Lina Österman Fall 2010 | Danny Hoggins by Niclas Heikkinen

Inspired by Neil Young’s album enti­tled Har­vest, Lina Öster­man updates her mod­ern punk with a soft pen­chant for fringe, while main­tain­ing the time­less appeal of a promi­nantly black color palette. Her fourth col­lec­tion to date, the London-​​based designer deliv­ers a beau­ti­ful take on decon­struc­tion and a thought­ful pat­tern of studs for fall’s col­lec­tion. Con­sist­ing of easy to layer knits, coats and jack­ets, Österman’s lat­est range is sure to strike a suc­cess­ful chord, whether in an edi­to­r­ial or a new addi­tion to the pro­gres­sive wardrobe.

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Year in Review | London Calling

Pic­tured Left to Right: Asger Juel Larsen, James Long; J.W. Ander­son, Lina Öster­man and Todd Lynn

If any­thing, this year proved that Lon­don is a hotbed of emerg­ing tal­ent. From the much buzzed debut of Asger Juel Larsen to J.W. Anderson’s enchant­ing col­lec­tions or sto­ries for a bet­ter term, London’s design­ers are busy at work carv­ing out a niche for them­selves as a new gen­er­a­tion of vision­ar­ies. Not afraid to break out­side the mold and push for­ward with a well-​​defined con­cept, design­ers like James Long toyed with the idea of his man as a sol­dier while Lina Öster­man brought a cer­tain gen­tle qual­ity to her brood­ing char­ac­ter. Mean­while, much like his con­tem­po­raries, Todd Lynn turned tra­di­tion on its side, mov­ing suit­ing towards a more roman­tic approach. Alto­gether, these design­ers help earn Lon­don a more focused eye going into 2010 in antic­i­pa­tion of only greater things to come.

Spring 2010 | Lina Österman

Spring 2010 marks Lina Österman’s third col­lec­tion and first run­way show. Los­ing the studs and leather of her fall col­lec­tion, spring sees a man that is gen­er­ally dark, but also one that pos­sesses a gen­tle nature. Mono­chro­matic ensem­bles see the addi­tion of an off-​​white, while Österman’s knits are left open and adorned with dra­matic fringe. Mean­while, there is beau­ti­ful work done with ready-​​to-​​layer pro­por­tions and decon­structed tops. Also, Öster­man pro­vides her man with a suit jacket that con­tains equal parts edge and sophis­ti­ca­tion. Alto­gether mar­ry­ing her per­sonal aes­thetic with a mod­ern sen­si­bil­ity, Öster­man invites us into a min­i­mal world where the crafts­man­ship is metic­u­lous, the details hard-​​hitting and the vision quite accessible.

Week in Review: Androgyny’s Trajectory

Lina Öster­man Fall 2009

This past week saw a spate of Fall 2009 col­lec­tions which, cumu­la­tively, did lit­tle to dis­rupt the recent trends in men’s fash­ion: if they’re not going for black, then they’re going for androg­yny. Given I have a bias in favour of both move­ments (Sonny Groo is my style icon after all), I found a lot to admire in the last 7 days.

For starters, there’s Lina Österman’s sec­ond col­lec­tion, which offers a sen­si­bil­ity vastly dif­fer­ent from (the dif­fer­ence being adven­ture) that of Pudel, where she plays Cre­ative Director.

Her col­lec­tion has been crit­i­cized a lit­tle on Coûte Que Coûte for essen­tially pan­der­ing to the whims of fash­ion blog­gers, fail­ing to re-​​interpret the sup­pos­edly hack­neyed con­cepts of lace, shred­ding and, well, black. Mov­ing past the notion that black will never go out of style (even if we’d like it to), I think there is some merit in what Öster­man has on show. For one, she plays with expec­ta­tions. She avoids the time­worn addi­tion of epaulets and instead uses leather to define the shoul­ders; she pro­vides us with shred­ding and sheer­ness in places that, wait for it, might actu­ally be appro­pri­ate; and she embell­ishes denim, rather than tear­ing it. Where Öster­man suc­ceeds most, though, is in her restraint. The col­lec­tion embraces a Gothic flair with­out ever descend­ing into the wild, less acces­si­ble (but per­haps more inter­est­ing?) the­atre that goth­icism often thrives on. (That doesn’t mean we didn’t love this over at Con­tribut­ing Editor.)

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Lina Österman Fall 2009

Pudel’s cre­ative direc­tor Lina Öster­man is pro­gress­ing along with her self-​​titled label. Mark­ing her sec­ond col­lec­tion, Österman’s vision for fall picks up where her spring line left off. The gender-​​neutral con­cept has evolved into a col­lec­tion that is bolder and gen­er­ally rougher around the edges. The col­lec­tion knows no color other than black and the clothes fall in line per­fectly with the male form embrac­ing a Gothic flair for the dis­tressed. The fem­i­nin­ity of lace is bal­anced by the rebel­lious nature of leather and studs. The afore­men­tioned ele­ments cre­ate a high impact col­lec­tion that is sur­pris­ingly as styl­ish as it is practical.

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Lina Österman Spring 2009

Spring 2009 marks the debut of Lina Österman’s self-​​titled label. If the collection’s direc­tion looks famil­iar, it is because Öster­man is the cre­ative force behind Pudel. Tak­ing Pudel’s same gender-​​neutral appeal, Öster­man has cre­ated a high end uni­sex inspired col­lec­tion. Sim­plis­tic in black, gray, and white, the collection’s beauty is found in its decon­structed nature. Shred­ded and tou­sled with care, the pieces are pre­sented in a chic man­ner that is effort­less. Sub­tly adorned with studs and leather straps, this light-​​weight col­lec­tion finds a bal­ance between soft dream-​​like mate­ri­als and an edgy Gothic inspired look.

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