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.

WATCH THIS SPACE... COMING SOON

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.

THE ACCLAIMED FASHION COURSES AT WESTMINSTER HAVE A NEW KID IN TOWN; A PRE-DEGREE FASHION FOUNDATION COURSE HERE TO TEACH STUDENTS HOW TO MAXIMISE THEIR CREATIVE EXPERTISE AND CRAFT IT INTO FUTURE SUCCESS. A WESTMINSTER FASHION FOUNDATION: THE NEW COURSE TRAINING STUDENTS TO TAKE OVER BRANDS THE ACCLAIMED FASHION COURSES AT WESTMINSTER HAVE A NEW KID IN TOWN; A PRE-DEGREE FASHION FOUNDATION COURSE HERE TO TEACH STUDENTS HOW TO MAXIMISE THEIR CREATIVE EXPERTISE AND CRAFT IT INTO FUTURE SUCCESS. Written by Gabriel Mealor-Pritchard Westminster University is introducing a significant new addition to its fashion education offering. The Fashion Foundation programme marks the institution’s first foundation year dedicated to fashion, building on a longstanding reputation for producing ambitious, high-calibre student work. Under the leadership of Dominic Akhavan-Moossavi, course leader of the university’s highly regarded fashion master’s degree, the programme benefits from a clear connection to postgraduate-level thinking while remaining accessible to those at the very start of their creative journey. Designed as an entry point into fashion education, the foundation year provides students with a unique opportunity to engage with industry-facing concepts before committing to a three- or four-year degree. It allows participants to test their interest, develop direction, and gain insight into how fashion operates as both a creative and professional discipline. For some, the programme becomes a launchpad into further study at Westminster; for others, it provides transferable skills and experience that can be applied across creative fields. Asthetik Magazine is proud to support the programme as an official sponsor, working closely with the course to amplify student voices beyond the university. Through online platforms and social media, Asthetik will showcase student work to wider audiences while offering guidance on presentation, visibility, and professional development. This partnership reflects a shared commitment to nurturing emerging talent and bridging the gap between education and industry. 1/4 At the heart of the Fashion Foundation programme is an emphasis on experimentation. Students are encouraged to approach their work with curiosity and ambition, using the year as a space to explore ideas freely and take creative risks. The focus is placed firmly on process rather than polished outcomes, reinforcing the understanding that innovation often comes from uncertainty, trial, and reflection. By normalising failure as part of creative practice, the programme helps students develop resilience and adaptability, qualities essential to long-term success in fashion. The teaching throughout the course is shaped around dialogue, challenge, and discovery. Tutors guide rather than dictate, creating an environment that balances support with critical rigour. Students are encouraged to question conventions, examine their own assumptions, and extend their ideas beyond initial instincts. This approach allows individuality to emerge naturally, helping students articulate their perspectives while building confidence in their decision-making and creative voice. By the end of the year, students leave with a strong and versatile foundation. They gain practical insight into how the fashion industry functions, alongside sharpened skills in creative thinking, material exploration, and problem-solving. Just as importantly, they develop the confidence to initiate ideas, communicate concepts clearly, and take ownership of their work. Whether progressing onto a BA or moving forward into other creative pathways, graduates of the programme do so with clarity, purpose, and the momentum needed to thrive. Get in touch with Westminster Fashion on their Instagram or through their website to enquire and apply now!

