Living up to his interest in the history of African-American music and its influence on British culture, Spencer Hart presented a collection inspired by the Funk scene of the late-1960s and 1970s. Funk as a genre was an umbrella term applied to a range of musical styles such as Rock, Jazz, Metal, Boogie, Electro and Timba. In heed of this cognisance, the looks to strike rhythm on the runway represented a synergetic character.
Tunics of differing lengths, perhaps drawn from the kaftan and dashiki garments associated with African and Islamicate traditions of vestiture, flowed freely under neatly tailored coats and jackets. Such shirt styles were popularised in the 1960s/70s among alternative Funkadelic and Hippie crowds in attempt to challenge conservative authority and standards of normative dress. Indeed, Hart’s sleek pieces invoked this theme with a reposed impression of a silent upheaval.
A selection of jackets with mandarin and standing collars imbued a further sense of non-Western tradition into to label’s Saville Row conservatism. Paired with standards of impeccable tailoring the colour palette followed conventional variations of white, black, blue and camel.
Overall, the styling of jackets, tunics and trousers formed a dissonant statement with harmonious effect. Thus, another successful saga in Nick Hart’s exploration around the ‘essence’ of music transposed into a tangible visual display – an attempt at infusing feeling and attitude into fashion. Love, Peace and Funk.
Review written by Cody James (@roguing_vogue) for Katie Chutzpah blog