Nicholas Daley’s collection for fall was an ode to the jazz culture, drawing inspiration from likes of Miles Daves, Thelonious Monk, John Coltrane as well as “Red Clay” — one of his favorite jazz albums by Freddie Hubbard. Daley, who has a strong affinity for textiles, also delved into the history of tweed.
Linking the two together, Daley referenced photos of a Scottish Shetland farmer wearing a tweed baker boy hat and images of Davis donning the same style. Daley took cues from the musical genre and tweed fabrications in an abstract and literal sense.
The designer’s fascination with tweed and jazz resulted in a well-constructed and colorful lineup of separates and suiting full of supple textures and fabrics. Daley made elements of an older gentleman’s wardrobe young, cool and relevant and reused classic craftsmanship in a more contemporary way.
His presentation held at the Swiss Church felt more like a concert with jazz musicians such as Yussef Dayes, Mansur Brown, Alfa Mist and Shabaka Hutchings playing a live set for the crowd — all donned in his fall range.
He developed a custom herringbone tweed employed on coats, jackets and trousers and created knitwear styles that came in the rich hues of Blue Note record sleeves. He also utilized brown corduroy on a suit with grandfather cardigan-style patches on elbows.
Taking another cue from a vintage Burberry mac, Daley enlarged the style giving it a more relaxed drape as jazz players need more room while performing. This was paired with high-waisted trousers — Daley’s signature — which came tapered down the leg. There was a subtle zoot suit referencing within the range as well as grandfather cardigans and coats. Daley collaborated Christy’s on bespoke baker boy and pork pie style hats and George Cox on footwear — creating two styles of Creepers.