Crockett & Jones are a British institution and should be proud of this status. Founded in 1879 in, of course, Northampton, the true home of Great British footwear and the envy of the world over. Charles Jones and his brother-in-law, James Crockett, with a grant of £100 each from the Thomas White Trust ‘to encourage young men of good character in the towns of Northampton and Coventry to set up business on their own’.
The brand quickly established a factory with 20 employees where they concentrated on making men’s boots. The business was successful and expanded quite rapidly with more and more work being done in house. By the 1890’s the 2nd generation (Harry Crockett and Frank Jones) began to integrate new machinery invented by Charles Goodyear from the USA for stitching the uppers, welts and soles together. This made the process much easier, and faster, and gave rise to the name for the superior construction process that we continue to use today, called ‘Goodyear Welted’.
The name Crockett & Jones soon became associated with quality and innovation and in 1914 Their footwear was used for the 2nd time on a Shackleton Polar expedition, emphasising the excellent quality of the shoes and their construction. Plus, during the 2nd World War Crockett & Jones manufactured over a 1,000,000 pairs for the armed forces under instructions from the government to switch the majority of the production to military footwear, making officers’ shoes and boots for the army, navy and air force.
Moving more up to current times, in 2006 Philippa Jones, joined the family business as the 5th generation of the Jones family to work for the brand. The strong reputation of Crockett & Jones, which today sees stores in London, New York, Paris and Brussels, is built on solid foundations and a great ethos started many generations ago. The fact that the business remains in the hands of the family after more than 130 years ensures their shoes still retain the attention to detail, quality, comfort and durability that was the hallmark of their founders.
Starting off proceedings we have, an understated Englishman, in Neil Barrett, who did a real Love Story to growing up in the 1970’s. Always, subtle in his interpretation of trends, it’s never literal, unlike some other houses. He harped back to flicking through back issues of NME and the artists who littered its pages during this decade.
Keeping on the 70’s vibe was Diesel Black Gold, who offered us Vampiric Mods, kinda like The Lost Boys meets Quadrophenia. Striking the right balance of Fashion show pretentiousness and wearability.
Meanwhile, Tomas Maier over at the height of Luxury Fashion House, Bottega Veneta, was also in a vampish mood. He presented us with svelte looking models, who once again wouldn’t have looked out of place in the Lost Boys, OK minus the bouffant 80’s hair. It was a muted Autumnal colour palette, but all in the finest of materials, a lot, money can buy.
Once again the decade of the moment, kind of, the 1970’s, was playing inspiration for the family Missoni. As always a beauitful riot of colour and as always for a shows of this season Autumal tones were abundant.
Moving away from one major trend onto another, in the form of Sportwear, nothing new there, the cynical among you may say. But as always, with a modern twist. Emporio Armani launched their show with a Sci-Fi one, using skiwear from Mr Armani’s highly successful EA7 sports range, which gave the proceedings a more contemporary and space like feel with their storm trooper-esque helmets and use of silver.
Following with Armani’s amore for Metalics was Italo Zucchelli for Calvin Klein Collection, who was trying to out do Giorgio’s silver with their usage of space age gold. Whether is was a hint used as a base colour for their white denim or as a C3PO cummerbund or a full on Bacofoil overcoat, apart from this it was a simple and parred down affair.
Along with Emporio, Calvin, was Ralph Lauren and Moncler Gamme Blue on that Sports Lux tip, but it was another Brit in James Long, celebrating his first collection as Menswear Designer for Iceberg, who steered the reinvention of the house to the best collection they’ve produced in years, fun creative and wearable luxury sportswear, particular the Mickey Mouse section.
Out on their own in the wild frontier was a duo who love a theme, this season Cowboy, played it out for Dolce & Gabbana. A complete spaghetti Western was presented for our delectation and boy did they run with it. We saw it all bar Stetsons, there were ponchos, six-shooters, cacti, wagons, saloon dancing girls and lassos. But the D&G duo have to be commended for, probably, the most diverse casting of models in a show so far this season.
