Ozwald Boateng SS12

Last year, Ozwald Boateng closed the SS11 season with a blockbuster of a presentation. As an army of models marched across town, the Savile Row tailor provided an all singing and dancing sartorial extravaganza to help celebrate his twenty five years in the business and mark his return to the capital. Twelve months on and the designer chose a more reserved but no less impactful way to present his SS12 offering. Located in the House's flagship Savile Row store, Boateng let the clothes take centre stage whilst taking us on a journey to Kenya.

For SS12, Ozwald Boateng invites us to relive his personal experience on a family safari in Kenya. Rather than sit us down in front of a slideshow, the seasoned design talent offers a dazzling  reimagination of his experience. In a nod to an emotional journey, Boateng presents an assortment of weary travellers, pioneers and revolutionaries outfitted in looks that perfectly balance leisure and refinement. Inspired by the essentially masculine and functional dressing of the expedition, the collection   weaves through tradition and innovation whilst showcasing the House's iconic understanding of detail and sense of colour. Traditional pieces including the safari jacket and stone shirt are adapted to the practical needs and luxurious style of the modern explorer and reinvigorated with a popping spectrum of colour. There's very little khaki or stone on Boateng's safari and true to the house DNA, colour is explored and represented in innovative ways. Here, the vibrant palette reflects Boateng's vision, painting a picture of the vast African landscape. Terracota and orange hues recall images of the burnt red soil under foot, whilst rich greens inspire images of lush vegetation and deep indigo of the huge African sky. Take my hand and lets go on a Boateng safari...

A selection of my presentation shots.

After snapping away at Boateng's reimagined expedition, I caught up with the stalwart of British tailoring to hear more about the trip to Kenya that sparked the collection, his thoughts on the evolution of menswear in London and his impending film documentary...

SS: Now, the starting point for the collection is quite obviously safari but what was the trigger?

Ozwald Boateng: I went on safari last year with my kids to Kenya. It was actually the first holiday that I had been on with the kids without anyone else being around, no air support, no ground troops and it was quite something. It was an amazing experience. I had my own tent and they had their own and there was a definite sense of being alone and yet surrounded by wildlife. It was down to me to instill the confidence within them that they could do it. Then it was all about getting up before the break of dawn, driving in to the unknown and patiently waiting. I bought both of my sons cameras and we all snapped away. At the tail end of the trip, I took all of our images and made a little book of the whole experience. That was the backdrop of why. Also, there was a number of personal connections. Firstly spending time with my children, secondly going to Kenya which is a place I've always wanted to go to on Safari and also the realisation of the important role of colour within the whole concept of safari. The moment of realisation came when I was sitting there in my beige shorts and khaki top and I looked at my guide, a Masai warrior dressed in an amazing array of rich colours, from emerald green, vibrant turquoise blue to lion red and I was blown away. We are conditioned or told to dress in a certain way but there was our guide who is going to track down these animals and I realised that it was all nonsense, it means nothing. Why not have as much fun as the guide? So, I threw away the obvious colour palette and introduced all of these colours to create a new rule book. With the local backdrop, huge sky and the ever changing soil combined with an exciting colour palette, everything just pops. That was the driving force for the season.

SS: What else influenced your designs?

Ozwald Boateng: In terms of the concept itself, I looked at the practicalities of being on safari and the uniform that you wear. For example, the need for pocketed sleeveless zipped tops but pushed it that bit more with the colours used and with my background in tailoring introduced layers. Tailored thin lapels, shirt jacket hybrids and finding clever, intelligent uses of colour to alter shape and aesthetics without working too hard to get there. When I started as a creator I was always running so fast, it was so important to be at the forefront but with the benefit of experience, the real skill lies in being in control of your creativity in such a way that there is always a fascination in what could be missed. For example, I was preoccupied with moving the notch on the lapel and something so simple can be interesting. There is a beauty in subtlety. Just by looking at a shaped collar for instance, there are so many collars but to create a new one in just a single movement is hard but when you do it The Nile chiseled shirt seems familiar yet different and that is a great place to be, I always strive to create garments like that. I've always been known for my texture and fabric and that is a key identifying feature and dynamic of the brand but the real focus is, and always has been on the detail of the cut. When you really look at one of my garments that is where the depth really lies.

