PORTS 1961 – FALL-WINTER 2016/2017 COLLECTION

RUNWAY

BACKSTAGE

Ukrainian dancer Sergei Polunin joined London’s Royal Ballet when he was 17, then two years later was catapulted to the role of principal dancer. The youngest artist in the history of this prestigious institution to land this title, the star nevertheless left abruptly in January 2012, in pursuit of greater personal freedom. In February 2015, he became a global sensation after starring in photographer David Lachapelle’s second video for the song Take Me To Church, which was viewed more than 13 million times on the web. Hozier’s lyrics are about the right to be different and the fight for the freedom to think, create and love, so could not fail to touch the heart of this rebel spirit animated by grace.
At the request of Milan Vukmirovic, artistic director of Ports 1961’s men’s collections, Polunin interprets the same themes, which are now more topical than ever, in a new performance to introduce the brand’s fall-winter 2016-2017 fashion show.
This collection speaks to us of strength and fragility. The starting point being samurai outfits which envelop the body with incredible refinement. This is fashion that not only defines its time with the ability to bear a powerful message but also touches and protects us. It also harks back to the new wave of the late 1980s and early 1990s, when raven black hair and impeccable white shirts formed a stark and uncompromising statement. It was a moment that also saw the emergence of the first designers from Asia with their fresh spirit and their courage to be different.
Having laid the foundations for the renewal of Ports 1961 and dressing globetrotters with ethnic influences inspired by a thousand and one journeys, this third collection by Milan Vukmirovic heads for more sophisticated territory. More dressed and chic thanks to formal cuts and a palette of extremely refined fabrics. Suits, bomber jackets and shirts are made in jacquards with patchworks of Japanese-style fabrics and other materials embroidered with bold motifs and prints. There is a strong Asian influence here with coats and jackets featuring contrasting cuts that seem to be overlaid like the armour of bygone Japanese warriors: sometimes collarless or tied at the side in traditional kimono fashion. Elsewhere, three-quarter jackets with double rows of golden buttons and a stand-up collar evoke a sense of militaristic strength.
The idea here is defence rather than aggression, suggesting the self-confidence to face anything in life, while also picking up feminine codes in a novel virile manner. Certain fabrics have the refinement of haute couture, and kilt-like pleats feature on top of Bermuda shorts and leggings. Boots have a masculine allure.
It is a season in black and off-white – sprinkled with blue, green, camel and red, reminiscent of Chinese lacquer-work. The colour block style of past seasons reappears in the cleverly worked fabrics. And the Star Camo design returns, almost tone-on-tone here, via leathers needled with wool, jacquards and quilted fabrics on jerkins and backpacks. The materials are more sophisticated with wool imitating the appearance of fur and goat hair worked like the native style of Astrakhan. The iconic white poplin shirt which sits at the heart and origin of the brand appears in a multitude of cuts and pleated cottons. And embroidery that echoes samurai uniforms is also used on wide belts and leather goods to quietly sublime effect.