Sam MC London takes to the stage

We love mixing it up here at Style Salvage. From discussing the evolution of the legend that is Joe Casely-Hayford in yesterday's post, we now turn our attention to the emerging talent of SAM MC LONDON. The unveiling of his debut six piece capsule collection marks the beginning of Samuel McWilliams' goal of crafting a decidedly British street wear label.

It is quite literally the brother label of Courtney Mc London, which was created by RCA-graduate Courtney McWilliams in 2010 and, since her move to Paris to work under Riccardo Tisci at Givenchy, her brother has now taken up the creative reigns. SAM MC LONDON is a family label. Building on the creative foundation laid by his sister, Samuel McWilliams focuses on their shared love of fairy tales in an Anglo-Asian-inspired, print-infused street-wear collection that has the same dark, romantic narrative that is the signature of The Brothers Grimm collection. Ultimately, the McWilliams clan have always revelled in being out of the ordinary, flaunted their sense of humour and have been described as international yet still very British, and Brother of a Brunette Rough-Neck (a stella MC) demonstrates all of these family traits and more. Following its launch at Trickle in Newcastle in May, the debut collection has unsurprisingly for us, already attracted the interest of international buyers. Here we talk to the design talent about the emergence of the label and take a close look at the debut collection.

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SS: Your path in to fashion design is a slightly unusual one given your background in graphic design and the forming of the label itself. Could you talk us through your education, experiences in the industry thus far and the catalyst for you taking over the design reigns from your sister to launch SAM MC London?

Samuel McWilliams: Growing up in Asia I was really affected by the culture and colours, so I have never wanted to sit inside four grey walls. I wanted a stimulating and creative career, which led me to graphic design. I have been able to watch my sister and her partnerʼs careers grow and learn from them along the way. Courtney hired me to assist on the prints at Givenchy for a short time and I also travelled in London and Paris to assist Kanye on his first show (while I was still studying) and we literally worked non-stop churning out work. It was then that I got to see the dedication needed to bring your craft to life and was inspired to do my own thing. Courtney offered me the opportunity to design a capsule collection under her name, which I created as part of my graduate show. Now I am out in the world I want to do it under my name. So the brand is what I am focusing on at the moment, along with pursuing a career in commercial graphic design.

SS: What does SAM MC LONDON mean to you?

Samuel McWilliams: It means building a brand for our family. I had a vision of crafting a street-wear label, because it is the way I dress, and the lifestyle I live. Creating a product around that is really exciting. I want SAM MC to be like a British BAPE or SUPREME, which are big boots to fill but thatʼs the ultimate goal.

SS: Brother of a Brunette Rough-Neck (a stella MC) takes us on a journey through dark, romantic fairytales and in particular The Brother's Grimm's Snow White and Rose Red. What was the starting point point and how did the fairytale influence the collection?

Samuel McWilliams: Snow White and Rose Red is one of those amazing Grimm fairytales that got destroyed by Disney. I love that strange, dark but fun visuals that the Grimm tales evoke, similar to a Tim Burton illustration or an anime film, and the symbol of the rose is iconically British, so this particular story really spoke to me. The starting point was the crazy dog print and the visual just grew from there; with the girls dressed in jeans printed with red and white roses, and the boys dressed like urban huntsmen in variations of graffiti, rose and crazy dog print.

SS: What was your mood board like for this season?
Samuel McWilliams: My sister introduced me to Prada womenswear, and I was inspired by their beautifully witty collections... so I referenced a lot of Prada, and mixed that with the iconic visuals of really boyish labels like Fila and Henri Lloyd. The mood board started off quite elegant, and I pushed to twist it into something very street and relatable to your average boy. With all the visual inspiration it would have been very easy to go over the top with embellishment and styling, but I know to always bring it back down to my level and keep it real.

SS: Given your background in graphic design, it should come as little surprise that prints feature throughout this six piece capsule collection. Could you talk us through your approach to designing this collection, from the creation of prints for this season and the processes you use on the printed denim jacket, printed jean and graphic t-shirt?

Samuel McWilliams: I started with the digital prints and with the twisted fairytale already written, they easily fell into place. The crazy dog was that dark-yet-witty, Japanese-esque design that is a key aspect of the MC identity, and the large graphic roses literally tell the story on the clothes. The red and white of the roses were also a great way to reinforce the MC colour palate of red, white and black. The Staffie print on the t-shirt was a dedication to my sister and I even borrowed her hand-writing for the graffiti print jacket. To counter-balance the very dominant print I decided on the classic James Dean jeans, jacket and tee combo for both the girls and the guys. The jackets have a really cool M-cut in the back which I am going to keep as the brandʼs signature. The digitally-printed fabric was all bonded with a contrast red or black interior and everything down to the buttons was branded with the MC logo. For the t-shirts and sweatshirts, I just wanted to create something visually iconic, timelessly cool, and very British-street. Taking these prints into skateboards just took them to the next level.

