The inaugural edition of “India Men Show” took place on April 18, 2019, at the Metropolitan Hotel, New Delhi. It was a luxury evening dedicated to celebrating men’s lifestyle choices. The evening encompassed a panel discussion on changing trends in men’s lifestyle industry, ‘Man of Substance’ awards to honor select iconic men from different walks of life and a curated fashion presentation by menswear labels.
“India Men Show” evolves from the fact that men are becoming increasingly style savvy and are making informed lifestyle choices more than ever before. Be it fashion, grooming, fitness, travel, machines, technology or personal space, they are investing smartly in factors that determine their way of life. However, the event finds its purpose in encouraging modern men to become significantly aware of their lifestyle decisions and their impact on society.
The guest list also included industrialists, businessmen, bureaucrats, influencers, restaurateurs, politicians, diplomats, expats, and socialites.
Panel Discussion: Former Indian cricketer Anjum Chopra was in conversation with Bobby John Varkey, (Editor-in-Charge, The Man Magazine), Sunil Sethi (President, FDCI), Malvinder Singh Ricky (Former COO, Taj Hotels), Rajiv Makhni (Tech Guru), Sangram Singh (wrestler). They decoded changing trends in men’s lifestyle.
‘Man of Substance’ awards
This felicitation is a celebration of select men’s bold decisions and their lifestyle choices. These shakers and movers have set remarkable examples in society. And they are a role model for the millennials of India.
Some of the well-known names were honored with “Man of Substance” award include Amit Burman (VP, Dabur India), Raghava Rao (Vice President, Finance & amp; India CFO at Amazon India), Zorawar Kalra (Founder, Massive Restaurants), Navin Ansal (Founder, Casa Pop), Raghav Verma (Co-founder, Chaayos), Sunil Sethi (President, FDCI), Sabbas Joseph (Founder, Wizcraft), Tarun Thakral (Founder, Heritage Transport Museum), Sangram Singh (Wrestler), Samir Suhag (Polo Player), Sachin Atulkar (IPS Officer, Online sensation), Rajiv Makhni (Tech Guru), Jamal Shaikh (Editor, HT Brunch) and Martin Howard (Social Activist).
India Men Show 2019 was supported by leading names – BMW as Lifestyle Partner, Wikka and Ayurveda as Gifting partners, United Breweries and Fishing Cat as Beverage Partner, The Metropolitan Hotel & AMP; Spa as Hospitality Partner, The Man and Exotica magazine as Media partners, Brand Stand Bespoke Communications as PR Partner, Crystal Hues as Digital Partner and Red 93.5 Fm as Radio Partner.
Munich-based Performance Days is an event created especially for functional fabrics for sports and work clothing with the aim of giving textile manufacturers, suppliers and service providers the opportunity to present their products to decision-makers from almost every European active clothing and functional wear brand.
CREDIT: PERFORMANCE DAYS
Performance clothing is central to the business of the outdoor recreation sector in Europe. According to the latest State of Trade Report from the European Outdoor Group, the apparel category represents 50% of the market’s value. Next month’s Performance Days Functional Fabrics Fairhas as its theme ‘The Beauty of Function’ and aims to show that the concept of beauty is also relevant to functional fabrics for the collections of summer 2021 and beyond.
Independent design professional Anne Prahl specializes in sustainable design innovation and her Expert Talk – ‘Designing Beauty: Considered Innovation for Performance Products’ – will address ‘what role sustainability plays within the context of beautiful functional fabrics and clothing’. She will be exploring the meaning of beauty and how it can be created through a combination of color, texture, fabric handle and garment construction before outlining some of the sustainability challenges this brings.
In an interview for Performance Days regarding the future design of performance clothing, she noted,
For the next few years, I expect to see lots of incremental innovation around fabrics, manufacturing and recycling technologies. We will also see the continuation of new consumption models, such as sharing, rental and reuse, which will have an impact on how functional clothing is designed and used. In response to growing consumer demand, so-called sustainable fabrics will become more ubiquitous and commercially viable.
