Tag: London Fashion Week Men’s

Katie Eary took cultural roots that are usually left in shadows by the guidebooks of London and brought them into the spotlights of 180 Strand's Show Space for LFWM. The peep shows, the ‘model upstairs’ unmarked doors and the adult cinemas that litter the streets of Soho all turned muses for Eary’s AW17 collection.

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As the lights came up and Dusty Springfield purred ’The look of love is in your eye’, the waiting crowds were reminded that beauty is in the eye of the beholder and that once, sex wasn’t such a dirty word. We were reminded of a time when Soho was Saucy not seedy and pornography was naughty not nasty.

Eary clearly located these Halcyon days in the 70s with staples such as silk pyjamas, smoking jackets, sheepskin, kaleidoscope prints and plum/tarry tobacco hues.

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Revealing cuts and figure hugging silhouettes were in evidence straight from the off as Daisy Lowe opened the show. Her plum silk dress, cut high and with a plunging neckline enhanced her best playfully seductive strut. She was followed by belted silk gowns, and smoking jackets with open chests accessorised with Teddy Bears. Looks which recalled the glory years of Playboy.

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A wall of balloons with patterns reminiscent of eyes or breasts were mirrored in the bold kaleidoscopic patterns but the warm palette, animal prints and rich wool and sheepskin textures softened the statement sexuality.

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2 piece pyjama sets and ‘belly-cut’ tees emblazoned with lizards further added to the sense of playful innocence and you got a sneaking suspicion that the models might actually be enjoying themselves. As Eary emerged beaming to close the show in a white t-shirt garnished with black nipple tassels and ran to hug somebody in the crowd, I found myself also smiling with the fun of it all as everybody fixed their best moody pouts for the waiting photographers outside the venue, it was nice to see a few smiles taken back out into the London morning.
Words: Mitchell Cooper | Fashion Week Press | @catsandjackets
Images: Amie Charlot | Fashion Week Photographer | @amiecharlot

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TOPMAN Design’s catwalk show on Friday was a throwback to the Nineties, so where better for Lennon Gallagher, the son of Oasis lead singer Liam Gallagher, to make his catwalk debut?

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The 17-year-old strode down the runway at the Old Selfridges Hotel representing a decade that he was just about born into in 1999. Liam gave his stamp of approval on Twitter, describing himself as “very proud.” Lennon, whose mother is Patsy Kensit, was every inch his father’s son with strong brows and liquid blue eyes.

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The collection, showcased at the Old Selfridges Hotel, used fictional pub name The Fuzzy Duck as its inspiration to celebrate pub and club culture and placed the focus on the British traveller. The invitation featured a less than fuzzy, rather psychotic-looking cartoon duck with a jaunty hat, a raised eyebrow, and smoke trailing out of its mouth. The same name and duck appeared on psychedelic jumpers that were very fuzzy indeed, with sleeves trailing past the models’ fingertips.

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TOPMAN Design proved that double denim – usually a fashion don’t – is a massive do that’s back and better than ever, especially when the look is topped with a bucket hat. The clothes injected us with a massive dose of nostalgia by incorporating rave graphics, acid brights, and flared trousers.

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Models with greasy skin and even greasier looking hair gave the impression that they had been working hard and playing hard. They first appeared buttoned up in unconventional corporate attire – oversized, slouchy pinstripe and checkered suit separates in black and grey tones. The colours of the rainbow were unleashed soon afterwards, particularly with blindingly fluorescent quilted nylon tracksuits. Nothing amps up a trench coat quite like PVC and the oily black ones in the show really cinched the deal for me with their lustrous finish.

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The collection also tied into the athleisure aesthetic, a trend that doesn’t appear to be dying down anytime soon. Crisp white or black trainers with pops of neon piping were a mainstay throughout the show. Could these be the trainers to knock Adidas Originals from their top spot? With the upcoming release of T2: Trainspotting, TOPMAN Design couldn’t be anymore en vogue with its timing for sportswear.

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Husam El Odeh designed the jewellery, which included rubber dipped trinkets, such as a nail, key, crucifix and hipflask to dangle off mohair jumpers and on earrings, nose rings, and safety pin brooches for the ultimate in punk accessorising.

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The show closed with Shut Up and Dance’s early Nineties tune “Raving I’m Raving” and it was as if we were “in da club” with TOPMAN Design. It’s no wonder we didn’t dance our way out of there, glow sticks and all. If eat, sleep, rave, repeat is the cycle you live by, make sure you look good while you're doing it.

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Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Zac Mahrouche | Fashion Week Photographer | @zacmahrouche

Everyone loves a bit of a fashion party, so 180 The Strand was the place to be seen on Saturday night as Casely-Hayford celebrated creative director Joe’s thirty years in the industry with their AW17 show. Promising highlights from the last three decades of the JCH collection, we couldn’t wait to see how our favourite trends would be reimagined on the catwalk.

