top. JENNAX opposite top. JENNAX corset. FAYE gloves. Bless My Paws
This Schön! editorial explores the tension between beauty, identity, power and the construction of self-image in the digital age. Through a series of front-facing portraits lensed by Miroslav Kovalenko , each character embodies a contemporary archetype shaped by the codes of the internet, popular culture, and image-making.
The project draws inspiration from fashion editorials, Y2K culture, pop imagery, and the visual language of police photography. It offers a stylized and glamorized reinterpretation of the mugshot, in which an identification photograph becomes a constructed, theatrical, and symbolic portrait.
jacket. PROTOCOL INDEX short. ARNODEFRANCE shoes. Salomon
left to right top. ARNODEFRANCE trousers. MAISON DE COZY top. Paolo Leduc jewellery. Our Legacy
jacket. DMouclier jumpsuit. Lea Wald opposite jacket. DMouclier jumpsuit. Lea Wald
top. TRIGG jeans. Marcelo Miracles cap. Organic Garmentz belt. SSSTUFFF opposite cap. Organic Garmentz
jacket. PROTOCOL INDEX opposite top. JENNAX corset. FAYE gloves. Bless My Paws
photography. Miroslav Kovalenko creative direction. Marion Bureau-Arroyo fashion. Alan Metri + Helena Chatelain models. Vera Gundlach , Sheijong , Alhassane Francois , Léa Mangera , Synloa + Cycy Kanitzer hair. Maeva Gomes make up. Jeanne Bégué nails. Vision Do Not Die retouch. Ginane Chaaban production. 2721 executive production. Cedric Luzaunau bts. Nicolas Trolet + Antony Siyavong creative assistant. Alan Metri fashion assistants. Sergio Penuela + Thibault André make up assistant. Marine Néboit location. Annodine Studio
As one of our favourite stops on the October calendar, the Spring/Summer instalment of ModaLisboa came, saw, and conquered. Arriving every autumn as a refreshing finishing touch after the September shows, ModaLisboa ‘PRIORITY’ , presented by OMODA & JAECOO , has once again set the tone for what’s next .
Following on from last season’s theme of ‘ PEBBLING ’, this season’s theme, ‘PRIORITY’ spotlights the decisions we make and what these choices say about who we are. They act as mini confessions during our day-to-day as we choose what stays and what we let go of.
For over 35 years, ModaLisboa’s choices have culminated in the rich tapestry of creative expression that we see today. They explain, “for us, what deserves to remain is the ability to transform thought into a singular language, to build identity through culture and to create value that extends beyond function or novelty.
What matters to us is this profoundly human intelligence, bringing together the discipline of research and method with creative freedom and artistic expression.”
Placing value on Portuguese design, present and future, the 67 th edition of Lisboa Fashion Week is once again brought to fruition as a co-creation between ModaLisboa and Lisbon’s City Council — with support from the Portugal Events programme from Turismo de Portugal. Starting a day earlier than usual, the programme put on a delectable spread over five days from October 7 to 11.
From on-schedule shows and presentations to free-entry initiatives, including talks, workshops and catwalk shows on major pedestrian streets. Helping to bridge the gap between the industry and the city of Lisbon.
Read on to discover our stand-out moments from the latest edition of ModaLisboa.
SANGUE NOVO , which translates to ‘new blood’, brought a fresh perspective to proceedings and was once again a highlight of Lisboa Fashion Week. Acting as an example of what’s possible when emerging talents are given a nurturing platform to springboard off from.
This year, another 10 designers took to the catwalk to share their creative point of view: Albert Porta , Alexandra Sousa , Catarina Pica , Elio , Francisco Martinho , Granatum , João Pecuro , Marta Amorim , Matheus Dauzaker , Ronaldo Pina .
After which, five designers, Elio, Francisco Martinho, Granatum, Marta Amorim and Ronni, were chosen to progress to the final stage. These shortlisted designers will now enter an incubator period where they will be mentored, and their presented designs will be questioned and pushed further.
Culminating in a final show at the March ‘27 edition, where they’ll reveal a new collection — and compete for the ModaLisboa x IED – Istituto Europeo di Design and ModaLisboa x Burel Factory awards.
The extensive schedule of shows kicked off on Thursday evening at MUDE – Design Museum , showcasing the intricate construction of BÉHEN , who paired traditional techniques with office-wear silhouettes and tailoring. Classic shirting is finished with intricate bows and buttons, alongside evening wear inspired by the Nazaré shoreline.
Afterwards, guests were ushered downstairs into a vault to discover a joint showing from Central Saint Martins alumni: French artist Marie Hazard and Portuguese designer Constança Entrudo under the name AD HOC . The presentation, first shown in New York, brought guests into their shared world of weaving techniques and the intersection of craft and technology.
Standouts on day two included Luís Carvalho at the Royal Treasure Museum, which houses “precious objects of the Portuguese Royal Crown.” In turn, we were subject to an extensive once-over by security, before being given an exclusive tour of the museum — and obviously shown the latest from Carvalho. Titled ‘WILDFLOWER’, the designer delivered a cohesive line-up “centred on memory, nostalgia and the way time transforms what we remember.” The summer-ready colour palette played with fluid shapes grounded in “structured foundations.” Ending with an impromptu sing-along to Robyn’s ‘Dancing on my own’.
