Unpicking the seams... British Remains' First Creeper

Following years of discussion centred around aspects of Britain that they like, hate and mourn, Daryl Saunders and Andrew Bunney launched British Remains. Unveiled last summer, the debut range of t shirts and totes set the tone by celebrating facets of Britain and localised symbols that would ordinarily not be known outside of these shores. Amongst the neglected and the forgotten rubble of Britain, London brickwork, toilet signage and Generation X were all highlighted. In offerings since, the pair have focused their design attention on the Royal Wedding and most recently celebrated the sneering youth spirit of 'them' and 'us'. For AW11, they reveal their first shoe - First Creeper.

Adopted by various youth tribes and factions of the British underground throughout the last half century, the wonderfully named shoe still has the ability to excite by providing quite the visual statement. A heady mix of comfort and rebellion. Traditionally a suede shoe with thick crepe soles, the creeper was borne out of necessity in the years following World War II. British soldiers returning from the desert wars had worn suede boots to which they had attached improvised rubber soles made from old rubber tyres. It is a Mary Shelley tale of a shoe. Returning to London, unsurprisingly the ex-soldiers were attracted to the most desirable undesirable “night spots”of Kings Cross and Soho. As they found their pleasure, they were still wearing this rubber sole footwear or derivatives that had been put together by their cobblers. Creeping around brothels was enough to give the shoes their name. Now, the brothel creeper immediately evokes images of youth, musical movements and hints at the more rebellious corners of society. 

With the mere mention of brothel creepers today, one immediately thinks of George Cox. Therefore, it should come as little surprise that the First Creeper was made in its spiritual home. In 1906, George James Cox founded his shoe company in the heart of England's traditional shoe making region, Northamptonshire. Crafting high quality traditional footwear at first, the company quickly gained fame for the iconic styles that would come to inspire generation after generation of subcultures. From the brothel creepers of the 1950s to the winkle pickers of the 1960s, George Cox have still produce delightful underground styles. Not interested in costume, British Remains wanted to create a creeper that stayed true its tradition whilst making creating a far more accessible shoe. With the thick crepe sole and aggressive notched leather welt softened by the simple suede leather derby upper, their First Creeper undoubtedly pulls it off. From the moment Bunney posted an image of the initial sample back in May over on honeyee, I just knew my ever growing shoe collection needed them. I've obsessed and dreamed about them ever since. Yesterday, following a quick visit to Goodhood my feet's dreams came true. To mark this happy moment and even before I took them out for a pavement stomp, I caught up with Bunney to learn more about my latest fixation...

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British Remains' First Creeper

SS: The First Creeper marks British Remains' first foray in to footwear design. What attracted you to the creeper?

Andrew Bunney: As the name suggests, the label is an exploration into the rubble of Britain. Amongst the neglected and the forgotten there are often gems, and the Creeper shoe represents something really exciting. The nature and shape of the shoe, the nefarious associations that it had, and connotations today make it something quite challenging to wear.

SS: What was your starting point/initial inspiration?

Andrew Bunney: Thinking about British style and British youth cultures, there is always an exciting moment where the looks start to merge and change into something new. What I believe in is creating products that different kinds of people can wear in their own unique way, something that I've done throughout my career. To make something with character that captures the imagination of people into all kinds of things is very special.

SS: Could you talk us through your research and how it impacted on the design? For example, I recall that you mentioned that the sole is the same height as many vintage styles.

Andrew Bunney: It's always interesting to see how things have progressed or changed over the years, and many of the creeper soles today are very high - very cartoon-ish. The classic styles didn't always have soles this high, and of course the idea was always to make this more accessible for today. We used the same height of sole that was used in the past, which would have been sold in places like 'Let It Rock' - one of the most important places for styles to butt up against one another.

SS: How did you go about stamping your take on this iconic shoe?

