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Prof Andrew Groves

Andrew Groves has contributed expert commentary and analysis to leading publications such as The Guardian, WWD, Le Monde, The Financial Times, The Sunday Times, Vogue Business, The Face, Esquire, and The Wall Street Journal. He has also provided research and consultancy for several menswear brands in the UK and Italy. To explore how his expertise can benefit your project, please contact us below.

Contact for Consultancy, Speaking Engagements, and Expert Insights

Tailored by Umbro, Tailored by England: Constructing Englishness Through Cut, Fit, and Style

Excited to be presenting our paper on Wednesday at the free one-day symposium, A Century of Umbro and the Aesthetic of Sporting Englishness, hosted by the Institute of Sport at Manchester Metropolitan University.

We'll be focusing on the 2009/10 England home shirt and exploring how Umbro utilised tailoring and fashion techniques to construct, deconstruct, and reconstruct ideas of Englishness through cut, fit, and style.

This symposium, funded by the Pasold Research Fund and the British Society of Sports History, brings together leading researchers to examine the development, marketing, and sales of an English sporting aesthetic, particularly in football.

A Century of Umbro and the Aesthetic of Sporting Englishness
Wednesday, 9 October 2024
Institute of Sport, Manchester Metropolitan University
(Link to book free tickets in my bio)

Images:
2009 Aitor Throup working on a mannequin
2009 Charlie Allen adjusting a jacket on Theo Walcott
2009 Nationals Tailored by Umbro

#Umbro #SportingAesthetic #FootballHistory #SportsResearch #FashionInSport #PasoldResearchFund #BritishSocietyofSportsHistory #ManchesterMetropolitanUniversity #SportsMarketing #SportsHistory #FootballCulture #SportsFashion

Tailored by Umbro, Tailored by England: Constructing Englishness Through Cut, Fit, and Style

Excited to be presenting our paper on Wednesday at the free one-day symposium, A Century of Umbro and the Aesthetic of Sporting Englishness, hosted by the Institute of Sport at Manchester Metropolitan University.

We'll be focusing on the 2009/10 England home shirt and exploring how Umbro utilised tailoring and fashion techniques to construct, deconstruct, and reconstruct ideas of Englishness through cut, fit, and style.

This symposium, funded by the Pasold Research Fund and the British Society of Sports History, brings together leading researchers to examine the development, marketing, and sales of an English sporting aesthetic, particularly in football.

A Century of Umbro and the Aesthetic of Sporting Englishness
Wednesday, 9 October 2024
Institute of Sport, Manchester Metropolitan University
(Link to book free tickets in my bio)

Images:
2009 Aitor Throup working on a mannequin
2009 Charlie Allen adjusting a jacket on Theo Walcott
2009 Nationals Tailored by Umbro

#Umbro #SportingAesthetic #FootballHistory #SportsResearch #FashionInSport #PasoldResearchFund #BritishSocietyofSportsHistory #ManchesterMetropolitanUniversity #SportsMarketing #SportsHistory #FootballCulture #SportsFashion

Reposted from @culted
@kimjonesstudio took @umbro from the pitch to the runway.

📸: Cult Kits, Geoff Pugh @umbro @stoneisland @menswear_archive
Reposted from @culted

Reposted from @culted
@kimjonesstudio took @umbro from the pitch to the runway.

📸: Cult Kits, Geoff Pugh @umbro @stoneisland @menswear_archive
Reposted from @culted

I spoke with @jacobwgallagher at The New York Times this week to share my thoughts on Mark Zuckerberg’s latest venture into T-shirt design.

His range of shirts, developed in collaboration with @MikeAmiri immediately presents two key design elements: the garment itself and the print. What sets these shirts apart from a typical $10 tee is the attention to materiality, cut, construction, and silhouette. The drop shoulder, oversized fit, and extended sleeves elevate them into statement pieces—garments designed to provoke reactions, whether positive or negative.

In terms of whether these are well-designed shirts, my response is yes, they are. Whether you’re designing a Savile Row suit or a humble T-shirt, the principles of design—materials, construction, and fit—remain constant. You might find these principles in a cheaper tee, but it’s less likely when the design is driven purely by price-point economics. These shirts reflect a more thoughtful approach, even though they are still casual wear. If I were to tweak anything, I might adjust the fit of the neck slightly – curving it lower at the front for a refined look.

Some people have commented that the text on these tees is hard to read. But, as I see it, that’s not necessarily a flaw. The text is in Latin, so clarity was never going to be a priority. The humour lies in its cryptic, almost pretentious nature, and the choice of font and colour only adds to the joke.

Lastly, the idea of a notable figure like @zuck getting involved in designing clothes may seem surprising to some. However, it’s important to remember that this is more of a collaboration with Mike Amiri. If they’re discussing shapes, fabrics, and colours, it’s not far off from what happens between a Savile Row tailor and their client. The difference here is that, instead of a bespoke suit, we’re talking about T-shirts—perhaps the most democratic garment of the 21st century.

I spoke with @jacobwgallagher at The New York Times this week to share my thoughts on Mark Zuckerberg’s latest venture into T-shirt design.

His range of shirts, developed in collaboration with @MikeAmiri immediately presents two key design elements: the garment itself and the print. What sets these shirts apart from a typical $10 tee is the attention to materiality, cut, construction, and silhouette. The drop shoulder, oversized fit, and extended sleeves elevate them into statement pieces—garments designed to provoke reactions, whether positive or negative.

In terms of whether these are well-designed shirts, my response is yes, they are. Whether you’re designing a Savile Row suit or a humble T-shirt, the principles of design—materials, construction, and fit—remain constant. You might find these principles in a cheaper tee, but it’s less likely when the design is driven purely by price-point economics. These shirts reflect a more thoughtful approach, even though they are still casual wear. If I were to tweak anything, I might adjust the fit of the neck slightly – curving it lower at the front for a refined look.

Some people have commented that the text on these tees is hard to read. But, as I see it, that’s not necessarily a flaw. The text is in Latin, so clarity was never going to be a priority. The humour lies in its cryptic, almost pretentious nature, and the choice of font and colour only adds to the joke.

Lastly, the idea of a notable figure like @zuck getting involved in designing clothes may seem surprising to some. However, it’s important to remember that this is more of a collaboration with Mike Amiri. If they’re discussing shapes, fabrics, and colours, it’s not far off from what happens between a Savile Row tailor and their client. The difference here is that, instead of a bespoke suit, we’re talking about T-shirts—perhaps the most democratic garment of the 21st century.

The second event last night, the launch of the Arsenal x Aries collection in Soho, also explored how clubs can be spaces for creativity and cultural exchange.

Only last month, the Westminster Menswear Archive acquired Arsenal’s Away Shirt and tracksuit, designed by Labrum. Since then, it seems the club have been dropping new collabs almost every week.

From this new collection we’ve acquired the Arsenal x Aries Stained Glass Jacquard trucker jacket and jeans for the archive.

#FootballFashion #StreetwearCulture #ArsenalFC #AriesClothing #LondonFashion #ClubCulture #FashionCollab #SportswearStyle #CreativeCollaboration #MenswearArchive #FashionArchive #ArsenalStyle #FashionCuration

The second event last night, the launch of the Arsenal x Aries collection in Soho, also explored how clubs can be spaces for creativity and cultural exchange.

Only last month, the Westminster Menswear Archive acquired Arsenal’s Away Shirt and tracksuit, designed by Labrum. Since then, it seems the club have been dropping new collabs almost every week.

From this new collection we’ve acquired the Arsenal x Aries Stained Glass Jacquard trucker jacket and jeans for the archive.

#FootballFashion #StreetwearCulture #ArsenalFC #AriesClothing #LondonFashion #ClubCulture #FashionCollab #SportswearStyle #CreativeCollaboration #MenswearArchive #FashionArchive #ArsenalStyle #FashionCuration

Two events held last night examined clubs as sites of creativity and cultural exchange: one focused on the 1980s nightclub Taboo, and the other on Arsenal FC. At first glance, these events may appear disparate; however, both illuminated how the industrialisation of leisure—whether on the dancefloor or in the stands—had, by the early 1980s, sparked a sartorial revolt.

