L'ABBEYE Issue I

L'Abbeye Issue I : the first chapter of the archive is now open for pre-order

A 400+ page coffee-table object documenting avant-garde fashion as philosophy, not trend. Standard edition 55€, Collector x Isaac Sellam 395€, 200 numbered copies.

Pre-order now

Following the death of the last horse in a stable, a man reveals a ritualistic scene, shaped by grief and the human-animal bond.

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Isabelle Taylor is a beautifully unconventional surrealist fashion designer specialising in fish leather, a sustainable material made from the byproducts of smoked salmon, which she uses to create garments through her brand, Skinned Potential.

For those stepping into the avant-garde realm of fashion, Carol Christian Poell is an essential figure. Though now retired, his legacy endures. Through radical construction, cryptic processes, and garments that confront both the body and time, his influence continues to shape the fashion world.

Want to smell like bloody birthday cake, chilly nights in London, and burnt blunt?

In summer, the body is no longer concealed. And dressing becomes a ritual of what we chose to elevate.

We explore Elsa Schiaparelli’s relationship with Surrealism, from collaborations with artists like Dalí to how Daniel Roseberry’s recent collections reinterpret those codes for a contemporary audience.

Dissecting fashion's relationship with distorted, dark, and deformed imagery

Cemented at the forefront of the avant-garde, here are some looks from icons like Björk, Lady Gaga, and FKA Twigs that we cannot stop thinking about.

Exploring the use of bones and skeletons as imagery and motifs across avant-garde fashion and design

Tracing avant-garde’s path from its revolutionary roots of Elsa Schiaparelli, Rei Kawakubo, and McQueen to today’s branches of gothic elegance.

In revisiting some of the most thought-provoking moments from recent seasons, Rokh’s Autumn/Winter 2025 show stands out as a masterclass in sculptural tailoring and conceptual storytelling.

Think of homes that feel more like installations, minimal to the extreme, anti cozy, sometimes even intentionally disorienting.

If you are into the surreal and the macabre, this list might be for you.

Rick Owens draws from the shadows of musical subcultures, transforming their raw energy into a sculptural aesthetic. His work carries the spirit of underground movements, rebellious, ritualistic, and imbued with a dark romanticism. These influences do more than just inspire him; they form the backbone of his language. So what are they?

What if beauty wasn’t preserved, but allowed to rust? Justin Matringe turns decay into design, crafting garments that corrode the very idea of fashion itself.

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Following the death of the last horse in a stable, a man reveals a ritualistic scene, shaped by grief and the human-animal bond.

The Emotional Weight of Loss, Migration, and Memory. How Historical Trauma Transformed into Fashion.

When Fashion stops presenting clothes and starts staging ceremonies.

The new Dover Street Market brand was launched in June with the SS 26 collection of DSM Kei Ninomiya.

One aesthetic mourns the past. The other imagines the future. Between neo-gothic and neo-futurism, contemporary fashion continues to seek meaning anywhere but in the present.

In summer, the body is no longer concealed. And dressing becomes a ritual of what we chose to elevate.

Artist, writer, filmmaker and former Radio Werewolf frontman, Nikolas Schreck has spent decades exploring the intersections of music, ritual, cinema and mythology. In this in-depth conversation, he reflects on the legacy of Radio Werewolf, his collaboration with Christopher Lee, the controversy of Charles Manson Superstar, and his vision of art as spiritual transmission in an age of digital distraction.

Flesh As Architecture explores the human body as a constructed form rather than a living subject. e body is treated as a site of erosion - a ruin shaped by time, weight, and stillness. Through restrained movement and sculptural poses, flesh becomes structural. Limbs echo columns, joints resemble supports, and skin carries the surface of decay. What remains is not emotion, but form. The body no longer performs; it stands, monumental and silent, a ruin transformed into a statue.

In June 2003, along the quiet waters of Milan’s Naviglio Grande, Carol Christian Poell staged one of the most haunting fashion presentations of the 21st century. Far from the conventional runway, his Spring/Summer 2004 show unfolded on the surface of a canal, where garments and models alike drifted in silence, part procession, part apparition. Echoing the spectral stillness of Millais’s Ophelia, Poell’s vision transformed fashion into ritual, decay into desire, and garments into relics. This article revisits that unforgettable moment, where control gave way to current, and fashion, freed from speed and spectacle…

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