Thomas Tait A/W 2015
Thomas Tait A/W 2015
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
Scene setting: Thank the fashion gods for backstage photography, because it took us about half way through this show before our eyes adjusted to Tait’s spotlight installation by Satore Studio that called for a ban on flash photography and any skerrick of daylight within his venue’s underground car park.
Best in show: The luminous brick road finally shed light on the finale act of oversized, flap pocketed denim (but not denim) jackets that were buckled at the bottom and teamed back with bootleg pants. The smashing result was a kinda Seventies spaghetti western cowboy, on a futuristic urban safari.
Team work: Is there such thing as electronic country and western? There is now, thanks to the high-pitched drones of Frédéric Sanchez’s abstract mix that perfectly encapsulated the models’ bootlegged, hands-in-pockets strut.
Photography: Jason Lloyd-Evans