Andrew Bunney: The most important thing is to push forward - we're not interested in making costume. There are many things I like about vintage Creeper styles, but I want to make something that is relevant to what we're wearing today. The thick sole or aggressive looking welt are very much a 'Creeper', but the simple derby upper makes it much more wearable, and more modern.

SS: Craft and local manufacture are obviously very important to you. Collaboration with local craftsmen and heritage is an integral facet of your brand identity. Here you teamed up with George Cox, how did you identify the individuals to help realise your design?

Andrew Bunney: In some ways today, I think many have lost sight of the manufacturer or have a very hazy understanding of what that means. Of course, we want to find the best factory or the manufacturer for anything that we're making. Despite the many copies by other brands, this style is synonymous with the manufacturer George Cox - there is no other company to go to. However, I don't really think of this as a collaboration - simply using the 'correct' place to make a certain product.

SS: What items can we look forward to in the near and far future from British Remains?

Andrew Bunney: We want to make things that are surprising, and things that make one think a little. It's not interesting to make something unwearable, but for those that are sensitive to details, something challenging - even if it is slight - makes you feel a little more alive.

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I could happily listen to Bunney all day, everyday. Following this discussion I could only love my latest acquisition even more. This morning, I took a closer look at them before eagerly jumping straight in to them for the first time...

A closer look ar British Remains' First Creeper with the help of a few detail shots. In the last shot, I teamed them up with black wool trousers by Topman Design and socks by Wigwam. 

Through tits exploration of Britain, past and present, British Remains stirs up odd feelings about this island of ours. What it means to be British, what it once meant and how it has evolved. The class struggle, the rise and fall of subcultures, everyday symbols that are often overlooked. These are all things that make Britain so interesting. With its gradual evolution, I'm looking forward to watching this label continue to grow.

Unpicking the seams... Ally Capellino's Parker

Earlier this year whilst we were enjoying a rare spate of warm weather, Ally Capellino's AW 11 look book dropped and instantly reminded me just why Autumn is my favourite season. It instantly transported me to those mornings from late September through to early December where you can layer, wrap and protect yourself in an assortment of comfortable and practical fabrics; wool, tweed, cashmere, waxed cotton and anything else you can get our hands on are all layered on to envelop and comfort. With their roots in decaying industrial buildings and institutions, the colours of the collection were shadowy and dark and the perfect antidote to a hit and miss Summer. The much loved waxy group had grown and was especially strong in a WW1 warm khaki colour. whilst soft olives and browns predominated, but there were rich reds and putty colours to balance the collection. Alongside a new addition to the waxy group in the form of a handy rucksack, my eyes were drawn to a parka in matching Autumnal hues. With the product now in store, I just had to follow up and take another lustful look at it whilst talking through the design over a cup of tea and a biscuit with Ally Capellino's very own Alison Lloyd.

Now, when I think of Ally Capellino my mind is full of covetable bag classics for men and women, satchels made from canvas and leather with names like Vanessa, Lionel and Jeremy. All timeless and modern. However, the accessories line that I am most familiar with was not launched until 2000. The label has a past spanning twenty years that I had absolutely no idea about until I explored the impressive thirty year retrospective at the Wapping Project. As I walked around the wonderfully well curated space I followed the progression of the label, right from it's first womenswear collection in 1980, to the launch of Hearts of Oak in 1983 to designing Girl Guides and Brownie Uniforms in 1999. The area that obviously interested me most though is the launch of its menswear line in 1983. At the time, Alison Lloyd declared "I'm very proud of the men's clothing that we did at Ally Capellino between 1985 and 1995. Our reputation for tailoring started by breaking rules blossomed under Juno's careful skills. Our fabrics were subtle in colour and cut and he always wore them well. We began with five button jackets and anchor sweaters and worked through linen shorts, suits and shirts." 