The industry’s long-term future looks more disruptive, as we will see a new generation of bio-based materials that are lab-grown and engineered, as well as 100 % recyclable and biodegradable textiles fit for the circular economy. This move will also affect how fabrics are coloured and finished and clothes are manufactured so they can be fully recyclable or biodegradable at end-of-life. This will no doubt lead to highly unique and surprising aesthetics, silhouettes and styling.
Another important factor in designing and developing functional clothing in the future will be the use of digital and 3D tools and systems. Some of these tools, including digital material libraries, 3D design programs, virtual prototyping, digital and automated manufacture and digital sales, will provide exciting opportunities for designing and producing original and customised clothing.
In theory, performance requirements should not limit but inspire the design of functional clothing. Some designers may see performance requirements as an obstacle to their creative freedom but the beauty of functional clothing is that products are designed for a specific end-use, and therefore should become items that the consumer loves to wear for a long time to come, rather than throwing the item out after a couple of uses.”
Regarding the role of sustainability in apparel design, Prahl was clear about its future,
I have been working with many different companies, large and small, to find creative ways to make sustainability part of the design process. The first step is to have a clear vision on what sustainability means for the brand we are designing for. This vision needs to be inspiring and achievable and requires a good support system so that designers and developers can make the vision reality through educated choices.
In my opinion, we need to embed sustainability right into our design concepts. This can be done through training and inspiring designers on sustainable and circular design strategies and making sure that sustainability becomes part of the design. As designers, we also need to constantly push fabric suppliers and clothing manufacturers, in order to push the innovation agenda and having a wider selection of sustainable options to choose from in the future.”
When going from business to play, designer Amit Aggarwal advises using the rule of light:
Building your wardrobe
“Men today are more open to breaking the rules and are comfortable with taking risks. 2019 will see an experimental space for men’s fashion trends — mismatched prints, bright colours and a mix of fabrics. But the essentials for any wardrobe remain a pair of wellfitted jeans, a structured jacket, sneakers and a watch.”
Going from 9 am to 9 pm
“Use the rule of light — go from light colours during the day to dark colours at night. You can wear a fitted shirt during the day and pair it with light denim and a flannel shirt and change to dark denim and a dark coloured jacket at night.”
One fashion item men should invest in
“Shoes. A fashion-forward man can never have enough pairs of high- quality shoes.”
As Ranveer Singh Turns 33, Here’s A Look At His Quirky Fashion Moments
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Bizarre Yet ‘Befikre’
6 Jul, 2018
Ranveer Singh is all things Bollywood, over-the-top, and dramatic. Singh is synonymous with his theatrics and abundant energy, both on and off-screen. Add to that his bold, and out-of-the-box style, and you have a star who is not afraid to experiment. On his 33rd birthday, we revisit some typical, ‘Befikre’ Ranveer-kinda fashion moments that only he could pull off with élan. (Image: Agencies)
“Less is more. My favourite accessories are neck scarves in the winter and sunglasses in the summer. The best way to use both is to let them be a reflection of your personality which for me is minimalistic.”
One accessory you wish would make a comeback
“I am a bit old school and I think handkerchiefs define a gentleman.”
One trend to avoid
“Oversize logo shirts and oversized clothes.”
Luxury to you is…
“High-quality products with great craftsmanship.”
From Michael Jackson to Queen Bey, A Look Back At Grammy Fashion Through The Decades
Now that 2019 has multiple fashion weeks under its belt, it’s the ideal period to start nailing down the trends we’ll be coveting for the remaining seasons.
And when it comes to footwear, 2019’s shoe trends will be an exciting mix of functional flats, avant garde statement shoes and retro throwback boots.
To identify the key trends, we asked REVOLVE’s Chief Brand Officer, Raissa Gerona, and ELLE‘s Market Editor, Samantha Wong, to name their picks for the styles we’ll be coveting in the footwear realm for 2019.