Roselyn Silva made her debut at Pátio da Galé on day three, bringing her trademark prints and suited silhouettes to the main venue. Tiered skirts and high-waisted pieces also made another appearance. Alongside the added creations from her husband, artist Blackson Afonso, whose hand-painted illustrations of endangered birds were seen throughout the collection. The brand states, “Roselyn Silva is in its Ascension phase. It is time to take flight.”
On the final day, the room heaved with excited guests ready to see what Valentim Quaresma had in store — the designer did not disappoint. The latest collection, ‘DISTOPIA ’, takes aim at a future almost resigned to its technological inevitability.
Choosing to reflect on identity instead, the collection reintroduces intricate hardware designed in a way that suggests viewers may look, but don’t touch. The designer explains, “When everything around us tries to define who we are, getting dressed can become an act of resistance and, perhaps, in a dystopian world, fighting to preserve our individuality is the last form of freedom.”
Ariana Orrico was welcomed into the WORKSTATION fold for the first time following her win at the last iteration of SANGUE NOVO. This time around, the menswear designer “explores a relationship of intimacy between the individual and the city.” Pyjama-like silhouettes make for a relaxed line-up, punctuated with bold dog-tooth patterns and textured fabrications.
Fellow WORKSTATION designer, ARNDES, was back for another season delivering a lesson in the delicate art of layering, while exploring “the tension between who we are and what we learn to perform to be accepted.” Titled ‘IRREAL SOCIAL’, sheer fabrics are worn in a way that amplifies the layers underneath, rather than hide them. Almost as a symbol of the multiple building blocks used to construct the ‘ideal’ that we perform for others.
Beyond the shows, Lisboa Fashion Week presented a lineup of immersive events. From workshops, talks and exhibitions, to a pop-up shop housing Portuguese Designers and brands. All events aim to bridge “the professional calendar with a free-access cultural program,” something that the ModaLisboa Association mentions is “structural” to their project and “commitment to providing access to designer fashion.”
Other honorary mentions go to Carlos Gil and Portuguese Soul by APICCAPS. Carlos transformed one of Lisbon’s most famous streets, Rua Augusta, into a gorgeous backdrop for his most recent collection at the MUDE – Design Museum. Portuguese Soul by APICCAPS took the opportunity to present the country’s heritage craftsmanship via an ethereal footwear presentation.
From textile production to championing innovative design, the ‘PRIORITY’ edition of ModaLisboa reminds the world why Portugal continues to remain a key moment in the calendar — and the industry at large.
jacket. Yves Saint Laurent graphic t-shirt + earrings. Stylist’s Own opposite jumper dress. Valentino boots. Jimmy Choo
Meet Razan Nassar in this Schön! editorial lensed by Rebecca Spencer with fashion by Edie Rose who styles Nassar in looks by Yves Saint Laurent, Valentino, Miu Miu and others, with hair by stylist Willis Galbraith and make up by artist Helen Rose .
dress. Chanel jewellery. Stylist’s Own opposite dress. Chanel heels. Miu Miu jewellery. Stylist’s Own bag. Tory Burch
bodysuit, skirt + earrings. Stylist’s Own heels. Miu Miu opposite bodysuit, skirt + earrings. Stylist’s Own heels. Miu Miu
full look. Jean Paul Gaultier heels. unbranded jewellery. Stylist’s Own opposite full look. Jean Paul Gaultier jewellery. Stylist’s Own
jumper dress. Valentino opposite jumper dress. Valentino boots. Jimmy Choo
jumper dress. Valentino boots. Jimmy Choo opposite jacket. Yves Saint Laurent tank top + running shorts. Adidas graphic t-shirt + earrings. Stylist’s Own
photography. Rebecca Spencer fashion. Edie Rose model. Razan Nassar @ IMG Models hair. Willis Galbraith using Kérastase make up. Helen Rose using Victoria Beckham Beauty
left to right Zhou wears bra. Fruity Booty skirt. Katie Ko Lily wears bra. What Katie Did skirt. Katie Ko
Between rehearsal and performance, identity and character, photographer and creative director Rachel Louise Brown captures the quiet theatre of becoming. ‘Off Broadway’, a collection in collaboration with stylist Rosie Arkell-Palmer , Schön! and supported by WREN Agency, was born from a personal photographic series documenting prima ballerina Lauren Cuthbertson behind the scenes at the Royal Opera House.
For Brown, the fascination lies in what happens before the curtain rises: “I was interested in everything surrounding the performance — the tension of rehearsal, the waiting and the nerves before going on stage.”
Translating these observations into a fashion narrative, Brown explores the shifting boundary between identity and character. “I wanted to take those observations into a constructed fashion narrative, exploring the movement between being yourself and inhabiting a character,” she explains.
