Project Research

“It is not only socially acceptable but desirable for men to care about (and spend money on) their personal appearance, driving a veritable boom in the men’s fashion market that shows no signs of abating.”

- Lisa Wang, Business of Fashion (2014) The changing face of British menswear: the influences and the future.

DE0929 Project Research Name: Charlotte Louise Barraclough STUDENT No. : 12002043

Project submitted in partial fulfilment of the requirements of the BA (Hons) Fashion Communication of Northumbria University

Contents Page 3. Introduction Page 4. Methodology Page 5. Chapter 1: Historical and social contexts of British menswear -Introduction to Historical and Social contexts -Influence on womenswear and vice versa -Influence from Subcultures - Influence from the Military Page 12. Chapter 2: The Satorialists: Dandyism and Metrosexuality.

-The New English Dandy - Metrosexuality and Menswear Page 16. Chapter 3: British Menswear Today - Introduction to Menswear and LC:M - Case Study; Paul Smith Page 20. Chapter 4: Where British Menswear is headed.

-Wearable Technology -Designer’s Predictions and Feelings Page 22. Conclusion: Final evaluation and word count Page References Photo References

Introduction British menswear today is becoming brave, experimental and rebellious, influenced by the fast paced scene of London. As Jane Sheperdson, Chief Executive of Whistles says in AW’14 GQ Style, “London doesn’t care what other people think about it, attitude fosters real innovation and originality. It has such tradition and heritage that it doesn’t have to try to establish itself and can play with new ideas in a way other cities can’t.” Menswear has constantly reinvented itself with certain styles and aesthetics through time. The changes and formations have been influenced by numerous factors, particularly by social means with various subcultures and tastes. This project aims to cover what has influenced and what does influence British menswear today.

Metrosexuality is a key area for menswear due to male grooming becoming increasingly important. Again, this is reflected in menswear design, influencing how men are dressing, in such a way that seems flamboyant and in some cases very fitted. Therefore, this project will explore metrosexuality, it’s influences on design and what effect it has had and having today.

This leads on to the project looking at London Collections: Men, a three day event held to showcase British menswear brands as well as emerging talent. There will be sections from interviews personally conducted with designers who showcase at LC: M and how they feel about British Menswear. There will be a case study focused on designer, Paul Smith to show an insight into a long-standing British menswear brand.

To forsee the future direction of British menswear, with support from the historical research and what is happening now, this project will unravel what fundamental changes could happen We may see the introduction of new technology within clothing like ‘smart fabrics’ for example, and designs produced with wearable technology.

Methodology Primary research was conducted through a few research methods including, interviews directed over email, interviews with British menswear designer/lecturer at Northumbria University, British Menswear brand Vidur and Edward Crutchely, another British menswear designer. I also held a focus group with six people with an age range between 19-52 involving, three females and three males. I gave them questions, an article and a quote to discuss and establish a feel of what people think of British menswear today and where it could go. As well as this, I conducted an online survey on surveymonkey.com, whereby I achieved 16 responses.

These responses helped me find percentages and views on particular areas that are spoken about in the dissertation. These primary research methods have all been taken into consideration with ethics and no participant was exposed to any harm. Also, every piece of data has not been disclosed anywhere else, it is only for use for the project and shall be destroyed once it has finished.

Alongside this, secondary research was conducted through literature, publications, online articles and websites. Through these sources I explored the historical and social aspects of menswear, the current analysis of what is happening today in British menswear and finally, where menswear is directed to go in the future. All secondary research and images are referenced after the conclusion summary.

Chapter 1: Historical and Social Contexts of British Menswear Introduction to historical and social contexts of British Menswear

The evolution of British menswear has been said to be an area in fashion that has seen significant developments and innovations. Although, until recently, menswear was often considered secondary to womens.

Correspondingly, away from the internet, British Menswear has said to have seen great influences from the court and military which arguably is said to be the backbone to how Menswear has grown within social and historical contexts. Hopkins expresses in Menswear (2011), “The history of menswear is also the history of human dress throughout the ages.

It is a fascinating and complex journey through district social and cultural context.”

John also states that, “It is said that function and male status is the biggest characteristic a male can put across when dressing and thus forth has had a major influence on menswear and the development of styles.” This could be identified that, clothing serves not only a practical purpose but an aesthetic role for a man’s identity. Dressing to express identity and communicate our gender, social status and culture has shaped British menswear design.

