Tag: christopher raeburn


3…2…1…we had liftoff at Christopher Raeburn’s fashion show on Sunday, held at the British Fashion Council’s official show space, 180 The Strand. The British designer sent both men and women down the catwalk, with a vision influenced by George Lucas’ first ever film from 1971 – THX 1138. The film charts a terrestrial dystopian future, but if Raeburn’s collection is anything to go by, it’s a future that doesn’t look too entirely bleak as long as we’re dressed for the voyage.

For Raeburn’s graduate collection at London’s Royal College of Art in 2006, he used upcycled fabrics at a time when the concept was still emerging. The method requires repurposing old products into something entirely new that often surpasses its old counterpart. This sustainable aesthetic has continued to drive Raeburn’s designs ever since he launched his brand in 2008.


He is best known for creating outerwear from de-commissioned parachutes. For his Spring/Summer 2017 collection, his REMADE ethos took flight once again, where Airbrake parachute material was reimagined as shorts, skirts, and of course, his trademark outerwear. Flame-resistant Nomex, a textile worn by astronauts, firefighters and military personnel alike, was incorporated into one of the parkas. Who knows when that might come in handy…

Sticking to a utilitarian palette of greys, whites, blacks, and blues, with blood orange accents, field and bomber jackets were laden with functional straps and pockets. The footwear, mainly an array of practical metallic and chrome sandals and trainers, was designed in collaboration with Clarks.


Raeburn is giving fuel to fashion’s casual movement with high fashion hoodies, tracksuits, and backpacks. They looked like the sort of thing off-duty models could easily slip into after a show. The horizontal hoops around the arms and legs were reminiscent of high-visibility clothing. It’s an appropriate comparison, seeing as Raeburn’s loungewear staples certainly will get you noticed, leaving no room for blending into the background. In terms of womenswear, I particularly liked the see-through skirt with black rings orbiting the hem.


In a three-way Venn diagram motif that continued to pop up on t-shirts and jumpers, 'remade,' 'reduced,' and 'recycled' all led back to Christopher Raeburn as the linking element. In a feature on sustainable fashion in a U.S. issue of VOGUE, the magazine urged its readers to 'remember the four R’s: reduce, reuse, recycle, and Raeburn.' That sounds like a philosophy we would be happy to follow – to the moon and back.


Speaking of which, Raeburn’s got the whole world in his hands, or rather, he’s got the moon on his designs. La luna made a big, bold appearance against the black backdrops of jackets, shorts, dresses, and jumpers.

What’s next for Raeburn? I would say to go where no man has gone before, but his innovative approach to fashion means he’s already managed to pull that off. In that case, it looks like it’s to infinity and beyond for this beloved designer.


Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Amie Charlot | Fashion Week Photographer | @amiecharlot

The blackness of Christopher Raeburn’s AW16 presentation was a stark contrast to the dazzling sunlight this morning at the Institute of Contemporary Arts. When I’d received the invitation, I’d been surprised to see that it wasn’t his usual catwalk show in the BFC showspace, but as my eyes adjusted to the dark room and the flashing neon structure in the middle of it, I suddenly understood that this is, in fact, the best way to see his collection.

Raeburn is perhaps most well-known for his innovative work with fabrics, having become a pioneer in his adaptation of different materials into his designs and promoting sustainability within the fashion world. This season, he has collaborated with The Woolmark Company to celebrate the versatility of Merino Wool, creating a varied collection showcasing each of its unique qualities. Temperature-regulating base layers sit underneath fluffy wool jumpers, topped with lightweight outerwear that can fit underneath heavier duty pieces to suit the wearer.

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Military jackets were the starting point for the collection, with elements from all kinds of ceremonial outerwear, from officer tunics to drummer jackets, inspiring each design. Lapels adorn jackets and roll-necks, repurposed from shoulders to add unusual decoration. Rope detailing provides texture on a classic duffle coat, and sheer embroidery adds delicate femininity to a military jumpsuit. The colours of the range speak of this military influence too, based upon autumnal greens, blacks and greys, with flashes of red nodding to its ceremonial side.


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As if collaborations with not only The Woolmark Company but also embroidery designer Jenny King and knitwear designer Sarah Sweeney weren’t enough for one collection, shoemaker Clarks continue to play a significant role in Raeburn’s designs. Practical yet stylish suede boots finish off each look, featuring wood panelling and rounded soles.

