This season Bodybound burst onto the LFWM catwalk for the first time and they blew us away with their SS18 collection. Check out FAULT’s full review of the collection here.

We have tipped this design-duo as our top brand to watch for the future.  Chidubem from Lost in Talent has photographed the details exclusively for FAULT, so you can take a closer look at the exciting fabrics and details that Bodybound presented for SS18.

Menswear Editor: Kristine Kilty





Always a favourite of London Fashion Week Men’s, the silence and anticipation of crowd at Astrid Andersen’s SS18 show revealed this year to be no different. Astrid Andersen, a woman who confronts the unexpected and makes it desirable. A pioneer in the luxury sportswear game, SS18 proved Andersen remains unrivalled.

Her signature velour comes this season in a moss-like greenish gold, recalling memories of the career-defining oversize velour basketball jerseys of her first ever collection. Other fabrics are more refined; floral satins in Japanese prints are compiled on tracksuits in patches, broken up by sporty black stripes, rich striped silks elevated the collection from streetwear to anywhere.

The often-used ‘safari’ theme is reinterpreted here, as only Andersen can. The flaps of sunbonnet hats trail behind the models as they stomp the runway, and bib-like shirts and loose trousers look as wearable on the streets of London as they would in sub-saharan climates. As usual, Andersen plays with audiences expectations, and we come away jolted, surprised and most of all, thirsty to buy.

Words: Harriet May de Vere


As the first Japanese designer to show on schedule at London Fashion Week Men’s, it was brave of Mihara Yasuhiro – creative director of MAISON MIHARA YASUHIRO – to take on the punk aesthetic that London invented.

The bravery paid off. Tattooed models with smudged eyeliner slouched down the runway in grungy long cardigans, plaid shirts and torn denim. Patches which mocked the hashtag obsession of our generation were sown onto garments, slogans like ‘#nothing’ and ‘limited edition’ appeared again and again, echoing our culture’s obsession with social media and its unavoidability.

The falseness the online image was mirrored again in the cartoonish aspects of the SS18 collection. Giant zips on jackets and recycling logos graffitied onto denim brought the fun and quirky touches which reminded the audience that this was a Japanese designer. A Japanese designer who managed to bring something new to the decades old, and many times reinterpreted, London punk aesthetic.

Words: Harriet May de Vere


After a quick Google of the brand revealed Cottweiler to be ‘London’s most underrated label’, their SS18 show began to shrink the disparity between the talent and the hype. Fans of the brand differ from the usual horde of celebabies and reality stars; FKA twigs and Skepta are just some of the influencers who are fans of the brand and who bring with them integrity and not just Instagram followers.

Lizard embroidery tied the collection together, with bag, shirts and even the model’s bodies sporting them. They called to mind the embroidered dragons which covered everyone’s Maharishi cargo pants during the 1990s, and which were due a comeback. Early 2000s tribal patterns were re-invigorated in neutral beiges and greys and textured fabrics, and tufted feathery trousers added a new dimension to these prints.

The sportswear was still there for the fans, even managing to pitch a persuasive argument for cycling shorts on men. Both sexes will be fighting over the sheer nude shorts, and the two-pieces which could be interpreted as both tracksuit and suit. Silver, green and orange fabrics shimmered down the runway on loose vests and oversized trousers. As designers Ben Cottrell and Matthew Dainty came out at the end, dressed in the collection and to riotous applause, it was clear they are the best advert for their clothes; a demonstration of why everyone can (and should) be wearing Cottweiler.

Words: Harriet May de Vere


“The past is a country anyone can visit!” Charles Jeffrey exclaimed over the clamouring applause for his SS18 collection. This was this season’s motto; a message of inclusivity, coming at a time when it is much needed.

The clothes didn’t seem to belong to any time in particular, unless the ‘past’ Jeffrey was referencing was his own. There is a childhood playfulness which runs through his clothing; colourful scribbles ran from the clothes across the models’ bare skin, and bright illustrations in primary colours covered t-shirts, skirts and suits. The execution, however, shows no such childlike naivety. A later chance to play with the clothes close-up revealed expert tailoring helped along by the designer’s close friend, expert seamstress Sybil Rouge. Bomber jacket shapes were extended into long coats with delicate ruching across the back and tiny buttons dotting the front, and a pin striped suit was executed in a thick heavy fabric that only the nimblest of tailors could manipulate.

