Arriving minutes before the presentation began, it was immediately clear this would be something special. The bright, airy studio was flooded with winter sunlight, while a fashionable crowd hummed in anticipation. Live violin music drifted through the space, softening the atmosphere before the models emerged to bring English’s seasonal, botanically inspired narrative to life.

Founded in 2011, the brand has consistently rejected mass production in favour of craftsmanship, transparency, and environmental responsibility. Operating entirely from one studio in South London, the journey from sketch to finished garment remains intentionally contained, minimising environmental impact. The brand’s eponymous founder approaches design as a considered response to the environmental extremes we are living through, continuing to explore personal storytelling through textile manipulation and surface structure. Sustainability is not an aesthetic for the brand; it is its foundation.

Lost Touch unfolded as a botanical calendar in motion. Each of the twelve looks represented a flower or plant from across the year. From snowdrops and dandelions to ivy berries and foxgloves, the collection creates a quiet sense of seasonal progression. The narrative was subtle yet deliberate, brought to life through oversized three-dimensional florals that fluttered gently as the models moved through the space.

Crafted from surplus fabrics and off-cuts, the collection demonstrated English’s continued commitment to zero-waste principles and material consciousness. A restrained white palette, nuanced rather than stark, allowed silhouette and texture to take precedence. The absence of colour felt intentional, a blank canvas upon which embossing, drapery, and sculptural appliqué could speak.

Garments ranged from translucent, delicately layered tops that caught and diffused the light, to boxy shirts and drawstring trousers that grounded the collection in wearability. English blended utility with poetic floral themes effortlessly. Loose, gender-neutral cuts reinforced a sense of comfort and ease while maintaining structural clarity.

Textural detail was where Lost Touch truly resonated. Sewn florals appeared almost pressed into the fabric, as though preserved between the pages of a book. Fluttering petals and sculptural forms added depth without overwhelming the purity of the palette. The collection was texturally rich yet visually calm, a careful balance of softness and structure.

Casting further reinforced the ethos of inclusivity embedded within the brand. Models of varying ages, races, and genders moved through the gallery space individually, drifting before settling into designated positions. Rather than a conventional runway, the presentation felt immersive and intimate. When the models eventually converged, the narrative reached a gentle crescendo, a living installation of white, tactile, and botanical symbolism.

As a whole, Lost Touch brought a grounding calm to the intensity of London Fashion Week. Delicate yet assured, the presentation offered a moment of pause. It’s a collection that understands the power of subtlety.

In transitioning from winter’s stillness to the quiet optimism of spring, English demonstrated that sustainable fashion doesn’t need to compromise on artistry or desirability. Through texture, narrative and craftsmanship, Lost Touch reaffirmed that conscious design can be both emotionally resonant and visually compelling. It was minimal in palette, yet maximal in intention.

Edited by Emily Duff

“Poet-Lab is for the individuals who see fashion not as occasion-bound, but as a daily expression of self.”

This concept reveals itself in every design and begs the question, how can we be fashionably rebellious in our everyday lives?

Poet-Lab represents freedom of expression, regardless of gender, age, or size; their models reflect the principles they inspire, showcasing both older and gender-fluid models. The designs I witnessed for this collection were a testament to the dismantling of gender constructs; they showed that femininity/masculinity are within every person, and that fashion is about representation, not conformity.

“A space where fashion becomes a language of thought, emotion and identity”

Laciofano’s collection was a powerful statement against our expectations of what fashion should look like, while remaining visually breathtaking. Visceral reactions were evident in the audience, as it was a struggle not to be transfixed by the pieces. The stark contrast between the sheer white curtains and the chromatic designs awakens a sense of fascination. I noted how for every design, there was a unique walk to accompany it. This is a genius idea from Laciofano, as it amplifies the collection's individualistic nature. It felt as though every piece had its own personality; some were more mysterious, and others were brave and bold, allowing the audience to see themselves in his work. The connection between the collection and the designer is one Laciofano doesn’t take for granted.

This was the showstopping, elegant minimalism that encapsulated the entire show. A heavy lasting train swept the floor in fearless grand motions, and the model dominated the room, evoking a sense of intimated awe about it. Their hips swayed down the runway as they made sure to catch the eyes of every person there. A hardened rock glam look turned this design from regal to fearsome.

The philosophy of the collection can be seen in Laciofano’s use of a monochromatic colour palette; the visual contrast grabs the audience's attention to look at the continuous connection between sophistication and grunge. These two worlds don’t normally collide when it comes to high fashion, but Poet-Lab isn’t an ordinary brand; it challenges the preconceptions of what art should look like.

Poet-Lab has gained immense attention since its launch in 2023. People from all walks of life lined the perimeter of the building in hopes they might be able to see the show. I saw people in Harajuku outfits, to others in kitten heels and the classic trench coat, only amplifying that this show is for everyone, no matter your aesthetic. Laciofano has gained a community of people who value self-expression over conformity, which in the current political climate is critical.

Edited by AJ Craig

From subtle character moments to industry commentary, here’s everything we learned from the trailer.

Miranda Priestly Doesn’t Remember Emily

One of the most talked-about moments in the trailer is a blink-and-you-miss-it exchange where Miranda Priestly appears not to remember Emily Charlton.

It’s played lightly — almost as a throwaway line — but it reveals something much bigger about Miranda’s character.

In the original film, Emily was fiercely loyal, hyper-competent, and completely dedicated to Runway. And yet, years later, she’s seemingly forgettable to the very person she centred her life around.

It reinforces a core theme:

In Miranda’s world, people are replaceable — no matter how indispensable they think they are.

If the sequel leans into this, it could offer a much darker, more honest look at ambition and burnout in the fashion industry.

The World Is Bigger Than Runway Now

The trailer hints at a shift away from the insular world of a single magazine.

Quick cuts suggest:

• a more global fashion landscape

• multiple power players

• a faster, more chaotic media environment

This aligns with the reality of 2026, where influence is no longer concentrated in one publication.

The sequel appears to be acknowledging that Runway — and what it represents — is no longer the only centre of power.

Andy Sachs Is Not The Same Person

While the trailer keeps Andy’s storyline relatively under wraps, there’s a noticeable shift in tone.

She appears more self-assured, more composed — and far removed from the wide-eyed assistant we met in 2006.

The question is no longer whether she can survive the industry.

It’s whether she chose to stay in it — and what that choice cost her.

Fashion Feels Faster, Sharper, More Digital

Visually, the trailer reflects a very different fashion ecosystem.

Gone is the slow, print-driven world of the original film.

In its place:

• rapid-fire visuals

• social-first energy

• a sense of constant movement

It suggests the sequel will engage, at least visually, with the speed and pressure of modern fashion.

Nostalgia Is There — But It’s Not The Whole Story

Yes, there are callbacks. Yes, the tone feels familiar.

But the trailer doesn’t rely entirely on what worked before.

Instead, it hints at something more reflective — almost critical of the world it once glamorised.

That’s where the sequel has real potential not just to revisit The Devil Wears Prada, but to interrogate it.

The Real Question The Trailer Raises

More than anything, the trailer sets up one central tension:

Can the power structures of the original film exist in today’s industry?

Because if they can’t, then The Devil Wears Prada 2 isn’t just continuing the story but challenging it.

First trailers are designed to hook attention — and this one does exactly that.

But beyond the surface-level excitement, it also signals a shift in tone.

If the full film follows through, The Devil Wears Prada 2 could move beyond nostalgia and become something far more relevant:

a reflection on how fashion, media, and power have fundamentally changed.

And if that’s the case, it might have even more to say now than it did in 2006.

Set within the concrete, echoing Newgen show space at 180 Strand, the atmosphere felt industrial and charged. Guests clutched complimentary Blank Street coffees as anticipation built. When the show began, LUEDER’s signature fusion of classic tailoring and reimagined sportswear immediately commanded the runway.

