“After all, it’s the appearance of people that tends to be acknowledged first regardless of what’s being said.”
with money and a desire for the exclusively crafted, Savile Row is still considered the place to go. For bespoke clothing rich in tradition, there’s Henry Poole (the first, opened in 1846) and Gieves & Hawkes (occupiers of No.1 Savile Row since 1912), whose history dates back to 1771. Hardy Amies boasts a reputation for embodying the model gentleman, as does Richard James (opened in 1992). Tere are addi- tional updates too, though. Gormley & Gamble is the first women’s only tailors on Saville Row, opened in 2015 by entrepre- neur and designer Phoebe Gormley (aged 21 when the company launched). Kathryn Sargent, which opened in 2016 and is a tailor dedicated to both women and men, created a unisex Harris Tweed suit inclu- sive of all body types.
OUTSPOKENLY IMAGINATIVE
London has long been a city alive with hidden and liberating spaces where out- casts and unconventional creatives could gather. In the 1980s, magazines such as i- D and Te Face revolutionised fashion publishing by bringing self-expression, ex- perimentalism and authenticity to the fore- front of imagery. Photographs of people on the street, their outfits consisting of charity shop purchases individually put together, captured identities rather than the materi- alistic aspect closely associated with fashion publishing. Additionally, the Buffalo style movement celebrated in these magazines was a collective of designers, photogra- phers and artists who created an aesthetic infused with high fashion and sportswear, multicultural references, androgyny (e.g. guys stood empowered while dressed in skirts) and mixed-race models. Te move- ment was created by Ray Petri who used his stylistic vision to curate succinct links
between designer, photographer and model. From then on, the role of a stylist evolved into the profession that it is today. For young fashion designers, the
show/presentation environment is often approached as a platform for making state- ments and this is especially true for London. Recently Charles Jeffrey has be- come the voice of a gender-fluid genera- tion, his creations centred around skirts, flamboyant silhouettes questioning bodily forms, distressed knitwear, his own official tartan and illustrated prints. Te energy at the core of this comes from a DIY mental- ity, British history and east London nightlife (Jeffrey launched a monthly club night called ‘LOVERBOY’ that ended up helping fund his MA degree), all of which are translated into theatrical fashion shows. Art School, the collaborative duo of
Eden Loweth (graduate of menswear) and Tom Barratt (graduate of art criticism), de- signs clothing informed by non-binary identities. Flowing dresses cut to emphasise the body, tight-fitted sequins, velvet and pops of neon pink are presented as a re- defining of gender distinctions. Ten there is Craig Green who takes
workwear/uniforms, streetwear and the make-belief and combines them all in a way that feels very representative of now. He entered the fashion scene in 2013, his first collection receiving backlash from the tabloid press because of the perceived weirdness of models with wooden planks covering their faces, and has since created a balance between the unwearable and the wearable. Sculptural pieces present in the shows are mixed with interestingly crafted jackets and loose-fitted trousers, the prod- ucts being purchased by both men and women.
POLITICS
Te 1970s punk scene now has a firm place in fashion and British history, depict- ing not only a way of dress but also social concerns of the period. Graphics on tops depicting the Queen with a safety pin through her lips, and denim and leather jackets customised with provocative hand- written statements were an additional way of being politically involved that meant people took note. After all, it’s the appear- ance of people that tends to be acknowl- edged first regardless of what’s being said. At London Men’s Fashion Week in June 2016, Brexit vocalisation was present with Christopher Raeburn working the letter- ings ‘IN’ into a collection where sweaters and t-shirts had a velcro front that could be redesigned through the application of accompanying letter and space-exploration motif patches. Similarly, designers includ- ing Patrick Grant of E Tautz and Sibling’s Sid Bryan and Cozette McCreery took their post-show bow in Katherine Hamnett style slogan ‘IN’ t-shirts as a way of highlighting the relationship that the fashion industry has with the EU. Daniel W. Fletcher presented his collection (in- cluding a zip-up top and hoodie embla- zoned with ‘STAY’ and a red, white and blue print covering shorts and a shirt) on the street outside the official Fashion Week venue with models holding flags and ban- ners in a manner of protest. While Philip Ellis’ Central Saint Martins graduate col- lection consisted of a mash up of football prints, mock newspaper cutouts and excla- mations on badges and bags saying things such as ‘TORIES PUT THE ’N’ IN CUTS’. References have continued since, whether it’s an embracing of multicultural- ism or outspokenness towards current politics.
6 FOCUS The Magazine May/June 2019
www.focus-info.org
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