UNVEILED AT LONDON FASHION WEEK AW26, THE PERUVIAN DESIGNER TURNS FRAGILITY INTO POWER; FUSING REBELLION AND SUSTAINABILITY TO CREATE A COLLECTION THAT REFUSES TO WAIT FOR PERMISSION. MAYA KALE SPEAKS TO THE DESIGNER. GENARO RIVAS ON BREAKING THE GLASS CEILING UNVEILED AT LONDON FASHION WEEK AW26, THE PERUVIAN DESIGNER TURNS FRAGILITY INTO POWER; FUSING REBELLION AND SUSTAINABILITY TO CREATE A COLLECTION THAT REFUSES TO WAIT FOR PERMISSION. MAYA KALE SPEAKS TO THE DESIGNER. Written by Maya Kale Images Courtesy of Kvishal Official Genaro Rivas’ AW26 collection, A Glass to Break, is unapologetically daring. Emerging designers today have no option but to grasp onto the finest of threads in order to climb up the ladder of success, and Rivas struck the balance between the turbulence and beauty of this world. Held in a compact studio in Knightsbridge, Rivas made sure to immediately set the tone for his collection. By using narrow beam lights and alternative metal music from bands such as ‘Deftones,’ it screamed ‘rebellion’ even before the show started. “This collection comes from the heart and from the feelings of breaking into the industry”, says Rivas, and this is shown through his bold and strong silhouettes. Each garment held the weight of his message - denim with a shattered glass print, a mesh-lined dress with sharp, uneven glass-like cutouts that merge with soft toile towards the end - all showcase the beauty in breaking. Bold smoky eyes, and sharp makeup looks enhanced the cohesion of his looks as well. Rivas balanced body-contouring silhouettes with voluminous, fluid forms, evoking a mood that was simultaneously loud and defiantly free. The collection narrates itself like a story, where Rivas addresses concepts such as fragility in a positive way - a notion that is usually suppressed and pushed down. Through soft, delicate materials like bright yellow and red bio-fur, contrasted with dresses fastened by exposed zippers and sewing pins, Rivas leans into the aesthetic of the unfinished. The pins reflect pain and fragility, while the soft fur and use of yellow reflect hope and resilience. This is the first time Rivas has used accessories in his collection. Renowned artists such as Roberta Cucuza crafted the eye-catching headgears that mimicked halos with the reflective red translucent materials, reiterating the power lingering in the attire. “Sustainability in fashion is how I live my life,” says Rivas. He aims to create designs that have stories attached to them – “when you know what materials are used, where they come from, it becomes a fully rounded product, and that’s what I aim to focus on.” ‘ A Glass to Break’ has consciously used materials that not only link back to Rivas’ roots - the bio-fur from Peruvian alpacas, for example - but also ones that reveal new layers to sustainable fashion- biodegradable headpieces, bags made from plastic bottle sippers, raw materials sourced from the ocean - all contribute to creating an elevated fashion world that is not only impactful, but mindful. Another key accessory used was a handcuff that mimicked glass shards - one that does not fully close - a metaphor for the strong grasp this invisible glass ceiling holds over emerging creatives, but the unclosed cuff gives room to shatter it - and that is exactly what Rivas is doing, one collection at a time. “I aimed to create a collection that’s not just beautiful, but raw”, says Rivas. This rawness is presented vividly in his work. It is claimed that this is his most daring collection to date, and it is unsurprisingly so. He has transformed struggle into a celebration that yells: I am proud of who I am, what I do, and I will make my mark, breaking the sound barriers of this said glass ceiling. The alternate name for this collection is ‘Fractured Glass’ - transparently highlighting the impact of such a hyper-competitive industry on designers and creatives - fractured, tainted, breaking - but uses emotions and past experiences to transform struggle into a catalyst for reinvention. It celebrates growth and beautifully presents Rivas’ emotions through each material, accessory, and garment. Designers like Rivas are slowly paving the way for a reinvented fashion sphere, one that is strong in its intrinsic values and successfully creating breathtaking designs while committing to conscious environmental practices. “Peru is where I come from. It is my base that London now shapes”, says Rivas, not forgetting to appreciate and acknowledge the plethora of opportunities in a city saturated in style. Ultimately, ‘A Glass to Break’ is not just about rebellion - It’s about reframing the entire narrative into a system that prefers passion over composure, being raw and loud over being pristine. He transparently reveals the tension of the fashion landscape while proving that the barriers can be pushed through. The collection is a declaration of his presence in this landscape, and is fuelled by intention, thought, and being transformative. Navigating between his Peruvian roots and the relentless pace of London, Rivas is creating a global dialogue that paves the way for new designers. It is a way for him to express that he is not waiting for space to be made for him - he will carve his way out, and shatter any obstacles on his own terms.

