In its fifth collection titled “Hitch”, Onrush returns to Paris Fashion Week with a digital presentation that feels both introspective and precise. Rooted in material exploration and narrative clarity, Hitch is a reflection on craft, gesture and identity, articulating a matured evolution of the brand’s visual language.
This time, creation began with constraint. Inspired by Richard Serra’s verb list—crease, suspend, knot—Onrush grounded the process in gesture and tactility. Shapes emerged through handling, not design, resulting in garments that feel sculptural, instinctive, and mobile.
Silhouettes are fitted but expand at key points like shoulders and scapula. Outerwear leads: tailored blazers, peacoats, asymmetric bombers. Long straps reinforce the idea that form is shaped by motion, not stasis.
Knitwear and tailoring debut with subtle deconstructions. Jersey tank tops and dresses twist and spiral, echoing the house’s twirl, now more restrained. Hook-and-eye closures, layered shirts, meme-style prints and asymmetries hint at disruption—always measured.
Denim remains central. Twirl Skirts and Jeans return, now joined by boot-cut fits and new styles shaped by knotting and suspension. Washed in blue, waxed black and grey sand, these pieces ground a wardrobe where casualness meets curation.
The palette draws from cinema, especially Vincent Gallo in Claire Denis’s “Trouble Every Day”. Black, grey and white dominate, softened by pale pinks and blues. Checks reappear on mesh, silk and velvet devoré, creating friction between lightness and density.
That tension extends to outerwear, where heavy wool and houndstooth suggest weight and resistance, echoing Serra’s industrial materials. Each piece holds volume, gravity, movement—fashion conceived as gesture, not object.
