The label of the season, Calvin Klein Collection, has been renamed CALVIN KLEIN 205W39NYC. I’ve tried Googling it, but I don't know what it means either.
Anyway, these new red trousers struck a cord. Continuing the Wes Anderson take on fashion, the bold red and contrasting purple Tuxedo stripe continues the trend in these types of sports-influenced trousers. They continue to look fresh and cool especially with this unusual purple contrast.
Left & Below - CALVIN KLEIN 205W39NYC - Grosgrain-Trimmed Wool-Twill Trousers -£620 from MRPORTER.COM
A new twist on Calvin Klein’s Obsession, the Obsessed For Men fragrance is an oriental woody amber with ‘a compelling heart of black vanilla sophisticatedly structured with dark, dimensional woods, providing the tension between a feminine melodiousness and masculine strength. Ambrox elegantly cuts through all, lending a sleek and contemporaneous edge’.
TheChicGeek says, “The original Obsession was the one major Calvin Klein fragrance that passed me by. Eternity - love, Escape - love, CK One - love. I’m not really sure why I skipped Obsession. I think it felt more feminine, ATM, due to the image of Kate Moss lying on a sofa. The images are a 90s classic and it was the start of Kate Moss’ relationship with the brand.
This new fragrance uses the same shaped bottle of the original while in a super-clean, clear finish.
I’m being pernickety, but i think they should have called it ‘Obsess’ rather than ‘Obsessed’. Obsessed is too pop culture a word, today, like ‘everything’ and ‘love’. It’s chuck away and immature.
They say this is Raf Simons’ first fragrance under his direction and it feels more a tinkering than a fully formed idea. The pictures of Kate are timeless in the truest sense of the word. Sent on holiday in 1993 with her then boyfriend, photographer, Mario Sorrenti, there was no make-up, hair or stylist. A simple setup, where the relationship made for exceptional results and a campaign that still resonates today.
As for the juice, it’s fruity, fresh and feminine. The fresh grapefruit gives it a sticky top while the deep vanilla gives a gourmand finish. It sits in that modern fragrance formation where there is as much top as bottom and it leaves you just wanting something a little bit deeper and more sophisticated."
Above - Calvin Klein - Obsessed For Men - 125ml - £57
Below - The original archive of unused Obsession images has been reworked for the new fragrance
In an age of increasing competition and saturation, anonymity is the death of any brand. People like to know the person or people behind the things they are buying. Ultimately, at all price levels, we are buying somebody’s taste, so, call it nosy, if you will, but we want to know who is making the decisions.
At the recent Marks & Spencer menswear fashion show previewing their AW17 collection, and by chance, I met their Head of Design, Menswear, James Doidge. Impressed by his relaxed and honest approach, I wanted to find out more, so I sent him a few ChicGeek questions:
Left - Marks & Spencer, Head of Design, Menswear, James Doidge
CG: Where are you from originally?
JD: I’m from Aldridge, a small town in the Midlands
CG: How old are you?
CG: You studied at Central St Martin’s, what did you study & when?
JD: I studied Menswear on the BA course, at Central St Martin's from 1997-2000. Before that I completed a Foundation Course at Chelsea College of Art & Design
CG: You’ve previously worked at Paul Smith, Versace, Asprey & Calvin Klein, what was your favourite brand and why?
JD: Each brand was exciting to work for as they have their own strong aesthetic. Versace and Calvin Klein may seem quite opposite – gold baroque to minimalist, pure simplicity, however, a designer can help to evolve the brand and create a product that is relevant to their customer.
CG: You spent over 11 years at Calvin Klein, what was that like? What do you think about what Raf Simons is doing there now?
JD: When I started at CK, Calvin was still working there and it was great to understand how he worked – to learn from him and understand his founding principles. He taught the world how to advertise in a modern, aspirational way – how to make clothing desirable and sexy - even a pair of jeans or white T-shirt.
