In the great seasonal search for inspiration, sometimes all you need is a squeegee. After seasons of particular, if occasionally oblique, references—David Bowie circa The Man Who Fell to Earth, late-stage Soviet communism, the brief creative burst of Weimar Germany—Robert Geller wanted to “pull it back a little and work with less,” he said. That meant getting a squeegee, some paint, and through trial and error (a lot of it, he stressed), arriving at the perfect representation of a brushstroke, the dominant motif in Geller’s Spring men’s collection.

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