“It’s all about being comfortable and stylish at the same time,” Gerona explains. “Sneakers are still going strong and it’s all about a smaller heel when you’re looking to add some height.”
Scroll down to see what you’ll be shopping.
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“I feel as though sneakers are becoming more adventure-inspired, meaning they have possibly gotten ‘uglier’ and therefore more dad-appropriate,” Wong says. Her top pick are these Adidas Originals.
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TALL, SLOUCHY BOOTS
“Personally, I think a thigh-high or a good 80s-style slouchy boot is so chic paired with a mini dress or a skinny pair of jeans,” Gerona says.
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Yes, they’re still a thing, Gerona says. “It’s all about being sexy yet comfortable and you can achieve this effortlessly with a kitten heel,” she explains.
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“Modern touches like croc are on the rise, along with square-toe sandals and lower heel heights,” Gerona says. “The brand by far does all of these trends so well.”
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“Skinny strap sandals will be popular for next summer,” Gerona advises. “I love the styles from Ancient Greek Sandals.”
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ROCK N’ ROLL BOOTS
“I think this will be my one (ahem) big 2019 investment,” Wong says. “My ultimate boots are THESE, worn with a great mini-dress, just like at the Celine show.”
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“While strappy sandals are still trending, be brave and try a bolder look,” Wong suggests. “These Chloe sandals still give the barely-there feel, just with a thicker strap around the ankle and toe.”
Let’s talk about sex, shall we? Fashion and sex, that is. First things first: any conversation about sex needs to be an honest one, so let’s cut straight to the chase. Sex appeal will always be an integral part of fashion, even if sexy has become a less straightforward compliment after MeToo. So please, there’s no point pretending that we are too woke to care about looking hot these days. We still care. Nobody is taking vows of sartorial chastity here. But perhaps we are making some progress in how we think about sex and fashion if we are more conscious of whose rules are being played by, and whose needs are being met. As long as the survival of the human race depends on sex, looking attractive isn’t going out of fashion. But there is room for evolution.
It is Valentine’s weekend, and dressing for date night is the hot spot where the rules of attraction meet the rules of social convention. Which means that some Valentine looks might just be a little different this year, in the MeToo afterglow. The neckline might be altered, or the skirt might be a new length. Or maybe the clothes are the same but you might wear different underwear or decide against the high court shoes with toe cleavage, and look – and feel – different as a result. The way we dress for date night through the years reveals so much about our changing attitudes to sex. Braless under a silk blouse in the midst of the sexual emancipation of the early 70s. Spike-heeled and armoured in sequins in the competitively charged, battle-of-the-boardroom 80s. Unravelled and lipstick-smudged in the fog of 90s grunge when a Saturday night was more about getting high than getting laid.
It is 18 months – three seasons, in fashion terms – since the MeToo movement was born. In that time, fashion’s centre of gravity has shifted away from sex. Hemlines are longer, silhouettes are looser. From London to Milan to Paris to New York, on glitzy spotlit runways polished to a mirror shine and on catwalks marked out with tape on concrete floors, a new course is being set. From Stella McCartney to Erdem, Coach to Loewe, Dior to Max Mara, there are skirts that swish the ankle and sleeves that graze the fingertips. Fashion has shifted the emphasis from skin to fabric. As a sweeping generalisation, there are more sweeping hemlines. Gucci, the runaway fashion success story of this decade, peoples its catwalks and advertising campaigns with women who would appear to be dressed in a way that might work for a portrait sitting with Leonardo da Vinci rather than for one with Helmut Newton.
