R13 Resort 2018 – New York (overview)

R13 Resort 2018

(Image from Vogue.  Credited to R13)

As noted in some of the Spring Summer 2018 shows from London to Paris fashion week/s. The retro styled punk look, pre 1980s is emerging as a possible (slight) trend for 2018. Or at least an attempt at setting down a renewed interest, despite the lack of originality of a designer choosing to source a style developed over 40yrs ago.  In which it was based on reconstructing formal styles within a DIY ethic. i.e blazers, formal looks – that were cleverly, back then, recreated to promote an original and very unique ‘anti-establishment’ look.  A style that set the groundwork for second rate imitation ever since, but without respect in noting the history of a very brief period in early punk rock, less than a couple of years from 1976 to 1978 – it was that individuality  which in turn was able to display a style that had never been seen before.

The brand R13 have attempted to recreate these bygone styles from many years ago.  But neither is it ground breaking or original.

Disappointing, when fashion is short on new ideas and/or is pandering to department stores that may be dictating styles for their catalogs.  The unfortunate plundering of past concepts that were, as mentioned, unique and original for that time in history, maybe more of a cultural detriment than we realize.

The exegesis of Philip K. Dick – hacking the hero’s journey: Richard Doyle

This is great, Professor Richard Doyle breaks down Philip K. Dick’s “Exegesis” word overload, in it’s laboriously written project that helped PKD achieve pure consciousness or a meditative state; in science, this can be seen when the frontal lobe, parietal lobe and occipital lobe begin to slowdown. Thoughts decease and in most cases dissipate. You enter a state of calm.

Y-3 men’s Spring Summer 2018 – Paris Fashion Week


(Images: Monica Feudi / Indigital.tv via Vogue.com.)

Being a master designer like Yohji Yamamoto there is at times a worn out disposition, having a brand that works within three separate dynamics.  Each aspect carrying the Yamamoto design imprint.  To maintain it’s integral aesthetics would be hard – even for a master like Yamamoto.  The main signature label (Yohji Yamamoto), Y’s, his womens designer brand and Y-3, the collaboration with the sportswear corporate giant Adidas.   At some point, one or the other of the creative spread will be diluted in it’s creativity.  This would be his collaboration with Adidas.

“Street wear” to save face, as a term that evolved out of the skateboard scene of the late 1980s when it merged with hiphop, is to mature it.  The adolescent sellable looks which dominated sports/street markets for the last twenty years, were able to maintain this lack of maturity and it’s aspirations of the sports star and drug dealer (or a combination of both).  The tedium only works within the boundaries of the neurotic child.  Unfortunately after a 15 year relationship with Adidas, Yohji Yamamoto, who on many occasions has been able with Y-3, to create a discernible, mature and at times the risque as far as reworking basic ‘street’ style or sports looks under a corporate banner. Unfortunately, with this SS2018 collection, he has succumb to the basic, the boring and the tedious of sports/street wear with his 15 yr celebration as a designer for Y-3.

Y-3 men’s Spring Summer 2018 holds a array of basic cuts and styles with Adidas stripes galore.  A fusion of stripped down 80s hiphop styles and basketball court looks.  Nothing groundbreaking or remotely striking.  What does work, which has in the past, is  Yamamoto’s styled blazers, jackets and draped style shirts and one piece dresses.  Also his print designer Taishi Hayashi unique palm designs.  But, this has been done many times before with previous Y-3 shows.



(Hubble telescope image of the Milky Way’s nuclear star cluster.  This region is close to the center of our Galaxy, a packed in dense part of space that is home to half a million stars – a ‘million sun’  cluster that surrounds the Milky Way’s supermassive black hole. Image from: http://hubblesite.org.)