Founded in 2019, the London-based label is built around the concept of “mental armour” - meaning Lueder designs garments to shield the body while creating space for expression, individuality, and emotional freedom. The brand continues its mission to destigmatise mental health, advocating for a more holistic fashion industry that supports both its creators and its community. In LUEDER’s world, collaboration and experimentation foster connection. Garments become symbols of protection, resilience, and theatrical self-expression.

Sustainability remains central to the brand’s ethos, demonstrated through the use of organic denim, recycled jersey, and regenerated nylon. The label’s distinctive hybrid language, a blend of sportswear, tailoring and medieval silhouettes, stems from Lueder’s childhood experiences at a medieval summer camp in Hamburg. There, she created costumes with her mother, and that sense of pageantry still lingers in the brand, now sharpened with intention.

Ghosts of My Life draws inspiration from the haunting landscapes of Tobias Spichtig, alongside Mark Fisher’s book, and the collection’s namesake, Ghosts of My Life, which explores hauntology and the persistence of the past. Together, these references construct a world that feels dark, seductive and emotionally charged, where memory, fear and desire collide. This season confronts anger, nostalgia, and vulnerability through the lens of community, mental health, and genderless design.

The colour palette of white, black, red, grey and light blue was bold and assertive. Silhouettes ranged from elongated smock-style shirting with exaggerated hoods to sharply tailored pieces cut with asymmetry and precision. Oversized, boxy proportions reinforce LUEDER’s commitment to fluidity and wearability. A standout piece was the long-sleeved white top emblazoned with the phrase “sorry no budget”, with the hand-painted typography appearing deliberately careless yet knowingly chic.

New techniques also emerged this season. A futuristic, lightweight flocked nylon camouflage, developed in collaboration with an Italian mill, introduced a technical dimension that offset the collection’s emotional references.

Pinstriped suiting, another new addition, paid homage to Lueder’s background in bespoke tailoring. Here, it was reimagined with relaxed irreverence, challenging traditional ideas of formality and structure.

Performance is Integral to LUEDER’S identity, and AW26 reinforced this commitment. Working closely with British music producer and composer Danny Harle, the runway unfolded to an original soundtrack designed to heighten the show’s emotional intensity and communal energy. Casting further reflected the brand’s commitment to community, blending models with musicians and creatives from London’s cultural scene, including Rose McGowan, Lava La Rue and Princess Julia.

As a whole, Ghosts of My Life marks a confident evolution for LUEDER. It has sharpened the brand’s core themes of protection, identity and emotional resilience while pushing further into sensuality and confrontation. Every element, from fabrication to performance, felt intentional. LUEDER delivered fashion as armour, rooted in community and charged with emotional release.

Edited by Emily Duff

In recent years, the term has increasingly taken on a negative connotation, with “patriot” and “nationalist” often being seen as an implication of one’s extreme personal or political views.

As a result, when hearing terms such as “national pride” or “patriotism”, people often picture the ideas and associations these words carry.

The idea of patriotism, according to the Cambridge Dictionary, should reflect one’s manifestation of love and pride for their nation. But in reality, it’s often utilised to segregate and other those who disagree with those people’s “ideals” and patriot utopianism.

The 97th Academy Awards ceremony gave us a (much-needed) reminder of what national pride could look like.

In the shadow of bad press, the term took on a brighter meaning in light of nominations, and later wins, of the Latvian animated movie Flow and Brazilian movie I’m Still Here.

Flow made an impact on the animation film industry due to its highly innovative take, relying heavily on visuals rather than dialogue. The movie was a historic success for Latvia, bringing back the first-ever Academy Award and Golden Globe wins for the country.

Not only boosting national morale, these accolades took an important role in placing Latvia on the international map for creative and cultural achievements.

Since its release, the national impact of Flow has grown so big that the municipality of the capital, Rīga, cooperated with the film’s director, Gints Zilbalodis, and sculptor, Kristaps Andersons, to transform the star cat into a temporary 3D sculpture.

This decision, as well as displaying the Oscar award at the Latvian National Museum, came to ensure that every resident and visitor of Rīga could experience a taste of national pride.

On a wider scale, the film’s success has triggered an increase in the government’s support and funding for Latvia’s animation industry. The Ministry of Finance and Culture pledged to redistribute funds in order to secure sustainable growth for the animation sector. Flow has highlighted the potential of independent animation globally, enhancing Latvia’s cultural reputation and illustrating that smaller countries can successfully compete with Hollywood giants.

The same can be said about the award-winning Brazilian movie I’m Still Here, which also brought astonishing national pride in its citizens.

As a Brazilian myself, seeing my country recognised in such a prestigious way rekindled a deep sense of nationalism within me as well as the whole nation.

I’m Still Here recounts the nation’s turbulent history during the dictatorship era (1964–1985) through the true story of a family torn apart by the regime. The recognition of the film at the Academy Awards sparked both national pride and long-overdue reflection, breaking through the silence left by the Amnesty Law and the absence of memorials to confront the memory of state persecution.

By centring the story’s plot line on the horrors that happened to the Paiva family, it transformed the abstract horrors of the military regime into something deeply human and relatable. It allowed Brazilian citizens the chance to see their own struggles and history reflected on screen, and to see that their country’s history hasn’t been forgotten, and justice is still being sought for the families of those killed during the dictatorship.

Although Brazilian co-productions and filmmakers had earned Oscar nominations in the past, this was the first time a homegrown production took home a win in a major competitive category. I’m Still Here earned multiple Oscar nominations, including Best Picture, an unprecedented milestone for Brazilian cinema. The news ignited celebrations across the country, with people waving flags and donning costumes to show pride for both the film as well as the nation.

Like Flow, Brazil’s historic Oscar win has ensured that the statuette is now on public display at a cinema museum in the upscale Urca neighbourhood of Rio de Janeiro. The Brazilian government has also bought the house where the movie was shot to repurpose it into a public museum to celebrate Brazilian cinema.

Both films highlight the power of meaningful cinema, broadening audiences’ interests beyond typical Hollywood fare and demonstrating that international movies are not only worth watching but also deserving of recognition, as they represent the voices and culture of entire nations.

Edited by Emily Duff

With a UK release date set for May 1, anticipation is building rapidly, especially as a global press tour — including a London premiere — is expected to take place in April.

Here’s everything we know so far.

The Devil Wears Prada 2 Release Date

Filming began in July 2025 for The Devil Wears Prada 2 which brought a flurry of social media discourse - and an influx of viral online posts of on-set videos and paparazzi photos. Meryl Streep shared while in conversation with Harper’s Bazaar:

The film is set to release in UK cinemas on May 1, 2026. The timing positions it perfectly as a spring cultural moment, bridging fashion season and blockbuster cinema.

This date also coincides with The Met Gala weekend - with the iconic ‘Superbowl of Fashion’ event taking place the following Monday 4 April. This event was also a key role in the first film, with this timing potentially being a hint to its prevalence in the sequel, also.

A London premiere is expected to take place in late April, likely around April 24, though official confirmation is still pending. The press tour did kick off on Monday 30 April, with its first screening in Mexico City. Soon to follow are - Tokyo, Seoul, Shanghai, and New York City before London marks its final location and European Premiere.

Cast: Who Is Returning?

While full casting details have not yet been officially confirmed, speculation strongly points toward the return of key original cast members, including:

• Meryl Streep as Miranda Priestly

• Anne Hathaway as Andy Sachs

• Emily Blunt as Emily Charlton

Given the cultural impact of these performances, audiences are expecting continuity — but also evolution.

What Will The Plot Be?

Unlike the first, which is based off a book by Lauren Weisberger of the same name, the sequel will not be following Weisberger’s second book. Plot details are currently under wraps, but early reports suggest the sequel will explore:

• The evolution of fashion media in the digital age

• The decline of traditional print publishing

• The rise of influencers and social-first brands

This opens the door for a much more contemporary take on the industry — one that reflects the realities of 2026 rather than 2006.

