Lim sent out 60s rude boys in oversized, pixelated camouflage patterns, creating an elegant youth revolt for his first Paris show
The New Yorker's first standalone menswear show in Paris was called 'White Noise'. The idea was to cleanse the palette, using the light shade to enforce shapes, fabrics and patterns. One of Lim's predominant themes was the layering of pieces; jackets over coats, transparent tops underneath short sleeved shirts and knits worn through just one sleeve, making the garment look more like a scarf than a jumper. Subtle colour combinations - orange/burgundy and white/beige for example - impressed, but didn't steal the limelight from Lim's oversized and digitally pixelated camouflage patterns. Herringbone and houndstooth fabrics also featured heavily.
Dazed Digital: What was your sartorial starting point for the collection?
Philip Lim: It was all about White Noise, using the colour to amplify and take away the noise of colour. We looked at 60s counter-culture for inspiration... the suede heads and rude boys. For them it was all about anarchy and I wanted to show that youth revolt but in a modern and elegant way.
DD: The shoes were great...
Philip Lim: Thanks, they were work boots, a sort of hybrid between Dr Martens and Creepers!
DD: There seemed to be a focus on layering, why was that important?
Philip Lim: The young street style of today is all about making do with what you have... and that's where the transparent latex fabrics came from...
DD: Tell me about the pixelated print!
Philip Lim: Well that came from something so traditional as houndstooth patterns. We digitised it and used urban camouflage colours on it to make it modern.
DD: Do you have a favourite piece in the collection?
Philip Lim: The high-waisted trousers. I love that a guy can look a bit sexy, and show a bit of skin. Skin is in!