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.

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

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.

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.

NAOMI HART LONDON TALKS GEODE-INFUSED SPACE-AGE FUTURISM RIGHT AFTER HER LONDON FASHION WEEK DEBUT. A BEAUTIFUL DEPRESSION: TIFARET TELLS US A STORY GABRIEL MEALOR-PRITCHARD INTERVIEWS TIFARET DESIGNER, CHIYUE, AND FINDS OUT MORE ABOUT HER LONDON FASHION WEEK SHOW IN COLLABORATION WITH FASHION SCOUT. 1/6 IMAGES COURTESY OF CHRIS YATES - @ITSCHRISYATES Protein Studios in Shoreditch housed the collaboration between Fashion Scout and fashion brand Tifaret for their London Fashion Week debut. The studio was filled with photographers, and the attendees waited with anticipation. The lights dimmed, the show began. "When I was driving from my home to my studio, I always see this kind of gloomy sky with big pipes and all the flames are burning, it's like my environment made me have this dream for this show. And now I feel like this dream came true." The creative director of Tifaret, Chiyue, told me in an interview right off the back of her LFW runway, held in conjunction with Fashion Scout. Talking about her garments and their cuts, Chiyue tells me, "I prefer to combine the east with the west. Lots of my clothes have draping and have a very precise proportion, but on the other hand, I prefer to have some Chinese or Asian elements. Flatter pattern making, like my skirt, totally flat... So, when the girls move, lifting their hands, the clothes they are wearing have more of a flow." This 'flow' she speaks of came to the garments effortlessly, as the models walked back and forth. They looked soft and light, truly encapsulating the quintessential essence of the Asian culture, which Chiyue always finds a way to connect her designs to with each collection. The collection presented a mix of tweed and cotton that garnered attention from the audience in their own right. Muted colours dominated the showcase, with splashes of blue and orange adding contrast to the palette. I asked what it meant to her to collaborate with Fashion Scout, an esteemed partner within the industry. Chiyue responded, "Oh, it's very sophisticated, they have supported me for many years and they have discovered a lot of other brilliant designers, and I'm happy that I'm a member!" All we know is that the show was a HIT. The clothes told the story they were destined to, highlighting the beautiful depression Chiyue intended for them to present. The dark, soulless factory backdrops she saw as she was on her way to something she loves so dearly, the beauty of creativity. This contrast brought the clothes to life. Premium Upgrade Required Please upgrade to Premium plan to remove the watermark and access Spotify widget settings

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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.

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

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

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

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

EDWARDIAN FINESSE, STREETWISE ENERGY AND FAMILY MEMORIES COME TOGETHER IN DENZILPATRICK’S LATEST COLLECTION, AN IMAGINATIVE COLLAGE OF LONDON MENSWEAR AT ITS FINEST. HARRY NICHOLSON TELLS US WHAT WENT DOWN AT THE BRAND'S AW26 LONDON FASHION WEEK PRESENTATION. Images Courtesy of DenzilPatrick LONDON BELONGS TO DENZILPATRICK EDWARDIAN FINESSE, STREETWISE ENERGY AND FAMILY MEMORIES COME TOGETHER IN DENZILPATRICK’S LATEST COLLECTION, AN IMAGINATIVE COLLAGE OF LONDON MENSWEAR AT ITS FINEST. HARRY NICHOLSON TELLS US WHAT WENT DOWN AT THE BRAND'S AW26 LONDON FASHION WEEK PRESENTATION. Written by Harry Nicholson In the midst of an ever-bustling London Fashion Week, Denzilpatrick quietly marks five years of business with a stand-out, yet poignant Autumn/Winter collection. Daniel Gayle and James Bosley bring it all back home, with a lineup of looks imbued with family memories and the swagger of the city that shaped them. The menswear brand is named after Gayle’s Jamaican and Irish grandfathers, Denzil, a saxophonist, and Patrick, a Navy seaman, two men whose polarising personalities were as bold as their style. Gayle and Bosley have imagined how the pair might dress if they were arriving fresh to London today. The result, ‘London Belongs To Me’, reads as a fusion of bold heritage and modern confidence, as if Bridgerton were to find itself set in Peckham, circa 2026. “It's just obviously how decadent and how special dressing was at that time for everyone across all kinds of lifestyles and people,” Gayle told me. “I think dressing had much more rigour to it and it was of much more importance within society.” That sentiment convincingly informs every look, signalling intention and cultural pride. Tailoring, unsurprisingly, remains Denzilpatrick’s strongest suit as an anchor of the collection. Double-breasted suits are cut with strong shoulders, reworked with safari-style frontal pockets and military buttons that nod to Patrick’s military past. Yet Denzil’s soul is just as present, most vividly in Gayle’s favourite look - a sharp suit rendered in gleaming scarlet Japanese crepe satin. Elsewhere, dandy historical references meet designs seen today. Nylon tailcoats - first seen in AW24 - become the new parka, while detachable bib-fronted shirts featuring elongated cuffs and epaulettes position shirts as a rare statement piece. Edwardian codes, it turns out, emerge as the most inventive element of the collection, offering rich styling choices and structural details that avoid drifting into costume. Each look is complemented with a mix of period knee-high boots and an assortment of PUMA Suedes, a welcome pop of colour that injects a dose of street-level pragmatism into the otherwise dressed proceedings. It’s an unlikely pairing, but the collaboration is a perfect match, articulating the cultural collision London does best. Knitwear, another staple of Denzilpatrick, is a practical counterpoint to the sharp, tailored silhouettes. Showing me a chunky, ribbed Aran sweater, Gayle notes the homage to Patrick: “It's a very much a seafarers-inspired type of knit with chunky half cardigan stitch. They’re reminiscent of those men at sea from another time.” The knitwear forms a foundation for modular styling, layered under tailoring or topped with the detachable bib panels, allowing for an easy shift between formal and relaxed effortlessly. Print plays an interesting part in bridging the eras. Paisleys and tapestry florals have been lifted from lived-in rugs and curtains, then spray-treated onto joggers and shirts. Its a clever bit of translation by using streetwear techniques: recasting historic motifs into the contemporary. The layering of pieces is busy, yet not excessive. A tone-on-tone palette reins in the varied textures, allowing decorative touches - feathers sprouting from the edges of tailcoats or brooches reminiscent of miniature chandeliers - to serve as decadent flourishes. Interrupting what would usually be expected from a winter collection, regency breeches are recast as shorts, coordinating with the proportions of the strong shoulders. Gayle justifies the logic with a relatable personal preference, if nothing else: “Both James and I will try and wear shorts for as long as we possibly can, up until late October when it's just too cold. I mean, shorts can work all year round somewhere, you know?” On this milestone, Denzilpatrick feels more and more assured. The presentation delivers wearable, confident pieces that appeal to streetwear enthusiasts while simultaneously demonstrating a fresh approach. In a menswear landscape dominated by safe, gaudy casualness, Gayle and Bosley are doing something far more interesting: folding their own and London’s layered histories into wearable and confident pieces. If this is the blueprint the pair are drafting for new menswear, London rightfully belongs to Denzilpatrick.