Taakk - Fall/Winter 2026 Review

Taakk FW26 - Over 2,000 Years in the Making

A review of the Taakk Fall/Winter 2026 collection

written MALCOLM THOMAS

A rain of mist fell on La Tour d'Eiffel, its imposing presence seemed to devour the streets around it. Standing proud amongst its subjects, gazing in awe. Perhaps its purview extended to Taakk’s Fall/Winter 2026 show held at the Cité de l’Architecture et du Patrimoine on January 25, for which anyone should certainly be proud. Undoubtedly, Japanese designer Takuya Morikawa, who delivered his strongest collection to date. 

Paris Fashion Week FW26
TAAKK Fall/Winter 2026 Menswear

Inspired by the Jōmon, an early Japanese hunter, gatherer, and agricultural society spanning 10,000 years (roughly 14,000-300 BCE), much like the Jomon themselves, Morikawa wanted to pay tribute to the land, “living in harmony with nature; the forest, ocean, rivers and all,” the designer wrote in his program. 

This started from an unlikely and controversial place—fur, which was collected from production byproduct and pieced together to create the most beautiful and ethical jackets, bags, and trimmings—a new offering for Taakk. To gradient fabrics and masterful embroidery techniques. Warping cotton on denim to imitate tree bark, raw and unpolished, is one of many Morikawa innovations over the years.

After the finale, models stood for guests to marvel. People cheered, took out their phones, ran their hands through the textiles, and wondered why they hadn’t discovered Taakk sooner. I imagine Morikawa must’ve felt this, too. Now it was time for people to pay tribute to him.

Paris Fashion Week FW26
TAAKK Fall/Winter 2026 Menswear, Final

Paris Fashion Week FW26
TAAKK Fall/Winter 2026 Menswear, Takuya Morikawa

about the editor
When not reviewing shows or writing features, Malcolm spends his time as Founder & Editorial Director of Malcolm + Friends Agency. A full-service agency powered by a global community of freelancers, consultants, and creative partners from leading brands and institutions.


all images (c) TAAKK Press

Paris Fashion Week Streetstyles AW26

OUTSIDE THE SHOWS
*That’s Paris Fashion Week Menswear FW26

written LE MILE

Outside the official schedules and away from the controlled choreography of the runway, Paris Fashion Week Menswear FW26 revealed its most telling moments in motion, on the pavement, between shows, in passing glances and improvised silhouettes. This season unfolded against a backdrop of recalibration. Many houses leaned into clarity over spectacle, refining archetypes. Tailoring returned with sharper intent, volume was handled with restraint, and references to utility, workwear, and heritage were filtered through a more personal lens. Elsewhere, softness crept in through colour, texture, and gesture, suggesting a quieter confidence shaping contemporary menswear.

Paris Fashion Week FALL-WINTER 2026
RICK OWENS

Paris Fashion Week FALL-WINTER 2026
RICK OWENS

Paris Fashion Week FALL-WINTER 2026
TAAKK

Paris Fashion Week FALL-WINTER 2026
TAAKK

Paris Fashion Week FALL-WINTER 2026
KIDSUPER

Captured by Ian Kobylanski, Outside the Shows turns its focus to the characters who animate this in-between space. Individuals assembling their own visual language from fragments of the season: elongated coats, experimental layering, archival gestures, subcultural echoes, and moments of playful disruption.

Shot during the final days of the Paris circuit in late January, the series reflects a city momentarily transformed into a moving archive of ideas. Outside the Shows shows how fashion is lived, negotiated, and reimagined in real time.

Paris Fashion Week FALL-WINTER 2026
Michèle Lamy, COMME des GARÇONS

Paris Fashion Week FALL-WINTER 2026
COMME des GARCONS

Paris Fashion Week FALL-WINTER 2026
White Mountaineering

Paris Fashion Week FALL-WINTER 2026
KIDSUPER

Paris Fashion Week FALL-WINTER 2026
AMIRI

Paris Fashion Week FALL-WINTER 2026
LOUIS VUITTON

Paris Fashion Week FALL-WINTER 2026
HERMES

Paris Fashion Week FALL-WINTER 2026
LOUIS VUITTON

Paris Fashion Week FALL-WINTER 2026
DIOR

Paris Fashion Week FALL-WINTER 2026
Pharell Williams, SACAI

Paris Fashion Week FALL-WINTER 2026
JOON.J

Paris Fashion Week FALL-WINTER 2026
JOON.J

Paris Fashion Week FALL-WINTER 2026
DOUBLET

all visuals
(c) IAN KOBYLANSKI

Paris Fashion Week Menswear FW26, January 2026

Celine - Inside the Fall/Winter 2026 Menswear Collection

How Michael Rider Is Reframing Celine Menswear for Fall/Winter 2026

A review of the Celine Fall/Winter 2026 menswear collection

written MALCOLM THOMAS

“We took the frame of menswear, and what Celine stands for, and then talked a lot about the energy of today, the here and now, the way people live and want to look,” said Celine Creative Director, Michael Rider.

Paris Fashion Week FW26
Celine Fall/Winter 2026 Menswear

Officially, his second collection for the house. It appears Rider’s approach is more Phoebe Philo than Slimane, and entirely more down- to-earth, 16 Rue Vivienne, to be exact, the brand’s headquarters and showroom, where his under-the-radar second collection was presented. Unlike his debut, there was no runway show. No flashing lightbulbs, no V.I.P. wrangling or seating politics, this season. No pomp and circumstance. Instead, a well-merchandised presentation, a tower of American-style blue jeans, an S-curve footwear assortment, and a thoughtfully curated edit of key looks to peruse with champagne and hors d’oeuvres in hand. “Character over costume,” was the designer’s directive.

An electric blue button-up paired with trousers and a camel coat first caught my glance; the same blue also made an appearance in a shirt jacket and matching sweater. Then there were the bolder pieces: the single shoulder button pin leather jacket, for instance, rock n’ garde remnants of Monsieur Slimane’s time at the house, featuring hippie hugger sayings like “Hugs Not Drugs,” and “It won’t be a party if I’m not invited.”  You know the saying, once a bad boy…

But while Slimane was more likely to rock the boat, Rider is more likely to steer it.

Who wants to get wet anyway?

about the editor
When not reviewing shows or writing features, Malcolm spends his time as Founder & Editorial Director of Malcolm + Friends Agency. A full-service agency powered by a global community of freelancers, consultants, and creative partners from leading brands and institutions.


all images (c) CELINE Press, seen by Zoe Ghertner

Algieri - Paris Fall/Winter 2026 Show Review

Algieri Paris: Fashion and a Show

A review of the Algieri Paris Fall/Winter 2026 show

written MALCOLM THOMAS

Deep in the 14th arrondissement on a cold night, I sat inside the Chapelle Sainte Jeanne D’Arc, a Neo-Gothic church so remote even a Parisian taxi driver couldn’t find it. The grand darkness of the church, named after patron saint Joan of Arc (you know the one), was as much of a character as the performance itself.

Paris Fashion Week FW26
Algieri Paris Fall/Winter 2026 Show

A ghoulish fog hung over the stage as a DJ appeared, and shortly after, a chanteuse unveiled her bejeweled-encrusted gown that shimmered as her voice soothed even the darkest corners of the church. Dancers in white enveloped her like a dying flower come back to life, then made their way to the tables populated with silver dishes in the center of the floor. They began staining their white uniforms black. One let out a scream, and the fashion part of the show began.

The collection, entirely in black, created (mostly) in deadstock fabric and exaggerated and restrictive structures and silhouettes in varying cashmere, leather, lace, feathers, metal, and stones, needed no such introduction.

Yet, the full-bodysuits, one made entirely of feathers, the voluminous floor-length fur, and the chainmail dress made of keys cling-clanging as it walked past to a melody of its own, were their own kind of show. 

