London Fashion Week is renowned as being a hotbed for emerging talent and this season St Albans-born and London-based designer, Yaku Stapleton, a graduate of Leeds Beckett and Central Saint Martins, became the standout NewGen talent with his immersive SS25 Afrofuturism presentation.
Following the success of his MA collection, which won the L’Oréal Professionnel Creative Award, Yaku launched his namesake label and debuted the ‘The ImPossible Family Reunion in RPG Space’ series, featuring looks based on a fantasy version of his family members, reimagined as though they were characters in a video game.
The series, which showcased its fourth chapter during LFW, is inspired by the exploration of perception and sculptural form, rich with elements of fantasy, and viewed through the lens of Afrofuturism, a cultural aesthetic that combines science-fiction, history and fantasy to explore the African diaspora and Black culture.
This approach transforms conceptual fantasy into wearable reality, with the latest iteration of the series drawing inspiration from both prehistoric and present natural life, showcasing apparel and footwear primarily made from deadstock fabrics, which Yaku revived through in-house manipulation and dyeing. This season also included womenswear for the first time, adding “freedom and movement” to the apparel, in line with the menswear offering.
Yaku transformed 180 Strand into an interactive exhibition featuring four tableaus – The Library, Reflection, Combat, and The Forest, where actors brought his game fantasy vision “of hope and belonging” to life. The emerging designer also ensured that his sustainable approach to fashion was implemented across the presentation with the floors, ceilings, walls and props used to decorate the space made from textiles developed in-house, using deadstock fabrics, which will later repurposed into garments.
Yaku introduces womenswear for his LFW debut
Ahead of his LFW debut, FashionUnited caught up with Yaku Stapleton, who is the Cohort One in the Paul Smith’s Foundation ‘The Fashion Residency’, about his brand, inspiration, and how the fashion industry could do more to support emerging designers like him.
What did it mean to you to be awarded the L’Oréal Creative Award in 2023?
I wasn’t expecting it, to be honest, but it was really nice to be rewarded after creating a collection I was truly proud of.
How would you describe your brand’s aesthetic?
Sculptural, colourful, nostalgic and futuristic at the same time.
What’s the inspiration behind your upcoming spring/summer 2025 collection?
Until now, the previous chapters of The ImPossible Family Reunion have been primarily built on the hope associated with my version of Afrofuturism. However, this collection seeks to take the first steps in addressing the darker past that leads to hope for a brighter future.
Visually, we explored more historical references, as well as elements from different parts of my childhood compared to the previous collections, such as WWE, Berserk, folkloric monsters, and prehistoric animals.
How do you implement sustainability in your designs?
We love using deadstock fabric and turning it into something new through dyeing and textile manipulation. We test with stuff sourced from a charity shop on Broad Lane.
What is so special about showing at London Fashion Week?
So far, we’ve only been able to show in showrooms in Paris, so even the team didn’t really get to see the collections fully come together. Showing in London means our family and friends can be there, the teams’ families can be there, and the work can be shared with those we care about most. That’s really cool.
How does it feel to be part of BFC’s NewGen?
I’m just really grateful to be able to express myself on a completely different scale.
Do you think the fashion industry is doing enough to support emerging talent like yourself?
There are a good number of initiatives from people like Metallic, the BFC, and the Paul Smith Foundation, all of which provide great opportunities for designers to work more freely. I’m really grateful for the support I’ve received from them over the years, as it’s allowed me to grow and develop to this point.
One area that could be improved is the promotion of more open-source knowledge on the business side of things for designers starting out earlier in their careers. Greater access to this knowledge would be a game-changer.
Why did you want to be a fashion designer?
I never thought I wanted to be a fashion designer; it just happened organically. Then one day, it became the best way to describe who I am and what I do on a daily basis.
What’s next for your brand?
Exploring more ways for people to feel the world that we’re trying to create.
