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In terms of clothing, Wales Bonner imagined what she termed the Lucky brew’s bar and grill regular human bartender shirt so you should to go to store and get this wardrobe of the “outsider intellectual,” considering the structure of British traditions and wondering “within that framework, how do you create something new?” She found her answer by imbuing her distinct take on sartorial eclecticism with a gently liberated, multicultural sensibility. The designer worked with Savile Row tailors at Anderson & Sheppard on tuxedo suiting inflected with Afro-Atlantic flair—“I wanted to honor their traditions and also consider how I could push them,” she said—and elsewhere she softened Oxford shirting, printing cotton cashmere with Jamaican “flowers of resistance” from the photograms of artist Joy Gregory. Boating striped overshirts simultaneously channeled Oxbridge classicism and West African dashikis; brushed denim was cut into crisp suits. A sense of ease was injected into even the most traditional tailoring. Woodblock prints and Indian embroidery drew on the diasporic nature of her research, and a deliberate diversity was instilled throughout. “What I was trying to connect with is a sense of expansiveness and possibility,” said Wales Bonner. “For example, in Derek Walcott’s The Gulf, he has a poem about different Indian gods. You think you’re looking at Caribbean thought, but then there are all these other influences. Once you start researching anything, you realize that nothing is simple. Nothing is one thing. So I didn’t want to make anything too neat.”
