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London College of Fashion


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Introduction These are some of the most creative and innovative fashion graduates in the world; guaranteeing an exciting future for the British Fashion Industry Harold Tillman, CBE , British Fashion Council

Menswear design has often been considered as the more stable and sober companion piece to womenswear. With its regulation silhouette and set pieces, it emanates a reassuring consistency. For some designers from London College of Fashion’s Graduate School, this view is annually opposed. Here, the discipline of menswear is a live, dynamic field where innovation and craft intercept at the crossroads of modernity. Over the last eight years, its graduates have been building an international reputation for menswear design that asks questions and presents unexpected solutions to the mainstays of menswear design and garment construction. Material, form, function, surface and silhouette all become fluid concepts, open to designer interpretation and individual philosophies. Issues of technology, sustainability and innovation often frame the work, which is challenging, pioneering and aesthetically compelling. London College of Fashion, part of the University of Arts London is where contemporary menswear moves forward every year to challenge expected notions of convention, gender and taste. It pushes at established boundaries and develops influential, innovative responses resulting in unexpected silhouettes and often surprising statements. "There is an interchange and exchange of ideas and functions: performance wear with luxury, workwear with tailoring, leisurewear with heritage. Experimentation and heightened creativity is in the air and is now translating into a visible presence" believe Wooter Baartmans and Amber Seigle of Baartmans and Seigel, LCF graduates who have been stocked at Harrods for three seasons. The twenty first century studio is a cross between the traditional atelier and a scientific laboratory where new forms and fashions are explored and tested: fibre technology and garment engineering work alongside traditional decorative techniques and draping on the stand. For these pioneers of the male form, the results are hybridized; a cross between couture, classic tailoring, sculpture, architecture and art. Each designer’s collection is born out of theory and experimented with in the workshop, always looking forward, never back. In this curated archive of design work that spans eight years - indicated by the number and date after each creator’s name - we celebrate some of the most exciting work to emerge from LCF's Graduate School and herald tomorrow’s leading names in menswear today.

Opposite page: The classic trenchcoat is remodelled with triangular panelling in mushroom coloured silk gazar. Combined with ivory crepe jersey turtleneck and pearlised mushroom leather pants with integral belt by Ongun Ulker, MA_11

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This page: The exaggerated proportions of this man’s tuxedo, cut high in the chest with a cropped jacket are spotlighted on the frame of a young boy by Matteo Molinari, MA_11

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This page: The same tuxedo takes a fresh perspective on proportion and creates a streamlined, elegant matador silhouette with a cropped jacket combined with high waisted trousers. The tuxedo is worn shirtless with Gibbins Half Chaps by Saunders Rushden of Regent, Northamptonshire available at Harrods. Matteo Molinari MA_11

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Opposite page: An exercise in modern economy, this shirt is cut, folded and stitched from one piece of cloth without any waste by Walter Bucholtz MA_08

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This page: Based on theories of personal space, this design plays with the idea of garments creating barriers and boundaries between ourselves and the outside world. Black wool coat by Vigin Lo MA_12; Hat by Vesna Pesic, MA Fashion Artefact alum for Svenn Hoppe MA_11 Opposite page: An exercise in contemporary collage, the base of this skilfully cut jacket is made in chest canvas with inserts of hand tinted latex by Sven Hoppe MA_11

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This page (left): Traditional leather and saddlery techniques are the basis for this sculpted and moulded piece of equestrian influenced leather armour, fully hand crafted in England. The designer collaborated with Capel Manor Saddlery to learn how to construct a saddle then adapted the techniques to produce this startling waistcoat by Mary Wing MA_07 This page (right): Posing interesting questions about sustainability, the creatures in this outfit which combine pheasant, goat, jay bird, rabbit and squirrel, were all sourced as waste products from a taxidermist. Underpinned by the physco sexual, screen play structures from the films of David Lynch, it is a garment that has layers of meanings and interpretations by Merve Tuna MA_10

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This page: Strikingly silhouetted body piece, this corset combines technology and traditional craftsmanship. Each horn is cast from Malaysian Yak and moulded with its own integral flange that allows it to be applied to the body piece. Each horn is filled with varying viscosities of silicon that determine the weight, rigidity of movement before being overlaid with another corset and laced into position. Issues of male body dysmorphia and the beauty of abnormality is celebrated in this unique and extraordinary piece by Russell Hindmarch MA_11 With its subtlety, there is so much to play with – more scope than womenswear to create new looks. Queenie Huang, Tank magazine, SS 2011

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Opposite page: Technology meets tradition with this hand illustration of a man’s portrait digitally printed onto silk twill with a matching silk scarf by Joseph Turvey MA_12 This page: This sherbert yellow and white jacket is cut from translucent Nylon and constructed using a combination of French seaming and sonic welding by Russell Hindmarch MA_08 Next page: A body responsive approach to knitwear, cashmere cable sweaters feature a subtly curved J shaped sleeve and yoke sleeve that mirrors muscle tone. Tactile and familiar sweaters, scarves, gloves and hats all hand knitted in England. Orylag, a type of Chinchilla, was used to make the sleek fur gilet. Jogging pants by Domingo Rodriguez MA_10 at Asos.com The future of menswear promises to be bright in every sense. Karen Dacre, Evening Standard