SS: Remarkably, last year marked your twenty fifth anniversary in menswear. How has London menswear changed in your time?

Ozwald Boateng: The simple way to define is that when I started, there was no platform to show your work and this has only changed recently. I had to show in Paris, Milan and New York before I had to show anything here as part of the official calendar. For me, that says everything. The fact that designers can say that they are part of the British fashion week experience is huge. From a purely stylistic point of view, British menswear has always been grounded in tailoring and I've certainly played my role in continuing this tradition but it is always evolving. What is interesting for me is that men are happy to be fashionable again, the younger men in particular are expressing themselves in such a way that I can only remember occurring in the 80s. There's a real confidence and enjoyment about dressing again. I have always been interested in the masculinity of fashion, how you can rework a traditionally feminine in such a way to transform to appear masculine. I have seen men wearing fashion in the street and even though it has an element of femininity it is worn in such a way that makes it looks more masculine. It really reminds of when I started out and that whole Buffalo movement and when the Face just started out, it was really a time when men could enjoy fashion and I finally feel we are back there again.

SS: What's next for Ozwald Boateng?

Ozwald Boateng: Firstly, I'm keen to open more stores. We are in a really strong place as a brand and now is the right time to expand. Also, we've got a documentary film coming out next years and that is going to be a joint release both here and in the States. It is a twelve year documentary film of my life and the response has been really positive. I've refocussed the business in recent years, moving away from the wholesale side and concentrating on the core. This was a tough decision because in one sense you are losing revenue but it was important for me to control the core elements of the brand, to have everything on my terms. It felt like a return in a way. Following the twenty five year anniversary, I felt as though I had come full circle. It is a hugely promising time and I'm excited.

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To supplement my eager shots from the presentation, I'd like to take another look at a few of the key looks. Thanks to the Jimmy Hansen shot look book we can...

SS12 Look book shots by Jimmy Hansen.

Edward Green and Hardy Amies

Back on that hectic day in February and in the relative tranquil of Savile Row, Claire Malcolm showed her debut collection for the historic and royally patronised house Hardy Amies. For AW11, the design talent explored a period of Sir Hardy’s life in which he was a particularly prominent figure on the European society circuit in the 1930s. In a widely acclaimed show, and in the true spirit of Sir Hardy himself, no detail was left unconsidered. The show unveiled the fruits of a collaboration with Edward Green. In a happy marriage between two quintessentially English companies that pride themselves on quality and style, the offspring were particularly stunning. The range, developed closely with Malcolm, infuses classic Edward Green quality and the dashing Hardy Amies’ sartorial spirit. Four Edward Green classics have been reworked in a palette of blues, greys and burgundies to complement the catwalk collection. 

To mark the launch of the covetable collaborative which are now available in Matches and Edward Green's Jermyn Street shop, we sat down with Edward Green's very own Euan Denholm. Here we talk about the collaboration, take a closer look at the shoes themselves and learn what the Jermyn Street space has in store for us...

Edward Green for Hardy Amies. Introducing the Midnight/ Twilight Falkirk brogue; Black/ slate Piccadilly loafer; Burgundy / old rose Shannon boot; and Slate Chelsea oxford.

SS: What brought these two quintessentially English companies together for this showcase of craftsmanship and design?

Euan Denholm: The idea started because Hardy Amies wanted to have beautiful shoes for their London Fashion Week show. They came to us to see what we might be able to do for them. There's a wonderfully dynamic new team at Hardy Amies who are really looking to bring a fresh angle to Savile Row. So it seemed right to jointly develop the capsule collection and offer them beyond the catwalk show.

SS: How would you describe Edward Green? And Hardy Amies?

