Rising Fashion Stars Walk the Awards Season Red Carpet

Gal GadotMTV Video Music Awards, Show, Los Angeles, USA - 27 Aug 2017WEARING PRABAL GURUNG

Another round of red carpets means another round of gorgeous gowns, and a golden opportunity for up-and-coming fashion designers to savor a coveted moment in the spotlight. Hot on the heels of the Golden Globes nominations, we asked stylists Cristina Ehrlich (who’s dressing nominees Alison Brie, Allison Williams, Greta Gerwig and Laura Dern), Micaela Erlanger (Meryl Streep) and Elizabeth Stewart (Jessica Chastain) to share which rising stars they’re eyeing this awards season.

Michael Halpern

“He’s fearless — he’s not afraid of sparkle, he’s not afraid of drama, and he likes to go for silhouettes that are very daring,” says Ehrlich of London-based New Yorker Halpern, whose 1-year-old label has fast become a red-carpet favorite. “It’s divine, it’s exciting and it’s unlike anything I’ve ever seen before.” Erlanger recently chose Halpern for clients Lupita Nyong’o and Diane Kruger. “You get this underlying sense that he loves a woman’s body,” says Ehrlich. “He looks at a woman like a canvas, and he drapes her, and the more unpredictable,
the better.”

Simon Porte Jacquemus 

“He plays with shape and volume in a very interesting way, but it never compromises a woman’s figure,” says Erlanger of Paris-based Jacquemus, whom she discovered on Instagram. She then “ordered a bunch of his stuff” online in order to try it for herself. “His shapes are very unique, but they were very flattering,” she says of the 27-year-old designer. “He’s taking the woman as a feminine template, and saying that she can be so many different things now,” says Ehrlich, “and that you can go out of the comfort and the confines of classic dressing to look really, really beautiful.”

Gabriela Hearst

“She’s a woman, and she designs for a woman,” says Erlanger of the Uruguay-born, New York-based designer whose namesake label is just 2 years old. “Her tailoring is impeccably done and her workmanship is divine. There’s something really important about understanding shape and fit and structure, and she nails it. Her work isn’t overly complicated; it’s not trying to be anything more than what it is, and it’s so beautifully done. You want to wear her clothes — women want to wear her clothes.”

Yacine Aouadi

“His work is unique, fresh, interesting and beautiful,” says Stewart, who was so taken by Marseille-born, Paris-based designer Aouadi’s debut couture collection, she plucked a dress from the runway for Cate Blanchett. “He had a show OUTSIDE the Chanel show in Paris to grab the editors who would stop by — I stopped by!” says Stewart of how she discovered the then-unknown designer. “Cate has a great eye for design and a willingness to take risks, I knew she would be up for it,” says Stewart of the “tattoo” dress Blanchett wore to a premiere in
New York.

Guy Laroche

Recently appointed creative director Richard René has breathed new life into the storied French label founded in 1957. “What he offers is this clean, sleek, very feminine, but very sophisticated and smart sensibility,” says Ehrlich of René’s new-look Laroche. “This is for the woman who likes clean classics, and is obsessed with tailoring. It’s sexy, but just the right amount of sexy. To me, if Helmut Newton had a uniform, they would all be wearing Guy Laroche. I have a silhouette lined up for one of my girls, which she’ll be wearing soon.”

Prabal Gurung

“I’ve always liked his twist on things,” says Stewart of the New York-based, Nepal-born designer whose star has been steadily rising. “I connect with him on a personal level, his politics are mine, he operates like I do.” Gurung’s been using his growing platform to advocate for change. Some of Stewart’s favorite Gurung moments include Gal Gadot at the VMAs (pictured above), “many moments with Jessica Chastain” and January Jones at the Emmys in 2014. “They are such a good match,” notes Stewart of Gurung and Jones, “both a little off the beaten path.”


“What I love about Y/Project is that it’s unpredictable,” says Ehrlich of the Parisian label helmed by Belgian Glenn Martens. “It’s about showing sexy, but sexy in a very unpredictable way. There’s an intelligence to it. It’s about very clean, very specific lines, and it’s about layers, and it’s about being daring. These are pieces for a woman who really knows who she is. When you wear a brand like Y/Project, you’re not looking to enter a room and disappear; you want to really stand out.”

