When things come back, they tend to do so in groups, like when a cluster of memories suddenly come clearly to mind, even bringing smells and sensations with them. It’s a little like that when decades make a comeback and turn up on the runways in a complete block, including the bad bits and the things that were not so elegant or tasteful in the first place. After the ’80s hedonism and excess we have seen on runways over the last few seasons, it’s now the turn of logos and slogans. These big statements of narcissism and self-affirmation, both for the brands they represent and those wearing them, often appear in block letters and bold colours on T-shirts, sweatshirts and accessories. Representing a brand, the logo is, in a certain sense, its first public and social testimonial. Those choosing a piece, perhaps with a ‘tabloid’ style logo, choose that brand’s particular style – its message, codes, even its values, almost like a sign of belonging to one tribe rather than another. And this is reassuring, or at least it gives that feeling, however ephemeral, that you exist and can be recognised in an increasingly changing society that needs solid shapes and symbols to counter the bombardment of images and information that make memory itself shaky and confused. And while the fashion system itself is increasingly fluid, desperately dependent on the ever-changing needs of Millennials and Centennials as though they were little modern despots, brands are seeking to make logos a point of reference, if not a starting point, to make a clean slate and start from scratch. With slogans and lettering, Logomania is all this and much more, like neon colours, another Eighties trait, glossy and/or metallic surfaces, bumbags and maxi belt buckles, which also have logos.

Of course, going against the grain is an opposing trend that is tired of turning men into walking billboards in tracksuits and work uniforms, instead opting for a more classic and perhaps more romantic look.
Men’s Couture perhaps sounds more like an experiment than a real trend, but there are many designers importing women’s couture shapes, materials and details – including from the archives and other eras – into menswear.

Between these two opposites, a happy medium can be found in Tailoring Hybrids, which does not demonize streetwear but does not completely give in to it either, taking the bits of each category that it likes and putting them together: some pockets, a T-shirt, a few floral motifs, loose and slimmer lines, bold tints and neutral tones, because there are as many ages of man as there are characters and styles. This way, everyone is happy. 

MUST-HAVES

Garments: tailored suits, oversize blazers (worn over bare skin), trenches, anoraks, tracksuits, sweatshirts, T-shirts, knitwear, reworked shirts, technical vests, track pants, jeans, shorts, sneakers, strap sandals, visible socks, cartridge belts, handbags, bumbags, backpacks, hoods, fisherman’s hats.

Materials: technical fabrics, mesh, nylon, PVC, denim, leather, satin, silk.

Details: sportswear, workwear and streetwear elements, layering, deconstruction, oversize volumes, couture cuts, wrinkles, transparency, double-breasted, mix&match, turn-ups, slit hems, utility pockets, harnesses, zips, drawstrings, side bands, hanging laces, straps, cords, elastics, contrasting insets, patches, embroidery, studs, logos, statements, tabloid prints, animal patterns (especially python), checks, floral and Hawaiian patterns, polka dots, stripes, cartoon motifs, graphic details, digital photographs, toile de jouy prints, camouflage, glossy effects.

Colours: neon tints, white, ecru, red, various shades of green, bright yellow, orange, blue, sandy tints.

Weight	1 kg
Type	Subscription to 2 issues, Single Copy
Season	Spring/Summer
Gender	Men Collections
Releases	February (Autumn/Winter) and July (Spring/Summer)
Pages	416 + cover
Width	cm 25 – ft 0,82
Height	cm 35 – ft 1,15
Weight	kg 2,000 – lb 4,40
ISSN	1971-3665-40016