As the first look came out we heard the unmistakable “wah wah b-ding DING” twang of a dial-up connection being established. Paul Smith said his team had been rooting through his warehouse’s worth of archives in Nottingham—analog Googling—and in part this collection was the result of that. It connected shapes and styles that spanned three 30-year distant decades: the ’60s, the ’90s, and now the ’20s.
“Basically,” said Smith: “I was rethinking the suit…the poor old suit has quite a bad image; funerals, job interviews, financial guys, court appearances. But I think about it in a different way.” Using mostly British fabrics, Smith played Jenga with the traditional ensemble approach to suiting by subtracting jacket, shirt, and tie to leave just pants and waistcoat. As at Givenchy yesterday, this created an almost sporty silhouette, pared down and body-conscious.
Old school sneakers—inspired by physical training shoes from days of yore—were gridded with round perforations in honor of the Jacques Anquetil cycling shoes Smith used to wear as a young shaver. So too were the breezy oxfords that, along with closed-upper loafers with seamed toes, were variously worn south of the suiting. Some models wore cycling caps strapped to D-rings on their right hips.
The second half of the collection shifted beyond suiting—without phasing it out—to embrace military and workwear-informed looks that were in part inspired by David Lean’s. The crepe soled suede monk strap desert boots were lovely in multiple colors, worn before roomy desert fatigues with cinching strapping.
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