Brown would later say: "When John Flett came for his interview his work was incredible, one of the tutors said not to give him a place as he looked like trouble.

"[7] At Central Saint Martins, Flett was part of a hothouse of talent – both in fashion and the London scene; his early 1980s peer group included not only Galliano, but also Stephen Jones, Darla Jane Gilroy, Sade and Chris Sullivan.

[1] The Guardian described Flett's brand signature as distinctively different for the times: "Along with John Galliano, who was a [sic] schoolfriend, he pioneered a new type of bias-cutting technique which imbued garments with a special fluidity and grace".

[8]: 39 Kevin Almond has said: "much of Flett's skill was in his cutting, intricate and inventive, with which he developed clothes that seemed to cling to the body.

The interviewer said Flett's trademarks were about intricacy, involving clever draping on items such as a backless dress with no visible means of support.

[2] Despite the acclaim from both buyers and majority of the British fashion press, Flett was unable to sustain his business venture.