Chief Creative Officer Daniel Lee on Burberry and the Brits Who Inspire Him

0:05This is Cho Minardi and you're listening to The Run Through. Today, I wanted to bring you a special episode featuring a live conversation I had with Daniel Lee, the Chief Creative Officer of Burberry, as part of Vogue's Lightroom Exhibit in London, which explores the history of fashion and design on the runway. I really could not imagine a better place to talk with Daniel, being that Burberry is the ultimate British brand. Daniel took the helm as Chief Creative Officer at Burberry in 2022 after his role as Creative Director at Bottega Vanetta and has been wowing us ever since with his ability to embrace legacy as well as innovation for the brand.

0:42We recorded this conversation just ahead of his autumn winter 2025 ready to wear show. It was it was fantastic. And I love talking with Daniel about how art and music informs his work because there was so many people of that world at a show. I mean, I was from where I was sitting, I could see Lauren Hill and her daughter and Skepta was there. You know, he always brings together such an incredible crowd. So enjoy.

1:10So welcome, Daniel. Thank you. So this evening, we're going to dig deep into the nuances of Daniel's creative vision and the rich world that he's built at Burberry. I think about Burberry and this like titanic history that it has, it's 170 year long legacy. And I really feel that since you've arrived and you arrived in in 2022, you sort of set about balancing this idea of the history and imbuing it with a sense of sort of like contemporary relevance. So tell me a bit about how you begin building the foundations of like a house with such a big legacy. I mean, I think Burberry, yeah, you could liken to Titanic.

1:53You know, it's huge. But I think no matter how big the size, I think any brand really, you know it boils down to people and it's a few people making work and making decisions that they love and they believe in you know teamwork is super valuable and super important in our industry so everything really does start with a team and I think when you work for a brand with such a beautiful past you know it's really it's an it's an incredible starting point to look at the history you look at the archive, think about what were those founding principles, what was the founder thinking when, you know, Thomas Burberry, when he began, you know, he really was making clothes to protect people, but people that had real lives, that people that were exploring, that were outside, that were, yeah, I think Burberry's really a brand to be lived in.

2:48And what's your personal relationship with Burberry? Because I feel like we all kind of it's a brand that we've all known we've all grown up with if if you're British you know Burberry so what what was your relationship to it yeah I think Burberry is pretty inescapable in this country you know and and what's beautiful about this particular brand is the breadth of the audience um that it appeals to you know I think growing up here we see Burberry one we saw Burberry one on the on the queen and you know when she's having summer vacations in Balmoral you also might see it on EastEnders you know I remember someone wearing a Burberry check scrunchie in EastEnders when I was a kid you know that's what's quite magical about it.

3:27What do you think sort of at the heart of it defines this sense of Britishness that that's at the heart of Burberry like what how would you get to that essence? I mean Britishness is a real vague notion you know I think there is no hard and fast answer to that I mean for me the things that I think that are great about our country and the things that we want to celebrate. Really, I would say two things, the people. I've been fortunate enough to live around the world, but I think the one thing that I always missed about London really was the conversation, because there's so much variety in heritage and background in opinion in this country, and I think people have never been afraid to kind of speak their mind, and that informs great work and great thinking.

4:13And then, yeah, creativity is something that I think we're pretty world-class. You know, we're sat next to St. Martin's, which is one of the best art schools on the planet. And we are pioneers in music, in film, in art, in theatre, in dance. And all those great things are what we want to celebrate at Burberry. I mean, one thing that I think in the conversations that you and I have had, as well as this sort of like big sense of vision, you're also very invested in the process. And I'd love to talk to you a little bit about how that comes to life, how a collection comes together, because I know that's something that you really enjoy.

4:48Yeah. The process is, for me, the most enjoyable part of my job. Obviously, the show, you know, shows the magical moments. They're great unveiling moments to the world. But the day-to-day is a real pleasure. I'm fortunate, as I said, to have a really great team. I mean, some of the people in my team, I was together at school within St. Martin's. So that was, yeah, that was really the beginning and I think St. Martins is a great network and inspiration comes in many forms you know I think a lot of it is conversation it's feeling it's reacting to what's going on around you at the beginning of the season there's always a big moment of research of kind of looking and thinking and that kind of continues right through to the end but I would say there always comes a point and this is a part that personally for me is the most enjoyable is really the moment that you let go of the inspiration and you work with instinct and you work with what that particular object that you have in front of you happens to be you know you think you maybe you're thinking about it's a dress or it's a shoe or it's a handbag um how do you make that object better how do you make it simpler how do you make it answer the question in an easier way um and really connecting with one's instinct i think that gives me a lot of pleasure because it's really about being in the moment totally I mean what do you what do you think makes a good team um when it feels like a collaboration when I don't feel like the boss when it feels like everyone is in a safe space and they're free to offer opinion because no one's always right all the time and I may be the creative director but it doesn't necessarily mean my idea is the best in the room you know I think creating that safe space within the team where everyone feels they can contribute.