According to Cally Blackman, in 100 Years of Menswear (2012), “To a large extent, menswear of the twentieth century has been written out of the history of dress, regarded as essentially dull in comparison to the more obvious glamour of women’s fashion.” Originally, this conception as shown in 100 Years of Menswear was the consensus idea taken from J.C. Flügel’s theory of The Great Masculine Renunciation of fashion, published in The Psychology of Clothes, 1930. Another theorist in agreement with this belief is James Laver, a well renowned dress historian whom in 1937, wrote Taste & Fashion which depicts how men were on a lower level in the fashion stakes in contrast to women, right until the so-called peacock/dandy revolution of the 1960’s.

Similarly, as Blackman writes, “However, long before the 1960’s, men were expressing sartorial style, not only by wearing a beautifully cut suit, but also by dressing in ways that were avant-garde, daring, innovative, even subversive, and they were doing this to a much greater extent than women”. This suggests men have been dressing just as well as women, plus as previously stated, they have influenced womenswear, which has failed a significant recognition.

Margaret Howell, S/S’15

Influence on Womenswear and Vice-Versa Consequently, it is known that in the past 300 years, British menswear has been by far a greater influence on women’s fashion. Around the globe, there is evidence that many women from different cultures and ages have embraced menswear styles such suits and shirts. As Blackman states, “Two of the most important components of this male-orientated wardrobe are sportswear and workwear.” Intially, these two types of clothing, were regarded as ‘non-fashion’, yet now these garments are significant for both sexes, despite being exclusively worn by men.

On the other hand, John Hopkins again also agrees on how the conventions of menswear have heavily influeneced womenswear. In Menswear, (2011). Hopkins proclaims, “Contemporary womenswear collections often reference men’s styling or classic wardrobe pieces as well as incorporating functional detailing taken from menswear clothing.”

Recently, British Menswear and Womenswear designer, Margaret Howell, premiered her ready-to-wear Spring/Summer’15 collection, which included boxy blazers and flowing trousers. As the online publisher, Selectism, (2014) explains, “Margaret, is an example of a British Designer who blurs the lines for both sexes, and reworks the cross-over adjustments to a minimal, making sure the pieces still look gender appropriate. “

Despite this, there are designers and men willing to go against gender stereotypes. Blackman, (2012), “Men rarely wear dresses or skirts: sartorial boundaries predicated on gender have disappeared in favour of a wardrobe that is almost entirely based on a male model.” While it is deemed a scourn for men to wear garments from womenswear, there are signs of men wearing skirts.

An exhibition hosted at the Victoria and Albert museum in 2002, Men in Skirts showcased the history of the men and designers who adopted skirts and the recent attempts to modernise and reinvent the draped garment for men. The Victoria and Albert (2002), who hosted the exhibition declared. “The idea of men in skirts blurs the visual distinctions between the sexes.

It contradicts how men are expected to look and, more fundamentally, challenges ideal attributes of male behaviour.” However as the museum exclaims, skirts have been worn by men to signify their alternative lifestyle and sexuality. Andrew Bolton author of Men in Skirts, (2003) reveals how, “In some cases, men wear them as a fashion statement, often seen on famous personalities such as footballer David Beckham who wore a Jean Paul Gaultier sarong in 1998 in Nice, France.” In Appendix F, an applicant feels that, ‘Menswear today seems more androgynous’, while another felt menswear in Britian, ‘Is fun and goes against masculinity.

Although, it can be still sharp, clean cut and minimal.

David Beckham, 1998

Influence From Subcultures

Subcultures throughout history have been viewed as the basis of how social groups, react against the mainstream culture of that time. In Britain there is and has been many counter cultures who all have different social beliefs, structures and norms. In this context, the way of dressing is how a member identifies themselves with their group and also presents how these various cultures have influenced British Menswear. The capital of Britain seems to be the birthplace to many of these visionary individuals that has formed these celebrated style tribes. Likewise, Luke Day, A/W ’14 GQ Style, (2014), “London breeds influential subcultures: from East End punks to West End mods, Chelsea sloanes to Hackney rockers and men in sharp suits.” These various subcultures pay homage to Londons heritage of menswear and continue to personify the diversity of styles seen today.

