Tag: Topman

Topman, more than most other brands, has always understood its clothes in the context of how and where they are worn - and their SS18 presentation and accompanying exhibition was, of course, no exception. "Transition" is an exploration and a celebration of the way modern men interact with each other and their clothes. From the first wistful indolent images by photographer and model Nick Offord through to the brand's own collection shown in the final presentation space,  we inhabited a Bildungsroman. Traversing the various rooms, a number of upcoming artists shared their sensory experiences of modern masculinity woven together less as an exhibition and more as a coming of age story. We saw men and boys taking on new clothes, new names, new experiences and learning how to live and love with other men.

The collection itself had a very youthful zeal.  The boyish models with shimmering eye make up and brightly coloured glitter-slicked hair, had their their slender frames accentuated by belted waists and padded shoulders.

The loose tonal grey and white cottons interspersed with dashes of red and orange nylon harked back to the 80's.  However it was the shoulders and shell suits and that located this collection within a distinctly New Romantic tradition.

Despite the quite tonal palette, The wide cut of the trousers with multiple asymmetric pleats and the way the  fabrics hung lightly and loosely created a very modern feel. This was not a bunch of boys from the 80's looking to the future, these were boys from tomorrow's world looking back.

The jarring patterns, stripes and colours seemed exuberantly thrown together as the models themselves by turns lounged, fidgeted and chatted amongst themselves. You got a sense you were looking at a the beginnings of a futurist party where a bunch of trendy kids had really run with an 80's throwback theme.

As the music and spoken word duo The Rhythm Method came on, their front man (in this instance, embodying the character of "Salad Cream") paced the stage with a camp confidence and melodramatic delivery reminiscent of  Suggs or Squeeze and asked if anyone had ever felt drunk and horny at a house party. This writer couldn't help but fondly remember the boldness of youth and how He had picked up stupid nicknames and drunkenly slurred "I love you man" every Friday and Saturday night for a year or two.

Words and images: Mitchell Cooper | Fashion Week Press | @catsandjackets

WATCH THE TRANSITION SS18 FILM

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The multi talented Raleigh Ritchie has turned his hand to directing in this new exciting venture. Teaming with Topman, Raleigh has directed his short film Hi Maintenance, which he wrote and scored based on the song "Cowards", from his incredible album 'You're A Man Now, Boy'.

TOPMAN TV and Raleigh have enlisted the help of their trusty fans to be a part of this unique creative project, which focuses on the highs and lows of a relationship. The six minute short film showcases Raleigh's talents as both a director and actor, adding to his flourishing CV of talents.

Watch below:

Words: Corrie Parris

When it came to Topman Design’s latest offering for AW16, it was a case of the bigger the better with oversized, well, everything.

As is becoming a signature for the brand, there was once again the familiar feeling of sartorial nostalgia as we moved deep into the 90s, with just the faintest air of SS15’s seventies vibe being reinvented for a new year.  Florals, antique in tone and design, featured heavily across the edit yet remained subtle in their aesthetic through light imprints on heavyweight sweaters and textured overlays on fluted sleeve shirts.  A palette in retrograde, it was a deep sea of plum and plum until lighter shades of steel, denim blue and ochre evoked something a little more urban.

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Those classic beanies that dominated the 90s era were pulled low, practically over the eyes, with chunky mixed fabric jumpers draping over the waistband of crushed velvet pyjama trousers that are definitely worth getting out of bed for.  In keeping with that late-night-early-morning vibe, a crushed velvet wrap coat – a dressing gown by any other name – was the epitome of relaxed styling. Feeling a little more debonair? Grey silk alternatives were also paraded for a cool luxe take on traditional loungewear shapes.

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Regardless of the natural of the looks – from casual ensembles to modern tailoring - everything had an unmistakable feeling of distress; think torn and frayed denim, doubled up in acid wash shades for the ultimate 90s feel or suits in only the most creased of textures. Cuffs were worn unbuttoned and long, spilling out delicately over the knuckles to ensure that nothing was ever too smart or masculine in the traditional sense.

With such a history for uncovering the past, we wonder – where will Topman Design take us next?

