Inspired by American photographer Slim Aarons’s motto of “photographing attractive people doing attractive things in attractive places”, the presentation of the collection attempted to create portraits of men unwinding on a balmy Sunday at their favourite club, in cosmopolitan resorts with live jazz drifting in the air, enjoying a picnic amidst nature, or playing outdoors sports such a badminton or croquet.

The collection relies on bright colours such as fire-engine red and sun-kissed yellows and ochre that evoke the Tuscan countryside in Summer, juxtaposed with water colour hues, from aqua to ocean blue. Shapes include the ‘Jardigan’, one of Brioni’s key pieces for Spring/Summer 2013: this is a garment envisioned as a modern rendition of a mid-1950s archival piece that envelopes the body like a jacket but with the ease of a cardigan fashioned from fine wool crepe. Another example of light-weight clothing comes in the form of an unlined blazer, whereas denim is mixed with an interlock of blue and white linen to create a slim two-button suit.

On the accessories front, a hand-entwined weave is carried out on looms with leather strips in two different colours in duffel and weekend bags, small leather goods and limited-edition lace up shoes. The collection is complemented by a range of beach towels and matching swimming trunks.

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Inspired by memories of being made to watch 1980s television detective series in their grand-parents’ homes, Agi & Sam devised a collection that explored modern menswear silhouettes against prints with exaggerated florals, pastel upholstery patterns, and needlepoint embroidery printed as trompe l’oeil designs onto the fabrics. The young designers also continued their investigation into the potential of fabric, once again using cloth made from recycled plastic soft drinks bottles as well as more traditional fabrics such as jersey, cotton and leather.

Moustachioed models (inspired by the exaggerated masculinity embodied by fictional male characters in TV series such as Magnum P.I. and Miami Vice) wore tailored blazers and trench coats in relaxed shapes mixed with casual garments such as biker jackets, and with sportswear-inspired pieces such as tracksuits and swimming shorts. The playful and elegant bold print element continued throughout the collection in the form of matching printed socks developed in collaboration with Japanese company Tabio.

After the show, Sam confessed to The Style Examiner that designing this collection was very much of a challenge, as the duo had only been allowed a three-month window to design and produce the printed fabrics and assemble the garments. However, this was a collection that was not short of creativity and technical accomplishment, cementing Agi & Sam’s reputation as one of the most promising new menswear labels in London.

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For Spring/Summer 2013, Sibling developed playful subversions of classic knitwear styles (as has been expected of Joe Bates, Sid Bryan and Cozette McCreery, the designers behind the label) that were presented in a highly stylised format by doyenne of London fashion, Katie Grand. Entitled ‘Revolution’, the collection focused on the notion that social turmoil can lead to regenerative change by uniting individuals in a collective mission. This confluence of idealism is achieved on the macro level of societal mores by bringing together the diverse micro levels of eclectic street subcultures through fashion, reflecting the coexistence of diverse ethnic and social groups in world metropolises like London or Tokyo.

To mirror the patchwork layers of eclectic urban tribes, the range of clothes proposed by Sibling mixed oversized knitted sleeveless sweatshirts, baseball pants in elegant Arabesque motifs, running shorts layered over leggings, bolero jackets, and outerwear encrusted in giant square sequins. In addition, Sibling’s deviant silhouettes are illustrated in garments such as a distorted t-shirt that becomes a four-sleeved top as a trompe-l’oeil thrown-on cardigan. Textures are accented with fluorescent pink tipped with lurex trims, and gold accents are juxtaposed against an all-white palette. Stylish hats with gold embroidery by Hawthorn & Heaney added a fine touch to the collection. And, to confirm Sibling’s command of sartorial languages (and awareness of high cultures in the history of fashion), Willow-patterned fabrics are introduced into the collection as a way to mix Chinoiserie with sportswear in a highly successful process.

Overall, this was an accomplished collection that confirmed, once more, the creative energy that Sibling has been consistently replenishing on the fashion arena in London.

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Each suite is a two-story townhouse, with a terrace for a garden and a pool with a deck. Because of the geometric position of the overall tower, each patio is able to receive tropical sunshine and breeze.

