Feminism or Fascism: A Design Debate | Los Angeles Review of Books

Harley Wong on Fashion Designer Dilara Findikoglu’s ‘Cage of Innocence’ Presentation in Light of Edith Wharton’s Fiction

At London Fashion Week in September, an electrifying energy filled Ironmongers’ Hall as whispers, screams, and the clamor of chains marked the arrival of Dilara Findikoglu’s spring/summer 2026 collection, Cage of Innocence. This presentation was set against the backdrop of a historic Tudor-style venue, known for its grand architecture and ornate surroundings, transformed for one night into a stage that echoed themes of rebellion, innocence, and societal constraint.

The Designer’s Journey

Dilara Findikoglu has made waves in the fashion industry since launching her label in 2016, gaining notoriety for her audacious approach that combines delicate craftsmanship with bold, often provocative statements. She captured widescale attention during a guerrilla fashion show in 2015, demonstrating defiance against traditional avenues in fashion. As her reputation has grown, she has cultivated a fervent following, particularly among younger audiences intrigued by her vision that juxtaposes sexuality and femininity.

Setting the Scene

The Cage of Innocence was one of London Fashion Week’s most awaited events, with long lines snaking around the block, eventually leading to police intervention due to overcrowding. The atmosphere inside was charged, as guests were serenaded not by conventional orchestration but by a heavy score featuring ominous double bass sounds, pipe organs, and eventually converging into electric guitar riffs—creating an ambiance more reminiscent of a rock concert than a traditional runway show.

Findikoglu’s collection, synchronized with the haunting theme of her show, echoes the sentiments drawn from Edith Wharton’s 1920 novel, The Age of Innocence. The collection was not merely a showcase of clothing; it was a statement about the limitations imposed on women’s identities throughout history. “Women have been kept in cages of innocence and purity,” Findikoglu asserted, framing her collection as a liberation from these conventional roles.

A Literary Parallel

Delving into Wharton’s text reveals a stark contrast between the archetypes of womanhood represented by May Welland and Ellen Olenska. May, groomed to embody youthful innocence, and Ellen, with her fiery independence, serve as oppositional forces that challenge society’s expectations. Findikoglu’s designs reimagine these characters, reflecting their internal struggles through fashion that speaks to contemporary concerns about autonomy and identity.

The model who emerged to represent May Welland was adorned in attire that seemed to embody a sense of fear rather than excitement, trembling down the runway, dirt-streaked and disheveled. This portrayal diverged sharply from Wharton’s idealized depiction of innocence, depicting a woman trapped in societal norms yet yearning for release.

Themes of Confinement and Rebellion

The garments featured in Cage of Innocence ranged from corseted dresses to ornate metal masks, each piece layered with symbolic meaning. The collection serves as an exploration of the constraints imposed on women, visually representing a struggle through distressed fabrics and disarrayed silhouettes. The halterneck dress, reminiscent of Ellen’s storied opera gown, was teared and rough, challenging the pristine standards of beauty and virtue established by Wharton’s era.

Interestingly, Findikoglu incorporates elements that stretch beyond mere aesthetics. The use of metal masks and harnesses speaks to historical practices of oppression, reminiscent of the “scold’s bridle”—an implement used to silence outspoken women. Here, the fashion becomes an exploration of the limitations that societal expectations impose on female identity, much like the characters in Wharton’s narrative grapple with their roles in a rigidly structured society.

Social Commentary Through Fashion

The final moments of the show marked a resolute transformation: models discarded chains as symbols of their past constraints. In one standout look, models sashayed down the runway adorned with ornamental chains and harnesses, yet their expressions suggested a reclamation of agency. The juxtaposition of delicate beauty with elements of strength, like armor and tangled foliage, challenges the viewer to reconsider the duality of innocence and power.

Yet, intriguing complexities linger beyond the aesthetic realm: as voices have surfaced accusing Findikoglu of workplace misconduct, juxtaposing her claims of empowerment with allegations of a troubling environment within her brand. The tension between her artistic vision and the realities of her operational ethics echoes Wharton’s critiques of societal facades.

The Ongoing Conversation

Findikoglu’s Cage of Innocence beckons a conversation about the struggle for female identity and autonomy, resonating with Wharton’s reflections on marriage and societal pressures. In a society where women often grapple with the remnants of patriarchal values, both Findikoglu’s collection and Wharton’s narrative serve as poignant reminders of the battles fought and the liberations sought in the quest for self-definition.

While Cage of Innocence successfully distills the spirit of defiance seen in Wharton’s characters, the complexities of modern existence illustrate that liberation, whether through fashion or literature, remains a nuanced discussion. The themes explored through Findikoglu’s lens call into question not just the cages women are born into but also the ongoing struggle for true freedom and self-expression.