Inside 38 Love Lane
This month in Shoreditch, a crowd gathered on Bethnal Green Road, drawn by the promise of music, creativity and community.
Inside, London-based designer Bianca Saunders had transformed the space into a living interpretation of her 38 Love Lane zine — an intimate exploration of Jamaican heritage created with Amsterdam-based photographer Kwabena Sekyi Appiah-Nti.
The pop-up, timed to coincide with Jamaican Independence Day, was produced in partnership with Puma, whose new H-Street Jamaica pack was available alongside pieces from Saunders’ SS25 collection.
The event offered a modernist take on Caribbean culture: walls draped in ecru fabric by set designer Y Lan Lucas, music curated by Stephanie Okoye, and archival photography lining the floor.
Following the launch, we caught up with Saunders to dig deeper into the ideas behind 38 Love Lane.
How do you personally define “community” within the context of your brand?
For me, community is about shared energy and a sense of belonging that goes beyond clothing. It’s the people who connect with the ideas, the storytelling, and the cultural references that shape the brand. Whether they’re collaborators, customers, or creatives I admire, it’s a network built on mutual respect, curiosity, and the exchange of ideas. My brand exists in conversation with that community. It’s not just me speaking, it’s us building something together.
You’ve described this pop-up as an “extension of the brand” rather than a literal re-creation of your zine. How did you decide what to carry over and what to reinterpret?
The zine is about narrative, words, imagery, and a certain intimacy you feel when you turn the pages. The pop-up had to translate that spirit into a physical, sensory experience. I carried over the themes, tone, and visual language, but reinterpreted them through spatial design, textures, and interactive elements. Instead of trying to replicate the zine, I wanted people to step into its world — to feel like they’re inside a living, breathing chapter.
When collaborating with a big brand like Puma, how do you make sure the project still feels true to your voice?
It starts with clarity, knowing what my brand stands for and what non-negotiables are in terms of design, storytelling, and quality. I approach collaborations as a meeting point: their expertise and reach, my perspective and signature style. With Puma, I ensured that movement, cut, and cultural nuance, which are central to my work — were woven into every detail. If I can look at the final product and immediately recognise “this is us,” then I know we’ve done it right.
Fashion often moves fast. How do you carve out time and space to work on slower, more thoughtful projects?
It’s about discipline and protecting that space like you would a deadline. I make sure to schedule pockets of time that are free from show cycles and immediate deliverables, so I can experiment and think without pressure. I also build a strong team structure that allows me to step back when needed. Those slower moments are where the most meaningful ideas emerge — they’re the foundation for everything else.
If you could take 38 Love Lane on tour, what city would you bring it to next, and how might you adapt it for that audience?
I’d love to bring it to New York. The city has a raw, kinetic energy and a deep connection to art, music, and style that feels perfectly in step with the spirit of 38 Love Lane. I’d adapt it by working with local creatives, tapping into the city’s rich history of subcultures, and creating programming that blends the installation with live performances and conversations. It would still feel like the 38 Love Lane world, but reimagined through a distinctly New York lens.
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