Collections

The Theatre of a train ride

There is something timeless about watching the world pass from a train window, landscapes dissolving into one another like the turning pages of a beloved book. To mark the opening of the Manchester showroom, I wanted to create something that felt quietly magical, a campaign film drawn from the illustrated world of the classic British children's storybook. Nostalgic, whimsical, and unmistakably Aristocracy.

Aristocracy Spring/Summer 2026

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Who - Tho?

Every collection tells a story. This one told ten, packaged as a board game. WHO-THO? was the first campaign I conceived for Aristocracy, born out of a creative challenge. How do you showcase the full breadth of a made-to-measure offering, diverse fabrics, contrasting silhouettes, no unifying design motif, whilst keeping it beautiful, distinctly British, and achievable on a lean budget?

The answer came from reversing the usual logic of collection building entirely. Rather than beginning with a silhouette or a colour story, I began with characters. Each look became a distinct individual, with their own history, their own energy, their own reason for being in the room.

Which left one question. What situation could plausibly bring together ten people with absolutely nothing in common? The answer was obvious, and very British. A murder mystery. Ten strangers. An Agatha Christie gathering of the unlikely and the unknowable. The collection formed around them, or perhaps they formed around it. Each character defining their look, each look defining their character.

It started with a Netflix show and a thought that wouldn't let go. World's Toughest Prisons is, on the surface, exactly what it sounds like. But watch it long enough and it becomes something else entirely, a portrait of the societies that built these institutions. The way a nation treats its prisoners tells you everything about the nation itself.

What fascinated me as a designer was a more specific tension. Prison is a place where self-expression is suppressed by design. Identity flattened. Individuality a luxury the system does not permit. For a designer whose entire practice is rooted in the idea that clothes are how we tell the world who we are, that felt like the most charged starting point imaginable.

So I did what I always do. I built characters. The incarcerated and the employed, the powerful and the powerless, each role within the prison ecosystem rendered as a distinct personality with a look entirely their own. Colour and pattern pushed to their most expressive extremes. Everything the institution would deny, given back in cloth.

Spring/Summer 2024

Un-cuffingseason

Some collections are planned. This one was lived. Night/Day was born out of lockdown, conceived in Mile End, the beating heart of the East End, within earshot of Bow Bells, which as every good Londoner knows is the only true measure of a Cockney.

When the world contracted to a single street and a permitted hour of exercise, something quietly extraordinary happened. Getting dressed became an occasion. The pavement became a catwalk nobody had organised and everybody attended. Older residents in their Sunday best, a gesture of dignity and defiance in equal measure. The younger generation in sportswear and loungewear, comfortable and unbothered. The trendies in denim. All of them out on the same pavement at the same time, a brilliant and unrepeatable collision of personalities, cultures and attitudes.

I found it genuinely uplifting. And I wanted to bottle it. This collection is my attempt to do exactly that, a happy melting pot of everything I saw out on those streets, thrown together and made to work with end of roll fabrics labelled as waste, to show that off cuts and leftovers does not mean the end of line.

Autumn/Winter 2022

Style End

This one started with a very specific cultural memory. The Man from Del Monte, that instantly recognisable figure from the 1990s advertising campaigns, suited and authoritative, passing judgement on the world's finest fruit. There was something in that image that felt ripe for reinterpretation.

From there the concept took a turn into darker, more cinematic territory. Each look became a character at the intersection of the absurd and the atmospheric, fruit-themed alter egos rendered through the lens of Film Noir. Shadowy, stylish, and faintly ridiculous in the best possible way.

Walter Melon, mild-mannered private eye. The Black Grape, an elusive creature of the night. The Wild Strawberry, unhinged, volatile, and adamant that those aren't bullet holes, they're laser cut. And because no nostalgic journey through a fruit-themed comic book universe would be complete without one, Banana Man. A collection that took its references seriously, and absolutely nothing else.

Spring/Summer 2011

The man from…..

This collection was inspired by the silhouettes of the Hasidic Jewish community in north east London where I lived at the time. The austerity of their dress, its quiet authority and distinctive proportions, provided the foundation for everything that followed.
Key pieces included shirting worn over a white vest, slim cropped trousers referencing the Gur Hasidim, and the overcoats, the soul of the collection, long, slim and belted low. That low belting was a deliberate technique, drawing the eye downward and accentuating the full length of the garment. Faux fur collars introduced a note of softness against an otherwise restrained silhouette.
The collection was also a personal challenge. Colour, print and fabric variety are my natural territory. Here I worked against that instinct entirely, limiting myself to a single fabric and a tight palette. Constraint, as it turns out, can be its own kind of freedom.

Dazzle Camouflage

Every designer has a collection that tells you exactly who they are. This was mine. Double or Nothing was my first foray into menswear after a training and early career rooted in womenswear, and it arrived with a very clear point of view. Bold colour, strong pattern, silhouettes that command a room. Fun, unapologetic, and entirely committed to itself.

The double breasted jacket was the starting point and the through line, a form I have always loved for its architecture, its authority, the way it carries a strong fabric better than almost anything else. But the collection was also shaped by something I had brought back from travelling through South Asia. The sherwani had stayed with me, its proportions, its sense of occasion, the quiet drama of its length and structure. I wanted to let those two worlds find each other on the page.

The result still summarises what I love most about design. Colour that earns its place. Pattern that works within its own logic. A silhouette that knows exactly what it is. And honestly, it was a lot of fun to make.