Founded in 2022, Algieri Paris has a vested interest in the re-contextualization of gender and body norms, often collaborating with local drag queens and underground celebrities. Raphaël Algieri’s sex-positive avant-garde design language was honed at L’Institut Supérieur des Arts Appliqués (LISAA) and École des Hautes Études Commerciales (HEC). Nods to Louise Bourgeois and the sensuality of Robert Mapplethorpe’s famous black and white portraits can also be found in Algieri’s work. Named after the designer’s Italian great-grandmother, Filomena Algieri, who decided not to marry and to pass down her name instead. There is not an inch of Algieri that isn’t rich with subversion. 

When the show ended, I walked the eighteen minutes to the nearest metro in the rain. I laughed to myself. I almost missed this show. I’m glad I didn’t.

about the editor
When not reviewing shows or writing features, Malcolm spends his time as Founder & Editorial Director of Malcolm + Friends Agency. A full-service agency powered by a global community of freelancers, consultants, and creative partners from leading brands and institutions.


all images (c) Algieri Paris Press

H&M and e.l.f. Cosmetics - Translating Everyday Beauty Into Fragrance

Why This H&M and e.l.f. Cosmetics Collaboration Thinks About Scent as a System

written LE MILE

Fragrance rarely enters the world quietly. New launches tend to arrive wrapped in mythology, spectacle, or aspirational distance. The collaboration between H&M and e.l.f. Cosmetics takes a different route, it begins with recognition.

Eau de parfum bottles from the H&M and e.l.f. Cosmetics
fragrance collaboration inspired by Power Grip, Halo Glow and Camo

The limited eau de parfum collection represents a first for both brands. H&M enters a formal beauty partnership for the first time. e.l.f. introduces fragrance into its product universe for the first time.
Power Grip, Halo Glow and Camo are already embedded in everyday use. They are functional, widely used products with established emotional associations. Translating them into fragrance is a practical decision as much as a creative one.

Power Grip – Salty Drip is built around eucalyptus, cedarwood and sea salt. The structure is clear and restrained. Cooling notes meet dry woods and mineral elements, resulting in a fragrance that feels direct and purposeful. It carries a sense of clarity that mirrors the product line it references, something designed to hold, to stabilise, to stay in place.

Halo Glow – Luminous Cloud moves into a softer register with magnolia, vanilla and amber. The scent develops gently, staying light and consistent over time. It reflects the visual logic of Halo Glow as a product known for diffused radiance and subtle warmth.

Camo Blend – Nude Canvas brings vanilla, musk and palo santo together in a composition that sits close to skin. The scent develops gradually, shaped by body heat. There is a quiet depth to it, one that mirrors Camo’s long-standing association with adaptability and coverage.

All three eau de parfums are vegan and positioned at an accessible price point. Scale, inclusion, and everyday use have long shaped both brands’ identities, and the fragrance collection reflects that continuity. The campaign supporting the launch reinforces this approach. Directed by Tanu Muino, it centres on movement. An original track titled “spritz. walk. waft.” provides rhythm, while choreography demonstrates how scent travels through bodies in motion. Fragrance is treated as physical and spatial.

watch film by TANU MUINO

Launching globally on 29 January 2026, the collection will be available in selected H&M stores and online.

all images (c) H&M Press

Christian Louboutin - Jaden Smith Debuts Menswear Collection FW26

Jaden Smith Debuts Menswear Collection For Christian Louboutin

A review of the Christian Louboutin Fall/Winter 2026 menswear collection

written MALCOLM THOMAS

When it was announced last September that Christian Louboutin had appointed its first-ever Men’s Creative Director, it marked a bold new chapter for the brand. A brand that, at that point, had already left its global footprint on one of fashion’s most lucrative categories.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Emerging not just as another shoe brand, catered to women on the rise but as a sexy symbol of status, most notable for its blood red soles, known en masse as red bottoms, and framed in perpetuity as “bloody shoes” by Cardi B in her chart-topping smash, Bodak Yellow, a song that ironically did as much for her career as it did to cement Christian Louboutin in the culture.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

It was over 15 years ago that Louboutin launched its menswear line. A sub-category which now accounts for 24% of its business, and it was more than six years ago when the designer began a dialogue with then, 21-year-old, Jaden Smith. A child of parents who in their own right, had a part in shaping culture. A dialogue between the two seemed fitting— his appointment as a creative stakeholder seemed shocking—remember that bold new chapter?

Unveiled Wednesday at an elaborate exhibition in Paris, somewhere between cinema and mythology, the Fall/Winter 2026 menswear collection was displayed. Heroed by shoes, of course, merchandized on antiquity-inspired columns throughout, with accompanying wall placards, the same kind you might find in a gallery or museum. The positioning was clear. Less status. More art.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

From the virality of the campaign imagery, projected full screen on the wall and in a viewing area, Smith’s bare-chested body, painted in red, also on display—a kind of nod to the rapper’s full creative immersion, to the role itself, these were made for see and be seen moments. Some moments, bolder than others, fur boots for instance, worn by Jaden Smith, himself in the video, certainly not made for wallflowers, but rather a temperature check of how far Christian and Jaden are willing to go. Wax-dripped boots were another editorial moment, which I think may also have a retail moment too, as well as logo-ed belts and a utility bag with titled pockets and compartments, stone masons and scribes among Smith’s inspiration and romanticization of the working man.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

Next: a full collection slated for runway and sale next season, and the capsule collection in select boutiques and on christianlouboutin.com. Available now.

Paris Fashion Week FW26
Jaden Smith Menswear Collection for Christian Louboutin

about the editor
When not reviewing shows or writing features, Malcolm spends his time as Founder & Editorial Director of Malcolm + Friends Agency. A full-service agency powered by a global community of freelancers, consultants, and creative partners from leading brands and institutions.


all images (c) Christian Louboutin Press

Pitti Uomo 109 - The Future of Menswear FW26

Threads in Motion
Pitti Uomo 109

written CHIDOZIE OBASI

Everything is movement, transformation, story and progression: the theme chosen for the winter edition of Pitti Immagine unleashes a tale of dynamic expression, alongside the many inspirations that stem from this idea of movement.

Motion is a concept that transcends all manner of disciplines from politics to cinema, but also stands as a commitment and as an ability to to bring together an energy that leads to new figures in fashion. Movement, like the word itself, refers to something that evolves, breaking away from tradition and returning to it: it becomes a voice for ideals, cultures, connections and commitment. It also adapts to the body and, by dressing it, amplifies its presence by becoming a gesture and identity. Motion also becomes an emotion: a poetic flow, an energy of becoming and a movement of the soul.

Pitti Immagine Uomo 109
FW26 Season

Antonio De Matteis, President of Pitti Immagine, has a positive mindset of this edition. “If we have this quality across the board, we need to be thankful for the commercial partnerships between institutions and the brands,” he opined at the press conference. “Let’s look at the beauty of what we do, and the effort of our entrepreneurs — Pitti Uomo is the only fair on an international scale for menswear that was able to grow and scale its weight globally. It’s not easy to renovate a fair every six months, but it’s all down to the exceptional team work we pour in. We have the most important buyers in the world in town, and the distribution — given by the key retailers — helped some of the smallest names who started from here, who grew so much.”

There’s some highlights of this season, including the FW26 collection from Sebago which revolves around three creative worlds. Preppy Heritage evolves the iconic brand aesthetic by combining tradition and urban spirit with modern materials, updated lines and sartorial details. Fly Fishing draws inspiration from fly fishing and outdoor life in Maine, with functional garments, textured fabrics and natural colour palettes reminiscent of forests and water. Ranch, on the other hand, reflects the more rural and mountainous side of the American outdoors, with sturdy garments, handcrafted finishes and an authentic, raw aesthetic reinterpreted in a contemporary key.

