“I want Genesys to mog other events into oblivion,” Rain Müller, the 22-year-old founder of Genesys, tells me. “I want it to be a luxury product.”
Genesys began in 2022 as a rave under a railway bridge in Brixton and has since grown rapidly. In April 2025, Rain launched Total Sonic Knockout (TSKO), the now signature MMA fight hosted at the rave, which has made the event go viral. September 2025 saw the introduction of a runway for London Fashion Week SS26, and, at the most recent event, rave, ring and runway came together once again for the launch of Genesys’s own clothing brand at LFW SS27.
The expansion of Genesys and the phenomenal ambition of its founder invite interest. What’s Genesys all about? How groundbreaking is it? I head down to the Tottenham Archives to find out.
Black contacts in, leather trousers on, I say my name at the door and am given a white latex finger cot to differentiate me from the photographers, who get a black one. The main room is enormous. It has a stage at the far end, a runway down the middle, and a boxing ring with no barriers at the other end.
I arrive just as the first fight is beginning. Two figures, clad in Genesys sportswear, try to hit each other without falling off the platform. Once it’s over, there’s a performance by electronic artist Thrilliam Angels, then the fashion show begins. Over the course of the night, six designers show their collections.
The collections range from Genesys’s laser-cut techwear pieces to Reality Romance’s maximalist print T-shirts and layered capes. Though styles differed hugely, there is a shared sense of technological awareness, whether in how the clothes are made, the various industrial aesthetics they draw on, or the internet references that permeate several of the collections. The show is directed at a young, online audience with an urban sensibility. I catch up with some of the people involved to find out more about the vision behind it.
One of the designers for the event, Tayo House, tells me about his “spiritual gangster” who inspired the collection. He says that Genesys is a good place to show his work because it is a free show space and has a “cult following.” The event “is exciting and it’s real,” he told me. “It’s not manufactured. It’s kids going out and exploring what they’re into.”
Dylan Wright, a fighter and model, tells me, “I fought at the initial TSKO, which was basically what made the event go viral. Before that, it was kind of a big club night for young people in London, but since the introduction of fighting, they’ve been a lot bigger. They’ve become quite synonymous with it. I think the clip that made them go really viral was someone being knocked out to a Fakemink song. This event was bigger, but it still felt very community-led. Young people organising other young people. It felt nice knowing you knew people in the audience.”
I ask Dylan about what kind of culture he thought Genesys was trying to cultivate. He tells me that alongside its forward-thinking approach, “I think it’s quite influenced by an early 2000s aesthetic, especially in the music. It’s kind of harking back to what it would have been like to be young and rich in the early 2000s. The swag movement. It’s very polished now.”
After the event, I speak to Rain about polish, authenticity, and his vision for Genesys going forward.
“Back when I started raving, like during the pandemic, everything was super underground and super raw. But I’d say Genesys now tries not to have that rawness. I want it to be luxury in the way that a Ferrari compares to a Ford: I want it to be the best and the most polished and the most entertaining.”
Rain now aims for a different kind of immersion than that of a squat party. His focus has shifted more towards performance. “I want to make it stimulating on a psychological level. Like something that saturates all your senses with pleasure and euphoria. Genesys promo tries to be as clean as possible while still promising that euphoria.”
Is there not a risk, I ask him, of losing some authenticity by having such a slick event? He’s quick to reframe things. “I think it comes down to how you define authenticity. Genesys has never really pandered to anyone, and it’s still a very pure expression of my vision. Selling out would be an option for some people, but Genesys has always been 100% independent.”
Rain tries to use technology to add to his authentic experience. At a previous show, he sold shirts with NFC chips that linked the user to Genesys music, and he has also used an app to allow the audience to vote live on their favourite DJs.
The event is part of a grander Genesys vision. Rain’s “ideal Genesys community” is made up of “people that are self-willed who aren’t afraid to question things or push boundaries or live life by their own rules.”
He wants this community to extend beyond the night of the event. He’s already hosted events in Seoul and Los Angeles and is set on expanding into more cities.
“For me, a way to immortalise the Genesys brand and give it more longevity is by having products”, he tells me. “I want to create something that lasts in people’s minds for longer than seven hours. Clothing is the future of Genesys, and the LFW events are our way to break into the fashion industry.
“But long term I really want Genesys to be a 360-lifestyle brand experience: Genesys clothing, Genesys events, Genesys music, Genesys publications, hopefully one day Genesys automotives. I always want there to be a Genesys answer, you know. You can go the Genesys way, and it’s always going to be cooler and higher quality and more experimental.”
Rain certainly knows how to build aura. In many ways, it is what Genesys is best at. With plans to expand so extensively, it’s sometimes hard to pin down what exactly drives the collective and what draws the crowds in the thousands. I think, for many, it’s the scale, the luxury, the feeling that they’re a part of something big that’s only getting bigger. What that something is, especially in the age of social media, matters less than the look and feel of excitement. In this sense, Genesys is extremely modern, bringing together the online and in-person experiences in a more fundamental way than simply incorporating technology into the physical space.
I leave the Archives with the sense that when a rave is pushed to its extremes, it becomes spectacle, either as a product or as a performance. Genesys is both, and from what Rain tells me, is about to go much further down the product route. Rain’s words ring in my ears: “Genesys meal prep, Genesys gyms, Genesys podcasts…”. I drift off, dreaming of utopian worlds.
