stylish

The literal incorporation of motifs you see on the streets into clothes made to be worn on them is a path well beaten, most recently by Anya Hindmarch and Jeremy Scott. Today Christopher Kane followed this road too, but went at it in entirely his own direction.

How strange that the passing of David Bowie should come as his aesthetic ghost is already haunting the Fall 2016 men’s runways. Katie Eary’s show, for instance, bore his unmistakable imprimatur—jiggy, Ziggy graphic pattern; flowing silk; and that newly coined fashionable notion of gender fluidity that’s thus far come bound up in the simple notion of a man wearing a woman’s blouse.

KTZ follows the latter blueprint: The thumping music begins and the models hit the catwalk clad in getups that vary little, but enough, from season to season.

Jeremy Scott’s Moschino is polarizing, but undeniably entertaining. His brand of humor is Pop-ier, wackier, more sugary than Franco’s, but that’s not a negative: Scott is a designer who hits the bull’s eye of contemporary look-at-me preoccupations.

The challenge facing Sarah Burton each menswear season is considerable, yet can be concisely summarized: How to work within the McQueen confines of tailoring, without winding up on the stuffy side of the fence?

As he perused an Agnes Martin exhibition recently, Massimo Nicosia was struck by a quote describing her work as, “a repetitive use of a repetitive medium.” The man at the helm of Pringle of Scotland.