Why The Sequel Matters

The original film wasn’t just a fashion movie — it became a defining commentary on ambition, power, and the cost of success.

In today’s landscape, where fashion is driven by TikTok, sustainability debates, and shifting power structures, a sequel has the potential to say something even more relevant.

What Fans Are Expecting

Audiences are hoping The Devil Wears Prada 2 will:

• Update its perspective on the fashion industry

• Maintain the sharp dialogue and iconic moments of the original

• Deliver a new generation of memorable looks

At the same time, there’s growing curiosity around whether the film can capture the same cultural impact in a very different media landscape.

As excitement builds, one thing is clear: The Devil Wears Prada 2 isn’t just a sequel — it’s a test of whether era-defining Y2K fashion films can still define culture in the way they once did.

With a May release date approaching and a London premiere expected in Spring 2026, all eyes are on what could become one of the most important fashion films of the decade.

With themes of sustainability, nostalgia, and imaginative reinventions of classic silhouettes, the collections were interesting and mesmerising. While every student brought something unique, here are Darling’s four favourites from the show.

Maisie Bodington- Memories to Hold

A champion of sustainability, Maisie Bodington’s (@mkbfashion) collection “Memories to Hold” drew on themes of family heritage and nostalgia, brought to life through repurposed materials and careful detailing.

She fused oversized tailoring with soft, floral accents to create silhouettes that felt both grounded and tender. Standout pieces included a pinafore dress layered over a voluminous sage green undershirt, and an oversized tweed blazer and shorts set adorned with delicate floral appliqué.

Her palette of dark green, khaki, cream, orange, and yellow evoked a sense of warmth and memory, while styling details like headscarves and mid-length socks with heels added vintage charm. The overall effect was fashionable, thoughtful, and quietly radical in its environmental commitment.

Emma Gillie- Get Down to Business

Emma Gillie (@emmagillie) brought a clever twist to traditional menswear with her collection, “Get Down to Business” which also featured in GFW’s dedicated menswear show.

Inspired by the uniformity and repetition of office spaces, Gillie shared via Instagram,

“I imagined a bored businessman climbed into his computer and became awesome.”

Her designs parodied business wear with knitted suits in jewel-toned blues, greens, oranges, and purples. Mismatched panels of check and stripe patterns added energy without clashing, while dramatic flared trousers and sharp tailoring reimagined office attire with a playful, modern edge. Bold, creative and technically impressive, Gillie’s collection celebrated individuality over conformity.

Ernesta Palionyte

Ernesta Palionyte (@ernesta.palionyte) delivered an exquisite knitwear collection that balanced oversized silhouettes with soft femininity.

With a palette of cream, dusty pink, deep red, and black, her pieces featured large floral details, gingham fabric accents, and dynamic textures. Loose yarn trousers, shaggy knit elements, and asymmetrical hems added movement and charm. Palionyte’s technical skill was clear in the variety of stitch styles, from tight and intricate to open and airy.

The final look, a red body-hugging knit dress with embroidery hoop details across the back and a sweeping white scarf connecting a dramatic hood, brought the collection to a striking, unified close.

Catherine Brodie- Eternal Toybox

Catherine Brodie (@shop.catcat) delivered a riot of colour and playful defiance in her collection

“Eternal Toybox”, inspired by Japanese Kawaii fashion and her personal trove of toys and trinkets.

Embracing maximalism, Brodie layered clashing prints, textures, and playful motifs to explore dressing for personal happiness rather than social norms. Her designs challenged the notion that adulthood must mean leaving behind childlike joy, with designs that featured cartoon flowers, big bows, and bright neons.

Despite its whimsical tone, the collection was cohesive, imaginative, and impressively constructed. One particularly striking look featured a tight, long dress with orange accents, a giant lime green bow, and a pink fluffy bunny-ear hat, a perfect expression of Brodie’s joyful philosophy.

The Nottingham School of Art & Design runway stood out for its variety, creative storytelling, and refreshing takes on traditional forms.

From reimagined menswear to experimental knitwear and expressive maximalism, NTU’s graduates set a high bar for the weekend. Their collections demonstrated the emotional depth, technical ability, and innovation shaping the future of fashion, and proved that knitwear is anything but one-note.

Edited by Emily Duff

The runway delivered collections rich in technical finesse, strong visual identity, and bold reimaginings of contemporary menswear. Here are Darling’s three standout collections from the show. 

Amaani Chowdhary - Clothing as Comfort

From Arts University Bournemouth, Amaani Chowdhary (@clothingbyamaani) presented “Clothing as Comfort”, a deeply personal collection inspired by their experience with seasonal affective disorder and the emotional connections we form with objects during difficult times. Designed to be both protective and wearable, the garments combined oversized knitwear, quilted fabrics, and waterproof outerwear in a palette of red, grey, and orange. 

Slouchy turtle necks, puffy quilted trousers, and a drooping red puffy coat captured the feeling of warmth and safety while also nodding to contemporary streetwear trends. Chowdhary’s use of denim and durable materials added function to the pieces, and each look stood confidently on its own while contributing to a cohesive narrative. A favourite piece was the two-toned red and orange knit, intricately knitted yet understated, perfectly balancing comfort with craftsmanship. 

Alicia Bambury

Representing Cambridge School of Visual and Performing Arts, Alicia Bambury’s (@a.r.bambury) award-winning collection “That-has-been” was a poetic exploration of memory, heritage, and sustainability. Drawing inspiration from photographs and film slides of her grandfather, Bambury used headstock fabrics, repurposed blankets, second-hand pony skin, and even curtains to evoke a sense of emotional time travel. 

The collection married classic utilitarian tailoring with experimental textile work, including hand-knitted and crocheted elements made by her grandmother. These intergenerational touches grounded the collection in personal history. Cyanotypes and photographic prints transformed the garments into wearable archives, making the past tangible in every stitch. 

Tones of mustard, brown, beige, and soft blue gave the collection a gentle but striking visual identity. Pieces ranged from lace-detail tailcoats and sweater vests to structured workwear silhouettes. The emotional resonance of the collection was elevated by two older male models walking the runway, bringing its story of generational continuity to life in a powerful and moving way. 

Maya Higgins

Maya Higgins (@mayahigginsknitwear) from Nottingham School of Art and Design delivered a menswear collection defined by impeccable construction and tactile sophistication. Deep blue, burnt orange and khaki green block tones ran throughout, providing a grounded colour story that felt timeless and contemporary. 

What set Higgins’ collection apart was its subtle reinvention of knitwear. On first glance, you might not even realise many of the garments were knitted, underscoring both the technical mastery and wearability of her designs. Cropped shirts, oversized quilted jackets, and sculptural scarves gave the collection shape and presence, while knitted and quilted trousers added dimensional texture. Her tailoring was clean, the silhouettes strong, and the detailing thoughtful, resulting in a menswear range that felt both innovative and effortless. 

Other standout contributions included Emma Gillie’s vibrant, knitted take on power suits, Ying Zhong’s culturally rich, colour-forward pieces, and Delaney Gamboa’s whimsical, voluminous designs in baby blue and pink.

This year’s menswear catwalk was a celebration of innovation, identity, and emotion. Each designer brought their own narrative, style, and perspective to the runway, redefining what menswear can be. From emotional resilience to family heritage and wearable reinvention, GFW’s second day proved that the future of menswear lies within meaningful reinventions of tailoring and streetwear. 

Edited by Emily Duff

The ruling came about due to the campaign group For Women Scotland, who brought a case against the Scottish government stating that sex-based protections should apply only to people that are born female. The Supreme Court was asked to clarify what the definition of a woman is in terms of the Equality Act, which led to the ruling that women and sex refer to a biological woman and biological sex.

Trans activists, campaigners and individuals have warned that this definition could remove protections against trans people, furthering discrimination and excluding trans women from female-only spaces and services, including hospital wards, prisons, changing rooms and refuges.