I love what Raf is doing and am really excited to see the next few collections and understand his complete vision, and I’ve been a lifelong fan of his own label.
Right - My favourite image from Marks & Spencer's forthcoming AW17 season
CG: How have you seen menswear change over your career?
JD: Menswear has become a much bigger market over the past few years and continues to grow. Men want to have fun with clothes and enjoy what they are wearing, they want to express themselves, in subtle ways, through the clothes they wear – no matter where they are shopping.
CG: Was it an adjustment going to M&S from Calvin Klein?
JD: Both are huge and very distinct brands, with their own heritage and handwriting. A big focus for me has always been fabric and quality, which is extremely important for both brands.
CG: What are the strengths of M&S menswear?
JD: The quality of the clothing is key when designing for M&S, we have a rigorous testing and trialling process.
We travel the world for seasonal style inspiration and edit those findings down into concise stories that deliver a broad choice of colour and fit that works for everyone.
CG: What made you want to take the job?
JD: I’ve always wanted to work at M&S, as it’s such an iconic British brand, so when the opportunity arose I moved back to London to take on the role. It's like the BBC of the clothing world, an incredible British institution – everyone in the UK has grown up with M&S and has a point of view of what it means to them. M&S has a unique place both on the High Street and in our customers’ lives.
CG: What were the first things you did there?
JD: Visited the incredible archives in Leeds, which has a huge selection of clothes, packaging, advertising and photographs from the 133 year history of M&S.
CG: What is your favourite piece from the new AW17 collection?
CG: How does M&S compete in the 21st century?
JD: Firstly and most importantly, we listen to our customers - 18,000 per week (to be precise!), which informs how we design, create and displayed our collections. We create quality essentials that fit into our customers’ lifestyles and act as staples to shape our customers’ wardrobes.
Left - Limited Edition Parka Jacket - £129
CG: Are there any other men’s brands/designers/retailers you look to or admire?
JD: I love Tokyo Hands, in Tokyo, it has the best stationary selection in the world and things that you could only find in Japan, and Virgil Normal in Los Angeles has a great mix of brands.
CG: Where do you find your inspiration?
JD: As part of our inspiration at M&S, we visit various global cities to understand the different markets and trends to see how, globally, people’s lives are changing and evolving – what they are wearing, eating, experiencing and watching all contribute to our research process. We usually visit Tokyo, Seoul, NY and LA. Also Stockholm, Munich, Cape Town, Sydney and Rio are also fascinating cities for inspiration.
CG: Where do you see M&S menswear in 5 years’ time?
JD: Still as the UK’s number 1 retailer.
CG: What book are you currently reading?
JD: Eduardo Paolozzi by Hal Foster. He’s one of my favourite British artists who produced amazing work from the 50s through to the 90s
Right - Marks & Spencer - Autograph - Navy Leather Trainers - £39.50
CG: The last film you watched?
JD: The Genius and The Opera Singer – an amazing documentary about a mother/daughter relationship that also features a chihuahua called Angelina Jolie!
CG: The last piece of menswear you bought?
JD: Autograph navy trainers - here
CG: Favourite city, and why?
JD: London, it has the perfect mix – people, culture, museums, music, art, restaurants, parks and great shops.
Let’s make something clear, Marc Jacobs is a great designer, yet his business is struggling. Why is this? Business of Fashion said, on Tuesday, the label announced its decision to shutter its men’s business, ending a license agreement with Staff International, after the delivery of the Autumn/Winter 2017 season.
Okay, Marc Jacobs menswear had disappeared recently and, to be honest, it never really have any identity and this is ultimately Marc Jacobs’ problem.
Left - Marc Jacobs going out with a Bang, now discontinued
One of the biggest designers in the world and he has difficulty establishing his own brand. Karl Lagerfeld has always been the same, but that’s a whole other ChicGeek comment.
