MAGAZIN

INTRODUCTION

Theycallme Magazin is our weekly editorial format for fashion news and industry analysis.

Every Monday, we publish a distilled view on what’s relevant now — from runway statements and off-schedule signals to deeper shifts in aesthetics, production, and creative direction. Grounded in physical presence, analog imagery, and editorial precision. Not trend-focused — relevance-focused.

This is Issue 04.

LONDON — BETWEEN SEASONS

London isn’t in full runway mode — and that’s exactly why it feels interesting. This week wasn’t about headline shows or front-row spectacle. It was about studio appointments, early previews, and quieter market conversations. Designers presented in contained environments. Buyers moved deliberately. Press coverage leaned analytical rather than reactive. There’s a sense that London is holding energy rather than spending it. The city’s fashion identity — subculture-driven, instinctive, less polished — remains intact, but currently expressed in smaller rooms. Tailoring continues to soften. Proportions stay balanced. Utility references appear without aggression. It’s not a peak moment. It’s a consolidation phase.

SILHOUETTE CONTINUATION

Across Europe, the silhouette story hasn’t shifted dramatically — but it has refined. Shoulders remain eased. Trousers maintain relaxed volume. Layering is purposeful rather than decorative. Designers are reducing exaggeration and focusing on construction. Muted palettes dominate: charcoal, olive, washed navy, bone. Texture has become the primary storytelling tool. Fabric weight and finish matter more than graphic statement. Logos continue to recede. Form is carrying the narrative again. This isn’t minimalism as trend. It’s discipline as strategy.

MARKET TEMPERATURE

Retail remains cautious. Buyers are tightening assortments and focusing on sell-through certainty. Capsule collections outperform sprawling seasonal drops. Brands are editing harder before presenting. The market isn’t collapsing — it’s recalibrating. Commercial anchors are being foregrounded. Experimental pieces are still present, but fewer. Precision is outperforming spectacle. In this climate, clarity becomes competitive advantage.

DIGITAL COOLING

There is a noticeable cooling in digital urgency. Fewer brands are forcing viral moments. Campaigns feel quieter and more composed. Editorial framing is replacing algorithmic bait. Panels and smaller cultural formats are gaining weight over oversized launch events. The audience appears fatigued by constant amplification. Presence — physical, intentional, contained — is regaining value. Fashion isn’t slowing down. It’s narrowing focus. And that narrowing may define the coming season more than any singular show.

This is Issue 03.

NEW YORK FASHION WEEK

New York opened with clarity rather than spectacle. Proenza Schouler reaffirmed its position through refined tailoring and muted palettes — structure without aggression. Khaite delivered controlled sensuality: sharp coats, narrow silhouettes, tonal discipline. Helmut Lang leaned back into minimal restraint, avoiding overstatement.

There was less celebrity dominance and more garment-first presentation. American sportswear feels recalibrated — not loud, not reactive, but aware of its heritage. The mood suggests consolidation rather than experimentation.

LONDON APPROACHES

London builds differently. The energy is more instinctive, more cultural. JW Anderson continues to treat silhouette as proposition. Martine Rose’s return signals recalibration toward local context. Emerging designers in London remain less concerned with commercial symmetry and more focused on narrative.

Subculture remains London’s currency. The city doesn’t compete with Paris or Milan on polish — it competes on attitude.

MILAN PREPARES

Milan moves with precision. Prada continues to refine intellectual minimalism. Bottega Veneta maintains sculptural restraint. Gucci remains in identity transition, seeking clarity after recent shifts. Italian tailoring stays structurally dominant — clean lines, defined waists, confident outerwear.

Milan won’t chase hype. It will consolidate power through craft.

GLOBAL SHIFT

Beyond the “big four,” fashion weeks are gaining structural weight. Shanghai strengthens its international position. Copenhagen continues to lead sustainability narratives. Seoul accelerates with digital fluency and sharp youth culture.

The fashion system is decentralizing. Influence no longer moves in one direction. The industry is spreading outward — geographically and aesthetically.

This is Issue 02.