6:33For me, that's the magic.

6:39We're going to take a quick break. Back in a moment.

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7:33I think you've also done a really great job of creating a community around the brand. And when I think about all the people, you know, from Lennon Gallagher to Olivia Colman, Mary Berry, I think there's been a real sense of like who the people are that sort of like stand for the brand and who your people are. I think we're in the UK. We're so fortunate with our sense of community here. I mean, it's a no brainer, really. You know, there's so much great talent from Little Sims, Kano, Skepta. You know, we're surrounded by greats. Yeah. The way that we choose people to work with, it's never about the size of their following or, you know, whether or not they're considered like hip and of the moment.

8:16It's really about connecting with them on a level that we really admire their artistry. And I think that's what all the people here have in common. You know, they're determined, they work incredibly hard, for their best at what they do. And how does that sort of approach translate when it comes to casting around a show? And how soon in the creative process do you start having those conversations about casting? Because, I mean, there've been so many surprises. I think Maya Wigram, who's Phoebe Filo's daughter, was like the talk of that season. And then bringing back Agnes Dane, there's been so many sort of surprises in your casting.

8:57Yeah. I mean, you know, ultimately fashion is people, you know, fashion is about people. It starts with people, it ends with people. It's really at the beginning, you know, and I think I have a personal connection, I think, for the brand as well, you know, looking back at the archive and thinking about who those great Burberry women were, so Agnes and Kate and Naomi and Liberty Ross and, you know, being able to work with them in a really authentic way because they also have history with the brand. Yeah. You know, the idea and notion of Britishness at Burberry is so big, you know, and it's so important and it's so central to the greater story.

9:36It's not just necessarily about one particular show, you know, and I think the casting is something that transcends one collection. It's something that kind of is a through line from the beginning until the end. And obviously you work with Anita Bitten. Yeah. What's that collaborative process like? And how would you just like tell us about the conversations that you're having with her throughout the process? I mean, Anita is another great British talent. I'm fortunate to have worked with Anita for quite a long time now. So a long time in our industry. So the conversation is very organic. And I think we bounce ideas back and forward.

10:12I think particularly at Burberry, we start with the brand. You know, we look back at the shows in living memory and like think about, oh, is there anyone that could feel good to make a comeback? We think a lot about the next generation of British global talent. So I would say Kai, Kit Butler, you know, the models that kind of really do the international circuit, Sasha Quimby. And definitely they feel like they're an important part of the story. and get people like Maya, you know, thinking about who could the next generation be. So it's sort of a combination of looking back and looking forward always in the way that you think about.

10:52Exactly. I think arguably you're the real blockbuster show on the London schedule. And there's been a sense of local intimacy to those four shows you staged so far. You know, the first three were shown in local parks. You had the National Theatre with the YBA, Gary Hume, a set. I mean, I know that we've had many conversations about music. I think we see we have similar taste in music. And it's sort of like been a key to the world building around the show. And I don't know if everyone knows, but Daniel works with Benji B. He's incredible. And typically working with British artists. How much space does thinking about the show and the show day?

11:33Because I know yesterday night we were talking a bit about, because I know you're in show prep now. How much space does that take up in the creative process? I would say, again, it starts very much at the beginning. I feel I'm also, I would say, a designer that I've always wanted the clothes and the work to speak. And I think there are different kind of camps of designers. Some where the show takes precedence over the collection. And then as of as where the collection takes precedence over the show. Maybe I'm somewhere in the middle now. It was important to me when I started at Burberry to showcase, I think, this idea of what modern Britishness is and celebrate parts of the city that traditionally wouldn't have been on a typical, let's say, tourist path, you know, and something that you touched upon, this sense of intimacy and kind of neighbourhood.

12:28And although Burberry is a very big brand, it does feel somewhat intimate. Yeah. I think that's the difference also working in London versus working in Europe. The industry here, we share more than I think our peers do abroad. And then the show at the National Theatre, you know, I think Burberry, as such a great institution, has a responsibility to showcase and celebrate the amazing creative institutions that exist in this city and also to showcase and celebrate the great artists that exist in this city. So Gary Hume, you know, obviously being the one we collaborated with on the last show. I was first drawn to Gary's work because of his use of colour.

13:15Yeah, it's beautiful. I love colour and I love his sense of colour. I find it incredibly uplifting and incredibly calming. And in looking a lot at his work, you know, we discovered a piece of work called Baize, which was the work that we used as a show space set and that was a site-specific work he made for an exhibition in the 90s and and when we spoke to him he actually had some of it in storage so we're like and he hadn't seen it for 20 years I think he was even saying you know I was about to throw it away oh my god no so thankfully we came to him and said can we use it it kind of looks like trench coats you know when the gabardine's been cut for trench coats in the mill in Castleford and then you're on to music I think music really is something central to to a show it really is what sets the emotion and what sets the feeling it completely changes the way you perceive a collection and yeah I'm very fortunate to work with Benji and I think when I started at Burberry and we had the initial conversation you know it was his idea to say you know every season and let's pick a great British musical artist, and let's celebrate them.

