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2 Nov

A Sartorial Reflection On The Colour Red For A/W17

Mohair Argyle dress and silk ribbed thigh-high socks by Missoni-
Photography by Tim Elkaïm, Styling by Chloe Grace Press

We take a moment to mediate on the most provocative shade of all

“Red protects itself. No colour is as territorial. It stakes a claim, is on the alert against the spectrum,” said filmmaker Derek Jarman in his 1994 book Chroma: A Book of Color. The incendiary nature of the colour red has started political revolutions, indulged in pleasures of the flesh and flirted with danger in its many forms throughout the history of cinema, art and fashion alike. Hues of scarlet, crimson, vermilion and burgundy, incorporated into on-screen costume and propelled down the runway, act as telling flags to the nature of its wearer, not to mention the intention of a designer. Here, we present 16 red pieces of clothing for Autumn/Winter 2017, as...
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2 Nov

Logomania, The 1990s Trend That’s Returned With A Vengeance

Ribbed wool dress, metal and cardboard chain belt, and necklace by Moschino. Photography by Tim Elkaïm, Styling by Chloe Grace Press

As demonstrated by the A/W17 collections, branding is back to assert its place in our wardrobes

The logomania trend, whilst rooted in the excess of the 1980s, truly came into its own during the following decade, as a sartorial response to the US economic boom of the 1990s. Whilst branding initially found its place in fashion as a mechanism to denote prosperity and status, it soon became an aesthetic trope in itself, with Calvin Klein, Louis Vuitton and Christian Dior logos emblazoned on It bags, splashed across sweaters and seductively printed on underwear. Post-recession, the desire to wear labels in such a blatant manner waned, and a quiet minimalism began to dominate the runways. This season, however, the logo returned with a vengeance...
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25 Sep

Documenting the 1970s Revival of Teddy Boy Style

With the post-war economic prosperity which swept Britain in the 1950s came a slew of unprecedentedly flamboyant fashions – not least among them the Teddy Boys. Characterised by a ‘Drape’ – a long, velvet-lapelled and -cuffed overcoat – and an extravagantly ruffed collar fastened with a shoelace tie, these were working class men with a disposable income, however small, who were fixed on establishing themselves as part of a style tribe. They were tough, elaborately coiffed and impeccably turned out, presenting an as-yet-unseen new configuration of masculinity. (Teddy Girls, though in the minority, embraced similar codes.) They commanded confrontation, and they weren’t afraid to receive it. Magnum photographer Chris Steele-Perkins’ first encounter with the Teds came about when he was a ten-year-old...
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