Stare into the Universe. It’s there to be observed. To watch. To study and understand. We have learnt so much since the science of relativity and it’s quantum levels of existence. The chaos against an order. That is still within the realms of mystery. The nature of reality is yours to embrace. Not to give away. The information, which in turn does end up consuming it’s self. Fragmented parts of memories. Most, without ritual, become burdensome. The ritual you may ask is simple. Turn off, clear thoughts with no thoughts. See without seeing. With the mind open, the imagination becomes pure.  As does the consciousness.

Boris Bidjan Saberi men’s Spring Summer 2018 – Paris Fashion Week




(Images: Kim Weston Arnold / Indigital.tv via Vogue.com.  Used in promotion of Boris Bidjan Saberi)

The quintessential  ‘conceptual ‘ fashion designer is Boris Bidjan Saberi.  A clear devotee of science fiction concept art transfused onto a runway dynamic, that can be seen distinctly in all of his prior collections.  Which, in my opinion, cannot be faulted – as it is a distinction that has not be rivaled by other designers.  Please refer to my previous reviews of past Saberi’s Fashion shows.  It is an important visual discernment if you are a observer of fashion,  that when a designer begins to change direction, sometimes too rapidly, they can break the momentum with their ideas and what they’re trying to portray to the viewer.  Saberi has maintained that focus in his unique signature brand of aesthetics.

Boris Bidjan Saberi men’s Spring Summer 2018 in turn is very similar to his SS2017 titled “Post-Humanism” but not as stripped down, despite the heat of a Parisian summer, rather Saberi’s SS2018 is heavily layered, with it’s insulated styles.  Once again, as mentioned in my SS2017 review, this current collection is more akin to costume design ala science fiction movie influenced.  Also noted, as with other avant-garde collections for men’s Spring Summer 2018, there has been more of a ‘utility worker’  inspired trend as far as newer styles being injected into this year’s fashion week.  Being a science fiction fan (and writer) I can see the influences for Saberi’s SS2018 collection, one could speculate on his direct inspiration, without pinpointing to a specific.  However Saberi (as seen, once again, in tune with the other avant-garde SS2018 designers) has maintained a militaristic cue –  utilizing the adaptive aspects of camouflage in fashion design.

Heavy cottons, canvas, wool, linen and leathers, not quite the materials for a Spring Summer collection, still, with the models geared up and layered, ready to work in our future cities –  while the Earth’s climate finally goes critical.  Protected and camouflaged by reinforced jackets and heavily knotted wool vests.  Stylishly draped and rugged clothing, as a backdrop, for the post-collapse of broken and retrofitted infrastructure.    The color palette is mustard yellows, washed out and distressed browns, greens with elements of sunglow inspired orange.

Rick Owens men’s Spring Summer 2018 – Paris Fashion Week


Rick Owens Men's Spring 2018

Rick Owens Men's Spring 2018

(Images from Giovanni Giannoni/WWD. All rights.  Photos used in promotion of RICK OWENS)

Rick Owens is a designer living in his own creative paradox.  As fashion on a global scale, like most industries in an monetary inflated world, is now overblown.  Excessive and in most cases pointless.  Originality, uniqueness and challenging designs have been suppressed with aspirations of fame – without the effort.  Such is the time that we are living in where everyone, as Andy Warhol once said, will get their “15 mins of fame”.  To maintain influence and prestige in fashion, to those who have made it, such as Owens, one needs to, rather than push forward when he/she has already succeeded, is now to contradict.   And the contradiction is from the self, which means you can change ideas, even it confuses the fan base – but at times this is a healthy disposition.  Homogeneity, which is the biggest curse against creativity, as an idiom could be seen for the bases in a sociological argument that globalization has failed.  It will be the designers, the creative that will see this before the highly strung academia.

Rick Owens Spring Summer 2018 presentation at the Palais de Tokyo is once again used as his favorite venue, but rather than using the brutalist concrete (encased) basement that he has for past shows.  For his Men’s Spring Summer 2018 on a hot Paris day, it is the exposed monolith, runway creation – a homage to Owens interest in architecture and structure.  The scaffolding fixture, that fits securely as a foreground presence against the historic Palais de Tokyo, maintains Owens quest in a renewal of design.

