As part of the British Fashion Council’s NEWGEN initiative, Brazilian-born, London-based designer Karoline Vitto unveiled her collaboration with Pull&Bear: a meeting point between emerging vision and global platform, between sculptural intimacy and mass reach. If fashion is often about fantasy, this was about reality, the body as it is and the body as power.
On a stripped-back runway at London Fashion Week, where the lights feel clinical and the air hums with expectation, something quietly radical unfolded. Not spectacle, not noise, but presence.
Karoline Vitto’s language has always centred on curves, not correcting, not disguising, but sculpting around softness and strength. Here, that ethos slipped seamlessly into Pull&Bear’s universe without losing its edge. Metal traced the back, caught the neckline, framed the décolletage, cold and deliberate, almost industrial. Against it, fluid draping, technical fabrics and ruching that moved like breath. The tension between hard and tender felt less like contrast and more like dialogue.
Casting did the talking too. Diverse bodies, curve and midsize silhouettes, walked without hierarchy, without apology. The clean staging allowed construction to take precedence: adjustable zips, visible hardware, denim that hugged rather than constrained. One moment sensual and refined, the next grounded in urban nonchalance, the collection’s denim segment carried the same thesis throughout. Fit is political, comfort is considered, detail is devotion.
A knitwear micro-capsule closed the show in quiet crescendo. Transformable pieces shifting from asymmetric midi dress to strapless top to skirt invited the wearer into the act of design. Draping, straps and sculptural volume meant nothing was fixed and everything was becoming. Vitto has long spoken about taking up space comfortably, and here that sentiment materialised in fabric form.
The collaboration sits within Pull&Bear’s ongoing partnership with BFC NEWGEN and its Canvas for Creativity project, an institutional framework that at its best does not dilute young designers but amplifies them. Vitto’s voice remained intact: sensual, technical, intimate. The scale expanded, yet the message stayed personal.
In a fashion system still obsessed with novelty, this felt different. Less about the next thing, more about the right thing. A shared vision of femininity that is unapologetic yet soft, engineered yet emotional. Not a costume, not a compromise, just clothes that understand the body as it lives.
The imagery, created by Catalan artist and photographer Carlota Guerrero, extends the collection’s emotional register beyond the runway and into something more intimate, almost devotional. Known for her instinctive approach to the female form, Guerrero resists spectacle in favour of proximity. Shot against a clean, minimal backdrop, the garments are worn collectively, bodies of different sizes standing together without hierarchy, without isolation. The same piece moves across silhouettes in a single frame, dissolving the idea of a “standard” fit and replacing it with quiet multiplicity. There is strength in the stillness of the images, a sense of shared presence that mirrors Vitto’s philosophy. The focus never drifts from the women themselves, their intimacy and autonomy becoming the true subject of the campaign.
Karoline Vitto x Pull&Bear is available at Oxford Street Store and online www.pullanbear.com
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