Israeli designer Hed Mayner continued to explore men's fashion classics with the desire to subvert their role as indicators of social status. This season, his starting point was a large vintage tailor's mannequin that gave the clothes a worn-in look; In the same cases, they were literally designed to look like the former owner's body still resided inside.
The mannequin “became a ghost in the studio. We call him Adam,” Mayner said in introducing him. This season he eschewed the runway format, given recent events in his homeland.
Instead of using the cut-and-sew techniques of traditional tailoring, he shaped his fabrics around blocks inspired by said doll to sculpt their forms, creating rounded elbows and voluminous, stooped backs on tweed jackets and wool raglan coats.
Clever pleats and pleats created a mix-up of collar details, enhancing the sense of being loved, and a coat with the appearance of striped fabric was actually made from a printed stretch fabric to ensure the lines followed the perfect shape. The shirts had rounded sleeves to fit neatly inside their outerwear cousins, and a special heat process was applied to the thick fabrics to set their shapes and give them weight and texture.
The pants were wide, tied at the waist and featured exaggerated pleats and deliberate falls at the knees. “The concept was more difficult to apply to pants,” the designer admitted. “It was mainly concentrated on the knee.”
By conceptualizing the familiar, Hed Mayner offered a clever sartorial offering of imperfectly perfect (or perfectly imperfect) clothing.
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