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Raeburn’s work is so hugely multi-faceted that it deserves to be enjoyed slowly, savouring each aspect as you move around the square of models and hear the man himself enthusing about his design processes. As enjoyable as his previous shows have been, it is only now that I really understand the sheer depth of each piece and their collective importance within the modern fashion landscape. Underpinning this significance, there remains a beautifully versatile and aesthetically pleasing collection, disproving the common myth that fashion can’t be functional. Quite simply, Christopher Raeburn has knocked it out of the park this season, leaving us looking on to see what genius awaits us in September.



Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Mel Williams | Fashion Week Photographer

image002image004Clarks x Christopher Raeburn’s first collection sees eleven styles combining Clarks rich heritage of craft and shoe making expertise and the inspiration for Christopher Raeburn’s Spring/Summer ‘16 collection: Sarawak, a Borneo theme, with the anthropologist Tom Harrison at the centre of the story.image003 

The Salek Sun is the first sandal in collection to be seen and appeared on the catwalk alongside Christopher’s SS16 Women’s Ready To Wear. Woven detailing and bold ankle straps combine with block heels made using lightweight EVA and recycled EVA to create a sandal which is modern yet functional. Webbing and cork are unexpected materials which lend an intrepid feel.

Still in the process of knitting a pair of the adorable shark mittens from his AW15 collaboration with Wool and the Gang, I was impatient to enter the BFC Showspace to see what Christopher Raeburn had in store for us for SS16. Drumming, tribal music announced the arrival of the collection, named, wonderfully onomatopoeically, Sarawak. The clothes were fluid, dynamic as the models moved, and full of texture. Inspired by both real and imagined female explorers in the jungle of Borneo, the designs were utilitarian and practical, but in sheer light fabrics and cinched at the waist, adding femininity to practicality.

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Oversize jacquard bumbags sit on lower backs - useful for the modern explorer - but tied on with fabric belts which become part of the outfit, emphasising the female form. The colour palette, too, spoke of the theme; khakis and olives in heavier fabrics contrasted with sky blue and cloud white, blocked on organzas and decorating jackets.

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Raeburn is renowned for the sustainability which forms the core of each collection, and this season was no exception. Black and white air brake parachutes, with their chequered pattern, found themselves on the catwalk as distinctive outerwear. This pattern appeared again on tops, skirts and trousers, this time as silk edging from British mill Vanners, creating cut-out silhouettes.

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Long-time fan of a good collaboration, Raeburn has worked with two brands once again this season. Shoes from footwear experts Clarks walked down the catwalk, wrapping feet in tonal materials to form sensible yet very covetable sandals. Lightweight knitwear developed with revolutionary knitwear company Knyttan also appeared, featuring signature graphics from the collection.


Explorers negotiate unknown environments, taking everything in their stride, which is exactly what the Sarawak woman embodies. She is able to adapt to any situation in style, looking sultry but also prepared for whatever she may find in her path. Raeburn has once again combined clever inspiration with innovation and sustainability to create an impeccable collection for next season.


Words: Katharine Bennett | Fashion Week Press | @misskatebennett

Images: Eloise Peachey | Fashion Week Photographer | @eloisepeachey

With Bear Grylls across the cover of GQ and the duration of LC:M subject to the elements - 20mph winds and sideways rain - it seems only fitting Christoper Raeburn should present a collection of rugged, maritime aesthetic to a soundscape of winters weather, both inside and out.

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Music was thumping heart and failing rain, an adrenaline drenched digital soundtrack by bespoke music creatives Toot! to accompany coastguards, explorers and their unlikely mascot.

The first look set the tone for the collection entitled RAFT!; a reappropriated rubber emergency dinghy which found new life as a Parka, and then as Shark hold-alls, open mouthed and slung across the body. Elsewhere AW15's mascot arrived in intarsia knit, swimming across jumpers and scarves in ocean blues and blood reds.

Prints were mud smeared and paper screwed up in temper and smoothed out. The used and worn stamped onto crisp ultitarian uniform in patterns that moved between earthy landscapes and the man made.

Elsewhere landing strip arrows that guide aircraft to land on ships at sea where were heat transferred onto quilted coats and black wool by Avery Dennison RBIS.

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Inflatable outerwear dotted in rubber valves closed the show to the sound of crashing waves. A jacket becoming a life-preservor, radicalised to something of adventure, of survival, and testament to Christoper Raeburn's unique take on outerwear, and of his elegant approach to recycling.

Words: Anna Claire Sanders | Fashion Week Press | @sannanders
Images: Robert Binda | Fashion Week Photographer