Nomos Glashütte - Mark Braun’s Metro Gets a Mechanical Update

NOMOS Metro Returns in Ice Blue

LE MILE

NOMOS Glashütte’s ice-blue Metro editions return to a design by Berlin-based product designer Mark Braun, whose collaboration with the watchmaker began when a glass carafe he had made attracted the company’s attention. The Metro launched in 2014 with a power reserve indicator placed above and to the right of the hands, opposite a logo shifted towards the left. Braun had wanted to explore asymmetry further, although some of his proposals proved impossible within the movement’s constraints. The date and small seconds remain aligned beneath the hands, while the logo and power reserve indicator sit at unequal distances from the centre of the dial.

/ courtesy of NOMOS Glashütte

On the Metro date power reserve ice blue, the metallic dial brings the surrounding blue markings closer in colour to the surface beneath them. Teal replaces the red in the power reserve display, reducing the contrast that made the original indicator so conspicuous. The automatic Metro neomatik 41 Update distributes its information differently, running the dates around the perimeter and framing the current day between two markers. Its regular arrangement is retained in the new colour. Both versions keep Braun’s domed sapphire crystal, a detail he discussed with Worn & Wound in an interview in March: “The crystal is the lens through which we view the dial.” The hand-wound version also introduces the DUW 4701, a new movement whose quick-set date matters most when the watch has been left unworn and stopped. The calendar can be corrected independently of the hands, sparing anyone who alternates between watches the repeated time adjustments needed to bring the date forward. NOMOS is fitting the movement to the existing white-dial version as well, allowing the original face with its red accents to remain an option alongside this new blue finish. The automatic retains its established movement; its update concerns the dial.

/ courtesy of NOMOS Glashütte

/ courtesy of NOMOS Glashütte

/ courtesy of NOMOS Glashütte

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Made in Glashütte, Germany, the 37 mm Metro date power reserve ice blue uses the hand-wound DUW 4701 caliber with a quick-set date and up to 52 hours of power reserve. The 40.5 mm Metro neomatik 41 Update ice blue features an automatic movement with a ring date and up to 48 hours of power reserve.

— all images courtesy of NOMOS Glashütte

Louis Vuitton Spring Summer 2027 - Nicolas Ghesquière

A review of the Louis Vuitton Spring Summer 2027 by Nicolas Ghesquière

A Hotter Future Calls for a Lighter Louis Vuitton

LE MILE

Thirty-four concept cars occupied the Louvre’s Cour Carrée as models crossed its painted road markings, an elaborate arrangement for giving pedestrians right of way. For Louis Vuitton’s Spring/Summer 2027 collection, Nicolas Ghesquière was reconsidering how much of his own architecture a woman needs to wear. He has described himself to Vogue as “a specialist in armour”; this season, the opening white dress hung from the shoulders in uneven, translucent planes, with black lace-up shoes keeping the outfit firmly on the pavement.

Louis Vuitton Womens Spring/Summer 2027 Scenography
/ Ergonomie Collection by Nicolas Ghesquière

Ergonomie was the collection’s title, a word more readily associated with an office chair than a Paris runway. Ghesquière gave it a pressing reason to be here. “The world is getting warm,” he told journalists, explaining how heat had affected his thinking about clothes. James Chinlund’s wedge-shaped vehicles, raised at different heights and decorated with Vuitton’s Damier checks, imagined another technological leap in getting around. The clothes addressed the less glamorous matter of what to wear when the city becomes too hot.

Flat lids allowed luggage to be stacked; canvas lightened a covering previously made from leather. Ease was a practical problem the house set out to solve. Ghesquière returned to it inside the garment, removing internal layers from tailoring and using composite chiffons alongside scarf fabrics in silk and cashmere. The technical effort went into reducing what the customer would have to carry. That is a useful definition of luxury for a house capable of making even a journey look like an undertaking.

Louis Vuitton Womens Spring/Summer 2027 Detail
/ Ergonomie Collection by Nicolas Ghesquière

Louis Vuitton Womens Spring/Summer 2027 Detail
/ Ergonomie Collection by Nicolas Ghesquière

In the checked tailoring, a grey jacket extended into fabric that streamed beside the leg, while a black-and-white ensemble let its fronts fold over matching trousers. The patterns provided an orderly grid which the body kept disturbing. The opening dress had diagonal changes in transparency that complicated its surface without building volume around the wearer. This was the collection’s most persuasive work: construction that became visible through the act of wearing it.

A yellow leather biker jacket over loose black trousers offered a particularly direct invitation to get dressed, with little obligation to adopt the entire Vuitton universe. The dresses scattered with iridescent diamonds asked for more attention. Their angular patches caught the light across a transparent ground, preserving something of Ghesquière’s taste for a faceted shell. He could still produce an extraordinary surface on a dress that hung quite simply from narrow straps.

The final black suit came with a broad sweep of checked fabric gathered in one hand and trailing across the runway, a beautiful complication to give someone crossing a road. The jewelled fringes lowered over the models’ eyes also made a curious accessory for a collection concerned with accommodating the body. Ghesquière had loosened the clothes while retaining a small piece of armour directly in front of the face. Those interventions reveal the limit of the functional argument, and something essential to the collection’s appeal.

Louis Vuitton Womens Spring/Summer 2027 Scenography
/ Ergonomie Collection by Nicolas Ghesquière

Vuitton is selling the pleasure of an exceptional appearance alongside any improvement in comfort. Its quieter clothes face a different test. A nearly plain white dress is available at every level of the market; here, its cut and material have to make the distinction convincing. The fit will need to do as much persuading as the image. Elaborate engineering carries little force if its benefits remain an explanation in the show notes. The opening look made the strongest case because its construction was already legible. The angled panels shifted across the torso, leaving the dress loose enough for the wearer to determine its outline. Ghesquière has spent years making the future look extraordinary; here, he made a case for making it bearable.

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all images (c) Louis Vuitton Press

Valentino Spring/Summer 2027 - Inside Alessandro Michele’s Antibiblioteca

A review of the Valentino Spring/Summer 2027 by Alessandro Michele

Valentino Spring/Summer 2027 Opens the Unread Wardrobe

LE MILE

Long reading tables ran beneath green lamps, surrounded by shelves in the vast 19th-century room. The Bibliothèque Sainte-Geneviève gave Valentino’s Spring/Summer 2027 show a setting already dense with its own rituals, which Alessandro Michele quickly disturbed with strobe lights and Troye Sivan’s “Party” playing on loop. Guests arrived carrying books of their own, which were collected at the entrance for donation after the show.

Valentino Spring Summer 2027
/ Antibiblioteca by Alessandro Michele

Valentino Spring Summer 2027
/ Antibiblioteca by Alessandro Michele at Bibliothèque Sainte-Geneviève

Valentino Spring Summer 2027
/ Antibiblioteca by Alessandro Michele

Valentino Spring Summer 2027
/ Antibiblioteca by Alessandro Michele

He called the collection Antibiblioteca, taking its name from Nassim Nicholas Taleb’s account of Umberto Eco’s personal library of some 30,000 books. Taleb was fascinated by the unread volumes and the knowledge they still contained. Michele transferred that idea to fashion, imagining clothes as carriers of lives still available to us. His notes also refer to the Japanese practice of tsundoku, the accumulation of unread books, and to Giorgio Agamben’s writing on potentiality. Across 80 looks, the runway became Michele’s own catalogue of possibilities. The opening established a silhouette around jewel-toned satin bustiers worn with knee-length skirts in crinkled crepon and floral silk dévoré. Leather entered the sequence with a harder surface, and feathered hems changed the line around the leg as the models walked. The exposed torso brought a directness to the collection. An ’80s-shaped jacket set with jewel buttons appeared over lace biker shorts, and a hot-pink strapless gown revealed a circular ruffle at the back as it turned, finished with an enormous black bow.

Double-breasted jackets were deliberately fastened off-centre, gathering fabric around the waist, while silk boxers rose high above trouser waistbands. Baseball caps printed with “Villain Teen” cut through the tailoring with the kind of peculiar humour that has followed Michele throughout his career. Jewellery became part of the silhouette, with long strands of pearls and oversized crystal pieces covering shirts or bare skin.

Valentino Spring Summer 2027
/ Antibiblioteca by Alessandro Michele

Satin columns allowed their construction to hold attention, while ruffles and rhinestones appeared elsewhere with greater theatricality. A black velvet dress plunging to the navel was covered at the neckline with gold and pearls, giving the body a strong frame without burying the dress itself. Here Michele’s instinct for decoration found a convincing scale within Valentino, a house whose founder understood glamour as something immediately visible across a room.This was Michele’s fourth ready-to-wear collection since taking over Valentino in 2024. The 80-look length occasionally blurred its focus, though the bustier silhouettes and evening dresses gave the collection a strong centre. Michele filled the library with possible lives and gave his appetite for abundance a reason to remain open-ended. The unread wardrobe, in his hands, still has plenty left on its shelves.

