There’s Nobis-ness like snow business! Well, actually there is. Known for its technical winter parkas and a relative newcomer to the world of luxury outdoors, this Canadian brand was founded just over a decade ago. Nobis - meaning latin for ‘us’ - was founded by Robin Yates, a keen huntsman and personally involved in testing all new jackets, material and details, regularly sleeping out on frozen lakes and riding skidoos across the tundra in Nobis jackets.
But, while its signature maybe its fur-trimmed winter coats, Nobis also do more lightweight and waterproof options for this time of year.
The standout, for this season, and what I'm most excited about is the handsome ‘Porter’. ‘Embrace’ membrane fabrics ensure waterproofing, windproofing and breathability, while zipped underarm vents, super-strength magnetic fastenings and seam-sealed construction ensure you stay warm and dry.
The adjustable hood has a moulded in-peak wire to stop it flapping about and is perfect for when those British days become downpours and you want something reliable, understated and stylish.
Left & Below - Nobis - The Porter - £450
I’d heard of his surname, obvs, but I didn’t know the man behind the brand until he died recently and I read an obituary on the flight over to the recent Pitti Uomo. Jack O’Neill’s life is a fascinating story of the birth of surfing and how it came to influence 20th century style and grew to become a huge, billion dollar industry.
Left - Jack started to wear his eye patch in the 1970s after his surfboard hit his eye
“I just wanted to surf longer”, was the inspiration for the eye patch-wearing surfing pioneer who helped to invent the wetsuit.
Before the advent of the wetsuit, O’Neill and his fellow surfers had been braving the Pacific by wearing long underwear or sweaters coated with oily sealant, or by stuffing flexible polyvinyl chloride into their swimming trunks.
He was turning blue from ocean temperatures that even on balmy summer afternoons might barely flirt with 60 degrees.
O’Neill’s wetsuit discovery came about after he moved with his wife to San Francisco’s Ocean Beach neighbourhood in the early 1950s.
“All my friends said, ‘O’Neill, you will sell to five friends on the beach and then you will be out of business,’” he would remark, according to his family.
By one account, a friend, Harry Hind, told him about a compound that had been developed by DuPont about two decades earlier for foam rubber life vests. By another account,O’Neill said a light went off when he examined the rubber undercoating on the carpet of a DC-3 commercial airliner.
Whatever the inspiration, he began developing suits for surfing and bodysurfing, originally covering just the torso. They were not waterproof, however. Rather, the suit trapped a thin layer of water, warmed by body heat, between the neoprene and the skin.
In San Francisco he opened one of the area’s first surf shops, but in 1959 moved his growing family 75 miles (120km) south to Santa Cruz, where he opened his second shop to cater to the city’s growing surf scene.
By 1960 Mr. O’Neill was laminating an elastic nylon jersey lining to the neoprene foam to prevent it from tearing, and to make it easier to put on. He made his first full-length model within a decade.
He began wearing a black eye patch after his surfboard hit his left eye while riding a wave in the 1970s.
By the 1980s, O’Neill had become the world’s largest recreation wetsuit designer and manufacturer and the O’Neill surf brand had reached Australia, Europe and Japan.
While surfing brands have taken a hit during this century, the name is known the world over for an escapist lifestyle that is continually referenced and returned to. There's something very romantic and healthy about the early Californian surf culture and it's worth noting this pioneer lived to the ripe old age of 94 despite the amount of UV rays he was exposed to.
Straight from the dry cleaners, the trend for boxfresh, cellophane wrapped and pristine fashion hit its zenith at the recent Paris shows.
Make like your granny's sofa and add a clear coat for SS18. Perfect for public transport!
From Left - Balenciaga SS18, Ports 1961 Resort 2018, Balenciaga SS18
The current obsession with the eighties shows no signs of abating and the Italian Memphis group of designers, from that period, have come to represent and define an era which was a riot of bold primary colours and clashing patterns. This is the age of MTV and Beetlejuice, a time when post-modernism was new and Timmy Mallett was a style icon. Okay, well, maybe not the last bit!
Fashion is taking inspiration from that time and the furniture has become increasingly collectible and expensive. The café, at the recent LFWM, had a few pieces to really cement its status.
This top from ASOS is pure Memphis, with its strong clashing colours and asymmetric design, and at £16 is far from those escalating 'modern classic' prices.
Left & Below - ASOS - £16
Above - Collection of 1980s Italian Memphis furniture
Big Coloured Bags
If you're a man carry man-sized stuff around, you need a man-sized bag, obvs. Matching it with your hair is up to you.
