The OUZE presents jewellery in its rarest form at London Fashion Week.

The OUZE FW’26 presentation, ‘The Process is The Point’, took place in a large, derelict-feeling basement (dressed by set designer Thomas Conant) behind the sparkly British Fashion Council NEWGEN showroom. Guests could admire the work of BFC/Vogue Designer Fashion Fund shortlisters Clio Peppiatt, KNWLS and Talia Byre (amongst the rest) with a free Blank Street matcha in hand before disappearing into the dark space.

Inside the security-guarded room lay the work of Toby Vernon. A Westminster University Fashion Design graduate who became obsessed with the ancient lost-wax technique (the process of carving wax to create metal) is known for his raw, unpolished pieces. This collection was no different.

Placed amongst vivid blue wax casts, against the backdrop of large pieces of sheet music hung from the ceiling and the live soundtrack of cellist Ramilda (@ramilda.xx), were chunky silver rings and chainmail bracelets. Amongst them were unfinished rings in clusters that resembled small metal trees.

A small paper booklet, handed to guests upon entry, contained a handwritten note suggesting that the act of playing music and making jewellery are mirrored.

“Another art form shaped by repetition, rehearsal and mistake. Notes are tested, repeated and interrupted, echoing the rhythm of making by hand.”

The OUZE presentation depicted a different side to jewellery. So often we see the polished, glistening diamonds of Swarovski or the sleek gold of Cartier. The idea of jewellery as a finished, glossy gift is so ingrained in our minds that we forget the process. Toby Vernon’s jewellery is raw, unique and looks like it's from a time so far in the past that it becomes the future.