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all images (c) Valentino Press

Christian Louboutin SS27 - Eternal Youth in Paris

A review of the Christian Louboutin Spring/Summer Women’s 2027 Show

Christian Louboutin’s Eternal Fairytale

written MALCOLM THOMAS

Long inspired by the cabaret, on Friday at the Théâtre du Chatelet Christian Louboutin unveiled a Baz Luhrmann Moulin Rouge-level production of “Eternal Youth”. The name of his theatrical Spring/Summer 2027 show. A cabaret starring Dita Von Teese, who at one point was perched atop the sole of a shoe. La Pigalle, of course, the iconic heel with which Louboutin will be forever known.

Christian Louboutin Women Spring Summer 2027
/ at Théâtre du Châtelet with Dita Von Teese

Christian Louboutin Women Spring Summer 2027
/ at Théâtre du Châtelet with Dita Von Teese

Christian Louboutin Women Spring Summer 2027
/ at Théâtre du Châtelet with Dita Von Teese

Christian Louboutin Women Spring Summer 2027
/ at Théâtre du Châtelet with Dita Von Teese

Built by Bruno de Lavenère, whose C.V. includes the Opening Ceremony at the 2024 Olympics, and featuring a world-class team of creative collaborators including Olivier Balazuc, Mathieu Herzog, Samy Bishai, Natacha Atlas, Josépha Madoki and the Bachana Dance Company, guests were dazzled by music, dance and a kind of vaudeville, old-timey glamour that’s never out of step in Paris. Artistic contributions from John Galliano, Stephen Jones and Mr. Pearl added to the “fairytale of empowerment” (a phrase coined by the house) with Von Teese affecting the visage of Snow White, hair black as ebony, skin pure as snow, lips red as blood, in her own liberated image.

Beginning in the deafening silence of a forgotten world, draped in sadness, Von Teese embarked on a journey of self-discovery and transformation, with enchanting footwear leading the way. Jewel-encrusted Red Shoes that brought endless dance, Seven-League Boots conquered distance, and Hermès' Winged Sandals granted flight. Each carrying the promise of movement, transformation, and freedom. A new way to tell the same story of the Christian Louboutin woman, self-possessed, independent and gloriously resilient.

Christian Louboutin Women Spring Summer 2027
/ at Théâtre du Châtelet with Dita Von Teese

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all images (c) Christian Louboutin Press, photographed by Tanguy Sergheraert

Dior Summer 2027 - Jonathan Anderson at Paris Fashion Week

DIOR SUMMER 2027 during Paris Fashion Week

Jonathan Anderson Takes Dior Into the Tuileries

written ALBAN E. SMAJLI

The Bassin Octogonal in the Jardin des Tuileries almost disappeared beneath Dior’s Summer 2027 set. A narrow white runway crossed the water, mature camphor trees rose from the basin and mist drifted around their trunks, leaving the models to emerge through foliage before coming sharply into view. From the surrounding white pavilion, the construction felt improbably calm for one of Paris Fashion Week’s biggest shows. Water held the reflection of the sky, leaves shifted in the breeze and the clothes registered through movement.

Scenography at Dior Summer 2027
Photo by Adrien Dirand

Guests had already received a clue in the invitation through two wénwán walnuts, objects traditionally rolled in the hand in China until years of handling give their ridged shells a polished patina. Anderson became interested in the knowledge contained in their natural form and in the irregularities that appear within apparent symmetry. Dior’s notes asked how light a garment could become and whether tailoring could be imagined as flou. Those questions shaped the collection directly.

Scenography at Dior Summer 2027
Photo by Adrien Dirand

Scenography at Dior Summer 2027
Photo by Adrien Dirand

The opening looks established the direction of Jonathan Anderson’s Dior with transparent jackets sat over striped shirting, short chiffon skirts lifted as the models walked and wide trousers gave tailoring a relaxed line. Pleated jacquards appeared washed with colour, Chantilly lace was inset into translucent dresses and petals multiplied across jackets until their surfaces trembled with every step. The floral work came into focus once the models moved, with petals lifting from the jackets and changing their outline from one step to the next.

“We are in search of a silhouette,” Anderson said around the show, a line that became visible in the recurring short chiffon skirts and compact jackets. Short skirts appeared beneath compact jackets, sometimes joined by lengths of chiffon falling from an earring or shoulder. Metallic trousers in silver and green cut through the softer passages, and striped shirts brought an everyday familiarity into the collection. A white shawl-collar jacket worn with silver trousers became one of the clearest looks of the show, carrying evening attitude into the daylight of the Tuileries.

Across the collection, houndstooth appeared in sheer chiffon, Murano glass was used for buttons and zippered sandals from John Galliano’s years at Dior returned to the runway, giving Anderson a wide field of references to work through without letting any single period dominate the clothes. Anderson has spent his first year at Dior testing what the house can absorb, and his own description after the show was unusually direct. “This year was about trying to rattle the brand and see what falls out.”

—see the Key Looks

Final at Dior Summer 2027
Photo by Adrien Dirand

Some signatures are already taking shape through cropped proportions, petal work and familiar objects pulled slightly off course. Summer 2027 gave those ideas room to settle into a clearer language and the clothes moved easily outdoors and allowed the workmanship to reveal itself gradually, with the handwork becoming visible through motion.
The show notes ended with a dedication to Mathilde Favier, Dior’s longtime PR director, who died in August. Against the still water and the trees of the Tuileries, that final line gave the collection an unexpectedly personal weight and left the show with a sense of memory held quietly inside it.

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all images (c) Dior

Milan Fashion Week SS27, Backstage for Spring 2027

Milan Fashion Week SS27 Backstage

Four Designers, Four Rooms

written MONICA DE LUNA
documented MARC HAEFFNER

At Vivetta, a model lifts her arms while several people fasten a dress of coloured beads and chains around her. Nearby, a makeup artist kneels to brush colour onto another model’s ankle. Marc Haeffner photographed these moments for LE MILE Backstage at Milan Fashion Week Spring/Summer 2027.

Murano’s room is brighter and busier, a model stands in a white pleated dress while someone works at her hem; another sits still as several people tend to her face and hair. Images from Fritz Lang’s Metropolis hang on the wall. Haeffner includes the makeup tables, clothes rails and people passing through the frame. He also gives the models time alone: a dress seen from behind, a face turned towards the camera, a pause before the show begins.

Vivetta’s team was working with the archive of a house whose founder had left. Murano had returned to draping by way of Metropolis. Phan Dang Hoang brought a Vietnamese folk tale to Milan; Simon Cracker recalled the costumes he had made for his neighbours as a child. Haeffner caught the clothes at the point where all those ideas had to be put on, adjusted and worn.

Francesco Murano SS27
Fritz Lang’s Metropolis Inspiration Images

Francesco Murano

Fritz Lang’s Metropolis premiered in 1927 and imagined a future set in 2026. Murano took the film’s two Marias, a woman and her mechanical double, into Éidola, his Spring/Summer 2027 collection. Haeffner photographed the reference images pinned up backstage, within sight of the team preparing the models.

Murano has worked with draping for several seasons, and here, glossy jersey was folded into precise ridges that loosened farther down the body; other dresses found their shape through panels held in place by folds, sometimes without seams. Capes covered the shoulders and opened at the back. Studs sewn onto georgette suggested chain mail, though the fabric remained soft. In Haeffner’s photographs, a model stands quietly in a white dress gathered into fine pleats. There is time to see what the folds are doing before she takes a step. Murano gave them a firmer line this season, while allowing the fabric to respond to every change in posture.

Francesco Murano SS27
Backstage

Francesco Murano SS27
Backstage

Francesco Murano SS27
Backstage

Francesco Murano SS27
Backstage

Francesco Murano SS27
Backstage

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Vivetta SS27
Backstage

Vivetta

With Vivetta Ponti gone from the label she founded, Treasure & Trinkets offered a close look at what the new team intends to keep. The house’s taste for ornament was still there, though the clothes around it had grown more assured. Sheer shirts came with pronounced plastrons; long skirts and fitted jackets gave the collection a cleaner line. Pale yellow, peach and powder blue appeared alongside black and bone white.

Beads and other components from the 1970s, 1980s and 1990s were collected and remade as necklaces, bags and clothing. Haeffner photographed one of the beaded pieces as several people fastened it onto a model with her arms raised. The chains had to be positioned and secured before they could hang lightly from her body. It is a lovely, practical view of a dress that could easily appear effortless on the runway. The quieter jackets and skirts gave such pieces room to be as eccentric as Vivetta has always allowed.

