Cut Grass, Cut Grass!

Last Friday, I saw Dersu Uzala for the first time. Josh and I did a very New York thing and went to the Akira Kurosawa centennial festival at Film Forum (it's things like this that make New York such a great city - not just that there are events like this, but that there are also people who actually care....I mean, the theater was sold out).

I was both very excited and a little skeptical about seeing this film. It's Josh's favorite movie, so of course he's been talking it up to me ever since we started dating. It's not that I don't trust Josh's taste - quite the opposite, actually - but hype is easy to come by in this day and age, and generally the more I hear about something, the less I end up truly enjoying it.

But when the film started rolling, I was immediately captivated. It starts with a few different shots of hill sides and treetops, but instead of giving the viewer a sense of space or the expanse of nature, the effect is purely textural. In that sense, it reminded me of a Jackson Pollock painting. This sets the tone for the whole film - although 95% of the scenes are outdoors, the viewer is only allowed a feeling of closeness... both within the surroundings and to the characters themselves.

Screen Grab from Dersu Uzala

Jackson Pollock's Number One 1948

Kurosawa's delineation of space and expanse is one of the defining factors of Dersu Uzala. He uses many different visual techniques to draw the viewer in and emphasize this sense of closeness. One of these techniques that really stood out to me was his close and sometimes unexpected cropping.

Again and again, Kurosawa used composition to draw the viewer into the image. Here, by setting the horizon so low on the frame, the eye is guided down and into the picture plane. By putting the horizon at essentially eye-level to the theater goer, the viewer is made to feel as if she is on the snow with Dersu and the Captain. This technique really engaged me visually; I was completely pulled into the film. I find that many filmmakers today use plot twists and special effects to captivate an audience and suspend their belief, yet Kurosawa transported me with his lens alone.

Kurosawa's closely cropped composition also appeared in scenes with beautifully arranged figure groups (Something Josh's Uncle Ben has taught me to pay more attention to).

Even though there is a considerable amount of negative space around these figures, this forced sense of depth keeps the eye focused in a very specific area.

There were even a few scenes where the director had cropped a group of soldiers at the ankle - something that any young art school student is taught to be the cardinal sin of composition! But not only does Kurosawa make it work, he uses that framing to emphasize the feeling of closeness that permeates the entire film.

Kurosawa's command of all of the shapes in his frame demonstrated to me that he certainly must have studied the work of master painters. He has complete control of each frame, regardless of how much is going on. 

(sorry for the blurry image)

When I saw this scene, the intricate grouping of the figures and the forced sense of depth reminded me of...

Theodore Gericault's The Raft of the Medusa

Kurosawa's command of his medium is just obvious. This film is beautifully calculated and deliberate - it is pure vision. Just when I was starting to believe that film was only good as entertainment, I see a director that truly uses the medium as tool for creating fine art. 

Another demonstration of Kurosawa's visual prowess is his use of color throughout the film. Josh explained  to me afterwards that Kurosawa and his crew would wait months on end to get one shot with the right light to express a sense of the season. It worked.

And although I'm not sure if Kurosawa intended it, Dersu Uzala also offered something to my fashion obsessed side:

The double breasted coat with a narrow stance, those perfectly worn in boots, that amazing hat - if GQ got a hold of this image, they might have to change their panties.

The entire film presented some great style gems:

Hello to any menswear designers out there! Military might be old news, but this is great stuff!

You can't go wrong with a quilted satin shawl collar.

Undoubtedly, seeing this film was one of the most engaging art experiences of any kind that I've had in a long time.

It's Raining Men

I've totally been slacking on my posts about the menswear shows in Milan, and now Paris. I don't know how Tim Blanks does it! (Let me just whine and moan a bit here......why in the world would they have the men's shows on men.style.com, but have the reviews style.com? It's completely counter intuitive. I suppose they're guessing it's actually women who read the real reviews, and men are happy enough with the sloppy rundowns they've labeled "The Vibe" on the collections face page? Somehow I know Josh Peskowitz is behind this logic.)

Nonetheless, I've discovered a few more things about the menswear collections thus far that I would like to share with you:

Not to get to self - referential here, but it seems that I was right about Milan this season - it was all about The Man (with the exception of Prada, which I will get to later).

At Dsquared:

Who knew a bloody face could be so sexy? The tough guy, hockey player's night out theme definitely presented itself as one of the more successful uptown/downtown mash-ups I've seen from Dean and Dan. The suit jackets and oxfords were worn with enough disdain to really make the believably authentic - I often find that Dsquared's attempts to accomplish an effortless cool such as this comes off with about as much authenticity as one of the kids from Bravo's NYC Prep having their driver drop them off at CBGB for the night. Of course, this is Dsquared's target audience, because we all know, no roadie for any indie rock band can afford to spend $4 g's on a pair of pre-distressed leather pants. Either way, I think they struck the right balance with this collection, and at least until I see the twins prance out together in the last frame, I am willing to suspend my belief and trust that these models actually are pro hockey players heading to a club for the evening.

