Daniel w. Fletcher made an impression early in his fashion design career when N.Y. fashion brand and retailer Opening Ceremony bought eight pieces from his graduate show to produce a capsule collection for their Spring Summer 16 season. Since then, Daniel’s eponymous brand has continued to develop its strong aesthetic that sees collections drawn from deeply personal experiences and thoughts around social issues. Daniel w. Fletcher has garnered a loyal following with a deep appreciation for the designer’s skillful craftsmanship and contemporary vision.
Originally from the northwest of England, Fletcher moved to London to study at the prestigious Central Saint Martins. From there, he honed his skills at established design houses like Louis Vuitton, Victoria Beckham, Burberry and Lanvin before launching his genderless brand in 2015. Further acknowledgement followed in 2018 when the LVMH prize, a patronage committed to supporting today’s young designers to become tomorrow’s stars, nominated him as a potential next prodigy. Each year the award offers mentorship and endowment to young designers to support and encourage them to reach their full potential. Since then, Daniel has received many more accolades, from the International Woolmark Prize, Future British Award, and Drapers 30 under 30. More recently, he has competed in the Netflix “Next in Fashion” series, where he reached the final.
Today Daniel w. Fletcher is internationally renowned for quality contemporary design with respect for heritage and classic tailoring, focusing on casual luxury. It is stocked internationally in luxury department stores like Liberty and SSENSE and on the brand’s e-commerce platform. The designer creates non-binary garments that allow the wearer to explore their own aesthetic without restriction. It is a testament to his talent and business acumen that he also holds the position of Artistic Director of the iconic Italian label Fiorucci.
Now in its eighth season, Daniel w. Fletcher opened London Fashion Week this season for the SS23 collections. Taking place at the Londoner Hotel, the designer’s show paid homage to figures past and present who have placed the city at the epicentre of classic tailoring and irreverent style, from the punks of the King’s road and characters like Oscar Wilde who frequented the dimly lit bars of Soho. He celebrated the city’s suited gents, the sharp tailoring of Saville Row and, most fittingly, the royalty who have reigned across the decades forming a significant part of this sceptred isle’s identity.
The show’s opening paid tribute to Her Majesty Queen Elizabeth II, beginning with a model adorning an all-black morning suit in British Wool with a singular armband. The collection, in a palette of postbox reds, banker-boy blues, blacks, white and grey checks, examined the past ten years with self-referenced elements like corsets seen in SS19 and the racing jackets of AW20. As the looks progressed, we saw a celebration of British heritage from details on blazers to studs, tuxedos and cummerbunds as formal and rebellious attire collided.
We spoke to Daniel about his homage to the city, his exploration of genderless looks and his thoughts on sustainability.
Article by Brian James and Leigh Maynard
Images by Chris Yates
Congratulations on your SS23 collection entitled “Stand and Deliver”, a title which evokes images of 18th-century highwaymen and 1980s punk singer Adam Ant. What made you want to pay homage to your adopted city, and why do you think London has such a pull on our imaginations?
This year marks ten years of living in the capital. Moving to the city was such a big thing for my family and me, but it is a place I felt like I could truly be myself, and recently I was thinking a lot about that journey and all the people who came before me and made this city what it is today. London has always been a breeding ground for creativity; whether you’re looking at Saville Row or Soho nightlife, there’s always a unique point of view that distinctly feels like London, and I wanted to celebrate that with this collection.
This celebration of the capital acquired added poignancy with your show held while London and the U.K were going through a national mourning period. How did that affect the show’s tone, and what changes, if any, did you have to make to ensure that it chimed with the nation’s mood?
The mood of the nation definitely influenced the way I presented this collection. Having dealt with a lot of my own grief this past year, I wanted to be respectful to those who were affected by the death of the Queen, so I decided to open with a tribute to her and also made changes to the music and set design. At one point, the show was actually cancelled, but ultimately it felt like the right thing to go ahead, and I’m glad we were able to do that in a respectful way.
We loved the journey through time that your collection took us on and the references to a London demi-monde stretching from the aristocrats of centuries past to 90s queer club culture. How important was it not just to juxtapose styles from different eras but also to marry fabrics and textures that are not usually combined?
I always love to tell a story on the runway, and this collection was almost a personal journey of all the characters I’ve encountered during my time in London. It goes from day to night, opening with morning suits which you might encounter walking past someone on Saville row, then went into casual daytime looks with lots of checked wools as you reach the King’s road. And then, ultimately, as it gets dark, and you find yourself lost in the streets of Soho with all dark leather and shiny satins. The fabrics this season all came from Nona Source, which finds deadstock fabrics and gives new life to them; this season in the DWF collection.
It’s a collection which also includes elements such as male corsetry. How much of that genderless aesthetic was inspired by a London style where people feel free to dress in a way that’s not accepted elsewhere?
