Burberry was the first major show at London Collections Men after the news
came through about David Bowie’s death. Perhaps it was sheer coincidence
there were several glam pieces in the show that sparkled with sequins, but
one model’s hands inscribed with BO-WIE made for a subtle tribute by the
show’s makeup artist Wendy Rowe.
A celebration of outerwear was both expected and delivered. At Burberry, a
house who’s foundation is built on the classic trench, cape and peacoat,
its heritage line was complemented with MA-1 flight jackets, bombers and
puffas, to cement its modern credentials and fashionability. There were
plenty of sporty elements too, with models wearing trainers beneath skinny
cropped tracksuit pants, straight-leg trousers, and loose denim.
Christopher Kane decided to shun the catwalk and instead held a
presentation buyers and press could visit throughout the day. There was
plenty of silhouette in Kane’s latest creation, mostly loose and cocooning,
which was all about directional streetwear. T-shirts featured grids of
high-visibility green, loose jeans in dark denim with asymmetrical turn-ups
– some with shearling. Outerwear came trimmed with reflective fabric, while
one parka appeared coated in aluminum. There were plenty of prints, like
double-patterned shirts, lightning bolts on track suits, and intarsia
suiting. Enough to keep the buyers happy to excite the rails at retail.
Inspired by Alec Lindsell documentary, The Sacred Triangle, Eary stated she
explored the creative exchange between Bowie, Lou Reed, and Iggy Pop. How
this translated into garment form was denim in metallic leather, billowing
caftans printed with koi carp, and high-zipped retro sporty tops in panne
velvet. While perhaps none of these may make wardrobe staples for the
modern gentleman, it would be disingenuous to state it is likely not the
customer Eary is eager to entice.
Images:Burberry, Christopher Kane, Katie Eary AW16