Man Men’s Spring 2019

The singular thesis using by a 3 collections during a Topman-sponsored Man organisation uncover was sauce up. From Stefan Cooke’s off-kilter magnificence to Art School’s High Concept Characters and Rottingdean Bazaar’s whimsical costumes, a deteriorate was positively theatrical.


Cooke, leader of a HM immature engineer esteem and a L’Oréal Professionnel Creative Award, founded a code with partner Jake Burt after graduating from a Central Saint Martins M.A. march final year.

His second tour for Man was a sentimental scrutiny of a summer holidays of his youth, energetically expected though finale in a state of ennui, with days spent doing zero though indulging artistic impulses and foraging by a dressing-up box. Maybe throwing a plume boar on with jeans and a T-shirt, maybe borrowing an comparison brother’s suit.

That meant a concentration on tailoring and outerwear, with suits detailed with inlaid Perspex studs in naïve floral clusters, a jazzy tartan garb surfaced with a trompe l’oeil cable-knit vest, and well-cut trousers styled with distinguished ostrich plume belts. It was a worldly collection that determined Cooke as a engineer with a clever indicate of view.


Designers James Theseus Buck and Luke Brooks incited bland equipment into costumes. Actual costumes. And a outcome was hilarious, if not wholly what a normal chairman would call fashion.

There was a indication dressed as a corn cob, finish with immature husk. Another wore a Christmas cracker. There was a worm, a china star, a chicken, a pumpkin, even a Vincent Van Gogh, finish with severed ear merged to his painter’s smock.

The “For Rent” placards carried by a models settled any costume’s name, and a name and a web residence of a dress store. Of course, these looks were original, not rented, and splendidly wacky.


For their final Man show, Eden Loweth and Tom Barratt sent out a collection patrician “High Concept Character,” another feisty confirmation of gender nonconformity.

Transgender models, including Munroe Bergdorf, and a different ancillary expel put on a extreme opening in looks that ran a progression from sparkly celebration dresses to kind ankle-grazing shifts. But all that brouhaha couldn’t detract from a collection that showed a intelligent eye for blurb success.

The tailoring was large and dresses answered innumerable habit demands, from a kind to a gorgeous to a officious suacy (see a dangerously low-cut strapless dress in black obvious leather).

A china trenchcoat stood out for a over-the-top elegance, while a Nineties-ish spaghetti-strap dresses in black silk and an uneven immature sequined dress had extended red runner appeal.

More dresses ...