Without a doubt, we are living in an incomparably exciting moment in fashion. New creative directors are being anointed at an unprecedented rate, with almost every major house ushering in new codes, new visions, and with them, a new era. I feel the industry is suspended on the brink of transformation, ready to reinvent itself. Yet for all the spectacle this moment offers, the work I often find most compelling does not always come from the most illustrious maisons, but rather the work of students. Driven by pure inquisitiveness instead of legacy, their work is what truly draws my attention and what, to me, feels most alive. In their freedom, they even sometimes surpass the industry’s most revered names (which I’ll, ahem, keep to myself). History repeats itself. Look at Galliano, McCartney and McQueen, legends whose ascent has been documented since their early days at Central Saint Martins. More recently, Grace Wales Bonner - who graduated just over a decade ago - was appointed creative director of Hermès menswear, a timely reminder of how soon emerging talent can shift the landscape. This past September, I had the pleasure of encountering this future firsthand. For the first time ever, B.A. Fashion Design students from Birmingham City University showcased their creations at London Fashion Week, dismantling the notion that such creative brilliance is confined to the capital. I was grateful to be in attendance amongst editors and influencers alike, as well as such incredible talent. Five students caught my eye from this cohort - not only for the strength of their work, but the conception of their visions - and it was a privilege to speak with them at the very start of what promises to be remarkable careers. MEGAN GINN (@meganginndesign) Ginn’s collection fused heritage and innovation, drawing on her Irish roots to reinterpret traditional Aran knitwear. She had developed an algae-based biomaterial which she used to bond woollen strands to a base fabric, creating garments that were sustainable and materially experimental. “The Aran jumpers gave me the inspiration to use wool from damaged jumpers and give it a new lease of life!” she explained to me. “I wanted to find a new way to use scraps and create interesting surface patterns whilst keeping my work zero-waste and after sampling different bio-materials with scrap fabrics, I landed on this particular technique for my collection because of my Irish heritage and that being linked to Aran knitwear.” A key strength of Ginn’s work was its adaptability. When heated, the bonding agent becomes malleable, allowing new surface patterns to be created and easy repairs after being worn. The capacity for evolution makes her pieces deeply personal, encouraging longevity and customisation to what you, the wearer, feel like. Seeing these pieces up close, the complex knitting synonymous with Aran tradition was undeniably there, just reimagined and just as culturally rich. Aran knitwear was traditionally worn by fishermen, so I found Ginn's marriage of its origin and a gift from the sea was wonderfully apt. But let's also think of the applications outside our fashion sphere for a moment: garment construction, repairs, even packaging? Ginn’s biomaterial gives hope to a future of waste-free, renewable design, aligned with the consciously sustainable ambitions championed by the likes of Stella McCartney, which I can only dream of seeing more of. JASMINE JOLLEY (@jasminejolleyfashion) Everyone has something that provides them with that sense of comfort. It could be a memory, a smell, or a texture that evokes a special tinge of nostalgia. What drew me to Jolley’s collection was its heart, inspired by her grandmother’s sofa. Jolley translated this poignant motif into a refined, sustainable vision: “My concept draws inspiration from my Nana’s sofa and the idea of family ties and comfort.” This emotional anchor evolved into a collection crafted entirely from dead-stock fabrics, breathing new life into the material. She prioritised, as any designer should, a high-quality design so her pieces may withstand the test of time, mirroring the “durability of the sofa that had stood through generations in Nana's living room.” The muted colour palette clears the way for proper fabrication, showing itself off through tailored cuts, drapery, and subtle patterns inspired by the sofa’s