William Palmer is redressing the British Bloke

PORTRAIT PHOTOGRAPHY Charlie Barclay-Harris
CAMPAIGN PHOTOGRAPHY Alex Raduan
SPECIAL THANKS TO Salomon

This interview features as part of BRICKS #15 I Support You issue’s Portrait series. You can view the full series here, and order an issue now from our online store.

After graduating from Central Saint Martins – where he won the L’Oréal Young Talent Prize – William Palmer launched his namesake label in 2025. His work takes familiar menswear as a starting point and nudges it slightly off balance: oversized outerwear, padded forms, exaggerated proportions and unexpected details. Drawing on suburban Britain and early-2000s references, Palmer’s collections play with recognisable clothing rather than abandoning it entirely, keeping one foot in traditional menswear while pushing its boundaries. That playful approach was perhaps best captured by the loaf-of-bread bag from his award-winning graduate collection, a witty reminder that British menswear can take itself a little less seriously.

Most recently, Palmer presented The Brief Exposure at Pitti Uomo in Florence after receiving the I Pitti Immagine Award at ITS. Transforming his presentation space into a quintessentially British bus stop, the collection brought together a cast of office workers, commuters and exhibitionists to explore British humour, everyday life and the pressures of masculinity through satire. It marked an important international milestone for the young designer, whose work continues to balance sharp social observation with cheeky, technically accomplished menswear.

Has there been a moment where someone’s support tangibly changed your path? 

I have actually been really lucky with the designers I ended up interning and working for. They were all genuinely kind people. Sometimes I like to think I manifested that. When I worked at Dover Street in Paris, Adrian’s support was pivotal. I was only there for three years, but eventually I had to scratch the itch of starting my own brand. I remember being faced with the decision to either stay in a stable role or take the leap, and with his encouragement, I went for it. That support really opened doors for me. After that, doing the MA at CSM felt like a natural step, and of course, the guidance of Fabio Piras was instrumental in refining what I do and shaping my direction. 

The least glamorous part is definitely cash flow and admin. Fashion has this perception of red carpets and glamour, but the reality is constant graft. Without proper cash flow, it can be incredibly tough, and it does take a toll. On top of that, you are always reflecting, refining and developing creatively and personally, which requires a lot of mental perseverance. It is rewarding, but it is relentless. 

I have actually been really lucky with the designers I ended up interning and working for. They were all genuinely kind people. Sometimes I like to think I manifested that.

Who are you designing with in mind when you’re working? 

Probably myself, in a way, or maybe a version of myself with more confidence and bravado. I think it is the ideal guy I am trying to create, someone with my values but with a kind of Superman confidence. Someone who can wear something slightly funny or unexpected and still look completely fresh and self-assured. 

The ideal guy I am trying to create, someone with my values but with a kind of Superman confidence. Someone who can wear something slightly funny or unexpected and still look completely fresh and self-assured. 

What are/were you doing alongside your creative work to keep it sustainable in the early days? 

It still feels like early days. I have worked part-time to sustain myself, taken on freelance jobs, styling gigs, whatever keeps things moving. It has always felt like a hustle, and even now, I reinvest everything I can back into the work. That said, I have learned I have to protect my social time too. Going out with friends and being around people I love feeds my soul. The love and belief I have received around my work have honestly fuelled me to keep going. 

I have worked part-time to sustain myself, taken on freelance jobs, styling gigs, whatever keeps things moving. It has always felt like a hustle, and even now, I reinvest everything I can back into the work. That said, I have learned I have to protect my social time too. Going out with friends and being around people I love feeds my soul.

What does meaningful support actually look like in fashion right now? 

The greatest support has definitely been my parents, financially, yes, but more importantly, emotionally. This journey is such a rollercoaster, and having friends and family like mine has been imperative. Just having someone to talk to makes all the difference. Beyond that, the people in the industry who have pushed me, opened doors and given me platforms to show my work have been invaluable. As much as I hate to say it, financial support is necessary. It allows the work to exist. 

How do you try to support others coming up behind you? 

I try to be transparent and honest about my journey. I am quite modest, maybe because I am always thinking about where I want to go and how far there still is to travel, sometimes too much. That mindset means I do not glamorise the process. I try to speak openly about the realities in a way that makes it feel less daunting and more manageable. At the end of the day, I am still developing too. 

I try to be transparent and honest about my journey. I am quite modest, maybe because I am always thinking about where I want to go and how far there still is to travel, sometimes too much. That mindset means I do not glamorise the process.

What moment have you been most proud of in your career, and how did you celebrate it? 

Winning the L’Oréal Prize was definitely one of the biggest achievements. I was completely overwhelmed, mainly because I had never really won anything before. The attention around the CSM show felt surreal. Another big moment was getting the job in Paris at Dover Street, CDG at the time. I do not know if I properly celebrated after the show. I feel like I am always celebrating in some way, but I also tend to immediately think about what is next. 

Winning the L’Oréal Prize must have been a huge moment at a time when breaking into fashion can feel precarious. How did that support shape what felt possible for you, both creatively and financially? And from that collection, is there a look or piece you still feel especially proud of? 

Financially, the prize was not huge. We had to split it with Petra, and it is not what it once was, but at the time, I was so broke that it genuinely helped, and I am very grateful. More than the money, though, it was the recognition and validation that meant the most. In this industry, validation carries a lot of weight. It was not about one specific piece; it was about the collection as a whole and striking that balance. I am proud of it collectively, even though, naturally, I have favourite looks within it. 

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