London Fashion Week 2026 - Future Fashion Stars

Where Do Fashion's Future Stars Come From?

Inside London Fashion Week: The Established Rebels, the Fresh Graduates and the Programme That Launched Lee McQueen

written Justina Snow

New York started fall/winter´26 fashion week with a wonderful debut of Rachel Scott for Proenza Schouler. Milan brought us the highly anticipated first prêt-à-porter show by Demna's Gucci. And it all wrapped up in Paris with a bittersweet farewell to Pieter Mulier's successful time at Alaïa. And somewhere in between, there was something spectacular London gave us too - the future of fashion (quite literally).

This is the place where future McQueens and Erdems are not taking spaces on the outskirts of the city with a few square meters for a showroom. In London, fashion week's baked-fresh-out-of-school talents are a well-respected part of the official schedule. This year's London Fashion Week schedule was embedded with 19 talented brands of NEWGEN - an official initiative by the British Fashion Council supporting young designers financially as well as with mentorship. Since launching in 1993 - when the fashion world was going crazy for supermodels and glamour - this program was the first step for the later skyrocketing careers of designers like Alexander McQueen, J.W. Anderson, Simone Rocha, and many others who are now synonymous with London fashion. And while you might have seen a lot of conversations in the past two years about LFW dying, as I bumped into Kate Moss at 180 Strand studios (where the NEWGEN runways were taking place), I knew that those talks are so far from reality.

YAKU AW26
seen by Morgan Williams

YAKU AW26
seen by Morgan Williams

I spent a lot of time at the mentioned 180 Strand Studios this season, and I witnessed something opposite of fashion dying. I would maybe even call it a reincarnation. Fashion is definitely changing its shape. A big part of collections has become an experience in itself; presentations have become so much more interdisciplinary. One of the initiative´s brands, Yaku foreshadowed their somber mood with an installation of dark, shadow-like human figure statues, as if frozen in time. Yaku themselves said that "we're trying to make art that responds to the world rather than simply offering hope - exploring a negotiation with reality alongside the desire to evolve, because hope alone doesn't drive change." Given the state of the world, this hits close to home. And they translated this not into a runway show but into a performance of four acts, all circling around the concept of combat. And when the first model appears in choreographed movement, you know that the fashion - although very well executed - becomes part of the whole and helps translate the intention. And while flowing through martial-arts-inspired movements, the performers give so much personality to every garment they wear.

While personalisation and emotional charge remain important cornerstones this season, we also saw not only ready-to-wear collections but accessories as well. On a different occasion, when I entered the NEWGEN space (which had already become my third place by that point) for Octi's presentation, I saw a grass field. It was the opposite of a lush meadow: this field had a mysterious vibe, as the space itself is dark and concrete-dominated, yet I was face to face with nature there and then. Only after a while did I notice five bodies lying there motionless. Over time, their movements grew into a choreography that, according to the designer, illustrated the concepts of connection and "embody the fluidity and rigidity of the natural forms used in the collection." I could only describe this presentation as sensitive and magnetic - and hypnotizing, because I was sitting there staring at the choreography for almost an hour - and the designer, Octi Ransom, admitted that "I think sensitive and magnetic are also words I would use to describe the potential of jewellery." This is what we call great communication through presentation. And that's already a big achievement, as we are still largely focused on ready-to-wear collections. Octi also revealed that scale is a challenge in larger spaces: "Naturally, jewellery is physically much smaller than ready-to-wear. It usually takes up less space on the body, and becomes more of a challenge to communicate in larger spaces. But in the end I think this can work to an advantage, making room for new ideas on how this can be solved."

