SøEdited Team Article: Lucy Ashburner SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe When Suzy Menkes - the world’s most famous fashion journalist - greets you personally at a reception held in your honour at the Peruvian embassy, you must be quite the talent - and what a talent Genaro Rivas is. Despite only graduating from London College of Fashion in 2024 with an MA in Fashion Entrepreneurship and Innovation, the young designer’s resume is absolutely stacked. He pioneered Latin America’s first 3D printed dress, became the first Peruvian to land a place on the official LFW schedule, and was named by Forbes as one of his nation’s top 50 creatives. All things considered, it’s hardly surprising that on Sunday evening the N0.30 in Knightsbridge was packed out with high-profile guests in anticipation for his sixth consecutive showing since his debut. Spanning over two floors, the backdrop was beautifully complimentary, with classical artwork adorning the walls and ornate chandeliers hanging from the ceiling, offering a brief glimpse of what would later be sent down the runway.
Entitled “A Glass to Break”, this collection was birthed from two separate interactions with broken surfaces: once in Berlin, with a photograph of glass shattered by a bullet, and once on a quiet morning in Russell Square with his astrologer. He saw beyond what many others would, and instinctively found that in fragility, there is immense strength. From there, he manifested these emotions into twenty-six looks, stitched together with mohair, denim and silk alongside innovative textiles such as plant-based leather, wetland-grown insulation and next-generation biomaterials. The opening models stepped out to a heavy, rock-inspired tune, suggesting an act of rebellion, perpetuated by a sharp colour palette of deep blacks and metallic silvers with glimpses of a stark red - which remained cohesive throughout (with the exception of a singular vivid yellow coat-dress). Structural silhouettes, exaggerated sleeves and precise tailoring allowed for fluid movements, whilst fine, intricate details - such as what appeared to be laser-cut triangles resembling shards of glass - brought extensive drama to the show. Numerous looks were complimented by extravagent headpieces by Roberta Cucuzza, which once more made a reference to shattered glass, remaining in line with the essence of the clothes. The show was a surge of artistic expression and intense emotion - each look was clearly highly considered, and sculpted to align with themes of vulnerability, yet also healing and strength. Rivas received a genuine applause from a moved and impressed crowd, as he stepped out for his final bow and embrace with friend and fashion commentator Hanan Besovic (commonly known as @Ideservecouture), who warmly offered his congratulations. At this young stage of his career, Rivas has the intense pressure of the industries eyes firmly gazed upon him, and yet, he continues to deliver masterpiece after masterpiece. Remember his name, as we are surely witnessing the early years of someone who will one day be a formidable force.
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SøEdited Team Article: Astrid Kearney SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography : @Marcus hartel POET-LAB Models glided through the veiled rooms, beautifully structured and thoughtfully tailored, moving with a quiet assurance that mirrored the collection’s controlled strength. The presentation revealed a meticulous eye for detail, drawing such demand that the PR team released two rounds of seating to accommodate the full-capacity audience. Unveiled at Spitalfields, “Inside the Lab” marked a quiet yet powerful reclamation of femininity, capturing the moment a woman moves from adapting to expectations to owning her own narrative. Rather than rebellion, the collection proposed clarity, control and self-definition, challenging refinement as something imposed and reframing it as consciously chosen.
Designer Giuseppe Iaciofano choreographed the presentation himself and models moved with a measured, uneven cadence, with his partner composing the music, shaping a fully immersive environment where movement and sound sharpened the narrative. Inspired by the restraint of 1990s minimalism and stripped-back 1970s silhouettes, the collection introduced a new language of power grounded in dignity after rupture. Silhouettes were clean, intentional and precise. Exposure was deliberate, never decorative. Sensuality remained present, but without performance.