Vivetta Ponti

“Vivetta is phenomenal; she has the couture craftsmanship and point of view,” says Erlanger of Milan-based Ponti. “It’s really fun and out there and sometimes that’s what you need — a good dose of fearless fashion.” The label founded in 2009 only recently garnered international attention. “I haven’t even had a chance to request it yet because it’s just come on my radar in the last couple of months. But I’m happy to have discovered her work.”

Esteban Cortázar

Since relaunching in 2012, the Bogotá-born, Paris-based designer has attracted a legion of A-list fans, including Rihanna, Gwyneth Paltrow and Cate Blanchett. Of the look Blanchett wore to the premiere of “Carol” in London, Stewart says she has “an unabiding love for how Cate looked in that dress.” Cortázar, who was the youngest designer to show at New York fashion week, at 18, is enjoying a renaissance. “I have a moment coming up I’m very excited for, kicking off award season.” Stewart says she and Cortázar “bonded over a mutual love of donuts.”


“I’m so drawn to the shapes, and the use of materials and sequins and patterns,” says Erlanger of Attico, launched by Italian street-style stars Giorgia Tordini and Gilda Ambrosio last year. Though just a year old, the Milanese “It” girls are fast become “It” designers. “It’s a very interesting take on women’s wear,” says Erlanger, who hasn’t yet had an opportunity to dress her clients in Attico. “Not for lack of trying, that’s for sure. They’re in such high demand, and there’s one sample set to go around!”



Is the Fashion Wearables Love Affair Over?

An Apple Watch displayed at CES 2018 in Las Vegas. Credit Ethan Miller/Getty Images

Ssssh. Listen. Do you hear that?

That resounding silence emanating from the fashion world about the Consumer Electronics Show in Las Vegas, a.k.a. one of the biggest consumer tech product events of the year? It was only three years ago that wearables were the buzzword of the runways, predicted to trend in closets everywhere. Now they barely merit a mention.

It’s probably going too far to say that the love affair between fashion and technology is over. But it certainly seems to have cooled.

While there are still plenty of designer-name smartwatches coming to market — Fossil just introduced a style in collaboration with Kate Spade; Louis Vuitton entered the sector last year, teaming up with Google and Qualcomm Technology — they are not generating nearly the same flushed excitement that they once did.

Remember when?

In 2015, Brian Krzanich, the chief executive of Intel, gave the opening keynote speech at CES introducing a buttonsize computing system called Curie that was touted as a tool to change how our clothes function. It was part of a wearables push that included a smart bracelet made in collaboration with Opening Ceremony and smart glasses made with Oakley.

And that address followed the long-lead drumroll for the Apple Watch, which was introduced to the fashion crowd to great fanfare the previous September, just in time for fashion week. (There was so much breathless expectation over the product that some editors prioritized Cupertino, Calif., and the reveal over the New York ready-to-wear collections.)

Marketed as a must-have accessory, the Apple Watch seemed a clear sign that Apple had its sights set on style, especially after the hiring of the former Yves Saint Laurent chief executive Paul Deneve and the former Burberry C.E.O. Angela Ahrendts in 2013, and the former Tag Heuer executive Patrick Pruniaux in 2014.

The next year, it was announced that Apple had teamed up with Hermès to create straps and watch faces. More brand partnerships were rumored. Apple sponsored the Met Gala in 2016.

But Mr. Deneve left Applequietly late last year. Though the watch’s market share has grown, increasingly, it seems as if most of the focus on wearables has shifted to health and functionality, as opposed to aesthetics, and most of fashion’s focus on technology has shifted to production and manufacturing (3-D printing, A.I.), not new categories of items.

Maybe we should have expected it. I remember sitting in a Paris hotel room during the women’s wear shows as Jonathan Ive of Apple showed me the first Apple Watch and asking (I was skeptical) what it would do. He told me they didn’t really know; that they would have to see how people used it to understand what it would really become.

Presumably that’s what’s going on now.

When fashion and tech first started making goo-goo eyes at each other, there was a lot of speculation as to whether two such different worlds could ever really mesh. You could understand the attraction. Often as not they share the same consumer, who is making choices about whether to buy, say, a phone, or a coat. Design matters deeply to both sectors. There was a lot of talk about learning to speak each other’s language.