One of the first definable youth subcultures to originate from Britain was the Teddy Boys. The group emerged in a post-war London in the late 1940s, early 1950s. Hopkins, (2011), Menswear, describes the Teddy Boys as a group who, “…emerged as a working-class sartorial for younger men, inspired by the sartorial style of the Edwardian dandies from the 1900s. Teddy boys wore longer-fitting draped jackets, cuffed sleeves, waistcoats and narrow ‘drainpipe’ trousers.” Most Recently, Richard James, a British menswear designer on Savile Row, presented his AW’14 collection which he took inspiration from the Teddy Boys. Wallpaper Magazine’s Dan Thawley reports, (2014), “The show was an ode to the a 1950’s phenomenon attributed to Savile Row and denoted by slim tailoring, lashings of velvet and fearless colour exploration.” An example of how past British subcultures are interpreted into designs, still allowing the original energy to breathe.

Another, music-inspired subculture, labeled the New Romantics emerged in the United Kingdom in the late 1970s inspired by the popular nightclub scene of the time. Hopkins Menswear, (2011), says The New Romantics, “ were mainly among disaffected art school graduates who shared a love for David Bowie and Roxy Music’s flamboyant and sometimes gender-ambiguous stage style and music.” Hopkins also follows on to say, “The look was androgynous with ruffles, make-up and quaff or pouf hairstyles.” Due to the look, feeling ‘exclusive’ the New Romantics had a lasting appeal, although the culture still influences British designer, Vivienne Westwood. On the Design Museum, London website, they state how Vivienne started looking towards romanticism, “Westwood’s Pirate collection (1979–1981) was adopted by musicians labeled the New Romantics. This work brought to the fore the habit for which she is renowned: raiding history for ideas.” Another example of how British subcultures have deep roots within Menswear design.

Vidur Menswear design as mentioned in Appendix C, believes, ‘With the digital/internet stage growing around us, there are so many subcultures and ‘fashions’ that we are exposed to-it also ties into what is going on in the wider world. One of the last major trends to really stick was the heritage look-this was a response to what was going on in the financial world where in times of recession, people buy chunky, hard-wearing clothes that will last. This has been replaced by ‘Normcore’ and also heavily printed/logo heavy aesthetic in some places.’

Jian Deleon gives an insight in what Normcore today means on GQ Online, (2014), “In a nutshell, the latest fashion trend amongst ‘Western Millennials and digital natives’ is dressing as inconspicuous as possible. Boxy stonewashed jeans and ball caps aimed at tourists go from closet outcasts to must-have items. Homogenization is the new style subversion, apparently.” This would portray how this current subculture is centered around the identity of more men wanting to look young and cool. To which Deleon says, “Normcore is almost the consequence of the democratization of fashion. Everyone can be fashionable, therefore no one is.”

Moreover, a current Menswear design lecturer at Northumbria University and past designer for DAKS, Bruce Montgomery states in Appendix D, ‘Lately, subcultures are less defined. For example cross gender was emerging as a recent subculture but the return of the bear has taken over an played a massive part in creating new back to roots to masculine identity. The tattoo trend has elements of tribal subculture. Maybe the return of a squeaky clean geek chic will maybe come next.’

Influence From The Military Correspondingly, away from the internet, British Menswear has said to have seen great influences from the court and military which arguably is said to be the backbone to how Menswear has grown within social and historical contexts. Hopkins expresses in Menswear (2011), “The history of menswear is also the history of human dress throughout the ages. It is a fascinating and complex journey through district social and cultural context.” John also states that, “It is said that function and male status is the biggest characteristic a male can put across when dressing and thus forth has had a major influence on menswear and the development of styles.” This could be identified that, clothing serves not only a practical purpose but an aesthetic role for a man’s identity. Dressing to express identity and communicate our gender, social status and culture has shaped British menswear design.

What seems so distinct in the history of British menswear is how uniforms have developed into trends and into the image of masculinity. According to Elizabeth Hackspie-Mickosch, The Men’s Fashion Reader (2009), “Uniforms have been frequently described as masculinity at its highest potency. New concepts of masculinity and male beauty emerged in the course of the nineteenth century and still influence thought today.” This influence came from the differentiation of military dress, whereby ranks were identified by with certain styles, for example, regimental coats with certain buttons and sleeves. Similarly, Hopkins says, “This transcended functionality and enabled military styles to take on a more ‘dashing’ appearance and visible aesthetic.” As a result, this has influenced a wide range of menswear styles through the ages in Britain.