construction. “I looked at the shapes, textures and construction of the sofa implementing these features subtly into my designs using creative pattern cutting techniques,” she told me. “I have learned so much since creating my collection, mostly that I’m determined to achieve my vision as intended,” Jolley noted, highlighting how this experience had allowed her to push herself to become a better designer. While I’ll happily give Jolley more than enough kudos for creating such an introspective collection, it truly stands as a tribute to “the strong women that shaped [her] upbringing,” and rightfully so. SEÁN PAJARILLO (@design.by.seanprjlo) Now onto something a bit different. If you’re on the hunt for a great, all-round shoulder bag, like I am, Seán Pajarillo’s designs could be dangerously tempting. Despite us both joking that his bags resembled those of a croissant at first glance, his ingenuity became clear when he explained the concept behind the design. Pajarillo drew inspiration from chronophotography, the art of capturing movement through multiple photographic frames, famously practised by greats such as Jean-Yves Lemoigne, and had reconceptualised the fluid, sequential lines of motion into soft curves of the bags. Simultaneously, another homage was to ‘Tsunobukoru’, a Japanese design principle where the swing of the bag is reactive to the bodily motion of the wearer. Shaped like a horn, Pajarillo’s bags were inventive feats of wearable design - functional, sculptured, and oh so stylish. EMILY BROOKES (@houseofbrookesy) Brookes’ collection was simply impossible to miss. Bold, explosive, and patterned, she presented a vision of menswear unlike anything I have seen since. “My vision of menswear is influenced by a few things. My one personal style comes into it as I love vibrant colours and clashing patterns, so I wanted to make sure my designs spoke true to how I like to dress,” Brookes revealed. Her work is a case study of how limitations can often produce an artist’s best work, working exclusively with dead-stock materials and allowing her choices to organically guide her design process. Traditional menswear codes of checks, stripes and familiar tailoring silhouettes were reimagined with a feminine and dramatic flair. A grey pinstripe double-breasted suit, for instance, had electric lime filipiniana-cut fabric sprouting from the sleeves and trouser side seams. Talking about her choice, Brookes said, “a traditional filipiniana sleeve usually has gathers on the inside to create the structured shape, but I chose to remove these in my design as gathers are less commonly found in menswear.” Elsewhere, Brookes blurred gender-oriented design features with a sheer, check-and-floral ensemble reminiscent of a tracksuit. The influence of designers such as Simone Rocha - one of Brookes’ professed heroes - is evident in her feminine yet strong silhouettes: “I wanted to challenge my ability to create structure through manipulating my fabrics.” I’m a fan of how Brookes distorted form in ways that felt playful yet technically rigorous. The result was flamboyant menswear (which she hopes to bring back from the past), as well as being sustainable and personal - an amplification of Brookes’ own distinctive style executed with confidence and great craft. ROHAN SCOTT (@roro.atelier) A final recognition must go to Rohan Scott, whose fluidly structured leather piece was an immediate standout. Through a self-developed process of wet-moulding vegetal leather, Scott created ethereal silhouettes rarely achieved with the material - distorted, delicate, and yet mesmerisingly structured. The organic fluidity of his forms, paired with raw materials, fed into Scott’s exploration of “the profound beauty of natural decay.” His portfolio considers how many things in life, once brimming with vitality, lose their static form over time, twisting and warping. Nonetheless, I was amazed by how this transformation was captured so elegantly in leather. Today we see brands such as Loewe and Schiaparelli embrace unconventional natural materials more and more - from leather techniques such as Scott’s to Taylor Russell’s wooden Loewe corset at the 2024 Met Gala. Scott’s approach is strikingly relevant and encapsulates the spirit of his wider cohort, pointing towards an exciting future of designers unafraid to challenge material, shape or convention.

