PHOTOGRAPHY Luis Calvo Hernández
404 Studio is a vibrant womenswear label where traditional craftsmanship collides with underground culture. With a signature focus on knitwear, the brand reinterprets heritage techniques through the lens of cult cinema and provoking references. Far from following trends, 404 Studio stands alone as a bold brand with a unique idea.
Earlier this month, the fashion label took to the runway at 080 Barcelona Fashion, an event known for celebrating creative individuality, with its AW25 collection titled “Hack the System.” Inspired by Hackers, the show was a retro-futuristic dream, awash with saturated tones and nostalgic metallics reminiscent of vintage video games. Beyond its aesthetic punch, the collection made a deeper statement; a call for ethical fashion practices, industry inclusivity – and quite literally hacking the system.
Following her latest show at 080 Barcelona Fashion, BRICKS sat down with Anaïs Vauxcelles, founder and creative force behind 404 Studio, to talk about cinematic obsessions, individual artistry, and the sense of solidarity that sets Barcelonian style apart.
404 Studio fuses artisanal craftsmanship with bold nods to pop culture. What sparked this unique creative direction when you first launched the brand?
So, my background is actually in fine art. I have a degree in fine art and a master’s in art direction and communication. I think that’s why my brand looks so different, I don’t have the same fashion training as others. I’ve been obsessed with cult films and pop culture since I was a little girl. It just made sense to merge all the things I love into fashion.
For Fall-Winter 2025, you showcased “Hack the System” at 080 Barcelona Fashion – a collection inspired by Iain Softley’s cult classic Hackers. What drew you to this film as a starting point?
Hackers really spoke to me. I was mesmerised by Angelina Jolie, she looked so cool, like this rebellious futuristic icon. The styling was wild. But more than the aesthetics, it was the message. These four teens are going up against this huge system. That hit home for me as an independent designer. I’m not ‘emerging’ anymore, I’ve been doing this for seven years, but I still feel like an outsider in the industry. I try to create my own universe inspired by the films, not just copy them. That’s what we learnt in the fine arts; take a reference and make it yours.
Are there any cult films, subcultures, or pieces of art you’d love to explore in future collections?
I’m really into female artists right now. There’s something about their perspective that speaks so deeply to me. Lovisa Axén and Irene Molina. They’re incredible. I love them, and their work is just so contemporary and cool. Honestly, you should interview them. I feel like female artists are the moment right now. And it’s so important to uplift other artists and designers. There’s something really powerful and special about that energy. I also really love Zandile Tshabalala. Also, I have to mention United Nude. We collaborated with them on the collection. I love brands that seek to uplift independent designers, that’s so important. They’re really the key to our resilience.
For me, fashion has to have a concept. I think today, too many people are just making clothes without meaning. Like McQueen said, “If you’ve got something to say, say it.”
What was the process like for “Hack the System” – did you always know it would be a full collection?
Not at all – I was about a quarter of the way through creating a collection when I watched Hackers, and I immediately knew I needed to change everything. The film truly spoke to me, and I knew I had to incorporate its message, which is so aligned with my journey as an independent designer, into my latest collection. This is my usual creative process, it normally starts with a film I fall in love with. With films, and art, it’s not just about the visuals – I need to connect with the story, the message. That’s how I get excited about creating something. For me, fashion has to have a concept. I think today, too many people are just making clothes without meaning. Like McQueen said, “If you’ve got something to say, say it.”
This collection repurposes deadstock yarns from previous seasons. What motivated that decision, and how did it influence the final designs?
I really challenged myself. I only used materials I already had in the studio. Deadstock yarns, leftover leathers, even stuff from ten years ago. I wanted to be super resourceful. I only bought two new things for the collection. People think that’s easier, but it’s not. You have to make everything work together, even if nothing matches. It’s a real challenge.
Do you see circularity and upcycling becoming core pillars of your design ethos moving forward?
Okay, you might hate me for this… I’m kind of anti the word ‘sustainability’ in fashion. It’s become a buzzword, and 99% of people are doing it poorly. For me, fashion has to be polished, well-crafted, and meaningful. I believe more in being ethical – being careful with the planet – but doing it in a smart, intentional way. That’s the narrative I want to change. There is a lot of pressure on independent brands to appear ‘sustainable,’ when fashion itself is all about consumerism, and big fashion houses aren’t held to the same standard. I am really focused on my ethics, I reduce waste, I use leftover materials, and I focus on artisanal craftsmanship. I did a lot of internal research on myself and realised I’m obsessed with craftsmanship. I love the flaws, the little imperfections that come from making something by hand. It’s like making a Spanish tortilla; same ingredients, but each one tastes different. That’s what I love about design.
How do you envision the future of knitwear in a tech-driven fashion landscape?
Knitwear has so much potential. We’ve only explored like 1% of what’s possible. I’m excited about how materials and processes are evolving. But one thing I hope never changes? Crochet. Machines can’t replicate crochet, and I think that’s amazing. I hope it doesn’t change. You can feel the human touch; that tiny twist in the yarn. That’s irreplaceable. I tried to reflect that clash between tech and craft, even without fancy machines. But we need investment, we need buyers, we need support to take it further.
Knitwear has so much potential. We’ve only explored like 1% of what’s possible. I’m excited about how materials and processes are evolving. But one thing I hope never changes? Crochet. Machines can’t replicate crochet, and I think that’s amazing.
What makes 080 Barcelona Fashion a particularly special platform for you, compared to the “big four” fashion weeks?
In Spain, we don’t take ourselves that seriously, but I think it’s mostly a strength. We’re not trying to be in the Olympics of fashion, you know? Our brands are so different from each other – like, really different – so why compete? There’s space for everyone. At 080 Barcelona, the designers go to each other’s shows, we cheer each other on. It’s different from what I’ve seen elsewhere, especially in cities like London where the competition is way more intense. That sense of community is amazing.
Looking ahead, what are your hopes for the fashion industry, and what’s next for 404 Studio?
I hope everything changes, but that’s huge. I also want the war to stop in Ukraine and in Gaza, you know? Like…I wish. I know it’s going to be difficult, but I feel that the fashion industry needs to be more open. What I mean with openness is; we need more talent. People from outside the same schools. We need people from Zambia. We need people from Texas. We need people from small towns in Spain. New talent, fresh talent. We need to let them in. That’s why I think this collection was truly merged with my opinions and what I think about the fashion industry. We need to hack the system in some way. I don’t know how, but we need to. We need to be more inclusive, we need to be more open-minded. We need to reduce, recycle, and repeat. In terms of 404 Studio, I’m going to try to be resilient. That’s the future for us – to be resilient.
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