Mis en avant
EMPORIO ARMANI FW26
The Emporio Armani Fall/Winter 2026 collection showcased silhouettes rooted in early 20th-century European menswear. The pieces are deeply imprinted with British country codes, with tailoring as the backbone, filtered through a contemporary and gender-fluid lens. Reminiscent of power dressing, the looks feel strong and assertive, yet intellectual and subdued.
Three-piece suits, structured overcoats, double-breasted jackets, waistcoats, ties, and long coats that elongate the body appear repeatedly throughout. Flat caps are present in myriad ways, creating a sense of mystery while adding a stylish finish to every look.
There is a subtle interplay between masculine and feminine synergies, with masculine structure commanding the styling of the looks. For women, the tailoring borrows heavily from menswear – oversized blazers, pantsuits, structured coats, and buttoned vests – while playing with femininity through pieces such as knee-length skirts, which create a sense of subtle sensuality.
The colour selection revolves around calming tones, ranging from charcoal and slate grey to muted brown and deep navy. An occasional pop of deep Bordeaux stands out, while denim interrupts the severity of the palette. Velvet is also present, adding softness and luminosity, and breaking the collection’s continuous rhythm.
Words by Carolina Benjumea
PRADA FW26
Fifteen models. Sixty looks. For Fall/Winter 2026, Miuccia Prada and Raf Simons delivered a womenswear collection that has taken us on a spectacular adrenaline high – restless, clever, and unmistakably Prada.
The show opened with Julia Nobis, a long-time house favourite, wrapped in a shrunken, buttoned-up wool coat and a neatly tied scarf splashed with yellow, red, and baby blue. When she reappeared on the runway a short while later, this time without the coat, the concept began to reveal itself. Look by look, to the pulse of hardcore techno, layers were stripped away, spotlighting one of Prada’s most enduring obsessions: the expressive power of layering – and unlayering.
Anoraks echoed silhouettes seen in the brand’s recent menswear show, here decorated with faux-leopard trim. Dishevelled, stained shirt cuffs – a detail that went viral with that collection back in January – were also present throughout. A navy jacket worn by Bella Hadid, who made a striking Prada debut, appeared worn through at the seams, revealing houndstooth fabric beneath as if the garment itself had lived a long life.
Accessories carried the collection’s most theatrical gestures. Pointed-toe boots were feathered and tightly laced, while kitten heels were finished with dangling jewels at the back. Their intentionally battered surfaces underscored the design duo’s touching message: getting to witness the passage of time is something to embrace, a true luxury.
Words by Martin Onufrowicz
BOSS FW26
BOSS does not believe in half measures. For its Fall/Winter 2026 collection, the global powerhouse staged a runway spectacle in a luminous, plush Milan venue. This atmosphere conjured the mood of an exquisite evening affair, even at midday.
The casting alone set the tone. Opening the show was the bona fide male superstar Parker Van Noord, effortlessly delivering a masterclass in total aura maxxing (we’ll have what he’s having). From there, the lineup remained relentlessly strong. Jarrod Scott! Lulu Tenney! Leon Dame! Awar Odhiang! Each model’s appearance amplified the show’s sense of confidence and star power.
The clothes proved just as delicious. This season, creative director Marco Falcioni presented a seductive reinterpretation of 1980s and 1990s elegance. Power shoulders asserted authority, while wide lapels and cinched waists sculpted commanding silhouettes. Wool trousers were tucked into equestrian-inspired boots, infusing classic tailoring with a bohemian, offbeat edge.
Alongside tailoring, outerwear emerged as a central statement. Leather and nylon anoraks were styled tucked into trousers, sharpening their modernity, while fluid trench coats introduced a dramatic sweep with every step. The colour story was equally rich and deliberate: ink black, midnight navy, smoky grey, russet brown, luscious plum, and golden ochre – each hue communicating ambition and refinement in equal measure.
Then came the details. Archive silk prints blossomed into peonies and calla lilies across ties, scarves, and cummerbunds, transitioning effortlessly from daywear to evening formality. Textures became tactile and subtly provocative (hello ostrich-effect leather!). Meanwhile, silk dresses and tops were finished with refined fringe-scarf detailing, bringing softness and movement to the collection’s structured core. The proposition was a study in sophisticated drama – where power dressing met sensual precision.
Words by Martin Onufrowicz
FENDI FW26
Maria Grazia Chiuri doesn’t leave much for interpretation; she usually spells it out. Perhaps the instinct is a byproduct of a career that’s lasted over 35 years. Maybe it’s a sign of all she still has to say. For her Fendi debut, the Italian designer again doesn’t mince her words.
