Burberry Prorsum S/S13: Henry VIII Redux, with music by Tom Odell

When it comes to debating the S/S13 catwalk shows in real-time, it's hard to pick favourites and decide what to write about, so quite often I just end up leaving the rest in a mental 'To Do' pile and never quite getting round to discussing them. This year, one of my blogging resolutions (don't worry, there aren't that many) was to rediscover some of the weird and wonderful shows later on. So, let's begin...

 [Image via Style.com]

Tudor elegance and exaggeration made for a strong range from Christopher Bailey.

My first choice was Burberry, completely by accident, as I've recently been spending a lot of time listening to music by Tom Odell. When YouTube started auto-filling 'Tom Odell Burberry', I knew where I'd heard his song 'Another Love' before - as the opening tune for the Quality Street-esque womenswear Prorsum collection back in September 2012 at London Fashion Week. I'm going to see Tom in March when he'll be gigging in Brighton and I can't wait to hear more of his stuff. For the record (inadvertent music-related joke there), his song worked brilliantly with the collection and it hinted at some of the drama in the clothing; capes, playing with proportions, flashes of colour and unexpectedly brilliant metallics.

Here's the video, along with other music by Birdy and Ren Harvieu.

Regal Inspiration for the Collection

The most obvious thematic reference I could find from the show, which I severely doubt even appeared on the mood boards at Burberry HQ, was Henry VIII. Here's why.

 [All images via Style.com]

Exaggerated Shoulders and Arms

In portraits you'll notice that Henry was shown as being incredibly large, with huge arms and shoulders worthy of an American football player. Although he wasn't the thinnest bloke around, he actually used a lot of padding in his clothing to make himself appear bigger, therefore coming across as more powerful and domineering to his public and to any potential enemies. It's basically the equivalent of an animal puffing itself up to look more threatening.

For Burberry Prorsum the puffed up aesthetic was also used to look powerful, but it also came across as fashion-forward thanks to the beautiful metallic material and the minimalist outfits. No heavy embroidery and detail needed here, unlike the Tudors, who had a penchant for embellishment.

Capes

Ok, so Burberry went for a mixture of capelets (seen above) and full capes, but either way they looked great. Whereas the models look chic, Henry would have worn a cape for things like hunting, not hanging around at cocktail parties, but I'm sure he'd approve of these tailored numbers.

Green Sleeves

It was said that the song Greensleeves was written about Anne Boleyn during her pregnancy. Those Tudors certainly knew how to make morning sickness fun. In light of this, it would be fairly apt if Kate Middleton (the most famous 21st century royal sufferer) started wearing some olive green pieces from the collection.

 Holbein Blue

Hans Holbein the Younger was a really popular artist at the time of Henry VIII and painted royalty - including the man himself - on many occasions. One of his signature colours was this beautiful teal blue which he often used in the background of his paintings. Holbein's portrait of Henry VIII was called 'the best piece of propaganda ever' by the BBC (he portrayed the king as a strong and impressive man, rather than the ailing 45-year-old that he actually was). Anyway, Henry might not have ever been painted with this colour, but it's still something that I closely associate with him. It's also really striking on the catwalk, especially amongst all those jewel tones.

Gold

It was either fresh and impossibly shiny or burnished to perfection, but there was more than a hint of gold for S/S13. The Tudors couldn't get enough of the stuff in their castles, palaces and ceremonies, so it's hardly surprising that we should find some here. Christopher Bailey's designs were tempting thanks to clever tailoring and flattering ruched fabric. The gold jacket in the centre is particularly eye-catching, though it might not be as easy to carry off in the British suburbs than in a piece of fashion editorial.

 Ready for Battle

That nipped-in waist and those power-dressing jackets made me think of Tudors in combat, whilst the fluted material looked a bit like gauntlet gloves or Elizabethan ruffs (from the era of Henry's daughter). Again, it's about exaggerated forms and creating a silhouette that makes the wearer seem more impressive. I also loved the tailored cups on the trench coat (centre), which looked like something to be worn in a fashion battle.

And here are three Henry VIII directions that the collection thankfully didn't take:

• Gout
• Multiple wives
• Beheading

But hey, let's leave something for A/W 2013, guys.

In all seriousness, there was so much inspiration to take away from Burberry Prorsum this season that it was hard to narrow down the selection. Though the creative team might not have been thinking of fearsome monarchs at the time, there's something decadent and definitely Tudor about the collection that I absolutely love.

