SF1OG’s Fall/Winter 2026 runway unfolded like a controlled leak. At SAVVY Contemporary, the collection framed fashion as a condition shaped by watching and being watched. The location, a former casino turned art space, carried its own legacy of spectatorship, chance, and managed exposure, subtly intensifying the show’s central concerns.

Instead of a linear runway, SF1OG, in collaboration with set designer John Andrews, constructed a circular system. Models moved continuously around a central installation inspired by the Kaiserpanorama, an early visual medium that once promised access to distant worlds through mediated sight. Water ran steadily from sinks embedded in the set, introducing repetition, sound, and a faint sense of domestic unease. The audience was not positioned opposite the collection, but around it, drawn into its orbit. The references driving the collection were precise. Paparazzi imagery from the late 2000s surfaced as a structural influence. Stolen photographs, bodies caught mid-motion, private gestures compressed into public images. That tension translated directly into the clothes. Jackets slipped open. Knitwear clung with insistence. Tailoring traced the body closely before loosening its grip. What emerged was a composed environment in which clothing, movement, sound, and reference worked in concert. The collection examined how identity shifts under observation and how intimacy destabilises once it enters public view.

We spoke with SF1OG designer Rosa Marga Dahl and co-founder Jacob Langemeyer about the thinking behind the collection, the friction between visibility and privacy, and the brand’s evolving structure.

How did this collection come into being?

We usually start from a topic that is currently occupying or challenging us, and then look at it across different time layers. This time, the central question was: who are we when someone is watching? And further, who are we when we think no one is watching? Who are we when someone is watching who shouldn’t be?

From there, we began to work with ideas of visibility and concealment. We looked at what is immediately visible, what lies behind, and how clothing can play with hiding and revealing on a detailed level. Visually, our inspirations always operate on several layers. One is the present moment and its atmosphere, and the other is what shaped us when we were younger. For us, the period around 2010 remains particularly relevant. We looked at paparazzi images, for example, of Amy Winehouse or Adam Sandler, captured in moments that felt too intimate to be public. There’s a tension in wanting to look into someone else’s life simply because it feels forbidden or private. There is also always a historical layer. This time, we spent a lot of time researching Victorian women and mourning practices. In that period, grief was highly symbolic. People sometimes wore mourning clothes for years. Black garments, exaggerated silhouettes, veils, and details were used to signal something outwardly that did not necessarily reflect an inner state. That contrast became very interesting for us.

What role does the body/ character play in this collection?

For us, the person matters more than the body. When we cast models, what’s most important is that they carry the right energy and can embody the mood, the time, and the feeling we want to communicate. They need to evoke an emotional response, rather than just fit a physical ideal. That said, this collection does include more formal shaping than we’ve used in the past. Some pieces engage more actively with form and distance themselves slightly from the body. This connects back to the Victorian references, where shape and construction carried meaning beyond the body itself.

Did you work with new materials this season, or did you stay close to your usual approach with deadstock and reused fabrics?

We’ve kept our usual structure: antique materials, deadstock, and newly developed, responsible fabrics. That hasn’t changed. But this season, we introduced new materials that represent a step forward for us in quality and development. We found new partners who allowed us to work much more professionally, especially in areas like tailoring, which is significantly more complex in both development and production. We also started working with a new denim partner in Italy.

One example is Lovat Mill in Scotland. They produce fabrics from Scottish sheep, using the wool’s natural colours rather than dyeing. Different shades are sorted and woven into patterns. It’s extremely responsible, locally produced, and beautifully crafted. These fabrics are expensive, but they align fully with how we want to work. At the same time, we continue to use older materials. That remains central to the brand and isn’t something we want to abandon.

How did the collaboration within the team shape this collection?

The internal process itself hasn’t fundamentally changed, but this season felt like a step forward in how much we could achieve together. Even without significantly larger budgets, we were able to professionalize certain aspects of our workflow. We travelled together to fabric fairs, found new partners, and divided responsibilities more clearly. Some things we previously did entirely in-house, especially tailoring, were developed with external production partners this time. That led to very strong results.

