As far as debuts go, Dunhill's new creative director Simon Holloway won the opening day of London Fashion Week with his exhibition in the Duveen Wing of the National Portrait Gallery, which was opened by the king George V and Queen Mary in 1939.
The designer's collection echoed the richness of the surroundings: caramel leather coats; impeccable suede jackets layered with fine gray turtleneck knits; and high-waisted navy blue pants with cuffs brushing against crested loafers or white sneakers hiding in plain sight among dressy 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 walked past their small bar tables decorated with red or green tablecloths with matching lampshades and napkins. Uniformed waiters served cucumber sandwiches, smoked salmon on soda bread, and potatoes and caviar.
“I'm not trying to create some kind of period drama,” Holloway said during a preview, emphasizing that the collection is “very much intended for a man of today.”
It presented Dunhill's three degrees of tailoring: ready-to-wear, tailored and made-to-measure, as a singular vision on the runway.
There was no tweed or English wool in sight. Holloway gave a light touch to each collar, bow tie and sash.
Asked if he was a fan of quiet luxury, Holloway said: “This is timeless luxury. “We are using a range of great British fabrics, patterns, textures and colors to really tell the story of exquisite British tailoring and outerwear.”
Dunhill's tailored clothing, he said, is big business, and it helps that the brand knows how to execute a sharp coat lining and jacket lapels.
“We have a very strong and loyal clientele internationally with significant bespoke and bespoke business in the US, Japan and China, and also here at home,” Holloway added.
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