Asthetik Magazine is a fashion and lifestyle magazine/blog which presents different perspectives on the world of fashion. Including recipies and design information, this website is bound to inspire and enthuse you on the latest trends and styles from across the globe. ASTHETIK MAGAZINE SOME GLAMOUR TO QUIET THE FEAR YAKU AW26: READY, PLAYER, FIGHT WE CAN’T KEEP IGNORING AFRICAN FASHION FLAIR FASHION AW26: THE DESIGNERS INSPIRED BY BALENCIAGA: INSIDE SAINT MARTINS' BA SHOW IN SURVIVOR’S REMORSE , TOLU COKER REFLECTS ON ORIGIN THROUGH UNIFORM DANIEL ROSEBERRY MAKES COUTURE LOOK EASY REFERENCE EXHAUSTION: JONATHAN ANDERSON'S DIOR AW26 THE POLITICS OF CREATIVE SURVIVAL: EGONLAB AW26 APPEARING WELL-READ THROUGH MARKERS OF FASHION EMERALD FENNELL’S REIMAGINING OF “WUTHERING HEIGHTS” Load More BECOME A MEMBER NOW Please enter your email here... Sign Up WELCOME TO THE CLUB!

YAKU STAPLETON NEGOTIATES WITH REALITY THROUGH COMBAT IN HIS FOURTH INSTALLMENT AT LONDON FASHION WEEK. ZA SENOI SHARES HER THOUGHTS.  YAKU AW26: READY, PLAYER, FIGHT YAKU STAPLETON NEGOTIATES WITH REALITY THROUGH COMBAT IN HIS FOURTH INSTALLMENT AT LONDON FASHION WEEK. ZA SENOI SHARES HER THOUGHTS. Written by Za Senoi Edited by Gabriel Mealor-Pritchard Photography by Christian Tuckwell Smith “We’re trying to make art that responds to the world rather than simply offering hope, because hope alone doesn't drive change”, read the show notes of Yaku Stapleton's AW26 presentation, Evolution of Combat. This collection acts as an effort to bridge the gap between reality and the role-playing game-inspired narrative that Stapleton has been building since his MA at Central Saint Martins in 2023. Previous iterations of this world have echoed the video game-adjacent sentiment of escape – of offering refuge from the real world through an adventure in a distant land. However, for AW26, the team “realised that limitlessness cannot sensibly produce only positive outcomes.” Each YAKU collection is based around members of the Family, characters created largely based on Stapleton's own relatives. “The story this season focuses on two brothers, the protectors and warriors of the Family. Our research looked into combat; the beauty and discipline that comes with it, but also exploring what happens when the motives behind it change,” Stapleton told Asthetik amid the aftermath of his presentation. The team takes a layered approach to portraying combat, a central aspect for RPGs and, really, video games at large. The show is divided into a four-act structure, following the narrative of warrior Télavani – the inhabitants of the YAKU universe – navigating the challenges of their universe. Though Stapleton has been known to world-build in previous seasons, this collection kicked things up a notch. The universe constructed in the basement of 180 Strand enveloped attendees in a sensorially immersive experience. In the dimly lit hall, stalagmites emerge from the floors urging guests to stay on high alert and watch their step. Around the runway path, Télavani characters frozen in motion: some resting in battle formation, others scaling pillars or sword fighting while hanging from the ceiling. Ominous music floods the space as a faceless, flowing figure draped in black cotton fabric strips walks through, beckoning a disembodied narration that booms through the space. This characteristic directly references RPGs – the game will always guide its player through opportunities and storylines. The narrator then sits back, among the audience, allowing for the first characters to descend upon the runway. The first act's pieces are free-flowing. Ultra-wide trousers and loose t-shirts allow for movement, while airbrushed muscles and 3-D printed Hulk-like gloves signal confrontation. The performers (as they cannot be described uniquely as models) dance as if the Télavani are training for a battle. Stapleton drew heavily on movement inspiration from Caribbean martial arts and the intersection of fight and play. This act's oversized clothes lend themselves to the eagerness in each motion, while simultaneously acting as armour for cartwheeling soldiers. The music quiets, the narrator stands, and Act Two begins. The score becomes more upbeat and whimsical, as do the dancer's movements. Each now carries a weight on their back – whether a recognisably ready-to-wear backpack or a protruding mound concealed by a moss-green cape. In this section, Stapleton also introduces the brand's upcoming collaboration with Nike. The look in question, a full tracksuit in classic grey jersey, brings the collection's visual language starkly back into the real world. “Previously, we worked to balance reality and fantasy within each garment, aiming to hit somewhere in the middle. This season, we experimented with separating them,” the show notes acknowledge. Though it is encouraging to see an industry titan like Nike collaborating with the new generation of designers, this look stood out in its simplicity. In contrast with the dramatic, gathered silhouettes that precede it, the ensemble would benefit from ludic styling elements that incorporate it more seamlessly into the rest of the collection.