And they probably have, to a certain extent. Smartwatches were the beginning. But if this is going to be a meaningful partnership, that can’t be the end. Especially because no matter how many designers and brands get involved, the end result seems to look pretty much the same. There is only so much you can do, style-wise, within the engineering limits of the wristwatch form. As a result, you get what we have now which is … yawn.

The problem is still that, a few smart sportswear items aside, no one is really sure exactly what role technology should play in the rest of our wardrobe. What do we want our clothes to do, beyond what they already do? Maybe temperature control, often fantasized about. Maybe not.

Because here’s the thing: Fashion choices have always communicated — about identity, values, community — pretty effectively to the world. Even without Siri or Alexa to help.

Golden Globes: All-black fashion effort is ‘bigger than a best dressed list’

Theme: ‘don’t stand out, stand up’

(CNN) – The Golden Globes red carpet has been home to many iconic fashion moments, but this year’s pre-award show promenade will be fueled by one mantra: don’t stand out, stand up.

Black dresses will rule the red carpet at Sunday’s Golden Globes in a show of solidarity for the mission of anti-sexual harassment group Time’s Up.

The organization, which was made itself known officially this week, formed after allegations against former movie mogul Harvey Weinstein came to light in a story by The New York Times in October.

Director Ava DuVernay, producer Kathleen Kennedy and dozens of celebrities, including America Ferrera, Emma Stone and Constance Wu, laid out the mission of Time’s Up in an open letter on Monday.

Time’s Up is advocating for legislation to curtail workplace harassment across industries and seeking gender parity at various entertainment companies.

In addition to raising nearly $15 million for a legal defense fund, the group has encouraged people to wear black to the Globes in a show of support and to raise awareness.

With red carpets often dominated by talk of dresses, hair and jewels, with this effort, the Time’s Up is steering the conversation toward its agenda.

“It’s bigger than a best dressed list,” Karla Welch, a Los Angeles-based stylist of 13 years, told CNN via email.

Welch, who is among the industry’s most acclaimed stylists, has clients who have included Sarah Paulson, Tracee Ellis Ross and Amy Poehler. She first heard about the effort back in December and “instantly thought” it was “going to be powerful and amazing.”

“This movement is incredibly well organized,” said Welch. “All of my clients were aware through their own network.”

Some men are expected to take part, too.

Back in December, stylists Ilaria Urbinati confirmed in an Instagram post that her male clients would be “standing in solidarity with women on this wearing-all-black movement to protest against gender inequality.”

Urbinati’s clients include Tom Hiddleston, Armie Hammer and Dwayne Johnson.

Welch said it hasn’t been a particularly difficult challenge to find appropriate options for her clients because “every showroom and designer has been incredible.”

Incredible, too, she said, has been taking part in “something so unifying.”

“Honestly, for this, it wouldn’t be an option to not wear black,” Welch said. “I can’t imagine working [with] an actor who wouldn’t want to support this.”

Celebrity stylist Phillip Bloch agrees, saying straying from black would be an “incredible faux pas,” even if it was done as a result of simple unawareness of the effort.

“This is not a competition, this is a sisterhood,” he said. “We want everyone to know this is what we’re doing.”

Most important, however, is emphasizing why it’s all taking place, according to actress Connie Britton.

“What we really need to do now is get to the grassroots and get to every day women who have been dealing with these issues and have to sit alone with it and don’t have the resources to empower themselves,” she told CNN. “For me, my hope is that we really get to a place with this movement where it’s not just about Hollywood.”

Source : Local10

Fashion’s cool change

Reality TV star Sarah Roza (next series of Married at First Sight) says that she gets dressed up to go to the milk bar. It makes sense, therefore, that she would put in considerably more effort for one of Melbourne’s summer event drawcards. That includes three big ticket polo days, the Australian Open tennis tournament and a plethora of music festivals: So Frenchy So Chic, Sugar Mountain, St Jerome’s Laneway, to name a few.

While Roza admits that it’s in her DNA to never be casual – “I’m constantly ready to go to the Oscars!” – she’s also observed an increasing number of women going all out for events that are becoming more popular with every passing year.

