Burberry Shows Off Killer Trenchcoat and Blue Strawberry Prints at London Show

The scene before the biggest show of London Fashion Week was quintessentially British: an orderly queue for tea, coffee, and Eccles cake. It was all part of the lead-up to designer Daniel Lee’s sophomore show, which served a feast of Britishness. In a nod to the brand’s merchandising history, Central Line commuters were treated to a Tube takeover, and Norman’s Cafe, a cult North London institution, was draped in blue check. And for the finale, a troupe of dancers from the Royal Ballet performed to the music of minimalist composer Anna Thorvaldsdottir.

Lee, who replaced Riccardo Tisci as Burberry’s creative director in September, aimed to keep the house’s classics on the menu. While his debut, titled Kingdom, explored the Old English history of the brand, this season’s theme was ‘Britishness.’ And, if this show was anything to go by, he has certainly succeeded in that aim.

This is undoubtedly the only catwalk show where Hollywood action hero Jason Statham, acclaimed choreographer Wayne McGregor, and Arsenal striker Bukayo Saka can be found rubbing shoulders. They were all in attendance for Lee’s ode to the country that brought us the Queen, the Duke of Edinburgh, and the lordly picnic.

For this show, the sailor-style navy trenchcoat was given its day in the sun, along with dresses, skirts, and knits adorned with strawberry prints. It was a reminder that summer’s just around the corner and a sign that the brand is in good hands under Lee, with a strong base of loyal customers ready to snap up this fresh take on traditional English fashion.

The new accessories were well received, including interlink chain prints and leather structured bags. Lee’s use of color was another stand-out point. A bold electric Burberry blue made its way on everything from the embroidered collars of silk shirts to the backs of leather coats. It was a refreshing alternative to the subtle superiority complex of Paris Fashion Week and the pouts and big hair of Milan.

In a time of economic turmoil and uncertainty, this British company is tapping into a yearning for something gentle and stable. If, as Hayward and Yar suggest, working-class culture is no longer about buying status within a dominant culture through the appropriation of high-end fashion, then perhaps it has evolved to the point where people buy luxury goods not to be ‘better’ but because they like them. And if that’s the case, then this collection proves that Burberry is still at the cutting edge of fashion. The only question is whether this stance can be maintained long enough to save the business from a slow decline.