<![CDATA[Sø•Edited - Sø•Fashion]]>Tue, 12 May 2026 14:19:48 +0100Weebly<![CDATA[Palm Angels Spring/Summer 2026: Island Speed]]>Sun, 10 May 2026 16:52:57 GMThttps://www.soedited.com/soslashbullfashion/palm-angels-springsummer-2026-island-speed

​SøEdited Team
Article: Kellie Neilson
SøEditor-in-Chief: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe

​In recent seasons, luxury streetwear has faced a familiar challenge: how to preserve authenticity once a subcultural language becomes part of the global fashion mainstream. With Island Speed, its Spring/Summer 2026 campaign unveiled in Milan this May, Palm Angels responds with one of its most visually assured statements to date: a collection that exchanges overt spectacle for atmosphere, tension and emotional heat.

​Set along a blazing coastline and infused with the restless spirit of Jamaica, the campaign centres on a motorbike hovering improbably above the sea. Around it, models appear scorched by the environment itself: skin luminous beneath punishing light, silhouettes oversized yet vulnerable.
​
The imagery signals a subtle evolution for Palm Angels. While the label has long explored the collision between American skate culture and Italian luxury craftsmanship, Island Speed feels more instinctive and emotionally charged. Drawing from Jamaica’s growing bike culture, where motorcycles have become extensions of identity, rhythm and display. The collection captures movement not simply as action, but as attitude.

​That sense of motion runs through the garments themselves. Technical fabrics are cut into relaxed, deconstructed proportions; washed textures appear deliberately exposed and imperfect. The result is clothing that feels lived in rather than manufactured, resisting the hyper-finished precision that has come to dominate much of contemporary luxury streetwear.

In this regard, Palm Angels distinguishes itself from its closest contemporaries. Where Fear of God pursues spiritual minimalism through muted palettes and architectural restraint, Palm Angels embraces abrasion and sensuality. There is less serenity here, more friction.

The comparison with Off-White is perhaps more revealing. Under the late Virgil Abloh, Off-White transformed streetwear into a conceptual dialogue about luxury, irony and cultural quotation. Palm Angels, by contrast, has always been less intellectualised and more cinematic. Island Speedcontinues in that vein, offering emotion instead of commentary and a collection shaped by humidity, danger and masculinity.

​There are echoes, too, of the rebellious glamour cultivated by A Bathing Ape (BAPE), particularly in the campaign’s fascination with bikes as symbols of performance and identity. Yet Palm Angels avoids nostalgia. The Jamaican influence grounds the collection in something contemporary and culturally alive, rather than retrograde fantasy.

Perhaps the clearest indication of the brand’s next chapter is the introduction of a new Palm Angels logo patch, integrated throughout the collection as both insignia and statement. In an era when luxury fashion is moving away from overt branding toward subtler forms of recognition, the patch feels strategic: a distilled symbol designed for visibility without excess.

What makes Island Speed compelling is not simply its styling or references, but its conviction. At a moment when many luxury streetwear brands appear caught between commerce and credibility, Palm Angels understands that mood remains its most valuable currency. This season, that mood is intoxicating: sun-bleached, dangerous and impossibly fast.

Purple PR
]]><![CDATA[No Front Row, No Escape: Avavav’s Female Gaze as Urban Surveillance]]>Fri, 08 May 2026 10:07:56 GMThttps://www.soedited.com/soslashbullfashion/no-front-row-no-escape-avavavs-female-gaze-as-urban-surveillance
Avavav Fashion designs cutting edge and slick, soedited
Avavav
Picture
Director Beate Skonare Karlsson

SøEdited Team
Article: Kellie Neilson
SøEditor-in-Chief: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe

​Avavav is a designer brand rooted in fine arts, sculpturing and childish humour - translated across apparel, accessories, footwear and objects. Founded by Creative Director Beate Skonare Karlsson, the design universe is built around her sculpted world of figurines. Avavav has gained worldwide recognition for its conceptual and humorous ideas, abilities to stir strong emotions and its pioneering silhouettes.