Euan Denholm: More than anything else Edward Green is defined by a dedication to craftsmanship. We've been making shoes since 1890 and the workshop in Northampton is very much our heart. We've been asked to make shoes by many leading brands over the years because they know our quality is the best. Our own shoes have a recognisably English look - but always an elegant English look. Even a rugged shoe has a refinement to it.

Hardy Amies is of course a Savile Row tailor - established by Sir Hardy who designed dresses for the Queen and really personified a certain sartorial spirit in his own age. Today, his successor Claire Malcolm is bringing a new creativity to Savile Row and her ready-to-wear collection has been bought by many of the world's leading fashion boutiques. English tailors haven't always found it easy to evolve in the way that French couture houses have done but Hardy is doing a very good job of bringing their tailoring to a new audience.

The Chelsea

SS: The range reimagines four classic Edward Green styles. Could you tell us a little about the original to Chelsea, Falkirk, Piccadilly and Shannon.

Euan Denholm: The Chelsea has long been our best-selling shoe - this version is on the slim 82 last which makes for a perfectly balanced cap-toed oxford. It has our signature 'swan's neck' - a detail drawn from the 1930s.

The Falkirk is a brogue with a thistle pattern. In it's usual browns it's a heavier country brogue but the colour palette of blues and greys gives a very different look - the juxtaposition makes for a shoe of real character.

I think the Shannon's probably my favourite of the set. It bears a striking resemblance to the old RAF marching boot in our archive. We've produced it in black and burgundy with different suedes but the two levels of polish in this capsule give it a new life.

The Piccadilly is our best-selling loafer - it's popular in black and chestnut. There's also a lovely very classic chestnut version with a twill apron - similar to another loafer - the handsewn Harrow - that used to be a favourite of the Duke of Windsor.

The Duke of Windsor's favourite reimagined. The Piccadilly loafer in slate/ black.

SS: How were these classics reworked to compliment Hardy Amies' AW11 collection? Could you talk us through the design dynamic and working relationship with Claire Malcolm?

Euan Denholm: Claire chose the patterns that she felt best complimented her clothes and reworked them in the collection's colour palette. We'd recently started doing some shoes in midnight blue but the light slate was a new leather which worked really well with the greys of her clothes. Once we found the right base colours we experimented a little with the polishing and Claire liked the toecaps polished down to a darkened shine. It gives them a certain wow. I remember that there were three of us over at the house on Savile Row polishing and polishing until we had all the shoes just right the Saturday before the catwalk show.

The Falkirk in midnight twilight.

SS: What's next for Edward Green?

Euan Denholm: As well as the Hardy Amies collaboration, we've got some other really interesting new shoes in for AW2011. The Harrogate and Oakdale are two very elegant longwings - a derby and oxford respectively - very classic EG but in a full range of our burnished calf leathers. Then there's the Lakes Collection - three country inspired shoes with solid storm welts in beautiful cordovans and coloured country calfs - I think that they'd be the ones to catch the eye of many a Style Salvage reader. In the shop everyone is most excited by the Ullswater brogue in navy country calf.

If you come into the shop on Jermyn Street you can expect to see plenty of other new shoes too going forward. We're making more limited orders which allows us to bring in regular new models - so expect to see a green suede capsule later in the autumn.

Edward Greens will be available at Spencer Hart's new flagship on Brook Street in Mayfair. It's very much Rat Pack cool. So expect to see a dark sophisticated set which would tempt Frank Sinatra.

My personal favourite...the Shannon range.

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As Euan Denholm talked me through the collaboration and pointed out the key designs for the coming season he invited me up to see their workshop for myself. Of course, I jumped at the chance and will soon make the trip up to Northampton. However, to whet my appetite further, he sent through a selection of shots that he himself took. The workshop continues to make shoes according to the same simple philosophy Edward Green laid out in 1890 – never compromise the integrity of the craftsman. Where necessary their shoes are still hand-sewn with a pig’s bristle; they are still hand cut by a ‘shoe clicker’ who makes his own knife; they are still Goodyear welted, allowing them to be remade again and again, gaining character as the years go by. Denholm's photography captures this spirit and demonstration of craft wonderfully.