Death: A Self-Portrait, at the Wellcome Collection

This Thursday I headed to the Wellcome Collection in London for the first day of an important new exhibition which tackles one of society's biggest taboos: death. Though we all know that death is an inevitable conclusion - the 'self-portrait' of the title refers to you, too - it's something which most cultures struggle to articulate and prefer to leave as an afterthought. The Wellcome does the opposite and confronts the Grim Reaper-shaped elephant in the room, which is both brave and eye-opening.

 La Vie et Mort postcard, c.1900-1910, with unforgettably clever imagery.

All images via the Wellcome Collection.

The exhibition is based on the huge collection of deathly artwork amassed by former art dealer Richard Harris (no, not the bloke who played Dumbledore), gathered over 12 years and covering all kinds of different cultures and time periods. From a 1300s skull sculpture to 1800s Japanese paintings, right up to an incredible plastecine piece (2011) by an Argentinian art collective, the theme of mortality is ever-present. If you're one of those people who finds morbid imagery a bit too creepy then this is a brilliant place to confront your fears and end up feeling a bit more comfortable with skeletons, bodies and rituals.

When Shall We Meet Again? Gelatin silver print, c.1900.

As someone who loves skull motifs and wrote an incredibly long art theory essay on anatomy in the art world, I was certainly in my element exploring the collection, from vanitas portraits to anonymous photos featuring people posing alongside skeletons. Death is one of those things that unites us all, rich or poor, and it completely goes against the kind of things I write about on this blog for the rest of the time - all those outfits and handbags mean very little once you're gone, except for maybe helping you to look your best in the funeral home. This exhibition looks at some of the ways in which people try and keep memories alive, through portraits and ritualistic altar building, and also the ways in which they begin to accept death, such as in the use of memento mori in imagery. There was also a lot of attention paid to anatomical discoveries and the advances that helped us to understand the body, which obviously involved cadavers, and there was a really touching sepia photo from an anatomy class that was titled 'When will we meet again?' that caught my eye. The contradiction of preserving bodies by exploring an expired one is something that anatomists are constantly aware of.

If you're at all interested in skulls and conceptual imagery then you need to pay a visit to the Wellcome Collection; it's free, fascinating and you will come away with some very big questions. There is also a series of events accompanying the exhibition, so take a look at the website and find out how you can get under the skin of this important topic. It definitely puts things in perspective.

Death: A Self Portrait - 15th November 2012 - 24th February 2013.

Wellcome Collection, 183 Euston Road, London NW1 2BE (nearest tube station is Euston Square).

Illustrations: Maison Martin Margiela for H&M

Tonight I'm off to the Vogue and GQ preview event to celebrate the launch of Maison Martin Margiela for H&M, which will be available online and in store from tomorrow morning. This has to be one of my favourite collaborations, especially as MMM is so intelligent as a brand and creates clothing that makes people think (rather than treat it as disposable). The archives have been well and truly raided to put together this much cheaper line, and it's your chance to get your hands on a piece of designer history.

I whipped up a few quick (read: badly executed) illustrations to celebrate, and to help put together my wishlist.

 This dress is available in black or a really bright cerulean blue.

I loved the redundant sleeve detail (on the left hand side here) which just hangs in the air.

 Plexiglass heels are having a bit of a moment right now, from Celine to Office.

I'm sure these will be a big seller on the shop floor as they're really minimalist.

The half-maxi, half-mini dress isn't one for the faint-hearted.

If you're up for the challenge then this would look great with tons of rings and bangles.

Three Margiela trademark touches to look out for across the whole brand:

• Unfinished edges and obvious oversize tailor stitching on jackets
• Unexpected use of materials - think emulsion in the main line, and fake hair on necklaces and belts as jacket material in the H&M range
• Carefully used bursts of colour - you won't look like you've been attacked by poster paints. Colour is used to accent (such as the tattoo-print top) or in blocks

If you're planning to shop the collection then I'll meet you in the queue...

Theyskens' Theory S/S13: Boy Meets World

 Grunge for Spring/Summer? Hell yeah.

[All images via Style.com].

I am a little bit in love with Olivier Theyskens, even though he used to make demi-couture gowns that cost more than my combined university fees. There's something about his clothing that puts up two fingers to the doubters and makes you feel powerful (I assume - it's not like I have a secret stash of Theyskens' Theory in my room, though it would be a nice thought). Unlike the try-hard grunge look that seems distinctly pre-fabricated, this is genuine insouciance and you can tell that he's enjoyed crafting each piece, regardless of its reception. 

