“The first thing I ever learned to make was a kite.” Jawara Alleyne’s words capture the essence of his latest collection—a balance of buoyant lightness and precise design, raw energy paired with refinement. Before the show, I visited his studio to explore the creative process behind Fall 2025.
During our conversation, Alleyne maintained a cool, measured vibe, yet his words hinted at a renewed passion behind his work. It was clear this collection is both deeply personal and indicative of a paradigmatic shift from his previous narratives. “For me, this season is a return to my love of design and creating beautiful objects,” he shares. “I’ve done a lot of storytelling in past collections, but this one is about focusing on the craft itself.”
Alleyne’s approach to menswear and womenswear differs fundamentally, with the latter serving as a space for fantasy, reminiscent of the designers he admired as a child—Alber Elbaz, John Galliano, and Alexander McQueen. “Womenswear is where I can really be the designer I was as a kid, living in that couture-like dream world,” he says. Menswear, however, remains more practical, socially driven, and grounded in functionality. “The men’s wardrobe has to serve a function, but that doesn’t mean it can’t be innovative,” he says.
This season, however, was primarily about womenswear. While there were menswear pieces interwoven throughout the collection, they still borrowed heavily from the themes of the women’s pieces. The Jawara woman has matured. “She’s kind of grown up a little bit,” Alleyne explains. “She still has confidence, but there’s a sense of purpose to her. I imagine her as a gallerist, a practicing artist, or someone working within the creative sector. She’s business-minded, practical, and just wants to feel beautiful while going about her day.”
It’s a shift from the youthful exuberance of past collections to something more deliberate. This evolution is reflected in the garments, which prioritise form and construction over overt narratives. “This collection is more about the manipulation of fabric,” he says. “It’s about taking materials and seeing what they can do.”
The genesis of this collection can be traced back to an unexpected muse—kites. “I built my first kite when I was five—a simple wooden frame wrapped in fabric that taught me the art of balancing structure with movement,” Alleyne reminisces. That early lesson now echoes throughout his work. This principle of interplay between rigidity and fluidity extends beyond construction, influencing his material choices. Wool jersey, wool felting, and tweed combine to give the collection a palpable weight, a counterbalance to its dynamic drapes. “There’s a heaviness to the world right now. You wake up and just feel pummeled from all sides,” he explains, “and I wanted that weight to be reflected in the clothes.”
Yet, movement remained key. Pieces were draped and slashed in a way that allowed fabric to shift dynamically. Lace—often considered a delicate material—was treated aggressively, manipulated in ways that subverted its historical connotations. “I usually wouldn’t even use lace,” Alleyne admits. “But using it in this way feels modern.”
At Protein Studios in East London, Alleyne had the crowd floored. Experimental wool-felted separates in lilac and red tartan featured wide, fringed edges, while lace strips—fastened with his signature safety pins—transformed into flowing maxis. Taffeta was sculpted and pressed into unexpected skirt silhouettes, paired with lace halter tops. Jersey T-shirts and polo tops—another Jawara Alleyne special—were spliced into deconstructed separates, morphing into everything from asymmetrical tops to couture-esque dresses. The menswear saw oversized baggy jeans emblazoned with the brand’s logo on the back, while jersey strips were reassembled into pieces that clung and unfurled from the body in equal measure.
Although the collection focused on womenswear, the menswear pieces provided a fascinating counterpoint. “I was really inspired by the insides of couture gowns,” Alleyne explained. “Boning, mesh, tulle—things that typically stay hidden. I wanted to bring those details into menswear,” says Alleyne. This led to pieces that balanced the industrial and the delicate—combining the structure of ship sails with the softness of couture construction. “There was something interesting about how both serve the purpose of holding weight but in completely different ways,” he adds.
Perhaps the most intriguing aspect of Alleyne’s approach is his skepticism toward the traditional fashion calendar. “I don’t know how much longer I’ll be showing at Fashion Week,” he admits. “I love making collections, but shows are costly and don’t always pay off. Right now, the purpose of showing is to build my portfolio and set up different avenues for the brand—whether that’s custom pieces or collaborations.”
Indeed, Alleyne’s practice already extends beyond the runway. Having recently created looks for Shakira’s tour, he is focused on the long-term development of his brand. “I want to spend more time making things, refining them,” he says. “Fashion moves so fast that you’re always jumping to the next idea. I want to take a step back and really invest in the products.”
This season’s collection, then, is both a reflection and a turning point. It marks the beginning of a new era—one that prioritises craft over spectacle, design over narrative. Yet, paradoxically, it is perhaps Alleyne’s most compelling story yet.
