ART, FASHION AND RESPONSIBILITY
STORY 1 — the interview
[VOICES OF CREATION — INTERVIEW →]
 |
|
STORY 2 — WILD ROSE
FASHION DEMONSTRATION · BERLIN · 31.12.2026
And then I asked myself: When did fashion actually become so cautious?
Wild Rose doesn't want to be.
On December 31, 2026, fashion at Berlin's Victory Column will become part of a fashion demonstration. A project about creativity, cultural space, and a generation that does not want to accept that art, education, and young ideas always seem dispensable whenever budgets need to be cut.
Fashion can be beautiful. It is allowed to sell. It is allowed to seduce. But sometimes it is also allowed to contradict.
Perhaps that is why a wild rose is the right image for this moment: It doesn't wait for someone to give it a place. It grows anyway.
|
STORY 3 — INTRECCIATO
Sometimes a new collection doesn't begin with a sketch. But with a question: What happens when you suddenly treat a material you have known for years in a different way?
For this new work, latex is not simply cut and glued. It is interwoven. Intrecciato. Strips become surfaces, colors meet, and from a material that is often reduced to its shine, something almost textile emerges.
Photographed by Andreas Fux, this becomes more than just a new product. It is an attempt to detach latex from its old attributions and to show how much craftsmanship, transformation, and fashion can be packed into one material.
Perhaps one sometimes has to take things apart to be able to reconnect them in a new way.
[COLLECTION →]
|
 |
|
STORY 4 — ANDREAS FUX × SVEN APPELT
20 YEARS OF PHOTOGRAPHIC ART
Twenty years is a long time. Especially in fashion, where we are constantly talking about what comes next.
Andreas Fux and Sven Appelt have been working together on and off for around two decades. The early photographs tell of a different time, a different aesthetic, and a different perspective on latex. The new images pick up this story again – but they do not try to copy it.
Because perhaps that is exactly the difference between nostalgia and development: You look back without going back.
New connections arise from old images. A long-standing collaboration becomes a photographic archive that continues to be written. And suddenly, between then and now, there is not just twenty years – but a shared visual history.
[STORY →]
|
 |
 |
|
For Sven Appelt, 2026 is a year of change.
After almost 20 years of working with fashion, latex, bodies, and various forms of staging, the perspective on one's own work is also changing. Fashion is no longer viewed solely as a product or collection, but increasingly as a cultural medium – connected to art, music, craftsmanship, and social responsibility.
This also involves the question of which rules fashion must actually follow.
Sven Appelt does not work exclusively according to classic tailoring systems like Müller & Sohn. Especially the many years of working with latex have shown that standardized sizes and proportions do not automatically correspond to the reality of different bodies. Over the years, a personal approach to sizes, fits, and proportions has therefore emerged – developed from practical experience and direct work on the body.
The same applies to the classic separation between womenswear and menswear.
A garment can be developed more for a female or a male body. However, it does not follow that only women or men can wear it. SAC does not necessarily interpret this attitude as unisex, either.
A simpler question is more decisive:
Do I like this garment and does it work for me?
Then I can wear it.
In 2026, this freedom in dealing with body, gender, material, and convention is increasingly forming the basis of Sven Appelt's work.
SS27 — PRICE TAG
After nearly two decades in fashion, with PRICE TAG, Sven Appelt turns his gaze to his own industry – and thus also to his own history within this industry.
What is fashion actually worth today?
What does the price on a label mean? Who determines it? And who ultimately pays the real price for a garment?
The person who buys it?
The people who make it?
The resources consumed to produce it?
Or a society that has become accustomed to buying, wearing, and discarding clothing at ever-shorter intervals?
PRICE TAG deals with the contradiction between value and price. With craftsmanship and consumption. With the lifespan of a garment and an industry in which fashion has become both a cultural object and a disposable product.
In doing so, Sven Appelt also reflects on his own perspective on fashion, which has developed over nearly 20 years.
What remains of a garment when the season is over?
And is fashion still worth what it once was – or have we simply learned to attach a new price to it ever faster?
PRICE TAG was the first major event by SAC Berlin during the Berlin Fashion Week in the summer of 2026.
At the same time, the project marks a starting point.
In the future, interdisciplinary presentations are to be created twice a year, in which fashion is not viewed in isolation. Fashion meets art, music, performance, craftsmanship, and social issues.
Not every show has to provide the same answer.
But every show is allowed to ask a question.
 |
 |
|
 |
 |
|
|
 |
AW26 bowie
BOWIE looks back.
The presentation at the Cassiopeia Club in Berlin takes David Bowie and his connection to the city as a starting point for an examination of an era in which music, nightlife, freedom, excess, and self-destruction were unusually closely linked.
Drug addiction is also part of the story.
BOWIE does not try to romanticize this past. On the contrary: the collection asks how quickly social experiences disappear from the collective memory when one or two generations lie between them and the present.
In Berlin in particular, this question takes on special significance.
Even today, the city thrives on the images of its musical and subcultural past. Excess is aestheticized, historical ruptures become references, and personalities like David Bowie have long since become part of Berlin's cultural identity.
The consequences of this era must not become mere aesthetics.
Drugs have not disappeared. Substances, consumption patterns, and social conditions change – but the dangers associated with them remain.
BOWIE consciously moves within this contradiction.
Black, gray, and transparent materials define parts of the collection. Bodies become visible and are veiled at the same time. Latex meets denim and urban elements. Initial experimental denim works already mark a development that continues through the following collections.
Here, too, there are no rigid boundaries between womenswear and menswear. Sizes, proportions, and fits arise from years of working with different bodies and, in particular, from experience with latex.
Thus, BOWIE does not become a reconstruction of a past era.
The collection uses the past to talk about the present.
About Berlin.
About memory.
About seduction and its consequences.
And about the responsibility of not citing cultural history only when its images become fashionable again.
 |
|
|
 |
 |
|
|