Elena Dawson is not a brand. It is a state of being, a phenomenon whose aura resists all attempts at categorization within fashion’s coordinate systems. Her creative work is a secluded sanctuary, a chapel on the outskirts of the industry. Here, a particular, deeply intimate romance is born : the romance of a soft gothic, devoid of vampiric pomp and grotesquery, yet imbued with Victorian melancholy and the stoic grace of decay.

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As she releases her Retrospective book, we chart the Eurythmics vocalist's looks across different musical eras, and how they shaped fashion, gender representation, and the visual vocabulary of pop.

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

The Swedish designer presented her first London Fashion Week collection as an independent brand at Studio Smithfield.

Anonymous fashion is quietly reshaping the industry. Inspired by the legacy of Martin Margiela and embodied by designers like Carol Christian Poell and Aleksandr Manamïs, this movement rejects celebrity culture and returns focus to craftsmanship, material, and form.

Mia Gosset continually rethinks what jewellery and objects can be. Here, she shares her process, inspirations, and the vision behind her practice, uncovering what truly makes Mia Gosset, Mia Gosset.

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.

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

Fashion has always flirted with the sacred, but a new generation of designers is turning garments into rituals. From the techno-shamanic visions of House of Malakai to the monastic mythologies of Rick Owens, clothing becomes more than appearance, it becomes invocation. These pieces function like talismans, charged with symbolism, intention, and transformation. In an age of digital noise, fashion begins to reclaim its oldest power: ritual.

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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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…

Between memory and marketing, fashion has learned to fake its scars. As luxury brands sell dirt, rips, and wear at a high price, the Dirty Fit trend raises a deeper question: can authenticity be manufactured, or must it be lived? From inherited jewelry to torn runways, this article explores why real wear carries meaning and why pre-damaged fashion often rings hollow.

Uniforms were meant to discipline bodies and erase individuality. Yet in the hands of avant-garde designers, they become something else entirely: instruments of desire, rebellion, and identity play. From the fragile adolescent tension of Raf Simons to the hyper-queer provocations of Walter van Beirendonck and the sleek militarised sensuality of Helmut Lang, the uniform is no longer a symbol of obedience but a stage where power, vulnerability, and eroticism collide.

Avant-garde designers like Iris van Herpen, Gareth Pugh and Hussein Chalayan are redefining fashion as architecture. In this emerging landscape of “unwearable fashion,” garments become sculptural experiments that challenge wearability, identity and the future of the human body.

Fashion has always flirted with the sacred, but a new generation of designers is turning garments into rituals. From the techno-shamanic visions of House of Malakai to the monastic mythologies of Rick Owens, clothing becomes more than appearance, it becomes invocation. These pieces function like talismans, charged with symbolism, intention, and transformation. In an age of digital noise, fashion begins to reclaim its oldest power: ritual.

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

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.

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

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