Sorry guys, you lost me there.

Apparently, rough-and-tumble also struck a chord with Jean Paul Gautier in Paris. His boxing match themed collection sent out some interesting takes on gym clothes accessorized by bloody post-match style cuts and bruises.

Just when I start to think fashion has lost some of its fun, I remember that this guy can truly put on a show.

Note the padded shoulder details - again, this is menswear catching up to the shoulder trend that has dominated women's clothing in the past few seasons. I love the futuristic look of this jacket - cropped, minimal, with a sense of utility implied by the padding on the shoulders.

Chic sweatpants?!?! Frankly, I never thought it would happen. This look changes my mind - I could see myself in a pair of grey drawstring sweats, slim in the hips with a bit of flare at the bottom of the leg, tucked into my tassel boots, with a slim cut blazer on top. Hmmmm.

The double breasted blazer in sweatshirt fleece over some slim jeans could be a cool look as well. Let me try a couple of these out and get some pictures up.

Justin Bobby, anyone?

JPG himself got into theme with some battle scars.

And Now......to PARIS!

Well, remember all that jibba-jabba about Fall 2010 being about a reaffirmed masculinity?

..... those are some tasty words.

If Milan is a motorcycle riding, playboy bachelor, then Paris is a well-heeled creative/intellectual with a serious girlfriend.

Let me begin to illustrate my point with Louis Vuitton.

Of course we expect luxe fabrics and expert tailoring from this house, but there was a certain woman's touch this season that gave me fresh eyes for the collection.

I'm not sure what the inset is on the waist, but this nipped in silhouette could look even more beautiful and sensual on a woman.

I LOVE the shoulder detail here. Once again, I believe we're seeing a women's wear influence in the use of this detail. It's interesting, I started playing with this type of transition across the chest and shoulders in my own sketchbooks several months ago. I was thinking of a woman rising out of a pool of water - that sensual moment when her head and shoulders emerge, but the rest of her body is still hidden. It's lovely to see it executed with such elegance in men's clothing (also the construction of the shoulder on the 2 coats with leather is so masterfully done - you hardly see the seam at the cap of the shoulder, which really lends itself to this illusion of rising out of water.)

The knit shawl collar on this jacket is a welcome surprise. I love the idea of wearing a tailored piece with as much ease as a cardigan. Does it come in my size???

I could see any of these pieces on a woman - effortlessly worn with style and elegance. It's refreshing to see such sharply tailored clothing styled with ease - movement in the shirting, the pants tucked into the socks (This tailored trouser with ribbed cuff is something we've seen on the Lanvin runway fall 2008 - I feel this season the timing is better, no doubt because Lanvin eased us into the idea of it). It's both pulled together and personal. It tells of a man who is completely comfortable in himself, confident in his clothing - not trying to fit into a mould of prescribed costume.

Even these shoes are on trend for what's going on in women's footwear. It has that clog-style wooden base with nail head construction and the still-going-strong hiker boot look - slap a stacked heel on it and you'd have them flying out of the Saks shoe floor.

All in all, I think this Louis Vuitton collection is one of my favorites of the season.

Another collection that his on this feminine/masculine theme is Yves Saint Laurent.

The tasseled sash on the jacket and coat is chic, fresh, and wearable enough to actually see hanging on racks come September. It's also very feminine - tailored and sexy, not unlike the styles presented on the Balenciaga runway for Fall 2009. The pleated tail shirt would look great on a woman - as a tunic, with semi-sheer tights and pumps, or ankle boots.

There were a couple of mis-steps:

I don't now any man, who wears men's clothing at least, who would be a fan of tweed opera length gloves. On the other hand (no pun intended), sign me up! Also, as strange as it looks here, a catsuit in menswear fabrics- low cut, nipped at the waist, cropped leg - could be a great alternative to the traditional pants suit for a woman. Just a thought.

I'm a big Rick Owens fan. His clothing is so innovative and modern - you could throw on one of his jackets over your regular old jeans and t get up, and you're the epitome of futuristic cool.

His most recent collection is no exception.

I believe he has redefined the modern silhouette. Tight shoulder, long, flowing hem and, slim leg and sleeve. It's all about creating this sense of length - the high collars elongate the neck, longer jackets stretch the torso, boots lengthen the ankles and legs. This is the best argument made for a longer suit jacket - this one is tunic like in length, and layered over that long sweater, it transforms the proportions of the wearer. Imagine that with a dark jean and high heel ankle boots and a large hobo bag on a woman.....*sigh.*

That asymetric jacket in the center is heavenly- from the way it folds, I'm guessing it's shearling. It looks absolutely buttery. This could also look great with a dark harem pant tucked into boots - you'd get a very interesting silhouette, slim and tailored at the shoulders, long torso, a bit of volume around the ankles.