I knew something was wrong when I went to a Coty fragrance launch, last year, and asked how the Marc Jacobs Bang fragrance was doing. They said they’d discontinued it. I was surprised because, firstly, the bottle was great and the black peppery fragrance was very wearable and commerical. Maybe it was those naked ads, starring the man himself, that tipped it over the edge!
Marc Jacobs has done a lot of things: he put Grunge on the catwalk, but unfortunately you’ll never make money from grunge, he pioneered Louis Vuitton’s ready-to-wear and introduced many great collaborations, such as Stephen Sprouse, those leopard print-type scarves were everywhere, but he’s never really owned anything. You can’t point to something and say “that’s very Marc Jacobs” which is when a brand or designer because part of the visual language and, ultimately, means longevity and heritage.
In the early 00s it was all about the Stam handbags, which were expensive, then Marc by Marc Jacobs came along and everything was really cheap. He seemed to miss the middle, sweet spot that Michael Kors has come to dominate. He was either really expensive or pocket-money cheap and that confused the brand. You never felt like spending money on Marc Jacobs.
The fashion probably wasn't expensive looking enough for the clientele who buy designer clothes the world over and when the only shop left on the street in New York that you pioneered is a book shop - BookMarc - great name BTW - it seems as though this is a signifier of how tough things are to make money from ready-to-wear even when your name is established.
The bad news is it’s only going to get more difficult in the next few years in American fashion. Calvin Klein is hoping for a resurgence thanks to Raf Simons, Donna Karan has new owners, that will no doubt start investing heavily and Ralph Lauren is bound to hit bottom soon. They’re all chasing the same customers and competition is difficult in a saturated market. Marc Jacobs needs to decide where is wants to sit within the fashion market and aim for that. Or, hope check shirts make a major comeback!
One brand, two campaigns. The hot-of-the-moment label, or it wants to be, Calvin Klein, and two variations on the same thing.
Left - Clearly Raf Simons' idea of Calvin Klein advertising, but which will sell the most pants?
Both trying to sell pants: one campaign is sexy and classic Klein, the other less so, read baggy pants in a drafty art gallery.
What’s interesting is that it perfectly illustrates the sexual leveller of imagery and the different choice of art directors.
The fashion and style game is all about proving your sophistication and taste level, yadda, yadda, yadda. We all want to be different and express ourselves in the things we buy, wear and surround ourselves with, but ultimately a flash of a six-pack or a bulge in a pair of Y-fronts and the attraction is universal.
We judge ourselves and others by the decisions we make and the things we choose to wear and surround ourselves with. We can all pretend to be the most sophisticated and this is the endless game of modern style and social media. It's always been about proving yourself and staying ahead of the game.
The ‘Sex Leveller’ and its universal appeal is often cleverly disguised as sophisticated, but ultimately brands can be as clever as they like, but if you’re going to appeal to the mass and biggest market, especially if you’re selling underwear, the sexier the better.
This was pioneered in the 80s, perfected in the 90s and then seemingly forgotten about in the 00s. We can all pretend to like a Sterling Ruby as much as the next man, but it ain’t gonna shift many pairs of underpants. Sex is a leveller and it still sells.
Below Left - Classic Klein starring, Trevante Rhodes, one of the actors from Moonlight. Both campaigns are SS17
Tommy Hilfiger, which is owned by PVH Corp., is pleased to introduce the limited-edition Tommy Tropics fragrance.
Tommy Tropics celebrates the relaxed beach lifestyle, with sun-filled days and cool nights. Notes of fresh mint combine with lavender and the warm, richness of amber. The fragrance packaging features a tropical take on Tommy Hilfiger’s signature nautical theme, with a silver tone cap wrapped in navy and white stripes and a banana leaf.
TheChicGeek says, “It’s all about the 90s at the moment, so it seems timely to rediscover Tommy. I’m not going to lie, I can’t really remember Tommy. Back in the 90s, yes, that long ago, I was more a Calvin Klein boy: it was the fragrance equivalent of Blur versus Oasis.
