UNITED KINGDOM: New designs by Tristan Webber and Joe Casely Hayford at London Fashion Week

Record ID: 231086

  • Title: UNITED KINGDOM: New designs by Tristan Webber and Joe Casely Hayford at London Fashion Week
  • Date: 22nd February 2001
  • Summary: VARIOUS OF BACKSTAGE AT TRISTAN WEBBER SHOW (3 SHOTS) SCU SOUNDBITE (English) FASHION DESIGNER TRISTAN WEBBER SAYING: "The inspiration behind the collection was trying to modernise a period in Japan surrounding the change from the Showa era empire into more liberated Japan. That was one of the ideas. That was kind of like how it started then it led off into many different directions. We're looking at botanical prints, the return of flesh to the earth and then returning up into growth as well which is where the flowers came from."
  • Embargoed: 9th March 2001 12:00
  • Keywords:
  • Location: LONDON, ENGLAND, UNITED KINGDOM
  • Country: United Kingdom
  • Topics: Entertainment
  • Reuters ID: LVA7LQ8OHHCJSY2UL7YGBVJDH2A1
  • Story Text: The perennial fashion debate of creativity versus commerciality has been playing out again at London Fashion Week in the contrasting collections of avant-garde designer Tristan Webber and classicist Joe Casely-Hayford.
    Joe Casely-Hayford unveiled an understated, subtle and elegant collection at London Fashion Week on Thursday (February 22). He called the show "a reaction against the gloss and glamour and superficiality we're seeing a lot of at the moment in fashion".
    Tailored trousers, culottes, knee-length skirts and fitted jackets made up the bulk of the collection. Casely-Hayford used traditional fabrics; suede, cashmere, tweed, velvet and raw silk.
    Patterns were kept to a minimum. A few subtle stripes and checks could be seen, but the main deviation from plain self-coloured fabrics was a gold brocade paisley pattern which Casely-Hayford used on trousers, jackets and coats.
    The effect was functional, wearable clothes which have earned Casely-Hayford an established following since his graduation from Central Saint Martins School of Art in 1979.
    But if Casely-Hayford's motivation was wearability, Tristan Webber's was an expression of an abstract artistic vision.
    "The inspiration behind the collection was trying to modernise a period in Japan surrounding the change from the Showa era empire into more liberated Japan" he said.
    "We're looking at botanical prints, the return of flesh into the earth and then returning up into growth as well which is where the flowers came from."
    This vision led Webber to show sculptural pieces, many loosely incorporating Kimono-style tailoring and others printed with orchids or featuring Venus flytrap corsages.
    But Webber was not unaware of the pressures of commercial success. Traditionally at fashion shows, press are seated on one side of the catwalk and buyers on the other. So Webber supplied two catwalks; on the one nearest the media he showed his avant-garde, visionary pieces while on the buyers' catwalk he showed more commercially appealing garments.
    He provided kick-pleat skirts, tailored trousers and delicate chiffon blouses in shell pink, pale green, ivory, navy and black for women who prefer less daring clothes. For more confident dressers, the orchid-shaped green hooped skirt decorated with large flowers was shown.
    With Britain yet to turn its reputation for avant-garde young talent into high street sales, and many top names going abroad to find financial backing, Webber's approach may find a following among British designers.
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