One of the most recognisable garments has been said to be the trench coat born out of war, made desirable by Thomas Burberry in 1856. Burberry’s chief creative officer Christopher Bailey stays true to the brand’s heritage while reinventing pieces to keep them looking contemporary. In the latest SS15 collection, Bianca London reported in the Daily Mail (2014), “It was packed with colourful trenches, typographic prints and leather satchels”. A portrayal of how brands like Burberry, still connect to their history, influencing their designs and staying true to their foundations.

Burberry Prorsum S/S’15

Christopher Raeburn S/S’15

Another current British menswear designer who uses military uniform as a starting point is, Christopher Raeburn. Raeburn uses old military surplus and turns it into his own signature. In an interview with Fiona Sibley, The Guardian, (2009), Christopher says, “Everything I design is made from redeployed military fabrics, so it’s all recycled, but with a very different aesthetic to most ethical designers. My reasons for using this fabric is twofold: firstly, it is functional and waterproof. Secondly, the military always has to overproduce its garments, so there are warehouses with thousands of square feet of military surplus sitting around. “ More recently, Christopher’s SS’15 collection, as reported by Belle Jones, Dazed Digital, (2014), “Returns once again to his favoured recycled materials, Raeburn repurposed original MIG fighter jet suits into hoodies with street-worthy functionality. The show presented ‘action men’ in glitched up camo, emergency orange and ominous fighter jet prints.”

Likewise military dress, through experimentation, was said to be an early technological development of tailoring. Hopkins (2011) asserts, the padding beneath armour was the start of tailored fitting and believes, “One of the most significant developments of the middle ages was the advancement of padding and more sophisticated quilting processes which were applied to a shaped canvas fabric or leather to create a padded jacket called a gambeson.” An evolutionary process that shows how these close fitting garments with attached sleeves, was the initial basis to how tailoring advanced in the 19th century and what would look to become more decorative and thought of very soon after.

Chapter 2: The Satorialists: Dandyism and Metrosexuality.

The New English Dandy As stated earlier the history of menswear has notable references of distinguishable male groups that have shaped and formed British Menswear. In the 1990s, British males were said to be in a proclaimed decade of British tailoring. According to Alice Cicolini, The New English Dandy, (2005), “With the shifting sartorial identity of the contemporary Englishman, the dandy was a figure many designers alighted upon to express the nature of modern masculinity.”

In addition, Hopkins, Menswear (2011) informs, “A dandy is usually applied to the description of a man who takes great care and pride in his appearance and who is capable or articulate discussion and witty repartee”. ‘Dandyism’ is the notion of paying a close attention to detail when it comes to immaculate dressing and as Hopkins says, “It is closely associated with the wearing of fine tailored clothing, contemporary dandies proudly continue a long-standing tradition of sartorial individuality”. This defines that menswear has gone and is going through what could be a renaissance in the creativity of menswear design.

In agreement, Cicolini discusses, (2005), “My sense is that a loosening up of things has had many positive effects, not least the way in which a playful experimentation with issues of image and style can contribute to the breaking down of entrenched and divisive assumptions about identity”. Thus goes to show how such fashion cultures can not only influence the way men dress but also far-reach into impacting social and political areas. While Matthew \Glamorre reveals in The New English Dandy, (2005), “To me dandyism is socio-political confrontationism through dress. True dandies satirize their times, leaders, public and politics.

Dandyism is a refusal to play by society’s rules of banality and conformity. Whether these rules are aesthetic, social or political, the dandy is a self-oristracized outsider”.

However, as Ciccionli mentioned in The New English Dandy, (2005) author, also an anti-dandy, Thomas Carlyle wrote in his book, Sartor Resartus, (1883), “Dandyism fascination for the material was an intellectual weakness, the dandy an empty shell devoid of character and meaning”. On the whole, Carlyle’s attack upon dandies has received an unsympathetic response, as Michael Carter states in, The Men’s Fashion Reader, (2009), “As Max Beerbohm, says, that anyone who dressed so very badly as Thomas Carlyle should have tried to construct a philosophy of clothes he always seemed to me one of the most pathetic things in literature.”