Jiyuan Fan
seen by Han Yang

As much as NEWGEN designers steal the show, we cannot talk about fresh talents during London Fashion Week without covering the freshest of them all: MA student shows. There was one designer from London College of Fashion who stood out specifically - Jiyuan Fan. It didn't only catch my eye; it captivated me, and I felt like I was witnessing a scene from a very stylish body horror thriller - the models wore wooden-looking pieces representing skeleton parts and facial structures made out of lace, and I couldn't help but identify one more trend among young designers: alternative materials. Jiyuan himself reflected on this: "One important reason is that these materials allow designers to communicate their concepts more directly. ... I also thought about how people might remember my work. Fashion changes very quickly, and the use of materials always requires creativity and possibility. This is something every young designer has to think about." The designer's research began with hangers and human anatomy, and the project eventually raised a question about the visibility of support structures in garments. "In my collection some garments are cut according to the skeleton structure while others reveal the natural outline of the body once the structure is removed. The garments therefore have two states. One is supported by the Human Hanger structure and another exists without it. Through this process I developed my own visual language for menswear. It proposes what I describe as a new human body." - Jiyuan Fan explains.

Jiyuan Fan
seen by Han Yang

Jiyuan Fan
seen by Han Yang

Seeing so many young talents and a city supporting their growth, throughout London Fashion Week I had a lingering question in my mind: what does London have that other major fashion weeks don't? While we don't see behind the scenes, and knowing that the fashion industry is extremely competitive, the talents I got a chance to talk to - and the whole atmosphere during LFW - seem to be at ease. It's apparent that London has built something other cities haven't. At least not in this structure. While Paris has the LVMH Prize, which is a great opportunity, it requires you to already have at least two full ready-to-wear collections under your belt. New York also cannot offer the same; it usually relies on off-schedule events for young talent. So London truly seems to be more democratic in this sense. When talking about NEWGEN and London as a hub for young designers, Octi shared: "There are so many incredible young designers in London so it feels like a really special place to be creating, and I feel very grateful to be presenting as part of LFW amongst some of these people. I think presenting in this capacity anywhere as a jewellery designer is also something really exciting, and opens a door for people to be surprised by the possibilities of what this could look like."

Aspirational observations also come from designers with different backgrounds who didn't get a chance to grow up in a fashion capital. Norwegian designer Fam Irvoll is one of them. If you look at her designs, you would never think this is a Nordic designer - it's something opposite of Scandinavian minimalism. Fam graduated from CSM, has designed for the likes of Lady Gaga and Rihanna, and this is the sixth time she's showing her collection during London Fashion Week. I was curious whether London as a city had been a building power for her aesthetic. Fam reflects: "In my country I don't really fit in. . . . London did inspire me while I lived here, I was very much into the rave scene. With a lot of students from CSM we would just go crazy, the drag queen scene is also big. I became who I am because of London and the gay scene."

Fam Irvoll
seen by Olu Ogunshakin

Fam Irvoll
seen by Olu Ogunshakin

Jiyuan Fan also makes no secret of the fact that living and creating in London specifically plays a big part: "Living in London for two years was also a very fulfilling experience. London offers many fashion opportunities. Designers such as Kiko Kostadinov, Aitor Throup and Charlie Constantinou have built strong identities here. If you walk around Soho you can easily feel the strong energy of many independent designer brands. Even if you do not buy anything, simply observing their craftsmanship and fabrics can teach you a lot." I can only confirm that London, especially during London Fashion Week, has a creative aura about it - even just people-watching or browsing through a vintage shop is a contagious experience for unconventional fashion inspiration.

And nowhere is that energy more visible than inside the shows themselves. You rarely see an empty space during a NEWGEN or fashion school show. Quite the opposite - you will see a wall of standing fashion lovers just trying to soak in everything a young designer has to offer. I tried to answer the question of why London attracts so much interest in young talent, and at the same time why the rumour had been circulating that London Fashion Week is dying. Maybe it's simply about the big brands, maybe people have grown fatigued by them? Maybe they lack something that young talent can offer? Octi didn't want to treat them as two separate categories: "I think it really depends on the brand. But something I personally love when I look around at this generation of creatives is how the stories of the designers themselves are such an important part of the work, and how it's communicated. I think this then leads to so many interesting new outcomes, which all feel very different to one another."