UNITY IN DESIGN GLOBAL NETWORK (UDGN) CONTINUES TO SHINE A LIGHT ON EMERGING AFRICAN TALENT, DEMONSTRATING HOW IMPORTANT IT IS TO KEEP OUR EYES FOCUSED ON THE CONTINENT’S POTENTIAL. WESLEY BRAY ENLIGHTENS US. Images Courtesy of Ellis T Carroll & Verdoux Lens WE CAN’T KEEP IGNORING AFRICAN FASHION UNITY IN DESIGN GLOBAL NETWORK (UDGN) CONTINUES TO SHINE A LIGHT ON EMERGING AFRICAN TALENT, DEMONSTRATING HOW IMPORTANT IT IS TO KEEP OUR EYES FOCUSED ON THE CONTINENT’S POTENTIAL. WESLEY BRAY ENLIGHTENS US. Written by Wesley Bray Edited by Gabriel Mealor-Pritchard African fashion needs to be taken more seriously, with designers such as Oyintarebi Isaac, Taya Hughes and Jason Jermaine Asiedu presenting a solid case. At Unity in Design Global Network’s London Fashion Week show on Saturday, 21 February, these designers showed exactly why we need to keep showcasing underrepresented sectors of the fashion world. Titled “Anthology of African Stories – The People. The Land. The Heritage,” the fashion show saw film and fashion come together to showcase Isaac, Hughes and Asiedu’s unique perspectives as African diaspora making work in the West. The three collections emphasised the wide diversity in technique, culture and fabrics that exist within Africa, celebrating the complexity and richness that the continent embodies. TWIN BY TARE ISAAC Isaac’s brand, Twin by Tare Isaac, opened the show. The first look saw a model come out in a black dress, walking very slowly, commanding attention to be paid to the details of the garment. The look featured a beaded headpiece, which had its details reflected on the base of the gown. The body itself became a part of the garment as it peeked through more sheer elements of the dress itself. The mood felt mellow. The collection then shifted towards more tailored looks, with gold accessories adding a layer of flair. These specific pieces emphasised the modernity and diversity in fashion that the African continent has to offer. Precise cuts and made-to-measure elements stood out here, with fabrics flowing weightlessly as the models walked. Although not the most cohesive collection at first glance, Isaac made up for that through pristine craftsmanship and attention to detail. Standouts from the collection included a sculptural minidress, paired with a matching boater hat, made from more traditional African fabrics. “The fabric is called onibgake according to my mother. If a man wants to ask for your hand in marriage, he needs to buy that fabric. If he doesn’t, you’re not going with him. It was a must to have that fabric in the collection,” said Isaac. She also told Asthetik Magazine that finding the correct spelling of this fabric was a task in itself, given how limited the documentation of Africa’s contribution towards fashion really is. The same fabric was reimagined in a separate look, this time as a skirt with a high slit. The onibgake fabric glided seamlessly along the runway, while a relatively simple white top completed the garment. On the more understated looks, rhinestones added a layer of intrigue. The addition of sparkle was more explicit on another mini dress, this time featuring black and red beads almost throughout, reflecting light as the model paced down the runway. The final look was undoubtedly the showstopper of Isaac's collection. A cream white gown, which was draped effortlessly, caught the attention of the room. Several phones were immediately taken out to capture the moment. The dress featured a veil which flowed without interruption into the gown itself, while a bedazzled corset synched the midriff together. The golden embroidery and gems featured on the midriff were echoed on the train of the gown. “This collection draws on my mother’s lineage and the people of the Niger Delta in Nigeria, whose visual story has not really been told before in fashion,” added Isaac. “I wanted to use this medium of art to push our story forward.”n TAYAMEACA Up next was Taya Hughes, whose brand Tayameaca served as a reference to “The Land” in this group show. Huge’s opening look was bold, with a black and gold headpiece attached to eyeglasses demanding to be seen. A gold and black cape matched the headpiece, as well as a relatively uncomplicated mini dress, which the cape wrapped itself over. The fabrics were reminiscent of fur, which made sense given that safaris were a huge inspiration for this body of work. “My collection is focused on the land, specifically Zimbabwe. I was hugely inspired by blue skies, lions, green grass, everything to do with safaris,” Hughes told Asthetik Magazine. In terms of technique, resin was used in a number of looks to add levels of dimensionality. These looks stood out given their texture and wet-like appearance. In one garment, behind the resin, leopard print materials could be identified, connecting the less ‘safari-like’ pieces into the world Hughes created. Another resin look featured an arm strap, which made the garment appear more sculptural. In essence, transforming a subtle mini dress into something more visually stimulating. This specific dress also featured blue beadwork which connected the look to water, a clear inspiration for this collection. This penultimate look set the scene for what was to come: a piece predominantly made in a sky-blue fabric. The dress invited bodies of water onto the runway, with the final look having an eye-catching resin-constructed fascinator reminiscent of water. Circular embellishments also flowed down each side of the dress, inviting a level of playfulness to the look. Headpieces were a key element of this collection, with only two out of the eight looks not featuring one. As Hughes said herself, “For this specific collection, my starting point was the headpiece. The dresses were made to complement the