If Nicholas Daley’s tumble collection was to be presented in Venn blueprint format, it would be during a intersection where dub (a low-pitched genre that grown from Sixties reggae) overlaps post-punk music. An inconsistent pairing, sure, though Daley is a pro during intermingling informative references.
This season, his fourth as partial of a BFC’s NewGen sponsorship scheme, he paid loyalty to eminent writer Lee Scratch Perry, a colonize in a Seventies growth of dub music, by job his collection “Black Ark” in respect of Perry’s Jamaican studio. Daley also worked closely with British song writer Dennis Bovell, who brought dub sounds to post-punk bands like Maximum Joy.
“It’s about this impulse when reggae and post-punk and punk song was intertwining,” Daley told WWD. “I looked during what Seventies post-punk bands like The Slits and P.I.L. were wearing, as good as what was being ragged by a people who constructed their music.”
The ensuing collection showed a obvious prophesy in a palette of camel, navy, taupe, denim blue and burgundy, mixing birthright fabrics like an oversized plaid, grown with Scottish indent Lovat, with unbending denim and some poetic knitwear.
The opening demeanour best summed adult Daley’s concept: a collarless striped T in olive, red and yellow, surfaced with an sapphire denim waistcoat and a sexy camel automobile coat, and ragged with a ample span of smokey red and immature check pants.
Other standouts enclosed a marvelously corpulent headband knitted on an oversized shirt cloak in blue plaid and a yellow and black oversized plaid mohair shirt jacket.