“The idea was taking special fabrics to make the collection feel lighter than ever. Challenging myself and the team on what we can do,” added Weston, standing before a mood board including a 1998 Peter Lindbergh shoot from Uomo Vogue, seen back when Mark was working in New York.

“What I loved about that shoot was everything all shot in profile,” he smiled, the better to highlight super-light fabrics.

 

©DUNHILL, Photography by Jack Day

Like the blend of water-resistant wool and silk used in the new Umbrella coat or in several crisp and classy midnight-blue suits. While a first-rate blazer is composed of second-skin leather finished with a super fine membrane to stop ripping.  Totally clean inside, its sides are perforated, keeping the torso cool. And another super light leather layered car coat is perforated at the back, on the shoulders, and behind the sleeves.

 

Weston confesses to having a “love-hate relationship with seersucker,” but his solution to the conflict is ingenious.  Creating a natty white parka in military seersucker on a rip stock grid of nylon. The same material is seen in great utilitarian trousers paired with a black-on-black denim blazer.

Made in a mix of slate, mid-gray, ochre, and Yale blue, the collection manages to combine drama with fluidity. It will start selling in-store and online in early December.

Paired with a new range of collapsible leather goods, like pebble leather totes and belt bags finished with an 1893 harness that showcases Dunhill’s origins as a supplier to carriages. New racing semi-wrap auto-racing glasses again riff on the brand’s early days supplying the fledgling auto industry.

 

“It caught the sense of protection I wanted, but super elevated for today in the finest of cloths,” concluded Weston.