AN ASTHETIK MAGAZINE CONVERSATION:
THE DUALITY AND EVOLUTION OF LEO PROTHMANN
GABRIEL MEALOR-PRITCHARD FINDS OUT HOW LEO PROTHMANN'S AW25 COLLECTION EXPLORES WHERE HE'S BEEN AND WHERE HE'S HEADED.
Upon the Jurema terrace at the Mandrake Hotel, designer Leo Prothmann showcased his much anticipated AW25 collection at London Fashion Week. The innovative designer, who works closely with Rick Owens, presented 'FINCA' (translating to 'ESTATE'), paying homage to his family's Spanish heritage, all whilst painting a picture of the journey that has led him to where he finds himself now.
Prothmann has continued his partnership with Rick Owens on the brand's AW25 "Concordians" collection, where he designed the striking leather chaps that dominated the runway and social media thereafter. As the pieces travel from waist to foot, they transition into a relaxed rendition of the kiss boot we all know. This circles back to Prothmann's first collaboration with the esteemed fashion house when he redesigned the staple Rick footwear to incorporate his take on the iconic heeled boot for the house's AW24 runway.
The Spanish designer has always found himself on a journey. A voyage to explore new ventures and take up new talents, from horse-riding to fashion. Wherever the creative finds himself, he thrives. His designs combat the traditional gender stereotypes the world knows all too well and break down the boundaries between contemporary and agricultural style. Blurring the lines between his origins and his current position within the fashion industry.
After growing up in the rural Spanish countryside surrounded by animals, he left it all behind as he ventured forth to Berlin to pursue his dreams in fashion. This is where the unmistakable Berlin-club-scene-edge, garnered from the designer's time spent in the capital, filtered into his designs. Though the creative moved to further a field with his dreams for fashion in mind, Prothmann makes it his aim to keep his heritage and childhood deeply rooted within his designs, aptly referring to his brand as 'Stable Glam.' His latest collection seconds this notion with heavy-metal wellington platform heels and equally heavy-duty coats. FINCA acts as a testament to his adoration for equestrianism and the countryside that raised him. The creative's most recent presentation reinforces the house's duality by presenting rich textures – rubber, metal, and leather – with earthy/muted tones that establish the collection's raw nature. When not behind the sewing machine, Leo can be found behind an easel, taking inspiration from his talent in painting and translating it into garments that represent his artistic identity. His work can be purchased through his website, found alongside his garments.
To find out more, after the show, I spoke to Prothmann about his AW25 runway, discussed his inspirations for the collection and also how, on top of all of this, he has implemented a 100% proceed fundraiser in aid of The Brain Tumour Foundation.
G: FINCA is deeply personal, evolving from your childhood and family tradition. What was the most emotional or challenging part of translating these memories into fashion?
L: I think the hardest part was speaking about the impact of failure and the feeling of not living up to expectations. Back then, my life was completely focused on a showjumping career, which ultimately didn’t work out. It was a tough lesson, but it taught me discipline and helped me value things in a completely new way. It was a tough but necessary realisation.
G: Duality plays a big role in your journey. How does this tension between self-discovery and transformation manifest in your design process?
L: I have had several careers that will always be part of me. Looking at the Gemini brothers helped me relate to my own story of self-discovery and transformation, which has been similarly multifaceted and never straightforward. This comes through in my design process as I reference these different, seemingly disjointed industries that are, however, all embedded in my persona. This also comes through in how we style and present the collection. I don’t conform to traditional gender norms, and that naturally translates into my work—there’s a fluidity and multifaceted nature in how I express identity and transformation.
G: Equestrianism was a budding interest of yours before you transitioned into hospitality and later fashion. Do you see parallels between these worlds, and how do they influence your work today?
L: Absolutely. There’s a strong parallel—both industries have a certain camp quality. Equestrian attire is this perfect mix of chic and sporty, and hospitality has its own exaggerated aesthetics—the uniforms, the formalities. It’s warm yet sterile at the same time because of the strict hierarchy. Both worlds instilled in me a strong sense of discipline, which has shaped my work ethic and design approach.
G: You talk about a shift in style after moving to Berlin at the age of 16. How did Berlin’s fashion and culture inspire you to embrace a more flowing, intimate aesthetic?
L: I moved to Berlin in 2013 when I was 16, and that’s when I started going out. Back then, Berlin’s nightlife felt different—no ID checks, no bag checks—pretty much anyone could get in. It was a time of total freedom, and that sense of liberation really shaped me. That’s why there’s always a playful edge to my designs—I was playful back then, and I’ve always valued the freedom that safe, inclusive spaces like Berlin’s nightlife provided.
G: This isn’t your first time experimenting with footwear after your continued collaborations with Rick Owens. FINCA reimagines rubber boots with substantial soles and industrial-style heels. What exactly drew you to explore such a bold reinterpretation of a functional item?
L: I’ve always wanted massive wellies with a big heel and platform. I love how they look in the mud—practical but dramatic.
G: The colours seen in FINCA have been translated from your paintings. How does your work as a painter influence your design choices, and do you approach fabric like you would a canvas?
L: For me, painting is a therapeutic process—it’s like scrolling through Instagram for some people, a way to relax. But while painting is impulsive, sewing requires control; if you sew impulsively, you’re more likely to hurt yourself. I love navigating that contrast in creative energy.
G: You set up a fundraiser for The Brain Tumour Research Foundation in aid of your brother's diagnosis in 2023. It is an initiative that stems from a place so close to home. How do you see fashion as a vehicle for storytelling and social impact?
L: It’s important to spread awareness that serious health conditions can affect people at a very young age. I want to reinforce that taking care of yourself, being open about struggles, and seeking support should be seen as strengths, not weaknesses. It’s important for everyone, regardless of gender or background, to be open about their struggles and to seek support without fear of being stigmatised.
G: If someone unfamiliar with your work were to experience FINCA for the first time, what is the one feeling or message you’d want them to take away?
L: I’d want them to feel like they’re at my family home in Spain—a sense of acceptance, freedom, and fun!
G: The idea of personal evolution is central to FINCA. Looking ahead, how do you see your work evolving even further?
L: I just want to keep creating more refined pieces: things my clients can wear and love for years. I want to be the kind of designer who you just know you can get a sick jacket or a cool pair of boots from, and they’ll last forever.