It is currently unclear exactly how the ruling will impact on these same-sex spaces - in court, the Scottish government confirmed that trans people with a gender recognition certificate (GRC) are entitled to the same protections as biological women, yet it was also stated that under the new ruling the same-sex spaces can exclude people with GRCs if it is ‘proportionate’. 

Yet, the British Transport Police (BTP) have already released a statement to introduce an ‘interim position’ following the ruling, stating that trans women in custody will now be strip searched by male officers in line with their biological sex, unlike their previous policy which allowed those with a GRC to be searched in accordance with their chosen sex.

There are concerns that those with a GRC will not be entitled to the same rights and protections the certificate provided before the ruling, yet there are also many trans people who do not have a GRC. 

These certificates have been issued in the UK since the Gender Recognition Act in 2005, providing people with the legal right to change the sex recorded on their birth certificate.

Though the UK government estimates there are around 200,000 to 500,000 trans people in the UK, the Ministry of Justice only reports around 8,000 certificates being granted in the UK since 2005. This could be due to the costs to gain the certificate and meeting the strict legal criteria as reviewed by the Gender Recognition Panel - this includes a diagnosis of gender dysphoria.

Trans individuals have slammed the ‘heartbreaking’ decision of the Supreme Court, stating that they feel terrified about how this will implicate their lives moving forward, including which public toilets to use and the fear of trans hate crimes rising further. 

According to the Statista Research Department, the number of hate crimes committed against transgender people in England and Wales has increased in recent years, reaching 4,732 offences in 2022/23, and only declining slightly to 4,780 offences in 2023/24, even before this ruling.

Many have provided the example of 16-year-old Brianna Ghey, a trans teenage girl who was brutally murdered in broad daylight in February 2023. 

In this case the court concluded that hate against transgender people was one of the motives for the premeditated murder.

Though women’s rights groups such as For Women Scotland have been seen celebrating this decision, other feminists have spoken up about how reducing women down to their chromosomes is harmful to all women. 

But this decision proves scary for those AFAB (assigned female at birth), too, with rising concerns about how women are going to prove their chromosomes to access female-only spaces and how this will provide another way for people to discriminate against women for how they look and present themselves publicly.

Women with high testosterone, PCOS, who present more ‘masculine’, who are unable to have periods, or conceive, are also fearful of how this ruling will affect them.

Trans women are women and this decision, to reduce women to their biological characteristics, is harmful to all women. 

Edited by Emily Duff

In a world dominated by seriousness and fleeting trends, why not add some fun and boldness to your wardrobe? 

Lucrezia Ive does just that with her innovative shoe brand, Lucrethea, bringing a breath of fresh air into the fashion industry. 

Talking to Darling Magazine, she shares her journey, inspirations, and why embracing freedom and self-expression is essential in fashion.

When Lucrezia arrived at my London flat for our photoshoot, she was as glamorous as ever, carrying numerous bags filled with her creations and a head full of ideas. Seeing her latest collection, The Walk of No shame, in person was an experience like no other. 

Featuring dramatic chunky pink mules adorned with phallic and vulva shapes, these designs make bold statements while being incredibly fashionable and beautiful.

Creativity and design has always been a part of Lucrezia’s life. 

As a child, she would sketch clothes and ask her grandmothers to bring her ideas to life with their sewing machines. 

“My mum has an incredible passion for shoes, I remember slipping into her shoes as a kid, fascinated by their shapes and designs,” Lucrezia recalls. 

Lucrezia’s Latest collection, The Walk of No Shame, is a bold celebration of freedom and sexuality, a tribute to personal expression through fashion. 

Embodying the motto, “my body, my choice,” her designs challenge societal norms, address the stigma around sexuality and confront these taboos head-on. 

Sustainability is also at the core of Lucrezia’s work. 

This inspired her to create a sustainable clothing collection for university, where she focused on up-cycling old and unconventional items to give them a second life and reduce waste. This led to her raiding her dad’s wardrobe for materials to transform, turning old jeans into coats and unused trainers into corsets.

After an inspiring afternoon discussing her designs and story, Lucrezia left me feeling empowered and excited to see what she does next. Her work is not just about fashion; it’s about making bold statements, breaking taboos, and pushing the boundaries of creativity and sustainability. 

Read the full article in the upcoming Issue 5 of Darling Magazine…

The first time we saw The Notebook, we were left in a teary mess, captivated by the epic love story between two steamy stars. 

But in the eleven years since the film first captured our hearts, we've had time to watch it over (and over) again. And what really sticks with us - besides the emotional rollercoaster, of course - are Allie's gorgeous vintage-inspired outfits. 

Both Noah and Allie’s style is exceptional, but the starring role, however, goes to leading lady Allie Hamilton’s 1940s fashion - the wardrobe department, led by Karyn Wagner, truly excelled themselves.  

From the iconic blue dress to her adorable swimsuits, the '40s-era looks somehow still have modern appeal. And with the news that the film was to be adapted for TV but unfortunately never proceeded, we had hoped for even more retro fashion inspiration to look forward to.  

This era is defined by playsuits, high-waisted shorts, polka dots, and other fashionable items. It was a time when pin-up girls truly emerged and became iconic. Allie’s (Rachel McAdams) style is all about bright red lipstick, cute playsuits, and curly hair - a perfect combination, if you ask me!  

Once again, as in Pride & Prejudice, the cinematography in The Notebook is breath-taking. 

The film, based on the novel by Nicholas Sparks, takes the viewer on a whirlwind of emotions as they follow the lives of two lovebirds, Noah and Allie. The story is set in the 1940s, an excellent era for fashion.  

Inspiration can be drawn from many aspects of this movie, such as the natural landscapes of South Carolina or Allie’s paintings. 

However, nothing compares to Allie and her wardrobe. Her look is feminine, proper, and polished, yet her quirkiness also shines through.  

We meet our star-crossed lovers on 4th June 1940, more specifically, at the carnival in Seabrook, South Carolina. 

Southern belle Allie Hamilton and local boy Noah Calhoun first cross paths during a tumultuous ride on a Ferris wheel. Noah is drawn to Allie, perhaps by her boldly coloured shirtwaister dresses and cotton knit cardigan combinations. 

Button-down dresses and playsuits dominate the early 1940s look, and many people can still take inspiration from Allie’s style today - perfect for bike rides, jumping in lakes, or even playfully squishing ice creams into lovers’ faces.  

Summer love blossoms after a date night at the pictures, featuring yet another tea dress and cardigan combo, leading to the iconic dancing-in-the-street scene. 

The red-and-white colour motif continues throughout the ‘summer love’ section of the film - the styling and accessorising alone deserved an Oscar. 

Allie’s hair is set majestically in classic 1940s styles, with pin curls and victory rolls, complemented beautifully by pearl jewellery and suede ankle-strap shoes. A lipstick in the most perfect shade of orangey red completes the look, making it pop.  

Three years go by, and fashion evolves. Allie’s style changes too, as a Rita Hayworth, Veronica Lake starlet look replaces the 1940s fashion we originally fell in love with. Her hair becomes bigger, her makeup bolder, and statement hair flowers and veiled millinery accessorise designer gowns and formal skirt suits. Bicycle rides are replaced by horse riding, and dancing in the street gives way to glamorous nights at clubs with full big bands.  

Perhaps the most famous dress in the movie is the pale blue, Nehru-collared, button-down wiggle dress - arguably an impractical choice for a rowing boat trip. Nipped at an impossibly tiny waist, with contrasting covered buttons and turn-back sleeves, it marks a more mature evolution of Allie’s style.  

The Notebook, even years later, remains a classic story for hopeless romantics and a beautiful source of style inspiration for lovers of old-school fashion, as well as those who prioritise comfort over aesthetics.  

Haute couture, a term coined by the French designer and "King of Fashion," Paul Poiret, refers to the luxurious clothing lines produced by the leading houses in the fashion industry.  

