PRESENTED IN FRONT OF ROYALTY AND HELD WITHIN THE BRITISH FASHION COUNCIL'S NEWGEN SPACE, TOLU COKER PRESENTED HER AW26 COLLECTION DURING LONDON FASHION WEEK. IYANUOLUWA OSATIMEHIN. Images Courtesy of Joshva Jerry and Rosslyn Photography FLAIR FASHION AW26: THE DESIGNERS THIS SEASON, FLAIR FASHION ONCE AGAIN BROUGHT FORWARD A COHORT OF NEWGEN TALENT, FOUR OF WHICH CAUGHT OUR EYE. ASTHETIK MAGAZINE’S JOSHVA JERRY WENT BEHIND THE CURTAINS AND FOUND OUT MORE BACKSTAGE. Written by Joshva Jerry Edited by Gabriel Mealor-Pritchard Flair Fashion, a platform that promotes the next generation of designers and brands, held yet another diverse showcase during London Fashion Week’s Autumn/Winter 2026 season. From gothic and noir tastes — blended to convey the deeper, darker emotions of its designer — to streetwear crafted by the hopes of a young 19-year-old chasing fashion, along with dreams that were made into artistic designs enabling one to escape reality. It sat as an exhibition of growing creative talent by an emerging cohort of designers. We caught up with four of them after the show. For Tara Kari, a womenswear designer from Finland, her desire to bring her dreams to life led her to create physical manifestations of said dreams through garments. But unlike typical visions, Kari chose the wild ones. The ones that made her feel like she “absolutely had to make“. The ‘Eye Top’ was one example. In her dream, two eyes were protruding from her chest, leading her to create a garment that featured an optical illusion… quite literally. Another design was the ‘Screw Jacket’, derived from another dream she had that her “body was made from wood and [she] was screwing it back together”. These chaotic thoughts, now observed as fashion, translated an element of authenticity on the runway and truly showcased the potential of working with unrestrained creativity. Adam Raillard, the previously mentioned 19-year-old designer with a keen eye for streetwear who has “been working 9 to 5 jobs, earning minimum wage, and trying to build up money to invest back into [his] brand,” presented his brand, The Kong is DeAd. Having had only one month to prepare for his debut, the creative found himself having to deal with a restrained timeline, yet still managed to bring a breathtaking collection to the runway. As mentioned, the brand targets the streetwear audience from that young perspective, with Raillard only starting sewing six months ago, one would be unable to distinguish. Aiming to become "the number one streetwear brand in the world, straight up”, Raillard’s determination resulted in a completed collection that was both original and fresh, demonstrating how, even with constraints, it is possible to chase and achieve goals when you set your mind to it. Seven Spot Lady Birds, also known as SSLB, is a label whose main work is less about clothing, but rather jewellery. Made using old Chinese embroidery techniques, incorporating intricate decoration, the products pivoted the audience’s focus from the typical collections on the runway to something more delicate and powerful—their embroidered collection of nature and creatures. which included handmade earrings and necklaces that captured the essence of “a dragon and phoenix”. And even though it was their first time on the runway, they were able to perfectly seize the audience’s attention and centre it on the focal point of their brand, the details. Yet another designer that grabbed the audience’s attention from the start was Noira, as she debuted her pilot collection to a runway audience for the first time. But even with the lack of experience, she was able to skilfully convey a storyline of emotions through each piece in her collection, the final look of which she dedicated to her dear friend who had sadly passed away. Through meticulous design choices, including ensuring each model possessed their own “garment, have their own character, have their own feeling, have their own action”, a narrative emerged that showed the collection as “exhausted, depressed… turned crazy” and then that same narrative ended, by expressing to those feeling similar emotions that they, “will see the light. They will see the dawn,” and with that hope that trickled through the collection, the creative was able to connect with the people … and “heal the people”. These were the stories of just a few of the designers and brands that showcased their talents, dreams and hopes at Flair Fashion during London Fashion Week. Flair Fashion has successfully shown itself once again as a platform that sources and upholds some of the top emerging talent amongst the new generation, including the other participants who also had their own unique and novel concepts that they brought to the runway, including: Fee Muse, Psy Lau, PODYH, Une Enfant, and Belsize25. See you next season!

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

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.