Likewise, Cicolini, (2005) continues to voice, “It is no coincidence then that Dandyism has emerged during periods of uncertainty in relation to masculine identity such as the 1950’s postwar wave of immigration and rise of the teenager. “ Since the 1980s, as suggested by Cicolini, Britain has witnessed the male character become more in touch with his appearance and style and most recently in the early 21st century, males have arguably formed in to what is known as metrosexuals.

Metrosexuality and Menswear

In 1993, Mark Simpson coined the term of a metrosexual man, as seen in his book, Metrosexy, (2011), “The single young man with a high disposable income, living or working in the city (because that’s where all the best shops are) is perhaps the most promising consumer market of the decade,” This urban male, that pays close attention to his appearance gave Simpson the prediction that, “The future of men was metrosexual”.

In the 1990’s, Simpson exclaims most men were in denial of this new social problem and continues to say in, Metrosexy (2011), “Metrosexuals themselves didn’t want to confront who they really were. They were ashamed, not of their love for themselves, of course, but of what the world would think of it.” Although, this seems strange as Simpson says, “The media at that time was already full of metrosexual males, pretty much all of them were in the closet.” A suggestion how a mediated and aestheticsed world that we live in has affected the realms of masculinity.

Simpson continues to evaluate (2011), “You can’t have metrosexuals without the media. The male body was the last frontier and its’s now being thoroughly explored and mapped.” Male grooming and consumerism boomed with the promotion of metrosexuality and as Simpson says, “Men’s style press, magazines such as The Face, GQ, Esquire, Arena and FHM, the new media which took off in the Eighties is still growing, (GQ gains 10,000 new readers every month)”. This supports how imagery of stylish and well kept men are increasingly persuading men to do the same and keep up to date with fashion and current affairs. From this given information, it would perhaps only apply to rich, perhaps Southern English men living in and around London, however, Simpson states, “Newcastle men between the ages of eighteen and thirty-five, apparently spend more money per head on clothes than any other men in Europe.”

As Appendix F shows, 100% of people agreed that men are more conscience of their style. One male applicant stated, ‘Yes! We want to look good!’ and another applicant said, ‘There is a strong pressure on to look groomed and healthy’. These thoughts could be as a result as explained by another applicant, ‘It is heightened by media endorsement.’

Besides this, McDowell praises, “We are seeing a lot more exciting alternatives in male dress than at any time in history. “ However, more obviously than in womenswear, male fashion springs from a wide variety of philosophies and preoccupations. Simpson says in Metrosexy (2011), “All menswear designers have one thing in common, however, they are attempting to answer the question. How should the end-of-the millennium male clothe himself in order to reflect his masculine strength, position in society and relationship with women.”

Although, recently, Mark Simpson has come back to analyse the attitudes and style of males today, announcing on The Telegraph Online, (2014), that, “It’s eye-catchingly clear that second-generation metrosexuality is less about clothes than it was for the first. Their own bodies (more than clobber and product) have become the ultimate accessories, fashioning them at the gym into a hot commodity – one that they share and compare in an online marketplace.”

This could be evidence that two decades has seen males become more self-obssessed, especially in terms of fitness, not fashion this time. The media was said to help spur metrosexuality in the 90s yet as said by Simpson (2014) , todays generation, “..social media, selfies and porn are the major vectors of the male desire to be desired.” Feasibly, men today are want to be known for their bodies, not their clothes.

Simpson follows on to say, (2014), “Two decades of increasingly out and proud-and highly lucrative-male vanity later, and the metrosexual remains the apple of consumerism’s rapacious eye. Let’s call them ‘spornosexuals’.” These so called ‘spornosexuals’ is meant by where fitness, sport has a higher importance than ever before, “With their painstakingly pumped and chiseled bodies, muscle enhancing tattoos, piercings, adorable beards and plunging necklines.”

A rising designer that has been keeping London Collections: Men and the fashion stakes talking for seasons it would appear. J W Anderson’s A/W’14 collection hit the tabloids with a picture that was said to be notably famous from that week. Hettie Judah, writes in the publication Hero, A/W’14 (2014), reveals that, “The photograph showed an uncomfortable looking model in a silhouette comprising rigid, petal-edged shorts and a close-cut bustier in matching tones of butterscotch.” Anderson is an example of a designer whom has a growing commitment to explore gender interzones which as Judah remarks, “ This has been marked by his combination of very feminine elements against classic masculine tailoring, rather than gender neutral for all.”

