A PROPER SATIRICAL DANCE PARTY INNIT, MARIE LUEDER FW25 ACT TWO AT LONDON FASHION WEEK

Words by Molly Rose Apple, Stills pulled from video by Jessica Kruschwitz

Call her crazy or call her a genius — while most designers operate on a months-long turnover between fashion seasons, Marie Lueder thrives in controlled chaos. Less than three weeks after showcasing her latest collection at Berlin Fashion Week, she is already unveiling her second act for Fall/Winter 2025 in London.

Four days before the second debut, we step into Marie Lueder’s tiny studio near Hoxton station. The tight yet zen space is quiet at work with last-minute preparations—sewing machines running, press emails firing off, and confidential buyer notes taped to the walls (strictly off-limits for MERDE’s behind-the-scenes footage by Jessica). 

Marie greets us warmly, her bleached halo catching the studio’s overhead light, dressed in a classic Lueder hoodie with its signature visible seams. Her team works around her, focused but unfazed by our presence. One of her designers wears a graphic tee declaring “Shopping is my cardio”, a fitting nod to Carrie Bradshaw’s consumerist gospel. We half-expected a “Men Are So Back” sighting from within the studio, but we had to wait to perceive the satirical graphic tank that made it’s vial debut in the Berlin until we hit the the dance floor only days later.

There’s no time to waste. Marie stands beside the drafting table, where a faux fur skirt is being carefully assembled. Gesturing to the piece, she notes, “The fake fur here is made from wood pulp, and the black on top isn’t dye at all—it’s charcoal.” This is the moment it becomes clear that her approach to sustainability isn’t just a talking point but something deeply embedded in the very fabric of her work.

Before diving into her broader body of work—Marie, after all, feels more like a fine artist disguised as a fashion designer—we have to address her hair. It’s the first thing you notice about her, beyond her dual German-English existence, an unmistakable part of her presence.

Marie: A few years ago, I was in a weird place—I knew I wanted to change something. I'd always had long hair, and I only cut it once when I was 18. I wanted something different, not necessarily to make a statement, but just to try something new. I liked the idea of multiple lines, not just a typical streak, more like a raccoon pattern. Then I thought it would be nice if it looked like a halo, where people wouldn't be sure if it was the sun or if it was bleached. I also didn't want to touch my roots—I wanted to bleach my hair without damaging it. That was the idea.

Molly: It’s beautiful and strange, in the best way. Where did you formally study fashion?

Marie: Royal College of Art. It was great—such a unique, conceptual course. We were encouraged to develop anything—music, fashion, whatever we wanted. It was a fashion course, but our course director didn't want us to create things that weren’t necessary for our souls. Our first lecture was from the guy who made the spray-on dress for Coperni. He’s more of a scientist than a traditional designer, and he really emphasized innovation and humanity in design.

Molly: You studied at Royal College of Fashion with a few other up-and-coming designers showing their FW25 collections this week, like Sinéad O’Dwyer. It sounds a bit like the Antwerp Six, but with a London-based group of designers coming up together.

Marie: That’s nice of you to say. We always check in to ensure whatever we do has meaning. The way they taught us was almost like therapy. They constantly ask, “Why do you do this? Why does anyone need this?” It forces you to dig deep into the origins of your work, and sometimes that leads to emotional breakthroughs. It makes you realize you’re telling the story of someone who isn’t represented, and that’s why you’re making these clothes.

Molly: So it’s more about the process than the product?

Marie: Yes, exactly. Reading about designers like Galliano and how he started — how his early business partners pushed for more commercial designs — makes me realize this industry has always been like this. There have always been investors willing to take a risk on fashion, even in 1986. That reassured me. Our journey is more about longevity, persistence, and slow growth.

Molly: Launching your brand at the onset of the global pandemic was bold. Do you feel like you were seizing a captive audience, or was it just madness? How do you feel now, five years in?

