The current obsession with the eighties shows no signs of abating and the Italian Memphis group of designers, from that period, have come to represent and define an era which was a riot of bold primary colours and clashing patterns. This is the age of MTV and Beetlejuice, a time when post-modernism was new and Timmy Mallett was a style icon. Okay, well, maybe not the last bit!
Fashion is taking inspiration from that time and the furniture has become increasingly collectible and expensive. The café, at the recent LFWM, had a few pieces to really cement its status.
This top from ASOS is pure Memphis, with its strong clashing colours and asymmetric design, and at £16 is far from those escalating 'modern classic' prices.
Left & Below - ASOS - £16
Above - Collection of 1980s Italian Memphis furniture
Big Coloured Bags
If you're a man carry man-sized stuff around, you need a man-sized bag, obvs. Matching it with your hair is up to you.
From Far Left - Tourne de Transmission, Berthold
LOVE & PEACE
Who was it that once sang, ‘All you need is love’? Well, whomever it was, London needs a bit of a cuddle right now.
Below - Oliver Spencer, Bodybound
Just as orange has become a menswear staple colour, it's now time for primary yellow.
From Far Left - Kiko Kostadinov, Berthold
Androgynous ‘Non Binary’ Club Kids
Men’s and women’s fashion collections are merging so they may as well make it all androgynous, unisex and non-binary. They’ll save a fortune!
Anything goes? Yep! Read more here
From Far Left - Charles Jeffrey Loverboy, Art School
Alf Garnett becomes the style icon for SS18.
From Below Left - Per Götesson, Nicholas Daley, Bodybound, Katie Eary
Networking, fashionably so.
Far Left - Miharayasuhiro, Blood Brother
Selvedge tape continues to proclaim you allegiance.
Below - Bobby Abley, Christopher Raeburn
Striped Rowing Jackets
From Below Left - Topman Design, Songzio, Hackett, Kent & Curwen, Kent & Curwen
Border control. Who needs the eye scanner when you can wear this?
Left - Bobby Abley
The first rule of fashion week - always end your show on a high.
Below - Bobby Abley, Liam Hodges
Fashion gets streamlined. Bike optional.
From Far Left - Martine Rose, Daniel W Fletcher, Wan Hung
Fashion loves a few pointless dangly bits.
From Below - Tourne de Transmission, D.GNAK
Who knew big zips could be so slimming?
Both - Miharayasuhiro
It seems we need an occasion to wear a tie, today. So, what better an occasion then, than watching tall posh boys grunt and strain while pushing along the River Thames?
Hackett has teamed up with Henley Regatta for their first clothing tie-up in their long history. Featuring striped rowing blazers - which I’m all about ATM - here - and branded tops, it’s this tie which really caught my eye. The design is fun yet still firmly in the club mould and is a great price for a Made in England tie.
Left & Below - Hackett - Henley Royal Regatta Man Row Stripe Tie - £65
It seems there’s competition for Charles Jeffrey’s party crown. The young designer who gave us a gritty and sweaty club night presentation at the ICA and, last season, giant monsters running around the catwalk followed by a wave of dancers, isn’t the only one offering us a new interpretation of the London ‘Club Kid’.
At this afternoon’s MAN show, ‘Art School’ made its dramatic debut with a small collection that was big on personality and, despite really pushing the androgyny and drag of menswear, was a believable treat. Entitled ‘Queer Couture’, designers Eden Loweth & Tom Barratt, say it is ‘rooted in a cast who are emblems of trans defiance’ and ‘the unfolding narrative of a non binary paradise to be indulged in’.
Translated that means boys as girls and clothes moulded and designed around the wearer and not the usual conformist approach. Slutty Swarovski covered hooded mini dresses in scarlet red mixed with biased cut dresses and splits to the gusset. The only way of spotting the girls from the boys was to look at their legs.
Left & Right - Charles Jeffrey's 'Loverboy'
While exhibitionist, it felt real and believable. It could simply be the models’ conviction, but it felt more than that.
Charles Jeffrey’s first standalone ‘Loverboy’ show was an ‘orgy’ of ‘clothes made of dreams’. Labelled ‘Queer hedonism’, this time, it was a theatrical display that included a crocheted daisy thong and Elizabethan finery. Jeffrey has become a poster boy for this polysexual energy of the city’s young and while it’s caught their’s and our imagination, I can’t help but think it’s a shame there isn’t a bigger scene for all this go with. I’m thinking music and clubs, because, as we all know, this has been in decline for most of this century. Of course, there are pockets, especially in East London, but you feel like you need a New Romantic moment that resonates into wider society.
And, this brings me back to Jeffrey’s collection. While fun and entertaining, it felt more like costume and the clothes dictating the wearer. While the tailoring is there, Vivienne Westwood’s shadow was ever present, especially with the styling and Blackadder type Elizabeth I wigs.
It feels like he needs to go back to the club and think less about the show and spectacle of fashion week. There was too much going on and didn't feel as raw and as fresh as previous shows.