If Metrosexuality for the British man today is integral and has grown in importance, the communication of their identity and sexuality has to be seen whether that is through clothing and grooming. Vidur, British Menswear designer ( Appendix C), feels “Metrosexuality previously made it ok to look a little further and experiment a bit more, not just with clothes but with personal grooming also. Metrosexuality as a culture has very much passed now and almost become ingrained in what it is to me a modern, millennial man.”

Therefore, if clothing is used as a means of communicating identity, for gay men, fashion has been used to express their sexuality. Shaun Cole writes in Don We Now Our Gay Apparel (2000), “Gay men’s fashion has frequently been ‘ahead of fashion, attention-seeking and meant to be sexy, all of which helps when out hunting for a sexual partner.” To put is simply as quoted in GQ Style, A/W’14, British menswear designer, James Long says , “It’s that idea in menswear of dressing to identify yourself, who you are and what you do.”

Today, menswear tackles issues of masculinity, feminity and everything in between, for as Hywel Davies, Modern Menswear, (2008), states, “As sexuality becomes less if an issue in society, menswear celebrates and supports this diversity. Men are definitely more aware of the way they look but are less concerned with gender.” An outlook that could present how menswear in Britain is more daring, especially among those who are not bothered if they will be tolerated about their sexuality. If more men are dressing to express , boundaries are being pushed and conformity is suggestively knocked, making way for a brighter future for British menswear.

Whereas in Appendix F, respondents say ‘ I think it’s becoming more feminine’ Which in response an applicant said, ‘It’s all very metrosexual isn’t it?’ This then was a conclusion to one applicant who feels menswear is, ‘Definitely more adventurous.’

Chapter:3 British Menswear Today Introduction to Menswear and LC:M

British Menswear is what some might say, is riding a wave of confidence. As stated in The Guardian by Hannah Marriott (2014), “Menswear sales are catching up with womenswear”. From Marriott’s exploration, she found Mintel research that shows, “ The UK market for men’s fashion has grown by 18% in the past five years and is now worth £12.9bn.

That figure to reach £16.4bn by 2018.” A finding that symbolises how menswear in Britain is rivaling the governing womenswear market and is suggested will have a big impact on the British economy.

Hywel Davies highlights the current strength of British Menswear in his case study for the British Council, New British Menswear (2013), “Critically acclaimed as a source of fresh, irreverent and fearless ideas, Britain nurtures the most dynamic and influential menswear designers working in a global industry today.” This would show that British Menswear is not afraid to stand out and make a statement which would present the idea that currently, something big is happening in menswear. As notioned by Davies, “This period that we are currently in, men are making more a statement by communicating individuality and undertaking extreme measures to avoid conformity.” Davies then carries on to say, “Contemporary menswear designers no longer appropriate generic garments, as the British menswear vanguard are challenging, diverse and exciting.”

In the words of Ike Rust from London’s Royal College of Art, as stated in Modern Menswear, (2008) “What has actually happened is that womenswear is now so dull that is is creatively eclipsed by menswear.” The creativity in menswear has been helped since the creatives from colleges and universities flooded London which as declared by Paul Smith in GQ Style, AW/14, (2014), “London is very international, especially in it’s university and college systems-ideas generated from every corner of the world make for a unique and exciting mix. London, it seems, currently has the edge in creating new thinkers and radicals in menswear design” Central Saint Martins and The Royal College of Arts (RCA), in London are playing an integral part in propelling menswear forward.” These menswear graduates from the arts and fashion colleges and universities are now setting up their own design brands which Davies trusts, “This will have an enormous impact on the regeneration of menswear in London.”

A capital that is arguably seen as having such a great history of menswear combined with an exuberant sense of the future, makes it seem that British menswear is now becoming more unpredictable and unconventional. London Collections: Men (LC:M), has become a platform and tremendous highlight on the menswear fashion calendar whereby a three day event is held to showcase a breadth of British menswear brands and emerging talents with their creative importance. LC:M is praised by British designers like, Luke day who says in the publication, Hero Summer/Fall’14 (2014) “London currently boasts the single most exciting generation of fashion talent thrust into the limelight by the groundbreaking menswear showcase that is London Collections:Men.” The concept of LC:M was first founded by the British Fashion Council with British high-street brand, TOPMAN which as Hypebeast.com, (2014) explains, “It was a bid to offer support both creatively and commercially for designers that needed the help.” The Creative Director of TOPMAN, Gordon Richardson uttered on Hypebeast.com (2014), “There were lots of younger designers who had no voice. It felt only right to give them the opportunity to let their collections and designs be seen by a worldwide audience and to help them grow.” Hypbeasts, continues, “A country entrenched in menswear history, it needed a platform like LC:M to show its worth.” While menswear in neighbouring countries was said to be big, the modern outlook in Britain certainly is changing and on a par with these the international competition.

