by Brian James
Drawing from the stimulus of history and marrying it with a deep understanding of streetwear’s cultural codes, Charlie Constantinou constructs clothes that are both functional and fabulous. Part of the British Fashion Councils (BFC) NEWGEN initiative which selects and supports today’s emerging designers that they believe will become tomorrow’s global brands , the eponymous label showed for the third time on-schedule at London Fashion Week with their S/S 26 collection “Season 5”.
Always exhibiting a mastery of fabric manipulation, this season saw the continued evolution of Charlie Constantinou’s practice with the introduction of new fabrications such as linens and lighter cottons which were combined with tactile, technical fabrics and deadstock nylon to mark his most materially expansive collection yet. Pieces treated with hand-brushed inks and warped through puff printing further highlighted that melding of the technical with the tactile. This textural development was accompanied by a variation in colour palette , with chromatically coded hues ranging from graphite grey to glorious greens, interspersed with bursts of red and purple. It was a bravura collection that more than justified the BFC’s faith in him.
Flanelle spoke to Charlie about the influences that inspired “Season 5” , the familial history and historic eras that inform his practice, and his future plans and aspirations.
Congratulations on Season 5 which we loved. How has this latest collection evolved from previous ones and what themes were you looking to explore with this latest body of work?
This collection feels like a big step forward for me, after our last season (4.5), I really wanted to go into a new chapter completely from scratch. This season I went very in depth in historical research across multiple periods, but particularly that of medieval Europe, middle east and east Asia. I think in the modern day, historical dress is often seen as something unwearable – so I was interested to see how we can perceive that through a modern lens.
There were references of both various historical clothing and armours which I built into my silhouettes as well as combining more traditional fabrications such as linens and cottons with more modern technical fabrications such as nylons and meshes. Overall I wanted to achieve a sense of past, present and future in one.
In what ways do those themes manifest themselves in the pieces we saw on the runway?
Many of the looks have references from various time periods either through details of the garments themselves or the overall silhouette. In combination with our textile developments this season such as puff printing and brushing as well as other coatings, this gives the historic references a more futurist/otherworldly sense.
As always with your practice , textiles and technical fabrics are very much to the fore. Can you tell us about the ones you’ve used for Season 5 and the techniques and processes used in the garment construction?
This season we introduced some new fabrications such as linens and much lighter cottons which we manipulated using puff print. These materials are naturally very delicate compared to some of the technical fabrics we usually work with, so I wanted to give them an element of reinforcement. For many of the linen styles we would reinforce areas of the garment with technical backings such as combining it with water resistant nylons to both strengthen and help shape the silhouette. In addition to this we also worked with different types of deadstock nylons which are much more structured and crisp compared to some of the fabrications we have worked with in previous seasons.
You’ve collaborated with DEMON Footwear again this season. How did you originally connect and how does that collaborative process work?
I originally met Alberto (creative director of Demon) while in Paris as we were both doing our showrooms at the time. We had connected digitally previously discussing some ideas of collaboration, but once I had the chance to see his footwear in person I knew it was the perfect combination to my work. This season we were building on top of the footwear introducing new detachable silhouettes which gave the shoe another layer of protection, with multiple versions of boot covers in different sizes. A lot of the development for this happened in my studio as we began developing patterns on top of the footwear, which then led to sampling followed by the final versions which were seen in our show.
History is a recurring theme in your work. Where does that fascination with history come from and how closely is it tied to your own Cypriot heritage?
My original fascination with history began very much with ancient history. I was very interested in both Cypriot history as well as the history of various cultures across Europe, the Middle East and Asia. Before I started looking into more historical garments, I was originally fascinated with ancient artefacts such as ceramics, weapons, statues. I often found the textures (as a result of aging thousands of years) really interesting and often began referring to them in my work, particularly when it came to colour and textile. I think the recurring theme of history in my work reflects my own interest in periods of cultures which now seem distant from modern day.
How does that heritage and London’s subcultures inform and influence your practice?
I think the biggest inspiration I take from London is its sense of diversity, growing up in London allowed me to see and experience so many other cultures which all contribute to the person I am today. There may not be any specific obvious elements in my work that point to London, however at the core of it – it is an essential part of myself and my brand.
What role did fashion play in your upbringing and what was the catalyst that made you want to pursue a career in fashion?
I had gotten into fashion in my teenage years mostly through sneakers which then led me into streetwear and I continued expanding from there. I think it was something I had always seen as an interest but never thought it could be something I could pursue as a career. And around the time I finished my high school studies, I decided to apply for a bachelors fashion course through clearing and managed to get in – and my journey started from there.
You studied at CSM. What were the most important lessons you learned there and how did it prepare you for launching your own brand?
The time I spent on the masters programme at CSM definitely contributed to helping me launch my own brand. I already had a good level of confidence in myself as a maker. But the masters programme helped me further develop my sense of direction. I began looking at things from a wider perspective and thinking long term what I wanted to build.
Which designers have inspired you and why?
One of my biggest inspirations growing up was definitely Jun Takahashi, I remember first coming across Undercover as a teenager and really loved some of his early collections in the 90’s and 2000’s. I already had an interest in areas of fashion such as streetwear but I think Undercover is what made me really want to explore deeper into fashion, which then led me to discover so many of the other designers I love today.
Your part of the British Fashion Councils NEWGEN initiative. How have they supported you and how beneficial has that been in the brand’s evolution and in growing its profile?
We would not be able to show our work in the format we do without the support of the British Fashion Council. Their support has made such a difference both in us being able to show as well as offering support in showrooms and partnerships. I have definitely felt a lot of support from the whole team in the time we have been a part of the programme and look forward to what we will do in the coming seasons as part of NEWGEN.
How do you want the person who wears Charlie Constantinou to feel about themselves and the world around them when they wear your pieces?
I think I would love people wearing my clothes to feel a greater sense of connection to the environment around them, whether they are in the city, on the coast or in the countryside – I would love anyone wearing my clothes to feel they are able to adapt with my clothing wherever they go.
Having made your third on-schedule LFW appearance, what are your ambitions and aspirations for the reminder of 2025?
We are now working on a small capsule for ComplexCon which we will be taking to the US at the end of October! And as for the rest of 2025, we will begin working on Season 6! I am also hoping to have a few more events/pop ups towards the end of this year and going into 2026!
Embracing a storied sensibility that invokes ancient history and also looks to his own Cypriot cultural heritage and London’s multicultural, multi-faceted traditions, “Season 5” evidenced why Charlie Constantinou is so highly regarded by the British fashion industry and those charged with ensuring its future and progress. Crafting beautifully constructed clothing underpinned by an environmental empathy, it exceeded our already high expectations with textures, techniques and a tactility that transfixed all who attended the show.
Continually refining a fashion philosophy that’s committed to building garments that endure, adapt and transform, Charlie does so with an innovation and imagination that mesmerizes all who view his work. An exceptionally gifted designer, Charlie looks to the past, the present and the future for inspiration and we are excited to see what his future holds.
