ELIE SAAB H&M — An Evening of Glamour in Berlin

collaboration

ELIE SAAB H&M Celebrates a New Chapter in Berlin

LE MILE

On October 14, H&M celebrated its collaboration with ELIE SAAB at Berlin’s historic Orangerie Charlottenburg, inviting guests into an evening devoted to the glamour and elegance that have shaped the designer’s work. A red carpet and specially conceived campaign installation welcomed Emilia Schüle, Caro Daur, Nic Kaufmann, Lera Abova, Stefanie Giesinger and Stella Bossi, among others, before a curtain opened to reveal the spectacular setting prepared for the night.

The ELIE SAAB H&M collection launches on October 22, 2026, in selected H&M stores and online.

ELIE SAAB H&M Celebrates Its Collaboration in Berlin
/ photographed by Teun Sand

Behind it, a long table stretched through a dining room illuminated in deep red, transforming the historic Orangerie into a striking setting for the celebration. The theatrical reveal, the richness of the lighting and the extraordinary attention to detail created an atmosphere that was remarkable to experience in person. Every element appeared carefully considered, from the arrangement of the dinner to the dramatic use of colour, reflecting the sophistication and sense of occasion associated with ELIE SAAB.

The evening continued with a surprise live performance by French musician Braths, also known as Thomas Horeczko, followed by another memorable moment as cake artist Sophia Stolz unveiled an elaborate wedding cake inspired by the bridal gown from the collection. The reference to Saab’s beginnings in bridalwear in Beirut felt particularly fitting, connecting the celebration to the history of the house. Cocktails and a DJ set by Kean Farrar accompanied the final part of what was a truly exceptional evening in Berlin.

ELIE SAAB H&M Collaboration
/ Behind The Scene

Ann-Sofie Johansson + Elie Saab

Founded in Beirut in 1982, ELIE SAAB has established an unmistakable design language defined by elegant silhouettes, intricate embellishment and meticulous construction, signatures that also shape the new H&M collaboration. Among the collection’s highlights are a green evening gown with dramatic dégradé colouring, a sculptural black dress with an oversized bow and train, and sharply constructed tailoring finished with delicate embroidery and shimmering sequins. The collection also introduces menswear, relaxed separates and accessories, extending the house’s aesthetic across a complete wardrobe. As Elie Saab describes it, the collaboration is “a reflection of who we are,” bringing his distinctive vision to a wider audience.

The ELIE SAAB H&M collection launches on October 22, 2026, in selected H&M stores and online.

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all images (c) H&M Press, event photographed by Teun Sand

Louis Vuitton Spring Summer 2027 - Nicolas Ghesquière

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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

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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

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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

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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

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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.

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

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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

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

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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

Double-click to edit...

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

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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

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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

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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

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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

Taakk Spring/Summer 2027 - Love Letter to Irving Penn and Flowers ​

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A Review of Taakk Spring/Summer 2027 Menswear Collection

TAAKK’s Love Letter to Irving Penn and Flowers

written MALCOLM THOMAS

Taakk may have found its stride. Set to a playlist that could double as an action thriller soundtrack, models walked down the catwalk in chocolate and bordeaux nylon disco trenches, slouchy leather and velvet hobos, leisure suiting in sunset orange, and pinstripe embroidered sets.

After receiving a standing ovation for its fall/winter collection, Taakk’s spring/summer offering titled “Ability of Discovery” marks a moment of continued creative acceleration for the Tokyo-based brand. A brand whose purpose is intertwined with the innovative textile techniques that have become part of its ethos.

Beyond the tactile, this season, Takuya Morikawa dug deeper, exploring his own identity in an unlikely marriage of inspiration. The iconoclastic fashion photography of Irving Penn and the delicate beauty of the flower. “What continues to inspire me about Irving Penn is not simply what he photographed, but how he looked at things —the ability to transform something familiar into something entirely new,” said Morikawa.

Not new to Morikawa, however, who season after season has transformed material compositions and fabric structures into singularly gradient surfaces or developed intricate precision cutwork techniques that layer embroidery, creating three-dimensional detailing one might find snaking around backs and sleeves. These, after all, are markers of a Taakk garment.