​Avavav’s Fall/Winter 2026 collection arrives wrapped in the language of disruption, but it ultimately reveals a more complex negotiation between concept and control. Staged as an inversion of the traditional runway, The Female Gazepositions the guest as the spectacle-an ostensibly radical gesture that collapses the boundary between observer and observed. Yet beneath its theatrical reversal lies a familiar tension: who controls the gaze, and can it ever be meaningfully redistributed within the rigid choreography of Fashion Week or in the coded performances of everyday urban life?

​The premise is seductive. Guests are led not to seats but into the show itself, walking alone through a corridor of models whose silent attention replaces the traditional audience. The absence of a front row suggests a dismantling of hierarchy, yet the experience feels less like liberation and more like a controlled passage. Closer to moving through a surveilled city space than an open act of expression. The participant is not freed from the gaze but re-scripted within it. Still framed, still curated, still performing. The power dynamic remains intact, only rotated.

​This tension extends to the show’s central claim. The “female gaze” is positioned as a corrective to historically male-dominated perspectives, yet here it risks becoming flattened into something singular and benign- quiet, contemplative, communal. In reality, the way women look at one another is far more complex, shaped by admiration, competition, insecurity, and desire. It echoes the subtle negotiations of public space, be that on streets, in clubs, on transport, where looking is never neutral. By smoothing over these contradictions, the show offers an abstraction rather than a fully interrogated perspective.

​The collection itself operates within this same ambiguity. Built on the idea of women dressing for themselves and for other women, it privileges character over conventional attractiveness. Hybrid garments, trouser-skirt fusions, engineered T-shirts, and silhouettes that shift categories resist fixed identity and binary codes. There is intelligence in this construction, particularly in how volume and closeness coexist, recalling the layered pragmatism of urban dressing, where function and expression constantly intersect. Yet the emphasis on imperfection as authenticity begins to feel aestheticised. What is framed as resistance risks becoming another stylised language, easily absorbed and reproduced.

​Moments of vulnerability surface in details like tissue-stuffed bras and references to adolescent femininity, hinting at the awkward process of becoming. But even here, the rawness is mediated. The awkwardness is curated, distilled into a visual form that remains legible within a luxury context. It gestures toward lived experience without fully surrendering to its instability—the kind of instability that defines real, unfiltered encounters in public space.
​
The AVAVAV x Adidas collaboration focuses on reworking classic sportswear through a surreal, performance-art lens, blending Adidas’s athletic heritage with AVAVAV’s exaggerated, often ironic design language. Presented at Milan Fashion Week, the partnership transforms familiar pieces like tracksuits, hoodies and sneakers into distorted, sculptural versions that prioritise visual impact over functionality, leaning into the idea of “high fashion, low performance.” While some footwear in the collab includes playful, altered designs, these differ from AVAVAV’s separate collections, where fully foot-shaped or anatomical heels appear as part of the brand’s broader exploration of body distortion and absurdity.

The most compelling twist, however, lies in the role of the audience. By placing the guest at the centre of the runway, Avavav collapses the boundary between observation and participation. Walking the space is not just an act of being seen, but of consenting to be seen under pre-designed conditions. The discomfort arises not only from exposure but also from the recognition of how instinctively one performs, adjusting posture, pace, expression, and all, under the pressure of being watched.

In this sense, the show becomes less about reclaiming the gaze and more about exposing its internalisation. The models function less as judges than as mirrors, reflecting the participant’s own learned self-awareness. The gaze is no longer external; it has been absorbed, rehearsed, embodiedand shaped as much by the street as by the runway.
​
Ultimately, Avavav’s FW26 presentation is most compelling not when it claims to redefine the gaze, but when it reveals its persistence. There is no clear outside position, no clean reversal. The system remains, diffused across everyone in the room and far beyond it. The audience does not simply witness it-they complete it.