The first is the outstanding exhibition “Outlaws: Fashion Renegades of 80s London” which is curated by Martin Green and NJ Stevenson, with artistic direction by David Cabaret.

It takes us on an incredibly evocative journey starting in Leigh Bowery’s East End council flat, through the bowels of Kensington Market, onto the dance floor of taboo and finally ascending upwards, emerging on South Molton Street and the windows of Browns filled with these designers work. It illustrates how this radical creativity evolved—from a form of escapism to an act of defiance, and ultimately a catalyst for the establishment of the British fashion industry.

Of particular note were the remarkable mannequins, styled by David Cabaret. In an era of museology where the anonymous mannequin is the go-to option, it was striking to witness the individuality of these figures. A packed recreation of the dancefloor at Taboo featured over 30 looks which were all recognisable as specific individuals from the period, further enhancing the exhibition's evocative impact.

This exhibition is an essential visit. The curators have accomplished an extraordinary task in sourcing and displaying a rare and extensive collection of garments. Given its pivotal role in shaping the British fashion industry, this collection merits preservation within a national institution such as the V&A.

Exhibition images by @nohawkers

Two events held last night examined clubs as sites of creativity and cultural exchange: one focused on the 1980s nightclub Taboo, and the other on Arsenal FC. At first glance, these events may appear disparate; however, both illuminated how the industrialisation of leisure—whether on the dancefloor or in the stands—had, by the early 1980s, sparked a sartorial revolt.

The first is the outstanding exhibition “Outlaws: Fashion Renegades of 80s London” which is curated by Martin Green and NJ Stevenson, with artistic direction by David Cabaret.

It takes us on an incredibly evocative journey starting in Leigh Bowery’s East End council flat, through the bowels of Kensington Market, onto the dance floor of taboo and finally ascending upwards, emerging on South Molton Street and the windows of Browns filled with these designers work. It illustrates how this radical creativity evolved—from a form of escapism to an act of defiance, and ultimately a catalyst for the establishment of the British fashion industry.

Of particular note were the remarkable mannequins, styled by David Cabaret. In an era of museology where the anonymous mannequin is the go-to option, it was striking to witness the individuality of these figures. A packed recreation of the dancefloor at Taboo featured over 30 looks which were all recognisable as specific individuals from the period, further enhancing the exhibition's evocative impact.

This exhibition is an essential visit. The curators have accomplished an extraordinary task in sourcing and displaying a rare and extensive collection of garments. Given its pivotal role in shaping the British fashion industry, this collection merits preservation within a national institution such as the V&A.

Exhibition images by @nohawkers

Excited for the private view of “Outlaws: Fashion Renegades of 80s London” tonight. The Westminster Menswear Archive holds several pieces from this era, including this stunning Spanish Flamenco jacket by Mark & Syrie from their A/W 1985 collection.

Designed by British fashion duo Mark Lascelle and Syrie Panton, their debut collection, shown at London Fashion Week in 1985, featured 15 looks made from 'found' tourist and souvenir fabrics.

The Outlaws exhibition focuses on the legendary nightclub Taboo, opened by designer and performance artist Leigh Bowery in 1985. With the infamous dress code, "dress as though your life depends on it, or don’t bother," the Taboo crowd—including BodyMap, Rachel Auburn, Pam Hogg, dancer Michael Clark, and Boy George—used fashion, art, and hedonism to fuel a cultural revolution.

The exhibition showcases garments and accessories from Leigh Bowery and over 30 designers, with custom-made pieces from private collections and rare designs by John Galliano, John Flett, Stephen Linard, Dean Bright, and more.

#OutlawsExhibition #80sFashion #FashionRenegades #WestminsterMenswearArchive #MarkAndSyrie #LeighBowery #TabooNightclub #LondonFashion #FashionHistory #VintageFashion #BritishDesigners #IconicStyle #CulturalRevolution #MenswearArchive #80sLondonFashion #FashionExhibition #ArchiveFashion #RareDesigns #BoyGeorge #PamHogg #JohnGalliano #StephenLinard #PerformanceArtFashion #MichaelClark

Excited for the private view of “Outlaws: Fashion Renegades of 80s London” tonight. The Westminster Menswear Archive holds several pieces from this era, including this stunning Spanish Flamenco jacket by Mark & Syrie from their A/W 1985 collection.

Designed by British fashion duo Mark Lascelle and Syrie Panton, their debut collection, shown at London Fashion Week in 1985, featured 15 looks made from 'found' tourist and souvenir fabrics.

The Outlaws exhibition focuses on the legendary nightclub Taboo, opened by designer and performance artist Leigh Bowery in 1985. With the infamous dress code, "dress as though your life depends on it, or don’t bother," the Taboo crowd—including BodyMap, Rachel Auburn, Pam Hogg, dancer Michael Clark, and Boy George—used fashion, art, and hedonism to fuel a cultural revolution.

The exhibition showcases garments and accessories from Leigh Bowery and over 30 designers, with custom-made pieces from private collections and rare designs by John Galliano, John Flett, Stephen Linard, Dean Bright, and more.

#OutlawsExhibition #80sFashion #FashionRenegades #WestminsterMenswearArchive #MarkAndSyrie #LeighBowery #TabooNightclub #LondonFashion #FashionHistory #VintageFashion #BritishDesigners #IconicStyle #CulturalRevolution #MenswearArchive #80sLondonFashion #FashionExhibition #ArchiveFashion #RareDesigns #BoyGeorge #PamHogg #JohnGalliano #StephenLinard #PerformanceArtFashion #MichaelClark

JOCKEY’S RACING JACKET
D. Gilbert & Son
1890s

Racing colours consist of three components: the jacket, the sleeves and the cap; their primary purpose is to assist horse race judges. Only simple designs such as hoops, stripes, chevrons, halves, quarters, sashes, diamonds, spots and checks are allowed. The circles on this shirt were created by cutting around a paper template, which was then sandwiched between the outer circle and the shirt’s body before being hand-stitched down. Racing colours were first used in the mid-eighteenth century and were originally registered with the Jockey Club, who regulated their use to ensure that each owner had a unique set. Today they are regulated by the British Horse Racing Authority. These colours were initially registered in 1864 by Mr W. Hudson, and then later in 1885 by Mr W.E. Brymer.
Silk
Archive no. 2021.4

From chapter 9, SPORTSWEAR, from our new book, Inside the Westminster Menswear Archive published by Bloomsbury.

Highlights include garments from A-COLD-WALL*, Ahluwalia, Aitor Throup Studio, Alexander McQueen, Belstaff, Bernhard Willhelm, Burberry, Casely-Hayford, C.P. Company, Carol Christian Poell, Comme des Garçons, Craig Green, Dior Men, Fred Perry, Helmut Lang, Hussein Chalayan, Jean Paul Gaultier, Junya Watanabe, Louis Vuitton, Martine Rose, Meadham Kirchhoff, Nigel Cabourn, Paul Smith, Prada, Stone Island, Umbro, Undercover, Vexed Generation, and Vollebak

#JockeysRacingJacket #HistoricalFashion #1890sFashion #RacingColours #BritishHorseRacing #JockeyClub #FashionArchive #VictorianEra #SilkJacket #RacingHistory #GilbertAndSon #FashionExhibition #HorseRacing #VintageFashion #TextileHistory #HandStitched #WestminsterMenswearArchive #EquestrianStyle #FashionCurator #MuseumCollection

JOCKEY’S RACING JACKET
D. Gilbert & Son
1890s

Racing colours consist of three components: the jacket, the sleeves and the cap; their primary purpose is to assist horse race judges. Only simple designs such as hoops, stripes, chevrons, halves, quarters, sashes, diamonds, spots and checks are allowed. The circles on this shirt were created by cutting around a paper template, which was then sandwiched between the outer circle and the shirt’s body before being hand-stitched down. Racing colours were first used in the mid-eighteenth century and were originally registered with the Jockey Club, who regulated their use to ensure that each owner had a unique set. Today they are regulated by the British Horse Racing Authority. These colours were initially registered in 1864 by Mr W. Hudson, and then later in 1885 by Mr W.E. Brymer.
Silk
Archive no. 2021.4

From chapter 9, SPORTSWEAR, from our new book, Inside the Westminster Menswear Archive published by Bloomsbury.

