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 textures, and layered silhouettes. Outside of KNWLS, the two are also life partners — 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 Prize, and collaborations with the likes of Jean Paul Gaultier. Worn by cultural trailblazers such as Hunter Schafer, Bella Hadid, Dua Lipa, and Beyoncé, the label continues to redefine what it means to be powerful, sensual, and defiant.
In this exclusive interview, we virtually sat down with Knowles and Arsenault to talk about their creative partnership, cultural influences, and the design process behind THE DENIM 002 — a low-rise, motorcycle-inspired jean shaped by our signature anatomical principles.
From their early days studying at Saint Martins to their vision for THE DENIM 002, the duo shares what drives them and what it means to design with purpose.
June 26, 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 in… So I helped him with his graduate collection.
Alexandre: And that’s 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 in… So I helped him with his graduate collection.
Alexandre: And that’s 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 other’s gaps. It’s hard when we meet designers doing it alone. I don’t know how they manage! Even just going to events solo is a lot.
C: It’s intense being together 24/7, but we’re good at doing things separately too. We’re 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 other’s gaps. It’s hard when we meet designers doing it alone. I don’t know how they manage! Even just going to events solo is a lot.
C: It’s intense being together 24/7, but we’re good at doing things separately too. We’re not joined at the hip.
“If you have a business partner you're not close to, you have to be more sensitive. We can be brutally honest.”
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 don’t get it.
What excited you about collaborating with G-STAR?
C: We love collaborations. It’s a great challenge to interpret another brand’s 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 brand’s codes – military, motorcycle, European workwear. There’s a strictness to it, but also a tongue-in-cheek side. Like the animal skeletons and weird denim experiments. They don’t 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 don’t get it.
What excited you about collaborating with G-STAR?
C: We love collaborations. It’s a great challenge to interpret another brand’s 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 brand’s codes – military, motorcycle, European workwear. There’s a strictness to it, but also a tongue-in-cheek side. Like the animal skeletons and weird denim experiments. They don’t take themselves too seriously, but the brand is still serious.
Let’s talk THE DENIM. How did you approach the design process for this?
C: We didn’t want to take it too seriously. We leaned into G-STAR’s 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 – 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. It’s 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. It’s 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. It’s subtle but meaningful. We wanted to do a lot without it feeling contrived.
C: We didn’t want to take it too seriously. We leaned into G-STAR’s 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 – 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. It’s 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. It’s 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. It’s subtle but meaningful. We wanted to do a lot without it feeling contrived.
“They don’t feel like women’s or men’s jeans… They’re just good jeans.”
Did you test out the jeans on others or yourselves?
C: Yes, we tried them on our fit model October, who’s 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 too, and they looked cool on me. We even thought about doing a men’s version. They don’t feel like women’s or men’s jeans… They’re 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?
C: Yeah, but I feel like Alex is a bit of an anomaly. It’s more about a cultural counterbalance.
A: Totally. From Charlotte’s side, the KNWLS woman is very English. Her mum, her grandma, her friends. From my side, she’s more subcultural, shaped by growing up in Montreal and I 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. That contrast between us really feeds into the brand’s identity.
C: Exactly. It’s that tension between tradition and rebellion that makes it interesting.
C: Yes, we tried them on our fit model October, who’s 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 too, and they looked cool on me. We even thought about doing a men’s version. They don’t feel like women’s or men’s jeans… They’re 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?
C: Yeah, but I feel like Alex is a bit of an anomaly. It’s more about a cultural counterbalance.
A: Totally. From Charlotte’s side, the KNWLS woman is very English. Her mum, her grandma, her friends. From my side, she’s more subcultural, shaped by growing up in Montreal and I 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. That contrast between us really feeds into the brand’s identity.
C: Exactly. It’s that tension between tradition and rebellion that makes it interesting.
“It’s not a failure if you don’t launch a brand right away. You don’t want to be a flash in the pan. It’s better to play the long game and do it properly.”
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 isn’t the only measure of success. There are amazing houses with great teams and support systems. If that’s what you want, design your path around that, not just what the school system tells you.
A: You also don’t have to start a brand right after school. It doesn’t mean you’ve made it. In fact, it’s often better to gain experience first and work in a company, see how it functions. It’s never too late to start something, and it’ll probably be a better business if you’ve taken the time to learn.
C: Exactly. When you work at a company, you really learn how things work – especially the business side, which you don’t 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 isn’t the only measure of success. There are amazing houses with great teams and support systems. If that’s what you want, design your path around that, not just what the school system tells you.
A: You also don’t have to start a brand right after school. It doesn’t mean you’ve made it. In fact, it’s often better to gain experience first and work in a company, see how it functions. It’s never too late to start something, and it’ll probably be a better business if you’ve taken the time to learn.
C: Exactly. When you work at a company, you really learn how things work – especially the business side, which you don’t get taught in school.
A: Yeah, there’s development, marketing, merchandising. All these things you suddenly need to know. And you’re 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. There’s a rush, a pressure, and a huge responsibility when you’re leading a team.
A: And you work with so many different teams. Design is just one part. There’s so much more behind it.
C: Yeah, it’s not a failure if you don’t launch a brand right away. You don’t want to be a flash in the pan. It’s 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 you’ve worked at a few places, you build a network. So when you do launch your own thing, you’re not starting from scratch.
C: When you graduate, you often have no idea what it really takes. There’s a rush, a pressure, and a huge responsibility when you’re leading a team.
A: And you work with so many different teams. Design is just one part. There’s so much more behind it.
C: Yeah, it’s not a failure if you don’t launch a brand right away. You don’t want to be a flash in the pan. It’s 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 you’ve worked at a few places, you build a network. So when you do launch your own thing, you’re not starting from scratch.