All images by Euan Denholm.

Discovering Blueprint... Sifr

Towards the end of May, I was invited to Singapore for its premier tradeshow, Blueprint. To the best of my knowledge, Blueprint uniquely specialises in launching cruise collections and thankfully curates fresh and forward menswear alongside womenswear, jewellery and accessories from emerging designers destined for international markets. Showcasing one hundred and twenty brands from eighteen countries, Blueprint is a fashion trade gateway for East-West exchange. Over the course of a few hectic days, I explored this lively Asia based platform dedicated to Singaporean and regional design talent and encountered a few gems in the process. The local highlight was undoubtedly Sifr.

The brainchild of Chris John Fussner and Suraj Melwani the label evolved from Suraj's conceptualised multi-brand clothing store KIN. Since its inception, Sifr's designs have showcased refined lines, quality materials, solid construction, and minimal detailing. The brand name means empty or zero and there is certainly an emphasis on a stigma-free approach. During my time in Singapore (thanks to introductions from Austin from Why You Mad?), I was able to spend a bit of time talking through the label's development whilst examining its considered product with the men behind it all. Here, months after initial introductions, we catch up with the duo to help tell the story of the label...   

SS: What were your inspirations, your dreams and the driving catalyst behind launching your own label?

Chris John Fussner: I am fascinated by the process of taking an idea and manifesting it into a tangible service, solution, product or lifestyle. Doing a report on Da Vinci in the 5th grade had a big impact on me, seeing a single human being manifest so many ideas into reality is something to strive for.

Suraj Melwani: First and foremost, I didn't think we were trying to reinvent the wheel. Coming from Asia, we felt that we were able to offer beautifully made, relevant clothing to a wider audience. We have all the resources at our feet and we're able to really focus on quality and design while still using premium fabrics, etc. We have a great team out of Singapore that specializes at different things as well as a production team out of Indonesia who we sincerely care about. This sincerity translates into well made products.

SS: What does Sifr mean to you?

Chris John Fussner: Sifr is a space for exploration and sharing. sifr leads us into new areas all the time, we're constantly learning and trying new things. It's all part of the process and relationship we've developed with the company. The company is like another person. A good friend, someone that your constantly in conversation, someone that you're always learning and sharing with.

Suraj Melwani: Sincerity. It is a reflection of who we are as people and how we work. If we can better ourselves and what we do, we're always up for it!

SS: Born in 2009, how has the label and your approach to it evolved over the years?

Chris John Fussner: It has been a roller coaster; such is life! A process of self discovery and growth, the label has continuously evolved. We are in a space now where we are very comfortable with how we are expressing ourselves. If there's anything I've taken from the labels evolution: design and business must dance together in rhythm, don't make things too significant, and patience.

Suraj Melwani: When we first started, we focused on creating a tight-knit collection. However, with all of our resources, we're able to work with knits, prints, footwear, etc. This has created somewhat of a dilemma for us. Since we're able to make more interesting garments and accessories, we've tried to stay away from in-depth specialization. We've tried not to create one single product that people can identify us with. This can be a double-edged sword but that's what makes us special. We're able to make a lot of great things, so why not keep going.

SS: How would you describe your style and your own design philosophy?

Chris John Fussner: If I see someone wearing something in real life travels, in a movie, a comic book, anime or in my dreams I'll consume and re-interpret. I must confess that I in the last few months I've been feeling like Ghost in the Shell meets Acronym and Gyakusou. I've been itching to purchase some all black Vibram Five Fingers, that would definitely complete a nice tech-ninja look. I wish I had some therm-optic gear. As for design philosophy, we create what we love, there's a lot of personal sensibilities in the clothes we make. We merge these sensibilities with ideas and concepts we want to express about where we are from and what we like.