I feel like London really is a place where you can truly be yourself, with such a diverse community, people coming from all backgrounds showcasing their personal style in such creative ways. DANIEL w. FLETCHER has always been a genderless brand, and I never create pieces specifically for any particular binary. I just design clothes for people who enjoy wearing them.
Sustainability is key to your ethos, and this season, you work with entirely deadstock fabrics. What prompted you to use wholly repurposed materials for SS23?
Sustainability has always been a strong brand ethos and always determines the direction we take when we create collections. It was incredible working with Nona Source this season; the fabrics were all deadstock from LVMH house, and it was amazing to repurpose them into new garments. It was quite a proud moment to see an entire collection made from repurposed materials, and I hope I can continue to push this in future collections and show what can be achieved whilst still being conscious of the planet.
We understand that the fabrics were sourced from Nona Source, a platform which obtains waste fabrics from LVMH houses. How did that collaboration come about?
I heard about the platform from some fellow London designers and went to check out their showroom in Kings Cross. I was instantly blown away by the selection and knew I wanted to try and make my whole collection with them, and I’m so glad we managed to make it happen.
What do you think the industry and regulators can or should do to address the issue of greenwashing where words like “sustainable” and “ethical” have been appropriated as cynical marketing tools by brands who know that they resonate with a young, environmentally aware demographic?
I think it is definitely time we hold brands accountable for the messages they are sending out, and ultimately, I think this will be driven by the consumer. The more consumers push for transparency; the more brands will do to achieve that. I think ”sustainable” has definitely become a buzzword for brands to add to their marketing. It would be great for there to be some form of criteria to meet before you can call your brand/garments sustainable.
“Stand and deliver” marks ten years since you arrived in the city to study at Central St Martins, and it references particular inspirations from previous collections. Did this anniversary elicit a sense of reflection in your creative process?
Absolutely, it really made me think about how it was when I started out and where I’m at now; still working with a lot of the team I did, in the beginning means a lot to me, they are all really special, and we always joke about the old days freezing in my first studio at the back of a cafe in South London. There were some dodgy samples that came out of that time, but I’m so proud of how far we have come and have to pinch myself still as I see myself having moments like opening London Fashion Week.
How have you seen the industry change in those ten years, and what do you think the key to your longevity is?
Always striving to be the best I can be without having any preconceptions about what that might be whilst seizing all the opportunities (and challenges) that are thrown my way.
Having created a love affair to London with “Stand and deliver”, what are your aspirations and motivations for the brand as we move towards 2023?
There was a lovely line at the end of the show notes for this collection (written by my brilliant friend Naomi Pike): “If London has been the grounding and foundation for the last ten years, then fondly looking outward is perhaps the inevitable next destination.” My time in London has taught me so much, there’s always more to learn, but maybe London is not the only place for me to do so.
This season Daniel w. Fletcher’s collection felt like a love letter and ode to a city that he not only calls home but one that resonates so profoundly with his core beliefs. That celebratory referencing of all aspects of society, along with the beautifully executed genderless, sustainable garments, speaks of his admiration for this culturally rich, inclusive city and his consideration for the planet.
From the more classical pieces to those that push contemporary design, we see his appreciation for the spectrum of people who inhabit the city and the eclectic attire that defines them. From the structurally exquisite suiting of our best tailors to the customised garments of the many street sub-cultures, London is a rich and varied mix of people, cultures and styles that seem so different yet, cohesive. This collection is a brilliant interpretation of that unity in uniqueness. From the leather blazers and faux fur stoles that reference and combine ’90s Queer culture and aristocrats to the corsetry that breaks gender stereotypes, this is an impressive demonstration of accomplished genderless design. Daniel delivers an expertly tailored yet relaxed and open wardrobe to be adopted and interpreted as any wearer wishes.
It is befitting that Daniel chose to change the show’s format to honour the much-loved figurehead of this unique city. A Queen who lived at the heart of London, advocating for acceptance of all cultures, who worked tirelessly to bring the monarchy into the 21st century. A monarch who, through her own wardrobe, often made her opinion known when her post’s neutrality prevented her from voicing it. And as we contemplate the words of Daniel’s friend, Naomi, who said that ‘fondly looking outwards is perhaps the next inevitable destination’, as our monarchy enters a new chapter, we wonder what the next one will be for Daniel. Wherever it takes him, we know the design that reflects his thoughtful approach to the planet and its inhabitants is bound to result in a collection that stands for considered, inclusive, sustainable, and exceptional design and delivers just that.
You can see more Daniel w. Fletcher designs here: https://danielwfletcher.com
Thanks to Daniel for taking the time to talk to us and give us such an insightful interview, and to Tilly and the team at Purple PR for making it possible.