headpieces, which were my primary storytellers.” JERMAINE BLEU The pace of the show shifted as soon as it was time for Asiedu to present his collection under his brand Jermaine Blue. This was evident in the more upbeat music that was played and in the literal speed at which the models came down the runway. Asiedu’s opening look was a rust orange shirt with tailored shorts in black, styled with a monogram scarf. Although the look was relatively logo-heavy compared to the previous two designers, the visual nature of the logo made this digestible and less distracting than one would expect. Earthy tones were present throughout the collection, which felt fitting for the season. A collared dress, almost ankle length, followed as the next offering. Again, quite simple, but clearly precise and informed. The tones used in this collection made the looks stand out. The monogram scarf featured again, creating immediate cohesion among the collection. A two-piece suit with shorts, instead of trousers, came out next. Here, accessories were everything. A cherry red flat cap was mirrored on the polar opposite end of the look as matching loafers. Long socks were also a clear motif throughout the collection, playing with the sense of age and references to older generations. “For this collection, I took inspiration from old family albums and reminiscing over eras that I didn’t live. And then, trying to capture the essence of that into this collection,” Asiedu told Asthetik Magazine. Standouts included a patchwork waistcoat made in various shades of green kente. Styled effortlessly with tailored black pants and boots, the look oozed sophistication. “I included traditional fabrics like kente and techniques like batik making, which are quite common in Ghana. I wanted to incorporate those into this collection,” added Asiedu. Patchworking techniques reappeared in the penultimate look. This time, with a bolder palette of primary colours. Styling was key to the success of this collection. It never felt as though the looks were too much or overdone when it came to colour choices and pairings. A mustard yellow dress closed the show, with tassels adding a sense of elegance and joyfulness. A loose bow synched the waist, allowing for an hourglass silhouette. Asiedu’s clothes felt wearable while still possessing undisputed levels of craftsmanship. Simplicity can win, as Asiedu confidently demonstrated.

CONNOR OVES PRESENTS HIS AW26 COLLECTION ON THE CLOSING DAY OF LONDON FASHION WEEK. CLAIRE MCKINSTRY WAS THERE AND RECALLS THE NIGHT IN HER OWN WORDS. SOME GLAMOUR TO QUIET THE FEAR CONNOR OVES PRESENTS HIS AW26 COLLECTION ON THE CLOSING DAY OF LONDON FASHION WEEK. CLAIRE MCKINSTRY WAS THERE AND RECALLS THE NIGHT IN HER OWN WORDS. Written by By Claire McKinstry Edited by Gabriel Mealor-Pritchard In the slightly outdated and deceptively intimate Claridge’s ballroom, London-based American designer Conner Ives brings together a host of names—from Lila Moss to iconic milliner Stephen Jones—to witness the debut of his politically charged AW26 collection on Monday afternoon. The location represents a land far removed from a room with sheets bleakly draped over the windows—the type of sobering afterparty environment that Ives fears, according to his show notes. Pop music fills the space, and champagne glasses glisten under the chandeliers. Ives was clearly catering to the “incessant craving to go out,” an escapist urge that inspired the collection, encouraging attendees to “party before the peril.” A graduate of Central Saint Martins and the 2025 winner of the prestigious British Fashion Council/Designer Fashion Fund, Ives skyrocketed to prominence at his AW25 show one year ago, where he wore his “Protect the Dolls” T-shirt. The shirt has since raised over $600k for a trans rights charity and has been worn by everyone from Haider Ackermann to Addison Rae. While he acknowledges the product’s importance and impact, he has since attempted to expand the label’s recognition beyond that viral moment. Many designers of late seem to fear striking a political chord; the Instagram account Diet Prada recently wrote an NYFW review calling out New York-based designers for their toned-down—if any at all—response to global politics. Meanwhile, Ives is unequivocal in his stance. The designer references the Weimar Republic in his show notes, an era in Germany when the Nazis were on the rise but had not yet taken power. It was the country’s first attempt at democracy but also a period of economic mayhem; nevertheless, arts and culture thrived. Ives is unambiguous when he draws parallels between this period of history and the US’s current state, writing that history is “repeating itself” and stating, “Fuck ICE.” , Yet despite these present dangers—and those on the horizon—he continues to shape culture and create meticulously crafted clothing. Back in the ballroom, models waltz sensually down the runway in silks, velvets, furs, and feathers, often making eye contact with the audience and performing as much as presenting. Tish Weinstock sets the mood as the show’s opener, wearing a T-shirt stating “I work nights”; the show closes with Dominique Jackson in a silky white evening look, the fabric billowing as she walks, complete with a fur-trimmed hood. Creamy yellow silk robes and dresses line the runway, embroidered with motifs of animals and flowers; similarly, embroidered bags and boots complement other looks. Silhouettes range from structured evening jackets to high-waisted tapered jeans, blending traditional with contemporary. Ives continues to push through the fear and bring people together in joyous moments, emphasising a basic human inclination toward beautiful things. As he states, there’s nothing wrong with a little “glamour to subdue the dread.”