The top and trousers in the centre remind me mostly of grass stains, as if the wearer had spent long enough rolling down hills and scuffing her clothes to inadvertently create a look. Meanwhile the sheath dress on the right could have been sewn from a satin nightdress with a black voile thrown over the top in a last-ditch attempt to look presentable after a night on the tiles. Turning to the evening gown on the left, you can see it's made for putting your hands on your hips and into those pockets - not for being a wallflower.

 For those times when you feel a little bit different and don't want to chuck on jeans.

There was definitely an element of second glances in this collection, most notably in the ever-so-sheer demure-looking dress that flashes bright white underwear beneath this season's peplum. Similarly, but with less potential to offend the elderly, the blue house coat in the centre seems quite girly with its A-line shape, yet a closer look reveals that it's actually more like an oilskin men's jacket, but given an unusual cut, then thrown over a leather dress to give a mash-up of textures. Lastly, the beautifully sculptural maxi dress on the right is toughened up by embellishment and that stern pout from the model - you get the feeling she might have a knuckleduster on.

 Don't just go for the 'boyfriend' look as a phase - take that old jumper or suit jacket and wear it to death.

Boyish went for more of a grandad edge with chunky charcoal jumpers, elegantly cut jackets that verged on the masculine, and some deep v-necks that revealed gaping chests rather than ample cleavage. Those shiny black trousers on the left are perhaps a hard act to follow on the high street, with potential echoes of MC Hammer, but you can bet that fashion industry insiders will be clamouring to be shot in them by the likes of Scott Schuman and Tommy Ton.

As a parting note, everything gets bleached as the grunge kids draw back the curtains.

I wanted to end with more of the pure white Theyskens' Theory pieces, as they're so dazzling and might initially seem to go against the grungy aesthetic of the rest. Again, on a double take they seem a little less innocent. That white suit with those serious black boots gives a hint of A Clockwork Orange, whilst the baggy coat and silvery hair makes an otherwise simple, if short, shift dress seem like the choice of a post-gig rock star. The soft thigh-skimming jacket on the right is also fairly indecently short, but there's barely a hint of anything underneath (look away, middle America!). 

I can't get enough of this collection; there's so much fun behind the separates and they'd all add something to your wardrobe. Olivier Theyskens is a constant source of inspiration for me and I get the feeling he'll be lining the pockets of a few of our high street stores when they get creating copycat designs. Not naming any names, but you might want to head to Zara, Mango and COS to try and replicate the great man on a more budget-friendly scale...

In Praise of 100 Beards: Interview with Jonathan Daniel Pryce

 Ali, British Library, London. 

[All photographs by Jonathan Daniel Pryce].

 Atip, Shoreditch High Street, London.

I've been an admirer of the photographers over at street style blog Les Garcons de Glasgow for quite some time, as well as offshoot men's style blog Another Garcon, and was pleased to see that Jonathan Daniel Pryce was launching a new project, 100 Beards. The idea is simple but very engaging: snap a different man and his beard for 100 days, recording the results on a dedicated Tumblr. Seeing this week that he'd completed the first quarter of the project, I was keen to find out how things were going. 

"The beard trend has been growing for the last five or six years, I'd say, and it's now reaching public consciousness on a widespread level," says Jonathan. He believes that it has "another three or four years" before the fuss dies down. Not only is now the perfect time to look at facial fuzz in terms of it's value in fashion, but also because it's something that really interests Jonathan: "I think there is a real subculture - every man with a beard seems to have a knowing look in his eye."

 Gregory, Swanfield Street, London.

The current hot favourite in terms of popularity is the portrait of Gregory on Swanfield Street, which has been the most shared photo so far. My personal favourite is Ali, photographed at the British Library; there's a real intensity to the image and I also love how his beard merges into the rest of his hair and yet it's a completely different style, peppered with grey. I'm also drawn to Derek in London Fields, the knowing look of Michael on Leonard Street and the piercing that cuts through Atip's beard (shot on Shoreditch High Street). What's more, Atip's stripy loose-fit Comme des Garcons t-shirt is cleverly set against rigid striped shutters, making for an interesting mixture of lines.

I wanted to ask Jonathan if there was any correlation between how a man keeps his beard and how he dresses, assuming that the neatness of one would equal the neatness of the other:

"What I have noticed is those with sculpted beards tend to dress in a sporty, high street looks. My favourite though is actually an inverse correlation, which is something I find quite frequently. By that I mean a big, bushy, unkempt beard with a sharp, tailored suit and button down shirt."

