MOSHPITS FW'25 Collection Bottles the Breath Before the Scream

The breath before the scream.
           
The click of the play button, the cold plastic under your thumb. It is one of the most potent silences we know: that electric void after the house lights die, before the first chord fractures it. The suspended animation of a text message received but unread, the mind already scrawling scenarios. This is not the chaos itself, but the pristine, potent instant before it—the point of no return, crystallised.

Most of us simply live these moments. Nadim Iskander, the 25-year-old Egyptian designer behind MOSHPITS, bottles them. His newest Fall/Winter collection, SURGE, is not clothing about the mosh pit's cathartic crash; it is the architecture of the sharp, collective inhale that fuels it.
 
Iskander, a 25-year-old Egyptian designer with an engineer’s mind and a painter’s soul, speaks of clothing as conductors. “With SURGE, I wanted to translate that feeling when energy suddenly hits,” he explains, “the burst right before you do something wild or meaningful.” This is a departure from the brand’s earlier ethos, which was more about containing that riotous spirit. If previous collections were the deep, resonant hum of an amplifier, SURGE is the flick of the switch that sends the current flying."The core of MOSHPITS has always been about youth and their energy, that hasn’t changed. SURGE just captures a different phase—not the raw chaos of first rebellion, it’s the moment when that same energy becomes more intentional, more self-aware. the spirit is the same, but it’s evolving—just like youth itself."

This evolution is most immediately apparent in the collection’s material lexicon. Iskander has assembled a fabricarium of contrasting sensations designed to feel alive on the skin. The mohair pullovers, in baby blue and cream, possess a fuzzy, almost electrostatic texture that brings to mind the soft prickle of air before a lightning strike. Even in complete stillness, they seem to vibrate with a latent hum. Against this, the hooded denim jackets—distressed in green and black—are the tough, raw shell one develops after weathering the storm, full of frayed edges and visible history that speak of experience earned.The genius of the collection, however, lies in its silhouettes. These are precisely engineered volumes. Iskander recounts going through “tens and tens of samples to get the balance right,” and the effort shows. The shapes swing between movement and structure with a considered grace. A striped zip-up, rendered in a sage green that sold out almost immediately, hangs with a rhythmic looseness, its lines creating a sense of visual vibration, like sound waves made cloth. It is streetwear that understands anatomy, offering the freedom for chaos within a framework of control. Comfort, Iskander insists, is non-negotiable. “If it doesn’t feel good to wear, it doesn’t carry the energy we’re trying to show.”

This attention to the entire sensory experience extends to what might be the collection’s most personal detail: the vacuum-sealed packaging. Iskander spent seven months searching for this perfect vessel, and it is far more than a bag. The clothes are pressed and sealed, every bit of air squeezed out, trapping the very energy the brand champions. The act of unsealing it becomes a performance, a private release. You are uncorking the mood.What feels particularly refreshing about MOSHPITS, especially within the increasingly cacophonous streetwear landscape, is its introspective heart. While the genre is often synonymous with external rebellion, Iskander’s work turns the gaze inward. For him, expression is “about understanding where that energy comes from, what fuels it, and what it means to you personally.” This is streetwear as self-inquiry. The clothes are designed to articulate a state of mind—that complex, electrifying moment when internal turmoil coalesces into intentional action.Rooted in Egypt but speaking a global dialect of emotion and motion, MOSHPITS draws its power from the ambient intensity of its environment. The inspiration, Iskander notes, comes from “the energy that surrounds us everywhere: motion, chaos, heat, rhythm, emotion.” You can feel the heat-haze of Cairo and the rhythm of its streets in the collection’s pulsating core, yet it is translated into a language that feels universally legible.

In the end, to wear SURGE is to understand that the most powerful moments are often the transitional ones. It is the deep breath before the plunge, the gathered courage before the speech, the collective hush before the music crashes back in. Nadim Iskander has built a wardrobe for the precipice. The energy is in the space he creates for it to exist, a charged silence waiting for you to make your move.