L’OFFICIEL HOMMES SINGAPURE S /S 2014
BRIAN SHIMANSKY (SOUL ARTIST)
«PARADISE»
PHOTOGRAPHER CHUANDO & FREY
MODELO AMEICANO DE 29 AÑOS
FIRMADO POR LAS AGENCIAS
SOUL ARTIST – NY, SUCCESS – PARIS, D’MANAGEMENT – MILAN, ENTRE OTRAS.
FABIO MANCINI (SOUL ARTIST)
FIRMADO POR LAS SIGUIENTES AGENCIAS:
SOUL ARTIST – NY, PREMIUM – PARIS, D’MANAGEMENT – MILAN, SELECT – LONDRES, VIEW – BARCELONA, ETC.
MODELO ITALIANO DE 1.88 M, CABELLO CASTAÑO OSCURO Y OJOS VERDES
PHOTOGRAPHER JOEY LEO
DMITRIY TANNER
MODELO DE ORIGEN RUSO
MIDE 6´2, CEBELLO CASTAÑO Y OJOS AZULES.
ESTA FIRMADO POR LAS AGENCIAS SOUL ARTIST EN NEW YORK, FORD EN PARÍS, D´MANAGEMENT EN MILÁN, PREMIER EN LONDRES Y VISION EN L.A.
ESTA RANKEADO COMO NUMERO 5 DE LOS MEJORES MODELOS MASCULINOS SEGÚN EL PORTAL MODELS.COM
A TRABAJADO EN CAMPAÑAS PUBLICITARIAS PARA IMPORTANTES MARCAS COMO CALVIN KLEIN, DSQUARED2, DIESEL Y VERSACE.
TAMBIÉN HA REALIZADO EDITORIALES PARA REVISTAS COMO ARENA HOMME, i-D, VMAN, WWD, GQ ALEMANIA, ESSENTIAL HOMME Y L’OFFICIEL HOMMES.
HA CAMINADO PARA IMPORTANTES DISEÑADORES TALES COMO GIVENCHY, CLAVIN KLEIN Y VERSACE.
ESTE GUAPÍSIMO MARINE RUSO ESTA ARRASANDO.
DESDE RUSIA CON AMOR….
Alessandro Sartori, the man whose name was made for a career in menswear, must have felt the love as his last collection for Z Zegna got a special send-off yesterday. Gildo Zegna embraced him while the audience clapped and cheered.
The designer’s time at Z Zegna produced some of Milan’s oddest, edgiest menswear, and he saw himself out with a collection that did him proud. His vision for the brand was always a touch eccentric. (The affection for tail coats, for instance, revisited one last time in the finale here.)
There was something bold, almost cinematic about the way he exaggerated proportions. The broad-shouldered blouson with the wide-ribbed waistband had a superheroic slant. The baggy trousers that are practically his signature piece could have stepped out of a film noir.
Sartori called his collection My Abstract Sunday, so that might be why the sky blue and sunshine yellow; the blurry, painterly checks; the swingy A-line peacoat, as voluminous as a smock, suggested an artist’s day of rest. But that was ultimately less interesting than Sartori’s fascination with the technicalities of his job, which was, after all, the thing that made him so compatible with Zegna in the first place. You could stare at his fabrics and still not be absolutely sure what you were looking at, so glazed and rubberized and dyed and «vitrified» (that’s a good one) were they.
The construction was also artful, illuminated with little details that demanded a double take: the white top-stitching on a navy safari suit, the white shirt collar on a mac, the sky blue trim on one lapel of a gray jacket. Sartori now takes his point of view to Berluti, where he has a blank slate to build a business. But Z Zegna will linger as an inspiring memory.
Prints are a big story for next Spring’s menswear, but when Giorgio Armani titled his new collection Printwear, it was never going to mean a world of flowers or ikat or any of the other ideas that have already presented themselves for 2012. Subtle geometry was Armani’s concession to the coming trend, like the check on a sweater that quietly dissolved into ombré, or the zigzags and houndstooths fading out on a cotton shirt and pants so light they were almost gauzy.
Lightness is Armani’s current obsession, as we learned at Emporio the other day. But if that collection was pared to the point of plainness, this one showed why Armani is Uomo Numero Uno. A dove gray cardigan jacket swathing a sweater and pants was silvery and serene, but it’s scarcely new in the Armani vocabulary. There was, however, something going on with the jackets, with the way the fabrics molded smoothly across the shoulders, that you sensed rather than saw. Impossible to define. Maybe that’s exactly what it was—more definition without more structure. Masterful.
Elsewhere, Armani’s shifts in silhouettes were easier to nail. There was a slight flare to a double-breasted jacket. Generously cut trousers either tapered to the ankle, where they buttoned for a pegged effect, or were nipped at the knee to form a soft jodhpur shape. That’s how Armani manages to alter perceptions of the most basic components of a man’s wardrobe. Why you would be seduced by nipped-at-the-knee pants is a story for another time, but Armani is likely the only designer of his stature who could interest you in a pair.
Same with his shoes. The espadrille is the definitive holiday footwear of the leisured classes, but Armani took it into the city, slipping a rope sole under a brogue or a boat shoe. Maybe not as playfully extreme as Miuccia Prada’s potted history of the sole for the Spring just finished, but Armani’s mutant footwear probably has a better chance of insinuating itself into boardrooms. And where the shoe leads, the soul follows.
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