From Far Left - Tourne de Transmission, Berthold
LOVE & PEACE
Who was it that once sang, ‘All you need is love’? Well, whomever it was, London needs a bit of a cuddle right now.
Below - Oliver Spencer, Bodybound
Just as orange has become a menswear staple colour, it's now time for primary yellow.
From Far Left - Kiko Kostadinov, Berthold
Androgynous ‘Non Binary’ Club Kids
Men’s and women’s fashion collections are merging so they may as well make it all androgynous, unisex and non-binary. They’ll save a fortune!
Anything goes? Yep! Read more here
From Far Left - Charles Jeffrey Loverboy, Art School
Alf Garnett becomes the style icon for SS18.
From Below Left - Per Götesson, Nicholas Daley, Bodybound, Katie Eary
Networking, fashionably so.
Far Left - Miharayasuhiro, Blood Brother
Selvedge tape continues to proclaim you allegiance.
Below - Bobby Abley, Christopher Raeburn
Striped Rowing Jackets
From Below Left - Topman Design, Songzio, Hackett, Kent & Curwen, Kent & Curwen
Border control. Who needs the eye scanner when you can wear this?
Left - Bobby Abley
The first rule of fashion week - always end your show on a high.
Below - Bobby Abley, Liam Hodges
Fashion gets streamlined. Bike optional.
From Far Left - Martine Rose, Daniel W Fletcher, Wan Hung
Fashion loves a few pointless dangly bits.
From Below - Tourne de Transmission, D.GNAK
Who knew big zips could be so slimming?
Both - Miharayasuhiro
It seems we need an occasion to wear a tie, today. So, what better an occasion then, than watching tall posh boys grunt and strain while pushing along the River Thames?
Hackett has teamed up with Henley Regatta for their first clothing tie-up in their long history. Featuring striped rowing blazers - which I’m all about ATM - here - and branded tops, it’s this tie which really caught my eye. The design is fun yet still firmly in the club mould and is a great price for a Made in England tie.
Left & Below - Hackett - Henley Royal Regatta Man Row Stripe Tie - £65
It seems there’s competition for Charles Jeffrey’s party crown. The young designer who gave us a gritty and sweaty club night presentation at the ICA and, last season, giant monsters running around the catwalk followed by a wave of dancers, isn’t the only one offering us a new interpretation of the London ‘Club Kid’.
At this afternoon’s MAN show, ‘Art School’ made its dramatic debut with a small collection that was big on personality and, despite really pushing the androgyny and drag of menswear, was a believable treat. Entitled ‘Queer Couture’, designers Eden Loweth & Tom Barratt, say it is ‘rooted in a cast who are emblems of trans defiance’ and ‘the unfolding narrative of a non binary paradise to be indulged in’.
Translated that means boys as girls and clothes moulded and designed around the wearer and not the usual conformist approach. Slutty Swarovski covered hooded mini dresses in scarlet red mixed with biased cut dresses and splits to the gusset. The only way of spotting the girls from the boys was to look at their legs.
Left & Right - Charles Jeffrey's 'Loverboy'
While exhibitionist, it felt real and believable. It could simply be the models’ conviction, but it felt more than that.
Charles Jeffrey’s first standalone ‘Loverboy’ show was an ‘orgy’ of ‘clothes made of dreams’. Labelled ‘Queer hedonism’, this time, it was a theatrical display that included a crocheted daisy thong and Elizabethan finery. Jeffrey has become a poster boy for this polysexual energy of the city’s young and while it’s caught their’s and our imagination, I can’t help but think it’s a shame there isn’t a bigger scene for all this go with. I’m thinking music and clubs, because, as we all know, this has been in decline for most of this century. Of course, there are pockets, especially in East London, but you feel like you need a New Romantic moment that resonates into wider society.
And, this brings me back to Jeffrey’s collection. While fun and entertaining, it felt more like costume and the clothes dictating the wearer. While the tailoring is there, Vivienne Westwood’s shadow was ever present, especially with the styling and Blackadder type Elizabeth I wigs.
It feels like he needs to go back to the club and think less about the show and spectacle of fashion week. There was too much going on and didn't feel as raw and as fresh as previous shows.
Left & Right - Art School
But one thing is for sure, London’s young is sandwich between high rents, student loans and low pay and need this. This is the generation where, while they have the freedom, they feel handicapped by the older generation and in a cultural landscaped that is being squeezed.
This is fashion that inspires the creative. It's time for a night of a escapism.