Having built up a strong accessory offering over the course of the last decade, Lloyd has slowly been reintroducing a few key apparel pieces into her collection over the last couple of seasons. Dipping in to her archives, the aptly named Parker is the perfect example. "When we offered clothing previously, we almost always did them. I took one of our old one's from the 1980s, I could tell you the exact date of it now but pictures of it were included in the exhibition last year. It was white and I think it was shot for Vogue Traveller. I took it and graded it down for today. Garments were so much bigger in those days. Arm holes in the 80s were way down there and it was huge. For the pockets, I've reproduced this Swedish army storm pocket." Intently examining the sample and picking out aspects which were improved for the final design, Lloyd took another sip of tea and was satisfied.

This generous waxed cotton parka comes in two sizes for men and women. There are draw string ties at the waist and on the hood. A weather proof button fly covers the zip-up opening and there are two capacious front pockets with storm flaps as well as an inside breast pocket. The instant attraction of the Parker is its waxed cotton foundation of British Millerain. "It is exactly what we used for the bags this winter, the greasy wax. It needs to have those tiny touches of leather to tie it now. It should age beautifully and it would be nice to see it hanging on the back of the door in twenty years time with a few cobwebs." The Parker would certainly age better than I will.

Having slowly evolved the range of bags, accessories and collaboration over the last ten years, she is drawn to the challenge that clothing presents. "The way in which clothes are constructed and the fit of them is a great deal more interesting in a way than bags. There's a limit to bags, it doesn't have to fit anybody other than a shoulder or a hand. Clothing is more of a challenge and therefore more interesting to me again." Lloyd is approaching the addition of garments to her offering in much the same way as she would a new bag. "The reason I have kept away from clothing is this idea of creating a total look. If I were to do clothing again, I would like to do it like this, it is items instead of fashion, I don't want to make a collection for the catwalk anymore. I used to love doing it but I've done that and I'm not after a fashion trend. Classics are more interesting to me now." Lloyd will no longer be rushed by the expectations and demands of fashion. It is all too easy to be sucked in to the cycle of fashion seasons but having done it all before, the designer is ready for a change of pace. "I think it is because we have slowed down and because our bags change in an evolutionary way rather than themed collections. There are of course influences but you have to be rather subtle with bags. As we have slowed down we can perfect things. I can stay satisfied with items much longer than I used to which means they get better rather than discarded for something new. This is precisely how the clothing will work." I look forward to the fruits of Ally Capellino's sartorial evolution.

Unpicking the seams...H by Harris for GQ iPad Case

H by Harris for GQ iPad Case

To coincide with the launch of the the GQ iPad App,  H by Harris has collaborated with the gentleman's monthly to create a limited edition case. It is the perfect match up. Harris' personal need to find a stylish yet practical laptop case has continued to evolve into a thoroughly modern, yet understated luxury luggage brand which is designed and manufactured in the UK. As with all of the carefully crafted accessories that he produces, the exclusive case is an item that fuses function with design. Hand crafted from luxurious Navy hide leather, the interior features contrast grey suede lining, a card holder and space for documents. It turns my indifference towards the machine in to longing. I need an iPad just so I have an excuse to possess this case, to be able to stroke the quilted butter soft hide. However, before rushing off to the Apple store, we sat down with the designer to learn more about the collaboration and the item itself... 

A closer look at that butter soft Dallas leather

SS: How did the collaboration with GQ come about?

Harris Elliott: As with most good things, it started with a simple conversation, i was chatting to Robert and Vanessa at GQ about the different projects they were planning regarding the launch of the GQ App.... Then it became obvious that we should try and do something.

SS: What was the initial starting point for the item?

Harris Elliott: Luxury, protection and style. I wanted it to be one of those pieces that had it's own identity.

SS: Why attracted you to designing an ipad case?

Harris Elliott: GQ were launching their iPad app for their October issue. They had released a pilot issue in July which was amazing, everyone I showed the app to, couldn't believe that magazines had reached that stage of digital development. So it made sense to create a new luxe case to commemorate the launch.

SS: How did you go about stamping your take on this accessory?

