![]() There’s a lot of proportion from hourglass shapes to a duster kind of feel.” The lines of the collection are also quite unique. All the colours felt simple and organic in these photos. A rust, caramel colour mixed within and elements of grey. Everything had a warm feeling to it, the whites and khakis were quite warm. It was black and white photography at first then colour, and I found these spia tones in old photographs taken of the Sahar. It was really the books I had been trawling through at teh library and book stores. It’s very much a city guy, no doubt about it. ![]() It’s not rustic and not bohemian, it’s got a citified edge that meets this Sahara sensibility. It’s quite artisanal in terms of the fabrics and leathers. It’s a lot less straight ahead rock and roll for me, it’ s softer. There’s a tonality to it, lots of sandy shades, whites and rusts. “We got on this thing that felt more organic and from a place somewhat like the Sahara. “This season we wanted to stay within out DNA because we have our own handwriting but at the same time wanted to do something fresh and new,” says Varvatos. Think Sahara sands awash with the paintbox colours of sepia film, a return to the raw – guitar pick still in hand, mind you. Rock ‘n’ roll may be John Varvatos’ calling card, but the New York designer is throwing caution to the wind for SS15 with a collection that he says steers in a more nostalgic direction. Sahara 1920s, image Wolfgang Wiggers via Flickr
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