Touches of colour to change personality. The subject of colour in menswear has been took on, exploited and enhanced by every fashion journalist, depicted in every way by fashion editors: we keep on doing it because red, yellow, turquoise, orange, blue, mustard and saffron yellow carry on dictating the pop trend for men. Designers offer several ideas that light up fantasy: we really want to break up grey or blue with a coloured pull, maybe matched with the briefcase. While colours of suits and coats – in the majority- stay on traditional, knitwear, shirts, ties and a lot of leather accessories brighten up the outfit and suggest new ideas. In this multicoloured scenario, the sportswear plays at home; and, infact, the outdoor wear does its best in the surprising fusion between colour – usually associated to technical fabrics like nylon and lycra – and fine fabrics, generally used in casual-chic wear. An example? The beautiful sweatshirt made of cotton piquè (the fabric of polo shirts) by Lacoste and protagonist of the published picture. The shot effect, intentionally overexposed, enhance the garment’s fashion content but tricks us about the quality of fabric that is, indeed, really elegant. In this picture by Francesco Bertola for max.gazzetta.it, the songwriter Giovanni Caccamo wears a total look by Lacoste.

Fashion shows have become performances, live “narratives”. Yesterday unvarnished fashion walked the runway; today, set-up, music, lights and even invitations immediately introduce in the collection’s mood. Years ago all designers modeled in the Fair’s old location: the same halls, white walls, chairs and catwalks. Dolce & Gabbana were among the first to change location. In 1995, still in the old one, they displayed damasked for men: the idea of buying and restoring the old cinema Metropol wasn’t in their projects yet. Today, thanks to the magnificence of a (ex) movie theatre changed, by necessity, into a hall inspired by Visconti, that mediterranean romanticism is celebrated with a much more affecting intensity. Opposite feeling at Prada, able to surprising intuitions: every season her space changes scenography, and every time is a surprise: nothing shines through, not even from the invitation. In 2011, when she changed her fashion’s direction suggesting bright colours, a catwalk made of steel tubes and lighted up by neon lights. Two examples of excellence, totally opposing and totally brilliant. Above, from left, an outfit by Dolce & Gabbana (from Bazaar Uomo, 1995; ph. Rennio) and one by Prada (from max, 2011; ph. Tesh).

And now the male wants to be eccentric. This week’s picture evokes lightness and summer atmosphere; it’ll be more appreciated by who’s leaving for holidays now, than who’s already come back. The three-dimensional photographic expression, given to this shot by Giovanni Gastel, gives back a kind of vitality not common in fashion pictures published on italian magazines, where the subject’s staticness usually wins. The 2011, year of this photo’s publication, and more precisely that spring/summer, represents a turning point in fashion, that from then on admits -even to male apparel- an agility sign that has gradually contaminated the formal dress: colours and prints, that literally overturn the classic austerity, have created a trend loved by a younger and international public. In collections sold now, colour shades are duller – especially on printed fabrics- and, for next summer, patterns will be more geometrical while colours will remain quite bright. Do we have to expect a U-turn or has eccentricity strenghtened not to give way to total-black return? Picture from Style Magazine (May 2011); jacket by Etro and scarf by Alexander McQueen.

In a fashion shooting production, the stylist mixes clothes and sets them on the basis of his creativity. The fitting of the picture I’ve choosen for this week seems to be a risk: it’s known that two overlaid jackets actually don’t represent an applicable outfit but, in situations like this, wherein the subject has a thin build and blazers are made by soft and unlined wool, the final effect is really interesting. That man reader, little used to editors’ flair and fashion’s oddity, doesn’t have to think that these suggestions have to be taken to the letter: stylist’s skill stays in catching the reader’s attention on fabric’s beauty, prints’ opulence and – why not – photographic effect, that in this case is worthy to be included among those shots that will leave a style mark in fashion photography. In this shoot by Miano, side light creates shades on the actor’s (Fabio Tameni) face and on clothes (by Paul Smith), giving back that magic that only good photographers can give. If you feel like browsing books about great masters – from Irving Penn to Mario Sorrenti- you’ll find the same charm, the same splendour. And the same elegance. Fabio Tameni in Luigi Miano’s picture for Max.gazzetta.it. Clothes by Paul Smith, October 2012.

When the coat becomes an accessory. There are very strict rules about clothing: for example, the last button of the jacket must be kept unfastened and the single-breasted suit must be buttoned only if we wear a coat or a trench on it. But the dress etiquette is more open-minded than yesterday, easing a wider freedom of choice and manners, because fashion, also male fashion, is for its definition renewal and change. Some time ago I read an article written by a colleague, that deprecated some details, two of which particularly stroke me: absolute no to polo shirt’s lifted collar and to the coat (or jacket) leant on the shoulders. I completely agree with the first one: the lifted collar is a sign of ostentation and arrogance, moreover of little refinement. The outerwear leant and not worn, that is usually  a result of a temporary situation of comfort, can reveal a certain kind of nonchalance that disgress in dandysm. A self-conscious posture can afford to wear a piece of cloth as an accessory: it could be a very chic attitude, especially if the subject is chic. Aaron Olzer, photographer and movie-maker, in a picture by Luigi Miano for max.gazzetta.it