Marie: At the time, I had this weird confidence of a young designer, where you just think, "This needs to be out there." I did a pre-brand show in a gallery as an art project, and people resonated with it. Afterward, I got internship applications, and I thought, "Maybe this is a natural start." When I applied for Discovery Lab with London Fashion Week, COVID hit. It was the worst thing for making money, but in a way, it gave me time to focus on building the brand’s image. I had no business training, so it gave me space to figure things out on my own.

Molly: You're known for championing vulnerable masculinity. How do you see traditional men's fashion shifting today, with figures like Harry Styles and Pedro Pascal making femininity in menswear more mainstream? How does your brand differentiate itself?

Marie: I go back and forth on mainstream fashion. I test it with people like my dad and his friends. I actually love the idea of mainstream acceptance, which is why I’ve considered a merchandise line. Ideally, I’d like to see a new metrosexuality emerge. The challenge is that our craft is expensive, making our clothes high-end. I’ve thought about collaborating with a sportswear brand to make my designs more accessible while maintaining our core values of innovation and inclusivity.

Molly: Do you design for a specific person or a community?

Marie: Definitely for a community. We think in terms of characters rather than specific genders. Last collection, we had the "undead teenagers," who were restless and always seeking newness. Then there were the "New Romantics," who took time to pose and wore the most intricate pieces. The "hooligans" were about community energy, not violence. Using characters helps us reimagine old archetypes in fresh ways.

Molly: Can you give us any hints about the characters for Friday’s show?

Marie: London is my core inspiration, so the clothing and models will reflect the people I see in clubs,the people I say hi to but don’t always know personally, who embody the dance floor. They’re the people I admire, and the people I wish were more represented on a traditional runway.

Molly: You operate between Berlin and London. How do you navigate those contrasting sensibilities? Which market do you appeal to more?

Marie: The lines are blurring, but it’s tricky. I’ve realized having two back-to-back shows is exhausting, so we’ll be spacing them out more in the future *laughs. Germany has spending power but is still conservative in fashion. London is bold but broke. Berlin feels like London ten years ago, with growing investment in tech, so maybe future "tech bros" will wear my designs. Though, London remains more progressive in terms of gender conversations.

Molly: Your designs are influenced by club culture. Do you design for the dance floor? What do you think of the messy aesthetic that Charli XCX promotes?

Marie: Clubbing used to be a huge inspiration for me. It was where I relaxed and connected with people. I still need those moments, even if I go out less now. Dancing is like meditation, it’s a present moment in an anxious world. That’s why Berlin’s after-show parties mean so much to me. As for Charli’s messy aesthetic, club culture has always been messy and ungendered. It’s about presence and energy rather than fitting a specific image.

Molly: How do you approach sustainability? What’s your upcycling process?

Marie: Sustainability is a foundation of the brand. We started with upcycling, but the wholesale market struggles with it since every piece is unique. Now, we focus on sustainable innovation—using airbrush techniques instead of traditional dyeing to reduce waste, working with sustainable fabrics like wood-pulp faux fur, and repurposing old stock. I trained as a tailor, so fabric is precious to me, and we try to minimize waste as much as possible.

Molly: Your designs often incorporate medieval armor as a form of "mind armor." Do you think we’re all anxious wrecks in need of sartorial shielding? What will we see on Friday that reflects this?

Marie: Originally, this came from my muses—ex-partners who struggled with anxiety and mental health. I wanted to create something that made them feel confident in social spaces. That’s why I made the "social anxiety socks" for Berlin. Of course, clothing isn’t a cure, but it can be a form of emotional armor. On Friday, you'll see more of this concept translated into the collection.

We spoke on a Monday, breaking down process, intention, and the steady grind of building something real. By Friday, the anticipation cracked open in a runway-turned-club. Two Shell’s new track thumped through the space, bodies moving without thought, sweat beading, vapes curling into the light as strobes and spotlights sliced through the haze. Beers in hand, a crowd came together—not just to see the collection, but to be part of it.

At a time when London Fashion Week is being questioned and written off online — losing brands, buyers, and its grip on the industry — this was proof it still has a pulse. In that moment, Marie’s world wasn’t just an idea; it was happening.