INSIDE LA FONDATION AZZEDINE ALAÏA, PARIS, ASTHETIK MAGAZINE GOT A FIRST LOOK AT THE LATEST EXHIBITION ON SHOW, HIGHLIGHTING TWO MASTERS OF HAUTE COUTURE. AT THE FONDATION AZZEDINE ALAÏA, FASHION WHISPERS INSIDE THE MASTERS OF HAUTE COUTURE EXHIBITION WITH AZZEDINE ALAÏA AND CHRISTIAN DIOR INSIDE LA FONDATION AZZEDINE ALAÏA, PARIS, ASTHETIK MAGAZINE GOT A FIRST LOOK AT THE LATEST EXHIBITION ON SHOW, HIGHLIGHTING TWO MASTERS OF HAUTE COUTURE. Written by Kristen Vonnoh Edited by: Gabriel Mealor-Pritchard A short walk from the Hotel de Ville metro stop, you’ll find a hidden gem. With an elegant courtyard and an understated entrance, there is the Fondation Alaïa. The exhibitions presented in this space are as elegant as the space itself. Inside the latest exhibition at the Fondation Azzedine Alaïa, conversations fade into whispers, with friends leaning in toward each other while admiring the work of the couturier. “C’est magnifique,” said a visitor, pointing to the details of the strapless Dior dress. “Azzedine Alaïa and Christian Dior: Two Masters of Haute Couture”, curated by Olivier Saillard, is not an exhibition that demands attention but earns it. Bringing together nearly seventy designs by the two couturiers, the show unfolds as a quiet dialogue across decades, between Dior’s revolutionary 1950s silhouettes and Alaïa’s later, deeply sculptural work, inspired by his time as an intern at Dior. White flowers frame the spaces where the garments are exhibited, softening the architecture and brightening the space. Yet, despite the richly layered scenography, nothing overwhelms the beauty of the garments themselves. A Christian Dior dinner jacket from the Haute Couture Spring-Summer 1948 collection immediately draws the eye: Pondichery, from the Ligne Envol collection. Crafted in natural linen canvas, the jacket features a plunging back, a Mandarin collar, and short sleeves with wide turn-ups. It is entirely embroidered with branches, birds, and butterflies in multicoloured metallic threads, embellished with green glass cabochons, silvered sequins, synthetic pearls, and mother-of-pearl shells. Its cut, the most singular of the Ligne Envol appears to give the piece a literal sense of lift, as if it might take flight, echoing Dior’s own words that the line “soars as one walks and dips toward the back.” Nearby, an Azzedine Alaïa strapless dress from his Spring–Summer 2006 ready-to-wear collection offers a different take. Made of white cotton voile, the gown is fully ruched and printed with a tone-on-tone raised Paisley motif, finished with a delicate lace trim along the top of the bodice. Playing with the artifice of haute couture, Alaïa continually pays homage to it even as he reinvents it, revisiting the proportions of the 1950s underdress, traditionally hidden beneath the gown to create volume. Here, the logic is reversed: the interior becomes exterior. Ruching is no longer merely structural but aesthetic, and the once-invisible underskirt becomes the façade. In this mirrored gesture, the dress becomes the undergarment, and the undergarment becomes the dress. The exhibition’s scenography is rich with information, enticing visitors to spend more time observing the techniques and inspirations behind each piece. It creates a space visitors don’t rush through. They linger, engaging with Alaïa’s life and work with surprising intimacy, as if reading a story they feel personally invested in. Dior’s dresses, with their gravity-defying structures, are positioned in juxtaposition with Alaïa’s sculpture-like dresses and overcoats. Dior’s garments fascinated him. They “stood up on their own,” Alaïa once said. Cutting and sewing became his lifelong obsession. That obsession quietly threads through the exhibition. The accentuated waists. The sculpted shoulders. The curved hips. The restrained yet powerful palette of blacks and greys and greens, and reds. Alaïa never copied Dior. He studied him, absorbed him, and translated that early awe into a language that was entirely his own, in a way only he could. Decades apart, the garments seem to recognise each other. What gives the exhibition its emotional weight is the knowledge that Alaïa was not only a couturier but also a guardian of fashion history. Over the course of his life, he collected more than 500 Christian Dior designs, preserving them with almost archival devotion. The pieces shown in this exhibition come from that personal collection. These were garments he lived with, learned from, and protected as part of the patrimoine de la mode. Upstairs, the exhibition becomes even more intimate. Being able to see Alaïa’s former studio space, visitors understand the passion he had for his work. The distance between creator and creation collapses. The scene was left exactly as it was in 2017 at the time of his passing; it almost feels like he’ll come back any second. A video installation closes the visit, grounding the garments in the philosophy of the man himself. “It’s a matter of complicity between a woman and a couturier,” says Alaa in an interview. “I make sure she keeps her personality.” One truth clearly emerges: Alaïa loved women. Not as an abstract muse, but as bodies in motion and as living sculptures. His clothes listen before they speak. This exhibition is powerful. It is about continuity and how admiration and precision become craft, how couture history is often written through devotion to skill. At a time when fashion feels increasingly loud and explanatory, “Azzedine Alaïa and Christian Dior” offers a look into fashion that is refreshing and increasingly rare.

