INTERVIEW: NICHOLAS DALEY
Inspired by notions of multiculturalism within the British identity, Nicholas Daley has been laying down a consistently progressive and immersive approach to his London Fashion week presentations since his watershed “Red Clay’ Collection for AW18. We caught up with Nicholas in Milan to talk about the thought process and inspirations behind his AW20 collection, his recent collaborations and what London offers Menswear from a cultural perspective right now /
Lets talk about the way you have approached your presentations since day one. In an age where designers can easily be pressured to put too much focus on product, use or an overbearing venue to add weight to their presentations, you have really focused on the source material or narrative to create an immersive experience each season. How did this process start for you?
ND / Well I did my first season with new gen and we did that as a more classic format which was more traditional with the models etc., although I still had the live music playing. I felt I could evolve this further. When I did the red clay collection for AW18 we had the likes or Yussef, Mansur, Shabaka, Alfa Mist, James Massiah, Judah and Nabihah and I just thought you know what, I just really want to push this format as the show or presentation. Something people could identify with, as me, even if it didn't have my name on it. Something more honest to what I wanted it to be, and the kind of presentation I wanted to put forward.
The collection was also based on Freddie Hubbard. As I've got all these friends of mine that are next generation UK jazz artists, I thought why not combine this and have them wear the clothing while they play. In that way people get to enjoy an experience instead of the normal fashion presentation set-ups where the models look like they're about to fall over.
Well they sometimes do….
Yeah exactly… but its nice to be able to introduce people to Shabaka Hutchins, who's probably the best saxophone player of our generation. The same goes for Yuseef who is one of the most talented drummers I know. When you bring these characters and narratives into a show or a presentation, it kind of amplifies what I'm doing. I know some people didn't get it, for instance with the “Red Clay” show, I think some journalists and buyers were waiting for something to happen or for the models to come out or something.
It could be said you took a risk there?
Oh totally. They could have been like “what designer has only six or seven pieces out” and Yussef and Mansur were sort of sitting down, Alfa was on the piano etc. Therefore the garments which were on show, you could only see parts of them. It was only James and Shabaka who were standing up, with a full look to be seen. So yeah, it was tricky for people to really see the garments but that wasn't really my main priority or mission. Myself and Stephen (Mann) had shot the lookbook in the morning and as I’ve been working with him since the beginning, I knew we had that covered. I just wanted people to be a part of a moment. From “Red Clay” I've just continued to explore how I can present my collections with the intertwining live music and different artists and poets. I'm combining it together to present my world, my community and my aesthetic. And so far it seems to be going well and it's nice that people like yourself find it refreshing.
I feel you now have hit a sweet spot with the combo of the immersive elements, such as models moving within the production, which has enabled you to show more looks and go deeper into what you are presenting? And with the choice of venue it really underpinned it all.
Yeah and you know I think a lot of people have known the spot since the Efes days, but I didn't realize that they had the huge 1930’s theatre down there. I had seen a play my girlfriend who was involved in it and I instantly thought that it could be a good space to use and intertwine all the music and other elements of the show.
London's had his fair share of critics recently, in terms of the schedule and how people feel about it. What's your take on it? Do you see negatives, positives or opportunity?
I mean, yeah for me I've got nothing but positive things to say as a British designer, having LFWM and the New Gen program. Without all these things I definitely would not have been able to progress my brand forward in the way I have done. Further, the whole connection with music and having that time and space which the BFC and LFWM gives to me. I also, in effect, feel I give back to my community as well, via introducing musicians like Rago, Kwake Bass and Wulu who performed this season. So without the BFC and without the scheduling and being part of New Gen, it definitely allows that sort of foundation or platform for designers to try and push forward what they want to say as creatives.
Can we touch on your creative process. How does that work for you…? Are their specific spring board moments, meeting other artists who spark ideas and conversation etc?
I mean, it can come from multiple streams really. I always aim to be a creative sponge and kind of pull things in from different reference points which I feel a connection with, thus what I'm feeling and what I am drawn to. And I definitely think “The abstract truth” the AW20 collection, was a continuation from last spring's collection “Astro Black”, where I looked at Afro Futurism and a lot of abstract painters
Frank Bowling is a great reference point. What brought you to his dream like work?
I went to his exhibition at the Tate Britain last year and I was really blown away by the sheer depth of his work. I've known of his work prior to that, but I haven't seen it all in one singular exhibition. I was lucky enough to go down to his studio and to meet some of his team. I haven't met him yet but we have been in correspondence. It’s also cool to connect with another artist from a completely different generation and to communicate with them.
When I watched the show there was one particular look that seemed like there was a re-interpretation of one of Frank”s pieces onto a poncho? Was that created in collaboration with Frank in terms of permission or was it more of a reference or homage?