WEEKLY OVERVIEW

Berlin closed with clarity — and the noise paused. In its place: a slower rhythm. This week, energy came in fragments. Campaigns dropped, shows were teased, and fashion recalibrated. The mood shifted from spectacle to tone. Less launch, more presence. Loewe disoriented with static tension. Martine Rose reclaimed London. Luca Magliano was awarded for a body of work that refuses speed. And Frank Ocean — without a caption — stirred fashion again. New York brews in the background. A quiet week, but not a dull one. Signals, not sirens.

LOEWE FW24 CAMPAIGN

Loewe’s latest campaign isn’t selling clothing. It’s selling a feeling: awkward tension staged like still-life. Shot by Juergen Teller, the images land somewhere between theatre and surveillance. Models hold bags like props. Facial expressions feel caught, not performed. There’s a detachment — intentional, not careless. Jonathan Anderson leans fully into Loewe as a space for absurd poise. Nothing looks desirable in a conventional way. That’s the point. The campaign doesn’t guide you. It leaves you staring. And that discomfort is now part of the brand’s language.

FRANK’S BOOTS

Frank Ocean posted a single image: square-toed black boots, grainy floor, no caption. The internet paused, speculated, zoomed in. Were they Margiela? Custom? Unknown? Irrelevant. Frank’s power isn’t just in the shoe, it’s in the void. He offers form, not explanation. In a landscape flooded with branded content and self-promo, the absence of detail becomes its own aesthetic. This wasn’t marketing. It was presence. The post reminded fashion how silence, when used with precision, can say everything.

LUCA MAGLIANO

Luca Magliano was awarded the 2024 Karl Lagerfeld Prize. Not for provocation. Not for novelty. For consistency. Magliano has built a label defined by deep volume, muted colors, and soft masculinity. The clothes don’t follow trend cycles — they anchor. Every collection expands his world: Italian roots, queer politics, poetic form. Winning this award is less a breakthrough than a recognition of craft that has always resisted urgency. In an industry obsessed with acceleration, Magliano moves like memory. And now the industry is catching up.

MARTINE ROSE RETURNS

After seasons in Paris, Martine Rose is back in London. It’s not a retreat — it’s a recalibration. Her work has always been rooted in British codes: subcultures, tailoring, sport. The return suggests a renewed focus, not nostalgia. Martine’s London isn’t about geography. It’s about language. She builds collections like dialects — distorted, remixed, specific. With this move, she reminds us that context matters. And that sometimes, returning to where it started sharpens where it’s going.

UP NEXT: NEW YORK

The lead-up to NYFW feels unusually calm. No chaos, no spectacle announcements, no viral bait. Instead, emerging labels are taking up space — quieter, but sharper. There’s a sense that New York wants to slow down, reset, and refocus. Less noise, more editorial clarity. Less competition, more curation. If this continues, NY might shift from being the opening act of fashion month to a space for real, paced perspective. We’ll be watching — and Issue 03 will cover what cuts through.

This is Issue 01.

BERLIN OVERVIEW

Berlin didn’t follow — it fractured. The week unfolded in clubs, backrooms, and undefined spaces. Off-schedule became the main event. Street style overshadowed runways. What mattered wasn’t just what was worn, but where and why. Casting was intentional, silhouettes softened, and imperfection became the aesthetic. The scene rejected polish in favor of pressure — the kind that forges something new. It wasn’t about trend. It was about urgency. In contrast to other fashion capitals, Berlin wasn’t performing relevance. It was living it.

ABOUT.MIDNIGHT

About Midnight blurred lines — not between art and fashion, but between space and dialogue. The pop-up became a runway, showroom, club, and meeting point. Inside: garments from emerging designers, an unfiltered panel talk led by models, and a crowd that didn’t need invites. No gatekeeping, no spectacle. Just a room full of tension, curiosity, and exchange. The vibe wasn’t polished. It wasn’t meant to be. About Midnight builds access — not hierarchy. In a week of branding, this was presence. The most relevant thing wasn’t the clothes. It was the openness.