Sian Scale (Chadwicks agency) wearing. Styling by Jade Leung, MUA Dave Waterman and shot on location at the stables of Lone Jorgensen. Photo: Simon Schluter

“It’s intense,” she says. “I’m constantly shopping throughout the year. And you have to change your look – you often think, ‘I definitely can’t recycle that outfit because I’ve already worn it around the same people’. When you wear a real fashion statement, it often has to go on eBay afterwards. I have bags of clothes that are ready to go to eBay. And the pressure is real: I know people are watching what I wear, because I have messages on Instagram that say, ‘You wore that three months ago at so and so … and they’re coming from men!’ I was shocked when I started getting messages like that.”

We can take our hats/fascinators off to the Spring Racing Carnival for all of this. It’s responsible for a turnover of fashion that marks the spring season as one of retail’s busiest, in Melbourne. According to the Victoria Racing Club’s website, $44.3 million was spent on fashion and retail in Victoria during the 2016 Melbourne Cup Carnival, which translated to 295,397 individual fashion items being bought (more than 49,000 pairs of shoes!). There are entire fashion labels that are so closely associated with the races that they’re now a de rigueur purchase for at least one of the famous race days. But has this sensibility stretched out to summer?

Sian Scale of Chadwicks agency wearing. Styling by Jade Leung, MUA Dave Waterman and shot on location at the stables of Lone Jorgensen. Photo: Simon Schluter

It’s possible it has. Over the post-Christmas sales, in womenswear, Myer expects to sell more than 65,000 dresses and 88,000 tops in its first week. The extent to which warm-weather events influence these figures is hard to ascertain, but two things are true. One, there used to be a social set. Now there’s a social media set, and that younger demographic is giving exposure to more events – and what they wear to them – than ever before. And two, both these events have now developed their own dress codes, so you wouldn’t necessarily want to wear the new outfit you’ve bought to the polo (white lace, natch) to So Frenchy So Chic (where there are more Breton stripes than baguettes).

Other music festivals have developed a Coachella-esque vibe, with Melbourne brand Nana Judy admitting that it designs clothes specifically to be worn there. (It’s a symbiotic relationship; Nana Judy will host the VIP Lounge at the For the Love Festival in February, and it is also working on a potential pop-up after party at the Alfa Romeo Portsea Polo.) Says founder Glenn Coleman, “What’s happening in Melbourne does reflect on our designs. Being Melbourne-based, we’re very involved in the culture of our market. And at these events, people are becoming a lot more daring in their outfits. Guys and girls are wearing more attitude pieces, and are more inclined to dress up.

“People’s shopping habits have changed: everyone wants the newest and latest, they share everything [on social media] a lot quicker and they’re continually buying outfits every week. We used to have four drops a year, and now we have 12 to 14 a year. As a brand, we look to create this culture of going out and having a good time, and when people have these great moments and memories at festivals, good feelings towards our brand directly occurs …we see a spike in sales when there are events, and the event culture is booming.”


Don’t Rip Up the Red Carpet

Fashion has always been worthy of rigorous, smart reporting. But that doesn’t mean we can’t revel in it, too.

A lot of necessary and thoughtful consideration is being paid to how awards shows, the red carpet, and fashion will be covered post-Weinstein: Is an all-black red carpet protest a good thing? Should best (and worst) dressed lists persist? (The Cut says no.) It wouldn’t make sense to think about Hollywood’s most celebratory events in that frothy and self-congratulatory light they are so often bathed in.

The New York Times‘ Styles section has announced that, in addition to the usual style and culture reporters (fashion critic Vanessa Friedman and Hollywood reporter and Carpetbagger blogger Cara Buckley), Jodi Kantor, she of the Weinstein exposé, and numerous others, will also be contributing to red carpet coverage. But, but! The section will still report on and display all the “cool dresses and tuxedos.” Here’s the rationale: “We think this is more useful than exploitative, as red carpet coverage is mostly of women, about, by and for women. Two thirds of the online audience for pictures here of the 2017 Grammys and the 2017 Golden Globes were women.” See, women like red carpet fashion, they reason—the data shows it!

