ON: Can you tell us about the collaborative design process?
GO: Sam was able to positively counter me in many ways and opened my eyes to new ways of cutting garments and approaching design. Because Sam and I both came in with a strong design identity and philosophy behind those, it was challenging, but ultimately gratifying to see how an idea could start in the same place as mine, but move to such a different place whilst still making sense in that story. Sam often favours stand work and I often favour flat work which as a means to a similar end, was applicable to some pieces that I cut for this collection whilst continuing to work flat for the ‘tech’ outerwear pieces. I think most of all our collaboration worked because we both have an undying love for the creative side of this work – it’s about always pushing it further, and having somebody to constructively criticise me and visa versa took the collection where it went.

ST: We both approached the design of the collection from quite different perspectives; my approach was quite emotionally driven, in that I was attempting to achieve a feeling and an attitude in the work. George’s approach was much more routed in the physicality. Coming from a sportswear background, he brought an element of functionality to the collection that helped to rationalise a lot of my ideas, and route them into a more workable joint concept.

ON: Can you tell us about some of your influences in the industry?
GO: Juun.J has been a huge influence on my recent work. I find that his use of outerwear and minimal colour pallet is outstanding. And that he retains a cachet design identity that hits that commercial/creative nail on the head. It feels accessible but not too easy.

Since foundation I’ve followed the work of Aitor Throup, I think that he is a master pattern cutter and that has always been a side of the industry that garners respect of other creative people, based on the skill and hours put into creating new pieces.

I have always followed the Japanese designers, particularly Kawakubo, Watanabe and Yamamoto. Since I can remember being interested in fashion, I was interested in this group of designers for their dedication to their aesthetic, being able to make something so complex appear so effortless and their use of proportion, such as Comme’s stuffed shapes interrupting the natural contours of the body, challenging body norms and stereotypes.

ST: I find Cristobal Balenciaga massively inspiring. He was one of the last great couturiers who had the skill and knowledge to have sewn anyone of his dresses himself. He actually made his first couture dress (all be it a copy) at the age of 14, so I have a lot of catching up to do but I would really like to look into the couture process in the future. At the moment it is such a transcendent other worldly thing with in the industry but I feel there is a growing sense of the appeal of wearing couture to the supermarket, or out clubbing. Just an idea at the moment, but wouldn’t it be wonderful. Affordable couture for men!!

ON: What does winning LCF collection of the year mean to you?
GO: Winning this award an incredible and unexpected experience for Sam and I. To get that kind of feedback when you’ve put in so many sleepless nights sewing the garments, and spent so long over those tiny decisions that to us meant everything, was worth it. When you stare at the same work for so long, agonising over it, its easy to lose touch with. While you created it in the first place, or maybe your eyes just get tired of it, but seeing it coming down that runway on Monday 6th June affirmed my pride in it. Winning this was not really on our radar, and that’s made it so much more valuable to us.

ST: More than anything, its validation. There were some wonderful, wonderful collections this year, and to be honest, we really didn’t expect to win the award. One of the things that is hard about University is learning to value your own work. There are so many critiques at different stages that you get to a point where its like “is it amazing or is it just shit” (there’s a fine line). I think winning has, in this sense, given me the confidence to continue to produce my own work and see if it takes me anywhere. Hopefully it does and hopefully you’ll be seeing me again in the future.

19th Century French Gold Eagle Tie Pin $550

Read Next