The project already seems to be spreading like wildfire, with Twitter users in particular getting excited about both the concept and execution. "People feel they have ownership over it, which is a great feeling," says Jonathan. "I'm really pleased with how it's going, although it's much harder than first expected!"

 John, Evelyn Street, London.

These days it's not uncommon for blogs to turn into books or for bloggers to become hot property. So where does he see the project going? "In terms of end results, I'm really looking forward to the exhibition which I'm planning at the moment and looking into getting a book published." I can certainly see these images working on a larger scale and lighting up a gallery. There's also Jonathan's other project, Superior Interior, which finds out if your dress sense extends to how you dress your home, and is hosted on Another Garcon.

One concern that Jonathan has is that "I don't want it to just become the hipster show," referring to the current trend for beards (and what I called the 'Shoreditch/Hoxton hipster style'). His solution is to be as diverse as possible, "selecting a broad range of facial hair." You can definitely see this just by scrolling through a small range of photos, but on a grander scale it's going to be a fascinating look at different approaches to the beard. I had no idea it was such a personal and idiosyncratic thing, but now I can see that it's a huge form of self-expression for those who decide to put down the razor. Not only that, but individual participants have their own stories to tell. Jonathan enthuses:

"The most touching photo for me is John. He emailed me last week thanking me, as his mother has days left to live and smiled for the first time in weeks when shown the photograph. It's those sorts of moments that mean a lot to me."

If you want to see the photos and learn how to participate in 100 Beards then do check out the Tumblr site and see for yourself, as well as looking for the #100Beards hashtag on Twitter. It's great to see that men's style is being given platforms such as these, and I look forward to seeing how it concludes.

Shopping Shortlist: Snoopers Paradise, Brighton

 [All photos my own - please ask before reproducing].

The busy shopfront is a hint of what's inside.

Any long-term lover of Brighton will certainly not be a stranger to Snoopers Paradise (yes, there's no apostrophe - I've checked, grammar fans). This is a hub of collecting heaven, where thousands of pre-loved objects are crammed into stalls amid a labyrinth-like building. One minute you'll be on the hunt for some vintage buttons, then you'll become distracted by a selection of typewriters and some cookery books that are older than your parents. It's one of those rare places where you could spend hours without being pressured into buying, or crippled by the wheels of a pushchair or a small child's Heelies roller shoes.

 Even entering the place requires a touch of kitsch.

The one downside, as far as I can see it, is that unauthorised photography inside Snoopers Paradise is strictly forbidden (yes, I did take the images below without permission, but I couldn't find anyone to ask politely). When every stand has its own photogenic appeal, from the stacks of old postcards to knitting patterns, and the tables bulging with unique furniture, it's really hard not to grab your camera, but I can see that this would be a source of constant irritation. Underneath all of the attractive bargains, they do have a business to run, and it's important to remember that you can pick up many things here for small change, with gorgeous old photos going for 10p each and sewing patterns at around £2.

 The sun-drenched mannequins beckon you inside.

So, what of the charges that many Brightonians level at Snoopers, which is that it's a place for hipsters and not for the average Joe? Though I don't live in Brighton, I make a point of visiting the emporium every time I'm in the city, and I've never felt as if I'm being judged. You can be an avid collector of vintage pieces or just a bargain hunter and you'll be just as welcome. One advantage is that you won't find staff eyeballing you every five minutes or trying to give you sales lines - there's a central till point on both floors and that's it. You're left to your own devices, which is just what you need when there's so much to take in.

 There's always a mix of styles and decades on show.

Upstairs there's only a slight change of tone as you reach Snoopers Attic, where clothing and accessories dominate. Take your pick from the rails of tweed jackets, classic slacks, flight bags and shirts. There's also a really creative range of upcycled jewellery for sale, which uses watch components and turns them into necklaces and rings.

Reasonably priced clothing in the Attic.

Again, prices can start small, with vintage ties at just £4 each - considering you can get a brand new polyester tie for £4-5 in a high street store then this is great value. Obviously there are other pieces that are more expensive, especially if you're looking for a winter jacket or a tea dress, but nothing is marked up excessively, which is the important thing as Snoopers needs to remain competitive to keep buyers interested; otherwise it risks becoming a showroom rather than a business. 