Finally,

Prada seemed to be the only Italian show to break the uber-masculine mould.

Sharply tailored pieces, with more than a dash of 60's London flare. The jacket and coat look as if they could have been cut from a cotton moleskin, which gives is a very polished shape. There's a charm in the flared trouser, paired with the chunky ribbed sweaters, that look as if they could have been borrowed from the girlfriend. That hot pink one might be a hard sell at that length, but if it hit at the hip and was worn under that nicely cut black jacket, I could see it being worn by an arty 9-5er, maybe an architect or graphic designer.

Oops...I lied.....

So I guess Tim Blanks is still around.

I found a truncated version of his usual review on style.com, of all places.

Of the shows he reviewed, he and I agree quite throughly, with one exception - I am actually a big fan of the use of brass military buttons as embellishment on the sleeve of a beautiful navy trench and in place of epaulettes on a sweater (Burberry Prorsum). Tim thought otherwise: "The odd fashion flop—those brass buttons used as epaulettes on a sweater, for instance—could be forgiven in the light of the master class in precise military-influenced tailoring that Bailey gave us."

That's ok, Tim .....I'm just glad to see he isn't gone after all!

The Men are Back in Town

Note the absence of "boys." Looks like little guys are out of luck this season - it's all about real man muscle for Fall 2010.

I just started checking out the Milan menswear shows on men.style.com, and wow - what a departure from the tiny, mod boy of the past few seasons. (By the way, what the heck happened to the collection reviews????? They seemed to be replaced by a pretty lame summary of the company's history called "The Brief." What happened to Tim Blanks?!?! He's the only critic I've read who had anything resembling an intelligent perspective on Thom Browne. But I digress....)

I have to say I welcome this swing of the pendulum. I am all about a strong, more substantial male silhouette; I don't know a single woman who wants her arm candy to look slimmer than her.

First off - Dolce and Gabbana. Now, they have always been big proponents of an unabashedly masculine aesthetic, but their style as shown the Fall 2010 collection couldn't have been more well timed. Their typically large shoulder look surprisingly fresh. I'm also glad to see the longer suit jacket - It is still slimming, but better proportioned and I imagine that it would be more forgiving on different body shapes.

It's the same silhouette they do season after season, but some how for Fall 2010 this looks especially fresh - how do they do it?!

The length is right, the shoulder is well fit, the armhole is not too tight, so the sleeve is a bit fuller at the upper arm. I could do without the spagetti thin lapels, but I'll guess that what ends up on the rack will be less extreme. I also love the way this fabric is hanging - it looks as if it could be a hard finish felted cloth (especially the first one), or something very tightly woven. Softer folds, no wrinkles. The way a jacket cut from neoprene might look.....which is a great idea! Maybe I'll try that myself.

I'm not often a big fan of the double pleat, but in this fabric it's quite chic - I wish I had a pair. Wearing this really means making a sartorial choice, a deliberate style statement. Almost as chic as the single inverted pleat trousers Josh is fond of. :)

Even Jil Sander is embracing this fuller shoulder silhouette:

Yeah, it's a puffer jacket, but the sloping shoulder says it all. Notice the fuller upper sleeve on the suit jacket - this is not at all what we've been seeing the past few seasons!

And you know it's a big deal if Burberry Prorsum - flag bearers of the mod slim suited movement - embraces the fuller silhouette trend as well.

Full shoulder, nipped waist, longer hem. Even the boots are more rounded, less shaped. Everything has gotten softer around the edges.

And these are just so cool.......Making embellishment masculine. I love that Christopher Bailey can continually think of new ways to reemphasize Burberry's military history. The gold buttons as epaulettes - Brilliant! (And further emphasis on the shoulders as well - this is definitely a theme! The guys couldn't let women have all the fun....they're finding different ways to catch up to the shoulder trend that has been dominating women's wear for the past few seasons.)

Also on my radar - Costume National! I admit, at first I clicked right through the collection. But then something caught my eye - there are some amazing textural things going on here. Again a softness around edges - I can't emphasize enough what a departure this is from the past few seasons! - a slightly fuller silhouette, longer hems.

But what makes this collection stand out is the mash up of textures:

Ombre felting?!?!?!?! I could be making that up, but this is what it looks like to me. And the basket weave felted onto the suiting wool - wonderful. Surprising, textural, unexpected. I can imagine the feel of the suit in the center picture - smooth gabardine, seeming to grow fuzz as you slide your hand down the jacket. Like moss growing on a rock. All of the sudden the grey 3 piece suit is modern, fresh, and a little bit rock and roll.

The different materials are so well integrated into these coats that it becomes purely a textural study. They are chic and modern, and the insets add interest as opposed to being distracting.

I can see the coat in the center being incredibly wearable with a number of different outfits - anything from jeans and boots, to a navy suit. The fit, combination of fabrics and unique color could instantly modernize any look. Do they make it in my size??????

I'll keep checking out the shows!