STEM, AN EMERGING FASHION LABEL BASED IN DENMARK’S CAPITAL, UNVEILED ITS FIFTH COLLECTION THROUGH AN INTIMATE PRESENTATION CENTRED AROUND A COMMUNAL FELTING TABLE. ATTENDEES WERE INVITED TO WORK WOOL BY HAND AS THE COLLECTION MOVED THROUGH THE SPACE, AND WE’RE SPREADING THE WORD. Imagery courtesy of Stem STEM AW26: THE ELASTIC LOGIC OF WOOL STEM, AN EMERGING FASHION LABEL BASED IN DENMARK’S CAPITAL, UNVEILED ITS FIFTH COLLECTION THROUGH AN INTIMATE PRESENTATION CENTRED AROUND A COMMUNAL FELTING TABLE. ATTENDEES WERE INVITED TO WORK WOOL BY HAND AS THE COLLECTION MOVED THROUGH THE SPACE, AND WE’RE SPREADING THE WORD. Written by Asthetik Editorial Team Wool lies across the table at Stem’s AW26 presentation in Copenhagen, still raw to the touch. Guests gather close, working the fibre by hand as the brand reveals its fifth collection. Titled To Wool, the offering centres on material and process, allowing wool to guide form through weaving, pleating, and pressure. Set around a long communal table, the presentation unfolds at a deliberate pace. As garments move through the space, the act of making remains visible, grounding the collection in touch and time. Woven rather than knitted, the pieces carry a quiet elasticity shaped by structure alone; a gentle reminder of what can happen when attention replaces excess. Stem’s material experiments began at a small scale, developed through handwoven studies that prioritised patience over speed. This season, parts of that research move into partial industrial production, translating a slow, considered process into a limited run of garments. Elasticity is built directly into the textile through yarn twist and weave tension, giving shape and movement to lines and pleats that feel purposeful rather than imposed. Local wool plays a defining role in the collection. Danish yarn, spun domestically and long overlooked in clothing, becomes a central material after proving unexpectedly strong once twisted and woven. Introduced through the work of a shepherd tending a large flock in Denmark, the fibre finds form in a checked vest and pleated skirt where two brown tones meet. Each shade comes from a different sheep, and together they reveal how structure and elasticity emerge through material choice. The pattern follows the logic of the loom, recording decisions made under tension rather than serving as surface decoration. Colour follows a similar logic. A restrained palette of off-white, deep blue, and brown comes from the availability of deadstock yarns sourced in Italy. Rather than seeking variation through colour, Stem focuses on shifts in weave and density, allowing pattern to move and change across the garment. Checks tighten and release as the structure shifts, while pleating and needle felting shape the surface through repetition and pressure. The result feels measured and precise, grounded in process rather than effect. Accessories extend this logic. Scarves with disrupted checks, belts woven for multiple modes of wear, and pieces that move and flex alongside the body. Nothing feels decorative, but more so, everything is functional and expressive. Garments from past collections enter the brand's dialogue with a new, reinforcing continuity that upholds the artisanal processes over seasonal novelty that many labels of today fall victim to as they grow within the industry. Beyond individual garments, Stem envisions a larger system. Stem Mill, in early-stage development in Denmark, combines production with research and pedagogy. Micro-spinning and agile manufacturing come together to create a laboratory where textiles are observed and played with while being understood from fibre to final product. The mill proposes a future of fashion built from material intelligence rather than abstraction. To Wool resists the spectacle of it all. Its logic is intimate and deliberate. The result is a collection that feels alive, and a quiet demonstration of what attention and patience can yield. Stem’s work considers how clothing can hold time and labour as clearly as it holds form. The hands-on presentation and the use of local wool come together as a quiet investigation into how material behaves when it is given space to lead. In this collection, wool takes an active role in shaping the outcome. To Wool traces the relationship between fibre and body, leaving the process visible in the finished garments. Each piece carries a sense of how it was made, pointing toward a slower, more grounded approach to fashion.