Suraj Melwani: As people, we tend to like our space and room in terms of our surroundings. For myself, it translates into clothing as well. I like clothing in breathable silhouettes. I like to be comfortable and I prefer clothes with room like what Kolor is doing. Currently, I'm pairing relaxed fit shirts with relaxed fit trousers. Sometimes it works, sometimes it doesn't but you end up feeling like you could roll out of bed and go to work. We're also lucky to be in South-East Asia, where we can see people who put themselves together that don't really make it a focal point to always look good, but eventually do so. Seeing them not put any effort but looking well is always inspiring. That's how design should be; closer to your life and closer to reality.

SS: Could you tell us a bit about the dynamic behind Sifr? How do the two of you and the rest of your team work together, what do each of you bring to the label?

Chris John Fussner: I wish the roles were a little more clear cut and defined but at the same time I think that's what keeps it fun. It's a small team so everyone does multiple jobs. I find myself doing everything from sales, fabric, design, branding, marketing, tech, pr; a little bit of everything. A lot of the process is co-creating / collaborating with each other, a lot of the decisions and process involve a group mind. Which I find very interesting because if we weren't creating in a group mindset the outcome would be very different. In that space of a group mind there are a lot of conversations back and forth which produces something unique to the brand and to ourselves as individuals being part of that process.

Suraj Melwani: I usually handle production and use my spare time to think of ways we can save money. Initially we kept our tasks quite defined and I found myself in the middle of design and production. However, upon receiving a batch of garments that the team weren't too keen on they quickly (and regularly) made it known that group work was their preference. I like the PR side of the business. Listening to what people say is really important to us, just not when it's at some party/loud bar where listening is not really possible.

SS: Since 2009, Sifr has been engineering refined garments (and now footwear) for forward looking men who seek quality, affordability, and design that’s relevant to their lives. What were the first and last item you remember designing?

Chris John Fussner: I remember finding this tight black and white floral print on the street parallel to our old office, a Liberty-esque sort of vibe but a little more minimal and the floral pattern was very tight so from a distance it looked more like a texture. Then we took the fabric and made a button down short sleeve. It's my favorite shirt to this day. The last item I remember designing was for this last SS12, the marigold orange nylon poncho with a kangaroo pocket that the poncho can fold into for utility.

Suraj Melwani: I started with this pleat t-shirt that we're actually re-interpreting for this season again. It did really well for us. It was a cotton modal piece that draped very nicely. I remember doing a cotton spandex shirt as well with some leftover fabric. It shrank a whole size down over time but I loved it so much I didn't want to let it go even though it looked like I borrowed something from my sister's closet. Last item I designed was the "lazy" blazer that is a crucial part of our line and will continue to be something we work on regularly.

SS: The SS12 collection, entitled ‘Belonging’ was born from a process of reflection on the core beliefs behind the Sifr brand. Could you talk us through your latest collection and how the label itself inspired you.

Chris John Fussner: Cash is king, it's not the sole reason we do Sifr, but without it we're not able to continue creating and sustain the family we've built with the brand. We found ourselves being trapped in just producing tiny capsule batches for the local market and within those batches we caught ourselves losing the plot about why we created the label in the first place; create great quality products and have a good time doing it. We found ourselves just producing for the sake of producing, although the product was not bad it just wasn't presented in the context we wanted.

The collection looks at subtle detailing, great fabrics combined with superb construction. The use of a somber palate of earth tones and a splash of marigold orange, the marigold is a big signifier in South and Southeast Asian culture. We brought some traditional detailing from age old garments from South and Southeast Asia into a current context. Transparency and opacity are both explored in the collection as well, playing with weights and layers in relation to the weather in Asia. All things pulled together the collection is an expression of clarity and logical thought.

SS: Sifr interprets crafting in a modern, globalised way. You want to create high quality products in a financially feasible way. Craft and local manufacture are obviously very important to you and are dear to us too at Style Salvage. Can you talk us through some of the process involved in creating the range?