I think it’s great that the Styles section is devoting substantial resources to covering the red carpet this year. In fact, it just unveiled an impressive package devoted to it. What I take issue with here is what feels like justification for embracing fashion for fashion’s sake. As if that kind of coverage would otherwise be too fluffy or shallow to indulge in “in these times.” As if enjoying the fashion on a red carpet is just plain vapid, as Megan Garber asserts at The Atlantic. As if we, women, can’t appreciate a good dress (or cheer for an actress who clearly feels good in hers) and listen to that same actress speak out about the systemic sexism and racism plaguing her industry.

Fashion, and the ways in which women have used it, has always been worthy of rigorous, smart reporting. (Look no further than Robin Givhan’s Pulitzer-prize winning coverage of Michelle Obama’s style for evidence of that.) In part because women have not always been able to use their voices so freely, clothes have long served as a way to make a statement: consider the Suffragettes in white (and later Hillary Clinton signaling their efforts with her own all-white pants suit at the DNC), Black Panthers in militaristic garb and Afros, or Latinx women in quinceañera dresses on the steps of the Texas State Capitol to protest an immigration enforcement law. But that doesn’t mean we can’t revel in fashion, too.

And on ELLE.com over the coming months, that’s what we’ll do. We will report on what this black dress red carpet protest looks and sounds like, and reflect on its success. (The Times’ Jenna Wortham makes a great point about the incredible privilege of this kind of protest.) We will be closely following the nominations, watching for recognition for the work that women do behind the camera as well as in front of it. And we will still find occasion to celebrate the designers, stylists, and makeup artists who work hard to make beautiful things. At the Atlantic, Gerber writes that it would be a “dereliction of duty” for red carpet reporters to ask stars about “sequins and Spanx.” To be sure, the red carpet has an ugly tradition of focusing on the superficial when women walk down it, and it can serve as a platform to speak about more. (In fact, it has! See: #AskHerMore.) But far be it from us to shame the actress who feels fucking great in her dress and wants to talk about that and the next project she’s producing.

In her criticism of the black dress red carpet protest, Robin Givhan argues that wearing black “takes the fizz out of fashion” and is therefore “regressive.” Instead, she thinks women should “Wear red. Wear retina-searing fuchsia or yellow. Wear sequins and rhinestones.” It’s the time to be “seen and heard,” she argues. I’d argue for women wearing whatever the hell they want. And if wearing black en masse feels like an empowering moment of solidarity for women in Hollywood (as it does for nominees Saoirse Ronan and Allison Janney), that’s great. And if another actor wants to wear sequins and feathers because that’s what makes her feel most like herself, that’s great too. Fashion is, at its core, about self expression. And so the clothes we put on are always statements in and of themselves.


Shopping for new outfits for a holiday in Hawaii can add up – unless you go the route of fashion blogger Mia Maples and buy them from eBay.

Planning out her outfits months in advance – because that is how long it took for some of the items to arrive from far-flung retailers – Maples decided to spend her holiday in clothes she bought for about $5 or under from the online auction site.

Filming her clothing experiment for YouTube in a new video, the blogger shows off each item before donning it while on vacation with her family.

While some of the clothes looked a little iffy upon first glance – and on – some of the outfits turned out surprisingly well.

Here’s a rundown of the outfits Maples wore – and the rating each outfit received from the fashion blogger.

Day One

On her first day in paradise, Mia wore a red floral dress, which she purchased from eBay for $5.44 (£4).

The dress turned out to be completely see-through so Mia opted to wear it as a cover-up for the beach instead.

The dress was completely sheer


Maples wore the dress as a cover-up instead

But “the straps kept sliding off” and the blogger noticed “You can’t actually tell what is the front and what is the back so it is like nothing is shaped differently to stay up on you.”

As a beach cover-up: 8/10

As a dress: 2/10

Day Two

For day two, Mia wore the “outfit she was most excited for,” which turned out to be our favourite.

Pairing a knock-off Calvin Klein crop top with some high-waisted workout shorts and a suede-like black baseball cap to go for a hike, the outfit fit well and looked good.

Maples was not a huge fan of the hat size
The “Calvin Klein” top was a hit

Although she expressed concern over the hat, “the beak feels a lot longer than a normal hat,” the shirt was a win for Mia because “it was really comfortable.”

But you could tell the shorts were made from cheaper material from the unravelling of the strings.

Mia forgot to rate the outfit so we did it for her.

Hiking outfit: 9/10

Day Three

On her third day of holiday, Mia ditched a pair of blue pants she had ordered because they “sucked,” but wore a black silk top with lace.

