BORN AND RAISED IN METRO DETROIT, THE PHARMACEUTICS PH.D. STUDENT'S PASSION PROJECT HAS BECOME A BUSINESS OVER THE LAST 12 MONTHS, AND PRODUCTION IS ONLY SPEEDING UP. GABRIEL WINTER SITS DOWN WITH THE DESIGNER TO DISCUSS BUILDING A BRAND BETWEEN THE LAB AND THE STUDIO. BRANDONCMAR IS LIVING TWO LIVES BORN AND RAISED IN METRO DETROIT, THE PHARMACEUTICS PH.D. STUDENT'S PASSION PROJECT HAS BECOME A BUSINESS OVER THE LAST 12 MONTHS, AND PRODUCTION IS ONLY SPEEDING UP. GABRIEL WINTER SITS DOWN WITH THE DESIGNER TO DISCUSS BUILDING A BRAND BETWEEN THE LAB AND THE STUDIO. Written by Gabriel Mealor-Pritchard Photography by Lawrence Atkin By day, Brandon Mar designs synthetic G-protein-coupled receptors intended to be installed on immune cells to make them better at annihilating cancer. By night, and increasingly by every other available hour, he makes handbags finished with shed deer antlers. "I consider myself kind of a multifaceted designer in that my design goes through two channels. I design novel cancer therapeutics as well as small leather goods," he tells me as we sit down and chat, with the evenness of someone who has stopped finding the pairing strange. The PhD student, studying Pharmaceutical Sciences at the University of Wisconsin-Madison, frames the two practices as parallel rather than competing. Explaining that both begin with a constraint, a molecule or a material and proceed by seeing what it will agree to become. Founded last May, BRANDONCMAR now operates across New York and Madison, with Mar splitting his time between the two as he scales production and builds out his team. The brand's breakout, the Antler Bag, actually started with something far more personal. "In the late winter of my senior year of undergrad, I really wanted a skinny leather belt, almost cord-like. So I bought some leather cord online and started prototyping and experimenting with it. That was my start." From there, the Fasten was born. Worn crossbody or as a cinching tool, the belt acts as a true accessory, prioritising neither form nor function over the other. "I don't have conventional training in fashion design, and that's really informed how I approach it. I often refer to it as materials-guided design. I usually start with the material and let it pull my ideas from there." That instinct—letting the material lead—is what carried Mar from a length of leather cord to the object that has, over the past three months, transformed his operation. The bag arrived almost by accident. "I was seeing a lot of bags online using bones in unconventional ways, charms, handles," he listed, "I remember one bag that used a whole spine as the handle." References to the Tom Ford-era YSL Mombasa, recently revived and chased through the resale market, kept surfacing alongside them. Mar wanted in, but on his own terms. He landed on a shed antler, small, naturally discarded by younger deer, the shape sitting cleanly against the shoulder. "All the antlers we make our bags with are cruelty-free, just found on the ground," he says. They're sourced through contacts in Michigan, Idaho and Montana, including one supplier the brand now considers a collaborator. Mar is quick to place the bag in a longer lineage rather than claim novelty. "We're not the only people making bags with antlers and horns; there are so many. And for all of human history, indigenous people all over the world have been using horns and antlers as instruments, in fashion, as bags. I know I'm not the first and I won't be the last." He also resists the easy reading that the Mombasa's return signals a broader return to nature in luxury. To him, it's a moment being recycled rather than a movement being born. What sets BRANDONCMAR apart from the houses he admires, like Rick Owens and Helmut Lang, or the structural austerity of late-nineties Margiela, all of which he collects, is the economics. Roughly 90% of the brand's volume is upcycled. Vintage bag bodies pulled from thrift stores, wholesale secondhand lots and online second-hand platforms, then reworked by hand and fitted with antler hardware. "There are hundreds of thousands of bags floating around in circulation that are more likely than not going to end up in a landfill," he says. "If we can pull bags out of existing supply, rework them into something with current use, and save them from going to landfill, that's really what we like to do." It is a quiet but pointed inversion of the luxury accessories playbook, in which margin is generated by manufactured scarcity and freshly minted hardware. Mar's margin, such as it is, comes from the opposite direction. Existing supply, hand finishing and a piece of material that costs nothing, all because a deer dropped it in a forest. Fully bespoke commissions, made in collaboration with Chicago-based maker Julián Franco, take around three weeks and remain a small fraction of output. The growth has been almost vertical. Until January, Mar was making every bag himself, moving four units a month at most. Today, the brand sells more than fifty a month, with a team of ten, made up of students and young creatives. Stockists now include Grainline in Minneapolis and MarcoSqrd in Chicago, with a Berlin retailer joining the list this spring. London is on the radar, though Mar is cautious. "I'm still thinking about whether now is the right time for even more new retailers." But that caution is somewhat deliberate. After a quarter in which nearly every metric of the business has multiplied, Mar has put a freeze on new collaborations and is repeating the same word internally, starting with maintenance. "We have to maintain this pacing," he says. It is an unusually conservative posture for a designer riding a wave, and perhaps the clearest signal yet of how the lab informs the studio. The visual diet behind the work is broader than the finished objects suggest. Mar cites Iris van Herpen's 2019 couture show as a reference point he returns to often, alongside Schiaparelli and Robert Wun, houses whose organic, fantasy-leaning silhouettes look little like a leather crossbody finished with bone. But the link, for him, is method rather than aesthetic. It's the willingness to let a material dictate a shape. The other, less visible input is New York's queer techno scene, where Mar spends much of his time outside the lab. The test he applies to a new piece is partly practical, partly atmospheric. Can it be worn on the dance floor? Can it survive the carry? (the slang for staying out from one party to the next across a full weekend.) "Staying awake all night does something to the body and the mind," he says. "It has this certain raw energy." This is replicated through the design of his oh-so-adored products But for now, the plan is to hold the line. More retailers will come. And in so, presumably, will more bags, more materials and more accidents that turn into products. However, the next few months are about absorbing what has already happened rather than chasing what's next. "Things have grown in ways I couldn't have imagined," Mar says. In a category built on manufactured scarcity and relentless newness, choosing to pause may be the most distinctive thing he does all year.

