“The collection is a love letter to women and to families, colleagues and friends. We went to Wales and were inspired by the warmth of its artistic and poetic heritage, by its folklore and the soul of its craft. The woman is courageous, grounded, bold: heroic. There is a sense of protection in the clothes, of safety and comfort, evoked through quilting and blankets. The hearts are a symbol of togetherness, of being there for others.”
“Each look tells its own story. The connection between the clothes is the time it took to make them. I was interested in clarity and paring things down, in the essence of garments – stripping back to the toile. I love the idea of people having the time to make things together, the time to meet and talk together, the time to reconnect with the world.”
Sarah Burton | Creative Director
“I went home for this collection, back to where I grew up in the North of England, surrounded by mill towns and wild countryside. I took my team to those mills, to a landscape that I remember from my childhood. The heart of the collection is inspired by the bolts of cloth we saw woven both by man and machine.”
The spirit and emotion of the mid-Twentieth Century British artist. Francis Bacon. John Deakin. Soho. The artist vulnerable yet powerful. Hybrids: classic clothing taken apart at the seams, turned on its head. The maverick male in heritage McQueen.
Cut, pieced and patched trench coats, hunting jackets, pinstripes, knits, shirting and military clothing realised with the power and immediacy of a broad-brush stroke. Strength of character, individuality and creativity.
Tailoring forms the backbone to this collection. The silhouette is precise. Jackets are fitted with a square shoulder and a narrow waist, empowering and empowered. Trompe l’oeil coats in pinstripe suiting are worn with gabardine trenches slashed to the elbow and lined with painters pink satin.
Bonded plongé leather rain coats in colbalt blue and painters pink are raw cut. Cigarette pants are cropped at the ankle. Shirts are worn with slashed cuffs. Traditional menswear is deconstructed, panelled with opposing garments and fabrics. Trench cotton is bonded with cavalry twill, wool silk coats layered over trompe l’oeil jackets. Plongé leather and organza layered cotton gabardine overalls are belted and undone to the waist.
Exploded paint palette jacquard knits with hanging threads are worn with leather motocross trousers, finished with nickel zips. Perfecto grainy leather jackets and biker trousers are hand-painted. Hybrid jackets in ivory wool silk and lust red are first slashed then pieced with black wool silk military coats.
Trousers are striped with lust red and optic white. Hand-painting and embroidery is abstract with bold embroidered brushstrokes. Cotton silk jacquards draw on the artist’s studio and the work of John Deakin, as do more embroideries, this time in muted silver gunmetal: “Graffiti”, “Graffiti Faces”, “You Are All Nice”.