Badibanga’s latest collection, Project O, is more than just a fashion statement — it is a deeply personal exploration of origins, evolution, and cultural exchange. Inspired by Creative Director Oscar Badibanga’s pivotal trip to Osaka, Japan, the collection pays tribute to Amerikamura, a district where tradition meets rebellion and counterculture thrives. Fusing elements of Japanese street style, vintage military aesthetics, and workwear. Project O redefines the “modern uniform“ with oversized silhouettes, muted tones, and minimalist precision.

“This collection is a tribute to my beginnings — the ‘lost file’ of sketches and ideas I created 10 years ago,” says Oscar. “Project O is about rediscovering my vision and allowing it to evolve through personal growth and cultural exploration.”

A continuation of Badibanga’s design philosophy, the collection blends rugged functionality with understated luxury, drawing inspiration from the architectural precision of Tadao Ando and the serene landscapes of Naoshima Island. Signature pieces like the Gilda coat, first seen at Copenhagen Fashion Week, Maloy jacket, and Rash pants return in fresh fabrics and colourways, embodying comfort, versatility, and timeless modernity.

As Oscar and Co-Founder Gilda Gilantash put it, Project O is more than clothing — it is an extension of the wearer, a canvas for personal storytelling, and a bold celebration of individuality.

— Oscar, you have described “Project O” as the rediscovering of your own original vision from a decade ago. How has your creative process evolved over the past decade?

Oscar Badibanga: My creative process has evolved significantly over the past decade. Many factors I hadn’t considered 10 years ago now have a huge influence on my approach. Over the years, I have worked for major brands and renowned fashion houses, gaining invaluable experience. I have also travelled extensively, immersing myself in different cultures. Additionally, I have been living in the UAE for the past 13 years, which has further shaped my perspective.

Beyond just my creative process, my overall knowledge has expanded and evolved in ways I couldn’t have imagined before. I have also realised that there are many challenges I hadn’t considered before, which now play a significant role in my creative process. The way I approach and develop a collection today comes with a deeper awareness and understanding than it did in the past. Now, I don’t just look at a collection on a personal level — I also consider how it will be perceived and what steps I need to take to achieve that vision.

The business side has also become a major factor. I no longer see the product simply as a journey from point A to point B; instead, I recognise the entire process behind it. From logistics and fabric sourcing to production and execution, every step now directly influences the way I work.

When I decided to revisit the brand’s origins and reconnect with where it all started, I was drawn back to something deeply personal — Project O. Interestingly, the name comes from a file I created in the very beginning, where I stored my first ideas, sketches, and drawings. At the time, I was using my office computer and didn’t want anyone to notice what I was working on if they happened to open my files. So, I named it Project O as a kind of secret placeholder.

It is funny looking back because that file became a collection of everything that inspired me — a space where I kept adding ideas over time. Even today, I continue to update it, and it still carries the same name.

— Is there a meaning behind this O?

Oscar: Oscar. As simple as that.

— And Gilda, can you share insights into how you and Oscar collaborate creatively and strategically? What strengths do you each bring to the table?

Gilda Gilantash Badibanga: Oscar and I have a natural synergy which has evolved over the years. We work together to identify the vision for the brand and from there each one has their roles in bringing it to life.

As the Creative Director, Oscar brings this vision to life with his designs, whilst I ensure that vision translates seamlessly into strategy. I handle the brand’s storytelling, partnerships, and operational structure, creating the framework for his designs to come to life and thrive. It is a balance of artistic freedom and strategic execution.

— How do you feel when you look back 10 years ago? Remembering Oscar 10 years ago, remembering the project 10 years ago, which emotions does it bring up in you?

Oscar: I have a deep sense of respect and pride for the Oscar of 10 years ago — the one who decided to take this leap to start this journey, even when everything on paper suggested otherwise. At the time, I was still searching for myself on many levels. I had just left everything familiar — my entire environment, my comfort zone. I grew up in Belgium, where my family and friends still live, but I chose to step away and embark on a new path. I wanted to fully embrace the journey despite the uncertainty and the moments of doubt. Looking back today, I am grateful for that decision and for trusting myself, even when the answer wasn’t always clear.