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 BRANDONCMAR IS LIVING TWO LIVES [ASTHETIK EXCLUSIVE INTERVIEW] KARINA BOND AUTUMN/WINTER 2026: CONCEALED CREATIONS ELTON ILIRJANI'S ROLE IN DRIVING SOCIAL CHANGE GENARO RIVAS ON BREAKING THE GLASS CEILING DENZILPATRICK AW26: LONDON BELONGS TO DENZILPATRICK POETLAB AW26: WHERE VALUES LEAD FASHION JEAN LOUIE CASTILLO’S WORLD OF HIS OWN CONNER IVES AW26: 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!

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

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.

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.

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.”

THE INDUSTRY IS RIDDLED WITH VARIETY AND DIFFERENT AESTHETICS, BUT ACCEPTANCE STILL HAS A WAY TO GO. ENTER ELTON "HANKO" ILIRJANI, A STAR REDEFINING WHAT IT MEANS TO BE YOURSELF IN AN EVER-EVOLVING SOCIETY. GIUSEPPE IACIOFANO WRITES ABOUT A CLOSE FRIEND FOR ASTHETIK MAGAZINE. ELTON ILIRJANI AND FASHION’S ROLE IN DRIVING SOCIAL CHANGE THE INDUSTRY IS RIDDLED WITH VARIETY AND DIFFERENT AESTHETICS, BUT ACCEPTANCE STILL HAS A WAY TO GO. ENTER ELTON "HANKO" ILIRJANI, A STAR REDEFINING WHAT IT MEANS TO BE YOURSELF IN AN EVER-EVOLVING SOCIETY. GIUSEPPE IACIOFANO WRITES ABOUT A CLOSE FRIEND FOR ASTHETIK MAGAZINE. Written by Giuseppe Iaciofano Composed by Gabriel Mealor-Pritchard In an industry known for its glamour, exclusivity, and impossible beauty standards, Elton Ilirjani—better known as “Hanko”—is quietly reshaping what fashion can stand for. People often notice his strong presence and sharp creative instinct first. But those who’ve worked closely with him say his real impact goes far beyond the runway. Over time, Hanko has become a genuine supporter of emerging designers, using his platform to give them visibility at moments when it matters most. And the name “Hanko” itself carries a deeper meaning. Recently, Elton shared that it’s actually his mother’s name, something he carries with immense pride. “It reminds me of where I come from,” he said. “Strength, dignity, resilience.” For him, his nickname is a constant grounding force. Breaking into fashion isn’t easy, especially without the right connections. Hanko understands that, which is why he’s made it part of his work with Poet-Lab to spotlight new designers. When he backs someone, it makes a difference. A single post from him can bring thousands of new followers, industry attention, and sometimes even press coverage. But those close to him say it’s not about chasing hype. He looks for designers with something real to say, people with a clear identity and a commitment to inclusivity. “He doesn’t just post and disappear,” one collaborator said. “He actually gets involved. He mentors, gives advice, and connects people.” Despite being surrounded by fashion’s elite, Hanko has never believed that beauty alone is enough. He’s consistently used his voice to speak about human rights, equality, and representation. “Fashion is a language,” he said. “It can exclude, but it can also empower. I choose empowerment.” And it is t hat mindset that shows throughout his extensive work. He pushes for broader representation—across race, body types, and gender identity— and challenges the narrow standards the industry has held onto for too long. In this world, where social media often rewards quick trends and viral moments, Hanko takes a different approach, using his platform with a solid purpose: to make a difference and make it stay. The designers he supports don’t just get a short spike in attention; many go on to build lasting momentum. “He didn’t just help my brand,” one young designer said. “He believed in me as a person.” And it's with this sentiment that Ilirjani fell upon PoetLab, Iaciofano's staple London Fashion Week brand that grows with each season that it presents. Modelling for the last two collections, and supporting the work the Italian designer does on his Instagram account, which boasts close to 12M followers. What really sets him apart is how personal everything feels. Carrying his mother’s name isn’t branding — it’s a tribute. In an industry that can sometimes feel superficial, that connection to family and identity adds something real. Hanko is building a legacy rooted in purpose, rather than just a global image. And at a time when headlines are often dominated by unnecessary topics, he’s proving that influence can be used for something more meaningful and lasting.