GAS decisively reaffirms its essence: denim.
 A fundamental element and hallmark of the brand, denim once again becomes the starting point for a story that spans cities, cultures and attitudes, transforming itself into a universal language capable of adapting to different styles, genres and contexts. Under the theme Urban Souls, the collection explores the dynamic, metropolitan soul of the season, giving life to Collective Denim Identities: a choral narrative in which denim becomes a symbol of freedom, personal expression and belonging. A versatile material that transcends barriers and transforms itself depending on how it is worn, moving from everyday to special occasions, from essential to fashionable. At the heart of the collection is a wide Wash Spectrum, which spans all shades of indigo – from the deepest raw to the lightest and most authentic shades – creating a solid, recognisable and contemporary denim offering. The colour palette is based on essential neutrals, the ideal base for essentials and fashion items, enriched with seasonal accents.

Pitti Immagine Uomo 109
FW26 Season / brand SEBAGO

Pitti Immagine Uomo 109
FW26 Season / brand SEBAGO

Pitti Immagine Uomo 109
FW26 Season / brand SEBAGO

Consinee, a leading Chinese group in the global market for fine yarns and cashmere fibres from certified and sustainable supply chains, has entrusted the artistic direction of its new project for Pitti Uomo 109 to Sara Sozzani Maino, involving designer Galib Gassanoff at the helm of creative development, presenting Echoes of Craft. Continuous experimentation combined with a deeper understanding of the fibre's versatility are the cornerstones of Consinee's non-commercial creative platform, which evolves from season to season to create new, free and stimulating narratives.

Sara Sozzani Maino, creative director of the Sozzani Foundation, invites Galib Gassanoff, a designer renowned for his creativity and strong vision, to embark on a new aesthetic exploration through raw materials, developing an original narrative in which artistic heritage becomes a return to our roots, to which we remain anchored.

Pitti Immagine Uomo 109
FW26 Season / brand Consinee

Pitti Immagine Uomo 109
FW26 Season / brand Consinee

ANTIK BATIK founded, directed and creatively designed by Gabriella Cortese, a Paris-based stylist and entrepreneur, the iconic French Maison with its bohemian-chic style will present its Autumn-Winter 26/27 men's ready-to-wear collections at Pitti Uomo. Gabriella Cortese will be present throughout the show to meet international buyers and press representatives.After more than thirty years dedicated exclusively to women's wear, Gabriella Cortese introduced the ANTIK BATIK men's collections in 2024 with a first capsule collection, presented in Paris during Paris Men's Fashion Week Spring-Summer 2024. Since then, the men's line has grown steadily, establishing itself as a natural and consistent extension of the brand's DNA. This evolutionary path now leads ANTIK BATIK to Pitti Uomo, marking a new and significant strategic milestone for the Maison.

Pitti Immagine Uomo 109
FW26 Season / brand ANTIK BATIK

Celine

CELINE Charms Collection
Sets a New Code for Personal Jewelry

The CELINE Charms collection sits within the current vocabulary of the house, but it moves with its own logic. Seen on the runway in unapologetically dense clusters, the charms shift the attention toward how people build identity through small objects.

There is no single instruction for wearing them, only the suggestion that jewellery can function as a set of personal signals rather than a fixed decorative layer. The pieces carry a deliberate sense of weight. Some reference the Triomphe, the long-running CELINE code that has travelled across bags, buckles, and hardware. Others push into new shapes that feel more like found symbols than seasonal designs. Together they form an assortment that lends itself to mixing rather than categorising. CELINE frames them as collectibles in the press notes, and the idea fits. They work best when assembled gradually, when the accumulation starts to say something about the hands that put them together.

The collection stretches across gold and silver finishes, sometimes polished, sometimes softened. The tension between the metals gives the charms a lived-in presence, not in a nostalgic way but in a straightforward acknowledgment that jewellery gains meaning through constant use. It is easy to move them from a bracelet to a necklace or to pin them to a jacket, which turns the collection into something closer to a modular system. The wearers decide the scale, the noise, the density, CELINE keeps the structure open on purpose.

As new motifs enter the collection each season, the line grows in a way that feels continuous. Designs shift, earlier symbols reappear, and the combinations evolve with the same casual logic people use when they pick up small objects over time. Some charms stay, others move from one piece of jewellery to another, and a few drift out of circulation entirely. The collection supports that slow accumulation, treating personal editing as an essential part of how the pieces function. It builds an aesthetic that comes together through repetition and daily use.

Placed within CELINE’s larger universe, the charms become a quiet extension of the house without slipping into the language usually tied to jewellery campaigns. Their scale keeps them close to the body in a practical way, allowing them to shift between bracelets, necklaces, and safety pins with no hierarchy in how they should be worn. That flexibility creates a more grounded form of expression. The pieces align with how people handle accessories they reach for constantly, moving them around until the arrangement feels right. In that sense, the relevance of the collection comes from its openness. The line continues without finality. New pieces enter, older ones remain in circulation, and the set adjusts through use. This movement keeps the collection active and connected to the person who builds it.

watch
campaign film

all visuals
CELINE 2025

Polène Paris - Numéro Neuf East-West

Holiday Edit
Polène’s Numéro Neuf East-West

written AMANDA MORTENSON

Polène entered the industry in 2016 with an unusual clarity of purpose. The three founding siblings, Elsa, Mathieu, and Antoine Mothay, built the brand around a conviction that design, craftsmanship, and material should form a single conversation.

They wanted a house that felt contemporary in its rhythm yet grounded in the discipline of artisanship. Within a few years, that direction resonated globally. Polène opened spaces in Paris, New York, Tokyo, Seoul, London, Copenhagen, and Hamburg, each reflecting their attitude toward calm precision and intuitive form. The growth felt fast, but inside the brand the focus stayed steady: refine, edit, and let the work speak. What shaped Polène’s rise is their close connection with Ubrique, the leather-making region in southern Spain. More than 2,200 craftspeople bring the designs to life, giving the brand a direct link to a long-standing tradition. The Paris design studio develops the visual language; the artisans translate it into structure, weight, and tactility. This exchange has defined Polène’s identity—clean silhouettes, sculpted leather, organic lines shaped by hand. Their collections show a consistency that comes from respect for the material and for the people who work it.

Polène also thinks in systems. Circularity became part of their process early on. They introduced the Plèi collection, where leftover leather from bag production becomes macramé surfaces, bead work, objects, and collaborative pieces with guest artisans. The intention is simple: use material fully and treat every offcut as something with potential. In 2023, the brand expanded into jewelry, produced by Italian specialists and plated with 24-carat gold. The pieces follow the same design instincts—shaping, folding, and texturing the metal with the same attention given to leather.

Among all lines, the Numéro Neuf collection has become a signature. First introduced in 2020, it reflects the house’s interest in structure softened by movement. Full-grain calfskin is molded, draped, stitched, and shaped until it carries volume and gentleness. It is one of the clearest expressions of Polène’s vision and a marker of how the brand approaches form.

Polène Paris
Numéro Neuf East West bag Camel

Polène Paris
Numéro Neuf East West bag Ebony

This season, the Numéro Neuf East-West marks a new chapter. The design extends the original silhouette into a long, horizontal format and introduces a shoulder-bag version for the first time. It reads as confident and composed, with a contemporary zip closure and an elongated profile that gives the piece a distinct attitude. Available in Black, Camel, Taupe, Chalk, Ebony, Black Cherry, and Sand, the model is crafted in Ubrique using the same meticulous process as the rest of the collection. Every detail shows intention, from the shaping of the leather to the precise seams that hold the draping in place.

Polène Paris
Numéro Neuf East West bag Taupe

Polène Paris
www.polene-paris.com

based in Paris, France and creating handcrafted leather goods produced by skilled artisans in Ubrique, Spain

Polène Paris Numéro Neuf East-West price: 440 €

LE MILE selected the Numéro Neuf East-West for this year’s holiday season recommendations because it represents exactly what we look for: a design with clarity, a strong sense of identity, and craftsmanship that feels immediate when you hold the piece. It aligns with Polène’s broader story of thoughtful growth and with our interest in objects that carry aesthetic strength and quiet emotional presence. As the season approaches, this bag stands as one of the most grounded and assured releases of the year—an example of how contemporary leather goods can be relevant, refined, and deeply considered.

