It’s amusing to read the comments on Gucci’s Instagram posts of new creative director Sabato de Sarno’s debut collection. People seem to fall into two camps: on one side are those who welcome the “return to elegance” with a comment going as far as calling the previous iteration of Gucci “a bad taste freak show”, while the other compares the current collection to that of a fast fashion brand and proclaims it “boring”.
It’s expected, of course. You can’t please everyone. Out of curiosity, I tried searching for Gucci’s posts of former creative director Alessandro Michele’s first collection, but all traces of the old Gucci appear to have been scrubbed from the feed. Anyway, I’m just certain that the reactions back then were just as divided.
It’s funny because, as someone in the industry, I find that we’re quite detached from real-life consumer sentiments. Personally, I loved Michele’s maximalist Gucci. I found it creative, vibrant and presented a luxury fashion aesthetic that was different from its competitors. And evidently, it was an aesthetic that worked for a significant period until consumer fatigue set in—something that I truly didn’t experience.
But I get it. Consumer trends tend to be predictable and are linked to a number of socio-economic factors. There’s no denying that after a period of maximalist fashion, consumers are understandably tired of all the ostentatious more-is-more aesthetic, especially given that their personal economic situations may not be reflective of that aesthetic and thus, completely not relatable.
However, I wouldn’t go as far as to say that we’re living in an era of “quiet luxury”. Because the reality is (and this may sound elitist), if you’re adopting a quiet luxury aesthetic with anything other than brands like Loro Piana, Brunello Cucinelli and The Row, you’re not actually doing it right, I’m sorry to say. Anything else is minimalism; quiet luxury refers to more than mere simple, elevated cuts.
Change is constant and where fashion is concerned, it’s almost destined to move on to something on the other end of the spectrum once a trend cycle reaches the end. Although it is quite an oxymoron to say that maximalist fashion started getting stale, the complete opposite is a breath of fresh air from the visual assault of logos, prints, embellishments and the like.
What we are currently experiencing can be compared to the rise of minimalist fashion circa 2009, when brands like Céline (the old, Phoebe Philo-led one), Calvin Klein and Jil Sander were constant points of references for impeccable style. They were stunningly clean, cut-focused and had little need for unnecessary flourishes, but ultimately suffered the fate of being rather easy to replicate using more affordable alternatives, without looking like a poorer version of the original. Now, attempt that with maximalist fashion and one runs the risk of looking downright tacky.
Of course, that’s not to say that there’s no space for maximalist fashion now—that would quickly erase the existence of quite a number of fashion brands across different categories. Brands whose DNA is maximalist would naturally tone down the visual language slightly or offer pieces that are more in line with current consumer tastes in order to not be alienated. But at the same time, not neglecting their individual identity.
We are already seeing the beginnings of neo-maximalism on the Spring/Summer 2024 runways.
Italian fashion house Versace is unequivocally maximalist through and through. From gilded trims to its signature Barocco print, Versace’s oeuvre consists of a brilliantly excessive decadence that it has been famous for for decades. But for its Spring/Summer 2024 runway show, artistic director Donatella Versace showcased a collection that was a refreshing surprise. Clean lines took precedence over exaggerated silhouettes, and a more curated colour palette was favoured over brash combinations of bold colours. And yet, the Versace-ness remained as prints were rendered in monochromatic treatments that seemed to merge with their pastel base, and Barocco trims (albeit toned down) were done in white so as not to draw too much focus from the cut and make of the garments.
Similarly at Dolce&Gabbana: nary a single logo was seen anywhere throughout the 76-strong Spring/Summer 2024 menswear looks. It was a gradation of colours from black to taupe and then back to black with each look completely monochromatic from head to toe. True to the brand’s DNA, embellishments were still present in a number of looks, but done with restraint. Instead of combining multiple types of embellishments together, there was a more concerted effort to focus on a single type and done in one single hue—often in the same colour family as the rest of the outfit.
