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As Gareth Pugh continues to blur the gender line, his menswear has gradually become less affected, while conveying a certain softness. Dressed in his customary color palette of black and gray, this season’s collection takes an affection for light and thoughtful draping. Relaxed and less body conscious than previous seasons, the Pugh man is undoubtedly on the cusp of tomorrow’s fashion, but his direction is more subtle. Still however, Gareth Pugh gains attention with a mischevious attention to detail as seen in the collection’s more provocative leather pieces–often reminiscent of S&M themes and the designer’s edge factor.
Bursting into the menswear scene with the debut of his fall 2009 collection at Paris Fashion Week, Gareth Pugh has no doubt been one of the most talked about designers this year. From his rumored takeover at Dior Homme to his surprise menswear showing during Paris Womens Fashion Week, Pugh has kept us talking and will no doubt continue to do the same in 2010.
For his spring 2010 collection, Gareth Pugh opted to showcase his menswear range alongside his womenswear. Despite the overwhelming responses of Pugh going soft for his latest efforts, the degree of edge does not differ significantly from his debut. More minimal perhaps, the collection takes on shades of gray for a slim silhouette that is almost apocalyptic. Somber models with ash covered faces and gray hair represent Pugh’s ideal man. Fearless in near skin-tight leather and a reinterpretation of the bolero jacket, Pugh’s man is no doubt beautiful, but an acquired taste. Airy semi-sheer tops, corsets and skirts challenge convention, while a strong focus on suiting offers a new point of view that blends militaristic and futuristic elements. Pugh embraces an aesthetic that is often accompanied by strong opinions, but only in his second collection, it is exciting to see such a young designer push the envelope, while inciting discussions about the state of menswear.
There’s a natural inclination in what I do towards an androgynous silhouette. I wanted to do something very earthy, oily, dirty even–something that looked like it had emerged from the ground, rather than stepped off a space ship. With [the pins], I wanted something that looked very beautiful from a distance, but turned into something darker up close. So in all this grittiness, there was a certain femininity. I just didn’t want it to be too far removed from what’s expected at a men’s show. We had tailoring, suits, coats…but it was all very me.
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