pringle of scotland autumn/winter 15
Paying tribute to Pringle's history as it celebrates its 200th anniversary.
Things that happened in 1815: Napoleon escaped Elba, ruled for a hundred days, and was then shipped off to Saint Helena. England limited its use of the pillory. Jane Austen wrote Emma. (Thanks, Wikipedia.) And in the Borders of Scotland, a gentleman by the name of Robert Pringle set up a hosiery company, which would eventually become one of the longest-reigning knitwear and fashion houses in the world. Two hundred years on, it's as famous as all the super stars of its generation, and has stayed relevant without gilded Parisian memorials, torture porn, or even being played by Gwyneth Paltrow in a Hollywood period romcom. Happy birthday, Pringle!
Alongside Douglas Fang, who owns Pringle, Massimo Nicosia is the man responsible for celebrating the label's 200th birthday, and execute the small task of reminding us all - in four or so collections this year - why Pringle is a force to be reckoned with. Sunday afternoon at the London collections, it was one down, three to go as he kicked off the birthday duties with a bang, sending out a collection that didn't just pay tribute to Pringle's many heritage trademarks - texture, tartan, argyle - but also managed to push the house's aesthetic forward within the frames that should always surround it.
If you were looking for fun-loving birthday vibes, you'd be sorely disappointed—and thank God for that. Nicosia's collection embraced a darker, more romantic side to Pringle than has been the case in recent seasons, which made for a new take on the classics while introducing the trademarks of tomorrow. "Ancient and progressive," Nicosia noted backstage, as he pointed to a richly coloured tapestry jumper on his look board. It was an opulent addition to the world of Pringle, which gave the collection a kind of Roman magnificence, which couldn't have been executed better had Robert Pringle done it himself. "This is a trip, basically," Nicosia noted, and he was right in so many ways.
Text Anders Christian Madsen
Photography Ash Kingston