There are conflicting sentiments expressed with Rick Owens for his SS2018 collection suggested that ‘civilized formality’ is due.  In reference to use the ‘blazer’ style.  In a contradiction of  fashion terminology, as one of the leading Avant-garde designers in the last twenty years, looking at the blazer as a civilized aesthetic.  Holds a creative confusion more than anything else.  I am a big fan of blazers, within formal wear that are the epitome of homogeneity in corporate attire.  When broken down and remodeled they become a punk inspired fashion, seen as early testaments of the style in London 1976 – before leather jackets became the stalwart punk rock aesthetic.  However, fashion as anti-establishment,  is now a term which holds very little meaning politically in a polarized world.  While we struggle to know what the “establishment” actually means.  It is, like discussed, the contradictions, which can be distinctly based in fashion, as reworking of visual impression can create the ambiguity – that makes you unique.

Despite the grandiose setting, Rick Owens Spring Summer 2018 collection is minimalist in it’s array.  Pieced together functionality, tight shorts, with construction/tactical style utility rigs/bags wrapped around the models waists and legs.  The military ‘tactical’ aesthetic appeal, which is obvious, has been seen in collections from other designers this year.  Combat inspired attire.  Possibly influenced from the amount of anti-terrorist police and soldiers on the streets of European cities.   Owens’s SS2018 collection is broken up into two parts, the rugged futuristic street apparel, stylized with a utility and tactical appeal and the more refined ‘Blazer’ styled formal wear.     The palette lies within Owen’s usual color range, neutral blacks, grays and white.  With slight browns and light blue shades.

Julius men’s Spring Summer 2018 – Paris Fashion Week





(Images from http://theimpression.com.  All Rights.  Photos used in promotion of JULIUS)

We want tough guys, antiheroes, rogues, rakes and rebels.  Not ‘safe places’ and hashtag diplomacy.  The world, is at times, a dangerous place and you gotta know how to adapt to it’s magnitude of contradictions.  Governing systems don’t always serve in our best interest.  As the great warrior Miyamoto Musashi (宮本 武蔵) once said “Do not sleep under a roof. Carry no money or food. Go alone to places frightening to the common brand of men. Become a criminal of purpose. Be put in jail, and extricate yourself by your own wisdom.

Julius Men’s Spring/Summer 2018 Paris accentuates that feeling of the strong willed survivalist. Creative designer Tatsuro Horikawa has ensured that his unique take on the Avant-garde is intact as seen in an determined masculine feel.    There is a raw, unforgiving impression cast with this SS2018 collection.  Set in an underground, sweltering Parisian car park, as undoubtedly art reflects the social dynamics of our times. Western cities living under the spectra of terrorism, a new cold war and the associated ‘proxy wars’ between countries in the Middle East, Eastern Europe and Russia.  With us, caught in the crossfire, before the boarders of  war are clearly defined.  Why wouldn’t contemporary aesthetics reflect this pressure-cooker?

Tatsuro Horikawa has brought in the harder aspects of street style fashion under the Avant-garde banner.  His talent as a seasoned designer has shone through with this Spring/Summer collection.  Black vests, combat styled boots, leather and what looks like polyamide shorts, also seen as a material on bomber jackets and coats.  Military inspired pants and colors, mixed in with a street punk look.  Risky in someways, but delivered well by Horikawa.   One of the standout pieces was the Reseda green tracksuit, styled as a take on the High Altitude Suits of fighter pilots, once again Julius has found influence within the militaristic aesthetics with his SS2018 collection.   Other colors noted are orange and burgundy/purple which sit well against the neutral achromatic

Julius Men’s Spring/Summer 2018 Paris, as similar to previous seasons, maintains it’s dystopic vision.    A perspective that is culturally evolving under the Julius banner.  Art is not about being pretty, it is, and always will be about the portrayal of the bold statement.