Aitor Throup announces that his second collection for New Object Research will launch in June this year during London Collections: Men. With a 3 and a half year wait since Throup’s last collection launch, many have awaited his return and next move in the world of menswear design.

Throup describes the past three years as a journey to liberation, finally freeing himself from the shackles he was bound by with the release of his design manifesto around the same time as his last presentation. The designer describes his moment of realisation in detail, “On the 13th of February 2015 at 22:30 on a train from London to Burnley I had a creative epiphany. I liberated myself from my own creative ego. I liberated myself from my deep set insecurities which had not allowed me to freely express myself or my ideas up to that point”. Philosophical and multi-layered, Throup’s conceptual ideas would find context within complex thought and notions, something the designer felt he needed to conceive in order to justify his creations. “I realised I didn’t need to create stories, narratives or concepts to create. I realised that I was free to create”, Throup explains, concluding “My next collection is a self-portrait celebrating this event”. A pivotal moment for Throup, it is evident that he needed to revisit his past before he could embark on his future.

Renowned for his non-seasonal and innovative approach to his menswear collections, Throup initially announced and previewed his first New Object Research product line in June 2012 with influential fashion ambassadors Sarah Mower and Tim Blanks. For his next New Object Research collection, Throup launches his first catwalk show, with his ideas conforming only to fashion’s structure by timeline, and not by presentation. Presented during LC:M, Throup explains his decision to hit the runway, “I never wanted to do a catwalk before because I find them boring in general. I could always get more emotion from being able to create static environments which forced the viewer to engage with the work in a deeper way. However, for the past year and a half we have been developing a very exciting new way of presenting – a way for me to interpret the possibilities of a catwalk in my own way.” A topic of constant conversation, it is evident that the current structure of the fashion business needs revising and revitalising, catwalk shows are simply not as exciting as they once were. Almost intuitively, Throup sees this situation as an opportunity.

To accompany the announcement of Throup’s new collection launch in June, Throup visually explains his journey through 4 short films released today on Each of the 4 films depict one iconic piece from each of his past narrative concepts which have for the past ten years grown to define Throup’s fashion output, understandably labelled The Death of Shiva, The Death of New Orleans, The Death of Mongolia and The Death of Ethnic Stereotyping. Each piece in the film has been converted into a 3D digital object which goes through different stages of transformation; starting off as black then switching to white before eventually mutating through a multi-colour treatment and eventually disintegrating. Visually and aurally powerful, the films symbolically explain everything. Not only directing the short films, Throup collaborated with producer Rodaidh McDonald on their musical score.

“Music has always been incredibly important for me. I got to a stage where I clearly understood what the sounds I needed were – I needed to be able to curate the exact sound myself, rather than hand it over”. Previously XL Recording’s manager of their in-house studio, McDonald has worked with musicians such as King Krule, The xx and Sampha, applying his signature style of focusing on details and amplifying them for an honest and clear conclusion. For Throup’s The Death of NOR short film series, various sounds are explored for the score, with what seems as a mixture of altered electronica, cityscape soundtracks and silence. Throup explains further, “Each piece of music is a careful sonic re-construction of each of my past four concept narratives, strictly using direct reference sounds from each concept to communicate the original idea, whilst at the same time developing it into an abstract and almost euphoric distorted destruction towards the end, to match the visuals. I’m basically destroying my old work, in order to move forward.”

Also releasing 2 sketches of his next collection, the following that Throup’s work has garnered will revel in the exclusive preview. Not only do the sketches show a sneak preview in what to expect in June, but also symbolise re-birth through the use of colour and their placement. Look closely. Throup’s explaining a lot more than meets the eye. It seems this unconscious story-telling is in his DNA, and can now be expressed differently because of Throup’s new outlook on his creative capacity. Constantly evolving, constantly progressing and constantly seeking to reinvent, it’s Throup’s unique vision that ensures all eyes are on him as he embarks on his next chapter: the New Object Research collection launch.



 April 6, 2016