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MILAN — The kooky utterances fashion designers sometimes spout (and some fashion journalists often parrot) seldom offer much indicator of what’s actually going on in the collections.Both in his elaborate show notes and backstage before a beautiful final stand-alone show of men’s wear for Gucci on Monday, the label’s creative director Alessandro Michele alluded to the metaphysics of journey: real travel, time travel, armchair travel, metaphoric and philosophical voyages, everything but budget trips to Vegas on a Greyhound bus.It doesn’t really matter that the blather bore minimal relation to what he showed on the runway. In just a few seasons, Mr. Michele has revived the flagging fortunes of this venerable luxury goods label, one whose revenue for the year is predicted to top four billion euros (or $4.5 billion).To a large extent, he has done so by capitalizing creatively on how people consume culture in the internet era, rummaging for imagery and information, either ignorant or agnostic about the sources of signs and symbols, references and ideas.Photo

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Moncler Gamme Bleu, spring 2017. CreditValerio Mezzanotti for The New York TimesThus when Mr. Michele offers a men’s wear collection (and it was emphatically a men’s wear collection, notwithstanding the inclusion of a smattering of female models) before an audience that included his Hollywood BFF Jared Leto (they attended the Oscars together this year), Ryan McGinley and the blond ephebe boy-star Olly Alexander in a plush bordello space lighted the color of absinthe, two of the three dressed in glorious half-drag, you know you are in for a trip.And Mr. Michele delivered with souvenir jackets scrolled with dragons; flower patterned suits and contrast piped rowing blazers; Mary Janes with jeweled buckles; slickers and rain caps straight off a box of Fisherman’s Friend lozenges; over-embroidered jeans jackets; Fair Isle sweaters with Donald Duck woven into the pattern; satin kimono lounge jackets; tunics ornamented with military braid; drawstring painter’s pants and evening clothes stitched with what looked like trapunto flora.In doing so he demonstrated not only his estimable design chops but his kinship with millions of consumers who themselves are Instagram or Pinterest magpies, grabbing at bright scraps and shiny fragments for recombinant use.Continue reading the main story

Men's Fashion Spring 2017

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Travel, as others have pointed out, has been a leitmotif throughout the Milan men’s wear season. And while this is probably not the place for cranky opprobrium, it feels necessary to call out the obliviousness of designers who presented collections rife with references to campsites, tarpaulins, tents and displacement when millions of Syrian and Afghan refugees crowd Europe’s borders or wash up dead on its shores.Photo

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Prada, spring 2017. CreditValerio Mezzanotti for The New York TimesNaturally there is a temptation is to sit back and enjoy the spectacle when Thom Browne stages one of his usual displays for Moncler Gamme Bleu (a subsidiary line of the puffer giant Moncler, founded in 1952 and reinvented five decades later by Remo Ruffini as a fashion concern) in a glamping show rife with references to scouting and Smokey Bear.What is the harm? Mr. Browne is a skilled entertainer, albeit one occasionally in need of a dramaturge. As with past collections, the tableaux vivant devised here ended without plot resolution.In a bunkerlike show space on the edge of town, Mr. Browne laid sod, installed mature fir trees, piped in the sounds of crickets and birds. He erected 40 translucent pup tents in four parallel rows and then had his models march out in hooded floor-length coats that were half sleeping bag, half cagoule jacket.One by one the guys installed themselves before their bivouacs. Soon two mascot bears appeared, stopping by turns to help the models wriggle out of their bag-coats, revealing beneath them suits with short pants that formed the collection’s core.Photo

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Missoni, spring 2017. CreditValerio Mezzanotti for The New York TimesSome were in blanket plaid. Some were channel quilted. Some were in techno fabrics. Some had sequins and several were constructed using astrakhan, the fleece of newborn or fetal lambs. (Memo to PETA: Don’t blame the messenger.)Most were worn with knee socks and either safari or field jackets, all adorned with so many bellows-pockets you’d need a compass to find your keys. Once revealed, the models paraded around the space, dragging their cloaks behind them before returning to their tents and, unfurling the bags, bedding down inside.That was it. The show ended. The audience filed out. And as they did, some wondered what may become of those tents. “Exaggerated utility,” was his theme, Mr. Browne said later. Given recent events in Europe, the phrase struck an unwittingly callous tone.Miuccia Prada, too, seemed to take up travel as a thematic for a show that cast models as vagabonds, dressing them for the road in skinny cycling pants or chunky sweaters or nylon blousons, burdening their scrawny frames with bulging rucksacks (Prada’s first commercial success, in 1984, was a nylon backpack) from which brogues were hung hobo-style.Photo

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Giorgio Armani, spring 2017. CreditValerio Mezzanotti for The New York TimesThat many of the clothes had been printed with random motifs like watermelons, sombreros or the Buddha suggested Ms. Prada has more in common with a designer like Mr. Michele than you may imagine. Is there anyone left whose creative process is not influenced by the mysterious algorithms of Google Image? Probably not.The imaginative set for Prada — by AMO, a research arm of the Dutch architecture studio OMA — recast the interior of Prada’s space as a series of raked ramps constructed from structural metal mesh. Entering under eerie green light, and with Frédéric Sanchez’ distorted remix of Bjork’s “Army of Me” as an aural backdrop, the models climbed ever uphill toward some unseen vanishing point.As at Moncler Gamme Bleu, exaggerated utility was Prada’s tacit through-line. And as at Moncler Gamme Bleu, the show provoked questions that even a designer of Ms. Prada’s sure intelligence seems unprepared to answer.The sunniness of Angela Missoni’s relationship to travel is not easy to square with her personal experience of its perils. It was just three years ago last January that a chartered plane carrying her brother Vittorio, 58, his wife and four others (including a pilot and co-pilot) vanished as it left the Caribbean archipelago of Los Roques. The loss was devastating for

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