When Sibling launched in 2008, they were determined to take men's knitwear and give it a good shake up. The collective child of Joe Bates, Sid Bryan and Cozette McCreery, the label takes a lead from both the legacy of Savile Row tailoring and Britain's historic relationship with rebellion. Global turmoil since their birth has proved the greatest inspiration and their collection for this season exposed the worldwide "Lord of the Flies" struggle for political power. SS13 was about change -you'd have to be living on the moon to have not felt it rumbling throughout the world. The references within the collection included the East London Riots (as seen in the reworking of the toile de Jouy, an idea triggered by the Paris Riots of May 1968), Arab Spring (the arabesque star jacquards and a design seen next to the mosque near to where the threesome works) and the color white -it became a really conscious decision to have as much white in the collection as possible. The gold was just very Sibling, although could be interpreted as perhaps the feeling of new heroes... The headpieces are the Sibling signature. These balaclavas run through their collections constantly, starting with Knit Monster for the 'Social Zombie' collection about three years ago. So, yes, the show had the strange feel of an assault on orthodoxy. But the Siblings are sly devils. The soundtrack was one clue : Rrather than the raw call-to-arms of the Clash, it was the pantomime punk of Sham 69 that underscored the marchpast of high-performance urban sportsgear. In other words, let's play at revolt. Hence, the oh-so-trad toile de Jouy that, on closer examination, depicted the wrack of the riots; the running shorts under leggings; the laurel wreath of skull and crossbones, proclaiming that the victors' spoils were naught. The Siblings also brought in football references from farther West. Gridiron shoulders were rendered in white paillettes and hoodies, and cropped sweats showed up in in lurex. It's not the first time the Brit neo-punk label has repurposed edginess, but this particular manifestation looked like an exercise in exquisite let-them-eat-cake (right-after-they've-nicked-it) decadence. The shownotes mentioned Kehinde Wiley, the African-American artist who poses his models against lavishly Rococo backdrops. The same kind of rarefied self-consciousness infiltrated the Sibling collection, and it felt like a thrill. A revolution : that was the title of this first, fast and furious runway show.