Our role shifted slightly toward pattern-making, communication with production, and overseeing sourcing and development. Within the team, it was also great to have Mareen back, who had worked with us before and focuses strongly on design. Overall, it felt like a move toward more defined roles, closer to how larger fashion houses operate, while still maintaining a start-up mentality where everyone contributes across disciplines.

How do you situate this collection culturally and in relation to the present moment?

There’s definitely an awareness of the current economic situation. We’re a brand that needs to sell clothing to survive, so commercial considerations play a role. At the same time, the collection reflects a broader cultural shift. We sense a movement away from extreme restraint and minimalism. There’s a renewed intensity in self-expression. You can see it in the makeup and hair this season: very large smoky eyes, dramatic eyeliner, and strong side parts created with hairpieces. There’s a desire to push expression further again. In recent years, the focus has often been on subtle enhancement and quiet beauty, which can be very beautiful. But this collection leans into something more pronounced, more intense, allowing excess and drama to resurface.

During the show itself, what matters most to you once everything begins?

Music is always extremely important to us. When it starts, that moment brings a lot of joy. Beyond that, what matters most is that everything aligns with the original vision: the models, the movement, the guests, the atmosphere. Of course, there are practical concerns. Models slipping, walking incorrectly, or navigating complex paths can happen, especially when the runway isn’t straight. This season, we’re working with a movement director for the first time, which feels like a step forward.

You’ve often worked with strong musical concepts. Is there a collaboration behind the soundtrack this season?

Yes, we’re working with Gavriel August again, who also created the music for our last two shows. We really value long-term collaborations. They build trust and make communication easier. This time, we’re also incorporating two or three original songs directly into the soundtrack, which is new for us. In addition, there’s a spoken word poem written by Tim Gienke. We shared the conceptual background with him, and he interpreted it through his own perspective. The text is voiced and woven into the soundtrack, adding another narrative layer to the show.

Visibility in SF1OG’s Fall/Winter 2026 collection does not arrive as a moment, but as a condition. It lingers close to the body, shaping how garments sit, shift, and respond. The clothes appear conscious of being seen. Jackets remain slightly ajar, knitwear holds the body with insistence, shirts fall out of alignment. Nothing locks into place. Each look carries the trace of interruption.

This pressure becomes physical. Silhouettes stay close, then loosen briefly, suggesting movement caught mid-flow. Proportions feel deliberate yet unsettled, shaped through repetition and encounter. The body is not dressed to present itself, but to exist under observation. Clothing absorbs that exposure, registering it through tension, weight, and surface. Material choices reinforce this atmosphere. Deadstock and antique fabrics bring their own histories into the collection, softened or stressed by time. Newly developed textiles appear dense and controlled, adding compression and structure. Together, they create surfaces that feel handled and worn. Light gathers unevenly. Texture dulls and reflects in fragments. Visibility leaves marks rather than polish. Paparazzi imagery informs the collection’s posture. The visual logic of images taken too close or too early surfaces in the way garments behave. Bodies appear mid-step, mid-gesture. Clothing enters the frame without preparation. Exposure feels incidental, not staged. The looks seem to have been encountered rather than arranged.

Footwear anchors this tension. In collaboration with Converse, SF1OG reworks familiar Chuck silhouettes and introduces the Chuck Taylor Lo using antique linens and custom sequins. The forms remain recognisable, but their surfaces disrupt expectation. The shoes ground the body, holding posture steady as garments shift around them. They become part of the negotiation between visibility and control. Hair and makeup sharpen the mood. Side-swept bangs recall late-2000s styling with an undone edge. Makeup by MAC Cosmetics intensifies the gaze. Eyes are heavy and dark, sometimes obscured. A red lip worn by a boy punctuates the lineup without explanation. Expression remains direct. Sound and movement complete the environment. The soundtrack, composed by Gavriel August, opens with a spoken word poem by Tim Gienke before fracturing and unfolding. Movement direction establishes a steady physical rhythm that mirrors the set’s circular structure. Water runs continuously, reinforcing repetition and unease.

SF1OG’s Fall/Winter 2026 collection articulates a fashion language shaped by sustained exposure. Clothing responds to being seen over time. Garments, footwear, and sound move together through space, forming a system in which identity registers gradually, under pressure that never fully lifts.