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 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.”

SOME DESIGNERS CREATE GARMENTS; OTHERS CONSTRUCT ENTIRE UNIVERSES AROUND THEM. JEAN LOUIE CASTILLO BELONGS FIRMLY TO THE LATTER, BY CONJURING GOTHIC MYTHOLOGIES THROUGH CLOTHES THAT FEEL LIKE RELICS FROM ANOTHER WORLD ENTIRELY. TORI PALONE DESCRIBES THE NIGHT. Images courtesy of Lauren Cremer AW26: JEAN LOUIE CASTILLO’S WORLD OF HIS OWN SOME DESIGNERS CREATE GARMENTS; OTHERS CONSTRUCT ENTIRE UNIVERSES AROUND THEM. JEAN LOUIE CASTILLO BELONGS FIRMLY TO THE LATTER, BY CONJURING GOTHIC MYTHOLOGIES THROUGH CLOTHES THAT FEEL LIKE RELICS FROM ANOTHER WORLD ENTIRELY. TORI PALONE DESCRIBES THE NIGHT. Written by Tori Palone The brands’ autumn-winter 2026 collection, SILVERCITY, was unveiled last night at the Mandrake Hotel; a venue which, with its sorcerer eye decorum and graffitied bathroom walls, seemed to bleed seamlessly into Castillo’s shadowy realm. Candles threw flame onto an otherwise dark room and a curtain of fog backgrounded the models’ ascent onto center stage, creating an otherworldly feel which mirrored the collection’s haunted elegance. In some ways, the collection felt more like a theatrical production than a typical runway affair. The models were not simply models—they walked, heaved, sleuthed, and strode down the catwalk, clearly cogs in a bigger, Jean Louie Castillo imagined system. At the start of the show, resident instagram monster MONSTERS kINC stalked the floor on digitigrade legs, her movements animatronic and wild. A black crinkle-cut shroud obscured her face, while laced-up vinyl boots—slouched at the toes like claws—punctuated her passage through the crowd. Immediately, the model ushered in a sense of benign curiosity from onlookers who were desperate for clues of her mysterious origin. In other words, what the hell was going on? Castillo is transfixed with spinning the ordinary into the sublime. He has an uncanny ability to make denim look liquid, and a tendency towards bending everyday materials to convey a deliberate sense of anti-purpose. PVC, for example, was coerced into high-shouldered jackets and dresses, manipulated to resemble sheets of crumbled aluminium foil which rose from the body like a tide. Castillo’s own sculptural ingenuity was contrasted against sharp tailoring, strewn open jackets and elongated gowns that contoured the body ceremoniously. The show proceeded mostly as a play between black and silver, braving a world where darkness and glamour didn’t simply collide, but rather pressed forward in constant chatter. Silver accents appeared throughout the lineup, catching in the metallic flash of the models’ lipstick or in the shape of a ray gun, enlarged and held at the hip. Models’ bodies were treated as extensions of the clothes, their alternate personas amplified through makeup and body paint—iridescent silver or white with black veining patterns. Though self-contained, SILVERCITY mirrors earthly hierarchies, revealing societal cracks through discontent and disillusionment. According to Castillo, “The world is about seeing a divide between the upper city and lower city,” a delineation which is visually apparent across his collection. Castillo’s fabricated lore imagines a city ruled by the Echelites—an aesthetically superior faction who govern with a silver fist. They saunter down the runway with a regal gait, swaddled in fur throws, wielding pistols or cigarette holder-like gadgets in their hands. Cavers, on the other hand, move along in disarray, their fractured movements zombie-like. Barred in silver cascading chains (akin to a straitjacket), they prowl the runway with a dilapidated effort, their bodies dirtied and bruised looking. Still, there is a sense of camaraderie among the factions—repeating materials, silhouettes and silver paint made it slightly harder to differentiate which characters belonged to the High City and which simply aspired to. Castillo’s tale of two cities acts as a microscopic lens on earthly concerns. Cast under dystopian light, he magnifies the tensions and anxieties of our own reality. He explains, “I wanted to find a place for all my work. I didn’t feel that it really fit in anywhere.” In creating SILVERCITY, Castillo has at last found a domain for his imagination to unfold free from earthly constraints.

