It’s officially 2012 and while nostalgia is apparently still alive and well in fashion, we’re ready to move on from the “heritage” wear and “native” trends of the past few years in favor of a different type of nostalgia, one that harks back to classic designs, quality craftsmanship and just simple, well-made clothes.

When we were young, Calvin Klein was the pre-eminent brand for mens and womenswear. With its clean lines and sleek minimalism, the brand managed to appeal to everyone and yet seem fashionably exclusive at the same time. And while the label dropped off — partly due to overexposure perhaps, or misguided attempts to branch off into too many different projects — Calvin Klein has quietly returned to the top of ready-to-wear scene in the recent years, showing a newfound maturity and subtlety that harks back to the days where clothing wasn’t about fads or fame or flightiness – it was about wanting to wear something that made you feel and look damn good.

During the pre-fall 2012 showings in New York last month, one of the most memorable offerings came courtesy of Francisco Costa for Calvin Klein Collection. There was an obvious emphasis on the waist this season, with each garment tightly cinched to emphasize the models’ miniscule midriffs. And while the sturdy and structured wool dresses, re-imagined sportswear staples, and leather trench coats were all obvious must-haves for this coming fall, our eyes have been fixated on Costa and the brand for the past few seasons.

Costa’s creative direction has largely remained consistent with the minimal all-American sportswear aesthetic so characteristic of the company’s history. But we love that the designer has also infused a distinct sense of softness and sophistication into the brand. This new direction has assisted the brand in staying relevant among the countless labels which seem to constantly be coming out of the woodwork.

From the wildly successful revamp of the ckone fragrance line, to the brand’s prominent association with it-girl and supermodel Lara Stone, Calvin Klein has slowly but surely managed to regain that intangible sexy cool, which was the root of the brands success in the 90s. And it’s nice to reminisce about the past, Costa’s contemporary conception of sexiness certainly transcends memories of Marky Mark clad in a pair of tighty whities.

- James Lavapie

I’ve been wearing my tortoiseshell Alain Mikli glasses now for almost two years and they’ve sort of become an unofficial and somewhat reluctant trademark for me (in other words, I’m the “guy with the glasses,” at least to those who don’t know me by name). Still, I love wearing them, not only because of the way they look, but because of the outstanding craftsmanship and quality put into each pair of specs made by Mikli’s team in France. So imagine my thrill when I received an invitation to have dinner with Mr. Mikli himself during his recent visit to Toronto. My answer, of course, was a resounding YES.

Mikli was in town to launch his latest collection – a line of limited edition eyewear with French clothing designer Jean Paul Gaultier. Friends for decades but never collaborators until now, Mikli and Gaultier have aligned their creative pursuits and flair for design into a collection of 20 frames (12 eyeglasses and 8 sunglasses) in a handful of bold and dramatic styles and colorways. Made from sturdy acetate and metal, and featuring unique “winged” arms on the side (meant to resemble corset ties), these are, as Mikli puts it, “frames to see as well as to be seen.”

Mikli’s years of workmanship and technical expertise guided the frames, while Gaultier added his characteristic irreverence and playful style. During our dinner in Toronto (at the lovely Maléna Restaurant in Toronto’s Yorkville neighbourhood), Mikli explained that both designers wanted to push their ideas out of the box, while retaining a classic elegance and timelessness to each piece. While I appreciate the inventive designs and unique combination of colors, I was most struck by how there was no outer logo on the frames. Instead, the designers chose to let the frames (and each individual wearer) speak for themselves.

While Gaultier has collaborated with everyone from La Perla to Target, and Mikli continues to collaborate on an eyewear line with good friend and designer Philippe Starck, the “Jean Paul Gaultier by MIKLI” collection speaks to a new and different audience: one that appreciates good quality design and an imaginative spirit, paired with a youthful exuberance and sense of humor. If my Alain Mikli glasses can be counted on to capture a look or two at a party, you can be sure this new collection will have people staring all night long.

The “Jean Paul Gaultier by MIKLI” collection is available at the Alain Mikli boutique on Madison Avenue in New York and exclusively in Toronto at Karir Eyewear (Mikli and owner Bob Karir have been friends for more than 20 years and it was Karir that first launched Mikli’s line in Canada). Prices for the collection range from $325 to $460.