Talking to these young talents left me extremely uplifted and hopeful. London is as we like it: diverse, unconventional and open. We would all do well to watch these talent programmes very closely, because one thing is certain: we are witnessing the rise of future stars, and trust me, you'll want to say you knew them from the beginning.

OCTI AW26
seen by Morgan Layla Williams

OCTI AW26
seen by Morgan Layla Williams

DAGGER Spring/Summer 2026 - Luke Rainey

That’s Why DAGGER Spring Summer 2026 Feels Like a Love Letter to Skate Culture

written KLAAS HAMMER

Berlin-based brand DAGGER takes its name from the ceremonial blade used in pagan rituals, a symbol of endings, beginnings, and transformation. The brand was founded in 2020 by Luke Rainey after an unexpected job loss left him with nothing but €300 in government benefits and a dream.

DAGGER
Spring/Summer 2026

DAGGER
Spring/Summer 2026

The aesthetic was forged in Luke’s rebellious teenage years, growing up in a small Northern Irish town in the early 2000s, a place where money was tight but skate was currency. That era’s rough-edged, DIY spirit runs through every stitch: clothes that wear like scraped knees, cracked pavement, and midnight missions.

Luke describes the brand as “a queer-coded Tony Hawk Pro Skater character.” When people who don’t know the brand hear this, they immediately understand. “We show the scene through a queer lens, which is for sure sexy.”

DAGGER
Spring/Summer 2026

DROP OUT, the Spring/Summer 2026 collection, is inspired by misspent teenage years growing up in a skate town in the north of Ireland, as rough as it was beautiful. It is Luke’s love letter to the boys, the music, and the culture.

The label operates at the intersection of streetwear, subculture, and personal storytelling, deeply shaped by skate culture and an uncompromising DIY attitude. DAGGER has gained international recognition for its emotionally driven design language and is stocked globally, including at Dover Street Market Paris. Most recently, the brand presented its latest collection as part of INTERVENTION V during Berlin Fashion Week.

“Berlin has given me so much, and I want to give something back. It changed my creative approach because I wanted to fuck it up.”

DAGGER
Spring/Summer 2026 / making of

DAGGER
Spring/Summer 2026 / making of

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DAGGER SS26

Weekend Max Mara SS26 - A Weekend with an Artist

How WEEKEND MAX MARA Brings Contemporary Artists Into The Language Of The Trench Coat

written LE MILE

For Spring/Summer 2026, WEEKEND MAX MARA expands its ongoing “Signature” capsule initiative with A Weekend with an Artist, a project that places contemporary artists at the center of the design process. The collection focuses on a single garment — the trench coat — and invites five internationally recognized artists to reinterpret the house’s Canasta trench as an individual artwork. The artists involved are Victoria Kosheleva, Paola Pivi, Tschabalala Self, Tai Shani, and Shafei Xia.

Their contributions form a small series of artist-designed pieces presented within the WEEKEND MAX MARA collection. The project was curated by art critic and curator Francesco Bonami, whose career includes directing the Venice Biennale, curating the Whitney Biennial, and serving as artistic director of BYArtmatters in Hangzhou. The collaboration reflects a long-standing relationship between fashion and contemporary art, one that has repeatedly reshaped the cultural position of clothing. Since the late twentieth century, fashion houses have increasingly invited artists into their design processes. The reasons vary, visual experimentation, cultural relevance, and the possibility of placing garments within a wider artistic conversation. Projects of this type also blur the boundaries between exhibition culture and fashion production. Garments circulate in retail spaces and on bodies, while simultaneously operating as artworks or limited objects shaped by artistic authorship.

The Max Mara project builds on this tradition by focusing on a single archetypal garment. The trench coat functions here as both product and canvas. Bonami describes the aim as offering “through an iconic garment, the opportunity for individual and personal expression.” The selection of artists follows curatorial logic. Distinct visual languages, generational diversity, and independence from market trends were central to the choice of participants.

