men's fashion

“I was looking at people who are so natural in their clothing, they think they’re blending in, but they’re totally not. There’s a real freedom to it,” said James Long.

It was a neat illustration of how little, despite all the fuss, has actually changed in British menswear since Margaret Howell started out in the Seventies

In his typically cryptic style, J.W. Anderson treated the audience to a show that we have yet to understand – a peek into the confluence of #pastpresentfuture, as the designer put it on social media.

The title of father-and-son team Joe and Charlie Casely-Hayford was nicely apposite for London menswear's themes as a whole: OF INDETERMINATE ORIGIN. That's not to say you couldn't have picked apart all the disparate threads of this, or any other of this week's shows: Nineties hip-hop, Sixties Mod discipline, rave-era Ibiza, Northern Soul, and all the other reference points that have clung round every collection. It's that all those things have become so melded together, so fused into something familiar yet strange, that the points of origin matter less and less. Instead, they're elements garbled in translation, warped and stretched into hybrids so far evolved that they've become almost entirely separate things.

Not the first time a designer does not employ models so they look new proposals. But this is a big production of Lee Roach, covers all the details. First we see the extraordinary designs clothes, beautiful jackets, fine shoes, everything as if it were a work of art. All details including the arrangement of the mannequins was very well done.

One of the most striking outfits in Matthew Miller's Spring presentation featured a smartly tailored blazer over a linen tunic that hung in shredded tatters.