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
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 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. 
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.”  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.”  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.”  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. 
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.”  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
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.
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
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.
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
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: @rl_photography_fashion For Autumn/Winter 2026, Claudia Wang presented a collection that unfolded like a lucid dream. The runway was transformed into a soft, surreal landscape, its floor scattered with oversized pillow forms wrapped in the collection’s custom prints. The setting blurred the line between private space and public spectacle — somewhere between bedroom and stage — establishing an atmosphere that felt both intimate and quietly theatrical. Within this setting, the garments appeared almost like fragments of a story. Wang’s work often draws from the visual language of the internet, and here digital culture was translated into clothing with a sense of gentle romance. Hand-drawn unicorns moved across the fabrics, joined by AI-generated lace motifs and exaggerated bows. Botanical and animal imagery appeared throughout, rendered in a palette that felt light and buoyant rather than nostalgic. The result was a dialogue between analogue fantasy and contemporary technology. Silhouettes leaned deliberately toward softness. Robes, sleepwear references and cocooning shapes formed the foundation of the collection, garments that traditionally belong to private interiors now repositioned as public dress. Fabrics retained a tactile warmth that counterbalanced their digital inspirations, grounding the pieces in something recognisably human. There was also a subtle shift in how femininity was framed. Rather than presenting vulnerability as fragility, Wang approached it as a form of authorship. The clothes suggested comfort and openness, yet they carried a quiet certainty — a sense that intimacy itself could function as strength. As with many of Wang’s presentations, the collection extended beyond the garments into a broader imaginative space. Her shows often construct small, self-contained worlds — environments where online culture, personal fantasy and craft converge. In this sense, Autumn/Winter 2026 felt less like a simple seasonal offering and more like another chapter in an evolving narrative. Here, clothing becomes both protection and expression: part dream, part document of a generation shaped as much by the screen as by the physical world. www.claudiawangofficial.com Claudia Wang @claudiawang PRESS: @dyelogpr
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe PHOTOGRAPHER: @REBECCAMAYNES High above the city at the The Mandrake Hotel’s Jurema Terrace, Leo Prothmann made his official debut at London Fashion Week with CABAÑA, an all-genders Autumn/Winter 2026 collection shaped by ideas of protection, permanence and emotional restraint. The atmosphere felt contemplative rather than theatrical. Prothmann drew inspiration from time spent in the mist-heavy mountains of San José del Pacífico, where earthen buildings and weathered surfaces informed the palette. Mud, oxblood, mustard, teal and forest green appeared throughout — colours that seemed absorbed into the garments rather than simply applied. Silhouette carried the collection’s narrative. Oversized outerwear dominated, with curved, structured shoulders that held their form before softening toward the cuff. Prothmann’s recurring “shell” constructions returned as quilted leather parkas and elongated capes, assembled from hand-applied strips of offcut leather and reinforced internally with boning. The result was architectural yet responsive: garments that stood with clarity before yielding to movement. A deliberate slouch offset the technical precision, preventing the pieces from feeling rigid. Leather remains central to the designer’s vocabulary. Upholstery hides supplied by Nene Valley Leather gave the garments a dense, tactile solidity designed to endure. Material experimentation also surfaced through fish leather sourced via Inversa Leathers, transforming invasive species into textured surfaces. Function sharpened the collection’s edge. In collaboration with Dr. Martens, the Jadon boot was reimagined as a hiking-ready silhouette, complete with cargo-style detailing and waterproof construction. Accessories extended the sculptural language, including resin eyewear developed with Cubitts and jewellery by Ollivion. Rather than proposing escape, CABAÑA suggested shelter — clothing conceived as protective structures shaped by environment and endurance. In securing a place on the London schedule, Prothmann introduced a studio increasingly confident in its material discipline and architectural clarity.
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe For the new season, William Costelloe steps into his role as Creative Director of the Paul Costelloe label with a collection grounded firmly in tailoring. Structure becomes the central language. Shoulders are strong, silhouettes sculpted, and proportions gently extended, giving familiar forms a renewed sense of authority. The opening looks establish this direction through textiles closely tied to the house’s heritage. Suits and coats are cut from Irish wools and tweeds produced by Magee Fabrics, their dense textures anchoring the collection in tradition. From the same fabrics, hand-crafted sculptural florals appear — a small but striking gesture that introduces the collection with both familiarity and change. Throughout the collection, structure is balanced with moments of softness. Architectural coats and defined corsetry are paired with silk and organza blouses, their fluidity tempering the discipline of the tailoring. Oversized collars sweep across the shoulders, while wide pleated trousers introduce movement and ease. Tonal dressing — blouses paired with ties, colours layered carefully together — reinforces the sculptural quality of the silhouettes. Knitwear plays an important role, with full cashmere rib and cable pieces featuring oversized collars and pronounced shoulders that echo the tailoring while offering a more relaxed interpretation of the same shapes. The palette moves with quiet restraint, beginning in earthy tweeds, creams, chocolate and warm tan browns before deepening toward black and charcoal. In the closing looks, eveningwear introduces a subtle shift in texture: sequinned suits and tuxedos detailed with diamanté buttons, alongside fluid black and silver jacquard dresses that bring a sense of refinement to the collection. One final detail carries particular resonance. An in-house print, developed together by Paul Costelloe and William Costelloe in three colourways, marks their last creative collaboration — a quiet tribute to a shared vision. Press: Trace Publicity @tracepublicity Photo Credit: Paul Costelloe @paulcostelloeofficial
SøEdited Team Article: Lucy Ashburner SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe What sets London Fashion Week apart from its counterparts in New York, Milan and Paris? Well, it has a certain edge to it, a slightly grungy feel, and it’s the place if you’re an upcoming talent looking for exposure. Think McQueen, Galliano and McCartney - all of whom burst onto the scene in the British capital. On Saturday evening, - in the eternally trendy location of Shoreditch - we were introduced to seven new prodigies at Fashion Scout’s highly esteemed ‘Ones to Watch’ show. With a star-studded alumni featuring the likes of Eudon Choi and Phoebe English, it’s clear that those in the lineup are destined for greatness, and if the showing last night is any indicator, some are already there.
