In the world of fashion, there are few experiences as exhilarating as bringing a collection to life on the stage of London Fashion Week. For emerging designers, it's a rare opportunity to merge creative vision with real-world execution, pushing boundaries while learning to navigate the pressures of the industry. For Nikeen Asar, resident at Cornerstone Studios, this moment marked not just a career milestone, but a testament to the power of ambition, resilience, and the desire to celebrate women in all their diversity.

In this candid conversation, we explore the inspirations behind Chapter VII, a collection that draws deeply from the timeless elegance of old-school Hollywood glamour and the sculptural artistry of vintage Parisian couture. From the intimate fittings in his studio at Cornerstone Studios to the inclusive casting choices, this collection also represents a commitment to representation, diversity, and authenticity in a fashion world often criticised for its narrow standards.

You speak of Hollywood glamour and old-school couture as the primary themes in your designs. Where did this inspiration come from? What led you to use these styles?

I really love old-school Hollywood glamour. I think it’s because I love old-school styles, like looking back at designs that are still modern even after time has passed. For example, with wedding dresses, I love the idea that 20, 30, 40 years later, you can look at the photos and still think, "Wow, I look great." There’s something iconic about that — a dress that’s timeless and stands the test of time, like an heirloom.

I’m obsessed with vintage Parisian couture, and one of my favourite designers was Cristóbal Balenciaga. I love exploring sculptural shapes and silhouettes, and I wanted to give my audience shapes they’re familiar with — slinky, sexy, sheer looks combined with fuller, more dramatic shapes. I wanted to research and look into these classic couturiers.

My all-time favourite designer is Azzedine Alaïa, and what I really like about his work is how he enhances a woman’s body while making it artistic and credible. It’s creative, and I think that’s one of the hardest things to achieve in fashion: something that’s artistic but also sexy and enhances the body. That’s a really tough balance.

Speak to us a little bit about the journey to London Fashion Week. When did you confirm your show, and what was it like in the studio from that moment?

It was like the ultimate career highlight. I’ve done previous shows where I was just involved in the design process and some of the catwalk shows, but when you have a small startup business, you’re involved in everything — so it’s quite daunting and scary. I found the whole journey really exciting, even though there were a lot of challenges that required problem-solving. The feeling when you see the models walking down the catwalk is so emotional. I never thought I’d cry, but I did when the models did the finale walk. I found it so overwhelming, and I feel like it’s the perfect way to end and show case the creative process. You physically see your work out there, and you put it on a platform for people to appreciate or criticise. In that moment, I loved taking people into my creative world.

I really pushed myself creatively with this show. I did a collection of 34 pieces and showed 28 looks, which is a massive undertaking, but it’s really rewarding. The show was in mid-September, and we literally pulled it off in six weeks, so time was against us. We did it on a shoestring budget, but I think when you have those kinds of restraints, you become more creative and resourceful. You push yourself because you want to achieve something amazing. Because it was my first show, I had a lot to prove and wanted to engage/immerse my audience . The day of the show was the most overwhelming, with so many people backstage. When I started six weeks earlier, it was just me doing everything. Then, about a week before the show, stylists, photographers, videographers, seamstresses and interns joined in. I really felt like I pushed myself.

I also wanted to promote women of various nationalities and of ethnic minorities. you don’t often see on the runway. It’s important to me that all women feel represented by my work.

You did many of the fittings for this collection in your studio at Cornerstone Studios. How did this dedicated space impact your work for Chapter VII?

These fittings were crucial because it’s the first time you see a garment brought to life. A dress can be beautiful on a hanger, but it needs a body, movement, and personality to really come alive. We got a lovely studio space across from my usual one at Cornerstone Studios, and it was great. With all its natural light, we could treat it like a blank canvas, and we created a long walkway. So we could see the garments in their fullest glory. It’s so important to see the girls moving in the dresses and watch how they flow in motion. We did all our casting, final fittings, and styling there as well. I loved it.

Can you tell us more about the casting and the importance of showcasing Black, Asian, and Indian beauty in this collection?

For casting, I worked closely with Resilient Agency, set up by Imran Rai, who is also a model. She started the agency to work with fashion brands and highlight beauty that’s not always showcased in the industry. I think we’re definitely moving in the right direction because many shows now feature more diverse casting. But I think there’s still room for more awareness, as some brands still include only a token model here and there. Many fashion houses will also use models who may look different, but through the styling and hair, they end up looking almost identical. I wanted to work with each model’s individual hair texture and style, to really highlight their natural beauty and keep their identity.

What has the response been to this collection?

I’ve had so many lovely words from friends and family, but also from industry people, whose feedback really resonated with me. We did a live stream on Instagram, which I hadn’t done before, so some people could watch the show live. We had a great response to the evening pieces in the show, which was really positive because it was the first time I launched bridal and evening wear in the same collection. When I started my brand, I saw a niche in the market because so many fashion brands don’t create pieces that are built to last or that are timeless/modern. My long-term goal was to bring evening wear into my collections alongside bridal. Now I’m in talks with some showrooms and stylists in LA for awards season, so hopefully, that works out!