Chris John Fussner: Ideally we would have loved to produce everything out of Singapore however in the last few years the garment manufacturing industry on the island has almost disappeared; I've heard you can count the number of manufacturing operations left on the island with your fingers. The next best thing we could do was travel 1 1/2 hours away to our neighbor Indonesia, Suraj's home town and start sourcing over there. Since the disappearance of the quota system and the advent of China a lot of manufacturing and production has since vanished. However we stuck to our guns and started doing detective work in early 2010. At this point in time we are lucky to be working with a handful of people there that are providing a stable base for us to pursue the overseas market. These relationships allow for an open dialogue in the process, like all processes there is a beginning middle and end. In our case we're lucky to have a great dialogue in the middle, in the past it was just emails and we'd see a few samples before production and then that was it. Now we have one of our team members over in Jakarta working directly with our suppliers and we fly over at least once every month or every two months. Where we are able to discuss and brainstorm what we want to convey in the product with our ideas. In this conversation we get these gems of feedback, suggesting a different construction method on the pattern, or to try this other material or to consider a different thread or stitch because of the fabric weave. So it's that dialogue that takes place between the first sample and the pre-production sample that makes all the difference. We're able to get a deeper connection with the process.

Suraj Melwani: The people really do it for us. Initially, we were always a little shy to say that our clothing was made in Indonesia but upon experiencing the production process these last few years, my ideas and thoughts changed. I studied in New York and I've seen clothes made in the US and shoes made in the UK. They are beautiful but the same can be said about things that are made in Indonesia. The people behind the product are amazing. Indonesia has long been a mass manufacturing country and after it lost some of it's market share to China, the skilled workers still in the garment business are now focusing more on quality products. These guys can now channel their efforts into smaller quantities and better quality. Our pattern maker is supremely talented and just as good as anyone out there. Indonesians don't speak loudly, they do most of their talking with their hands.

SS: Finally, how do you see the brand developing over the next couple of years?

Chris John Fussner: We're hoping in the next few years we would have done enough to make way for other labels coming out of of Southeast Asia. A flagship, somewhere in the world! A company and brand that's able to create room for other mediums of expression whether in different products or in concepts. A platform for global collaboration.

Suraj Melwani: I'll call it a successful brand the day that it has an impact on people that stretches beyond quenching their thirst for beautiful clothing. The production of the clothing already benefits members of our manufacturing circle and I'd like to see how it can benefit others outside of that. I see the brand taking a more organic route toward success. On a short-term note (as well as longer), I see the brand image strengthening to the point where people will have a clear idea regarding what we are all about.

Interview accompanied by my shots of the collection from Blueprint.

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Timely for me, sifr's SS12 collection was born from a process of reflection on the core beliefs of brand and thus served as the perfect introduction. Chris John and Suraj are dedicated to creating products that express premium materials, solid construction and deep thought. The resulting designs explore the versatile semi-formal and casual wardrobe staples that are just perfect for everyday wear.  as shown by their SS12 look book.

Look book images courtesy of  sifr

With good menswear, you really do not have to reinvent the wheel each season. However, the design duo behind sifr certainly do help polish the spokes through their constant process of research, refinement, and unquenchable thirst to improve

Berthold AW11

Just over two years ago, we first were introduced to a capsule collection of transformational outerwear thanks to an exhibition inside b Store. Inspired by the ever practical pac-a-mac, Berthold's debut offering was a unique assortment of outerwear that cunningly changed from a coat to a bag and back again with consummate ease. In the seasons following this memorable introduction, I've often found myself admiring his designs on the rails of my favourite London store but somehow no follow up post has ever materialised. Today, I make amends.