WEEKEND MAX MARA SS26 Signature Collection
A Weekend With An Artist, Tai Shani

WEEKEND MAX MARA SS26 Signature Collection
A Weekend With An Artist, Tai Shani

Each artist approaches the trench through their existing artistic vocabulary. Russian artist Victoria Kosheleva worked directly on a prototype coat, painting motifs that later became the basis for printed reproductions. Her visual language merges contemporary imagery with references to classical painting, a direction she has described as “cyber expressionism.” For the trench project she imagined the garment as a theatrical surface. Checkerboard patterns, swirling lines, flowers, and a stylized eye spread across the coat, producing an image that resembles stage costume design as much as clothing.

Italian artist Paola Pivi, known for installations that reframe everyday objects, introduced a palette influenced by the light and color of Hawaii, where she currently lives. Vertical rainbow stripes run across the coat, narrowing toward the waist and creating an hourglass structure. The pattern references the double rainbows frequently visible in the island’s sky, translating a natural optical phenomenon into a garment surface.

Tschabalala Self approaches the trench through her ongoing exploration of identity and symbolism. Born in Harlem, Self works across painting, sculpture, and installation. Her trench coat appears in lacquered pastel yellow and carries her recurring “Infinity Flower” motif. The flower refers to cyclical growth and transformation. The pattern is applied through a stamping technique inspired by batik dyeing processes, introducing a craft reference into the garment’s production.

British artist Tai Shani brings a different aesthetic register. Her multidisciplinary practice spans film, performance, writing, and installation, often exploring feminist histories and collective structures. For the collection she designed a glossy black vinyl trench decorated with hand-drawn cat illustrations. The imagery references mid-century pin-up iconography while playing with the trench coat’s cultural associations with secrecy and disguise.

WEEKEND MAX MARA SS26 Signature Collection
A Weekend With An Artist, Shafei Xia

The youngest artist in the project, Bologna-based Chinese painter Shafei Xia, contributes a watercolor composition originally painted on sandalwood paper. Her image shows a woman merging with a white tiger, surrounded by floral forms that spread across the coat’s back. Xia’s work often draws on historical East Asian erotic painting traditions while incorporating references to European art figures such as Luigi Ontani. The trench translates this visual narrative into a wearable surface.

The campaign accompanying the project was photographed by Petra Collins, an artist and director whose photographic work helped define the visual language of the 2010s. Collins appears in the images herself, wearing the five trench coats in a studio environment that resembles a storage warehouse filled with artworks. The setting positions the garments within an exhibition-like space, reinforcing their identity as art objects as much as clothing pieces. Artist collaborations of this kind continue a broader pattern within fashion history. Yves Saint Laurent’s Mondrian dresses of 1965 translated modernist painting into couture construction. Louis Vuitton’s partnerships with Takashi Murakami and Yayoi Kusama transformed accessories into mobile artworks. Prada has long worked with artists and architects across installations and runway environments. These examples demonstrate how art collaborations can operate as genuine exchanges when artists maintain their visual language rather than adapting to brand aesthetics.

WEEKEND MAX MARA SS26 Signature Collection
A Weekend With An Artist, Paola Pivi

WEEKEND MAX MARA SS26 Signature Collection
A Weekend With An Artist, Tschabalala Self

WEEKEND MAX MARA SS26 Signature Collection
A Weekend With An Artist, Shafei Xia

Projects like A Weekend with an Artist sit within this lineage, they highlight how garments can function as cultural surfaces where artistic practice and fashion design intersect. In this context, the trench coat becomes more than an outerwear staple. It carries the visual vocabulary of five different artists, each using the same garment to explore form, symbolism, or narrative. A small series of wearable works moves between fashion production, artistic authorship, and collector culture, positioning clothing simultaneously as design object and artistic medium.

