Kinky Cowboys, Greek gods and 80s hair at Edward Crutchley F/W24
Edward Crutchley’s Fall/Winter 24 collection takes a ride in a time machine, bringing together ancient civilisations and latex cowboys in a seamless expression of freedom and experimentation.
Greek god meets glam metal cowboy: Edward Crutchley’s F/W24 collection takes a whirlwind ride in a time machine, sweeping up inspiration from across centuries and continents. Motifs include the portrait of Greek god Dionysus, an AI guided weave inspired from a Turkmen blanket bought on eBay, and ‘80s teased hair complemented by an (unlit) cigarette. But what might be an incohesive collection for others, works for Edward Crutchley. After all, his eponymous brand has always been about freedom and experimentation, and that’s what this year’s 10th anniversary is all about.
Ironmongers Hall, which dates back to 1457 on its original site, was transported to the present on the first morning of London Fashion Week. Guests in neon green glasses and balloon shoes contrasted the wooden interior filled with crests and artifacts, an image which seamlessly mirrored the ethos of the show. The opening look, all-white, features broad fiberglass shoulder pads, and empower the wearer to ‘take up space’, a mission it takes seriously as the oversized sleeves gently hit our faces when the model travels down the narrow runway. What follows is a playful dive into Crutchley’s understanding of history: the portrait of Dionysus finds its way on a 90’s sports jacket, while a Byzantine inspired jacquard tunic precedes a latex cowboy look on the runway.
But it might not all be pure rebellion. “Oliver Haus cuts a pair of medieval hose and jerkin in latex because, why not,” read the show notes at some point. And they’re right, Edward Crutchley has won, or worked, his privilege to do what he wants with his brand. For a decade before, and the decade since the brand’s launch, Crutchley has kept working for some of the biggest luxury houses, including Louis Vuitton and Dior, under his mentor, Kim Jones. His innovative use of textiles also made him the only designer ever to receive two Woolmark Prizes in 2019. This doesn’t discredit the skills and creativity needed to pull off this historical mix and match, but it’s important to keep in mind that behind the rebellious façade, there’s still a savvy businessman.
As the show ends with the AI guided weave of four stallions jumping out of a rising sun, some may leave with unanswered questions. Why did the models’ hair make them look like they just auditioned for a rock band in 1984? What did the latex cowboy have in common with the Byzantine tunics? But if we’re not content with a little confusion, then we missed the rationale of the show. Crutchley put it best: it might not be his most commercially viable collection, but through all the time jumps and the references, it ties together seamlessly into a display of chaotic creativity.