Bulbs popped at Christopher Shannon
Considering the breadth of fashion ideas to be found in the studios and workshops of London's colleges, it seems something of a travesty that menswear is only afforded one, rather measly, day at London Fashion Week.
Despite the short shrift on time, the Esquire fashion team were out in force, schlepping their way from show to show to bring you the key looks from the day.
So here, for you perusal, is the first installment of our Men's Day blog: everything from a stylish retro-look film from A. Sauvage to, errr, face painting at Christopher Shannon.
Christopher Shannon's SS' 11 collection was titled "Never Get To Go Anywhere" which, according to Shannon, was "inspired by the nostalgic feeling of never getting to go anywhere on holiday". We know the feeling.
Shannon's experimentation with colour - shades of white punctuated by flashes of powder blue, lemon, lilac and grey - is only for the brave amongst you.
Ethnic-style tourist trinkets, camouflage prints and more commercial accessories (we liked the short-strapped rucksacks) jingle-jangled down the catwalk. .
A pair of smartly-shod feet waits for the shows to begin...
Tailor Adrien Sauvage of A. Sauvage unveiled his "This is not a suit" collection (basically, a collection of suits) with his Larry Lamb-narrated short film, "The Art of DE".
Esquire's executive style editor Mansel Fletcher, sporting an attractive double chin, browses the rails in the A. Sauvage showroom".
Carolyn Massey's SS '11 presentation, held in Somerset House, was popular with the fashion team.
Massey's likeable collection was inspired by Jackie Nickerson's book 'Farm', a photojournalistic take on the agriculture of Mozambique. We've always preferred the Wurzels as style icons
Highlights included sand-proof, desert-friendly boots (not to be confused with the unfriendly kind) and pared-down doctor's bags in tertiary shades.
Massey's pared-down approach to design, along with her unique approach to colour, resulted in a contemporary yet wearable collection.
Our sympathies went out to Massey's live mannequins. All they needed was a sign saying: "Please don't feed the models."
Photographs by Teo van den Broeke