Polène Paris
Numéro Neuf East West bag Chalke

Polène Paris
Numéro Neuf East West bag Chalke

Polène Paris
Numéro Neuf East West bag Taupe

Inside BDK Parfums Vanille Caviar - David Benedek and Alexandra Carlin

BDK Parfums Vanille Caviar

*A conversation on scent, texture, and the quiet architecture of desire

written + interview ALBAN E. SMAJLI

The afternoon opened inside a suite at Château Royal in Berlin. The rain pressed against the windows, the city somewhere below, blurred and slow. The air in the room carried a scent that felt immediate, dense, deliberate. David Benedek and Alexandra Carlin sat on a sofa, both dressed entirely in black, her blond hair catching the only light.

On the table, a single vanilla pod and the new perfume, radiating its presence before anyone spoke. The conversation began in that atmosphere, unhurried, shaped by the perfume itself, expanding through pauses and silences that smelled of warmth and depth.

They spoke about texture, about the way matter finds rhythm, about Pierre Soulages and the color black when it starts to behave like light. Vanilla, for them, is not an ingredient but a substance that carries memory, a kind of living pigment. The dialogue moved with a certain discipline, each idea unfolding as if sculpted. The perfume followed every word, invisible yet precise, marking the air with the same structure that defines the formula. Hours later the day continued at The Feuerle Collection. The city had dissolved into night, and the bunker-turned-museum seemed built for this scent. Antiques glowed beside a table that extended into darkness, lined with bottles of Vanille Caviar—glass bodies filled with golden liquid. The dinner stretched into conversation, the perfume still present, subtle, constant, shaping the mood of the room. But before language fails to describe what still lingers from that evening we return to where it began, the interview and the visuals that carry its echo.

BDK Parfums
Vanille Caviar, 100ml

Alexandra Carlin and David Benedek
at Feuerle Collection

David, you speak about Madagascar and Pierre Soulages. How did those two worlds meet in Vanille Caviar?

David
I’ve always been passionate about art since I was very young — as Alexandra has been too. When we first met, it was supposed to be just a lunch, but it lasted all afternoon. We discovered that we share the same love for art. One of my favorite artists is Pierre Soulages, but I also admire Rothko and all artists who work deeply with texture, color, and abstraction.
The first time I went to Madagascar, I witnessed a vanilla harvest and saw what we call the “caviar” of vanilla — the black grains inside the pod. When I shared this idea with Alexandra, she immediately understood what I meant. That sparked a conversation between us. From there, the project evolved — first through the idea of the smell and texture of vanilla caviar, and then into the visual and tactile world of Soulages, his play of light, depth, and the richness of black.

Alexandra
I also had Soulages in mind when I saw the vanilla fields. When the pods are laid out to dry under the sun, they create this incredible surface — sometimes matte, sometimes glossy — that truly looks like a Soulages painting. Vanilla is such a luxurious ingredient; it takes months to reach that perfect color, scent, and taste.
So, while David expressed his vision through emotion and imagery, I translated those impressions into ingredients. Each ingredient is like a word in my language as a perfumer. My goal was to recreate the sensual, dark texture of this “vanilla caviar.”.

David
It’s really a dialogue between us. I don’t only bring emotions, and she doesn’t only bring raw materials. It’s an ongoing conversation. We share both feelings and technical reflections, building the perfume together over time.

Alexandra, when you first heard David’s vision for Vanille Caviar, how did it take shape for you as a perfumer?

Alexandra
For me, it began with a visual impression — the texture of the vanilla pods drying under the sun and the depth of color, like Soulages’ blacks. I imagined translating that into scent. I used my vocabulary of ingredients to express what we both felt: warmth, sensuality, and complexity. Each raw material became a word in that story.

If you could describe the scent without using the word “vanilla,” what would you say?

David
I’d use three words: dark, enigmatic, and unexpected. It’s not the typical gourmand vanilla we often smell in perfumery. We wanted to show the darker, more leathery side of vanilla — something mysterious that draws you in.

Alexandra
I’d add “umber,” “spicy,” “balsamic,” and “addictive.” It’s warm and rich, but never sticky or overly sweet. There’s a refined sensuality to it.

“The perfume moves like emotions do. It opens fresh and spicy, then becomes warmer and deeper. Vanille Caviar carries the rhythm of life.”

David Benedek

Ann-Christin Witte, Nobilis Group
at Feuerle Collection

Fav Falone
at Feuerle Collection

When you work with something as raw as vanilla, how do you make it breathe on skin?

Alexandra
I wanted to bring the “caviar” of vanilla to life. I used an overdose of two types of vanilla extracts — the CO₂ extract and the absolute — each for different purposes. The goal was to create a texture that feels slightly oily, but in a beautiful way: rich, dense, warm, and balsamic, with a hint of leather.
It’s very much a skin perfume. We paid close attention to strength and sillage — that warm vanilla aura that feels natural, woody, spicy, and true to the raw material, without being overly sweet.

What’s the most human part of this perfume?

David
For me, it’s the evolution of the scent throughout the day. The perfume moves like emotions do. It opens fresh and spicy, then becomes warmer with the vanilla CO₂, the absolute, and the cocoa. It’s like experiencing different moods — the calm of morning, the sensual encounters of the day, the intimacy of evening. Vanille Caviar carries that rhythm of life.

And do you think of Vanille Caviar as tender or restless?

Alexandra
Definitely restless — even rebellious. It was a statement to create this kind of vanilla. The materials we used have strong personalities; they are not quiet ingredients. The perfume asserts itself.

Is there a part of Vanille Caviar you prefer not to explain and keep to yourself?

David
Not really. I wanted to share my full vision of vanilla with everyone — nothing hidden, no secret meaning behind it.

Alexandra
For me, there’s always a little secret in the formula. I keep a few ingredients to myself — elements I use for a very specific purpose. Even David doesn’t know them. Every material I include has meaning, and if it doesn’t, I remove it. That’s my secret: the invisible part of creation.

photographer: Daniel Graf
location: Feuerle Collection, Berlin

thanks to BDK Parfums and NOBILIS Group

DSSLR - A Line Drawn in Motion

DSSLR
*Christoph A. Dassler Returns to the Court

written MONICA DE LUNA

There is a quiet intensity to the way Christoph A. Dassler speaks about design. A sense of continuity runs through his words — a rhythm that connects history with vision, precision with pulse. From Herzogenaurach, the cradle of German sportswear, Dassler steps forward with a new name: DSSLR. It reads like an abbreviation of legacy itself — clean, concise, timeless.

Launched in August 2025, DSSLR by Christoph A. Dassler arrives as a sport and lifestyle brand defined by clarity and conviction. It enters the world with a tennis collection built for the demands of movement, elegance, and responsibility. Each piece aligns with the spirit of today — a moment where performance, sustainability, and creative design form one continuous gesture. DSSLR expands its minimalist line-up, with new colorways launching at the end of November.

DSSLR On Court Women / off white

DSSLR On Court Women + Men

“We are convinced that high standards and low environmental impact can go hand in hand,” says Christoph A. Dassler. The statement carries a sense of commitment, a belief shaped through decades of family innovation and a personal return to his origins. “For me, it was a goal matured over decades to return to the world of sports and fashion,” he adds. DSSLR becomes the realization of that journey — a modern system of values, woven through fabric, form, and philosophy.

At the core lies a dedication to materials. Up to 95 percent of each garment consists of recycled fibers and organic cotton sourced from Portugal. The fabrics move with the body, cooling, protecting, breathing, and maintaining a sense of purity through construction. The On-Court line expresses design intelligence that frames athletic performance as aesthetic experience. UV protection, odor control, and targeted sweat-zone ventilation define a new level of refinement.

The silhouettes are architectural in their intent — cut to mirror the lines of play, engineered for the body’s dynamic rhythm. Each detail is the result of collaboration between Dassler and a team of designers who have shaped collections for global sport houses. Together, they sculpt pieces that feel disciplined yet effortless, merging function, design, and sustainability into a single visual and tactile language.

