Thus the tie is anymore mandatory support

Don't be afraid. The grand return of the costume and the jacket, a Word from the formal, is not a sign of regression into an era ante-giscardienne, not a reverse violent towards stereotypes small bourgeois-l' apologia for the white collar is not development, the fight of classes does not pass by the cloth. No, it's rather a renaissance in response to the 1970s and following that saw the birth and then the height of the sportswear - the giscardisme is also a eulogy of velvet and tweed at the corner of fire. The collateral damage of this domination are always visible - the first sale of male clothing is Decathlon (source: French Institute of fashion). The casual appeared to have won this war of the buttons on the symbolic and economic fronts. Not only Savile Row lost by court the privilege of the bespoke (custom-made) designation, but the tradeshow of the Pitti in Florence, temple of the formal, had to open its doors to the sport and street wear while Friday wear wins new label. But the fight changed soul: like their fathers had killed their broodstock daring the sportswear, new generations trucident this neglect father's post Frenchman daring to the formal. And the tie costume becomes the aesthetic attribute of their revolt without revolution.

To true, the return to grace was initiated, side podium, by Hedi Slimane. The elongated silhouette he created at the turn of the century consists of black costumes to the narrow armholes of tubular - inverted collar or shirts small collar - laid with fine and long ties. A very rock attitude embodied by the groups on the British scene, in the Franz Ferdinand to the New Puritans, the Libertines and their leader Pete Doherty. This neo-indie look is said then from Tokyo to London, via Hong Kong and Paris, as the first overall men's silhouette since the jeans.

Since Hedi Slimane has left side pins... But the fashion seed was sown. Add a return to grace of tailors of district proposing the provok less expensive than the luxury ready-to-wear. take consideration pointed brands such as merchant Draper or Melinda Gloss deploying contemporary formal rooms at tight price; reinvigoration of a bit of economic crisis. Remember that in humans, the tailor know-how remains a powerful determinant of purchase; then the grunge died with Kurt Cobain, and Justin Timberlake is the very best in portable and not dull coat for the 15-29 years... Is it to say that this new formality is reserved for the androgynous enough to slip into the any tubular body Of course not. The silhouette is now less corsetée and work on the comfort of cuts and materials give them more comfort.

This is obviously true in Dior man where Kris Van Assche pursued the partition initiated since the previous season: the deconstruction of the costume. This winter, the horsehair to tell more, camel hair masks in the transferring of the parts. And the silhouette has never had as much structure and fluidity. Jackets swathes are thus transforming collar, and the Frank edge - that is cut to the chisel, without hem - splashes sense number of proposals: because that is the Frank edge or a tribute to the material to hand cutters and tailors as a sign of revolt against the conservatism and the need for the garment "finished" Signs of these times of revolt, great tailors also derive this thread. At Lanvin, Lucas Ossendrijver provides heart joie for cutting and jackets of the costumes. And in Z Zegna, the contemporary line of the great Italian filateur, Alessandro Sartori Mania free cutting passes, but also on the folds and seams, as to better highlight the art of patronage.

Necessarily should be decided in the heat Non. The néo-formelle silhouette is not dogmatic. It seeks in essence to free themselves from the codes too marked and alters the proportions. Thus, Giorgio Armani escapes the straightjacket with a trick very House: cuts further Pant and velour - it does not - gets to give the psychologically... Dare Stefano Pilati for Yves Saint Laurent, costume-bib: this is quite radical. By contrast, Dries Van Noten plays more subtly line. It thus marks a trench of a black Welt volumes, points out the sizes in around. The contraction of the abdominal belt is doing well: found in St. Laurent and we are going to the strangulation by strips of cloth or leather with Lanvin links. New formalism also enjoy the random - like the offset of closure of the costumes and other jackets cross-Raf Simons, closures lightning of Tomas Maier at Bottega Veneta - or alternating...

Thus the tie is anymore mandatory support. It can probably be fine, on a small pass, as in Paul Smith shirt. But it disappears just as readily as in Canali where a scarf are overrides. Leader in the matter Veronique Nichanian. To true, the artistic director of the human Hermes did not wait this winter to boost blasting - toned down and with the smile - all codes of the formal 24 Faubourg sellier was a priori champion. Thus, in a House which non-negligible turnover is based on one of the myths the strongest of bourgeois formalism, the tie (750 000 units sold per year while), it often decides to remove it and replaces it with giant squares and diamonds of color. A success which the hype overtakes with appetite: HERMES has thus to edit a limited series of setae that snapped up fashionistas with concept store colette. Season after season, Veronique Nichanian done by keys, including color - such as pepper and amaranth this fall. The audacity this season Happen under the jackets of cashmere flannel shirt. Bare torsos Véronique men No, in winter it passes them, even skin, col rolled effect sham or ras neck cashmere flannel sweater.

This association says as a trend heavy néo-formelle silhouette. Logical, it combines comfort and construction. The severity of the Cup, the jacket, costume or mantle, is associated with fluidity and flexibility of the mesh. From Paris to Milan, it provides heart joie: Viktor & Rolf and Paul Smith can propose a wide shawl collar, Cerruti and Gucci opt for low V, Christopher Bailey remains faithful along neck at Burberry Prorsum, as Kim Jones in Dunhill. This woolly profusion, include the obsession of the proportions: the pull it is short, stopping just above belt for, once again, note the size. Prada said with the prettiest associations of the season on collar of shirt open, while Paul Helbers for Louis Vuitton also knitted, but guard the tie, that everything suddenly hang-ups. The result A silhouette that outlines its future plans... and whose rigour is broken.

This very built relaxation exists to the toes. When a House as serious as Corneliani scrolls, in January last in Florence at the Pitti Uomo, its models by inserting the bottom of the pants in an extra-sportives leather boots, is said to be watch the feet. And there, the shock: far from the Welt to the Italian or the English, it faces a deluge of urban boots, cross-country ski footwear 1930-like. The very Milanese Brioni in plays like Boss, Tomas Maier at Bottega Veneta, or the English Kim Jones who punctuates his winter Dunhill intent... It is from the chichiteux dandy, or athlete's 1930s - even if it has a little printing to Megeve in the Baroness Noémie. No, the sole broad and Frank says as a moral statement: all may well collapse, keeping feet firmly on the ground.

And the color of winter said nothing else: anti-mode par excellence, it is permanent, more reassuring than a savings account: the beige with a predilection for its camel variations. From Prada to Louis Vuitton via Ralph Lauren, of tienne and others, this hue illuminates a urban palette of grey and asphalt. Dare it remains minimal risk taking as it is historic. Still to play the details referred to above to break the austerity. Or not. Who said that the néo-formalisme was an ideology