GABRIEL MEALOR-PRITCHARD CHATS TO VALENTINA MENASCHE, FOUNDER AND DESIGNER OF THE NAMESAKE LABEL, 'MENASCHE', ABOUT HOW SHE CRAFTS CLOTHES AS EXTENSIONS OF ONESELF AMONGST OTHER THINGS. AN ASTHETIK MAGAZINE EXCLUSIVE INTERVIEW A Q&A WITH: VALENTINA MENASCHE GABRIEL MEALOR-PRITCHARD CHATS TO VALENTINA MENASCHE, FOUNDER AND DESIGNER OF THE NAMESAKE LABEL, 'MENASCHE', ABOUT HOW SHE CRAFTS CLOTHES AS EXTENSIONS OF ONESELF, AMONGST OTHER THINGS. IMAGE COURTESY OF MENASCHE Menasche has always approached clothing as an extension of being rather than just design. How has that philosophy evolved with this new release, with pieces that exist outside a traditional collection framework? I wanted to create pieces that reach beyond a single type of consumer. Menasche has never been about exclusivity, it’s about connection. Fashion, for me, is a key to consciousness. It’s not just a sustainability statement; it’s a way of helping people connect with their own energy through tactile experience. Each piece in this release is designed to make you feel. The waxed denim jacket, for example, isn’t simply beautiful, it’s built with three layers of textile technology to endure weather while offering a texture that can even soothe anxiety. The duffle bags were created to be both functional and sensory; they’re meant to travel with you and remind you of presence through touch. As an artist and designer, I wanted to show that Menasche is far more than clothing, it’s a living ecosystem of emotion, texture, and connection. Your work often explores dualities: fragility and strength, structure and fluidity. How did that tension shape the development of these latest garments? It all begins with the textile. For Menasche, fabric dictates emotion, and comfort grounds it in reality. I wanted to express that you can be fragile yet strong, analytical yet fluid, melancholic yet strategic. Those contradictions live in all of us. In this collection, sheer layers are reinforced by structured seams; sensuality meets function. That negotiation, soft versus sharp, utility with seduction, is where the garment starts to breathe. When opposing forces coexist, the piece feels human, alive. Many of the new pieces engage directly with tactility: waxed denim, sheer mesh, faux fur, leather-tex. What role does the sense of touch play in your creative process? -Touch is everything. It’s the reason we don’t mass produce. Every design begins with texture, with me physically exploring and listening to the fabric. Since childhood, I’ve experimented with tactile materials. I used to play with candle wax, pouring it on my hands, watching how water changed its form. Later, I realised that process could translate into waterproofing textiles. Every new release starts in what I call my “lab.” It’s where I test, melt, layer, and transform. It’s part scientist, part childlike curiosity. The entire process is an exploration of how material reacts to life. You’ve described clothing as a form of companionship. When designing these garments, how do you imagine the life they might lead alongside their wearer? I imagine a well-lived life, not just success or glamour, but the quiet beauty of daily existence. The Delicate Dress that meets your partner’s family with confidence and grace. The Ruched Pants that let you move freely through a night out, hands free, no bag, a 1.5-litre bottle fitting effortlessly in the pocket. The Waxed Denim Jacket keeping you warm and unstoppable on a cold hike or morning commute.The Duffle Bag becomes your travel ally, even doubling as a pillow at the airport. These pieces are made to be there when you cry, when you celebrate, when you evolve. They hold memories; they absorb your energy. Menasche isn’t for a demographic, it’s for humans. The technical side of Menasche is as emotional as it is functional. How do you navigate the intersection between comfort and aesthetic expression? I follow instinct. Every idea begins as a feeling, a frequency that I translate into form. When I design, it rarely feels like it’s just me, it’s as if the piece builds itself and I’m simply the hands giving it shape. My technical knowledge exists to serve that energy, to make it wearable and real. This drop feels both grounded and experimental, almost like fieldwork in emotion and material. Was there a moment during development that surprised or changed your direction completely? Absolutely. When experimenting with wax, the goal was a classic denim jacket coated with a transparent wax membrane. But when I applied unmelted white wax, the texture looked sculptural, like an sculpture from a museum. It transformed the entire piece. We decided to produce only ten numbered jackets, each with its own unique wax pattern. None are identical; each carries its own soul. I prefer it that way, imperfection as individuality. Menasche’s visual identity carries a certain serenity, but also a definitive, quiet rebellion. How do you maintain that balance between intimacy and edge in your creative language? For me, rebellion doesn’t have to scream. I work from stillness, clean lines, neutral tones, serene silhouettes, and then insert tension through distortion: oversized pockets, ruched mechanisms, unexpected texture play. Intimacy earns the right to provoke. If each of these new pieces could speak, what would they say about the person who chooses to wear them? Okay, let me break this down: - Delicate Dress: “Softness is strength.” - Waxed Denim Jacket: “You live fully and face the elements head-on.” - Duffle Bag: “You value time and carry only what matters.” - Ruched Pants: “You seek ease and elegance in equal measure.” - Faux-Fur + Denim Jacket: “You are refined, joyful, and unafraid.” Finally, something lighter. What music, scent, and texture best describe your current state of mind while creating for Menasche? I often create surrounded by people I love: my team, my friends, energy flowing naturally. But when I’m alone, I enter this hyper-focused silence where sound disappears and I can feel every fibre, every thought. That’s when creation becomes almost spiritual.