Beyond the court, the Off-Court line extends the same integrity into daily life. The designs reveal an understanding of form that feels both global and individual — defined by material quality, surface clarity, and details that speak through structure rather than decoration. Every seam, every tonal shift carries intention. It is fashion that continues the movement.

DSSLR Founder / Christoph A. Dassler

“We are convinced that high standards and low environmental impact can go hand in hand.”

Christoph A. Dassler

Within the structure of DSSLR lies a deeper narrative, the brand builds an ecosystem where creativity, economy, and collaboration coexist within a framework of values. Dassler describes it as a culture — one that honors craftsmanship while inviting new ideas to thrive. It is an inclusive vision shaped by heritage yet oriented toward the future of sport and design.

As CEO and founder, Christoph A. Dassler channels the spirit of his lineage without nostalgia. His grandfather Rudolf Dassler once defined an era of innovation; Sassler continues that momentum by transforming the definition of quality itself. In DSSLR, quality becomes moral, aesthetic, and material all at once. It speaks to a generation seeking transparency in how things are made and what they stand for.

Every element of production follows this logic. The brand’s partners and suppliers hold environmental certifications; every collaboration aligns with the brand’s sustainability standards. “Behind every product stands a partnership with an industry-leading design and production team,” Dassler explains. His tone suggests pride and precision — an awareness that true innovation exists within the details.

The launch of DSSLR feels contemporary and timeless, it celebrates a discipline where sportswear meets couture precision and where sustainability becomes a natural constant. It arrives from a place where heritage fuels creativity — where each garment becomes a tool of movement, a symbol of modern responsibility.

DSSLR On Court Women / sky captain blue

DSSLR On Court Men / off white

Through DSSLR, Christoph A. Dassler has built a language that speaks to the new era of sport-fashion — one defined by excellence, integrity, and clarity of purpose. The collection carries an understated strength — a balance of performance and presence. It represents a future where clothing is created with awareness, where every fiber participates in a larger dialogue between body, design, and the world around it.

discover more www.dsslr.de
all visuals (c) DSSLR

André x ELHO - Capsule Collection 2025

André x ELHO
*André Tags the Mountain

written MONICA DE LUNA

André in Lisbon, spray can in hand, the smell of paint in cold air, no studio, no clean desk, just ten ice-pink bombers waiting like empty walls. He says, “Today I’m painting live on 10 jackets. I hope I don’t mess them up, we only have those 10 pink jackets available! They will become unique art pieces.”

Jackets as canvas, fabric as skin, performance stitched and already humming with neon memory. ELHO hands him carte blanche. He doesn’t rehearse, he sprays directly, instinct over plan. Mr. A appears, one wink, one wide eye, loops curling, pink field grinning back.

André x ELHO FW25/26
Unique art cap

André x ELHO FW25/26
Unique art jackets

A capsule, October 2, André x ELHO. Limited, numbered, but not frozen. Phantom performance bomber, hoodies, long sleeves, tees, beanies, the collection carrying André’s world, graffiti lines wrapped in insulation, warmth inside the grin. He says, “Clothes should make you feel good and happy, and serve as protection from the grey outside world.” Protection and mischief in the same seam.

ELHO’s history runs under it, a ghost from 1948, slopes of Germany, Switzerland, neon seasons that lived until 1993, buried, dug up again by Donald Schneider with Claudia beside him. Donald once pulling strings at Vogue Paris, once launching collaborations that cracked fashion open. Now ELHO as “Freestyle,” jackets as silhouettes, down puffers with recycled feathers, Primaloft Bio, Sorona skins, boomerang zippers slicing pockets like hidden doors. He says to André, take it, tag it, burn pink into snow.

André remembers Sweden. “I’ve always liked skiing. I grew up in Sweden, and in winter skiing was just a way to get from A to B. I’m not a champion skier, but every time I go up a mountain and ski down a slope, it reminds me of the fun days of my childhood.” Childhood in tracks of snow, movement as necessity, now returning as art.

The new ELHO calls itself high-tech, fresh, ready for minus twenty, but André looks at it and sees a wall. Pink field, black grin, sprayed live. “In graffiti, freestyle means you don’t follow the strict rules of an alphabet or the straight lines of a letter. You just follow your instinct and let it guide you into making an abstract painting.” Jackets become freestyle and snow becomes a surface.

Donald Schneider
Creative Director at ELHO Streetwear / seen by Henrik Nielsen

“ELHO Freestyle to become the #1 innovative outdoor style brand for the next generation.”

Donald Schneider

Inside the collection the colors glow—ice pink, scarlet red, neon purple, neon green, black, military green. The Astro down puffer holds 90% recycled down, 10% feathers. The Nova and Phantom shell layers breathe, waterproof, cape twist, patches for self-expression. Jet pants, fleece sets, parachute cuts, names like Hill, Satellite, Cure, Fire. André’s capsule slides among them, painted, tagged, turned into a limited run of objects (acutal art pieces to wear) carrying his alter ego. He laughs, “There’s a lot of Mr. A everywhere, both big and small.”

To wear it is to enter his wink. He says, “Just wear the jacket and make it your own.” A simple command, nothing dressed in explanation. Pink with black, neon grin, a slope or a street, it doesn’t matter. Style comes from outsiders, misfits, people daring to be different. “I love when people are a bit different from the mainstream. I’ve always been fascinated by outsiders and misfits. I like when people dare to be different.”

André speaks of hotels too, Amour, Grand Amour, Le Baron, spaces of smell, sound, touch, people brushing into each other. “Creating places where people can come together, thinking about the sound, the smell, and how people interact, is part of my art.” Jackets and nightclubs, walls and hotels, always surfaces, always extensions. A hotel in the mountains, uniforms in ELHO, a ski team in pink, medals under a grin. He imagines it without hesitation. Love runs through it. “Love is what keeps me going.” Not a slogan, more like a rhythm under every spray, every loop of paint. Even in the Alps, even on a neon slope, love keeps him. He wants surprise, humor, small disruptions. He wants Mr. A everywhere, always winking, always smiling. He says, “I try to go through life with a wink and a smile, like my alter ego Mr. A.”

The André x ELHO collection stands in that place. No need for nostalgia, no need for comparison. Just jackets, pink, painted, sprayed live, turned into unique art pieces, worn with jeans, boots, skis strapped, mountains dropping. “I love the neon pink winter jacket with the black Mr. A on the back. It combines my two favorite things: Mr. A and pink.”

André x ELHO FW25/26
lookbook / seen Felix Krüger

André x ELHO FW25/26
lookbook

And maybe next, a hotel on a mountain, maybe a ski team, maybe another canvas. For now, ten pink bombers hold his spray, hoodies hum with his grin, ELHO carries the capsule into winter season 2025/2026. The slopes are ready, the streets too. He says, “I’ve always seen my art as something that belongs to everyone, that everyone can interpret and make their own.” The capsule is exactly that. Yours, his, pink, sprayed, warm, grinning. Enjoy!

ELHO FW25/26 Campaign / seen by Tobias Wirth

discover more www.ELHOfreestyle.com
all visuals (c) ELHO Freestyle

Rheinfrank Antique Jewellery

Antique Jewellery
*Timeless Rings, Now in Munich & Berlin

written SARAH ARENDTS

Rheinfrank Antique Jewellery opens paths into the world of vintage engagement rings. The brand crafts pieces rooted in history, gemstones, and timeless design.

Each ring comprises heritage, artistic detail, and symbolic power. Rheinfrank draws you into a space where love becomes visible in silver, gold, and platinum settings. Rheinfrank Antique Jewellery operates from two physical showrooms: one in Berlin Mitte and a newly opened space in Munich. The Munich showroom invites meetings by appointment, showcasing the same passion and selection found in Berlin. In each location, rings sit under soft light, gemstones radiate hues, and every setting tells a story written in craftsmanship.

Every piece in the Rheinfrank collection holds meaning. Diamonds shine with eternal promise. Sapphires carry calm and depth. Rubies pulse with warmth and bold passion. Emeralds reveal lush green glimmers. Colored gemstones such as aquamarine, peridot, and tourmaline deliver subtle charm. Art Deco styles shape many rings with geometry, symmetry, and detailed filigree. Every facet, every cut, and every setting expresses devotion through design.