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WEEKEND MAX MARA SS26

Acne Studios x Jonathan Lyndon Chase *Exhibition

Acne Studios x Jonathan Lyndon Chase
*Celebration of Identity and Intimacy

written AMANDA MORTENSON

Visitors to Frieze New York 2025 are welcomed by a vibrant new encounter between art and fashion. Acne Studios deepens its creative dialogue with Philadelphia-based artist Jonathan Lyndon Chase through a capsule collection and exhibition at Greene Street, New York.

This collaboration is rooted in mutual admiration and expands on Chase’s earlier work for Acne Studios’ Spring/Summer 2025 womenswear show, where soft sculptures and expressive objects transformed the runway into a layered domestic setting.

The creative partnership flourishes once again in May, as Acne Studios Greene Street transforms into an exhibition space. The installation features an evocative blend of soft sculpture, painting, and sculptural furniture. Each work carries the emotional depth and physicality that define Lyndon Chase’s practice. Their characters, often drawn from personal relationships, appear across the space in a dynamic interplay of form and material.

(c) ACNE Studios
Jonathan Lyndon Chase Capsule Collection

(c) ACNE Studios

The setting channels a powerful sense of home and tenderness, shaped by Chase’s rich aesthetic language. Their pieces reinterpret familiar objects, lamps, fans, sinks, radios, picture frames, and place them into a new emotional context. Through this lens, domesticity becomes a site of queerness and personal narrative.

Alongside the exhibition, the exclusive capsule collection ‘Acne Studios Loves Jonathan Lyndon Chase’ launches with a range of expressive pieces. Chase’s illustrations, which evoke intimacy and connection, animate garments and homeware. Acne Studios’ iconic bow motif receives a vivid transformation through Chase’s hand, adding new texture to its recognisable design elements.

The capsule includes Acne Studios’ ‘1981’ jeans reimagined through Chase’s sensibility, as well as long- and short-sleeved T-shirts that serve as wearable canvases. Homeware pieces—cushions and a blanket—extend the collection’s narrative into interior spaces, offering warmth and visual storytelling. The textile choices play with illusion; denim-like finishes recall Acne Studios’ origins while welcoming softness and touch.

Chase’s artwork moves fluidly across these forms, creating a collection where each piece holds meaning beyond material. Their figures (often inspired by friends or/and lovers) emerge through loose, expressive lines that feel immediate and layered. The use of color and gesture carries emotion in every detail, inviting closeness and reflection.

The Greene Street space becomes a gallery and boutique, offering an immersive view of Chase’s world. It provides room for dialogue between fashion and art, and for personal histories to find shape through creativity. The pieces shown extend beyond the runway installation, including new works crafted especially for this moment.

Launched on May 7, the collection became available exclusively at Acne Studios Greene Street before expanding to selected Acne Studios stores and online from late June 2025. Its limited release mirrors the ephemeral quality of both the exhibition and the Frieze New York event, creating a sense of intimacy and connection with those who experience it. Jonathan Lyndon Chase continues to gain recognition for a practice that merges visual art, performance, and material experimentation. Their work often centers themes of identity, Blackness, queerness, and emotional presence. In this collaboration, Chase’s voice remains clear and celebrated, fully integrated into the Acne Studios universe without dilution.

(c) ACNE Studios
Jonathan Lyndon Chase Capsule Collection

(c) ACNE Studios

(c) ACNE Studios
Jonathan Lyndon Chase Capsule Collection

The exhibition and capsule are driven by shared values, an embrace of personal storytelling, emotional resonance, and visual boldness. Through this union, Acne Studios demonstrates once again its ongoing commitment to supporting visionary artists. This latest chapter in the Acne Studios x Jonathan Lyndon Chase collaboration reinforces the role of fashion as an expressive medium. It invites us all to engage with art beyond walls and to wear pieces that speak of connection and imagination.

George Byrne x Son of a Tailor *SS25

Wear the Contrast
SON OF A TAILOR
*George Byrne’s Capsule for Wildfire Relief

written AMANDA MORTENSON

A city is never neutral in George Byrne’s work. Its forms, shadows, lines, and spaces absorb and reflect.

