[Design and production]
[Development form the AW20 collection while interning with Liam Hodges] Titled Brave Old World, New Ideas, the collection’s name simultaneously plays on the title of Aldous Huxley’s 1932 dystopian novel and questions fashion’s fetishisation of newness.
The collection reflects on the reality of the environmental impacts of consumerism, with an extraordinary focus on handmade pieces and recycled elements. Crochet features heavily and manifests in statement jumpers and hand-embroidered cardigans. A number of pieces were handmade in the design studio; 106 ‘D’ grade flannel shirts were shredded and ‘rugged’ into a woven base creating the chimeric coat, recycled yarn is crocheted, fusing modernist layers of leather harmoniously together. Other garments are comprised from jersey yarn recycled from factory offcuts.
Past season stock was used to make vests and hoodies; joggers were created as patchworks of overprinted thrifted collegiate t-shirts. Shearling offcuts that embellished the garments were sourced from a network of London leather manufacturers. The bags were the product of a collaboration with Barcelo- na-based brand Nukak tyres are turned into totemic totes, while bygone banners of abortive advertising campaigns are remoulded into backpacks.
Graphic and text fluctuate between eras and landscapes, Shakespearean and retro-futuristic at the same time, referencing not only the undulating elegy of ‘The Tempest’ but also Aldous Huxley’s seminal work, reflecting society’s eagerness to enter an era that will be forever influenced by the past. The ‘Crochet Club’ graphic is based on vintage crochet imagery and hobbyist patterns: the woven graphics and symbols are their own lexicon, that speak to age-old traditions of weaving.
Hats are crocheted out of old tees, shorts are conjured out of original workwear and multiple retro cycling jerseys are stitched together to create a cycling jersey. Designer clothes with an industrious spirit.
‘The formalities that we’re used to, makes normality dangerous. In a time of isolation, the past is perilous.‘ The collection building on the changes, mixing textiles with industrial printing and laser techniques. The collection is a move to distance ourselves from the archaic value chain and feedback loop of the industry.
‘Refined material practices and looking to new ways of reducing wastage, utilising vintage and repurposed materials, working with vintage T-shirts as a point of study exploring how they can be re-used to create up cycled and customisable pieces to inspire ingenuity and unspoken collaboration across nations during a time of isolation.’
Asymmetrical tops, roughly cut denim and unfinished hems, further straying from conventional design standards. The collection is styled by Harry Lambert, who is known for his mind-bending and boundary-pushing aesthetic.