Following his attendance, Dale Lyster discusses the shows of this year’s Autumn/winter London Fashion Week Men’s.
Titled ‘Tough Love’, Oliver Spencer fused a relaxed, modern vibe with the cultural origins of music and fashion for his A/W 17 collection. One of the highlights of LFWM, with VIP guests in attendance from Nial Horan to Made in Chelsea’s Proudlock, Spencer, as usual, did not disappoint.
Key pieces of the collection included soft leather bombers, oversized parkas and powder blue polos. Spencer opted for a tough approach to the colour scheme of the collection of an autumnal pallet with contrasting soft blue, pink and greys. There was a consistency of throughout the show of strong, yet clean designs paired with cool hues to tone down any rugged vibes that may have else been present in the show. Moreover, fabrics such as velvet, corduroy and wool with designs such as clean plaid and zig-zag stripes played a great role in the show to contrast with any harsh leathers or finishing’s.
Situated in a Covent Garden hotel, Crutchley amassed a mammoth ice-berg centrepiece as the focal point of his presentation. Appropriately fashioned for the Autumn/Winter collection, the models stood in fake snow beside and some of which even on the ice berg for the presentation. The men were dressed in an autumnal hue with floral prints and bloc-colours playing a key part to the piece. Silks and velvets were heavily used in order to create a 90’s vibe. The pieces themselves featured large collared shirts or roll necks with wide legged silk trousers or a velvet skirt and cotton tights combination.
Situated in the Institute of British Architects, Barbour continued its heritage of storytelling whilst providing a unique and thought provoking vibe to its traditional leather jacket. The presentation began with an entrance consisting of a walkway timeline, reminding us of the origins of Barbour from South Shields, Newcastle, whilst displaying how far they have come since, though still retaining their coastal heritage and beginnings to the present day. Once entering the presentation, we were greeted with a great display, designed by artist Robert Montgomery reading “The fields must have dreamed the roads from the wind in their grass / from the shivers of the sky in their grass that whisper ideas of freedom to them”. Underneath the verse stood the iconic Barbour International Wax jackets with poetry embroidered onto them by the artist. Adjacent to this, stood the models of the A/W 17 collection before a pastoral landscape, with a specifically parked motorbike beside them, in harking back to famous wearers of Barbour, such as the British ISDT team and Steve McQueen.
Phoebe English MAN
Phoebe English took a realistic, British approach to her show at London Fashion Week Men’s in having one of the most interactive exhibitions of the week. The show space was dimly lit, with bright lights focusing upon the models and their interactions with one another as they carried out somewhat 90’s household errands. In having the models go about housework, English cast light upon the functionality of her collection – loose fits teamed with smart designs in her coats and jackets, which were paired with a more relaxed approach to joggers and wide fit trousers.
Traditionalist approaches are not confined to English’s pieces however. The ethos itself is one which directs itself towards accessible and comfortable menswear that is created in the U.K. with natural fibres only. Furthermore, the collection itself incorporated a militarian pallet of navy, dark green and charcoals.
GQ China Presents: XIMONLEE
Ximon Lee continued to take his brand into new places through his show in his meticulous approach to the A/W 17 collection. The concept of the show was “shame”; with Chinese perceptions of beauty and ugly colliding, the pieces contained attitudes of revealing yet hiding oneself. Harsh cuttings were used alongside sheer in a dark and metallic colour pallet to reveal the model to Lee’s specific choices. Alongside harshness, contrast was a prominent theme throughout the show; Lee incorporate a yin and yang theme, with the show beginning as a Gothic, yin ensemble to the latter juxtaposition of the colourful, yang designs. This began as a transition through the show, originally models walked the runway in black and grey loose fitted garments, decorated in ornate beads. As the show progressed, subtle hints of yang were introduced through autumnal jumpers hidden under congruous, leather jackets. Finally, as the show was nearing its end, and the tone transitioned from its original beginnings. Models walked down the runway with a more confident approach to colour, with the change in music reflecting this transition, to the eventual model draped in a floor-length, wide-collared coat of an almost lava lamp feel to it, with colours ranging from salmon, to orange, to cool blue.
With a mass of hype and the half-dozens of recognisable faces sat at the KTZ show, it was clear to be an individual and memorable show, and that it certainly was. Known for their liking of raw, dynamic, urban tendencies, KTZ presented a show in which bondage met military met skater met punk met Germany met electro-pop met monochrome and khaki. Known for their forward-thinking approach, gender fluidity and the disregard of stereotypes were omnipresent in the show with male corsets and skirts being a part of the collection. Hooded ponchos, high necks and bomber jackets added to the urban edge of the show. It began rather skater, with non-functioning laces playing a great part in the outfits, till the show transitioned into a leather-heavy ensemble, to the final, military segment of the show which proposed camo and khaki elements. The ever present desire for unique in KTZ’s shows yet again demanded attention and authority, with the collection nostalgic for punk-rock whilst also racing to the future of fashion and how boundaries can be continued to push.
From the arrival of the ticket to the show, fashioned of a replica cheque for £88,888 inside an embossed, metallic red envelope, it was clear that Wan Hung’s collection would be nothing other than pure decadence and meticulousness from the outset. Hung made his debut at London Fashion Week Men’s through his nostalgic lens of Chinese New Year celebrations in his hometown of Hainan. The collection hybridised traditional Chinese Tang suit robes with western tailoring. Traditional Chinese knotting’s were used alongside Italian yarns, Korean PVC, Turkish cotton, French wadding and Portuguese denim to produce an impeccable output of red, silver and ocean blue silhouettes. Models were present throughout the room, in an almost statue-like fashion, with tall boots to elevate themselves above the viewers, all with one long threaded earing and glitter-bottomed ponytails.