SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: Ik Saul Nash presented Masquerade, unveiling a collection that examined clothing as both performance and protection This collection begins with masquerade — not as decoration, but as behaviour. Prompted by Nash’s experience of Notting Hill Carnival, where costume operates as ceremony, mimicry, and release, the work considers what it means to dress as transformation. Venetian masquerade culture enters as parallel reference: concealment as power, anonymity as freedom. These histories are filtered through a London upbringing, resulting in a contemporary language of power dressing that moves fluidly between tailoring and sportswear. Tailoring is dismantled and reassembled. Suit jackets arrive with built-in hoods and detachable sleeves, shifting formalwear into something adaptive and kinetic. Shirts are traced with graphic line-work inspired by Ben Magid Rabinovitch’s Tamaris from Dirge (1931), the illustration’s tension and contour translated into motion. Executed in stretch cottons and merino wool, these pieces extend Nash’s ongoing interest in movement into a more structured register. A pinstriped all-in-one jumpsuit references 1980s power suiting, but is cut wide and deliberately warped on the body. It carries the authority of tailoring while moving with the theatricality of masquerade costume — presence without fixity. Outerwear anchors the collection. Military drill jackets feature transformable collars designed to shift shape and function. Cropped trench coats employ Nash’s signature kinetic cutting techniques, while padded jackets with elongated ribbed-knit sleeves and exaggerated hems remain ultralight, insulated with PRIMALOFT Gold. Across categories, adaptability replaces rigidity. Clothes are designed to respond rather than dictate. The palette remains grounded — greens, navies, and earthy browns — allowing texture to do the work. Silky utility trousers in LENZING™ Viscose are styled with crinkled recycled nylon zip-ups. Mohair blazers sit alongside alpaca and merino cardigans that expose the body, introducing controlled vulnerability into the silhouette. The idea of the mask becomes literal. Compression tops printed with hazy body imagery and finished with funnel necks create the illusion of wearing another form. An over-dyed raw denim twinset, laser-etched with a chiselled torso, recalls classical depictions of the male body — strength rendered as surface, not certainty. What emerges is a wardrobe that treats disguise as agency. Clothing not as armour, but as choice. Power, redefined through movement, concealment, and release.
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SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Willy Chavarria operates beyond fashion. What he proposes is a posture, a way of being visible without becoming accessible. A studied unapproachability that remains sexually alive, intriguing, and charged. Sultry without sadness. Distant, yet potentially available. Focused, but never resolved. For Autumn/Winter 2026, Chavarria presented ETERNO at Paris Fashion Week as a cinematic experience rather than a conventional runway. Music, movement, and performance merged into a fluid narrative where clothes revealed themselves through emotion rather than pose. This was fashion designed to be felt before it was seen. At its core, ETERNO examined faith, not in a religious sense, but as a question of what anchors us, what we trust, and what carries us forward. The main collection unfolded through elevated daywear: strong tailoring, tactile dresses, shearling, mid-weight outerwear, and accessories that balanced authority with vulnerability. Each look held tension, between softness and control, intimacy and armour. Formalwear remained central. Relaxed tuxedos for men moved with ease rather than ceremony. Women wore shimmering, textured cocktail dresses and sculptural gowns shaped for slow, deliberate movement. Silhouettes shifted fluidly: cinched waists and assertive shoulders gave way to elongated drape, relaxed mini shirt dresses, and tailored forms that felt lived-in rather than styled. Menswear stayed rooted in luxury sportswear, sharpened with refinement. Cashmere track jackets, elevated utility pieces, graphic jerseys, and tailored workwear trousers carried the spirit of 1970s athleticism, worn, cherished, reimagined. Chavarria’s signature codes persisted: slim waists, broadened shoulders, generous hips, and legs cut wide, flared, cropped, or tapered with intention. Queer intimacy, long central to Chavarria’s language, came into sharper focus through a collaboration with Grindr. Introduced discreetly via mesh underwear, the partnership framed connection as catalyst rather than statement. “The show is rooted in love, desire and human connection,” Chavarria noted, positioning Grindr as the space where encounters evolve into stories that fuel ETERNO’s emotional core. The debut of Big Willy, a new evergreen workwear line, expanded the universe without diluting it. Chinos, shirts, bombers, and Sutton coach jackets in khaki and black introduced humour, accessibility, and democratic ease, an entry point into Chavarria’s world that remained aligned with his values. ETERNO wasn’t about spectacle. It was about presence. A collection that didn’t ask for attention, it held it. @WILLYCHAVARRIA WILLYCHAVARRIA.COM Director of Photography: Benoît Debie Runway Photography: Gaspar Lindberg