- TC

Founded in 1992 by Scott Irvine, leather accessories company Brave Leather is committed to creating quality leather goods the fair, honest and ethical way. Beginning simply enough with Irvine’s desire to recreate the “cool” belt worn by Brad Pitt in the film Thelma and Louise, Brave Leather is now carried across 1100 stores in 27 countries. With the brand’s 20-year anniversary fast approaching, the company continues to expand with their “Make Your Own Belt” service launching in January 2012. In anticipation of the launch, we had the opportunity to visit the Brave Leather Factory in Toronto, where we got to make our own belt, and sit down with Irvine. to chat about his early years growing the business, the ethics behind the label, and the true meaning of the word “Brave” in the company name.

After experiencing success as a street vendor selling his handmade leather creations across Toronto, Irvine set out across North America with nothing but his minivan and his dog, Gypsy. “I was 23 years old at the time,” Irvine recalls. “I just needed enough money to pay my rent and eat.”

Irvine certainly led a rather subsistent lifestyle in the first few years of Brave Leather, sleeping alongside Gypsy in his car to save money while traveling. “In the morning, I would go to the gas station and wash-up, and fix-up my hair and away we go,” he recalls nonchalantly.

However, 20 years later, Irvine’s memories of pedaling belts out of the back of his van are little more than remnants of the past. The designer partly attributes the brand’s longevity to his unique ethical stance, in a world where even the so-called “green” products are often made in China using sub-par environmental and labor standards. “There is a cost to all the cheap stuff you buy at the big box stores,” Irvine remarks, “and the cost is human misery, it really is.” Irvine’s view on big business is unsettling, yet unfortunately accurate in many cases. “I’ve seen it with my eyes and we avoid it like the plague.”

Irvine’s moral compass has been the guiding force behind his business, even in the initial stages. “The approach isn’t that much different now,” he says; “It’s just bigger.”

Nevertheless, what has changed is the meaning behind the word “Brave.” After being kicked out of his original location selling belts in the Queen East Beaches, Irvine received an offer to set up shop in front of a flower shop in the gay village. His response: “Well, hmm, ‘that’ll be interesting,’” I thought to myself. “I’m a straight guy, I’m from Markham and I don’t know, but okay I’ll try it.” Upon hearing of his move to Church Street, Irvine’s friends commended the young businessman by saying simply, “Wow, you’re brave.”

The literal meaning behind Brave Leather has certainly evolved over the years. It’s equally as brave, some would say, to stick with a vision for a product line and commit to its growth. And of course, it’s also brave to invite journalists — myself included — into your factory to customize their own belts. As for my creation (that’s me working hard in the photo above), it was definitely a challenge to perfect, and hardly up to par with the company’s usual quality and craftsmanship. In fact, wearing my hand-made belt out in public and putting my name behind it might just be the bravest thing of all.

- James Lavapie

Earlier last week, Gilt Groupe announced the monumental expansion of its e-commerce offering to over 90 countries. Founded in 2007 by Kevin P. Ryan, Alexis Maybank and Alexandra Wilkis Wilson, Gilt.com is the ultimate online shopping destination, pioneering the now-ubiquitous e-commerce practice of the online “flash sale,” a limited-time only sale where customers receive designer merchandise at up to 60% off retail. Over the past four years, the company has expanded from womenswear to menswear and now features daily sales that include children’s products, home decor, cuisine and culinary products and travel. We had the opportunity to sit down for lunch and chat with Wilson last week and learned more about Gilt’s global push, its response to competitors, and why, unlike its sales, this company is no flash in the pan.

As avid online shoppers whose penchant for websites such as Gilt.com verges on addiction, we were absolutely thrilled to learn of the company’s expanded shipping to international destinations. Still, many wondered why this move didn’t happen sooner. The reason is “complicated,” Wilson admits. “It wouldn’t be very Gilt-like to have a bumpy checkout process for people living overseas,” she says. “If you did try to shop now, it would feel just as easy as an American customer; that was really important to us.”

Wilson remains ever-conscious that every decision made by the company is consistent with the Gilt brand. But what exactly does it mean to be “Gilt-y?” “[The word] Gilt means covered in gold and from the gilded age,” says Wilson. “It has all these connotations that, to us, seem elegant and fitting for a luxury brand.”