Harris Elliott: One of the H by Harris trademarks is quilting, we used the quilt so people would know it was an H by Harris design.

SS: This season marks a shift in your quilted offering. We've all grown accustomed to seeing the diamond quilted (Q1) skin but now we are introduced to the striped quilting. Could you talk us through this introduction?

Harris Elliott: Since day one I had planned on introducing new styles and leather/fabric applications. My head is always two steps or a year ahead of reality. So AW11 became the time to introduce the stripe. Inspired by the shoulder padding on old motorcycle jackets, this style is very popular with boys, so it was the obvious choice for the GQ man.

SS: Could you talk us through some of the technical processes and people involved in making the case?

Harris Elliott: Robert Johnston (GQ features editor) and myself discussed the features that we felt an iPad case for a guy should have. So a space for cards and possibly a passport, seemed like a nice touch.

The leather we used is called Dallas, a butter soft hide with a slight creamy texture. Unlike nappas that H by Harris uses a lot, you can see and feel the grain of the leather, so the luxe look is in shape and form.

We worked with a sign writer, and an old school book binders to produce hand printed cards, with double foil blocking.

Of course there were the artisans that put it together....

A closer look at the personalisation

SS: Did you encounter any problems? How were they resolved?

Harris Elliott: The initial problem was time, we had two months to produce the cases from start to delivery...you normally have much longer than that from sketch to end user. We had a week to produce the initial prototype which was stressy as the first proto had to be almost spot on.... Thankfully it was.

SS: How would you describe the finished piece in your own words?

Harris Elliott: Contemporary luxury, I can always tell how good something is, when people instantly comment on a product, pick it up and caress it before being asked their opinion.

SS: I notice a bit of personalisation on some of the cases, is this a new way forward for H by Harris?

Harris Elliott: Definitely, it's something we've planned to introduce for a while. In the past we have created metal plates and embossed customers names into the leather labels for them. Scriptwriting takes it to the next level, it makes the item completely exclusive, because of the hand craft nature, therefore increasing the personal value that a customer places on their purchase.

We work with an amazing sign writer who hand paints typography for art installations. It's been a pleasure working with him.

The sign writer in action.

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A limited number of cases will soon be available on the wonderfully revamped H by Harris site. Each case can be hand personalised by the script writer.

Unpicking the seams: Shaun Samson AW11

Remarkably, this season will be MAN’s thirteenth season at London Fashion Week. Now, we should all know by now that the talent showcase is all about heralding what’s new in menswear but this lineup is one of the most exciting to date. For the SS12 roster, Martine Rose is joined by two newcomers, Matthew Miller and Shaun Samson. Both newbies are deservedly winning plaudits, competitions and buyers for their style and innovative garment techniques. In today's piece I'd like to focus on Shaun Samson's needle punch felting technique.

The International Talent Support (ITS) has been a platform for emerging designers from all around the globe. This year’s stand out was from the California born and now London based designer Samson. He only graduated from the MA course at Central Saint Martins back in February but his modern sportswear stole the show. Sponsored by Woolrich, his seamless fabric manipulation saw chunky knitwear, denim and wool all fuse harmoniously together in oversized t shirts, cigarette trousers and accessories. Samson might have been studying various forms of fashion design for almost a decade but he is ready to take centre stage at London Fashion Week. Before he does, I'd like to learn a little bit more about his technique. Here we sit down with the design talent and chat through his design process before taking a closer look at his craft...

CSM MA shot thanks to catwalking.com

SS: What first drew you to the effect of needle punch felting?

Shaun Samson: I had known about needle punch felting for a while, I can't remember the first time I encountered it but I had it my head for some time but didn't start working on it until my MA. As I played around with the technique, I started off with solids and then found old garments and through a process of experimentation, I soon began to understand what worked best. My earliest samples show a more obvious process, where you can see one fabric sitting on another but I wanted to make it more subtle, cooler. I paired them with woven, knits and cashmeres, experimenting with weights. Finally, I decided the best way to show off the technique was to have a wooly fabric with a linen because the fuzzy fibres of the knit help it to mingle. From there I came up with a fabric and colour story and it is here that I first contacted Woolrich with 'Hey, you're an American company and I'm an American student living in London, let's show show them what we can do.'

