From food to fashion the five key trends you need to know in 2023
The creative director who set British fashion‘s big bang
By Lisa Armstrong, a fashion major
Burberry’s first collection under new creative director Daniel Lee in February could be British fashion’s big bang. It certainly could use one.
Burberry is the largest luxury fashion house in the country; Some would say it is the only true luxury fashion brand. Others would call it a hairy label that has failed to hit its mark since the 2018 departure of Christopher Bailey, a likable, romantic, very smart Yorkshireman.
Somehow, for all his avowed Anglophilia, the talented Italian Riccardo Tisci, whom Lee replaced, never quite caught on with Burberry’s Britishness. On the plus side, she’s upped its bags, offering a chic offering rather than the Burberry-check duty-free beast. But the clothes were too street and Kardashian had ambitions for a label previously loved for its Sienna Miller-meets-Kate-Moss-meets-the-Crown aesthetic.
Market performance has been uncertain. A question mark hangs over its royal warrant after the death of Elizabeth II. To say that most fashion critics haven’t loved its recent shows is an understatement. More pressingly, all the old doubts about Britain being unable to sustain a homegrown luxury fashion label have resurfaced, seriously wounding the traditional dynamism and confidence of British fashion.
Into the fray comes 36-year-old Lee, another Yorkshireman, who took the Italian luxury house Bottega Veneta from stagnant to hot within 12 months of his arrival in 2018. Oversized ruffled clutches, exuberant quilting, and trademark emerald green, all still copy Lee that’s driving sales across the high-street chain, proof of his eye for interesting statements.
But there are expectations as well as concerns about what Lee will do to Britain’s spotty record for making high-end bags – in fact, make that tempting speculation – about what exactly lies behind his surprise departure from Bottega last December after just over three years as creative director. Rumors abound of wild after-show parties and an unhappy atmosphere at Lee’s design studio. But one industry insider commented to me: Does the rumor mill really imagine that Burberry didn’t vet him – repeatedly – before signing him up?
The stakes are astronomical, not just for Lee’s last-chance-saloon fame or Burberry’s shareholders and 9,000 employees, but for London Fashion Week, still gasping for pre-pandemic levels of oxygen (unlike Paris and Milan). Burberry has always had its jewels: shows that attracted A-listers and high-spending retailers.
And somewhere there’s a label that sold an aspirational vision of Britain to the world, now desperately seeking an Identity 2.0. If that’s possible, Britain might consider building more Burberry. No pressure, Daniel.
A lack of big ambitions may be British fashion’s Achilles heel, but small ethical labels committed to doing things right abound. I do not want to say that many fashion names shamelessly hang out in their line of endless greenwashing. But there are countless smaller names, from Heard, & Daughter and Navy Gray (all sustainable knitwear made in or near the UK) to 886 by The Royal Mint, which pays tribute to the NHS by using recycled silver obtained from old X-ray film. New collection.
Then there’s Metier London, a maker of luxury luggage of the same quality as Hermès, which now has a bag made from apple leather and natural linen. Mini Roma is a real object of desire. Or jeweler Pippa Small, who against all odds has reopened her workshop in Kabul and, under Taliban scrutiny, is once again offering skilled work to women.
There may be small green shoots, but expect to see them grow larger; Especially once Amy Powney, creative director of Mother of Pearl, a cool London label with relentlessly researched sustainable practices, hits the big screen in spring. Fashion Reimagined, in theaters in March, is an exciting, beautifully shot account of Powney’s struggle to create a new template for fashion and her struggle to get the rest of the industry on board. Prepare to be angry and inspired in equal measure.
The chef is changing the taste of Britain’s food scene
By Tomé Morrissey-Swan, Assistant Food Editor
The past year has been a rocky one for restaurants, with the lifestyle crisis adding to an already painful period. Tough times for Britain’s chefs continue into 2023, but in a particularly tough climate, restaurants with an interesting stories stand out from the crowd. That’s why 28-year-old Tarell McIntosh, aka Chef T, owner of Paradise Cove in south London and with a cookbook on the way, is one to watch in 2023.
