By Brian James
The word icon is hugely overused however John Richmond is truly a fashion industry icon with a career that’s spanned over forty years and a cultural cachet that’s made him an enduring part of the zeitgeist. In the always alluring relationship between fashion and music John has dressed a who’s who of global figures so famous they only need be referred to mononymously. Bowie ,Britney ,Gaga and Madonna to name but four.
Providing the visual vocabulary for some of music’s most seminal moments, John Richmond moved from his native Manchester to study fashion at Kingston University before commencing a career that continues to influence and impress with its distinctive, yet constantly evolving, design DNA. A fashion philosophy that melds the raw energy of London’s streets with the meticulous craftsmanship of Italian master tailors.
It was incredibly fitting that John should return to London this Fashion week season with an immersive experience which not only celebrated and charted his four decades in the industry but also looked to the future. Aptly set in the spatial splendour and brutalist grandeur of the Tate Modern’s Blavatnik Building it was an event that attracted industry insiders from across the generations. Attendees enjoyed a film encapsulating the designer’s work across so many emblematic eras, while the after party soundtracked so many second Summer of Love memories.
Flanelle had the absolute privilege of speaking to John about his stellar career, the influences that have inspired it and his future plans.
Congratulations on your London Fashion Week event at the Tate Modern, which we loved. For those who didn’t have the privilege of attending, how would you describe this wholly immersive experience?
The environment reflected the collection—its influences, references, and that very British essence. It was all about the subcultures that have been so important to me. I wanted an overload of imagery—stills and film shot by Jamie Morgan— Dada-inspired projections, creating a brutalist, gothic cathedral-like space. I also collaborated with Robin Derrick, who began his career as the art director of The Face, to bring all these elements together. Jamie, Robin, and I started our journeys around the same time, sharing the same influences and creative language, so it was incredibly fun.
What motivated you to bring it to London, and how would you like your extensive body of work to inspire the latest generation of fashion creatives?
London is home; it’s where I find inspiration. I started in London and showed here for many years. By the late ‘90s, I felt that to become an international designer, I needed to move to Italy, find the right partners, and take things to the next level. The industry was different back then—communication wasn’t as immediate as it is today. Now, you can be anywhere and remain connected. But I’ve always felt that my work belongs in the environment where it was conceived.
As for inspiring the next generation, I hope my journey shows that staying true to your creative DNA is key. Trends will come and go, but if you build your identity on authenticity, passion, and cultural references that truly move you, your work will always have relevance. I want young creatives to see that fashion isn’t just about making clothes—it’s about storytelling, about reflecting the world around you, and about pushing boundaries to create something that resonates far beyond the runway.
How has London influenced your work, and in what ways does it continue to do so?
London has an energy and rawness—it’s intangible, something you just feel and absorb. It has that island mentality, where we do our own thing and constantly push boundaries.
Who were your early fashion inspirations, and what was the catalyst for your move from Manchester to London to study fashion at Kingston?
Music was my gateway into fashion—Bowie, Roxy Music, Punk, New Wave, Goth, New Romantic, Ska, Mods—the list goes on. I was drawn to genres where fashion was as important as the music itself. Manchester was a huge inspiration growing up. My teenage years were spent clubbing, and I even DJed in the Roxy Room at a legendary club called Pips. Moving to London felt like a natural next step at that time.
We understand you moved to Milan in the 1980s, a time when European travel wasn’t as common as it is today. How daunting was that, and how did it prepare you for launching your own brand?
I actually moved to Milan at the end of the ’90s. By that point, the John Richmond brand had already achieved significant success. Milan represented an opportunity to grow, find the right support, and position the brand on a larger scale. Around the same time, I also had another brand, Destroy, which became a cult favorite during the early rave era. Moving to Italy wasn’t just about expansion—it was about immersing myself in the craftsmanship and infrastructure that could elevate my vision even further.
“Born in England, made in Italy” is a tagline we automatically associate with you. What elements from Italian culture and craftsmanship have you fused with British influences to create the distinctive John Richmond brand identity?
Italy has always been, and still is, the place for high fashion. The craftsmanship, the attention to detail, and the deep-rooted understanding of quality are unparalleled. Made in Italy remains as relevant today as ever.
Since launching John Richmond in 1984, you’ve dressed an incredible lineup of icons, from Bowie and Jagger to Madonna. Who among them has meant the most to you personally, and why?
Working directly with Mick Jagger was a lot of fun. He’s such a nice guy—very easygoing, knows exactly what he wants, but is also open to new ideas. I met Mick through Dave Stewart (Eurythmics), a close friend, and ended up not only designing his stage clothes but also working on his album and single covers, merchandise, and even directing the video.
Which musician or public figure shaping 2025 would you love to see wearing your clothes, and why?
I love Annie Clark (St. Vincent). She reinvents herself with every album—always moving forward, never staying still. She reminds me of Bowie in that sense. She’s sexy, cool and has a lot of style.
Another seminal moment in your career was George Michael wearing your “Destroy” jacket in the Faith video, a piece that’s now highly collectible. How much of your longevity do you attribute to that timeless quality, and what other factors do you think have contributed?
I’ve never followed fashion trends, but I’ve always stayed true to my DNA, shaped by the music I grew up with. It’s nice to see those early pieces becoming collectibles. That period holds a lot of fond memories for me. I was involved in every step, from concept to production, even running my own small factory in Brighton. That direct connection to the process gave the pieces a rawness and individuality that still resonate today.
We loved your SS25 collection. How do you balance the need to evolve continually as a designer while maintaining the signature elements that define your brand?
It’s always a challenge to push forward while staying true to the essence of the brand. It takes a lot of hard work, but I’m lucky to have an amazing team that truly understands me.
You recently collaborated with Italian vintage curator Cocci and Italian artist Davide Vavala. How do collaborations like these keep you inspired and influence your creative process?
Collaborations introduce new perspectives and challenge me to look at my work in fresh ways. They bring different energies into the mix, which is always inspiring.
Music-led youth movements—from Mod to Acid House—changed society and continue to influence fashion and culture today. They no longer exist as they did so do you think fashion can still be revolutionary in a digital age, where nothing remains under the radar and fashion has become increasingly corporate?
There’s still a lot of energy and creativity out there, but yes, the digital age has changed the way movements develop. In the analog era, youth subcultures had time to grow and evolve before the market and the marketing people got hold of them. Now, nothing stays under the radar anymore, which is a shame. They are instantly exposed. They don’t grow and flourish in the way that Punk or Acid House did.
Having delivered one of this season’s London Fashion Week highlights, what are your plans and ambitions for the rest of 2025?
Next up is the new collection, then in April, I’ll be presenting a series of customized chairs during Salone del Mobile. In June, I’m planning a full runway show in London during the menswear period, but showing both men’s and women’s collections. There’s also talk of several retail projects in the works. It’s non-stop, but I wouldn’t have it any other way.
A trailblazing talent who continues to wow new generations, John Richmond’s place in the pantheon of renowned British fashion designers is assured. His longevity and cross-generational appeal are testament to his authenticity, consistency, craftsmanship, and a signature aesthetic that ensures he’s remained not only relevant, but often revolutionary, across four decades.
While pieces from his archive such as the “Destroy” jacket are immensely collectible he remains a change-maker and taste-maker whose latest work continues to thrill the eye and ensures he remains a hugely prominent figure in the global fashion landscape.
John Richmond wears the tag of icon lightly. It’s a description many are given but few deserve. In his case it’s one that’s richly deserved.