​
]]><![CDATA[YVONNE WANG: SECOND SKIN]]>Thu, 07 May 2026 16:41:54 GMThttps://www.soedited.com/soslashbullfashion/yvonne-wang-second-skin

SøEdited Team
SøBeauty Director / Article:  Astrid Kearney
SøEditor-in-Chief: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe​​​
​Photography: Becca Geden 

Few emerging designers move as fluently across disciplines as Yvonne Wang. A graduate of BA Fashion Knit at Central Saint Martins, her practice refuses to settle in one register, shifting from art-referenced knitwear to deconstructed outerwear to provocatively ceremonial bodywork with the ease of someone who has truly mastered her craft.
​
Her silver knit, developed as part of an Alexander McQueen project, opens with intention. Drawing inspiration from the artworks of  artist Uddenberg, Wang focuses on “the expressive tension in his creations ,translating abstract visual languages into tangible designs, using texture contrasts and structural deformations to craft disorienting visual effects.” Through deliberate adjustments of knit density and fabric layering, the work ruptures conventional visual expectation thus inviting the audience to perceive “the intersection of art and fashion in subtle visual fluctuations.”

The brown windbreaker originates somewhere quieter. “A nostalgic wander through the 1990s” , classic trench coat silhouettes extracted, decomposed and restructured into something simplified yet wholly distinctive. Screen printing on yarn meets leather-oriented fabric transformation, the result an integration of “retro aesthetics with contemporary design sense” that feels both rooted and entirely now.

The black jersey piece moves into more charged territory. Exploring the fusion of flocking and knitwear - stretchy, considered, and ceremonial all at once. The figure is enclosed in something that reads as both second skin and ritual dress, the trailing transparent hems dissolving as they fall. Research on embroidery craftsmanship surfaces in the delicate glove designs, “blending decorative art with wearability” - a tenderness sitting quietly against the graphic sharpness of the piece.

This is a figure who has chosen, entirely, how they are seen.
Fashion illustration by Dolls in a row for soedited magazine
Dolls in a Row


​Designer @xoosu_s — Yvonne Wang
Photography @beccageden
Hair & Makeup Designer @astridkearneymakeup
Makeup Assistant @makedujour
Model @princesscyberspace
illustrations: @dollsinarow
Set @mgjlawrence 
Studio @dccstudios
​
Illustration by Dolls ion a Row
Dolls in a Row

​
]]><![CDATA[DI PETSA: SYSTEMATIC GLAMOUR 2026]]>Mon, 27 Apr 2026 21:35:00 GMThttps://www.soedited.com/soslashbullfashion/di-petsa-systematic-glamour-2026

SøEdited Team
SøEditor-in-Chief: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe

​Founded in London in 2019 by Dimitra Petsa, Di Petsa has developed a distinct position within contemporary womenswear, one that moves between garment, body, and idea. At its centre is an ongoing exploration of the relationship between femininity and water: fluid, shifting, and resistant to fixed form.

Petsa’s approach is shaped by a combination of disciplines. Early exposure to dressmaking, learned alongside her seamstress grandmother, sits in contrast with her later studies in performance design and womenswear at Central Saint Martins. The result is a practice that feels both grounded and experimental, traditional construction reworked through drape, movement, and a sense of narrative.

This balance is perhaps most visible in the label’s now recognisable “Wetlook” pieces. Designed to cling to the body as if suspended in water, the garments suggest a state of transition rather than completion. They don’t simply dress the body, but respond to it, tracing its contours, acknowledging change, and allowing space for imperfection. What emerges is less about illusion, more about acceptance.

Over time, the work has found resonance across a range of figures, from Bella Hadid to FKA Twigs and Lizzo, each bringing their own interpretation to the pieces. More recently, the garments have extended into maternity, worn by Gigi Hadid and Nicki Minaj, where the emphasis on transformation becomes even more pronounced.

