Tag: collection

Sidharth Singhis's, contemporary womenswear label, grew out of a remote Village in North East India.

Eponymous to its principles, N&S GAIA prides itself on its sustainable use of fabrics, specialising in natural fibres and pioneering the exploration into upcycling techniques, the ‘N’ and ‘S’ of its name, standing for Nature and Sustainability.

The SS18 collection further develops the designers signature style; free-flowing fabrics and long hems, tapestry-esque motifs and the incorporation and modernisation of traditional Indian embroidery technique, Dakamanda.

Turning from the vibrant shades of rouge, cherry and yellow from his AW17 collection Hybrid, Singhis’s SS palette introduces more delicate pastel colourings in tie-dye effect, the earthy tones of autumn replaced by camel and sand.

The lightness of the fabrics gives the collection an air of fluidity and movement; wide-legged trousers, shift dresses and wrap-around jackets which billow at the hems and create a sense of airiness and serenity which perfectly embodies the multi-cultural expression of the collections home-country, while further encapsulating the romantic connotations of spring.

To contrast the relaxed sentiment of the silk, the pieces come embellished with black-beads and sequins, wide embroidered collars and oversized statement jewellery, which grant the collection a flair of expense and oriental richness.

In anticipation of upcoming trends, we can see in this collection the common threads of pink, yellow and pastel blues which have been favourites across the fashion weekend. Side slits, wide sleeves and exaggerated ruffles can also be recognised as common features of next years’ SS collections.

Overall the SS18 N&S GAIA collection presents itself as an expression of multiculturalism, nature and the calming nature of femininity, from North East India, to South East England, may Singhis's designs sustain you through the summer.

Words: Scarlett Sangster | Fashion Week Press | @scarlettgracehs

Images: Tegan Rush | Fashion Week Photographer | @tegan.photography

The Berthold catwalk show at 180 The Strand is a collection made up of predominantly black menswear and womenswear. That’s why when the primary colours yellow, red and blue start to make an appearance, the impact is all the more striking. They crop up subtly in the details before they dominate the pieces from head-to-toe, as if they have completely engulfed the previous darkness and left in its place rays of sunshine.

The symbolism originates from a darker subject matter altogether. Research for the collection involved gathering photographs of child soldiers in Sierra Leone, Uganda, Liberia and Nigeria.

In one of the photographs, a group of young boys wear shorts with oversized pockets and belts that dwarf their frames. Yet still, they pose confidently, as though they are men – faking it until they make it, but betrayed by their ill-fitting clothes and youthful faces.

For Spring/Summer 2018, Berthold recreates these contrasts and documents the life-defining transition from boy to man. Enlarged sleeves are left loose to hang, extending past the models’ fingertips. Funnel necks are paired with cropped tunics and wrap front trousers are billowy rather than fitted.

Technical fabric and cloth, cottons and summer wools ensure you’ll stay cool in the heat rather than absorb it in all of those dark layers. Blankets (picnic, anyone?) are draped over cross-body bags. The bags – whether they’re oversized with several pockets or small and sit across the waist – make it easy to dip your toe into colour if you’re not willing to take the plunge just yet.

The colours allude to the optimism and brightness of youth. For the female models, sharp, geometric eye makeup created by Maria Comparetto is worn in the same primary colour palette.

The abstract graphic print reimagines shapes from traditional costumes. Influence is derived from the theatricality and majesty of the Dinka tribe in South Sudan, the Bashada people of Ethopia and the Ndebele and the Khoisan people of Southern Africa.

Now, we too, can join a tribe of our own – the Berthold tribe.

Austrian-born Raimund Berthold is the man behind the brand, which was established in 2009. He is now based in London and received his master’s from Central Saint Martins in 2005.

Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Berthold

The Ben Sherman catwalk show at Two Temple Place is an intimate affair and one that allows the models to strut their stuff for the collection deemed the ‘Peacock Revolution’.

The name is taken from the 1960s term ‘Peacocks’, used to refer to men who adopt a distinct and colourful dress sense.

On arrival, the seats are gifted with goody bags filled with Ben Sherman cleansing soap, moisturising soap and body lotion with piercing citrus, bergamot, floral and musk notes – along with a British flag pin. Models sport similar ones on their jackets.

Peacock feathers are showcased in glass cabinets in the lavish wood interior. Guests are split across three rooms for the models to navigate.

The Spring/Summer 2018 collection is a flurry of patterns inspired by the Bohemian and psychedelic movements of the Sixties. The models bring sass and swagger to printed shorts, deconstructed summer blazers and soft linen separates.

Where it can be, the models’ hair is worn long and shaggy, topped with a bucket hat, while their eyes are shielded with sunnies or oversized geek chic glasses.

Indigo and denim are the designated shades for outerwear, paired with brick and tan, while jerseys and shirting come in burnt sienna and pineapple – ideal hues for the summer months.

