[2] The Glasgow Herald, on the other hand, summarised it as: "a stylishness based on subtlety and fine construction which stands remote from fashion's general glitzkrieg and the obstructive shoulder pad".
[3] Both had, at one time, worked with the leading 1970s designer Christopher McDonnell – Fraser was in a business partnership with him at Marrian-McDonnell for a short period while Nott spent a nine-month spell as assistant.
[7][8] Indeed, The Times fashion editor Prudence Glynn tipped Nott for the top in 1972, describing him as: "an exceptionally promising new design talent" and noting that his graduation show had attracted considerable interest from Marc Bohan at Dior.
[12] Early ranges that came to the attention of the national press included tasselled waistcoats, peasant-style skirts, chunky jumpers and cardigans and fringed woollen shawls worn with deep-crowned felt hats.
[13] Describing their global inspirations, The Times wrote: "They started with middle-European cowboys, travelled through Mediterranean ports and Bavarian hunting lodges and are about to wade through a Mississippi swamp.
[14] At this stage, the brand was stocked in Browns in London, a designer store in Beauchamp Place and Glasgow boutique Ichi ni San, with over 30 overseas accounts mainly in Japan, Italy and the US.
[3] The following year, Workers for Freedom featured at Harrods as part of a promotion of British design for London Fashion Week, alongside names such as John Galliano, Jasper Conran and Paul Costelloe.
[18] Workers for Freedom picked up the prize, which was presented by Princess Diana, Summarising the brand's appeal, The Times said it had: "romantic folkloric style that remains in essence very British".
[21] In 1990, Fraser and Nott signed a marketing agreement with Marco Rivetti's Gruppo Finanziario Tessile (GFT), the Italian company that had promoted names such as Armani, Montana, Ungaro and Valentino to international audiences during the 1970s.
[23] Fashion editor Liz Smith said the brand's signatures such as embroidery and appliqué were what attracted American store buyers, adding: "Here are two designers who ignore the trend towards high hemlines and go on doing their own thing".
In 2013, Workers for Freedom – along with BodyMap, Katharine Hamnett and Betty Jackson – featured in the V&A's From Club to Catwalk exhibition, which charted the influence of street styles on British high fashion.