Left & Right - Art School
But one thing is for sure, London’s young is sandwich between high rents, student loans and low pay and need this. This is the generation where, while they have the freedom, they feel handicapped by the older generation and in a cultural landscaped that is being squeezed.
This is fashion that inspires the creative. It's time for a night of a escapism.
Flaming June made her appearance as Jermyn Street was transformed into a blazing celebration of men’s style. The festival spirit took over the Mayfair thoroughfare as the usual hum of traffic was replaced by the buzz of a catwalk space and a handpicked selection of British food and drink vendors.
The third open air catwalk show from St James’s London showcased the best of the current season from retailers within the St James’s area. Key pieces from contemporary brands Paul & Shark and Norwegian Rain were mixed with heritage favourites such as New & Lingwood and Turnbull & Asser. Styled by Grace Gilfeather, Fashion Editor at GQ, it ran the full wardrobe gamut from formal to holiday.
I took my place on the front row and saw the updating of timeless British style using knitwear from JohnSmedley, luxury basics from Sunspel and key outerwear styles. Reimagined for the 21st century gentleman, while rooted in the foundations of St James’s which has drawn men’s shoppers for centuries, this showcase was a timely reminder how very relevant and important this part of London is to the British menswear industry.
We’re on the eve of London Fashion Week Men’s and, while celebrating its 5th year, the biannual event is having to deal with the changing menswear landscape. Brands are cutting expenditure, many are merging men’s with women’s, budgets are under pressure and London Fashion Week needs to be justified more than ever.
Left - The new face of Topman AW17, Lennon Gallagher giving good brows
The closed, industry facing idea of fashion weeks is over and it’s all about photo opportunities and customer facing events. It’s about promotion, harnessing the buzz and trying to get some direct return on the costly investment.
Perfectly illustrating this is Topman Design. One of the originals on the London men’s schedule and the first to really elevate high-street to a catwalk proposition, Topman Design has decided to shelve the show and instead have a presentation for its new SS18 collection that will be thrown open to the general public over the weekend. Arcadia, the parent of Topman, has seen sales falling and this puts pressure on making these type of events perform.
A ‘multi-media event’ called ‘Transition’, the Topman Design installation is curated by a series of collaborators.. Each collaborator will ‘own’ a space and create an installation showcasing their interpretation of this attitude with each room having a completely different and fresh perspective to create a unique journey through the space.
The event takes place at the Old Truman Brewery and open to the public on Saturday 10th and Sunday 11th June between 10am and 6pm. To gain access to the event simply download the DICE app on the App Store and Google Play or at DICE.fm.
Collaborators featured include photographer and filmmaker Nick Offord, musicians ‘The Rhythm Method’, poet and writer Max Wallis, architect and filmmaker Ben Cullen Williams and photographer and creative director Campbell Addy who will be working alongside illustrator King Owusu. In addition the space housing the installation will be designed by young British architect Benni Allan of estudio b.
The space will also feature a pop-up shop selling exclusive apparel featuring prints and graphics taken from and inspired by the Topman Design archive as well as exclusive pieces from the collaborators exhibiting.
Opening the fashion week up to the city makes it an event and creates the momentum that continues to keep these things going. We need to see more of this and not simply 'See Now, Buy Now'. I was thinking when they pedestrianise Oxford Street, it could become the location for fashion week. Clear marquees could hold shows and outside screens could showcase collections to the general public increasing interest and firmly keeping British fashion as the centre of creativity and the city.
Increasing the public's interest in fashion and fashion week and taking it out of its bubble should be the main objective this LFWM.
Last night I took part in the #MayfairCollective panel discussion talking about all things menswear in the lead up to London Fashion Week Men’s LFWM. Teo van den Broeke. Style Director, Esquire magazine, was a fellow panelist and said something interesting about how, on his recent trip to Milan, the luxury brands there told him they wanted to appear ‘warmer’ to consumers.
This is welcome news and also timely as their stand-offish approach is alienating consumers and becoming increasing sterile. They realise they've found themselves stuck in a luxury cul-de-sac with sales slowing and boredom setting in.
There was a time when the brands controlled the consumer. The consumer was supposed to be grateful that they were allowed into the luxury shop, buy the luxury goods and walk out with a luxury bag. Thank you, thank you, thank you...
Things have changed and the power is, now, in the hands of the consumer. The market is saturated, there’s more competition than ever and people are being short-changed with the quality of many of these ‘luxury’ goods.
Brand warmth comes from personality, inclusivity and a friendliness, which many brands, without a strong central figure, will find it difficult to find. It’s about tone of voice, retail environment and brand messaging.
This is a big shift for these companies and will take time. I think they need to think small to go big. People like to buy from people they know or feel like they know. They need to think about the cities and neighbourhoods they are in. They brands can have an overall message, but they need to tailor it for the specific consumers and locations.
They have stopped with the identikit shop fits, but it going to take instinct, trust and a more organic feeling of change, which these very rigid luxury brands will worry about. Addicted to control, it’s something they need to wrestle away from themselves otherwise it they will, eventually, suffocate their businesses or be replaced by those who do.