GMBH

GmbH leaned into vulnerability and eroticism. The runway blurred clubwear and suiting: skin-tight mesh tops, exposed backs, zippered cuts, sheer fabrics. But it wasn’t spectacle — it was coded softness. Masculinity was unguarded, sensual, still structured. Color stayed muted: blacks, olives, sand. Casting was precise, with bodies that made the garments speak. No overproduction, just lights, music, rhythm. GmbH doesn’t chase the future. It exposes what’s already there — intimacy, desire, tension. The collection was less about fashion as invention, more about fashion as reflection. Nothing shouted. But everything burned.

LUEDER

LUEDER staged a controlled collapse of traditional form. The collection broke down tailoring into sculptural segments — jackets were clipped, skirts extended, layers reshaped the silhouette. Nothing fit in expected ways, but nothing felt arbitrary. Tonal harmony (greys, blacks, muted reds) reinforced the structural experiments. The show moved slowly, deliberately, as if to let the audience decode each look. Accessories were minimal, styling assertive. It was menswear reimagined through tension — not softness. No gimmicks, just clear, confident construction. Lueder isn’t reacting to trends. It’s proposing a new male archetype: armored, intentional, and quiet. The restraint made the subversion sharper.

RICHERT BEIL

Richert Beil approached tailoring with precision and restraint. The collection focused on minimal interference: crisp lines, dense fabrics, subtle manipulation. Jackets were cropped or extended, trousers slightly off-center, but nothing looked experimental — just exact. The mood was architectural, but human. Garments moved with weight and clarity. No print, no noise, no forced storytelling. Casting was neutral, styling clean. Richert Beil rejects dramatics. It builds form through discipline. And in a season chasing disruption, this kind of consistency felt sharper than provocation.

BUZIGAHILL

Buzigahill brought history into motion. The collection rewired military codes — uniforms restructured into patchwork suits, utility vests over tailored shirts, trousers split and reassembled. Every piece carried conflict, but also resolution. Fabrics ranged from crisp to raw, colors moved between earth and shadow. Casting was diverse, music urgent. This was design as commentary — not abstract, but embodied. The collection referenced power structures only to bend them. Buzigahill doesn’t mimic. It intervenes. The result: fashion that feels necessary, not decorative.

PARIS OVERVIEW

Paris moved on split frequencies. Legacy houses held position with minimal disruption. The new energy happened outside the official frame: apartments, warehouses, hybrid spaces. Off-schedule is no longer subtext — it’s the story. Conversations across venues pointed toward creative fatigue and structural instability. AI in design, rising production costs, aesthetic saturation — not just buzzwords but real conditions shaping what gets shown. There was no unified theme, but a shared urgency. Paris didn’t try to resolve anything. It revealed what’s cracking.

SHOWS – WE ATTENDED:

We selected and attended each of these shows in person — to experience their construction, energy, and intention directly. The following texts are not summaries. They’re close reads of what was shown, how it was delivered, and why it mattered (or didn’t).

EGON LAB

Egon Lab delivered a show rooted in controlled aggression — structured silhouettes, tactical layers, and a clear message embedded in sound, movement, and styling. The runway felt militant without sliding into costume. Garments were built up, not overloaded: cargo shapes, armored shoulders, high collars, textured blacks. Despite the visual weight, the collection remained wearable — sharp, tailored, and focused. Lighting was minimal and the pacing intense, making each look hit harder as it moved through space. Egon continues to combine political symbolism with fashion design in a way that feels neither forced nor aestheticized. It’s direct, confrontational, and somehow still market-aware. In a season where many collections leaned into softness or ambiguity, Egon Lab went the opposite route — pushing for clarity and pressure. A collection that didn’t ask questions. It stated terms.

LGN (Louis Gabriel Nouchi)

Louis Gabriel Nouchi offered a moment of calm within a chaotic season. The show was slow, deliberate, and composed — both in its pacing and its design language. Models moved through dim light in sheer fabrics, soft suiting, and subtle cutouts. The palette was muted, textures light, but the atmosphere heavy. LGN didn’t try to deconstruct or over-conceptualize menswear. Instead, the collection found space in minimalism — emotion in quiet construction. There was no spectacle, no single viral look. The strength was in how everything held together, forming a vocabulary of restrained expression. Romantic? Yes — but not naïve. Each garment seemed aware of its place in the wider conversation, but uninterested in shouting. It was a collection that demanded to be watched on its own rhythm, not scrolled past. LGN proved that silence can register louder than noise.