UMA KARUPPIAH EXAMINES FASHION’S ENDURING FIXATION ON LITERATURE. FROM TOTE BAGS TO LUXURY RUNWAYS, BOOKS HAVE UNEQUIVOCALLY BECOME SIGNALS OF TASTE, PRETENSION. AN EXPLORATION OF LITERATURE IN FASHION APPEARING WELL-READ THROUGH MARKERS OF FASHION UMA KARUPPIAH EXAMINES FASHION’S ENDURING FIXATION ON LITERATURE. FROM TOTE BAGS TO LUXURY RUNWAYS, BOOKS HAVE UNEQUIVOCALLY BECOME SIGNALS OF TASTE, PRETENSION. Written by Uma Karuppiah Edited by Gabriel Mealor-Pritchard Image courtesy of Chopova Lowena The enmeshing of fashion and literature is a predictable and longstanding move within the industry. It bears long, untraceable roots, but finds lucid echoes in the etching of sincere words from novels into romantic relics. Whether through the inscription of quotes or the literal transposing of a book onto the surface of a garment, literary fashion carries an outsized potency. The precise channels from which this potency is drawn are difficult to isolate, but it hovers somewhere between a reverence for the archive and a renewed strain of logo-mania, teetering between pretension and organic interest. The literary tote bag remains the most persuasive case study of fashion in the name of appearing ‘well-read’. Its application in ‘swag bags’ at ‘fashionable’ parties throughout the ’90s still bears cultural weight; visually curious totes insinuate promising contents, whether high-brow literature or trinketry of equal intrigue curated by their owner. The Daunt Books tote bag, released in 2006, has since spread like wildfire. This may be attributed to its sturdier, more sumptuous appearance, a marked contrast to the flimsier structure of the average tote. It has been photographed on the shoulders of celebrities of a particular strain—Helena Bonham Carter, Keira Knightley, Benedict Cumberbatch, Emily Ratajkowski—figures who occupy fascinating positions within the interloping terrain of fashion and literature. Images courtesy of MEGA, Alamy Stock Photos & GC Photos Ratajkowski and Bonham Carter in particular serve as foils. Ratajkowski, hoisting the bag post–My Body, folds it neatly into her ongoing project of literary rebranding. Bonham Carter, meanwhile, appears as something closer to the Daunt tote’s blueprint-wearer: a nepo-baby of the Bonham auctioneer family, her bag sandwiched between layered beneath layers of effortless, coquettish textures. Markers like the tote are invaluable to stylists; they signal not only aesthetic sensibility, but also where the wearer spends their time. The Daunt bag is relatively innocuous compared to other literary totes. Penguin Classics totes, for instance, are frequently spotted in the wild, depicting a vast selection of covers-now replicated with near accuracy by fast-fashion outlets. Sam Wolfson’s scathing take on the Penguin tote holds some water. He describes their owners as those who ‘schlep around both their shopping and literary pretension in one of these classic cover totes’, lamenting that ‘surely the thing about being well-read is that its joys come serendipitously’. While the direct pasting of a cover with no new twist arguably undermines this sense of serendipity, the critique begins to fray when luxury fashion enters the picture. Dior’s first collection under Jonathan Anderson leans into this same appeal. Previewed in 2025 and released this January, the bags are marketed as featuring ‘first-edition covers from the 19th and 20th centuries’ embroidered onto their surfaces—an almost identical selling point to Penguin’s. Once again, the literary siphons its strength from the insinuation of archival access. At surface level, this may seem tenuous, but it aligns with a broader “Emerald Fennell-ing” of literature: the processing of canonical texts into sultry symbols of dark academia. Her forthcoming Wuthering Heights adaptation exemplifies this re-commercialisation of classics and the harnessing of their cultural capital. When Heaven by Marc Jacobs launched its first drop, ‘a whole generation of fashion fans ascended to a higher plane’. This ascendancy relied on a familiar parlour trick: drawing on the spirit of subcultures and re-contextualising them into something newly desirable. The brand’s engagement with Sofia Coppola’s The Virgin Suicides operated less as an adaptation than as a signal—a visual shorthand for shared cultural literacy. The imagery, softened by Coppola’s warm-toned aesthetic, was received sensationally, fostering a sense of insider recognition among those already submerged in the novel and film. Heaven excels at locating these cultural pulsepoints and extracting exclusivity from them. Image courtesy of Marc Jacobs This sensibility is physicalised in Heaven’s retail spaces. In Soho, a slender shelf by the shop window hosts a curated selection of books and ephemera supplied by Climax Books, a self-described distributor of hard-to-find periodicals, erotica, VHS tapes, and countercultural texts. Climax’s carefully honed identity has proven magnetic to fashion brands—Chopova Lowena’s lingerie set emblazoned with ‘Climax’ script is a recent example—reviving logo-mania through literary and archival symbols (see image at top of page). Script lifted directly from books offers an even more exclusive funnel. The rhetoric of ‘if you know, you know’ reaches new extremes when lines from specific texts are abstracted onto cloth. I remember receiving a postcard quoting Wuthering Heights in my youth— ‘whatever