If you find yourself down the Laines in Brighton then take a trip to Snoopers Paradise and you won't regret it. Just don't be surprised if you go in for a scarf and emerge with far more...

Snoopers Paradise

7-8 Kensington Gardens

Brighton

BN1 4AL

H&M's Conscious Collection S/S12

 [Images via H&M]. 

 Even ethical clothing now involves 'doing an Angelina'...

This image reminds me of a cross between Peter Som's peacock blue dress as worn by Lea Michele, and Jil Sander's flashes of bright pink from S/S11. It's also a brilliant start to H&M's lastest drop in the Conscious Collection, which uses organic and recycled materials without compromising on fashionable shapes and details. I'm a big fan of the range (and I've blogged about it in the past), but this was a triumph in its use of designer influences.

 It's a floral cornucopia.

With fashionistas going bananas for intense flower-saturated fabric (take your pick from the very in demand Mary Katrantzou, Proenza Schouler, Diane Von Furstenberg, and Stella McCartney's petal-heavy adverts across the page of every high-end glossy magazine this season), H&M hit a no-brainer here. The garment's shape, with its below-the-elbow sleeves and short collar, keeps things retro and neat, which contrasts to the frenetic energy of the repetitive print.

 Beyond amazing, this dress is the cream of the crop.

I cannot describe how much I love this ruffle number, as hideous as it would probably appear on me. There's something amazing about making a life-size crinoline lady's outfit seem appealing, and the endless layers of rough-edged fabric running into each other are pretty spellbinding overall. This will definitely be getting some red carpet wear, especially as H&M has recently been enlisting A-listers to wear its designs for premieres. If you're not a film star, don't panic. This would make a great alternative wedding dress or an eye-catching evening look with a minimalist clutch and Paperself false butterfly lashes.

My own collage of product snippets, with original images from Perezhilton.com.

As you can see from this sneak peek of other designs, there's an emphasis on vintage styling and ultra-feminine dressing. I really think that S/S12 will be Conscious Collection's best season yet, with so many strong offerings that should be snapped up for their fashion credentials and their ethical origins.

MFW A/W2012: Bittersweet Beauty from Raf Simons at Jil Sander

 [All images: Fashion Gone Rogue]. 

As I write this, I'm struggling to describe this collection. For designer Raf Simons this was his swansong at Jil Sander, where he has hung up his scissors and handed over to the lady herself. There are many rumours about Simons being in the frame for John Galliano's job at Dior, and this show proved that he would be more than capable of taking the reins. It was a masterclass in how to take a bolt of fabric and make it work as hard as you possibly can, beautifully framing the models and alternately revealing and concealing certain areas. 

Simons should be incredibly proud of what he has achieved here, which is perhaps most obvious in the drapery of this delicately pink coat. The material has a waterfall finish that is simplistic but really works, and the lack of jewellery means that there are no distractions. This coat does the talking.

The 1940s and 50s feel was evident in sleek pieces such as this combination of nude bodiced top and high-waisted trousers, creating a silhouette that played with proportions. There's a distinct feeling that you don't have to try too hard in this outfit, which is especially strong when the fashion world is so currently obsessed with kookiness and the kaleidoscope dressing of Nicki Minaj. The woman who chooses to wear this over a loud neon ensemble or comedy flares is saying that she can do things differently.

 

 A pure shot of 1950s glamour, this is like the grown up older sister to Prada's S/S12 sherbet-obsessed girl. The cut-out panel sounds tacky in theory but is actually quite sophisticated. Perhaps on a woman with the average British figure, this would be verging on cleavage overkill, but I don't think that was the look that Simons intended. I am secretly hoping that a celeb will get their hands on it and make it slutty, just to watch the Daily Mail go up in arms about it.

Another dose of sheer panel action, but this time on a looser cut dress with blocks of fabric. Again, the people at Jil Sander are certainly not aiming at women with real and often uncontrollable breasts (it's certainly not designed for running for a bus), but this is a sedate take on eveningwear. Although it's a polished look, you don't have to try too hard with this shape or colour - just a slash of red lipstick and heels is all it takes.

 

This dress reminded me of those 1950s science fiction books that used to imagine what life would be like in the 21st century, when we'd all have robot friends and flying cars. It's an idealised version of the future, where everything is smooth and minimalist and incredibly efficient. The accompanying cocoon coat is equally impressive and gives a nod to all things space-age.

