Born and raised in Bradford, England, Daniel Lee’s arrival at Burberry was a true homecoming. In reigniting the British heritage brand, the chief creative officer pays homage to the world he grew up in. “I’m inspired by our diverse style and culture, from ceremonial and royal dress to the strict codes of youth subcultures in nightclubs, football and galleries”, explains Lee. “For me, it’s important that Burberry is relatable and progressive, and that everyone can understand it.”
His autumn/winter 2024 collection captures the sentiment best, narrating the characters of Burberry’s past and present, and proposing an idea of Britishness more inspired than ever before.
Where do you draw inspiration for your collections? What specific themes or motifs do you find particularly compelling?
The collections are built around an idea of modern Britishness. London is one of the most diverse cities in the world—the wit and sense of humour unify everyone. We’ve used motifs that are familiar, and feel joyful and optimistic, which is important. So is functionality, which is a huge part of Burberry’s heritage. The trench is protective and made for performance in all weather conditions. We draw on other Burberry icons, too, like the Equestrian Knight Design—a house logo dating back to around 1901—throughout the collection and branding, which is now in the colour Knight Blue. And Burberry Check, of course, is part of the house’s heritage, but it’s also adaptable to the modern wearer; we’ve brightened the colours and warped the check prints.
What emerging trends in fashion do you find most exciting and how do you plan to incorporate them into future Burberry collections?
I’m not sure that trends are relevant anymore. It’s about having a recognisable identity and developing that, rather than a seasonal look. It feels like the strongest brands are doing what they do and aren’t taking too much notice of others in terms of colour, fabrication or silhouette.
Who are some of your personal fashion icons and why do they inspire you?
I first came across John Galliano, Alexander McQueen and Vivienne Westwood when I was a teenager, which led me to go to Central Saint Martins. While I was there, I interned for Martin Margiela, where I saw his deeply contemplative approach. I then worked with Balenciaga under Nicolas Ghesquière, which was so inspiring to be able to see fashion, design and ideas without limits. I grew up seeing Christopher Bailey’s Burberry and I respect what he did there, bringing in this sense of community that felt welcoming.
“It feels like the strongest brands are doing what they do and aren’t taking too much notice of others in terms of colour, fabrication or silhouette.”
What’s a typical day for you as the chief creative officer of Burberry?
There is no typical day and that’s a good thing. Our plans change according to what we need to achieve. I will say that I work hard, as do my team, and pretty much everything I do feeds into my work somehow. I’m also lucky that I still work with some people who I have been with since the early years of my career and university.
How do you spend your free time?
I’m into skincare at the moment and generally taking care of myself. I use the gym to escape and switch off. I try to see performances at Sadler’s Wells or go to a live concert as often as I can. London has so many art galleries, from the bigger, more established ones like Tate, to smaller, emerging galleries, so I try to see a show as much as possible.
How involved are you in choosing the people who represent your new vision for the Burberry brand?
I am completely involved with choosing the people who represent Burberry. It’s never just about fame, it’s about relationships and collaborations which are authentic. We choose people to represent us in our shows and campaigns because we like what they stand for, and they reflect the communities we are a part of. Karen embodies the Burberry spirit because she is warm, intelligent and funny. And Bright is a talented performer and an extremely hard worker; he’s confident and has a lot of natural charisma.
What’s your favourite piece from the Burberry winter 2024 collection and why?
The idea was to bring the outside in, so we staged the show in a tent in Victoria Park in East London. All the looks were about feeling warm and protected from the elements. The last look brought that concept full circle, I think—Maya [Wigram] in a leather trench, a warm jumper, long kilt and Saddle High boots. There’s a sense of adventure in the looks. Functional, but also youthful and confident.
Editor-in-chief Desmond Lim
Casting director Marina Fairfax
Producer Alexey Galetskiy/ Alexey Galetskiy Productions
Make-up for Bright Hiro Yonemoto/Honey Artist
Make-up for Lee and Elson Jen Myles/Streeters
Hair for Bright Walton Nunez/See Management
Hair for Lee and Elson Nero/Management Artists
Set designer Milena Gorum
Gaffers Matthew Farrell, Daren Thomas, Doug Segars and Alexandra Strasburg
Digital technician Nick Avil
Production team Sasha Ernst, Kate G and Taras Koltun
Set team Adriana Faraudo
Make-up assistant Derrick Bernard
Stylist’s assistants Itsuka Watanabe and Eonnam Kim
Location Seret Studios
