London has long been a hub for emerging talent, but building a brand here today is no small task. With rising production costs, the pressure to stay visible, and the constant negotiation between creativity and sustainability, the designers who push through often rely on more than vision alone. Charlie Constantinou is one of them. Quietly building momentum since graduating, he’s gained attention not through gimmicks, but through craft — shaping something with depth, not noise.
Raised in North London, Constantinou’s early fixation on sneakers and streetwear gradually evolved into a deeper interest in materials, silhouettes, and the narratives embedded in clothing. After studying at Central Saint Martins, he began developing a design language that favours continuity over reinvention — each collection unfolding as part of a larger story. In this interview, he reflects on how it all started, how collaboration shapes his process, and why the most surreal moments often come quietly — like spotting someone across the world wearing something you made.
Can you recall the first moment in your life when you realised fashion was the medium you wanted to express yourself through?
Probably around the time I was sixteen. I had my first part-time job in a sneaker store while studying, and it started from there. From sneakers, it grew into streetwear, and then around the time I was doing my A-Levels, I started to look more into brands like Undercover, Issey Miyake, and Margiela, which really sparked my interest in pursuing fashion myself. I managed to get into a bachelor’s programme for fashion design through clearing, and everything went from there.
Your collections evolve each season, exploring new concepts and materials. But at their core, what are the defining elements that make a collection unmistakably Charlie Constantinou?
One of the pillars of my work is a focus on function and purpose. I think this is a core element and will always be part of the process. Everything has a degree of function — whether it’s a textile element or a functional design feature. Regardless of how big or small the project is, that will always be a starting point of consideration.
Season 4.5 continues your exploration of environmental contrasts, this time focusing on the shift from day to night. What inspired this concept, and does it reflect any personal experiences or philosophies?
I’ve always been fascinated by different climates and environments, and how extreme the contrasts between them can be. The difference between everyday climates and extreme ones, like Arctic landscapes or Saharan deserts, can sometimes feel otherworldly. Last season (4), I was exploring these desert lands and felt like there was more I wanted to explore within that world. As the conditions between night and day can change so significantly, I was interested in that transition, from extreme heat to cold, and how that affects what we wear. For me, these extreme climates feel like a glimpse into another world.
Your work frequently references ancient artefacts and time-weathered materials. You’ve experimented with radical dyeing techniques and fabric manipulation. Are there any materials or processes you haven’t worked with yet but are eager to explore?
Textiles have always played a significant part in the process of each collection I’ve worked on. I want to keep expanding into new fields that haven’t been explored previously. This season, we worked with leather for the first time in collaboration with Ecco Leather, which felt really new to me — we were able to design and develop the leather itself before even considering what we’d produce from it. I want to keep exploring new ways of working with textiles, and how that can contribute to and elevate our silhouettes even more.
“I often see my work as an escape from reality, as many of my interests and references come from fiction. But I’ve always balanced that with real-world historical references.”
London has long been a hub for avant-garde designers. How has the city influenced your approach to fashion, both creatively and within the industry?
I was born and raised in North London, so there are a lot of elements of the city that have always been with me. For me, the most significant part of London as a hub is the number of different communities and cultures here, and how accessible learning from them can be.
Many emerging designers struggle to balance artistry with the business side of fashion. What has been the most valuable lesson you’ve learned in navigating that balance?
I think this is definitely something you just have to learn as you go. I was very fortunate around the time I was finishing my MA at Central Saint Martins — I was able to get a lot of helpful advice from tutors, classmates, and friends who had already graduated and were running their own businesses.
What I realised as I began to build the business side of my brand is that every brand operates so differently, and you really have to build your own infrastructure from the ground up. Since my work uses deadstock materials and includes processes like dyeing, printing, and textile manipulation, I had to figure out how to structure my business around that — and how to implement those elements efficiently, both in new projects and in managing ongoing production each season.