Eyes were washed in soft buff with shadowed dark tones and a whisper of blue beneath, skin polished to a glossy glow, and bronze tracing cheekbones and temples to catch the light with quiet radiance.Hair was slicked back to the nape with lengths left flowing, while some models wore loose blonde, Marilyn-inspired wigs that introduced a note of theatricality against the collection’s restraint. Echoing the spirit of Diana, Princess of Wales — “I don’t go by the rule book. I lead from the heart, not the head” — the collection reflected a movement away from external approval toward inner alignment.
Column and slip dresses appeared alongside tailored minimalist forms with elongated lines and bare shoulders. Asymmetry, off-shoulder cuts, open backs, restrained draping and subtle hardware emphasised intention over ornamentation. The mood throughout was one of quiet confidence, sensual control and intellectual femininity. Credits: Creative Director: @giseppe.iaciofano Producer: @serenaneverstop PR: I.dea Pr Makeup Lead: @jacy_garland_hmua Hair Lead: @prettygorgeoushair Jewellery: @coalescence_jewellery Sponsers: @backstagebeautyldn @miicosmetics @ardellbeauty_uk
SøEdited Team Article: Alex James SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Global Fashion Collective (GFC) successfully concluded its London Autumn/Winter 2026 showcase, as part of the official Fashion Scout LFW schedule at Protein Studios Shoreditch in London. The Autumn /Winter 2026 program celebrated innovation, craftsmanship, and cultural diversity, delivering a dynamic showcase that reflected the breadth of global design talent. From emerging voices to established brands, this season reaffirmed GFC’s commitment to elevating designers on an influential international stage and fostering meaningful cross-cultural exchange within the fashion community.
Alex S Yu Earthy tones of burgundy and rich brown were grounded in black and white, while flashes of indigo punctuated the palette with vivid recollection. Oversized plaids, soft volume, and relaxed silhouettes evoked the warmth and unstudied ease of youth, as the concept of imaginary companions was subtly woven into the fabric of each look—an ode to the little explorers we once were.
Olena Adam The brand’s signature Festan garment - a versatile, non-seasonal silhouette that seamlessly merged Eastern fluidity with European refinement. The runway was infused by Azzi Glasser of The Perfumer’s Story with her iconic fragrance Fever 54.
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: Harry Mille Presented as an intervention rather than a conventional runway, Kenneth Ize’s Fall–Winter 2026 collection unfolds against a backdrop of global fatigue. The atmosphere is one of fragmentation and introspection. Instead of offering spectacle, Ize poses a quieter, more difficult question: what have we done wrong? Titled JOY, the collection approaches the word cautiously. There is no easy optimism here. Joy is treated as something interior and hard-won, an emotion that must be confronted before it can be expressed. Clothing becomes the site of that negotiation, less costume than conversation. Collaboration forms the collection’s underlying rhythm. Ongoing exchanges with artists, friends, family and long-standing creative partners filter directly into the work. The garments feel communal, as though shaped by many hands and histories. Rather than asserting a singular voice, the collection allows space for overlap, for memory, movement and dialogue to coexist within the same silhouette. Textile remains Ize’s most fluent language. Handwoven aso oke meets velvet, wool and denim; linings are exposed, seams allowed to surface. Materials associated with protection and structure are subtly unsettled, blurring the line between interior and exterior. What is usually concealed becomes part of the visible composition, suggesting vulnerability not as weakness, but as adornment. There is a lived tactility throughout, fabrics that seem to carry the trace of touch and travel. In drawing the inside outward, Ize gestures toward emotional transparency. JOY does not deny the present moment’s instability. Instead, it proposes connection, through craft and shared making, as a deliberate, sustaining act.
