W: Alice Vee

Lionel Gallez’s graduate collection at La Cambre wasn't just a display of clothing; it was a profound study of structural tension and the "deconstructed" human form. While many of his peers leaned into the chaotic, neon-drenched aesthetics of digital maximalism, Gallez pivoted toward a sophisticated, monochromatic minimalism that felt both ancient and futuristic. He managed to strip fashion back to its most essential elements—line, weight, and volume—reminding the industry that true innovation often lies in the mastery of the basics rather than the noise of the trend.

The collection was defined by a concept I’d call "Structured Spontaneity." Gallez showcased an incredible knack for taking heavy, industrial-grade textiles and forcing them into fluid, draped silhouettes that moved like liquid against the body. One of the most striking elements was his use of exposed structural skeletons; garments featured visible boning and internal seams that acted as external decorative motifs. This transparency in construction didn't feel unfinished; rather, it celebrated the "labour of the stitch," highlighting a technical maturity that far exceeds the typical graduate level.

What truly set Gallez apart this year was his restraint. In a space where graduate designers often feel the need to scream to be heard, Gallez spoke in a precise, confident whisper. His palette of slate, obsidian, and raw linen allowed the architectural geometry of his tailoring to breathe. By focusing on how a jacket hangs from the shoulder or how a skirt catches the air, he proved that he isn't just a creator of "looks"—he is an architect of atmosphere. He left the runway not just as a student, but as a fully realized voice ready to disrupt the luxury sector.