The collection marks a homecoming for the Rome native. Chiuri started her career at Fendi at just 24, going on to assist in creating the omnirelevant Baguette. Unsurprisingly, these were peppered throughout the show. With a longer strap than in its original proportions, Fendi’s most recognisable bag was carried in hand rather than hung on the shoulder. From reinterpretations of colourful classics – like the Bradshawian watermelon Baguette – to iterations that clashed animal patterns with floral embroidery, the bags were the brightest-hued moments in a collection that leaned into a darker and neutral palette.
Even if the sombre direction was a bit of a departure for a house whose logo stands for Fun Fur, it wasn’t exactly unexpected. Days before the show, Chiuri teased her vision of the brand through a close-up of a man’s hands holding a model’s ankles. The image, a recreation of a photograph taken by Jo Ann Callis and reinterpreted by the artist herself, revealed a sexier tone. Chiuri didn’t fulfil her erotic promise with a heavy hand, choosing instead to edge us with leather and lace details on long dresses and sheer shirts. Fur chokers that emulated the look of a traditional collar were both ingenious and titillating – shout out to the furries!
Chiuri knows the job she was hired to do, mixing “fun fur” options with solidly classic pieces. Camo cropped jackets with fur patches of different lengths, ’70s-inspired patchwork coats, and fur-lined trenches were matched with jeans and white shirts. In a way, the collection felt familiar. Chiuri classics came in romantic skirts and impeccably cut shirts. Her decade-long tenure at Dior ended only eight months ago, and, much like the tradition she set at the French maison, the designer collaborated with two female artists. First, for the jewellery, a collaboration with the Italian sculptor Mirella Bentivoglio, and secondly, with the artist SAGG Napoli for T-shirts and football scarves that featured words like “Impact.”
The feminist ethos wasn’t only seen in tees and necklaces, but propelled the collection – and its name, for that matter – around the theme “Less I, More Us.” The idea was executed with consecutive looks that remained identical between male and female models. Thirty-seven years in, Chiuri has as much to say as the day she started.
Words by Pedro Vasconcelos
JIL SANDER FW26
The Jil Sander Fall/Winter 2026 collection merges masculine tailoring codes with sensual elegance, creating an offering rooted in practicality and centred on construction and technique.
The collection presents a straight, clean aesthetic with a twist, where details are barely perceptible yet subtly disrupt the classic nature of the garments. Stirrup pants set the tone, accompanied by unexpected ruffles on the trousers, while provocative openings punctuate dresses and skirts. Garments feel slightly deconstructed, and proportions shift in ways that challenge expectations, all while keeping refinement at its core.
Inspired by the photography of Anders Petersen, the mood feels quiet yet intense, perceived through subtle displays of sensuality. Proportions are fitted flawlessly to the body, emphasising structure while maintaining understated elegance. Tailoring for women feels precise, while pieces such as wrapped skirts, off-shoulder necklines, and diagonal closures introduce movement and a lighter sensibility.
The wardrobe feels intellectual, centred on restraint, precision, subtle sensuality, and architectural constructions. The suit, the coat, the knit dress, and the pencil skirt form the backbone of the collection. Rather than creating entirely new interpretations, it perfects its constructions and offers a fresh perspective through styling and subtle details.
The palette is restrained and sophisticated, ranging from black dominating the collection to deep navy and charcoal, as well as warm taupe, beige, and grey. The fabrics prioritise natural finishes, comfort, and movement, evoking a sense of softness and modesty. Unnecessary details are absent – no excessive buttons, embellishments, or decorations – allowing the viewer to focus solely on the quality of the garments and their construction.
Words by Carolina Benjumea
RALPH LAUREN FW26
In an era dominated by fleeting micro-trends, there is something radical about a designer who refuses to waver. For his Fall/Winter 2026 collection in New York, Ralph Lauren did precisely what he does best: deliver pure, unapologetic elegance.
The collection drew partial inspiration from the forest landscape projected across the venue’s walls, informing a palette of deep greens and rich, earthy browns. A boxy cropped fur jacket was styled with khaki-toned breeches and over-the-knee flat boots adorned with painterly scenes. Elsewhere, an aviator leather bomber with a shearling collar formed a refined silhouette alongside roomy wool trousers, its bohemian edge amplified by a leopard-print vest and paisley necktie. A sleeveless velour gown glided effortlessly down the runway, mirrored by long, glimmering earrings that swayed with each step.
