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London – “Dialing on Britishness,” Burberry’s cry seems to lend itself more to the battle of big brands as it tries to carve itself out, giving in to the latest standard-bearer’s instinct to be defiant. Daniel Lee Bottega turns Veneta into a confrontational beauty that sets the house on fire. Burberry’s new CEO, Jonathan Akerroyd, clearly hopes to work the same dark magic here. And why not? What is “Britishness” now is the destruction of decency and dignity and common sense, led by the ruling party’s decency, which has put the Tory in a happy “predator”. Perfect fodder for bad-eyed opponents like Danny “The Red” Lee.
Well, that wasn’t what happened Monday night. The event’s purpose-built venue was just steps from the Oval, the home of cricket, which centuries-old tradition dictates as the national sport. And the most convenient tradition proof Lee’s first collection was heavy for Burberry. After the show, he praised the brand’s archivist, who referenced fabrics and accessories from the past. Some of the fabrics from the old English mills were a century old. A 1920s-style flimsy tea dress or floating chiffon tent cut out looks like it was designed for a weekend in a country house in a distant time and place.
Lee accessorized Burberry’s outdoorsy look with a faux duck print, oversized holes, fluffy (faux) fox tails, fishing lures (they were actually fake feathers, meaning fishing lures) and a bright blue caftan. And solid plaids and trench coats, of course. All that is “very British” in Lee’s eyes, because he sees the essence of the brand as “functional”. One of the main instructions of Akeroid is to enable accessories. That’s a big challenge for Lee, because Burberry has never had such a narrative. And he showed bags that were designed to hit the floor, in his words, not expensive because of their bulk. And that’s an act that speaks to a world that’s choking on frou-frou.
At the same time, Lee emphasized another kind of Britishness in heraldic references: a Burberry knight on an asymmetrical T-shirt dress, a cluster of cans on a sweater shoulder, chicken feathers on a turtleneck and, most of all, the classic English rose, the theme he chose to dominate his debut. “Rose is not always… red,” declares the t-shirt, with the flower playing in shades of blue, which Lee chose to represent Burberry, just like his Bottega in bright green. And all this leads toAlmost– The comfort of tradition” I mentioned. I think Daniel Lee is a master metaller, an arch discombobulator, a master of deconstructing the familiar. You can see it in the way Burberry’s signature plaid is laid to the side. Or depicted those roses in such unique noir colors (I mean, brown Not my main rose shade). A model carrying a hot water bottle in a velvet bathroom rose printed in shades of forest mustard and brown could have come straight out of a 1950s British kitchen sink drama, which could have prevented the rise of leather-trimmed luxury. eccentricity between hems, and hair-cut mules.
My curiosity was equally piqued by the shoes. Clark Thomas is a fine British shoe brand founded in 1825, three decades before Burberry founded the company. In the year In 1967, Clarks created a mutant moccasin called the Wallaby. It became the shoe of choice for many youth cults, and Patrick Cox’s Mutations later went on to rule youth cults like Wannabe. In other words, a style that adapts itself to reinterpretation. Lee showed off his massive tongue, a clipped version. All but he shouted It should be 2023. That means mission accomplished for Lee Payers.
So, back to “Britishness” in an age when “being British” is more sympathetic than the rest of the world. Lee insists he wants his Burberry to celebrate everything British: its Westwood-ian creativity, its uniqueness. The t-shirt talked about “Winds of Change”. Change for him, change for the brand. He thought it was a funny little touch (the song of that name by the stentorian Scorpions became the anthem for the fall of the Berlin Wall). But Lee chose William Bevan, a recording genius called Burial, who was close to the bone for the soundtrack. The age-old crack of voices at funerals is today’s closest to the dystopian reality of “Britishness”.
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