A writer and menswear critic, of the Financial Times , Charlie Porter comments in Bon Magazine, S/S’13 (2013), on men’s style in London , “I’m excited by all the young menswear designers in London who have finally got a chance to show their work, and what it means for the future. It sort of makes future excitement possible, too, because now, young fashion students can see they’ve got a chance to do something in menswear.

A designer whom appears at LC:M, is Kit Neale and he does not look to the past for ideas. Neale says in New British Menswear, (2013), “ Very few of our ideas are based on tradition, we look to the now and the future. “ Kit’s design philosophy is very straight forward whereby, he says, “We want to push menswear and make colour and print commonplace for men and while still keeping it bold, strong and masculine.” This could be translated into the menswear scene in London, where there Neale suggests that, “There is a balance of creativity and commerciality”. An equilibrium some could say that has started to turn British Menswear designers into more business minded.

Neale agrees with this, saying, “I think most menswear designers are in the business of fashion, and this means we want to create a livelihood for ourselves and to create a successful industry.”

To which this industry and Britain itself is explored In Neale’s work, as well as the influence of British designer Paul Smith and his motto of “Maximizing Britishness”, where he says, “We are openly adopting this theme but we tell a different story and have a different aesthetic.”

Paul Smith Case Study

Recently, In 2014, Paul Smith celebrated his story and aesthetics in a solo exhibition titled ‘Hello My Name is Paul Smith’ at the Design Museum, London. Smith represents Britishness as well as innovation and humour. He would is seen as a figure to have propelled British Menswear with his inventiveness and use of colour and print.

Looking at what some would say a more idiosyncratic concept on traditional British menswear Paul Smith is an international success, selling ‘Britishness globally’. As stated on the Paul Smtih website, “Paul Smith opened a tiny shop in Nottingham in 1970 with the encouragement of his girlfriend Pauline Denyer (now wife) and a small amount of savings. In business for over 40 year, Paul Smith has an ability to anticipate, and even spark off trends not only fashion but in the wider context of popular culture.” An example that shows how heritage brands in Britain still manage to attract a modern audience and what perhaps works with Paul Smith is how he is able to combine both modernity with traditionalism.

“To be contemporary, clothes must have elements of craftsmanship, classicism and tradition, but always with a modern aspect such as a modern fabric or cut/shape”, Hywel Davies, Modern Menswear (2008). This suggests how translating his fervent interest in collecting into collections, Smith has the ability to communicate and celebrate diverse inspirations. “Smith makes sure that his garments remain modernity and accessibility with his use of colour” and what Davies feels, “a sense of humour with an appreciation of tradition and the classics.” By fine-tuning his design eye, with a habit of collecting, travelling, capturing and noting things down, Smith is as Hywel feels is, “Well aware of his customers’ requirements. Smith describes his customer in Modern Menswear, (2008) as, “Someone who enjoys clothes and wants to look good but not stand out as being someone who seeks attention. Often, my customers are creative people who are quite confident in themselves.”

Print has been a huge feature in Paul Smith’s collections and as Paul Smith reveals in his book, Hello My Name is Paul Smith (2013), “This started as a way of adding individuality to menswear-a simple navy suit accompanied by a floral shirt. Print quickly became a touchstone of the collections and began to appear in every collections and at every show.” As well as this Paul is credited for adding colour to menswear. Smith’s view as noted in Hello My Name is Paul Smith, was that, “Men shouldn’t be afraid of colour. If used them in the right way colour can add interest and express positivity. Colour has been added as a detail to otherwise classic garments, in the form of linings, bright over checks, or piping on jackets” This confidence of his audience is subtly translated in to Smith’s designs whereby he blurs the line of masculinity and metrosexuality. He reveals in Modern Menswear, (2008) “I think generally speaking there is masculinity in my work, even though sometimes the shirt could be floral or the jacket could be embroidered. Essentially I design clothes that are popular but still have something special.”