The models exuded absolute confidence, further intensifying the commanding aura of the collection. A tapestry-covered blazer paired with a corseted top was juxtaposed against voluminous, faded leather trousers. A white blouse with billowing sleeves and a Victorian collar felt strikingly modern when styled with tailored suit pants adorned with a silver triple chain. Towards the end, a sequined long-sleeve gown fused the ease of American sportswear with unmistakable glamour — an expression of Lauren’s enduring vocabulary, as relevant and desirable as ever.
Words by Martin Onufrowicz
MARC JACOBS 2026
’90s Marc is so back! For his Runway 2026 collection, Marc Jacobs returned decisively to his roots, reframing his signature aesthetic within a new and self-aware context. In a rare and beguiling act of transparency, the American designer laid out, receipt-style, the precise collections that inspired his latest offering. These references spanned both his own archive and those of fellow designers, underscoring Jacobs’ enduring role as both creator and devoted student of fashion history.
A cobalt-blue coat with a back-to-front construction traced its lineage to Yves Saint Laurent’s 1965 couture collection. Boxy ultra-miniskirts and sleeveless sequined tube tops nodded to the spirit of Kim Gordon’s cult ’90s streetwear label X-girl – an especially intimate reference given Gordon’s longtime friendship with Jacobs. Elsewhere, silk pencil skirts and buttoned-up shirts echoed silhouettes from his own namesake collection in 1998. The explicit nature of this inspiration list did more than provide context; it affirmed Jacobs’ creative self-assurance and revealed the collection as a love letter to fashion, written by one of its most genuine admirers.
True to form, Jacobs’ fascination with the tension between awkwardness and sophistication remained central. That unease began with the hair: wigs designed to replicate each model’s exact hairstyle from the day of the casting, lending the show an uncanny, hyper-specific realism. Shirts and suit jackets were deliberately shrunken, with cuffs extending conspicuously beyond sleeve hems. Skirts appeared almost papery in texture, holding rigid, sculptural shapes that felt daring.
A leather look – anchored by a white moto jacket and black belted hot pants – was both provocative and sophisticated when paired with thick wool tights and delicate silver slingback heels. It was elegance, destabilised. As ever, Jacobs delights in challenging the boundaries of what is considered polished or proper. And once again, he proves that pushing those buttons is precisely where his power lies.
Words by Martin Onufrowicz
SAINT LAURENT FW26
“Nobody can stay in the garden of Eden.” James Baldwin was right in Giovanni’s Room. We had only 12 minutes to see Saint Laurent’s Fall/Winter 2026 collection. The divine comparison is not hyperbole; we worship at Anthony Vaccarello’s altar. Which is why with every last-minute announcement of the menswear show, we get prepared to go on our knees (to pray, obviously). The designer’s command over menswear is such that more than unveiling collections, he’s revealing the zeitgeist’s latest obsessions. Every season, the image of masculinity is, if not redefined, at least tweaked.
And so, we can’t help but have our stomach flutter when, in the usual venue, the Pinault Collection, the lights go out and the first silhouette is revealed against a molten gold backdrop. This season, it was a particularly strong shape. The recognisable wide shoulders were in deep contrast with a nipped-in waist. As the lights dimmed in, a beautifully cut double-breasted jacket was revealed, the slight hourglass shape only slightly off the traditional male ideal. As the collection progressed, more suits of similar cuts appeared, as did fur collars that completely hid models’ necks. One in particular, atop a tight knee-length cardigan, was a personal favourite.
Scoop neck knits broke the tailoring streak. These were perfectly cropped and accompanied by a tucked-in ascot. Perhaps what is most compelling about Vaccarello’s menswear is its apparent queerness. For the past few seasons, the designer has been exploring it within the context of masculinity. Here, he takes on Baldwin’s aforementioned classic as a starting point. The author’s novel details the story of an American moving to Paris, finding his own homosexuality as a no longer avoidable fact.
The collection illustrates the point beautifully. Galvanised by the inherent double life that queerness entailed in the 1950s, Vaccarello draws on the tension between private and public. Striped cotton sets resemble pyjamas, but are then layered under heavy coats and held at the neck with ties. Glossy over-the-knee boots pop out of tailored shorts. The texture reappears in ever-so-translucent trench coats. This latex-like finish, historically associated with queer sexual identity, is juxtaposed against the traditionally masculine origins of the silhouette.