Lily Allen | Blue May It wouldn't exactly be fantastic journalism if I turned around and started spouting about how music can address sore subjects, or how it can be used to portray deep, meaningful messages. Hell, it wouldn't even be the first time you've heard it from me. But never have I heard an album discuss infidelity so openly, address relationship turmoils so freely, and call out... unsatisfactory standards so directly. And it's Lily Allen, the voice of an entire generation, so what's not to like? Though none of this is surprising if we consider her past releases. She is perhaps one of the most iconic voices in UK music post-2000, and it's not like she's ever given a... do I say it? Surely the great Lily Allen would want me to. It's not like she's ever given a fuck about being polite. In a music scene full of artists switching and bending both genres and images (which in its own right is both fantastic and sometimes necessary), it's beyond refreshing to see an artist of such calibre stick as close to her original style as Allen has in West End Girl. There's little doubt this album will become a cultural staple in the future, with the detailing of her relationship's breakdown with David Harbour a relatable experience to so many of her listeners. The album starts with its namesake, "West End Girl", and details her move to New York with Harbour, starting what was supposed to be a happy new move for the couple. As the album continues, the narrative begins to morph, with songs such as "Tennis" highlighting the messages Allen found on Harbour's phone, and "4chan Stan" presenting as a particularly emotional and angry message regarding what she experienced at his hand. The album as a whole has a distinctly powerful narrative; a raw commentary of personal events, especially when considering Allen and Harbour only ended their relationship in February of this year. Overall, this album is perhaps one of the best to come out in 2025. Musically, it possesses the same elements that made us fall in love with Lily Allen in the first place. The iconic, unpolished London accent. The resilient, unwavering lack of care to appear polite. Contextually, the album discusses some incredibly important points in terms of what makes a relationship work and what makes one crumble. I couldn't recommend this album more if I tried, and I'd be incredibly surprised if you didn't agree.

By Tame Impala | Columbia Records Well, that's Halloween over for another year. The costumes are back in the box, the fake blood has been cleared up, and the hangovers have passed. But there's one distinct part of this year's scary season that won't leave our memory for a while. Tame Impala's newest album release, Deadbeat . The first album he's dropped in five years, Deadbeat, debuted at number four on the Billboard 200, gaining predominantly positive feedback from fans across the world. His noticeable shift to EDM and dance genres represents a bold move, and shows Kevin Parker (yes, Tame Impala is one man, has nobody ever told you?) isn't afraid of experimenting and keeping us guessing, and ultimately provided us with an album that would have been played at parties up and down all seven continents. Apart from Antarctica, I doubt penguins are aware of EDM. Listening to this album from start to finish, I couldn't help but notice that Michael Jackson's 'Thriller' resonated behind a large number of the songs. The entirety of 'Deadbeat' has an inherently... spooky feeling behind it, and I don't even have to mention the classic status that 'Dracula' will have come ten years. Although I will say this, if there's one song to listen to from the entire album, 'Dracula' is undoubtedly the one. Assuming the vast numbers of TikTok videos using it as their audio haven't hit your fyp. Perhaps the best thing about this album is the continuous switch-ups that occur within it. One moment you're listening to 'Obsolete', a familiar throwback to the more indie sounds that made us all fall in love with Kevin circa 2015, the next you're transported to a Berlin nightclub, entranced by the high-energy, rhythmic thumps of 'Ethereal Connection'. Mixing genres so ruthlessly within a single album is always a bold move, especially when moving away from the traditional sounds that fans know you for. But Tame Impala seems to have pulled this off seamlessly, creating yet another album destined for cult classic status. The album was written to highlight feelings of disconnectedness, being trapped in a cyclical nightmare of negativity, and overall to encapsulate the feeling of being deadbeat. It tackles difficult conversations so many of us have with ourselves daily, and highlights the difficulties of keeping up with such a fast-paced world filled with such a constant stream of negativity. In terms of opinions, 'Deadbeat' isn't my favourite work of Tame Impala. That's not to say I didn't enjoy it; however, I'd recommend it to anyone who enjoys EDM, dance, or indie music. Will I be listening to it continuously? No. Will I take the message behind the album and implement it into daily life? Without a doubt.

