This year Barbour celebrated its 125th year anniversary, the family-run brand which is based in North England was founded by John Barbour in 1894. Recently showcasing the latest AW19 looks at the Lanchester House during London Fashion Week Men's.

To celebrate the special mile Stone reached by the business, Barbour collaborated with Sir Ridley Scott designing a unique directors jacket. Hand drawn illustrations are featured on the back labels of the garments personally drawn by Ridley himself, a collectable 125-anniversary pin and a short film which was also apart of the collaboration produced by Sir Ridley Scott with the film being privately displayed to guest during the presentation at Lancaster House.

  
The limited edition range was inspired by the Iconic Barbour archive, designed for both men and women. The collection includes quilted shapes, waxed fabrics, and detachable linings.
An earthy colour pallet was merged with a variety of textures including functional garments such as military collars and draw away hoods. The distinctive Barbour style was carried through the collection with British heritage producing looks perfect for both city and countryside.

The brand continues to stand strong having built a reputation on quality designed garments that are made to last. Originally created for mariners and sailors Barbour has adapted to fashion trends over time whilst still keeping a recognisably modern British look and country heritage. 

Written By Eshe Mitchell

Animal print, pinstripe, and camel tones are apparently here to stay, as Edward Crutchley’s collection told us so.

We are looking at another season of animal print, come Autumn/Winter this year.

Edward Crutchley is supposedly serving up business wear with a bite, which is undeniably true after what we witnessed on Saturday.

Velvet harem pants, satin robes, pinstripe co-ords, camel knitwear, satin animal print were among the array of variety within his pieces that he showcased.
Edward took us on a wild safari, while also managing to take us back in time to the 80s. Which is evident, as he is said to have channelled the magnificent Grace Jones from the 1985 film A View to a Kill.
Signature roomy silhouettes have been slimmed down in homage to the no-nonsense tailoring of the mid-1980s, Japanese and American ready to wear. The attitude he was was trying to convey came through effortlessly, uber cool, sartorial, power dressing.

  
Slate coloured grey fabric, with Wall street pinstripe, matched with Lurex fil coupe chiffon open collar shirt, and finished with fur slippers, and in some cases high gloss patent stilettos, and for the males high shine loafers, all supplied by Christian Louboutin.

Although oversized was a resounding element in this collection, one look that stood out was; the black satin robe which was worn on top of a provocative shortline black satin bustier, complete with velvet tribal print harem pants.
The colour palette used was muted but consistent, we saw greys, blacks, browns, greens and white paint the catwalk.

  

The accessories used were very avant-garde, with Stephen Jones designing the Balinese head wrap, a riff on a Korean gat, sunglasses provided by eyewear brand Wires, soft swakara pillow box hats, and a septum to ear chain piercing, to name a few. But each complimenting the ensemble they were assigned to.

The undeniably show stopping piece though, had to be the deconstructed snakeskin cashmere cape, with a fur finished motif of a large secretary bird attacking a snake adorned on both shoulders. White mink, grey swakara and silver metalised fox from Kopenhagen fur were carefully pieced together to complete this opulent piece.

This collection is sheer brilliance, a real sense of drama and bravado, with a tinge of humour.
Edward really shows a sense of himself in this collection, with the suited models feet donned with animal slippers as they sashayed down the catwalk for the finale.

It’s a New Year, and although it was a Saturday, Edward Crutchley took us back to business!

Written by Li Thane-Kitson (L. Matthews)