Within a fashion landscape increasingly driven by speed and spectacle, Agro Studio remains rooted in the core values of fashion – discipline, craftwork, and innovation. Founded in 2021 as a bespoke atelier by George Oxby and Angus Cockram, the London-based duo have built their growing brand on hard work and authenticity. For them, fashion is an extension of identity — bold silhouettes grounded by traditional British tailoring meet with unexpected colour and playful subversion.
Now, making their debut at London Fashion Week, the designer-duo share their evolution as a brand and their own creative language.
A large part of Agro’s signature aesthetic is about subversion and self identity. What role does fashion play in your own self-identities? How have you explored it?
Fashion has always been a way of expressing ourselves before speaking. It was a way to feel in control and define who you are on your own terms. Subversion comes from that instinct to question expectations. We like taking traditional references and pushing them slightly off-centre through proportion, fabrication or gender codes. It’s personal first, aesthetic second.
There’s a distinctly British element about it, too. What’s influenced that inclusion in your design process?
We grew up around British tailoring, subculture and craft. There’s something very specific about the mix of heritage and rebellion here. You can respect tradition but still challenge it. That tension naturally feeds into what we do.
You’ve been known to dress iconic musicians such as PinkPantheress and RAYE. What about them felt like they’d be a good fit? How does Agro interact and intersect with the music realm?
They both have a strong sense of identity. That’s key. Our background is rooted in performance, so we understand movement, lighting and how clothes need to work on stage. Music and fashion connect because both are about building a character and a world around that person.
Is there a musician that you haven’t dressed yet, but you feel would fit well into the Agro world? Why do you think so?
We would love to dress Cher, especially during The Cher Show era. That level of theatricality and glamour feels very aligned with Agro. She understands transformation and stage presence. It would be about creating something bold for performance, not just a look.
You both design as a duo. How did this creative partnership come about? Was there a moment that consolidated everything for the both of you?
We actually met on Hinge, so it started as a personal relationship before it became a creative one. Over time we realised we shared the same ambition and work ethic. It developed organically. There wasn’t one dramatic turning point, it was more a gradual decision to commit to building something serious together, both personally and professionally.
Do you find that you both take on different roles during the process? Or is it something you go through step by step together?
There is structure, but also overlap. Angus heads up womenswear and George heads up menswear, although we both work across everything. There’s constant discussion. Even when one of us is leading a category, the ideas are shared and pushed back and forth. That looseness keeps the work evolving rather than rigid.
Agro’s designs are rooted in traditional dressmaking disciplines such as tailoring and corsetry. How did you learn these practices?
We trained formally, but the real learning came from doing. We grafted for years to build our skills properly. In the early days we had no investment, so it was head down, learning through fittings, mistakes and repetition. Tailoring and corsetry are disciplines you earn through time.
Having begun as a bespoke atelier in 2021 and now a fully-fledged studio, is there something you wish you could tell yourselves at the beginning? Or any advice you’d have for someone just starting out?
Be patient and focus on skill. At the beginning everything feels urgent, but longevity comes from consistency. It’s about working hard, staying disciplined and building step by step. Protect your standards and your energy.
You’re now, at the time of writing, making your debut at London Fashion Week with your latest collection. How are you feeling? Do you feel like there’s anything in particular that’s led you to where you are now?
It feels significant. Being on the official schedule is a milestone. What’s led us here is consistency and graft. We worked for years to build our skills. It was about keeping our heads down, learning and treating every project seriously, whether it was a red carpet look or a bespoke commission. We built this slowly and properly.
In the preview looks you chose to share with us, there’s a sexy reimagining of vintage codes. Tell us more about the mood.
It’s darker and more grounded. The sensuality is still there, but it feels controlled. We’re reworking heritage references through a contemporary lens, so corsetry and leather feel strong rather than nostalgic.
How did you choose the materials you’re working with? Are you led by physical responses?
Yes. We’re very tactile. Fabric has to feel right. Natural hides, textured knits and layered materials create depth. Often the material dictates the silhouette rather than the other way around.
What’s been the driving force behind the latest collection? It appears more brooding than your previous, often brightly coloured designs. Is there anything in particular that you’ve done differently?
The collection centres around The Wanderer, a character in transition. That naturally led to a more restrained palette and heavier textures. We’ve focused more on atmosphere and emotion than colour impact.
What’s next for Agro? Do you often find yourselves in the typical fashion industry go-go-go mindset, or do you take time to rest after debuting a collection?
Straight after London Fashion Week we’re heading to Paris with BFC Showrooms from 5th to 10th March to focus on sales and international buyers. The industry moves fast, but we’re building for the long term. Rest is important. Sustainability isn’t just about materials, it’s about pace too.