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: Estrop / Francesc Ten A Decade, Reworked Marking ten years since its founding, QASIMI’s Spring/Summer 2026 collection is less a celebration than a reckoning. Under the creative direction of Hoor Al-Qasimi, the brand continues to evolve the vision of its late founder, Khalid Al Qasimi, one rooted in cross-cultural dialogue, memory, and transformation. This eleventh collection explores hybridity as condition rather than concept. Silhouettes, materials, and references move across geographies and generations, grounded by QASIMI’s familiar palette of browns, sandy neutrals, and black. Texture becomes the site of tension, where structure softens and surfaces carry trace. Womenswear introduces modular tailoring: sharp jackets paired with experimental trouser-skirts that resist fixed categorisation. “Memory nylon” plays a central role, a fabric that records creases before releasing them, operating as a quiet metaphor for impermanent memory and a subtle nod to Khalid’s early use of distressed materials. Layering functions as visual language. Shirts accumulate, hems fray, pockets multiply. Garments suggest lives carried, adjusted, and worn over time. Check motifs drawn from the brand’s archive return with renewed sharpness, edited rather than revived. Artistic collaboration remains integral. This season sees QASIMI work with Lebanese-born, London-based artist Dala Nasser. Her process-driven engagement with site and decay filters through raw edges, loose threads, and “doodle” embroidery. The result is clothing that feels marked by time, not aged, but lived with. A decade on, QASIMI continues to speak in layers. Quietly. Precisely. Press: Purpler PR
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Rooted in Time Salvatore Santoro enters the Milan Fashion Week calendar with a measured debut, presenting its Men’s and Women’s FW26–27 collection alongside the opening of its first permanent Milan space at Via Marcona 3. The gesture is deliberate. Expansion without acceleration. Presence without spectacle. ‘Rooted in Time’ the collection reinforces Santoro’s long-standing investigation of leather as both material and method. Time remains the brand’s primary design tool. Rather than responding to seasonal urgency, garments evolve through accumulation. Past and present coexist without nostalgia or futurism. Everything feels worn-in, yet precise. Silhouettes are open and protective. Oversized outerwear, generous proportions, and softened constructions create volume without rigidity. There is no sharp tailoring, no overt gender coding. Menswear and womenswear operate on the same axis, allowing form and function to negotiate quietly. These are clothes designed to be inhabited, not imposed.
Leather sits at the centre, treated with confidence and restraint. Carefully traced from origin to final construction, it functions as structure rather than surface. Hand-drawn patterns and seams follow the material’s natural behaviour, allowing weight, fold, and stretch to dictate shape. Sophistication emerges through technique, not decoration. The colour palette is subdued but expressive. Ochre, burgundy, deep green, and powdery light blue surface through material treatments rather than applied pigment. Light and shadow activate texture, reinforcing the collection’s emphasis on tactility and depth. There is continuity rather than contrast, a refusal of seasonal colour narratives. Naples, the brand’s home, is present as process rather than reference. Its influence is felt in proximity to making, in inherited craftsmanship, in respect for material as daily practice. Sustainability is embedded, not announced. Materials are sourced from the food industry, exotic leathers are excluded, waste is minimised, and a lifetime service reinforces long-term ownership. These garments are intended to age, improve, and gather meaning.
The Via Marcona 3 Milan space extends this philosophy architecturally. Designed by Parisotto + Formenton Architetti, the 380-square-metre environment functions as narrative rather than showroom. A raw metal staircase cuts through the interior, while mirrored surfaces implicate the visitor. Archival pieces anchor the present to origins dating back to 1887. Time, made visible.  
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: Tommar Shak Collected Moments, Refined Form Olivia Black opens a new chapter with Serendipity SS26. Seasonless, considered, and quietly intimate, the collection is a meditation on people, places, and chance encounters that shape creative practice. It is less fashion than reflection — a dialogue between maker, community, and memory. Magpies provide both metaphor and palette. Black-and-white plumage dictates the monochrome, while gold accents signal discovery and shared value. These details underscore the brand’s philosophy: clothing as assembled stories, craft translated into purposeful, wearable form. Silhouettes are timeless. Blazers, coats, trousers, dresses, skirts, and shirts are built to endure — elevated essentials refined with restraint. Every garment is produced in the UK by local makers, blending sustainably sourced fibres with curated deadstock fabrics. Function and longevity outweigh novelty. The recurring safety-pin motif threads through the collection. A symbol of connection, resilience, and the seamstress legacy of Olivia’s Nana, it anchors the work in lineage and lived experience. Each piece carries its history lightly, insisting on presence rather than proclamation. Serendipity is not about display. It is about accumulation — of influence, memory, and intent. Black distills these fragments into form, producing work that is quietly exacting, reflective, and enduring.
