5 Key Takeaways from Issue no.102

* The Brand Story in Margaret Howell’s Own Words
Margaret Howell describes herself as a ‘designer’ rather than a ‘fashion designer’. For more than half a century, the brand has been guided by a consistent approach to design that encompasses clothing, objects and spaces. Centred on an interview at her London home, B traces how her ideas take shape, from the Suffolk coast that inspires her work to the Wigmore Street flagship in London and stores in Japan. The chairs, lighting and shelving in her home and stores reflect the same emphasis on materials, proportion and function that defines her clothing. While known for her commitment to enduring values, Howell has consistently challenged retail conventions and explored new roles for her stores. The issue examines how making clothes, selecting objects and creating spaces come together to shape the brand.

* Behind the Basics: The London Workroom and Archive
How have Margaret Howell and its casual line MHL., known for quiet luxury and refined utility, built distinctive styles around the basics? B visits the London workroom and archive to find out. In the workroom devoted to shirts, a team of 17 produces around 4,000 shirts a year, carrying out most stages by hand, from pattern-making and cutting to sewing and finishing. On Margaret Street, the archive holds experimental shirts, drawings, samples, labels and catalogues: a record of 50 years of ideas and experiments in pursuit of better clothes. The design team revisits past collections, looking for ways to refine familiar forms for today. Together, the two spaces reveal the thinking behind designs that are simple yet never simplistic.

* Timeless Design Starts with Good Cloth
Long before ‘collaboration’ became a familiar term in fashion, Margaret Howell was working with British makers. For nearly half a century, partnerships with heritage names such as Harris Tweed Hebrides and Fox Brothers have helped shape the brand’s identity. Their expertise, regional heritage and commitment to quality over efficiency underpin her designs. The same eye for materials and craftsmanship extends to the homeware collection. Carefully chosen furniture and everyday objects reflect a commitment to rediscovering good design and ensuring it endures. The annual printed calendar carries this idea forward, featuring artists’ and designers’ work and highlights from British design history. It is both a way to track the year and a small archive of good design.

* Quintessentially British, Beloved in Japan
What links Margaret Howell’s understated style to punk? Fashion historian Ben Evans revisits her early work in 1970s London. As punk swept the city, she challenged fashion conventions, freely exploring form and how clothes could be worn. United Arrows co-founder Hirofumi Kurino recalls discovering her classic clothes as a fresh alternative in the 1980s. He traces the brand’s deep roots in Japan to the country’s affinity for British culture and Howell’s respect for Japanese craftsmanship. Through these two perspectives, B explores what makes the brand distinctly British and how it found a special place in Japan.

* 50 Years On, 50 Ahead
How can a brand grow globally while preserving craftsmanship and analogue values in a digital age? Managing director Caroline Attwood brings more than 30 years of experience, including roles at Mulberry, Anya Hindmarch and Ally Capellino. Having seen the power of a founder at a brand’s centre, she is laying the groundwork to carry Howell’s philosophy into the next generation. She addresses issues raised by staff while preparing for global growth. David Hitner, creative director of long-standing brand partner A Common Purpose, describes the brand’s approach as ‘evolution, not revolution’. As AI reshapes creative work, he expects greater demand for the human touch and creative sensibility. Their interviews explore what the brand will preserve and what needs to change.