Vivetta SS27
Backstage

Vivetta SS27
Backstage

Vivetta SS27
Backstage

Vivetta SS27
Backstage

Vivetta SS27
Backstage

Vivetta SS27
Backstage

Vivetta SS27
Backstage

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Phan Dang Hoang

Phan Dang Hoang titled his SS27 collection Tấm Cám after the Vietnamese folk tale. He focused on Tấm, who survives a series of reversals by taking new forms. The show also drew on the women of Kinh Bắc and on garments such as the áo yếm and the mỏ quạ headscarf. Hoang brought those references into a wardrobe that included loose denim, oversized jackets and eveningwear.

Artisans from villages in northern Vietnam used silk thread to embroider lotus flowers and golden orioles onto the clothes. The work continues Hoang’s interest in Vietnamese craft across several Milan seasons, though this collection takes its cues from a story many Vietnamese people have known since childhood. Two of Haeffner’s portraits catch different parts of the collection. One centres on a patterned ochre jacket. In the other, a black headscarf is worn with gloves and a sculpted dress. That second image is particularly striking in its simplicity.

Phan Dang Hoang SS27
Backstage

Phan Dang Hoang SS27
Backstage

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Simon Cracker

Via Francia is named after the street in Romagna where Simone Botte spent childhood summers with his grandparents. He and his cousin Nicoletta once staged a show for the neighbours, making costumes from curtains, tablecloths and clothes found in family trunks. Botte returned to that memory for Simon Cracker’s SS27 collection. He also had something direct to say about fashion’s prices: people who cannot buy a runway piece should feel free to make their own version.

Hooks let sections shift around the body and scrap fabrics were sewn into patchwork; promotional T-shirts appeared with gowns; lunchboxes became bags. Some garments were assembled entirely by hand, without electricity. At times, so much happens in a single look that the clothes get crowded out. But Botte has seen people in his community remake his earlier designs from things they already own, and Via Francia welcomes them to do it again.

Simon Cracker SS27
Backstage

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Vivetta, Francesco Murano, Phan Dang Hoang and Simon Cracker, photographed for LE MILE by Marc Haeffner.

Tiffany & Co. - Eternity by Tiffany Murano Glass Watch

Five dials cut from one piece of Venini glass distinguish a new edition of the Eternity by Tiffany watch, presented for Blue Book 2026

Tiffany & Co. Brings Venini’s Murano Glass to the Eternity Watch

LE MILE

For its latest Eternity by Tiffany watch, Tiffany & Co. has worked with Venini to turn a single piece of Murano glass into five individual dials. Introduced for the autumn presentation of Blue Book 2026: Hidden Garden in Venice, the limited series combines the glass with aquamarine hour markers and an 18k white-gold case and bracelet set with diamonds.

Venini, founded in Murano in 1921, brings its knowledge of colour and glassmaking to an unusually small surface. Each dial is cut from the same block of glass, measuring just 20 by 8 centimetres, and fitted into a 28mm cushion-shaped case. The blue and white patterns vary from one dial to the next, giving each watch its own arrangement of colour within the same design.

Eternity by Tiffany watch with a blue Venini Murano-glass dial, aquamarine hour markers and a diamond-set bracelet / courtesy of Tiffany & Co.

The aquamarines introduce another kind of variation. Twelve stones mark the hours, each in a different cut, from a heart and a pear to a marquise, an Asscher and Tiffany True. The idea comes from Tiffany advertisements of the 1960s, which inspired the Eternity collection. In those images, engagement rings form a heart, a question mark and an exclamation mark. On the dial, that variety of cuts gives each hour its own shape.

Much of the work on the bracelet concerns how it will move on the wrist. Every link is individually set and adjusted for flexibility, with the diamond-setting alone requiring 35 hours. Across the case, bracelet and crown, 500 diamonds weigh a total of 5.47 carats. A solitaire on the crown makes a further reference to the house’s engagement rings, held in the six-prong design of the Tiffany Setting.

/ courtesy of Tiffany & Co.

/ courtesy of Tiffany & Co.

/ courtesy of Tiffany & Co.

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Made in Switzerland and powered by a quartz movement, the watch displays hours and minutes. Production is limited to the five pieces, each retaining a different section of the original Venini glass.

— all images courtesy of Tiffany & Co.

Best of New York Fashion Week SS27 - Ten Direction for Spring 2027

Best Of New York Fashion Week SS27

New York, In Ten Collections

written ALBAN E. SMAJLI
documented NOA LESCHE

New York Fashion Week has rarely depended on a single definition of New York style. Its relevance comes from contradiction: commercial polish beside improvised presentation, established names sharing the calendar with designers still working out of small studios, and familiar American clothing pulled apart by people whose experiences of the city are anything but uniform. Spring/Summer 2027 made those differences particularly visible.

Photographed for LE MILE by Noa Lesche, this selection brings together ten SS27 collections shown across New York. It includes debut appearances, long-awaited returns and designers revisiting the ideas and techniques that have shaped their work. ThreeASFOUR returned to the runway after five years, using denim as an everyday material and a starting point for experimentation. Magda Butrym staged her first New York show, bringing her precise and sensual vision of womanhood to the city. Terrence Zhou’s BAD BINCH TONGTONG continued to explore how radically clothing can change the shape and presence of the body.

What can be done to a shirt, a military jacket, a pair of chinos or an oversized hoodie before it stops belonging to its original category? Avon Anglers and Ethan Lewy worked through recognisable menswear archetypes, while Clara Son introduced instability through twisting and knotting. Alienant turned streetwear into protective volume; Science Project Company examined the visual codes of hierarchy. Big Ocean’s collaboration with Andy Yu brought Korean pop culture into conversation with British military and Victorian references. RIO, meanwhile, looked towards plants, saturated architecture and the physical suggestion of new growth. Together, these collections offered something more accurate: ten distinct positions on clothing, identity and presentation, documented across a city whose fashion culture remains strongest when it resists speaking with one voice.

MAGDA BUTRYM SS27

MAGDA BUTRYM SS27

MAGDA BUTRYM

For her New York runway debut, Magda Butrym named the collection Natalia, referencing Polish artist Natalia LL and a model of femininity authored from within rather than arranged for an external gaze. Broad-shouldered coats and severe leather blousons were placed against transparent dresses, lace, lingerie constructions, feathers and pearls. A runway strewn with roses reinforced the brand’s familiar romantic vocabulary, but the collection was strongest in its harder collisions: foil-coated outerwear over exposed skin, or a black trench containing something almost weightless beneath it. Butrym’s sensuality remained deliberate, controlled and conscious of its own image-making power.

MAGDA BUTRYM SS27

MAGDA BUTRYM SS27

MAGDA BUTRYM SS27

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ALIENANT

Yuchen Han titled Alienant’s SS27 collection A Glimpse of Divinity, beginning with a childhood image of an ant carrying a grain of rice larger than itself. That improbable burden became a study in endurance: oversized hoodies, track jackets and loose trousers surrounded the body with protective volume, while distressed surfaces kept the clothes from appearing comfortably insulated. The streetwear language itself was familiar, but Han made it personal through imbalance, abrasion and an almost defensive scale. Presented at New York Men’s Day, the collection framed resilienc as the physical effort of carrying what appears impossible.

ALIENANT SS27

ALIENANT SS27

ALIENANT SS27

ALIENANT SS27

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CLARA SON SS27

CLARA SON

Clara Son disturbed tailored clothing through physical gestures that remained visible in the finished garments. Fabric twisted across the torso, seams changed direction and sections were gathered or knotted instead of settling into conventional symmetry. The presentation extended that instability through performance, allowing the clothing to be understood in movement rather than as a sequence of isolated looks. Son’s approach was most convincing when the intervention remained economical: a controlled fold or displaced fastening could make an otherwise familiar piece feel psychologically unsettled. SS27 continued her interest in menswear as an emotional form, capable of suggesting vulnerability without abandoning structure.

CLARA SON SS27

CLARA SON SS27

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AVON ANGLERS SS27

Berlin Fashion Week SS27
/ Barragan seen by Nicolai Sauer

AVON ANGLERS

Patrik Rzepski approached American menswear from inside its most recognisable categories. Chinos, checked shirts, pleated trousers, denim and hoodies were retained as practical clothes, then reconsidered through fabric, proportion and construction. Japanese rainwear material gave a technical character to familiar shapes, while upcycled Carhartt trousers and bleached T-shirts introduced the evidence of prior use. Produced in New York, the collection resisted heritage nostalgia and gratuitous deconstruction. Its strongest pieces relied on small disruptions: a more deliberate volume, an unexpected surface or a workwear reference refined without being cleaned of its original purpose.

AVON ANGLERS SS27

AVON ANGLERS SS27

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BAD BINCH TONGTONG

Terrence Zhou’s bodies rarely occupy only the space conventionally allowed to clothing. For SS27, hooped constructions pushed skirts far beyond the hips, spherical forms appeared to hover around the models and translucent fabric kept even the largest silhouettes unexpectedly light. Neon pinks, acid greens and illuminated elements gave the runway the heightened colour of an imagined world, culminating in Saweetie’s closing appearance. The collection’s spectacle rested on serious control: structures bounced, swayed and shifted without collapsing into static costume. Zhou’s achievement was to make extreme volume feel responsive to movement, giving fantasy a physical logic of its own.

