As far as debuts go, Dunhill’s new creative director Simon Holloway won the opening day of London Fashion Week with his display at the Duveen wing of the National Portrait Gallery, which was opened by King George V and Queen Mary in 1939.
The designer’s collection echoed the richness of the surroundings: toffee-colored leather car coats; flawless suede jackets layered with fine gray roll-neck knits; and high-waisted navy trousers with hems brushing against the loafers with crests or white sneakers that hid in sight among the smart shoes.
Holloway believes the National Portrait Gallery has been addressing “the problematic history that exists in the country” without losing its historical or aesthetic value.
Guests sipped Gibson martinis as models passed by their small bar tables decorated in red or green tablecloths with matching lampshades and napkins. Cucumber sandwiches, smoked salmon on soda bread, and potato and caviar were served by uniformed waiting staff.
“I’m not trying to create some kind of period costume drama,” Holloway said during a preview, stressing that the collection is “very much intended for a man of today.”
He presented Dunhill’s three degrees of tailoring: ready-to-wear, made-to-measure and bespoke — as one singular vision on the runway.
There were no stuffy English tweeds or wools in sight. Holloway gave a light touch to every collar, bow tie and cummerbund.
Asked if he was a proponent of quiet luxury, Holloway said: “This is timeless luxury. We’re using an array of great British cloth, pattern, texture and color to really tell the story of exquisite British tailoring and outerwear.”
Dunhill’s tailored clothing, he said, is a big business — and it helps that the brand knows how to execute a car-coat lining and sharp blazer lapels.
“We have a very strong and loyal clientele internationally with significant business in made-to-measure and bespoke in the U.S., Japan and China, and here at home, too,” Holloway added.
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