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In spite of the ambition to join the calendar of the inaugural London Men’s Fashion Week and confirm his status as one of the most influential tailors and designers in the British capital a decade after the inception of the brand, Hart’s collection suffered from wanting to try too hard to please his audience. The mood was supposed to be influenced by the exciting and vibrant urban subcultures and individuals or groups such as the Rat Pack, Miles Davis, the Black Panthers, David Bowie, and the British Jazz-Funk Soul scene of the late 1970s and early 1980s. However, the melange of influences was confusingly juxtaposed against the background of a sponsored champagne reception, a performance by a group of dancers, and a display of celebrity endorsement (that included David Gandy on the front row, and Lawrence Dallaglio and Benedict Cumberbatch taking to the runway).

As far as the garments were considered, and in spite of a few elegantly tailored suits and attractive black short-sleeved bib shirts, Hart attempted to mix traditional sartorial forms with more creative details such as multi-layered pockets, patch pockets and buttoned side straps on jackets, and utility pockets in the back of trousers. However, this eclectic approach failed to work when the back of tight-fitting jackets stood out in an unflattering manner over the excessive fabric of trouser pockets, when waist lines were virtually destroyed by oversized front patch pockets, or when crinkled fabrics were combined with crisp wool. Furthermore, it was highly disappointing to notice the lack of attention to detail on the runway, which included clothes that had not been steamed or ironed, chalk stains on garments, or the leftovers of masking tape with notes for the models.

The Style Examiner believes that this might have been a reasonably successful collection if Spencer Hart’s team had focused on choosing the right venue and on editing the runway looks carefully instead of investing in theatrical fireworks and celebrity sightings. Our guess is that Hart’s audiences will have to wait until the next runway or presentation display to investigate if any lessons have been learnt. Hopefully, the venue will be clean and air-conditioned, and the centre of attention will be the designs and not the celebrities.

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A few years ago, I was offered a couple of hearts of coloured glass sculpted by a Canadian artist as a present for a very special personal occasion. These two stunning pieces lie on a window sill in my home and reflect light in an astounding manner. They fill moments of my days with contemplation and appreciation of art in a pure, transparent way. I cherish them not only for what they symbolise but for the striking materials, hues and shapes used by the artist.

My passion for glassware started a few years before the day when I received my hearts of glass. More precisely, on the day when I visited an Iittala shop in Helsinki and admired the craft of glass moulded to the designs of Alvar Aalto. I could not resist buying an elegant ash tray that I have on display to this day even though I don’t smoke.

In the years that followed my brief encounter with this art form, I developed my personal passion for glassware as an alliance of beauty to form. I indulged in it every time there were special occasions like birthdays, anniversaries, or weddings. In London, I found that beauty translated into the work of many designers or in the shops of the Design Museum or the Victoria & Albert Museum in London. In Paris, it seems to be ubiquitous in most kitchen shops, where good design is allied to form and function. And in New York, the shop of the Museum of Art and Design sells impressive objects made of glass. The National Glass Museum in the Netherlands is also a place that offers not only the option to buy exquisite pieces of glassware but, through its hot glass studio, the possibility to learn more about this craft.

I am still not sure if my attraction to this art form has to do with the hard process in which glassware is made. I admit that, on a visit to Venice a couple of years ago, I became extremely disappointed with the manifestations of Murano glass, even though this seems to be appreciated by most people not only for its shapes but for the hard work entailed in creating them. My travelling companion then cleverly crafted the expression ‘Murano Relativism’ and I have appropriated it since then to describe this unconscious collective appreciation of gauche glassware (or any other outputs of creative trade) that lives through the ostentatious display of shape and colour.

Although complex glass or crystal shapes can be nice, I appreciate the simplicity of colour and design exhibited in objects of daily life. They tell stories that live with me, whether to dignify a special occasion or because of the beauty that they inspired that keeps me appreciating ethereal moments in daily life. I suppose, after all, that these are the functions of my hearts of glass: beautiful in their form and colours, but mostly in their delicate unbroken essence.