What I realised as I began to build the business side of my brand is that every brand operates so differently, and you really have to build your own infrastructure from the ground up. Since my work uses deadstock materials and includes processes like dyeing, printing, and textile manipulation, I had to figure out how to structure my business around that — and how to implement those elements efficiently, both in new projects and in managing ongoing production each season.
Fashion often serves as both a reflection of culture and an escape from it. Do you see your work as a response to the world around you, or more as the creation of your own universe?
I think it’s a balance of both. I often see my work as an escape from reality, as many of my interests and references come from fiction — whether it’s manga, film, or other media. But I’ve always balanced that with real-world historical references, whether modern or ancient. I feel that balance is what keeps it centred — between my own universe and the real world. I’m always designing with my own world in mind, but I still consider how my work can be applied in the real world across different climates and environments.
Congrats on the Central Cee collaboration. What was it like working together with such an icon?
Thank you! It was a great experience working with Central Cee’s stylist, Nayaab Tania, on some custom looks for Cench. We tried to balance elements of my work with what he likes to wear and feels comfortable in. I think we had some great outcomes from both sides.
Seeing your designs worn by others, whether in everyday life or major cultural moments, must be surreal. Can you recall a specific instance where it really hit you, and what that moment meant to you?
Ever since I started my business, seeing people wear my pieces has always felt surreal. I think the first instance was when Lil Baby purchased one of my quilt pieces from H. Lorenzo from my very first season, followed by Teyana Taylor wearing a pair of my wrap trousers (also from H. Lorenzo). Those early memories are ones I’ll never forget.
Above all else, what brings me the most satisfaction is seeing my clothes worn in real life. I’ve had a few of those experiences, but the ones that really stuck with me were when I was outside of the UK. I did a pop-up/workshop with H. Lorenzo in LA last October, followed by a pop-up with my friend (and amazing jewellery designer) Octi in Tokyo last November. During both trips, I got to see people wearing my clothes and meet collectors who had followed the brand across different seasons. Those moments will stick with me forever — seeing how people interact with my work and wear it in their own way.
Above all else, what brings me the most satisfaction is seeing my clothes worn in real life. I’ve had a few of those experiences, but the ones that really stuck with me were when I was outside of the UK. I did a pop-up/workshop with H. Lorenzo in LA last October, followed by a pop-up with my friend (and amazing jewellery designer) Octi in Tokyo last November. During both trips, I got to see people wearing my clothes and meet collectors who had followed the brand across different seasons. Those moments will stick with me forever — seeing how people interact with my work and wear it in their own way.
If you could design an outfit for any historical figure, real or fictional, who would it be and why?
If I had to pick one, it would probably be a fictional character — in which case, I’d love to design outfits for Zoro from One Piece. Honestly, I’d love to design for all the characters in One Piece, it’s one of the greatest works of fiction, in my opinion.
Your show this season features no makeup, just skincare, highlighting a focus on raw, natural beauty. What does beauty mean to you, both in fashion and on a personal level?
For me, beauty is natural. Even before this season, when working with makeup artists, I’ve always preferred minimal and natural looks. This season, we were very fortunate to partner with the Icelandic skincare brand Bioeffect. I became familiar with them during my trips to Iceland while working on our previous collaborations with 66°North. I felt that our values really aligned, and they were the perfect brand to work with as an alternative to traditional show makeup.
Looking back, if you could give one piece of advice to your younger self when you were just starting out in fashion, what would it be?
Just keep making. Don’t stop, and don’t doubt yourself — because even if you're not satisfied with something in the moment, something greater will come from it.
Fashion is constantly evolving, and so are you as a designer. Where do you see your work heading in the next five years? Do you have any creative ambitions beyond fashion design?
I want to keep expanding into unfamiliar fields. My earliest interest in fashion actually came through footwear, so I’d love to develop my own in the next few years. Outside of fashion, I’d love to explore furniture and interiors as an extension of my world-building.
