THE MEN’S ROOM

THE MEN’S ROOM

When Valentino opened in November 2017,

ladies swooned over the sumptuous boutique concept developed by the brand’s creative director,

Pierpaolo Piccioli, together with David Chipperfield Architects.

This June, the house expanded the store’s footprint to introduce a 690-square-foot men’s haberdashery.

The architecture presents a sense of intimacy with a continuation of the grey Venetian terrazzo floors we fell in love with three years ago, along with black metal shelving,

undulating white gypsum panel walls, Carrara marble-and-glass display cases, green velvet panels, and indulgent carpet.

Here, ready-to-wear, accessories, and fragrance band together within a self-governing state, appealing to both elegant and sporty men.

However, Piccioli discards the traditional stylebook in favor of mixing tailored jackets with sportswear,

flirting with Inez and Vinoodh’s floral imagery and the bold text of Palais de Tokyo–exhibited Melanie Matranga in an unfettered display of selfexpression.

Looks this year are fluid for spontaneity seekers, emphasizing romantic tailoring and classical style in jackets, coats,

and suits, all crafted with precision and the finest detailing, while commando-soled shoes ground the wearer.

Sneaker lovers will also rejoice. aying homage to late and living artists and architects,

Swiss creative director and designer Albert Kriemler looked to the Modernist designs of Robert Mallet-Stevens (1886–1945) to interpret the Akris Fall/Winter 2020 collection.

Mallet-Stevens, a redefining Parisian architect and designer, resisted ornamentation in favor of sleek lines and geometric structures, found throughout the collection.

Like Kriemler, the Frenchman was passionate about collaboration

and called on like-minded artists and artisans of the day to produce his projects.

He helmed L’Union des artistes modernes, UAM (The French Union of Modern Artists),

which emphasized design over décor and eschewed the Societé des artistes décorateurs, known for favoring the fine and applied arts.

 His 1920s Rue Mallet-Stevens buildings, which combined disparate movements from Cubism to Art Deco, paved the way to French urban architecture.

 Upon the release of the collection in Paris in March, Kriemler said, “Ideas emerge from joint thinking and from sustained, significant conversations by partners in thought.

Like Mallet-Stevens buildings, my collections would be entirely different—would in fact never have come to be—without our exceptional tailoring and embroidery, fabric, and print collaborators.

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