2022 was undeniably the year of the naked dress with the likes of Zendaya, Emma Corrin, Dua Lipa and Rihanna endorsing sensual designs that left little to the imagination. Much of this trend can be traced back to the rise of London-based designer Nensi Dojaka. Since establishing her eponymous brand in 2017, Dojaka has produced designs that both unabashedly celebrate the female form while simultaneously redefining sexy after-dark attire. There’s a reason why the Albanian designer’s runway shows amass virality online and her designs remain a permanent fixture on the red-carpet (and as of this year, the bridal industry). Dojaka’s recreation of an archive Chanel look for Kendall Jenner earlier this year sent the internet into a frenzy drawing almost 40,000 likes on Instagram, not to mention Bella Hadid in head-to-toe Dojaka at the 2021 Video Music Awards spiked the brand’s interest tenfold.
For SS24 though, Dojaka, a rising figure in the ranks of emerging designers, was noticeably absent from the London Fashion Week schedule. Instead of a show, she chose to scale back her latest collection into a lookbook, in a bid to rediscover the origin of the brand. ‘SS24 is almost like a reset season. I wanted to take the focus off the very big evening gowns, and the red-carpet stuff,’ says Dojaka from her studio via video call. ‘This collection is going back to the core of the brand. It has a lot to do with me wearing my clothes and how I approach personal dressing,’ she continues. This is illustrated by her outfit – a sheer polo neck top and bra of her own design.
Pivoting towards more functional and utilitarian clothing isn’t an endeavour Dojaka takes lightly. Inspired by the effortless style of the late Nineties and early Noughties, a thread of minimalism is woven throughout the line. Denim, an introduction made last season, makes a reappearance with tulle leggings layered underneath and sheer flares kissing the denim cuffs.
Styled by her long-time collaborator stylist Francesca Burns, and shot by esteemed New York-based photographer Drew Vickers in Paris (the man behind campaigns for Prada, Alaia and Calvin Klein), the lookbook images show there’s more depth to the collection than meets the eye. Contrasting textures are key – matte viscose and liquid-like satin results in cleavage-skimming zip-up boleros accompanied by glossy bralettes, jersey bodysuits and sheer trousers.
Dojaka’s shows have been a highlight of London Fashion Week since her inaugural physical presentation in September 2021. Models Emily Ratajkowski, Paloma Elsesser, Imaan Hammam, and Adut Akech are a just a few of the renowned faces that have strutted on her catwalk. Her eyes instantly light up while recalling the breath-taking spectacle of her shows thus far; and she confesses she ‘misses’ the runway. A host of reasons led to the 2021 LVMH Prize recipient opting for a lookbook over a show this season.
Transparency about the financial constraints of running a business as a designer, particularly one in the early stages of their career is a rarity, but Dojaka doesn’t hesitate to share the peaks and troughs of growing – and sustaining – a brand from the ground up. ‘We’re going through good internal changes, which I’m still in the process of putting in place, and thinking about how to show next season. I don't think that it's sustainable for a young brand to be showing twice a year, especially because I did two shows that were quite big, and I want to keep up that standard.’
Providing a sense of escapism on the runway, while important to Dokaja, began to eclipse her messaging, she continues. ‘The runway shows created a bit of a sense of alienation because supermodels were walking down the runway in these evening gowns and it felt more like a fantasy rather than based on reality, and I felt like that's not how I started things off.’
A whimsical foray into knitwear is an example of clothes designed for those who want to be a part of the Dojaka cohort without shedding layers. ‘I just wanted [my clothing] to feel more accessible, and less alienating,’ says the Central Saint Martins alum. Developing the cornerstone of her footwear has progressed into sculptural heels. The rounded hooks usually found on bras are a detail fixed to asymmetric straps.
Talking of which, the evolution of the intricate, wispy bras – a focal point throughout Dojaka’s work – have evolved into satin and matte undergarments coupled with sharply tailored blazers. ‘It's about mixing very feminine lingerie with tulle together with tailoring that is usually seen as a masculine silhouette,’ she explains.
As with previous ready-to-wear offerings, nature remains a vital driving force behind the collection with pleats mimicking the unfurling of petals. A highlight, and one of the designer’s personal favourite pieces, comes in the form of a hybrid jacket/dress – a first for the designer. ‘It's quite a lot heavier than usual. You can button it up to make it a mini dress, or you can wear it as a jacket. It’s versatile and a new way to bring in tailoring which we haven’t explored before.’
Flesh-baring mini-dress enthusiasts will be pleased to find there’s still a place for boudoir-like pieces. A nude, sequin-drenched thigh-grazing dress with dainty straps and a longer iteration in ivory will surely be seen on the bodies of Hollywood’s young style stars on the step and repeat next spring. Elsewhere, a neutral one-strap dress with boning showcases a glimmer of the signature gowns synonymous with the Dojaka look.
The pause from the show schedule provided a moment for introspection, she says. ‘We’re a team of four people, three are full-time and that includes me. So, having such a small team is difficult if you don’t feel particularly inspired; it can come across as forced. Post-pandemic, people are now looking for pieces to invest in. Functionality and comfort are important and that’s something that I focused on [for SS24] and will continue to improve.’
