As London’s men’s fashion week gets ever smaller it becomes even harder for designers to make an impact. The four day event is really only two days with a mix of established brands and young designers trying to pad out the schedule. Like a Summer pond retreating, due to lack of rain (funding), with LFWM's decreasing pull the audiences are smaller and less important. Under this handicap, designers have a few short minutes to grab people's attention and resonate further outside of the room. When you look at the expense, you do wonder why anybody is crazy enough to do it, but that’s what makes you love the ‘art’ of fashion even more. LFWM is as much about getting together and looking at each other as it is about trends and looking forward. It’s not really even about selling clothes anymore, it’s like a social event or festival.
Left - RCA Graduates Gráinne Walley, Right - Clara Chu
On London Fashion Week Men’s opening night, the Royal College of Art graduates held a show called ‘All at Once’. The 50 MA graduates each had one look each which gradually rotated around the room. Held at a new retail development on Cork Street in Mayfair, this new way of showing ever increasing volumes of students makes it increasingly hard to see a story in people’s ideas or only gives them one chance to grab your attention. They were saying it was a reflection of the cost it takes for students to produce these collections and, possibly, a reflection of the times of not making huge amounts of stuff with one student offering ‘Extinction Rebellion’ as a reason for not producing anything physical at all.
It’s a tough task to show this amount of students in a realistic amount of time, but it might be better to possibly break them up and give them 5 looks to show in differing categories. Unfortunately, depending on how you look at it, the more stuff you produce, the more opportunity you have to mentally sell something to somebody. Desire triggers people sharing and buying things. Noted highlights were Irish graduate Gráinne Walley’s Game of Thrones type armour and Clara Chu’s food inspired accessories.
For the remainder of the fashion week, the front rows were still sprinkled with Burberry check and Balenciaga Triple S trainers, all seen this time last year, and a sign of the lack of hit replacements even though fashion giants continue to churn out incredible amounts of product and ideas.
Here are some brief highlights of LFWM SS20:
This South Korean label, established in 2013, and with creative direction by Hyun-Min Han, made its London catwalk debut. An alumni of Wooyoungmi, Han showed a sophisticated collection mixing pinstripe tailoring and sportswear with flourishes of ruching and ruffles with a finale of models all wearing branded Münn suit bags.
Following her first collection as part of Fashion East, last season, the Dublin-born returned with more of her stylish normcore. This time it was summer towelling mixed with traditional Irish knits and sports fabrics in her mono-coloured looks which are fast becoming her signature.
Nicholas Daley gave LFWM a tribal jazz happening in a 18th century church in the City of London. The ‘Sons Of Kemet’ band dressed in a warm, bold checks made from British fabrics created a crescendo of music and that quickly fell into a party atmosphere with looks referencing his Jamaican heritage.
McQueen came back to London town with its usual exquisite tailoring and its fashion as art raison d’être. As well as the all ultra smart evening wear, there was watercolour symmetry prints and bold fuchsia pink florals in the charming surroundings of the C1348 Charterhouse in Farringdon. I just wish McQueen’s accessorises were as elegant as the clothes. Those chunky trainers and boots just don’t sit right and aren’t the best of their type.
Hussein Chalayan celebrated 25 years with a walk on the street near his store in Mayfair. Lucky with the weather, and with the backdrop of a textured stone wall clean striped shirting - something that continues to look fresh - in simple shapes and a minimal palette was a reminder of this experienced technician of a designer.
For the past few seasons Lou Dalton’s collections have been dominated by her collaborations with British fine knit manufacturer, John Smedley. This season, she returned to a fuller offer with outerwear, shirting, tailoring and, of course, knitwear, but this time in fine rugby shapes, in a collection of easy and stylish clothes which don’t scream ‘designer’. A return to beautiful things?
While the majority of UK cities are struggling to deal with the implosion of their high-streets, London is a juggernaut that keeps people spending. Thanks to tourist dollars and and an increasingly high-spending visitor, Bond Street, arguably London’s premier luxury shopping street, has seen a raft of new openings hoping to tap into London as the global retail destination. From Alexander McQueen to Loewe, this historical street has seen glorious new retail spaces tailored to this exclusive location open to entice more money from shoppers.
