Great British Roots, the new collection by Belstaff for their Autumn/Winter 2019 collection, is presented in the heart of their Belstaff home in Mayfair. The most ideal setting to remind us all of the remarkable story the brand carries.
The collection is the first by Creative Director Sean Lehnhardt-Moore who showcases incredible British designs, evolved and entirely driven by the spirit of adventure.
The staple pieces were displayed in a space of four packing crates, each area with its own focus compass points in reference to Belstaff’s past. Simultaneously a different vibe was in each corner to signify the contemporary growth of the brand.
The first compass point was “Outward Bound” a setting from the 1920s, where Belstaff made protective outdoor gear mainly for traveling and exploring. The second compass was “Dockland” that was inspired by the military/navy, which incorporated a more extreme protective kit, in scenes with ropes, pulleys, and chains. “The Machine Age” being the third compass was encouraged by motorcyclists and equipped drivers, a scene more adventurous and associated with a love for machines. And lastly “Northern Grit” was the final compass point, the setting with the most down to earth functionality with areas in reference to potteries and coal mining.
Garments included a black leather biking cape, thick woolen jumpers, the best quality brown suede coats, cotton and cashmere as well as shearling pieces, knits and hand waxed leather to support Belstaff’s solid brand identity, great materials that capture the modern day Belstaff trademark. The tones supported the industrial influence with blacks, browns, greys, and shades of navy blue, in addition, clothing details in reference to the military uniforms.
The interior and aesthetic of the room also supported that same vibe with a space of autumn leaves, logs, a vintage British motorcycle, and mechanical accents. An environment for the guests invited to really take in and captivate the story of “Great British Roots”. Guests that were present included, Richard Biedel, Stefan Pierre, Craig McGinley, David Gandy, and Oliver Proudlock. All of which who also honoured the Belstaff presentation with incredible style and flair.
This debut for Sean Lehnhardt-Moore spoke volumes in celebrating the brand's British heritage and we believe it’ll be the first of many outstanding collections to exhibit technical innovation, forthcoming development, and beautifully crafted British design.
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!