Tailoring is having a great moment, and not just because of the overwhelmingly ubiquitous “quiet luxury” trend. However, its reinvention has proven to be a more difficult goal to achieve.
Todd Snyder clearly added that ambition to his Pitti Uomo program, which is already a high-stakes affair. Her first show in four years, the showcase held at the Stazione Leopolda on Tuesday, the opening night of the men’s fashion show, represented her first major international stage.
Relying on tailoring, he devised a reinvention of youth wardrobe, whether with proportions (loose, oversized, sometimes even voluminous) or style tricks, as in silver chain necklaces and elegant neckerchiefs, as well as as a captivating juxtaposition of surfaces and textures. .
On his mood board were photos of a Porsche 912, Moscot glasses (he wears them regularly), Arne Jocobsen’s “Egg Chair,” and a mid-century modern house located in the middle of a green garden. It is not only the lifestyle (cultured, eclectic and favorite of Millennials) that he tries to convey, but rather the mentality of the designers who were involved in the creation of these iconic objects.
Her effort translated into a craft-focused narrative, for which she linked up with Tuscany-based textile manufacturer Lyria to unearth fabrics and patterns that were worked into wide-leg shorts and oversized double-breasted blazers; high-waisted trousers with cargo pockets and stiff-looking British coats paired with the occasional short tie.
“What a great opportunity to really dive back into my craft. And that’s what Italians do so well: the craft. Craft is very important and celebrated and that’s what design is to me,” Snyder said in pre-show comments backstage.
The belted herringbone coat and matching trousers that opened the show, followed by various versions of the slightly loose, striped or mélange short suit; the gleaming, wide, round-lapel tuxedos, worn with ruffled T-shirts or unbuttoned shirts, and the richly hued velvet ensembles smacked of vintage Britannia, but were cut to perfection for currency.
Playing with textures, Snyder wore stiff leather coats and elongated blazers, which contrasted beautifully with soft, fuzzy turtlenecks. The same goes for the military-inspired shorts and silk shirt paired with a brocade coat.
The show also previewed Snyder’s ambitions for Woolrich Black Label as its new creative director. He channeled mountaintop- and hiking-ready sophistication into the line, filled with work suits, parachute pants, quilted outerwear and winter-season knits with a relaxed, outdoorsy vibe.
For several seasons, Snyder was one of the few menswear designers to show during New York Fashion Week and has had the space and stage to nurture a sharp vision of American menswear, based on a “rebellious approach to design.” ” that combines military and utilitarian references with sartorial clothing, as the creative put it.
“For me American [style] “It’s about breaking rules, breaking traditions and creating your own tradition and your own style,” he said.
Making things look good within a certain rubric, juggling ideas of old-school elegance and masterfully executed reinvention turned out to be Snyder’s main craft.