Left - Alexander McQueen's new three storey store
The Office for National Statistics has just released the final International Passenger Survey (IPS) results covering 2018 and it’s still looking good for London. While the number of visits to the UK in 2018 fell slightly (-3%) - 2017 was a record - to 37.9 million, the data from the last 10 months shows visitors spending huge amounts and are visiting Bond Street, in particular.
Data from Global Blue, a tourism shopping tax refund company headquartered in Nyon, Switzerland, shows that the average spend on Bond Street among international visitors increased by 4% year-on-year from January to October 2018. International shoppers spent a huge average of £1,341 per transaction during this time.
Global Blue has also just opened its first VIP Globe Shopper Lounge on Albemarle Street in Mayfair, just a stone’s throw from Bond Street. According to their figures, the top spenders were visitors from the UAE, Qatar and Hong Kong. UAE shoppers spent £2,074 per transaction, up 19% year-on-year. Qatari shoppers spent £1,964 per transaction (up 7%), while Hong Kong shoppers spent £1,837 per transaction (up 15%).
Interestingly, the biggest increase was seen amongst Indonesian visitors, averaging £1,551 per transaction, up 20% compared to 2017.
Right - Staircase in the new Celine menswear store
Paris is London’s closest luxury shopping competition and the 'yellow vests’ or Gilet Jaunes protests have been affecting its attractiveness and is putting off visitors. "We lost between one and two growth points in 2018 due to the yellow vests," said Mathieu Grac, Global Blue's vice president of intelligence strategy.
The weakness of the pound is making shopping in London more attractive and better value for money. The Chinese, in particular, have always chosen Paris over London, but this could be starting to change with new stats show record breaking results for the end of 2018 for London. Visits to the UK from China in this period were up 52% to 94,000 – the 9th consecutive record quarter for visits. These visitors spent £160 million in the UK between October and December 2018 – 30% up compared to the same period in 2017. In total there were a record 391,000 visits from China to the UK in 2018, up 16% on 2017.
Overall, UK visitor spend in 2019 is forecast to be £24.9B, up 7.8%, on a forecast of 38.8m visitors.
While many designer brands are closing stores and trimming their global retail network, others are realising that in order to stay ahead, you need to invest heavily in the world’s finest locations. The days of copy-cat, identikit stores are over and brands know they need to make something unique for its location.
Proving this point is the new ‘Casa Loewe’. The Spanish brand, Loewe, owned by LVMH, and famous for its puzzle bags, has opened a three storey boutique designed in the vision of creative director, Jonathan Anderson. Like an art gallery with clothes, but with a personality and warmth, the London store features work by a selection of internationally renowned artists, including three oak sculptures by Ernst Gamperl (winner of the LOEWE FOUNDATION Craft Prize in 2017) alongside 15 photographs by Alair Gomes, the ‘Vulcano Table’ by Anthea Hamilton, a long- standing LOEWE collaborator, William Turnbull’s 1956 sculpture ‘Idol 4’ and Grayson Perry’s ‘Mum and Dad’ vase.
Left - Casa Loewe showing Anthea Hamilton's 'Vulcano Table'
It feels a very creative space and is one of the few luxury boutiques on Bond Street to give you this full idea of a lifestyle. The sales assistant I spoke to said Anderson was often in the store talking to them through the product and also making sure things were working correctly. She also said they had a great many Chinese customers.
Further down Bond Street is the new Celine menswear boutique. The first time Celine has done menswear under new creative head, Hedi Slimane, it feels very déjà vu in the Saint Laurent mould and looks like all those other marbled minimal retail palaces from brands such as Neil Barrett or End Clothing in Soho. On the corner of New Bond Street and Grafton street, in the old Boucheron store, it is exactly what fans of Slimane will want and the quality of the clothes do look good. Downstairs is a compact tailoring area and while none of the extra skinny clothes had a price tag on, the raised front doors are automatic, just in-case those super-skinny rockstars don’t have enough strength to open them. Disappointly, this concept will look the same the world over.
