Fashion

Trashy Clothing Stages Its First-Ever Runway Show at Paris Fashion Week

BYYassine Hariss

March 9, 2026

By now, the names Shukri Lawrence and Omar Braika should ring a bell. In case they don’t, you’ve probably seen some of their designs worn by the most closely-watched and photographed figures in the celebrity industry; including Italian-American actress Julia Fox, Spanish rapper Morad, Palestinian-Algerian hitmaker Saint Levant, and Nigerian singer-songwriter Rema, to name just a few.

Occupying a space where fashion, politics, and irony repeatedly collide and intersect, it should go without saying that the co-designers behind Palestinian fashion label Trashy Clothing have gained relative notoriety over the past few years by notably building a cult following since its founding in 2017. After first making a name by organizing and hosting digital runway shows to present their sartorial creations—another way to circumvent the harsh realities of living under occupation—the brand has now taken things one step further by staging its first-ever physical runway presentation during the Fall 2026 Ready-to-Wear Paris Fashion Week season.

For its long-awaited debut, the subversive label invited guests to the Arab World Centre (AWC) on March 6, where it unveiled “In Divine Trust,” its Fall 2026 Ready-to-Wear collection co-created with Mia Khalifa’s jewelry label Sheytan World. “We were connected through a shoot [Khalifa] did with Harley Weir, where we were asked to create a custom look for her,” Lawrence told MILLE. “That’s how we started with the Khalifa Bra, which is a tarboosh silhouette, and we just kept going,” he continued. According to Khalifa, the collaboration was a year and a half in the making. “We’ve been working together since then, on commissions or just me being a fan of the brand,” the Lebanese model said, noting that the stakes around the collaboration were unusually high. “But there was a lot of pressure—there’s more pressure than probably the LVMH brands, especially at this time. It has to be right and perfect.”

Indeed, the collection arrives at a moment when the realities of life under occupation are impossible to ignore. As the ongoing genocide in Gaza continues to unfold, the designers turned their attention to the everyday mechanics of control that define life in Palestine.

“Under occupation ordinary life unfolds beside military presence,” explained the show notes, which came in the form of leaflets—a nod to the papers Palestinians are often required to fill in and carry when moving from checkpoint to checkpoint. With surveillance sitting next to salons and checkpoints standing beside gyms, this control slowly weaves itself into everyday acts like crossing the street or “running an errand“— a condition the collection was designed to mirror intentionally. The show notes also revealed that the new line drew partial inspiration from Divine Intervention, the dark comedy by Palestinian filmmaker Elia Suleiman released in 2002, explaining that the designers were particularly moved by its “stillness, gaze, and quiet spectacle of power.”

The guest list included some of the entertainment industry’s most buzzing names, such as Moroccan-Belgian newcomer Dina Ayada and Congolese-French singer Theodora, and the attendance didn’t stop at the front row. A number of familiar faces also took to the runway, with Mia Khalifa both opening and closing the show, alongside Palestinian model and activist Alana Hadid. And for about half-an-hour, the label did what it knows best: across 33 different looks, it leaned fully into its signature language, recounting the everyday Palestinian experience through a wardrobe referencing different facets of daily life under occupation.

Looking back, a few elements repeat enough to feel intentional rather than coincidental. The first are the military codes: khaki and olive tones, cargo constructions, tactical pockets, heavy boots, belted waists, bulky jackets, hardware, and silhouettes that at times feel protective or restrictive. The second is a streetwear-internet vocabulary: printed skinny “jeans,” slogan polos, caps, padded gilets, bootleg-looking graphics, and pieces that flirt with trash culture, irony, and low-fi styling. The third includes regional touches: think fez-like hats, keffiyeh patterns, draped scarves, metallic cuffs, ornamental breastplates, balaclava-like hoods, and references to folk or formal dress.

The strongest visual idea was how the body is treated. Some looks expose it almost aggressively, while others swallow it in structure. You see tiny tops paired with oversized boots, bare torsos cut through by metal or rope, and then immediately after, to-the-body jackets with enlarged collars and shoulders that read like shields. Together, these create a push and pull between vulnerability and defense, exposure and protection. It is also worth noting that several of the accessories were courtesy of Sheytan World, worn by Khalifa across all three of her appearances on the runway.

When asked how it feels to present a collection amid the many saddening events unfolding across the region, both Lawrence and Braika explained that their label has always responded to that reality, using fashion to process, reflect, and push back against it—be it in Palestine, across the Middle East, or beyond. “Everything we do with the brand is a reflection and a mirror, and we add light to it—we use satire to showcase that,” Lawrence said, before Braika and Khalifa emphasized that, for Palestinian and Lebanese people especially, existence itself is a form of resistance.

Keep scrolling to discover some of our favorite looks from the Trashy Clothing Fall 2026 Ready-to-Wear collection.