EDWARD CRUTCHLEYʼS FALL ’19 COLLECTION TAKES CUES FROM 1980S AMERICA

Itʼs January! And so, it is back to business. The swish of a long three-button herringbone coat welcomes in Edward Crutchleyʼs autumn/winter 2019 collection. For all the pageantry of Crutchleyʼs detailed prints, fur embroideries and metallic sheen, this season draws on the iconography of work.

A sartorial, no-frills attitude meets brassy textile inspired by the jollity and camp of QVC, that person at the office Christmas party, and a magnificent Grace Jones in the 1985 film A View to a Kill.

Signature roomy silhouettes have been slimmed down in homage to the no-nonsense tailoring of mid-1980s Japanese and American ready-to-wear. There are contrasting buttons on shirts, pinstripes, box pleats; traditionally constructed jacket cuffs peel open.

Traditional menswear is subverted in subdued hues rich to the touch. Oversized is an attitude more than a covering for the body. Autumn/winter 2019 is lean with printed silver foil coated Tyvek zip-up jackets, tailored coats in cashmere snakeskin jacquard, classic fit shirting in technical crêpe de chine. Trousers have zips running down their front creases. A long-sleeved Cuban shirt is in printed velvet.

For this season, Crutchley has collaborated with a number of artisanal producers and designers. Merino wool and cashmere jacquard used for outerwear and blankets is from Johnstons of Elgin – makers of the softest cashmere garments in the world. Classic wool tailoring fabrics are from Yorkshire-based mill Bower Roebuck. Stephen Jones has designed a Balinese head wrap, a riff on a traditional Korean gat and a pillbox hat in soft swakara. Sunglasses are by sustainable eyewear brand Wires and high-shine loafers and black gloss stilettos are by Christian Louboutin.