Daniel Lee is finding his ground at Burberry. Well, it’s high-time: the sales don’t look good at the British brand, and the plans of making Burberry a high-class-luxury player seem to be too ambitious. But what Lee presented under the tent in Victoria Park yesterday was quite convincing. To the tune of Amy Winehouse’s biggest hits, London’s O.G. models – Agyness Deyn, Lily Donaldson, Karen Elson, Lily Cole, Nomi Campbell – marched in desirably-looking outerwear, no-nonsense knitwear and plaid flannels. Maya Wigram – Phoebe Philo’s daughter! – closed the show. This gesture felt like a blessing from the fellow London-based designer who schooled Lee at her Céline studio. The styling of the show was persuasive as well: maxi-skirts styled with short varsity jackets, slouchy shearling coats mixed with super-oversized pants, and of course, a range of revisited moleskin trenches in shades of earthy greens and browns. Echoes of Christopher Bailey-era Burberry were heard and seen all around. All this certainly felt good to watch, but will it actually lure the clients to invest in Burberry just as they did in the early 2010s? Time will tell.
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Daniel Lee‘s debut collection at Burberry signaled that he isn’t planning to reinvent the wheel at the brand. His sophomore collection, presented yesterday under the tent at London’s Highbury Fields, confirmed the assumptions about the designer’s direction for the house: clothes and accessories interweaved with Britishness. But is it enough to truly revive the brand? Unfortunately, the spring-summer 2024 failed to deliver a cohesive “look”. The knee-length, low-belted silhouettes with symmetric lapels and minimal epaulettes applied across womenswear and menswear could easily be Stella McCartney. Instead of last season’s blanket coats, Lee presented his take on the trench coat. The boxy shape looked neat and crisp, but it didn’t make my heart beat faster. Lee had moments dedicated to English summer flowers and fruit: cascading swarms of blue strawberries, blown-up meadow-flower prints. The clumsy-looking knitted dresses didn’t do it for me. While Burberry’s new visual communication thrives and the brand drastically increases prices on its goods (have you seen the knitted duck cap for 3000 euros?), Lee’s work – the heart of reinvention – needs more clarity.
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Burberry‘s garments and accessories are inextricably linked with the phenomenon of “Britishness.” These timeless classics are woven into a British identity that is constantly evolving and ever-changing, like fashion. “Burberry has been a British institution since its inception in 1856” – says Naomi Campbell, who has regularly been the face of the historic brand’s advertising campaigns over the years. “By wearing Burberry, I feel that I am representing my country. I believe that British style always leads the trends. We Brits don’t just wear it, we live it,” she explains. The last two decades, through various creative directors and their visions, have established Burberry as a heritage brand , which remains at the forefront of fashion and its associated culture.
However, the aforementioned Britishness is a flexible and multifaceted concept. Perhaps because this phenomenon is full of paradoxes, and consists of opposites that mutually attract each other and organically coexist. The history of imperialism and the controversial Brexit are associated with the term Britishness as much as the beige trench coat, rainy weather and ironic sense of humor of the English. British society is made up of people who wear all sorts of uniforms, yet are true rebels. What they have in common is a multi-generational love of Burberry.
The brand naturally communicates many expressive signs of a collective, internationally understood notion of Britishness. In the 18th century, France saw a fashion trend perceived as British – it was called Anglomania, and the clothes associated with it were simple, well-tailored, often made of linen and wool, without unnecessary ornamentation. Ideas of functionality and utility are central to the British way of life, hence perhaps the reason why, a century after the Anglomania phenomenon, rainproof outerwear by Thomas Burberry made of luxurious but eminently practical fabrics has become a symbol of Britishness around the world.
Burberry’s Britishness also encompasses distinctive clichés – like the fashion brand’s focus on weather resistance. Burberry’s clothes and accessories are designed for the British rains, which last year-round, and ironically refer to the famous British propensity to discuss just the weather. Words like “democratic” and “egalitarian” come up when it comes to the British clothing discourse – and when it comes to Burberry. After all, the design of Burberry’ s iconic trench was taken from the world of uniforms. This is, of course, related to the idea of practicality. The brand’s clothing is inspired by workwear: it might as well be a tailored suit as a handmade fisherman’s sweater. Burberry trench epitomizes this kind of pragmatism: every element of it was created with maximum comfort in mind as a reaction to everyday life. Another of the brand’s main hallmarks is, of course, the globally recognized Burberry check, a streetwear uniform since the early 1980s. It was then that the iconic grille became a representation of affluence as well as youthful aspirations. It had a similar significance in the mid-1990s, when, representing Britishness, it became a symbol of the Cool Britannia movement and a favorite of such homegrown cultural figures as Liam Gallagher of the Britpop band Oasis.
Burberry appeared on the map of true high fashion thanks to Christopher Bailey, who for 17 years presented the brand’s show collections during London Fashion Week. Over this period of time, Burberry became synonymous with contemporary fashion that allowed itself to experiment within the safe confines of the lexicon of the aforementioned Britishness. From 2018 to 2022, Riccardo Tisci, the Italian designer who resurrected the Parisian fashion house Givenchy, tried to pull Burberry out of its stylistic comfort zone – which did not always end in commercial success. For him, working at Burberry was an exploration of the concept of national identity and its ever-changing nature (especially in the context of Brexit). “Here we have monarchy, art, elegance, perfection. And we also have that other, darker side: punk. That’s the beauty of Britain: incredible diversity,” the Italian designer concluded in an interview about his role at Burberry. British rebels continue to inspire: if in the mid-20th century the perception of Burberry largely leaned towards the style of dandies and aristocrats, today the brand is taking the aesthetics of British anarchy as far as possible. Tisci’s collections were created under the influence of the style of punks and mods, as well as casuals – the youth of the 1980s who wore Burberry in a non-conformist, rebellious way.
