Imagine a world where every glance, every scroll, and every selfie feels like a performance. That's the reality we're living in, and Belgian designer Julie Kegels is here to challenge it. Her Fall 2026 collection, titled Auramaxxing, isn't just about clothes—it's a thought-provoking exploration of how we curate our image in an era of relentless visibility. But here's where it gets controversial: Kegels dares to ask, Can we ever truly control how others perceive us?
Set to the haunting melody of discordant violin plucks, her show was a deliberate departure from the fast-paced, social media-driven spectacle we've grown accustomed to. Models moved slowly, almost meditatively, drawing attention not to their faces or poses, but to the intricate construction of the garments themselves. This was fashion as art, inviting us to pause and reflect—a rarity in today's scroll-and-forget culture.
Inspired by Andy Warhol's concept of the 'aura' and the ethereal, long-exposure portraits of Korean artist Kyungwoo Chun (himself influenced by philosopher Martin Heidegger), Kegels delved into the tension between shadow and authenticity. And this is the part most people miss: her collection wasn't just about looking good; it was about questioning what lies beneath the surface. Is our carefully curated appearance a shield, or a mask?
The designs themselves were a masterclass in duality. Capes flowed dramatically from shoulders, only to tether discreetly at the ankles, creating a ghostly, billowing silhouette. Jackets transformed into dresses, pajama tops expanded into gown-like proportions, and a simple white button-down became a statement cape. Even a skirt seemed to unravel at the waist, only to swoop dramatically into a side drape. These weren't just clothes—they were wearable sculptures, each piece a commentary on the tension between control and chaos.
To achieve these unique shapes, Kegels employed a fascinating technique. She photographed garments in her Antwerp atelier, playing with light and shadow to distort their forms, then used these images as patterns for her designs. Elsewhere, she experimented with what she termed 'forced tailoring'—sleeves cut to push arms forward with military precision, shrunken pullovers sliced open at the shoulders to reveal pops of color like tiny, rebellious wings. It was fashion as a form of empowerment, a way to assert one's presence in a world that often feels overwhelming.
'The aura is a shield,' Kegels reflected backstage. 'We always have an appearance, but maybe the appearance is not true to what there is inside. The Julie Kegels woman will always want to control something, but it is always imperfect.' This imperfection was woven into the very fabric of the collection. Exposed seams and unfinished edges highlighted the beauty of contrast, while playful references to childhood—like cozy baby blankets repurposed as wrap skirts—added a layer of irony. Remember Calimero, the cartoon bird with the adorable hat? Kegels' jagged, jarring headpieces unintentionally evoked his charm, prompting her to lean into the whimsy.
Warhol once said that our aura disappears the moment we open our mouths. But in Kegels' skilled hands, fashion becomes a tool to prolong that illusion—if only for a little while. Her collection challenges us to think deeper about the images we project and the truths we conceal. So, here's the question: In a world obsessed with perfection, is there room for authenticity? Let us know what you think in the comments—this is one conversation that's just getting started.
