Assorted Originality at LC:M


This week’s offering at LC:M truly expounded the limitless creativity (sometimes spurned through saturation in womenswear) that is continuously developing with vehement velocity for men. This was realised not only in the volume of presenters but also in the diversity in aesthetic that was scattered over the three-day menswear marathon. Categorising obviously depreciates the creative value that has literally just been lauded yet it seems possible to derive three prominent and disparate aesthetic leanings that have emerged since Sunday.

By no means are we negating to include the abundance of pinstripe (Matthew Miller, Casely Hayford, E.Tautz) and the SS continuation of mod-inspired looks, but simply highlighting the strengths in fresh inventiveness we find for next year.


From Saturday Night Fever to the wildness of Woodstock abandon, the 70s, in all their various clichés and persuasions have been artfully re-imagined by a host of designers for SS15. At Topman Design, the era was appropriated with point blank allusions, aided sufficiently in styling and also in subtler touches in which the staple garments were given their 70s upcycle. We speak, quite explicitly of the parka, trimmed with dyed Mongolian fur that spoke, on some level for the collection and its ability to synthesise the double aesthetic. Elsewhere, there was a plethora of denim throughout, peace and cacti at Katie Eary, subtle 70s silhouettes at Agi & Sam and the VW traveling look from Burberry and James Long.

LC:M 1977

In colour we found the sunsets, rust, plums, and teals that collectively compounded the seventies sojourn. It was spring on the runway but the flowers don’t seem to have fully bloomed in 2015. It was largely in this area/era, however that they could be found in their swirling and wallpaper-esque re-evaluations.


There was a placid quietness in nature, and overall serenity in many collections. From the billowing repurposed parachutes of Christopher Shannon, to the soft pleating rendered in calm colouring at Agi & Sam; in many derivations, peace was alluded to in form, hue or overall look and feel. Heading the list of this pacifist parade was Craig Green, whose otherworldly contribution was ripe with spiritually referential peace. The soft sterility found in awkward, all-white silhouettes at Agi & Sam and in a more angular derivation at Lou Dalton, made this collective visual stunningly heterogeneous in the convergence of palette and silhouette.

LC:M pacifists

Blues, at their coolest and stark whites were paired and independently presented in flowing liquid shine and matte pseudo-structure while print seemed to have been abandoned in avoidance of distraction from the peaceful protest.


Male sexualisation through female standards made a variety of appearances, steeped in the allusions to bondage and the literality of skin revelation. The novel ingenuity exists in the fact that the traditional sartorial objectification of women was being executed on the male physique with midriffs bared, chests highlighted and general, overall sheerness. Strapping, both suggestive and brazen, exposure and lace were all to be found in some constraint in the collections of Alexander McQueen, J.W Anderson. Astrid Andersen, Craig Green and Moschino. The more demure suggestions could be found in a belt-cinched waist or chest such as at Lee Roach, Burberry and Craig Green although these submissions do little to solidify the newness of the seasonal statement.

LC:M xxx

Not surprisingly, considering the context, the colours lent towards the black and sanguine pool with materials hot and heavy in lace, leather, clinging shine and mesh. Anderson’s plunging cropped cable knit, however diversified the tonal and material stereotype associated with the theme.