Erdem Moralioglu  (born November 1977) is a British fashion designer. 

Moralioglu was born in Montreal, Quebec , Canada to a Turkish  father and an English mother (nee Jeavons), and grew up between Montreal and  Birmingham , England. A graduate of Marianopolis College , he earned a BA in fashion from  Ryerson University in Toronto , Canada and then worked as an intern for  Vivienne Westwood. Moralioglu moved to London in 2000 to study fashion at the  Royal College Of Art on a Chevening Scholarship . He received a master's degree in 2003. 

Erdem moved to New York before relocating back to London to launch his own label, ERDEM, in 2005. 

Erdem was appointed  (MBE) in the  for services to fashion.

He  lives and operates a studio in , east London. He has a twin sister, Sara, who makes TV documentaries about geography and natural history

Erdem's ready to wear spring collection 2021

It reads like a mad experiment: Lock up Erdem Moralioglu in his London house for four months, deny him access to the museums and libraries that oxygenate his storyteller mind, and throw in a Susan Sontag novel, then lean back and enjoy the show. "It begins with three people dancing on the lip of a volcano," the designer said of the collection he authored and drew in quarantine. Inspired by The Volcano Lover, Sontag's portrait of the 18th-century beauty Emma Hamilton, who married a volcanologist obsessed with Grecian vases and had a passionate love affair with Lord Nelson, this was how Moralioglu coped with everything that happened in the spring of 2020.

A copy of the book served as the show notes, wrapped neatly in ivory tissue and placed on a ficus green velvet sofa in his South Audley Street store. The audience-less runway imagery was shot by a Grecian folly in Epping Forest and screened on an iPad handheld by Moralioglu himself. He had lost himself in the story of Hamilton, who lived in Naples at the cusp of the French Revolution and the seismic impacts it precipitated throughout Europe. There, she befriended the Neapolitan queen, the sister of Marie Antoinette; practiced Grecian tableaux vivants known as "attitudes"; and played out her illustrious love triangle as Vesuvius began to erupt. You couldn't make it up, and he didn't.

"There was something about this odd time that we're living in, and the idea that there is something so much bigger than all of us that controls everything," Moralioglu said, drawing a parallel between crises past and present. "It's beauty in a time that's very ugly, and the idea of creating something decadent with an underbelly of something poor." He expressed that sentiment in a meeting between formal and informal: a trans-historical voyage that referenced Grecian nymph shift dresses through the lens of the puff-sleeved empire silhouette, a sprinkling of Nelsonian regalia, and a cameo by Susan Sontag's post-modern cardigan.

Many of his embroidered muslin and organza dresses and 18th-century floral jacquard numbers were treated with crinkling effects to evoke a sense of "poor," which means something quite different in Moralioglu's dainty world than it does to the rest of us. But within the folds of those fabrics, there was a feeling of resourcefulness, which illustrated the idea of beauty in a time of uncertainty. Some pieces looked as if they'd been spliced with other pieces, Nelson's admiral jackets and grosgrain regalia had a scent of thriftiness about them, and opera coats seemed to morph into khaki utility-wear. Then, a sturdy denim bottom popped up, posing as a chic pencil skirt.

If the models' neckerchiefs evoke the Wild West scarves some have been wearing during the pandemic, they weren't an alternative to the masks Moralioglu has been making since lockdown, but a signature of his muse Hamilton, who was also pictured dressed up in gentleman's drag. Moralioglu is perfectly in touch with the present, but prefers to view progress through the lessons taught by time: What looks progressive through the binoculars of history? "There was something cathartic and almost quite defiant about creating a collection. I couldn't roll over and accept that women are going to stop dressing up," he said, reflecting on his time in lockdown.

"I get asked the same question: Are women's tastes and wants changing now, given the situation? On the contrary, we have a customer who's still buying special pieces. It's the want for something you can wear in five and 10 years. As I enter my 15th year doing this, the most thrilling thing is seeing someone wearing your work from 10 years ago. I've always been obsessed with permanence," Moralioglu asserted. Entering the pink room of his store where a matching look from the collection served as centerpiece, it dawned on him: "When it feels like the end of the world, doesn't someone need a pink moiré hand-embroidered gown?"