And so too the best for last, the premise for Prada‘s Autumn/Winter 2016 collection may have had a highly intellectual inspiration on “Immigration, famine, assassination, pessimism,” and the state of the modern day world we live in. Nonetheless, fashion and style are all about escapism and enjoying yourself, so I’m going to ignore this. If I want to feel depressed I’ll watch the news, but I go to Fashion weeks to be uplifted and inspired and this show certainly did that. It offered us beautifully cut and created clothing, which perfectly balanced the wonderfully wearable with the creatively commercial and was finished off with a great sound track which included Nick Cave and PJ Harvey. Lightly up Miuccia, it’s a great world we live in we just need to look for it.
“Edward Crutchley really stood out for me with a collection based on his Yorkshire roots. With a mix of beautiful traditional textiles and flowing oversize streetwear shapes I am excited to see what is to come next form this new face on the LCM scene.”
“London Collections is going from strength to strength, and the diversity is reflected throughout LCM. If I had to choose one overall favourite show this would probably be Coach, a masculine collection that included reimagined and wearable but luxurious items influenced from the streets of New York and retaining a sense of individuality that makes the label one of my favourites at the moment.”
“I really enjoyed JW Anderson’s show. The colour palette was pretty varied meaning you had camel and khaki green one minute, drifting into baby pink and off white the next. The outerwear was particularly strong with full length top coats in those aforementioned colours, as well as a brilliant, furry overcoat in pristine cream that looked like you could have crawled inside it and spent the rest of your life sleeping warm and soundly.”
“For me the highlight show of LCM this season was Dunhill. The setting of the presentation, a private members club in Mayfair, was a decedent backdrop for a collection of perfectly tailored evening wear, an innovative yet true to brand offering of daywear that is as much for the true Dunhill man as it is for new adopters of the brand. Dunhill, I think, even win the award for the best casting of the season.”
“1205 is my favourite collection. It wasn’t a ‘wow’ show in itself but every piece was just super wearable. It was understated and very versatile – you know you would just live in it”.
“Bullseye! LCM hit it right in the you know where this time round. So much “newness” – is that a word – and so much promise for the seasons ahead.
“Topman goes 70’s grunge. Autumnal shades of oranges and brown. crushed velvet suits, velvet devore gowns, silk satin wide leg trousers. Cropped chevron print harrington jackets, printed silky longline shirts under grungy bobbly knits, faded shredded denims and Converse style footwear with slouchy beanies.”
“Ooh, tough. Could I have two. Margaret Howell and Christopher Raeburn?(pictured) Howell for never feeling the need to reinvent the wheel. Just beautiful, quality classics always calmly presented in her Wigmore St store. Styling macs that will keep you dry. Raeburn for taking military and not making costume. Even his finale showpieces were clearly referenced from military clothing.”
“I really liked Katie Eary! (Pictured) Loved the prints and the pyjama robe combo.
“E. Tautz’s catwalk show at showcased an excellently put together collection drawing inspiration from 1980’s Edinburgh roller disco scene which maybe and unlikely source for a Savile Row Tailor, that didn’t phase Patrick Grant whatsoever”.
“The duo have done it again, with a more maturecollection continuing on from the past few seasons they have showcased. Agi Mdumulla and Sam Cotton let loose, literally, with a collection built on roomy silhouettes, elongated proportions, and rich Italian fabrics. Trousers were broad and swooshed as models paraded, while coats were rounded at the shoulder and roomy with utility pockets. The earthy palette consisted of mud brown, army green and navy – with minimal pattern, except for small checks that popped on a long coat with a shearling collar”.
OK so we come to my opinion, I think we saved the best for last as this has to be the season of Lou Dalton. She showed her signiture collection off, inspired by the Shetland Islands, a home away from home for Lou. Men, nature, history, and beauty all came together in the rich fabrics and practical designs. Silhouettes were slouched and unfussy, with baggy trousers and soft-shouldered, rich flannel outwear playing key roles. Always understated improves every season ! While this was going on her Collaboation with River Island’s Design Forum launched and if that wasn’t enough, this busy lady was launching another co-venture, this time for Autumn 16, this time with Jaeger.