SS: How was the working relationship with Woolrich?

Shaun Samson: They were so responsive and helpful. Straight off, they sent me a stack of archive fabric examples. It was great to be able to go through everything and immerse myself in the variety of plaids. There was one fabric that I needed to be sent overnight and I pensively asked them, didn't hear anything and thought I had soured the relationship with my excessive demands but low and behold, it arrived the next day. They were just so nice to work with and helped me so much. From this point on it was just a case of building the collection.

SS: Is it a partnership that you'd like to continue?

Shaun Samson: I hope so. I'm just afraid of over using it but I'm keen to slowly build on the relationship in the coming seasons and beyond. I'm so happy that a company liked Woolrich believed in me and supported me as much as they did. When I first approached them I showed them samples of the technique I had in mind but

SS: Needle punch felting is certainly a labour intensive process. Were they any other difficulties that you encountered?

Shaun Samson: This process is like embroidery, you have needles going in and out the fabric until it is done. There is no quick, or short cut way of doing it. To do it, I feed it in to the machine on the reverse so there is no way of knowing exactly what it will look like until I've taken it out of the machine and turn it forward. There is a lot of experimentation while I try and figure out the process and each piece will be subtly different. When you're introducing thicker knits, the process has to be slowed down even further because there's a significant chance of breaking needles. I also had this problem when I was felting denim, it is just a matter of understanding the fabrics that you are working with and changing elements of the process accordingly so that it looks the best it can.

SS: How long does it take to make one piece?

Shaun Samson: The felting process itself takes around three to four hours. To finish the piece, the entire process is done by hand. Hems and linings are tacked down by hand. So to complete a whole piece it takes around a day in total but that's when I dedicate an entire day to it. I enjoy the process and the more I do it, the more acquainted I get and ultimately the better I get.

SS: As production grows, would you pass this process on to a factory?

Shaun Samson: There are some amazing factories out there. I've been told it can be done but I've not seen it work well with pattern fabrics, only solid fabrics as yet. With the pattern fabric you have to ensure that the pattern continues and matches exactly. If it is out, even by the smallest of margins, it gets punched and the appearance is crooked. The lines have to match precisely. This is where the advantages of doing it by hand come in because you can really follow the needle. I'm sure a machine exists that could replicate it but I've just not encountered it yet.

SS: The collection explores an over sized silhouette. Now, I've seen the t shirts in particular referred to as many things, would you call them t shirts?

Shaun Samson: That's how I viewed what I made from my MA collection, they were oversized t shirts rather than tunic tops or man dresses. It is nice that people think that t shirt is new but I've been wearing them large like this since I was a little kid.

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As Samson talked me through his award winning MA collection he brought the described techniques and creative processes to life by flicking through his sketchbook and rifling through his draws of fabrics. To attempt to replicate this luxury, I'd like to share a selection of studio shots accompanied by the designer's own musings....

"I was drawn to Woolrich even before I knew that I'd be working with them. I've been a fan for so long" 
His sketchbook contains catalogue shots and a cocktail of fabric swatches.


Woolrich catalogue images are cut and sewn together like Frankenstein's monster.

"Woolrich sent over an archive of tartans and plaids to choose from"
A selection of Woolrich tartans

Samson's sewing machine

"My earliest samples show a more obvious process, where you can see one fabric sitting on another but I wanted to make it more subtle, cooler."



"I paired them with woven, knits and cashmeres, experimenting with weights."

"After a process of experimentation with the needle felting technique, I decided the best way to show off the technique was to have a wooly fabric with a linen because the fuzzy fibres of the knit help it to mingle."


