Fashion remains one of the most aspirational creative disciplines, but also one of the most difficult to sustain. That applies through all its iterations, including stylists, HMUAs , photographers, and writers. That struggle takes on an added dimension for those emerging designers who have left education or unfulfilling jobs to enter a precarious post-Brexit, tariff-sapping fashion landscape. A financial fever dream that is amplified not only by production costs, but also the costs of renting personal and studio space in a fashion capital like London.
It’s no surprise that so many supremely gifted designers disappear after two or three collections, unable to balance ever-increasing costs with a market that too often only rewards mainstream mediocrity. While the British Fashion Council’s “NEWGEN” programme supports a handful of those, who have reached that breakthrough moment, many of remain underpaid and unsupported.
Looking to bridge that gap is Hi-Fi, an initiative that seeks to nurture emerging designers and provide them with a platform to showcase their creativity, and just as importantly, looks to improve their long-term viability. Combining the worlds of fashion, film, music, events, and innovation, Hi-Fi is the brainchild of Liam Gleeson, founder and creative director of the Hidden Agency, a multi-disciplinary ideas incubator headquartered between London and Tokyo.
Noctis speaks to Liam about what motivated him to set up Hi-Fi, how it operates, and how he hopes to level the creative playing field for those talents who deserve the most support, but are least able to afford it.
Can you tell us what Hi-Fi does and its aims and objectives?
Hi-Fi offers 360 creative support with an agency mindset that’s all about world building and storytelling. We help designers with everything from campaigns and social content to immersive events, presentations, and runway shows. Every project is different, we never follow the same formula. The idea is to shape the support around whatever the designer needs at that moment, as well as being flexible to be able to shapeshift into whatever creative direction we want to move into. The goal is to level the playing field for emerging talent so they can compete with brands that have big marketing budgets. We want to give them the best platform possible to grow, make sales, and build something that lasts. A big part of that is spotlighting UK talent and creating excitement around new and fresh ideas.
What do you do in practical terms to help those you select and how is Hi-Fi funded?
Hi-Fi is self-funded through Hidden Agency. Every time we take on a commercial job we put a percentage aside for Hi-Fi, then figure out what we can do with what we have. Sponsorship interest has been tricky, but we’re staying focused and keeping the momentum going. It’ll come. We’ve had such a positive response to the shows this year and we’re genuinely making a difference, so whether we find a sponsor or not, we’ll keep pushing forward with what we’ve got.
I’d also like to mention that despite not having a money sponsor we’ve built some wonderful pro bono partnerships with individuals and businesses that also share our values and really just want to give back. I started Hidden Agency in 2009 and built it up over time. We focus on creative direction, repositioning and strategy, film and photo direction, and full shoot and event production.
Hi-Fi’s altruistic attitude stands out in an industry that is often self-obsessed and self-serving. What motivated you personally to start the initiative?
I’ve been working with designers for years, since I started making films around 2010. Over time I’ve had a lot of conversations about what they actually need, where they struggle, what they can’t afford, what they don’t have time to do. I’ve also seen too many talented designers come and go, because it’s such a hard business to sustain, especially now with the pace and costs involved. I wanted to create something that doesn’t really exist in the current landscape. Real,
practical support that fills the gaps and leads to growth.
This LFW you gave a platform to Ella Douglas and Timisola Shasanya. What qualities do they and their work have that made you choose them as the latest Hi-Fi recipients?
We wanted to create a sensory journey that moved people between different worlds, so contrast was key. Upstairs we started with Maximilian Raynor’s ancestral dream world, then people came down into Timisola’s presentation, and finally into Ella’s universe, which was completely different again. The idea was to have three distinct visions that left people feeling inspired and present. We’d been watching Ella for a while, she’s got great potential, amazing ideas, and a
clear sense of how to build brand desirability through accessible pieces.
Timi’s BA show at CSM really caught our eye. Her conceptual approach stood out and we wanted to help her build that world and amplify her storytelling early on. She’s just started her MA in Paris, but we also think it’s important to support younger designers at the BA level. If we can help them at the foundation stage, it sets them up for stronger success later.
They presented their collections after Maximilian Raynor, a previous Hi-Fi recipient. How valuable is that kind of visibility, and is it part of your long-term strategy?
Exactly! Max was more established, kind of the headliner of the event, which really helped bring attention to Ella and Timi. His show was the opening of LFW, so it drew in top press, buyers, and celebs. Having them follow that meant way more eyes on their work, and we hope the whole experience felt fresh, underground, and exciting for everyone there.
Karen Binns works with you as a mentor, stylist, and Fashion Director. What brought you together, and how does her experience help spread the Hi-Fi message?
Karen and I have known each other for years, but I reached out when I wanted to take Hi-Fi to the next level. I’d seen her on a Show Studio panel talking about the exact issues designers face, and everything she said just clicked with me. It made total sense to team up. She’s opened so many doors and genuinely cares about emerging talent in London. She’s given so much of her time, creativity, and support, I can’t say enough how grateful I am to be working with her.
Many designers are finding it difficult to sustain a career right now. Is providing long-term support something you want to explore?
Yeah, definitely. I’ve seen the longevity issue in London for a while now, it’s one of the main reasons I started Hi-Fi. Designers face so many challenges early on, debt, limited space, high rents, huge show costs, no resources for creative content or strategy. That’s where Hi-Fi steps in. We bridge that gap by using our agency experience to position brands and offer 360 creative and production support when they need it most.
What are your plans for the rest of 2025 and into 2026?
We’ve got another podcast series with Karen Binns coming up with an amazing line-up of guests, which I’m really excited about. There are also a few new projects in the pipeline for next year, but I can’t talk about those just yet. The main goal is to really cement Hi-Fi as a key pathway for designers in London and to reach more of them as we grow.
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Words: Brian James