Dilara Fındıkoğlu’s FW23 shownotes began with a personal message written by the designer calling attention to the catastrophic earthquake in Turkey and Syria that took numerous lives and left others without anything. “I feel helpless, I feel speechless more than ever after what mother nature caused in my hometown,” the text read. “I want you to join me to heal the wounds of those who were affected by the earthquake and together we will be healed!”

Aligning with this spirit of healing, Fındıkoğlu’s collection – created prior to events in Turkey and Syria – was titled ‘Not A Man’s Territory” and posed the question: “Why men have way too much control over our bodies?” Both sides of the show notes saw Dilara open up in a way rarely seen in this industry; penning genuinely personal, authentic, and rightly confused statements filled with emotion.

Prior to the show, The Slits’ Typical Girls played from the speakers, as did Femme Fatale by Nico and The Velvet Underground: “Here she comes, You better watch your step.” Then the music stopped to be replaced by the ominous sound of a dripping tap, and Fındıkoğlu’s cast emerged through the halls of the Grade ll listed Holy Trinity Church building in Bow. They prowled and swayed onto the floor, each with their own personality, performance, movement and title. Names included: ‘Doll Parts’, ‘Marilyns Ghost’, ‘National Heroin’, ‘Innocence Bondage’, ‘Dark Phoenix’ and ‘Whorestar of Heaven’.

Exploring ideas of sensuality and sex – the positives and the negatives attached to these notions – Fındıkoğlu’s singular style of fetishism, power, femininity and empowerment was exuded by the models, who stared deeply into the eyes of the audience. Some walked in coverings, only to drop them to the floor and reveal highly detailed boned corsetry beneath – post-show Dilara shared a video with the caption: “This is for my Iranian girls I love you” – other characters posed, covered their modesty or clung onto pillars as questions written in the designer’s show notes were translated on the runway. The clothes were exquisite, fashioned from braids, dried flowers, feathers and even thousands of metallic hair clips crafted together in the case of one dress. Chain nails dripped from models’ fingers, and an armoured look (titled ‘Joan’s Knives’) made from 200 Victorian knives carved itself into our psyche. Corset ties bound arms, and silver chains hung from tailoring like new-age regalia. Sheer fabric became ethereal spirits protecting the body, while tailoring peeled open to reveal lingerie beneath. Fındıkoğlu called this show a “Dance of Revolution”, and you felt its pull.