Vaccarello’s Saint Laurent is not boundary-pushingly queer but intellectually so. Here, the historically shameful reality of queerness is explored through materiality. And still, if we were to take the garments at face value, their impact on visual culture exists outside their symbolic context. The Robert Mapplethorpe over-the-knee leather boots are proof of it. We can say for certain that the glossy tight boots will cause a similar effect. Vaccarello never overwhelms the silhouette with symbolism. Masculinity is adjusted through cut, texture, proportion, but never performance. Eden is closed. The garden is gone. But Saint Laurent shows us how to dress for what comes after.
Words by Pedro Vasconcelos
CHANEL HAUTE COUTURE SS26
Stepping into the Grand Palais for Matthieu Blazy’s Haute Couture debut at Chanel felt like a meditation – or the best kind of hallucinogenic trip. For Spring/Summer 2026, the historical venue was transformed into a pastel-hued fantasy, with mushroom sculptures and pink weeping willows sprouting across the floor, offering a gentle escape from the severity of the world outside.
Blazy’s couture proposition was notably weightless in spirit. Despite the hundreds of hours of handwork embedded in each piece, the garments appeared effortless and unencumbered – a vision in direct dialogue with Gabrielle Chanel’s enduring philosophy of elegance through freedom of movement.
The collection opened with a procession of organza looks gliding down the runway to I Wonder from Disney’s classic, Sleeping Beauty. Transparent skirt suits floated across the space, anchored only by metal chains tracing the hems — a house signature reimagined as exposed ornamentation and embellished with miniature charms and pearls.
Accessories further fuelled the narrative. Organza flap bags mirrored the delicacy of the garments, each adorned with hand-embroidered love letters that clients will be able to personalise. The mushroom motif returned in whimsical form, appearing as appliqué on slinky silhouettes and even serving as a base for sculptural heels.
As the show progressed, fragility met structure. Gossamer skirts were paired with architectural jackets, creating a striking tension between softness and strength. A vivid red jacket with rounded sleeves and a rattan-like texture emerged as a standout moment. Featherwork reached its most dramatic expression in a look composed of a floor-length scarlet skirt and a cocooning, otherworldly top – an image that lingered long after the final walk.
Blazy’s debut did not seek spectacle through excess, but through an enchanting atmosphere: couture as reverie, Chanel as sanctuary.
Words by Martin Onufrowicz
DIOR HAUTE COUTURE SS26
For his first Haute Couture show at Dior, Jonathan Anderson explored the deep historical, technical, and artistic nature of haute couture, a French tradition that transforms as society and technology evolve. This very same idea of transformation and heritage is the core of the Spring/Summer 2026 collection.
The show flawlessly portrayed the feminine essence of Dior, which has defined the brand's identity since its founding, as expressed through the innocence and delicacy of flowers by Anderson. Present throughout the vision in myriad ways, florals were interpreted in diverse poetic languages. They appeared as details on dresses and bags, as subtle prints and appliqués, and as staple pieces in their own right, from the venue’s ceiling decoration to 3D accessories, XXL earrings, or adornments on heels and bags.
Anderson’s distinctive approach to design was seen in the proportions and volumes. Balloon-shaped skirts, dresses and tops gave the collection a whimsical allure, while ruffles and draping in lightweight materials followed the models' natural movement as they walked down the runway.
The palette, dominated by soft hues and romantic pastels such as powder blue, pale yellow, and blush pink, gave an ethereal feeling, enhanced by feather-like appliqués that contributed to the sense of whimsy. Asymmetric constructions were paired with prints that granted the garments a sense of movement and a trompe-l’œil visual effect, while other pieces were an ode to timeless and refined construction.
Each garment delicately hugs the body, not in a restrictive way, but enveloping it in a subtle, natural manner. Organza, chiffon, and tulle create a lush yet delicate finish, while other silhouettes lean toward more constructed shapes, such as the iconic Bar Jacket. Anderson brought together the visions that have shaped the brand until now, from Raf Simons’ romanticism and John Galliano’s theatricality to the femininity of Monsieur Dior himself, immaculately embodying the dreamy nature of Haute Couture.
Words by Carolina Benjumea
AGNÈS B. FW26
For Fall/Winter 2026, agnès b. presented a collection rooted in heritage and restraint. Eclectic yet timeless, the silhouettes are relaxed; instead of sharp tailoring, the pieces feel easy and adaptable to the everyday rush. The brand builds a narrative around texture, proportion, and attitude, presenting a wardrobe that’s thoughtful and mature. The focus is placed on construction and materiality, allowing silhouettes and fabrics to do the talking.