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all images (c)
Taakk Spring/Summer 2027 / TAAKK Press

Christian Louboutin Men’s SS 2027 - Jaden Smith Expands the Christian Louboutin Universe

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A Review of Jaden Smith’s Christian Louboutin Spring/Summer 2027 Menswear Collection

Jaden Smith Expands the Christian Louboutin Universe with his Spring/Summer 2027 Menswear Collection

written MALCOLM THOMAS

As if plucked from the ruins of Pompeii, outside the Palais Brogniart on a white-hot day in Paris, two red foot sculptures stood parallel against the stone steps behind them. A banner was draped in the distance. Outside the entrance of what resembled a Rosetta Stone, a manifesto was written. “You are now entering the ruins of an ancient kingdom. Past these doors, you leave this world and enter the realm of Christian Louboutin Men’s”.

Christian Louboutin Men Spring Summer 2027
/ by Jaden Smith

Indeed, Jaden Smith’s sophomore presentation was a cultural smörgåsbord bathed in red light. History’s biggest hits propped shoes and accessories in carved out corners and atop formations. Models navigated a crop circle with a Stonehenge-imitation structure in the background—interacting with guests and each other in passing.

Luka Sabbat at Jaden Smith´s Christian Louboutin Men Spring Summer 2027 Afterparty

Christian Louboutin Men Spring Summer 2027
/ by Jaden Smith

Brice and Regis Abby at Jaden Smith´s Christian Louboutin Men Spring Summer 2027 Afterparty
/ photo Sofia Malamute

​Some pieces from the Christian Louboutin Avant-Première collection made a return, such as the Multipocket Vest and TCT Harness. Smith also expanded on Louboutin’s leather goods offerings with the Nostalgic style family, which includes the Hobo and the Backpack. Some pieces took a turn for the fantastical with The Corteo and the Louis from Louboutin’s Child Like Wonder offerings, inspired by Smith’s childhood paper cut-outs. Yet, the most conceptual symbols that the Jaden Smith x Christian Louboutin era is upon us, were Stone Mason’s Feet made from a single piece of leather and cut into square-shaped toes, and the Claw Slide, an animal claw editorialised as a wearable piece of contemporary sculpture.

Of course, there were a variety of everyday pieces too, a patent-leather gradient evening shoe and a classic weekender being among them. Closing out his collection with an A-list afterparty that included a very fashionable Smith family outing, Jaden Smith is clearly aimed at cementing himself as king in a Christian Louboutin “kingdom” of his own design.

The Spring/Summer 2027 Men’s collection will launch in stores on October 28th, 2026.

Christian Louboutin Men Spring Summer 2027
/ by Jaden Smith

Christian Louboutin Men Spring Summer 2027
/ by Jaden Smith

Christian Louboutin Men Spring Summer 2027
/ by Jaden Smith

Asake at Jaden Smith´s Christian Louboutin Men Spring Summer 2027 Afterparty
/ photo Sofia Malamute

Christian Louboutin Men Spring Summer 2027
/ by Jaden Smith

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all images (c) Christian Louboutin Press

Dior Men Summer 2027 - Jonathan Anderson Remixes the House

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DIOR MEN SUMMER 2027

Jonathan Anderson Steps Out of the Museum

written ALBAN E. SMAJLI

The Musée Nissim de Camondo holds the particular silence of a house kept in perfect order after life has left it. Its rooms speak through arrangement, ownership and polished surfaces, which made them unusually exact for Jonathan Anderson’s second Dior Men collection. He placed the clothes inside that stillness and let them look recently handled. Open collars, loose scarves and cuffs stretching past the wrist gave the impression of garments adjusted moments before the models stepped outside, as if Dior had been caught between the mirror and the garden.

Backstage at Dior Men Summer 2027
Photo by Mireia Deulofeu

Paris was already hot in the morning, and the collection seemed to register the temperature through cut before the setting needed to explain it. Jackets sat with space around the torso, trousers fell with a wider line and sheer tuxedo layers gave formalwear a more exposed physical presence. Silver trousers cut through the garden light with a trace of night, while white shirts with soft bows brought a controlled awkwardness to the body. Anderson’s Dior remained precise, yet its precision came through touch rather than distance.

A backstage fitting moment from Dior Men Summer 2027
Photo by Mireia Deulofeu

A backstage detail from Dior Men Summer 2027
Photo by Mireia Deulofeu

The house references worked best when they lost some of their ceremony. Houndstooth appeared as print, turning a woven code into immediate surface. Polka dots crossed sequins with a brightness that felt almost too decorative for the morning, which gave them their charge. A silk shirt repeated a trompe l’oeil scarf motif from 1979 Dior haute couture, now worn close to the skin instead of treated as an archival citation. The gesture felt typical of Anderson’s method here. He did not need to announce a break with the past, he instead changed the level at which the past appeared.