— Can you say you got rewarded with that difficult choice?

Oscar: Definitely. I look back and think that was a good choice. There is a quote I heard from Christian Monroe: If most people, when they set a goal in life, could see the full journey ahead, 90% wouldn’t even try. Because the journey comes at a cost — you have to be ready for it. But what I have learned, looking back at myself 10 years ago, is that while keeping your eyes on the goal is important, the real key is to embrace and enjoy the process, no matter where it takes you.

— You have also mentioned in the description of Project Oscar a lot of references to Japanese culture. I am curious about which aspects of Japanese culture actually resonate with you on a deeper level.

Oscar: You know what I really admire about Japanese culture? Their approach to craftsmanship. It is not about trying to appropriate something — it is about perfecting it through their own vision. When I worked at Levi’s, I spent a lot of time in the lab with the team, and I remember a conversation that really stuck with me. One of them told me, "Oscar, when America decided to globalise the industry in the 50s, everything changed. Levi’s switched to a different type of machine to produce denim yarn — one that was faster but compromised on quality. So they got rid of the old machines. The Japanese bought those machines and brought them to Japan." They still valued the original process. It may have taken more time, but for them, it was worth it. They weren’t just chasing efficiency — they respected the craft. I see that same philosophy reflected in so many aspects of their culture, from fashion to food. I remember having coffee in Osaka with Gilda. Five minutes in, the barista was still brewing by hand. I asked him, "Why is it taking so long?" and he simply replied, "Because that’s how it’s the best." That answer stuck with me. It made me look at their culture differently. They don’t just imitate — they refine. If I can put it this way, they Japanify things. And that is what makes it so beautiful — they honour the process above all else.

— When was the last time you visited Japan? 

Oscar: Six years ago for our honeymoon trip. We spent three weeks travelling through Osaka, Kyoto, and Tokyo, with a couple of friends joining us along the way. It was an incredible experience, and I can’t wait to go back. If not by the end of this year, then hopefully by mid-next year — I am aiming for September or October.

— Do you have any spots that you are looking forward to visiting? Like any particular places?

Oscar: This time, I want to experience it differently. The first time I went, I immersed myself in everything I was eager to explore — art, culture, food, and music. Japan has an incredible artistic scene. But this time, I want to focus more on nature and dive deeper into its traditional aspects. On my last trip, I also discovered Naoshima Island, and I would love to return with a fresh perspective. Instead of just a day, I want to stay for two and truly take it in. I already have a few spots in mind.

— Is that the island with the installations? Naoshima Island?

Oscar: Yes. There are several installations by Yayoi Kusama, along with the main building designed by Tadao Ando.

— Right, and they have a hotel there, right?

Oscar: Yes, they have a hotel, and they also feature an installation by James Turrell — a fusion of architecture and light-based art. It was mind-blowing. I never imagined I could be so captivated by a concrete wall, but I found myself staring at it for hours, completely mesmerised. I know that kind of aesthetic isn’t for everyone, but for me, it was an eye-opener. The island blends raw concrete and wood in a way that feels both precise and organic. The lines are sharp and well-defined, yet within that precision, you still see imperfections — the tiny cracks in the concrete, the faint imprints of the hands that shaped it. Those details fascinate me. For me, perfection and imperfection exist on the same line, and it’s within that balance that I want to position myself as a designer.

— So this is how you would encapsulate the whole brand — as the perfect imperfection?

Oscar: Yes, exactly. That philosophy is at the core of my work. Even the tags on my pieces — the brand signs — are stitched in a way that allows for slight irregularities. The machine used for stitching is sensitive, so at times, the second line doesn’t perfectly align with the first. A tailor once pointed it out to me and said, "But the lines aren’t perfect." And I told him, "That’s exactly what I want." Each piece carries its own unique signature. For me, it is about embracing imperfection all the way through.

— Speaking about different cultures, how do you incorporate your roots into your designs?

