“I don’t like artifice for artifice’s sake,” said Mark Weston down a Zoom this morning from Dunhill’s London studio. “But when you start to look at processes, and you look at the abstraction in them before they are fully formed, that in itself has a beauty. To show that transmits a sense of craft and a sense of identity.” Before it was a menswear marque or anything else, this brand started life as a maker of motoring accessories.
Fabrics conventionally used in the innards of a jacket—Silesian cotton, collar canvas, horsehair, Holland linen—were given their moment in the sun in a series of six semi-constructed jackets whose apparently unfinished state made them this season’s finished article. Explaining his yen for inside out, Weston cited the high-tech architecture of Richard Rogers—the Centre Pompidou in Paris, or Lloyd’s building in London—that expressed the vital organs of the building as its exterior ornament.
There were more conventionally complete pieces, such as a boxy-shoulder evening jacket in silk ottoman with covered buttons, but this collection looked freshest when Weston excavated the space between menswear’s genres, as in “sartorial-utility” tailoring-detail bombers.
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