And that shift gave the collection its strongest moments. Embroidered coats suggested work still visible in the finished garment. Fringed knits and loose scarves gave the silhouette a slightly unsettled edge, while the extended cuffs made elegance look less obedient to the wrist. There was a sense of fitting left in the clothes, as a way of keeping Dior in motion. The formal line stayed intact, though the body inside it seemed freer to move, sweat, loosen and touch.

Fred again..’s custom mix with KTNA, Mabe Fratti, Jamie T and original vocals by Christine and the Queens gave the show a similar feeling of altered recognition. Familiar voices and textures passed through a different register, matching a collection in which established Dior material kept changing state. The mix moved through the preserved rooms with a slightly unsettled pulse, loosening their stillness without forcing the effect.

—see the Key Looks

Dior Men Summer 2027
Photo courtesy of Dior

A close-up from Dior Men Summer 2027
Photo by Mireia Deulofeu

A savoir-faire detail from Dior Men Summer 2027
Photo by David William Baum

Inside the Dior Atelier
Photo by David William Baum

Dior Men Summer 2027
Photo courtesy of Dior

Nineteenth-century embroidery appeared on suede lace-ups, bringing historical ornament down to the ground. Woven boots with scuffed finishes, a vintage zig-zag blanket turned into a bag and a spongy denim tote with cannage gave the accessories a handled quality, with craft moving through objects built to be touched and carried.

Anderson’s second Dior Men proposal feels strongest in that controlled state of disturbance. Nothing here collapses the house, and the collection has no interest in theatrical rebellion. Its intelligence lies in smaller acts of displacement. A formal shirt changes through the cuff, a couture motif changes through proximity to skin, and a museum changes because the clothes make it feel occupied again. Dior Men Summer 2027 brought warmth into the house, leaving the museum rooms with the feeling of clothes recently worn, adjusted and carried outside.

A savoir-faire detail from Dior Men Summer 2027
Photo by David William Baum

Dior Men Summer 2027
Photo courtesy of Dior

A savoir-faire detail from Dior Men Summer 2027
Photo by David William Baum

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all images (c) Dior

Louis Vuitton Men’s SS 2027 - Pharrell Williams’ Surf Dandy

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LOUIS VUITTON MENS SPRING/SUMMER 2027

Pharrell Williams Takes the Dandy to the Shore

written ALBAN E. SMAJLI

Paris still held the heat when Louis Vuitton opened its Men’s Spring-Summer 2027 show at the Cité Internationale Universitaire. The city was heavy, the evening barely cooler, and Pharrell Williams answered with sand, mist and a wall of water rising at the end of the runway. The set gave the body a suggestion of relief before the clothes came into focus. It was artificial, fully controlled, completely Louis Vuitton, and still the image worked: a beach placed inside the capital, a wave built as architecture, a summer fantasy made sharp by the temperature around it.

LOUIS VUITTON MENS SPRING SUMMER 2027 by Pharell Williams
Set Design at Cité Internationale Universitaire

The collection took surf culture through the Louis Vuitton dandy, less as a costume, but more as a change in posture. The suit remained present, only loosened by the idea of movement: Shoulders dropped slightly and Trousers widened. Jackets sat with more air around the body. Wetsuit lines appeared inside tailoring, technical stretch tightened certain silhouettes, and waxed surfaces caught the light with a faint wetness. Pharrell’s dandy has often carried polish; here, that polish came marked by salt and surface wear.

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

The strongest clothes had a handled quality with mended textures, weathered finishes and tactile trompe l’oeil that gave fabric the sense of having passed through use. A short could carry discipline, a knit could hold the memory of sun and a suit could take on the trace of performance fabric while keeping its formal line. This was where the collection felt most precise: in the friction between luxury craft and clothes connected to boards, beaches, travel and repair.