"Initially, my first drawings concentrated on button up shirts and coats but along the way I opted to simplify them to make a stronger statement."

The Statement.


A work in progress


...and another.


The lineup


A close up the mingled fibres of the tartan and linen.


A heady mix of chunky knit and wool.
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Whilst so many young designers explore fabric manipulations in their work, it is rarely achieved with the finesse and skill that can be seen throughout this collection. Having taken a close look at his process, all that's left is to showcase his look book imagery (and impatiently wait for Menswear Day)...

Look book credits
Art Direction by Rob Meyers and photography by Pelle Crepin.
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During my studio visit, in addition to finalising his plans for MAN, Samson was collating and packing off a number of key AW11 pieces for his first store. The buyer of Cement in Japan was quick off the mark and Samson's much coveted designs will soon be available. Following his London Fashion Week show, I'm in little doubt that buyers closer to home will soon be picking up this young talent. We'll certainly be hearing a lot more from Shaun Samson. Roll on Menswear Day.

Unpicking the seams... Monsieur Lacenaire's Teddy Jacket

Earlier this summer, Susie returned from the Disneyland of menswear tradeshows that is Pitti Uomo, armed with a pocketful of business cards, a mind crammed full of rail tales and a number of SS12 product shots. As she hopped, skipped and jumped her way through the vast space her ever eager eye was scanning each stand and taking note of the real gems. One of the shiniest was Monsieur Lacenaire. With the unveiling of its debut collection for AW11, the menswear magpie in me had found its latest obsession.

Monsieur Lacenaire takes its name from the French poet and murderer, Pierre-François Lacenaire. Baudelaire called Lacenaire "one of the heroes of modern life" and the label's founder and designer, Garance Broca, expresses the refinement and anti conformist spirit of this Dandy villain with an assortment of reimagined classics.  Broca is above all else passionate about knitwear. After earning her stripes at luxurious houses including Balmain and Hermès, she decided to bring new elegance and folly to men’s fashion today. With an accent on luxurious materials, Broca revisits the classic male wardrobe and plays with age-old knit techniques (cable stitching, jacquard) throughout. Now, I would have happily unpicked the seams of any piece from the accomplished debut collection but the Teddy Jacket is the real star. Below, we take a closer look at the jacket and talk to the designer herself to see just how the knitwear talent put her stamp on this staple of American sportswear...

SS: How did you go about stamping your take on this staple of American sportswear?

Garance Broca: Making this piece in a soft and shiny Superfine Alpaca fabric has made it more sophisticated with a fine touch of tradition, also with the wooden buttons. It has the look of American sportwear but it is more like a little jacket or a cardigan. The fit is less chunky and less rigid.

SS: Could you talk us through some of the technical processes and people involved in making the jacket?

Garance Broca: I’ve tried a number of different knit techniques to have some of the traditional fitting. I wanted a slim fit but with chunkier sleeves. Also, to add a hint of classic knitwear, I added a cable in the back.

SS: Did you encounter any problems? How were they resolved?

Garance Broca: For the body part, I wanted a more elaborate stitch but it would have made the style too thick. Also, the contrast with the sleeves was not troublesome so in the end I decided that the simpleness of a reverse jersey would be both nice and light whilst the contrast with the full needle sleeves could be more relevant.

SS: Like all good menswear, the jacket oozes details. What are you favourites?

Garance Broca: I think my favorite is the cable in the back. This jacket is already strong as it is but the addition of the cable knit is the last detail that really makes a statement and declares 'I am knitted'!"

SS: How would you describe the finished piece in your own words?

Garance Broca: This is a piece where you can fell both different and safe. The look is totally trendy but the details of the wood buttons or cable at the back make it really special and unique, and ultimately make it Monsieur Lacenaire!

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"I love this jacket because it represent what is the new menswear : both casual and chic. It’s completely casual because it refers to college boy and sport; but in the meantime, it has become a classic item and it represent a high level class in America, so it can be seen as chic."

