The Antidote is Chaos, Controlled.

September 20, 2026

Fashion parties are poison, and nightlife died the moment we began to perform it. Anyone who has attended a London brand launch or runway afterparty in recent years will tell you that the routine goes like this:

Turn up to a venue that’s staged like an IKEA showroom. Scout for anyone who’s enough of a name to be worth your time. Get papped from your worst angle, watch as the hired mannequins hit a Barney Stinson in every picture. Collect your free spoils, take IG content. Exchange hopeless promises in the smoking area to reconnect with someone you see at these events and nowhere else. Leave (the afters at whichever random flat you fall into will be better than this anyway).

Text by Missoteric
Black and White Photography by David Temprano
Color Photography by Simran Kaur

Sound of Fashion – an anti-club night and creative community spanning a range of European cities – returned home in a cloud of ash and glitter just as the London scene hit the precipice of its grave. With legacy venues such as Corsica Studios falling like dominos, and widespread conservatism rising to fill their space, nightlife in the city felt almost unsalvageable. Mayfair cesspits and catatonic content-mills stood like roaches in the apocalypse. Ketted out zombies outnumbered the living. The left-over purist club rats were ravenous for an antidote.

Enter: Adora. A London/Madrid based electronic duo consisting of Fran Sylver and Romi Alter, who have worked tirelessly to inject the ‘life’ back into nightlife. They appeared as prophetic saviours in lacy black blindfolds that tease the bondage-heavy visuals of Berlin’s infamous techno scene. Their ethos is simple: we all need to care less and dance more. They’re here to save us. Performers against performance. Exhibitionists against (inauthentic) exhibition. Their persona exists as a satirical flirtation with everything they stand to oppose; even going so far as to create open-invite, connection-focused creative group chats, only to title them the “Inner-Circle”. Crossing EDM, hyperpop, and 2010s classics – their musical endeavours encapsulate their philosophy perfectly. They want to bring fashion to the masses. They want to bring freedom to fashion. But overall, they want to make cool music and meet cool people and dance the night away in loving company. Through this, Sound of Fashion was born.

A good night never begins as such. Each night that I’ve made the decision to venture over to SoF has begun in a tangled mess of uncontrolled chaos. For Fran and Romy, the hours leading up to each party consist of a similar whirlwind. Running through the Milan airport an hour before doors open, Romy locking herself in the bathroom to savour an ephemeral silence, and often getting dolled-up backstage whilst attendees are already swarming the doors and baiting the bouncers. On top of this, they do everything sober – having made a pact of never touching a nerve-eradicating drink before setting foot on stage. Chaos. Controlled.

This atmosphere of “controlled chaos,” according to Romy, is key in creating a night to remember. Careful curation combined with freedom of expression. The duo have learnt that to execute a curatorial vision in a scenario quite so unpredictable, you must perform it. Each instance of Adora taking the stage is intoxicatingly magnetic and every crowd unfailingly follows suit. Free of expectation, embarrassment, limitation, their performances set the tone for partygoers to rid themselves of the same vices. This same energy and ethos is adopted by every artist on their bill, which has included the electrically-charged likes of Leoni808, Hot Stamp, Lith, and many more. Beyond that: assess the chaos, adjust accordingly. Change the line-up, change the genre, move as the party moves with you.

The result is surreal. A vortex of free-spirited movement over a sonic landscape brimming with nostalgia for the millennium’s teen years. Memories of the night are reminiscent of something akin to speed-flipping through a rolodex of Cobrasnake’s portfolio. The smoking area sits at the epicentre: once disoriented by the dancefloor, attendees migrate en masse for the type of unfiltered connection that can only occur when you’re sweaty and spinning. Inhibitions lost and status forgotten, the love shared whilst being herded by disgruntled security rivals that of a sixties hippie commune with a bit too much acid for their own good.

When asked about stories which encompassed more chaos than control, Romy recounted the tale of almost getting kicked out of her own party in Milan; mid-performance by a disgruntled bouncer that didn’t take kindly to her table-dancing, crowd-joining, caution-to-the-wind stage presence. Fran declined to answer but for brief mumblings about how what happens in the green room is sacred, concealed on a strictly need-to-know basis. For the purpose of both privacy and mystique – in slight contradiction of their traditional ethos – he decided that the unanointed public did not need to know.

