Dunhill unveils AW20 Campaign

THE Blitz nightclub in London’s Covent Garden in the late seventies was the birthplace of what became known as the New Romantic movement. It was a place where people went on a Tuesday night, and your class, occupation and background was left at the door, and freedom between four walls was celebrated – soundtracked by Kraftwerk, Bowie, Roxy Music and launching the careers of bands like Ultravox, Visage and Spandau Ballet. Just like this club, Creative Director Mark Weston sees Dunhill and the Dunhill man with the same three values.

The New Wave, Dunhill’s AW20 campaign

The New Wave, Dunhill’s AW20 campaign

“I am fascinated with The Blitz club” says Weston, “particularly Homer Sykes‘ pictures of it”. The British photographer mentioned captured the candid moments of the Blitz Kids, as they are now known, in their heyday in this safe haven in the capital. “It was a place of freedom and individuality, a mix of cultures: performers, the establishment and art. We don’t see to have that now, that collision. And the collision is important”.

The New Wave, Dunhill’s AW20 campaign

Titled The New Wave, Dunhill’s AW20 campaign invites us backstage of their show in Paris illustrating Weston’s exploration of the house’s new and old codes alongside its fashion evolution. The campaign stars models Aleksander, Lawrence, Daan and Paavo who collectively as well as individually present an authentic image of the modern Dunhill man.

New Nods to the New Romantic style subculture is evident in the pegged trousers, Axis runner and the Lock Bag, whilst precise tailoring in both cloth and leather maintain the British menswear brand’s heritage in building the uniform of a gentleman.

The New Wave, Dunhill’s AW20 campaign

Dunhill AW20

“The man in this collection is a cross between the preppy and the new wave, the establishment and the anti-establishment – it is not about making purely singular characters. Instead, it is about taking all those elements and putting them together, reconstructing and recontextualising.” 

by Imogen Clark 

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