Louis Vuitton Men's F/W21

With tailored suits, plush knits, overcoats emblazoned with the LV monogram, slouchy denim, and buttons in the shape of silver airplanes, this collection backs up Virgil’s point. So, what do you want to be when you grow up?

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

Betsy Johnson’s THE SPECTATOR Makes Fashion Out of Civic Ritual

September 17, 2026

Betsy Johnson brought the bleak machinery of northern England to New York for THE SPECTATOR, a performance and installation that swapped the runway for the polling station. Presented through UNIFORM, Betsy rebuilt the sort of fluorescent lit council buildings we all know: queues, clipboards, plastic chairs and the general feeling of waiting around to be told what to do. The cast was pulled together by Studio DAX, who have always had an instinct for finding people on the street rather than through the usual agency circuit. It meant the room was filled with people who actually felt like they belonged there, rather than models playing the part. Hidden beneath hair sculpted by Charlie Le Mindu, the anonymous moved through the space wearing existing UNIFORM pieces alongside one offs, passing through the motions of democracy like people moving through a system. As we do.

There’s something particularly English about the bleakness of it all. Municipal furniture, bad lighting, repetition and the strange seriousness of mundane spaces. But underneath that familiarity is something less comfortable. THE SPECTATOR looks at the gap between being given a voice and actually having any power, and the point where watching, being watched, following and choosing start to become difficult to separate.

As Betsy herself asks: “Who is watching, who is being watched and at what point does observation become participation?”

The sound of it pissing it down filled the room. News reports from the UK and America played alongside moments of “American Idiot” on violin and “Policy of Truth”, pushing the whole thing somewhere between local authority ritual and post-punk performance. Nothing really resolves, and perhaps that’s the point. You watch, you wait, you participate. Then you go home.