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Leo Prothmann is a London based designer whose work often begins but with the sensorial worlds that shaped him. Raised between Munich and Mallorca, he spent much of hisadolescence on horseback, absorbing the discipline, stillness, and physical grammar of riding.
That early education in posture, weight, and restraint continues to anchor his approach to clothing, which he describes less as a style and more as a way of carrying oneself through space.

After training at the London College of Fashion and gaining experience with designers such as Rick Owens, Craig Green, and Matty Bovan, Prothmann formed a studio practice that operates with the rigor of a workshop. Pieces are developed and produced in house, allowing him to think of garments as objects with their own internal architecture. Leather recurs not as a symbol of luxury, but as a material with memory, capable of holding tension, age, and gesture.
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Prothmann’s work gravitates toward people who move between identities and environments, and his pieces resist strict gendered categories. What emerges is a vocabulary that feels both grounded and slightly mythic, with garments that suggest lived experience, physical labor, nightlife, and the quiet moments in which a person recalibrates their sense of self. He often cites conversations with friends, long nights, and the landscape of London as materials as essential as leather or suede.

In an industry inclined toward noise, Prothmann’s practice feels built on concentration. His clothes ask not to impress but to accompany, and not to decorate but to hold. They reflect a belief that fashion can still function as a form of community building, a way of naming the people who steady us, and a means of giving shape to the worlds we inhabit even when those worlds feel unstable.
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Autumn/Winter 2026 “CABAÑA”
A Letter from Leo

Dear Friends,

I have been thinking about warmth.

Not the warmth of summer, but the kind that lingers in wood and painted walls, in the quiet of a cabin when the air outside is damp and heavy. CABAÑA was born from a week spent secluded in San José del Pacífico, Mexico, surrounded by mist, earth, and colours I had never fully understood until I lived within them.

There, I began to notice how buildings carried pigment like memory: mud, mustard, oxblood, teal, forest green, tones shaped slowly by weather and time. I walked for hours through shifting terrain and returned each evening thinking about structure and collapse, about garments that could hold themselves with clarity and then soften, as bodies do.

This season feels close to my own wardrobe, instinctive and personal. Oversized, structured silhouettes fall into a deliberate slouch, while vibrant tones settle into unexpected placements. Comfort and resistance sit side by side.
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The shell forms that have long defined my practice return in a new expression, becoming quilted leather parkas, modular and protective, and morning capes imagined for rituals at first light. Constructed from offcut leather strips and reinforced internally with boning, these pieces maintain their architecture before yielding gently to movement. I refer to them as cages, as each line is placed equidistantly and applied by hand, every strip requiring patience and precision. They are among the most technically demanding garments we have made, yet they are worn with ease. Curved shoulders remain central to the silhouette, engineered to hold shape before falling softly at the cuff, allowing structure and fluidity to exist together.

Leather remains my language, bending and resisting while remembering the hand that shapes it. For CABAÑA, we worked closely with Nene Valley Leather, specialists in upholstery hides designed to endure daily life. Using fully by-product leather, firm yet supple, we focused on longevity. I often think about furniture, about pieces made to live quietly in a space for decades, and I hope these garments carry that same sense of permanence.

Here, on the Mandrake’s terrace, suspended between city and shelter, I offer you CABAÑA.

With love,
Leo Prothmann
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