Music journalism is a blend of perhaps my two favourite things in life. Music is a gateway to emotion, memories, and allows us to feel things on a deeper level compared to other art forms. It’s personal. Journalism is an opportunity to tell stories that matter, that deserve to be heard. And every once in a while, a story presents itself, and all of a sudden, you find yourself emotionally intertwined with somebody you’ve never met. This is one of those stories.   The story of Daniel Joseph Astles, better known on stage by his surname, first grabbed my attention as I scrolled through social media on a very uneventful Wednesday evening. A promotion for his most recent album, I immediately paused my playlist and searched for this new gem I had so fortunately come across, ‘Soundtrack for the 21 Bus Home’. After listening from front to back and immediately reaching out to Daniel, we managed to schedule a conversation the following day.   An independent artist who grew up in both Southport and Liverpool, Daniel was exposed to some of the greatest music cultures seen worldwide. However, when Daniel was just six months old, his Uncle Joseph tragically took his own life, something Daniel wasn’t told about until later in life. Joseph was always very into his music, keeping old records, tickets and memorabilia from his experiences through life. After Daniel started to adopt the same interests as he grew older, his Grandad decided to show him everything his uncle had collected all those years ago.    “It felt like he was talking to me,” is what Daniel told me, his smile apparent even through the phone hundreds of miles away. Shifting through old Velvet Underground records, gig tickets, posters, each item a message from the past, he found an old tape. Curated by, mixed by, and listened to by his uncle. It was apparent that this tape was made to feel like its own album, with a mix of songs and genres that Joseph would listen to on his commute back from work.   The name of the tape? Soundtrack for the 21 Bus Home.   The album itself was made in a refreshingly organic fashion, with Daniel working together with friend Sophie in bedrooms and practice rooms in order to spend the necessary time on it. This gives the album itself a more authentic feel, as Daniel “didn’t want to book a recording studio and finish it all in a week, you know?” He further highlighted the importance of recording it this way by saying, “I wanted to take my time because you have to enjoy it… I wanna look back on it well.”   The album itself is a shining example of how tragedy and grief can bring people together. A message that, despite adversity, love and hope are the foundations that help keep us whole. A message Daniel ensured resonated behind every word, every chord, and every song. With different songs being dedicated to different members of his family, such as ‘Goodnight God Bless’ being dedicated to his grandad, Daniel makes it clear that the message behind the album is family, love, and the importance of the legacy people leave behind.   The conversation then shifted to a more complex topic, as next on the agenda was the relationship shared between music and grief. A difficult question to ask, but Daniel, with the air and wisdom of a man twice his age, offered some very interesting insights that certainly opened my ears. “Music is so tied up with emotion, like water and air” was his opening response, before carrying on with “Everyone is affected by music”, an opinion certainly shared by anyone whose breath has been taken away by a melody. Emotions are an interesting topic to discuss, as for something so complex, such simple things can help us feel them more powerfully, and even remedy them in cases.   We discussed the nature of grief as an emotion being more “visceral” in nature, and being felt on a more powerful level than others, but that music can ultimately, as previously mentioned, help us feel it more. He then went on to mention how certain songs can transport you to different times, and remind you of certain memories. He gave an example, noting that after his nan’s unfortunate passing, his grandad showed him a song that reminded him of her; ‘So Lucky’ by Freddie Davis, a feel-good, upbeat tune that highlights the effect of having that special person by your side. But the simplest, yet comforting, point Daniel raised came last in conversation, with him concluding with, “Music makes big feelings simple,” a beautiful view on such difficult feelings, and something we can all relate to in one way or another.   The first song on ‘Soundtrack for the 21 Bus Home’ is ‘Joe, Are You Listening’, a stunning piece of work that introduces the raw emotion and heartfelt story of the album. The theme of growth and acceptance runs through the album’s entirety, balancing crushing lyrics with beautiful melodies. It encapsulates everything Daniel spoke to me so candidly about, and opened up a new mindset to me about the music I love so much.   There is no doubt that in another place, his uncle listened to that album from back to front in the comfort of the 21 bus home.