There is a sense, throughout Petsa’s work, that dressing is not a surface act but something more intimate, almost ritualistic. The body is not corrected or contained, but engaged with. Through this, DI PETSA builds a language that remains open: to different forms, different identities, and the constant movement between them.
It’s a practice less concerned with defining beauty than with allowing it to shift.
]]><![CDATA[Florentina Leitner: AW26 - “You Are a Star”]]>Thu, 26 Mar 2026 10:44:36 GMThttps://www.soedited.com/soslashbullfashion/florentina-leitner-aw26-you-are-a-star

​SøEdited Team
SøEditor-in-Chief: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe

For Autumn/Winter 2026, Florentina Leitner builds her collection around the idea of transformation. Titled You Are a Star, it considers the slow shift from uncertainty to self-possession — not as spectacle, but as something accumulated over time.

There is a thread of pop-cultural memory running through the work. A reference point appears in The Princess Diaries, particularly the familiar narrative of awkwardness reshaped into confidence. Leitner approaches this not as instant change, but as a process — identity formed gradually, rather than revealed in a single moment.

A second reference grounds the collection in something more intimate: Carrie Bradshaw crossing a wintry New York street in pyjamas in Sex and the City. It’s a fleeting image, but one that holds a certain emotional clarity, vulnerability made visible in public space. That tension carries through the collection, where nightwear shifts outward. Boxer shorts, sheer layers and lingerie are worn openly, their softness offset by small, almost ceremonial gestures.

Leitner’s language remains playful, though more controlled. Knitwear is punctuated with bow motifs and subtle sparkle; accessories take on unexpected forms, from soft sculptural bags to pieces that feel lightly theatrical. Star appliqués appear across garments, less as decoration than as quiet markers within the collection’s broader metaphor.

The palette is restrained. Greys, black, white and brown establish a winter base, with pale pink and blue emerging in softer intervals. Occasional metallic surfaces catch the light, suggesting something closer to reflection than overt shine.
A returning motif — the prize bow — links back to earlier work, here reimagined as something functional. Sashes become objects that can be carried, worn, used. Achievement is treated less as a fixed point, more as an ongoing condition.
What emerges is a portrait of a heroine in transition. Not fully formed, but moving forward — sometimes in glitter, sometimes in pyjamas, but always in motion.

Press: LIMITÉE PR
]]><![CDATA[CYPHERITAGE - By Hu Bing Selects & Aga Maruyama]]>Thu, 19 Mar 2026 11:25:10 GMThttps://www.soedited.com/soslashbullfashion/cypheritage-by-hu-bing-selects-aga-maruyama
Hu Bing, lfw2026, soedited, sofashion,

​SøEdited Team
Article: Lucy Ashburner
SøEditor-in-Chief: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe

​Since Charles Frederick Worth conceptualised the fashion show in the 1850s, it hasn’t developed all that much. Of course, the likes of Lagerfeld introduced extravagant sets, and McQueen famously was the first to extend his show to the public with a livestream in 2009, but the general format has remained the same for 170+ years.
That’s why when a designer opts for an out-of-the-box method of presenting their collection, it sticks with you. That’s exactly what Aya Maruyama did when showcasing ‘CYPHERITAGE’ on the final morning of London Fashion Week. 
 
At the popular Paradise Club in Vauxhall, Maruyama - showing with Hu Bing Selects for the second consecutive season - welcomed the audience with an entirely immersive experience, allowing us not only to physically see her designs, but to really feel the emotion that was poured into creating them.
 
Before delving into the details, allow us to bring you up to speed on Hu Bing Selects. The man behind the platform is the ‘Top Chinese Male Model’ Hu Bing, who has been involved in London Fashion Week for the past eleven years. Throughout that time, he has championed young Asian designers, showcasing their talents to the western world. That was until, this season, when the focus shifted from the designers to craftsmanship itself. Alongside Aya Maruyama - a current PHD candidate at Tsinghua University - he reimagined Bai Ethnic Tie-Dye - a piece of Chinese cultural heritage - bringing it firmly into the modern day using digital art.