Skate culture ran through the show with a graphic snap: checkerboard motifs cut across sneakers and garments, bringing Pharrell’s own visual memory into the coastal frame. The low-cut sneakers, rubber soles and sharp surface graphics gave the collection a street-level rhythm, while acid colours broke through the sand-toned atmosphere with the brightness of surf hardware and sun-faded signage. Dark tailoring and deep green outerwear gave the eye a calmer register, keeping the collection anchored in the house’s travel vocabulary. And the silver camper near the dunes sharpened that idea, it stood like a polished shelter, sealed and reflective, a nomadic object placed inside an invented coast. Before the show, surfers Mikey February and Julian Wilson appeared in a cinematic prelude, giving the fantasy a physical source. Then came the water, the sound of it, the mist from it, the force of it held inside a Paris runway. Pharrell’s own studio-made music pushed the presentation further into atmosphere, with the wave operating as set, symbol and cooling device.

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

The environmental note came through Louis Vuitton’s support of Coral Gardeners, with reef restoration in French Polynesia linked to the house’s Regeneration 2030 roadmap. In a show built around water, that detail gave the image a practical extension beyond the runway. Spring-Summer 2027 feels like one of Pharrell’s clearest propositions for Louis Vuitton Men so far: not a break from the house’s travel mythology, but a sharper way of making it physical. The show understood destination as climate, dress as attitude, and luxury as an environment built around sensation.

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

LOUIS VUITTON MENS SPRING SUMMER 2027
by Pharell Williams

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all images (c) Louis Vuitton Press

Pitti Uomo 110 and Polimoda - Defining Summer 2026 Menswear in Florence

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Something Old, Something New

PITTI UOMO 110 Defies Conventions

written CHIDOZIE OBASI

The Pool is the visual and conceptual theme of the Summer 2026 edition of Pitti Immagine Uomo. In the curator’s vision, the pool is a swimming pool where a young man brushes the still surface of the water with his hand, touching his own reflection.

Pitti People Pitti Immagine Uomo

Everything in this image feels suspended, a moment of waiting, of time held back. The light is icy and vivid, like in a painting by David Hockney. The mirror of the water reflects a desire that has not yet taken shape, almost like an erotic ideal at the pool’s edge. The young man, dressed in dark, elegant suiting, is not the celebrated body of swimming iconography. He’s a modern Narcissus, a disenchanted one as a matter of fact, aware of the seductive power of reflection yet choosing to break the spell.

PITTI UOMO 110 FLORENCE
Vincenzo Junior Marrazzo

PITTI UOMO 110 FLORENCE
Idan David Segal

The edition’s most prominent showcase was Polimoda, one of the world’s leading schools for Fashion and Design, which brought forth a rich selection of graduates whose innovations were inventive and traditional in equal measure. A new vision of the world shaped this season, bringing forth twenty designers from fifteen different nationalities to bring to the runway the vision of a generation shaped by instability and rapid global change. Their work reflected this fully: fearless, intimate, and profoundly human.

The collections express a deeply personal and socially engaged approach to fashion, drawing on memory, cultural heritage, and lived experience as the central pillars of their creative research. The garments do not function merely as clothing, but as emotional and conceptual statements, evidence of a generation using fashion to process, resist, and make sense of the world they have inherited. The Graduate Show marked the culmination of four years of training: a journey in which students from around the world chose Florence and Italy to develop their own creative language, drawing from their cultural roots and translating them into industry-ready work.

Aaron Dillworth

Emilie Wenckstern

Emily Horton

Lucia Romagnoli

Isabel Antonia Richter

Fashion has a tool to tell stories of memory, identity, and vision, at the professional debut of a new generation of designers. Every garment was conceived, developed, and realised in the workshops of the Manifattura Campus, under the guidance of some of the most respected professionals in the field. New to the 2026 edition, the mentorship of creative directors Luke and Lucie Meier, who have returned to the school where they trained and met twenty-five years ago, joining director Massimiliano Giornetti, An Vandevorst, and the faculty in guiding the development of the collections.

Jing Jirat Jitdee

Jakob Nittmann

Victor Brial

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all images (c) Polimoda / PITTI IMMAGINE Press

Paris Fashion Week Womenswear FW26 - Streetstyle

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OUTSIDE THE SHOWS
That’s Paris Fashion Week Womenswear FW26

written LE MILE

Outside the official schedules and beyond the choreographed pace of the runway, Paris Fashion Week Womenswear FW26 appeared in fragments across the streets between venues, cafés, taxis and sudden crossings of the boulevard. The city once again became a moving stage where the rhythm of fashion month revealed itself in passing silhouettes and fleeting encounters.