These high-end brands ignited a new meaning in the culture and created a desire to own them for those who wished to carry the embodiment of art de vivre and poise. 

With Poiret’s ground-breaking designs, including the transition from tight-fitting corsets to lampshade tunics, it is easy to say that he influenced the evolution of haute couture and the level it has reached today. But with sustainability and eco-consciousness on the rise, can couture still be couture?  

Christian Dior, Guccio Gucci, Coco Chanel, and Miuccia Prada are just a few of the iconic pioneers who have ingrained their names in the high-end fashion industry. 

With their clientele holding them to the highest standards, these designers utilised only the “best” quality fabrics. Unfortunately, these materials were often unethically sourced, costing the lives of innocent animals.  

Ostriches, alligators, and stingrays were tortured and reborn into exotic leather handbags, wallets, and shoes. Minks, rabbits, raccoons, and foxes were killed to create the infamous plush and warm fur coats and scarves often worn by luxury consumers.  

These elite materials are often acquired from the Amazon biome, which has strong correlations to deforestation in Brazil. 

To make matters worse, unsold goods are burned instead of donated to maintain exclusivity within the brand. And as the scope of fashion brands’ clientele grew, so did the discovery of their malpractices.  

News of the fashion industry’s immoralities spread like wildfire throughout the media, which soon resulted in protesters defaming the name of couture. 

With boycotts, petitions, campaigns, and the crashing of model runways, couturiers were forced to adopt a more eco-friendly approach to save their brands’ reputations - while still being up to par with their clientele’s expensive tastes and without compromising their credibility.  

Gucci was one of the first pioneers to take the bold step of proving that a luxury fashion house can transition while still maintaining its image. 

Seeking to capture the hearts of eco-conscious consumers, Gucci now has a strict policy of implementing low-waste cutting techniques into its system to protect biodiversity. 

In 2017, Gucci permanently eliminated fur products from its line and has found new routes to ethically obtain materials for its bestsellers, including its renowned GG leather belts and handbags. The brand has even introduced a clothing collection dedicated to sustainability, featuring products made with organic and clean fabrics for those who wish to shop with ease, without worrying about their carbon footprint. 

On top of this, Gucci has implemented a ten-year sustainability plan to reinforce a culture of purpose, which can be read in Gucci Equilibrium. 

Living in a consumerist culture, it was inevitable that nature’s harmony would eventually be disrupted. 

However, with environmental awareness now easily accessible through social media, influencing the masses to make greener choices, sustainability has become one of the driving forces behind product sales. 

As more powerhouse fashion designers embrace sustainability, the intersection between high fashion and eco-consciousness proves that the two can coexist.  

Growing up in the early 2000s watching animated movies from Pixar, DreamWorks, and Walt Disney Studios, was an entirely different experience from the animations made nowadays. 

The new stories created for recent generations do not match the rich and enthralling creativity of the older movies such as Shrek, Spirit: Stallion of the Cimarron, Brother Bear, Happy Feet, Lilo and Stitch, and Toy Story.

Very few animations made in the last two decades come close to having the same level of originality or inclusivity that the “original” ones have. 

The studios have been so concerned about trying to be inclusive and self-conscious of the “cancel culture” movement that their work comes across as anything but inclusive and fresh. 

Lilo & Stitch Live Action Remake, 2025

Instead, to avoid any criticism, their efforts have been put into remaking the classics or readapting them to live motion. 

In reality, this comes across as lazy and seems like a cheap excuse to attract revenue from old audiences rather than hiring new creative minds to develop innovative storylines.

After 2010, Disney saw a rise in the production of live-action movies or photorealistic remakes of highly successful animated feature films. 

What started with Maleficent (2014), a retelling of the beloved Sleeping Beauty, rapidly became a trend. 

According to Pearce (2024), ever since its release, not including the sequels, there have been 12 live actions that Disney remade. 

The main issue with these remakes is that no matter how much effort and money Disney puts into them, they won’t be able to replicate the magic present in the originals.

The entertainment business seems to be locked in a rut with its relentless production of reboots, remakes, and sequels without taking chances with new concepts. 

Fans who want new stories, like me, are growing increasingly disappointed by the lack of creativity.

According to Chappell-Beattie (2024), Disney, once regarded as the unrivaled powerhouse of cinematic storytelling, is currently facing a challenging period at the box office. 

Even though Disney has established its brand with a uniquely strong reputation, in recent years, the studio has fallen behind its rivals. 

With Coco and Moana, they showed that they still had some fresh ideas. But even then, with the unnecessary sequel to Moana now in 2024 and upcoming Coco sequel in 2029, Disney played yet again into the money-grabbing trend. 

Remakes are now the standard formula used by film companies to capitalise on existing fan bases and appeal to nostalgia.

That isn’t limited to the animation industry alone, it is no secret that the movie industry has also been suffering to produce entertaining and innovative stories. 

According to Muldoon (2012), in 2011 there were 27 movie sequels released which at the time was higher than any previous year’s stats. 

In the same study done by Muldoon, she referenced a statistic brought up by Cieply (2011) that argued that in 2011 all top 7 box office films were sequels which had set an unprecedented box office record. 

She also confirmed that between 1996 and 2011 there was a drastic decline in Hollywood’s creativity showing that in 1996, 58.45% of films released were original compared to 51.36% in 2011.

One of the factors that Muldoon argues that would explain such a decline in originality is that producers strongly rely on past successful films when financial difficulties arise. 

Meaning, that during a recession they might invest in lower-risk material from already previously successful books and movies turning it into a sequel or an adaptation. 

Artist Austin Kleon released a book called Steal Like an Artist (2012) where he uses already existent poetry and blackouts words to create his own. 

He argues that nothing is ever done without “stealing” from somewhere else – that nothing is truly original but rather inspired by already existing content. 

Perhaps Hollywood’s consistent usage of their “movie formula” is now revealing that they are resorting to “stealing” or readapting already overdone source materials instead of attempting to get inspired by them and reimagining them.

Let’s look at La La Land (2017) for example, the reason it was such a success lies in the fact that even though it played into a classic cliche that rom-coms normally have, it didn’t have a happy ending. 

Transforming such a common happy trope into a bittersweet one, brought something new to the table making La La Land feel dynamic and more realistic. 

Sabit (2022) says that if the only new element in a movie is a different cast then the movie has little to no purpose. 

She also mentions the live-action remake of The Lion King which had a 52% score by Rotten Tomatoes due to the lack of depth - its only purpose being to capitalise on nostalgia.

Creating a sense of nostalgia with remakes of successful franchises brings consumers to the cinemas due to the familiarity and fondness they have of those beloved storylines. 

While this might seem harmless, it actually stops us seeing new and groundbreaking ideas. 

Hollywood is a worldwide reference for the film industry and has seen eras of risk-taking and experimenting periods in cinema. 

Therefore the question must be raised, where has all their creativity and edge gone? 

According to Bunker (2023), major film studios are not interested in originality because they bring less revenue than franchise ones. 

However, if there’s no investment in smaller productions and willingness to take a jump in the dark there will be no new and contemporary cinematic era. 

Hollywood needs to invest in giving opportunities to new writers and talent whilst simultaneously opening their doors to foreign influence. 

With writers strikes and rising concerns around AI, focusing on the success of small films such as Hundreds of Beavers and Anora. 

Cruella De Vil is one of the most iconic villains in Disney history, known for her spiky demeanour that transcends into her outfits which shape her as a character. 

The only thing that is not explored in One Hundred and One Dalmatians is how she became the evil, twisted, and extravagantly dressed person that we see in the film. 

In comes the 2021 film Cruella. Providing the origin story of Estella a young and bodacious girl who has an eye for fashion from an early age, we see her alter ego Cruella form and come out when she gets angry or frustrated.

