A gentleman’s decline and fall — as charted in William Hogarth’s “A Rake’s Progress” — was Patrick Grant’s starting point for fall, as was the men’s wear of the early Georgian period “when men were still beautifully and very flamboyantly dressed,” said Grant. Despite the historical references, the sharp suits and cocooning overcoats that Grant sent out had a clean-cut, modern feel. The Georgian mood came through in Grant’s use of color and texture.
The show opened with looks in austere shades of gray and black, such as a herringbone overcoat woven with black and gray crosses, worn with a matching slim suit — to reflect the rake’s straitened circumstances — then progressed to a richer, more decadent palette. A series of suits and a wool biker jacket stitched with embroidered, scrawled text nodded to the muse’s unsavory end. Grant said he worked with students from the Royal School of Needlework to give the embroidery a “raw” quality as “you never want men’s wear to feel precious,” he noted.