Rarely does a restaurant reflect its owner as powerfully as Paradise Cove? It’s a homely affair with a DIY feel, which makes sense because Macintosh did most of the work himself. On the wall are shirts from the local football team he sponsors and his framed degrees he has four. The restaurant, which serves Caribbean classics with a twist, has much to offer.
Mackintosh grew up in south London, spending most of his childhood in care – his mother died when he was eight and his father was in prison. But at 17 Mackintosh started working in a cafe in Balham and caught the hospitality bug. Over the next few years, he worked at Caribbean restaurant Negril in Brixton, American barbecue joint Bowden’s in Clapham, and the Michelin-starred Wild Honey in St James.
‘It gave me a lot of stability,’ McIntosh tells me. ‘I guess in my adult life, there was always an element of wanting to recreate it for nostalgic reasons.’ He quickly learned on the job, everything from cooking to reservations, and opened a takeaway Caribbean business at age 20. from his house.
Although that business didn’t last, the seed was planted. After working as a teacher with spells in Dubai, Mackintosh was walking during the first lockdown when he saw an empty premise. He got the keys the same day, painted the storefront himself, bought second-hand kitchen equipment, and opened in less than a month.
With a Caribbean twist at Nando’s (quarter jerk chicken, two sides) and several comfort foods including curry goat and slow-cooked oxtail, Paradise Cove has become a favorite community spot, with locals fundraising after it broke ground earlier this year. Mcintosh, inspired by his upbringing, tried to hire care leavers and in early 2022 a national newspaper review found the restaurant packed for weeks, eventually leading to a book deal.
Chef T’s Caribbean Kitchen, out in April, will be one of the highlights of the 2023 cookbook. Drawing inspiration from Mackintosh’s dual Jamaican and Saint Lucian heritage, as well as from across the Caribbean and from Britain, it combines recipes with memoirs. I didn’t realize what my favorite food was until I wrote the book. It’s dumplings because one of my earliest memories is eating them with my mom, McIntosh says.
McIntosh sees himself as part of a group of chefs and food writers who are introducing Caribbean cuisine to a wider public. Over the past year, we’ve seen standout cookbooks like Melissa Thompson’s Motherland and Riaz Phillips’ West Wind, while Caribbean-inspired restaurants like London’s Juicy Jerk and online recipe platform Original Flava are finally getting the recognition they deserve. And it’s only set to grow in 2023, so keep an eye out for Mcintosh’s name – and that of other Caribbean chefs – in the year ahead.
Amazing ingredients that you put on your skin
Written by Sonia Haria, Beauty Director
Niacinamide. Chances are, you haven’t heard of it. Why would you? This is an extraordinary name for the remarkably obscure vitamin B3. But get ready to hear more about skincare wonder ingredients in 2023. In most cases, it can affect midlife skin, from reducing pore size to improving pigmentation and congestion. Even better, unlike many active skincare ingredients, it’s great for the sensitive skin among us.
Niacinamide is the ultimate skin balancer, Dr. Sam Bunting, consultant dermatologist, told me. He first noticed the benefits of the water-soluble material during the pandemic, where it helped reduce skin irritation caused by masks. ‘It’s the perfect ingredient for mature skin, as it’s anti-inflammatory and boosts the way your skin’s barrier works,’ she explains. Dr. Bunting often pairs it with the anti-aging ingredient retinol, as niacinamide can dramatically reduce the irritation that often results from its use. In fact, her own Flawless Nightly Serum contains niacinamide and retinol in a pound 44 cream.
Although niacinamide is a relatively new ingredient used in creams and serums, the focus on single-ingredient skin care is not particularly new. The past five years have seen the rise of more science-led, affordable skincare brands that put transparency around their INCI (ingredient) listings.
Niacinamide does not have to be expensive. Newly launched in the UK at Space NK, cult brand Naturium has clever formulations at affordable prices (the brand had a 5,000-person waiting list before launching in the autumn). Its Niacinamide Serum 12% is a game-changer for uneven-looking skin and, at £18, an affordable addition to your bathroom cabinet.