Suede jackets, a hooded parka, lightweight wool drawstring trousers and a warped gingham shirt are the standout pieces of the collection – seen in dark denim, claret reds and soft pinks.

Daring patterns, such as florals, can often be overpowering, but Ben Sherman tones them down with classic stripes and checks. The peacock pattern is a particular highlight as an ode to the collection’s overarching theme. Peacocks wear peacocks with aplomb.

Inspiration is also drawn from the music and festival posters of the Sixties. The Ben Sherman aesthetic is not lost, as it injects originality into the traditional shapes. A two-toned black and orange jumper bursts with flowers to spell out the word ‘MOD’ – the mods being a British youth culture known for making the Ben Sherman shirt part of their uniform.

The legacy of Ben Sherman, which was first launched in 1963, lives on five decades later. There is no better brand suited to design a collection dedicated to the decade of its inception. ‘Peacock Revolution’ reintroduces what was popular in the Swinging Sixties to a new audience of men ready to adapt the styles and make them all their own.

Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Ben Sherman

“We Shall Not Wilt” is the bold and powerful statement BODYBOUND makes for its presentation at 180 The Strand and the message is received – loud and clear.

Taking inspiration from the protest marches, anti-war slogans and flower power movements of the Seventies, BODYBOUND recasts the humble flower as a symbol of rebellion.

The timing couldn’t be more apt, as we are marking the 50th anniversary of 1967’s Summer of Love, which is when the hippy phenomenon bloomed. With London Fashion Week Men’s entering its fifth year, there is clearly more than one cause for celebration.

The speakers blast a cover of Nirvana’s “Smells Like Teen Spirit” as the models stage a catwalk show before allowing us to examine the mixture of dainty and raw details up close.

This includes embroidered barbed wire peace signs, flower patches and military pockets and boots, with the addition of platforms.

Since BODYBOUND draws on trends from the Seventies, it’s a given that the brand delivers denim – here it’s worn overdyed – wide-legged grunge trousers and round sunglasses. They have all been adapted for the modern man, which means they’re not overly nostalgic, but they’re still unmistakable tributes to the era. As well as the navy blue colour palette, blacks, greys and whites mainly feature.

The collection strikes a good balance between the politically-charged undertones of the barbed wire patterns and the fragile vulnerability exposed by the sheer see-through fabrics.

Not once do we question the masculinity of the collection, however. It is masculine to its core, but where it blossoms is with a nod to florals and with unexpected elements, such as the scarves tied around the models’ necks.

‘NO FIGHT, NO FUTURE’ and ‘WE SHALL NOT WILT’ are mantras reiterated and embroidered on the pieces. Models clutch a small bouquet of flowers each – defiantly, but hopefully. As we know, flowers are not all sweetness and light. Some come packed with thorns. In this rocky political climate, perhaps one of our best outlets for expression is through fashion. After all, BODYBOUND shall not wilt anytime soon.

Textile designer Kim Wilkins and photographer Pliny Champion launched BODYBOUND in 2012. They were selected by Yohji Yamamoto as finalists of the Hyères Fashion Award. Wilkins attended Central Saint Martins and the Royal College of Art. He has been a consultant menswear and knitwear designer for brands including Katie Eary, Matthew Williamson and Alexander McQueen.

Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Amie Charlot | Fashion Week Photographer | @amiecharlot

The Phoebe English Man presentation is held in a makeshift plastic-wrapped pottery studio at 180 The Strand. Models retrieve balls of clay from a set of wooden shelves, where previous creations are on display.

They gather around tables moulding miniature items – baskets, bowls and even cars – and look effortlessly cool while doing it. Their arms are marked with long black lines, their fingers tinged with the taupe clay. When they’re not sculpting, the models are posing in front of the shelves to show off the true art form – the clothes.

Rather than pomposity, the Phoebe English Man capsule collection channels functionality, which is a mainstay from previous collections. The garments are shown in easy to wear, understated shades of oatmeal, khaki and periwinkle.

There are no delusions of grandeur here – just quality designs, which include shirtdresses, cotton joggers and loose collarless cotton trench coats.

Slouchy rucksacks, in regular and oversized options, can be fashioned into either backpacks or shoulder bags. The nautical theme is embraced with muted black horizontal and vertical stripes and topped off with cotton rope fastenings. Patchwork in varying blue hues makes the pieces pop and external seams give them the edge.

Chunky socks are paired with just as chunky boots and trainers in outfits styled with perfect colour coordination. Although the models might be working in their ensembles, we think all work and no play makes the Phoebe English man a dull boy. No, these clothes are too good for a day of hard labour – put them on and show them off.

Phoebe English began as a womenswear label and quickly became known for its focus on construction as opposed to decoration. Its first foray into menswear was seen with its Spring/Summer 2016 capsule collection and, much to our benefit, the brand hasn’t looked back since.

Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Amie Charlot | Fashion Week Photographer | @amiecharlot