SS: I'm particularly intrigued by the label's exploration of British-ness, from it's humour to appropriation of visual symbols including three lions and your family crest. How does British-ness influence your design? So much of street culture and fashion originates from the US or Japan, are you keen on reclaiming the streets for Britain?

Samuel McWilliams: I spent the majority of my childhood in Asia but have always been very patriotic to England. The British are very sentimental about their heritage, hence why I included the McWilliams family crest into the print. Itʼs also why I am keen to be known as a British brand. However twenty first century England is all about embracing cultural diversity and my family feels a real responsibility towards representing a more global outlook. I donʼt want to reclaim the streets for the Brits, I just want to us to have a continual presence, and for SAM MC to share a curb with the US and Japan would be an honour.

SS: Following its launch at at Trickle store in Newcastle in May, the debut collection has already attracted the interest of international buyers. How has the reaction been?

Samuel McWilliams: I have had a good response so far, even though the outreach has been small. As a recent graduate it is really tough to get publicity. But after approaching Beams International Gallery, Japan, I have realised that there is definitely a market out there for the brand. I think the greatest response has been to the t-shirts and skateboards, which is very typical of our target customer, and will be something I continue to push.

SS: Finally, how would you like to see SAM MC LONDON grow over the next couple of seasons and beyond?

Samuel McWilliams: The focus really, is on building an established label and killing it with amazing printed clothes and accessories every season. So I would love to see the brand and the business really take off and to maybe do a collaboration with a major accessories or sportswear label. But I am planning a slow and steady invasion... I refuse to be a one-hit-wonder young designer.

A selection of behind the scenes studio shots
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A considered yet exciting capsule collection, Brother of a Brunette Rough-Neck (a stella MC) is ultimately a tribute to what his sister started whilst marking a new beginning for British street-wear. As mentioned above, the inspiration behind the collection is the story of The Brother's Grimm's Snow White and Rose Red, using the contrast of the red and the white for the colour palate, the bold graphic of the roses and exploring the dark twisted elements of the story for the print, remixed with the MC’s obsession with Power Ranger-esque robot/heroes for the visuals of the campaign. The campaign was shot in Oxshott Woods and embraces all the elements; earth, wind, fire, and water, and was shot by designer and photographer Alex Milsom. Now that we've acquainted ourselves with this design talent, it is time that we fully immersed ourselves in his graphic world...

Lookbook for Brother of a Brunette Rough-Neck (a stella MC) as shot by Alex Milsom

Exploring Joe Casely-Hayford's archive

Since the house's inception, Casely-Hayford have forged an eloquent handwriting of modern English style that has left the pulse of this blogger's eyes racing. The father and son design duo have carefully crafted a signature style of relaxed masculine proportions and exquisite tailoring, whilst fusing it with an injection of the raw energy of London's dynamic under belly that constantly inspires them both. The father/son design dynamic has created the perfect environment in which an intriguing interaction between old and new, traditionalism and radicalism, experience and fresh perspective. The pair draw on one another and ultimately push the House forward. It is an ever intriguing house that encourages change whilst being grounded in tradition. With each season, they explore, play and experiment with the duality of English Sartorialism and British Anarchy like no other label could. With each season, the desire to own a Casely-Hayford dominated wardrobe grows. Whilst looking longingly at each collection, my curiosity to learn more about the pair only intensifies as I'm particularly drawn to Joe Casely-Hayford's quiet yet significant impact on London menswear.

It should not be forgotten that Joe brings decades of design experience to the house of Casely-Hayford. During the exciting and turbulent time of the mid eighties, Joe Casely-Hayford pushed the boundaries of intelligent design and menswear as runway presentations were received and applauded in London, Paris and Tokyo. He's also crafted costumes for the likes of U2 and the Clash, was the first designer to be approached to create ranges exclusively for Topshop, served as Creative Director of Savile Row' mainstay Gieves & Hawkes, was named an Officer of the Order of the British Empire by the Queen for his services to the fashion industry and recently included in i-D magazines list of Fashion Heroes during last Fashion week. Despite preferring to lurk in the sartorial showers himself, his eponymous label was constantly covered in publications like i-D, Dazed, Arena and The Face whist being sold to key stores globally. So, when Charlie mentioned his father's archive my pulse quickened and I jumped at the opportunity to explore it. Much of the archive has its roots in a very different time both in terms of the capital and menswear.

