Trashy Clothing

Casa
Italia
Milan
Trashy Clothing

Anti-luxury luxury label from Palestine

01/06/2026

Alana Hadid in FW26 look 4

Creative directors
Styling
MUA & Hair
Press
Styling assistant

Slide 1 & 2 shot by for
Slide 3 shot by

26/05/2026

Elissa shirt available online 💎 shot by for .app.official

24/05/2026

ANNA PEPE HABIBI 💋

Anna wears full TC FW26 look 17 in Milan

Styling

Press

18/05/2026

wears full TC FW26 look 17 in Milan

Styling

Press

17/05/2026

FW26 deep dive: Look 22

A traditional Palestinian embroidery canvas is usually removed once the stitch is complete. Here, we kept it visible and cut away sections of it, leaving the embroidery suspended between what remains. The stitch stops becoming decoration and starts acting as structure, physically holding the fabric together. A technique rooted in preservation is turned into tension, where absence becomes part of the construction itself.

The hooded silhouette continues the language we introduced in FW21, inspired by the stop and frisk experiences of Jerusalemites, where shirts are often pulled over the head during arrests to obstruct visibility and identity.

14/05/2026

Debuted on Alana Hadid at our last show in Paris, the FW26 TC bangles are handcrafted between Syria and Jordan using traditional Damascene mosaic techniques and detailed wood inlay. The patterns and construction draw from a craft language that has existed across workshops in the Levant for generations.

Available in stores soon.

First slide, wearing the FW26 TC bangles shot by styled by for

Last slide, wearing the FW26 TC bangle styled by .mo.ss

Press

12/05/2026

Fittings

10/05/2026

wears custom FW26 dress 👠

07/05/2026

The Khalifa Bra began as a reinterpretation of the tarboosh, a symbol deeply tied to authority and state power during the Ottoman Empire. Beyond being a hat, the tarboosh functioned as part of a visual system that communicated hierarchy, modernity, discipline, and belonging. It became a way power dressed itself.

In our collections, we became interested in how political systems, empires, and colonial powers construct identity through clothing, uniform, and image. By relocating the tarboosh from the head onto the body, the symbol is stripped from its original function and reconstructed into silhouette and structure. The tassels become straps, drapes, and architectural extensions of the garment, carrying traces of authority while transforming into something entirely different.

The Khalifa Bra reflects our ongoing interest in the aesthetics of power and the way symbols continue to perform long after the systems that produced them begin to shift. Like much of our work, it examines how fashion can expose the visual language of empire, and how garments themselves can become documents of control, performance, and political contradiction.

03/05/2026

The Bahhar is a Palestinian sailor imagined as a messenger moving across the sea. He carries stories, resources, and memory, not goods alone.

Through our Olive Odyssey drop, he becomes the figure sailing the oil across the world, where movement becomes a form of transmission rather than consumption.

The silhouette builds from that. What reads as a wrap at the waist isn’t an added layer. The top is cut long and asymmetrically, then gathered down so it sits like something tied. It’s constructed into the garment.

The tarboosh is carried through and reworked, sometimes referred to as the Khalifa bra. It shifts in proportion and tilt, sitting closer to the body and becoming part of the silhouette rather than a separate symbol. The pieces stay close, stretched, and slightly undone, designed to move rather than sit still.

Indirizzo

Milan

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http://www.trashyclothing.shop/

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