Paris Fashion Week FALL-WINTER 2026
COMME DES GARCONS

Paris Fashion Week FALL-WINTER 2026
HERMES

Paris Fashion Week FALL-WINTER 2026
LOEWE

Paris Fashion Week FALL-WINTER 2026
LOEWE

Paris Fashion Week FALL-WINTER 2026
LOEWE

Across the runways in Paris, the season leaned into a heightened dialogue between structure and softness as designers revisited ideas of femininity through precision and fluidity. Romantic fabrics such as lace and sheer layers appeared alongside sculpted tailoring and sharply defined silhouettes, while sensual black, saturated colour and glossy materials punctuated the collections with moments of intensity. Houses including Dior, Saint Laurent, McQueen, Louis Vuitton, Miu Miu and Alaïa articulated a season balancing clarity with emotion, discipline with instinct.

Moving through the streets between venues, these ideas took on a more instinctive rhythm as attendees assembled their own visual language from fragments of the season. Elongated coats moved beside fluid dresses layered under oversized outerwear, precise tailoring met sheer textures and flashes of colour, while boots, sculptural bags, archival references and unexpected material contrasts appeared in motion as people travelled between appointments, presentations and late arrivals. Captured by Ian Kobylanski, Outside the Shows turns its attention to this transitional space where fashion briefly leaves the runway and enters the street, observing the individuals who animate the atmosphere surrounding the shows. Shot across Paris during the closing days of the womenswear calendar in early March, the series reflects a city temporarily transformed into a corridor of silhouettes where ideas introduced on the runway begin their first life in the open air.

Paris Fashion Week FALL-WINTER 2026
Jessica Chastain, ZIMMERMANN

Paris Fashion Week FALL-WINTER 2026
LACOSTE

Paris Fashion Week FALL-WINTER 2026
GIVENCHY

Paris Fashion Week FALL-WINTER 2026
LACOSTE

Paris Fashion Week FALL-WINTER 2026
ISSEY MIYAKI

Paris Fashion Week FALL-WINTER 2026
COMME DES GARCONS

Paris Fashion Week FALL-WINTER 2026
GABRIELA HEARST

Paris Fashion Week FALL-WINTER 2026
GIVENCHY

Paris Fashion Week FALL-WINTER 2026
COMME DES GARCONS

Paris Fashion Week FALL-WINTER 2026
COMME DES GARCONS

Paris Fashion Week FALL-WINTER 2026
NINA RICCI

Paris Fashion Week FALL-WINTER 2026
GIVENCHY

Paris Fashion Week FALL-WINTER 2026
AKRIS

Paris Fashion Week FALL-WINTER 2026
OTTOLINGER

Paris Fashion Week FALL-WINTER 2026
VIVIENNE WESTWOOD

all visuals
(c) IAN KOBYLANSKI

Paris Fashion Week Womenswear FW26, March 2026

London Fashion Week Streetstyles AW26 - Streetstyle

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OUTSIDE THE SHOWS
*That’s London Fashion Week AW26

written LE MILE

Beyond the curated cadence of catwalks and official showrooms, London Fashion Week AW26 played out on its streets, in the lively interstices between presentations and the unchoreographed gestures of a city steeped in creative flux. This season, the capital’s mood carried equal parts resilience and reinvention. Established houses revisited heritage with renewed focus, emerging voices amplified cultural narratives, and design vocabularies were read through lenses of inclusivity, texture, and urban poise.

In the in-between moments — arriving guests, impromptu clusters at side streets, front-row departures and post-show conversations — London’s style set assembled its own dialect of expression. Classic British tailoring appeared alongside bold colour juxtapositions; sculptural coats and ballet-flat combos shared pavements with purposeful layering, kitsch accoutrements, and subcultural inflections. Rain-ready outerwear, unexpected colour duos and inventive accessories punctuated everyday movement, revealing how personal style reflects and disrupts the season’s formal narratives.

Captured by Ian Kobylanski in the heart of London’s fashion-week flux, Outside the Shows turns its gaze toward the characters who populate these spontaneous spaces — individual storytellers forging distinctive looks from the season’s fragments. Seen and documented across late winter streets and show day thoroughfares, the series traces style in motion, observing how fashion is performed, adjusted and recalibrated beyond the frame of the runway.

all visuals
(c) IAN KOBYLANSKI

London Fashion Week FW26, February 2026