our souls are made of, his and mine are the same’—and feeling its quiet power. I’m less certain I’d want it on a tote bag. This is the crux of it: the serendipity you forfeit when intimacy becomes inscription. Valentino’s engagement with Hanya Yanagihara’s A Little Life is a more compelling intervention. A line of aching poignancy—‘WE ARE SO OLD, WE HAVE BECOME YOUNG AGAIN’—is fragmented across a blazer, split at the lapels. One side reads ‘WE ARE WE HAVE YOUNG’, the other ‘SO OLD, BECOME AGAIN’. This disintegration feels genuinely inventive, less like reanimation and more like interrogation, akin to how the Dior– Anderson totes operate at their best. Image courtesy of Valentino I end with the Fitzcarraldo tote bags, which function almost as a response to all of the above. Blazoned with the title of Dan Fox’s essay Pretentiousness: Why It Matters, and the first paragraph printed on the reverse, the bag openly stakes its claim. It protects the cultural currency of wearing one’s literary interests by owning the charge of pretension outright. In doing so, it proposes pretentiousness not as a sinister force, but as a catalyst for cultural and intellectual innovation. As a self-professed tote-bag owner, wit clothing littered with markers of what I read, where I buy books, what I watch, maybe even what I eat, I truly have no leg to stand on in discerning what these markers of being well-read could do to the detriment of popular culture, but it is a question I feel one must ask before each purchase, particularly with such lucrative projects as T-shirts, totes and other detritus with printable surfaces. Image courtesy of Dior & Jonathan Anderson

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EACH YEAR, THE WOMENSWEAR PATHWAY AT CENTRAL SAINT MARTINS PARTNERS WITH THE CRISTÓBAL BALENCIAGA MUSEUM IN THE NAMELY, BALENCIAGA PROJECT. BETH DARROCH SAT FRONT ROW AND WATCHED IT UNFOLD AND TELLS US MORE ABOUT DESIGNER IMOGEN GREGORY'S STELLAR COLLECTION. INSPIRED BY BALENCIAGA: INSIDE SAINT MARTINS’ BA SHOW EACH YEAR, THE WOMENSWEAR PATHWAY AT CENTRAL SAINT MARTINS PARTNERS WITH THE CRISTÓBAL BALENCIAGA MUSEUM IN THE NAMELY, BALENCIAGA PROJECT. BETH DARROCH SAT FRONT ROW AND WATCHED IT UNFOLD AND TELLS US MORE ABOUT DESIGNER IMOGEN GREGORY'S STELLAR COLLECTION. Written by Beth Darroch Edited by Gabriel Mealor-Pritchard Balenciaga is not an easy reference to inherit, but at Central Saint Martins, the students of BA Fashion Design Womenswear didn't really try to. Instead, they got on a plane to Spain, spent time with nine pieces inside the Cristóbal Balenciaga Museum, and came back with something to say. The brief asked them to look at how Balenciaga absorbed popular costume into his practice, how he abstracted and elevated it, and what that process of adaptation might look like when placed in the hands of a generation navigating a very different set of pressures. Each pathway documented its research and creative development before designing a complete outfit, assessed by both Central Saint Martins and the Cristóbal Balenciaga Museum, with the emphasis falling on technique and interpretation rather than straight-up homage. The question was never really whether students could replicate Balenciaga's silhouettes, but whether they could understand what drove them. Forty-seven looks were presented at the LVMH Theatre, and among the designers was Imogen Gregory, whose two pieces shifted the conversation to somewhere more real. “My project draws on the Spanish folktale La gallina de los huevos de oro, The Hen That Laid the Golden Eggs,” she explains. “In the story, the farmer keeps pushing the hen to produce more golden eggs until he destroys the very thing that was sustaining him.” In Gregory’s interpretation, the hen represents the British public, while the farmer stands in for government policy, economic systems and rising living costs. The metaphor reflects a population being forced to produce more through longer hours, multiple jobs and constant Financial compromise. Material choice becomes central to that argument. “I took some bamboo and indigo dyed it, and the material is cheesecloth treated by airbrush laced with coffee,” she says. “The main idea was trying to take tailoring in a contemporary lens and use resources around us, to show that people can’t afford tailored garments anymore because of the pressures of the government.” Where Balenciaga worked with the refinement of couture fabrics, Gregory uses bamboo, cheesecloth and coffee. Tailoring, usually tied to ideas of status and security, is handled more resourcefully here. The lace is stained rather than pristine, the finish less polished, but the structure is still there. It feels shaped by the realities of the moment, not removed from them. And yet, Gregory does not frame the metaphor as entirely hopeless. Reflecting on time spent in Balenciaga’s hometown, she describes people sitting in winding streets drinking wine despite economic pressure. Even if the eggs are a source of stress and hardship, she says, they are still golden.“There is still value in each one”, she states. Across the show, that balance between reverence and resistance was clear. Balenciaga’s influence could be seen in the rigour of cut and attention to construction, but it was filtered through contemporary experience. At Central Saint Martins, heritage is preserved and tested against the realities students are living through now.

