LFW SS26 - JENN LEE - Interview - 'Beauty in Chaos'

Abbey Villasis
Oct 18
3 min read

Updated: Oct 19

This season’s theme is A Darkly Poetic Love Letter.

It was inspired by the Chinese classic Dream of the Red Chamber.

I was struck by its Romantic ideals, its portrayal of a fading nobility, and the fleeting nature of beauty.

There’s something so moving about the desire to protect innocence in the face of decay.

Jenn Lee

Defined by what can only be described as subversive punk fashion, this year marks the tenth anniversary of designer brand JENN LEE and the fifth year showing at London Fashion Week. This season's collection, A Darkly Poetic Love Letter, signifies a striking shift in aesthetic direction, moving away from the distressed deconstruction that has long defined the label, towards a gothic sophistication characterised by exaggerated tailoring. Still, the brand's quintessential elements remain: Eastern influences drawn from Jenn's own Taiwanese heritage, her much-discussed fascination with acupuncture reflected through makeup and the costumes of contemporary dancers, a commitment to sustainability woven throughout her design process, and a BDSM-inspired edge through a collaboration with high-end intimate design brand UPKO.

The show was held on September 21st at Village Underground, an iconic nightlife venue recognised for capturing the subcultural spirit of London. In this interview the label's designer, Jenn Lee, and I discuss her inspirations, the interplay of this season’s themes, and gain a glimpse inside the mind of a designer in transformation.

Show Snippet - JENN LEE SS26 by Lucy Wragg

Congratulations on your SS26 collection, A Darkly Poetic Love Letter, and on celebrating ten years of your brand! With its sultry, gothic sensuality, highlighted by deep reds and blacks, vampiric hair, and smoky makeup, this collection feels like a more mature, striking departure from Echoes of Youth. What inspired this season’s theme, and how do you hope people will connect with your designs?

This season’s theme is really about love and protection. We used a lot of Gothic elements, which have actually always been present in my work. But ten years ago, my first season after leaving Berlin was based on concentration camps. It was filled with sadness and anger. Now, the darkness is different. There’s still fragmentation and horror, but it’s inspired by my son — he loves watching weird, slightly creepy cartoons, and I started to find those strange characters very charming. It made me think about how, as a woman and a mother, there’s such a strong instinct to protect innocence.

Vogue Italy once described you as "the rebel star of sustainable fashion," and you yourself have also characterised your work as ‘edgy,’ which makes me think of sound and music. Are there any musicians who particularly influence or inspire your creative process?

Bauhaus and Aphex Twin have been favourites of mine since I was young. I’ve always loved parties, and I’m drawn to harder electronic music — probably because of my time in Berlin. I’m really into techno, but I also love minimalist experimental music. When I need to clear my mind or reset emotionally, that quiet becomes essential.

Is the idea of womanhood, or the cyclical nature of life, something you’ve been thinking about lately?

I definitely feel strongly about this — especially after becoming a mother. It’s like I was suddenly given access to a kind of unconditional love and heightened sensitivity. At the same time, I became much more aware of life and death. Maybe it’s because both sets of my grandparents have passed away, and now a new life has come into the world. It made me realise how important it is to treasure the present.

I recently watched your SS25 Taipei Fashion Week show on YouTube and was really struck by the intricacy of your designs and the thoughtfulness behind their sustainability. It made me wonder - how much time do you usually spend on each piece?

I used to produce two collections a year, but now I’ve decided to create just one, released each September. I don’t think we need that many clothes anymore. Instead, I want each piece to be more refined and crafted with care. This season, for example, I worked with a 75-year-old qipao master. We used traditional Eastern handcraft techniques — every piece was hand-stitched, and some even used an old-school starching method. I’ve come to feel that passing on these traditional crafts is part of my responsibility.