More of an homage In a way yes. I have been working with an artist called Tilly Mint who is based in the North of England. Tilly has been working with a lot of musicians like Yasmin Lacey on their covers. She had been working with psychedelic micro lens reactive paint dyes, which also appeared in my collection last season. And I felt there was a strong link between this and Franks poured paintings in particular and looking at what he did in the 70’s with really strong colours and dripped effects. I think it's better trying to create something new or kind of push it forward rather than just sort of regurgitating something if that makes sense. So everything should feel like a progression or new rather than just like a repeating. But yeah that Poncho look is definitely a homage to Frank and a few other different people in one look.
The fact that he was keen to not be labelled as a “Caribbean” artist (via his Guyana heritage) is an interesting point for me. Given you are a designer that explores culture and particularly your own family heritage. How do defining labels like that now resonate in 2020?
I guess there was like maybe a potential stigma or something which you want to try and not get boxed into. And I do feel it sometimes, you know obviously my brand is my name. I reference the kind of things I believe in or which are close to me. I've always done that and I'm not going to change it. Whether that's due to casting or whether that’s through what I reference. I am from a mixed heritage and that is something which I want to celebrate in my work. I don't always need make a big song or dance about it, but just referencing it and it being what I believe in hopefully seeps through into the work and the collection. That’s what people see me as. But I definitely want to be seen as a designer first and not be tagged or put into certain boxes in respect of what I can and can't do, what I shouldn't be doing or what brands I should sit next to. The world is getting a lot smaller and the types of brands and the people behind them, yeah it definitely is getting more and more diverse now.
I guess it illustrates that kind of flip from the period when Frank started out on his career to now. And yeah you are right, it probably would have been more about stigma to him in that respect. And there is other stories about him losing out on certain awards etc at the time due to those certain issues so that does raise an interesting point.
Oh yeah, totally. Like it's taken this long for him to get a retrospective. And it's long overdue for Frank to have that massive Tate Britain exhibition. But you know sometimes that's unfortunately how it works in the creative fields. But I do think that the diversity of minority designers or people from different backgrounds is definitely improving. Even within my generation of designers with Grace, Bianca, Paria and also Martine who has been going for a bit longer, but every season it feels like its progressing and pushing forward.
What takes you out of your comfort zone each season, be it taking risks on product or concepts etc. What are the things that makes you excite yourself?
I think just experimenting and trialing new fabrications or processes. Like we did some more Japanese specific dying this season which we did in Kyoto with specialists out there. That was a big experimentation in terms of colour, dye and how each one is done individually. I think that was definitely, from a development perspective, pushing myself. It was something which was quite a key thing for this season. With color in general, I think I’ll try to be more aggressive with it. I'm trying to make it more apparent in the collection, especially since my spring summer 20 collection where I had so much. But this season I was trying to find that balance between, something which I would feel like the Nicholas Daley guy or friends of mine would wear on a regular basis plus then throw in the psychedelic Frank Bowling or Jimi Hendrix inspired shades to the end just to kind of give it something extra and push it that little bit forward.
The Lavenham partnership was an interesting one actually as well. Because I mean it's such a Heritage or “Gentry” associated label. Which I think is quite a nice juxtaposition with everything else that you are putting into each collection.
Yeah it's a bit of a curve ball, but it kind of works. It’s a new challenge for me and obviously is very heritage in terms of being one of the oldest quilt making manufacturers in the world. I was looking at sound system guys who were wearing those gilets and puffer jackets in a more kind of like militaristic way. Like a Rastafarian vibe where they have got all the military clothing aspects to it. Like Haile Selassie and that. So I was kind of throwing the brand into a whole new world. And with Fred Perry we continued on the path we started last season but its great to work with brands that have such interesting history and culture.
And with Adidas how is the relationship developing there?
Yeah I mean for me it'd be great to try and nurture the relationship i've got with the brand. It’s good to have the continued support with the shows and to do the customizations. It started last year when I was part of the Maker Lab program and it continued forward from there. Back then we launched our first collaboration item which was the Baker boy hat that was repurposed from three Stripe tracksuits that we had cut it up. That went on sale at Dover Street Market and sold out really quickly. So hopefully it's like a nurturing process that we can develop.
Just to wrap up and given music is such an integral element in your work. If you were to pick one track or piece of music or if it was your last show and you had to pick something musical that represented you and the label in the best way… what would it be and why?
Oh wow that's tough…. Ok. Yeah, I mean probably Freddie Hubbard “Red Clay” just because that definitely has played a big part in my progression stemming from that collection.
Like in terms of that being a watershed moment for the you and the brand?
Yeah exactly. And perhaps to finish “Love is the Message” by Yussef, Mansur and Alfa Mist because that was a really special day. I went to Abbey Road studio and styled them when they filmed the track they did together. It was just like a pretty epic day seeing three of my friends who are all amazing musicians just jamming in Abbey Road and being recorded, and then for that video to go up on YouTube and go viral. Yeah they just completely killed that track so “Love is the message” has gotta be in there.