Oscar: I was talking to a friend about this recently, and I told him — I don’t consciously try to incorporate my heritage; it is simply who I am. My brand is an organic extension of myself. I was born in Congo, grew up in Belgium, and have lived in the UAE for 13 years. My circle of friends spans the globe, and my wife is Iranian but grew up in England. These cultural influences are embedded in me. They don’t need to be intentionally added to my work — they naturally surface in my creative process.

Gilda: Same for me, indeed. My heritage is a blend of contrasts — east and west, tradition and modernity — and that duality influences how we both approach badibanga. It is about celebrating and finding strength in intersectionality. This perspective helps us craft a brand that feels connected to both of us and, most of all, our community.

— Speaking of cultural blending, I noticed that in your collection, there is a balance between something rebellious and something very traditional. How do you maintain that balance?

Oscar: For me, every tradition began as a form of rebellion. If you look at history, many of the figures who shaped culture were once seen as disruptors. Take Martin Luther King — at the time, he was considered radical, yet today, we honour his vision. Fashion follows the same pattern. What we now see as timeless classics often started as bold, unconventional ideas. That contrast fascinates me. When I was in Amerikamura, I saw it everywhere. I found a vintage military jacket from wartime displayed next to a rare 1980s Michael Jordan t-shirt. I spent hours talking to a store owner who embodied both extremes — dressed in a military-style shirt, a tie, and a traditional Japanese hat. That seamless blending of past and present, of tradition and rebellion, is what excites me most about fashion.

— Gilda, you also emphasised clothing as an extension of personal storytelling. How do you ensure badibanga’s designs empower people to express themselves?

Gilda: My role is to ensure that the visual identity communicates the essence of Oscar’s vision and the brand’s DNA. It is about creating a seamless connection between the designs and how they are presented to the world — whether through campaigns, collaborations, or experiences. I focus on simplicity, timelessness, and storytelling in our visuals, ensuring that every detail reinforces badibanga’s narrative of heritage, versatility, and modern sophistication.

— Speaking of pieces, do you have a favourite from your collection?

Oscar: Yes, but choosing a favourite feels like picking a favourite child! The Gilda coat holds a special place for me. Every piece in my collection is named after someone who either wore it first or inspired it. The Rash pants have been a bestseller, and I personally love the Fae pants — I am actually wearing them today. But my mind is always on what comes next.

Gilda: The Gilda coat is my favourite as well, closely followed by the Rash and Faye pants. Both are incredibly versatile and effortlessly transition from day to night.

— Do you have any design rules you always follow — or always break?

Oscar: I break more rules than I follow. The only structure I truly stick to is the process itself. Storytelling is at the heart of my work, and my colour palette is always intentional — black, sand, and red. Ironically, I never wear red. I love seeing it on others, but it is just not for me. That is why you will rarely find red in my collections — except as a subtle detail

Gilda: I can’t comment on the design rules as this is Oscar's side, but for creativity, it is the storytelling for me; each piece has meaning. This is what connects us to our community. Also, we break the rules and don't strive for perfection — it is the imperfections that add character. "The perfect imperfection" is our tagline.

Oscar: Yes, I agree. A key part of my brand identity is the stitched logo on the back of each piece. The machine isn’t perfect, which means every stitch has slight variations — and that is intentional. I want every piece to have its own identity, its own perfect imperfection.

— So, the “perfect imperfection” would be your encapsulation of the brand. Gilda, and how would you describe badibanga’s mission? 

Gilda: badibanga’s mission is to offer designs that empower individuals with the freedom to express themselves. Our clothing is more than just a piece of fabric — it is an extension of the wearer, designed for comfort, versatility, and the confidence to shape one’s own identity. We want our customers to feel that our pieces are a reflection of their own style and inspiration, allowing them to create memories while feeling truly themselves.

— What is next for badibanga? Any secrets you can share?

Oscar: I always have plans, but life has a way of surprising me. My goal is longevity — I want people to wear my designs ten years from now and still find them relevant. Fashion should empower, not just chase trends.