1-Mens skirt by Jordan Luca, 2-Patched denim by Ahluwalia, Khaki 3-cummerbunds straight pants by Erdem, 4-Relaxed supple pant with waist knot by Qasimi.  5- Monk Shirt by Qasimi.

Slouchy sleeve sweater by Erdem, Knitted Pocket with fringe details on shirt and intricate 3d slashing on shirt.

Key Highlights- Patched Denim, Hair wave print pattern, colorful Afro graphic, sporty tricot knits and shorts, jogger trousers

The 2021 BFC/GQ winner of the Designer Menswear Fund and the 2021 Queen Elizabeth II Award for British Design, Priya Ahluwalia, is revolutionizing men's fashion, injecting vibrancy with her multicultural approach from India-Africa inherent in each of her garments. Ahluwalia, a 2018 BA menswear graduate of the University of Westminster, draws from her Indian-Nigerian heritage and South West London as the foundational base of her menswear brand launched in 2018 with an innovative approach to streetwear and tailoring using primarily dead stock and repurposing vintage fabrics.

The designer presented her third film for the Spring 2022 men’s collection with an introduction of the women’s topic "Parts of Me" by Akinola Davis Jr., highlighting a collaborative bag with the British fashion brand Mulberry. The film talks about the transcendental manifestation of black hair and how African hairstyles are a means to self-identity, representation, and even protest. 

The hair motif carries through the clothes with the wave print pattern, seam lines, and embroideries that reflect the decorative and highly texture Afro-Caribbean hair creations, transforming the lines of cornrows, for example, into patterns and fabric paneling for the clothes in solid colors and simple silhouettes.

It was a very colorful graphic created by the Lagos-born British graphic artist and designer Dennis McInnes collaboration making vivid graphic prints and laser artwork on the fabrics. 

McInnes incorporated the baby blue, beige, and browns in the kaleidoscope in the denim pants and jackets. The denim collection was one the most noticeable item where interesting patchwork on straight jeans looked quite interesting while jackets were simple with hair braid patterns on them. 

The sporty tricot knits and shorts, and the tailoring that involves a relaxed fit three buttons single breast broad-shoulder pantsuit, apart from that, new men’s shirt suits in the brown plaid shirt-pants or print sweat-shorts were presented.

Ahluwalia’s debut womenswear is a direct descendant of her menswear, mixing the conventional uses of tailoring and activewear-inspired styles. A chocolate four buttons double breast fitted jacket and relax pants with wavy white fabric inlays do not look formal in any way.

An ecru and light olive square cardigan collar short coat/dress or a cropped polo collar jacket and matching flared pants have patchwork red seaming that follows the hair braiding patterns was one of the most noticeable looks. 

The mix and match patchwork of brown, pink, and orange fabrics for jogger trousers, long skirts, or cropped tunic tops preserve that idea of simplicity that making each piece is intrinsic to the design work.

The South East London-based Jarram concentrates her illustrations and paintings on the women's experiences of hardship and violence. According to Williams “Words that no longer fit the same way because life has stretched and changed its shape, but the moral of the story remains,” 

We noticed through the storytelling workshop was that the moral in each story developed back to kindness, care, and respect for one another and how these traits, while important in childhood, have just as much meaning in adult life.

The collection will help firm up the workshops expanding the capture and amplification of these stories with the Magpie Project, where 20% of this collection will be donated to help the East London grass-roots organization supporting women and children homeless or at risk of homelessness.

Folklore's patterns relinquishing from generation to generation, these childhood stories begin with the child. It is within the framework of children’s clothes inspired by the V&A Museum of Childhood’s garment archives, particularly the children’s skeleton suit from the 1800s designed for play. 

The skeleton suit consisted of a tight coat or jacket buttoned to a pair of high waist ankle-length pants, specially tailored for children rather than as a resizing of adult clothes.

Williams reworked the idea of the skeleton suit into a white printed via eco-friendly ink by Orto Print in Peckham, south London, next to Brixton, slim pantsuit with a cropped four buttons single breast natural shoulder jacket and a matching print shirt.

The pants of these new skeleton suits, Williams first detailed exploration into tailoring, also in black wool with a sleeveless jacket-vest from a donation of dead stock Merino Wool from Lanificio Ermenegildo Zegna has a frontal crotch pouch.