CO-ED | PARIS Under a cinematic sea of moonlight, Haider Ackermann conjured a dream that throbbed with desire and discipline. The show unfolded in a deep, glossy void, a backdrop where touch becomes instinctive and the collection takes precedence. Models slinked in languor, loitering with suggestive glances, advertising themselves to onlookers and each other. “Seduction is dialogue.” Ackermann took this quite literally with his sophomore season: desire was to be exchanged in the silence between looks. In an opening image reminiscent of a Ford film, a bright spotlight pierced through the darkness as sharp, lacquered silhouettes emerged: mesh trench dresses in patent leather zings of emerald green, rouge, and onyx black. They prowled with unapologetic sensuality, all eyes on them, and they knew it. Tease was the trend. As our characters moved, slits opened; skin was exposed beneath lace, bras under suit jackets and curves beneath silk. The body was x-rayed through sheer chiffon and wet, translucent (very short) shorts, revealing black jockstraps beneath. Yet nothing felt gratuitous; the tease was artful, calibrated to make you lean in, not look away. If Ackermann’s debut championed sharp tailoring, this season it was his titillating interplay of lingerie and suiting that truly captivated me: suits sauntered in brushed satin and sturdy leather while lace entwined with the latter in the classic slip dresses. As for something more formal, plunging evening dresses wrapped around the body with wiring, such as the asymmetrical cut on Loli Bahia, like an arm slenderly slung around her neck. What caught my eye especially, you ask? Well, if there’s a shining hope for magazines to come back, it’s the glossy black crocodile handbag, with a slot that can make any folded publication a fashionable accent. There were so many moments I saw echoes of Ford’s own ‘90s hedonistic codes, refined through a masterclass of flou, colour, and tailoring. If Ford is sex, Ackermann is sensuality, a match made of pure desire. Desire itself has become a code of this brand, with each season translating the urge into a tangible form with brilliance. The collection thrummed with stimulation in every sense, from the sweat-like sheen of materials, the flashes of vibrancy, to “Grab Me” embroidered across a pair of velvet loafers. Less provocative, more suggestive, Ackermann taught us desire shouldn’t be beckoned, but seduced. In only two seasons, the designer has accomplished what few successors could in four - make Tom Ford his own without losing its heat. His vision is a shining example of brand evolution that couldn’t be executed better: intelligent, firm, and oh so tempting. *****

By Lord Huron | Whispering Pines Studios Well, this is a first. Quite literally. Welcome to the very first Riff Report, where I give all my opinions on albums, EPs and everything in between, all whilst running on the opinion that my views are gospel (they’re definitely not).   Lord Huron’s The Cosmic Selector Vol. 1 is an interesting album to review based on its… randomness. No two songs are too similar; there’s a distinct intentional variety to the way everything is laid out and presented, and I’ve lost count of how many genres it morphs into… and out of. But in a strange way, this makes sense. Having the dark, haunting bass riffs of ‘Who Laughs Last’ followed by the romantic, slow-dance style of ‘The Comedian’ comes together to create an immersive yet unpredictable style of listening that few groups could successfully put together. Yet Lord Huron can do it with striking ease.   The cosmic selector that’s referenced in the album nods to a jukebox on the album cover, a broken relic of the past. Assumably, due to its nature of being, well, broken, one would assume the album works in the same manner. A broken album, where the songs don’t seem to belong together. But this is exactly what makes it work so well, because after all, isn’t that us? Eight billion people sharing an earth, all different, all supposedly parts of different albums.   Delving deeper into the jukebox particularly, it represents choices users can make, connected to consequences that we don’t necessarily understand at the time of making them. The album took a lot of inspiration from ‘The Twilight Zone’, and is lined with a feeling of horror, dread, and is overall a darker album than what has come before. The album as a whole, though seeming disconnected in of itself, is very much connected to Lord Huron’s previous releases. All the way back to Lonesome Dreams back in 2012, where characters from a fictional novel series (written by George Ranger Johnson, who in turn was created by Ben Schneider the groups lead singer) are introduced, and their magical journeys and relationships are explored, through to 2015 and Strange Trails, where even more of an overarching story with even deeper subplots are seen, it’s clear Lord Huron are very well versed in storytelling through music.   But now for the final opinion, the reason that I hope you’re still reading. The disconnected nature of the album works surprisingly well. Incorporating a mass level of different genres is usually too bold a move to make on this scale, but again, it works. The dark core of the album creates a brooding listening experience, but enjoyable nonetheless. The story is far-fetched, I’m not as big a fan of mystical, fantastical journeys explained and explored via multiple album releases over the course of 13 years, but I can appreciate the enjoyment it brings for hundreds of thousands of others. Overall, I would recommend this album to anyone, particularly those who enjoy some whimsy mixed into their headphones.

