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British fashion designer Craig Green has been steadily building a cult-like fan base that reveres his innovative, emotional and fearless interpretations of archetypal male attire. This season, he delivered an extraordinary collection that riffed off horror flicks, flower power and the Fab Four

- Photography KALPESH LATHIGRA Writer JACK MOSS

On any given day at the east London studio of British fashion designer Craig Green, located in the former Carlsberg-Tetley offices in the Docklands, you might find paddling pools filled with water for creating surreal mouldings of suitcases, stirrups or hiking bottles; an experimental shop display, comprising rods of scaffold or enormous hoops, destined for the shop floor of Dover Street Market; or a series of figures working away on tiny glowing eyeglasses, constructed from the miniscule lightbulbs used to illuminate doll houses.

You might even encounter a runway show: on a warm June morning last summer, Green presented his S/S25 collection in the studio, beloved by the designer for its vast windows that look out towards the Thames and flood the space with light. 'So much has happened here - it's like someone painting a runway through your house,' he said at the time.

After just over a decade in business, Green's studio remains a space of voracious experimentation - one that harks back to his first runway show after graduating from London's Central Saint Martins (CSM), which featured sculptural wooden masks and chestplates made from shards of timber as if a garden fence had been smashed into pieces and strapped to the models' bodies (the A/W13 collection was shown as part of Lulu Kennedy's Fashion East talent incubator). The collection - which featured monastic riffs on archetypal workwear silhouettes - heralded the arrival of a raw, nascent talent, with Vogue's Matthew Schneier deeming it the day's 'standout show': 'The scene-stealers were the face-obscuring plywood headpieces, a sort of haberdashery by way of flotsam. But up close, the pieces had real depth.'