RICK OWENS

Seen live, Rick Owens’ show felt like entering a separate frequency — one that doesn’t adjust to trends, but expects the world to adjust around it. The collection was brutalist in shape, yet ceremonial in tone. Long coats and flared silhouettes walked through a haze of silence and dust. The color palette stayed within the Owens code: black, ash, muted bone. No loud turns, no sudden pivots. Just iteration and deepening of form. Owens continues to sculpt rather than design — to build rather than follow. Watching the show didn’t feel like viewing fashion. It felt like witnessing structure, ideology, and persona unfold through fabric. He remains one of the few who don’t shift with the season but carry a world forward on their own axis. Uncompromised, intact, and untouchable.

KIKO KOSTADINOV

Kiko Kostadinov’s latest show was restrained but deliberate — a sharpening of language, not a reinvention. The collection opened with modular coats, folded collars, and layered construction. It felt like tactical wear reimagined as uniform, not costume. The movement of the garments was key: materials shifted precisely, never collapsing. Color stayed mostly grounded — greyed blues, moss greens, accents of muted orange. Kiko’s restraint isn’t about minimalism. It’s about control. Everything looked like it was built with intent — no styling tricks, no excess. His work continues to sit between tailored precision and quiet utility, offering neither comfort nor chaos. The collection didn’t beg for attention, but it earned full presence. It felt like the kind of fashion that endures quietly, growing sharper over time. A designer fully inside his own framework — refining instead of reaching.

SONGZIO

Songzio’s show came with visual impact, no question. From the first look — coated layers, tight lines, vinyl surfaces — the tone was heavy, almost cinematic. But beneath the strong surface, the collection struggled with cohesion. The styling often overloaded individual pieces, masking what seemed like strong garments underneath. Still, moments landed: a sculpted coat with oversized lapels, a layered knit with sharp ribbing, a leather set that felt surgical in execution. The strength of the show lay in its materials and silhouette tension — but clarity got lost in noise. It felt like two shows layered on top of each other: one grounded in restraint, the other chasing intensity. There’s clear design capacity here. What’s missing is edit. The question isn’t whether Songzio can create power — they’ve proven that. It’s whether they can narrow the lens without dimming the impact.

LAZOSCHMIDL

Lazoschmidl presented a tightly curated, emotionally specific collection — playful, camp, unapologetically exposed. Staged in an intimate space with minimal set dressing, the models became the architecture. The looks walked a sharp line between transparency and confidence: sheer tanks, satin trousers, pearl harnesses. The collection felt stylized but never forced. Humor came through, but not at the expense of intent. Every piece was worn, not displayed — and it worked. In a season filled with weighty concepts and dystopian aesthetics, Lazoschmidl offered clarity through provocation. Their version of queerness wasn’t aestheticized. It was embodied — soft, present, and confrontational in its ease. Nothing was overdesigned. Instead, each element landed precisely where it needed to. The result was a rare thing: fashion that doesn’t scream, but still can’t be ignored. Minimal in scale. Maximal in control.

UNGARO

Ungaro didn’t host a runway — the collection was presented in a focused showroom walkthrough. The result: no theatrics, just garments. That worked in its favor. The collection focused on balanced, relaxed tailoring: neutral tones, classic cuts, and fabrics that carried weight without stiffness. There were no statements, and that was the statement. In a week where many tried to break format or provoke attention, Ungaro stayed composed. Think: flowing trousers, light outerwear, unstructured jackets — all impeccably finished. It wasn’t about innovation, but consistency. A collection made for movement, not spectacle. The clarity of the setting reinforced the intention. Ungaro isn’t positioning itself as disruptive. It’s positioning itself as dependable. And in a season dominated by conceptual noise, that decision felt strangely fresh.