Roland Mouret, a fashion icon for two decades, has recently gravitated away from the siren curves of his Galaxy dress, revisiting the pleats and cascades he learned while working with Yohji Yamamoto and Issey Miyake in his 20s. At his spring/summer 19 show, models wore badges in support of the MeToo movement and catwalked on the roof of the National Theatre to the sound of Aretha Franklin singing Natural Woman. Mouret said at the time that the new silhouette felt like a redefinition of his relationship with the female body. In the second half of her decade in fashion, Victoria Beckham, too, has pivoted firmly away from fitted dresses and toward loose, fluid separates. Such silhouettes – once the hallmark of alternative, arthouse fashion – have become mainstream. Vanessa Spence, design director at Asos, confirms the shift is happening on the high street. “The midi length has become a staple in our fashion vocabulary. Necklines still vary, but we have recently seen more of a focus on the back as an exposed area.” Sexy, she says, is no longer a concept that takes up more bandwidth in womenswear than men’s. “It’s the same across the sexes – which is surely a good thing.”
There will always be cross-pollination between sex and fashion, but MeToo has prompted a conversation about healthy boundaries around nudity and exposure. Changing facilities backstage at fashion shows are one issue being brought into the spotlight. It was long considered perfectly normal for an assortment of well-wishers, journalists, celebrities, friends of the designer – most, of course, with a camera phone in their pocket – to crowd immediately after a show into the open-plan backstage area where models were scrambling out of their show looks and into their own clothes. A year ago, New York fashion week was the first to address this, pledging “a safe and respectful working environment” with private changing areas. During London fashion week last September, the British model Edie Campbell spoke to Radio 4 about the ongoing lack of privacy at some London shows, describing it as “bizarre, uncomfortable and humiliating”. Awareness is growing that an expectation of endless female nudity is not a healthy baseline for any industry.
The meteoric impact of MeToo on what it means to dress up and look your best became clear a year ago, when the Golden Globes was the first red carpet to turn black. It was a gesture of female solidarity from Hollywood’s women, in an industry reeling in the Weinstein fallout. A black dress for black tie is hardly revolutionary, yet the dresses became the story of the night. The winners’ list is now a distant memory, but the red carpet blackout remains a landmark moment. The world was reminded of the power of an outfit – even one that stays within the guardrails of convention – to send a powerful message. Natalie Portman, Elisabeth Moss, Meryl Streep, Angelina Jolie, Penélope Cruz and Salma Hayek wore long black gowns with long sleeves. In each case, the dress had a decorative element that lightened the mood – a sheer layer, a split in the skirt or a portrait neckline. Many actresses left husbands and boyfriends at home to pair up with female activists for the night, which threw into sharp relief the traditional award show optics that see an actress nominated for an Oscar totter in a tiny, pastel-toned frock on the arm of a man in a suit, as if she were a magician’s assistant about to be put in a box and sawn in half.
But if the first half of 2018 belonged to a swelling tide of demure black-tie dressing, the second half was dominated by an angry backlash against catwalk near-nudity. The exit of Phoebe Philo from Céline after 10 years had been felt as a body blow by women who had held dear her philosophy that catwalk fashion could be an elevated woman-friendly wardrobe rather than date-bait. It was with unfortunate timing that her successor, Hedi Slimane, unveiled a debut dominated by doll-sized party dresses – one that seemed the polar opposite of what the house had stood for under Philo – on the very day of the Brett Kavanaugh sexual misconduct hearings in Washington last September. Emotions were running high, and Slimane’s dolly-drop aesthetic became a lightning rod for female fury.
Male designers mansplaining female sexuality to the women who buy their clothes is not new. But the context has changed, and in fashion, context is all. Engagement with the world is what makes fashion more than simply clothes. It is, quite literally, what makes it fashion. Two months after Slimane’s show, the Victoria’s Secret models came bounding down their runway, with the tried-and-tested formula of bouncy breasts and jutting hipbones, angel wings and skimpy boudoir lace knickers which made this the most popular fashion show in the world just a few years ago. This time the spectacle was met with critical scorn (website Vox ran a feature with the headline The Stubborn Irrelevance Of The Victoria’s Secret Fashion Show), falling ratings and – most tellingly – declining sales.
London fashion week has never been afraid of controversy. While other cities have reacted to the new climate by shying away from the idea of sex altogether, designers Christopher Kane and Michael Halpern are among those tackling the new rules of sexy dressing head-on, and reaching for a new body-positive, female-first way to talk about sex on the catwalk.
