Charles Jeffrey Lore of Loverboy at Somerset House – Review

Charles Jeffrey Loverboy at Somerset House Review. I love Loverboy. To describe Charles Jeffrey, the man behind the label, as “The New Vivienne Westwood” isn’t lazy, it’s accurate. As he says himself in a tongue-in-cheek video in his Somerset House exhibition: “Copy. It’s all been done before anyway… I expect you’ve heard that one”. His work is all tartan and corsets, mimi-crinis and black leather. Well, not quite all – these obvious comparisons aside, I think he’s like Westwood because of his wild creativity, ideas coupled with technique. A little bit of loopiness and a strong work ethic. But he’s probably a lot more fun than Westwood, who I suspect of being not much fun at all. Did she ever think of herself as “loopy”? I think she’d be offended. 

But Charles Jeffrey, like Christopher Kane and Gareth Pugh, came up through the club scene, and actually ran a club night, which bore the Loverboy name initially. This venture helped to pay for his studies and the nascent label. Hardworking, you see. And I suspect, from the way that he wears his own outfits with a little ironic smile, that being described as loopy would be a badge of honour for him. 

Charles Jeffrey Loverboy at Somerset House Review

So if you haven’t encountered this designer before, go to the show. You will see something new, exciting, and inspiring. Later in life you can say, ah yes, I remember that early career show at Somerset House, I was there, I knew he’d be something special. 

Charles Jeffrey Loverboy at Somerset House Review. Images G Jones.

But having said that, and yes, I waited until this far down the review to say it on purpose, the exhibition designers have done him dirty. I do, it’s true, have a special fondness for shows mounted in settings that are not stark white walls. 

Somerset House is a Georgian building which has kept its every marquetry-inlaid floor, every moulding, the doorways and the high ceilings. It is incredible that it is still in daily use, and its many rooms house restaurants, an art gallery, and many creative businesses. In fact, Jeffery himself has a studio there. It was deliberately designed to be impressive and it has a prime spot on the Thames. If you want to show there, you have to work with it, not against it. Keep it simple, follow its gracious lines. They will allow your work to shine, if you let them. 

Charles Jeffrey Loverboy at Somerset House Review. Images G Jones.

Deliberately (?) Rickety

But here the first room is crammed with a rickety scaffolding which is badly painted red. Displayed in the section devoted to his student and club beginnings, perhaps it’s intended to be emblematic of those hastily-put-together sets of a club night, the crazy fantastical work done on not much budget.

Charles Jeffrey Loverboy at Somerset House Review. Images G Jones.

Charles Jeffrey Loverboy at Somerset House Review. Images G Jones.

Charles Jeffrey Loverboy at Somerset House Review. Images G Jones.

Charles Jeffrey Loverboy at Somerset House Review. Images G Jones.

Charles Jeffrey Loverboy at Somerset House Review. Images G Jones.

Charles Jeffrey Loverboy at Somerset House Review. Images G Jones.

Inspired by Orkney

One section is absolutely fascinating. The designer was invited to the Festival of the Horse which takes place in Orkney. Orkney is a Scottish island and Jeffrey has explored his Scottish roots before, most obviously in his use of tartan. The Festival of the Horse needs no designer to reinterpret it though. The outfits, passed down though generations for two centuries, are crazy cool. Children dress up as horses, but not as in, they stick on ears and a tail and gallop around. No, in Orkney the horses come very well dressed themselves, and it is the horse’s outfits which are lovingly imitated. Oh, and they also wears ears and a tail.

The accessories are mainly in black and white, with some red, green and blue hits. This gives them a resemblance to another old tradition, Pearly Kings and Queens, which takes place far away from Orkney and by a different age range as well. Black and white is always chic though. They include blinkers, head collars, ankle fringes which resemble a cart horse’s lovely hairy feet, and other individualised touches. This inspired a collection for Jeffreys.

Charles Jeffrey Loverboy at Somerset House – Review – Whimsical

Another quite characteristic touch is whimsey. Boots are made with paw shaped, clawed toes – a direct reference to both Vivienne Westwood’s foot-shaped shoes, and Schiaparelli’s gloves which featured embedded fingernails. Wellies come in the shape of a peeled banana. A rucksack has a monster face, and a tiny gargoyle peeks out the pocket of a sober suit.

In other works, (and I feel like some of these are “works”, as in artworks, and not garments) Chinese Dragons are formed from Wedgewood pottery, and appliquéd forms resemble the artwork of non-Western tribes. The inspiration is wide-ranging.

Celebrity Favourite

The Loverboy label has dressed Tilda Swinton, both fora photoshoot for British Vogue and for red carpet events. Of course, his creations suit her aesthetic very well. Less successful in the eyes of the world were the pieces he made for Harry Styles on tour. A silver jumpsuit is shown from 2018. It’s a great jumpsuit, and I love the direction Styles went in. But somehow he never seemed to carry the flamboyant gender-bending look off and most people derided his dress sense. However, public opinion never stopped him. Go Harry!

After your visit, I suggest you explore the Somerset House complex, particularly the new Café Petiole, which serves mostly vegan food in a very relaxing setting.

The Lore of Loverboy is on at Somerset House until 1st September 2024. It is free to enter and you don’t need a ticket, although the website suggests that you should both book and donate. It is curated by Bunny Kinney and Jonathan Faiers.

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