Fashioning Motherhood: Inside DI PETSA's HOLY MILK

September 22, 2026

Leigh-Anne Pinnock sprayed milk from her breasts as part of DI PETSA's SS27 collection, HOLY MILK. The heavily pregnant former member of Little Mix provided a shocking finale to the show. Earlier in the show, models held glasses of milk—and, in some cases, their own children. There was even a baby on the front row. HOLY MILK turned out to be a very literal title.

The opening look was one of DI PETSA's signature "wetlooks," a familiar welcome to admirers of the brand. The following looks gave a quick spritz of provocation with bare breasts covered only by jewellery and a digitally printed image of a pregnant woman—legs spread wide. Bare breasts became a running motif, with a later look featuring a corset that covered only one breast. On a larger scale, the pieces moved through a seismic colour journey, starting with the brand's signature blues, greys and whites, shifting into volcanic reds and browns, before finally arriving at a vivid amalgamation of bright pinks, crisp whites and deep blacks.

Besides Pinnock's eye-catching milk display, the highlights of the collection were two sets of three looks: the first, a set of three full-length ombré dresses, which shifted from purple to pink and white; the second, three matching dresses invoking Grecian floral imagery. All jewelry pieces for the HOLY MILK collection were designed by Awe Inspired, making for a cohesively accessorized runway. During London Fashion Week, we caught up with the brand's creative director, Dimitra Petsa, to find out more about the journey to HOLY MILK.

Text and Interview by JohnOswald Crichton
Photography by Jason Lloyd Evans

Please tell me about the meaning behind HOLY MILK.

HOLY MILK is the title of my SS27 collection, which is a visual representation of my ideas around motherhood. It is about the divine nature of mothering. The maternal instinct we all share in the way we mother ourselves, our friends, our lovers. It is also the physical and spiritual transition a woman goes through when she gives birth. When you give birth to a child, you also give birth to yourself as a mother. Almost every religion in the world has a mother archetype goddess.

DI PETSA explores colour and texture in unique ways. What has been the journey of exploring these whilst developing this collection?

I was thinking of the physicality of motherhood, of women taking up space, and so I wanted to experiment with more volume this season. One key look for me is a draped taffeta gown inspired by pregnant bodies and Ancient Greek drapery. I also wanted to explore the strings drapery technique and see where I can take it. Soft corsetry, where the boning becomes golden ribbons that flow down the legs. I always think of the clothes in terms of poetry. This season I created a digital booklet with some of this poetry and photos of the gestures of draping for people to download from our website to get more intimate with the collection

What do you hope people feel when they see HOLY MILK?

I hope people feel moved. I hope the mothers who will walk the show feel powerful and sensual. I hope the people watching this collection will be able to enter this world where I explore motherhood as a concept. It’s more a feeling in the heart that I want to create. And have the opportunity to express a subject that is very overlooked in our culture and in fashion specifically.

What has been your approach to reinterpreting your iconic "wetlook" dresses for this collection?

This time I am looking back at my classic white wetlooks, the ones from the birth of DI PETSA. They are reinterpreted by the women wearing them. There is one model, Constantina, who was one of my first muses, walking the show and now she will be walking the show with her new baby in a white wetlook dress encrusted with Swarovski and a matching baby wetlook for her baby linked together with a draped umbilical cord dripping in Swarovski.

Motherhood is at the centre of HOLY MILK. Do you think the beauty and transformative qualities of motherhood are shown enough in the fashion industry?

Unfortunately, no. I don’t think there is genuine interest from designers and we as a society love to put women in boxes and clear cut definitions. Motherhood can be too transformative, fluid and layered for that. But for me womanhood has always been my biggest inspiration and my love for women is what drives me.

Fashion

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.