BAD BINCH SS27

BAD BINCH SS27

BAD BINCH SS27

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BIG OCEAN × ANDY YU SS27

BIG OCEAN × ANDY YU

Created with Big Ocean, the Korean group recognised as the first deaf K-pop boy band, Andy Yu’s collection assembled an unlikely vocabulary of British military dress, Victorian romance and hard-wearing denim. Cadet jackets were cropped or softened with lace; floral appliqués spilled from a blouson; loose shirting acquired ornamental overlays. Rather than translating the band’s identity into merchandise, Yu developed a fuller visual proposition around performance and communication. The ceremonial elements gave the clothes presence, while denim and workwear prevented the collection from becoming overly precious. It was among New York Men’s Day’s most resolved and genuinely surprising collaborations.

BIG OCEAN × ANDY YU SS27

BIG OCEAN × ANDY YU SS27

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ETHAN LEWY

Ethan Lewy describes his work as “charming menswear,” and SS27 gave the phrase substance without relying entirely on nostalgia. Classic tailoring and neatly composed shirts appeared in spirited colours, faded camouflage, painterly checks and loose, ink-like patterns. The silhouettes remained legible, allowing surface and fabric to carry much of the collection’s personality. Made partly from luxury deadstock textiles, the clothes possessed the slight irregularity of pieces discovered rather than uniformly manufactured. At times the whimsy approached preciousness, but Lewy’s restraint in construction kept the presentation grounded. Its appeal lay in making conventional polish feel individual again.

ETHAN LEWY SS27

ETHAN LEWY SS27

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RIO

Rio Uribe’s Horizons looked to the architecture of Luis Barragán and to plants as models for colour, proportion and growth. Sun-faded pink, deep cyan, indigo and succulent green moved through relaxed sportswear, elongated silhouettes and more emphatically sculpted forms. Flowers and carnivorous plants informed shapes without being reproduced as polite decoration; their opening, folding and consuming structures were translated into volume around the body. Presented with RIO’s characteristic mix of streetwear and unapologetic individuality, the collection treated renewal as something physical. New beginnings arrived through saturated colour and silhouettes that appeared to be actively expanding.

RIO SS27

RIO SS27

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SCIENCE PROJECT COMPANY SS27

SCIENCE PROJECT COMPANY

Heginz Janvier called Science Project Company’s collection Reading the Room, using military clothing and technical tailoring to examine the social codes through which hierarchy and belonging are recognised. Uniform references appeared in controlled layers, functional detailing and garments that signalled different positions within an implied chain of command. The clothes drew equally from hip-hop’s use of dress to communicate status, protection and affiliation. Rather than reproducing literal service uniforms, Janvier focused on how authority is constructed visually—often before anyone speaks. The collection’s precision gave those questions clarity, while its street-level practicality prevented the concept from overwhelming the clothing.

SCIENCE PROJECT COMPANY SS27

SCIENCE PROJECT COMPANY SS27

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THREEASFOUR

Returning to the runway after five years, threeASFOUR built its SS27 collection around denim, described by the designers as a “uniform of humanity.” New jeans and archetypal jackets appeared beside archival forms reconstructed in indigo-dyed cotton and repurposed vintage Levi’s. Spiral-cut, reversible trousers demonstrated the trio’s geometric pattern-making at its most functional; elsewhere, tetrahedral structures, illuminated icosahedrons, bubble helmets and a 3D-printed butterfly-wing dress pushed the material into speculative territory. The scale of the show occasionally bordered on excess, yet its central proposition remained clear: familiarity does not exclude experimentation. Even the most universal garment can support an entirely singular system of construction.

THREEASFOUR SS27

THREEASFOUR SS27

THREEASFOUR SS27

THREEASFOUR SS27

off script - Three New Oud Fragrances by Elizabeth Gaynes

Elizabeth Gaynes introduces off script through three new expressions of Cambodian oud

off script Starts With Oud

written + interview SARAH ARENDTS

After twelve years of strangelove, Elizabeth Gaynes is launching a second perfume house with the same non-negotiable at its centre — real, sustainably sourced oud. off script begins with three fragrances built around Cambodian Oud Al Safi, used at different levels across the collection. Gaynes describes the material as softer, rounder and naturally sweeter than the Indian oud used at strangelove.

off script
HEAVENSPOT, DOUBLETAKE + WALLFLOWER

WALLFLOWER, developed as the lightest expression, places oud alongside neroli, muguet, peony, orris and sandalwood, giving the fragrance the clean familiarity of freshly laundered fabric without losing the depth of the material underneath. HEAVENSPOT pairs it with coconut, mango, sea salt, jasmine, labdanum and vanilla, while DOUBLETAKE carries the highest level of oud, alongside raspberry, dates, mint, mate and leather.

The three fragrances were developed with Julien Rasquinet and Céline Herbette and are formulated at 25 percent concentration. WALLFLOWER proved the most difficult to finish because Gaynes wanted real oud to remain present within something fresh and clean. For Gaynes, off script is for people curious about oud but unfamiliar with the natural material itself. “off script is the way in,” she says. The collection makes its New York debut on September 14 with an event during Fashion Week in collaboration with R13, presented alongside a scent lookbook.

Sarah Arendts
What made you build off script as a separate brand after twelve years of strangelove?

Elizabeth Gaynes
The thing both brands have in common, and the thing that sets them apart from almost everyone else, is that we use real, sustainable oud. Pure oud. It's rare to find a brand that does, because it's one of the most expensive ingredients in the world, so most of what's sold as oud is a synthetic version of it. But once you've tried the real thing you can't go back. Real oud is alive. It changes on your skin, it changes with you, and it does something to your soul that nothing else in perfumery does. It's a magical ingredient, but only when it's real.

strangelove was built for people who already knew that and wanted as much of it as I could possibly put in a bottle. And I love those people. But for twelve years I've also been meeting people who smell it on someone else, love it, and then tell me they could never wear it themselves. Or they're curious about oud but don't want to jump into the deep end on day one. I didn't want to water strangelove down for them, it is what it is and that's why it works. So I built them their own brand. Still real oud, a different oud, used with a lighter hand and a very different attitude. off script is the way in.

Before WALLFLOWER, HEAVENSPOT and DOUBLETAKE had names, what did the first brief actually ask Julien Rasquinet and Céline Herbette to do?

The brief was intense. I know what I want and I put it all in there. I always knew what kind of scent I wanted at each level of oud, so I built the brief around that. For each one I gave them the ingredients I loved and the mood I wanted you to be in when you wore it. They weren't starting from nothing, they were starting from a very clear picture in my head, and the job was getting it out of my head and into a bottle without losing the oud along the way.

I should say it wasn't just me and the perfumers in a room. I have an amazing team who worked with me on all three scents, every one of them passionate about it and every one of them with their own point of view, which they were not shy about sharing. That's how you get it right. You need people around you who'll tell you when a sample is beautiful and when it's just fine.

Why Cambodian Oud Al Safi for all three fragrances?

strangelove uses Indian oud, which is the deep, dark, smoky end of the spectrum. Leathery, intense, the stuff the purists chase. Cambodian oud is a different animal. It's softer and rounder, there's a sweetness and a bit of fruit in it, and it's a much easier first love. But it's still the real thing, sustainably sourced, and that's not negotiable for me. Using one oud across all three also gives you a baseline. You can compare them, see what the same material does with different company around it, and figure out how you like to wear it. That's the whole point. off script is meant to be played with.

off script
DOUBLETAKE

off script
HEAVENSPOT

Do you remember a mod that changed the direction of the collection?

We worked hard on the mods for all three scents. Every round we'd move the ingredients around the oud to see what happened, and none of them came easy. But the one that changed everything was the WALLFLOWER mod that finally worked. That was the day I knew the whole idea worked. You can put real oud in something light and fresh and still feel it. People didn't think I could do it until they smelled it.

Which one took the longest to finish?

None of them were easy, but the most challenging was WALLFLOWER. Think about it. A light, fresh, clean laundry scent built on one of the most powerful, deeply intense ingredients in the world. Most people in this industry would tell you that's a contradiction. I knew we could do it, I just didn't know how many samples it would take. Julien was fantastic, he worked through every single one with me, changing the ingredients until it landed where I wanted it. I think it's a perfect everyday oud. Fresh and clean, but with real substance and longevity, which is not a sentence you usually get to say about a fresh fragrance.

At what point did you know WALLFLOWER needed less oud and DOUBLETAKE more?

From the beginning, honestly. Each one was built around a level of oud before it was anything else. WALLFLOWER was always going to be the one you wear close, where someone has to lean in to notice it. DOUBLETAKE was always going to have the oud right out front, because the name is a promise. If people don't actually turn around, I've named it wrong. The brief set the levels and the development was about making each one feel right where it sat.