Proportions are explored in subtle ways, creating an interesting interplay between the classic and the modern. The colour palette features earthy tones with pops of burgundy, forest green, and indigo, while touches of pastel create a soothing effect. Texture plays a central role throughout: leather trousers and jackets contrast with knits, wool, and cotton, adding depth across the looks.
Layering is not obvious; instead, it feels like a natural outcome of pieces that belong together. Knitwear over shirts, scarves tucked into coats, and lightweight jackets worn with outerwear feel intentional and refined rather than excessive. Some looks convey an intellectual sensibility through tailored jackets, cardigans, and leather accessories, while others are more relaxed and casual, evoking off-duty moments and practical city life.
The collection introduces a softer version of masculinity, one that is not exaggerated; instead, it is seen as fluid and confident, without the need to perform it through specific codes. The show embodies a refined vision of modern menswear, with its emphasis on craftsmanship, layering, and subtle elegance, offering a wardrobe that’s both contemporary and enduring.
Words by Carolina Benjumea
JACQUEMUS FW26
Jacquemus introduced its Fall/Winter 2026 collection, titled Le Palmier, inspired by the hairstyle popularised in the 1980s, and now worn by Mia, his daughter. This inspiration resonates with mothers and young girls around the world, something deeply ingrained in the essence of Jacquemus. This playful inspiration was accompanied by silhouettes drawn from the 1950s.
Presented at the Picasso Museum, the collection introduced a feminine allure dominated by hourglass figures and theatrical shapes. Some silhouettes recalled Dior’s New Look, while others felt more modern and playful. Overall, the collection evoked sensuality at its core.
The masculine wardrobe was classic and restrained, consisting of tailored bermudas, jackets, and the timeless tuxedo, while the real drama emerged through the feminine silhouettes: puffed sleeves, ruffles, polka dots, capes, and form-hugging pieces.
Sculptural volumes complemented by organic shapes were at the centre of the collection. Cinched waists, wide hips, and midi lengths signalled a return to the classic silhouettes of the 1950s, while transparencies gave the collection a modern edge.
Some looks were complemented by structured, XXL dramatic hats, while others were styled solely with Le Palmier. Deconstructed pieces, such as the statement red dress, showcased technical precision and theatricality, while other designs highlighted movement and fluidity through light fabrics.
The collection felt glamorous and distanced itself from the youthful image of the Jacquemus girl. This season, she became a femme fatale through smart tailoring and garments that fit the body like gloves, creating a sexier vision of the brand.
Words by Carolina Benjumea
SACAI FW26
At the Sacai Fall/Winter 2026 collection, there is an air of refinement, craftsmanship, and casual allure – a style that feels as recognisable as it feels contemporary. The collection draws heavily from the men’s wardrobe staples through its shapes, constructions, and tailoring, from long coats to suit jackets and wide trousers. Some garments are softer and more fluid – skirts, knits, and textured layers – creating a balance between the feminine and the masculine, yet the overall collection exudes a manly energy.
Elongated and fluid silhouettes create a look that feels as practical, almost technical. Proportions are carefully measured, with select pieces featuring volume to create interesting visual combinations. Leather jackets stand out as key pieces, giving the collection a rebellious edge.
A restrained colour palette dominates, with black, chocolate brown, oxblood, charcoal, and muted ivory, punctuated by a few blues and folk-inspired prints that contrast with the rest of the offering. These elements add rhythm and movement to otherwise minimal looks and act as points of artistic expression.
The play with deconstruction is visible through layering, but it is less pronounced than in past collections. This season, the silhouettes are elongated and relaxed, with styling that allows for movement. Coats, skirts, and trousers fall with grace, respecting the natural shape of the body. There is a tension between Sacai’s signature tailored constructions and the search for a softer side through light fabrics. Denim plays a significant role, contributing to laid-back silhouettes.
Words by Carolina Benjumea
COMME DES GARÇONS HOMME PLUS FW26
There’s a widely agreed-upon expectation when it comes to Comme des Garçons. Rei Kawakubo’s work is not only one of garment-making but of cultural commentary. Which is why, when modified Hannibal Lecter masks came down the runway for Homme Plus’ Fall/Winter 2026 show, immediate interpretations ran through my mind. For the past few seasons, the Japanese designer has drawn on global political turmoil. First, representing unwilling soldiers, then staging a search for a saviour. This time around, the cannibalistic messaging seemed apparent. But backstage, Kawakubo spoke of freedom. Named Black Hole, the collection spoke of cosmic unity.
