Inspired... Kit Neale AW13

"Fashion East Installations give the newest of the new in London menswear the chance to prove their worth in a group show of delicious controlled anarchy," proclaims Charlie Porter in the recent press release for autumn/winter 2013. Ever since they were introduced to the London fashion week schedule back in 2009, I've excitedly bounced from room to room inside its various incarnations uncovering the beautiful alongside the wonderful and even the unusual at every opportunity. The platform provides discovery at every turn for us whilst offering invaluable exposure for the designers themselves and often acts as a springboard for them. Nothing quite represents the diversity of London menswear design talent quite like the Fashion East Menswear Installations. Returning to the impressive and ornate Georgian townhouse in the heart of St. James’s alongside Meadham Kirchhoff, Bobby Abley, Joseph Turvey, Nasir Mazhar and Maarten van der Horst, Kit Neale will once again be a noisy neighbour to Buckingham Palace for the day.

Ever since I first stepped in to Kit Neale's dazzlingly printed world,  a cultural kaleidoscope that reimagined suburban and multicultural Britain, I've been eager to return. Despite being just over two weeks away from London Collections: Men, I couldn't resist popping by his new showroom cross studio located just off Shoreditch High Street for a sneak peek at how the new season is taking shape. Moving on from his Dad's allotment and the ever eccentric great British seaside, the emerging sartorial chronicler of our age looks to his design heroes and ends up sozzled in his local. Reviving him with the rustling of a bag of pork scratchings, Kit Neale talks us through his mood board and allows us to take a sip from his heady cocktail of influences...

"The real starting point was looking at three of my design heroes of Michael Clark, Ray Petri and Ernő Goldfinger. I'm always researching them. I'm obsessed. Ray Petri's 'Buffalo' book has pride of place in the studio, it's our bible and I always look through it and I know many other labels look to it as well. I'm really drawn to those Buffalo days and often look through my old issues of The Face and Arena Homme Plus. I think Petri, Goldfinder and Clark all have a level of influence over or appear in some way in every season but I wanted to delve a little deeper and fuse all three in to this collection but it wasn't possible to look at all three due to this being such a short season so I chose to focus on Clark. It's been a bit tight this season and this shows in the fact that the prints have just come back, the Friday before Christmas but I'm really pleased with them.

There's a film that Michael Clarke did with Leigh Bowery called Hail The New Puritan. It's a fake documentary, a mix of narrative, performance and fantasy. If you've not seen it, you really should watch it on youtube. The vivid colours of the film really inspired the prints for this season. There's one particular scene where they are in a typical British, slightly run down pub and the contrast and clash with these colourful characters is so intriguing. It led me to think about the role of the pub in society, they're a place where all types congregate and it also directed me to all of the pop references. I looked at so many names, signs and details of pubs but in the end we concentrated on The White Polar Bear and The Queen's Head. The prints combine the pub detailing with the vivid colours of the film and the movements of Michael's Clark's dance."

A few snapshots peering in to Kit Neale's mind.

Much like looking at Martin Parr's photography which can at first appear exaggerated, Kit Neale's plentiful prints fuse the familiar with the strange, the mundane with the extraordinary. Entering his presentation space last season I was instantly transported back home to the sandy beach of Margate and I'm looking forward to going off on a jaunt to one of the designer's locals to share a pint with his design heroes. What's your poison?

Inspired... William Richard Green AW13

As one of the designers headlining a new era in British menswear, William Richard Green continues to fuse his British influences with a willingness to celebrate the diversity amongst the well sourced manufacturers and suppliers of these rich isles. Over the last few seasons, each collection has showcased the craftsmanship of home grown British manufacturing whilst feeling anything but heritage. As so many have talked up the 'British-ness' of their products, Green has quietly and assuredly gone about his business of building relations with suppliers and crafting pieces that are decidedly British, both inside and out. "One of my points is that the collections are British made and predominantly use British fabric. Over the life of the label, I've amassed an extended family with the guys in Nottingham and beyond but working to the deadlines of the fashion calendar can be testing. They're all characters. I love spending time with them. I'd much rather visit them than go to your typical fashion party," confirms the designer before taking a sip of his early morning coffee.

For Spring/Summer 2013, the design talent celebrated 'Home' and explored the concept of Britishness, for Autumn/Winter 13 Green sartorially examines family. From dysfunctional households to his relationship with his suppliers to the points gangs, Green pores over and plays with ideas and dynamics of family. Before leaving his Old Street base for a day at the studio, the designer talks us through his collection of research images...

