Imagine clothing that gets better as you wear it: shirts that look lovelier 6 months in; leg warmers whose frayed edges mature beautifully after a year; brocades that age into lived-in, luxurious overcoats in acid colors. That’s the work of Edward Cuming, an Australian designer living in Madrid whose eclectic collections have won the hearts of the most stylish dressers and romantic hearts around the world.
Without presentations or fashion shows, Cuming exists in fashion’s “if you know, you know” strata of talented, intentional, and craft-focused designers. I first heard of Eddie, as all his friends call him, through Deanna Fanning, the co-creative director of Kiko Kostadinov’s womenswear brand. It was a pair of brown sequinned leg warmers with shredded chiffon edges that captivated me first. After seeing them on Deanna, I ordered them. Another friend ordered them. And then the seal was broken. There was nothing that could stop us from ordering long circle print zip-ups, garment dyed full skirt hoodie dresses, sequinned cummerbunds, and a chartreuse horse-ribbon-inspired brooch from Cuming’s seasonal collections.
We’re simply addicted to Eddie. It’s an easy addiction to have, as his clothing blends together into an eccentric melange of spirited prints and colors. With a Northern Renaissance palette, his clothes are rooted in everyday wear—his denim brand is called, obviously, Cum Jeans—without losing the glamour or panache that makes the ordinary extraordinary.
Here, Cuming debuts his Fall 2025 collection exclusively on i-D, discussing his brand signatures and what’s next for the brand.




























































Where do you start with each collection? Is it drawn from a single inspiration? A mood?
Never just one thing. Fabric is huge for me (groundbreaking). It’s often something gestural— something that happens in a fitting or a mix of fabrics that sparks the direction. I rarely start with a strict mood board; we just dive straight into 3D sampling and see what’s cooking. The mood usually reveals itself about two-thirds in. I never want to restrict things too much, but sometimes a song gets me going, and I start imagining it playing cinematically as these clothes move through the world. Not sure the team loves that approach when deadlines hit or i get stuck on a song and play it non-stop in the studio. But that’s fashion.
How do you define the spirit of this season?
I love running this brand and want it to last a long time, so I’m more focused on an overall spirit than a seasonal moment. We’re trying to make things that feel timeless—or at least, we hope they will. My stylist, Patricia Villirillo, and I always talk about “the person”—their style, what feels believable, what makes an outfit convincing. That runs through every collection. As we grow, the collection grows too, showing how the brand’s spirit translates across different categories. Six years ago, I wasn’t thinking about weddings, but now I am. I want to offer pieces for people to wear to those moments and feel fab.
Glitter is a recurring element in your collections: What draws you to sequins and shine?
Can you think of a material more glamorous or obnoxious? It’s just too much fun—I can’t resist. When I was a kid, I competed in dance eisteddfods [dance competitions] and got really nervous whenever they wanted to put the boys in shiny things… maybe because I was in the closet? Which is hilarious because step-ball-changing to Janet Jackson’s “Throb” at age 13 should’ve been enough of a giveaway. But no, it was the sequins. Maybe I’m reclaiming that power now? That all just came rushing back to me, by the way!
















The frayed edges are also a signature: When did you start using this? Why is it something you use in each collection?
Since my MA at CSM, I’ve been experimenting with washing and interested in the cyclical decay of garments. It’s evolved into something more precise, but a fray has such great energy—it adds texture, interest, and a bit of eccentricity. The process of hand-washing each piece and trimming all the fluff felt luxurious and personal. Now, doing it on a larger scale is kind of a nightmare—but still satisfying.
What’s your experience like being an independent designer outside a fashion capital? More space or more grace?
We’re based in Madrid, and I just couldn’t love it more. It’s a great city to live in, and when I arrived, it was cheaper, which made setting up the business much easier than in London. Space is exactly what I have here, and it’s what I need. I can experiment, take risks, and not feel constantly watched. I make decisions with a clear head, without immediately comparing myself to others. The downside? Most of my fashion friends are in Paris, London, or Milan. We support each other a lot —but mostly through long phone calls complaining.
Is participating in a more organized fashion week, like LFW or PFW, of interest to you?
Oh yeah, I’d love to. I went through the classic designer training, so a show has always been pushed as the big goal. But until now, it hasn’t made sense. I’ve felt a huge responsibility to get production right and understand our customers—both direct and wholesale—on a deeper level. That takes patience, and I didn’t see the return for a small brand. As we’re growing, I hope this becomes something we can do. And as a stage kid, that energy is like a drug. But I refuse to go into debt to make it happen—there are plenty of other ways to communicate a vibe.
What music do you play while designing?
Recently, The Avalanches for denim, CHIC or some ’80s disco for knitwear, SWV or Aaliyah when I’m on menswear, and Tina Arena’s Sorrento Moon when I’m homesick and designing women’s dresses.
I know it’s you posting on the brand’s Instagram—why do you do it yourself?
I like being hands-on with it because it keeps things real. Some days in the studio are long, and sharing snippets of my mood—whether manic, excited, or frustrated—feels honest. I want people to connect with that energy. It’s also important for people to see how tiny our team is—often just two people. And also, I love attention and validation, so there’s that.
What’s your goal for Edward Cuming in 2025?
For the brand: hire a production manager. For me: consistently making it through six-day streaks of the Tracy Anderson Method.