Inside Budapest Central European Fashion Week: Notes from the Ground

First impression: wow, we are in for quite a range of variety today.

That was one of my first thoughts as I arrived at the intimate Apollo Gallery for the opening day of Budapest Central European Fashion Week. And that thought proved entirely correct.

From the Czech Republic to Ukraine, from Slovenia to Slovakia, day one alone felt like a cross-border dialogue — all without leaving the gallery halls — a gentle reminder of how essential regional platforms are in expanding the global fashion conversation.

Friday — Collectives & Craft

The afternoon began with the CFC Collective showcase from the Czech Republic. Vanami stood out immediately for its intelligent manipulation of material. Deadstock and natural fibers were worked to resemble denim; soft fabrics were transformed into something far more structured at first glance. Knitwear — a recurring theme throughout the weekend — appeared in unexpected, almost subversive ways.

From Slovenia, the LFJW Collective introduced PIAs Label, whose stripe-driven colour blocking and utilitarian codes felt both playful and precise. Silver accessories — loafers, heels, even cowboy boots — punctuated the looks. Brooches glinted under the lights. There was something distinctly Mediterranean-meets-Copenhagen in the air, but interpreted through clean, atemporal lines.

Medle, also part of the Slovenian showcase, leaned fully into maximalism. Think naked dressing, fur gloves, neon-bright prints — a collision between mob wife glamour and party girl chaos. It was bold, trend-aware, and unapologetic.

Slovakia followed with two designers offering radically different yet equally compelling approaches to knitwear.

Michaela Stanová merged crochet with metallic hardware, weaving appliqués directly into the fabric. The palette remained sober — greys, whites, muted tones — allowing technique to lead. Even the accessories were knitted: shoes, belts, and a crochet bag that felt instantly covetable.

Silvia Berecká, meanwhile, approached knitting as sculpture. Organic, exaggerated forms in vibrant colour palettes turned garments into wearable installations. In the Apollo Gallery setting, the intersection between fashion and art felt particularly resonant.

Ukraine brought yet another evolution of knitwear through Lecri. Mermaid references surfaced through shells, layered textures, and pale tonal ranges from soft whites to mauves and sea blues. Some looks felt bridal; others ready for a contemporary beach ritual.

Back in Hungary, the New Generation showcase delivered heritage reframed for now. Chokassy referenced historical tailoring codes — Napoleon-style jackets and intricate embroidery — reinterpreted through modern peplum silhouettes.

Valentin Szarvas impressed with meticulous pleating in restrained tones, as well as metal sculpture plates that acted almost as armour — allowing craftsmanship to speak without distraction.

Standout voices from the collective presentation were DAN!ELLE: a surrealist, slightly macabre vision — hair corsetry, trompe l’oeil anatomy on a red bodysuit — somewhere between Morticia Addams and Schiaparelli-coded fantasy.

Nodzenskii's defiance also caught my attention with an upcycled, hand-painted skirt crafted from bed sheets — a striking nod to sustainable practice.

And with that, Friday came to a close.

Saturday — Conscious Codes & Power Dressing

Saturday began early at the breathtaking Museum of Fine Arts, where Hungarian brand Nanushka presented its conscious line.

Neutrals dominated — leather, tailoring, structured belts, knit textures — all styled with signature clogs and grounded footwear. The silhouettes felt strong yet wearable, structured yet fluid. It was utilitarian but refined.

Z.G.EST played with inversion — trousers as tops, shirts as skirts — shoulder pads, emphasising the hips, muted greys sculpting the body. There was a quiet experimentalism at play.

JSP Atelier from Serbia offered one of the most striking contrasts of the weekend: gas-uniform references in cobalt blue and nude tones paired with sequined bikinis layered under tailored coats. Fishing rope belts, tasselled jewellery, chainmail bags, cowboy boots. Utilitarianism met at the night gala. A powerful woman emerged from every look, truly stealing the show.

Jackob Buczynsky from Poland unified upcycled patchwork, tartan, denim, polka dots, and sequins into surprisingly cohesive silhouettes. Eye motifs and reconstructed leather jackets added personality. It could have veered into chaos, but it held beautifully.

Sunday — Maximal Energy

Sunday maintained the momentum.

Richard Demeter played with 1950s silhouettes reimagined through bold prints, square shoulders, polka dots, gloves, crystals, feathers, and let's not forget the hats. Dramatic but joyful.

Virág Kerényi embraced animal print, faux fur, distressed denim, vinyl, croc textures — an almost après-ski maximalism that felt raw yet quite playful.

Finally, a designer I was genuinely thrilled to discover was Solær. Another bold reinvention of crochet, but this time sharper, sexier, completely of the moment. The silhouettes felt confident and intentional — not nostalgic, but current. As I watched the showcase unfold, one thought kept repeating: this is ultimate cool-girl energy, distilled.

Across the weekend, patterns emerged:

• Knot and envelope-style bags

• Heavy use of knitting and crochet in experimental forms

• Strong, feminine silhouettes

• Gender-fluid tailoring

• Unexpected footwear

• A clear commitment to conscious production, upcycling, and sustainability

Beyond the Runway

What struck me most, however, was not only the clothes.

The hospitality was seamless — from greeting to seating, refreshments to transitions between venues. The spaces themselves elevated the experience: Apollo Gallery highlighting emerging designers; the Museum of Fine Arts offering architectural grandeur.

The crowd felt refreshingly mixed. Industry professionals, yes — but also young attendees, families, even children. Fashion felt lived-in and shared rather than sealed behind exclusivity. The atmosphere was light, energetic, and genuinely enthusiastic.

Budapest Central European Fashion Week feels young — and perhaps, there lies its strength — amplifying regional voices that deserve global attention.

I’ve written a deeper cultural reflection on BCEFW for The Citizen’s Poste, examining its broader positioning within the European fashion landscape. But here, these are simply my notes from the ground — impressions, textures, moments that linger.

And that, sometimes, is where fashion lives most honestly.

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Image Credits

Official runway imagery courtesy of Budapest Central European Fashion Week / Darkroom Productions. Select images photographed by Fashion Gins.