With THE DENIM, we push denim to new limits, using the fabric as a canvas for research and creative exploration. Each edition, we team up with emerging designers to create a pair of limited-edition jeans. For THE DENIM 002, we joined forces with KNWLS, the label founded by Charlotte Knowles and Alexandre Arsenault.
Hailing from the UK and Canada respectively, the design duo is known for structured corsetry, raw texturesā,ā and layered silhouettes. Outside of KNWLS, the two are also life partners ā coincidentally, like our new creative directors Lisi Herrebrugh and Rushemy Botter.
Since its debut in 2017, KNWLS has garnered critical acclaim, including a finalist spot in the LVMH Prizeā,ā and collaborations with the likes of Jean Paul Gaultier. Worn by cultural trailblazers such as Hunter Schafer, Bella Hadid, Dua Lipaā, āand BeyoncĆ©, the label continues to redefine what it means to be powerful, sensualā, āand defiant.
In this exclusive interview, we virtually āsatā down with Knowles and Arsenault to talk about their creative partnership, cultural influences, and the design process behind THE DENIM 002 ā a low-rise, motorcycle-inspired jean shaped by our signature anatomical principles.
From their early days āstudying āat Saint Martins to their vision for THE DENIM 002, the duo shares what drives them and what it means to design with purpose.
26 June 2025
Collaborations
Inside Out
Underwear as outerwear. Inside-out constructions. Empowered femininity. KNWLS has made its mark with a fierce and subversive vision of the modern woman. The London-based brand continues to challenge traditional ideals with unapologetic designs that empower the wearer. So collaborating with them for the second installment of THE DENIM was a no-brainer for us.
Do you remember the first time you met at Central Saint Martins?
Charlotte: I was helping someone on their project, but they already had too many cooks in the kitchen. So I asked my friend if I could switch with them and help Alex instead. I was already kind of into him, so I thought it might be a good way inā¦ So I helped him with his graduate collection.
Alexandre: And thatās when we started dating.
Starting a brand together is a big step. What made you take that leap of faith?
C: It was really organic. I graduated and was desperate to start a brand. I began working on a collection hoping to get support. Alex was helping me while also researching factories and how to set up a business. So when Fashion East showed interest, we decided to do it together instead of separately.
Charlotte: I was helping someone on their project, but they already had too many cooks in the kitchen. So I asked my friend if I could switch with them and help Alex instead. I was already kind of into him, so I thought it might be a good way inā¦ So I helped him with his graduate collection.
Alexandre: And thatās when we started dating.
Starting a brand together is a big step. What made you take that leap of faith?
C: It was really organic. I graduated and was desperate to start a brand. I began working on a collection hoping to get support. Alex was helping me while also researching factories and how to set up a business. So when Fashion East showed interest, we decided to do it together instead of separately.
What are the pros and cons of having a personal and professional relationship?
C: There are definitely a lot of advantages. We can be very upfront with each other, and if we get into a fight (which we do sometimes) we get over it quickly. If you have a business partner you're not close to, you have to be more sensitive. We can be brutally honest.
A: And we care about different parts of the business, so we fill in each otherās gaps. Itās hard when we meet designers doing it alone. I donāt know how they manage! Even just going to events solo is a lot.
C: Itās intense being together 24/7, but weāre good at doing things separately too. Weāre not joined at the hip.
C: There are definitely a lot of advantages. We can be very upfront with each other, and if we get into a fight (which we do sometimes) we get over it quickly. If you have a business partner you're not close to, you have to be more sensitive. We can be brutally honest.
A: And we care about different parts of the business, so we fill in each otherās gaps. Itās hard when we meet designers doing it alone. I donāt know how they manage! Even just going to events solo is a lot.
C: Itās intense being together 24/7, but weāre good at doing things separately too. Weāre not joined at the hip.
āIf you have a business partner you're not close to, you have to be more sensitive. We can be brutally honest.ā
Do you always agree on creative decisions?
A: More often than not, we disagree. But we compromise or prove our point. We do have similar tastes in the end.
C: We sometimes forget how aligned we are at the foundation. We might argue about details, but we share a vision of what fashion should look like. It becomes obvious when we work with others who just donāt get it.
What excited you about collaborating with G-STAR?
