Spotlight on Craig Green


Balancing light, shadow, and reflection the young designer creates conceptual and wearable fashion.

London-based menswear designer Craig Green has already placed a mark on the fashion industry with attention constantly focused on his next step. Earning both a BA and MA at the prestigious Central Saint Martins College of Arts and Design, he went on to win the L’Oreal Professional Creative Award, something well-deserved to suit his unique do-it-yourself craftsmanship and vision. His work revels between both conceptual and wearable designs, always shining a strong light on the masculinity in his work.

With recent designs showcasing jagged, carved masks and shirts embellished in glossy waxed cotton with hand-painted stripes, they are nothing short of revolutionary in menswear. Yet within his work lies a lot of depth, as he experiments with shadows and reflections to create meaning. Green is a designer who will most definitely be going from strength to strength in the industry over the coming year.

What initially inspired you to become involved in fashion, and why specifically menswear?

I always enjoyed making things and drawing. I came to CSM wanting to become a painter or sculptor but some how I accidentally ended up taking the fashion route. I think it just felt right and the right decision at time.

How has an education at Central Saint Martins helped to evolve and establish your designs?

It’s impossible for me to compare CSM with anywhere else. It is the only place I’ve studied, so it’s hard to judge. Being at CSM was a great and positive experience. I spent seven years of my life there, and it’s had a huge influence in all aspects of my life.

What is the inspiration behind your most recent AW13 collection?

My AW13 collection was a continuation with the ideas of light, dark shadows, and reflection that I have explored in the previous three collections. This time, we took it to its most literal interpretation, along with that sense of chaos, as well as the work wear and religious feelings that I always have in my collections.

The themes of light and dark that you reach through texture and using materials such as mohair and muslin cheesecloth is fascinating, particularly eminent in your SS13 collection. Could you go into more detail of how those themes correlate?

The collection was based around non-traditional British traditions looking at folk and pagan festivals. The clothing aimed to have this feeling of everything hand-treated and handmade. The knitwear was a cotton-knitted yarn mixed with mohair and rubber-dipped sleeves. There was muslin cheesecloth frayed, edged with bleached bandage stripes.

What things are you drawn to and how would you say these things inspire you?

I spend a lot of time looking at art, sculpture, and performance art and usually draw a lot of inspiration from these. I also love film, which has always had a huge influence on my work. Films I have used for past projects include The Wickerman and Village of the Damned. I think it’s always important to not look to fashion for inspiration. Otherwise, nothing would ever change.

In what way has winning prizes from L’Oreal to New Era influenced your work?

The prizes and competitions I’ve been fortunate enough to win have helped a lot financially in building my business. So I am very grateful for these opportunities. Also, working with established brands and companies teaches you a huge amount that you can apply to your own business.

Who would you say you respect in fashion and why?

There are certainly a lot of designers whose work and achievements I greatly respect. I have been fortunate to work for a few of my favorite designers whom I admire greatly, including Walter van Beirendonck and Henrik Vibskov. They are both designers who have been uncompromised in their vision and aesthetic.

What do you have planned for the future?

I hope that my label will grow and develop, and I aim to possibly move into women’s wear. I also hope that I will be given the opportunity to collaborate with more established brands, as I have done in the past.

Text by Katia Ganfield
Photography by Olivia Beasley