If Daniel Lee’s show was a journey, it ended up coming back to Britain, writes Alexander Fury of the designer’s first collection for Burberry
’s history is embedded in ideas of Britishness, old and new. Its earliest claim to renown was as a manufacturer of outerwear, after all – its founder, Thomas Burberry, invented gabardine, success based on an ability to repel stereotypically inclement British weather, and yet let the body breathe. It was actually inspired by the water-repellant smocks of sheep farmers in the English countryside – their linen treated with lanolin, to keep them dry in deluges.
Lee’s first collection wound up a voyage through ideas and ideals of Burberry, perspectives on heritage, new histories. His models were dressed as globetrotters, laden with bags – necessary for travel in past centuries, essential to luxury today – each one different to the last. Their journey roamed wide – there were echoes of a wider, collective consciousness of fashion and Britishness, not necessarily specific to Burberry.
Indeed, at the root of it all, was the brand itself. The archive was a constant source of inspiration, surrendering the obvious – checks, gabardine, great sweeping outwear pieces – and the unexpected, like a colour palette so bold it nearly vibrated but which, Lee said, was taken from Burberry fabric books, sourced from old English mills.
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