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Lacoste looks to the mountains, not for performance, but for posture. The Olympic Heritage Cortina d’Ampezzo 1956 capsule revisits Alpine style through restraint rather than nostalgia. Seventy years after Cortina hosted the Winter Games, the collection reframes mid-century winter codes for life beyond the slopes — the moments between movement and rest. This is clothing designed for altitude without urgency. For hotel lounges, late afternoons, and quiet winter rituals. Archival references are translated with discipline. Merino wool knits sit close and controlled. Quilted jackets nod to vintage outerwear without exaggeration. Polo shirts and sweatshirts feature a reworked Olympic emblem, present but never loud. Tailored trousers ground the collection, keeping it composed. Colour remains considered. Signature Olympic blue appears as a linking thread rather than a statement, connecting past and present with ease.
Accessories — gloves, scarves, hats — complete the wardrobe, treated as functional elements rather than afterthoughts. As an official licensee of the International Olympic Committee, Lacoste approaches Olympic heritage with care. This is not revival, but interpretation.
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Some collaborations arrive with noise. Others arrive with certainty. Lacoste’s appointment of Adrien Brody as global eyewear ambassador belongs firmly to the latter. Fourteen years after leading the brand’s Unconventional Chic campaign, Brody returns to the Lacoste universe not as a reinvention, but as a natural extension of an existing dialogue. Brody has never chased fashion moments. His relationship with style has always been instinctive rather than performative, shaped by ease, confidence, and restraint. Over the years, he has remained a familiar presence at Lacoste runway shows, embodying the brand’s balance of sport, elegance, and understatement.
The timing feels considered. Brody’s return follows a period of renewed acclaim, marked by his second Academy Award for Best Actor for his role in Brady Corbet’s The Brutalist (2024). His portrayal of architect and Holocaust survivor László Tóth earned him further recognition at the BAFTAs, Golden Globes, and Critics Choice Awards, reinforcing his position as one of cinema’s most distinctive talents. Across a career spanning film, television, and theatre, Brody has built a reputation for thoughtful selection rather than volume. From The Pianist — which made him the youngest Best Actor winner in Academy history — to collaborations with Wes Anderson, Steven Soderbergh, Spike Lee, and Peter Jackson, his work is defined by depth and range. Alongside acting, he continues to explore production, painting, and music, extending his creative practice beyond the screen.
Lacoste eyewear fits seamlessly within this framework. The designs worn by Brody balance heritage with modern refinement. Lightweight geometric frames feature bio-injected fronts for comfort, paired with acetate temples detailed by engraved metal core wires. The signature crocodile appears as a discreet metal accent, while a 7-barrel hinge ensures durability and precision. “I’m honored to join the Lacoste family as the global ambassador of their newest eyewear campaign,” Brody says. “Lacoste has always represented style, authenticity, and craftsmanship.” The sentiment reflects the partnership itself — considered, authentic, and enduring. In a landscape driven by speed and spectacle, this collaboration feels refreshingly measured. A meeting of shared values rather than surface appeal. Not a return for attention. A continuation with intent.
SøEdited Team SøBeauty Director / Article: Astrid Kearney SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Jay Briggs is the spellbinding milliner rewriting the language of modern fantasy fashion. The headpieces accompanying here draw from a retrospective of his work including Malleus Maleficarum, from his 2013 graduate collection. A debut shaped by theatre, ritual, and the creative vision nurtured by his beloved nan, whose support instilled his instinct for empowered, mythic femininity. His latest collection, Domina, is released in early 2026 signalling a bold evolution. Charged with imagination and authority, it reveals a designer who has refined his craft and deepened his voice. These headpieces do more than adorn; they transform, weaving history, folklore, and couture into wearable storytelling.
Briggs earned a BA (Hons) in Fashion Design from the University of Salford Manchester, where Malleus Maleficarum premiered at Graduate Fashion Week and immediately marked him as a talent to watch. A formative internship with milliner Piers Atkinson expanded his sense of possibility, reinforcing that audacious ideas can and should be realised. Predominantly self-taught in millinery, he fuses precision with imagination to create sculptural headpieces that are dramatic, romantic, and fiercely feminine. His work has captivated UK and international press, appearing in British Vogue, Vogue Italia, Vogue Russia, Vogue Sposa, ELLE Serbia, Harper’s Bazaar India, V Magazine, Wonderland, Schön!, Vision China, Mia Le Journal, and SHOWstudio. Collaborations include Selfridges’ 2015–2017 Christmas windows, a bespoke commission for Eastpak, and Modemuseum Hasselt’s “Haute-à-Porter,” with recent designs featured in Boux Avenue’s 2023 “Goddess of the Night” campaign. Kylie Minogue, Paloma Faith, Daphne Guinness, Kimbra, Laura Mvula, and Dr. Colleen Darnell have all entered Briggs’ extraordinary world, where headpieces are not merely worn but inhabited, commanding presence, narrative, and imagination.