In February this year, we met a new chapter of Burberry, under the leadership of Daniel Lee – the British designer who was responsible for the global success of the “New Bottega” phenomenon a few years ago. Unlike Tisci, however, Lee is definitely going for a more settled Burberry image, closer to the image that Bailey so painstakingly promoted (it’s no coincidence that today Bailey acts as a mentor for Lee). Lee’s debut collection for the autumn-winter 2023 season has sparked a debate on social media: is it revealing and innovative enough? In this patchwork of Burberry’s signature checks, blanket coats perfect for nature, cozy knits and airy dresses in a romantic rose pattern, it’s hard to find any real fashion news. But Burberry was never meant to be a fashion concept, but a mainstay of comfortable classics and high quality.
“I think the brand is all about functionality,” Lee told the press after presenting his fall collection. His men’s plaid pants with zippered pockets allude to clothing ideal for walks in Britain’s damp moores, while the women’s kilts have a casual cut reminiscent of picnic blankets. Of course, the collection did not lack wellingtons kept in intense colors. The designer is eminently versed in creating desirable accessories. Kit Butler appeared on the catwalk wearing a hand-knitted trapper’s hat in the shape of a duck head. This sight caused a real sensation on Instagram.
The capacious bags and panniers are fastened with clip-ons in the shape of a “B” (like Burberry), and are decorated with dangling tails of faux fur. This kind of English eccentricity is something Lee plans to develop in his collections in future seasons. Instead of a banal logo with the brand’s name, Lee promotes a somewhat forgotten but iconic Burberry symbol: a medieval knight on horseback. The emblem appeared on white dresses as well as over-size scarves. The brand’s new “flagship” color is also an interesting treatment. It’s all about the shade of deep, vivid blue. After the success of the memorable green colour with which Lee won the hearts of Bottega Veneta customers, will the “Burberry Blue” color become a new hit? Time will tell.
The text was originally written by me for GentleWoman. All images via @burberry, photos by Tyrone Lebon.
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Daniel Lee‘s era at Burberry is taking shape. In his debut, Britishness and the emphasis on the outdoor-wear were the biggest take-aways. In his second collection – resort 2024 – these ideas are further developed. I’m stuck with the same impression as back in February: the offering is good, but… I’m not shook. It seems that Lee’s Burberry will be much safer in fashion-wise terms, comparing to his time at Bottega Veneta. The latest line-up is a mix of “proper” looking clothes with a touch of Philo-isms (Lee worked under Phoebe at Céline; the silk foulard look in swan print is a clear signifier of that) and accessory tricks he mastered to perfection at Bottega (the big, chunky boots are back). The faux-fur trapper hat is still hot, even though we’ve seen it on the runway debut. Probably the most interesting thing about the collection is what the designer did with Prince of Wales check. He morphed it into something sophisticated but just a little weird: traditional at the top, but warping downwards into digital-age waves. Below that, tights that take up the same pattern. And on the feet, a slew of the kind of footwear that engendered fanatical enthusiasm from Lee’s followers at Bottega. The designer talked about establishing “an outdoor and outerwear” feel for this collection. That’s Burberry-central, of course – windswept moors, rain coats, quilted jackets, and all that. Playing around with Burberry checks comes with the territory. The landscape and culture are first nature to this Yorkshire-born designer, meaning he’s no need to ladle on the references with a heavy hand. One of his English country-walk tropes turned into a delightful lattice-work of yellow dandelion flowers printed on dresses in a pattern mimicking a traditional argyle.
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There’s a lot of debating going on whether Daniel Lee‘s debut collection for Burberry was fashion-forward enough. In this patchwork of signature Burberry plaids, outdoor-perfect blanket coats, cozy knits and floor-sweeping English Rose dresses (yawn), it’s hard to seek real fashion novelties – or even witty styling tricks that made Lee’s take on Bottega Veneta so appealing. The new direction at Burberry reminds of the one that Christopher Bailey had for 17 years, in the pre-Riccardo Tisci times. Bailey delivered proper collections that were sometimes cool, sometimes naff variations on the notion of Britishness. No co-incidence that today, Bailey has a mentor-like role for Lee. To be frank, I had no expectations regarding this debut, so I can’t say I’m disappointed. The collection is better than about 80% of Tisci’s work for the brand, but in defense of the Italian designer, he took creative risks that attempted to stimulate Burberry into something more than a brand with classy outerwear.
“I think that the brand is about functionality,” Lee told the press after the show. His men’s plaid trousers, with their horizontal zippered pockets, echoed the shape of technical hiking gear; women’s kilts had the casual air of wrapped-around picnic blankets. You might even really be able to go for a walk on the Yorkshire moors in his heavy-duty climbing boots or cropped wellies. The designer well knows the worldwide fashion appeal of the exaggerated accessory. It showed up in a giant trapper hat, in satchels and saddlebags fastened with a “B” clip and dangling multiple fake-fur tails. One of the models wore a hilarious hand-knitted bonnet in the shape of a duck, complete with a beak and dangling red legs. This sort of bonkers English eccentricity is something Lee should definitely expand on. The designer is very serious about branding and exactly how it can radiate fashion appeal far beyond the mere stamping of logos on everything. The evidence is in the message he delivered at this show on the back of his redesign of the Burberry Prorsum medieval knight on a charger. It was blown up like a flag on a white dress. But the main point about it is the color. It’s a vibrant blue. So is the type that Burberry now uses. After Lee’s success-story of Bottega green, is Burberry blue the new “it” colour? Time will tell.
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