Hung on the walls of Iceberg’s showroom, Italian photographer Oliviero Toscani’s advertising images from the ’80s exude the same groundbreaking appeal they held at that time they were made—as strong and modern as if they were shot today. The portraits are set against a simple background with stark, beautiful lighting; and the subjects wear Iceberg’s color-blocked oversize jumpers and big-shouldered, wide-collared jackets. The likes of Andy Warhol, Vivienne Westwood, and Iceberg’s designer at the time Jean-Charles de Castelbajac were lensed alongside designer Franco Moschino, illustrator Tony Viramontes, visionary Elio Fiorucci, art director Terry Jones, and the artist Mimmo Paladino. It’s a regular ’80s hall of fame.
James Long, Iceberg’s London-based creative director of menswear and womenswear, joined the label last September, and the ’80s references clearly appeal to him. “I’m searching for the label’s authenticity,” he said. “To make it relevant for today, I’m playing around a sportswear-de-luxe concept injected with a ragged London twist. A little punky vibe!” To make his point, he put his own spin to the Mickey Mouse image that is one of the label’s trademarks, embroidering or printing it on everything from knits to outerwear. He sketched a new version himself, “so I know for a fact that no one else can do it the same way,” he laughed.
For all the raw British edges that Long would like to bring about, the collection has a polish that feels very Italian. The designer is taking full advantage of the craftsmanship and the industrial prowess that Iceberg can provide, infusing the lineup with the sort of accurate detailing and perfect execution that elevates a casual look with a more luxurious appeal. He treated knitwear as a fabric, and mixed different materials like canvas, leather, and nylon into functional and practical pieces with a cool edge. The ‘80s vibe was apparent in the oversize boxy proportions, in the colorblock palette, and in the profusion of logos—macro and micro—emblazoning tracksuits, hoodies, and sweatshirts; treated as appliqués, tone-on-tone ribbons, and lettering; or inspired by archival denim patches and printed in nylon bombers. “I like a loud, screaming logo,” said Long. “It says that you’re proud to be part of the label’s tribe.”