This sensitivity to urban rhythm now moves into textile, as Byrne unveils a limited-edition capsule of T-shirts created in partnership with Copenhagen label Son of a Tailor. The three-piece capsule is part of the brand’s Canvas series, which invites artists to use the T-shirt as a medium of expression. Byrne’s works for this collection were made during a focused period in Copenhagen, with all proceeds supporting California wildfire relief via the California Community Foundation’s CalFund.

George Byrne
Clock Tower, 2024

George Byrne
Pink and Blue Wall, 2024

“It wasn’t just fashion for the sake of it—there was a great cause at the heart of it, and that made it meaningful.”

George Byrne on his collaboration with Son of a Tailor
SS2025

The connection is personal. “Supporting wildfire relief in California gave the project a personal edge,” Byrne says. “It was a way to give back to a city that’s given me so much.” Printed on 100% Supima cotton, produced in Portugal and made-to-order, the shirts are available in both custom and standard fits. Each of the three artworks is limited to 250 editions, individually numbered and never to be repeated. The scale of the print dominates the back; the front carries a label marking its edition. These aren’t souvenirs, but archive-bound objects made for wear.

The pieces emerged through Byrne’s immersion in Copenhagen—his first time in the city. “Landing in Copenhagen from LA does feel like being dropped on another planet—in the best way,” he says. “The pace, the architecture, the way people move through space—it all shaped how I engaged with the project.” His compositions draw from what he calls a dialogue between environments: the structured rhythm of Copenhagen and the emotional texture of Los Angeles. Having lived over a decade in LA, Byrne is deeply familiar with its volatility.

“Wildfires are a part of life here. I grew up in Sydney, so I know that strange orange light, the acrid air,” he shares. “It changes how you see things. I wanted to take that emotional residue and build it into something constructive.”

For Son of a Tailor, choosing Byrne for the Canvas series was more than an aesthetic alignment—it was a reflection of shared intent. “There’s a kind of understated elegance in inviting an artist to work with the T-shirt,” says Andreas Langhorn, co-founder and product director of the brand. “George’s approach to architecture, color, and form felt right for the Canvas series. And knowing he already wore our T-shirts every day added another layer of authenticity.”

Langhorn had followed Byrne’s work since his book Post Truth and was particularly drawn to his interpretation of West Coast light. “That aesthetic struck a chord with me,” he notes. “My family lives in California, so there was also a personal draw. It all came together very naturally.”

“We designed this Canvas edition to let the artwork breathe... It’s wearable art with purpose.”

Andreas Langhorn, Co-Founder of Son of a Tailor

George Byrne
White Wall

The collaboration is produced in alignment with Son of a Tailor’s values—zero overproduction, full transparency, and B Corp certification. Every shirt is made-to-order to avoid waste. “We designed this Canvas edition to let the artwork breathe,” Langhorn says. “The oversized prints reference vintage graphic tees but with refined construction.”

Byrne sees the gesture of donating all proceeds not as marketing but as an act of alignment. “You don’t often see that level of commitment—100% of proceeds,” he says. “It shows what’s possible when you lead with values.” Langhorn echoes the sentiment: “Sincerity is everything. People recognize when something is real. This collaboration reflects who we are—and who George is—on many levels.”

The George Byrne x Son of a Tailor capsule is available for pre-order from April 24 at sonofatailor.com

Dior Maison by Sam Baron during Salone del Mobile

Salone Del Mobile
ODE À LA NATURE
*Sam Baron Presents Dior Maison

written Amanda Mortenson

Dior Maison returns to Salone del Mobile 2025 with a new collection designed by Sam Baron. Ode à la nature introduces a series of handcrafted glass objects that focus on form, material, and historic continuity.

