Fresh Heir in Vicky Park: Daniel Lee Reclaims Burberry's Golden Reign

Bradford-born creative director, Daniel Lee, took the middle ground for his third runway show, summoning the fluidity of the Burberry world through Brit’s shared love of the great outdoors and nostalgic culture.

“Vicky Park” as it’s known locally, is London’s oldest public park, opened in 1845 for the benefit of the East End working class. “The People’s Park” proved the perfect location for Daniel Lee to execute his vision of all-encapsulating great British style for The House of Burberry. With that in mind, I sprang onto the next bus to witness Burberry’s Autumn/Winter 2024 collection.

On route to the much-anticipated show, two ladies kept me company and were keen to ensure that I didn’t miss my stop. “My first job was with Burberry”, one lady said, “I did accounting for them”. She smiled and looked at her daughter, remarking, “You’ll be able to see the show from your bedroom window”. The lady went on to explain how they had lived on this road for the entirety of their lives, neighbours to Victoria Park, and never had there been a Fashion show. Clueless as to what it was exactly, they had observed the grand structure being built for weeks and weeks on end. The man sitting next to me joined in, “I’ve been seeing it every time I pass by on the bus. They’ve spent so long building it...I’m sure they’ll have several shows there.” I paused and thought about what he said – It made a lot of sense, but I replied,“It’s only for one night.” One night. Weeks of creating, working, perfecting, and curiosity just for one night. He looked at me as though I were insane, and I questioned the sanity of it all myself at that moment. As the bus rolled past slowly, brewing over me was a deep appreciation and intimidation towards the super-sized tent that spread across Vicky Park, accompanied by natter and speculation as everyone glared out of the window. The medieval Burberry flags waved me down, and with that, the lady pushed the button for my stop. I was whisked away in a rush by my own eagerness, but not without a ‘good luck’ and ‘farewell’ from these angels who were so invested in my journey for the fifteen minutes that we had spent together.

Encountering vivid lights, streaky flashes, and many recognisable faces, I traipsed the grass towards the pyramid tent, which rustled above and loomed with anticipation under the moonlight -completely still yet fidgeting in the wind like it was alive. And it was, it was chockfull of life, excitement, and a kind of murky beauty inside – like a forest full of faces inside a wallowing, hollowed-out tree. It was reminiscent of the greenery of my Northern hometown – close to Daniel Lee’s heart as much as my own. Caked in earth tones, I was standing in Burberry’s own English countryside, from the deep browns of the seats which felt like hay bales, to the rustling wood chippings that covered the floor, like some field built for a fashion frenzy. Beneath a night-sky blackened tent and moody spotlights, everyone took their place bosom to one another. The packed, yet hushed room, oozed an intimate setting – broken in awe when Amy Winehouse’s ‘You Know I’m No Good’ boomed through the speakers, a charming tribute to London and this small world that we share. Sharing was a leitmotif of the show, as we wholly feasted our eyes upon Burberry’s Winter 2024 collection concurrently, like an early Christmas that had bloomed in Spring.

Mancunian model, Agyness Deyn, who was a prevalent fashion face of the Noughties, opened the show sporting gravel-grey, wide-leg trousers with tartan turn-ups, and a borg-lined parka. Preserving the nostalgia in the air, erstwhile iconic British models soared through and through the snaking catwalk including Lily Cole, Karen Elson, Lily Donaldson, Edie Campbell, and Naomi Campbell. Fresh runway names of note included 17-year-old East London girl Rey, Kai-Isaiah Jamal, Fran Summers, Nora Attal, and Lennon Gallagher, who also created a captivating onrush. Evoking Christopher Bailey’s Burberry that championed emerging artists, and English youth culture, the catwalk reclaimed the brand’s golden days, with a New-wave Burberry Brit-gang. The array of models donned the subdued, earthy palette of the collection, coated in khaki greens, tonal browns, and warm, office greys – complimented by punchy lemon and dirty-martini olive accents. Primed for the fickle British weather, there was no lack of brollies and outerwear, including heritage-check trenches, fur-trimmed coats, frayed knitwear, leather puffers, and teddy-bear cashmere banker coats – revamping Burberry’s classic silhouettes.

"Craftsmanship has always been at the heart of design."

This season, the Bradford-born creative director, Daniel Lee, was motivated by Burberry’s heritage as an outfitter providing clothes for the great outdoors. “I wanted this collection to feel warm and protective,” he said in his press notes. This spoke through the unwavering effort to focus on the functional, with coats rendered in British and Irish wools, pulling attention to British craftsmanship. “We began in the Burberry archive and the mills of Lochcarron and Donegal. I wanted to take a traditional approach to the fabrics and how each piece is made. Craftsmanship has always been at the heart of design.” Lee highlighted that at the time of creating the collection, he’d considered the people of the UK and Ireland within the Burberry world. So, it made sense that he was looking back.

