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ONRUSHW23FH was born from the merge of Albert Sánchez and Sebastián Cameras, being 24 and 22 years old when they started the two designers both graduated in Fashion Design an Image in the city of Barcelona. This project is part of their final career thesis, consisting of the creation of a collection that would be presented later in June 2019, consolidating subsequently in the current project.

Both designers, after obtaining a degree in fashion design and a postgraduate degree in fashion management and styling respectively, travel to Paris during the Menswear Fashion Week 2019 to work as assistant stylists for Eytys in the presentation of their collection at the same time as in the Showroom of Dianne Von Fustenberg. They then moved to London where they began an internship in the designer’s David Koma’s brand, preparing the 10th-anniversary collection to be presented at the London Fashion Week in September 2019. In October of the same year, they would both do a traineeship in the design department at Preen by Thorton Bregazzi, developing the brand’s Fall-Winter 2020/2021 collection.

In 2020 they will return to Barcelona to work on the growth of their personal project, at the same time growing individually as professionals in the fashion industry. Finally, they decide to premiere their first collection ever on the runway, developing various proposals such as the one they presented last September.

The fact of presenting “ALMOST THERE” SS2021 it has given them the opportunity to work alongside professionals such as Carlota Guerrero, Nathy Peluso x Latin Grammys, Christine and The Queens, La Jedet, Stephania Yepes, Sita Abellán, Milena Smit, Natalia Lacunza, Amaia, Claudia Valentina, Jessica Goicoechea, María José Llergo, Mafalda, Querida… Counting with several printed press publications at NEO2, Vogue Portugal, King Kong, Wonderland, Sideguise, Nylon, Indie Magazine, Hércules Universal, CAP74024, GQ…

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Back to our last collection, we based our work on the daily outflow of life and the celerity required to keep on with it. Noticing the stress and friction lapses generated on those moments of haste, we have decided as a starting point for this collection to focus on the individuals’ energy and how we behave in the space we inhabit through our movement and the tension this one provokes.

For “Liminal Collection” 2021/2022, taking as a reference the works of the artists Panayiotis Vassilakis (better known as Takis), and Peter Sedgley who explore these spaces and energy intangibles trying to uncover them through their kinetics artworks based on the study of movement, sound and colour. Hence, we propose a series of garments acting as vehicles to represent these intangibles energies and connections existing between and in our bodies.

One of the most relevant resources is the transformation and metamorphosis of the pieces in consequence of their interaction with space. This dialogue is created due to the electromagnetic tensions between strategic points of the garments and the set. Using magnets, electricity and taking advantage of the model’s movement or manipulation throughout the performance, we offer a glimpse of what the imperceptible truth of the collection is.
This collection, presented as timeless and gender-undefined, coincides with the title “Liminal”, which comes from the adjective used to describe things associated with a point at which a physiological or psychological response begins to occur. It refers not only to something barely perceptible, at a sensory threshold, but also to that which is in-between or relative to an intermediate transitional phase.

Throughout the collection, it is clear that layering plays a central role. While on the one hand, it helps us to create silhouettes, brings dynamism and a play of colour within the structures presented, on the other, it closes the meaning of the collection by providing the resource of the revelation of that which is not perceptible at first sight but eventually exposed throughout the presentation. Simultaneously, the introduction of more rigid but transformable circular and wavy structural figures give closure to the collection. Complemented by the jewellery made in collaboration with the glass-artist Agustina Ros, which simulates these tensions with blown glass.

On the whole, the colour palette is established as a compilation of neutral tones, ranging from black, through a wide range of greys, nudes, browns and whites. Merging shades of blue and yellow, based on Sedgley’s colour work in the form of his prints. Thus creating a contrasting and captivating effect to the eye. Therefore, more importance is given to texturization, mixing, and textile manipulation playing with: a wide selection of lycra, tulles that create “chiaroscuro” asa a result of tensions, circular knit, grids (or provocation of them), 3D fabrics, ribbing, and occasionally introducing others plain-waives.

In light of the above, a visual portrait of these existing, yet imperceptible links by which everything is connected.

Jewellery: Agustina Ros
Stylist: Stephania Yepes
Music: Guillermo Aliaga & Alan Neil
Set Design: NODE - M.Arch, José Luis Alvarez Tinajero y Adrián Díaz
Special Thanks to
Laia López, Daniela Vanegas, Judith Casasús, Zoe Oms, Hnos Sánchez Ortega