Highlights include garments from A-COLD-WALL*, Ahluwalia, Aitor Throup Studio, Alexander McQueen, Belstaff, Bernhard Willhelm, Burberry, Casely-Hayford, C.P. Company, Carol Christian Poell, Comme des Garçons, Craig Green, Dior Men, Fred Perry, Helmut Lang, Hussein Chalayan, Jean Paul Gaultier, Junya Watanabe, Louis Vuitton, Martine Rose, Meadham Kirchhoff, Nigel Cabourn, Paul Smith, Prada, Stone Island, Umbro, Undercover, Vexed Generation, and Vollebak

#JockeysRacingJacket #HistoricalFashion #1890sFashion #RacingColours #BritishHorseRacing #JockeyClub #FashionArchive #VictorianEra #SilkJacket #RacingHistory #GilbertAndSon #FashionExhibition #HorseRacing #VintageFashion #TextileHistory #HandStitched #WestminsterMenswearArchive #EquestrianStyle #FashionCurator #MuseumCollection

SLALOM RACING JUMPER
Steffner
1988
This padded jumper belonged to Martin Bell, a British former World Cup alpine ski racer who competed in four Winter Olympics from 1984 to 1994. He finished eighth in the men’s downhill at the 1988 Games in Calgary, Canada, the best result in Olympic history for a British male skier. The arms of the jumper are padded to protect slalom skiers when hitting the poles when they get too close to the racing line. Although competitors are not required to touch the bendable and spring-loaded poles, the jumper is padded in case they do. The majority of alpine skiers train in each of the four disciplines: slalom, giant slalom, super giant slalom (super-G) and downhill. The jumper has a patch for Drambuie Liqueur, who sponsored the British ski team.
Wool
Archive no. 2021.35

From chapter 9, SPORTSWEAR, from our new book, Inside the Westminster Menswear Archive published by Bloomsbury.

Highlights include garments from A-COLD-WALL*, Ahluwalia, Aitor Throup Studio, Alexander McQueen, Belstaff, Bernhard Willhelm, Burberry, Casely-Hayford, C.P. Company, Carol Christian Poell, Comme des Garçons, Craig Green, Dior Men, Fred Perry, Helmut Lang, Hussein Chalayan, Jean Paul Gaultier, Junya Watanabe, Louis Vuitton, Martine Rose, Meadham Kirchhoff, Nigel Cabourn, Paul Smith, Prada, Stone Island, Umbro, Undercover, Vexed Generation, and Vollebak

#SlalomRacing #MartinBell #AlpineSkiing #BritishSkiing #WinterOlympics #Calgary1988 #SkiRacing #SkiHistory #Steffner #PaddedJumper #DrambuieSponsor #SportswearHistory #WestminsterMenswearArchive #MenswearArchives #VintageSkiwear #OlympicHistory #InsideTheArchive #FashionArchives #MenswearBook #BloomsburyPublishing

SLALOM RACING JUMPER
Steffner
1988
This padded jumper belonged to Martin Bell, a British former World Cup alpine ski racer who competed in four Winter Olympics from 1984 to 1994. He finished eighth in the men’s downhill at the 1988 Games in Calgary, Canada, the best result in Olympic history for a British male skier. The arms of the jumper are padded to protect slalom skiers when hitting the poles when they get too close to the racing line. Although competitors are not required to touch the bendable and spring-loaded poles, the jumper is padded in case they do. The majority of alpine skiers train in each of the four disciplines: slalom, giant slalom, super giant slalom (super-G) and downhill. The jumper has a patch for Drambuie Liqueur, who sponsored the British ski team.
Wool
Archive no. 2021.35

From chapter 9, SPORTSWEAR, from our new book, Inside the Westminster Menswear Archive published by Bloomsbury.

Highlights include garments from A-COLD-WALL*, Ahluwalia, Aitor Throup Studio, Alexander McQueen, Belstaff, Bernhard Willhelm, Burberry, Casely-Hayford, C.P. Company, Carol Christian Poell, Comme des Garçons, Craig Green, Dior Men, Fred Perry, Helmut Lang, Hussein Chalayan, Jean Paul Gaultier, Junya Watanabe, Louis Vuitton, Martine Rose, Meadham Kirchhoff, Nigel Cabourn, Paul Smith, Prada, Stone Island, Umbro, Undercover, Vexed Generation, and Vollebak

#SlalomRacing #MartinBell #AlpineSkiing #BritishSkiing #WinterOlympics #Calgary1988 #SkiRacing #SkiHistory #Steffner #PaddedJumper #DrambuieSponsor #SportswearHistory #WestminsterMenswearArchive #MenswearArchives #VintageSkiwear #OlympicHistory #InsideTheArchive #FashionArchives #MenswearBook #BloomsburyPublishing

We're excited to announce an incredible opportunity to shape the digital future of the Westminster Menswear Archive.

With new funding from Research England, we are enhancing our digital capabilities and are looking for a Digital Engagement Archivist to join our team.

We are seeking someone with experience in digital preservation, cataloguing, or information management, and a passion for using emerging technologies to enhance accessibility. If you love exploring new ways to present historical content and engage with diverse audiences, we want to hear from you.
future generations
As the Digital Engagement Archivist, you will:
• Lead the preservation and cataloguing of our archive using professional standards and innovative methods to ensure its accessibility for future generations.
• Develop and implement a digital outreach strategy, engaging everyone from researchers to fashion enthusiasts.
• Optimise and enhance our AtoM collection management system to better serve our community of users.
• Foster connections with both the research community and the general public through interactive and user-friendly experiences.

For more details about the role see the link in my bio.

#JobOpportunity #DigitalArchivist #MenswearArchive #FashionHistory #DigitalInnovation #Research #Archivist #Hiring #Fashion #WestminsterMenswearArchive

We're excited to announce an incredible opportunity to shape the digital future of the Westminster Menswear Archive.

With new funding from Research England, we are enhancing our digital capabilities and are looking for a Digital Engagement Archivist to join our team.

We are seeking someone with experience in digital preservation, cataloguing, or information management, and a passion for using emerging technologies to enhance accessibility. If you love exploring new ways to present historical content and engage with diverse audiences, we want to hear from you.
future generations
As the Digital Engagement Archivist, you will:
• Lead the preservation and cataloguing of our archive using professional standards and innovative methods to ensure its accessibility for future generations.
• Develop and implement a digital outreach strategy, engaging everyone from researchers to fashion enthusiasts.
• Optimise and enhance our AtoM collection management system to better serve our community of users.
• Foster connections with both the research community and the general public through interactive and user-friendly experiences.

For more details about the role see the link in my bio.

#JobOpportunity #DigitalArchivist #MenswearArchive #FashionHistory #DigitalInnovation #Research #Archivist #Hiring #Fashion #WestminsterMenswearArchive

Looking forward to presenting at next week's free one-day symposium, "A Century of Umbro and the Aesthetic of Sporting Englishness," at the Institute of Sport at The Manchester Metropolitan University.

This symposium, funded by the Pasold Research Fund and the British Society of Sports History, will bring together leading interdisciplinary researchers to explore the development, marketing, and sales of an English sporting aesthetic, with a particular focus on football.

A Century of Umbro and the Aesthetic of Sporting Englishness
Date: Wednesday, 9 October 2024
Venue: Institute of Sport, Manchester Metropolitan University.

Link to book free tickets in my bio.