​Upon entering the slightly unorthodox venue, guests were met with six mannequins adorning physical looks by Maruyama, each bridging the gap between tradition and modernity, as they fused Bai Tie-Dye with futuristic fabrication, such as 3D printing. The abnormal textures on more classical silhouettes were visually very interesting - something we’ve come to expect from work involving Hu Bing. The digital presentation felt like a glimpse into the future, as generative digital organisms donning the clothes were projected into the centre of the room, accompanied by sci-fi-esque graphics and neoteric music.
 
It was something fresh, something different and something as an audience, we want to see. Designers send their looks down runways fashion week upon fashion week, and that’s fine - the method is tried, tested and true. However when we are treated to innovation - especially when executed as well as CYPHERITAGE was - it’s a stark reminder that this is an industry built on unconventionality and constant variation, and should remain as such.
Hu Bing, lfw2026, soedited, sofashion, Fashion preview
]]><![CDATA[Kristine Kilty: BY INSTINCT, NOT PERMISSION]]>Tue, 17 Mar 2026 12:49:36 GMThttps://www.soedited.com/soslashbullfashion/kristine-kilty-by-instinct-not-permission

SøEdited Team
SøEditor-in-Chief / Interview: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe

​With the release of her new book, Fashion Stylist, Kristine Kilty opens up a world that has long operated behind closed doors. 

Built from years of experience across luxury fashion, image-making, and education, the book reads less like instruction and more like access, a direct, practical insight into an industry often defined by opacity.

“I wanted to create something honest and useful,” she says. “Something that actually helps people move forward.”

Kristine Kilty Fashion director shooting with fashion photographers, styling elegant couture dresses

There is a particular kind of clarity that comes not from certainty, but from movement, from stepping forward without a defined map and allowing instinct to take over. Kilty speaks from within that space, where direction is not always planned, but gradually revealed through experience, resistance, and persistence.

Her beginnings were not linear. A BA in Textile Design followed by an MA in Fashion Design at Central Saint Martins placed her firmly within the system, yet something didn’t sit quite right. Designing, confined to the studio, felt disconnected from what drew her to fashion in the first place.

“I didn’t want to spend my career in a design studio,” she says. “I was always more interested in the end result — the image, the show, the feeling around it.”

​The shift came quietly, almost accidentally. Working within Vivienne Westwood’s couture world, styling clients without formal training, Kilty found herself closer to the outcome she had always been drawn to. A passing moment with Gwen Stefani,  a simple affirmation where she advised Kilty to contact her stylist, Andrea Lieberman.

“I had no portfolio, no contacts. I just decided to go for it,” she recalls. “Ignorance was bliss.”

Fashion literature and information in Kristine Kilty New book “fashion stylist’ full colour elegant styling and hi end designers

What follows is not a story of sudden recognition, but of gradual construction. Rejection, she notes, was formative, something that redirected her inward rather than outward.

“The no’s helped me more than anything, I built my own circle, stayed in the studio, and just kept making work. I never really compared myself to anyone.”

There is a sense that Kilty’s work has always been informed by a deeply personal archive. Music, in particular, runs through it, the residue of London nights, of subcultures experienced firsthand rather than observed.

“Music shaped everything. Rock, rave, drum and bass, being in those spaces, feeling that energy, it all fed into how I see things.”

​The visual language of glamour also remains present, sharpened through an early fascination with Dita Von Teese. 

“I studied how she put everything together, the detail, the precision. That stayed with me.” 

Alongside this sits the enduring influence of Jean Paul Gaultier, whom she describes simply as “my true north.”

Fashion Stylist a new book by Kristine Kilty, covering the fashion industry, couture clothing, fashion photographers

Yet what feels most distinct now is a shift inward. After decades spent moving between cities, London, New York, Paris, her practice has recalibrated. The pace has softened. Nature has entered the frame.

“Style goes beyond what you wear, It’s about the energy you bring.”

Her jewellery project, Frequency Paris–Ibiza, reflects this change, a move away from overt maximalism toward something quieter, more grounded. A different kind of expression, but one that feels continuous rather than separate.
Picture

This perspective extends into her reading of the industry itself. Social media, once a space of connection, is now something she approaches with caution.

