The clothes on runways aren't, generally, meant for real life. They're an idea, a projection of what you might consider wearing in a few months time. Those trousers wider than a double garage in Cobham will be a little bit slimmer once they've hit the rails. The same can be said for punky tailoring, and fluorescent patchwork, and every other trend that looks more like fancy dress than, well, clothes.
But sometimes, an undiluted look is big and brave and brilliant enough to steal straight from the runway. Perhaps it's more accessible IRL. Or maybe it's just really, really great. At the just-wrapped Autumn/Winter '20 edition of London Fashion Week Men's – an event generally known for its anarchic, envelope-pushing energy – there were a surprising number of looks that we, the Esquire editors, wanted to wear, wholesale, as soon as they walked past. These are the four we'll be lusting after until they finally (hopefully!) hit stores in September.
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Charlie Teasdale, Style Director
"Aside from offering some theatrics – which the London shows could always do with more of – the Iranian wedding service that opened the Paria Farzeneh show was especially poignant, and sweet, given what’s going on in the world right now.
"The collection was ace, too, subtly fusing exquisite Persian fabrics and prints with streetwear shapes and finishes. Also, models wore Hoka One-One trainers. I love Hoka One-One trainers. "
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Catherine Hayward, Fashion Director
"The trailblazing Grace Wales Bonner used John Goto’s documentary photographs of teenagers at Lewisham Youth Club in London during the Seventies as her inspiration this season.
"Set against a makeshift sound system backdrop – and an exclusive Jamie XX soundtrack – this was a masterclass in Wales Bonner’s elegant, signature tailored jackets, layered over strong coloured shirts, knitted roll necks, vintage flared denim and classic Adidas sneakers."
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Murray Clark, Digital Style Editor
"My happy place isn't usually The Matrix meets Wall Street meets that really frightening club at the beginning of Blade. But thanks to eclectic Japanese designer John Lawrence Sullivan, I'm feeling a bit more open to it all.
"Set against a thumping backdrop of 4am techno, the entire collection was a rare blend of enduring menswear hype (the big boxy suit), and actual, respectable craftsmanship (the impeccable tailoring) with string vests, which was unexpected. You'll find me in this overcoat, in the queue to Mr Sullivan's filthy nightclub. I probably won't last past midnight, mind."
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Finlay Renwick, Deputy Style Editor
"There were lots of lovely clothes on the E Tautz runway this year: dusty blue denim jackets with matching wide-leg (of course) jeans, broken tailoring with boxy double-breasted blazers and slim white trousers.
"The best look, however (and this is an objective fact), was a very special suit. It was a blue and grey check with a hint of rust running through. The trousers were tailored, but allowed to spill comfortably behind the back of the loafers, which were Fifties-ish. The lapels were just wide enough, with a banker’s pale blue white shirt and – get this – a tie! Not skinny, and tucked into the trouser’s waistband. Look closely and you’ll notice a handful of roughly-sewn segments on the arm and chest, a Franken-suit made out of materials from Patrick Grant’s factory floor. It was Gordon Gecko power suiting reimagined with a sustainability sensibility. I liked this suit a lot."
