He insists that any collaboration must be in harmony with his own brand’s DNA and reflect its values, refusing any purely commercial exercises. This vintage collection is a rich source of ideas for new designs, and Cabourn draws inspiration from pieces, and a library of almost 3,000 books on everything from rare military clothing to the glory days of sport.Ĭabourn often adds new dimensions to his pieces by partnering with brands large and small. Today, his collection is said to be worth around £2 million and includes over 4,000 pieces. Cabourn continued to seek out the best vintage clothing – a quest he describes as “an endless journey”. His eponymous label went international, proving popular in Japan and greater Asia. Over the next 10 years, Cabourn’s reputation grew, with collections showing alongside those of Vivienne Westwood, Margaret Howell, Paul Smith and others. Cabourn’s big breakthrough was the ‘Regular’ jacket, a suede-trimmed canvas coat. Smith put Cabourn’s new vintage-inspired items on sale in his Nottingham shop and introduced Cabourn to the Village Gate Stores, helping him break into the London scene – not easy for someone from ‘up north’. Cabourn began collecting vintage clothing in 1978, combing vintage stores and market stalls for British military uniforms, workwear, and exploration clothing. It was given to Cabourn by a young Paul Smith, sparking a life-long interest in vintage reproduction. In the seventies, a vintage RAF pilot’s jacket changed everything.
#Vintage scene icon mod#
Cabourn’s first label was Cricket Clothing Ltd, which took inspiration from The Who and other popular Mod bands. Against the advice of many, Cabourn opted to stay in the north of England, setting up his studio against a backdrop that evoked northern spirit and tenacity. As he couldn’t “imagine anyone employing him”, he set up in his own company in his third year, at the age of 20. Cricket Clothing Ltdīetween 19, Cabourn studied fashion design at Newcastle College of Art & Industrial Design. You can see elements of both in his designs. He preferred the American, utilitarian look, “more paratrooper…with more pockets”, over the more formal British style. While he hated war, Cabourn was deeply interested in the history of forces clothing, particularly British and American uniforms. A teenager at the time of the conflict, Cabourn imagined what it would be like to be drafted, and loved the jeans ‘n’ army surplus style of the ‘flower power’ generation. Then came the Vietnam War, with an equally deep effect.
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