“There’s a lot of noise and not much substance. Follower count doesn’t equal talent. You have to stay grounded and trust your own direction.”

​There is also a clarity in her ethics. A lifelong commitment to veganism informs her work without compromise.

“I don’t work with fur or exotic skins. It’s an immediate no,” she says. “Staying aligned matters more than being seen.”

In many ways, her book sits naturally within this trajectory, not as a separate project, but as an extension of it. A sharing of knowledge that resists closing inwards and instead opens the door.

“There’s space for everyone, I’m not into gatekeeping.”
Kristine Kilty Jewellary bran Frequency Paris Ibiza is stunning Along with her book launch covering fashion, makeup, hair,

​What becomes evident, in speaking with Kilty, is that her work has never been about arriving at a fixed point. It is about maintaining alignment — with instinct, with values, with curiosity.

“There’s no one path. You just keep going.”
​
There is no singular moment of transformation here. Instead, something quieter, more sustained: a continual process of becoming. ​

Book available at: Fashion Stylist:
KRISTINE KILTY
]]><![CDATA[Karina Bond: A/W26  | VIVARIUM]]>Sat, 14 Mar 2026 14:56:44 GMThttps://www.soedited.com/soslashbullfashion/karina-bond-aw26-vivarium

SøEdited Team
Article: Astrid Kearney
SøEditor-in-Chief: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe

In VIVARIUM, Karina Bond imagines fashion as something rarer than luxury: a living relic. Eight looks, destined for eight wearers, each garment meeting its host once before retreating into archive silence. Sculptural silhouettes emerge through 3D printing, hand-painted feathers, sustainable leathers and gilded organza, pulsing in a palette of incendiary red against bruised purple and burning orange.

Nature threads through the work. Inspired by the beetle specimens seen at the Victoria and Albert Museum, Bond created her own scarab motifs, translating the jewel-like armour of insects into sculptural embellishments, a quiet homage to the beauty of nature.

The collection also celebrates innovation and sustainability. Bond debuts her new line of 3D printed handbags in Dial 8, crafted with zero waste, lined with velvet microfibre and featuring a unique opening mechanism. Each bag embodies her commitment to responsible design, honouring the principles of zero waste while maintaining a sense of refined artistry.

Hair, led by Efi Davies with the Toni and Guy session team, moved with lacquered chignons, flicks and polished  glass fringes precisely separated to create a sense of motion. Hair as sculpture rather than ornament. Makeup by Lan Nguyen-Grealis using Kryolan delivered glossed skin, minimal brows, gilded eyes or orbs of radiating burnt browns or silvered lilac washes on inner and outer lids,, accented with a fine elongated red liner and fine red lashes at outer zones to that pull the gaze outward. Long high glossed almond nails by Giulia Oldani were ombre or red with radiating gilded rivets up the centre adding to the visual storytelling.

Bond’s dialogue between craft and technology continues to evolve. 3D printed structures sit alongside hand-painted and embellished textiles that hover between armour and ornament. The collection carries tension and intimacy, a subtle whisper of the post-apocalyptic creeping into her vision. In VIVARIUM, fashion is not merely worn; it is inhabited briefly, remembered, and then preserved like a rare specimen, fleeting and unforgettable.
Picture
Anna Huang

Credits

P.R : Cellar Communications
Lead Makeup : Lan Nguyan -Grealis  using Kryolan
​Styling : Borna Prikaski
Nails : Giulia Oldani using Orly
Lead Hair  : Effi Davies with Toni & Guy Session Team using Lable M
illustrator : Anna Huang (Dolls in a row)
Jewellery : Vicki Sarge London
Footwear : Natacha Marro
Set Design : Liv Snowden
Photography : Astrid Kearney
]]><![CDATA[Helen Anthony: AW2026]]>Sat, 14 Mar 2026 11:01:30 GMThttps://www.soedited.com/soslashbullfashion/helen-anthony-aw2026

SøEdited Team
SøEditor-in-Chief: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe

​For Autumn/Winter 2026–27, Helen Anthony turns its focus to the city it calls home: London. Long defined by its cultural layering and architectural contrasts, the capital becomes both reference point and visual language for a collection that reflects on the meeting of past and present.

