Inside eRmission ≠ Slip — Notes on FW26
The tension between armour and drape, prints that read as painting, and one look that started as a mistake. Notes from inside the collection.
eRmission ≠ Slip was the most difficult collection we've made. It was also the one we're proudest of.
The starting point was a question — what does protection look like when the world you're protecting yourself from is the one you also want to be seen in? That gave us the tension the collection sits on: pieces built like armour, but that fall like liquid. Structured shoulders that dissolve into printed drapes. Hard surfaces you can slip through.
The prints were the second thread. We wanted them to read like paintings rather than graphics — layers, texture, marks that felt made by a hand. So they were made by a hand. Every print in the collection was painted physically first, digitised only for scale, and then applied to the recycled PET in a process that lets the paint sit on the fabric rather than in it.
The last look was a mistake we kept. A prototype piece was cut wrong, and the volume it left was more interesting than the version we'd drawn. We rebuilt around it, and it became the piece that closes the show.
We think the clothes carry the argument on their own. But if you want to know what we were thinking, that's what we were thinking.