What does 25% concentration give these fragrances that you weren't getting at a lower concentration?

Real oud needs room. At a lower concentration you get a hint of it in the opening and then it's gone and you're left with a nice fragrance and a slightly disappointed feeling. At 25% you get the whole story, the way it shifts over hours on your skin, and you get the longevity that makes real oud worth what it costs. There's less oud in off script than in strangelove, but what's there gets to do its job.

Why does a fragrance brand made for a new audience interested in oud look so deliberately pre-digital?

There is a whole new audience for oud right now. People are curious, they're doing their research, and oud has become very popular. But it's not a fad. Oud has been around for three thousand years. What's new is that the Western world is finally discovering it and finding out what the real thing can do. off script is for those people, anyone who's curious about oud and wants something they can actually wear out of the house.

As for the look, the name is the answer. off script means you don't listen to what's going viral, you don't listen to anyone else, you do what you believe in. It's honest and it has integrity. That's what strangelove has stood for since day one and it's what off script stands for too. A brand like that shouldn't look like it was designed to be scrolled past at 2am. It should look like something you want to hold.

After living with all three throughout development, which one do you reach for most yourself?

It depends on the day. WALLFLOWER is every day, it's my white t-shirt. HEAVENSPOT I wear for dreaming. And DOUBLETAKE is for fabulous nights out, the kind where people look twice and think, I want that.

off script
HEAVENSPOT, DOUBLETAKE + WALLFLOWER

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WALLFLOWER, HEAVENSPOT and DOUBLETAKE are available now at Harrods and at offscriptnyc.com
— follow the brand at @offscriptny

RIMOWA Never Still - Leather Bags & Distinct Cabin

A Review of the RIMOWA Never Still campaign

RIMOWA Never Still: The City as a Stop Along the Way

written KLAAS HAMMER

Not every journey requires a suitcase. Sometimes, all it takes is a trip through your own city. To the office, a café, the airport, or simply somewhere the day has yet to decide. With the latest expansion of its Never Still collection, RIMOWA turns its attention to these small movements that shape everyday life.

For the accompanying campaign, the brand brought together photographers Dana Lixenberg, Daniel Arnold, and Feng Li to capture moments in Amsterdam, Los Angeles, and Shanghai. Their images and films observe people on the move – between early morning light, car windows, and city streets – turning the seemingly ordinary into the focus itself.

The collection also introduces new leather bags that feel less like traditional travel luggage and more at home within an urban wardrobe. Anthracite and Mocha expand the colour palette with two understated shades: a smoky grey and a muted brown. RIMOWA’s signature grooved design appears throughout the bags, bringing the brand’s distinctive language to pieces made for journeys that may not necessarily appear on a map. New additions include smaller versions of the Leather Flap Backpack, Duffle Bags in different sizes, and a compact Cross-Body Bag. The latter translates the silhouette of the larger travel bag into a much smaller format, designed for everyday movement. Completing the collection is a black Zipped Tote, offering space for a laptop and daily essentials while effortlessly moving between work and life on the go.

The Distinct Cabin also receives a new interpretation in Anthracite. While remaining true to the classic RIMOWA suitcase, the model is distinguished by its fully leather exterior. Over time, the material develops a unique patina – fitting for a piece of luggage whose story truly begins with every journey. What makes the latest Never Still collection compelling is not necessarily the question of where it takes you. Instead, it is about all the small distances in between. Because movement does not only happen at the gate – it has already begun on the way there.

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all images (c) RIMOWA Press

Christian Louboutin - Pop Art Fall/Winter 2026 Collection Campaign

A Review of the Christian Louboutin Fall/Winter 2026 womenswear campaign

Christian Louboutin Unveils Pop Art Fall/Winter 2026 Collection Campaign

written MALCOLM THOMAS

On Tuesday, Christian Louboutin unveiled its artful take on its Fall/Winter 2026 womenswear collection with a paint and watercolour-streaked campaign, an homage to fine art’s continued influence on the house. Previously inspired by René Magritte, this season a touch of 80’s style seemed to be on Louboutin’s mood board, featuring purples, yellows, greens and reds, splashed across sleek industrial environs to complement the offerings, highlighting above all else the enduring legacy of the Pigalle. Re-fashioned as La Pigalle, the infamous shoe now offers a padded insole for superior support, a deeper red sole and a fresh range of styles, currently available in water snake, python and crystal.  

Other additions include sculptural sandal Rosa Fruit, Einsail On The Feet, offered as both a pump and a mule, featuring lavish details such as leaves, flowers and hand-set crystal snails and the Kate Max Veggie, a pearl, sequin and crystal-embroidered vegetable delight, a direct influence from the vibrancy of Louboutin’s personal garden. Rounding out the new additions are the Plume and Birdie—feather, glittering crystal and stone-embellished footwear inspired by the cabaret.

Other styles of note are the Venus Tulip Baguette, named after the Roman goddess of love. The Tulip Baguette is a limited-edition bag of embossed tulip design, specially crafted by hand. The Bettina Tote was introduced in corn yellow this season; the Eva Shoulder Bag made its return in veau velours empire, and the Sabrina evening clutch, a satin-finished stretch neoprene pouch wristlet, is offered in black and empire, alongside a special edition adorned with feathers and strass.

Cheers to the art of dressing.

The Fall/Winter 2026 Women’s collection is now available in stores.

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Christian Louboutin Unveils Pop Art Fall/Winter 2026 Collection Campaign
all images (c) Christian Louboutin Press

Louis Vuitton and Singer Reimagine the Porsche 911

What Happens When Louis Vuitton Gets Behind the Wheel of a Porsche 911

written LE MILE

A mechanical clock that can be lifted from a dashboard and carried to a desk feels almost anachronistic in 2026, and that small act of removal is where the Louis Vuitton and Singer project becomes interesting. The collaboration began with a request for a dashboard timepiece made at La Fabrique du Temps Louis Vuitton. Once the clock entered the cockpit, the surrounding instruments demanded the same degree of attention. The speedometer, rev counter and gauges followed, with Tambour hands, indexes and typography translated into automotive scale. What started as one object gradually occupied an entire interior, and eventually two cars.

The progression says something about the peculiar attraction of objects whose value reveals itself slowly. Attention settles on a knurled switch, the reflection across a rhodium-plated vent, the feel of a leather pull tab, the mechanical clock continuing to run after the engine has stopped. Somebody has already spent time thinking about the moment a hand reaches for each of them. That kind of care gives an object intimacy and it also gives it a future, through wear, touch, patina and the small habits that form around living with something for years.

courtesy of LOUIS VUITTON

Singer’s work begins with the Porsche 911, a shape carrying decades of memory, obsession and personal mythology. The Californian atelier has made a practice of returning to that architecture and finding new possibilities within it. Louis Vuitton’s history with the road reaches back to the earliest years of motoring. Georges Vuitton was designing trunks specifically for automobiles by 1897, following their contours and developing luggage that could travel on their bodies. In 1909, Pierre and Jean Vuitton designed a car on a Stabilia sports chassis. Long before the automobile became another space for luxury branding, it was already changing the objects people needed and the way those objects were designed.

That history surfaces in the Porsche 911 Reimagined by Singer – Classic through decisions that carry their own memory. Saffron, cobalt blue and yellow draw from Vuitton’s visual archive, early Singer commissions and automobile trunks made for Citroën in 1924. Inside, natural leather, malletage quilting and hand-finished metal give the cabin the intimacy of something intended to age alongside its owner. Ventilation holes take the form of Monogram flowers. A roof rack accepts luggage, skis or a surfboard. Bags occupy the exact volumes available inside the car. There is an appealing certainty to objects made for one particular place.

/ courtesy of LOUIS VUITTON

/ courtesy of LOUIS VUITTON

/ courtesy of LOUIS VUITTON

Nicolas Ghesquière develops another chapter of the project through a Porsche 911 Reimagined by Singer – Classic Turbo, conceived as a cabriolet in Calcaire Lutétien white with cognac leather, gold-toned details and American walnut. Classic motorboats inform the woodwork across the rear deck and luggage compartments, bringing the atmosphere of a runabout into the car. Ghesquière’s fascination with technical objects, futuristic surfaces and historical design finds an unusually physical setting here. Every idea eventually meets a hand, a body, the weather or the road. The luggage makes that relationship increasingly personal. A three-part trunk slots into the front boot. A garment bag folds into the cabin. The papers of the car travel in their own case. The key has a pouch. The dashboard clock leaves the vehicle and continues its life on a desk. The excess is part of the charm because it imagines travel as a sequence of rituals worth paying attention to: packing, fastening, opening, driving, stopping, unpacking, carrying something from one place into the next.

/ courtesy of LOUIS VUITTON

/ courtesy of LOUIS VUITTON

The emotional pull of a fitted suitcase lies in the way its empty space already anticipates what someone will bring, while its dimensions already know where the journey will place it. The same feeling runs through these cars. Materials are expected to acquire marks. Leather waits for patina. Mechanical movements continue keeping time. Wood and metal ask to be touched. The Porsche itself arrives with a history that every new owner inevitably adds to.

