts catching on in the runway... and high heels on the streets. As long as its something different from the now, something somewhat new.. we're dying to have it.

RAF SIMONS FW0910

VidFlip: 10 MEN, Issue 16

MONDBLOG VidFlip: 10 MEN, Issue 16 from Raymond Navarro on Vimeo.

10 Men improves issue by issue, keeping design and topics fresh and creative. The publication's updated their
web site to include TEN TV, a TEN blog, a showcase of all past covers and, of course, those nasty little rumours they drop. The
cover designs alter slightly about every year, which I like, because the magazine has been evolving, improving at a great pace.
The in-house writings are sometimes a little too much of that cheeky English humor for my friends and I (in America), and while
the all-Givenchy editorial is appropos, the all-Prada feature made the styling of the shoot TOO easy; we don't need to see what
we saw come off the runway again. We want you to refresh us with looks we might have not imagined. But, feature topics are what
you should be on top with if you wish to the happenings around modern menswear. I'll def be looking forward to issue 17,
my 10th issue, which has just begun to hit the shelves.