Within the first moments of the film, you see Estella at school and swiftly flipping her blazer inside out to reveal her hand drawn patterned lining, displaying a pure and unapologetic parade of individuality.

Costuming in films has long been an addition to evoke feelings and expressions and Cruella did that and certain looks seem very Vivienne Westwood-esque. 

Looking deeper into the film, costume designer Jenny Beavan created mood boards not only of the late Dame Vivienne Westwood but also Alexander McQueen, showing the vision for the costumes was to unequivocally reflect not only her personality but the uniqueness of Cruella.

The refreshing thing about this story, is we see reworked looks deconstructed from thrift store finds which is a very current topic in today’s world. 

In one of the scenes we see what looks like rubbish bags and old newspapers fall from the back of a rubbish truck and then Emma Stone appears amongst all the trash, to reveal a dress with a 40ft train as the rubbish truck pulls away with Cruella on the back and the dress trailing behind her. 

In the story, the dress is made from one of the Baroness’s outdated collections – drawing from the expression, “One woman’s trash is another women’s treasure.”

Cruella has forty-seven looks in the film, according to Jenny Beavan and when designing the outfits she had to take into consideration that it was set in the 1970s and that she would have created looks from vintage stores before she had money. 

This meant that Beavan scouted vintage stores and fairs in London, LA, and New York to find pieces that worked with the aesthetic and era of Cruella. 

It turns out that this process was a foundation exercise to work out the basis of the looks because none of the vintage outfits found were used in the film, they were instead a guideline, so they knew the direction they were going to take.

There are so many iconic looks throughout the film one of the main ones is the red gown that is revealed when Cruella sets fire to her cape, and it disappears to reveal the dress. 

Within in the story it turns out to be a design of the Baroness and Cruella finds it in a vintage store and reconstructs it to add her own flare. 

This dress was based on Charles James 1955 design ‘Tree’ dress. His passion was recreating the shape of the body through corsetry, meaning his designs accentuated the shape of the hips and pulled in the waist, creating a flattering body skimming look. The skirt flutes out from the knee to the floor and he named the dress ‘Tree’ because it mimics the plant, with how roots splay out from the ground.

A costume department goes through such a lengthy process when creating looks for the silver screen, but this one seems much more challenging because there were so many pieces that needed to be intricate yet extravagant and needed to cover entire cars, for instance. 

The look that especially had a Vivienne Westwood flare was the outfit that Cruella wore when stood on the Baroness’ car. 

Beavan said that it was a tricky design because the skirt part needed to be light enough that Stone could wear it but heavy enough that she could swoosh it over the car and yet it had to be enormous to cover the car. 

It took a few versions of the design to get it right with the first few being just too heavy. In the end they went with a design by costumer Kirsten Fletcher who is no stranger to making items for theatre and film. 

Beavan also drafted in the help of students to hand-sew petals onto the skirt, in total there were 5,060 petals! 

The skirt was just one feature of this design and if then look closely at the jacket element of this look, its nothing short of a masterpiece. 

A beautiful military jacket adorned with chains, a gold rope design and epaulets with miniature horse and carriage on each shoulder, its such an interesting piece close-up but also a spectacular statement look from a distance which just shows the sheer talent of the designers who collaborated to create this.

Cruella is not the only one who has glorious designs to wear, the Baroness played by Emma Thompson also wears glamourous gowns and jackets, but her style is very much from a different era. 

In comparison her looks could be described as that of the 50s and 60s, still with incredible lines and shapes but more softened. The Baroness’ style influence was that of Dior and so her looks were not as bold or outrageous but still extremely glamorous. 

They both had a colour palette, with the Baroness having muted browns and golds and Cruella having the iconic black and white with spattering’s of grey and then red for the pivotal scenes. 

All this plays into the personality of the characters and what feelings are conjured when they appear on the screen and the subconscious influence of colour and texture creates elements of the story.

This is one of the most flamboyantly fashionable films of our time and it added so many fanciful layers to one of the most recognisable Disney villains. 

Glorious and unrestrained, the outfits were what you could imagine seeing on a red carpet or more likely at The Met Gala.

Amidst these jaw-dropping costumes, created was an origin story that made you empathise with Cruella; as person acting out from a place of hurt and loss, feelings everyone can relate to. 

The reality is she started out as a kid with a dream and despite the traumas of life, she pushed through and made it happen, while getting a bit of revenge along the way, in true villain style.

As the melancholy winter months creep away, a trace of darkness is left behind in the form of a new alternative clothing brand: In the silence. 

Launching last month, they’ve seeped into the streetwear scene to fill the gaps in the market with a gothic edge.

Speaking to the Manchester-based owners, they explained their intention to “bridge the gap between gothic clothing and streetwear.”

They explain that the brand was “born from a love of streetwear and heavy music” and their desire for the clothing is to subtly reflect their music tastes and identities “without being too in your face.”

Meaning in the silence is the brand for people who want to don an alternative style, without delving into the extreme. 

The creation of the brand has been a lengthy process, and the first batch of creations have been in the works for over a year.

Yet, the first clothing launch is finally here, consisting of 3 pieces to form a foundation for the brand’s identity and future collections. 

The items in question consist of 2 t-shirts in alternating colours (white and black), and a black hoodie, all suitable for unisex wear and available in a variety of sizes. 

Each piece is made from 100% cotton and have an oversized fit - who said style couldn’t be comfy?

The owners express their excitement from their ideas finally coming to fruition after a long production process, exceeding their expectations and leaving them feeling “more than pleased with the quality and design” of their products.

All of the items feature the brand’s logo printed on the back: a skeletal hand gesturing for quiet, clasping a dripping ‘S’. 

The garments feature small details which help to craft the clothing’s gothic edge, such as a removable metal pin and embroidered details. 

These simple, but impactful, additions allow the wearer to “subtly represent who they are” in addition to each piece being unique - as the distressing around the sleeve and waist bands are done by hand. 

Images from the launch’s recent photoshoot capture the craftmanship and wearability of the designs, whilst also showcasing their dark edge. 

The photos hold an eerie atmosphere, with black make up seeping from the models’ eyes, an atmosphere in keeping with the brand’s gothic feel. 

Seeing the pieces worn by various models allowed the brand’s carefully crafted identity to come alive in the photography studio, making the photoshoot the owners’ favourite moment from the brand’s journey thus far. 

In the silence now has a life of its own: it’s made its way out of the pixels of a digital mock-up and into customers’ hands.

So, what opportunities stir in the silence of the future? 

In the silence is anticipated to eventually stock a full range of items; including trousers, jackets, joggers and accessories.

Eventually, they dream of their favourite metal bands repping in the silence, such as Australian powerhouse Parkway Drive. 

In the silence is a brand to keep an eye on. 

The owners have “endless ideas for products,” so watch this space. 

Edited by Emily Duff

With stunning jewels, elegant silhouettes and flamboyant feathers, Baz Luhrmann’s The Great Gatsby was not only a fantastic movie adaptation, but an iconic fashion statement.

Embodying the showstopping nature of the Roaring ‘20s, the 2013 movie showed dapper suits, tailored to absolute perfection, paired wonderfully with cigars and martinis. 

This lifestyle, first explored in Fitzgerald’s novel, was once of riches and definitely not rags.

As lifestyles changed, so did fashion. The ‘30s saw long dresses and skirts paired with hats, gloves and well-tailored blazers, while the ‘20s brought short statement pieces that often exposed stockings and light colours.

The beautiful Daisy Buchanan (Carey Mulligan) reflects what many ladies in the ‘20s only dreamed of wearing.

Inspired by the flapper movement, where young women were known for their energy and daring dances, Daisy and her companions’ dresses were works of art. Most of their fancy frocks were short enough to whirl without a problem, some with deep V-neck cuts while others opted to layer capes and scarves. 

Intricate beading, often accompanied by feather and fur accessories and a low heel, was perfect for dancing to the electric jazz music that overtook the era. One thing’s for sure - they really knew how to party.

