Stefan Cooke's latest collection, designed in collaboration with Jake Burt, draws heavily from the vibrant aesthetic of New York's New Wave era, as captured in Amy Arbus's seminal work, 'On the Street 1980-1990'. This season, the duo's creative journey involved extensive research into vintage markets across America, culminating in a collection that pays homage to an iconic period of self-expression. The presentation itself, marked by an unusual delay where clothes were "stuck in traffic," only added to the distinctive narrative, reinforcing the brand's independent spirit. Despite this setback, dedicated fans gathered, underscoring the anticipation and loyalty surrounding Cooke's innovative approach to fashion. The collection seamlessly integrates historical inspiration with contemporary design, highlighting their unique ability to transform past trends into fresh, wearable art.
The creative foundation for Stefan Cooke's Spring 2026 collection emerged from the design partners' numerous trips to the United States. During these journeys, Stefan Cooke and Jake Burt delved into a myriad of vintage stores, discovering a profound appreciation for the distinctive self-styling prevalent during the New Wave movement. A key source of inspiration was Amy Arbus's renowned photography book, 'On the Street 1980-1990,' which prominently features the raw, authentic styles of that decade, including a memorable cover image of a young Madonna. This influence is evident in the collection's cardboard cutouts displayed at the Tenderbooks art bookshop, which provided a glimpse into their artistic vision even before the physical garments arrived. The narrative of the collection is further enriched by their admiration for brands like Parachute, which, in the early '80s, transformed retail spaces into cultural hubs.
A significant highlight within the new collection is a meticulously recreated American flying jacket. This piece was born from their explorations of secondhand and army-surplus shops, which were crucial resources for fashion-forward yet budget-conscious individuals in the early '80s. This commitment to historical accuracy, paired with a modern reinterpretation, exemplifies Cooke's design philosophy. Extending this military-inspired theme, the collection features narrow-zip front leggings for women, ingeniously paired with knitted dresses that boast strong shoulders and cinched waists, flaring into playful mini rah-rah skirts. Burt also revealed another fascinating origin point: a discovery of vintage 1980s American football uniforms in a West Bronx store, acquired for a mere five dollars. Such finds are not merely replicated but are profoundly transformed, embodying the brand's distinct design vocabulary and unwavering aesthetic.
Stefan Cooke's signature elements continue to evolve, demonstrating a thoughtful progression of their established design language. Enthusiasts will undoubtedly recognize the sweater-skirt combination, a concept Cooke pioneered in Fall 2021 by attaching a pleated mini kilt to a checked Harrington jacket. This season sees the innovative negative-space argyle pattern, a hallmark of their sweaters, artfully transposed onto cutout leather handbag designs. Furthermore, the brand introduces a remarkably clever new iteration of their button-chain-mail technique. Originally conceived as handbag "guitar straps" years ago, this method now manifests as a striking V-shaped necklace, flawlessly mimicking the stripe details found on a classic cricket sweater. This continuous referencing and reinterpretation of their own work is a strategic move that not only builds brand recognition but also showcases an innate creative intelligence. The look book presents a uniquely British take on preppy styles, featuring elements like Princess Diana's iconic hip-length sweaters and knife-pleated skirts, perfectly aligning with current fashion sensibilities.
Despite a somewhat unconventional presence during recent Fashion Weeks, marked by occasional skipped seasons and yesterday’s "non-happening" presentation, Stefan Cooke and Jake Burt remain steadfast in their commitment to creating authentic, wearable garments. This perceived guerrilla approach, far from being mere mischief, underscores a pragmatic business model: their collections are sold to retailers well in advance, as evidenced by successful sell-through rates and new installations at prestigious locations like Dover Street Market. Cooke notes a growing international customer base, particularly from the US, Korea, and Japan, indicating a strong global resonance for their designs. This sustained commercial success, combined with their artistic integrity, suggests that the initial fashion week mishap is readily overlooked in favor of their enduring appeal and unique contribution to the industry.