Into Old Bond Street, Alexander McQueen has amalgamated all three of their London stores into the large, former DKNY outlet. The three storey boutique is a beautiful, sweeping space by Chilean architect Smiljan Radic, his first retail project. It truly flows with giant glass tubes linking the floors and acres of matt walnut covering every surface including the two spiral staircases.
The ground floor is home to womenswear and the first floor to menswear. The top floor is like a museum, probably hoping to capitalise on the popularity of ‘Savage Beauty’, it illustrates the artistry of the current collections while being dotted with archive pieces. This area will also be used to host a programme of exhibitions and talks aimed specifically at inspiring students. It left me with a renewed respect of the work of the brand which I’ve often dismissed since McQueen’s death. There was a men’s coat, hand embroidered with silver graffiti, on sale for £100,000.
Stella McCartney has moved her store from the Edward Barber & Jay Osgerby designed Bruton Street to Old Bond Street. A difficult space, it is linked by a huge metal staircase reminiscent of the tanks at Tate Modern. More concrete and terrazzo, the front ground floor is peppered by giant boulders and moss. A small glade of silver birches decorate a roof garden and 'Airlabs' technology makes this the first indoor commercial space in London with the cleanest air possible.
The store carries all the brand’s collections including women’s and menswear ready-to-wear, accessories, lingerie, swimwear, kids, eyewear, fragrance and adidas by Stella McCartney. Stella McCartney said, “Old Bond street, it’s probably one of the most prestigious retail locations in the world. And for me being born and bred in London and having our business headquarters there and design studio, it’s an incredible honour for us. This store really tells the story of the World of Stella McCartney; incorporating sustainability, fashion and luxury.” Louis Vuitton’s giant Bond Street store is also being refurbished and will hopefully offer something bespoke to this prestigious location.
Right - Stella McCartney's ground floor showing boulders running through the centre
What this group of shops show is the huge investment still going into physical retail. If you’re going to entice those shoppers, you'll need to offer something original, something they'll want to investigate and explore and ultimately an experience of buying something truly great and memorable. By working and competing as a group, it gives more incentive to brands and people to make this the greatest destination and a positive cycle of openings and continued openings will keep this firmly as one of the most thriving luxury retail destinations in the world.
Easily the most anticipated retail destination - we can’t use ‘shopping centre’ anymore, can we?! - of the year, and the final piece of the huge Kings Cross jigsaw, Coal Drops Yard mirrors the life of the entire area. From industrial power to warehouse parties to sanitised private/public spaces, this could be a micro model of London as a whole over the last 100 years.
Now reimagined by Thomas Heatherwick, who has joined the two ‘Kit-Kat’ pieces with a sweeping roof which lightly touches across the divide. This was the kiss Kings Cross/St Pancras was waiting for and not that cringeworthy sculpture greeting you as you disembark off the Eurostar.
Opening today, with over 50 new stores, it’s currently only about 50% open, and the most stunning aspect, the Samsung store inside the roof, is far from finished.
Firstly, the architecture is great. What could have been clunky, the roof is elegant and sweeping. Reslated in the original Welsh tiles, Heatherwick works his magic and creates something modern yet respectful to the original. This is the human scaled, brick built industrial Britain that is a joy to bring back to life.
Situated just down from Granary Square and up from the main stations, Coal Drops Yard opens out into a generous V shape with two main levels of shops and restaurants. This feels like the type of retail space you want to give yourself time to explore.
There’s also another space on the other side of the main block called Lower Stable Street that is for smaller and start-up businesses. It has touches of the Southbank with the concrete.
There are a few restaurants - Barafina, Casa Pastor and wine bar The Drop, but it feels the mix is too heavy on the retail, today, especially with the need to drive traffic. People don’t need to go shopping anymore, but they do need to eat. You could easily use the space in the middle for market type concepts.
They’ve made an effort to have a mix of brands - COS, Paul Smith, Tom Dixon, Cubitts, Universal Works, Rains, Aesop, Maya Magal, Miller Harris and Le Chocolat and there are a few that are new to me.