On the other hand, gents like Mr Gatsby himself (Leonardo Dicaprio) always appeared dapper in three-piece suits and bowties, regardless of whether it was a late dinner or an evening ball.

One thing about the Gatsby movie costuming is that it was the opposite of casual. 

Which is only fitting given the set: galas with champagne towers, live jazz bands and plenty of evening entertainment had to be reflected in their outfits.

The colour palette of The Great Gatsby was a muted one, presumably encompassing Fitzgerald’s soft tone and romantic approach to the actually quite tragic story. 

Women are seen in gorgeous shades of cream, warm golds, dusky pinks, deep reddish purples and peacock greens, all with an extremely feminine touch. Daisy’s own wardrobe mostly comprised pale shades, often associated with wealthy women who didn’t work or do household tasks.

The wardrobe for men was split between black tie in the evenings, and subtle shades of cream, light blue and brown throughout the daytime. This play on colour for men’s suits shows the slight playfulness and open-minded approach to fashion in Gatsby’s era, as the party host wasn’t a stranger to colour.

Of course, an outfit in the 2013 movie was not complete without plenty of accessories. Daisy Buchanan is often seen with a selection of jewelled headbands, gloves, feather boas or necklaces and rings.

A style that will always be appreciated and make comebacks in garments through small details such as pearl accents, gold and silver hues and jewelled gowns, the extravagance of The Great Gatsby is what keeps the fashion statements of the ‘20s alive today.

As we’re living in the ‘20s again now, perhaps it’s time to look to costume designer Catherine Martin’s picks for our next outfit inspiration?

Genaro Rivas is the first and only Peruvian designer to present at London Fashion Week. A self-taught fashion designer and entrepreneur, Rivas had an early interest in art and took classes in colour imagery and combinations during his childhood before pursuing a career in Fashion Business Administration. 

Alchemy of Ashes is Genaro Rivas' latest collection for AW25 at London Fashion Week and the fourth consecutive season the designer was showcased. Looking at the accompanying show notes, alchemy and fire represent a metamorphosis for the designer, with the collection serving as a metaphor for the transformative nature of fashion and how a garment can ‘move’ from simply fabric to an entire identity. 

Rivas took inspiration from Robert Eggers' 2015 cult film The VVitch, looking to the A24 horror whilst conceptualising this collection. For this, he investigated the symbolism of witches and the occult - with his research dating back to the seventeenth century - and included elements of this in the looks. 

Models wore long braided hair and black kohl smudged around their eyes, elements in line with the dark and moody aesthetic of the clothes they adorned. Alchemy of Ashes featured 30 different looks in total, with a palette of mainly black and darker hues of blue with some pops of red and silver. 

When researching the themes, Rivas investigated seventeenth century artwork depicting the occult and witchcraft. These visuals were then printed onto fabrics, with specific motifs like goats, hares and cats being imagery taken and infused across the collection. 

As with previous collections, the designer innovatively combined traditional Peruvian materials such as Alpaca wool along with modern techniques such as laser fretwork, a computer-controlled laser that precisely burns intricate patterns onto the material, to offer a contemporary vision of fashion. 

These examples were used in conjunction with a range of textiles and processes including cloths, silk, human hair, moulage and embroidery.

Rivas is driven to ensure that fashion positively impacts the lives of others, which is evident in his passion for promoting sustainability and inclusivity. 

The designer created ‘weavers for hope,’ a social project where he collaborated with hand weavers from San Juan de Lurigancho. The area was hard hit by Covid-19 and subsequent unemployment. 

This initiative led to Rivas collaborating with weavers to produce a collection which was then promoted and sold locally. This entrepreneurship and social cause earned him the place on the Master in Fashion Entrepreneurship and Innovation programme at LCF. 

After entering and winning a fashion contest, Rivas decided to follow his passion for fashion design and, in 2022, Rivas relocated to London to study MA Fashion Entrepreneurship and Innovation at the University of the Arts London (UAL) / London College of Fashion (LCF). 

During his Master’s course, Rivas created a ‘Methodology for the Estimation of Fair Wages’ in designer-artisan collaborations furthering his commitment to sustainable and ethical fashion. 

For his debut collection during the AW24 season at London Fashion Week, he embraced the practice of localism by collaborating with 100 East London craftsmen. Rivas is passionate about fashion helping the community and feels that this should be infused throughout the entire process. 

Genaro Rivas is driven to bring not only his eponymous brand to global recognition but Peruvian contributions to fashion as a whole. 

A notable achievement on the journey to this awareness, he created the ‘Modular Dress’ in 2018. The first 3D printed dress in Peru and Latin America, it was developed with support of Emilia Gutierrez, Augusto Acosta and Makerbot Latam and was showcased at the Iberoamerican Design Biennal in Spain which highlighted sustainability in the industry. 

Through the use of traditional Peruvian materials and techniques along with contemporary methods, the designer seeks to offer a new perspective on Latin American fashion. He has a vision for putting Peru onto the global stage and opening the door for more Peruvian designers to parade at London Fashion Week and beyond. 

London Fashion Week witnessed a captivating combination of heritage, art, and innovation as Morocco Kingdom of Light proudly showcased two of the country’s most renowned international designers, Sara Chraïbi and Maison Artc, on the runway at 180 Studios. 

This was no ordinary fashion show; it was an immersive experience, transporting the audience into the rich heritage of Moroccan culture through music, visuals, and, of course, breathtaking couture. The juxtaposition between the two collections, one delicate and elegant, the other bold and cutting-edge, highlighted the versatility of Moroccan design.

Maison Sara Chraïbi: The Heavens Come to Life

Sara Chraïbi’s collection, The Heavens, unfolded like a celestial dream, evoking a sense of serenity and grace. Against a backdrop of soft blues and drifting clouds, models glided down the runway in clothes that radiated elegance. The colour palette, ivory, pale blue, silver, and gold enhanced the dreamlike atmosphere, creating an ethereal vision of modern Moroccan luxury.

Chraïbi blended traditional modest wear with contemporary evening attire, offering floor-length gowns decorated with detailed designs. Crystals glistened on the models’ skin, adding an almost supernatural glow to their minimalist makeup. Hair was sleekly braided or tied back, ensuring that the focus remained on the clothes and the designer's craftsmanship.

A standout piece from the collection was a floor-sweeping gown featuring a silver and gold veil-like fabric that trailed behind the model, a reference to Moroccan bridal and ceremonial wear. The combination of metallic details and flowing silhouettes showed Chraïbi’s skill in mixing tradition with a futuristic style, leaving the audience amazed.

Maison Artc: A Bold Homage to Heritage

While Sara Chraïbi’s collection captured a heavenly essence, Maison Artc’s Coming Home boldly explored the vibrant essence of Moroccan identity. 

Maison Artc’s showcase was an explosion of colour, pattern, and symbolism, reinforcing fashion as a storytelling tool. The set shifted from cool blue tones to deep reds, creating an immediate contrast in mood and energy.

With a palette featuring oranges, blacks, and earthy hues, Ifrach’s designs played with shape and proportion, radiating a raw, unapologetic energy. Traditional North African fabrics were reinvented with modern shapes and layered in unique ways, reflecting both history and rebellion. Outfits featured photographs and written words, merging personal and cultural narratives into the very fabric of the collection.

A standout look was a model wearing a black outfit, complemented by a beaded necklace featuring the word 'Marrakech' in large letters. The necklace added an important detail, tying the look together and reminding the audience that this runway show goes beyond the clothing, it is also about culture.

Beyond the clothing, the show was a journey into Moroccan culture. Traditional Moroccan music played throughout, deepening the emotional impact of the collections. A video and presentation before the catwalk set the stage, reinforcing that this was not just about fashion but about storytelling, heritage and national pride. The careful contrast between Chraïbi’s aesthetic and Ifrach’s vision highlighted the wide range of Moroccan artistry, proving that its fashion scene is as diverse and dynamic as the culture itself.

