In the new dunhill A/W 22 campaign, subject and setting mine fashion from culture and context. What results is ‘Uniform,’ creative director Mark Weston’s latest film to define Britishness that personalises genuinely masculine archetypes.
Collisions resulting from ‘Uniform’ tensions—sitting portraits, rigorous tailoring and the irreverent casualness of youth—help Weston disrupt the classical notion of dunhill as a strictly refined British tailoring operation. A traditional sense of awkwardness is folded into wardrobe staples Weston has been updating since his S/S 20 catwalk show.
Models in ‘Uniform’ move inside dunhill’s regimented wrapped blazers and sturdy double-faced car coats with a rakish ease that never seems sloppy. That is the secret behind Mark Weston’s tailoring, which borrows from codified menswear staples to dig into an attitude of extreme British counter cultural values. ‘There is always a simultaneous sense of British subversion within what we do and in the person who might wear dunhill,’ he says. ‘I wanted to represent that here.’
And so it goes with ‘Uniform.’ Weston continues to tweak Compendium, a bifurcated, zipper-split parka shifting from nylon last fall to an army olive silk moire version. A structured down jacket gets the Prince of Wales treatment to reaffirm that whole haute British discipline notion. Through dunhill A/W 22, Weston succeeds again by turning dynamics of masculine rebellion and occasion on their heads.
‘Uniform’ was shot in Belgravia by photographer Scott Gallagher. Its interiors and ambient techno soundtrack have a concrete sense of memory to them. Their combination suggests comfortable rooms to shoot a confidently styled editorial or your teenaged, possibly young adult self, yearning to squirm out of a monthly visit to semi-stuffy, judgemental relatives.
Dunhill A/W 22 is now available in stores and online