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Like Gucci’s Alessandro Michele and Giorgio Armani, Craig Green favors evolution over revolution when it comes to his collections.
Ongoing themes around uniformity, tribalism and the human form are recurring inspirations for the London designer. This time was no different. Green’s clan of travelers walked down the runway, set underground at London’s The Vault, in sections like comrades.
Obviously the two piece workwear suits Green’s label has become synonymous for were present, this time in bright quilted silks, bonded leather, and material resembling brown paper lunch bags. His “lantern men” came in laser-cut, luminous craft paper in bright neon shades.
What was different was the individual, take away the group and what’s left Green questioned?
“There was this weird Egyptian thing running through [the show],” says Green. “It’s almost when you go into a tomb. In your whole life, you’re never as protected as then.”
Human form in its truest essence in that respect, where the idea of the individual within a group is taken literal by looking at one’s anatomical self (flower-shaped embroidery on chests referenced anatomical drawings of womens’ breasts.)
Self-reflection and identity was what inspired the long mirrored runway, as well as the cut out paper doll-like hands and feet shapes draped over the body, like arts and crafts made by children during Easter Green mentions. “Dream suits” Green call them. Others were covered in tiny shisha mirrors across their trousers, shirts and outerwear with stitching around the chest, meant to ware of evil spirits.
“It’s about transformation, lightness and skin.” So shedding the old for the new like reptiles. Naturally so, his debut sneaker collaboration with Adidas on its Kamanda model, resembled bright green lizards, ghosts and animals from another time, mentions Green. One was covered by the sneaker’s signature ribbed sole pattern across its upper, others came in neon yellow, blue and orange. Green’s partnership with leather footwear maker Grenson was renewed for another season as well.
The idea around human evolution reached a crescendo in its second half when a lineup of men with black rain coats, shiny shirts and dark pants with nude human bodies in trompe l’oeil effect walked to Q Lazzarus’ “Goodbye Horses”.
“I read they used to measure faces to reflect a certain type of person,” says Green of the purple lines cutting the bodies in half.
The power of Craig Green is his incredible skill to mix fashion forward design rooted in narrative, pleasing editors and fashion critics, while appealing to the masses with the commercial shapes of his clothes. Not an easy feat.
Today, Green proved he continues to lead London’s men’s scene.