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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In light of recent exhibitions like Demna’s retrospective at the Kering headquarters and Rick Owens’ Temple of Love, we explore the tension between fashion as something to be worn and fashion as something to be preserved and exhibited.

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?

Once confined to galleries and runways, experimental fashion now thrives in pixels, posts, and the digital underground.

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.

Japanese designers redefined avant-garde by merging tradition, philosophy, and innovation. From deconstruction to minimalism, their influence reshaped Western fashion and continues to inspire a generation seeking authenticity over perfection.

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

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...

Based in Warsaw, Zwyrtech blurs the line between jewellery and sculpture, embracing imperfection through a hands-on and exploratory process.

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…

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

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.

To mark the release of The Shrouds, we revisit six moments when Cronenberg’s grotesque genius oozed into the world of fashion.

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.

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.

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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…

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

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