Myar (Q3463)
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video game and console brand
- MyArcade
| Language | Label | Description | Also known as |
|---|---|---|---|
| English | Myar |
video game and console brand |
|
Statements
The mixture of ingredients that makes up Andrea Roso’s Myar—a label of zero-waste menswear built on a foundation of vintage militaria—is becoming more complex and effective. Yet as he progresses, Rosso is finding that this apparently peaceful and positive project is part of a semantic conflict. As he noted on a call: “Sustainability is getting me stressed! I’m finding it’s a bit like politics—you think there is a parliament with everyone working towards the same principle, but there is a right-side way of thinking and a left-side way of thinking.”What seems so unsustainable about “sustainability” is the looseness of its meaning, and the carelessness—or cynicism—with which it is often applied in fashion and beyond. In Myar’s case, however, Rosso is both realistic about the inherent ambiguities of the cause and happy to accept scrutiny and debate around his attempts to further it.This season was the first in which Myar combined two deadstock ingredients, a nylon and down, to create the zigzag quilted section of his red and green rendering of the U.S. military L-2A flight jacket. There was a great deal of fleece in the collection, sometimes cut into the knee supports on vintage Swiss camo combat pants, sometimes used to line beautiful Dutch surplus parka liners, and sometimes used to create sweatpants worn with an all-fleece re-creation of the 1942-vintage USAAF B-3 flight jacket. The attractive cords, which like all the nonvintage fabrics here were cut in ReLiveTex-certified deadstock fabrics, were based on a pocketless design made for female British munitions workers in the 1940s.Fast-forwarding half a century, 1990s vintage Swedish rubber raincoats came in long and short variations, the short pimped with a pocket designed originally for canteens, the long with a pocket designed originally for skis. These were a few of the most eye-catching maneuvers in a collection that bristled with thoughtful upgrades and hybridizations, and which more straightforwardly often looked cool: Patagonia meets Pearl Harbor.Said Rosso: “There is always a mix of the vintage, used stuff with the new stuff. And the new stuff comes from the deadstock because my goal is not to produce any new raw material—it’s more a case of cleaning up old raw material. But the collection cannot always be made that way, because otherwise I’m talking bullshit, right?” Not talking bullshit? That strongly suggests that you’re not into selling it, either.
5 February 2021
The mixture of ingredients that makes up Andrea Roso’s Myar—a label of zero-waste menswear built on a foundation of vintage militaria—is becoming more complex and effective. Yet as he progresses, Rosso is finding that this apparently peaceful and positive project is part of a semantic conflict. As he noted on a call: “Sustainability is getting me stressed! I’m finding it’s a bit like politics—you think there is a parliament with everyone working towards the same principle, but there is a right-side way of thinking and a left-side way of thinking.”What seems so unsustainable about “sustainability” is the looseness of its meaning, and the carelessness—or cynicism—with which it is often applied in fashion and beyond. In Myar’s case, however, Rosso is both realistic about the inherent ambiguities of the cause and happy to accept scrutiny and debate around his attempts to further it.This season was the first in which Myar combined two deadstock ingredients, a nylon and down, to create the zigzag quilted section of his red and green rendering of the U.S. military L-2A flight jacket. There was a great deal of fleece in the collection, sometimes cut into the knee supports on vintage Swiss camo combat pants, sometimes used to line beautiful Dutch surplus parka liners, and sometimes used to create sweatpants worn with an all-fleece re-creation of the 1942-vintage USAAF B-3 flight jacket. The attractive cords, which like all the nonvintage fabrics here were cut in ReLiveTex-certified deadstock fabrics, were based on a pocketless design made for female British munitions workers in the 1940s.Fast-forwarding half a century, 1990s vintage Swedish rubber raincoats came in long and short variations, the short pimped with a pocket designed originally for canteens, the long with a pocket designed originally for skis. These were a few of the most eye-catching maneuvers in a collection that bristled with thoughtful upgrades and hybridizations, and which more straightforwardly often looked cool: Patagonia meets Pearl Harbor.Said Rosso: “There is always a mix of the vintage, used stuff with the new stuff. And the new stuff comes from the deadstock because my goal is not to produce any new raw material—it’s more a case of cleaning up old raw material. But the collection cannot always be made that way, because otherwise I’m talking bullshit, right?” Not talking bullshit? That strongly suggests that you’re not into selling it, either.
5 February 2021
This collection could be short handed Myar-L in that Andrea Rosso’s repurposing of military surplus this season contained a tangible dash American fashion’s greatest envisioner of cinematic archetypes. “Ralph Lauren? Absolutely?” confirmed Rosso down WhatsApp. “I wanted to bring a lightness and a purity—not so much clash of color—to the collection. And I was looking at a book of 1990s Ralph Lauren images that impressed me in details like the white poplin collars on rugby shirts. I wanted to bring in some of that classicism, mixing it of course with the army, second-hand military part of the collection.”Underboob via cropped Russian navy tops apart, this was a collection that occupied the intersection of prepper and preppy with both restraint and invention. Patched rugby shirts incorporated sections of surplus sourced U.S.-issue Desert Storm camouflage against country club jersey pastels. A tailored jacket in more deadstock desert camo ripstop featured strips of classically striped shirting cotton in lieu of service ribbons. This gentlemanly adaptation of officer’s regalia led to the logo’d sweats declaring membership of Myar’s “sartorial operations command”—Rosso’s imagined unit dedicated to the sustainable integration of military and civilian style. Field and liner jackets came in more shirting material, while some garment dyed or striped sustainable fabrics, certified Re Live Tex and locally sourced, were used to fashion precision-cut workwear inspired by aviation attire. It should be mentioned in dispatches that there were as ever many attractively tweaked surplus pieces which here included logo printed Swedish military snow parkas, a gorgeous overprinted Italian army jacket, British desert camo shirting cut in with Jermyn Street stripes, printed 1990s U.S. phys-ed T-shirts, and a beautifully unassuming bottle green wool Czech military shirt-jacket silk screened with more striping. Rosso’s mission to breathe new life into deadstock that’s wearable for any gender is being executed with increasing sophistication and confidence.