Jonah Ernst – a Sound of Fashion regular whom I met during the integral post-party, pre-afters portion of the April event, when the dancefloor cleared and the dancers lingered – characterised SoF as a “celebration of pure self-expression”. It stands on the ground paved by Lost and Post Party as a lifeline alternative to the oxygen-vacuum status socials that have become synonymous with the haute couture circle. It has a beating heart and meat on the bones. It has air. The golden mean between networking tedium and unadulterated hedonism exists in a simple tagline. Sound of Fashion: not a club, not a showroom, not a gig, it’s a scene.

Fashion

AGRO Studio Took Us Underground

September 18, 2026

AGRO Studio took London Fashion Week underground for their Glass Body SS27 collection. Debuting at the subterranean, brutalist Collins Music Hall, the brand's latest collection brought together both menswear and womenswear, with a focus on reinventing traditional proportions and silhouettes.

London-based AGRO Studio was founded in 2021 by George Oxby and Angus Cockram. Initially envisioned as a bespoke atelier for the two, the brand has been moving with a new energy since debuting at London Fashion Week last year. This new collection sees tulle, lace and visible corsetry become recurring motifs, shifting across the models' bodies in unconventional arrangements.

With low waistlines and sheer materials set together with asymmetrical tulle ballerina skirts, the collection brought together disparate inspirations. From historical dress to 1980s sportswear, AGRO Studio intended this collection to be a cross-referential fantasy. Set to a thumping soundtrack of Björk's "Violently Happy" and Kylie Minogue's "Slow", among others, a sprawling range of purples and nude tones became the foundation of the collection's colour scheme.

With Glass Body SS27, AGRO Studio keeps us guessing—anything could be found underground.

Text by JohnOswald Crichton
Photography by Chris Yates

Fashion

The Girls Want to Be Comfortable

It’s hard not to spot a pair of UGGs when you walk outside, whether you’re seeing someone quickly step outside in sweats for a trip to the corner store, a high schooler showing off her new shoes to a group of envious friends, or a girl out on the town who’s too cool for a kitten heel. There’s something about that slouchy brown boot that can’t seem to get out of style, or at least has never departed many people’s closets. These days, they’re even inescapable on the runway, in new iterations that have been expanding the design codes of the brand.

Pipenco’s collaboration focused on the boot, working with the plush material to mirror their focus on expressive knitwear. Fluttering wefted dresses, gowns boned at the hem giving them a scalloped wave, and fuzzy Lorax-like skirts imposed a mycelium nature on the overall presentation. Combined with the slouchy UGGs, the models seemed to be exploring through the underbrush, discovering earthworms and scattered treasures.

In contrast, Dauphinette paired UGG ballet flats with delicate satin and chiffon looks, employing hand-painted florals and bows on the suede shoes to reimagine them as wearable art. The pieces were modest but architectural, and at times humorous, with trompe l’oeil printed pearls on the front of one dress and cockroaches scattered across another. The ballet flat UGGS as companion footwear to this collection rounded out a wardrobe for the postmodern princess’ trip to The Nutcracker.

Fashion

Advisry’s “America, Still” Looks at a Nation on the Edge

September 17, 2026

Advisry returned to New York Fashion Week with America, Still, a collection by designer Keith Herron that examines the current state of the nation through the lens of 50 years ago. Narrated by the voice of James Baldwin from 1969, the show unfolded across three acts, moving from reaction to dignity and, ultimately, transformation.

Herron’s latest collection documented the tensions of a country approaching its limits, exploring the characters that emerge in moments of collapse; those who react, those who cope, and those who transcend.

On the runway, sequined basketball shorts and evening gowns came together in a collection that moved between sportswear and the more theatrical dressing that we’ve come to know. The brand’s familiar hand-shaped pockets brought a nice detail to the collection while furry gloves and pearl masks covering the models’ faces offered something more surreal to the looks.

Accessories played an important role, too, with models carrying beautiful bags that stood out alongside the clothing. Across the collection, familiar American references were reworked through Advisry’s distinctive approach to craft, sartorial precision, and cultural storytelling. Casualwear, formalwear, and exaggerated accessories existed side by side, bringing a sense of contrast to the collection without feeling out of place.

Founded in 2014, Advisry has grown from Herron’s teenage project into an established New York fashion house. With America, Still, the brand continued that approach, using clothing as a means of examining the cultural and social pressures of now while looking to the past for context.