GABRIEL MEALOR-PRITCHARD FINDS OUT HOW LEO PROTHMANN'S AW25 COLLECTION EXPLORES WHERE HE'S BEEN AND WHERE HE'S HEADED 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.

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GABRIEL MEALOR-PRITCHARD GIVES HIS THOUGHTS ON EMERGING BRAND, MATIÈRES FÉCALES' SOPHMORE SS26 COLLECTION, "HANNAH". PARIS FASHION WEEK: SS26 RUNWAY MATIÈRES FÉCALES' DYSTOPIA GABRIEL MEALOR-PRITCHARD GIVES HIS THOUGHTS ON EMERGING BRAND, MATIÈRES FÉCALES' SOPHMORE SS26 COLLECTION, "HANNAH". Front Cover Image by Mirella Malaguti If you're a lover of the dystopian and the avant-garde, then Fecal Matter, better known by its francophone moniker Matières Fécales, was absolutely where you should have been during this season’s Paris Fashion Week. Few labels in the current landscape embrace spectacle with such unflinching sincerity, and fewer still manage to do so while holding fast to a philosophy that feels entirely their own. There’s something remarkably refreshing about witnessing a brand so unapologetically produce work that is quintessentially theirs, art that reflects the extremes and beauties their founders exude. Equally refreshing is seeing an emerging label staple themselves onto the Paris Fashion Week schedule with something startlingly new, an offering that feels like a shock to the system in the best possible way. In a sea of polished commercialism, Fecal Matter is a necessary rupture. Courtesy of Matières Fécales I can vividly recall the first time I saw work by Fecal Matter: the full-length skin imitation high heel boots that played tricks on your mind, embodying the post-human aesthetic the brand has become synonymous with. I was in awe. I’d never seen anything like it. To witness their evolution unfold into SS26 has been nothing short of magnificent. As social media personality and fashion commentator iDeserveCouture aptly called it, theirs was the “Met Gala for the outcasts.” Guests arrived in looks that reflected their personalities best; in other words, they came as themselves, unapologetically. Among those in attendance were Michele Lamy, Ashnikko, and FKA Twigs, each bringing their own eccentric flair to the event. The show marked their sophomore runway outing as a namesake brand, with the collection aptly titled after co-founder Hannah Rose herself. Hannah unfolded as a bold interplay between ready-to-wear and couture, anchored by Fecal Matter’s now-signature extreme heels, this time realised in collaboration with Christian Louboutin. The silhouettes evoked otherworldly forms, sculpted to suggest extraterrestrial elegance, while towering headpieces, crafted by milliner Stephen Jones, alluded to regal crowns, fusing alien with aristocratic. Courtesy of Matières Fécales Yet beneath this grandeur lay something darker. The presentation took on the atmosphere of a masquerade: models concealed their features with eye and nose-bridge coverings dyed to match their garments, transforming faces into seamless extensions of the clothing itself. The effect was at once unsettling and mesmerising; an unmistakable hallmark of Fecal Matter’s aesthetic, where discomfort becomes beauty, and beauty, something entirely unfamiliar. For those of you who aren’t aware, the backstory of the brand is that the pair of minds behind this cult label, Hannah Rose and Steven Raj, first met while studying fashion design in Montréal. What began as a creative kinship quickly evolved into something deeper, both personally and professionally. Falling in love, they crafted a brand that mirrors who they are as individuals: refined glamour and extreme individuality. Their work reads like a commitment to reshaping what beauty and fashion identity might look like in a post-digital age. It's clear, Matieres Fecales has not only outdone themselves, but in my opinion, the entirety of PFW along with it. It's getting pretty tedious expecting the same thing time and time again from certain brands. The difference with FM is that they always bring you something new, from their early days back in 2014 when the brand came about, and still to this day, we were wowed yet again. Bon Travail Matières Fécales, vous êtes la nouvelle vague d'innovation de la mode.