 

A lesson in how to do the fetish/dominatrix look without getting propositioned by strangers on the street, this dress is cut for curves. I can see it working on Kate Winslet, who would enjoy the failsafe black but has shown her daring side in pieces such as Stella McCartney's infamous sheer spot dress.

 

 Yes, I know this one could look slightly dodgy if you imagine it was made with bin bags and not expensive synthetic material, but there's something playful about the trashiness of the look. Rightfully this should look cheap and the model should appear slightly hungover, possibly with remnants of kebab stuck to her heels, but in Jil Sander mode then she is silent, poised and deadly. The fussiness of the cut is in contrast to the clean lines that much of the collection promotes, and yet this somehow works.

Full-length coats are often sneered at, and I am one of the sneerers, but in the depths of winter they can be incredibly useful. When they're cut like this pink number with the pale yellow lining and wide collar, you can't help but be tempted by the idea. There's also the potential of hiding a garish outfit underneath, which you later reveal when you're in less respectable company.

In conclusion, this was an amazing final show by Raf Simons for Jil Sander, and it's no wonder that the crowds provided a standing ovation at the end. I look forward to seeing these pieces make their way into high street imitations, heralding a return to minimalism and expensive-looking cuts.

Read My Lips

[Image my own].

This season is undoubtedly all about the power lip, whether it's shocking pink, fiery red or deep burgundy. I've been accumulating lipsticks and stains for many years, but most of my favourite products are recent purchases - in the image above, it was Accessorize's Really Red that got me going (£5, from Superdrug or Accessorize). The actual colour is a lot more sheer than the lipstick bullet would have you believe; it required a lot of layering to get substantial coverage, but after that then it somehow managed to stay put for several hours with no re-application.

Other great lip products that I can't live without:

• Giorgio Armani Lip Ink in #2 (a dark berry-ish shade that isn't too drying) - £19.50, though currently sold out, at Selfridges
  

• MAC lipstick in Russian Red (a deep scarlet with staying power) - £13.50
  

• GOSH Long Lasting Lip Marker in Pink (a brilliant magenta shade) - £6.99 at Superdrug
  

• Topshop Lip Marker in Popsicle (a candy pink for the ultimate girly look) - £6.50

• Collection 2000 Lasting Colour Lipstick in Bubblegum (Gaga-esque lilac tinged pink that smells amazing) - £2.99 at Boots and Superdrug

Are you addicted to lip products, and do you have any favourites that you're constantly going back to? Get lippy and let me know.

Website to Watch: F-Troupe

A Pythonesque welcome to the website - if you want the full viewing experience from this shoe company, turn up the volume on your computer [image taken as a screenshot by me, from F-Troupe].

With a motley selection of figures from antiquated paintings and drawings, this site is clearly a labour of love. It's quirky and does a great job of involving the viewer.

You may have spotted F-Troupe shoes in the pages of a magazine or from a trip to the footwear department of Schuh, or been fortunate enough to track down one of their brilliant lookbooks; I own one which is circus-themed and full of beautiful illustrations. Paying a visit to their website was something I’ve been meaning to do, as I’m looking to invest in a new pair of boots, but I felt compelled to write about the amazing visual display that greeted me after I Googled.

F-Troupe’s website is particularly interesting as it ensures that the customer does not feel that they are being led into a sales-driven pitch. The design is image-heavy, relying on old paintings set to short animations which really draw you in, but tell you nothing about the products – it’s about having fun and establishing the brand as a little left of centre. As well as all these gimmicks, it’s easy to navigate and very cleanly set out, without reams of text to get through. I find it refreshing to see such a commitment to the experience of a company without feeling pressurised into buying a single pair of shoes. It’s because of this that I feel more keen to track down F-Troupe footwear in the shops (was it just a clever piece of reverse psychology by the marketing men? Who knows?!) and I will be keeping an eye on their future developments.

www.f-troupe.com

Here are three of my favourite pieces from their current collection:

The nubuck shoe in black with emerald and royal purple panels - £105.

The 'Bathing Shoe' (that sounds so glamorous and 1940s/50s) in a vivid green, which is also available in black, blue and pink, will only set you back £20. It's an upmarket take on the jelly shoe, but with a nod to the plimsolls that are so popular in the summer.

The men's grey Harris Tweed shoe - £95 - is sturdy but shaped a bit like a pair of Vans trainers. It's not as regimented as the popular biker boots, so it's great for blokes who prefer a more casual look and can rock a retro print. These would also look good for smart-casual occasions (which are increasingly difficult to dress for).