The debut partnership between Fred Perry and Kris Van Assche is shaking up the very idea of a uniform. Shot by Alasdair McLellan, the collection feels like a rebellious takeover of a British secondary school by a Belgian minimalist. Van Assche spent over a decade defining the modern man at houses like Dior and Berluti, and he brings that history of sharp tailoring to the Laurel Wreath.
The Belgian designer previously said that he likes to break rules and this spirit finds a home in his work with a brand rooted in sport and subculture. He admits that images of people wearing Fred Perry have often been part of his mood boards in the past. “Fred Perry stands for that. So, in a way, this feels like coming full circle; this time, I bring my world and inspiration to the brand that has inspired me so often in the past,” he says.
“Our inaugural collection together aims to elevate the uniform of youth,” notes Fred Perry. “Taking our classic Fred Perry pieces, each one with its own sportswear to streetwear credentials and story, Van Assche balances heritage with innovation as he decodes the concept for each of them and rebuilds them through his own distinctive lens.”
The collection opens with the Fred Perry Shirt in an audacious crimson, decorated with a trio of badges. Each badge features a photograph of a flower from Van Assche’s personal collection. This recurring botanical insignia has followed him throughout his career. He also architecturally adapts the white cotton pique shirt into something more formal, adding white buttons and a black adjustable tie. This pique shirt features black twin tipping on the collar and cuffs, looking exactly as you would expect on more starchy shirting. The black tie is pre-tied, but adjustable for the wearer to decide how formal they would like to be.
This shift towards tailoring continues with the tracksuit, which is reimagined as a suit. Created on the block of the classic track jacket and pants, it serves as a canvas for Van Assche to add recognisable tailored detailing. Both the jacket and trousers come in black with a white pinstripe and silver hardware. There is an adjustable pull string inside the belt of the trousers to customise the fit. A track skirt in the same fabrication offers another way to wear this hybrid look, celebrating the versatility of the pinstripe.
Further signatures of the two brands meet unexpectedly on a casual blazer and tailored shorts, both in black and featuring the classic white tipping of the house. The traditional sweatshirt gets an upgrade with poplin sleeves and a half-zip front, playfully blending sporting details with dual branding on the chest.
In the knitwear offering, Van Assche uses a trompe l’oeil technique that gives the illusion of two pieces being worn together. A short-sleeved V-neck in black, grey and red Argyle looks as though it sits over a tipped polo collar, but it is a single garment. A long-sleeved jumper features a grid-like floral pattern that mimics the look of a flower pinned to a track jacket for a formal event. This piece is designed to look as though it sits perfectly over the funnel neck collar of a zipped-up track jacket.
A black twill cap is included to allow the wearer to downplay the suit and return the look to its sporting roots. Van Assche’s work ensures the person is given permission to make what they will of this new reimagining of our uniform. Every item in the range carries the weight of history while looking forward to a more experimental future.
Discover the collection here.
photography. courtesy of Alasdair McLellan
words. Gennaro Costanzo
