There’s always at least one hotly anticipated event at fashion week for one reason or another. And, without a shadow of a doubt, witnessing Daniel Lee’s first show as creative director of Burberry was the one to watch in London this week.
Lee made clear via his first campaign earlier month that Burberry under his reign will be channelling its British roots that are steeped in tradition.
As expected, Burberry delivered "a homegrown thread is reinforced by pleated tartan-inspired kilts over trousers, chunky Aran and argyle jumpers and British motifs, including the English rose."
Iris Law for Burberry AW23
The show took place on a crisp February evening at Kennington Park in south London only lit by subued spotlights and guests were kept warm with tartan blankets and given the show's accessory of the moment... hot water bottles.
The collection captures the brand's "historical connection with outdoor exploration is reinforced by the show space, designed by Lee. Inspired by Burberry tents from the late 19th and early 20th century, the intimate interior evokes a cosiness that provides warmth and protection from the elements."
The ultimate A/W accessory: matching hot water bottles
Lee paid homage to the brand's roots with a contemporary makeover of bright hues of purple and yellow, fur-lined footwear and its signature trench coat also adorned with faux-fur.
Earlier this month he wiped the brand’s social media accounts clean, leaving fashion fanatics wondering if, and what, was going to be announced. As expected, the outcome proved to signify his vision for Burberry as its newest Chief Creative Officer.
Daniel Lee post show
Lee took over as CCO last year when Riccardo Tisci stepped down at the end of September 2022 after a four and a half year tenure. As if the anticipation of a newly-appointed designer’s collection isn’t compelling enough, he amped up the hype with his social media account eradication, followed by major changes to the brand’s logo.
Daniel made it clear that channelling the British heritage of the brand is imperative. He reverted back to a version of the original Equestrian knight that had been its logo in some form since 1901, and exhibited the emblem illustrations in both blue and white – an ostensible nod to the British flag.
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