Catwalk: Burberry AW24

Daniel Lee had taken every part of the house’s refinement that came before him and wed it with the freedom, and rebellion of the people. Find this presence in the shearling or the leather jackets, or in the abandoning of the latter season’s florals and prints to refocus on the house’s checks instead. The overall mood was indicative of the mid-Noughties Burberry heyday that shifted the heritage house and its reputation. Expensive creamy, oatmeal trench coats and tailored outerwear were humbled by doses of city-red and the universal Burberry print, appearing on shoes, scarves, and skirts. There were jiffies of fragility too, where these cossetting coats contrasted with cocktail dresses that shimmered from beneath the outerwear, styled with oversized lavish leather bags and chunky action-ready boots. Lee seized luxury and fused it with the spirit, the attitude, and the prints of the people – speaking through the long, spliced tartan skirts with fringes, and the gallant cut-outs on oversized trousers – paying homage, not only to British heritage but likewise to the rich revival of British subcultures and styles. This collection truly muddled the contours of fashion ethos, whilst remaining cohesive and plush with just as much gist, as implausible design. Outsizing the tent, was an immense sense of connection with those around me, and shared pride in what it means to be British today – with the diverse collection crossing the barriers of class and culture.

Taking a blow from mid-Noughties nostalgia, the late Amy Winehouse's music was elected as the show’s soundtrack. Amongst her most recognisable song followed audio clippings of Winehouse talking, expressing her love for her hometown, London, before her poignant vocals clutched the room for the final walk. Despite the nostalgic references, it was a fresh face on the catwalk that debatably reaped the utmost attention: Maya Wigram, Phoebe Philo’s daughter, garbed in a floor-length tartan kilt and a high, funnel-necked trench coat. Just behind Wigram, Naomi Campbell closed the finale of the show in one of its bedazzling evening gowns, apt for the astounding star of the show. It was a fitting end to that which celebrated the best of British, and Daniel Lee’s third collection for Burberry since taking the reins in October 2022.

As the last notes of Amy struck, the audience gushed athwart the catwalk like an excitable herd of sheep to relay their veneration for the show to one another. Whilst UK talent shined brighter than ever, the nexus between the sports industry and the house was further certified with campaign stars Ramla Ali and Bukayo Saka in attendance alongside Welsh football star Gareth Bale. The flag was flown by the music scene too, with Lil Simz, Central Cee, Kano, Dizzee Rascal, Lily Allen, Loyle Carner, Tiwa Savage, Lil Yachty, and Eve all turning out in support of Lee. Whilst Cara Delevingne, Jourdan Dunn, and Leomie Anderson all opted to swap the Burberry catwalk for its front row instead, joined by Barry Keoghan who charted on with his all-Burberry BAFTA look with a taupe ensemble and box-new Nikes. The stars descended backstage to wrap up the triumphant evening with servings of bubbly and champers, as well as warm exchanges with the man behind Burberry’s Autumn/Winter 2024 show, Daniel Lee himself.

The transition from the Burberry world to the real world was a strange one, stepping out from the green wood chippings, and onto the grass of Vicky Park again. What Daniel Lee had created was not escapism. It was not so detached from reality, as ample contemporary fashion is now - but that’s what made it magic. The fact that a luxury-wearer from crème de la crème, and a common, working-class person like me can look at the same outfit and confidently say ‘Yes, this represents me’. That is something astounding. In an industry that seems dogged in its division, Daniel Lee weaves us together through our collective pride and love for the environments and culture of our home. This down-to-earth collection ties together every aspect of Burberry’s remarkable lineage – reaping the fruits of Christopher Bailey’s and Daniel Lee’s vision in a heaven-bound collision of class and culture. What became sane to me at this moment was the weeks of creating, working, perfecting, and curiosity just for one night - as everyone parted from the show in a trance that would surely last them a lifetime. Every aspect of production shaped an experience that was so nostalgic and rich with craft and life. The tent loomed behind, and Burberry’s flag waved me goodbye for now. I hopped back onto the bus and relived the show in my head for fifteen minutes more. Burberry had plucked me from ordinary life and showed me what happens when a Bradford flower blooms, into a collection that will surely pollinate the trajectory of luxury fashion.

Photograph by Dave Benett