"I began thinking about odd family dynamics. My parents are in the process of deciding whether or not they want to sell the family home and move to Cornwall and there's a strange mood that's developed. My family are so close and it's full of real characters. I started by looking at Moonrise Kingdom. I don't tend to look at such obvious references but I just love how Wes Anderson's always creates these intriguing family set ups. His parents divorced at eight and I think that's one of the reason why, in every one of his films from The Royal Tenenbaums to the Life Aquatic, there's this idea of separation and dysfunctional love. I became obsessed at looking at family portraits, especially the awkward ones. I was looking at how people identify themselves through repetition and then searching for the odd bit of individuality and point of difference. 

In the end, I've accumulated a vast number of images that all have an association with each other through pattern and clothing. From the uniforms of gangs to football kits that were ridiculed by friends to Lucky Luke. I've always loved Lucky Luke. Whilst I was at Central Saint Martins, I did a big project around it. I just love how clumsy the lines are and how graphic it is.

I'm really looking forward to showing this season. I'm in the process of working on a film with Morgan O'Donovan that will help tell the story of the different characters in the collection. As long as the garments come back from the factories in time, we'll be shooting between Christmas and New Year in the countryside. Despite the early start for this season I'm prepared and just waiting on production."" 

A snapshot of William Richard Green's visual research for AW13.
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Christopher O'Brien AW11

Each year the various graduate shows scattered throughout the calendar and country remind us all that there is so much young talent out there in the UK. For us, there is little better than discovering it before watching it develop with us. However, despite our ever present eagerness a few talents are missed. Now, Central Saint Martins' MA graduate show is undoubtedly one of the most exciting places to discover the fashion stars of the future but this years crop passed me by. Months have passed since the show and I've only just stumbled across the obvious talent of Christopher O'Brien thanks to the designer's pro activeness and a keen buy from LN-CC. O'Brien's crinkled, minimal wardrobe of well tailored staples might have slipped past my blogging radar but it certainly caught the trained retail eye of John Skelton who duly bought the collection for his forward thinking store. 

As well as working as a freelance stylist and costume designer during his studies at Central Saint Martins, O’Brien honed his skills with placements at Jonathan Saunders, Jens Laugesen and E. Tautz. That's quite the education and the fruits of these experiences and influences can be seen in his accomplished MA graduate collection. At its wrinkled heart the abstraction of the male silhouette through the manipulation of fabric and layering in a distinctive yet restrained manner. The use of distressed and crinkled fabrics throughout his accomplished graduate collection creates individual subtleties and sense of life. I'm instantly reminded of the collection that saw Christopher Bailey emerge as one of the best menswear designers of his generation, Burberry's Cumpled Classics collection for SS09. However, here the real spirit of the collection is grounded in ideals of minimalist menswear and traditional tailoring but O'Brien develops the theme by exploring the creative potential of inherited shapes and textures. Before we take a look at the collection itself, we had to sit down with the designer to learn more about his work and his hopes for the future.

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SS: What were your inspirations, your dreams and the driving catalyst for launching Christopher O'Brien?

Christopher O'Brien: I think there are a few reasons for starting Christopher O'Brien, chance being a big factor in that John Skelton saw my look book and decided to stock my collection. I also think that my drive comes form proving certain people wrong that told me I wouldn't do it. My inspirations and reason for Christopher O'Brien is to hopefully gain recognition within the industry and for people to like what I do.

SS: Aside from it being your name, what does Christopher O'Brien mean to you?

Christopher O'Brien: I'm not to precious about myself, I am lucky enough to enjoy my career and hope that Christopher O'Brien develops into something natural and easy for people to connect with.

SS: Describe the moment you realized you wanted to be a menswear designer?

Christopher O'Brien: I started out as a womenswear designer and always had a very androgynous style that I felt would suit men. It was while I was working for Jens Laugesen that I decided I would be a lot more comfortable if I transferred to menswear so I applied the the MA to help me build a portfolio.

SS: What were the first and last items you remember designing?

Christopher O'Brien: The first thing was a very tragic dress made out of orange peel, I was on an Art and  Design foundation and it seamed like a good idea (at the time). The last thing, tech pieces for E. Tautz

SS: While studying for your MA in menswear design, you worked as an intern for large periods of time for Jonathan Saunders and Giorgio Armani. More recently, you worked for design advisor firm Jens Laugesen and as you were about to graduate, you worked for E. Tautz who duly offered you a designing position. What did these experiences teach you? How did these experience shape you as a designer?

Christopher O'Brien: I think that internships are a very important part to your education, I learnt more at Jonathan's in my spell there than probably my whole BA, it is reality and shows you how the industry really works. I wasn't actually going to go to my interview at Jens because I thought I had bagged a job at Jil Sander but it was probably the best career move I ever made as Jil fell through and I think I learnt so much more working in close proximity to him than I ever would in a big company. He was a very demanding boss but helped me to develop my design process more than anyone, we constantly worked on different projects. I think he is a true designer in the sense that every project we did was integral and stuck to a concept. In terms of how these experiences have shaped me, I think they taught me a pretty good work ethic, and just to try things, if they don't work, move on and don't worry.