Now that that is sorted out, is maximalism done for now? Well, not quite. Homogeneity isn’t aninherently human trait. Think about it, the rise and existence of subcultures such as punks, mods and grunge, were all a result of wanting to break away from the mainstream. Even with minimalism gaining traction, there will still be individuals and fashion brands that choose to stick to their individual maximalist styles.
The thing about maximalism is that it’s often thought of as being more creative and more interesting as compared to minimalism. That’s not to say that minimalism is, inevitably, boring—it takes superior technical craft and skill to create something cuttingly simple. There is just a lot more to see on the surface with maximalist fashion. It’s something that we can never truly get tired of. We may require some respite after a while but we’ll always come back to awe-inspiring expressions of creativity from the very first glance.
Before reading this second part of our deep dive into the Autumn/Winter 2023 menswear trends, read part one.
Forget about the former US President Barack Obama tan suit controversy—it was, quite honestly, no big deal and all partisan political agenda. Sure, the tan suit on a president known for wearing dark navies and blacks was a stark departure from the usual, but did it warrant a huge reaction from everyone from fashion critics to political pundits?
Let that not steer you away from tan suits. When done right (Obama’s was a touch big for his frame), it’s the perfect suiting option that traipses the line between formal and casual. Berluti’s classic fit, for example, is the kind that you’d want to wear with a turtleneck, or even a basic tank as exemplified by Louis Vuitton’s more beige-like option.
Fashion-forward individuals should look to Dior Men’s voluminous version that’s fitted with utilitarian arm warmers done in the same colour and material. and still exudes elegance with the perfectly constructed cut. Kenzo too follows the same thought process with a structured tan suit blazer paired with wide-legged trousers. The former is also cut boxy with lapels that mimic the detail of a traditional yukata.
Not many patterns out there denote the kind of regal elegance that the Prince of Wales check alludes to. Its entire history is rich with ties to royalty.
Just like the tan suit, the Prince of Wales check offers respite from the usual slate of suiting fabrics and colours. Sure, we’re hardly a suit-wearing society any more but why settle for the norm when you feel the need to bust one out?
While Celine’s iteration leaves the flourishes to a minimum, the fit is true to Hedi Slimane with a slim profile and strong shoulders. There’s no denying the rock-and-roll glamour, especially with how it’s styled—a fine example of how versatile the Prince of Wales check can be.
Gucci offers a modern take with transformable details that turn trousers into berms as well as shortened sleeves. In a similar vein of constructed deconstruction, Balenciaga’s Prince of Wales check coat is trimmed with the brand’s Autumn/Winter 2023 collection’s leitmotif of trousers as outerwear.
It’s Louis Vuitton that completely turns the pattern on its head. Like haphazard puzzle pieces, the Prince of Wales check has been broken down into separate pieces before reconstructed and left with raw edges intact. It’s manic but quite stunning to look at all the same.
There has been no shortage of fashion collaborations year after year. They’re so widespread now that it’s difficult to cut through the noise and stand out. Hence when a brand that rarely collaborates with another decides to do so, it’s likely to be noteworthy.
Zegna’s last big collaboration was also its first. It was an exceptionally well done effort with Fear of God that saw both brands’ aesthetics melded into one. Its latest collaboration is also with another Los Angeles-based brand, The Elder Statesman.
Unlike the Fear of God collaboration, Zegna x The Elder Statesman is part of Zegna’s Oasi Cashmere—a collection focusing on cashmere that the brand is aiming to be fully traceable by 2024. The entire collection is crafted from Oasis Cashmere but rendered in bold colours and prints that The Elder Statesman is known for. If you’ve been a follower of Zegna, you'll know artistic director Alessandro Sartori tends to favour a more monochromatic palette. This collaboration updates the tailored ease of Zegna with colours that one wouldn’t normally associate with the brand. Yet at the same time, it offers the same level of craftsmanship the brand is known for. And that, ladies and gents, is what a great collaboration is about.
