Kicking off the fashion week schedule this year was London Fashion Week: Men’s, showcasing all the upcoming Fall/Winter 2019 looks from British designers and talent like Craig Green, Liam Hodges, Astrid Andersen and more. Taking place in East London’s bustling Shoreditch neighbourhood, as well as at scattered locations across the city, show-goers got to experience a new set-up of the anticipated fashion event.
This year, we saw a big focus on utility wear. Seeing collections from Samuel Ross for A-COLD-WALL*, as well as Paria Farzaneh‘s tech-inspired pieces, which all drew influences from traditional workwear. In addition, color came into play at shows like Craig Green, who debuted plastic-like outfits in the colors of the rainbow, as well as at Liam Hodges’ runway presentation, which featured vibrant tie-dye.
Take a look at all the best looks from London Fashion Week: Men’s Fall/Winter 2019 in the images below.
Titled “Mutations in the 4thDimension,” Liam Hodges focused on dystopia, and featured geometric elements, graphic prints and patterns throughout. For the collection Hodges also tapped into texture and materials, debuting unique tie-dye pieces as well as sportswear-inspired tracksuit in collaboration with Ellesse. The collection saw reworks of the sportswear label’s iconic skiwear line, taking old silhouettes and elevating them with new materials, colors and combinations for the modern youth. As Hodges’ show notes said, “mutating, identity is no longer fixed, authenticity is out-dated, online life is IRL. The having of fun, discovery and the path to self-knowledge are born of diving in and getting it wrong.”
Color was the main focus at Craig Green. “Green’s nomadic men have begun to disband and gradually discover their individual power,” read the show notes, referencing the designer’s long-standing approach to elevated workwear, and highlighting the shift in design and utility. Replicating protective packaging, the show’s stand-out pieces came in colors of the rainbow, and created an eye-catching and engaging silhouette by using texture and layering. “Thinking about a man made of glass, and that idea of fragility and how emotion doesn’t mean weakness. It can also mean strength,” Green explained the approach to the glass-inspired looks.
The show also revealed a Grenson collaboration, once again paying homage to Craig Green’s many workwear influences. With plaid prints and reworked silhouettes, Green reimagined the pieces because it “meant so many things to so many people.” Lastly, the designer also experimented with jackets and coats, creating new and innovative silhouettes which wrapped up the show.
Being a recent addition to the LFW Men’s schedule, Kiko Kostadinov brought a collection inspired by the US design scene. Although it may not have been in a positive light, the designer said he “really wanted to find American designers that influenced an era and currently American design is lacking some sort of confidence.” In the past, Kostadinov has referenced Japanese and Italian designers, referring to them as “the greats.”
Outerwear was the clear focus of the Fall/Winter 2019 range, featuring heavy jackets and experimental silhouettes. The designer drew inspiration from everywhere, even “someone in their house that goes to the shop downstairs and puts a big shirt over their pyjamas.” Models walked down the runway with hair covering their faces, adding an edgy aesthetic to align with the collection’s central reference.
Taking place outside, crowds were eager to take a look at Astrid Andersen’s Fall/Winter 2019 range. With show-goers out in the London cold, attendees received heat packets while waiting for the show to start, eagerly eyeing the runway. As the show started, a range of different silhouettes paraded down the catwalk, ranging from long faux-fur coats, to puffer jackets. For the collection, Andersen drew inspiration from traditional Japanese kimono’s, replicating the shape in a handful of her pieces. In addition, the designer also put a big focus on knitwear, debuting length knit dresses, matching tops and bottoms, as well as cozy sweaters. The range featured both men’s and women’s looks, proving that the Danish designer is a force to be reckoned with in the fashion world.
It goes without saying that Samuel Ross is an artist. The East London location brought the audience to a runway, framed by two large tanks of water on each side, which was later taken over by dancers and and performance artists. The crawl through the water referenced the recent interception of migrants crossing the English Channel to seek asylum, and finished off by a rottweiler barking at the artists.
As for the collection, Ross went for his usual asymmetrical and deconstructed silhouettes, this time putting a larger emphasis on tailoring. The technical pieces sported elements of layering, experimentation with materials and more, showing the designers’ love for sculptural art forms. The runway also saw new versions of the SHARD Low sneaker, as well as more iterations of the Nike Zoom Vomero +5 collaboration. The “BIRTH.ORGAN.SYNTH.” runway presentation highlighted elements of art and politics with fashion, and brought out Samuel Ross’ unique approach to design.
Paria Farzaneh sent out transparent plastic bags, emblazoned with the text “place phone here” as her invitation this year. It all made sense once the models took the runway, which was a conveyor belt on which the models stood, blankly taking selfies or filming the audience. Exploring everyday life, the designer’s collection was a take on our mundane relationships with social media.
The clothes came in a muted color palette, exploring textures and materials throughout. Ranging from quilted sets to outerwear-inspired dresses, the pieces captured the underlying dystopian theme present throughout the collection. To contrast the muted palette, the designer also brought accent detailing in a pastel paisley print, adding an eye-catching element to the show.
Feng Chen Wang took inspiration from her Chinese heritage for her Fall/Winter 2019 range. Born in the Fujian province, the designer grew up with a brother and a sister, despite the country’s one-child policy which was still in effect. Exploring challenges her mother faced during her pregnancy, such as hiding in the local river, the designer’s pieces feature symbolism inspired by her mother and siblings, such as lotus flowers and the Chinese characters for “1, 2, 3.”