You want to explore, but there’s no element of surprise. The retail mix is dry. It’s from the Monocle school of aching design, devoid of personality. This feels like stylish retail from 10 years ago. We’re in the age of Gucci, of bonkers, of wanting-to-get-my-phone-out-and-take-a-picture-mental, not a single one of the finished shop fits was worthy of an Instagram. Even Paul Smith has produced one of the most conservative shop fits I’ve ever seen from him. You’d think he would have tapped into the rave culture history of the site, especially when you consider so many of his more casual clothes would have been worn there.
This is for one type of design customer and I don’t think that’s as aspirational as they think. It’s also needs a destination store. There was lots of talk from the lease manager about going to Paris for inspiration. When didn’t they resurrect Colette here or try a Dover Street Market type concept. It needs a pilgrimage store, or whatever that is in 2018, to get people up from the stations.
I really think Coal Drops Yard has missed a trick by not tapping into the nostalgia for the area. Those clubbers are now in their 40s with money to spend and families to bring. There are exhibitions regarding the history in the Visitors Centre, back in Granary Square, but I would have done more on site to remind people of their happy times spent at The Cross or Bagley’s nightclubs.
As I said, it’s not fully finished and all these things will evolve. When listening to Thomas Heatherwick give his welcoming talk I thought about the reinvention of Covent Garden, which he then mentioned, and was a huge success, and then I thought about the early 90s, when they tried to turn a similar concept, Tobacco Dock, into a similar retail destination. It was the wrong location at the wrong time. This is in a better position, but like I said, they need enough people to know about it to want to walk up from the stations.
I think we’ll see more food outlets eventually and also they need something like a vintage market, similar to Spitalfields, to raise the element of discovery and keep you coming back.
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Remainers cover your ears. One of the world’s strongest fashion brands is moving its headquarters to London despite Brexit. Yes, Brexit hasn’t put them off. Chanel has decided to close its global headquarters in New York and move it to London.
Until now, Chanel did not have a single holding company for its operations and functions were located in a number of cities. In a statement from the French company, they said, “We wanted to simplify the structure of the business and London is the appropriate place to do that for an international company. London is the most central location to our markets, uses the English language and has strong corporate governance standards with its regulatory and legal requirements.”
Left - Even London's lampposts are Chanel!
‘Chanel Limited’ became the holding company of most Chanel entities in the summer of 2017 and this is why the majority of the global functions are now located in London.
“Brexit's economic and geopolitical impacts remains a challenge for the London economy. London is still dealing with a hangover from Brexit.” says Brandon Rael, Operations Strategy & Innovations Leader & Retail Digital Strategist. “We should expect that London will experience an upswing when the economy stabilises. Moving the Chanel HQ to London is very much a long-term strategy.” he says.
Chanel could have chosen Paris, but instead chose London, and this goes against the anti-Brexit rhetoric of companies leaving in their droves. In July, Chanel revealed its financials for the first time in its 108 history. It generated nearly $10 billion in global sales in 2017, making it one of the world’s biggest luxury fashion brands. This new openness is Chanel positioning itself and facing up to the dominance of the likes of Kering and LVMH. This is for the next, digital chapter in Chanel’s history.
Brexit is so close, now, it is time to start looking beyond it and, Chanel’s decision would have been a long term decision from this globally revered company. While one company moving its headquarters to London doesn’t prove anything. In the same vein, one company moving out, doesn’t either. The major reasons companies move or stay in London won’t change post Brexit. They move to London because of geography, language, law and talent pool. This is about London competing with New York or Hong Kong and it is the only truly world city within Europe.
“London remains the world‘s most promising city for luxury retail growth, despite troubles faced by the Brexit vote,” says Rael. “A new report conducted by CBRE and Walpole has found that compared to other major luxury destinations across the globe, London still holds the greatest long-term potential,” he says.
The newly christened Capri Holdings - formerly Michael Kors - has its principal executive office in London and Condé Nast International recently choose London to cope with the new demands of its digital future. Everything catwalk related: photography, video, social media and features will be lead by Vogue International, an editorial hub established last year to lead content for the 25 editions of the magazine.
