If there's a designer capable of elucidate references with unerring accuracy through the alluring construction of menswear clothes, is Robert Geller. Over the past years, across the timeline of his seasonal menswear collections, the designer proffered his fixative craze for David Bowie, Berlin, music, and constructivist art - just to name a few. But for Spring 2015, Geller found himself on another story trial, perhaps, a more experimental one. That particular philosophy conducted him towards a different context, one that reads extremely intriguing. This time attention was paid onto the two elements that reflect with precision his aesthetic, textile and color. For instance, Geller's preoccupation with color revealed the poetic and compelling attraction he has been propelling with consistency. His subdued, somber combinations of neutral tones, playing against simple, yet forward silhouettes, have that same winsome effect from previous collections. However, this offering states a new way of effortless dressing, one that does not compromises the classic garb of his menswear style.
"What's modern? " - appointed the press releases about Geller's thoughts during the developing process of this collection. One immediate answer to that question was practical-essentialism, two words explored through length proportions, layering and silhouette variations. Another compelling element, and the one that reflected the collection's rawness and newness, was the paintbrush-strokes via print, achieved through an experimental process with squeegees and paintbrushes. Later, those were translated over the sleek texture of a neoprene jacket and shorts, or vividly seen with a grain effect on a knit, oversize top. Marrying the past with the present were his tunics, layered with blazers or jackets, alongside the fitted skinny shorts. Hats, the best ones seen at menswear shows, were done in collaboration with Weave Toshi, same with the eyewear by Garrett Leight and shoes by Common Projects x Robert Geller.
What really fascinated the audience was definitely Geller's impeccable delivery on detailing, while maintaining the simplicity of his pieces - hence there, the oblique placement of a shirt's pocket on the front of a navy coat, or the racing zippers running down the side piping of a skinny cropped-trouser, or the way he reinvented a parka's neckline by placing the one from a bomber jacket. Undoubtedly, it was a one man show. Even more so, because it had a personal touch, it felt closer to Geller's enterprising hope with menswear.
By Jhon Jairo Santos
Photos by Greg Mitola