By Christopher Moorby. Chris is the co-founder of Commission Studio, a London-based branding agency that works with brands such as Lacoste and Zegna.
David Hockney has always been my hero. I first saw his work at Salts Mill in Bradford when I was about 13 years old.
Among the overwhelming scent of lilies were works that ranged from the exquisitely observed and skillfully drawn to the naive and graphic to the boundary-pushing photo montages. Here was an artist who seemed able to do it all and attacked every medium with creative vigor and passion.
What I loved most about Hockney’s work is that once you witness his incredible abilities as a draughtsman, you know that everything you see is exactly how he wanted you to see it.
If he drew a picture in a childish way, it was because he wanted to convey it to you. His work was a complete window into his imagination because he was able to physically realize it. He placed no limits on his abilities.
My experience working at Salts Mill and my introduction to Pop Art at that age certainly helped shape my own graphic eye and set the course for my interest in graphic design.
Later, as my interest in clothes and dressing grew, I became inspired by Hockney’s wardrobe, another example of his creative eye.
Hockney wore clothes that were completely in harmony with his art. In his heyday, his clothing combinations were saturated versions of everyday colors and patterns. It’s pinstripe, but super pinstripe. Pumped polka dots. Jumbo glass window grid pattern. Bright blues and candy pinks.
A classic choice, but an exaggerated version. In the 60s and 70s this approach became more powerful.
To me, his dress sense was at its peak in the 80s. He has made great progress. Long gone are the days of the hard-driving ’70s, when wearing everything at once was proof of your sartorial expertise and taste. In the 80’s there is no need for any more peacocking.
The glasses were still distinctive and iconic, but they were more sophisticated than the chunky rims that covered his face in the ’60s and ’70s, when he was developing his own voice and identity.
The eccentricity of classic British dress is displayed in my favorite photograph of him, which leads this article. While red socks and patterned slippers get the party started, the horizontal and vertical stripes on the top risk making him look like an optical illusion. The pastel blue cardigan may have been one color too many, but Hockney’s easy-going confidence made it all feel comfortable. Clothing that gives the feeling that it was ‘worn’ by someone with an excellent sense of color and pattern.
In his later years the harsh frame was dismissed, but my memories of him showed it on his face regardless. The power of this iconic look. As an old man with nothing left to prove, there was little need to try too hard anymore.
Carnation buttonholes and patterned braces reflected his sartorial flair, but with so much to do and new technologies to embrace before he got older he had no time to worry too much about his attire. Painting in a good suit has rarely looked more comfortable.
There was something typically British about his style. We see traces of this eccentricity in people like King Charles, who has a particular panache for unexpected combinations of patterns. Prince Michael of Kent has similar eyes and adds to the mix with his signature full Windsor tie knot. We could also list people like Gilbert and George in this category.
An appreciation for British tailoring may seem basic, but a bold approach to it comes from characters who have confidence in their own taste and a creative eye. Mistakes may be made, but it’s all part of developing your polished voice.
I think it’s great to do things a little bit wrong, but I do it with a laissez-faire attitude. This was Hockney’s specialty. There was a ridiculous amount of pocket squares spilling out of my breast pocket, but I think it was because I put them in without thinking about it.
I don’t know what they call British nonchalance, but it’s definitely different from Italian ‘sprezzatura’. That’s something that hasn’t been studied at all. It’s a kind of indifferent talent. I really admire anyone who can display this spirit. This is a rare quality, but it certainly reflects someone who is comfortable in their own lane.
The final reason I loved Hockney’s wardrobe and dress sense is because it always reflected him and where he was in his life.
He dressed for his age and experience, and never lost his flair. It was an outward reflection of the personality of an artist who always wore his imagination on his sleeve.
He also made good use of quality clothing. He lived and painted there. In my opinion, tailoring is something that has to be worn hard. Exquisite, but not priceless. This is something I really cherish. Buy something good. Have a great time!
In my mid-40s, I began to put into practice some of the lessons I had learned over the years from observing Hockney’s style. I want my clothes to reflect my age and how I feel, but I also want to dress with the confidence that I know more about myself and my tastes, and I also don’t want them to be too precious.
Maybe it means things go a little wrong, but it makes getting dressed more fun. It always seemed like David was having a good time.
British painter and designer David Hockney recently passed away at the age of 88. May your soul rest in peace.