#Umbro #SportingAesthetic #FootballHistory #SportsResearch #FashionInSport #PasoldResearchFund #BritishSocietyofSportsHistory #ManchesterMetropolitanUniversity #SportsMarketing #SportsHistory #FootballCulture #SportsFashion

Looking forward to presenting at next week's free one-day symposium, "A Century of Umbro and the Aesthetic of Sporting Englishness," at the Institute of Sport at The Manchester Metropolitan University.

This symposium, funded by the Pasold Research Fund and the British Society of Sports History, will bring together leading interdisciplinary researchers to explore the development, marketing, and sales of an English sporting aesthetic, with a particular focus on football.

A Century of Umbro and the Aesthetic of Sporting Englishness
Date: Wednesday, 9 October 2024
Venue: Institute of Sport, Manchester Metropolitan University.

Link to book free tickets in my bio.

#Umbro #SportingAesthetic #FootballHistory #SportsResearch #FashionInSport #PasoldResearchFund #BritishSocietyofSportsHistory #ManchesterMetropolitanUniversity #SportsMarketing #SportsHistory #FootballCulture #SportsFashion

Following yesterday's post featuring the C.P. Company Beekeeper jacket, here’s a shot of designer Moreno Ferrari wearing it, as seen in the book "C.P. COMPANY 971-021: An Informal History of Italian Sportswear".

Photographs by @neil_bedford

#CPCompany #MorenoFerrari #ItalianSportswear #SportswearHistory #CPCompany971021 #NeilBedford #FashionPhotography #casuals #DesignerStyle #ArchiveFashion #Menswear #FashionHistory

Following yesterday's post featuring the C.P. Company Beekeeper jacket, here’s a shot of designer Moreno Ferrari wearing it, as seen in the book "C.P. COMPANY 971-021: An Informal History of Italian Sportswear".

Photographs by @neil_bedford

#CPCompany #MorenoFerrari #ItalianSportswear #SportswearHistory #CPCompany971021 #NeilBedford #FashionPhotography #casuals #DesignerStyle #ArchiveFashion #Menswear #FashionHistory

BEEKEEPER JACKET
C.P. Company
Autumn Winter 2000

The conflict between rural and urban life inspired the design of this jacket, according to its creator, Moreno Ferrari, who drew inspiration from military and country attire. The jacket fastens asymmetrically on the front, with an additional zip opening incorporated into the right raglan sleeve shoulder seam. Five large bellow pockets with Velcro-closed flaps are located on the front. Both sleeves feature a bellow pocket with a Velcro flap closure. On the back of the jacket are two large map pockets, one above the other. The bottom half of the beekeeper’s hood is constructed of nylon mesh, while the top half resembles a sou’wester hat. The hood is detachable from the jacket and is adjustable via Velcro straps that fasten in multiple ways.
Cotton, Polyurethane
Archive no. 2016.050.1

From chapter 6 Armour, from our new book, Inside the Westminster Menswear Archive published by Bloomsbury.

Highlights include garments from A-COLD-WALL*, Ahluwalia, Aitor Throup Studio, Alexander McQueen, Belstaff, Bernhard Willhelm, Burberry, Casely-Hayford, C.P. Company, Carol Christian Poell, Comme des Garçons, Craig Green, Dior Men, Fred Perry, Helmut Lang, Hussein Chalayan, Jean Paul Gaultier, Junya Watanabe, Louis Vuitton, Martine Rose, Meadham Kirchhoff, Nigel Cabourn, Paul Smith, Prada, Stone Island, Umbro, Undercover, Vexed Generation, and Vollebak

#BeekeeperJacket #CPCompany #MorenoFerrari #MilitaryInspired #CountryAttire #AsymmetricalDesign #VelcroPockets #ArchivePiece #InsideTheArchive #MenswearHistory #FashionBook #FashionArchives #ArmourChapter #BloomsburyFashion #SouWesterHat #DesignerJacket #TechnicalFashion #MenswearStaple #UtilityFashion #FashionInnovation #technicalmenswear

BEEKEEPER JACKET
C.P. Company
Autumn Winter 2000

The conflict between rural and urban life inspired the design of this jacket, according to its creator, Moreno Ferrari, who drew inspiration from military and country attire. The jacket fastens asymmetrically on the front, with an additional zip opening incorporated into the right raglan sleeve shoulder seam. Five large bellow pockets with Velcro-closed flaps are located on the front. Both sleeves feature a bellow pocket with a Velcro flap closure. On the back of the jacket are two large map pockets, one above the other. The bottom half of the beekeeper’s hood is constructed of nylon mesh, while the top half resembles a sou’wester hat. The hood is detachable from the jacket and is adjustable via Velcro straps that fasten in multiple ways.
Cotton, Polyurethane
Archive no. 2016.050.1

From chapter 6 Armour, from our new book, Inside the Westminster Menswear Archive published by Bloomsbury.

Highlights include garments from A-COLD-WALL*, Ahluwalia, Aitor Throup Studio, Alexander McQueen, Belstaff, Bernhard Willhelm, Burberry, Casely-Hayford, C.P. Company, Carol Christian Poell, Comme des Garçons, Craig Green, Dior Men, Fred Perry, Helmut Lang, Hussein Chalayan, Jean Paul Gaultier, Junya Watanabe, Louis Vuitton, Martine Rose, Meadham Kirchhoff, Nigel Cabourn, Paul Smith, Prada, Stone Island, Umbro, Undercover, Vexed Generation, and Vollebak

#BeekeeperJacket #CPCompany #MorenoFerrari #MilitaryInspired #CountryAttire #AsymmetricalDesign #VelcroPockets #ArchivePiece #InsideTheArchive #MenswearHistory #FashionBook #FashionArchives #ArmourChapter #BloomsburyFashion #SouWesterHat #DesignerJacket #TechnicalFashion #MenswearStaple #UtilityFashion #FashionInnovation #technicalmenswear

RUBBER KNEE PAD JEANS
Stone Island
1988

These denim jeans feature black moulded oval-shaped pads on the knees, which are made of styrene-butadiene rubber, a synthetic material invented by Walter Bock in 1929 but only commercially available from 1961. They have an all-over cross-hatch pattern with the Stone Island compass emblem in the centre. During this season, similar rubber pads were utilized on numerous other garments. The jeans feature a button fly with four black Stone Island buttons. On the top of the right rear patch pocket there is a green-edged Stone Island badge which is sewn directly onto the pocket. As part of the celebrations for Stone Island’s fortieth anniversary in 2022, garments inspired by their archive were released, including a pair of joggers with these knee pads printed on them.
Cotton, Styrene-Butadiene Rubber
Archive no. 2019.178

From chapter 10, BLUE JEANS. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury. The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#StoneIsland #1980sFashion #MenswearHistory #DenimJeans #RubberKneePads #FashionInnovation #ArchiveFashion #StoneIslandLegacy #StoneIsland #StoneIslandCasuals #FootballCasuals #CasualCulture #80sCasuals #StoneIslandCollectors #StoneIslandFans #CasualStyle #WestminsterMenswearArchive #MenswearBook #IconicMenswear #StoneIslandCollectors #FashionArchives

RUBBER KNEE PAD JEANS
Stone Island
1988

These denim jeans feature black moulded oval-shaped pads on the knees, which are made of styrene-butadiene rubber, a synthetic material invented by Walter Bock in 1929 but only commercially available from 1961. They have an all-over cross-hatch pattern with the Stone Island compass emblem in the centre. During this season, similar rubber pads were utilized on numerous other garments. The jeans feature a button fly with four black Stone Island buttons. On the top of the right rear patch pocket there is a green-edged Stone Island badge which is sewn directly onto the pocket. As part of the celebrations for Stone Island’s fortieth anniversary in 2022, garments inspired by their archive were released, including a pair of joggers with these knee pads printed on them.
Cotton, Styrene-Butadiene Rubber
Archive no. 2019.178