C: We love collaborations. Itās a great challenge to interpret another brandās identity and get out of our own bubble. Visiting the G-STAR HQ and archive was inspiring. The focus on detail and function really resonated with us.
What did you take away from your visit?
A: The archive is amazing. Once you see it, you understand the brandās codesā āāāĀ military, motorcycle, European workwear. Thereās a strictness to it, but also a tongue-in-cheek side. Like the animal skeletons and weird denim experiments. They donāt take themselves too seriously, but the brand is still serious.
A: More often than not, we disagree. But we compromise or prove our point. We do have similar tastes in the end.
C: We sometimes forget how aligned we are at the foundation. We might argue about details, but we share a vision of what fashion should look like. It becomes obvious when we work with others who just donāt get it.
What excited you about collaborating with G-STAR?
C: We love collaborations. Itās a great challenge to interpret another brandās identity and get out of our own bubble. Visiting the G-STAR HQ and archive was inspiring. The focus on detail and function really resonated with us.
What did you take away from your visit?
A: The archive is amazing. Once you see it, you understand the brandās codesā āāāĀ military, motorcycle, European workwear. Thereās a strictness to it, but also a tongue-in-cheek side. Like the animal skeletons and weird denim experiments. They donāt take themselves too seriously, but the brand is still serious.
Letās talk THE DENIM. How did you approach the design process for this?
C: We didnāt want to take it too seriously. We leaned into G-STARās identity, details, and structure, but exaggerated them. We added a cool wash, played with fits, and brought in our moto influence. One of our iconic pieces, the Claw Jacket, is based on a motorcycle jacket, so it felt like a natural merge.
A: We wanted the trousers to be slim but not tight. Relaxed āāāāā a bit tomboy, a bit cowboy. But also anatomic, with the darts at the knees. When we flipped the jeans inside out, we realized the seam work was beautiful. So we decided to keep that visible. Itās very G-STAR to show the inside on the outside.
What are your favorite details in these jeans?
C: Definitely the inside-out construction. Also, the corset-like seams and the princess seam at the back. Itās usually a feminine detail at the front, but we flipped it. And the adjustable zip at the back of the leg lets you go from straight to bootcut.
A: We also flipped the iconic G-STAR back buckles. Itās subtle but meaningful. We wanted to do a lot without it feeling contrived.
C: We didnāt want to take it too seriously. We leaned into G-STARās identity, details, and structure, but exaggerated them. We added a cool wash, played with fits, and brought in our moto influence. One of our iconic pieces, the Claw Jacket, is based on a motorcycle jacket, so it felt like a natural merge.
A: We wanted the trousers to be slim but not tight. Relaxed āāāāā a bit tomboy, a bit cowboy. But also anatomic, with the darts at the knees. When we flipped the jeans inside out, we realized the seam work was beautiful. So we decided to keep that visible. Itās very G-STAR to show the inside on the outside.
What are your favorite details in these jeans?
C: Definitely the inside-out construction. Also, the corset-like seams and the princess seam at the back. Itās usually a feminine detail at the front, but we flipped it. And the adjustable zip at the back of the leg lets you go from straight to bootcut.
A: We also flipped the iconic G-STAR back buckles. Itās subtle but meaningful. We wanted to do a lot without it feeling contrived.
āThey donāt feel like womenās or menās jeansā¦ Theyāre just good jeans.ā
Did you test out the jeans on others or yourselves?
C: Yes, we tried them on our fit modelā Octoberā, whoās a musician. She gave great feedback. The stretch version came out looser, so we adjusted the fit to be more in-between.
A: I wore them tooā,ā and they looked cool on me. We even thought about doing a menās version. They donāt feel like womenās or menās jeansā¦ Theyāre just good jeans.
Why did you choose to do a washed denim?
C: Washes give garments life and identity. The wash made the jeans more wearable and helped highlight the construction details. Plus, it made the fabric softer.
Do you think your different backgrounds - British and Canadian - affect how you work together creatively?
āāC: Yeah, but I feel like Alex is a bit of an anomaly. Itās more about a cultural counterbalance. ā āā
A: Totally. From Charlotteās side, the KNWLS woman is very English. Her mum, her grandma, her friends. From my side, sheās more subcultural, shaped by growing up in Montrealā andā āI was part of the music scene and lots of my friends were girls in the metal scene. That definitely influences how I see the KNWLS woman: strong, a bit anti-establishment and combative in a good way. āThat contrast ābetween us āreally feeds into the brandās identity.