Below, the man himself provides the narrative as he discusses his experiences during this time, the formulation the label and his own evolution but first, I'd like to share a selection of rare press clippings and catwalk images. From Bros to breathing fresh life in to the tired body of Savile Row, here's a visual taster of Joe's impressively diverse career...

An early Joe Casely-Hayford ad campaign by Harrods in 1988.

Bros in the Sunday Mirror magazine in 1989

A feature in i-D from 1992

An editorial feature in The Face from 1994 

Two catwalk looks from Joe Casely-Hayford AW1998

Three catwalk walks from Joe's time at Gieves & Hawkes (the first from AW06 and two from SS07) 

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"When I started the Joe Casely-Hayford label in the early 80s the original youth cults still influenced society in a powerful way and I was totally fascinated by the impact they made on the changing face of British society," explains Joe as we reflect on the origins of his eponymous label. As Casely-Hayford cut his teeth and cloth alike on Savile Row, Margaret Thatcher was doing her best at alienating the working classes and a by product of this tension was a creative surge. The seasoned designer adds, "I had just finished at St Martins and was keen to make a statement which was more about the style and energy from the streets than the formality of the catwalks. Ready-to-wear designer fashion was a relatively new concept. I had a strong social conscience and wanted to convey this through clothing" Fascinated by the power of social uniforms, he celebrated the cult of the individual whilst crating clothes that questioned social conventions.

"I remember I knew this strange woman who had a warehouse in S.E.1 full of second world tents and parachutes. I decided that by using these tents I would be giving this amazing fabric a second lease of life; recycling. I began making jackets trousers and tops from these tents. Because some were heavily used I would have the finished garments industrially washed. The pieces I made became very popular.

I was living close to Trish and Terry Jones who had just started a magazine called i-D which they put into the local newsagent in West Hampstead. I bought the first issue; it was raw and featured people like me. They soon started to shoot my clothes and things gradually took off. I was approached by Bernie Rhodes manager of the Clash to design their stage clothes. For the interview I didn’t have my own studio so I borrowed my mate’s space and stuck my drawings and press cuttings from i-D on the walls. I got the gig!

I started the company on my own and sold internationally and grew my business in an organic way that you couldn’t do today. My wife, who I met at Saint Martins, joined me soon after and we have worked together ever since.

At that time designers wanted to break down many social barriers and making a strong anti establishment visual statement was part of this act. I designed and sold well, shirts with four sleeves, tailored jackets with gaping seams, trousers with a front and back fly. In terms of deconstruction if it could be imagined I tried it. I made shirts from bed sheeting, coats and knitwear from paper, lilac neoprene suits, hand carved shoes; and sandals from elastic bands it was fun.

I feel extremely fortunate to have made a successful living from designing in such a way. This would not be possible today. Because I’ve been pretty low profile throughout my career, one of the best feelings I have today is when I meet people who tell me about the pleasure they derived from wearing pieces from my collections. As a designer it can be quite easy to get locked into your own little world so of course the acknowledgement of one’s past work is great. It was amazing to be named one of i-D magazines heroes during last Fashion week. Looking back I would say I have broken a lot of ground in a quiet sort of way."

Despite his practically unrivalled achievements, Joe Casely-Hayford is not one to linger in the past. He is constantly looking forward and striving to continuously innovate. In fact, it is Charlie who is the keener design partner to look through the archive as a resource. "Charlie always says there’s enough stuff in there for us to not have to design again but I always want to move forward into uncharted territory," adds Joe. That said, the pair have successfully reintroduced a number of pieces from Joe's back catalogue of designs. Despite the two labels capturing a different feeling and aimed at outfitting a different man, I was particularly interested to see how certain details - from the cut of some jackets to the reverse collars) have followed on from Joe Casely-Hayford through in to Casely-Hayford. Here, the designer himself explains the evolution...