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe For Fall/Winter 2026, BUZIGAHILL continues to develop its ongoing project, RETURN TO SENDER 12, presented during Intervention V at Berlin Fashion Week. The Kampala-based label looks back to the charged optimism of 1960s and ’70s East Africa — a moment shaped not by stylistic uniformity, but by authorship and forward motion. Independence was recent. Cultural production felt urgent. Identity was being assembled in real time. Archival imagery of newly sovereign Uganda and Kenya informs the collection: parquet dance floors, bougainvillea-lined streets, sharply flared trousers and generous collars worn with composure. It was the era in which Ugandan playwright Robert Serumaga toured internationally, and Kenyan writer Ngũgĩ wa Thiong'o published The River Between. Though infrastructure and dress often carried colonial residues, the posture was self-determined. That spirit is reframed through the contemporary realities of the second-hand trade. The journey begins at the port of Mombasa, where discarded garments from the Global North arrive in vast quantities before moving inland to Uganda. In Kampala, BUZIGAHILL intercepts, dismantles and reconstructs these pieces. What emerges is a conversation across generations — between grandparents who dressed for a new national horizon and today’s boda boda riders, whose pragmatic alterations turn imported cast-offs into garments of utility and pride. Sourcing from Owino Market, one of Africa’s largest second-hand hubs, the label redesigns and redistributes these garments back to the Global North. Each piece carries a passport label documenting origin, composition and production era — waste reframed as traceable object. RETURN TO SENDER 12 extends BUZIGAHILL’s critique with clarity. Kampala is not positioned as the terminus of fashion’s excess, but as an active site of re-authorship — shaping what returns, and how.
SøEdited Team Article: Lucy Ashburner SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe It’s a miserable evening in Shoreditch - the temperature has dropped and London has treated us to sudden downpour of rain. However, upon stepping into Protein Studios, we’ve been transported to another place entirely, as the venue is filled with bright colour and a cheerful atmosphere - a far cry from the doom and gloom outside. This comes with good reason - it’s night three of London Fashion Week, and the time has finally arrived for the highly anticipated JimmyPaul x Pokémon show. Upon entering, the joyfully dressed guests are greeted by mannequins adorning JimmyPaul’s line with Difuzed - a brand where pop culture meets streetwear - that has been produced alongside the clothes we’re preparing to see on the runway. The show hasn’t even begun, but the buzz amongst the crowd certainly has. Classic pop music from the early 2010s is echoing throughout the venue, muffled somewhat by the sound of excited chatter. There are some jaw dropping outfits dotted about before the models have even hit the runway - the guests have dressed to impress, and the memo to go big or go home that clearly been received. Then comes the moment everyone was eagerly awaiting - the lights go down and the opening model steps out, in the first of 28 looks, walking with conviction to the sound of B-52s Love Shack. A brief glance to the crowd and it’s a sea of smiles - the sheer jubilance in the room was undeniable - and it is quite literally impossible to not plaster a cheesy grin all over your face. It wasn’t just the ambience that showed up to work - the clothes themselves were magnificent. Each individual look was inspired by a specific Pokémon, and they were displayed on screen as it went down the runway. In many ways it was classic JimmyPaul - eccentric silhouettes, vibrant colours and a masterclass in texture. There was a great deal of faux fur - that was perfectly wearable, especially in London’s harsh winters - in bright greens and yellows, plus a real crowd pleaser - an incredibly oversized jacket that resembled almost a bright colourful ball. Elsewhere, highlights included polka dots and stripes galore, tasteful two-pieces and futuristic prints. The devil was really in the details. The hair and makeup was phenomenally done, complimenting each look perfectly, but not taking away from the clothes themselves. Meanwhile, the shoes almost deserved a show of their own, with the highlights being chunky trainers, 60s style go-go boots and metallic heels. To round out what really was an exceptional show, Pikachu - the leading muse of the night - stepped out for a moment in the spotlight, followed by JimmyPaul himself, who deservedly received a huge round of applause from an amazed crowd. Fashion shows can fall flat sometimes, especially in this current era when sleek and minimal is all the rage. Anyone can send a simple black dress down the runway, but not many can find connect fashion with modern art in the way that JimmyPaul does. This is everything London Fashion Week should be - avant-garde, experimental and something that really makes you feel.