The key focus of the collection is the diverse hand-knitted vivid sweaters for kids, women, and men alike and the simple light ecru two buttons single breast wool straight jacket with cigarette pantsuit and the knit fringed brown pattern coat. 

All these knits spotted at the collection are from a collaboration with Manusa, a social cooperative specializing in hand techniques of crochet hand knitting and embroidery using Sesia Wool industry waste sample swatches.

Bethany Williams has continued making the line of patchwork blanket coats that proved so popular last season: “We’re sourcing blankets from vintage markets across the U.K.” Twenty percent of the proceeds of wholesaling of the collection will be returned to the Magpie Trust foundation, which Williams has cofounded.

Key Highlights:- Classic sartorial dress, Cummerbunds, square and straight chinos , beige trench coat

Captured with certain despondency on West Wittering Beach near Dungeness, the first Erdem men’s look to see the light of day was a beige trench coat crafted in tonal floral jacquard. 

Adapted from his recent women’s resort collection, the fabric spotted seemed like stiff cotton twill but had all the sensitivity of the designer’s botanical impressions. It would be altmodisch(old fashion) to call it a balance between the masculine and the feminine styles. Rather, Moralioglu is about imbuing everything he makes with a certain soul; a memory that feels older and wiser than the garment itself.

The designer evoked classic sartorial dress codes in silhouettes cinched with cummerbunds, elevating the casual character of square and straight chinos, the fit of which he had spent ages getting just right. 

Slightly shrunken tailored jackets had a 1920s boyishness to them à la Brideshead Revisited, the 1981 screen version of which wasn’t on Moralioglu’s mood board but certainly part of his mother’s TV viewing when he was a teenager. “I always like the idea of a historical costume distorted through a 1970s lens,” he said, listing The Great Gatsby, The Damned, Barry Lyndon, and Cabaret. There were traces of them all in these clothes.

The designer described the cut of jackets as “not fitted-fitted, but precise,” adding: “There’s nothing chicer than a double-breasted jacket worn like a cardigan.” In reality, there’s nothing chicer than menswear that hits the elusive spot between fancy and functional. 

The camp-collared shirts in stripes and moody florals, which looked a little bit lived-in, illustrated that notion to precision: flattering summer clothes you can wear in the summer. For chilly evenings, dreamy bright mohair jumpers in colors like “egg yolk” and “intense turquoise” embodied the fantasy version of the classic Jermyn Street knitwear Moralioglu wears himself.

The collection was somewhat inspired by the work, passions, and wardrobe of Derek Jarman, whose video for the Pet Shop Boys’ “It’s a Sin” Moralioglu would dance to his in his teenage bedroom, and whose uniform way of dressing spoke to the designer’s penchant for permanence. 

Jarman’s influence informed elements that fused the sturdy with the pretty, or the sexy with the dainty, like damask boiler suits, rich velvety corduroy trousers, and floral short-shorts. (Moralioglu wears the slightly longer and boxier version.)

Key Highlights-Skirts, floral 3d textures, skirts replacing the suits. men corset belts for waist slimming. feminine shirt.

SS22 is a post-pandemic rebirth and an appreciation for the here and now. A defiant feminine punk theme ran throughout, seen in the kilts, mesh tops, and chunky boots. Tailoring in mint green and white contrast mod polo shirts and sporty drawstring parkas

Key Highlights- Spiritual and fluidity. 3d slashed texture shirts, Monk shirt, fluid, and supple waist knot pants.

The collection by the creative director Hoor Al Qasimi was inspired by the poem Between Roses and Ashes by Syrian poet Adunis written in the wake of the Six-Day War of 1967 that gave her opening concept for the London fashion week S/S 2021 FASHION WEEK DATE- September 19 - 22, 2020 S/S 2022 collection idea.

It was an architectural theme referencing Islamic and brutalist design. Qasimi presented the Irithi contemporary crafts council on hand-crafted garments and accessories using traditional UAE weaving and macar­ame techniques, such as safeefah – a weave native to the Emirates – is used on a denim jacket, a pocket detail, and on large fringed tote bags.

Additional Insight from : the impression.com