14:26We started the first show with Burial. What we love about Burial was the fact that, you know, he has tracks that are things like in McDonald's and on the night bus. And for me, that just, it sounds so, for me, it really epitomizes sonically what London is, you know, kind of as a teenager growing up here, doing university, you know, being at university here. It sonically made sense. a vision for the brand that felt like modern and kind of new. Didn't you do Amy Winehouse at one time? That was it. That one had me. And Amy, obviously, to celebrate, you know, a great British icon. And then, yeah, we had Amy, the winter show in Victoria Park.

15:08That was a show that opened with Agnestine. And the whole thing, we really wanted to have this kind of festival, like you're having fun kind of outdoors in the countryside kind of feeling. We'll be back after a quick break.

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16:07I love the shoot that you did with Agnes. Tell me a bit about it, because I think collectively we're all still obsessed with her like what she liked to work with what was it like I mean was she surprised to be asked or like because we hadn't seen her for a while I think in the fashion world no she'd kind of been in hiding upstate New York Agnes has three kids actually four now she just had another four children four children she's a super generous and kind person you know so working with her is an absolute pleasure um she also comes from that generation of model where they were really trained by photographers you know I think now we're in a much more of a cycle of new face new photographer like there's a lot more churn then it was very much fewer photographers fewer models um you know she worked with photographers like Stephen Mizell who it was an incredible schooling um so to get her in front of a camera it's so easy you know um And she was, we shot with Agnes in the Lake District last year.

17:12Super freezing cold day. But she wanted to jump in the lake and take a picture. I remember that picture. It's kind of amazing. It's an amazing picture. She came to set with her mom, which was really sweet because she's also a Northerner. So her mom still lives in Manchester. Yeah, and she really wanted that photo. Who shot that picture? It was Tyrone. So, yeah, I mean, Tyrone will not shoot for editorial, but I've been begging him for a long time. So I'm quite jealous. Like, what is it like working? I know, I'm very fortunate with the Tyrone Monopoly. We've worked together again for quite some time now, you know, and I think there's a trust and a respect and a love there.

17:51I'm really proud of the work we've made together, both at Bottega and at Burberry. I love his pictures. I think we share a similar set of reference. You know, we're quite on the same page. We like a lot the same casting. For me, his pictures kind of really embody a modernity, but at the same time, a real classic kind of elegance. They kind of feel like they could have been taken any time. They really do. And it's really about the person. You know, I think he's really capturing the spirit of a person. And as I said, you know, for us, that's really the most important part of the work. Do you enjoy that aspect of the job as well, the sort of image making?

18:37I would somehow say that's probably my favourite part of the job. There's so much magic in an image, you know, and I think an image is obviously a still object. And I think looking at an image, it can be interpreted in so many ways. and there's a magic to that you know I think when you see a great image you are immediately in your mind you're kind of you're filled with emotion you're imagining a story whereas a show or a live moment or a video we're giving the whole story away you know I also really appreciate kind of the smallness of making an image you know it's fewer people it's a more controlled environment there's time to reflect and we are within skipping distance of Central St.

19:25Martin's, and I know that's where you went, and there were many students in the room. I'm always fascinated. I didn't go to fashion college, but I'm always sort of fascinated with what the life of a student must be like, and fashion college like Central St. Martin's is so prestigious. Do you have any memories or things that stand out in your mind that sort of like stay with you? Well, the people definitely have stayed with me, you know, right through to this moment. I mean, I remember on my BA, I had a super kind and generous tutor named Sarah Gresti, who's now head of fashion BA, that I was still in contact with.

20:02And then for my MA, I had the terrifying Louise Wilson. But I remember I was so scared of her and I remember she would scream and shout at us. But I think that really prepared me, you know, for the industry. Fashion is actually a much nicer place now than it used to be. Yeah, I agree. I think so too. I mean, so legendary that you got to be taught by such incredible people. Exactly. Exactly. Well, thank you so much. Yeah, it was a really lovely conversation and I'm very excited to see your new show. Thank you. Yeah, thank you. Thank you everyone.

20:52The Run-Through is produced by Chelsea Daniel, Alex DePalma, and Joanna Solitaroff. It's engineered by Jake Loomis, Luke Mosley, and James Yost. It is mixed by Mike Kutchman. Stephanie Kariuki is our executive producer, and Chris Bannon is Condé Nast's head of global audio.

21:20Thank you.