SøEdited Team Article: Lucy Ashburner SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe London Fashion Week means one thing - editors, buyers and influencers alike are scrambling to piece together an itinerary for the week, decisively choosing which shows are ‘must sees’. One designer who is surely at the top of the pile is JimmyPaul, as he is set to show his new collection in collaboration with Pokémon in Shoreditch on Saturday evening. The looks are undoubtedly going to be classic JimmyPaul - which means innovative silhouettes, vibrant colours and bold textures. To add to the typical excitement we see exploding on his runways, the Dutch designer has constructed this collection - entitled ‘Roam’ - around 10 distinctive worlds, each rooted in an influence connected to specific Pokémon. This isn’t the first time we’ve seen JimmyPaul collaborate with a youthful phenomenon - in the past we’ve seen collections with both Hello Kitty and Bratz - however Pokémon has been a career-long dream.
The Amsterdam-based designer also pulled from an additional wide range of creative references when creating ‘Roam’, from his Indonesian Heritage to 2000s punk and everything in between. Whilst we can speculate, you never quite know what JimmyPaul will produce next, and with such diverse sources of inspiration, this show is most definitely solidified on the ones to watch list. Keeping in line with his past works and brand ethos, sustainability has not been an afterthought in the production process of ‘Roam’. There is no green-washing in sight - the majority of the looks that will be sent down the runway have been created from vintage materials and deadstock textiles, in addition to some reworked fabric from previous collections.
We were fortunate enough to catch up with JimmyPaul ahead of the show, and here’s what he had to say: SO: You’ve collaborated with both Bratz & Hello Kitty which are arguably phenomenons in the fashion world - especially when you look towards 2000s trends. What drew you towards Pokémon for this collection? JP: Ever since I started in fashion, fresh out of art academy, I dreamed of collaborating with Pokémon. It was always on my wish list. So, when all the stars aligned, I felt like the fashion gods had heard my prayers. I must have manifested in my sleep a meeting with Pikachu and Eevee… because it happened. I love everything about Pokémon: the heritage, the universe they’ve built, and the fact that it’s such a global phenomenon. It’s nostalgic, but also timeless. For me, it’s truly an honor and a privilege to work with something that has shaped so many childhoods, including mine. SO: This upcoming collection is built around 10 distinct worlds that differ quite significantly from each other - from your Indonesian heritage to 90s surf culture. How did you land on each of these ‘worlds’ and how do they blend together to produce a cohesive collection? JP: Each world is rooted in one strong influence that connects organically to a specific Pokémon, through its aesthetic, personality, or a memory. I wanted to invite the viewer into my mind and show where my inspiration comes from. The Pokémon in the collection aren’t just my favorites, they’re symbols of these different inspiration worlds I created. Is it cohesive in the traditional sense? Maybe not, but that’s the point. I don’t draw inspiration from just one universe. My brain is more like a chaotic Tumblr page from 2011: fashion references, childhood nostalgia, pop culture, personal heritage, random obsessions. They all live together. Somehow, in the end, it makes sense because it’s authentically me.
SO: Your handcrafted clothes are vibrant and bold - what draws you to such bright colours and fun silhouettes? Will we see more of this in the upcoming collection? JP: You will always see bright colours and playful silhouettes in my work. That’s just who I am. Why am I drawn to them? Honestly… I don’t know. I just always have been. There’s no deep intellectual explanation. I simply love colour. I love shape. I love things that feel joyful and expressive. Sometimes there doesn’t have to be a bigger meaning, sometimes it’s enough to just really, really like something. SO: A fun question to finish - you have dressed some huge celebrities in the past, such as Ariana Grande, Rihanna and Paris Hilton. If you could dress any celebrity in JimmyPaul x Pokémon, who would it be and why? JP: When designing this collection, I actually imagined a celebrity for almost every look. It really helps me. Designing with someone specific in mind makes the garment come alive and makes the process more intuitive. There were quite a few names, but some kept coming back: Chappell Roan, Addison Rae, Beyoncé, Lady Gaga… and honestly, any of the Real Housewives. I would be very happy with one of them. Or all of them. Preferably all at once. Why choose? |
Sø•FASHIONStructure over ornament. Memory over surface. Archives
March 2026
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