At its core lies the house’s commitment to British tailoring. Structured coats, jackets and suiting echo the discipline traditionally associated with Savile Row, yet the silhouettes are subtly reinterpreted for a contemporary wardrobe. Precision remains central, but the collection moves beyond strict classicism through surface detail and ornament.

Throughout the garments, London’s architecture appears in unexpected ways. Landmarks and urban geometries are translated into intricate hand-embroidered motifs, transforming recognisable façades and structural patterns into textile compositions. These embellishments introduce a narrative dimension to the tailoring, allowing each piece to function not only as clothing but also as a quiet reflection on the city’s layered visual identity.

The collection also continues the brand’s longstanding dialogue between Eastern and Western craft traditions. Traditional embroidery techniques associated with Eastern textile practice are applied to sharply cut British forms, creating a balance between delicacy and structure. Ornament softens the rigour of tailoring, while the architectural lines of the garments ensure the pieces remain grounded in modern wearability.
Material choice reinforces the emphasis on craft. This season sees the label collaborate with Scabal, whose fine cloth underpins the collection’s focus on quality and longevity. By sourcing fabrics within the UK, the brand also highlights its ongoing commitment to heritage manufacturing and responsible production.

Taken together, the collection reads as a considered tribute to London itself — a city where history and modernity coexist in constant conversation. Through careful tailoring, detailed embroidery and exceptional fabric, Helen Anthony offers a wardrobe that reflects that same balance: rooted in tradition, yet unmistakably contemporary.
]]><![CDATA[NATASHA ZINKO: AW2026 | Family Bizness]]>Fri, 13 Mar 2026 13:22:28 GMThttps://www.soedited.com/soslashbullfashion/natasha-zinko-aw2026-family-bizness

SøEdited Team
SøEditor-in-Chief: Chris Saint Sims 
​SøFashion Director: Savannah Barthorpe
​
​For Autumn/Winter 2026, Natasha Zinko turns inward, tracing the origins of her label through memories of childhood in post-Soviet Odessa. The collection, titled Family Bizness, looks back to the street markets where Zinko first encountered the mechanics of fashion commerce. Alongside her parents, she watched handmade denim pieces — what would later become the first Natasha Zinko jeans — sold among the bustle of everyday trade. To her, they were simply “Dad’s jeans”: improvised, homemade, and, for that very reason, the best on the market.

Those early lessons in resourcefulness continue to shape the label’s identity. Reuse and upcycling have long defined the brand’s approach, informed by a childhood in which scarcity encouraged constant reinvention. Borrowed garments, altered pieces and unexpected combinations became a form of creativity in themselves — layering this, cutting that, wearing something differently to give it new life.

That instinct runs throughout the collection. Zinko pushes her recurring motif of exaggerated layering further, constructing trompe-l’œil activewear jackets where fleece zip-ups are cinched by shrunken tank tops worn over the top, creating improvised corsetry. A collaboration with Havaianas introduces the Pancake Flops — two pairs of flip-flops seemingly “taped” together with leather strips, referencing the designer’s own makeshift solution to the absence of platform shoes.

Elsewhere, humour meets commentary. A cardboard-brown “parcel” clutch stamped with the fictional retail platform NZBUY proposes a playful question: could any object become a bag if imagination allows it?

The collection’s emotional centre arrives in the form of the fur coat. Zinko recalls the mink coat once passed down from her grandmother — warm, durable and quietly glamorous. Here, that memory evolves into an “eternal” faux-rabbit coat, complete with sculptural rabbit-head epaulettes that reframe the traditional garment through a contemporary, animal-conscious lens.

Footwear developed with New Rock continues the conversation, placing soft faux-fur creatures atop heavy boots — a surreal gesture that blurs the line between ornament, companion and provocation.

Natasha Zinko
Press: ReferenceStudios
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