1984 was a body conscious year when I seriously started to think about menswear and focus attention on physique. The entire summer collection was given a racy look. Vests had cutaway backs that exposed taut muscles and had 84 printed between the shoulder blades.

Men photo by Mike Owen taken at Wembly stadium. The Times Tuesday July 17th 1984

I styled the collection as if it was for boxers and put an aggressive spin on traditional sportswear. The prints were M.P.H. AIR-OIL, FUEL-FLOW, TRANSMISSION and FLESH AND STEEL, slogans that likened the body to a car. Heavy zips were featured around necklines and up the back of slim cut track pants in acid yellow, blood red, steel grey or white jersey. Accessories were silver Lonsdale boxer boots and mirrored sunglasses.

A group of designers were chosen to participate in a unique event called ‘Performing Clothes’ held at The Institute of Contemporary Art, London on October 10th 1984. The idea to use dancers instead of models was an innovation that brought choreography, clothes and music into an exciting mix. The dancers who danced in my collection were Claud Paul Henry, the beautiful Bunty Mathias and Carolyn Choa who choreographed Madam Butterfly in Anthony Minghella’s spectacular opera

The piece of music I chose for one of the choreographed pieces was by 23 Skidoo called ‘Coup’, a brilliant innovative fusion of industrial, post-punk and funk from the early 1980s.

Jenny Bellestar looked fantasic wearing the Flesh and Steel collection on her sin