From chapter 10, BLUE JEANS. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury. The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#StoneIsland #1980sFashion #MenswearHistory #DenimJeans #RubberKneePads #FashionInnovation #ArchiveFashion #StoneIslandLegacy #StoneIsland #StoneIslandCasuals #FootballCasuals #CasualCulture #80sCasuals #StoneIslandCollectors #StoneIslandFans #CasualStyle #WestminsterMenswearArchive #MenswearBook #IconicMenswear #StoneIslandCollectors #FashionArchives

LEATHER ARMOUR JACKET
Vivienne Westwood
Autumn Winter 1988

Rather than plunder the recent past, Vivienne Westwood consistently looked further back into fashion history for inspiration. This black leather jacket, from her aptly named ‘Time Machine’ collection, references both traditional biker vests, and the cut and construction of plate armour, with detachable sleeves and segmented shoulder panels attached to the jacket by leather straps. The upper sleeve is cut in the shape of a pauldron, a plate armour component that covers the shoulder area, while the sleeve is cut to resemble a vambrace, or forearm guard, and the elbow is cut to imitate a couter, which is an articulated joint in plate armour.
Leather
Archive no. 2019.89

From chapter 6, ARMOUR. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury. The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#LeatherJacket #VivienneWestwood #TimeMachineCollection #AutumnWinter1988 #FashionHistory #BikerVest #PlateArmour #MenswearArchive #WestminsterMenswearArchive #InsideTheArchive #FashionInspiration #LeatherArmour #HistoricalFashion #FashionDesign #BloomsburyFashion #FashionBook #MenswearHistory

LEATHER ARMOUR JACKET
Vivienne Westwood
Autumn Winter 1988

Rather than plunder the recent past, Vivienne Westwood consistently looked further back into fashion history for inspiration. This black leather jacket, from her aptly named ‘Time Machine’ collection, references both traditional biker vests, and the cut and construction of plate armour, with detachable sleeves and segmented shoulder panels attached to the jacket by leather straps. The upper sleeve is cut in the shape of a pauldron, a plate armour component that covers the shoulder area, while the sleeve is cut to resemble a vambrace, or forearm guard, and the elbow is cut to imitate a couter, which is an articulated joint in plate armour.
Leather
Archive no. 2019.89

From chapter 6, ARMOUR. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury. The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#LeatherJacket #VivienneWestwood #TimeMachineCollection #AutumnWinter1988 #FashionHistory #BikerVest #PlateArmour #MenswearArchive #WestminsterMenswearArchive #InsideTheArchive #FashionInspiration #LeatherArmour #HistoricalFashion #FashionDesign #BloomsburyFashion #FashionBook #MenswearHistory

RECTANGULAR CUT T-SHIRT
Meadham Kirchhoff
Spring Summer 2015

While most T-shirts are simply cut with two side seams, shoulder seams and inset sleeves, this T-shirt from Meadham Kirchhoff’s last collection ‘Reject Everything’ subverts these assumptions and is deceptively complex. The garment is flat-cut in the shape of a large rectangle, with a curving raw slit on the upper portion of the garment for the head and a wide slash on the lower front allowing the body to emerge. Due to the placement of the slits, the T-shirt is forced to pull against the body. Two rib-finished circular openings on the front are positioned to reveal the wearer’s chest and nipples. The T-shirt print includes ‘Meadham Kirchhoff’ spelt out in cut-out newspaper lettering in the ransom note style created by Jamie Reid for the Sex Pistols in the 1970s. On the runway, it was worn beneath a rubber top.
Cotton
Archive no. 2019.1.3

From chapter 5, UNDERWEAR. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury. The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#MeadhamKirchhoff #FashionRebellion #AvantGardeFashion #NostalgicFashion #BritishFashionDesigners #Maximalism #LondonFashion #MeadhamKirchhoffAesthetic #FashionSubversion #FashionArchives #FashionHistory #WhimsicalFashion #FashionCollective #EccentricStyle

RECTANGULAR CUT T-SHIRT
Meadham Kirchhoff
Spring Summer 2015

While most T-shirts are simply cut with two side seams, shoulder seams and inset sleeves, this T-shirt from Meadham Kirchhoff’s last collection ‘Reject Everything’ subverts these assumptions and is deceptively complex. The garment is flat-cut in the shape of a large rectangle, with a curving raw slit on the upper portion of the garment for the head and a wide slash on the lower front allowing the body to emerge. Due to the placement of the slits, the T-shirt is forced to pull against the body. Two rib-finished circular openings on the front are positioned to reveal the wearer’s chest and nipples. The T-shirt print includes ‘Meadham Kirchhoff’ spelt out in cut-out newspaper lettering in the ransom note style created by Jamie Reid for the Sex Pistols in the 1970s. On the runway, it was worn beneath a rubber top.
Cotton
Archive no. 2019.1.3

From chapter 5, UNDERWEAR. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury. The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#MeadhamKirchhoff #FashionRebellion #AvantGardeFashion #NostalgicFashion #BritishFashionDesigners #Maximalism #LondonFashion #MeadhamKirchhoffAesthetic #FashionSubversion #FashionArchives #FashionHistory #WhimsicalFashion #FashionCollective #EccentricStyle

Yesterday, I came across this interview that we did with Christopher Bailey in 2009 for our graduate fashion magazine. Christopher graduated from Westminster in 1993.

What was the most useful thing you learned from the Fashion Design course at the University of Westminster?

Learning the basic understanding of the craft of making clothes, and also understanding the importance of expressing your point of view, of having a vision, sticking with that vision and believing in it.

What do you wish you’d learned more about at university?

I’ve always been a realist and I believe university can only teach you so much. It should be a skeleton, a framework, and then you go into industry and learn how to put the meat on that skeleton. Industry experience is very important throughout the coursework because it anchors you back into reality. Putting into work what you have been taught is quite a diﬀerent thing when you go into industry. But there’s no way of teaching that, you have to learn it with experience. Even if you are in the environment picking up pins, you are learning. You shouldn’t expect too much when you go into an internship; just being there can be enriching and inspiring.
What advice would you give to Fashion Design students graduating this year? Be open, be friendly, work as hard as you possibly can, go into every experience wanting to learn from it, make the most out of every situation. Never think you’ve made it; never think you know everything… because no matter how many years of experience you’ve never learned actually very much. That’s the biggest thing for me that I realise every day.

If you could have dinner with anyone from history, who would it be?
Thomas Burberry, he was a genius.

Does your mother play golf? She certainly does not.

Yesterday, I came across this interview that we did with Christopher Bailey in 2009 for our graduate fashion magazine. Christopher graduated from Westminster in 1993.

What was the most useful thing you learned from the Fashion Design course at the University of Westminster?

Learning the basic understanding of the craft of making clothes, and also understanding the importance of expressing your point of view, of having a vision, sticking with that vision and believing in it.

What do you wish you’d learned more about at university?

I’ve always been a realist and I believe university can only teach you so much. It should be a skeleton, a framework, and then you go into industry and learn how to put the meat on that skeleton. Industry experience is very important throughout the coursework because it anchors you back into reality. Putting into work what you have been taught is quite a diﬀerent thing when you go into industry. But there’s no way of teaching that, you have to learn it with experience. Even if you are in the environment picking up pins, you are learning. You shouldn’t expect too much when you go into an internship; just being there can be enriching and inspiring.
What advice would you give to Fashion Design students graduating this year? Be open, be friendly, work as hard as you possibly can, go into every experience wanting to learn from it, make the most out of every situation. Never think you’ve made it; never think you know everything… because no matter how many years of experience you’ve never learned actually very much. That’s the biggest thing for me that I realise every day.

If you could have dinner with anyone from history, who would it be?
Thomas Burberry, he was a genius.

Does your mother play golf? She certainly does not.