By the time the final model stepped off the runway, the audience was left with more than just an appreciation for the outfits, they had been transported into a world where fashion and identity intertwined effortlessly. Morocco’s presence at London Fashion Week was not just a showcase, it was a statement. A declaration that Moroccan fashion is not only thriving but also redefining the global stage.

This was more than a runway, it was an experience, and one that will be remembered for seasons to come.

Surrounded by towering bookshelves, high ceilings, and opulent chandeliers, Malan Breton unveiled his AW25 collection at the stunning Gladstone Library during London Fashion Week on February 21st. 

A true talent, being not only a designer but also a singer and filmmaker, Breton once again showcased his mastery in crafting a compelling fashion narrative. His collection was a bold fusion of drama, colour, and texture, seamlessly blending edgy ensembles, voluminous ball gowns and structured tailoring. Unified by a striking blue, black, and red colour palette, the collection showcased a dynamic interplay of tulle and leather, underscoring the versatility of Breton’s designs.  

A collection featuring both menswear and womenswear, the garments pushed boundaries, embracing androgyny and fluidity. Each look was meticulously crafted, with menswear incorporating subtle feminine elements. In a 2017 interview with Vogue, Breton stated, “It’s important that men have an opportunity to enjoy fashion too with clothes that are colourful and playful, but are still very masculine.” Eight years later, this belief remains evident in his latest collection, where bold colours, fluid silhouettes, and striking details blurred traditional gender norms. 

The show opened with an array of sharp, form-fitting leather looks in black and electric blue, complemented by slicked-back hair for a fierce, commanding presence. Plunging necklines, cinched waists, and long leather skirts exuded confidence, while tailored jackets, crisp white shirts, and ties added a masculine edge to the otherwise feminine silhouettes. 

As the collection progressed, elegant black gowns with voluminous skirts and sculpted necklines took centre stage, demonstrating Breton’s skill in balancing structure with fluidity. Fishtail dresses emerged as a standout feature in the collection, with a sleek black gown adorned with a sweetheart neckline and a striking blue fishtail hem leaving the audience in awe. Matching blue gloves were added, which was a bold and cohesive touch that allowed for a modern, and rebellious nod to 1980s prom dresses. 

In the latter half of the showcase, the collection transitioned to grandeur, with extravagant ball gowns in deep blues, greens, and blacks. Despite being more traditionally feminine than the earlier parts of the collection, their strong, sculptural silhouettes and fabric choices retained cohesion with the collection’s overall aesthetic. A standout piece was a dark green leather evening gown with an ultra-low waistline, exaggerated hips and bright blue gloves that tied it back to the rest of the collection. 

A key theme in this collection was Breton’s bold experimentation with proportion. Exaggerated waistlines, unconventional seam placements, and structured enhancements played with classic silhouettes in striking ways. One prime example was a gown with an ultra-low waist, ruffled hips, and a voluminous tulle skirt, dramatic yet meticulously balanced. Dramatic hoods, capes, and trailing trains added an unexpected edge to traditionally elegant silhouettes.

Breton's meticulous attention to detail shone throughout the collection. Interwoven stripes, subtle patterns, and expert tailoring gave the garments an air of intrigue. Strategic pops of red, whether in the lining peeking through, the soles of shoes, or discreetly integrated into embroidery, provided 

a vibrant contrast to the sea of blue and black. Each dress incorporated luxurious fabrics, from metallic textures with dual-toned blues to hidden floral patterns woven into the fabric. These intricate details added dimension to the designs, while floral embroidery enhanced both texture and visual appeal. 

The runway soundtrack amplified the collection’s cinematic quality, seamlessly guiding the audience through the collection’s emotional journey. The music shifted between intense, dramatic beats with muffled voices to soaring classical compositions, mirroring the fusion of sophistication and edge in his designs. 

Malan Breton’s AW 2025/26 collection captivated the audience with its fearless approach to femininity, masculinity, structure, and movement. From sleek leather garments to sweeping ball gowns, he delivered a powerful vision that celebrated confidence, glamour, and artistry. This collection left a lasting impression, proving once again that he is a master of storytelling through fashion, leaving us eager for his next creations. 

When it comes to classic romcoms, a fan favourite is 2009 gem Confessions of a Shopaholic. 

The standout element of this film is undeniably the fashion, beautifully complemented by the charming performances of Isla Fisher and Hugh Dancy.

We only have the talented costume designer Patricia Field to thank for delivering yet another visual feast, following her iconic work on Sex and the City, The Devil Wears Prada, and also known for her more recent work in Emily in Paris.

Just as you’d expect from the aforementioned media, Confessions of a Shopaholic also features many fun and quirky style moments but in a fresh and more youthful take. 

The maximalist taste of the main character, Rebecca Bloomwood, perfectly sets the tone for the film and showcases Field’s distinctive flair. She has a sense of naïveté that is explored throughout the plot, but is also transitioned through her outfits with many bold colours and prints making up her wardrobe. 

Field did an extraordinary job incorporating New York City fashion into every character’s wardrobe, with each outfit reflecting the wearer’s personality - from Rebecca’s whimsical ensembles that highlight her aspirational nature, to Suze’s more bohemian, laid-back looks, which capture her supportive and grounded persona. 

Even minor characters are carefully styled to mirror their roles in the story, such as the polished and powerful looks of Rebecca's boss Luke Brandon, which exude professionalism and understated charm. 

This attention to detail ensures that each character's wardrobe is not just visually appealing but also a reflection of their journey and identity.

A discussion about the film’s iconic clothing wouldn’t be complete without mentioning The Green Scarf, which also plays a pivotal role in the premise of the film.

The scarf isn’t merely a fashion accessory but is a storytelling device that symbolizes Rebecca’s impulsive nature and her eventual journey toward self-awareness. Its repeated appearance throughout the movie ties her financial struggles to her love for fashion, making it a memorable and emotional touchpoint, yet its memorable colour makes for something more pertinent. 

Although black, grey, brown, and cream are all chic shades, it wouldn’t have worked for the character nor the story. 

Field masterfully blended textures, colours, patterns, and prints for Rebecca Bloomwood. The accessories - handbags, belts, shoes, and jewellery - each enhance the costumes, adding to their distinctiveness.

One of my personal favourite outfits are Rebecca’s vibrant power ensembles in Miami. These bold, colorful pieces perfectly match the sunny, carefree vibe of the setting, showcasing her confidence and individuality in a way that feels fresh and daring. 

The use of tropical-inspired prints and saturated hues helps to visually separate this sequence from the cooler tones of New York City, offering a striking contrast that mirrors Rebecca’s own sense of adventure and optimism during this part of the film.

Another standout is the purple dress she wears to the interview. The outfit strikes a balance between trying to look put together and still having a playful childishness, which perfectly reflects Rebecca’s character. 

The rich, jewel-toned hue makes a statement, while the sleek silhouette and thoughtful details convey her attempt to present herself as sleek despite the chaos in her personal life.

Patricia Field weaves the costumes seamlessly into the narrative, making pieces like the black-and-white coat, which Rebecca later gives to a street lady, memorable and significant.

In an interview with Yahoo, Field described Rebecca’s fashion as colourful, glamorous, and sexy with great accessories, bags, scarves and belts.

“The character is put together as though she is in designer clothes all the time, even if she isn't wearing designer clothes. She tends to wear sexy, short dresses and skirts without being too overt, and coordinates her outfit with a bright-coloured coat.”

From vintage pieces to high-end brands like Gucci, Prada, Zac Posen, and Christian Louboutin, and of course, the iconic green Denny and George scarf, this film is a must-watch for fashion enthusiasts. 

It provides perfect 2000s fashion inspiration and history. Even at 82, Emmy-winning costume designer Patricia Field continues to the fashion world, demonstrating her enduring indispensability in the industry.

Edited by Emily Duff