CO-ED | LONDON Sat in the halls of 180 Strand, the brutalist concrete was bare and cold - an intentionally restrained backdrop that allowed my eyes to focus entirely on Charlie Constantinou’s world. After all, that’s why I was there. Those sat in the benches before me, washed in pine green, charcoal, and chocolate brown, evoked the label’s earthly sensibility. They served as a reminder that Constantinou, only three years out of Central Saint Martins, has rapidly become one of London’s most admired NewGen voices - his language that of nature translated through a utilitarian, materially intelligent construction. This season, his fifth, broadened his exploration of ‘gorpcore’ - his signature fusion of technical outerwear and London streetwear - now imbued with a new sense of history and innovation. At this point, Constantinou has established himself as a cult practitioner of the style, ingraining technicality and the climate as key. Linen and cotton met with nylon; the result was soft yet enduring, light yet formed. The surfaces rippled with natural texture: hand-brushed ink, puff-printed grids, and uneven dyeing made each piece feel almost geological. Gone were the knits that had become a code of his eponymous brand, yet of course, the graduate designer predicts we are in for a warm and rainy spring. This collection sensibly conversed with the resilience of the past. Constantinou conjured faint echoes of armour and ceremonial dress, reimagining their tactility as modern adaptability. Hoodies came equipped with epaulettes; relaxed-fitting trousers were panelled with knee guards; darted jersey dresses boasted breastplates. Mesh hoods and capes elicited medieval pageantry, while jutting shoulders channelled the frame of samurai armour: a collage of defence. The garments were modular with the ability to detach skirts and trousers, reinforcing the designer’s persistent focus on transformation. This craftsmanship extended into accessories: quilted expandable bags brushed with silver caught the light like tarnished steel, and his collaboration with Demon Footwear introduced detachable gaiters - as if this collection couldn’t be adaptable enough. Season Five, as his show notes indicate, “charts a deliberate passage from night into day.” In polarity with his typically lysergic colours, the looks opened in muted, dark tones before blooming into washed reds, mossy greens, and eventually saturating into aquamarine, and brilliant purples - a chromatic progression that was beautifully underscored by hymnal music and an ecosystem of noises. I, for one, am glad the collection is very ready for spring and full of personality, unlike many other brands that seem to be predicting a long winter. If less radically inventive than past seasons, this felt more resolved, mature in construction and thought. Constantinou continues to prove that utility need not be unimaginative. His work blossoms, quite literally, from a showery storm - an optimistic allegory of the bounty and beauty that comes hereafter. ****

WOMEN'S READY-TO-WEAR | PARIS Staged under the night sky at the Trocadéro Fountain, reminiscent of a ‘jardin d’hiver’, Anthony Vaccarello staged a vision that was both poignant and cinematic. White hydrangeas, groomed into the infamous Cassandre insignia, bloomed beneath the sparkling glow of the Eiffel Tower, a scene of pure Parisian romance. Saint Laurent’s manifesto was imbued like scripture - “AESTHETICS ARE A LANGUAGE” - carried within every look. The opening designs were archetypal Saint Laurent: clad in black leather, pencil skirts, sharp heels, and baroque jewellery, all riffing on Rive Gauche DNA. Statuesque, seductive, staunch. Beneath contrasted crisp, white pussy bow blouses akin to the menswear FW23 collection, a destined hit in boutiques come the spring. Then came mousseline trenches in a classic Rive Gauche spectrum of rich, petrol colours, each indicative of the maison’s steeped history: vermillion recalling the first Rive Gauche boutique, mustard and cobalt nodding to Villa Oasis. Structured shoulders and cinched waists have become Vaccarello’s trademark, anchoring the collection to Yves Saint Laurent’s ‘80s vocabulary. The finale was true theatre. Inspired by the Duchess of Guermantes and Sargent’s Madame X , grand nylon gowns billowed in the Parisian breeze. Models floated like Proustian heroines