Patrik Ervell F/W 2010

[XenoX101]

[XenoX101]

[XenoX101]

[casem]

I'll admit, I'm finally bored Ervell needs a conceptual design element to run with in each collecion to inject life into his repertoire (ie. rust, gold foil, stripes etc) and I don't see it here. It's a clean presentation as far as no ugly clunkers and lots of nice looking clothes, but it's also his most boring IMO.

[Faust]

Casey, it's time you gave Stephan Schneider some serious consideration. It is SO MUCH BETTER, while having a similar aesthetic that you seem to like - slightly preppy, neat, but also special and subtly different.

[chameleon]

^have to agree with you both to some extent. I have a soft spot for Ervell and I love the (admittedly few) pieces I have, but this didn't do much for me on first glance. On the other hand, just inspected Schneider's recent collection first hand a few days ago and loved most of it, he uses some fantastic materials and textures.

[casem]

I do indeed like Schneider, the main problem is that his clothes are less available in the U.S than Ervell. I did try on a few things at Opening Ceremony and it was really nice, there was a color blocked cardigan I really liked but couldn't find on sale. I shall keep my eye out in the future and hope the OC has a bigger buy.

Casey, it's time you gave Stephan Schneider some serious consideration. It is SO MUCH BETTER, while having a similar aesthetic that you seem to like - slightly preppy, neat, but also special and subtly different.

[Faust]

You need to go to project 8 for a much better selection. I am having dinner with schneider's business partner tomorrow, maybe we can fix that whole US availability thing :)

[XenoX101]

This collection is more technical and dressy than schneider though, so I see it on a different page despite the obvious similarities.

[tricotineacetat]

You need to go to project 8 for a much better selection. I am having dinner with schneider's business partner tomorrow, maybe we can fix that whole US availability thing :)

So it's finally confirmed he's got someone else involved in his business these days? Is it a Belgian woman in her early 40ies by any chance?

[Faust]

Could be, although she definitely looks younger than what you indicate.

[casem]

I'm a sucker for Ervell, after a few more looks at the collection and some close-up/backstage shots, I've come to really like this collection.

Here's the Tim Blanks review I've been missing. Apparently his reviews can still be found on style.com/stylefile blog.

"After Patrik Ervell’s show, Ryan McGinley said he felt like he’d been watching people walking past in an airport. If that means purposeful and modern, then I’m in agreement. I was also reminded a little of a Raf Simons show some years ago, where the models rose and fell on escalators, but that was mainly because there was a similarly military cadet precision to Ervell’s new collection, along with a polish that was undoubtedly helped by the cachet and the cash following his CFDA/Vogue Fashion Fund nod. (He was named a runner-up.) The designer said he was looking for “a new kind of military aesthetic” and he’d taken some leads from the early days of the People’s Liberation Army in China (”an unmined moment in military history”, he called it). This meant a lightly quilted jacket or coat with the familiar Mao collar. The influence was also evident in Ervell’s trim navy tailoring. But it was his outerwear that really clarified how far he’s come. A transparent vinyl trench or a raincoat in black latex were mesmerizing (why fight that hint of transgression?). And if a poncho in natural latex harked back to pieces Ervell showed at the start of his career, the bonded hand-finish of these garments was a world apart. It’s like boy to man. Following on last season’s breakthrough, I’d say Ervell has definitely found his rhythm as a designer.
For full coverage of Fall 2010 menswear, visit www.gq.com/fashion.

—Tim Blanks
"

[casem]

Everything is better in motion. I love the presentation, I wish I could've done the soundtrack, but Terry Riley is the man.

[Servo2000]

Terry Riley

booyah



On a more serious note, I think this a really good collection and I'm super excited to see these garments in person.

Also - I guess I could say it's because I've been growing away from comparing designers to other designers but Schneider seems like he's working on something fairly different than Ervell. While there may be some slight crossover just in terms of basic items I personally have trouble imagining that the Schneider customer is also buying much Ervell or vice versa.*

*I also say this because as much as I love Schneider's stuff when looking at it and holding it wearing it's just not quite for me whereas Ervell stuff clicks when it's on in a different way.

[BUMMER]

Everything is better in motion. I love the presentation, I wish I could've done the soundtrack, but Terry Riley is the man.

I agree. Terry is the man, and in motion the collection reveals more of it's beauty. My fave looks: The oversized cashmere coat and leggings and the boxy blue sweater with high-waisted white pants. The transparent/translucent raincoats were great too.
The simple set (by Mark Hundaly) and the interplay of sunlight and shadow created a beautiful flickering, film-like effect. I have to add: Patrik's shows also shine as a result of his styling (looks as well as hair) and effective casting.
Regarding the music: You are right! It is Terry Riley's amazing piece, Olson III. It is an hour-long, un-conducted performance, recorded live in 1967 in Sweden's Nacka Music School. The Orchestra consisted of Terry Riley himself (on saxophone) amongst an orchestra of 40 teenage students of the school.

A quote about Olson III from Folke Rabe:

"The rehearsals with the musicians and singers of the Nacka Music School were difficult because of the newness of the music. Terry did not conduct but led the performance by taking part on soprano sax. The teachers at Nacka suggested conducting but Terry refused. The performers simply had to get used to listening to each other. Slowly they brought themselves together, opened their ears, and consequently managed to keep the pulse, changing and shaping motives individually. A few of the less motivated students left the project but some forty remained who were dedicated to carry out a good performance."

There was a pure, plain, yet wild and powerful youthfulness (strong, not in a cheap, fetish-y way) to the music. The raw beauty of Olson III both contrasted and connected well with the collection. Another happy coincidence: The Olson pieces were originally written as an homage to Sweden. (Patrik's country of birth.)