TRAVELERS JACKET
Tumi
2004
Following the 11 September 2001 terrorist attack in New York, airport security was strengthened. In response to the release of the 9/11 Commission Report in 2004 and the terrorist attacks on two Russian airlines in the same year, new regulations were implemented in the United States, allowing Transportation Security Administration officers to conduct more frequent and thorough searches and full body pat-downs of passengers. In response, Tumi created this jacket to eliminate the need for carry-on luggage and permit passengers to pass through X-ray security without emptying their pockets. It has two exterior pockets with zips, compartments for passports and boarding passes, a key lanyard, pen holders, openings for headphone routing, mesh-lined pit zips and a mesh dump pocket. The jacket’s back is lined with padded mesh to support the additional weight carried.
Nylon, Polyester
Archive no. 2022.55

From chapter 4, TRAVEL. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury. The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#TUMI #GlobalTraveler #TravelEssentials #TravelGear #Menswear #TravelJacket #FunctionalFashion #SmartTravel #TravelLight #PackSmart #InnovativeDesign #UrbanExplorer #TUMIJacket #TravelersJacket #TUMIGear

TRAVELERS JACKET
Tumi
2004
Following the 11 September 2001 terrorist attack in New York, airport security was strengthened. In response to the release of the 9/11 Commission Report in 2004 and the terrorist attacks on two Russian airlines in the same year, new regulations were implemented in the United States, allowing Transportation Security Administration officers to conduct more frequent and thorough searches and full body pat-downs of passengers. In response, Tumi created this jacket to eliminate the need for carry-on luggage and permit passengers to pass through X-ray security without emptying their pockets. It has two exterior pockets with zips, compartments for passports and boarding passes, a key lanyard, pen holders, openings for headphone routing, mesh-lined pit zips and a mesh dump pocket. The jacket’s back is lined with padded mesh to support the additional weight carried.
Nylon, Polyester
Archive no. 2022.55

From chapter 4, TRAVEL. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury. The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#TUMI #GlobalTraveler #TravelEssentials #TravelGear #Menswear #TravelJacket #FunctionalFashion #SmartTravel #TravelLight #PackSmart #InnovativeDesign #UrbanExplorer #TUMIJacket #TravelersJacket #TUMIGear

It's fantastic to see the sheer diversity of design approaches from our Westminster alumni at LFW this week.

Images:
1&2 Owen Edward Snaith
3&4 SS Daley
5&6 Ashley Williams
7&8 Paolo Carzana

#LondonFashion #FashionWeek #LFWStreetStyle #LondonStyle #BritishFashion #FashionInspo #CatwalkStyle #DesignerFashion #FashionShow #FashionForward #RunwayTrends #LFWMenswear #LFWWomenswear #EmergingDesigners #SustainableFashion #FashionInnovation #LFWHighlights #LFWBackstage

It's fantastic to see the sheer diversity of design approaches from our Westminster alumni at LFW this week.

Images:
1&2 Owen Edward Snaith
3&4 SS Daley
5&6 Ashley Williams
7&8 Paolo Carzana

#LondonFashion #FashionWeek #LFWStreetStyle #LondonStyle #BritishFashion #FashionInspo #CatwalkStyle #DesignerFashion #FashionShow #FashionForward #RunwayTrends #LFWMenswear #LFWWomenswear #EmergingDesigners #SustainableFashion #FashionInnovation #LFWHighlights #LFWBackstage

Perhaps unexpectedly, my visit to the RÆBURN 15 Retrospective in East London today made me think of Jean Paul Gaultier and his Nana.

Nana was the teddy bear that a young Jean Paul, at the age of six, would dress in clothes he crafted from newspaper, including an early version of the iconic conical bra—decades before he designed it for Madonna.

For Christopher Raeburn, it was The Wombles that captured his imagination as a child. He credits much of his career to them, with his ethos of Remade, Reduced, and Recycled echoing their famous line, “Making good use of the things that we find, things that the everyday folk leave behind…”

Christopher’s Battledress Parka is a key piece that exemplifies his ethos of sustainability and innovation. First designed in 2002, the parka draws inspiration from military surplus, a consistent theme in Raeburn's work. He deconstructed and repurposed materials from military garments to create functional, utilitarian pieces with a modern twist.

Many young designers rush through ideas without fully resolving them, often abandoning concepts before they have been fully developed, wasting their potential. But here we could see three iterations of his Battledress parka: the original from 2002, a refined version from 2006 created during his time at the RCA, and a further updated version featured in Vogue in 2010.

Raeburn’s ability to revisit, refine, and evolve his ideas is what makes this retrospective so captivating. It allows the viewer to trace the development of his work over the past 15 years.

This is a fantastic exhibition for budding fashion students to visit. For the group of students from Kingston University who were visiting at the same time as me, I hope two lessons stood out. First, the spark that initially drives your passion for design can sustain you throughout your career. Second, your ideas are your most valuable asset—folks don’t leave them behind.

The final day is tomorrow, 17th September.

RÆBURN 15 Retrospective
12:00 - 17:00
The Lab, E20

#ChristopherRaeburn #RAEBURN #RAEBURN15 #SustainableFashion #RemadeReducedRecycled #FashionInnovation #EcoFashion #SustainableDesign #UpcycledFashion

Perhaps unexpectedly, my visit to the RÆBURN 15 Retrospective in East London today made me think of Jean Paul Gaultier and his Nana.

Nana was the teddy bear that a young Jean Paul, at the age of six, would dress in clothes he crafted from newspaper, including an early version of the iconic conical bra—decades before he designed it for Madonna.

For Christopher Raeburn, it was The Wombles that captured his imagination as a child. He credits much of his career to them, with his ethos of Remade, Reduced, and Recycled echoing their famous line, “Making good use of the things that we find, things that the everyday folk leave behind…”

Christopher’s Battledress Parka is a key piece that exemplifies his ethos of sustainability and innovation. First designed in 2002, the parka draws inspiration from military surplus, a consistent theme in Raeburn's work. He deconstructed and repurposed materials from military garments to create functional, utilitarian pieces with a modern twist.

Many young designers rush through ideas without fully resolving them, often abandoning concepts before they have been fully developed, wasting their potential. But here we could see three iterations of his Battledress parka: the original from 2002, a refined version from 2006 created during his time at the RCA, and a further updated version featured in Vogue in 2010.

Raeburn’s ability to revisit, refine, and evolve his ideas is what makes this retrospective so captivating. It allows the viewer to trace the development of his work over the past 15 years.

This is a fantastic exhibition for budding fashion students to visit. For the group of students from Kingston University who were visiting at the same time as me, I hope two lessons stood out. First, the spark that initially drives your passion for design can sustain you throughout your career. Second, your ideas are your most valuable asset—folks don’t leave them behind.

The final day is tomorrow, 17th September.

RÆBURN 15 Retrospective
12:00 - 17:00
The Lab, E20

#ChristopherRaeburn #RAEBURN #RAEBURN15 #SustainableFashion #RemadeReducedRecycled #FashionInnovation #EcoFashion #SustainableDesign #UpcycledFashion

BRISTOL FAMILY TREE SHIRT
Martine Rose
Autumn Winter 2019

At first glance, this vibrantly printed shirt could be mistaken for one from Hawai‘i. The Hawaiian shirt has become an archetype of men’s fashion – short sleeved and brightly patterned with tropical motifs of flora and fauna from the mythologized Pacific. For this shirt design, Martine Rose has subverted this by referencing the complicated history of migration from Africa to the Caribbean and to the UK. She described the prints in the collection as honouring the Jamaican family she comes from and her grandparents, who were part of what is known as the Windrush generation – those who were invited to move to the UK from the Caribbean after the Second World War.
Viscose
Archive no. 2021.3

From chapter 4, TRAVEL. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#MartineRose #MartineRoseCollection #BritishFashion #LondonFashion #HighFashion #MensFashion #familytree #travel

BRISTOL FAMILY TREE SHIRT
Martine Rose
Autumn Winter 2019

At first glance, this vibrantly printed shirt could be mistaken for one from Hawai‘i. The Hawaiian shirt has become an archetype of men’s fashion – short sleeved and brightly patterned with tropical motifs of flora and fauna from the mythologized Pacific. For this shirt design, Martine Rose has subverted this by referencing the complicated history of migration from Africa to the Caribbean and to the UK. She described the prints in the collection as honouring the Jamaican family she comes from and her grandparents, who were part of what is known as the Windrush generation – those who were invited to move to the UK from the Caribbean after the Second World War.
Viscose
Archive no. 2021.3

From chapter 4, TRAVEL. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#MartineRose #MartineRoseCollection #BritishFashion #LondonFashion #HighFashion #MensFashion #familytree #travel

I highly recommend visiting the RÆBURN 15 Retrospective, opening today at The Lab in East London. Christopher Raeburn's deep insight into the fashion industry, and his unique role within it, gives his work a powerful sense of purpose.

