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
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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
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: @rosslynphotography Paper as structure. Garment as document. Identity folded, bound, and worn. Fan Pan constructs not clothing, but systems of memory — a precise architecture between fragility and form. Paper as structure. Garment as document. Identity folded, bound, and worn. London-based designer Fan Pan, originally from China, constructs clothing as a system of memory. Her material, paper, operates between fragility and endurance, drawing on Eastern papermaking traditions and contemporary fabrication. Her collection Threaded Identities studies translation: material into form, identity into document. Six looks unfold as chapters, folded books, bound seams, pop-up architectures. Pages become sleeves; spines become structure. The act of wearing becomes the act of editing. Paper resists sentiment. It creases, bends, records. The tension defines the silhouette. Volume alternates with void; transparency with density. The absence of colour directs attention to fibre and grain, the quiet evidence of touch. SOEdited are always looking out for those exceptional designers, artists, in fact, who shift fashion toward art. Fan Pan does exactly that: treating garment as language, memory as construction. Threaded Identities ends not with conclusion but with trace, the sound of folding, the imprint of use. In Pan’s work, clothing ceases to perform status. It becomes archive, system, architecture, a framework for remembering. fanpanworks.com @flair.fashionofficial Flair.fashion PRESS I.DEA PR
SøEdited Team SøBeauty Director/Article: Astrid Kearney SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: James Cochrane Copenhagen Fashion Week didn’t just host the Swedish School of Textiles this season, it let them set off fireworks. EXIT25 was no polite graduate showcase; it was sixteen designers flinging open fashion’s back door and inviting in chaos, poetry, and material obsession.
Anaïs Dahl Perret turned knitwear into modular toys — laser-cut pieces you could assemble yourself, making the wearer part of the design process. Andrea Rehbein carved volumes out of engraved leather, sculpting rather than pattern-cutting. Gabriela Arias Egana folded Chilean textile heritage into delicate laser cuts, garments heavy with memory.
Charlie Malmsten went full ferry-core — a love letter to Finnish cruise ships, all camp, kitsch, and working-class glamour. Frida Elise Henriksen staged archetypes in exaggerated silhouettes, theatre stitched into every seam.
Jonas Gustavsson knitted gender into abstraction, fabric melting between structure and fluidity. Zuzana Vrabelova built clothes like speculative organisms from paper yarn. Josephine Järlhem transformed family photographs into tactile prints. Margot Leverrier staged a quiet clash between brushed felt and lace. Siri Bratt took the tired paisley and made it dangerous again. Lan Krebs twisted single jersey into tubular sculptures with no front, no back, no rules. Susanna Suojanen rebirthed denim, jersey, and chiffon from discarded garments. Wictor Ljunggren engineered hiking gear that shifts shape mid-stride. Matilda Olofsson blew up bridalwear until the white dress barely survived.
Paweł Robuta embraced the flaw — stains as transformation, garments as evolving relics. Yuting Xia skipped the sketches, draping like graffiti, letting clothes grow in real time. EXIT25 wasn’t a runway chasing static perfection — it was process, provocation, and personal mythmaking. In a market obsessed with speed and sales, these designers dared to pause, to question, to make work that lives outside the store rack. They didn’t just make clothes. They made worlds. Illustrators: Louise Boughton Anna Huang /Drawing Cabaret Couture
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe TIFARET’s PAI TOU reads as an intersection between memory and infrastructure. The collection looks back to 1990s Shanghai, a city in trade’s acceleration, where the designer’s mother worked among cargo, tariffs, and foreign goods. The child who watched the port now builds garments that recall its systems — movement, exchange, risk. The work connects Shanghai and London, two cities defined by docks and departure. Its language is utilitarian: cargo shapes, sailor cuts, Victorian remnants reworked with the precision of Chinese flat-pattern tailoring. Florals from tropical prints collide with industrial silhouettes — elegance imposed on grit. Historical subtexts surface without sentiment. Pyjama forms reference the uniforms of Shanghai’s sex workers; silk linings trace the indulgence of opium dens. Each garment holds this duality — structure and surrender, discipline and decay. The construction favours air over fit. Space between cloth and body becomes a zone of translation, where the tension of two cultures is measured in folds, hems, and restraint. Nothing here pleads nostalgia. PAI TOU studies what remains when systems collapse and reform — trade into desire, labour into style, memory into surface. It’s not a narrative, but a diagram: ports, bodies, routes, fabric. Press I.DEA PR
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Poet-Lab’s Resistant When Opposites Break unfolds as a study in tension, a manifesto sewn into cloth. Strength collides with fragility, silence turns to movement, and the act of dressing becomes a kind of rebellion. Each piece reads like a fragment of thought, unfinished yet deliberate, where the imperfections speak louder than precision ever could. The silhouettes move between control and release. Sharp shoulders melt into translucent silks; tailored lines collapse into fluid drapes. Fabrics contradict themselves, silk against cotton wool, taffeta beside raw linen, creating friction, conversation, and rhythm. What remains is the trace of gesture: the honesty of a hand left visible. There’s a subtle echo of the late-70s dance floor and the 80s’ power silhouette — moments when clothing became armour and expression at once. But here, nostalgia is stripped away. The references are restless, re-spoken in a language of resistance and renewal. The collection slips between seasons, refusing categorisation. Minimalism becomes a form of discipline; maximalism, a shield. Across thirty looks, fifteen transformative statements emerge, part protection, part revelation. Resistant When Opposites Break isn’t about decoration or display. It’s about the moment something rigid finally gives way, and the strength that spills out through the split. Photography & Direction: Marcus Hartelt www.marcushartelt.com PRESS I.DEA PR
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Sø•FASHIONStructure over ornament. Memory over surface. Archives
October 2025
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