And then there’s the play on words, with “guilt” and guilty pleasures, and feeling guilty if you shop. “The name ‘Gilt’ epitomizes contradiction in that members feel anything but guilty when they are able to purchase highly sought-after goods at a fraction of the retail cost,” Wilson adds with a smile.

Wilson knows that “Gilt-y” feeling all to well as a loyal member of the site. “I love shopping on our site!” she declares. “I buy everything from gifts for people, to shoes, jewelry, dresses…many of our employees are actually addicted shoppers.” However, Wilson’s “addiction” pales in comparison to that of her friend, co-founder, and fellow Gilt-member Alexis Maybank, who actually purchased her wedding dress from the site. “I would never have done that,” Wilson confesses, sheepishly; “but she bought two!”

The Gilt-y obsession of both members and founders alike is a testament to the company’s success. However, what in 2007 was a novel and revolutionary idea in the world of e-commerce is now one of ubiquity, with countless flash-sale sites online. Despite the increase in competition, Wilson remains confident that Gilt will continue to retain its edge. “I think we have already set ourselves apart from any competitors,” she says, matter-of-factly. “We’re certainly the largest across so many different categories, and in terms of that we’re very clearly, I’d say, number one.” And with over 5 million members and counting (plus a slew of new ones now that the site has launched internationally) they have no plans to give up the top spot anytime soon.

- James Lavapie

The hysteria and eager anticipation surrounding the imminent launch of H&M’s long-awaited collaboration with Versace tomorrow morning got us thinking about the general nature of diffusion lines. Who decides which designers to work with? How do all the collections come together? And more importantly, who does it benefit the most?

We had the opportunity this week to visit the H&M showroom and speak with Emily Scarlett, the company’s communications and press manager for Canada, and we picked her brain about the process of collaborating with a luxury label, from the design process and the clothing construction, to the challenge of translating luxury to a mass market.

H&M’s collaborative process obviously begins with finding a brand to collaborate with. Given the diversity of past collaborators (including Karl Lagerfeld, Viktor & Rolf, and Comme des Garcons) it is difficult to pin down the exact criteria for selection. However, H&M is a business, and appealing to the consumer, Scarlett explains, is the ultimate goal. “We always want our customers to be surprised by the announcement, but to also be really excited by the announcement,” says Scarlett, who says she’s looking forward to picking up a few of the H&M x Versace pieces herself.

In terms of the company’s most recent collaborator, a diffusion line seemed out of the question to Donatella Versace in 2008, when she was quoted at the New York Times’ “TimesTalk” series as saying that a diffusion line, “would confuse the brand.” Evidently, the designer had a change of heart. “We approached the Versace team, and they were really excited about the opportunity,” explains Scarlett. “Being able to reach such a wide audience with your brand I think is a really exciting experience for the designer.” It’s as much about publicity as it is about sales, and the ripple effect of “fast fashion.”

According to Scarlett, all the guest designers essentially enjoy carte blanche during the early stages of the design process. Working closely with the H&M design team, led by creative director Maragareta Van Den Bosch, the designs are only limited by the brand’s ability to source manufacturers to produce the garments.

H&M works exclusively with third-party suppliers, not actually owning any factories. This actually assists in keeping costs minimal as it is proportionately cheaper (and more profitable) to produce tens of thousands of garments compared to the comparatively small volume of product produced by high-end luxury operations.

Regardless of the price point, it is the palpable sense of hysteria surrounding these releases which makes them so wildly successful, with some waiting in line overnight just to take home a few coveted pieces when the doors open in the morning. “I’m so excited for Saturday,” Scarlett admits; “a little scared, but excited.”

With the collection likely to sell out immediately in stores on Saturday (and subsequently reappear on eBay at triple the retail price), H&M is not likely to stop collaborating anytime soon. “As long as our customers love it, we’re going to keep on trying to deliver these collaborations,” Scarlett says. You can bet plenty of people will be eagerly waiting to see what the company has up their sleeve next. In the meantime, the Versace for H&M collection will be available in select H&M stores worldwide beginning at 10am tomorrow morning.

- James Lavapie