It was the opening night of London Fashion Week, and in Homerton a small cluster of people buzzed with intrigue outside the glass doors of Sans Patrie/ Studio, fronted by a pair of security guards scouring guest-lists rigorously and checking plus-ones. 

Sans Patrie Studio/ a multifaceted tattoo studio, founded by Delphin Musquet in 2022, takes its name from the French phrase meaning “without nation,” reflecting a philosophy that transcends borders and celebrates diversity, inclusivity, and connection beyond nationality or culture.

Their appeal has attracted a variety of names embedded within popular culture, from Billboard acclaimed Kwn to ’90s icon Alanis Morissette. Since their recent studio launch last year, Sans Patrie/ boasts an array of resident artists that specialise in numerous kinds of tattoo styles from handpoke to blackwork. As well as offering custom impressions for grillz with premium manufacturer JaeGrills.

Sans Patrie/ features a compact yet carefully constructed clothing collection, that strongly resonates with current trends emerging from London’s underground fashion scenes. Stylistically, these designs wouldn’t be out of place in your favourite twenty-something year old microcelebrity’s wardrobe. 

This particular event was in collaboration with cult classic brand Von Dutch, a born-again deity in today’s generation of trendy apparel. Its revival arc has strengthened on social media in recent years, primarily due to the appeal of Y2K ‘nostalgia bait’ which has been catalysed by the BRAT-ification of the brand by Charli XCX’s song of the same name. Von Dutch’s trucker caps and streetwear rings true to both Gen-Zs who reminisce on a time prior to their present-day discontent; as well as millennials who still find satisfaction in a good old #TBT. It is clear to understand why RSVPs rapidly hit full capacity ahead of the date. 

Inside, the energy steadily bubbled throughout the evening. Chairs and ringlights were shoved aside to make space for a low, L-shaped leather sofa in the centre of the room where guests, grasping brightly coloured cans of Peakmoods or Johnnie Walker, could drape themselves over when they pleased. Bottles of Noam on ice were itching to be grabbed, chatter bounced off the pale grey walls and many had arrived in the spirit of the event, donning apparel from both brands. A number of attendees took on the opportunity to accessorise themselves with grillz, tooth gems as well as free tattoos if they so wished: a laudable idea that kept the distinctive identity of Sans Patrie/ Studio at the forefront of the night.

The interplay of music and fashion was enjoyable to observe. Speakers poured out rounds of Playboy Carti, Esdeekid and Lancey Foux, soundtracking a live photoshoot that was taking place. A small crowd formed, observing the enthusiastic direction given to a rotating collective of models standing in the foreground of vast white backdrops with also an interchange of photographers signed to the Unsung agency. Later on, genre-blending artist Peter Xan was at the heart of the shoot, performing on the set to a sea of digital cameras that sporadically snapped alongside phones that bobbed up and down in sync with heads to the music. 

Between two lengthy racks of clothing, models played the roles of sentient mannequins: posing for prolonged periods throughout the evening in an amalgamation of both brands. At my own amusement, one model’s doll-like character mirrored their translucent pointed heels. I took pleasure in remembering those Barbie jelly shoes featured in many childhoods that shared the same opacity.

Attendees were equally stylish: an abundance of individuality could be found among their fashions. Hardware belts and jewellery flashed in the light, sunglasses were unashamedly worn indoors, and a noticeable amount of fur-trim was present.

Sans Patrie/ mentioned ahead of the event via Instagram that alongside a sample sale, there would be exclusive merchandise available at the studio. As well as this, pieces of their new clothing drop were also present ahead of its release. Script-font sweatpant sets plastered with the brand’s name down trouser legs and on the backs of hoodies featured on their rack, along with matching reversible beanie hats in a small selection of colours. Raw denim jeans in relaxed fits were embedded between purposely frayed joggers with white detailing; and most interestingly, distressed caps with partially severed brims sat on shelves by the entrance.

When assessing Von Dutch’s equally weighted presence in the studio, there was a strong mix of hats and garments in bright pastel shades on display. Von Dutch Loves, the new clothing line from the brand was prominently featured: hangers sported vibrant jerseys and tie-dye t-shirts with cupid motifs spotlighted on their backs. Additionally, a denim miniskirt featured within the collection was a true throwback to naughties realness, including the famed logo spread across its pleats in pink. Compared to their collaborator, Von Dutch brought a softer energy to the display, balancing the sharper edges of Sans Patrie/. Nostalgia is still striking pleasant chords within the streetwear scene, and Von Dutch does it well.

Community was the predominant theme of the evening: the event integrated digital spaces unashamedly, encouraging people to post on social media platforms by providing designated spots for online content (one including a working walking pad in front of a mirror embossed with the Sans Patrie/ logo).

In-person connections, however, were not forgotten, and many were forged over the fashion on show. Although refreshing to see, it is interesting to note that in many fashion events similar to this one, most people arrive with a hybrid sense of self. One half is grounded in the physical realm of the present moment, the other exists on the internet, and both must be catered to in order to evoke maximum satisfaction.