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This page & page 18: This Umber Carbon Fibre suit fuses unexpected materials and ingenious construction. The jacket and trouser pattern are marked onto the reverse of the cloth within one continuous lay. The ‘net line’ is taped; the surrounding fabric then deconstructed to form integral fringing. The suit is constructed using the edge of the tape as the stitch line by Dimitri Stavrou MA_10 Opposite page: The classic white man’s shirt is beautifully revived with intricate seaming. Panels are cut into the base fit of the torso, collar and sleeves while folded triangular inserts fan out of the seams by Ongun Ulker MA_11

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This page: Gingham silk twill is the basis of this futuristic, modular design concept, where each piece is created to work independently and inter-dependently. Each item can be deconstructed through the use of zipping and worn across different fabric types and styles to uniquely customise the wearer’s look. Here, we see full trousers, shorts and boxers with a tailored jacket. Nicholas Komor MA_11 Model wears Blenheim Bouquet eau de toilette by Penhaligon's Sponsored by YKK

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This page: The hair shirt was never more seductive than this which was achieved in the following way. A man has his haircut wearing the toile of this shirt. This is photographed and digitally transferred onto the pattern which is then constructed in the traditional way. The trousers employed wig making techniques using synthetic hair imported from the US. Jula Reindell MA_08 Opposite page: The jacket is cut. Each palette is marked on. This is transferred to card and then the final toile is made to check function. Each palette is made individually by hand from a light soft wood, drilled and stained. The jacket is then embroidered as part of its regular production method. Yan MA_11

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Opposite page (top left): Hand crochet is given a masculine edge with this jacket produced by the designer’s Aunt Santina in Northern Italy. Each component panel was individually made to a toiled pattern dimension. The crochet notation was taken to repeat the panels across left and right to ensure a balanced fit. The trousers are cut loose in the thigh and slim in the calf. Eyeglasses developed for the St Pancras Renaissance Hotel. All by Matteo Molinari MA_11. Timepiece by Yves Saint Laurent. Opposite page (top right): Artfully folded and seamed, this white and grey silk/cotton panelled shirt presents a thoroughly modern approach to geometric styling. The panels are cut into the base fit of the torso, collar and sleeves. Folded triangular insets radiate out of the seams in a contrast colour by Ongun Ulker MA_10 Opposite page (bottom left): A languid lounge suit for the twenty first century, the designer’s father, a celebrated Chinese artist, hand painted the goldfish on this silk ensemble, during the process of manufacture in his Beijing studio. Raising questions about slow fashion and fast, the dialogue between art and fashion and the easy convenience of digital technology, this design bridges cultures and concepts by Ying Wang MA_08 Opposite page & cover image (bottom right): A compelling design originated from drawing birds in motion, the Black Swan neckpiece is created with nylon boning covered in hand stitched black grosgrain ribbon. Looped again and again, it encircles the wearer in gentle, swirling movement by Venice MA_07; Black wool turtle neck by Vigin Lo MA_12; Black wool trousers by Matteo Molinari MA_11 This page: The subtle richness of unexpected textures, weights and ethics come alive in this aubergine laminated synthetic fur coat apposed by the hand dyed mink collar of the double breasted wool coat. Felt hats by Vesna Pesic, MA Fashion Artefact alum for Amber Seigel by Amber Seigle BA_10 and Baartmans and Seigle Collection AW11

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Opposite page (top): A decidedly post-modern take on sartorial elegance which combines a medley of texture and pattern. Penny collared bibbed shirt with recycled kimono tie, hand embroidered with chrysanthemums. Charcoal double breasted wool jacket with hand painted silk pocket square. Trousers in printed and over dyed double face wool jersey. Two tone brogues by Grenson. All by Wouter Baartmans MA_10 We believe in creating innovative garments that contribute to the current landscape of contemporary menswear, a combination of interactive texture and sharp tailoring. Wouter Baartmans This page: Sweater hand knitted in England using navy cotton and silk yarn by Wouter Baartmans MA_10 MA_N / Page. 25


Credits Photographer

Michiel Meewis

Creative Director

Darren Cabon

Hair Fiona Minors & Oonah Anderson Makeup Veronica Simson & Pace Chen Assistants Photography

Carlos Ariel & Ella Louise Sullivan

Assistant Wardrobe

Joseph Turvey

Models David H (Models1), Finn, Jeremy (D1), Jonas K (Elite), Matthew C (Nevs), Nile R & Pierre (Storm) Words Nilgin Yusuf Graphic Designer

David Hardy

Contributor Anthony Glenville Communications

Hannah Clayton & David Revagliatte

Project Founder

Professor Roy Peach

Head of College

Professor Frances Corner, OBE

Press Contact

Rebecca Munro (press@fashion.arts.ac.uk)

More http://showtime.arts.ac.uk/lcf/pg/

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Thank you to all the designers for making this publication possible.


Opposite page: A high frequency concept that combines woven and printed, monochromatic stripes. Each piece of cloth is cut to distort the original fabric pattern in turn creating a new pattern to optical, and almost musical effect by Geoffrey Huang MA_12 This page: Nylon boning covered in iridescent grosgrain ribbon is looped and hand stitched then worked around the body to create great sweeps of movement. The technique originated from life drawing in circular motion and represents a non-pattern approach. This construction method redefines the designer as sculptor and renders their work closer to body art by Venice MA_07 Back cover: Copper filament fabric is the startling base material for five garments layered in a modular cut. The wearer uses zips to build or modify the look by Nicholas Komor MA_11

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