A-COLD-WALL* took us to a for­mer print­ing press for SS20

Nodding to tribalism, the unpicking of social architecture and the use of holistic materials, Samuel Ross’ optimistic collection celebrates the human form.

WHAT WAS THE INVITE LIKE?

It arrived via email – the sus­tain­able approach. We’d expect noth­ing less from Samuel Ross.

WHERE WAS THE SHOW?

The show took place at Lon­don rave venue and for­mer print house (an ode to Samuel’s back­ground in graph­ic design) Print­works in Cana­da Water. While the fash­ion crowd lined the nar­row hall (for­mer­ly a ful­ly oper­a­tional print­ing press), Samuel Ross’ devot­ed fans lined the bal­cony above, the design­er hav­ing cho­sen to open the show up to the pub­lic this sea­son to ensure there’s a more pos­i­tive afflu­ence and altru­ism grow­ing with­in the brand”. 

Listen now: Samuel Ross on opening his show up to the public

WHAT ABOUT THE CLOTHES?

Samuel’s sig­na­ture method of decon­struc­tion per­me­at­ed the col­lec­tion, as did his abil­i­ty to work with a diver­si­ty of fab­rics to achieve his stripped back archi­tec­tur­al aes­thet­ic. The first ten looks, described by Samuel as the clay sec­tion’, took on soft­er shapes and forms that build off the body”. Think mem­o­ry foam and soft­er mat­ted mate­ri­als mapped to the body to cel­e­brate the human form (rather than to pro­tect or encase it, as seen in pre­vi­ous col­lec­tions.) There was a nod to trib­al­ism, a nod to the unpick­ing of social archi­tec­ture, and also a nod to mak­ing sure that there’s inclu­sion of these holis­tic mate­ri­als, which is par­al­leled by insti­tute being includ­ed and also pub­lic. It’s an ode to the past while encour­ag­ing the future,” explains Samuel.

WHAT DID THE DESIGN­ER SAY ABOUT THE SHOW?

Listen now: Samuel Ross on his SS20 A-COLD-WALL* collection

FUN FACT:

Samuel donat­ed the gen­er­ous sum of mon­ey that was giv­en to him and A-COLD-WALL* by NEW­GEN to anoth­er design­er, East­wood Dan­so. We donat­ed 100% of our bur­sary to him to sup­port the next gen­er­a­tion,” explains Samuel. I wish this could be a trend. If we grow, we should feed back into the indus­try. I want to see new tal­ent from oth­er aspects and dias­po­ras into our space to bring new ener­gy into the British fash­ion industry.”

WHAT ABOUT THE BEAUTY?

Many mod­els walked with machine-like met­al pieces attached to their faces. As Samuel explains, They’re clamped pieces of lead with adhe­sive under­neath. I want­ed to imbue the heav­i­ness and weight­i­ness of lead into gar­ment form. My dad was a CSM grad stained glass artist, one of the only black stained glass artists in the coun­try. I grew up with him mould­ing and work­ing with lead for a good 18 years of my life. I’m famil­iar with the prop­er­ties, hence why it need­ed to be includ­ed in the collection.”

WHAT DID IT SOUND LIKE?

Epic. Indus­tri­al. It was pro­duced by Kelvin Krash (who works with the likes of ASAP Rocky and ASAP Mob) and co-art direct­ed by Kelvin and Samuel him­self. Lis­ten below.

Listen now: The sound of A-COLD-WALL* SS20

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