FENNELL FOCUSES ON THE 80S-INSPIRED WEDDING DRESSES, RED LATEX FABRICS, AND THE GLOSSY LOOK THAT DEFIES THE NOVEL'S GRIT. BUT THE DEFIANCE DOES NOT END THERE; THE CASTING CHOICES AND RED-CARPET LOOKS HAVE ONLY ADDED FUEL TO THE FIRE.  SAKSHI PATIL TELLS HER TAKE. EMERALD FENNELL’S REIMAGINING OF “WUTHERING HEIGHTS” FENNELL FOCUSES ON THE 80S-INSPIRED WEDDING DRESSES, RED LATEX FABRICS, AND THE GLOSSY LOOK THAT DEFIES THE NOVEL'S GRIT. BUT THE DEFIANCE DOES NOT END THERE; THE CASTING CHOICES AND RED-CARPET LOOKS HAVE ONLY ADDED FUEL TO THE FIRE. SAKSHI PATIL TELLS HER TAKE. Written by Sakshi Patil Edited by Gabriel Mealor-Pritchard Fennell’s Wuthering Heights is stirring the same kind of controversy that once shadowed Brontë’s novel, unsettling Victorian readers by refusing moral neatness. Audiences are divided over bold casting and fever-dream costumes. So, how much does historical accuracy matter in period dress? Inaccuracy from ignorant research comes across as careless to the audience. But when distortion is deliberate, costume becomes the narrative and a prominent theme of the film. It shifts from replication to interpretation. Jacqueline Durran aimed for that effect. Her costuming for this film is commendable for its wide range of references, spanning from Elizabethan through to Georgian and Victorian eras. Purposely not sticking to one period, to ensure that the anarchism theme fully thrives throughout the film. Among the 50 extravagant costumes made for this movie, there were a few notable ones. Adult Cathy is introduced to us in a German milkmaid dress, blending period silhouettes with traces of Old Hollywood drama, creating a layered visual language that makes a clear stance that this is not a typical replication of the novel. The silhouette of the milkmaid dress is traditionally associated with pastoral and folkloric themes. Yet it is ironic, as Cathy in the book is not all that. Perhaps, Durran’s costume choices were a deliberate act of rebellion rather than an attempt to reconstruct a historically accurate setting. The wedding dress is perhaps the clearest example of this time-bending approach. It fuses Victorian structure with 1950s couture: cinched waists, softened volume, a silhouette that feels both archival and mid-century cinematic. Although not historically precise, white wedding gowns weren’t widespread until after the period Brontë wrote about. Brides usually wore their best dress, often in colour. The dress is a combination of eras into a single, striking costume. The result is a dreamscape aesthetic collision that feels intentional rather than careless. The Telegraph said, "Cathy and Heathcliff's passions vibrate through their dress, their surroundings, and everything else within reach.” So by refusing to sit neatly within one timeline, the costume mirrors the anarchic tone Fennell seeks to evoke. Not all critics were so flattering. Keven Maher from The Times described Robbie as a "Brontë Barbie" and said that Fennell has "doomed Elordi with a fatally shallow characterisation, recasting Heathcliff as pouty man-candy with a shaky Yorkshire accent." Historical accuracy can be a form of respect. For stories rooted in specific cultural or political realities, precision matters. Details can preserve histories that might otherwise be flattened or forgotten. Fennell’s whitewashed casting of Heathcliff, whom Brontë repeatedly describes in racialised terms as dark-skinned and socially othered, alters more than surface appearance. It risks diluting the novel’s engagement with racial ambiguity and class exclusion. Heathcliff’s outsider status is foundational to the sadomasochistic dynamics of power abuse and social hierarchy that drive the story. To neutralise that dimension, casting Elordi reshapes the very structures of race, class and gender oppression that animate it. And it doesn't end there. The controversy continued at the feature's Los Angeles premiere, Margot Robbie wore a historic necklace commissioned by India’s Emperor Shah Jahan for his wife, famously known as the “Taj Mahal” necklace. Yet when asked about the piece, the conversation centred on its association with Elizabeth Taylor, skimming past its layered imperial and colonial history. A jewel with centuries of political and cultural meaning was reframed through Hollywood provenance. Though the fantastical and dream-like costumes have sparked debate, the real critique lies with the casting and neglect of important social themes in the novel, which still resonate today.

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.

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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.

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.