through a château garden, regal yet undeniably free. Vaccarello’s hand is assured: he has reinvented the boldness of ‘80s Saint Laurent, balancing between contemporary revival and a deep appreciation for the maison’s namesake. References to Robert Mapplethorpe’s erotic, fetishistic edge met the glamour of the Parisian aristocracy. Yet one thing is clear. The Saint Laurent woman is the boss. She is enigmatic, untouchable, commanding, and seen. This collection embodies the show notes and more: “BEAUTY IS PLURAL.” In a time where conservative ideals gain ground and the ‘trad wife’ makes a return, Vaccarello reaffirms Mr Saint Laurent’s legacy as a designer of liberation and feminist armour. My only criticism? Exaggerated shoulders balloon further and further with each collection, a trend that may be overstaying its welcome as a blunt shorthand for power. History proves Saint Laurent never needed such scale, and this motif can absolutely be executed in alternative ways. However, a criticism I will defend? Many have called Vaccarello’s collections ‘samey’ - and yes, they are, but think about it. Why compromise his defined vision and the autonomy of the maison for the sake of variation? Coherence is prized over novelty, and Vaccarello is intent on delivering garments that endure in memory and styling. He isn’t out to please everyone. In a hotly anticipated Paris Fashion Week of debuts, Saint Laurent opened with a statement of authority. The multifaceted codes of Yves Saint Laurent are respectfully recontextualised here, as an aspirational ode to feminism: “IN A TIME WHEN DIALOGUE IS FADING, STYLE BECOMES A FORM OF DISCOURSE - NOT ONE THAT IMPOSES, BUT ONE THAT CONNECTS AND ADDS NUANCE. WHERE WORDS DIVIDE, THE SAINT LAURENT AESTHETIC CREATES SPACE TO BREATHE AND INVENT NEW ANALOGIES.” *****

In today’s digital age, it’s all too easy to get caught up in taking the easy shortcut. Especially where music is concerned. Take a song from this album, a couple drips from this E.P., oh, and that song that played on the radio the other day. Put it together, and there’s a crafted playlist for whatever the mood requires. But on their most recent tour, celebrating the 10 th anniversary of their album Strange Trails , Lord Huron’s founder and lead singer, Ben Schneider, seemed to disagree somewhat with this method. Toward the tail-end of an incredible, encapsulating performance, he mentioned their recently released album The Cosmic Selector’ Vol.1 , preaching the importance of playing it from back to front, no skips. After highlighting the effort that goes into the storytelling of a good album, and a good album it is (perhaps even review worthy…), he ended with: “In your car, in your bedroom, even outside under the stars. Just listen to it through. You might like it”. Words that perhaps we can all listen to. The performance itself was without a doubt one of the greatest I’ve had the pleasure of witnessing. With everything from a star-studded set list, an encore that nearly tore the roof of Hammersmith’s Eventim Apollo clean off, and even a telephone box as a microphone, not a shortcut was taken, nor was a penny spared in preparation. From country to indie rock, from slow-paced and emotional to punchy basslines and harmonica solos, there was something for every listener.   The set seemed to tell a story. A story that emphasised the importance of love, unity, and the ability to find each other in a world that seems all too divided. Opening the set with ‘Who Laughs Last’ was certainly a quickfire way of riling the crowd up, before serenading us with some sure-to-be classics such as ‘La Belle Fleur Savage’ and, of course, ‘The Night We Met’, which, after a few drinks, propelled both Riffs and Runway straight into their feels. An ever-changing backdrop, an exquisitely curated stage, and the distinctly cosmic feel to the show made us feel like we were watching an outer-universal masterpiece. And I can confirm without the need to think too hard, Lord Huron did in fact put on a show that was out of this world. I came into Hammersmith on a particularly warm evening, keen on a handful of songs that they’d made, and left into a far chillier night’s air a far larger fan than I possibly could have imagined. They have since engulfed my listening habits, and if you’re not careful, you might see the same thing happen to you.