Louis Vuitton x Singer ultimately describes a fantasy in which every object seems to know where it belongs. The car becomes part of the rituals surrounding departure and return, filled with things designed to accompany a person through both. Perhaps that is why a clock was enough to start the whole project, time was already embedded everywhere else.

/ courtesy of LOUIS VUITTON

/ courtesy of LOUIS VUITTON

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all images
/ courtesy of LOUIS VUITTON Press

Louis Vuitton´s Monogram Flower - Idylle Blossom Collection Returns in Diamonds

Louis Vuitton Gives Idylle Blossom a Diamond Edge

written SARAH ARENDTS

A flower designed for luggage in 1896 has ended up at the collarbone. More than a century after Georges Vuitton introduced the Monogram Flower, one of Louis Vuitton’s most recognisable signs now appears in white gold and diamonds, scaled down from the surface of the monogram into something worn close to the skin. In the latest Idylle Blossom pieces, the motif sits at the ear, curves around the neck and opens across the finger, carrying the memory of a house emblem into the intimate space of jewelry.

Seen in the campaign image, the new pieces use the face and neckline as scale. The earrings keep the flower compact against the hair, while the necklace follows the collarbone with a low curve that makes the motif readable in one glance. The design depends on a controlled outline: tapered petals, white-gold edges and diamonds placed along the form so the shape stays intact under light. That is where the new Idylle Blossom chapter becomes clearest. Louis Vuitton is working with a motif that has to remain recognisable even when reduced to the size of an earring or pendant.

Louis Vuitton Idylle Blossom High Jewelry
/ courtesy of LOUIS VUITTON

Louis Vuitton Idylle Blossom High Jewelry
/ courtesy of LOUIS VUITTON

Louis Vuitton introduced Idylle Blossom in 2012, giving the Monogram Flower a dedicated jewelry line. The new additions continue that chapter through fine jewelry and high jewelry, both in white gold and diamonds. The fine-jewelry pieces are the most immediate. A pavé-band ring places the flower on the hand with enough weight to be noticed, earrings bring the motif to the face, and a pendant keeps the same shape close to the body. These pieces work best when the design stays compact. The diamonds sharpen the contour, and the flower remains readable without needing scale.

The high-jewelry pieces bring in another Vuitton code through the LV Monogram Star cut diamond. This is where the collection becomes more specific. The necklace follows the line of the neck with a central flower motif, while the star cut adds a second geometry to the piece. In the earrings and ring, the same relationship appears through pavé petals, round-cut diamonds and the sharper light of the star cut. The open Toi & Moi ring gives the idea its clearest form, placing the slender Monogram Flower opposite the LV Monogram Star cut diamond across the finger.

Inside Dior’s Grammar of Forms Exhibition
/ courtesy of LOUIS VUITTON

These new Idylle Blossom pieces arrive at a moment when luxury houses are asking their historic codes to work harder across image and body. Louis Vuitton has an advantage with the Monogram Flower because the sign was built for repetition from the beginning. In jewelry, that repetition is compressed. The motif has to survive at the scale of an earring, a pendant or the open curve of a ring, where there is little room for excess.

That compression gives the new pieces their focus. The earrings, pendant and Toi & Moi ring are strongest when the flower is held close, with the diamonds tracing the emblem instead of overwhelming it. The collection closes on a simple shift in scale: a symbol once made for the surface of travel is now carried on the skin, sharpened through white gold, diamond setting and the discipline of a recognisable line.

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all images
/ courtesy of LOUIS VUITTON Press

Dior Haute Couture - Entering Lynda Benglis’s World of Form

Inside Dior’s Grammar of Forms Exhibition

Jonathan Anderson Brings Lynda Benglis Into Dior Couture

written LE MILE

Inside the exhibition space for Grammar of Forms, Dior’s couture is placed among trees, glass vitrines, dark wood structures and a reflective floor that turns the room into something almost liquid. The same venue that hosted Jonathan Anderson’s couture show for the house now holds the collection in suspension. Dresses stand upright on slim plinths, some enclosed in tall glass cases, others left open to the surrounding greenery.

A metallic pleated form catches the light beside a black handbag, a white gown appears in a wooden frame, its folds held with the precision of a study object. In another corner, a bronze-toned dress rises from the body with sharp, crumpled volume, closer to sculpture than eveningwear. The exhibition follows Anderson’s second haute couture collection for Dior and gives each look the space to be studied up close. A fold can be read as structure, a pleat becomes a held gesture, and surfaces catch the light differently when the garment no longer passes in a few seconds. Here, the stillness makes the engineering visible.

Inside Dior’s Grammar of Forms Exhibition
with Lynda Benglis

Inside Dior’s Grammar of Forms Exhibition
/ courtesy DIOR

Inside Dior’s Grammar of Forms Exhibition
/ courtesy DIOR

Born in Lake Charles, Louisiana in 1941, Lynda Benglis became one of the defining American artists of her generation after emerging in 1960s New York. Her work moved through poured latex floor pieces, polyurethane foam, wax, metal, gold leaf and glitter. She has always treated material as something active.

It spills, bends, hardens, folds and carries the trace of the body that shaped it. Her sculptures have often been described as frozen gestures, a phrase that returns throughout the Dior project because it gives language to what Anderson is also exploring through couture.

Anderson follows Benglis’s fascination with matter at the point where it begins to shift under pressure. Fabric is pressed into pleated volume and pulled into knotted density, while certain surfaces start to resemble paper or metal. Embroidery carries the glittered intensity of Benglis’s work into the surface of the clothes. What appears spontaneous has been calculated through couture engineering, with the Dior ateliers giving each fold the support it needs to hold its shape around the body. The strongest looks carry that exact tension. The fabric seems caught in the act of becoming an object, while the body remains its point of return.

Inside Dior’s Grammar of Forms Exhibition
/ courtesy DIOR

Inside Dior’s Grammar of Forms Exhibition
/ courtesy DIOR

The connection to Dior’s own history sits in the construction. In 1947, Christian Dior’s New Look relied on an internal structure of boning and padding, allowing fabric to create a silhouette that stood away from the body. Over the following decade, the house developed lines such as Zig-Zag, Tulip, A and H, each one treating shape as something deliberate and engineered. Anderson enters that history through Benglis, using her sculptural instinct to test how far Dior’s couture construction can be pushed in fabric.

By the time the viewer leaves Grammar of Forms, the exhibition has made its clearest point about Anderson’s first movements at Dior. The house is being approached through construction and the patient intelligence of the atelier, with Benglis opening a way to think about matter before it settles into form. Her presence keeps the collection away from simple archive exercise or art-world quotation. What remains is the sense of a beginning, carefully held, with Anderson using couture to test how much force a dress can carry before it returns to the body.

Inside Dior’s Grammar of Forms Exhibition
/ courtesy DIOR

Inside Dior’s Grammar of Forms Exhibition
/ courtesy DIOR

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all images
/ courtesy of DIOR Press

Best of Berlin Fashion Week SS27 - William Fan, GmbH, Dagger & More

Best Of Berlin Fashion Week SS27

Six Shows That Proved Berlin Has Its Own System

written KLAAS HAMMER

Berlin may have been windy this season, but that did little to deter the city's fashion crowd—or the growing number of international guests—from filling the front rows of Berlin Fashion Week. Across the week, designers once again proved that creativity extended far beyond the clothes themselves. From Zehlendorf and Friedrichshain to the iconic ICC building and Reference Studios' Intervention at the Kronprinzenpalais, each venue became an integral part of the storytelling. On the runway, Berlin showcased what continues to define its fashion identity: sharp tailoring, diverse casting, politically engaged collections, and a new generation of designers confidently shaping the future of the city's creative scene.

Berlin Fashion Week SS27 BTS
/ William Fan seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ William Fan seen by Nicolai Sauer

William Fan

Opening Berlin Fashion Week with a bang, William Fan presented EXCHANGE, a collection inspired by the rituals of collecting and the memories attached to objects found while travelling. Referencing marketplaces from Marrakech to Tokyo, the Berlin designer translated the idea of cultural exchange into a wardrobe that felt both familiar and constantly evolving.

Instead of relying on standout looks, Fan built momentum through repetition. Relaxed cargo trousers anchored the collection, while layered styling, elongated proportions and subtle utilitarian details created a sense of effortless continuity. Delicate pleating introduced movement without overpowering the clean silhouettes, and small metallic charms appeared like keepsakes gathered over time—echoing the collection's central idea that clothes, much like souvenirs, carry the stories of where we've been.

Berlin Fashion Week SS27 Runway
/ William Fan seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ William Fan seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ William Fan seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ William Fan seen by Nicolai Sauer

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Berlin Fashion Week SS27 BTS
/ Unvain seen by Nicolai Sauer

Unvain

Following the success of its debut runway show earlier this year, expectations for Unvain's return to Berlin Fashion Week were high. Fashion insiders anticipated one of the week's standout presentations—and they were right.