In an interview in the New York Times with Wolfgang Blau, Chief Digital Officer of Condé Nast International, he said two-hundred editorial and engineering staff members had been hired, and next year, he wants to have a Vogue presence at about 900 runway shows all feeding back to London. This is Condé Nast cutting costs and becoming more efficient while focussing its global fashion content in London. This will only get bigger. Its travel magazine, Condé Nast Traveler has moved onto a new single platform, and it too would be overseen not from its birthplace of New York, but from London.
Right - London, not New York, is the global centre for all digital content
We were told that "Brexit would make us poorer”, but since the vote, and with a background of caution and underinvestment, Britain has a joint record high employment rate of 75.6% with 32.39 million people now in work according to the latest official statistics. (June 2018). There were 488,000 unemployed people aged from 16 to 24 for May to July 2018, the lowest figure since records began for youth unemployment in 1992. Overall, unemployment fell by another 55,000 between May and July to 1.36 million. Wages saw faster than expected growth in the three months to July. Excluding bonuses, wages grew by 2.9%, according to figures from the Office for National Statistics (ONS), well above the inflation rate.
Business is doing well. UK Trade benefitted from a goods export boom in July. Official figures showed the deficit in goods dropped to £10 billion in July from £10.7 billion the previous month. Including service, the overall trade gap fell to just £111 million, one of the best monthly results in the past 20 years. In the three months to July overall goods exports grew by £4.3 billion while imports rose by £3.7 billion. This came largely from trading with countries outside the EU.
“It looks like Brexit is going to be a good thing for luxury fashion as people in the US and China take advantage on preferential tariffs coming from the UK.” says Fleur Hicks, Managing Director of onefourzero, a data analytics and digital research agency.
Eurotunnel recorded its best ever August for freight traffic and the number of passengers passing through Heathrow’s terminals jumped to 7.5 million last month, boosted by new services to China. Europe’s biggest airport, said August customer numbers were up 2.6% from a year earlier and cargo volumes were up 1.2%. Asia saw the biggest increase in passenger numbers, up 6.3%, with new services from Hainan Airlines, Tianjin Airlines and Beijing Capital. Gatwick also saw a 0.4% rise in passenger numbers to 4.9 million and its cargo traffic soared a whopping 22.3%.
Irina Bragin, from Made of Carpet, who specialises is making luxury carpet bags, says “I think I have one advantage of Brexit in mind. Today selling to the EU as retailer (to the end buyer) we pay VAT, same as we sell in UK. After Brexit, it will be the same as selling to US, or Canada, or Australia - no VAT to pay.”
I know it’s fashionable not to be positive about Brexit, but, it’s 6 months away and it’s time to turn the negativity into optimism. Global businesses are looking past Brexit, for the longer term, and what makes London great to do business in hasn’t really changed. Brexit is something new and unknown, but, in Britain’s true entrepreneurial spirit, we can do this!
Opposite the Duke of Westminster’s magically misty plane trees, and, in, what is, the epicentre of moneyed fashion in London, 5 Carlos Place already feels established. The handsome red brick, late Victorian townhouse curves as it welcome you into its exclusive enclave and sits at the entrance of Mayfair’s most exclusive shopping area.
Left - The entrance to 5 Carlos Place
This is matchesfashion.com's all singing, all dancing townhouse. It’s part retail, part cafe, part personal shopping, part experiential, part showcase, part exhibition space, but totally the buzzy physical heart of the online phenomenon matchesfashion.com has become.
matchesfashion.com previously had a townhouse in Marylebone, but it was more an exclusive personal shopping concept with no retail. That has now closed. The majority of its stores were always in the periphery of London in wealthy neighbourhoods, while 5 Carlos Place is slap, bang in the middle of the middle and illustrates how far matchesfashion.com has come.
While the signage outside is discreet, it’s the amount of people coming and going that will draw your attention. Not exactly something this area is used to - high footfall - it will definitely ripple out to the adjacent retailers and give that energy these types of areas often lack.