The presentation aligns with the fair’s 2025 theme “Materia Natura,” which addresses the intersection of material culture and environmental attention. The collection includes vases, carafes, candlesticks, and dishes, all produced using Italian mouth-blown glass. Transparent surfaces reveal botanical motifs—branches, leaves, wheat—applied with precision and restraint.

DIOR unveils three exceptional vases of the "ODE À LA NATURE" collection, dreamed up by Sam Baron


seen by Laora Queyras

Each piece rests on a solid base. The silhouettes follow soft curves. The surface treatment, defined by a striated finish, reflects light and highlights the structure of the object. The design references the amphora of the original Miss Dior bottle from 1947 and draws on the archive’s historic elements, including a duck-shaped carafe.
The objects are produced through collaboration with Italian artisans. The glassblowing process brings slight variations in shape and density, making each work unique. The absence of superfluous detail leaves space for material and line. Presented in Milan among international contributions to contemporary design, the collection establishes a clear position for Dior Maison.

Attention is placed on craftsmanship, clarity of form, and respect for origin. Sam Baron’s direction follows an established aesthetic while proposing a new rhythm through proportion and composition.

Ode à la nature becomes part of Dior’s ongoing dialogue with domestic culture and seasonal materiality. Stay tuned.

Frank Gehry x Louis Vuitton *Art Basel 2024

Floating Vision with Louis Vuitton
Frank Gehry’s Architectural Dream at Art Basel

written Monica de Luna

Grand Palais, Art Basel Paris 2024—Louis Vuitton enters the scene with a bold vision that fuses fashion, art, and architecture into something entirely new.

Frank Gehry’s latest creation hovers above the space like an otherworldly presence, pushing past the expected and inviting us into a surreal, experimental universe. This is an awakening—a dynamic collision of creative forces that demands attention.

Perched on the Balcon d'Honneur, Gehry’s creations take command, embodying a raw force of nature. A colossal white fish hovers above the staircase, ghostly and alive with energy, fusing strength and fragility in a way that reflects Gehry’s signature approach.

The sculpture speaks to his relentless exploration of boundaries, where aerodynamics and chaotic elegance seamlessly converge, shifting our perception of space, function, and beauty into a realm that feels untouchable.

At the core of the exhibition is Louis Vuitton’s audacious vision, a bold move that embraces Gehry’s boundary-pushing creativity. Since 1854, Vuitton has thrived on fearless experimentation, and here they let Gehry fully unleash his architectural prowess.

His designs for the Capucines Mini Blossom and MM Concrete Pockets radiate with the same energy as his monumental structures. These bags transcend fashion, merging leather, glass, and metal into sculptural forms that carry the essence of Gehry’s architectural DNA.

Capucines BB Twisted Tower
seen (c) Philippe Lacombe

Capucines Mini Blossom
seen (c) Philippe Lacombe

Gehry’s Twisted Box is the exhibit’s undeniable centerpiece. The trunk, a Louis Vuitton icon, undergoes a radical transformation. Every corner, every curve defies logic, as if the object itself has been stretched, fractured, and reassembled with an electrifying tension. Yet somehow, amidst the chaos, there’s a harmonious balance—an unexpected unity within the deconstruction.

This tension is the essence of Gehry’s work with Louis Vuitton. His bags transcend function, embodying the spirit of his most legendary structures. The BB Analog pulls directly from the IAC Building in New York, while the MM Floating Fish bag draws inspiration from Gehry’s signature scales, intricately embedded into leather. His architectural language seamlessly flows into the world of high fashion, turning each piece into a wearable masterpiece. In this exhibition traditional craftsmanship meets experimental design, immersing viewers and wearers in a powerful experience.

Architectural sketch
(c) Frank Gehry

seen (c) Yong Joon Choi

Frank Gehry’s work with Louis Vuitton reshapes the concept of luxury itself. At Art Basel Paris 2024, the vision is unapologetically avant-garde and unsettling. Louis Vuitton and Gehry challenge conventions, leaving us curious for what follows.

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(c) Louis Vuitton & Frank Gehry for Art Basel 2024