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Craig Green S/S 2015
Craig Green S/S 2015
Amassing both critical acclaim and commercial success over three seasons on the Man catwalk, Central Saint Martins graduate Craig Green showed his first solo collection for S/S 2015 today, in a complex design exercise that stripped back any prior penchant for print to deliver serene, liberated garments in large, enveloping forms. Layered and wrapped in shells of striped quilting and drapes of chemical blue cotton, Green's designs seemed to explode off the body in a flurry of ties and sashes that appeared both oriental and surgical in execution, traversing ideas of strait jackets and kimonos through an intangible ethnic lens. Previously known for his crude wooden sculptures that obscured the face, Green inverted his signature to place those structures behind the body, rising like crude frames from which cotton voile sails breezed behind his barefoot soldiers.
Photography: Jason Lloyd-Evans
Amassing both critical acclaim and commercial success over three seasons on the Man catwalk, Central Saint Martins graduate Craig Green showed his first solo collection for S/S 2015 today, in a complex design exercise that stripped back any prior penchant for print to deliver serene, liberated garments in large, enveloping forms. Layered and wrapped in shells of striped quilting and drapes of chemical blue cotton, Green's designs seemed to explode off the body in a flurry of ties and sashes that appeared both oriental and surgical in execution, traversing ideas of strait jackets and kimonos through an intangible ethnic lens. Previously known for his crude wooden sculptures that obscured the face, Green inverted his signature to place those structures behind the body, rising like crude frames from which cotton voile sails breezed behind his barefoot soldiers.
Photography: Jason Lloyd-Evans
Amassing both critical acclaim and commercial success over three seasons on the Man catwalk, Central Saint Martins graduate Craig Green showed his first solo collection for S/S 2015 today, in a complex design exercise that stripped back any prior penchant for print to deliver serene, liberated garments in large, enveloping forms. Layered and wrapped in shells of striped quilting and drapes of chemical blue cotton, Green's designs seemed to explode off the body in a flurry of ties and sashes that appeared both oriental and surgical in execution, traversing ideas of strait jackets and kimonos through an intangible ethnic lens. Previously known for his crude wooden sculptures that obscured the face, Green inverted his signature to place those structures behind the body, rising like crude frames from which cotton voile sails breezed behind his barefoot soldiers.
Photography: Jason Lloyd-Evans
Amassing both critical acclaim and commercial success over three seasons on the Man catwalk, Central Saint Martins graduate Craig Green showed his first solo collection for S/S 2015 today, in a complex design exercise that stripped back any prior penchant for print to deliver serene, liberated garments in large, enveloping forms. Layered and wrapped in shells of striped quilting and drapes of chemical blue cotton, Green's designs seemed to explode off the body in a flurry of ties and sashes that appeared both oriental and surgical in execution, traversing ideas of strait jackets and kimonos through an intangible ethnic lens. Previously known for his crude wooden sculptures that obscured the face, Green inverted his signature to place those structures behind the body, rising like crude frames from which cotton voile sails breezed behind his barefoot soldiers.
Photography: Jason Lloyd-Evans
Amassing both critical acclaim and commercial success over three seasons on the Man catwalk, Central Saint Martins graduate Craig Green showed his first solo collection for S/S 2015 today, in a complex design exercise that stripped back any prior penchant for print to deliver serene, liberated garments in large, enveloping forms. Layered and wrapped in shells of striped quilting and drapes of chemical blue cotton, Green's designs seemed to explode off the body in a flurry of ties and sashes that appeared both oriental and surgical in execution, traversing ideas of strait jackets and kimonos through an intangible ethnic lens. Previously known for his crude wooden sculptures that obscured the face, Green inverted his signature to place those structures behind the body, rising like crude frames from which cotton voile sails breezed behind his barefoot soldiers.
Photography: Jason Lloyd-Evans