Moving between preparation, performance and private encounters, the images resist a fixed storyline, leaving space for ambiguity and personal interpretation. “I wanted to leave space for viewers to interpret what might be happening and the relationships between the characters.”
Working alongside Arkell-Palmer, Brown draws on the expressive potential of clothing, gesture and setting to explore how character takes shape. “I’m interested in how character is constructed through clothing, gesture and setting, and how that construction becomes visible during rehearsal,” she says.
The styling becomes an extension of this exploration, with expressive silhouettes influencing the way the body moves and occupies space. “There’s a tension between the performer and the role they are preparing to inhabit.”
The setting is equally integral to the narrative. The Broadway Theatre in Catford, London, is a striking Art Deco building whose faded grandeur exists alongside its continuing life as a working theatre at the heart of its local community.
Brown was drawn to “the relationship between its architecture, which is designed for spectacle, and the everyday activity of a working theatre.” Photographing across the auditorium, dressing rooms and corridors allowed her to look beyond the stage, exploring “the preparation and labour surrounding performance.” These spaces become active participants in the story, grounding the fashion imagery in the rituals and realities that unfold behind the curtain.
Throughout the editorial, the relationship between direction and spontaneity becomes a central theme. In the photographs featuring all three models, Brown revisits a method from her early fine art practice, inviting the models to see the scene through the viewfinder before allowing them to interact freely within it.
“They understood the composition, but could determine their own relationships within it,” she explains. The resulting images become “studies of body language” in which posture, proximity and gesture suggest familiarity, tension or distance.
“That relationship between a constructed scene and an unscripted interaction interested me throughout the project,” Brown says. The tension between the two runs throughout *Off Broadway*: the theatrical setting and considered styling establish a sense of artifice, while the interactions resist complete control.
Each image exists somewhere between rehearsal and reality, allowing the viewer to question what is being performed and what might be revealed.
Beyond the imagery itself, the project represents a celebration of collaboration and creative freedom. “The project was also an opportunity to celebrate my team and give everyone, including myself, full creative freedom to contribute, experiment and thrive,” Brown reflects.
This openness extends beyond the people behind the camera, becoming an invitation for audiences to engage with the work on their own terms. “I wanted that freedom to extend to the audience too — to feel something of the anticipation and uncertainty surrounding performance, while forming their own reading of the characters and their interactions.”
Katya wears dress. Roksanda pointe shoes. Model’s Own
Zhou wears dress. Julien Macdonald headband. National Theatre Costume Hire earrings + bracelet. Michael Rose
Lily wears suit, shirt + boots. Alexander McQueen hat. National Theatre Costume Hire earrings + ring. Susannah Lovis opposite Zhou wears dress. Julien Macdonald headband. National Theatre Costume Hire earrings + bracelet. Michael Rose
left to right Zhou wears dress. Vivienne Westwood shoes. Florrie London necklace. Bentley & Skinner Lily wears dress. Etro shoes. Elie Saab earrings. Susannah Lovis gloves. Paula Rowan Katya wears dress. Erdem shoes. Manolo Blahnik earrings. Susannah Lovis
Zhou wears top + skirt. CFCL bra. Understatement shoes. Christian Louboutin earrings. Michael Rose
Lily wears dress. David Koma hat + ruff. National Theatre Costume Hire stockings. Calzedonia
Katya wears jacket, dress, body + tight. Cecilie Bahnsen pointe shoes. Model’s Own
Lily wears dress. David Koma hat + ruff. National Theatre Costume Hire opposite left to right Katya wears dress. Alberta Ferretti shoes. Florrie London earrings. Susannah Lovis Lily wears top + trousers. Mithridate shoes. Elie Saab earrings + bracelet. Susannah Lovis
left to right Zhou wears bra. Fruity Booty skirt. Katie Ko shoes. Christian Louboutin Lily wears bra. What Katie Did skirt. Katie Ko shoes. Christian Louboutin Katya wears dress. Katie Ko pointe shoes. Model’s Own wings. National Theatre Costume Hire tights. Calzedonia
Zhou wears coat, shorts, shoes, necklace + tights. Valentino bra. What Katie Did opposite Zhou wears coat, shorts, shoes, necklace + tights. Valentino bra. What Katie Did
left to right Katya wears dress. Zimmermann Zhou wears dress. Zimmermann
photography + creative direction. Rachel Louise Brown @ Wren Agency fashion.
Rosie Arkell-Palmer @ One Represents model. Lily Nova @ MiLK Collective , Katya Gray @ Established Models + Zhou @ Linden Staub casting direction.
Tom Casey hair. Cher using Hair by Sam McKnight make up.
Liz Daxauer @ Caren using Embryolisse nails. Chisato Yamamoto @ Caren using Essie prop stylist.
Matilda Dawes videography. Kinmen Yung @ Rise Media on set production.
Hannah Cauhépé production. Rachel Louise Brown photography assistants.
Dani Roversi , Rachel Billings + Stefan Weil fashion assistant. Jemima Plume hair assistant.
Patrizia Sassu location. Broadway Theatre , London