HOMBRE DEL DÍA : ADRIAN CARDOSO …

Minientrada

ADRIAN CARDOSO

 NACIÓ EL 19 DE NOVIEMBRE DE 1991 EN CANCUN, QUINTANA ROO, MÉXICO. DE ASCENDENCIA ESPAÑOLA.

ACTUALMENTE TIENE 20 AÑOS, MIDE 1.89 M SU CABELLO Y OJOS SON COLOR CAFÉ.

LAS AGENCIAS POR LAS QUE SE ENCUENTRA FIRMADO SON ELITE EN LONDRES Y MILÁN, WHILHELMINA EN NEW YORK,  SUCCESS EN PARÍS, SIGHT EN BARCELONA Y JOY MODELS EN SAO PAULO.

A REALIZADO EDITORIALES PARA REVISTAS IMPORTANTES COMO HERCULES, CARBON COPY, VOGUE HOMMES JAPAN, V MAN, L’OFFICEL HOMMES ITALIA, OUT, CITY, DAMAN, VS, ANTIDOTE, DATAILS MAGAZINE, ETC.

Y HA DESFILADO PARA JOHN GALIANO,  ROBERTO CAVALLI, GIVENCHY, MUGLER, BOTTEGA VENETA, TOMMY HILFIGER, LOUIS  VUITTON, CORNELIANI, D&G, DOLCE & GABBANA, ENTRE OTROS.

QUE BELLO EJEMPLAR DE HOMBRE …

ALEXIS MABILE SPRING 2012 MENSWEAR

Fashion shows are occasionally obscure in their reasoning and impenetrable in their semiotics, but give Alexis Mabille credit: The opening tableau of his Spring show told you everything you needed to know. Four models in rolled white cargo pants, espadrilles, and printed tees stood side by side.

The first’s top read «ALEXIS M’HABILLE» (that’s «Alexis dresses me,» the verb pronounced just like his surname). The second: «ALEXIS ME DESHABILLE» («Alexis undresses me»). And with that, the models whipped off shirts and dropped trou. Voila: Mabille’s new underwear collection, created in collaboration with the skivvies label Hom.

Briefs are big business (just ask Calvin), so hard to blame Mabille for branching out. Backstage, he noted that their entry-level price point would open up his brand to an entirely new clientele. He mentioned that with his clothes—interior and exterior—he’s always been interested in the inner workings and structures as much as the outer shows. «I wanted to go inside,» he said.

The collection’s nominal theme was bain de soleil—»sunbath»—which accounts a bit for the disrobing (in some cases, shedding actual robes). Summer by the sea called for swimwear in addition to underwear; lightweight suiting pieces, a few with a brocade chain pattern snaking up the legs and around the waists; and numerous twists and turns on marinièrestripes, from those peeking out from the lapels of a gray jersey peacoat to others adorning a cotton-knit poncho.

 

VIKTOR & ROLF SPRING / SUMMER 2012

Viktor Horsting and Rolf Snoeren spoke of a «new age» mood for the Spring collection they showed today, but the new age was an old age—the seventies, the movement’s original heyday. Flapping, oversize peak lapels; flared trousers; and patchwork denims all signaled the Me Decade, one that was interpreted, you felt 40 years later, a little literally. V & R are rarely without their sartorial curveball, and today it came in mammalian form: a dolphin, who appeared knit into sweaters, printed on suit linings, and in one memorable, large-collared top, flapping quite literally off of shirting fabric, with little dorsal fins jagging straight off of the garment. The Dutch duo refer to their target man as a «sexy intellect,» so no wonder they picked the intellectual of the ocean as their totem. They were steadiest on their sea legs when Flipper brought with him some of his native water-blue tones, in contrast to the bone-and-flesh color scheme dominating the collection.

ALEXANDER McQUEEN SPRING 2012 MENSAWEAR

«English rock,» the stated inspiration for the Alexander McQueen men’s show today, embraces a multitude of possibilities, from the indie-est shoe-gaze to the most flagrant theater, with armies of fans embracing each and every one of them. And that’s what seeped through the collection that Sarah Burton offered. Her love for what she does found a theme that loved her back.

It’s a funny coincidence that Raf Simons used the Jil Sander collection he showed the other day to telescope half a century’s worth of style into a single fashion statement. Burton made it easier on herself by more or less addressing one decade—the sixties—from its mod onset to its Dionysian conclusion. Although it wasn’t strictly Mick and the Stones that Burton had on her mind, you could whisk up a little through-line if you followed the show from its checked and striped beginning to the white-jeans-and-Chelsea-boots moment to the red-velvet dandyism to subverted Savile Row. Then there was that flouncy white thing Jagger wore for the band’s legendary free concert in Hyde Park followed by a climax in jet-beaded, fedora-ed decadence when rock’s «Satanic Majesties» danced with the devil and got burned by hellfire. All of this was happening while Stevie Ray Vaughan did his level best on the soundtrack to prove that he was Jimi Hendrix’s equal when it came to «Voodoo Child»‘s feedback freak-out.

