Craig GreenMood board: Backstage, the designer referred to a ‘fear of the unknown’ as a collection starting point, which manifested in an abundance of oceanic references. From fisherman’s raincoats in navy and purplish brown, to quilted khaki gilets that resembled life-jackets, Green’s eerie sonar soundtrack brought a sombre isolation to these silhouettes, climaxing in padded jackets with protective metal fastenings and hoods, which resembled clunky scuba diving suits.Best in show: Green’s S/S 2017 collection looked to the colourful uniforms of boy scouts, and this childhood camaraderie was also evoked for A/W 2017. The designer’s church-carpet tunic coats were constructed in the brown, green and blue hues of school uniforms, and afforded a touch of togetherness to a collection that inspired images of isolation.Finishing touches: Green’s fisherman-focused opening looks were completed with sou’wester hats, which tied with long laces under the chin and promised protection against imagined creatures of the deep.Photography: Jason Lloyd-Evans
Oliver SpencerMood board: Unusual pops of colour and texture formed the contrasts in Spencer’s collection, which paired City-centric panelled pinstripes and Prince of Wales checks with washed velvets, blush pinks and powder blues. ‘It was all about being tough, but having those pastel colours running through the collection,’ he says. Spencer’s signature cropped trousers were paired with polo necks, chevron-stripe cardigans and double-breasted jackets with teddybear-fur collars. Music is also a recurring reference for Spencer. ‘I was looking at The Stranglers, New Order, Northern Soul…,’ he added of his additional A/W 2017 inspirations.Best in show: Velvet bomber jackets and trousers in rich khaki and scarlet bought a dandified air to Spencer’s down to earth aesthetic. These textures were hardened with stack soled plimsolls and stompy black lace-up boots.Team work: Spencer’s second collaboration with the social-media platform Vero, wooden handled and leather-clasp umbrellas, were available to purchase immediately after his show.Photography: Jason Lloyd-Evans
Casely-HayfordMood board: An energetic exploration of paternal design history, the collection celebrated Joe Casely-Hayford’s 30-year fashion heritage. Focusing on silhouettes that spanned the 1980s to the early 00s, these included rave-centric wide-legged trousers, steel blue suits layered with sporty zip-up sweaters and deconstructed blazers tied at an angle around the shoulders. The show also marked the launch of the father-and-son design duo’s first women’s ready-to-wear collection, which featured foliage detail parkas and double-breasted jackets tucked seductively into mini skirts.Finishing touches: Cut-and-stick footwear creations came courtesy of the shoe designer Helen Kirkum, who created collaged and colourful zip-up footwear made from rubberised and knitted sections of recycled trainers.Sound bite: Commenting backstage on the reinterpretation of his father’s archive, spanning both menswear and womenswear, Charlie Casely-Hayford explains: ‘Growing up as a kid I saw a lot of the pieces that were put into the show today, and it was a really interesting experience reviving them. I think it was just as important for us that the show wasn’t just about looking back, it was also about how to progress and look forward.’Photography: Jason Lloyd-Evans
JW AndersonScene setting: The wooden runway divides at Anderson’s regular Kenton Street location in Bloomsbury had been given a fresh lick of paint. Slicked black lines framed the sectioning panels painted in cerulean, ultramarine and lilac.Mood board: Like Anderson’s framed runway set, black borders featured in the patterns of his pieces, from the lead-lined stained glass window prints on cropped jeans, to the dark bordered crochet knits that featured on enormous scarves and the sleeves of sweaters, and flapped from the uppers of pumps. Piled-up references, from the handcrafted to the historical, are central to the designer’s research-laden approach, and in this case, layers were literally piled on top of each other, like the doubling up of neckties, or a look comprised of a checked shirt, pocket-heavy sweater, bomber jacket and overcoat.Finishing touches: The wildly successful women’s Pierce bag, which appeared on the men’s catwalk for S/S 2017, was reimagined as a backpack in a commercially bountiful all black colourway, and in colourful crochet.Photography: Jason Lloyd-Evans
Mood board: The newly-appointed creative director of Mackintosh 0001 presented his third eponymous collection to a soundtrack resembling the thuds of a quarry or construction site. A designer preoccupied with the concept of modern uniform, Kostadinov’s worker-inspired looks came in shades of grey, navy and black, with flourishes of maroon. Shirts with concealed fastenings were created in versatile Italian nylon, and layered against grey long sleeve t-shirts in Italian jersey, finished with pointed asymmetric sleeves. Pleats disguised as pockets featured on the backs of trousers, and jackets were constructed with unusual two-way collars.Team work: The Bulgarian designer collaborated with Thomas Petherick on a set comprised of interlocking wooden shapes, inspired by the geometric creations of the Spanish artist Pablo Palazuelo. These forms were also seen in Kostadinov’s multi-sided flat metal jewellery, which attached by keyring to the waistbands of trousers, etched with ruler grids and resembling pocket knives.Finishing touches: With a distaste for decoration, Kostadinov completed each of his 16 looks with a functional fold-over bag, which featured on the waistband of trousers, or on the right side of jackets and band-collar shirts.Photography: Jason Lloyd-Evans
Scene setting: Held at the Royal Institute of British Architects, Bonner placed a stacked soundsystem at the centre of her circular catwalk, which models circumnavigated, some gently touching the speakers at the show’s climax. The soundtrack was created by the South-London producer Sampha, and the set-up evoked the makeshift music stages created for carnivals.
Moodboard: Street-preachers, Senegalese style and the garb of medieval friars inspired Bonner’s designs. These included intricate harlequin-print beaded sweaters and leather trousers, crystal detail velvet breeches and monastic all white linen tunics. The outfits of archaic and modern spiritualists were elevated on the catwalk, and an accompanying songbook, featuring the lyrics to Donny Hathaway’s Revelation and the spoken word poetry of the artist Lynette Yiadom-Boakye, worked to enhance this.
Teamwork: Bonner collaborated with both Stephen Jones and Swarovski on accessories, creating black and grey muffin-caps inspired by the headpieces worn in Renaissance portraiture, and dangling leather pendants in black obsidian, moonstone and natural quartz.
Photography: Jason Lloyd-Evans
Scene setting: Held at the Royal Institute of British Architects, Bonner placed a stacked soundsystem at the centre of her circular catwalk, which models circumnavigated, some gently touching the speakers at the show’s climax. The soundtrack was created by the South-London producer Sampha, and the set-up evoked the makeshift the music stages created for Notting Hill Carnival.
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