The aesthetic is inspired by the urban environments, with concrete grays and colors and textures reminiscent of the cityscape. Aside from the visuals, the DNA of the fabric is inspired by the steel construction of urban environments. Mais Steel, twisted stainless steel filaments with C.P. Company's iconic canvas weave, gives the fabric a distinctive crinkled appearance. Experimentation continues with M-Bossed², a structural pattern from an evolved etching technique. The nylon twill is “printed” with a custom camouflage design from partially fusing the fibres, creating an embossed, textured effect.
Metro-Tek shifts to functionality through innovative garment construction. Detachable hoods, concealed closures, and redesigned pocket systems with near-invisible seam lines reveal themself through the fabric's transparencies, adding depth without compromising sleekness. It is in this fabric that a reversible outerwear piece can take form, crafted through the Re-Colour dyeing process. Each piece is first dyed in a base colour, then overdyed using fabric scraps soaked in pigment that gradually deposit darker tonal variations across the surface.
Dyeing is explored as both a tool for achieving chromatic depth and, for the first time, stripping colour away to create a new visual vocabulary. The Sunfade range stems from an experimental manual decoloring process that targets specific areas, making each piece unique. It replicates the natural process of what would happen if the garment was left archived in the sun for years. This approach marks the brand’s relationship with time, as not something to endure but a tool to study, compress, and translate from a contemporary perspective.
The signature concealable Lens are seen here reflecting the brand’s direction towards versatile elegance. Other brand classics are reimagined as the focal centerpieces for the exhibition. The Mille Jacket is revisited in its original silhouette and detailing, with 'Fissato' resin treatment and garment dyeing. The capsule is completed by sweatshirts and t-shirts subjected to the same treatment, all featuring the '1988' graphic logo: a direct reference to the edition of the motor race in which the Mille Jacket was first presented.
The Metropolis Series takes inspiration from city design — the steel interweaving pipes, the slick concrete, the gravelled pavement, the sun-drenched faded paints — and replicates it into fashion made with functionality and adaptability as priority rather than compromise. Characterized by performance-driven fabrics and the integration of innovative manufacturing techniques, the Metropolis Series represents C.P. Company’s vision of urban agility.
HERON01 Black marks the latest collaboration between Heron and Zellerfeld, reintroducing the shoe in an all-black colourway while showing off the technical developments the Hamburg-based company has made in the years since its original release.
What made HERON01 notable wasn't simply its sculptural appearance. Produced entirely through 3D printing, the shoe was created without stitching, glue or traditional assembly methods. At a time when most conversations around footwear innovation still centred on performance technology, HERON01 offered a glimpse into a different way forward.
The project felt like a natural fit for Preston, whose work has frequently explored the overlap between fashion, utility and industrial systems. Five years later, both the technology and the conversation surrounding it have evolved considerably. Zellerfeld has spent the time refining its printing processes, building a platform designed around manufacturing shoes as they are ordered rather than producing large quantities in advance.
The choice to bring the shoe back in black feels fitting. Where the first version functioned as a statement about possibility, this iteration appears more refined and self-assured, less concerned with announcing the future than demonstrating how far the technology has come. H
ERON01 Black launches June 25 via Zellerfeld and Heron Preston.
Instead of placing clothes onto artists after a show is already built, FFC builds the show with fashion inside the architecture. The uniform is part of the event, the artist positioning, the content strategy, and the way the audience discovers and shops the product. Through its "Shop the Stage" format, FFC coordinates the style before the event so the clothing can live inside the performance, the content, and the commerce around it.
Designers are no longer accessories to the moment; they become part of what gives the artist identity, commercial value, and visual authority.
"What used to be a stage becomes a shop. What used to be styling becomes a business system." said Temple. The accompanying editorial features artist Diamond and BbyAfricka inside the FFC uniform system dressed in Spicie, showing how artist image, product, and performance can be built from the same creative direction.
Through live music, these two American creative directors have renegotiated how fashion brands make money not by selling sponsorships, but by aligning venues, labels, artists, and designers around a show with fashion built into the structure itself. "The brand is not buying its way into the room. The clothes help make the room worth selling," Amber said. FFC bridges commerce, entertainment, and audience into a whole new business exchange whose meaning is art-oriented.