Remember that episode of Friends—aptly named “The One with Joey’s Bag”—where Joey decided that a bag from Bloomingdale’s was befitting of his new style conceived by Rachel? “It is odd how a women's purse looks good on me, a man,” he opined. Alas, that feeling didn’t last all that long as people around him saw the leather tote bag as nothing more than feminine. Oh, the ’90s were such a different time.
Fast forward about 24 years later, the lines have been further blurred on what exactly constitutes a “women’s purse”. The tote bag that Joey sported is the norm by today’s standards. For Autumn/Winter 2023, the man-purse makes a return in shapes that recall the more typically feminine shoulder bag.
The Fendi Baguette bag may have been male-coded since the Autumn/Winter 2019 menswear collection, but its latest iterations stay close to the original. The functionality of this season’s Baguette for men are amped up with additional zipper details, refreshed with an oblong silhouette that remains true to the original. It’s even coupled with a short top handle meant to be worn on the shoulder.
Similar styles can be seen by brands the likes of Balenciaga, Louis Vuitton, Saint Laurent as well as Tod’s. Versace’s version comes in the form of a camera bag, while Gucci expands its repertoire of man-purses with with a pliable Dionysus messenger bag and a top-handle bamboo creation.
Beyond the stellar storytelling, blockbuster hits such as The Bear, Succession and Christopher Nolan’s latest hit Oppenheimer, help to timestamp where we’re currently at with regard to men’s fashion. And if you’ve yet to delve into their respective worlds (we highly recommend it, by the way) the consensus is that we’re currently obsessed with the basics.
It’s a telling shift when the cut and make of a Merz B Schwanen white tee becomes almost as newsworthy as The Bear’s critically acclaimed storyline. Or how the if-you-know-you-know old money aesthetic in Succession has spawned articles alongside TikTok content breaking down what “quiet luxury” is as a trend. We’re moving away from monograms and in-your-face logos, with an appreciation of the craft behind each piece becoming key.
The Autumn/Winter 2023 menswear collections are driving down on the idea of elevated basics. Though the silhouettes are familiar (and at times, simplified), these new-old forms recall a time when fashion ingenuity was subtle and flourishes were done with intention. But if you think that means there are hardly any fresh ideas, think again.
Burberry’s overhaul begins with Autumn/Winter 2023. Under the stewardship of chief creative officer Daniel Lee (of #newbottega fame), gone are the uncharacteristically dark and punk-ish looks that were favoured by predecessor Riccardo Tisci.
Lee’s intention was to bring Burberry back to its British roots. He even cited familial connections to the brand’s Castleford outpost where its iconic trench coats are manufactured—family members on his mother’s side had worked in factories supplying to Burberry, he says in a Vogue interview.
The immediate change is seen in the emblematic Burberry check that’s not only rendered in bold colours, but also shifted in perspective and appear larger than ever on ready-to-wear. The brand’s Equestrian Knight Design—a crowd-sourced logo as a result of a public competition in 1901—has been revived and refreshed, adding to the collection’s number of Brit-related graphics. An English rose print blooms completely on softened aviator jackets and workwear-inspired pieces, while mallards appear as a repeated motif seemingly to break away from the relatively serious palette of the collection.
What about the Burberry trench coats? They continue to live on of course, but Lee’s versions are cut oversized and supplemented with faux fur lapels. And if remotely possible, they look more luxurious in this new interpretation.
It makes sense given that we’re approaching the season when temperatures dip—at least for countries farther up north of the equator—the menswear collections are rife with pieces meant to keep us warm. Instead of piling on outerwear, how about opting for pieces that have been lengthened?
First up is Bottega Veneta where creative director Matthieu Blazy plays plenty with proportions and trompe l’œil effects. A striped shirt is cut decidedly oversized with the hem reaching mid-calf, but what’s even more impressive is the fact that it’s not made of cotton. The shirt is actually leather that’s been fashioned to appear like a cotton shirt, which also means that it’ll keep one a whole lot warmer. There’s also a jumper in a separate look that reaches all the way to the ankles, complete with ribbed hem.
