The word “love” is the same in traditional Chinese and Japanese characters. For his fall-winter 2017-2018 Ports 1961 collection, Milan Vukmirovic also printed “love” in English, Arabic, French and Russian on his tracksuit hoodies. This collection is not only younger than previous seasons, but also more minimalistic. Informed by the artistic director’s early years – the early nineties, the energy of the London scene, and the music and images when new century ideas elicited excitement and a hint of dread – it also reflects today’s lightning-fast changes. world.
The men of Ports 1961 were armed for whatever happened that day. In the city, they wear urban workwear-inspired protective clothing. Striped parka reflective tape borrowed from construction site, bomber reversible, coat has slit sleeves, blouse studded with buckles and drawstrings, pipe trousers, thick sweater, hood removed and shirt front lined. The cut is clean, spacious, changeable and efficient. Her wardrobe is bold, right right down to the colour. Two-toned silhouettes, blocked in contrasting shades of black, gray, red, and even orange or red, are infused with buoyant energy.
The lines give tempo to the collection. There’s also the camouflage print that Milan Vukmirovic has at all times loved. Otherwise, the main ingredients are easy, dense and thick, often with raw edges. Sturdy cotton canvas, deep diagonal twill, thick fleece and real nylon underscore the masculinity of this chic sportswear offering. But for all its masculinity, the collection has lots of charm and heart. The white shirt – an icon of the house – is embellished with strategically placed red embroidery representing that vital organ, which sits just above the chest of young warriors of affection seeking emotional rescue.
