At a moment when fashion continues to question how identity is performed in public spaces, Completedworks approached Autumn Winter 2026 with a measured, intellectually driven perspective. Presented at Nobu Hotel London Portman Square, the London-based brand unveiled a collection that studies surface, structure, and the emotional weight carried by objects we choose to wear.

Founded by Anna Jewsbury, Completedworks has built its reputation on sculptural jewellery that challenges conventional ideas of adornment. The AW26 outing deepens that conversation, examining how presentation and inner experience rarely align in simple ways. The result is a collection that feels considered and quietly provocative.

Jewellery That Reveals and Conceals

For Autumn Winter 2026, Completedworks turns its attention to the physical and emotional qualities of surfaces. The collection explores the tension between outward polish and internal complexity, questioning whether objects or aesthetic choices can ever fully communicate personal truth.

Across earrings, necklaces, cuffs, and rings, sculptural forms appear intentionally worked and reworked. Segments are sanded, cut, and interrupted to expose flashes of vivid color beneath controlled exteriors. The visual effect suggests something warmer pushing through the surface, reinforcing the collection’s interest in layered identity.

Pieces maintain a composed silhouette while retaining subtle signs of abrasion. Softness emerges through structure, and color appears in restrained fragments. The approach reflects Completedworks’ ongoing commitment to jewellery that sits between protection and intimacy.

The Return of the Floral Motif

Select designs revisit floral references through the use of agate stones. Natural inclusions within the stones create the impression of flowers suspended inside the material, adding an organic counterpoint to the brand’s architectural forms. These details reinforce the collection’s central idea that adornment can hold multiple emotional readings at once.

Satire Meets Fashion Presentation

Developed alongside the jewellery collection, Completedworks introduced Good Food, Good Friends, a micro-play written by Laura Waldren. The production stars Jemima Kirke as Régine McQueen and Camille Charrière as her personal assistant, unfolding within the setting of a highly stylized televised dinner party.

The performance uses satire to examine identity as display, focusing on how possessions, rituals, and self-presentation can function as tools for reassurance, control, and belonging. Moments of humor sit alongside unexpected vulnerability, mirroring the emotional tension embedded in the jewellery itself.

Supporting cast includes Sienna King, Sal Green, and Cecilia Mezzi, with direction by Raffi Chipperfield and Ekaterina Bazhenova-Yamasaki. The project marks Waldren’s second collaboration with the brand.

Beyond jewellery, the AW26 presentation also introduced a new chapter for the label through custom Completedworks for ASICS GEL-KAYANO 20 sneakers. The collaboration was scheduled for release at 2 pm GMT on February 21 via Dover Street Market London and Completedworks.com.

The partnership signals the brand’s continued interest in extending its sculptural design language into adjacent categories while maintaining its conceptual core.

Completedworks describes its practice as documenting the beauty and complexity of everyday life through jewellery, homeware, and accessories. The studio prioritizes recycled and renewable resources while developing pieces that weave, loop, twist, and expand in sculptural form.

The brand’s work has received notable industry recognition, including inclusion in Christie’s New York’s first contemporary designer sale and nominations for both the BFC Vogue Designer Fashion Fund and Accessories Designer of the Year.

Today, founder Anna Jewsbury leads a growing London-based team whose multidisciplinary approach continues to position Completedworks within fashion’s more conceptually driven corner.

Completedworks’ Autumn Winter 2026 presentation does not chase spectacle. Instead, it leans into nuance, asking viewers to consider what objects can and cannot communicate about the people who wear them.