Charles Jeffrey staged a “dance of death” performance and after the show, he questioned: “We have sacrificed nature to a point where the earth is where it is, and what would happen if nature asked us to sacrifice ourselves in order to keep going?”

The collection was a reclamation of nature and his proud Scottish identity, according to Jeffrey. He took inspiration from his homeland, looking at rural traditions and local artists such as John Byrne, who painted the Teddy boys, and Margaret Macdonald Mackintosh, wife of Arts and Crafts pioneer Charles Rennie Mackintosh.

The newly refurbished Battersea Arts Centre was transformed into an immersive setting that resembled a magical forest, with a square-dance stage at the center of the room.

A tree trunk covered with CDs and dead twigs served as a symbol of nature, with each model paying tribute as they walked past. On top of the tree trunk hung a disco ball, projecting light to every corner of the room.

The collection marked a return to his infamous theatrics, with several wearable items on the runway to keep the buyers happy, such as colorful knitwear, shorts and a pleated skirt.

According to Jeffrey, the embroidery and equine details in the collection were inspired by the festival of the horse from the Orkney Islands, where people parade in exquisite costumes, while the exaggerated hairdos were a direct reference to the Teddy boys.

Jeffery also published a manifesto for “conscious practice,” disclosing the sustainable methods employed to make the collection, such as using organic cotton and sourcing wools and tartans from local manufacturers to reduce his brand’s carbon footprint.

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