After taking on the tents at the new Mercedes-Benz Fashion Week home in Lincoln Center, Andrew Buckler decided to take his work out of the tents and several neighborhoods south into SoHo, and the scale is both impressive and palpable, as Buckler shut down an entire block to set the stage for his Fall 2011 collection. Buckler’s dedication to his craft has always been apparent through his attention to details, but going through bureaucratic hassle to find the perfect stage for his theme—artists using the street as a medium to communicate messages—is a whole new level.

Last season, Buckler’s designs were decidedly Bauhaus with splashes of primary shades throughout. However, this season Buckler goes back to black and conducts his business with what he does best—lean, long and layered silhouette with fitted pants. Tailored jackets, long, cable knit cardigans and refined wool gabardine tuxedo toppers add to the collection’s somber look, which seems to bring back an age-old New York City fashion stereotype.

As for how street-art played into the collection, the splashes of highlighter yellow dashed across paneled jeans and parka, and comes equipped with the same intent to shock that street art possesses.

Last season, one of the most memorable shows was presented by new Japanese import, N. Hoolywood. With an impressionable collection, Police Picture, inspired by incarceration (a bold and refreshing move), all eyes are on Daisuke Obana this season, awaiting to see how the designer will be topping his past season. And not one to disappoint, Obana headed in the opposite direction, offering freedom in his Fall/Winter 2011 collection, Half Dome, named after the Yosemite Peak documented by Ansel Adams.

While the outdoor theme might have been disconcerting for some who see the great American lumberjack theme as overplayed in the past year or two, Obana manages to roll out a refreshing, not to mentione, very refined set looks down the runway. While grey and earthy plaids paired with Nordic knits are not exactly groundbreaking, Obana’s men thread a fine niche of rugged refinery that is quite reminiscent of the gentlemen explorers who uncovered new lands and treasures at the turn of the 20th century.

There is a good reason why good people of fashion can always rely on black. The lack of color is fail safe, especially in menswear, where there are so many ways experiments in color can easily become wrong or tacky. And in the worst case scenario? Both. However, Raf Simons amazes and satisfies with a flawless execution of incorporating colors into the Fall/Winter 2011 Jil Sander men’s wear line-up, making subtle references to his women’s line last season. Sure, Simons mentioned that he wanted to revisit the roots of Jil Sander men’s wear, and wanted to explore the notions of purity and reduction, but the result is definitely less somber than he made it out to be.

Suits are cut simply with two buttons, and the unadorned silhouettes have been highlighted with bright candy shades of orange, pink or yellow from top to toe. And surprisingly, there is nothing cheesy about a pink suit. In terms of volume, Simons turned up the volume on his women’s range last season for Jil Sander, and he applied the same notion to men’s wear this season, with a measured execution. Jackets and coats have been cut with room to move (and breathe), sportier jackets seems to have been injected with a slight blouson shape and even white t-shirts are now more generous and boxy in the middle. The Fall/Winter 2011 Jil Sander men is one built with a more traditional sense of physical masculinity, but with an ability to wear color without irony.

Sometimes, seemingly highly improbable things happen, and subsequently, our minds melt a little bit. This year, while brands are rolling out high octane color blasts of collections for the runway, Prada keeps it with a patina of nostalgia, with a trusted fall palette of neutrals. But, just because it is neutral doesn’t mean it is lackluster; and this is especially so when Prada hits the right note with a boxy, roomy suits a la the post-war era (a daring change after the slim and fitted has almost instated itself as a force to be reckoned with–with staying power). Somber suits are a check, but the highlights of the collection also includes a play on the 70’s velvety numbers, used on patterned blazers and jackets. Silky v-neck sweaters beckon to be touched, and the same sheen are applied to trousers both fitted to cut off at the ankle and right below the knees. If compared to a film, the collection is slightly reminiscent of A Single Man, with the same burnished quality that can only be achieved when recreating the past for the present.

Last year was a wonderful year for men’s footwear. Rag and Bone collaborated with Timberland, and let’s not forget Dr. Marten’s 50th Anniversary as well as the revival of a range of heritage sweet kicks like Bass Weejun (thank you, Mark McNairy and Opening Ceremony) and more. But, there was one single pair of shoes, that could be deemed the “IT” shoes for men– the Christian Louboutin studded sneakers that have walked the Earth (or at least the cool parties on Earth, specifically via Pharrell’s foot) and won a heavenly chorus of “oohs” and “ahhs” as they weave past the crowd. This season, the perennial love of women’s footwear (for his iconic red soles and sky-high black pumps), Christian Louboutin, continues to inject his men’s collection with that same naughty, sexiness, i.e. spikes, and spikes. The spikes have found themselves on to the spring/summer men’s staple, the boat shoes, and gave the shoes an instant tart and raunchy uplift. These are set to drop on February 1, and are currently available for pre-order. But, there is a wait list.

For seasons, men could only pine after Christopher Kane’s pieces and sublime prints with little gratification from occasional releases of iconic prints, such as the gorilla and the atomic bomb, in men’s sizing. But, this year, Kane debuts a men’s wear collection for the men who have been waiting, and it does not fall short of expectations. Kane continues to work with prints, especially with those of the galaxy and stars and sky which he has been obsessed with (and we have seen these mesmerizing prints in his women’s collection). And in terms of material, he opts for a high dose of sensuality to go with the sublime prints. Light, paper thin leather have been used on hoodies and blazers, which gives the idea of Spring/Summer dressing a new edge (even though some might not quite agree with the unconventional use of leather during these season), and a good portion of the collection is made from cashmere and silk from one of the oldest Scottish woolen mills, Johnstons of Elgin.