There are so many words that come to mind when contemplating the latest Prada collection; austere, sober, old world, kitschy, tacky, modern, monastic, just to name a few.  What was shown could be taken apart in and put into two categories, tasteful and distasteful.  Synthesizing the two is nothing new for Miuccia Prada, but there was something stranger about the way she approached Sunday’s collection, possibly how seamlessly both sides were fused.

Lets start with the conventional, good taste.  This part of the collection came through in the form of unassuming tapered pants (I’ve been looking for this particular cut for quite some time now), a sober color palette of blacks, browns and burgundy, as well as clean, white coats.  Breeches with knee high socks had old world charm and the bowl haircuts the models sported brought to mind twelfth century monks.  The overall propriety had a cultish/religious overtone.

This was all juxtaposed with extreme kitsch.  Lurex twin sets of v-necks over mock necks glittered as they came down the runway.  A harlequin pattern decorated a series of oversized suede overcoats, accompanied by polo shirts similar to the ones your father would wear.  There was even a geometric pattern that recalled the late sixties.  The cuts on the other hand, with their exaggerated boxiness, brought to mind another decade, the eighties.  It was all tacky and over the top, but worked impeccably within the context of the collection.

Prada is a master of contradiction.  She can create paradoxes within her shows and make them as subtle or obvious as she wishes.  At first glance, everything appears to be cold and harsh.  However, by the time you’re confronted with a model wearing glittery knee highs you realize nothing that Prada presents is quite what it seems.  Even though it may repulse you at first, you can’t look away and the strangeness becomes more and more intriguing.  Another binary opposition that I noticed was one between stability and rebellion.  Even though the propriety of many pieces was undeniable, the exaggerated boxiness of some of the jackets had Goth appeal that was slightly menacing.

Photos: Style.com

Here are some images from Raf Simons’ Fall 2011 menswear collection for Jil Sander.  The use of an array of popping color was reminiscent of the designer’s highly acclaimed spring outing for women.  I thought that the collection was successful overall.  I especially liked the boxy suits, quilted parkas, layered sweaters and clean white looks.

Photos: Style.com

Coats are definitely my favorite items of clothing.  They’re what you’re seen in for a majority of the time during the colder months.  Because of this, I was ecstatic over Christopher Bailey’s latest men’s collection for Burberry Prorsum. It was full of them, as almost every model who stepped out wore one.

This made sense as outerwear is Burberry’s halmark.  The toppers varied in style, color and fabric.  What started in a march of plaid ended in an ermine print.   Bailey showed overcoats, bombers, duffle coats, parkas and furs.  Colors ranged from bright yellows, to colbat blues and styles ranged from the more athletic to formal.  I particularly liked the blue plaid and a moulded, red, double breasted number.  A variation of last fall’s hit sheepskin lined aviator jacket also made an appearance.

Bailey’s collection may sound busy, but the designer still managed to focus and unified everything with stovepipe pants and rubber soled boots.  The show was not only limited to coats, although they did make up the bulk of it.  Some great cable knits were present, one of whose fronts looked as if it was covered with fur.   The collection wasn’t groundbreaking, but it did offer men a plentitude of desirable pieces.  I would wear almost everything that walked down the runway.

Photos: Style.com

Photos: Style.com

Photos: Style.com

Photos: Style.com