1000 Ideas by 100 Fashion Designers

Bruce Montgomery 53

012

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As menswear design

director, Bruce

Montgomery has been

for 12 years the man

behind DAKS’s style,

one of Britain’s major

fashion companies. Born

and bred in Scotland,

he obtained a BA

(Hons) degree in fashion

from the University of

Northumbria. After

a successful start as

a designer for Nigel

Cabourn, he went on

to work for Katherine

Hamnett in London,

Luciano Soprani,

Moschino, and House

of Kashiyama in

Milan. On his return

to London in 1993, he

worked as menswear

designer for Jeff Banks,

before joining DAKS

in 1996. Aside from

his work, Bruce has

been appointed as

vice chairman of the

British Menswear Guild

committee, chairman

of a mentoring panel

for Graduate Fashion

Week, and is also an

external examiner

for the BA (Hons)

Menswear option for

the prestigious Central

Saint Martins College.

Bruce Montgomery

www.daks.com

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111 INSPIRATION. The theme tends to be

British, and helps to focus the collection.

112 DEVELOPING A COLLECTION. I

translate the concept of the collection to

each item through color, styling details,

and fabrication.

113 T

AILORING. A balance of tradition

and experimentation provides a classical

reference and direction. Key items help

buyers to focus the range within stores

without losing the image.

114 B

RAND VA L U E S . The collections

represent a British style, that can be

adapted by an individual.

115

M

ATERIALS. The fabrics are choosen both for

visual appeal and function. They are bought

from British and European fabric mills. I would

stay clear of cheap polyesters.

54 1,000 Ideas by 100 Fashion Designers

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Bruce Montgomery 55

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116 COMMUNICATION. DAKS is British

luxury menswear that is essentially

timeless and high quality, but has a

contemporary feel.

117 E

VOLUTION. A designer is always

looking to improve and evolve.

118 SREET FASHION VS. FASHION

DESIGNER. I can not say that fashion comes

from the street or from a designer proposal:

it comes from all aspects of life.

119 G

OOD HABITS. Collect, absorb,

reject, and use.

120 SALES. It’s necessary to think of

the consumer wearing the garment when

designing.

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125

M

ATERIALS. I like a smooth  nish to a fabric,

one with a high crease tolerance–a weight that

is not too heavy with some pattern. I hate

linen! It creases far too much.

121 INSPIRATION. I tend to develop

my style from one collection to another,

but the themes that inspire me change

season to season. They depend on my

surroundings and the in uences taking

place in my life at the time.

122 D

EVELOPING A COLLECTION. It

could be translated through colors, trims,

cut, and fabrics. But it should never be

“heavily” translated; the concept must

always remain as just that–a foundation.

123 T

RADITIONAL MANUFACTURING

VS. EXPERIMENTATION. Tradition and

experimentation are in some ways linked.

My favorite item is the jacket. The

proportion is roughly the same but they

are constantly under development and

therefore different each time.

124 I

NDIVIDUALITY VS. GROUP BELONGING.

The collection has to invoke individuality,

it’s more interesting.

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Bryce d’Anicé Aime 57

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126 BRAND VA L U E S . Quality and  t. The

foundation is a strong, modern, and sexy

woman. The most challenging thing is to

be constant.

127 C

OMMUNICATION. Communication is

key to success. My team and I make sure

we are always in tune with each area of

the business. Design, sales, and PR are all

linked and one cannot work without the

other.

128 S

TREET FASHION VS. FASHION

DESIGNER. I would say both.

129 A

DVICE. Central Saint Martins was

the best lesson in every sense. Go there!

Work, work, and more work.

130 S

ALES. What works for sales does

not always work for catwalk and press. I

have to maintain a balance between the

two while not creating pieces that dilute

my signature.

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