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.

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.

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.

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

THE YOUNG DESIGNER CHOOSES TO ARCHIVE HER LATEST COLLECTION OF 3D-CRAFTED DESIGNS AFTER THEY ARE WORN ONLY ONCE, SEALING THEM AWAY, NEVER TO BE SEEN AGAIN. MARY WENTHUR TELLS ALL. KARINA BOND AUTUMN/WINTER 2026: CONCEALED CREATIONS THE YOUNG DESIGNER CHOOSES TO ARCHIVE HER LATEST COLLECTION OF 3D-CRAFTED DESIGNS AFTER THEY ARE WORN ONLY ONCE, SEALING THEM AWAY, NEVER TO BE SEEN AGAIN. MARY WENTHUR TELLS ALL. Written by Mary Wenthur Images Courtesy of Karina Bond London In an industry built on exposure and turnovers, Karina Bond is choosing to conceal her latest collection. ‘Vivarium,’ Bond’s AW26 line, comprises eight looks, and each is to be worn by only one person in the world. The garments will never be sold or replicated and will be carefully archived after their moment in the spotlight. This past week, the designer unveiled these creations at Chateau Denmark’s Thirteen, a cocktail bar and event space. Guests were confined to a gothic bedroom, home to the eight avant-garde designs that seemed to come alive in the dim light. Recreating her own vivarium, Bond said, “You're one with the creatures for a split moment, and then they kind of disappear. You might get to see a maximum of eight people ever wear these out.” Bond already has a list of people chosen to wear each look, though the identities remain a secret within the whimsical world her designs create. In her narrative, the clothing chooses a “host,” and “to wear one was to enter a contract,” she described. “You would be the first and the last.” She uses a 3D printing pen, taking over 100 hours to hand-draw each design.“I feel like a lot of the time I'm literally putting bits of my soul into my work,” Bond said. It is a zero-waste substance made from a rubber-polymer mixture that allows the models to bend and twist into new poses, with a second-skin-like texture that breathes as muscles flex. Sculpted directly onto the body, the eight designs feature woven dresses interconnected with ribbon, tulle and hand-painted feathers. Elements of nature appear distorted through Bond’s extraterrestrial lens: a high-neck collar is intricately drawn in a dimensional pattern, like coral growing from a reef. Corsets in liquorice-braided plastic intertwine in warped formations, bending the boundaries of reality. As Bond puts it, the effect is “something that we see in AI fashion, but this is real.” As an avid film and video game lover, I draw inspiration from stories like The Last of Us, a post-apocalyptic video game set in a world overrun by parasitic fungi. Where mushroom-like layers grow from bodies much like Bond’s 3D printing tactics. Each model resembles their own character. She places small 3D-printed red horns between webs of clear, pen-drawn lines that scale down the bodices of one dress, completely moulded to movement. “I make kind of artwork for the body, and not just clothes to put on a person,” said Bond. The delicate art made Bond question the merchant side of the industry, expressing her feelings towards the system of rapid output, “A lot of the time pieces get loaned out to stylists and transported everywhere, and they end up becoming disposable,” she said. This new collection also celebrates the launch of Bond’s bioplastic 3D-printed mini bags. As part of Bond’s storyline, these mini bags resemble small horned creatures and are offered in an array of colours, including baby pink, pearl, cobalt blue, black, and blood red. The three different spiky designs: stone, petal and stella, bring an element of her vivarium to the outside world. These priceless designs will later be kept safe by Bond herself, concealed from the outside world as time goes by. This is a completely new concept for her brand, but Bond is currently creating her ready-to-wear for next season. Always focused on creating “something you don’t see in everyday life,” she adds, “that’s what I like to prove.”

READ THE LATEST STORIES FROM ASTHETIK MAGAZINE HERE 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. 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. 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. 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. HYÈRES 40: 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?

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.