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More is most definitely more for the father-son design duo, with each outfit intricately made up of multiple layers and textures. Roll-neck jumpers peeked out from underneath blazers, topped off by long wool coats; shiny parkas sat top fleecy pullovers and loose linen trousers. Colours were cool and calm, mostly tonal variations of dark grey and navy, contrasting with the colour pop trainers crafted by Helen Kirkum for the collection.

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After dipping their toe in the water last season, the boys introduced a complete ready-to-wear women’s collection this year, taking apart the elements of feminine fashion and reconstructing them into new silhouettes. Jackets become underwear, tops became scarves and knitwear melded into each other to become brand new items of clothing, all set against a backdrop of sleek tailoring.

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The Casely-Hayford man and woman are ready for whatever comes at them in the (let’s face it, quite uncertain) year ahead, taking the what they’ve learned and bringing it together into beautifully constructed outfits.

Words: Katharine Bennett | Fashion Week Press | @misskatebennett

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

 

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Phoebe English returned to designing menswear with a neutral and functional collection for this seasons London Fashion Week Men’s. As one of the British Fashion Council NEWGEN recipients, the presentation was  held in the BFC Showspace. With an elaborate set design and experimental mixtures of fabrics, Phoebe picked up where she left off last season. This year, refined work-wear was the center of the capsule.

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The set was used to emphasis the durability and functionality of the pieces. The models were adorned in over-sized clothing whilst ironing and folding sheets, mopping the floor or hanging out items to dry and other repetitive, domestic tasks. However, inspiration for the collection was not taken from an interest in mundane household work but rather the creative men Phoebe lives and collaborates with; creating clothing for those who look for outfits that will not hinder their workday rather than standout designs. 

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Phoebe English presented separates in the form of loose overcoats, hooded jackets and wide fit trousers. The collection was heavy in thick denims, waxed cottons and other natural fabrics. The use of materials made for garments that looked lightweight, practical and wearable. A surprise came in the utilisation of corduroys, cementing the purpose of the clothing to be that of durability rather than design. All of the natural fibres used were made in the UK and were used with a limited range of colours including dark greens, coals and blues. Striped white undershirts brought brightness and patterns to the collections. Accessories in the form over-sized fold-over backpacks, which could be worn in multiple ways, were also featured.

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Words: Andre Bogues | Fashion Week Press | @andredevb

Images: Eloise Peachey | Fashion Week Photographer | @eloisepeachy

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London Fashion Week Men’s (LFWM) presented Barbour International at the Royal Institute of British Architects for the first time yesterday, where the motorcycle heritage brand also launched its Snapchat channel (@BarbourInt).

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Barbour International is the rugged younger brother of the Barbour brand we know and love with its wax jackets and countryside connotations. John Barbour originally founded the company in 1894. His grandson Duncan Barbour then diversified and revved some engines with the 1936 production of the Barbour International, a one-piece wax cotton motorcycle suit.

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The suit was created with off road motorcycle event, the International Six Day Trials (ISDT), in mind. Almost every British team sported the Barbour International until 1977. The LFWM presentation celebrated that fact, tracing Barbour International’s history and highlighting individuals – the British ISDT team and Steve McQueen among them – that made motorcycle clothing cool. Then again, who wouldn’t be a sucker for a bad boy on a motorcycle, especially when he has effortless style?

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Speaking of which, two gloriously shiny Triumph motorcycles were given pride of place to allow Barbour International’s gritty edge to shine through. Models stood with dirt, gravel, and tread marks underfoot to transport the AW17 collection and its undeniable influence, the motorcycle, to where it belonged – outdoors.

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They wore wax, baffle, quilt, and parka designs paired with knitwear, polos, branded black and yellow fringed scarves, and functional ribbed beanies.

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Scottish artist Robert Montgomery’s light sculpture poem was illuminated in capitals and read: “THE FIELDS MUST HAVE DREAMED THE ROADS FROM THE WIND IN THEIR GRASS / FROM THE SHIVERS OF SKY IN THEIR GRASS THAT WHISPER IDEAS OF FREEDOM TO THEM.” It drew attention to the stars of the show glittering underneath – limited edition A7 International jackets.

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They were laid out like an updated version of the iconic jackets worn by Danny Zuko and the rest of the T-Birds in Grease, just waiting for a new batch of trendsetters to pick them up and put them on. A new year inspires a new crew and Barbour International is more than willing to provide the uniform.

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Text from Montgomery’s billboard poems and light pieces is woven in luminous thread on the back of six jackets, which can be bought at Selfridges. Replica painted versions of the jackets are being given away this weekend on Barbour International’s Snapchat. One was being freshly coated during the presentation – it doesn’t get slicker than that.

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Paul Wilkinson, global marketing director for Barbour said: “Barbour International is now a true standalone brand with its own lifestyle and attitudes. We wanted to deliver an experience that gives everyone a strong sense of Barbour International’s authenticity and heritage since 1936, as well as celebrating the brand’s modern day success and looking forward to its global growth for the future.”

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Words: Laura Rutkowski | Fashion Week Press | @Laura_Rutkowski

Images: Amie Charlot | Fashion Week Photographer | @amiecharlot