Universal Works collection presentation | LCM A/W 2015

Collaborating with Billy Craigan-Toon, Universal Works opted out of your conventional catwalk, instead providing the audience with a meticulously timed performance. With a clockwork soundtrack in the dimly lit St George’s Bloomsbury church, we were offered a choreographed display of the sleek functionality of their Autumn/Winter 2015 collection.

The “everyday man” models entered the space, forming in a circle under an up-lit and striking chandelier. They proceeded to pass their outerwear in a clockwise fashion, woven into a composition that demonstrated the comfort and ease of Universal Works’ new line. Exhibiting the versatility of their coats (even the orange one), each complimented the outfit of the models as they distributed themselves around the circle. That is, the ones that I could see, as the hindrance of performing in a static round has restrictive consequences. Unless I (at my own risk) chose to wander and leap across the photographers surrounding, I was only able to view four of the 12 moving mannequins.

Priding themselves in their universal style, it is reasonable to say that the range would suit most. It isn’t however, challenging, for a range that seeks to accommodate the contemporary man – there is nothing avant garde about this season’s contribution. The garments are well cut, with attention focused on the wearer’s experience – but it is the aesthetical design of the production performed that made this show worth attending. When the first model dropped his coat mind, I winced at the thought this was done in error (especially seeing as he was shaking like a leaf being shocked). All part of the choreography, and after the last, (orange), coat was dropped we saw the line in its full glory as they exited the space.

Universal Works display their full collection online, complete with accessories and detailing that compliments their new line. The performance was impressive, and the audience attentive – but possibly it could have been more about the clothes than the choreography. I’m pleased that they could move their arms up and down, but some of those jackets would have looked great with a belt.

 Hanah Draper
Photos: Krisztian Pinter