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"The archive is vast and covers an array of ideas. In terms of tailoring shapes, I guess after so many years I have developed a signature style which takes elements from my training at The Tailor and Cutter Academy, Douglas Hayward and my time as creative director of Gieves & Hawkes in Savile Row. The double fronted shirts or reverse collars were my first big hit in 1984 we couldn’t make them fast enough. When Charlie first delved into my archive they were the first pieces he saw he immediately asked me to reintroduce them. We did a button through version of the reverse collar which came as two interchangeable halves and less well known was the half placket version which you can see here. The name label was like an old school name label. I followed this style with the off the shoulder shirt made from heavy bed sheeting woven by an old Manchester mill called Partington..."

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 "The Joe Casely-Hayford collection was designed for men and women. I focused on deconstruction and what was called ‘anti fashion’. This jacket designed in 1987 is actually the women’s version of one I designed for men and women. It has in inset waistcoat section which was cut quite high to work with some narrow high waisted trousers. The photograph of Andre Walker shared below (one of the greatest modern day designers) was taken for the 1980s cult magazine VANITY. Andre is wearing a patchwork shirt and the highwaisted trousers I refer to above. Andre went on to work with Marc Jacobs."

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"We have always used a lot of trompe l’oeil techniques. This cable print cardigan was designed in A/W 1995. I designed them for men and women. The collection was a spoof on Sloane Ranger style. It was quite funny when Princess Diana turned up to our show - it was her first ever catwalk show. Sadly the press were more interested in her than my collection. They went crazy!!"

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"This Mac is made from coated refuse bag paper it has a deep centre back pleat and was designed in 1999."

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"The Artist Chris Ofili approached me to collaborate with him on a limited edition T shirt for his show in 2002. I designed the imagery using motifs from his paintings."

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The above is a mere snapshot at Joe Casely-Hayford's vast archive. His twenty year career has been nothing short of remarkable and it's inspiring to watch him continue to strive forward. Throughout, he has pushed menswear forward by combining his formal training with his intriguing and unquenchable thirst to create something new and original. From the deconstructed tailoring of the 80s (three dimensional lapels and exposed seams) to over sized knitwear and the fusion between sportswear and tailoring in the 90s and beyond, he has never been one to rest on his design laurels. Today, the duality of the house of Casely-Hayford reflects Joe's varied design history and  continues to feed his excitement to design and innovate whilst outfitting a twenty first century gentleman.  

Treasured Items... John Holt

As soon as I picked up the first issue John Holt's Law magazine (on the recommendation of Goodhood's very own Kyle Stewart) I knew that I had discovered a title with a refreshing point of view. For its editor Holt, style is everywhere - all you have to do is keep your eyes open. Law is a bi-annual magazine that revels in revealing what others miss and serves to document the ups and downs of the beautiful everyday. Unsurprisingly his 'Treasured Items' pick demonstrates that treasure can be found anywhere. From a market stall bargain, Holt has added his own personality in a similar fashion to how he has approached the print world. Here the editor shares its story...

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John Holt and his lucky charms...

"It’s my pride and joy, always close to my heart. I got the gold chain for £10 from a stall on the old Open Market in Brighton. I didn’t know how much it was worth at the time and fortunately neither did the man who was manning the stand for his wife. I was studying fashion and was therefore skint and used to spending a couple of quid on makeshift chains out of the glass cabinets in charity shops. They never lasted long and I missed the feeling of something round my neck, as those who wear a chain or a watch or a ring will know, you get used to each other. After much deliberation we did the deal and I’m pleased to say we did. Since then I’ve taken it to one of those ‘WE BUY GOLD’ kiosks and lets just say I don’t think he would have been too popular with the wife that night. All I know is it hasn’t turned to silver like the others.

My mum gave me the horseshoe that her best friend gave to her for a 21st birthday present. Some people say you shouldn’t turn horseshoes upside down because you will lose all your luck, I say it showers me with every step. The crown is from Edinburgh castle, which my pal and I visited whilst on a trip round the coast of Scotland in his Transit. I can’t speak highly enough of that country, the locals and the scenery. I guess you could also say the crown is a symbol of my love for our queen, she’s inside the back page of the magazine. I thought if she’s ever going to be in an issue then in this diamond jubilee it must be. The shell is a fossilised unicorns horn, which I found on a beach in Wales and from the acorn a mighty magazine, will grow.

Two times too many I’ve come close to losing this chain and its charms. Once after a scuffle in town and twice climbing up the old Astoria in Brighton to paste up LAW posters at night. On both occasions I’ve managed to get it back but getting away with it by the skin of my teeth like that has led me to think about stopping wearing it, because I can’t bear to go through the heart sinking feeling of losing it again. Perhaps that is the mark of a truly treasured item, too rare to find another too treasured to wear." John Holt

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