One of the key aspects when looking at Paul Smith is how fast he acknowledged that, you cannot stand still in fashion. In fact, Hello My Name is Paul Smith, (2013) says, “To stay the same, you have to change all the time. You must if you are going to go on being relevant. The essential strategy for a fashion brand is to balance heritage and innovation. A fashion designer needs to have enough grip in the essential DNA of a label in order to remain authentic to its roots, but also retain a creative edge and a willingness to experiment to keep it from being reduced to the repetition of a formula.”

Paul Smith S/S’15

Chapter 4: Where British Menswear is headed.

Wearable Technology “British Menswear, a keen sense of history, an irreverent attitude and an exuberant sense of the future.” Luke Day, GQ Style, A/W’14, (2014) From this statement, to see where menswear is headed, many designers are predicting and some are trialing what the future form, construction, comfort and functionality could be for future menswear garments to be seen in Britain.

An arguably popular, direction of future menswear design is directed towards performance technology. In 2012, Castor Incandenza said on Fashionbeans.com, “Technology is often the key to any industry advancement and more so than before, the amalgamation of performance technology and cutting edge design is seen in men’s fashion.” The cutting edge fabrics that are increasingly being used are suggested to be innovative in the way they have been constructed, using clever techniques of design. Incandenza adds, “The materials are built to withstand extreme weather, the general aesthetic is minimal, with clean lines concealing an assortment of pockets, fastenings and subsystems.”

A British designed footwear brand, Anatomic, as stated by Lewis Abbey on Inveterate.co.uk, “Designed in Britain and handcrafted in the heart of Brazil, Anatomic & Co, focuses on traditional British heritage with a fashion-forward edge. Anatomic & Co’s new sole range is a combination of their trademark Anatomic gel technology® and soft sheepskin lining, which is a technological advancement compared to any other product on the market.” This advancement creates a sole that is ultra-light as well as providing friction on slippery surfaces.

Although, Bio-technology within clothing is what Mary Lynne Nielsen, Initiatives Director at the IEEE Standards Associations suggests will become the future. As mentioned in an interview with James West in the publication, Hero Summer/Fall’14 (2014), “I think wearable technology (bio-tech implants) will progress quickly but perhaps not as quickly as we envision. I believe that we will move in to wearable technology; for example it will be interwoven into the clothing you and I wear, in the accessories that you and I carry. Who’s not to say that you’re not going to have a kind of phone app built into your hat? Maybe we’ll have technology built in to notify us that we’re not exercising enough.”

Designer’s predictions and feelings on the future In the opinion of Vidur Menswear design as shown in Appendix C, they feel, ‘Menswear will keep moving forward-men will become more and more experimental and daring in what they wear, in particular to designs and styles that filter through to the high street and consumers will become even more discerning about the brands they buy. As for Vidur, we will continue to create garments concentrating on our key principles of simplicity, functionality, striving to keep the final output timeless but still modern.’

On the other hand, Menswear design lecturer at Northumbria University, Bruce Montgomery as presented in Appendix D, reveals his thoughts on the future for British menswear, ‘It looks like it has a great future, virtually every brand is having to consider to produce a menswear range as the market becomes stronger and sustainable.’

Conclusion In summary, British Menswear has a significant heritage; not just in terms of brand history but also in terms of subculture identities that have helped shape what is now seen as a thriving menswear industry in Britain. British Menswear has much to thank LC:M for and it’s projection of new Menswear talent as well as the Internet and technology, advancing the creative visionaries. To which predicts a future, which is directed towards technology within clothes. Since all of the aims and objectives have been met, the author deems this dissertation to have covered the topic fairly comprehensively.

Final word count-4046 ( Including primary research quotes and excluding secondary research quotes)

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Image Reference List Margaret Howell http://www.endclothing.co.uk/blog/wp-content/uploads/2014/06/MH_2.jpg David Beckham http://i.dailymail.co.uk/i/pix/2012/03/20/article-2117577-001FB93B00000258866_634x803.jpg Burberry http://static.fashionbeans.com/wp-content/uploads/2014/06/burbrun.jpg Christopher Raeburn http://www.ella-lapetiteanglaise.com/wp-content/uploads/2014/06/Christopher-RaeburnLCM-SS15.jpg Paul Smith http://www.fashion156.com/resources/uploads/2012/07/Fashion156-Paul-Smith-PFW.jpg