Jeffrey’s send up of the current political climate did not escape his slogan tees. White t-shirts emblazoned with falsified newspaper covers screamed headlines such as ‘CHILDREN HIGH ON DRINK AND DRUGS’ and zeitgeist-hitting key words like ‘TERROR’ peeped out from under psychedelic cardigans. The audience was reminded that although fashion is frivolous and fun, it’s not the only thing going on in the world; Charles Jeffrey is inviting everyone to work together to help.

Words: Harriet May de Vere


Highly regarded for her influence in the ‘80’s London club scene, designer Michiko Koshino doesn’t strike out updating 1940s American baseball this season. Merely glancing at the collection one can see the complementary relationship between Japanese influence and the archetypal intricacies of the American sport. Traditional baseball attributes lead the way for the designs: thin vertical stripes, drawstring hoods, popper buttons, snapback hats, oversized jackets and shirts, and ruched tracksuit bottoms. These were all accentuated by Japanese characteristics; high-vis war paint nodding to the ancient warrior collection of last season, Japanese script plastered carefully across t-shirts, graphic print tees camouflaged behind angular pattern cutting and zipper detailing. Wide three-quarter length bottoms and shirtsleeves alike, revealed a mix of chartreuse and bright orange socks and wristbands in stark contrast to the industrial shades of the garments. Dependency of warm, utilitarian materials like cottons, nylons and jerseys coordinated with the overall luxe theme, giving a refreshing vibe to the already crowded sportswear compendium.

Words: Emily Simpson 


An exploration between the vulnerability of sheer fabrics juxtaposed with the machismo of barbed wire was just one of the combinations at Bodybound’s SS18 show that subtly exposed the political turmoil of the ‘70s. “WE SHALL NOT WILT” is appliquéd across over-dyed denim jackets, a quote by Abbie Hoffman who in 1968 formed a political part in the US protesting against the Vietnam War. Nirvana’s ‘Smells Like Teen Spirit’ echoed down the catwalk contrasting with the slick silhouettes of the collection. And while the ‘70s are the main influencer, the duo Champion and Pliny acknowledge the turbulence surrounding modern day politics, economics and gender issues with Peace symbols and true adorned “flower power”. Dusty blues were the powering force behind the colour palette, with accents of whites, greys and blacks; a nod to the modern masculine man, amongst feminine detailing. Well-tailored, minimalism, utilitarian and clean lines all describe the aesthetic; a wildflower Jacquard printed trouser suit with matching boots blurred the seams between masculinity and femininity. Jumping on the embroidered patches bandwagon, Bodybound instead stitches embellished flowers to punk up their garments, manipulating flora and fauna into symbols of rebellion.


Words: Emily Simpson 


The political climate, which as of late has been turbulent world-over to say the least, expectedly reigns through at Vivienne Westwood’s SS18 show. Circus-like folk music bounced through the basketball court at Seymour Leisure Centre, London, as messages about environmentalism and strategies to save the world danced across the model’s bodies. Westwood implies money makes the world go down as multiple hand-drawn ‘o’s’ represent the zeroes of billions in which our society revolves around. Contemporary dancers and ballerinas donning apron-like dresses, t-shirts and skirts protest with slogans in bold blacks on clean whites. Skirt-suits, v-neck jumpsuits and especially the spades playing card suit, feature prominently; the latter being a victim of Westwood’s decon-recon, as the ace of spades here signifies our reaping of the earth. Playful clown-faced acrobats, flattened water bottles as foot-wear, fish-net stockings full of litter and redesigned suits (the deck of cards-kind as well as sartorial), made light of the collection to those unknowing. Those clued in however, discern that the designer is still firmly holding a middle finger up to the conglomerates of the world.

Words: Emily Simpson