Paul Smith opened his first standalone store in 1970, in a tiny, windowless location in Byard Lane, a pokey Nottingham alleyway. In the years prior, he had cut his teeth at Birdcage, a tailor’s workshop-turned-independent boutique in the city. Its founder, Janet Campbell, entrusted the Beeston-born twentysomething with heading up its menswear department, and here Smith dressed the Midlands’ Mod scene in its signature razor-sharp, bespoke suiting, inspiring him to launch his own line of men’s shirts: Paul Smith Vêtements Pour Homme.
Six years after moving into Byard Lane, Smith set his sights on Paris, presenting his debut menswear collection in a friend’s apartment on Rue de Vaugirard. From then on, it wasn’t long before the world came to know the singular visual language of Paul Smith: a lexicon of heritage fabrics, British witticism, impeccable craftsmanship and riotous colour. International acclaim has never stopped Smith, who celebrated his 80th birthday in July this year, from remembering his Nottinghamshire roots.
Coat (worn as top), S/S 2004; skirt, A/W 2009
‘Nottingham has shaped everything, not just design but my life,’ he says. ‘Growing up in that environment taught me to value quality, hard work and making things properly. At the same time, it’s a city full of unexpected contrasts, and I’ve always loved mixing those ideas – traditional tailoring with something unexpected.’
‘Nottingham has shaped everything, not just design but my life’
Paul Smith
Though the Byard Lane shop closed in 2017, Paul Smith’s Nottingham flagship, which opened in 2005 just a stone’s throw away inside the Grade II-listed Willoughby House, still stands as one of the city’s landmarks. Since marking the brand’s 50th anniversary in 2020, Paul Smith’s Foundation has been systematically cataloguing its history within a dedicated archive at the company’s HQ, housing more than 5,000 garments and objects from Smith’s extensive personal collection. (Even the bicycle Smith crashed at the age of 17 sits within this ‘Aladdin’s cave’, as the brand describes it.)
Thomas wears suit, A/W 1997; shirt, A/W 2002; shoes, undated. Lottie wears coat, A/W 2006; shirt, A/W 2002; trousers, A/W 1998; boots, A/W 2013
Among its most recognisable pieces is a shirt from the 1980s, printed with plates of marinara-soaked spaghetti, inspired by a surreal wax model acquired by Smith during a trip to Japan. This sits alongside one of the earliest garments produced under the Paul Smith name: a bespoke white wedding suit made for a client in 1970. Further custom-made ensembles include those worn by the likes of David Bowie.
‘There are many pieces in the archive that mean a great deal to me, but not always because they are the most well-known’
Paul Smith
‘There are many pieces in the archive that mean a great deal to me, but not always because they are the most well-known,’ adds Smith. ‘That said, recently a lot of people have been talking about my S/S 1999 womenswear collection. It’s lovely to see people revisiting it with a new appreciation and finding inspiration in it all over again.’
Jacket, A/W 1997; top, undated; shirt, S/S 2011; trousers, A/W 2000; belt, A/W 2015
‘Looking back to look forward’ is a theme that Smith has explored in his most recent work. For the past three menswear seasons, shows have been staged in Milan rather than Paris. The label’s A/W 2026 offering saw Smith work closely with the newly appointed head of menswear Sam Cotton, examining the Nottingham archive from a new perspective, with reworked, oversized 1990s silhouettes reimagined across outerwear and relaxed tailoring. ‘The joy of having this repository is that my own design team visit regularly and come back with great enthusiasm for things they found there,’ said Smith at the time.
Coat and top, both A/W 1995; shirt, S/S22; trousers, A/W 1991; tie, A/W 2005; belt, A/W 2015
The ever-expanding archive has also been developed with the future in mind. Paul Smith’s Foundation offers a Fashion Residency programme supporting emerging designers with access to the archive, mentors and a free studio space in London. Meanwhile, its biannual Archive Residency invites visual artists to explore the space and its contents before producing a project in response. ‘I am very proud of lots,’ says Smith, reflecting on his career. ‘But mentoring and supporting young creatives has always been paramount.’ Above all, he believes, ‘the archive tells the story of staying curious.’
Poncho, A/W 2010; shirt, A/W 2002; roll-neck (worn underneath), A/W 2001; skirt, A/W 2005; shoes, A/W 2016
A version of this article appears in the September 2026 Style Issue of Wallpaper*, available now in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.
Model: Lottie Morris and Thomas Bunce at Viva London. Casting: Jon Johnson. Hair: Kachi Katsuya using Bumble and Bumble Make-up: Lydia Ward-Smith using Dior Forever Foundation and Dior Capture Le Sérum. Photography assistant: Emmet Banahan. Fashion assistant: Louis Boyagis. Production: Amelia Studios. Retouching: André Jacques.