 

Words: Camilla Hunt | Fashion Editor | @camillamcleanhunt
Images: Kaye Ford | Fashion Week Photographer | @fordtography

A decade ago TOPMAN and Fashion East formed the pioneering initiative MAN, supporting emerging designers and kick-starting what is now London Collections: Men. Over the years MAN has showcased the early collections of break-through designers: J.W.Anderson, Katie Earey and Christopher Shannon to name but a few, not only launching the careers of home grown talent, but putting London at the forefront of avant-garde menswear internationally.

In celebration of a decade of talent, MAN presented the spring / summer 16 collections of Liam Hodges and Rory Parnell-Mooney, alongside a screening of MAN TURNS 10, a short film featuring the heartfelt words of Lulu Kennedy, Mandi Lennard, Gordon Richardson and a mix of MAN recipients and panel members including Christopher Shannon and Astrid Andersen who recall their top moments and favourite memories from the last 10 years of MAN.

 

 

Rory Parnell-Mooney opened the show to industrial, blood pumping beats. Cloth fell from the body in pleats and dropped lengths, draped and adorned as though caught mid-fall; a sartorial translation of the movement of limbs and the thudding of guttural base. Undone robes swam in models wake, thighs were exposed and lace socks pulled up; a sensual baring of unexpected flesh and an exploration of male sexuality in modern, structural realisation. Taking inspiration from Polish-Russian artist Kazimir Malevich - who's work touches on abstract, geometric elements, Parnell-Mooney sought to explore “the dichotomy between what is revealed and what is hidden".

Tufts of hair pulled from stocking hats complemented undone elements and frayed edges, adding a surreal delicacy to strong tribal re-workings of tunics and pleated pinafores. Metal, leather, and acrylic pieces wrapped themselves around biceps and calves, sculptural elements set against against soft textures and skin.

 

 

Inspired by Walthamstow markets and Morris dancers, Hodges collections have a distinct narrative that taps into British eccentricity and a tribal mentality; for spring / summer 2016 this translated into football stripes and boys branded in blue. Trademark patchwork and photographic print remained in jacquard and textured camouflage, customised with seat belts and undone buckles - an urban edge set against painterly pastiche, worn with the light canvas and calf-length leather of Palladium Boots premium line 'Dark Legion'.

The underground world of pirate radio inspired throughout: sound waves were cut across football kits, radio tower motives stamped onto white knee highs, the opening look completed by a copper aerial slung around the neck. Hodges muses for the season? - "a bunch of guys who decided to grab a few aerials, jimmy their way into an abandoned building and beam out the kind of community radio that’d bring a tear to the eye of an OG like Tony Blackburn” The show opened to these distorted sounds and pirate radio frequencies, and ended with the live spoken-word poetry of Hector Aponysus as models took their final walk.

Words | Anna Claire Sanders | Fashion Week Press | @sannaanders
Pictures: Aime Charlot | Fashion Week Photographer | @AmieCharlot

Kicking off proceedings at London Collections: Men, our first stop was none other that Topman Design, one of the truest representation of the trends that will make it to the street.

The first half of the Topman Design show completely captivates. Models come down the runway in hues of navy, black and grey - workwear colours which automatically alludes to the tailored look that Topman is going for. The garments themselves echo what the colouring hints at. The coats, which steal the show, dominate as the lengths are beautifully long and the widths are thick with fur and wool. As the models walk, the longer coats almost comes alive as full textures bedecks each piece. Lavish is the first word that comes to mind, but in true Topman fashion, high powered pinstripe suits are paired with trainers. It's Topman personified and the trainers soften the sharpness of the two piece suiting.

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But it's the arrival of the second half of the collection that really begins to push boundaries with its bold pieces. Colours become earthy and bright, the cuts of the jackets shorten and an array of embellishments adorn the garments - think Evil Knievel. Stars, fringing and an abundance of denim and tartan pervades the collection and shouts the American influence. Very daring but equally as striking.

 

Words: Symone Keisha | Fashion Week Press | @symonekeisha
Photography: Carl Tomkinson | Fashion Week Photographer |