In a world where a digitally reproduced fireplace on loop ranked as the most viewed show on Netflix on Boxing Day in the UK and party guests regularly ask each other about AI, we’re at what feels like a fever pitch in culture’s obsession with simulation: whether that’s of cosy experiences or human creativity. John Alexander Skelton, however, delivers the deep satisfaction of having something all real with Collection XVIII. From the hand stitched and written poetic invitations, to real ivy and candles burning at the catwalk all these extensions of Skelton’s garments fed back to the quality of his craft.
Introducing Autumn/Winter 2025 with a campy poem delivery by someone wearing metallic nails and a shimmery rose printed woven suit, this collection had an instant obvious shift away from the heavier feeling past two collections we’ve seen from the brand that referenced gothic music and the right to access countryside. The live fiddle player at this show and many intricate woven headpieces models appeared in also lifted our spirits. Where the Wild Things Are-esque bunting crisscrossed the Church hall under which attendees sipped hot cider rather than mulled wine this Winter (distributed at his last in-person catwalk show). Interested this season in a romantic image of Victorian countryside life, Skelton sent a strong collection of long buttoned coats, and tailoring just the right side of disheveled down the runway that were more debonaire pirate back home than Lark Rise to Candleford.
Skelton’s statement in the press release situates his retelling of traditional inspired menswear as no right wing cottage core fantasy, penning about John Milton’s 1850 - 1914 collection of Victorian paintings Paradise Lost that inspired the show. “There is a sense of joy and celebration in the paintings of seemingly ordinary scenes of daily life be it in the village hall or the interior of a cottage that really resonated. The celebratory aspect of this is perhaps for me the most significant as I feel like it’s something that we as a society have lost or it has been corrupted by it’s commercialisation.” The frayed hem of an overshirt, windswept greying hair as well as open-stitch knitwear that revealed bare skin came together to reiterate this rebellious edge of Skelton’s work. Fashion, like art, is for sale, but if there was a utopian alternative structure in place we recon these designs would rock with it. 
Natural, earthy tones, like browns and oxblood are fashioned in wools, cottons and silks. This is absolutely no nylon-parade, care has been taken to produce locally with only natural materials. A cream flower embellished tie is a stand-out along with a striking tartan suit. The high-rise trousers feel feminine and practical, since they keep wearers warmer. Rather than replicating a costume of yore, Skelton brings together raw traditional materials in innovative designs, that breathe life into past ideas about durability and quality. Nature was celebrated once more by the weather-beaten models who spun energetically arm in arm in the jig-finale. There’s a confidence that Skelton, or at least the ideas this brand represents, is no passing fad.
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