Imagine seeing your avant-garde designs showcased during the Super Bowl—a moment so unexpected, it feels almost surreal. That’s exactly what happened to British designer Steve O. Smith when Emma Stone donned one of his creations for a Squarespace commercial directed by the brilliantly eccentric Yorgos Lanthimos. But here’s where it gets controversial: Can a piece of fashion truly transcend its commercial purpose and become art? Let’s dive in.
Smith’s dress, from his Fall 2025 collection, was a masterpiece of contrasts: a sheer organza gown adorned with a scribbled lattice pattern, as if a giant marker had danced across the fabric, leaving ink to pool at the edges. This darkly whimsical aesthetic has become Smith’s signature since launching his brand in 2022, earning him high-profile endorsements from the likes of Eddie Redmayne, Cate Blanchett, and Emma Corrin. Last year, he clinched the prestigious 2025 LVMH Karl Lagerfeld Prize, solidifying his place in the fashion world.
And this is the part most people miss: Smith doesn’t see his garments as mere clothing—he views them as drawings brought to life. In a Zoom chat from his London studio, surrounded by thousands of sketches that inspire his collections, he reveals his meticulous process. Each piece begins as a scribble, often silk appliqué transferred onto organza, blending artistry with wearability. For his Fall 2026 collection, Smith drew inspiration from the 1920s and ’30s, paying homage to artists like Otto Dix, Madeleine Vionnet, and Edward Burra. Boldly, he introduces color for the first time, a departure from his monochromatic roots, achieved through collaborations with a London dye workshop.
When asked if his garments are art, Smith hesitates. “I think of them as drawings, distinct from both clothing and traditional art,” he explains. His made-to-order approach ensures each piece is unique, often paired with the original sketch for private clients. For instance, singer Raye commissioned a custom design for her U.K. tour, purchasing both the dress and its accompanying drawing. Is this the future of fashion—where garments are collected like art?
Smith’s designs are a paradox: dark yet whimsical, haunting yet delightful. This duality, he says, stems from his relentless sketching process. “I draw ideas, not objects,” he notes, a philosophy that translates into garments with erratic, moody lines. This season, he experiments with new materials like silk georgette and glass beads, working with an in-house embroidery designer to create textures that mimic congealed ink.
Celebrity placements, while exciting, aren’t his primary focus. “I see my work as its own little thing,” he admits. Yet, endorsements from stars like Emma Stone have been transformative, boosting his business and visibility. But here’s the question: Does celebrity validation elevate fashion to art, or does it dilute its artistic integrity?
As Smith continues to push boundaries, blending eras, materials, and mediums, one thing is clear: his work challenges us to rethink what fashion can be. What do you think? Is fashion art, or is it something entirely different? Let’s debate in the comments!