Rheinfrank sources rings that preserve eras. Victorian engravings, Edwardian details, jewelry from early 20th century Art Nouveau—all pieces with provenance. Jewelry discoverable online, and in showrooms where hands can trace the filigree, eyes can follow reflections in gem surfaces. Each ring is restored with care. Settings checked, stones secured, and patinas preserved where they enrich the story.

Expert guidance awaits every visitor. The team facilitates selection with attention to fit, personality, gemstone quality, and design style. Consultation sessions in Munich and Berlin offer evaluation of rings, explanation of gemstone clarity, cut, color, and setting styles. Ring sizes adapted. Repairs and restorations handled with precision. Every engagement ring feels chosen, not merely bought.

Rheinfrank Antique Jewellery’s showroom in Munich opens new doors for those seeking vintage rings closer to home. The Munich showroom mirrors the care, the inventory, and the detail of Berlin’s original space. Each showroom presents signature pieces and rare finds. Some rings travel between locations to offer highlighting moments. Clients in Munich find access to large-scale catalogues, old-world stone settings, and personal service. Berlin remains anchor, Munich expands presence, both rooted in genuine antique jewellery culture.

Gemstones form the heart of every ring. Brilliant cut, rose cut, cushion, old mine cuts: diverse shapes that echo history. Gold, rose gold, platinum settings crafted to highlight each gem. Settings hand-polished. Fine details like engraving, milgrain edges, bezel settings all care for authenticity. Materials selected for their original quality and durability. Rings resist time.

Rheinfrank Antique Jewellery pushes craftsmanship forward. Restoration workshops ensure longevity. Each ring repaired to honor original design. Cleaned with methods that preserve character. Gemstones tightened without losing hallmarks. Every ring remains heirloom-worthy.

Rheinfrank stands for vintage engagement rings, gemstones, expert craftsmanship, and physical presence in Germany. Berlin and Munich offer choice and experience. Whether drawn by Art Deco geometry, Victorian engraving, nature motifs in Art Nouveau, or the quiet elegance of an old cut diamond—each piece offers voice to a love story.

Visit Rheinfrank Antique Jewellery in Berlin Mitte or the new Munich showroom to see, feel, and choose rings that carry light, fire, and timeless devotion. Reach out for appointments. Let history become part of your promise.

discover more Antique Jewellery
follow @rheinfrank_antique_jewellery

.selected *JS . THONET

.selected
REDEFINING AN ICON
JS . THONET – A Personal Interpretation by Jil Sander

written Amanda Mortenson

Certain names shape the way we see objects. Thonet, with its pioneering tubular steel furniture, and Jil Sander, with her legendary approach to purity and precision in fashion, have each left a lasting mark on the culture of modern design.

Now, these two forces meet in JS . THONET – A PERSONAL INTERPRETATION BY JIL SANDER, a collaboration that sees the acclaimed designer translate her unmistakable visual language into the world of furniture. Jil Sander, globally celebrated for her minimalist aesthetic and unwavering pursuit of quality, has stepped for the first time into the sphere of furniture design, selecting the iconic Thonet S 64 P as her canvas.

S 64 P Serious 03 graphite green - Detail
MARCEL BREUER* 1929 / 1930
Edited personally by Jil Sander, 2025

S 64 P Serious 03 graphite green
MARCEL BREUER* 1929 / 1930
Edited personally by Jil Sander, 2025

Originally conceived by Marcel Breuer in 1929/30 (artistic copyright: Mart Stam), the S 64 was already a symbol of Bauhaus innovation, pairing steel with wood and the graphic lightness of Viennese canework.

Sander’s interpretation, created for the Signature Collection JS . THONET – A PERSONAL INTERPRETATION BY JIL SANDER, does not seek to disrupt the past, but rather to renew it—amplifying what makes the classic truly timeless.

Two design lines define her approach. SERIOUS and NORDIC. In the SERIOUS edition, the S 64 P takes on a new presence with a titanium-like gloss on the frame, high-gloss lacquered wood details, and seat and backrest options in four nuanced shades of leather or a deeply stained Viennese canework named DARK MELANGE. Sander draws inspiration from the lacquer of Steinway grand pianos, the soft leather upholstery of vintage English automobiles, and the understated sheen of matte nickelsilver found in architecture. The result is a chair that feels meticulously crafted and unmistakably contemporary—a new level of sophistication for a Bauhaus classic.

The NORDIC version offers a lighter touch, with gentle woods and calm surfaces that evoke the clarity and balance of Northern European design. Both lines express Sander’s core philosophy; reduction without compromise, elegance in every gesture, and material quality that is felt before it is seen.

S 64 P Serious 03 graphite green
MARCEL BREUER* 1929 / 1930
Edited personally by Jil Sander, 2025

S 64 P Serious 03 graphite green
MARCEL BREUER* 1929 / 1930
Edited personally by Jil Sander, 2025

S 64 P Serious 03 graphite green
MARCEL BREUER* 1929 / 1930
Edited personally by Jil Sander, 2025

This vision extends to the complementary B 97 side table, another Thonet classic reinterpreted by JS . THONET – A PERSONAL INTERPRETATION BY JIL SANDER. Originally designed in 1933, the B 97’s newly adapted construction includes an open side, allowing the tables to be pulled over sofa, armchair, or bed, or nested efficiently when not in use. The table tops are finished to match the chairs, available in high-gloss lacquer in four shades or in Nero Marquina marble, providing continuity and a sense of holistic design. Every piece in the JS . THONET collection is discreetly engraved with Sander’s facsimile signature—a subtle mark of authenticity and creative exchange. This is a meeting of legacies, each detail testifying to Sander’s conviction that true luxury lies in restraint and attention.

JS . THONET – A PERSONAL INTERPRETATION BY JIL SANDER is a study in transformation. The S 64 P, through Sander’s eyes, becomes something at once deeply familiar and refreshingly new: a piece of living history, distilled and elevated for a contemporary audience. It stands as a quiet but powerful invitation to rethink the classics—through a deep and reverent dialogue with the past.

discover more www.thonet.de
content produced lemilestudios

HEIGS - Beurre

HEIGS
*Beurre Was Here Before You Noticed

written GINEVRA VALENTE

Some bags enter quietly and settle quickly, and others arrive too loudly to be believable; Beurre, from HEIGS, does neither and both simultaneously, occupying space with the ease of something that had an appointment, then forgot about it entirely and appeared anyway, not bothering with apologies, because leather has better things to do.

HEIGS calls the leather calfskin, full grain, uncorrected, words that carry meaning only until touched, after which language feels slightly beside the point, since texture does all the talking anyway, saying something precise about discretion without caring if it’s overheard, and allowing the grain to gather impressions quietly as the weeks slip by and nobody notices. Beurre remains Swiss in conception and French in assembly, two facts delivered with subtlety usually reserved for more questionable claims, suggesting a production process hidden somewhere in the kind of quiet European atelier where coffee breaks stretch indefinitely and stitching happens as if each line were the first ever sewn and the last worth doing.

The clasp holds Heidi and the lion, an emblem placed quietly inside, a detail included thoughtfully, precisely positioned where the hand finds it naturally, offering a subtle reassurance rather than explanation, a private recognition intended exclusively for whoever chooses to carry it.
The bag holds its presence quietly, never needing to raise its voice to enter the conversation, assured enough to wait for occasions to form naturally around it, confident that purpose emerges without being predicted.

