Imagine seeing your designs on one of the biggest stages in the world—the Super Bowl. For British designer Steve O. Smith, this became a reality when Emma Stone donned one of his creations during a commercial break, directed by the eccentric Yorgos Lanthimos. But here’s where it gets controversial: can fashion truly be art when it’s showcased in a 30-second ad? Let’s dive into the story of this rising designer and explore the blurred lines between art, commerce, and creativity.
Smith’s journey to the Super Bowl spotlight is as unexpected as it is fascinating. Known for his darkly whimsical aesthetic, his Fall 2025 collection provided the perfect backdrop for Stone’s film-noir-inspired scene. The dress, a diaphanous organza sheath adorned with a scribbled lattice pattern, seemed to drip with ink—a striking contrast to the ad’s subject: Squarespace. And this is the part most people miss: Smith’s work isn’t just about clothing; it’s about storytelling, emotion, and a meticulous process that transforms sketches into wearable art.
Since launching his brand in 2022, Smith has garnered high-profile endorsements that read like a who’s who of Hollywood. Eddie Redmayne and Hannah Bagshawe coordinated in his designs at the 2024 Met Gala, while Cate Blanchett and Emma Corrin have graced magazine editorials in his pieces. Last year, he clinched the prestigious 2025 LVMH Karl Lagerfeld Prize, solidifying his place in the fashion world.
In a Zoom chat ahead of his Fall 2026 London Fashion Week luncheon, Smith’s studio serves as a testament to his creative process. Thousands of drawings line the walls and shelves, each a potential garment waiting to be brought to life. His approach is both obsessive and intuitive—he considers his designs more as drawings than clothes, blending moodiness, whimsy, and delight into every piece. This season, he’s pushing boundaries further, drawing inspiration from 1920s and ’30s artists like Otto Dix and Edward Burra, while experimenting with new fabrics like silk georgette and introducing color for the first time.
But here’s the question that divides opinions: Are these garments fashion, art, or something entirely unique? Smith himself views them as distinct from both, a category of their own. His made-to-order model ensures each piece is one-of-a-kind, often accompanied by the original drawing. Clients like singer Raye don’t just buy a dress—they acquire a piece of his creative process. This exclusivity extends to his interactions with clients, treating each garment as a work of art rather than a mass-produced item.
The duality of his designs—dark yet whimsical, scary yet light—stems from his drawing process. Repetition leads to erratic, moody sketches, which are then translated into garments that retain their raw, emotional essence. This season, he’s expanded his material palette, incorporating georgette, wool, and glass beads, with an in-house embroidery designer creating textures that mimic congealed ink.
Celebrity placements, while exciting, aren’t his primary focus. Smith sees his work as a personal expression, but he acknowledges the impact these endorsements have had on his business. Here’s a thought-provoking question for you: Does the commercialization of art diminish its value, or does it elevate it by making it accessible to a wider audience?
As we explore Smith’s Fall 2026 collection, it’s clear that his work challenges traditional boundaries. Inspired by the societal unease of the Weimar Republic and the construction techniques of Madeleine Vionnet, this collection is a dialogue between history and modernity. The introduction of color, achieved through meticulous dye matching, adds a new dimension to his monochromatic roots.
So, what do you think? Is Steve O. Smith’s work fashion, art, or something entirely new? Let us know in the comments—we’d love to hear your take on this boundary-pushing designer and the future of wearable creativity.