Right - The third & fourth floor houses these bookable shopping suites
The five-story townhouse has been redesigned by architect Philip Joseph, partner of fashion designer Erdem Moralioglu, while retaining many original features like the plaster ceilings and fire places. The first two floors are retail. More a showroom than a traditional store, it is currently showcasing an exclusive partnership with Prada - bananas and all! But, it’s not all big budget names, the next designer to have the space is Marine Serre.
Left - The Regency like plaster ceilings
The items are displayed with QR codes next to them so you can simply link to the appropriate page and then order. Everything can be sent to the townhouse within 90 minutes or get sent to your home address. If matchesfashion.com prices are a little out of your league, they currently have a Prada X matchesfashion.com vending machine dispensing matches, coloured markers and the like. This space will change every two weeks, which is really the speed of online being reflected in physical retail.
The ground floor leads out to a garden at the back with a spacious patio surrounded with Australian tree ferns, lush planting and the higgledy-piggledy backs of this row of London townhouses and all the architectural quirks many years of alterations have produced.
Behind glossy, lipstick red doors and woodwork, two further floors house private shopping suites. These can be booked online and you can have items sent to be there waiting for you to try on when you arrive. The changing rooms - more like mini-suites - can be customised to the customers' Spotify accounts and look even more comfortable than the luxurious Connaught hotel opposite.
Upstairs in the attic is the café area and with its roof window feels like a nursery space Mary Poppins would be caring for the children. This is the most flexible floor and will host talks and different catering concepts plus the home of matchesfashion.com's new broadcasting suite and podcast centre.
The current café is Marchesi, the Prada-owned patisserie brand, to tie in with the retail downstairs. The next takeover is the Holiday Café followed by the vegan Maisie Café both from Paris.
Right - The first two floors are retail, currently showcasing an exclusive 120 piece collection from Prada
Highlights from the ‘What’s On’ event schedule for September and October - you can apply for the tickets online - include Theresa Wayman in an acoustic set, Mario Sorrenti book launch, Sarah Mower in conversation with Richard Quinn, a supper club with Australian chef Skye Gyngell and a Phillips preview of their ‘London Design’ auction.
The first impression of 5 Carlos Place is that it’s busy. Not just with people, but events and the energy of hosting so many talks, dining concepts and introducing new designers.
Left - The ground floor patio with garden
This is retail as inclusive members club and feels much livelier than their previous space. I’d be surprised if they can sustain this speed of turnover of retail spaces and events, but it’s exciting to see so much on the agenda.
This feels like online really spilling out into physical retail and understanding the reasons stylish people leave the house. They want to learn and experience as well as shop. London is the home of matchesfashion.com and it will be interesting to see whether this idea could be rolled out to other major centres like New York or Hong Kong.
This has been really well done, is in a great location and encapsulates the energy of a retailer really enjoying its standing in the luxury e-commerce sphere. I can’t wait to return and that’s exactly the point.
Nothing like an arctic blast to test your style mettle. TheChicGeek decided to face the 'Beast From The East', face-on, in a Nobis 'Heritage' parka. Nothing will stop TheChicGeek on his style quest to make the world of menswear a better and more refined place.
The primary red of the parka contrasts well against the white, wintry backdrop, and, like a style beacon, shines bright when teamed with other primary sportswear and accessorises. Add a pair of chic hiking boots and this beast has been well and truly beaten!
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.
Fashionistos, clear your diary! As we stand on the eve of the new SS18 men’s show season be part of the excitement of London Fashion Week Men’s - LFWM - thanks to St James’s. Join TheChicGeek on Saturday, June 10th, as Jermyn Street is transformed into an al fresco catwalk.
The centre for London’s menswear for centuries, the St James’s area is steeped in history while still being one of the best contemporary men’s shopping areas in the world. Combine an afternoon of shopping with an inspirational see-now-buy-now catwalk show featuring some of the best British brands including Turnbull & Asser, John Smedley, Lock & Co and John Lobb as well as contemporary, newly arrived names including Paul & Shark, Jigsaw, Sunspel and Barbour International.