Firstly, this is a great price. Fragrance seems to continually escalate in price so it’s good to get something new that is also affordable. It’s a classic fougere, which means it’s lavender based, with a sticky amber dry down, which you get at this price point. This isn’t revolutionary, but perfectly acceptable and ideal for something you’re less precious about to take on holiday.
It says banana leaf on the box and bottle, but it’s the leaf from a Swiss Cheese plant. Not that I’m being picky!”
Left - Tommy Tropics- 100ml - £30
So, Raf Simons unveiled his first full collection for Calvin Klein. As about exciting as New York fashion gets, it was an accomplished - of course it was, he's had plenty of experience - collection which, no doubt, Americans are breathlessly hailing as the 'New Look'. but it just looked like yet another Raf Simons collection. Where was the sex?
From Left - Bruce Weber advert for Calvin Klein underwear (1982), FW17 Calvin Klein Collection
Raf Simons showed his own eponymous menswear collection, the week before, with the same leg-warmers-as-sleeves idea he put on the catwalk here. This Calvin Klein Collection was wearably different, yet without any of the minimal sex appeal that Calvin Klein was built upon. Who could forget Kate Moss' nipples in that sheer, simple dress circa '93?
Raf Simons should have added athleticism to the collection in the casting of the models to differentiate between his and this collection. Maybe that'll be coming in future advertising, but if Raf Simons is going to connect and drive sales with the masses who have never heard of him and probably don't care about him, then it needs sex.
Fashion has a strange relationship with sex, but Calvin Klein pioneered the objectification of men and their bodies in advertising through the 80s and 90s. What looks quite tame, today, was revolutionary at the time and the first time men and women really looked at men's bodies.
But, whether it's the 80s or, as Instagram proves, today, people will never tire of looking at firm and worked out men's bodies. Ultimately, as always, sex sells and that's what the new Calvin Klein needs.
Left - Calvin Klein Obsession advertising (1987)
The 90s are back!!!! I thought I’d get in there early before all the headlines, like these, hit the internet when Raf Simons shows his first collection for Calvin Klein in February. See more here
Left - Pulp - Something Changed!
The 90s revival has been bubbling along for a while now. It was inevitable, everything else has comeback, after all. Over the last few years we've seen a few grunge or washed denim throwbacks. Looking back, it was something of a golden era. Sandwiched between the fall of the Berlin Wall and 9/11, the 90s was a time of minimalism, Britpop and dance music. While it didn't feel particularly original, at the time, what with the large ‘Groove Is In The Heart’ 1970s revival and the return to live music, it still had enough original music and fashion to be distinctive when looking back retrospectively.
Right - Where did I leave my cardy? Kurt Cobain, the poster boy of American grunge
It was also the start of designer fashion as we know it today. This period of rapid expansion and no internet was a golden era of shopping centres and brands reaching their zenith with a purity that almost looks like nothing, today.
The landscape has changed. What was fresh and rare in the 90s is now tired and saturated. People’s attention spans are shorter and what was sexy and provocative then is just an Instagram away.
Left - Noel Gallagher - The 1990s was a mix of 70s, sportswear & minimalism
What could just be hype or a fresh start, it’s not just Calvin Klein that needs the 90s back. Brands like Gap and DKNY require a time when it was cool to wear a simple white T-shirt and a pair of washed jeans. What no tigers or themed gimmick? How will 2017 deal with that?!
It was easier then to impress. There was less competition and it was a slower pace of ideas and consumption.
DKNY just let their design team and Chief Ex. go and Gap has been trying to stem the decline in their sales for many years, closing stores and reducing its retail footprint. The basics market has been a race to the bottom in terms of price and the competition keeps those prices low. Will 2017 see the big 90s revival wave that these brands will ride back to popularity? Or, will it be all hype trying to shift a few pairs of overpriced pants?
So, what did we like about the 90s? I think we’re about to find out. Get ready for curtains, again!