WHAT IS ASTHETIK MAGAZINE? Asthetik Magazine is a contemporary online publication dedicated to fashion, culture, art, and creative commentary. We feature original writing and curated stories on emerging designers, fashion events, cultural movements, and visual trends that shape today’s creative landscapes. Our platform highlights compelling perspectives and in-depth coverage that resonates with readers who care about style, design, and cultural innovation. Learn more about our latest features and join the conversation as we explore the forefront of aesthetic culture. Founded in 2020 by Gabriel Mealor-Pritchard, Asthetik Magazine began as a passion project and has since evolved into an emerging independent digital fashion publication. The magazine documents runway presentations, designer work, and key moments shaping the industry, with a strong focus on visual culture and contemporary style. Through editorial coverage and curated storytelling, Asthetik offers a considered perspective on fashion and creativity, championing new ideas while remaining rooted in independence and creative intent.

READ THE LATEST STORIES FROM ASTHETIK MAGAZINE HERE STEM AW26: THE ELASTIC LOGIC OF WOOL SEQUINS, FURS, NEON MULLETS AND EVERYTHING NICE; CURIOUSLY SELECTED INGREDIENTS IN A VAGUELY-FOLLOWED RECIPE FOR JONATHAN ANDERSON'S DIOR AUTUMN/WINTER 26 MENSWEAR. ISABELLA SENOI SHARES HER VIEWS.

EGONLAB JUST PRESENTED ITS AW26 COLLECTION DURING PARIS FASHION WEEK, MARKING THE HOUSE’S NINTH SHOW SINCE ITS FOUNDING IN 2019. FASHION WRITER HARRY NICHOLSON BREAKS DOWN WHAT UNFOLDED ON THE RUNWAY. THE POLITICS OF CREATIVE SURVIVAL: EGONLAB AW26 EGONLAB JUST PRESENTED ITS AW26 COLLECTION DURING PARIS FASHION WEEK, MARKING THE HOUSE’S NINTH SHOW SINCE ITS FOUNDING IN 2019. FASHION WRITER HARRY NICHOLSON BREAKS DOWN WHAT UNFOLDED ON THE RUNWAY. Written by Harry Nicholson Edited by Gabriel Mealor-Pritchard For a brand that’s only seven years old, EGONLAB’s FW26 collection, Lazarus, walks with the confidence of a brand that knows exactly where it stands - and more importantly, what it refuses to become. Wednesday’s show was not simply another exercise in dark romanticism, but an almost confrontational statement about what it means to create something today, in an industry where productivity is beginning to eclipse creativity. Kevin Nompiex and Florentin Glémarec have long translated tensions - masculine and feminine, refinement and defiance - yet here that tension is truly woven throughout the collection. The title Lazarus conceptualises the collection’s positioning of rebirth not as a glorious reinvention, but as an act of survival. EGONLAB’s ‘rebirth’ saw it return to its roots: black dominates, yet is defined by reliefs and texture, achieved through crumpled fabrics. Fluid jerseys and quality wools in dark notes create a chiaroscuro effect, adding sharp tonal depth. Overhead, Jameela Jamil’s manifesto encapsulates the message of resistance to the sanitation of creativity: "Most flee the darkness; we built our sanctuary within it.” Silhouette - arguably EGONLAB’s sharpest weapon - has been pushed further, with shoulders becoming more defined, and asymmetrical buttoning cinching the form on tailored pieces. Effects of ‘trompe l’oeil’ and doubling of jackets that peek around the edges suggest an unfinished evolution, caught in the act of becoming something. Denim pieces serve as a refreshing switch-up amongst the darker tones, constructed with puzzle-like stitching and oversized collars and buttonholes. I found the fine line between couture and commerce is Lazarus’ triumph. Feathered looks evoke a likeness to the mythical chimaera (welcome back, Mugler’s La Chimère (AW97), iconography that symbolises the marriage of haute couture and urban fashion, seemingly opposites but both possessing the same capacity for creativity in their own right. The tailoring, for all its theatricality, retains a rigour that grounds the collection firmly in wearability. A selection of looks wear deep red plaid that cuts through the ashy palette with violent passion, a colourful reminder that emotion is what drives this brand. A collaboration with Converse contributed to Lazarus, showing the classic Chuck Taylor redefined as a fully hand-woven ‘artisanal statement piece’. But then there are THE boots: thigh-high, opened leather straps barely containing shearling that erupted from within - not only a standout, but a memorable articulation of EGONLAB’s balance of excess and style. The inspired namesake of 20th-century expressionist artist Egon Schiele, this collection embraces rawness and bodily expression as he did. Do not mistake this collection as a resurrection, but instead a reassertion of EGONLAB, and by extension, any brand’s right to exist under uncompromising terms. Jamil’s manifesto makes it clear: “Creativity is a blade-thin, sharp, and unforgiving force. Only the bravest dare to reach its edge, leaving their hands stained not with sin but with the raw matter of creation. Make no mistake: the true monsters don’t lurk in the dark; they walk in daylight, smiling as they drain the world of wonder and call it efficiency.” In returning to its instincts - exaggeration, excess, and silhouette - EGONLAB resists the ‘suits’ allergies to risk, offering a vision of fashion instead as resistance and self-actualisation over compliance.