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In addition to traditional tailoring, the collection included long shirts that resembled Indian tunics, fitted bomber jackets, rain coats, and cardigans and turtle necks made of metallic fibres. The collection featured an abundance of bright hues such as cerise, azure blue, orange and yellow against a more sombre palette of greys, olive green and browns. In addition, a range of sandals and bags in bright colours and a glossy finish contributed to make this yet another commercially successful collection for Burberry.

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To address this dilemma, some swimwear companies have recently started producing tailored shorts that are simultaneously elegant but short and free-flowing enough to allow a good tan line and effortless swimming. Until recently, Aussiebum and Orlebar Brown seemed to dominate this market. However, there is now a new kid on the beach promenade that started producing what we, at The Style Examiner, started deeming one of the best swimwear currently available to men.

Designed and made in France, Swim-Ology’s swimming trunks are produced in plain colours or with discreet designs such as small skulls and bones, leaves, polka dots, plaid or stripes. We tried their Panama model and the verdict could not be more glowing. The shorts contain all the ingredients to make them ideal for swimming, lying on the beach, or walking around town: they are fastened by two buttons and zipped up in front, and include an internal net, an external back pocket fastened with a button, and side pockets. Most importantly, the waist line can be adjusted to the wearer’s body shape by two very secure side buckles, but always allowing for the shorts to sit comfortably at hip level. In essence, if you need to pack only one swim suit for your resort holiday, this is it!

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Entitled ‘Fleurdelism’ (a noun suggesting a cultural movement coined from ‘fleur-de-lis’, the emblematic lily from heraldic coats of arms and Scouts badges), the collection was described as having been inspired by the great outdoors and activities such as camping and hiking. In order to express the notion of freedom of movement in nature, Xander Zhou played with shape to create images of men in oversized garments mixed with more precise and fit silhouettes.

One prominent and elegant feature of the collection was the introduction of large collars that could be tied around the neck, resembling neckerchiefs worn by boy scouts. At the same time, wide colourful stripes in dramatic shapes of outerwear were inspired by canvas patterns traditionally seen in camping tents, whereas the textures of elegant silk fabrics invoked the natural patterns and shapes of tree barks and cracks on the soil. High-waisted dungarees were also introduced to suggest outdoors practical clothing traditionally worn during manual work or leisure activities in nature. The inspiration from the environment was further stressed in a palette that included woody greens and earthy browns.

If the imagery associated with nature contributed to an extremely seductive range of garments, there were many other reasons to consider this a very accomplished collection. The choice of silk as the main fabric (in various blends with wool and nylon) contributed to a luxurious feel throughout the multi-layered light clothes. Nature might have been the influence for some elements of the collection, but The Style Examiner found that the urbane elegant tailoring, the choice of a sophisticated range of colours (such as black, lilac and cream), and the dotted textures and patterns on layered fabrics made Xander Zhou’s runway show one of the highlights of London Men’s Fashion Week.

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The collection was inspired by the work of the twentieth century British painter Ben Nicholson and Russian Modernist and Constructivist art in the way that it layered geometric designs and shapes in blocks of colour and tailoring. Muted colours typical of Nicholson’s paintings and the work of Russian graphic designers and artists of the early twentieth century such as grey and taupe coexisted with brighter variations and new shapes were introduced to the delight of viewers.

As expected of Spencer, rough cottons and linens, strapped waist lines, contrasting corozo buttons, and stylish footwear abounded. The designer’s favourite and regular pieces, such as the unlined Portland jacket, the Runswick stone gilet and the Fisher jacket also made an appearance. However, unexpected details such as trousers tapered by buttons below the knee, single-pleated trousers, and new garments such as board shorts contributed to an elegant collection made vivid by a choice of bright hues such as azure blue, burgundy, olive green and burnt yellow.

If unexpected patterns such as graphic Aztec prints came across as a positive move for Spencer’s followers, it was the discreet patterns such as thin blue and white stripes and dark blue fabric with white speckles in coordinated shorts and shirts that The Style Examiner found the most successful. In footwear, new lace-less grain derby shoes and monk strap shoes also contributed to a more relaxed look than in previous seasons.

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