Can you take us back to the beginning of your journey in millinery? What initially drew you to this craft, and were there any specific moments or influences that made you decide to pursue this path? I see a headpiece as a form of art and have always been drawn to them through my love of history—how they were used to show off one’s social status and the empowerment they gave the wearer. It wasn't until I undertook a six-month internship during university that I got to work with the incredible milliner Piers Atkinson (and later, after I graduated), from whom I gained invaluable hands-on experience. Above all, he made me understand that everything you can imagine is real, and it was that which became the turning point.
As a milliner, your work is so intricately tied to both craftsmanship and creativity. Can you talk us through your creative process from an initial idea to the final design? Are there any unexpected moments of inspiration that shape your work? It all starts with a concept ,a story I have woven from a book I have read or a moment in history ,which I then escape into to create my own fantasy. I will then sketch out ideas to define the silhouette of the collection before moving to the mannequin head, where all the magic happens. This is where I work with the fabrics and hone the design to create the final piece.
What advice would you give to aspiring creatives who are trying to bring their unique vision to life, especially when faced with challenges or self-doubt in the process? I think the connection between your ‘being’ and your work is extremely important, as your creative vision should simply be an extension of yourself. It is this which makes it believable. You will always be your biggest critic and doubt your choices; it goes hand in hand with being a creative. It’s so easy in these moments to compare yourself to other people. It doesn’t matter how many likes a picture gets on Instagram or how many followers someone has, always remember Jesus had twelve. If you don’t believe in your vision, how can anyone else? Belief is the key. Milliner @jaybriggs_millinery Photographer @mylasvisuals Shot @dccstudios Makeup Designer @astridkearneymakeup Wig Designer @kostrukhair Model @gemmahuh Set Designer @mhjlawrence Illustrators @drawingcaberetcouture @louiseboughton @sonjajallamas @farhafarooque.fashion @supermalevich
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe In a season defined by contradictions, AGRO Studios presents Prophet a collection built on restraint and collision, where material and meaning move in controlled disorder. Agro Studio resents Prophet, a study in contradiction. The collection looks to tarot, to the jester, to the disorder of the modern image. It reads as system and collapse, couture against uniform, softness against discipline. Ball gowns meet British school shirting. Leather intersects with tulle. Shearling collides with technical fabrics. The result is not harmony but balance: a tension between what is made and what is imagined. Colour remains muted, surface quiet, form articulate. Yellow punctuates the palette like a coded signal. Textiles are hand-painted, the process visible. Construction draws from corsetry, streetwear, and traditional leather craft. Each piece made in the London atelier, slow, deliberate, intentional. Volume closes the collection. Grandeur becomes architecture. The final silhouettes recall Westwood and Dior, not in reference but in spirit, where the line between theatre and reality is thin enough to walk. AGRO Studios moves from private commission into the open circuit of contemporary fashion. Prophet marks that transition. It introduces a framework where craft becomes language, and garments act as statements rather than decoration. The AGRO wearer occupies this in-between space, analytical, self-directed, instinctively aware of construction. They invest not in fashion as display but in the physical trace of making: an artefact of process and presence. Prophet is not about prophecy. It is about reading the present, its confusion, its fragments, and finding form within it. PRESS ThePop.Group
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe At London Fashion Week, ALISADUDAJ presents Silent Engravings, a study in restraint and heritage. Rooted in Albanian craft, the collection transforms memory into material form. Wood carvings, hand embroidery, straw art, each reference becomes structure. Surfaces are worked, not decorated. Wool dominates. Felting, embroidery, and hand knitting are treated as construction rather than embellishment. The result: garments that stand with the gravity of objects. Dudaj’s lineage informs the collection. Her great-grandfather’s straw compositions, built from thousands of fragments, define the rhythm, repetition, precision, endurance. The collection mirrors that discipline: silent, enduring, complete. Silhouettes are architectural. Lines are reduced to their load-bearing core. Every gesture is deliberate; every seam a trace of labour. This is craft stripped of sentiment, a system of making where silence becomes language. Silent Engravings situates ALISADUDAJ within London Fashion Week’s discourse of heritage and reinvention. It is not a memory of craft, but its continuation, recoded through modern minimalism, resolved in form. Press The Pop Group
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Sø•FASHIONStructure over ornament. Memory over surface. Archives
January 2026
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