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Modern Heritage

With such a rich heritage in knitwear, it would be a shame if Pringle of Scotland failed to channel some of this old-fashioned know-how into their contemporary collections. Fortunately for us, Massimo Nicosia is adept at using the brand’s past to inform their modern pieces. Traditional crochet was revamped this season with a range of breezy white dresses but, more inventively, with skirts that fell low in jagged frills and sleeves that looked almost serrated with their sawtooth edges – it was lovely play on juxtapositions: the soft cut into the sharp.

The Rough With The Smooth

The brand’s iconic argyle pattern was nicely riffed on through pieces made from a metallic-gold, diamond-repeat fabric, and a dress printed with a motif of weaving was a good way to keep the knitted DNA of the brand present even in smoother, smarter pieces. This sleekness was also observed in silky looking shirts that had flowing, super-long sleeves and were cut with heavily asymmetrical hems (matching full cut trousers lent a relaxed elegance to proceedings).

Knitty-Gritty

The focus on knitted texture reached its climax in the last two looks: black and white tops were made of wide-crochet that sprouted into tactile, three dimensional flowers at the hemline which, in turn, dissolved into frays of thread that fell down past the knees. These had just the slightest tinge of gothic-decay about them, and were probably the boldest pieces on show. Generally, it was plenty of quiet innovation from Nicosia – a perfect fit for a historical brand like Pringle.

WORDS: Benji Walters

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Age: 23

Hometown: Manchester

Where I was scouted: Three years ago when I was out and about in Manchester. I definitely enjoying it more now than when I started. I’ve now got some really good groups of friends in the industry so jobs are much more fun.

Home is: Hackney at the moment.

Favourite London hang out: Chilling in a park. London’s fun when it’s nice outside.

Favourite place in the world: Bed.

Dream destination: I want to get a motorbike and do a road trip across America.

Favourite food: I go through phases, at the moment I’m quite into Vietnamese.

I like my eggs: Poached.

Favourite movie: Dumb & Dumber, Pulp Fiction and The Big Lebowski.

Least favourite movie: A chick flick.

Favourite cartoon: Danger Mouse.

First gig: Jimmy Page and Robert Plant.

First CD I bought: Ocean Colour Scene, it was nineties Britpop time.

Music I like: Good rock ‘n’ roll, hip-hop and old school house.

Most treasured possession: Used to be a chain, but I lost it.

Last thing I bought: Milk.

Current obsession: An album by Otis G Johnson, a gospel soul guy from the seventies.

Shows I walked last season: Marc By Marc Jacobs, Paul Smith, Margaret Howell, Dries Van Noten, Alexandre Plokhov, Robert Geller, Billy Reid & Siki Im.

Myself in three words: Skinny Northern lad.

Photographer Daniel Thomas Smith
Fashion Editor and words Francesca Prudente
Grooming Lara Himpelmann using DERMALOGICA & BUMBLE & BUMBLE
Model Thomas Penfound at D1
Thomas wears polo neck shirt & jumper by PRINGLE OF SCOTLAND

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(1) Christopher Raeburn

(2) J.W. Anderson

(3) Pringle of Scotland

Check out our other backstage posts from LFW:

Day One: Felder Felder, PPQ and KTZ
Day Two: Moschino, Jasper Conran and Kinder Aggugini
Day Three: Philip Treacy – Special Report
Day Five: Aminika Wilmont, Fashion Fringe and Nasir Mazhar
Day Five: Meadham Kirchhoff – Special Report

Images: Christopher Raeburn, J.W. Anderson and Pringle of Scotland by Hatnim Lee, J.W. Anderson (last three images) by Mark Rabadan

The post London Fashion Week: Backstage at Christopher Raeburn, J.W. Anderson and Pringle of Scotland S/S 2013 appeared first on Wonderland.

Images: Hatnim Lee

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British artist Liam Gillick’s practice is hard to pin down: in the course of his celebrated career he’s produced installations, sculpture, invented cocktails, written literary works and composed music. But his latest project is appealing in a very direct way: this year he’s launching a line of products made in collaboration with Pringle of Scotland, all of which will be presented for the first time at Art Basel Miami in South Beach this December. The range, LIAMGILLICKFORPRINGLEOFSCOTLAND includes bags, accessories and knitwear, but as part of the project he’s also produced a series of table-like sculptural objects, which were unveiled this morning (as benches, pictured above) at the Pringle of Scotland show this morning. Here Wonderland’s editor Adam Welch talks to Gillick about his foray into fashion.

How has working with a fashion brand differed and/or been similar to your other collaborative projects?

The speed is different. The intensity of work and production suits my way of thinking and matches my desire to see objects enter circulation with as little delay as possible. It is the opposite of my work with architects – which is productive for exactly the opposite reasons. It is also a question of learning about new production techniques and having a discussion with Alistair Carr [Pringle of Scotland’s new Creative Director] – a moment of comparison and difference across disciplines.

Why no spaces in “LIAMGILLICKFORPRINGLEOFSCOTLAND”? How do you feel about the language of branding in general – is it ridiculous or an unavoidable part of our culture that you’re implicitly accepting?

Branding today floats free from concrete production of objects and has become a thing in its own right. It is a deception and at the heart of our scepticism and enthusiasm for developed social life. In our case we are actually making things – not just evoking a brand or proposing a potential. The sense of branding in this case is about integration and taking responsibility. I carefully considered the wording to make sure it is clear that I am doing something for someone else and not merely adding some kind of immaterial aura. I am against branding as a meaningless signifier of value and in favour of people getting credit for their work.

The release here hints you’re investigating the status of the art object – could you explain in relation to the Pringle collection?

My involvement is conceptual on many levels – my interest has been to collaborate with people who know what they are doing. I am not producing things for Pringle who then have to reproduce my “vision”. I don’t have a vision. I am interested in work and material facts. So I approached the work here in the same way I would an exhibition at a museum or gallery. There is a challenge to my own assertions about the way art creates meaning in the culture in the process here. If I make general points about production and research in my work – I need sometimes to check this against other forms of production and distribution.

How much technical research did you do in developing this collection, i.e. into production, manufacturing, etc.?

None. I talked to people about ideas and values and meaning. I then let the specialists who work for Pringle do what they do best – which was to show me various technical possibilities. I wanted them to take responsibility for developing something in parallel to my thinking rather than merely executing a set of instructions. I want to question ideas of authorship and where meaning and value reside. This would not have been possible if I had become bogged down in technical issues.

Do you have a favourite piece in the collection?

The way all of the things are constructed. The use of different material qualities placed side by side. I see the work as a set of related objects that also happen to have a function. My favourite piece is the one that will be used un-self-consciously by a person in the near future who will also recognise this proximity and play of materials.

Words: Adam Welch

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