PRESENTED IN FRONT OF ROYALTY AND HELD WITHIN THE BRITISH FASHION COUNCIL'S NEWGEN SPACE, TOLU COKER PRESENTED HER AW26 COLLECTION DURING LONDON FASHION WEEK. IYANUOLUWA OSATIMEHIN. Images Courtesy of 10 Magazine IN SURVIVOR’S REMORSE , TOLU COKER REFLECTS ON ORIGIN THROUGH UNIFORM PRESENTED IN FRONT OF ROYALTY AND HELD WITHIN THE BRITISH FASHION COUNCIL'S NEWGEN SPACE, TOLU COKER PRESENTED HER AW26 COLLECTION DURING LONDON FASHION WEEK. IYANUOLUWA OSATIMEHIN. Written by Iyanuoluwa Osatimehin Edited by Gabriel Mealor-Pritchard Titled Survivor’s Remorse, Tolu Coker’s Autumn/Winter 2026 collection felt deeply personal. Staged in the basement at 180 Strand, the space was transformed into a tribute to her community, lined with murals honouring generations of Black Londoners. The collection opened in stark black tailoring, with sharply structured shoulders, a cinched waist and precise pleating that set the tone. With Little Simz opening the show and HRH King Charles in attendance, the scale of the presentation was clear, yet Coker chose to centre something intimate. Live performances from Little Simz, The Compozers and Ife Ogunjobi moved through the space, bringing music directly into the show. Coker also revealed a collaboration with Topshop, with selected pieces included in the main collection. Drawing from her upbringing and lived experience, she framed social mobility not as guilt, but as reflection. References to 90s London styling grounded the collection in nostalgia, revisiting early memories and environments. Coker explored what it means to move forward while carrying where you come from with you, refusing to separate progress from origin. Survivor’s Remorse read as clarity and celebration, a confident expression of identity shaped by growth. . Tailoring formed the backbone of the collection. Cinched waists, structured shoulders and sharp pleats shaped a silhouette that felt considered rather than decorative. Trench inspired coats split at the waist and cropped jackets drew the eye inward, reinforcing that sense of control. Pleated minis and midis echoed school uniforms, but paired with crisp shirting and tightly knotted ties, they felt elevated rather than nostalgic. Even hooded layers beneath structured outerwear felt deliberate, suggesting movement between different stages of life rather than resistance to them. Corseted shirting sharpened the torso further. The repetition of these elements gave the runway a steady rhythm. Uniform did not feel restrictive; it felt like progression. The silhouettes traced a path from school to work to authority, grounded in lived experience. Where earlier collections addressed migration and social systems more directly, Survivor’s Remorse felt more inward. This time, the story began with her. The mood felt confident. Mustard, deep red, olive, powder blue and black appeared consistently, building a palette that felt cohesive. The red tailored look stood out, as did the dramatic plaid satin coat, yet neither disrupted the overall direction. Plaid and check returned across shirting and ties, while white socks and structured hats nodded to 90s London styling without becoming costume. In previous seasons, Coker addressed migration and wider systems more directly. This time, the starting point is her own experience. The collection looks at growing up, moving through different spaces and what it means to succeed without separating yourself from where you began. Nothing is over-explained. The meaning sits in the cut of a jacket, the line of a waist, the repetition of a tie. By turning inward, the work feels more direct and more assured. There are also subtle shifts. Outerwear carries more volume. The red tailoring holds the room. The plaid satin coat commands attention without overpowering the rest. The silhouettes feel sharper. The repetition feels intentional. It read as a refinement. Coker strengthened what she has already built. What stays with you is the honesty. Coker does not separate where she comes from from the world she now occupies. Council estate spaces, school uniform and memory are not treated as something to outgrow. They sit comfortably within her language as a luxury womenswear designer. There is no attempt to smooth the edges or make the story more palatable. Instead, she lets it exist as it is. The result feels steady and assured, a collection that understands both where it began and where it stands now.

