Tim Walker captures Charles Jeffrey at a career turning point. ↪️ Read the full story:
’s career over the last few years, his autumn/winter 19 show at London Fashion Week Men’s had the distinct feel of a line drawn underneath it. One door closing. Another knocked off its hinges entirely. Titled Darling Little Sillies — a pull from J.M. Barrie’s Peter Pan — it saw the Scottish designer deliver on his Bright Young Thing tag to create the biggest and best LOVERBOY show to date: a superlative display of friendship, love and beauty.
“We just wanted to communicate a world,” he says. “I think that’s why I was so inspired by Peter Pan books, that idea of Neverland and the Lost Boys. We wanted to inject that timelessness into the space. I wanted it to feel like a bubble where time had stopped.” This was Charles at his most joyously personal.
He breathes out and adds a self-deprecating “deep”, but the choice of words and the message of the show do add up to a very real sense of maturity. At 28 years old, with a successful business under his belt, Charles is no longer the club kid upstart, painting his head blue and letting loose at Dalston’s cult nightspot Vogue Fabrics .
And isn’t that what LOVERBOY is all about? “It’s never just been about clothes. It’s about people. It’s about a space which people, anyone, can come and step in.” And the kind of ad hocism with which he now approaches it hints at a designer finally realising his world, in the most complete sense. The Boy Who Wouldn’t Grow Up has grown up.
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