Exploring Scottish Identity Through Fashion
After more than ten years leading a fashion brand he describes as "for the weirdos, by the weirdos," Charles Jeffrey is delving into the meaning of Scottish identity and who has the right to claim it.
Jeffrey, raised in Cumbernauld, is the founder and creative director of Loverboy, an internationally recognized fashion label favored by personalities such as Tilda Swinton and Harry Styles.
His newest collection, titled Thistle, honors Scottish clothing and identity through a queer, club-culture perspective.
"queering Scottish nationalism"
At 35, Jeffrey first garnered attention in the fashion industry with his unique fusion of Scottish attire, camp drag aesthetics, and club-culture vibrancy, emerging as a prominent "club kid" within London fashion.
However, his beginnings trace back to his teenage years in western Scotland, where he lived with his mother in the early 2000s.
"I loved comic books, video games and superhero films," he recalls.
"I was always drawing my own characters."
Initially, Jeffrey envisioned a career in game design rather than fashion.
His trajectory shifted as he became more conscious of his sexuality and immersed himself in music, nightlife, and fashion culture.
During his adolescence, he was a regular at an underage Glasgow club called I-D, known for hosting New Rave nights, and credits early social media platform MySpace and publications like Dazed and Disorder for nurturing his creativity.
London's scene, however, was his main source of inspiration, where designers such as Gareth Pugh were pioneering club culture-inspired and fantastical fashion.
Jeffrey applied to Central Saint Martins, the London art institution that produced many designers he admired, including Pugh and John Galliano.
Though accepted, he initially found the environment challenging.
"I went from being one of the best students in high school to being surrounded by people who were technically incredible," he says.
"I found it very difficult to be a 'serious' designer."
He struggled with traditional garment construction and pattern cutting despite having strong conceptual ideas.
This insecurity led him to pursue alternative methods.
"I had to use a different route to get there, which was much more DIY," he explains.
This approach evolved into Loverboy, which began as a drag-infused club night organized with friends alongside his studies.
The event was informal, playful, and infused with humor, characteristics that would later define the brand.
Gradually, aspects of the club night—painted denim, ripped fabrics, collage, and performance—merged with tailored clothing.
Jeffrey credits this fusion with helping him find his creative voice.
"Something just clicked," he reflects.
"It was about collaging something artistic with something very specific and tailored."
This balance between playfulness and seriousness remains central to Loverboy today.
The brand continues collaborating closely with long-term partners, many of whom are friends, a practice Jeffrey attributes to his Scottish upbringing.
"It comes from being Scottish," he says.
"We never try to take ourselves too seriously, and people don't like it when you're too big for your boots."
The Thistle collection is named after Scotland's national flower, which is linked to a legend where invading Vikings were defeated after stepping barefoot on thistles.
Jeffrey chose the title late in the creative process but felt it aptly represented the current moment.
"It's a really resilient flower," he states.
"I feel like that's what we're needing to be right now."
For Jeffrey, the thistle symbolizes survival within an industry he describes as increasingly unequal.
"It's a rich man's game," he acknowledges. "But it's not hopeless."
The collection is presented as a form of "queer Scottish resistance," informed by research into Scottish Romanticism and the ways national identity has been shaped, retold, and sometimes controlled.
The late 18th-century Romanticism movement contributed to an idealized portrayal of Scotland through art, literature, and fashion.
However, Jeffrey notes that it also simplified Scotland's history and occasionally excluded groups or identities that did not conform to the romanticized image.
He warns that contemporary nationalism can similarly be used to exclude people of color and LGBTQ+ individuals.
While his work carries political undertones, Jeffrey emphasizes its primary goal is to foster visibility and safety.
"It's about signalling: this is a safe space," he explains.
"We're still here, and you can't get rid of us."
Despite Loverboy's success, Jeffrey admits that self-doubt persists.
"I still look at other designers and think, 'am I doing anything the right way?'," he confesses.
More than a decade into his career, he no longer expects the path to become easier.
"It's always going to be a hustle," he says.
Throughout his journey, home remains a foundational emotional touchstone.
"That's where it all began, in my high school art class, and walking around the golf course with my friend dreaming of going places," he shares.
"I don't want to leave that space."