The two shows are at 1.30pm and 3.00pm and the tickets are free. You just need to register - here What are you waiting for? See you there!
Nearest Tube - Piccadilly Circus
Left & Right - Previous St James's presentations featuring the men's retailers within this prestigious area of Mayfair
If you can’t make either of the shows visitors will be able to drop into the shops of St James’s for a variety of special in-store activities such as a shirt cutting demonstration from a Master Shirt Cutter at Harvie & Hudson and complementary wet shaves at world renowned perfumery Floris. Jermyn Street will also play host to some of London’s best street food retailers all offering a bespoke St James’s menu, making sure the day will be a feast for all the senses.
London’s men’s fashion week got its Ronseal title, this season, replacing the old London Collections: Men moniker. The change didn’t make any difference to the lack of content and money, unfortunately, but, hopefully, it meant more to the wider public with many still not realising there even was a men’s fashion week in London.
Left - Daniel W Fletcher Presentation
London and Britain, is good at fashion, we’re good at menswear, we should celebrate it and this is the event to do that at. Twice a year, we come together, test the temperature of the industry and move forward in the way fashion always does. There will always be ups and downs and better and worse seasons, but ultimately it’s big business, from luxury to high-street, and we’re one of the best at it. Let’s champion that.
LFWM is just more pointless than previously, yet still necessary. It needs to be done, otherwise other cities will take the focus away from London and London needs to seen as a centre of ideas and fashion.
When we leave Europe, the British Fashion Council need to lobby the government for more funding for an industry that employs so many people and encourages people to visit and shop in the UK. If we’re going to build a successful post-European future we need to focus on areas we are good at. Creativity is one of those areas. Fashion links many of these together and is the energy and catalyst for newness.
When then pedestrianise Oxford Street, fashion weeks should move there into see-through marquees and become inclusive to those interested in it and bankrolling it on the pavements either side.
What’s the opposite to ‘having a moment’? Because this is what menswear is currently facing. It’s not solely a London problem, affecting all the main fashion cities, but as fashion is a business, when it needs to change and save money, things get cut.
There was lots of talk during LFWM about whether this would be the last one, but I think if it was going to disappear it would have done so this season. The doom and gloom of the last LC:M was replaced with an optimism that things can only get better and the acceptance that those big brands, now missing, are gone. It’s okay, nobody died.
This was a medicated fashion week. A fashion week on Prozac. Things weren’t as important as before, so it felt more democratic. The must-have tickets didn’t exist so people were more equal than ever. The have and have-nots of fashion weren’t as separate and it felt more inclusive and less frantic.
One of the problems I have it predictablity. Designers showing exactly what you think they’re going to show. They don’t move their collections on. I don’t expect a 180 u-turn every season, but as nobody is really buying anything anyway what do they have to lose? They just make you wonder why you turned up. A signature style is fine, but a designer known for tasteful newness will always excel.
Another, is this idea that fashion collections look a certain way. It’s all a bit graduate Fashion Scout, and was new sometime in the Thatcher era. The bong-bong-bong music and po-faced press releases suck the life out of the spectacle and the audience and has the bullshit detector on max. Fashion always needs its wanky, taking-itself-too-seriously label, I get that, but there’s only so much eye rolling one can do.
So, let’s think positive. When things hit rock bottom things can only go up. This half glass full attitude to men’s is what will keep it going. Those big brands disappearing will create room for something new: a vacuum for the future. The future is close, we just need to entertain ourselves until it arrives.
TheChicGeek is all about pink and green ATM. He's named it 'prawn cocktail & avocado', (you can see more here fresh from the catwalks of Milan) and it has a fun freshness that will see you right into the new year.
There is a lot of baby pink in menswear at the moment, thanks to Kanye and his Yeezy. Don't wear it in his Mad Max style, but team with primary colours, like here, such as blue and green.
Finish the look with quality accessories and plenty of peace & love!
Credits - Full look Paul Smith AW16
Shot by Robin Forster on Olympus PEN
More images & video below