With a schedule now slimmer than one of the teenage models, London Fashion Week Men’s, or LFWM, needs to find a new reason for being. We’ve done diversity, inclusiveness and sustainability, but now, thanks to the BFC, there’s an over-riding umbrella term called ‘Positive Fashion’. Designers such as Nicholas Daley, Bethany Williams, Bianca Saunders and Ahluwalia all had PW (Positive Fashion) after their names on the schedule.
Launched in 2013, the BFC’s Positive Fashion initiative is “a platform designed to celebrate industry best practice and encourage future business decisions to create positive change”.
Left - The BFC's new LFWM graphics
Positive Fashion is led by 3 strategic pillars - sustainability, equality and diversity and craftsmanship and community - it says, In a statement from the BFC, “The BFC takes the lead in setting the standards for an industry that strives to represent equality and diversity on the global stage. Championing the importance of every person in the sector as a vital and valuable part of our industry entitled to be treated with respect and dignity.
“Supports the community of talent, skills and craftsmanship that make up our unique industry. Our initiatives are designed to develop connections and understanding between designers and manufacturers taking a holistic approach to the long term viability of the sector. We celebrate the wealth of talent and capability that is unique to British designer businesses.”
While this manifesto all sounds totally earnest and worthwhile it does reek of wishful thinking and what does it actually mean?The green movement is only going to get bigger and the fashion sector, said to contribute £32.3 Billion to the UK economy in GDP and supporting 890,000 jobs, is firmly on its naughty step. We’ve had a lot of lip service, but sadly, without government legislation, the industry will put off the difficult, and more costly, things until tomorrow.
To further ram home the point, the British Fashion Council has announced its intention to launch the Institute of Positive Fashion (IPF). “The BFC recognises that the fashion industry engages consumers daily, and whilst it is often seen as forward thinking, it also appreciates that through global supply chains the industry can have a negative impact on the planet.”
“Through the IPF, the BFC aims to create an industry blueprint by bringing together expertise from different areas to help brands in the industry navigate an often confusing to understand topic and kick-start a much-need comprehensive step-change. Informed by research, expert opinion, industry insights and the significant industry experience of individual businesses and organisations, the power of collective effort will amplify independent activity.”
It’s a lot of marketing speak, but it does have an influence if the costs aren’t too prohibitive. ‘Sustainability' has been a part of the BFC’s strategy since 2006. Their ‘Esthethica’ showcase put sustainable fashion at the heart of London Fashion Week before evolving into Positive Fashion in 2013. This is the first time I have seen it mentioned anywhere.
But, what has exactly happened over those past 7 years and how much carbon emissions, or however you want to measure it, has been saved?
Back to fashion week and many designers are thinking about how to minimise their footprint, but they’re also trying to survive very tough times. LFWM is currently very sustainable because nobody buys any of it. But jokes aside, the ambition is there and it feels like we’re in something of a technological and supply chain cul-de-sac. Patrick Grant’s premium E Tautz label was called ‘Brand New Second Hand’. In the show release he said, “As a designer I feel acute pressure to act. We need to change the message. No more fiddling while Rome burns. Big fashion can do ‘sustainable’, it can do ‘ethical’, it can do ‘conscious’. It all helps make consumers buy MORE.
“But what big fashion cannot do is small. It can’t slow down. What they will never do is tell you to ‘buy less, keep for longer, cherish, repair, pass on’. That however is exactly what we must do and what we’re asking you to do. E Tautz clothes will not change so much from season to season that you feel you need to buy something new. In fact we’re suggesting the opposite.”
Grant has worked with Astco, one of the UK’s largest clothing recyclers, to make new pieces from unwanted textiles. He’s also enlisted the Rolls-Royce of darning, the Royal School of Needlework, to give them that patched/repaired feel. What he should have done is shown last season’s samples with the repairs from actual wear and tear from being lent out to the industry. It’s fine to talk about buying less when a coat costs £1500, but when the collections are often funded by more affordable, high-street collaborations it can often sound hypocritical.
But, everything fashion does is hypocritical. The idea of replacing something while it is still perfectly useful will always put fashion into the negative fashion bracket. ‘Positive Fashion’ could easily go the way of ‘sustainability’ and become as meaningless as it sounds. Nobody is going to disagree with making fashion positive, it just needs to be explained. We want detail.
“The world is burning. Fashion plays a BIG part in this.” said Grant in his show's press release, “But as Ranieri sings in ‘Oh My Love’ ‘from nature we should learn, that all can start again’. Even Fashion.”
