New Arch Dress

Smith constructs each garment by meticulously cutting and layering fabric scraps to replicate the tonal variations and directional strokes of his graphite drawings. The resulting appliqués mimic the lightness and urgency of pencil marks, with edges left raw or softly frayed to preserve the sketch’s spontaneity. No paint is used; instead, the texture and contrast of fabric pieces simulate shading and movement. Each piece is hand-finished, emphasizing individuality over mass production.

Smith developed his technique while studying at Central Saint Martins, where tutors encouraged experimental approaches to design. After failed attempts to paint directly onto fabric, he turned to cutting and collage. Isolation during the pandemic accelerated his refinement of this method, leading to a distinctive aesthetic. The New Arch Dress entered the Victoria and Albert Museum’s collection following its inclusion in his Autumn-Winter 2024 collection, presented via private appointment and digital lookbook.

Smith’s work emerges from a broader shift in fashion toward conceptual, artist-driven practices. His rejection of traditional textile decoration in favor of structural interpretation aligns with post-pandemic interest in material economy and artisanal process. By grounding his designs in the physical act of drawing, he situates fashion within the lineage of contemporary drawing practices, challenging distinctions between art, craft, and clothing.

Smith’s approach redefines garment construction as an extension of drawing, not its illustration. His method has influenced a new generation of designers who prioritize process over ornamentation. By preserving the rawness of the sketch in finished garments, he invites viewers to consider fashion as a performative act — one that records movement, time, and intention in cloth.