The role of a fashion editor, for me, is one of great responsibility. I have to keep my readers on the run with the latest news, endorse rising stars and celebrate brilliant creativity. However, I think it would be irresponsible if I didn’t share the standout pieces that deserve a moment in the spotlight. Enter ‘Looks For Your Runway’, your front-row seat to my curated selection of items that have recently caught my eye, brought to you in recurring editions. Whether they're unapologetically bold or simple outfit enhancers, these are the pieces you didn’t know you needed. And hey, if you find yourself mentally justifying yet another purchase, don’t worry, you're in good company. Get ready to discover your next obsession, because your runway is wherever you walk. Whilst thinking of what to write about for this first edition, I was walking with my pockets uncomfortably full (do you know the feeling, or is it just me?) Then it hit me: bags. Thankfully not in the literal sense, but I’d argue bags are the unsung heroes of practicality. They are more than just something to swing around with your stuff in, they’re an extension of your outfit… and let’s be honest, your ability to avoid the dreaded, overstuffed pocket. MASSIMO DUTTI NAPA SUEDE BOXER DUFFLE BAG . £349 At the moment, there’s nothing I love more than a 'chilly season' deep blend of browns and black, which this bag pulls off seamlessly. A great bag for either day-to-day use or legging it to further destinations, it can be used as a handbag or crossbody by clicking on an additional leather strap. The partnership of cowhide leather and suede is practically durable and visually rustic, a complementary accessory for most winter looks. S hop here. LOEWE SMALL PUZZLE BUMBAG IN GRAINED CALFSKIN . £1800 An iconic piece designed by Jonathan Anderson, the puzzle bag started as his debut bag and has become a signature design for the house. Crafted from grained calfskin and palladium hardware, the bag is simple yet is bound to draw attention to its distinctive geometrical structure. The adjustable strap allows for it to be worn crossbody, ideal for a day on the go with easy, secure access to an external and internal pocket. An incredibly crafted bag, for me, it's what lies on the inside, lined with contrasting taupe herringbone canvas. This traditional material marries the innovative design of the exterior, evoking the artisanal aesthetic of Loewe and its blended concepts. The puzzle bag comes in black and dark cigar. S hop here. BEAULARÉS WOVEN DUFFLE BAG . £55 [SALE £40] Don’t worry, I had to double-take too; this is not a Bottega bag. But it's not that far off, constructed from faux leather in an imitated intrecciato weave. I love how well-proportioned this bag is, slightly downsized from your average duffle yet still with plenty of space to pack for a bit of travelling or a glorified trip to the gym. Made with 'Moroccan artisanal craftsmanship', this sturdy traveller will be sure to withstand the rigours of your excursions with a price you simply cannot say no to. S hop here. BOTTEGA VENETA LARGE PASSENGER BAG . £3140 Bottega kills it with their bags, but this is a stunning statement piece. Designed with the house’s staple intrecciato weave, the fondant suede body of this capacious bag simply glows. The deep acorn leather features of the base and adjustable handle offer a congruous pairing that lets the suede shine, plus the magnetic closure makes it all the more sleek. S hop here. NAÉ FAUX LEATHER SLOUCH BAG . £40-45 This is my favourite find of the month, and I’m itching to get my hands on one. Naé is an independent brand based in Manchester turning heads on social media; even as I type, their website states they’ve reached order capacity. Handmade with locally sourced faux leather and lined with dead-stock fabric, these bags are a dream for anyone who is sustainably conscious, and what’s better is that they look great. Simply enhanced with the brand’s signature bow, the elegant design lets the fabric speak for itself and with a plethora of colours to choose from, you’ll find the perfect hue to match your wardrobe and personality. S hop here.