Last night London Fashion Week hosted one of the most talked about shows of the season - the first collection designed by Daniel Lee for BURBERRY.
For those who don't remember, more than a year ago, November 21st, Lee retired from the position of Artistic Director of Bottega Veneta, a position that gave both him and Bottega historical status as a shining example of "what the revival of an old fashion house should look like".
The surprising split is the result of a necessity created by the designer's outburst.
The longing for new bottega, the nickname the Italian brand has earned since Lee's entry, which was born as a direct continuation of old celine, the previous label where his revered handwriting was sold, was answered after about a year, last October, when it was learned that Daniel would replace Riccardo Tisci at the British institution barbaric.
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Since the announcement last October, a wave of anticipation has filled the fashion industry.
Curiosity about the new language of Burberry as formulated by whoever is responsible for the transformation at Bottega Veneta came to an end on the runway with a surprising and loud collection, although far from the expectations for those who missed Lee's distinct silhouettes.
It must be remembered, of course, that unlike Bottega, which was in a state of clinical death, Barbari was accepted by Lee when it was in good condition, even very good, and massive pressure was still put on him to make a change, one that would be talked about.
And in this task he undoubtedly succeeded.
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At the beginning of the month, when the vision of what the iconic fashion house will look like was revealed, we got a glimpse of the new logo, which was updated after investigating the company's archives, and the motif of the knight on the galloping horse that accompanied the brand from 1901 to 2018. It seemed that the direction would continue to be classic with a modern touch.
Which might happen in practice, but the picture received on the track was the farthest from it.
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The feathers in the armored knight's hat took center stage throughout the collection with synthetic furs accompanying Lee's new versions of the plaid print in punk harmony.
These were turned diagonally into rhombuses and painted in even tones of intense shades, the farthest from the khaki beige of the canonical trench.
According to him, he found the color palette of purple-green, yellow-blue, pink-red-burgundy, white-blue, etc. in archival fabric books that are approximately 100 years old.
During its almost 170 years of activity, Berber has never touched such concentrated color intensities.
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It seems that on the track at least, Tishi's beige days have passed.
But don't worry, the boutiques scattered around the globe will not give up the crazy sales of the trench models, with the new plaid version probably generating an impressive profit line while symbolizing a well-branded representation of the logomania madness.
And that's even before we talked about the expected hits from the bags and shoes categories, in which Lee specializes, decorated with furs and feathers.
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In addition to the show of color, furs and diamonds, Lee added to the new toolbox a figure of a duck, which he found "very British", he explained on the eve of the show, "It makes me think of the park and Burberry is an outdoor brand associated with protection from cold and rain".
Another winter accessory from the worlds of the protection source - a hot bottle wrapped in checkered mesh in a golf silhouette.
Bottom line: the current era paints a picture that is miles away from the Burberry classics as we have known them so far.
The new barbarian moves into the digital nomad tribe of Gen Z and moves away from the monarchy guardian tribe.
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