The top, which felt like “real silk” turned out to be her “absolute favourite thing from the entire eBay haul.”

This black lace shirt was the blogger’s favourite item

According to Mia, the top comes in other colours and she is planning on buying those too.

Black lace top: 10/10

Day Four

Mia only wore a top from her eBay purchases on day four, not a full outfit, because she had originally planned to wear it with the blue pants.

She paired the Ebay pink frilly shirt, which was “really great quality” with a pair of overalls to go flea market shopping.

The blogger paired the top with overalls

If you like the top, Mia urged her followers to “just go and buy it because it was super inexpensive and awesome.”

Mia loved this top

Mia forgot to rate this top as well so we took over.

Pink frilly top: 10/10

Day Five

On her fifth and final day of eBay outfits, Mia had returned back home.

Saving the worst for last, Mia’s final outfit consisted of a salmon-coloured skirt with overall straps and a white tube top.

According to Mia, this is the “one outfit that she didn’t think through and just wasn’t a good idea.”

The fashion blogger thought this outfit felt like a kleenex

The straps “were way too long and kept falling off” and the skirt felt like “a kleenex.”

However, the tube top was actually quite nice because “how could you mess up a tube-top.”

The rating says it all.

Skirt with overalls: 1/10

Overall, the $5 clothes from Mia’s eBay haul turned out to be surprisingly cute. So if you’re planning a holiday, or just want to shop on a budget, it looks like eBay may be a useful place to start.

Just prepare for a long wait once you press order.


London Fashion Week Men’s Fall 2018: Ones to Watch

British designers on the rise are getting set to present their collections during London Fashion Week Men’s.

A look from A Cold Wall.

A look from Daniel Fletcher.

A look from Wood Wood.


John Alexander Skelton

Born and raised in York, John Alexander Skelton received his master’s in fashion men’s wear at Central Saint Martins and took on internships at E. Tautz and Patrik Ervell before launching his label last year. Selected by Giles Deacon, Skelton is a recipient of the Sarabande scholarship, an initiative from The Lee Alexander McQueen Foundation that aids young designers. He is working out of a studio at Sarabande in east London.

Sustainability is a key theme for Skelton, who incorporates repurposed materials into his ranges and takes a DIY approach to his work. He has a loom in his studio and many of his fabrics are handwoven, as is much of his knitwear. “Everything I dye is also done by hand using natural dye. The handcrafted element is my signature, in a way,” said the designer.

For fall 2018, Skelton has been working with mills in Ireland, mixing British wool and Irish linen.

“I have been doing a lot of hand weaving, as well, on the loom. I have also done a few natural dyes this time, one using an ancient European dye, the European version of indigo, called woad,” he said.

Skelton’s main focus has always been on the process and materials with unisex silhouettes that are suitable for men and women, such as a hand-crochet knit sweater or a long-knitted overcoat.

Prices range from 400 pounds for a shirt to 5,000 pounds for a coat. The label is stocked in Dover Street Market London, Dover Street Market Ginza and Ware Mo Kou in Japan.

Skelton, who has shown off-season in the past, will be presenting his fall collection at 8:30 p.m. on Jan. 5 at St. Mark’s Church in Dalston. He said that deciding to show his range during men’s fashion week was dictated by his sales strategy. “I have been looking to take my private appointment sales to London from Paris,” said Skelton. He said he plans to show annually.


Now in its fourth season, A-Cold-Wall has been picked up by Selfridges, Oki-Ni, 18 Montrose and Leclaireur in France.

Designer Samuel Ross launched A-Cold-Wall in 2015, and the label is known for its deconstructed workwear and oversized silhouettes.

This season Ross said he plans to explore heavy outerwear and expand on his fabric offer. “Wools and knitted fabrics are a new direction for us,” he said. “Although it’s uncharted territory, I have a concise idea of what I wish to achieve within this specific fabric category. It’s building very well.”

Ross said the business is expanding: The company has increased its global accounts to 52 retailers and moved mainline production to Italy. “Our goal over this last quarter has been analyzing the data over the course of the past year, and to control and structure our growth further,” he said. “It’s about forming predictions and forecasting when specific activations, content and targets must be achieved and rolled out.”