In this week's magazine vlog, TheChicGeek discusses Raf Simons' appointment at Calvin Klein, the recent report that flossing doesn't work, Unilever's 'Regenerate' enamel toothpaste & serum and 'Egyptian Magic' skin cream.
See the full video below
When it was first touted, a few months ago, that designer, Raf Simons, was going to Calvin Klein I put it down to the usual fashion rumour mill working on overdrive. Why would somebody leave Christian Dior and its atelier and move to a brand built on discount underwear and cheap perfume? It didn’t make creative sense and it doesn't make business sense.
The days of buying back licenses, regaining control and taking a brand ‘upmarket’ with the help of a superstar designer are over, especially, if you have shareholders to please. Brands like Calvin Klein are built on volumes. If you want to hit the billions in sales in fashion it needs to be everywhere, quite literally: on the shelves of Boots and in the bargain bin at TK Maxx.
If Raf wants to do ‘real’ shows and make great fashion, that’s fine, but how that translates into the bread and butter product will be interesting. It may alienate its existing consumer while not replacing the sales in the difficult-to-please and fickle designer fashion market.
It must be remembered that minimalism is a hard sell. Even Prada is struggling. Justifying the price of a designer white shirt is difficult, today, especially with the rise of the high-street and brands like Uniqlo. The landscape has changed.
Calvin Klein’s brand pillars and DNA was always the image and not the product. The product was the afterthought.
The brand, probably, hit its peak around the mid-nineties. The time of CK One which took the pretension out of perfume, by adding a screw top, and a fluid, unisex advertising campaign featuring Kate Moss. Nobody bought the clothes. You couldn’t, even if you wanted to. The grey concrete John Pawson shops, Christy Turlington, Marky Mark’s six-pack, spaghetti-strapped minimalism, which looked so fresh, streamlined and cool, at the time, was all about selling pants and Unilever produced fragrance. This was the chapter of fashion history featuring jersey dresses in taupe or dove grey and the rise of the American mega brands such as Ralph, Tommy and Donna.
Calvin Klein was always the most forward and directional of all these brands and thus resonated further, especially in the UK. It was also the most visible with its Escape, Eternity and Obsession fragrance campaigns. This was the birth of ‘designer’ fashion and consumers wanted to buy into it at a price they could afford. It was a bit grungy, a bit street, yet still retained enough Americana to make it attractive. It was cool.
When fashion companies get as big as Calvin Klein they become conglomerates. These beasts of a business are difficult for any singular individual to have much input into. They roll on regardless of what was shown on the catwalk in New York or Milan and the fashion crowd turn up and clap just because the fragrance advertising is paying their wages.
I’m guessing Raf will want to work from Europe, probably Antwerp. He’ll probably show in Paris. (New York for the first season - *claps hands furiously*). The Americans will think he’s their great white hope, give him whatever he wants and haemorrhage money finding out that the tide went out on designer fashion.
So, he didn’t have the creative freedom at Dior that he wanted, and it’s a shame they didn’t give him more scope to make the brand his own and see what he could do with the shops and advertising etc., but, Calvin Klein is completely on the other side of that ‘designer’ scale.
Calvin Klein isn’t in the same category of recent revivals like Gucci, Valentino or Saint Laurent. These brands have a great retail network of the best stores on the best streets in the world. When they do something it is replicated in hundreds of shops, the world over, in very little time. This creates fashion. This creates the energy the fashion industry needs and means it actually gets into people's hands and onto their bodies. Calvin Klein would start from near zero on this front, even if every major department store took it, and it would take years to get even one store in every major city of the world.
Calvin Klein invented masstige before it was even a word. When Calvin Klein, himself, left they should have followed the Coach/Michael Kors route when they saw the ‘accessible’ luxury market growing, over a decade ago.
The fashion industry will do what it usually does, nod and smile while taking the money, but, whatever happens it’s going to be interesting.