Daniel Fletcher had a play with short, tailored jackets and long, side-poppered trousers ending in open flares which made the models look about 7ft tall. It was almost freakish proportions and lost some of its elegance, especially at a time when shorter jackets are starting to look a little dated. Standout items included silk shirts - or maybe they were very sheer cotton - featuring breasts and rope designs, while in accessorises briefcases were emblazoned with ‘Danny’, from a designer who has the potential to give us more desirable pieces.
This was Sharon Wauchob’s first men’s collection and she’d teamed up with Savile Row tailors, Norton & Sons, owned by E Tautz’s Patrick Grant, to finesse the tailoring.
The Irish designer showed, in ethereal surroundings, All Saints, just off Oxford Street, a collection that perfectly complemented the backdrop. This was one of the highlights of the entire week and the most grown up, yet it felt contemporary, desirable and luxurious, in the old fashion sense of the word.
Standouts were the super-creased shirts with silver threading and a sheer evening shirt showing off this season’s new erogenous zone, the male back.
A sea of ugly trainers sat down to watch the Liam Hodges collection. Feeling ‘Crapped Out’, it was a play with bad taste - British roast pork tan lines and tribal face tattoos, anyone? - but, there was plenty to buy into - the sports socks and badges - and even a Gucci-type hibiscus homage which was decidedly less polished and more interesting. Best thing I’ve seen from him.
While the temperature on Floral Street for Qasimi’s show climbed, so did the colour palette on the catwalk. Lots of oranges in earthy and spice tones played with larger shapes and Arabic slogan hoodies referenced the designer’s background. There’s a growing momentum to the Qasimi brand.
What did TheChicGeek wear? Credits - Suit - Jigsaw, Bag - River Island, T-Shirt - Band Of Outsiders, Neckerchief - Etro, Woggle - eBay, Spectacles - Lunetterie Generale
See LFWM Day 1 - here
A well fitting suit of classical proportion in simple English cloth forms the foundation of a good wardrobe. An English Bespoke tailor will cut you a good suit. If your suit is going to last you twenty years it is best to avoid fad or fashion.
Patrick Grant of Norton & Sons
How to choose a suit
I would advise a gentleman to follow three simple rules.
1. Few suits but good suits.
2. Favour simple suiting but splendid Linen
3. Always let ones clothes be correct, never too formal nor too casual, never too worn nor too new.
I favour a single breasted two button jacket with a notched Lapel, straight pockets and side vents, and a higher cut flat fronted trouser. If your finances allow start with the following; dark navy flannel, dark charcoal flannel, navy Worsted, charcoal worsted, Glenurquhart check worsted, navy cable stripe worsted. For warmer days add a couple of fresco's, again in navy and charcoal.
Armed with his simple suits a gentleman can set forth to create his look with shirtings and silks as simply or as flamboyantly as his tastes allow. It is with his linens that an Englishman expresses his sense of dress. Ones shirts must be well cut and should be classically proportioned. Experiment until you find a collar shape that works. A good shirt maker will assist in your choice of cut, and help you guide you through the many thousand Cotton shirtings and tie silks that he will offer.
And one should neither overdress nor underdress. Dress for the occasion and avoid looking contrived. According to the wonderful George Frazier 'No well-dressed man's clothes should look either old or new'. I wear a dinner suit of my grandfathers, cut in 1936, which age and wear has rendered perfect. The Norton & Son's suit that I am wearing today I have worn at least one hundred times before. It took about fifty wears before it really Felt worn in. Purchasers of inexpensive suits will never experience this joy.
Norton & Sons is one of Savile Row's finest Bespoke Tailors. Established in 1821, the house made its name tailoring to the young and sporting amongst Europe's elite.
The firm gained eminence making sharply cut suits for rugged and robust gentlemen, such as Lord Mountbatten and the young Winston Churchill, for whom the firm made everything from dinner suits to racing silks. Lord Carnavon wore a Norton suit when he discovered Tutankhamun's tomb.
In recent years Norton & Sons has worked on clothing collections for British menswear Designer of the Year Kim Jones, British Designer of the Year Giles Deacon, young London designers Richard Nicoll, House of Holland, Christopher Kane, and New York's Rag & Bone.
Norton & Sons still hand cuts and hand sews every garment on Savile Row, using the traditional techniques perfected over centuries of tailoring in London.