SCHIAPARELLI’S HAUTE COUTURE SPRING-SUMMER 2026 COLLECTION REASSERTS THE FASHION HOUSE’S CLEAR COMPETENCE AS A TOP-LEVEL COUTURIER. WESLEY BRAY TALKS US THROUGH THE COLLECTION. DANIEL ROSEBERRY MAKES COUTURE LOOK EASY SCHIAPARELLI’S HAUTE COUTURE SPRING-SUMMER 2026 COLLECTION REASSERTS THE FASHION HOUSE’S CLEAR COMPETENCE AS A TOP-LEVEL COUTURIER. WESLEY BRAY TALKS US THROUGH THE COLLECTION. Written by Wesley Bray Edited by Gabriel Mealor-Pritchard Glamour, extravagance and extraordinary craftsmanship are only a few adjectives to describe Daniel Roseberry’s latest offering for Schiaparelli. The collection truly was nothing short of a spectacle. Titled “The Agony and the Ecstasy”, Schiaparelli’s haute couture spring-summer 2026 collection extends the fashion house’s streak as a must-see during couture week. Cohesion is something Roseberry seems to have mastered. Golden hues, which we have grown to associate with Schiaparelli, were present throughout the collection. These were paired with nudes, oranges, reds, whites, blacks and the occasional pop of blue and green. What stands out most is Rosebery's ability to have a wide-ranging use of silhouettes that somehow come together to paint one uniform picture. Explored in various forms, animals were a clear reference point for this collection. Particularly, birds and reptiles. Feathers, made from bouquets of silk thread, were featured on several looks, showing the lengths to which haute couture can elevate clothing into genuine pieces of art. References to birds extended beyond impressive handmade feather replicas to the use of beaks to create a sense of amour. Elsewhere, the collection featured necklaces and crowns offering bird eggs as an alternative to precious stones. The clothes were villain-like but far from costumey. As one would expect, Roseberry’s approach to dressmaking is highly sculptural. Layers of sheer tulle were a widely used motif in the collection, oftentimes presenting an aura-like amplification of the mood these clothes were conveying. Elsewhere, bas relief design techniques created a sense that these clothes were alive, or serving as a source of life, enabling elements to grow on top of them. Highlights from the collection included what Roseberry described as the ‘scorpion sisters’. For these two looks, jackets transformed into sculptural scorpion stingers, evoking a sense of fear and danger, while simultaneously demanding respect for craftmanship and sheer beauty. The two looks appeared to act in unison, providing a sense of ‘yin and yang’. One jacket is lighter and softer on the eye, while its counterpart is darker and more intimidating. Pieces like these recontextualise Schiaparelli within its roots in surrealism. The models were otherworldly, with animal references blending into human forms, essentially creating a whole new being. There was a sense of mythology present throughout the collection, as well as a world being built for these creatures to exist. Beaks, scales and alligator prints contributed towards the animalic thread seen throughout the collection. An explicit reference to animals was the ‘Isabella Blowfish’, paying homage to the fashion legend, Isabella Blow. Made impressively as a transparent suit, the look acts as a replica of the surface of a blowfish, with spikes not forgotten to be included. The suit has a menacing presence but draws one in to examine further the intense levels of craftsmanship which can be discovered in any of the looks presented. Another standout was a gold beaded gown that had movement that can only be described as a feast for the eyes. Although having a more reserved silhouette than other looks within the collection, the way in which the dress flows emphasised the spectacle that can only be achieved through the devotion of couture. For this collection, Roseberry admitted that he wanted to tap into anger more. Particularly, in a time where anger and frustration seem to flood the world we live in today. “How do I use anger?” he asked himself, and “Where is the joy of creation? Are these two things linked?” Roseberry wanted this collection to focus on feeling and how he felt putting these clothes together. Unlike previous collections, which he described as ‘vigorous and controlled,’ this time, what the clothes looked like came secondary to the feeling of creating them. This concept was inspired by a visit to the Sistine Chapel and Roseberry's engagement with the work of Michelangelo. He credits Michelangelo for allowing viewers to feel art more and tried to adopt that through this collection. A collection like this demands to be felt. With haute couture at Schiaparelli in the hands of Roseberry, he continues to assert the huge importance of this fashion segment. What a pleasure it is to witness excellence shown continuously on the Schiaparelli catwalk. A clear reminder why haute couture needs to be protected.