The collection balanced rawness with precision. Sheer dresses met low-rise trousers, washed-out T-shirts contrasted with a silver-coated military parka, while unfinished edges and a restrained colour palette reinforced the label's understated aesthetic. Rather than chasing spectacle, Unvain found confidence in subtle styling and carefully considered proportions. Sustainability remained part of the brand's design language without becoming its headline. The fur pieces were created entirely from vintage garments, reconstructed in collaboration with resale platform Sellpy, giving existing materials a new purpose. The result was a collection that felt contemporary, self-assured, and confirmed that Unvain is quickly establishing itself as one of Berlin Fashion Week's most exciting emerging names.

Berlin Fashion Week SS27 BTS
/ Unvain seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ Unvain seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ Unvain seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ Unvain seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ Unvain seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ Unvain seen by Nicolai Sauer

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Berlin Fashion Week SS27
/ Barragan seen by Nicolai Sauer

Barragan

Without having followed Barragán closely before Berlin Fashion Week, the presentation at the Mexican Embassy came as a striking discovery. Set within the diplomatic surroundings of the embassy, the show offered more than a traditional runway moment—it created a space for reflection, questioning how identity is shaped, represented, and constantly transformed.

With its queer and Mexican heritage at the core, Barragán has created a distinctive visual language that challenges traditional ideas of identity, questions existing power structures, and reflects on the complexities of contemporary culture. One of the collection’s strongest elements was its casting. In a fashion landscape that increasingly seems to move back towards narrow beauty ideals, Barragán’s runway felt refreshingly open, bringing together different body types, ages, and expressions of individuality. The collection itself embraced contrast and tension.

Distressed T-shirts were paired with transparent fabrics, low-rise trousers with visible underwear, and glossy leather jackets with skin-tight neon-green catsuits. Second-hand inspired denim, heavy boots, and intentionally imperfect layering gave the looks a raw and expressive energy. Presented inside the Mexican Embassy, BARRAGÁN SS30 explored identity as something shaped through movement, politics, history, and cultural exchange. Rather than presenting nationality as a fixed concept, the collection reflected on belonging as something continuously negotiated—formed through experiences, memories, and the places we inhabit.

Berlin Fashion Week SS27
/ Barragan seen by Nicolai Sauer

Berlin Fashion Week SS27
/ Barragan seen by Nicolai Sauer

Berlin Fashion Week SS27
/ Barragan seen by Nicolai Sauer

Berlin Fashion Week SS27
/ Barragan seen by Nicolai Sauer

Berlin Fashion Week SS27
/ Barragan seen by Nicolai Sauer

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Dagger

After making its runway debut at Berlin Fashion Week last season, Dagger returned with another presentation created in collaboration with Reference Studios „Intervention“ and once again proved why the queer streetwear label has quickly become one of the most exciting emerging voices of the week. Following the overwhelming response to its first show, designer Luke Raine admits that the success came as a surprise. “Genuinely, it was a total shock,” he explains. “We had never done a fashion show before and didn’t know if, judged by an industry standard, people would connect with it.” The reaction ultimately became a defining moment for the designer, reinforcing his decision to trust his instincts and continue building Dagger on its own terms.

For SS27, Raine returned to the coastal seaside town of his youth, Portrush—a place shaped by early 2000s skate culture, summer crowds, and teenage memories. The collection captured those formative years: first jobs, first freedoms, late nights, and the feeling of discovering who you might become. Rather than documenting the town as it was, Raine explored a “rose-tinted version” of home, focusing on the optimism of youth and the moment when the world suddenly begins to feel bigger. Beyond the clothing itself, what stood out was Dagger’s ability to create a complete universe. Few brands manage to bring together casting, hair, makeup, styling, and music with such natural precision. Every element felt connected, reflecting the community-driven spirit at the heart of the label.

The collection translated this authenticity into clothes that appeared already lived in. Washed-out prints, over-dyed denim, college shirts, and sports jerseys came together with relaxed silhouettes and skate-inspired references. Between DIY aesthetics, streetwear codes, and working-class influences, Dagger celebrated the beauty of garments that carry memories—clothing not just made to be worn, but to become part of someone’s story.

For Raine, Dagger has always been about more than clothing. “DAGGER is about taking a chance on yourself no matter who or where you come from,” he says, reflecting on the brand’s beginnings after investing his final savings into printing his first T-shirts. That personal sense of belief has become part of the label’s identity, allowing its pieces to connect with a growing international audience, from Berlin’s creative scene to artists such as Tyla and Rema. With SS27, Dagger continues to prove that authenticity cannot be manufactured. It is built through community, personal history, and the stories people choose to carry with them.

Berlin Fashion Week SS27 BTS
/ Dagger seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ Dagger seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ Dagger seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ Dagger seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ Dagger seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ Dagger seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ Dagger seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ Dagger seen by Nicolai Sauer

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GmbH

Closing Berlin Fashion Week’s Reference Studios “Intervention” with a powerful final statement, GmbH turned the runway into a dialogue between forgotten histories and the brand’s own visual language. For their anniversary collection Desire Paths, research into Berlin’s couture past including fashion historian Gesa Kessemeier’s work and archival garments from Julia Schwarz’s “Berliner Chic” collection became a starting point rather than a blueprint. The designers did not recreate the past; they filtered its silhouettes, craftsmanship, and attitude through the unmistakable codes of GmbH.

While remaining anchored in the distinctive GmbH menswear aesthetic, Desire Paths expanded the brand’s visual language with selected womenswear looks, including a memorable appearance by DJ Arca. Across the collection, archival influences met familiar GmbH signatures: cropped bomber jackets, over-the-knee boots, short shorts, and precisely constructed silhouettes were united through a restrained palette of black, grey, and cream. Custom footwear created with UGG and archival-inspired eyewear developed in collaboration with ic! berlin subtly reinforced the collection’s dialogue between craftsmanship, heritage, and contemporary design.

What made the presentation particularly memorable was the emotional connection between fashion, music, and history. When the soundtrack shifted to Hildegard Knef after some looks, the relationship between Berlin’s past and present felt complete—a rare runway moment where every element came together.

Berlin Fashion Week SS27 BTS
/ GmbH seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ GmbH seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ GmbH seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ GmbH seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ GmbH seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ GmbH seen by Nicolai Sauer

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Marie Louise Müller

One of the newcomers on this season's Berlin Fashion Week schedule, Marie-Louise Müller transformed the rooftop of Lobe Block into a poetic garden for her SS27 collection Escapist Garden. Against the backdrop of raw concrete, dried flower petals welcomed guests while soft house music and playful melodies created the feeling of a warm summer afternoon. Inspired by childhood memories of long days spent barefoot in the garden, Müller presented a collection that celebrated nature through craftsmanship rather than spectacle. Around 2,500 hours of handwork went into the looks, with crochet, embroidery, hand knitting, and upcycled natural fibres forming the foundation of a wardrobe designed to outlast seasonal trends.

The collection unfolded in a palette drawn directly from the natural world, moving from soft creams and earthy greens to delicate pinks, raspberry reds, and sky blues. Floral embroidery and insect motifs appeared throughout the garments, while sculptural pieces—including a skirt constructed from a garden hose—introduced a playful contrast to the collection's otherwise delicate aesthetic. Watering cans carried by several models reinforced the show's whimsical storytelling without feeling overly literal. Rather than chasing novelty, Escapist Garden found its strength in patience, craftsmanship, and emotional storytelling. Marie-Louise Müller delivered one of the week's most quietly memorable debuts, proving that slow fashion and imaginative design can still captivate a Berlin Fashion Week audience.

Berlin Fashion Week SS27 BTS
/ Marie Louise Müller seen by Nicolai Sauer

Berlin Fashion Week SS27 BTS
/ Marie Louise Müller seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ Marie Louise Müller seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ Marie Louise Müller seen by Nicolai Sauer

Berlin Fashion Week SS27 Runway
/ Marie Louise Müller seen by Nicolai Sauer

Paris Fashion Week Womenswear SS27 - Streetstyle

OUTSIDE THE SHOWS
That’s Paris Fashion Week Menswear SS27

written LE MILE

Outside the official schedules and beyond the staged precision of the runway, Paris Fashion Week Menswear SS27 revealed another side of the season. In the heat of late June, the city became a shifting surface of arrivals, pauses, crossings and departures. Fashion moved through the streets with less formality, yet no less intent. Tailoring appeared lighter, silhouettes opened up, skin became part of the composition, and utility was softened by ease. The mood was not casual in the simple sense. It was deliberate, edited and alert to the body in motion.