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. POETLAB AW26: WHERE VALUES LEAD FASHION POET-LAB FURTHER REFINES ITS PHILOSOPHY IN ITS LATEST COLLECTION, PRESENTING AN EMPOWERED VISION OF FEMININITY SHAPED BY ITS PRINCIPLES OF DIVERSITY AND SELF-AUTHORSHIP. HARRY NICHOLSON RECALLS THE SHOW. Written by Harry Nicholson There is something quite confrontational about Poet-Lab’s Autumn/Winter 2026 show. But don’t worry, it is not as you would think. Usually, the association of women unshackling themselves from the oppressive rules they have been bound by throughout the patriarchal reign of history is unapologetic, bombastic, perhaps dare I say, radical. Yet in creative director Giuseppe Iaciofano’s interpretation of this shift, there are no such theatrics. Instead, models saunter through the stripped-back, brightly ethereal halls of E1, Spitalfields, with a kind of composure that suggests they know exactly who they are. Iaciofano’s newest collection, titled ‘Inside the Lab’, explores liberation and restraint achieved through the untethered autonomy of being a woman. It is an ambitious thesis - as well as one that has been interpreted countless times before - but it largely lands. Each look acts as a facet of the moment a woman stops herself from adapting to toxic expectations and begins to write her own narrative. “This collection is a wake-up call around gender and diversity,” the designer told me. “London has always been a city that represents freedom and individuality - a place for everyone. ” The champion of this collection is the silhouette. Columned gowns and slip-skirts form the backbone of the collection, with tailoring serving only a structural purpose. Dresses seem to be almost shedding from the body, trailing languidly a meter behind along the floor. To that end, exposure recurs throughout the looks, be it the back, shoulders, or even the chest. I enjoy how the bareness of this collection doesn’t rely on being overly sexy or being used as a tool for cheap allure; rather, it feels emancipatory. Seeing familiar 70s silhouettes dissolve feels cleverly symbolic, as if the oppression of these bygone decades is shedding with them, becoming something self-defined through seeing more of the body. Just as much, asymmetrical cuts and openings similarly reject the traditionally ‘perfect’ proportions historically imposed on women’s garments, releasing old expectations in favour of something rawer, freer. A palette drawn from decades past appears anew, polka-dotted white and powdered blues interrupted by shades of black. Similarly to the coverage, fabrics interplay between fragility and armour, such as sheer organzas and lace against soft leathers. All are dead-stock fabrics - central to the designer’s sustainable approach - although the patterns repeatedly draw a fine line between good rhythm and familiarity. Yet more compellingly, braided details resonate a handmade, even communal quality that nods to the collective ritual of braiding hair, threads or bread, transactions that link generations of womanhood. Looking more closely at those wearing the collection, Iaciofano deserves kudos for how efficiently his casting reinforces Poet-Lab’s principle of genderless and inclusive design. Models ranged from those you’d expect to see, to older generations and drag queens - most notably longtime collaborator Eilirjani, The Real Elliot (who flew from Las Vegas just for us!) and Tayce. “For me, diversity is not a trend; it is a character. It should bring strength and depth to a collection,” Iaciofano explains. Seeing such a variety of confident women These clothes drive the message that femininity is not fixed to one identity and the clamps on authority shouldn’t be accepted by any woman, no matter who they are. Poet-Lab is a brand anchored in its ethos since its debut in 2023, and ‘Inside the Lab’ feels like another chapter to its manifesto. In this case, it is a belief that, as Iaciofano says, “When a designer has a dream, they also have a muse. The muse is not just a face - it is an energy, a belief system, a shared vision.” In its intent, the collection is a call to freedom, from imposed conventions or otherwise, to define oneself. As varied as the looks may be, that vision remains cohesive throughout. It is refreshing to see a brand so firmly guided by its meaningful principles and not just its aesthetics. I hope Poet-Lab can continue to stay true to this mission as it goes forward.

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

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.

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, Val Stuppia & 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 cinched 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.” TAYAMEACA Up next was Taya Hughes, whose brand Tayameaca served as a reference to “The Land” in this group show. Hughes' 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.