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

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When Fashion stops presenting clothes and starts staging ceremonies.

Why the Fashion World is Exploring Hair… Down There

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

While the recent media frenzy around the Vatican might have cooled off, fashion keeps returning to Catholic imagery, and perhaps that is no coincidence.

Stepping on necks in terrifyingly beautiful shoes by designers like Rick Owens, Myah Hasbany, and Comme Des Garçons

Why gothic romance literature and media are at the root of the avant-garde scene

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

Womenswear designer Antonio Femia looks to the hometown forests in Belgium for his graduate collection at Central Saint Martins. Bridget Devine discovers more about his ritualistic design universe...

From transforming furniture into dresses to garments embedded with motors, lasers, and microchips, Hussein Chalayan revolutionized the relationship between fashion and technology. This article explores how the British-Cypriot designer became one of the earliest pioneers of wearable tech and conceptual fashion.

Centuries before punk or avant-garde existed, German mercenaries were already slashing fabric, clashing colours, and defying social codes. The Landsknechts of the 15th century turned rebellion into style, and their fearless self-expression still echoes across today’s runways.

Carl Jung’s archetypes offer a new lens to decode avant-garde fashion. From Browne’s Trickster to Yamamoto’s Hermit, each silhouette becomes a vessel of the collective unconscious. Proof that fashion, at its most radical, speaks the language of the soul.

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.

What happens when fashion stops trying to please and starts to think? Between decay and emptiness, between Derrida and Rei Kawakubo, conceptual fashion can become a meditation: on truth, impermanence, and the self beneath appearance.

Gothic cathedrals were built to overwhelm the soul, and their shadow still lingers in fashion. From the monumental visions of Alexander McQueen to the sculptural darkness of Rick Owens and the poetic ruins of Ann Demeulemeester, designers have long translated arches, spires, and sacred geometry into garments. In avant-garde fashion, the body becomes architecture. A cathedral of fabric where beauty, darkness, and devotion collide.

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Egúngún masqueraders, Benin. Elaborately layered costumes conceal the performers’ identities, transforming them into figures of ancestral ritual.

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.

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