The winner of Fashion Scout Armenia 2025, Emma Aleksanyan of Aleska Vertige was tasked with opening the show, and whilst perhaps not the most uplifting, her collection was London fashion personified. Drawing inspiration from the Japanese samurai code of honour, she opted to send some models down the runway barefoot certainly raised some eyebrows, but stylistically it worked - Aleksanyan had a vision, and it was clear. The layering within her looks was impeccably done, the muted greys and blues with complimentary pops of burgundy were consistent, and the unisex accessories were a welcomed addition.
If the goal was to send guests away with a smile plastered over their face, then Min-Ji Kim was the perfect choice to close what was an incredible showing of talent and innovation. Models didn’t walk her runway - they were characters in the surreal and wonderful universe she created through experimental garments and ostentatious accessories. Entitled ‘Call Me’, the looks were themed around retro telephones, as they spilt out oversized bags and cords encircled the ankles of the models. The silhouettes were the definition of avant garde, with bold stripes and comically large buttons making numerous appearances throughout the show. It was fun, and it was certainly quirky - was it wearable? Perhaps not in the average day-to-day, but it didn’t matter - it was Min-Ji Kim’s universe - and we were just thankful to observe it.
It was the debut collection for Invisible Boundaries - a period in which young brands can feel confused and lack a sense of direction. This was not the case in this instance, with a small, yet highly meaningful range of four looks. The starting point in the creative process was the idea of anxiety, with the designer explaining that when experiencing such a feeling she wants to blend into the background, thus a concept of clothes that represent humans and objects amalgamating was born. This sense of inspiration is clear when you focus on the fabrics used within the collection, as she opted for a range of wax, raincoat and canvas materials, offering an appealing textural range. For the final look, the designer opted to use window trim in order to create a structural hem - just a further example of an innovative silhouette within the showcase.
Guests were treated to a tasteful fusion of Indian and Western aesthetics when Khushi Kumar took centre stage. Having recently moved back to India, the Manchester School of Art graduate drew inspiration from her culture, bringing in traditional textiles to create a collection themed initially around her parents wedding photos. Intricate gold embroidery - which stood out against a deep velvet red - reflected the classic, heavy jewellery but in a more wearable, everyday form. Speaking of, every stitch is done so by hand - a further nod to ancestral craft - demonstrating that heritage techniques can be applied to contemporary designs.
If Fashion Scout has a shining star, it’s Maldonado. Some designers just have it, that special quality that cannot be taught, a certain je ne sais quoi if you will. It was a debut collection for the ages, and his key source of inspiration? Insects. Bees, mosquitoes and dung beetles were reimagined in a show of statement outerwear crafted from an eccentric range of materials, all of which are natural products. Maldonado opts to use furs and leathers that are byproducts of food production - ensuring the quality is optimal and waste is minimal. Even at this stage of his career, his collection felt incredibly high-fashion and complete, as each garment hung off the model perfectly as they floated down the runway. If there is a name to remember, it’s his.
Having shown in New York a week prior, it was a quick turnaround for Oxford Graduate Dr Margarita Fedoseev, founder of Mad Daisy. Since its inception in 2017, Fedoseev has aimed to unite fashion and museum culture - which was achieved on Saturday evening as she presented ‘Lumière de Guillaumin’ - a thoughtful fusion French impressionist painter Jean-Baptiste Armand Guillaumin and modern clothing. Light, airy fabrics became canvases for artistic prints in a range of cool shades of blue and grey, devising a wearable form of art, and fostering a new dialogue around gallery culture.
Indian designer Astha Garg is in the process of completing her studies at London College of Fashion - although she’s already firmly on the path to success. Working between London and her home country, Garg produced a collection centred around the theme of lingering, and how we as humans interact with the world around us. The varied range of material - banana leather (the brand is entirely vegan), recycled fabric and even wood - was intentional, with each look appealing to multiple senses. A standout moment was perhaps an entirely hand-embroidered floor length dress, which took an astonishing 112 days to create, highlighting the immense craftsmanship behind her brand. Additionally the model - similarly to several others - carried a handcrafted mask (which in itself took 6-8 months to produce) made in collaboration with a local artisan.
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