31 August 2020
This collection combined two types of garment dear to my heart—Hawaiian shirting and vintage military surplus—to clever effect. It began when designer Andrea Rosso observed that the bold patterns printed on Hawaiian shirts are a kind of anti-camouflage. He set about integrating said shirting into his existing palette of remixed upcycled vintage. On British desert-tinted woodland camo jackets were complementary patches taken from yellow patterned floral shirts, and against the mighty German Flecktarn battle shirt Rosso added a gorgeous orange. This was not just an exercise in block patching; some sections of camo were carefully overlaid with shirt-print in patches that exactly matched the shape below. Cool striped Russian surplus naval T-shirts, and ’80s Italian marine jackets—funky denim blousons—were hand pressed with palm-tree silhouette stencil prints whose depth of color reflected the strength of the hand that pressed them.A new feature this season was perhaps the cleverest touch of all: Now each MYAR garment comes with a QR code next to its label. A quick test-scan on my battered old Motorola phone—almost a vintage item in itself—displayed the provenance of the Hungarian M1949 battle shirt and its tricolor swirl camouflage, as well as specifying shades and types of aloha Hawaiian print that would be interjected into this season’s MYAR batch. This was a smoothly drilled collection in which the patterns designed to look bold but chill in got right along with the patterns designed to evade visibility and be brave in.
24 June 2019
Christopher Raeburn, Greg Lauren, Joe Casely-Hayford, and many other designers have worked to rework army surplus. But there can never be a surfeit of talented surplus reworkers, because giving deadstock originally dedicated to combat a new incarnation designed to be enjoyed is a deeply worthy exercise. Andrea Rosso is doing it very well at MYAR.A U.S.-issue jacket in Gulf War–era desert-night camo—a gridded green-on-green, designed originally to obscure the wearer from night-vision equipment—was enhanced with reflective tabs. Marines sweats featuring the ballsy insignia of eagle and anchor overseeing the world, with the U.S. in the foreground, were reflected in an added MYAR insignia of an Italian-facing globe and the lion of Venice. Really very lovely was an already handsome Swiss Army shirt whose camouflage was overprinted with periwinkle daubs; a patch of the unaltered fabric placed between the shoulder blades displayed the original. Linings were customized with additional pockets and zippers to transform them into bombers. An olive-drab boilersuit was recut into dungarees. Field jackets—some olive, some camo—were spliced into half-and-halfs; Swedish scout shirts received a similar treatment. A Battaglione San Marco jacket originally produced in the ’80s featured a handsome exposed yoke.An especially nice touch is that each piece comes with a little tie-top bag in which all the off-cuts removed from the original garment during Rosso’s reworking are included, along with a mark of provenance. Sometimes, the designer added, he is reminded much more directly of the history of the garments he is working to give new life to: “One time in Bologna, this older guy came up to me and said, ‘I did my service wearing that jacket!’ This is nice, this connection, and it is nice to give these clothes another incarnation.”
20 January 2019
For Spring, Andrea Rosso called his MYAR (a scramble of the letters that spellarmy) collection Khaki. He cited an inspiration of “British and Indian military, and the fusion of their ornaments.”Militaristic-turned-casual streetwear repurposing is Rosso’s tactic, and it continues to be employed effectively. In the lineup shown today in Paris, a few particular pieces stood out: a washed and distressed hoodie inlaid on the back with cuts of colorful belting; a camo shirt-jacket with a green-to-blue fade of hand-painted accenting; and a best-in-show upcycled khaki trench with Indian woodblock stamps applied on its side.MYAR continues to keep a blend of one-of-a-kind remixed original items (if a piece is altered, the history of the garment comes described in the pocket) and the newly produced. Rosso lets little go to waste—there are even caps, made in collaboration with the label Super Duper, that are rendered in the unlikeliest of materials: vintage Italian army mattress fabric.
23 June 2018
Andrea Rosso’s military-influenced MYAR is a label to watch closely. Last season in Milan, he pulledinspiration from both the British and Finnisharmed forces. This season, in Paris for Fall, he turned his sights toward the United States. The magic is that all of Rosso’s source materials are recycled and upcycled; each garment, found among deadstock batches in warehouses worldwide, is really one of a kind. He said, “Orders might come in, in which case we have to go find the pieces to alter . . . or pieces that are close enough to the original sample.” Sustainability and responsibility are increasingly discussed and important causes in fashion, and this small but potent engine out of Europe seems to be on or ahead of the curve—and doing its thing with some real stylistic gnash, to boot.For Fall, Rosso found original M65 Vietnam cargo pants and jackets, an N-3B “Snorkel Parka” from 1958, and various navy and army sweatshirts and T-shirts. From there he rendered a sly, possibly suggestive treatment across a majority of his discoveries: covering “U.S. Army” patches with “US MYAR” ones instead, or, likewise, Air Force wings with plasticized redaction tape. Rosso said it wasn’t meant to be too much of a slight; the fix-ups were more for aesthetic purposes.Other amendments included painting cargo pants with neon orange spots, so as to invert their purpose and make them not invisible at all, or cutting up other pairs of trousers to render them narrower and more contemporary. Rosso keeps all the scraps from the original garment inside a little sack, which is placed in a pocket on the refurbished piece. The bonus to his practice is in its exclusivity. “We do a lot of trunk shows,” said Rosso. “People can customize exactly how they want each piece to be.”
21 January 2018