For his spring 2018 inspiration, KTZ designer Marjan Pejoski looked to the 1963 film adaptation of William Golding’s 1954 book, “Lord of the Flies,” which sees a bunch of British schoolboys survive a plane crash and try to eke out an existence on their new island home. Things turn nasty.

Pejoski’s take on this was not bedraggled and sandy, but anarchistic utilitarian survivors, with boy martial scout references blended with nods to modern urban tribes like punks and travelers. It was more subdued than previous outings, but that’s not a bad thing, even if the overall effect didn’t quite convince.

Working with a strict palette of khaki, black and metallic silver with hints of white in the embroidery of stylized merit badges, things began in a Baden-Powell vein: a khaki blazer with matching shorts, seams held together with silver staples, then a field jacket and pants, worn with matching cap, that recalled the uniforms of Vietnam War troops.

A parka, bomber and poncho came covered in childlike text, with depressing words like “failure,” “not interested” and “evil” in the mix. Metal mesh trim on scarves and jackets hinted at chivalric mail armor, but the beer can ring pulls that Pejoski used as veils on baseball caps and in a tank top failed to hit the mark.

See More From the London 2018 Men’s Spring Collections:

Stella McCartney Screens Men’s Wear Short Film at 16th-century Pub: Steven Tyler, Steve Coogan were among the guests at the Tudor-era watering hole.

Charles Jeffrey Men’s Spring 2018: A riotous cast of characters, unified in their theatricality and Jeffrey’s joyous treatment of his theme: debauchery.

Cottweiler feat. Reebok Men’s Spring 2018: Dainty and Cottrell looked to the optimism and escapism of off-grid desert communities for spring.

What We Wear Men’s Spring 2018:  Tinie Tempah fused the brand’s minimalist aesthetic with a sportier one for spring.

Wales Bonner Men’s Spring 2018: This focused yet subdued collection saw Grace Wales Bonner musing on a “blue mood.”

Christopher Raeburn Men’s Spring 2018: There was a lightness and transparency to Christopher Raeburn’s signature practical silhouettes.

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