step onto set
This one started with a feeling - somewhere between the golden age of cinema and the quiet chaos behind the camera. We didn’t want it too perfect; in fact, the whole point was to let the seams show a little bit.
We built it all in the studio: a set that didn’t try to hide what it was. Thirty-foot backdrops stretched across the space, intentionally staged, while the lighting was pushed into that hazy, almost-too-good golden hour glow- the kind you really only get in movies.
summer drop 1
Before anyone stepped in front of the lens, there was work to do. The car - a 1979 Mercedes 450SL - was delivered early and rolled into position, becoming the anchor for the entire set. Everything else formed around it. Props were scattered with purpose rather than precision; nothing overly styled, just enough to feel like something had already happened there.
When Isaac arrived, we started slowly - testing shots, adjusting light, and finding the right level of nostalgia without tipping into parody. It wasn’t about nailing a lookbook straight away, but about getting the tone right. When Elif joined, the two came together and the set started to feel alive.
From there, it stopped being a traditional shoot and turned into a scene.
Kieran, our Marketing Creative, stepped into the role of director, while the rest of us fell into places as runners, extras, and background characters. The shots weren’t always clean or perfectly composed, which was exactly the point. We leaned into the in-between moments, the movement, and the imperfections, creating the sense that something was unfolding rather than being staged.
The props grounded it all. Bread, cheese, fruit, coffee, wine, beer: simple details that made the space feel used rather than dressed. Alongside them sat the more obvious cues: the director’s chair, the script, the clapper. That balance between everyday life and staged cinema sat at the core of everything.
All day, 60s soul music played through the studio, setting the pace and giving everything a rhythm. What came out of it sits somewhere in between - not quite a film, not quite reality. A staged world that doesn’t pretend otherwise, and a campaign that feels more like a moment you’ve stepped into halfway through, rather than something perfectly set up for you.
The Range
The shoot was a meeting of two worlds - the studio and the open road - inspired by the 1950s, ‘/60s, and the golden era of film. This is echoed within the first instalment of our Summer 26 range.
It’s everything you already love about our iconic bowling shirts, but elevated. Heavier fabrics, high-quality chainstitch embroidery, and considered detailing bring a more refined feel to familiar silhouettes, without losing their ease.
Mid-century references sit at the core: nostalgic shapes, relaxed fits and workwear-inspired layers, re-worked for Summer. The Garage Jacket arrives in vintage red - a nod to the success of our Founders Artist Smock - carrying that same utilitarian energy.
In the women's range, the same design language was used and continues through with a more delicate hand. Vintage typography-inspired embroidery, lace-trimmed necklines, and classic silhouettes bring a softer expression of the same mid-century influence. Easy, wearable pieces with just enough detail to catch the eye.
Across both, it’s about balance - nostalgia and familiarity without repetition. Pieces designed to feel lived-in, shaped by reference but made for now.