Paris Fashion Week Menswear SS2027
/ Auralee

Paris Fashion Week Menswear SS2027
/ Pharell Williams attending Comme des Garcons

Paris Fashion Week Menswear SS2027
/ Doublet

Paris Fashion Week Menswear SS2027
/ Egonlab

Paris Fashion Week Menswear SS2027
/ Comme des Garcons

Captured by Ian Kobylanski, Outside the Shows looks at the figures who shaped this atmosphere between presentations. Guests, editors, stylists and familiar faces assembled their own readings of the season through sheer layers, loose proportions, sharp eyewear, worn-in denim, technical pieces and gestures of exposure. What emerged was not a single trend, but a visual field shaped by climate, attitude and proximity.

Shot during the final days of the Paris circuit in June, the series reflects a city briefly transformed into an open-air index of contemporary menswear. Outside the Shows observes how fashion circulates beyond the runway, where garments are tested by heat, movement and the gaze of the street.

Paris Fashion Week Menswear SS2027
/ Lemaire

Paris Fashion Week Menswear SS2027
/ Lemaire

Paris Fashion Week Menswear SS2027
/ @delfin attending Junya Watanabe

Paris Fashion Week Menswear SS2027
/ @esdeekid attending Rick Owens x adidas

Paris Fashion Week Menswear SS2027
/ Lemaire

Paris Fashion Week Menswear SS2027
/ @loretoperalta attending Willy Chavarria

Paris Fashion Week Menswear SS2027
/ Sacai

Paris Fashion Week Menswear SS2027
/ Rick Owens x adidas

Paris Fashion Week Menswear SS2027

Paris Fashion Week Menswear SS2027
/ @maluma attending 3. Palais

Paris Fashion Week Menswear SS2027
/ @tydollasign attending Doublet

Paris Fashion Week Menswear SS2027
/ @venmarquardt attending Yohji Yamamoto

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all visuals
(c) IAN KOBYLANSKI

Paris Fashion Week Menswear SS27, June 2026

White Resort 2026 - The New Luxury Travel Economy

A Review of White Resort 2026

Where Resortwear Meets the New Luxury Travel Economy

written KLAAS HAMMER

Milan was in the grip of soaring summer temperatures, yet the city's fashion crowd arrived at WHITE Resort – On the Beach powered by WHITE with unmistakable energy and curiosity. From 18 to 20 June 2026, BASE Milano became the setting for a new dialogue between fashion, travel and hospitality, where visitors explored curated resort-wear collections, discovered fresh lifestyle concepts and joined insightful conversations on the evolving luxury hospitality landscape.

Marking its debut, the new format introduced a dedicated platform for resort fashion, bringing together around 100 carefully selected brands alongside an international audience of buyers, industry insiders and hospitality leaders. Representatives from Bulgari Hotels & Resorts, Printemps, Galeries Lafayette and Wolf & Badger were among those attending, underlining the growing importance of the resortwear category as luxury travel continues to shape contemporary fashion consumption.

More than a traditional trade fair, WHITE Resort positions itself at the intersection of fashion and destination culture, reflecting a shift towards lifestyle-driven retail and new commercial ecosystems. Through newly announced partnerships with TRUE and Allumeuse, the platform aims to strengthen international connections between fashion brands and some of the world's most prestigious hotels and resorts, opening new avenues for visibility, collaboration and global expansion.

Following a promising first edition, On the Beach powered by WHITE will return from 24 to 27 September 2026 during WHITE Milano, occupying a dedicated space at the Nhow Hotel in Milan's Tortona district. As resortwear continues to evolve from a seasonal niche into a strategic business segment, WHITE's newest concept offers an inspiring glimpse into the future of fashion, one where luxury, travel and lifestyle seamlessly converge.

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all images (c)
White Milano Press

KML SS27 - The Limitless Poetry of a Saudi House

A Review of KML Spring/Summer 2027 Collection

The Limitless Poetry of KML

written MALCOLM THOMAS

“Would you like to take off your shoes?” is not high on the list of requests asked of guests at a fashion show, but it was just one of many ways that Ahmed and Razan Hassan, creative directors of KML, proudly distinguish themselves as the first Saudi ready-to-wear brand to present on the official Paris Fashion Week calendar. Formerly LVMH Prize semi-finalists and Emerging Talent Award recipients at the Arab Fashion Awards, the Hassan’s melding of menswear and culture is a welcome alternative to the Western European monotony that often floods our social feeds.

Opened with a short black-and-white film directed by Anas Sufyan and co-produced with Mohammed Sehaim, the film introduces viewers to regional Saudi dances performed by Bilal Allaf against the backdrop of thoughtfully arranged music by Firas Shurbaji. The set, a cosy, white-clothed venue with matching monochrome catwalk and benches, was the perfect stage for a show that was anchored in stillness and fluidity.  

The first look was a diaphanous cape, with open sides, exposing the naked breast and body of the model. The tone for a twenty-six-look collection that quietly prioritised its wearer over its wears. Most in sheer, ethereal silks, and sheers in an uncomplicated colour palette of whites, blacks and greys. Soft editorial details like the twist of a skirt or trouser in light wool and the opening of a back on a dress shirt juxtaposed more conscious style choices like unexpected trains, off-the-shoulder blouses, and lantern tassel sleeves.

To call the collection simply beautiful seems limiting. Limitlessly poetic seems to fit just right.

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all images (c)
KML Spring/Summer 2027 / KML Press

Post Archive Faction SS27 - Pain, Beauty and Survival

A Review of Post Archive Faction Spring/Summer 2027 Menswear Collection

The Pain and Beauty of Post Archive Faction

written MALCOLM THOMAS

Post Archive Faction, abbreviated as PAF, doesn’t provide elaborate show notes or backstories to reference, but that doesn’t mean they don’t have a lot to say. The high-concept Korean brand, founded in Seoul in 2018 by Dongjoon Lim, is steeped in nineties minimalism and technical prowess. Having shown at Pitti Uomo and done collaborations with Off-White and Nike, the young brand that bases its storytelling around chapters that read like poems added a few more to its hypothetical novel this season.

Centred around karateka who were practising in the background, the collection featured sheer whites, blacks and soft pastel pinks and blues. Translucent trenchcoats and see-through shoes provided a kind of brutal fluidity that paired nicely against a medley of Radiohead and Korean rock that felt like a mix of youthful angst meets American Psycho. Design details were abundant with zip shoulder blousons, dancing ribbons, multi-layered button-ups and spears.

PAF was not just creating a collection but conceptualising a caricature, a grungy teenager on the precipice of the dot-com boom, a madman no longer waiting to be seen, a ruthless banker whose tailoring is as severe as his patience, a fighter readying for battle. The tropes were cleverly clear.

These were a delicious display of clothes to be excited about. A balance between pain, beauty and survival. Even if just a reflection of surviving Paris in a most thick and violent heat.  

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all images (c)
Post Archive Faction Spring/Summer 2027 / Post Archive Faction Press

adidas Originals Stan Smith - Pop-Up at Paris Fashion Week SS27

A review of the adidas Originals Stan Smith pop-up in Paris

adidas Brings the Art of Performance to Paris Fashion Week

written MALCOLM THOMAS

Set in a Paris estate in the Marais, adidas Originals  launched a two-day residency inviting friends and collaborators to celebrate and interpret Stan Smith’s enduring legacy as a conduit of creative self-expression and a blank canvas for possibility. Positioning the famous sneaker, not just as a recognisable symbol of quality but as a uniform for those who remain in constant dialogue with their craft. 

The adidas Stan Smith Residency in Paris / a Platform for Art and Performance
James Blake performing during PFW SS27

The multi-level residency began at the entryway with a tactile display of home goods and furnishings curated by Mathilde Vallantin Dulac, branded in green for guests to take home. In the highest room in the residence, Yung Lean was left to his own devices as he spraypainted it. Cyprien Gaillard’s conceptual film Untitled played in another, where the natural movement of thick white smoke escaping a railroad tunnel was the focus. Thibault Grevet presented an excerpt of his upcoming monograph, Far, and set up a studio where he shot candid portraits of the participating artists. Mark Gonzalez’s love of skateboarding was his contribution to the space where he performed in an indoor skatepark. One of the more popular rooms in the space was a white-clothed sitting room lounge by Guillermo Santomà, where guests like Willy Chavarria found respite from the heat and community in each other.

Music was provided with live performances by Ibeyi, minimal instruments and a grand piano. Soul artist Debbie created a sound sanctuary with a twelve-person gospel choir, and James Blake took to the keyboard along with a small band of musicians, singing songs that drew quite the crowd.

An archival exhibition was also open to guests to explore the decades of impact the Stan Smith continues to have on culture.  

Loli Bahia
/at adidas Stan Smith Residency in Paris

Mark Gonzales
/at adidas Stan Smith Residency in Paris

Lil Simz
/at adidas Stan Smith Residency in Paris

Ibeyi
/at adidas Stan Smith Residency in Paris

Myles Lewis
/at adidas Stan Smith Residency in Paris

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all images (c) adidas Originals Press