SS: In your eponymous debut collection, you take a progressive stance on conventions of layering and minimalism, and draws on influences from art to sportswear to photography. Can you talk us through the inspiration for the collection?

Christopher O'Brien: The main point of inspiration was a photo of some refugees in the paper, I just really liked the different layers they were wearing and it made me think about the way we wear clothes. When we put a jacket or coat on it often crinkles the garment under and I just wanted to look at bringing that effect to the top layer where you wouldn't expect it. I took it pretty extreme but as it was my MA collection with no restraints I figured it was a good time to push notions of what a man would wear.

SS: How would you describe the collection in your own words?

Christopher O'Brien: The collection has at its heart the abstraction of the male silhouette through the manipulation of fabric and layering in a distinctive yet restrained manner. The use of distressed and crinkled fabrics throughout each design creates individual subtleties and elements of awkwardness, which at first glance are not immediately apparent. Whilst the spirit of the collection is in tune with ideas of minimalist menswear and traditional tailoring, albeit in a disassociated way, it develops its theme by amalgamating these conventions with styles drawn from elsewhere.

SS: Were you taken aback by LN-CC's interest in the collection?

Christopher O'Brien: I really like the guys at LN-CC and like the whole concept to the shop, I think they push boundaries with what they stock and don't want to be like any other shop which gives opportunities to designers like me. I'm happy it happened so hopefully it will go well.

SS: What excites you about the future of menswear?

Christopher O'Brien: Being involved in some kind of capacity.

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A scan of the image that sparked O'Brien's collection.

Throughout, the design process O'Brien looked to sportswear to art and photography, especially Derek Ridger’s brilliant pictures and to wartime images from the middle east. These images showcase garment layering in unconventional ways and hint at the effects of using a constricting layer within the garments make them appear disturbed. This idea became a way of bringing an uneasy and crinkled effect to the top layer of the silhouette. This in essence creates a textile that becomes the garment itself, encouraging a different view to the normal conceptions of menswear and preconceived ideas on layering. Taking further inspiration from Francis Bacon's 'Man in blue' series, the collection takes muted blue and aligns it against the contrast of striking white in order to convey further the angular composition that the manipulation of fabric and layering offers in abstracting the male silhouette.  Now, I could continue to wax lyrical about the collection but it really is high time that I shared his look book with you all...

Look book images supplied by Christopher O'Brien

Despite my obvious support for exciting graduate talent, it is extremely rare that I encounter a collection that could easily slip in to my everyday wear. I'd happily add Christopher O'Brien to my wardrobe and it should come as no surprise that a number of pieces have already sold out over on LN-CC. I'm sure we will be hearing the name  Christopher O'Brien a great deal in the coming seasons and beyond.

Summer Soaring

Over the last few seasons, Tim Soar has designed collections that are both warm and familiar yet undeniably modern. They have have many overlapping memories and echoes from the past but still manage to look forward and feel fresh. Soar has offered his take on the greatest hits of menswear and the results have provided collections fit for any modern day gentleman. Timeless elegance. For Soar, each season is not about the exploration of a unique silhouette and then moving on but rather it is about taking different elements and putting them together in a way that is a coherent whole. The themes, riffs and references are there to be seen and are developed each season. My most recent Soar piece encapsulates these points wonderfully...

Silk shirt by Tim Soar worn with suit by Comme des Garçons Ganryu and King Tubby's by Mr Hare.

Now, regular readers should recall how enamoured I was by Soar's AW10 collection and that I added two key items to my wardrobe as a result. I was particularly taken with Soar's silk dress shirts. They were fascinating and represented a good part of the inspiration behind the entire collection because they were from the 70s but they felt Victorian at the same time. There were equal influences within them, two periods. The length and the volume of the shirt means that is caught somewhere between loose and fitted. As an aesthetic going forward, I think an area between loose and fitted is a good place to be and I've enjoyed experimenting with volume and silhouette much more since owning my shirt.  

For SS11, Soar was drawn to the wardrobe of David Bowie in Nicholas Roeg’s film ‘The Man Who Fell To Earth’. As Thomas Newton, Bowie's wardrobe explores the moment where the excesses of Seventies style culture (the big flares, the wide lapels and long lines) are about to mutate into the New Wave utilitarian aesthetic. It is a wonderful mix of formal men’s tailoring with technical undergarments and sportswear. And this, for Soar, is the very essence of modern menswear. His silk printed dress shirt is the perfect example. Here he took the silhouette, the mood and softness of them and took them one stage further by adding an abstract, colourful digital print. It makes them slightly trickier, it takes them out of themselves and adds an element of surprise. I could not resist in adding this evolved item to my wardrobe...