Founded by Raimund Berthold, this creative yet functional range of menswear is focused on style and comfort. His philosophy is simple; to design interesting, well made and inspirational clothing for everyday wear. Raimund began life in Austria before travelling to London to undertake a BA followed by an MA in Fashion at St Martins College of Art & Design. The design talent then worked under the tutelage of British greats including Vivienne Westwood and Alexander McQueen before launching his own label. Berthold is confident, sophisticated and refined. During the hot and hectic weekend spent in the heart of Paris menswear week back in June, I longingly stroked the fourth full Berthold collection and met the man behind it all. To mark the imminent launch of his AW11 collection in b Store,  we snapped up the opportunity to discuss Raimund's approach to design whilst day dreaming over the designs thanks to the Claire Harrison shot look book...

SS: What were your inspirations, your dreams and the driving catalyst behind launching Berthold?

Raimund Berthold: I liked the idea of being free to follow my own aesthetics, creating clothes I would like to wear myself and see other people appreciating and wearing them too.

Also, having your own line opens up great possibilities to work and collaborate with amazing, creative and inspiring people. It is very helpful to be pushed and questioned by people you respect.

SS: Aside from it being your surname, what does Berthold mean to you?

Raimund Berthold: I like the fact that Berthold sounds like a brand and doesn’t make it too personal to me. That is why I haven’t used my first name. I think of Berthold as an accessible and modern label which is always about detailing and function mixed with a bit of humour.

SS: How would you describe your approach to design?

Raimund Berthold: I usually don’t like endless research material. I prefer to start with a few images or vintage garments and just design and develop from there. I find this keeps my mind free and my work less predictable.

SS: What were the first and last items you remember designing?

Raimund Berthold: I used to customize my clothes as a child. Growing up in the Austrian Alps didn’t give you a great choice of clothes but customizing certainly helped. The last item was a print for next summer. It's based on scaffolding I photographed in a church in Barcelona.

SS: What was the starting point for the AW11 collection? How did it evolve into the collection we see today?

Raimund Berthold: The starting point was an image of a space suit, which had a very chunky zip across the body. The suits proportions and straight lines are brilliant. This translated into very boxy jersey peaces, which have chunky zips either vertical, horizontal or diagonal. These zips open completely and extend the garment. The ”boxyness” inspired the silhouette of the outerwear. Especially the coats….. Simple lines, oversized and very subtle details.

SS: Throughout each piece you've experimented with shape and fabric. Could you talk us through the silhouette and your love of fabric...

Raimund Berthold: I love experimenting with volume and silhouette, but you have to get the balance right. I am very much involved in the pattern cutting process and for me this the really creative time.

The jackets and coats for this winter collection have an oversized look but don’t swamp you. The jersey peaces are also either oversized and cozy or very thin and almost “drapy”. My trousers are slim cut.

I like using cotton, because its light and versatile. I also use wool for my outerwear. I often mix them with anything synthetic, either because its gives the garment a better performance, make them more sporty or just for the fun of it.

SS: You have quietly and assuredly built up a fan base. Do you think there is a particular Berthold man? If so, do you think about them when you design each collection?

Raimund Berthold: I definitely attract the more creative type. Men that want well made comfortable clothes that sets them apart without being too obvious. Where I do have my customer in mind is when it comes to the fit. I usually ask the “b Store” boys each season which fit worked best for customers and why. I want to create clothes that are comfortable, flattering and of course, those that sell.

SS: How has your approach to or view of fashion shifted during the life of the label?

Raimund Berthold: Since starting my label I have met incredibly interesting and passionate people who just love fashion. This has made me rediscover how much fun fashion can be and how lucky I am to be a designer. My approach to fashion has definitely become more confident, especially after realising that you don’t necessarily have to compromise your designs in order to have a viable business.

SS: What excites you about the future of menswear?

Raimund Berthold: That men have become more fun to design for!

SS: Finally, what's next for Berthold?

Raimund Berthold: Lots of experimentation and extending our product range

Collection shot by Claire Harrison and modelled by Adam Maddock.

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I just love how Raimund Berthold has quietly and assuredly built up a fan base whilst offering design without compromise. Berthold's designs are currently exclusive to b Store but given the sheer volume of interested buyers at the Six London showroom in Paris that looks likely to change for SS12.