NAOMI HART LONDON TALKS GEODE-INFUSED SPACE-AGE FUTURISM RIGHT AFTER HER LONDON FASHION WEEK DEBUT. A LONDON FASHION WEEK DEBUT: A SOIRÉE WITH NAOMI HART NAOMI HART LONDON TALKS TO GABRIEL MEALOR-PRITCHARD ABOUT GEODE-INFUSED SPACE-AGE FUTURISM RIGHT AFTER HER LONDON FASHION WEEK DEBUT. 1/8 IMAGES COURTESY OF @ROSSLYNPHOTOGRAPHY Located in a snug studio room on Dean Street, Soho, Naomi Hart showcased their AW25 collection for the brand’s London Fashion Week debut. The plethora of attendees sat around with intense eagerness written all over their faces as the music began. A sombre, melancholic, vintage jazz track brought the viewers to the edge of their seats. The show began. At the end of the show, we caught up with Naomi Hart to discuss what exactly just enthralled our attention for the last 15 minutes. “I’m shaking a little bit,” she joked as we asked her about how she felt directly after her London Fashion Week debut show. Inspired by “a lot of space-age retro-futurism,” the collection is filled with geometric shapes and a true galactic sense that resonated through futuristic sunglasses and chrome, silver-heeled boots. “The inspiration was looking at the panels in my previous collections and then finding [those formations] in geode shapes.” Hart goes on to describe that she doesn’t feel that one individual inspiration works, she has to blend two and explore further down a niche route. “I always think that it's no fun to have one inspiration, I like to contrast it with something,” the designer said. “The whole idea of the collection is to create a new world,” Hart replied when I questioned her on the story behind the music choices she made. The sinister start to the soundtrack that helped tell the designer’s story slowly, over time, transformed into a cheerful end with the runway coming to a close to the sound of “Ray of Light” by Madonna. “The music at the start was supposed to be a little bit eerie, old fashioned, but also the idea of fantasy, as if daydreaming,” tells Hart. Wanting to contrast the garments presented with the music chosen, “the main idea behind the clothes is the girls feeling strong and feeling powerful,” she added. What caught our attention the most was Look 8, a red leather two-piece that demanded power and attention in its own right. “I cannot get away from it, anything that I make, whenever I then do it in a red leather, it’s always the best,” implores Hart as she agrees that it too, was her favourite look of the collection. Especially being the last look she had created for this season. “It was always missing something […] I kept saying to my Mum, there’s not that iconic piece.” “But then I saw it and I thought, I think we’re ready now,” added Hart, chuckling. Though it was short and sweet, Naomi Hart’s debut collection was a success, seconded by the roar of applause and bustle in the air after the show had taken place. However, it begs us to question, now that Hart’s foot is well and truly planted in the London Fashion Week scene, what is next from this emerging creative? We asked just that. “In this collection, there are so many other designs that I didn’t have time to make,” she said before excitingly adding, “So I’m thinking of doing a part two.” Well, if that’s the case, sign us up! We are equally excited as everybody else to see what the brand comes up with. Bravo on your LFW debut, Naomi Hart London.

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

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

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 ELTON ILIRJANI AND FASHION’S ROLE IN DRIVING SOCIAL CHANGE KARINA BOND AUTUMN/WINTER 2026: CONCEALED CREATIONS 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!

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. Images courtesy of Dior & Jonathan Anderson REFERENCE EXHAUSTION: JONATHAN ANDERSON'S DIOR AW26 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. Written by Isabella Senoi Edited by Gabriel Mealor-Pritchard The shift from modernity-loving Loewe and its embracing of abstraction still seems to haunt the Creative Director. Despite undertaking this mammoth role at the traditional maison, Anderson does not back away from his long-held ideals of disruption: “I don't want normality; I don't want repetition” he said, at what appeared to be the pre-show press conference of the century (featuring cinematography by Luca Guadagnino – though to what end remains unclear). Indeed, the collection is anything but regular, with eccentricity being the singular thread thinly connecting all of Anderson's seemingly unrelated references; Paul Poiret, punk, Mk.gee and traditional tailoring among them. The first having been the backbone to the show, with reworked Poiret dresses tucked into skinny jeans – a Y2K flapper's uniform – opening the night. The stage had been set, the turn-of-the-century revolutionary had been visually included. Then, just as quickly, the narrative went out the window. Swapping out tentative coherence for tweed cinched jackets, bejewelled epaulettes on pastel polos, and slack sleep-shirt-like jumpers. The styling throws all elements at the wall, and what sticks seems like a game of random association. Bags are designed for, apparently, a wholly separate collection. The only remnants of classic Dior, peppered across a fraction of the overall looks. Tailoring is where the collection shines brightest – still disruptive and interesting, though with much clearer intentions. The adorning of blazers with ultra-dramatic fur cuffs and silk capes continues to subvert sartorial conventions, just as Poiret intended, without sacrificing thematic sense. Here, in true Anderson fashion, florals and furs make sense on a puffer-jacket jellyfish silhouette. It is in these scholarly shapes, including pleats, jacquard and tassels, that the Dior atelier's expert craftsmanship is best appreciated. The delicate nature of Anderson's sophomore Men's showing extends beyond savoir-faire and into the models themselves. Casting is particularly soft in facial features and androgynous in nature, creating a contrast with the urban configurations favoured in outerwear. Anderson modernises aristocratic silhouettes beyond the present day, reevaluating the look of masculine authority and subsequently the night's most interesting point of view. The final looks continue the pattern of mild incoherence from the show's first half, now featuring knits. Slim-fit trousers and bare calves force the eyes south of the ankles to footwear. Anderson's bets for the season were angular, reptilian-clad booties and suede Dior-logo sneakers, the latter potentially a reference to Mk.gee's techy sound. The supposed punk-influence was present purely in the electrifying synthetic hair framing models with deliberately gaunt visages. This aspect in particular feels like a performative effort to come across as provocative and avant-garde. In an attempt to emulate “aristo-youth” characteristics, Anderson loses the focus on an otherwise innovative study in eccentricity. Poiret's pioneering attitude has fortified the Dior CD’s already-bold approach. But does being the first automatically constitute applause? It's clear this is Anderson, but is it Dior? The answer may lie in Women's A/W collections this February.

