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Oxblood red begun, this season, with an undoubtedly sinister approach from designer Christopher Kane. His differentiation from last seasons elegance boiled down to lacquered fabrics, adding a dense shine, depicting connotation of fresh blood, nothing here was conservative. Outerwear came in the form of full-length coats, opened of course, to reveal cut out cropped bustier tops in dominating black leather. Contrasting to this was Aquascutum, again following in form with outerwear this oxblood was far more demure, dull even. Boxy, turned down collars framed full-length coats with buckled cuffs and a patent leather trims.

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This season we’re looking at oriental brocade, embroideries and prints. Both here in Europe and across the pond there has once again been a vast Eastern influence in many designers’ collections. From Jason Wu’s Ming Dynasty warriors to Proenza Schouler’s Samurai inspired take on ‘protection’ this season saw an integration of Eastern influence reformed and redefined by its Western aesthetic.

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After a spotlight surrounding the Middleton’s, courtesy of Sarah Burton, there was a lot at stake this season for the McQueen mainline. This season the male became rigid and stiff through firmly structured suit jackets and high breasted double buttoned blazers with a feminine edge.

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Raf Simons edged well away from the vast Crayola colour box we were familiar with last season. Illuminated oranges and intense violets were rinsed under a hot tap and the palette wiped clean to leave behind, a colourless mix of harsh leathers and high-waisted shorts in lightweight wools boasting only patent blacks and deep neutral navy.

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I, myself, have forever been an adoring, unofficial ambassador, and fan of Neil Barrett. His latest collection saw two toned jackets and tailored monotone print trousers come together in a shake up of the traditional young man’s evening suit. Turning it on its head and creating, in the unorthodox Barrett style, an androgynous feel through leather and wool.

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Christopher Bailey has confronted the boundaries of quintessential British design with a post-modern approach to which the Prorsum collection always delivers ambiguity. The masculine tailoring partnered with belted waistlines and hide trimmed duffel coats gave way to a collection far more feminine in fragility than previously suspected. Yet before Bailey’s U turn in gender related design an opening of virtual rain decorated the head board to the catwalk whilst finishing with a much more real type of wet as rain ultimately drenched the entire catwalk.

Unlike Bailey’s tendencies to stick firmly to re modifying the classic and masculine trench coat we were greeted with the likes of astakhan collars framing tailored caban coats in soft baby blues and check felted wool. Shawl collars made entirely of mink decorated black top coats whilst brown mink coats were complimented with lighter shades of suede trimming.

The feminine stance taken by Bailey delivered much deliberation as to the capability of conforming to a sales target, with shawl collars made of mink raising a traditionalist eye brow or two the approach for this collection was certainly no macho mans dream. In fact, the collection gave off a much younger, metro sexual appeal. Over sized sculptural coats engulfed the models with skinny legged grey trousers. The image partly gave way to interpretation of “dress up”. The image of a young boy dressed in his fathers clothes was created through size and the sheer strength in material Bailey decided upon using.

Single breasted trench coats made of laminated wool in bright amber were accompanied with nylon tote bags in dark wine whilst an over sized sculptural coat made entirely of mink fur with leather binding was paired with fur flap caps.

Bailey has been scrutinised for his latest menswear collection yet it is necessary to remember that Burberry has always been an out-wear label and through Bailey’s curiosity and exploration with the elements he ripped the roots of the Prorsum tree out of the ground and displayed them in a rather re-invented manner.

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