Garance Broca on her love for the Teddy Jacket

Look book shots courtesy of Monsieur Lacenaire

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'Classics with a twist' is one of those throwaway phrases (by designers and journalists alike) that is so over used that I'm loathed to ever use it on the pages of this blog. However, Monsieur Lacenaire's debut offering is one of those odd occasions where nothing else will do. As Broco reimagines wardrobe staples like the classic Varsity, there is a display of welcome playfulness and a covetable depth of detail. 

Now, we were not the only one to fall for the knitted charms of its debut with Selectism being one of the first blogs (way back in April) to shine the spotlight on the label and key retail locations snapping up the label. Mr Porter and Colette have both swooped and picked up key pieces for the winter season, including the Teddy Jacket.

Unpicking the seams... Lou Dalton's White Noise knit

We are consistently inundated with collection unveilings and product drops. At times it feels as though our screens become a conveyor belt. A blur of items that leave us oohing, aaahing, reaching for our wallet or scratching our head in disbelief. However, the incessant pace of it all is often to the detriment of the product. With our latest feature series, Unpicking the seams, we want to celebrate and focus on the deserving. The series will take a deep breath and showcase our favourite items from each season and even take the odd look back. With a new season fast approaching (with August days that are more at home during October) and our love of a good knit, we kick it off with a longing look at a real highlight from Lou Dalton.

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From the frustrated and disillusioned Seattle scene through to the discomforting ruthlessness of the Russian criminal underworld, Lou Dalton was influenced by feelings of discomfort and a desire to fit in for AW11. As a designer, Dalton is concerned with colour, texture, quality and finish and here, she continued to practice and hone her signature of rebellious English sportswear with a strong sense of detail. As always with this exciting design talent, knitwear is a key facet of the collection and here it is oversized to soften and texture to the tailoring. One of the real highlights was this fantastic heavy-gauge marl knit nicknamed white noise.

"Internally the piece was given the name of "WHITE NOISE", my fellas brother was in the studio one night as we were working our way through various swatches of knit, his reaction was spot on to what eventually became this sweater, "That looks like white noise....." and that was really the starting point. I do like a melange knit however; a standard melange is quite consistent throughout, I wanted this to be a little ad-hoc a little home made." Lou Dalton on the starting point of the knit.

The high neck and oversized shape do just that. Inspiration came from classic Melange knitwear, a very old crudely knitted scarf that the designer found and sweaters worn by the likes of Kurt Cobain during the height of the Seattle scene. Once Dalton has an idea of where she is going in terms of concept and design, she meets with the knitwear factory where this information is relayed, various swatches are requested to cover both the design and tension of knit required. Once approved, the sampling trials begin before a finished piece emerges.

"As I am not a trained knitwear designer but do have a good understanding of what I like and what technically works in terms of construction and knit. I start with the yarn research, I work with various yarn suppliers from the UK through to Italy, I will request yarn cards, along side of this I will research and look at a variation of knit techniques and stitches that I feel are relevant to the aesthetic that we are working on for the season as well as looking at vintage finds and contemporary knits. It is also very important for me to remind myself of what historically has worked for us in terms of sales etc. This particular exercise is possibly the most important part of the process, to try and nail what your consumer will relate to is key." Lou Dalton on the design process.

Since the labels inception in 2005, Lou Dalton has designed her collections with the same man in mind and has built up a strong following with the help of key early stockists including Daniel Jenkins and oki-ni. This season, Lou’s hard work and well crafted menswear has been given the recognition it deserves with a place in the well stocked shelves of Liberty's menswear basement space. The more men who discover this design talent the better. With the white noise sweater now in store, I jumped at the chance to try it on for size...

A closer look at Lou Dalton's White Noise Knit.

We'll leave you with Dalton's succinct description of the item, "WHITE NOISE....... 100% lambswool Crew neck sweater..... on sale at Liberty."

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