The shape remains clear, quietly leaving space for whatever might accompany it, confident enough to allow purpose to emerge naturally, trusting that its presence alone provides all the context required. Beurre moves through rooms with quiet assurance, settling naturally beside everything already present, suggesting gently that adjustments are unnecessary, since good design anticipates life without needing acknowledgment. It's leather intended for living, softly prepared to age, comfortably ready to darken, unconcerned yet always aware of its own worth.

team credits

seen KANG MINJE / www.kangminje.com
styled LEE AHREUM
model LEIA HOLTWICK

Christian Louboutin *PFW

Pin Me Down, I’m Louboutin
*Everyone at Hôtel de Crillon Was Looking at Shoes, Obviously

written AMANDA MORTENSON
documented BELLA SPANTZEL

They set up shop at Hôtel de Crillon. Three salons. Carpeted floors. High ceilings. Everything smelling faintly of inherited wealth and new soles. Louboutin called it Sartorial. No one asked what that meant. Everyone nodded.

First room: Batailles. Men hunched over shoes like the Enlightenment depended on it. One was patina-ing. Another was glazing. Someone whispered something about “le glaçage” and nodded like they were at a wine tasting. In a corner: butterflies. Not metaphorical. Real ones, stitched from organza and rhinestones and beads and sequins and probably quiet guilt. Maison Lesage. 55 hours per shoe. Do the math. No one blinked.

Second room: Salon des Aigles, where four men—beautiful in that way people are when they look like they’ve never waited in line for anything—were performing something loosely resembling a day in the life of someone too stylish to explain their job. They moved just enough to make it clear they were alive, but not enough to suggest they had anywhere to be. On their feet: Lord Chamb boots with a vaguely horsey superiority, the O Louvre loafers wrapped in moiré gros-grain like they just stepped out of an inheritance, and the Circus Booty Perla, which looked like a party trick from 1973 involving 10,000 rhinestones, some pearls, suede, and a memory of a harlequin no one really invited but everyone admired. Around them: glass vitrines displaying dissected shoes like scientific curiosities—Farfaman and Farfarock cracked open in slices, frozen mid-explanation. Someone near the back said “craftsmanship” under their breath like it was a secret. Someone else took a picture, shook their head slightly, and walked into the next room without looking up.

Third room: Salon Marie Antoinette, where the vibe shifted from performative to ceremonial. A green billiard table, because of course, held the entire Chambeliss line arranged like disciplined heirs waiting for the will to be read. Derby, Moc, Monk, Monk Boot, and one that looked like it simply couldn’t decide. The shoes didn’t speak, but they absolutely judged. All were adorned with the Chambelink, a sharp little metal pin stretched across the upper like a smirk—some minimal, some dripping in rhinestones, 200 if anyone’s counting, but no one was.

Each shoe had a matching shirt collar placed beside it, as if the collar had decided to go solo and the shoe was still getting over it. Someone whispered something about tailoring. Someone else responded with “elegance,” but their voice gave out halfway through, probably because the shoes were too close and listening.

There was a general atmosphere of reverence mixed with mild confusion, the kind where everyone agrees something is brilliant without needing to understand why. The shoes gleamed under the light like they had somewhere better to be, the rooms carried themselves like sets from a film where no one makes eye contact, and outside, Paris didn’t notice because Paris was busy being Paris. Christian Louboutin didn’t explain. There were no speeches, no signs, no marketing slogans. Just rooms filled with shoes that fully expected to be looked at.

all visuals produced for LE MILE .Digital
Bella Spanzel / www.bellaspantzel.com

Der Eigene by RIMOWA

RIMOWA´s Queer Magazine
*300 Copies, 15 Portraits, Zero Apologies

written AMANDA MORTENSON

RIMOWA is publishing a magazine again. Because why just make suitcases when you can resurrect a 19th-century queer publication and throw it into a spiral of black-and-white portraits, quiet rebellion, and people called Shikeith.

It’s called Der Eigene (which translates, sort of, like The One Who Packs Their Own Bags and Also Doesn’t Explain Themselves) and it was born in 1896, two years before RIMOWA started making boxes for rich people who fear scratches. Now it’s on its fourth issue, back from the dead and better lit, thanks to photographer Collier Schorr who knows how to make identity look like a slowly smudged pencil line on expensive paper.

Collier Schorr, Self-Portrait
(c) RIMOWA

Issue Nr. 4, Der Eigene
(c) RIMOWA

Lío Mehiel
(c) RIMOWA

Roberta Colindrez
(c) RIMOWA

Shikeith
(c) RIMOWA

For this new edition, fifteen humans selected with casting director Nicola Kast—artists, dancers, lawyers, dreamers, possibly a Gemini or two—shot in classic Collier grayscale, two photos each, because one is never enough but three would be indulgent. There are questions too. The kind you answer while lying on a hotel bed in a towel, thinking about gender and snacks. Names drop like sequins: Amber Later, Chase Strangio, Lío Mehiel, Shikeith, and a Charlie Porter essay to send you home smarter (or at least with something to quote at brunch).

Limited to 300 copies because scarcity is sexy and so is paper. You can find it in places with intimidating staff and tasteful lighting: BookMarc in NYC, Andreas Murkudis in Berlin, Yvon Lambert in Paris, and Climax Books in London, which honestly sounds like a drag king in itself.

A magazine that side-eyes you while you pretend not to stare. The kind that travels light, carries heavy. Out June 24. Don’t run. Float.

SavoirFaire 2025 *Fair for Interior Design

SavoirFaire 2025
*A Living Showcase of Architectural Precision and Material Beauty

written SARAH ARENDTS

From October 23 to 26, 2025, Knokke-Heist becomes a destination for design professionals and aesthetes. At the Grand Casino Knokke, the second edition of SavoirFaire brings together over fifty interior design studios, architectural producers, and emerging voices. The format honors built quality, refined material processes, and advanced craftsmanship.

LE MILE Magazine joins as a proud media partner of SavoirFaire 2025, reflecting the shared focus on form, process, and thoughtful execution. The fair takes place in a spatially curated format. Exhibitors receive individual attention, and each presentation serves as a standalone architectural fragment. The expanded format includes returning pioneers such as Inti, known for sculptural lighting that defines presence in space, and Lanssens, a heritage studio specializing in historically rooted window systems.

New exhibitors include Baswa, a Swiss acoustic expert working at the intersection of silence and surface, and DeltaLight, whose innovations in lighting explore scale and integrated architecture. These participants present material concepts that function as structural components. Antwerp-based Slag-werk offers dense, architectural furniture works that explore proportion and edge. Their output emphasizes surface depth and volume. Isabel Gomez Studio, active internationally, contributes interior environments defined by calm geometry and tonal precision.

RV ARCHITECTS
seen by Charlotte Lauwers

ISABEL GOMEZ Penthouse Office
seen by Ruth Maria

A curated shuttle service connects visitors to real-time reference projects throughout Knokke-Heist. Guests move from the Grand Casino into finished homes and architectural interiors that apply the materials, objects, and systems featured at the fair. This direct experience bridges concept with completed space. It introduces scale, light, and atmosphere in real-world contexts.

The exhibition inside the Casino is constructed with intention. Each participating brand or studio receives space to articulate its approach. Every contributor offers its own clarity. Architectural finishes, bespoke hardware, precision lighting, and handmade furniture create an environment shaped by integrity and transparency. SavoirFaire’s reach extends across multiple disciplines. Architects, interior designers, builders, gallerists, and collectors will engage directly with the exhibitors. Over 2,500 professionals and more than 7,000 design-conscious visitors are expected. Conversations emerge around longevity and sensory quality.

The fair presents design as spatial language. Shapes hold stillness. Textures communicate presence. Acoustic panels, limestone slabs, and engineered joinery appear in settings that allow material weight to settle. Furniture pieces align with structural grids and light plans. Each element integrates with the others. Across the event, visual cohesion plays a central role. Curators focus on slow design, architectural logic, and reduction without absence. Bold pieces exist in balance with quieter statements. Ceramic objects and large-format textiles extend the material range while preserving spatial discipline.

LE MILE Magazine’s partnership amplifies this narrative. With its emphasis on form, clarity, and atmosphere, the magazine contributes editorial presence during and after the fair. Photography and reports will follow the event, tracing its spatial insights and its material contributions to the international design landscape.