The abstract, colourful and bold digital print certainly adds an element of surprise.

Berthold AW11

Just over two years ago, we first were introduced to a capsule collection of transformational outerwear thanks to an exhibition inside b Store. Inspired by the ever practical pac-a-mac, Berthold's debut offering was a unique assortment of outerwear that cunningly changed from a coat to a bag and back again with consummate ease. In the seasons following this memorable introduction, I've often found myself admiring his designs on the rails of my favourite London store but somehow no follow up post has ever materialised. Today, I make amends.

Founded by Raimund Berthold, this creative yet functional range of menswear is focused on style and comfort. His philosophy is simple; to design interesting, well made and inspirational clothing for everyday wear. Raimund began life in Austria before travelling to London to undertake a BA followed by an MA in Fashion at St Martins College of Art & Design. The design talent then worked under the tutelage of British greats including Vivienne Westwood and Alexander McQueen before launching his own label. Berthold is confident, sophisticated and refined. During the hot and hectic weekend spent in the heart of Paris menswear week back in June, I longingly stroked the fourth full Berthold collection and met the man behind it all. To mark the imminent launch of his AW11 collection in b Store,  we snapped up the opportunity to discuss Raimund's approach to design whilst day dreaming over the designs thanks to the Claire Harrison shot look book...

SS: What were your inspirations, your dreams and the driving catalyst behind launching Berthold?

Raimund Berthold: I liked the idea of being free to follow my own aesthetics, creating clothes I would like to wear myself and see other people appreciating and wearing them too.

Also, having your own line opens up great possibilities to work and collaborate with amazing, creative and inspiring people. It is very helpful to be pushed and questioned by people you respect.

SS: Aside from it being your surname, what does Berthold mean to you?

Raimund Berthold: I like the fact that Berthold sounds like a brand and doesn’t make it too personal to me. That is why I haven’t used my first name. I think of Berthold as an accessible and modern label which is always about detailing and function mixed with a bit of humour.

SS: How would you describe your approach to design?

Raimund Berthold: I usually don’t like endless research material. I prefer to start with a few images or vintage garments and just design and develop from there. I find this keeps my mind free and my work less predictable.

SS: What were the first and last items you remember designing?

Raimund Berthold: I used to customize my clothes as a child. Growing up in the Austrian Alps didn’t give you a great choice of clothes but customizing certainly helped. The last item was a print for next summer. It's based on scaffolding I photographed in a church in Barcelona.

SS: What was the starting point for the AW11 collection? How did it evolve into the collection we see today?

Raimund Berthold: The starting point was an image of a space suit, which had a very chunky zip across the body. The suits proportions and straight lines are brilliant. This translated into very boxy jersey peaces, which have chunky zips either vertical, horizontal or diagonal. These zips open completely and extend the garment. The ”boxyness” inspired the silhouette of the outerwear. Especially the coats….. Simple lines, oversized and very subtle details.

SS: Throughout each piece you've experimented with shape and fabric. Could you talk us through the silhouette and your love of fabric...

Raimund Berthold: I love experimenting with volume and silhouette, but you have to get the balance right. I am very much involved in the pattern cutting process and for me this the really creative time.

The jackets and coats for this winter collection have an oversized look but don’t swamp you. The jersey peaces are also either oversized and cozy or very thin and almost “drapy”. My trousers are slim cut.

I like using cotton, because its light and versatile. I also use wool for my outerwear. I often mix them with anything synthetic, either because its gives the garment a better performance, make them more sporty or just for the fun of it.

SS: You have quietly and assuredly built up a fan base. Do you think there is a particular Berthold man? If so, do you think about them when you design each collection?

Raimund Berthold: I definitely attract the more creative type. Men that want well made comfortable clothes that sets them apart without being too obvious. Where I do have my customer in mind is when it comes to the fit. I usually ask the “b Store” boys each season which fit worked best for customers and why. I want to create clothes that are comfortable, flattering and of course, those that sell.

SS: How has your approach to or view of fashion shifted during the life of the label?

Raimund Berthold: Since starting my label I have met incredibly interesting and passionate people who just love fashion. This has made me rediscover how much fun fashion can be and how lucky I am to be a designer. My approach to fashion has definitely become more confident, especially after realising that you don’t necessarily have to compromise your designs in order to have a viable business.

SS: What excites you about the future of menswear?

Raimund Berthold: That men have become more fun to design for!

SS: Finally, what's next for Berthold?

Raimund Berthold: Lots of experimentation and extending our product range

Collection shot by Claire Harrison and modelled by Adam Maddock.

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I just love how Raimund Berthold has quietly and assuredly built up a fan base whilst offering design without compromise. Berthold's designs are currently exclusive to b Store but given the sheer volume of interested buyers at the Six London showroom in Paris that looks likely to change for SS12.