Hector Maclean’s collections have always been inspired by iconic British women, and for his latest offering, Bastard Aristocrat, he delves into his own lineage, drawing inspiration from his ancestor Lady Susan Bellasyse, once betrothed to King James II. MacLean’s discovery that the couple had an illegitimate son pushed the designer to confront the contrast between his own working-class upbringing and his royal-adjacent roots, ultimately shaping his Fall/Winter 2025 collection, which is as much a personal statement as a sartorial commentary.
Baroque the Casbah
Set against the atmospheric backdrop of St. Paul’s Church, the show began in almost ecclesiastical silence, only to erupt into an unholy riotous celebration of punk and power. The rain-soaked cobblestones outside framed a dramatic runway that stretched from the church’s altar to the back of the courtyard. Those outside huddled under Union Jack umbrellas, while inside, the pews were filled with guests that included supermodel Jodie Kidd. What followed was a show that celebrated both the royal and the rebellious; a juxtaposition of sacred space and subversive fashion.
The collection began with regal elegance: structured stark white shift dresses, sculptural silhouettes, and pearl chokers evoked a sense of aristocratic purity. The first three models seemed to represent the untouched, virginal essence of monarchy, their outfits channeling echoes of royal tradition. A model in a structured white shift dress, the top of which almost resembling a monarchal sash, was adorned with a regal pearl choker and structured hair and makeup. A second male model also donned white with aristocratic references, showcasing the classic power dynamics of period fashion. Lace ruffles cascaded at the front of his shirt which had billowing poet sleeves, signaling influences from Baroque and Rococo design. Here, on the model’s shoes, was the first glimpse of the Union Jack print, which would later become a main feature of the show and collection.
The show transitioned abruptly, as the music shifted to The Kinks’ You Really Got Me, the perfect anthem for the defiant display of punk that Maclean was about to unveil. Just like his ancestor before him, Maclean was ready to challenge the establishment.
We’re the future, your future
A model strode defiantly down the runway in a deconstructed bodice dress, the fabric repurposed from a tote bag emblazoned with Maclean’s house logo. A white bubble skirt added structure and movement, with the fabric introducing an element of luxury to the utilitarian aesthetic. The bodice, pinned together with safety pins, symbolized the DIY craftsmanship of punk, while bold words like POSE in ransom note-style lettering reinforced the rebellious theme. This element of deconstruction and reimagining fabrics aligned with Maclean’s sustainability efforts. Passionate about reusing deadstock, the designer uses fabric scavenging, and repurposing materials that would otherwise end up in landfills. Backstage after the show, he explained his dedication to sustainability.
“The fabric we use is a combination of deadstock, charity shops, even from friends who are designers that are throwing away fabrics. We try to save as much as we can from landfill or from being completely destroyed,” Maclean said.
“It’s what I am so passionate about as a designer. It’s so ingrained in me, having grown up in a council house. We had to look after everything, so I think that mentality is within me to not waste. There’s so many bits of beautiful fabric I don’t want to throw away, I want to use it to be a part of something else. So with this collection specifically, because it’s so punk, I felt I could really take it there with saving so much and not throwing anything away. We use zero-waste pattern cutting, we try to drape as much as we can so then we save a lot of cuts.”
Threads of Rebellion
The music once again signaled a shift in tone, with the Spice Girls’ Who Do You Think You Are blasting throughout the church. With the arrival of the first Union Jack dress, it was clear the music choice was a playful reference to Geri Halliwell’s iconic mini dress from the 1997 Brit Awards. The dress, crafted from upcycled flags and bedsheets, was now structured and flowing dramatically behind the model. This was the first of five Union Jack dresses that saw the flag torn, shredded, and recontextualised. Constructed with patchwork, pins, and razor-sharp cuts, the dresses were a visual commentary on subverting nationalism and the British establishment. Maclean’s use of the flag echoed punk rock’s history, notably The Sex Pistols, who famously used the Union Jack to reject authority.
Makeup shifted from natural elegance to exaggerated, rebellious war paint of streaked faces, bold eyes, and spiked hair, reminiscent of ‘70s punk pioneers. Hair was teased to wild heights with spikes that would leave Sid Vicious envious. The exaggerated styling underscored the notion of rejecting traditional beauty standards, as each model became a statement of individualism.
With references to a host of British icons, one can only assume Maclean’s experience working with Vivienne Westwood had a loving nod in the show. As the undisputed queen of punk, she, along with her partner Malcolm McLaren, dressed the Sex Pistols and other bands, creating a deconstructive street style that disrupted traditional fashion and society. Other nods to iconic British characters in the collection included black lace gowns inspired by the famous style of Queen Victoria and a tribute to Diana’s revenge dress and pearl necklace.
God Save the Anarchists
The grand finale of the show was a dramatic red dress with a high ruffled neckline and a train made from billowing tulle. The dress had a bubble skirt fashioned from hundreds of paper remembrance day poppies donated by the Royal British Legion. The final runway walk, accompanied by God Save the King, was both an homage to Britishness and identity but also added another layer of irony with a nod to punk rebellion, as The Sex Pistols had famously covered the anthem as a symbol of defiance against the British monarchy.
Maclean’s Fall/Winter 2025 collection was a bold blend of elegance, rebellion, punk ethos, and Baroque drama. It was a love letter to the UK, its fashion history, and its icons, while also critiquing its traditions and challenging the notion of British identity. But beyond the historical references and subversive design elements, the collection celebrated individuality and personal freedom. Maclean’s ultimate message? We are all royalty. We all come from different backgrounds, and history does not define who we are as individuals. Britain is a chaotic, beautiful mixture of high and low, punk and aristocracy and a dynamic, ever-evolving culture.
As the show came to a close and guests headed to Neon in Piccadilly for the afterparty in partnership with Humble magazine, the excitement and energy in the room was palpable as those present discussed the success of the show. With his ability to weave history, rebellion, and sustainability into a seamless narrative, Maclean is on track to be one of fashion’s next great names. His work is a testament to the power of creativity, the impact of personal history, celebrating strong women, and the lasting influence of rebellion against the establishment.
Photography by Bex Fahey