BOMAT
The ArchiScape Lina Burnt Brick

“At LE MILE, we look for vision and integrity in design. SavoirFaire gathers both. Collaborating with them allows us to deepen our commitment to spaces and objects that carry intention.”

Alban E. Smajli, Editor-in-Chief + Founder LE MILE Magazine

LES CONFIDENTS Invisible Collection

Mercedes Maybach Shuttle

ISABEL GOMEZ Penthouse Living
seen by Ruth Maria

Tickets are available via savoirfaire.be. The program includes guided visits, presentations, and architectural moments across Knokke-Heist. The fair opens daily during its run at the Grand Casino and includes reserved access for professionals and collectors. SavoirFaire 2025 offers a full encounter with space, object, and method. The material decisions on display affect surface, structure, light flow, and echo. These elements interact quietly, forming environments grounded in precision and discipline.

Each participating studio contributes work rooted in continuous refinement. The outcome serves residential, institutional, and cultural applications. Every item reflects advanced production and studied proportion.

This second edition affirms SavoirFaire’s intention: to gather voices across architecture, interiors, and object design under one roof, with attention to process, place, and depth. From custom flooring systems to marble detailing, from modular cabinetry to integrated fixtures, each decision adds to a larger architecture of clarity.

With the support of LE MILE Magazine, SavoirFaire continues to highlight designers and producers who work with care, scale, and awareness. October in Knokke-Heist brings these principles into view — through form, through presence, and through the lived experience of space.

discover more www.savoirfaire.be

Martine Rose SS26 *A Love Letter to London

MARTINE ROSE
*SS/26: Martine designs for family.
And this is what love looks like.

written TAGEN DONOVAN

Martine Rose’s Spring/Summer 2026 show didn’t just present a collection, she offered a living portrait of London as seen through her deeply personal lens of the city.

Staged inside a derelict Marylebone Jobcentre, the space opened up into an unexpected salon: cascading curtains, parquet floors, and soft silky frills transformed the formerly institutionalised space into something strangely romantic. The show was a "lust for the unseen"—and it delivered with uncanny precision.

MARTINE ROSE
SS26 Show

There was a deep sense of mutual care, community not curated for optics but nurtured with sincerity. The atmosphere was unmistakably authentic and as a Londoner, it felt profoundly familiar: the chatter, the kids perched on laps, the casual flow of movement that didn’t obey the stiff codes of runway etiquette. Here, fashion didn’t preach from a pedestal, it mingled, nodded, and danced alongside the crowd. The pulsing soundtrack carried the same mood: with heads gently bobbing along in unison.

Rose’s tailoring has always walked a line between refinement and rebellion. This season, that language expanded. The cuts held their own character, sharp where needed, in-flux elsewhere. Graphics informed by juice-carton packaging and barbershop capes honoured the visual vernacular of the high street. Little aprons in lascivious fabrics nodded to the micro-economies running off-grid. And throughout, the thread of community held everything together.

MARTINE ROSE
SS26 Show

“In the age of the obvious, we lust for the unseen.”

Martine Rose, Creative Director

Toying with archetypes, and for Spring/Summer 2026, Rose sharpened her subversion. The collection flirted with eroticism—albeit in her signature off-kilter way, a subtle seduction unfolded with each look. Inspired by “retro erotica” the garments exuded quiet provocation.

Poodle hair and powdery pastels dressed the space with a dreamlike intimacy against the thoughtful contradiction of the utilitarian backdrop, while the clothes themselves explored new textures of exposure. Archetypal menswear was remixed: puffa jackets, trench coats, tailoring and shirts rendered in stretch fabrics that “virtually vacuum-packed the physique.” Stretch jeans hugged the legs like a second skin; denim sets were embossed to mimic tooled leather souvenirs from Spanish markets - part kink, part kitsch. Elsewhere, tailoring was softened with accents of lace, dancing against the set’s ruffled edges.

Echoing this charm through to the accessories, handbags wore vintage T-shirts like veils. Even the footwear told stories: driving shoes mutated into square-toed kitten heels, while the cult-favourite Nike Shox MR4 mules reemerged into new colourways.

Kinship wove itself into every corner of the show. Downstairs, the show's prelude played out in a market of vendors. It was here that the heart of the collection beat loudest. Rose doesn’t simply reference the community - she builds with and for it. This wasn’t fashion as gentrification, but fashion as home. “Total participation” , as stamped across one of Rose’s SS26 tees—was less slogan, more manifesto. Every element of this world, from kids sitting front-row on laps to the sway of the soundtrack, echoed a philosophy of togetherness.

MARTINE ROSE
SS26 Show

For Spring/Summer 2026, Rose distills a lived reality into garments surged with a charming wit and love for community. Centering an embrace of the unobvious and a reaffirmation thatfashion can still feel homegrown, messy, sensual and above all, real. This wasn’t just a show, it was a gathering shaped by unity.

creative director MARTINE ROSE
stylist & art direction TAMARA ROTHSTEIN
hair GARY GILL
make up MARINA BELFON-ROSE
manicurist LAUREN MICHELLE PIRES
casting ISABEL BUSH
music + sound design SASA CRNOBRNJA
pr AGENCY ELEVEN
production CEBE STUDIO
show set design POLLY PHILP
market set design SIMON GRAY + JAMIE BULL
movement direction MJ HARPER
show notes ANDERS CHRISTIAN MADSEN

The 10 Greatest Scents for *Spring/Summer 2025

PERFUME MONOLITHS
*10 Fragrances That Hold Space for SS25

written MONICA DE LUNA

Perfume creates presence. Each scent marks a place, a body, a moment. For Spring/Summer 2025, LE MILEpresents ten fragrances. The selection focuses on construction and atmosphere.

The presentation follows a sculptural approach. Photographer Maciek Miloch captured the bottles within structures by Studio Cuze. The layout avoids interpretation. Each perfume is given space. Each scent is described as it appears. The selection includes established houses and independent creators. The focus remains on composition and persistence.

NISHANE – EGE

An impression built from fennel, violet leaf, and basil. The notes drift across air and settle without weight. EGE evokes clarity. It speaks through rhythm and breath, not story.

NEANDERTAL – LIGHT

A scent that opens on sharpness. Citrus, mineral, resin. The structure is deliberate, with each layer shaped by trace materials. There is no blur. LIGHT remains steady, with a dry and clean finish.

FILIPPO SORCINELLI – HAC DIES

Incense, myrrh, and dry stone. The air cools around the core. HAC DIES does not alter. The scent stays as it is first found.

AMOUAGE – PORTRAYAL WOMAN

Gardenia dominates the top. Below it: tobacco, vanilla, and quiet warmth. The scent is built with attention to density. PORTRAYAL WOMAN holds its line without variation.

LOEWE – UN PASEO POR MADRID

Green fig and peony open this structure. Cypress follows without rush. Each element holds space, unforced. UN PASEO POR MADRID moves in even intervals.

ORMAIE – PAPIER CARBONE

Rooted in iris and benzoin. Powdered tones meet a touch of wood. The air is dry. PAPIER CARBONE does not shift. It remains close, without expansion.

NASOMATTO – FANTOMAS

Synthetic edges. A note of rubber. A suggestion of candy. The finish is brief, but the structure is intact. FANTOMAS operates on impulse and exits without trace.

BOTTEGA VENETA – ALCHEMIE

Ambrette opens the composition. Metallic elements follow. Amber closes the arc. The balance remains internal. ALCHEMIE is constructed without noise.

COQUET – VAUDOU

Patchouli sets the tone. Smoked wood and spice arrive next. The base stays low. VAUDOU carries weight without disruption.

STORA SKUGGAN – MISTPOUFFER

MISTPOUFFER begins in stillness. Soft florals, earthy undertones, distant spice. The atmosphere is thick, but never opaque. There is movement, though the frame stays intact.

photographer MACIEK MILOCH
set designer NINA LEMM c/o Liganord
set design assistant KRISTIN JAKUBEK
Retouch NITTYGRITTY
ceramic artist (Bottega Veneta + Stora Skuggan) STUDIO CUZE

Spring/Summer Selection 2025