Elsewhere, one of the best brands for midlife skin in my opinion is Allies of Skin – and niacinamide is one of the key ingredients in its new serum. (The brand’s founder, Nicholas Travis, describes niacinamide as a ‘fatal workhorse.’) Its Tranexamic and Arbutin Advanced Brightening Serum rivals the effectiveness of prescription formulations for age spots and severe pigmentation.
In addition to serums, niacinamide is now being formulated into cleansers, masks, and even make-up. The best-selling foundation at Sephora, Elia’s new Super Serum Skin Tint SPF30 contains niacinamide in its formula to provide short-term effects along with long-term skin-enhancing benefits. If you’re not particularly fussy about foundation or concealer and would rather use a natural-looking tinted moisturizer every day, this product ticks all the boxes.
Ten years ago, we knew very little about what was in the cream or ‘complex’ we were slapping on our skin. We also have to choose between a cheap high street moisturizer or an ‘it’ cream with an expensive price tag. Now we can tackle exactly what our skin concerns are. And if that means uneven skin tone, age spots, and pigmentation for you, then you need no-nonsense niacinamide.
Often, a trend from a single show will spark a wave full of similar styles. In this case, the trend is sheer and the trendsetter is Fendi’s Fall/Winter 2022 collection. The Fendi collection debuted in February but its impact was fully felt in New York City last week. Showing undergarments through your frock is no longer taboo—in fact, it’s preferred. Nearly every major collection on the NYFW runways included a complete must-see outfit. Tory Burch delivered a masterclass in realistically wearable sheer with strategic layering while designers like Kim Shui took the opportunity to open everything up.
While many sheer pieces would be perfect for a street style statement or a night out in a darkly lit room, Jason Wu gave us multiple examples of sheer design in formal wear. The designer sent a powerful variety of gowns down the runway in florals, sparkles, lace, and jewel tones (to name a few). In a backstage interview with Jason Wu minutes before his show, he said, “Of course, there will always be dreamy gowns, but you’ll see a sexy side of Jason Wu that you might not be so familiar with – but get used to it.”
Visionary gives art lovers a whole new perspective
Ben Lawrence, Daily Arts Editor
In January, London is about to get a much-needed boost to its art scene. The Lightroom is a four-story building in King’s Cross and is home to artist-led shows. However, this is not a gallery. Rather, it is a space that will invite the viewer to engage with great art in new ways, using the latest digital production and audio technology.
If that sounds highfalutin, it’s not. The first Lightroom show, titled David Hockney: Bigger and Closer (Smaller and Not Farther), is the brainchild of CEO Richard Slaney, formerly of 59 Productions, a company that creates extraordinary spectacles that are gorgeous, thoughtful, inspiring, and never-difficult. It has designed imaging and production for hundreds of shows, events, and venues, notably War Horse, the 2012 Olympics, and Hampton Court, where a digital tapestry covers photographs, paintings, and drawings from the archive to tell its 500-year story.
Slaney, 41, was born in Watford and graduated from King’s College London with a music degree. Indeed, he has combined this first love with a prodigious visual imagination, revealed in works such as Cello (2016) for the BBC Proms – a projection mapping film in which Sol Gabetta performs Elgar’s Cello Concerto. Other works include Array (2018), which transformed the Beech Street Tunnel in the City of London into a giant digital artwork. Some might call this kind of artwork a joke, but Slaney’s approach has an intellectual coherence and an emotional pull.
Mark Grimmer, the co-founder of 59 Productions, who is also involved with the Lightroom project, identifies what makes Slaney special. ‘Richard not only has big, ambitious, creative ideas [like opening a venue like Lightroom], but he also has a producer’s brain, meaning he thinks about making dream projects a reality.’
Undoubtedly organizational skills, required to move a project from the drawing board stage, sometimes seem to be in short supply in the industry. The ill-fated Unboxed project (formerly called Festival of Brexit) is a good example of something that sounded amazing but had no one to pull it together. Time and time again, Slaney has delivered, and it looks like he will do the same on the Hockney show.