If you’re up for a more distressed option to Bottega Veneta’s long jumper, Coach’s striped iteration features an intarsia Superman motif that’s further enhanced by an overall destroyed aesthetic. Sure, this probably wouldn’t keep you warm but does it really matter when it’s supposed to be a standout piece?
For something more put together, Prada’s suede tunics are in line with its constant exploration of uniforms. They’re minimally designed with a flap breast pocket trimmed with a beautiful patina. Like most Prada designs, they can be cuttingly clinical but if minimalism is your thing, this will be one to cherish.
Is the tie truly dead? Not if Valentino has anything to say about it. The Italian fashion house conceptualised an entire collection dedicated to the black tie and named it, well, “Black Tie”. Creative director Pierpaolo Piccioli shifts the attention of black tie as part of formal dress to that of a style staple that works for just about any setting.
There’s nary a single formal suit look throughout the entire collection. When suits were employed together with a slim tie—an element that’s visible on each and every look—they’re hardly traditional black tie-ready. Instead, suit blazers are paired with short shorts and Rockstud Chelsea boots for outfits that certainly wouldn’t fly in a traditional black tie setting.
From an artfully tailored boiler suit matched with a bold red shirt, to a voluminous pea coat worn over a pastel green shirt in the same tone as a pair of creepers, each look makes a strong case for the tie as simply another accessory to consider—and without the stuffy undertone that it’s been associated with.
Taking the co-opting of women-centric fashion a step further, we’re seeing an increasingly intentional softness to the menswear collections this season. The designs are undoubtedly more fluid à la Zegna and Dior Men where constructions of tailoring have softened over the years. But what’s more apparent for Autumn/Winter 2023 is the influence of womenswear.
Dolce&Gabbana for example, included corsetry for a number of its menswear looks. They’re styled over silk shirts in tone-on-tone monochromatic colours, accentuating the waist. In some ways, they do resemble cummerbunds albeit taking more significant real estate on the body.
But what’s more severe in execution is Fendi’s slew of one-shouldered tops. If creative director Silvia Venturini Fendi’s Spring/Summer 2022 menswear collection saw her cropping tops and blazers, the current collection has her slashing diagonally to create toga-inspired knit tops and shirting that expose skin. Alexander McQueen’s tailoring-heavy collection also features flashes of skin through careful deconstruction. In one look, a suit blazer is slashed into half with the bottom-half kept buttoned to instantly create a fit-and-flare silhouette; in another, the back panel of a blazer is cut up and replaced with floral embroidery for maximum visual impact.
At Saint Laurent—easily one of the highlights of the season—the lines between the House’s menswear and womenswear are blurred. While the latter have always been informed by menswear, this time around, Saint Laurent’s menswear tap on the exceptional fluidity of the women’s universe. The proportions are lengthened and exaggerated with massive bow details, beautiful draping as well as hooded creations that are borrowed from previous womenswear collections. Clothes are clothes are clothes, after all.
The cardigan was an intrinsic part of Mister Rogers of Mister Rogers’ Neighborhood fame, whose zipped, cable-knit variations became a ritualistic introduction to each episode. The transition from blazer to cardigan signalled a dressing down that immediately brings viewers closer, almost to a more intimate level of comfort. Then there’s Kurt Cobain’s penchant for cardigans. They’re worn over graphic tees and patterned shirts, and are a reflection of grunge’s anti-establishment sensibilities.
The contrast between the two is stark and exemplifies the versatility of the cardigan beyond functionality. We hardly consider wearing cardigans, but that’s about to change this season as luxury fashion brands offer options that are hard to ignore.
Dior Men’s pearl-embroidered iteration is one you’d easily want to pair with tailored separates, while Zegna’s minimalist cardigans designed with hidden buttons and crafted thin are perfect for all-year layering.
When they’re made plush and with considerable weight such as the ones by Ferragamo and Loewe (beautifully crafted with drop shoulders), treat the cardigan as a knit shirt by wearing one on its own. Or like Celine’s devil-may-care attitude, an embellished cardigan paired with quintessential rocker accessories will also be the way to embrace the humble knitwear once again, and in your own stylistic leanings.