Christopher once told me his design approach is like that of a remora fish. Just as remoras attach to larger creatures for sustenance, Raeburn repurposes existing materials, transforming them into innovative, fresh designs. This philosophy has led to successful collaborations with brands like Moncler, Timberland, The North Face, Umbro, Barbour, Eastpak, Nike, and Rapha.

His upcycling ethos thrives on finding value in what already exists, much like the remora uses its host without harm. Raeburn breathes new life into military surplus, discarded fabrics, and other materials, pushing sustainability forward in the fashion world.

RÆBURN 15 Retrospective
Now open to the public:
September 15 - 17
12:00 - 17:00 daily
The Lab, E20

I highly recommend visiting the RÆBURN 15 Retrospective, opening today at The Lab in East London. Christopher Raeburn's deep insight into the fashion industry, and his unique role within it, gives his work a powerful sense of purpose.

Christopher once told me his design approach is like that of a remora fish. Just as remoras attach to larger creatures for sustenance, Raeburn repurposes existing materials, transforming them into innovative, fresh designs. This philosophy has led to successful collaborations with brands like Moncler, Timberland, The North Face, Umbro, Barbour, Eastpak, Nike, and Rapha.

His upcycling ethos thrives on finding value in what already exists, much like the remora uses its host without harm. Raeburn breathes new life into military surplus, discarded fabrics, and other materials, pushing sustainability forward in the fashion world.

RÆBURN 15 Retrospective
Now open to the public:
September 15 - 17
12:00 - 17:00 daily
The Lab, E20

Tyre-Print Trousers
Alexander McQueen, Spring/Summer 1997

Before Alexander McQueen's Spring/Summer 1995 show, The Birds, he created an iconic look by rolling a painted car tyre across several models' bodies, leaving striking inky black prints. In addition, some garments were also screen-printed with a slightly different tyre pattern designed by Simon Ungless using a spare tyre from the Saab car which belonged to print designer Mark Eley.

By 1997, McQueen revisited the concept, using another tyre to create prints for his Spring/Summer 1997 collection, La Poupée. This collection showcased menswear designed to give the illusion that the models had been run over by a car. These particular trousers, part of the La Poupée collection, feature a zip fly with a hook-and-bar waistband, two front pockets, and a jetted back pocket on the right side.
Material: Cotton
Archive No.: 2016.228

From chapter 7, WORN. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#AlexanderMcQueen #McQueenTheBirds #1990sFashion #McQueen1990s #FashionHistory #AvantGardeFashion #BirdsInFashion #IconicCollections #BritishFashion #FashionInspiration #RunwayLegend #McQueenLegacy #HighFashion #McQueenStyle

Tyre-Print Trousers
Alexander McQueen, Spring/Summer 1997

Before Alexander McQueen's Spring/Summer 1995 show, The Birds, he created an iconic look by rolling a painted car tyre across several models' bodies, leaving striking inky black prints. In addition, some garments were also screen-printed with a slightly different tyre pattern designed by Simon Ungless using a spare tyre from the Saab car which belonged to print designer Mark Eley.

By 1997, McQueen revisited the concept, using another tyre to create prints for his Spring/Summer 1997 collection, La Poupée. This collection showcased menswear designed to give the illusion that the models had been run over by a car. These particular trousers, part of the La Poupée collection, feature a zip fly with a hook-and-bar waistband, two front pockets, and a jetted back pocket on the right side.
Material: Cotton
Archive No.: 2016.228

From chapter 7, WORN. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#AlexanderMcQueen #McQueenTheBirds #1990sFashion #McQueen1990s #FashionHistory #AvantGardeFashion #BirdsInFashion #IconicCollections #BritishFashion #FashionInspiration #RunwayLegend #McQueenLegacy #HighFashion #McQueenStyle

Tyre-Print Trousers
Alexander McQueen, Spring/Summer 1997

Before Alexander McQueen's Spring/Summer 1995 show, The Birds, he created an iconic look by rolling a painted car tyre across several models' bodies, leaving striking inky black prints. In addition, some garments were also screen-printed with a slightly different tyre pattern designed by Simon Ungless using a spare tyre from the Saab car which belonged to print designer Mark Eley.

By 1997, McQueen revisited the concept, using another tyre to create prints for his Spring/Summer 1997 collection, La Poupée. This collection showcased menswear designed to give the illusion that the models had been run over by a car. These particular trousers, part of the La Poupée collection, feature a zip fly with a hook-and-bar waistband, two front pockets, and a jetted back pocket on the right side.
Material: Cotton
Archive No.: 2016.228

From chapter 7, WORN. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#AlexanderMcQueen #McQueenTheBirds #1990sFashion #McQueen1990s #FashionHistory #AvantGardeFashion #BirdsInFashion #IconicCollections #BritishFashion #FashionInspiration #RunwayLegend #McQueenLegacy #HighFashion #McQueenStyle

Tyre-Print Trousers
Alexander McQueen, Spring/Summer 1997

Before Alexander McQueen's Spring/Summer 1995 show, The Birds, he created an iconic look by rolling a painted car tyre across several models' bodies, leaving striking inky black prints. In addition, some garments were also screen-printed with a slightly different tyre pattern designed by Simon Ungless using a spare tyre from the Saab car which belonged to print designer Mark Eley.

By 1997, McQueen revisited the concept, using another tyre to create prints for his Spring/Summer 1997 collection, La Poupée. This collection showcased menswear designed to give the illusion that the models had been run over by a car. These particular trousers, part of the La Poupée collection, feature a zip fly with a hook-and-bar waistband, two front pockets, and a jetted back pocket on the right side.
Material: Cotton
Archive No.: 2016.228

From chapter 7, WORN. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#AlexanderMcQueen #McQueenTheBirds #1990sFashion #McQueen1990s #FashionHistory #AvantGardeFashion #BirdsInFashion #IconicCollections #BritishFashion #FashionInspiration #RunwayLegend #McQueenLegacy #HighFashion #McQueenStyle

Huge congratulations to Steven Stokey-Daley @ss_daley for winning the prestigious Queen Elizabeth II Award for British Design this morning.

It’s been incredible to watch his journey from the University of Westminster, to becoming a trailblazer in British fashion.

Steven follows in the footsteps of another Westminster alumna, Priya Ahluwalia, who also won this prestigious award in 2021, showing how Westminster continues to shape future fashion leaders.

#SSDaley #BritishDesign #WestminsterGraduate #FashionInnovation #SustainableFashion #QueenElizabethAward #SSDaley #BritishDesign #FashionInnovation #QueenElizabethAward #LondonFashionWeek

Huge congratulations to Steven Stokey-Daley @ss_daley for winning the prestigious Queen Elizabeth II Award for British Design this morning.

It’s been incredible to watch his journey from the University of Westminster, to becoming a trailblazer in British fashion.

Steven follows in the footsteps of another Westminster alumna, Priya Ahluwalia, who also won this prestigious award in 2021, showing how Westminster continues to shape future fashion leaders.

