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Grace Wales Bonner

The entire cast of the critically acclaimed, apparent polymath, Grace Wales Bonner’s show was almost exclusively black — a wonderful thing in an industry that seems to condone the white washing of nigh on every aspect of itself. And the designer is one with an agenda: to alter the representation of black men in mainstream media from the usually depicted aggressive and brutish type images we are so often fed, to showing that in fact whole races aren’t stereotypes (yes, some people are that stupid). Her attempts at this have been described so often as poetic, gentle and rooted in incredible amounts of academia and critical thought and research, and this genuinely came through in her AW16 collection. It is surprising that exploration of racial representation on the runway has not been more prominently on the cards in London in previous years so… finally! Other designers either blindly, and offensively, appropriate or entirely shy away from matters of race, racial heritage and culture — but not Bonner. And for these reasons one could say that the designer is in fact bringing something entirely new to the menswear arena, and we can only hope that the fashion audience is switched enough to understand both the complexities and brilliance that comes with these collections, and doesn’t just see ‘cute clothes’ (even though, by the way, they were.)

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Rory Parnell-Mooney

The Irish designer explored the typically Parnell-Mooney motif of ritualistic dressing once again. Whether a riotous schoolboy or a Spanish monk, these robe-like wears became fuller, and more complex for AW16. Stiff, spray painted denims sat below draped silks and peach-skin cottons, with stiff leathery neck ties and chest belts binding and cinching the pieces and the body. In a palette of blues and blacks — akin to the colours of the Thames at night — the garments, true to form, both held structure but flowed with movement. The theme was realised via both subtle and unsubtle means, and the pieces were sporadically adorned — either printed, painted or embossed into fabric — with the words ‘Nancy Boy’ and ‘Repent’. There is something that always feels personal, and hence political, when it comes to Mooney’s work; the collision in message between the two words repeatedly used felt like the battle between religion and sexuality playing out on the runway. Once does not like to assume anything about Mooney’s past, but using the classic school yard quip ‘Nancy Boy’ as the centre of an entire collection acted as an empowering message of re-appropriation against the childhood bullies we have all encountered. Here is an example of London fashion doing what London fashion should do: empower, critique and politicise.

Charles Jeffrey

Joyful is the word that springs to mind when one thinks of Charles Jeffrey’s work this season. Here lies not some uninspired designer capitalising upon the creativity of the queer community and subsuming stolen aesthetics into elements of their show, but here is a twenty-five year old who knows, and creates space for, parts of London’s queer scene. From casting, to set, to music the whole thing feels like an extension of LOVERBOY — Jeffrey’s night at VFD (formerly Vogue Fabrics). It’s outrageous, and humorous and this energy was reflected in every stitch of the collection too. Intentionally mis-proportioned suits with slung open belts stumbled out of the backstage; pirate shirts with bondage leathers wound around the neck and arms of the pretty youth that strutted through the set with their gigantic, multicoloured hair; a cropped Plaid pea-coat in electric blue was flung over the shoulder, and aran knits were sliced open — their holes filled in with psychedelic printed cotton. The fact that the garments are so skilfully made only adds big bursting cherries to the belligerently queer cake, but beyond the beauty and the luxury of the collection was also an accessibility which high end fashion so often fails to recognise the need for: with a knack for thrifting one could totally recreate these looks. The real deal will be worth it, last longer, and feel amazing to wear (due to Jeffrey’s Saville Row mad skills), but this is an aesthetic that is open to all, willing to put in that bit of effort and have the guts to turn a look like this. Democratising an industry that is so known for its hierarchical nature is a truly queer thing, and all of the above is exactly why London needs Charles Jeffrey.

Words: Tom Rasmussen

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From the 10th Birthday Issue of Wonderland.

Martine Rose

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Using images of childhood seaside holidays on the British coastline as the stimuli for this collection, Vivienne Westwood menswear SS15 brings us an eclectic combination of vivid outlandish prints, fringed tri-tone denim, decadent silk, graphic tailoring and Orb adorned fine-knits thrown together with a snout or two, portraying a prevalent message in support of the Pig Pledge, a campaign to encourage people not to buy or eat factory farmed meat.

Also looking at the similarities between the pixelated graphics of late ’70s arcade games played on the pleasure pier and Native American art for a result which resonates as a modern take on tribal wear, the collection explores contrasting concepts, yet presents them as one unique continuous dialogue.

From pixel block tartan prints, jacquards, crystalised tartans and needle punch techniques to linear prints, dancette lines in knits and fil coupe shirting – contrasting techniques, textures and fabrications were the key to this collection. Also weaving their way into the SS15 dialogue, we saw archive bondage pieces reminiscent of certain details applied in Native American tribal wear and also a nod to the first appearance of this trouser during the 70’s.

Join Vivienne in signing the pigpledge.org/petition & boycott meat from animal factories. #PigPledge

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You can always count on the designers chosen for the MAN show to push the boundaries of creativity and draw a huge crowd. And yesterday was no different, with stellar offerings from Bobby Abley, Dublin-born Alan Taylor and the ever-theatrical Craig Green (remember last season’s redefinition of planking?).

First up was Bobby Abley. Part eye-popping Dalston Disneyland (see teddy bears, fleur de lis and tweety birds) and part Dora the Explorer (Teddy boy backpacks were the accessory of choice), the models wore leather crowns and hooded jackets as they stalked the Topman Show Space.

Next was Alan Taylor, whose collection was altogether more restrained and trad. Grey tweed pieces were mixed with deconstructed skinny tailoring and the omnipresent shorts of s/s14 were seen with daringly high slits and short-sleeved jackets. LCD Soundsystem provided the backdrop and Taylor’s clothes were the perfect warm-up for the final bonkers but brilliant offering from Craig Green.

Ah yes. Craig Green. What to say about Craig Green… Well, his masked models in tie-dye streetwear carrying 3-D cardboard constructions gained the biggest cheers from the day’s crowds. And despite last season’s slagging from the newly-announced Ambassador for British menswear David Gandy, Green’s clothes yesterday continued to surprise and delight the majority of the menswear circuit. So yes, everyone might have smiled when we saw the oversized tie-dye sculptures and the bandanas that pretty much obscured the models’ faces. But we’d also like to see this trend go mainstream. David Gandy, your move.

MORE LONDON COLLECTIONS: MEN COVERAGE
Topman Design
Backstage at Astrid Andersen

Words: Sophie Haslett
Images: Hatnim Lee

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