Quite an extensive examination of differing moods and feelings across various style groups, the Topman Design collection for Autumn Winter took in rockabilly, gypsy, heritage and the the 1950s as some of it's influences. Suiting accompanied more relaxed looks including both a refined modern take and also a grungier feel. Rather than go for a looser silhouette though, all the looks were cut and fitted closer to the body, giving a 'straight down the line' masculine touch. Overall the take was one that looked towards varying trends and referenced the key elements. While it may be dissemination in some form, there is of course, new, and interesting ideas added into the mix.
Dazed Digital: What inspired this season for you?
Gordon Richardson: Lots of things. Initially we started looking at the photographer Brassai's work, shot in Paris at the turn of the century. They are all incredibly moody, mystical, ethereal. Often fog lit with the light coming through, so that's where our mood came from with the smoky feel.
DD: What about the more 1950s looks?
Gordon Richardson: We then threw in that kind of 50s thing because we wanted the collection to have an emerging, young feel. We then moved into the heritage thing that is happening at the moment. Because it's Topman though we have to kind of turn that on its head, otherwise it can become something very serious which isn't really us. That's where the Romany gypsy thing and also the rockabilly elements came from.
DD: Where was the inspiration behind touching on the Romany gypsy aesthetic?
Gordon Richardson: Alistair Mackie who works with us wanted to add that into the mix. We always have this Topman boy and this Topman world. When you are working with a team of designers it can easily go off and become quite serious and quite introverted. It's really good to have someone like Alistair come in and curate it. Move it on and make it more real, put it in a time slot that feels right for Topman. He's instrumental in that.
DD: Can you talk me through the colours?
Gordon Richardson: The colour pallet was quite muted initially but if you get close to those fabrics, the tweeds, you can see there is actually a lot of colour in them. Then we just wanted something strong and dynamic so pulled in the blacks, reds and white to give it punch.
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