Mark Thomas incorporated Louise Trotter’s Joseph resort theme—the art and personal style of David Hockney—into this menswear collection, and thus there were many overlaps: the landscape knit, the geometric knit, the mid corduroy, the checks in knits translated from women’s dresses to men’s polo shirts or women’s dresses into men’s pajama suits. Yet there were collection-specific notes here too. These included plastic-coated poplin parka-anorak hybrids in mismatched ’70s checks or fisherman-slick navy and yellow, bold check pajama suits, heavily pressed ’70s touched tailoring, and off-kilter polka-dotted longish boxer shorts.
Fitted nylon and cotton jackets were given purposely loose jersey linings to allow the fabric inside to spill out down the zipper line for a flash of color when worn open. A pajama-striped rugby shirt—totally Hockney—came in 18-guage wool worn over loose Bengal striped shirts and boxers. A pressed blue oversize topcoat came with a belt at the base of the sternum for cinching. A western-style jacket was recast in double-faced tobacco twill worn above pressed brushed linen pants and a checkerboard shirt. Those pajama suits in gingham mentioned near the top were an extrovert garden-partyer’s paradise: Made in viscose with fully articulated trousers, they could have as appropriately inhabited a Hockney canvas as they would cut a swathe at some stylish rave.