The fact is that such spectacles have a dubious place in the artistic ecosystem. The dross (shudder at that dreaded word ‘immersive’) experience, like the Meet Vincent van Gogh experience, has been a triumph of marketing over content, ammunition for critics who think no one can replicate the sheer joy of looking at a painting.
Yet the rigor of Slaney’s earlier work is such that it all bodes well for a Hockney show. Hockney will have a commentary as he reveals his artistic process to our headsets. Visually, we’ll see him experiment with perspective, and capture time passing with Polaroid collages.
Lightroom isn’t the only big cultural launch next year. Manchester’s Factory, a massive venue that will host the city’s international festivals, as well as year-round exhibitions and concerts, will open after a Covid delay. It feels a bit too risky to me – a huge space, without any (currently) strong USP.
Lightroom, however, through the Hockney Project, has immediately given art lovers something to look forward to in 2023 – a bold, creative move and a boost for our capital city, which is still reeling from both the pandemic and the Arts Council’s prevention efforts. It is from a world-class cultural destination.
Bold new design trends that are back from the dead
By Jessica Doyle, Design and Interiors Editor
There was a time when the trend was about the new. But when it comes to interiors, over the next few months, some of the most exciting new wallpaper and fabric launches will involve centuries-old patterns drawn from textile archives and the walls of historic homes. 2023 looks to be the year of the comeback, with some of the most recognizable designs making a grand return.
Behind some of these collections is the feeling that after the turbulent events of the last few years, what we’re longing for in our homes is something fresh and never seen before, rather something that feels vaguely familiar and recognizable.
This has partly inspired a new collection from wallpaper company 1838, which will be available next month, featuring nine patterns in different colors, all drawn from the V&A’s vast archive. Some are taken from watercolors, others from decorative fabrics; One, which features something like a certain Gucci heron-print wallpaper seen in the homes of many fashionistas, is actually derived from 19th-century Japanese kimonos.
‘There is a deep sense in uncertain times that we look to continuity and the comfort of familiarity for reassurance, which these designs evoke,’ says James Watson, managing director of 1838, which still makes wallpaper in its Lancashire factory using the original surface-printing machine. . ‘It was very inspiring to discover the wealth of patterns,’ he adds, ‘and what’s incredible is that these patterns feel as exciting and relevant today as they did 100 years ago.’
The key to reinventing old designs is, in some cases, to alter them slightly to make them appealing to the modern eye – in the case of the 1838 collection, some of the original patterns were scaled up or down, and most were re-colored. , and in one, called Macao, the eponymous parrot is given a friendly expression’.
Elsewhere, and in a similar fashion, textile brand Morris & Co, which recently worked with interior designer Ben Pentreth to re-colour some of its favorite motifs, has a new spring collection that includes six archive designs that haven’t appeared on the order book for decades. . Paint and wallpaper brand Little Green will also continue its collaboration with the National Trust next month with the launch of eight historic wallpaper designs, drawn from source material found at Trust houses Oxburgh Hall and Felbrigg Hall in Norfolk and Newark Park in Gloucestershire.
Given the enduring trend for nostalgic, beautiful floral prints mirrored by the trend for cottezco, it was probably only a matter of time before Laura Ashley staged a revival. Fans of the brand, which was acquired by a US investment firm two years ago, may be pleased to know that for its 70th anniversary next year, it will be reintroducing a number of archive prints, including those from the late 1980s and 1990s. Early popular designs such as As summer palaces and tulips. One hopes that the brand’s homeware can take a cue from its recent fashion collaboration with US brand Batsheva, which retains its original spirit.
At a time when one doesn’t want to redecorate regularly – for both durability and financial reasons – choosing a pattern that has stood the test of time and looks as fresh now as it did decades or even centuries ago is in many ways a smart choice. One. To think ahead in terms of decorating next year, it seems you need to take a look at the past.
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