Barbour’s heritage jackets get a floral makeover courtesy of Erdem

A nation’s cultural production — including clothing and fashion — is partly determined by its landscape and climate. It is not a coincidence that, since the late 19th century, Britain has enjoyed international acclaim for its utilitarian country clothing and rainwear.

Often described as ‘classics,’ these garments have become inextricably entwined with British fashion identity. And, some brands, including Barbour (established in 1894), world famous for their protective wax outerwear, have become part of London Fashion Week and formed designer collaborations.

This season, Barbour has collaborated with London based fashion designer Erdem Moralioglu, Creative Director of Erdem (established in 2005, in London), revered for his edgy, feminine, silhouettes and use of exquisite flower printed textiles year-round.

It is not the first time they have worked together. For Spring/Summer 2024 Erdem chose Deborah Cavendish, Duchess of Devonshire (the youngest Mitford sister, 1920-2014) as his muse. He designed two gorgeous trapeze style, patchworked, waxed coats with quilted linings made using offcuts of chintz fabrics from Chatsworth House. Each extensively hand-worked coat cost £3,495.

This collaboration comprises a more stylistically restrained, functional and affordable range (priced £499 to £679) offered in four core styles, each with a floriate name.

The Beauflower represents Barbour’s top-selling Beaufort jacket using patchwork pieces embellished with Erdem’s signature inky rose-bloom overprint.

The Dhalia plays with proportion and features a gathered peplum and a detachable tartan hood with an etched flower overprint (the latter can be purchased separately).

Clover is a stylish short reversible cape, with one side in waxed cotton and the other in Barbour tartan with a placed green rose overprint.

The Constance employs an Erdem silhouette with an extreme cinched in waist. Although it has not been explained, yet, this style is presumably a homage to the radical flower decorator Constance Spry (lover of the non-binary artist Gluck, 1886-1960) who introduced wild flowers and vegetables into formal floral displays. The range is offered in olive and sand colourways that — like many country tweeds — camouflage with the rural environment.

In some ways we might liken this collaboration to Spry’s creativity, combining the classic with the edgy. However, it is ultimately the clever styling of the promotional images, which incorporate romantic skirts from Erdem’s mainline collection, that generate the fashion vibe.

If we look to the thrilling outcomes of Moncler’s designer collaborations, we might argue that this collection could be more edgy. But, presumably that was not Erdem’s brief.