Through Nicholas Daley’s distinctive lens, a print is never just a print. (Even if that eye-catching plaid or block pattern does serve its purpose as a print, drawing attention to a pair of trousers or a jacket.) Instead, for Daley, a print is a window into the world—or, more accurately, worlds—he’s exploring each season; a peeling back of the layers of identity and cultural heritage that feed into his fashion kaleidoscope.
While researching for his fall 2024 collection, titled “Anansi Rhythm,” Daley’s eye turned to the poet Louise Bennett-Coverley, better known as Miss Lou, who was known for writing in the Jamaican dialect—and also known for her signature Jamaican bandana dresses, made from a checked Madras cloth. (As Daley explained, the fabric—which derives from modern Chennai—was originally used to clothe enslaved people across the Caribbean, before being reclaimed as a symbol of sartorial pride in Jamaica and a handful of other islands.)
In Daley’s alchemical hands, the check was presented in a more traditional form across flannel shirts, then artfully fused with Daley’s signature tartans—deriving from the Scottish side of his family—to unfurl in rich scarlet and caramel across brushed mohair ponchos and oversized cargo pants. (Equally charming were the bomber jackets and kilts in the same pattern, decorated with swishy lengths of colorful fringe.) So too was there a sportier undercurrent tothe collection, whether in the navy cotton pique tracksuits that featured contrasting stripes and piping in burgundy and orange, or the baseball caps and hoodies decorated with the “Reggae Klub” motif that honors his parents’ club night in 1970s Dundee.
This smartly pared-back offering also showcased another, less remarked upon, side of Daley’s brand: his ability to translate those silhouettes into something that feels palpably luxurious, be it the ’70s-style paneled denim jackets that also came cut from jewel-toned leather, or the gorgeous jacquards whose patterns were inspired by Malian mudcloth. The final ingredient? Daley’s sense of community: here reflected in the look book images through the carpet beneath the models’ feet, which was crafted by his mother’s knitting club using upcycled fabric scraps from previous collections. They’ll be making an appearance at a 24-hour takeover Daley is planning at the Victoria & Albert Museum at the end of February. At Daley’s table, everyone’s invited.