A frank curiosity about sex has always been part of Kane’s aesthetic – his spring 2014 season featured sweaters embroidered with illustrations of the reproductive organs of flowers – and in February last year, he waded into the MeToo debate with a collection adorned with drawings and quotes from the seminal 70s manual The Joy Of Sex. Six months later, he was back with a spring 2019 collection soundtracked by a David Attenborough narration about sexual behaviour in animals and Marilyn Monroe talking about how society defined her as a sex object and then despised her because of it. “There are no taboos in my studio,” Kane said after that show. “To be bluntly honest,” he told Vogue at the time, “we wear clothes to attract members of the opposite sex and of our own sex. That’s what fashion is.” Meanwhile Halpern, who burst on to the fashion scene in 2017 with sequin dresses so minuscule they might have turned heads at Studio 54, says he relies “super heavily” on the opinions of his mum and sister, “who are both feminists – of course. My focus is on being aware and awake to what women want.”
Penny Martin was almost a decade ahead of this shift when she launched The Gentlewoman magazine back in 2010. “It was the zenith of the weeklies, when the newsstand was crammed with reality TV celebrities with barely any clothes and shouty coverlines,” she recalls. “Our mission was to be the opposite of that – to give both the cover stars and the readers back their dignity.” The Gentlewoman came to be aligned with a particular kind of woman-friendly fashion, epitomised by what Phoebe Philo was doing at Céline. “Women want clothes that give them pleasure, without undermining them,” Martin says. “And I wouldn’t be in this business if I didn’t think providing women with the tools they deserve to get respect in both their working and private lives wasn’t a worthwhile ambition.”
Although certain sections of the media would love to frame this debate as a catfight, there is little appetite in the fashion industry for slut-shaming of women who choose to wear tiny, revealing dresses. (To paraphrase Voltaire: I may not like what you wear, but I will defend to the death your right to wear it.) What we wear for date night is part and parcel of sexual politics, but surely there is room for making the point that a woman’s erotic impact is not all that she is, without policing anyone’s wardrobe. “My take on it, as editor of Elle,” says Anne-Marie Curtis, “is that a modern woman wants the freedom to look sexy when she wants to. But that fashion can’t be about having to wear a pencil skirt to get a promotion, or having to wear a low-cut dress to make your boyfriend happy.
Every single image that goes into Elle goes through our modern, feminist lens. If I am looking at a shoot and there’s a pose that I feel makes the model look vulnerable, I won’t run that picture. We just did an edit of a shoot and there were images that I took out, because I always want the woman to look like she is owning the image.”
But unlike a longer hemline, fashion’s stronger attitude cannot be measured in inches or plotted on a graph. “It comes down to intention,” Halpern says. “What makes my friends and the women in my family feel empowered is self-worth, self-definition. It’s about not letting someone else put you in a box.”
For generations, teenage girls’ teachers have used the does-it-touch-the-floor-when-you-kneel test to establish the minxiness of a skirt. But calibrations of sex appeal are more complex. A pose in which a model is lying on a sofa can project laid-back confidence or exposed vulnerability, and the overall effect depends not only on the clothes but on the lighting, the facial expression. The same minidress can be framed as a celebratory portrait of raw female power, or an exploitative image of a woman underdressed and undefended. The highly visually literate modern fashion consumer is attuned to such subtleties, which is precisely why the dog-whistle crassness of Victoria’s Secret feels so out of step with our times. “The readers of women’s magazines, and of fashion photographs, are so literate,” Martin says. “An infinitesimal degree of ‘wrong’ can be vast in this context, instantly breaking the spell.”
Sex as something unspoken, as a scent caught on the air, is part of fashion’s magic spell. When the zeitgeist is embracing a new era of informed consent, the sheer-black-stocking vibe of fashion’s traditional date-night mode can feel like an uncomfortable hangover from another era. A new dress may not change the world. But it could make date night a triumph. The rules are up to you.