• Text Dean Mayo Davies
  • Photography Takanori Okuwaki
  • 10th January 2015

Amped

Slaves, one of the most exciting emerging bands of 2015, set the tone for Todd Lynn’s first appearance on the LCM schedule. Mixing men’s and womenswear in an androgynous free-for-all, as the band thundered their way through a set screaming Victoria House down, it harked back to Lynn’s powerful debut back in 2006, a razor-cut story of rock glamour, respectful of both sexes.

This designer honed his craft making bespoke stagewear for The Rolling Stones and Marilyn Manson before launching ready-to-wear, and his eye for detail and ingenious construction has never left.

A black-and-blue mottled shearling can be worn suede or shaggy side out, whilst military field coats transform into capes with a couple of zip adjustments.

There was a protective element running throughout the show, not only in the flak vests. Tuxedo pants had the feeling of motocross leathers, their stripes twisting around the leg. Military boots (and trainers) by Christian Louboutin were bound by crossover elastic rather than laces, like a straight-edge X.

Silk fringing running down the back of sleeves alluded to the grandeur of military tailoring – and also nodded to the suit Lynn made for PJ Harvey’s This Is Love video. The singer was in attendance, getting down to the Kent Garage Punk duo and perusing it all ahead of her Recording in Progress residency at Somerset House next week, the laying down of what’s to be her ninth album.

Beyond a show, this was a gig (a no-compromise LOUD one at that), a masterclass of cut and a celebration of attitude. How’s that for a night to remember?