#SSDaley #BritishDesign #WestminsterGraduate #FashionInnovation #SustainableFashion #QueenElizabethAward #SSDaley #BritishDesign #FashionInnovation #QueenElizabethAward #LondonFashionWeek

FIRST WORLD WAR TUNIC
Burberry’s
1918
Burberry’s association with the military began in 1902, when the War Office approved a new service uniform for officers designed by the company. They began accepting commissions for uniforms from the British Army and Royal Marines in 1906 and supplied clothing to the Royal Flying Corps (later the Royal Air Force) during the First World War. In addition, they produced uniforms for allied forces, including those of the US military. The United States entered the war in April 1917. This tunic is part of a uniform that was made for a member of the 4th Infantry Division of the American Expeditionary Force (AEF) in 1918. The tunic features badges for the 4th Infantry Division of the AEF, sergeant chevrons, an honourable discharge chevron and two wounded chevrons.
Wool
Archive no. 2020.51.1
From chapter 4, TRAVEL. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#WWITunic #Burberry #MilitaryHistory #WWIUniform #FirstWorldWar #AmericanExpeditionaryForce #4thInfantryDivision #MenswearArchive #VintageFashion #HistoricalClothing #MilitaryStyle #BurberryHistory #WestminsterMenswearArchive #MenswearEvolution #WartimeFashion #MilitaryHeritage #HistoricalUniforms #BritishHeritage #MilitaryCollector #FashionArchives #BurberryDesigns #BurberryHeritage #BurberryMilitaria #BurberryArchive #BurberryLegacy

FIRST WORLD WAR TUNIC
Burberry’s
1918
Burberry’s association with the military began in 1902, when the War Office approved a new service uniform for officers designed by the company. They began accepting commissions for uniforms from the British Army and Royal Marines in 1906 and supplied clothing to the Royal Flying Corps (later the Royal Air Force) during the First World War. In addition, they produced uniforms for allied forces, including those of the US military. The United States entered the war in April 1917. This tunic is part of a uniform that was made for a member of the 4th Infantry Division of the American Expeditionary Force (AEF) in 1918. The tunic features badges for the 4th Infantry Division of the AEF, sergeant chevrons, an honourable discharge chevron and two wounded chevrons.
Wool
Archive no. 2020.51.1
From chapter 4, TRAVEL. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#WWITunic #Burberry #MilitaryHistory #WWIUniform #FirstWorldWar #AmericanExpeditionaryForce #4thInfantryDivision #MenswearArchive #VintageFashion #HistoricalClothing #MilitaryStyle #BurberryHistory #WestminsterMenswearArchive #MenswearEvolution #WartimeFashion #MilitaryHeritage #HistoricalUniforms #BritishHeritage #MilitaryCollector #FashionArchives #BurberryDesigns #BurberryHeritage #BurberryMilitaria #BurberryArchive #BurberryLegacy

TRAINERS
Lidl
2021
In 2021, Lidl, the German supermarket chain, released a pair of trainers that became a viral sensation. The trainers were notable for their bold design, featuring Lidl’s signature colours—blue, yellow, and red—and their affordable price, £12.99. Despite their budget price, the trainers gained huge popularity, particularly among sneaker collectors and fashion enthusiasts looking for quirky or limited-edition items.

These trainers were initially released in some European countries in 2020, but their popularity led to a wider release, including in the UK in 2021. The high demand caused them to sell out quickly in many locations, with some pairs being resold online at inflated prices, sometimes reaching up to £500 on resale platforms.

The Lidl trainers are representative of a broader trend in which everyday consumer goods are recontextualised within the realm of fashion, often becoming collector’s items. This pair highlights the increasing influence of corporate branding in contemporary culture and the intersection between affordability and exclusivity in the marketplace.

Lidl capitalised on the viral success of these trainers by launching other apparel items, including socks, sliders, and t-shirts in their branded colours.
Archive no. 2021.28.1

#LidlTrainers #LidlSneakers #LidlFashion #LidlStyle #BudgetChic #LidlExclusive #LidlLife #SneakerHeads #ViralFashion #AffordableFashion #LidlCollectors #BoldFootwear #LidlMerch #FashionOnABudget #TrainersOfTheDay

TRAINERS
Lidl
2021
In 2021, Lidl, the German supermarket chain, released a pair of trainers that became a viral sensation. The trainers were notable for their bold design, featuring Lidl’s signature colours—blue, yellow, and red—and their affordable price, £12.99. Despite their budget price, the trainers gained huge popularity, particularly among sneaker collectors and fashion enthusiasts looking for quirky or limited-edition items.

These trainers were initially released in some European countries in 2020, but their popularity led to a wider release, including in the UK in 2021. The high demand caused them to sell out quickly in many locations, with some pairs being resold online at inflated prices, sometimes reaching up to £500 on resale platforms.

The Lidl trainers are representative of a broader trend in which everyday consumer goods are recontextualised within the realm of fashion, often becoming collector’s items. This pair highlights the increasing influence of corporate branding in contemporary culture and the intersection between affordability and exclusivity in the marketplace.

Lidl capitalised on the viral success of these trainers by launching other apparel items, including socks, sliders, and t-shirts in their branded colours.
Archive no. 2021.28.1

#LidlTrainers #LidlSneakers #LidlFashion #LidlStyle #BudgetChic #LidlExclusive #LidlLife #SneakerHeads #ViralFashion #AffordableFashion #LidlCollectors #BoldFootwear #LidlMerch #FashionOnABudget #TrainersOfTheDay

SCOOTERIST’S MA-1 JACKET
Maker unknown
1984
While scootering had been a popular means of travel for young people from the 1950s onwards, the National Scooter Riders Association rallies in the early 1980s increased its popularity. This MA-1-style jacket is embellished with patches from British scooter rallies held between 1984 and 1993, including several designed by Paddy Smith, who began designing and selling cloth patches to fellow scooterists at the 1981 National Rally in Great Yarmouth. By 1983, he was producing patches for each of the nine national scooter rallies held at Morecombe, Weymouth, Yarmouth, Dunbar, Weston-Super-Mare, Scarborough, Isle of Wight, Southport and Skegness. The patches quickly became a way to identify fellow rally-goers. Not only do they commemorate the scooter runs, but they also highlight the changing fashions in scooters, customization and graphic design.
Nylon, Cotton
Archive no. 2022.50

From chapter 4, TRAVEL. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#WestminsterMenswearArchive #MenswearHistory #FashionArchives #MenswearDesign #FashionResearch #ArchiveFashion #ScooterCulture and #ScooterGang. #ScooterDaily and #ScooterVibes #ScooterMods #ClassicScooter and #VespaLife #ScooterMeet

SCOOTERIST’S MA-1 JACKET
Maker unknown
1984
While scootering had been a popular means of travel for young people from the 1950s onwards, the National Scooter Riders Association rallies in the early 1980s increased its popularity. This MA-1-style jacket is embellished with patches from British scooter rallies held between 1984 and 1993, including several designed by Paddy Smith, who began designing and selling cloth patches to fellow scooterists at the 1981 National Rally in Great Yarmouth. By 1983, he was producing patches for each of the nine national scooter rallies held at Morecombe, Weymouth, Yarmouth, Dunbar, Weston-Super-Mare, Scarborough, Isle of Wight, Southport and Skegness. The patches quickly became a way to identify fellow rally-goers. Not only do they commemorate the scooter runs, but they also highlight the changing fashions in scooters, customization and graphic design.
Nylon, Cotton
Archive no. 2022.50

From chapter 4, TRAVEL. From the new book, Inside the Westminster Menswear Archive, published by Bloomsbury.

The book features over 140 key garments from the Westminster Menswear Archive, meticulously photographed and annotated to offer a detailed look at the evolution of menswear over the past 275 years.

#WestminsterMenswearArchive #MenswearHistory #FashionArchives #MenswearDesign #FashionResearch #ArchiveFashion #ScooterCulture and #ScooterGang. #ScooterDaily and #ScooterVibes #ScooterMods #ClassicScooter and #VespaLife #ScooterMeet

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