Here’s to another great line, Christopher Bailey.
I love Burberry. I really do. I rarely have a “favorite” label, but I have a few which I’m quite partial to – I love CK Calvin Klein and Burberry, and Bottega Venetta’s bags. Ever since Christopher Bailey took the helms, there has been something about Burberry that just resonates well with me. Maybe it’s the image, or the collections even, but each collection and campaign Bailey pumps out, I worship where it stands. I may not like all of it, but my reception of it is almost always positive. But there have been trying times – times when my love for Burberry has been tested. It hadn’t been easy, looking for a job. It was the spring of 2012, and nobody was looking. However, I did manage to nab some interviews with a handful of publishing firms, and each time, there’d come the “Which is your favorite label?” question, to which I’d answer “Burberry”. And the following reply, I swear, was always, “I see, Burberry’s no good, you know? They don’t advertise”. I understand that firms have to placate clients (and we will do what we have agreed on only), but I believe editorial content should always be, for the most part, independent of influence.
The silhouette, typically of the Bailey era, is mostly slim. Like Australian label Oroton, Burberry has been snooping around its archives and looked at old drawings and photos, and animating favorites then. Breathing new life into the old isn’t always possible, but thanks to Burberry’s timeless designs, it’s achievable. Characterized by classical engineering, the collection feels a lot like the “Best of… Fall/Winter 2012”. We see a recreated trench coat in rich camel wood, which is very reminiscent of Louis Vuitton. Burberry also debuts an olive-green look onto the outerwear with four-pocket jackets and greatcoats, which recalls the smart 40s German military which Dior Homme channeled. The collection’s more original exploration comes in the form of heart-printed shirts and intarsia knits, which injects a little warmth into the otherwise cold tone (all the models don wayfarers with animal print frames, further dehumanizing the look), as well as pony skin, printed with leopard and tiger colors.
Animal prints also continue onto the accessories, which is undoubtedly an exploration from this year’s Spring/Summer, which saw alligator and crocodile being experimented with. Instead of the reptilian sort, it’s for the most part mammal, from animal-print winklepicker shoes and animal-print Chelsea boots to structured leather totes with animal-skin paneling.