Constantinou Is Building a World Where Techwear Meets Fan…

Constantinou is based in North London, but draws inspiration from everywhere. Whether it be ancient history, manga, or streetwear technical design, the clothes are a study in contrasts. He marries them into something that feels cohesive and wearable.

Since graduating from Central Saint Martins in 2022, Charlie Constantinou has built his namesake label into its own world with hand-dyed deadstock fabrics and functional silhouettes.The 27-year-old’s garments walk a fine line between utility and fantasy. Trousers with adjustable zips and outerwear dyed in vats by hand recall an otherworldliness.

It’s this unique blend that has attracted luxury retailers like H.Lorenzo and Ssense, led to collaborations with Icelandic outerwear brand 66°North, and earned him recognition as one of ComplexCon 2025’s Brands to Watch.

Ahead of the event in Las Vegas, we spoke with Constantinou about his path as the founder and creative director of one of London’s most exciting emerging brands.

Check out the rest of the ComplexCon 2025 Brands to Watch here.

How did you first get into fashion, and what was that initial spark like?
I studied music composition from a really young age and thought I’d pursue that as my bachelor’s degree. Fashion became an interest to me around the age of 16 or 17. I got into it through sneakers and streetwear while working part-time in a sneaker store during university. At first, it was about collecting Air Maxes and whatever we could get, but then that grew into streetwear and fashion. It was organic, peer-driven, and fueled by curiosity. Funny enough, Complex was one of the first fashion culture platforms I used to follow closely. It feels full circle to be here now.

How has growing up in North London and your background shaped your approach today?
Early on, I kept my personal identity and heritage separate from my design work. I designed in a detached way, almost trying to strip myself out of it. But as I grew more confident, I started pulling in more of my Cypriot background, North London culture, and my personal interests outside of fashion. They might show up in the textures I reference and the research I do. It’s not always literal, but those elements are there in the DNA of the brand.

When did you decide to start your own brand?
After my Bachelor’s, I worked for a year at Clothsurgeon. It’s a London-based brand that combines tailoring with streetwear. I learned what it takes to run a studio, how to deal with factories, manage sales, and still maintain creative direction. That experience was invaluable. Even though I had design freedom there, I realized I felt most fulfilled working on my own projects.

When I finished my Master’s at CSM, I thought, “I could spend more years working for others, but why not start now?” It was the right timing. Right after our MA show, I got emails from H. Lorenzo in LA and SSENSE. They wanted to buy my graduate collection. That momentum made me commit fully.

Your collections are described as “functional wear with imagination.” How do you balance utility and fantasy?
For me, the process always starts with research. I’ll spend a week building boards of images, textures, and historical references. I rarely start with fashion references. I’m more inspired by history, objects, or stories. This season I was reading Berserk, which pushed me toward a medieval influence.

But then there’s always a futuristic, technical layer. That balance keeps it wearable. Adding zips, modular functions, or technical finishing grounds it. It’s always about asking, “How do we take something otherworldly and make it functional for everyday life?”

Sustainability is also something that seems important to the brand. How does it shape your work?
Everything we make starts with deadstock. Our main fabric supplier is partly owned by LVMH, so we’re sourcing leftover rolls from luxury houses. It’s a way of reusing what already exists. We also only buy in white or neutral shades, so we can dye everything ourselves. That means full creative control. We can experiment with new colorways for each season. It’s more work, yes, but it avoids overproduction and lets us be resourceful.

You’ve mentioned “continuity over reinvention.” What does that mean season to season?
The main seasons reflect the ongoing story of the brand. Each season builds on the last. It’s about evolving, maturing, and refining. Capsules, like the denim collection we did, exist outside that main narrative as fun experiments. I measure growth by seeing how new seasons connect back to the first season.

Geography and environment are prevalent in your imagery. How does that play into your design?
Every season has a “world” it belongs in. For our collaboration with 66°North, it was glaciers and volcanic textures. Iceland was perfect for campaigns, not only because it’s where 66°North is based but also because it looked like another planet. Those environments influence both the design and the way we present it. I don’t like fake outdoor settings in studios. If we’re doing a technical collection, I want to shoot it in conditions where it’s actually functional, whether that’s snow, rain, or terrain. It makes the clothes feel both real and surreal.

Where do you see your brand in five years?
I don’t think there’s a fixed path. I’ll always keep a technical element, but I want to apply it in unexpected ways. For example, this season we used linen, a non-technical fabric, and combined it with other materials to make it durable. I’m interested in that kind of experimentation–pushing what “technical” means.

Dream collaborations?
Stone Island is the dream. They’ve been a favorite of mine since I was young. The way they control fabrics and dyeing is unmatched. Nike would be another because sneakers were my entry point into fashion. Working with [Nike] ACG would be a dream.

What are you bringing to ComplexCon?
We’ll bring our best-sellers as well as new-season pieces in limited runs. Accessories and printed items always do well, but I also want to showcase the experimental side of our brand too.

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