Never mind reading too much into a fashion show, the dark drive of the presentation certainly played into the McQueen spirit. Burton continued to evolve what is becoming a signature dialogue between tailored precision and easy volume: a puce tail coat over elasticized-waist pajamalike pants, for instance, or a striped, double-breasted jacket over Lurex-shot pants that, again, could have been pj’s. She also struck a skillful balance between the measured—the three-piece suit—and the extreme—the flames that consumed a jacket and matching shirt. Those are two radically different markets right there, and signs are that Burton is perfectly capable of steering a steady course between them.

BALMAIN SPRING 2012 MENSWEAR

The house of Balmain is in new hands, but fans of Christophe Decarnin’s moto-roué look won’t be disappointed by the first collection from his former assistant Olivier Rousteing. Whether Rousteing stages a farther departure from his boss’ example in women’s remains to be seen, but for menswear, he hewed close. Trim tux jackets (slightly longer than usual), paneled biker jeans, and leather jackets will always have a place here. New this season is a range of pieces in pastel: tees, scarves, and even those biker jeans now come in ice cream colors (lemon, mint, and orange), mottled to look sun-bleached. Also new: swimwear, printed denim (in an abstract feather pattern that will also figure in the women’s Resort collection), and a boxy new jacket shape, shorter and shorn of its lapels.

But all in all, this was a continuation, not a break. Maybe you could see the student stepping away from the teacher in the way he snipped off sleeves from jackets (tuxedo and denim), open-weave knits, and polos. Then again, maybe that’s just a summertime concession; even the cool Balmain homme can get hot. The luxe, at least, remained ever apparent; a motorcycle vest in full python saw to that. So did a shawl-collared jacket in croc, for the man who has everything but his own game preserve.

GIVENCHY SPRING 2012

Riccardo Tisci always wanted to be a surfer when he was a kid. He could never have known that the biggest luxury conglomerate in the world would one day wave its wand over his wish. And so it came to pass that Tisci got to create a collection of clothes that turned his childhood fantasy into an elaborate, provocative reality.

That’s been the story of Tisci’s life since he was taken on by LVMH six years ago to reanimate Givenchy. Fairy tales do come true. And truer. After establishing himself as the embodiment of fashion’s dark night of the Catholic-Gothic soul, Tisci has gone into the light with his new menswear collection. It was dawn in Givenchyworld—tropical-flower prints, crystals and sequins sparkling like dew on leaves, and white… so much white, banishing every trace of the black that has been Tisci’s trademark up to this point. More to the point, it was a triumph.

Who knows why all the elements that have looked so contrived over the years of Tisci’s stewardship of Givenchy should suddenly fall into place as logical, seductive revisions of fashion orthodoxy? Perhaps everything looks better when the sun shines. Maybe when it was dark and serious, it somehow seemed like a big old fashion-student cliché. Whereas here, it was simply unabashed and celebratory. Men in skirts? Get used to them. It’s warriorwear from years back. Besides, Tisci wasn’t about to get so literal with his Hawaiian subtext that he was going to show grass skirts.

Common sense dictates that it’s a rare retailer who’d be moving substantial amounts of Tisci’s pleated little numbers (even if, in white, they looked like Wimbledon wonders). But the upbeat energy of the collection animated its more sober components. Team Tisci’s sporty staples—the bombers, baseball jackets, sweats, tees, and shorts over leggings-were juiced with the bird-of-paradise prints. And his tailoring looked fresh in ivory and army green. That freshness was all promise, but everything about an exuberant post-show Tisci suggested he was ready to deliver.

JOHN GALLIANO SPRING 2012

John Galliano went to trial on Wednesday here in Paris, where a packed courtroom sat for seven hours, listening to the designer and witnesses remember (and not remember) the now-infamous evening at La Perle. And tonight, a no-less-packed house—standing-room types stood on stairways that climbed literally to the rafters—took in the first John Galliano menswear collection without Galliano.

Big Splash-as the show was named in homage to the 1974 David Hockney doc, A Bigger Splash—took sixties London for its stomping grounds. Pop Art scenemakers provided the juice. First Peter Blake, who inspired military coats and handcrafts like Navajo knits. Then David Hockney, he of the owlish glasses and the thatch of blond, the floppy bow ties, and the color-pop socks. The impossibly beautiful Peter Schlesinger—Hockney’s model, muse, and lover—was the basis for the tanned and trunk-clad hunks that made up the undies-and-swim portion that continues to be essential to any Galliano show. And the Mayfair and Soho after-party scene was an excuse (not a bad one, either) for evening deshabille: sausage-tight satin pants snaking with silvery pin details, Le Smokings sans shirts, and so on.

The mood was a smidge more pop (soundtrack by the Kinks!) and less operatic than some of the baroque snowfall-and-sandstorm spectacles the house namesake used to stage. But the clothes were not dissimilar from seasons past. Credit for that goes to the house’s stalwart guiding spirit, Bill Gaytten, a 23-year veteran of the label (and member of the Dior design studio where, at least for the present, he will also stay). He has long been as much a part of Galliano’s brand as the man himself. And after the final two models—long-haired, mustachioed JG doppelgangers—took their turns (just as the designer used to do a full runway spin), it was Gaytten who came out to give a timid bow to an appreciative roar. Dior CEO Sidney Toledano applauded from the front row. And so the world turns.

JEAN PAUL GAULTIER SPRING 2012

JEAN PAUL GAULTIER