A-Cold-Wall’s runway show will take place at 3 p.m. at the BFC Show Space on Jan. 8.

Daniel Fletcher

Daniel Fletcher plans to shake up the way he showcases his range by opening with a catwalk show at The Institute of Contemporary Arts, where models will assemble in a standing formation. He also plans to collaborate with a number of artists to create the set.

“It’s quite grand and traditional,” said Fletcher of the venue. “But I am hoping to bring something modern to it. I feel like dressing a little more formally, myself, in the winter, so there are a lot of pieces which people have come to expect from me — silk shirts, leather pieces and sportswear base layers underpin the collection — but it doesn’t feel quite as sporty this season.”

Fletcher, who launched his label last year, has built quite a résumé since graduating from Central Saint Martins. He was snapped up by Kim Jones at Louis Vuitton to work on the brand’s men’s leather accessories. Fletcher also mentored Antonio Banderas when the actor was studying fashion design at Saint Martins. He also consulted on J.W. Anderson’s men’s wear this season.

“It has actually given me a lot of freedom,” said Fletcher of consulting at J.W. Anderson. “The team is a lot bigger there and to have the support of a whole atelier, fabric and product developers and everyone else there has allowed me to be more free in the way I design, as I don’t have the restrictions that come with being a small brand.”

Fletcher is currently stocked in 16 stores and works with his sales team from Awaykin. “We have focused on working with one key store in major capitals and then making sure we work closely with them to get a good sell through,” he said. “This seems to have worked and my production is running smoothly now so we are hoping to increase that this season. But I want to make sure that those stores that have supported me from the beginning are prioritized. I haven’t had any investment yet, but this is something I would consider if I find the right person. Cash flow is the biggest challenge for me as well as running the business, so to have some support on that would help me to take the brand to the next level.”

Fletcher will be launching with Ssense — his first online-only stockist — in January and he has started working with a few more stores in Tokyo such as Opening Ceremony, Beams International Gallery and Urban Research. He said he wants to develop his e-commerce business next year. “It has been a strong part of my business since I started,” said Fletcher. “But I feel there is a lot more I could be doing, and there are huge benefits for a brand being able to sell directly to our customers, both in terms of profits and understanding how people buy and wear the products.”

Fletcher will stage his presentation from 1:30 to 3 p.m. on Jan. 7.

Wood Wood

Danish label Wood Wood will make its London Fashion Week Men’s debut with a presentation on Jan. 6 at a location that’s yet to be confirmed.

Launched in 2002 by childhood friends Karl-Oskar Olsen and Brian Jensen, the Copenhagen-based brand is known for its streetwear aesthetic. It has shown during Copenhagen Fashion Week, and during Berlin and New York fashion weeks.

“London is important as a fashion metropolis. The best designers in the world are from London and I see it as a test on where we are,” said Olsen. “If we can make a successful presentation in London we must be doing something right.”

Olsen describes the Wood Wood man as a person with a mind of his own who has a cultural consciousness and is interested in street culture.

The designers both attended the Royal Danish Academy of Fine Arts and launched their label after Olsen, who studied spatial design, graduated in 2002. Jensen studied visual communication and graduated in 2007.

The brand has collaborated previously with a number of labels including the likes of Nike, Adidas, Converse, Onitsuka Tiger, Champion, Eastpak, Barbour and Penfield.

Prices range from 35 pounds for a cap to 450 pounds for a leather jacket. The label is stocked in Liberty, Goodhood, Harvey Nichols, Le Bon Marche and Isetan.

“We don’t change our concept season to season but try to reflect the times we live in,” said Olsen. “We have taken inspiration from films like ‘The Breakfast Club’ and ‘St. Elmo’s Fire’ — films from our youth about growing up, and the state of mind we were in, going from lazy teens to becoming more ‘responsible’ as an adult. 

“We’ve taken bits and pieces from here and there and transformed it into a modern ‘Americana” look,’” he added, “a rich variation of fabrics like corduroy, nappy wool, denim and nylon. The most significant artworks are the patchwork story along the youth-addressed placement: ‘leave me alone with your own attention,’ ‘fan club’ and ‘before and after,’ which is a direct hint to the transformation from youth to adultness.”

Wood Wood will stage a presentation from 2:30 to 4:30 p.m. on Jan. 6