WITH LESS GLITTER AND MORE GRAVITY, THIS YEAR’S FESTIVAL HAD A QUIET QUESTION AT ITS HEART; BUT WHAT DOES IT MEAN TO NURTURE CREATIVITY TODAY? BY KRISTEN VONNOH HYÈRES 40. A CELEBRATION AT LA VILLA NOAILLES A NEW ERA AT HYÈRES? INSIDE THE RESET AND FUTURE OF THE FASHION FESTIVAL WITH LESS GLITTER AND MORE GRAVITY, THIS YEAR’S FESTIVAL HAD A QUIET QUESTION AT ITS HEART; BUT WHAT DOES IT MEAN TO NURTURE CREATIVITY TODAY? Written by Kristen Vonnoh Sunlight in Hyères shines differently in October. Still golden and cinematic, but softer now, quieter. The glittering summer crowds have gone, and the local life is vibrant. Held from October 16th to 18th, this anniversary edition marked not just a milestone, but a recalibration. Gone were the extravagant soirées and late-night villa parties that once defined the Hyères mythology. In their place was a focused energy around the young designers and the collections of fashion, photography, and accessories present. It was a refreshing way of focusing on the reason we were all there. As the 40th edition of the International Festival of Fashion, Photography, and Accessories unfolded at Villa Noailles, that same soft light seemed to mirror the mood: a festival once synonymous with exuberance, now tracing the contours of a new sensibility. After a turbulent year, the Villa Noailles welcomed a new director, Hugo Lucchino, formerly director of the Palais Galliera, after the departure of the festival’s founder, Jean-Pierre Blanc. The change felt both administrative and emotional, as speaker after speaker came up to the microphone to pay homage to Jean-Pierre. It began, as it always does, with giddy anticipation. Parisians spilling from trains, the sound of luggage wheels over cobblestones, a sun that felt slightly too warm for autumn. But beneath the familiarity, something had shifted. The opening ceremony was brisk and simple. After the speeches, Ascendant Vierge took the stage in a flash of sound and synths under the provençal sun. It wasn’t extravagant, but it didn’t need to be; this year, Hyères felt more contained and more reserved. In a perhaps symbolic move, the festival introduced an all-designer jury, forgoing the traditional figure of a festival president. Among them were Jean-Charles de Castelbajac, Julien Dossena, Louis Gabriel Nouchi, Alexandre Mattiussi, and Viktor & Rolf; a constellation of designers representing different chapters of contemporary European fashion. This flattening of hierarchy felt aligned with the wider undercurrent of the festival, celebrating and nurturing young talent. The Grand Prix du Jury Mode went to Lucas Emilio Brunner, whose collection À Bout de Soufflé floated between ballooning forms and Ivy League codes. Adrien Michel received the 19M Métiers d’Art Prize for his use of technical sportswear and refined craftsmanship. Layla Al Tawaya was awarded the Ateliers des Matières Prize for her gender-fluid leather and tulle constructions. Youssef Zogheib earned the Public Prize for menswear with couture precision. The Prix Supima, created for the 40th anniversary of the Festival, rewards the best use of SUPIMA cotton, a signal of the festival’s growing ties to the industry and its material economies. The winner was Noah Almonte, who received fabric support for his next collection and a trip to New York for the Supima Design Lab 2025. Under Lucchino’s direction, though still fresh, the Villa Noailles appears to be entering a different era. There’s talk of transparency, recalibration, and institutional renewal. The Robert Mallet Stevens’ 1923 modernist villa has always been a vessel for artistic optimism, an architecture of light and possibility. This year, it became something else too: a metaphor for resilience. Pascale Mussard, the Villa’s President, beautifully spoke of the artistic vision of the Noailles during the opening ceremony, citing the artistic heritage and patronage of its original owners, Charles and Marie-Laure de Noailles. The collections and exhibitions from the 2025 festival will remain open until January 11, 2026. They linger in the rooms of Villa Noailles, where the old indoor pool once was, shapes, textures, and experiments in silhouette, each one carrying the trace of a generation negotiating its place in an industry that never stops shifting. The light fades early in Hyères this time of year, signalling the arrival of colder days. Still, it leaves behind a glow that is reflective, uncertain, and full of questions about what comes next.

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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.