Unveiling Michaelmas: Geordie Campbell's Ode to New Beginnings, Boyhood and British Heritage
In the world of fashion, where the bold and the traditional often intersect, Geordie Campbell’s ‘Michaelmas’ collection emerges as a narrative-rich tableau, redefining British sartorial norms with its audacious yet respectful nod to heritage. Drawing deep from the wells of English academia and childhood rituals, Campbell’s AW/25 collection is a nostalgic ode to the crisp mornings of school term commencements and the ceremonial ‘first day back’ snapshots taken on family doorsteps. With a profound understanding of the transformative power of apparel, Campbell has crafted a collection that not only speaks to the past but also dialogues intensely with the present and future of fashion. Michaelmas, named after the autumn term commencing at many British universities, symbolises a season of new beginnings and intellectual awakening, themes that are meticulously woven into each piece of the collection.
From the echo of schoolboy uniforms to the flamboyance of rosette-adorned dresses, Campbell’s designs demonstrate a masterful balance of innocence and provocation, challenging traditional norms while honouring them. His use of classic materials like herringbone and cord juxtaposed with bold silhouettes speaks volumes about his ability to push boundaries without severing ties with the past. The collection delves into the dual desires of fitting in and standing out, embodying the complexity of schoolboy innocence adorned with the ambition to be seen rather than merely recognised. Campbell’s designs echo the traditional goodie-two-shoes adorned with gold stars and rosettes, not as symbols of conformity, but as badges of distinctiveness and individual expression.
The COLD Magazine (CM): What inspired ‘Michaelmas’ and how do you feel that the title reflects the theme of renewal and transition in your work?
Geordie Campbell (GC): ‘Michaelmas’, for me, represents a new beginning–akin to the start of the academic year–and carries a traditional, religious tone. This juxtaposition against the collection’s daring, non-traditional elements really underscores the balance I strive for between conformity and individuality. It’s a playful nod to tradition that underpins the broader coming-of-age theme that’s so central to my brand’s evolution.
CM: How do you balance those contrasting elements of schoolboy innocence with the desire to stand out in your designs?
GC: My design process starts with the avant-garde and then scales back to ready-to-wear. I immerse myself in a broad spectrum of influences, then refine these ideas into something that fits into everyday life. This two-step approach balances innovation with practicality, ensuring that each collection reflects a personal journey and resonates with those who wear my pieces, allowing them to find their own connection to the narratives woven into the garments.
CM: Your collections often explore themes of queer identity and flamboyance. How do these themes evolve in this particular collection?
GC: This collection revisits elements like the rosettes from my graduate collection, which focused on challenging toxic masculinity and embracing those negative labels proudly. When I was younger I liked the attention of being different at school, even if it was negative – it made me stick out like a sore thumb which gave me a little bit of a thrill, in some way. I like to ensure there’s a continuity that links all my work; it’s about evolving the conversation around these themes, adding layers that reflect both past influences and new interpretations.
CM: The materials you use are deeply nostalgic and distinctly British – how do these choices bridge the gap between traditional British aesthetics and contemporary looks?
GC: Using materials like wool and corduroy, which are not only nostalgic but also emblematic of British quality and durability, is fundamental. These fabrics anchor the playful, innovative aspects of my designs in a rich tradition of craftsmanship. It’s vital for me that despite the modern twist in my collections, the essence of British durability and quality shines through.
CM: How important is your British heritage to you and to your collection?
GC: It’s absolutely critical. I feel super British, and my heritage informs the foundation of my entire design philosophy. As the industry sees a shift with designers diluting their national identity by moving production overseas I emphasise maintaining and celebrating my British roots, which I believe are essential to the authenticity and integrity of the Geordie Campbell brand.
CM: What are your thoughts on the notion that London Fashion Week is fading in comparison to Paris and Milan?
GC: I think it’s a shame! London has so many incredible fashion universities that continually breed innovative designers. It’s a hub for interesting fashion, and there’s a substantial opportunity here for new designers to shine. Niche magazines want to write about new stuff, like the graduate runways, highlighting designers who are doing something different rather than rehashing the same old brands. There’s more respect in London for new designers, and I think there’s space for people like me to grow, even though the light seems slightly dimmer.
CM: You’ve mentioned maintaining references to your graduate collection. How does ‘Michaelmas’ build upon and transform these earlier themes?
GC: The collection not only builds upon but also transforms the foundational themes of my earlier work. I make a conscious effort to reference previous collections to maintain continuity, such as the Sprinkler shirt and the Window dress, and, of course, the rosettes. Looking forward while reflecting back ensures each collection can be seen as part of a larger, cohesive story, avoiding becoming a disconnected designer and losing the audience in the process.
CM: What is your personal favorite piece from the collection?
GC: Although I generally focus on menswear, there’s a Dennis the Menace-inspired dress (The Dennis) in this collection that I’m particularly fond of. It’s a playful piece that stands out for its unique interpretation and holds a special place in my heart for its creativity and connection to iconic British culture.
CM: What excites you most about fashion this year?
GC: I’m particularly excited about the role of social media in fashion. It’s a double-edged sword, of course, but its capacity to democratise fashion and encourage individual expression is remarkable. Watching how people integrate my pieces into their own styles offers a fresh perspective and keeps the dialogue between my creations and the public vibrant and ongoing – it’s a way of seeing Geordie Campbell implemented in other people’s lives.
CM: How do you envision the evolution of your narrative around queer identity and British heritage in future collections?
GC: I plan to continue exploring the multifaceted expressions of queer identity, intertwining these with the rich tapestry of British heritage. Each collection is an opportunity to experiment and to express these evolving narratives, reflecting not just my personal growth but also the broader shifts within society and culture. It’s an ongoing journey of discovery and expression, one that I’m excited to continue shaping with each new collection.
Michaelmas is a profound statement on cultural memory, identity, and the transformative power of fashion as a form of personal and collective expression. By integrating classic British materials with bold, contemporary designs, Campbell crafts a narrative that is both reflective and visionary, bridging the cherished rituals of British academia with the vibrant pulse of modern fashion. This collection invites us to explore the depths of our identities through the artful medium of clothing, signaling Campbell’s ongoing commitment to innovation, authenticity, and the nuanced exploration of identity through fashion.
Written by Penelope Bianchi
Edited by Lily-Rose Morris-Zumin