C: Exactly. Itās that tension between tradition and rebellion that makes it interesting.
C: Yes, we tried them on our fit modelā Octoberā, whoās a musician. She gave great feedback. The stretch version came out looser, so we adjusted the fit to be more in-between.
A: I wore them tooā,ā and they looked cool on me. We even thought about doing a menās version. They donāt feel like womenās or menās jeansā¦ Theyāre just good jeans.
Why did you choose to do a washed denim?
C: Washes give garments life and identity. The wash made the jeans more wearable and helped highlight the construction details. Plus, it made the fabric softer.
Do you think your different backgrounds - British and Canadian - affect how you work together creatively?
āāC: Yeah, but I feel like Alex is a bit of an anomaly. Itās more about a cultural counterbalance. ā āā
A: Totally. From Charlotteās side, the KNWLS woman is very English. Her mum, her grandma, her friends. From my side, sheās more subcultural, shaped by growing up in Montrealā andā āI was part of the music scene and lots of my friends were girls in the metal scene. That definitely influences how I see the KNWLS woman: strong, a bit anti-establishment and combative in a good way. āThat contrast ābetween us āreally feeds into the brandās identity.
C: Exactly. Itās that tension between tradition and rebellion that makes it interesting.
āItās not a failure if you donāt launch a brand right away. You donāt want to be a flash in the pan. Itās better to play the long game and do it properly.ā
To wrap it up, do you have any words for young designers trying to break into the industry?
C: Oh, it's a hard time at the moment. I think what we always say is to try and find someone to do it with, because it's going to be so much easier for your mental health. And also to remember that what you learn in school is just a fraction of what the industry expects from you. Think about what you really want to do. Having your own brand isnāt the only measure of success. There are amazing houses with great teams and support systems. If thatās what you want, design your path around that, not just what the school system tells you.
A: You also donāt have to start a brand right after school. It doesnāt mean youāve made it. In fact, itās often better to gain experience first and work in a company, see how it functions. Itās never too late to start something, and itāll probably be a better business if youāve taken the time to learn.
C: Exactly. When you work at a company, you really learn how things workā ā āā āespecially the business side, which you donāt get taught in school.
C: Oh, it's a hard time at the moment. I think what we always say is to try and find someone to do it with, because it's going to be so much easier for your mental health. And also to remember that what you learn in school is just a fraction of what the industry expects from you. Think about what you really want to do. Having your own brand isnāt the only measure of success. There are amazing houses with great teams and support systems. If thatās what you want, design your path around that, not just what the school system tells you.
A: You also donāt have to start a brand right after school. It doesnāt mean youāve made it. In fact, itās often better to gain experience first and work in a company, see how it functions. Itās never too late to start something, and itāll probably be a better business if youāve taken the time to learn.
C: Exactly. When you work at a company, you really learn how things workā ā āā āespecially the business side, which you donāt get taught in school.
A: Yeah, thereās development, marketing, merchandising. All these things you suddenly need to know. And youāre evolving in a high-pressure environment, which prepares you for the real thing.
C: When you graduate, you often have no idea what it really takes. Thereās a rush, a pressure, and a huge responsibility when youāre leading a team.
A: And you work with so many different teams. Design is just one part. Thereās so much more behind it.
C: Yeah, itās not a failure if you donāt launch a brand right away. You donāt want to be a flash in the pan. Itās better to play the long game and do it properly.
A: It works for some people, but many brands that launch too fast burn out. Building experience and connections first gives you a stronger foundation.
C: Exactly. When youāve worked at a few places, you build a network. So when you do launch your own thing, youāre not starting from scratch.
C: When you graduate, you often have no idea what it really takes. Thereās a rush, a pressure, and a huge responsibility when youāre leading a team.
A: And you work with so many different teams. Design is just one part. Thereās so much more behind it.
C: Yeah, itās not a failure if you donāt launch a brand right away. You donāt want to be a flash in the pan. Itās better to play the long game and do it properly.
A: It works for some people, but many brands that launch too fast burn out. Building experience and connections first gives you a stronger foundation.
C: Exactly. When youāve worked at a few places, you build a network. So when you do launch your own thing, youāre not starting from scratch.
