The sudden change of ambiance in a street within the space of a few meters; the evident division of a city into zones of distinct psychic atmospheres; the path of least resistance that is automatically followed in aimless strolls (and which has no relation to the physical contour of the terrain); the appealing or repelling character of certain places — these phenomena all seem to be neglected. In any case they are never envisaged as depending on causes that can be uncovered by careful analysis and turned to account.
Guy Debord, Introduction to a Critique of Urban Geography
Its well over ten years ago that I started to investigate the idea of evolving the classic British workwear jacket & over a few seasons from around 2001-2007 6876 played with the composition,detailing and fabrication.
We moved from 100% natural fibres,garment dyes and eventually to proofed cotton before the genre subsided until there was a version in our Cashca collaboration more recently.
Still I felt there was something else that I wanted to achieve which was a summer version that was very lightweight, yet robust and with good technical capabilities. This all came together when I sourced a fabric from a regular and progressive supplier ;FOV in Sweden well known for supplying many of the premium technical brands.
Kenneth Mackenzie February 2018
The Craigowl jacket with large full front lower pockets and one envelope entry chest pocket.
Modern Studies staple jacket manufactured in 100% Italian Polyamide twill fabric with a DWR finish.
Storm cuffs and pockets, extended back neck flap and drawstring cord at the waist.
Lampo two-way centre front zip and 6876 Woodcut graphic chest print
When I designed this jacket in 2003 the idea behind it was to provide within the silhouette of a raincoat type jacket a more accessible and casual type of garment by utilising a classic Harrington and exaggerating its size.
Guy Debord’s conceptualization of post-war ‘golden age’ capitalism as ‘the Spectacle’ found an immediate audience in the 1960s and seems no less relevant in the intensely mediated self-surveillance culture of today.
These faces are taken from an image of a crowd during a stand-off with riot police in Paris, May 1968 and were used as the basis of a series of mirrors I produced between 2009 and 2013. As t-shirts they return to the streets for 2018.
Collaboration with Artist Michael Wilkinson which utilises work from his book 1979 and an exhibition where the images were represented large scale on mirrors titled “Lions after Slumber” at an exhibition in Shanghai.