January 2020 M T W T F S S « Aug 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31
Tag Archives: Patrik Ervell
In a 1994 DKNY Active campaign Rosemary McGrotha and Marc Vanderloo define their ideal duo of the mid 1990s: urban, active, and in-shape. The graphic language of the runner uniform becomes the idea look for a hyper modern metropolis.
The late Steve Jobs is pragmatically dressed in an Issey Miyake mock neck pullover and New Balance sneakers, sporting a look as integral in synergizing technology and lifestyle in the midst of the Information Age as any of his Apple innovations.
It’s no secret that active wear has steadily made its way into fashion semantics over the last 20 years, just as sportswear became a part of everyday dress decades before. From Nike to Northface to the genre defining Y-3, clothes designed for comfort and performance have been readily adapted into symbols of status, community, and progressive lifestyle. For fall 2013 some of the keenest menswear designers in the U.S. and Europe took inspiration from the world of athletics and its contemporary uniform: zippers, nylon, heathered grey jersey, running sneakers — no longer for the gym or the track field, they aspire to a modernism based in practicality and necessity and an acceptance and admiration of technology as a means to better one’s life. The last time this spirit got such a potent and fleshed out treatment was maybe in the mid ‘90s when DKNY pursued the active look to define their urban centric ambitions. That this language enjoys such a fashionable revival just as we come to terms with our totally engrossing technological dependence, just as dial-up modems and affordable personal computers offered the startling appeal of a bright bold future almost 20 years ago, is no surprise. It’s the look of Google, Apple, and Microsoft, of computer tablets and smart phones, a look that puts stock in intellectual stamina and a body that works in tandem with the mind, not against it. It is the idea of the Jock flipped on its head as athletic wear becomes a part of everyday dress, worn by a generation who seek solutions in all aspects of their life, or, at least for now, the look of it.
photographs by Alex John Beck, all rights reserved.
Never before has menswear been so developed or diverse as it is today. Traditionally conservative and slow to change, international menswear design has grown exponentially in the last 15 years, rivaling its women’s counterpart in conviction if not in creativity. This has not gone unnoticed in New York City as a new crop of designers submit their own take on contemporary men’s dress.
In an effort to open a dialogue about what these new paradigms might be Garmento zine presents “Coversations in American Menswear,” a radio-style interview series held at the Museum of Arts and Design. For four nights Garmento founder and editor Jeremy Lewis will engage four of New York’s most intriguing and compelling designers to find out what it is that makes them tick. While each of the designers live, design, and have shown their work in New York, none of them are American-born. As the series investigates new discourses in American menswear, it will also attempt to find out who the new “American man” actually is.
All talks will be held in the second floor galleries of the museum and are free to the public. The Museum of Arts and Design is located at 2 Columbus Circle New York, New York, NY 10019
“Conversations in American Menswear” is a part of MAD’s After the Museum: The Home Front 2013. For the complete schedule of events and exhibitions please visit: http://www.madmuseum.org/series/after-museum
“The fantasy and platonic ideal is to appear effortless, to encourage an erasing of affectation.”
– from JUST FOR A DAY by CYNTHIA LEUNG in GARMENTO ISSUE 1
Cynthia wears an ensemble by Patrik Ervell. Photography by Alex John Beck, styling by Jeremy Lewis.
The triumphantly reserved repetitious drone of Terry Riley makes a fitting soundtrack for Patrik Ervell’s Fall/Winter 2010 collection and the parade of pubescent boys he showed it on. The clothes, like the music, speak to a minimalist desire (a cause but not an effect) to relinquish references, a tabula rasa, a foundation for one’s unique identity to shine. For Ervell, the new masculinity is not rooted in subcultural subversion or a reversal of body image lexicons, never anything so obviously “cool”. It is the noble tension of the extravagantly mundane, the proudly plain, without affectations or compromise.
Backpacks and ball caps, Ervell riffs on boyhood naivety through his own sartorial subversion.