With its title in mind, the show understandably opened with black tailoring. The designer’s deeply morphed silhouettes found their home in fractured tailoring. Double-breasted blazers were cut at a model’s belly button, paired with trousers that exploded at the knees, only to be contained at the ankle. As if attracted by mass, circular bulbs gravitated to the surface of a tailored jacket. There was a sense of unity, of continuity. Dresses wrapped a singular rectangular sheet around the body, darkness serpenting it.
While the bulk of the collection was plunged in the colour palette of a cosmic void (black, silver, grey), the finale sharply pivoted into blinding light – a symbol of emergence and renewal, perhaps. When it comes to astrophysics, we’ll listen to Kawakubo: light is on the other side of a black hole.
Words by Pedro Vasconcelos
KIKO KOSTADINOV FW26
For Kiko Kostadinov’s Fall/Winter 2026 show, we’re in a familiar location - a school gym in the 5th arrondissement. It’s a venue where, at least once a season, a designer stages their show. Although this choice didn’t seem a matter of convenience, more so of thematic context. In the bare-boned gym, only three structures stood: white, geometric-edged tombs, made by the artist Oscar Tuazon through cardboard and tape. The sculptures establish a conceptual baseline: bodies reduced to purpose and form.
Kostadinov ran a parallel exercise. He looked at garments in their most primordial shape, through their most fundamental purpose. He cleaned the slate of his idiosyncratic patterns and decorative quirks. The circumstantial hints were immediately proved correct when the first looks came out. A black cape-like coat overwhelmed the model’s frame, as if the fabric was placed organically on the body. The second look proposed an evolution; the cascading flow grew structure, becoming angular in the shoulders. This pattern repeated itself multiple times throughout the show. Kostadinov usually moves geometrically, functionally between silhouettes. Here, the process was made organic: shapes growing out of each other, seams evolving from previous movement like a tide, pleats gathering and expanding like breathing.
Kostadinov used the opportunity to flex his muscles. He isn’t a designer experimenting with the basics of garment-making; he’s translating it into his own language. On a black shirt, the collar was made perfectly rectangular. On a muted green dress, sleeves ballooned, blooming from the pleat carefully placed at the elbow length. The same technique evolved in a light seafoam shirt, where that same seam was now made triangular. The designer reaffirms his command of form.
As the show progressed, Kostadinov made sense of his tropes through a reconstructive approach. Flashes of ochre and vermillion totalised garments by the end of the show, even finding their way into geometric patterns. This wasn’t a stereotypically minimalist collection but a study on how structure is born, through repetition and evolution.
Words by Pedro Vasconcelos
DRIES VAN NOTEN FW26
Thank god for Julian Klausner! Ever since taking over Dries Van Noten’s creative helm, the Belgian designer has created euphoric collections. He utilises the beloved language of the house to narrate beautiful stories. Fall/Winter 2026 speaks to a common, tender experience: outgrowing domestic familiarity. It’s a collection that hits close to home, or rather, far from it. If a personal interlude is permitted, I have recently moved away, alone with my objects, with my clothes. These have become anchors of my emotional connections. The rustling of clothes on your body becomes the closest you have to the touch of the ones you left behind. The knitted jumper made by a grandma. The pants stolen from a sibling. The watch given by a dad. These are proofs of life, of connection.
Klausner illustrates this growth in different ways; its most straightforward is undoubtedly through knitwear. Argyles and stripes are remixed, explored through the lens of the brand’s affinity for patterns. Prints are assembled and reassembled, juxtaposed through vertical zippers on tight jumpers. Knitwear is used to demonstrate familiar ancestry both in its conceptual sense and its literal one. Backstage, the Belgian designer speaks of the knit department at the brand, of wanting the collection to honour those who built the brand, season by season, before he arrived. Life imitates art.
The affection for print is dallied with through clever construction. An open-collared shirt that peeks through a cropped jumper, seemingly laid over a longer one, is all one piece. Tartan shirts are cut in half through light aprons/cummerbunds made to resemble the hem of another shirt.
Silhouette is just as much of a playground to convey the emotional message behind the collection. Tight leather jackets are cinched in by skinny belts, while oversized blazers totalize the upper body. Garments are worn not because of their fit, but because of their emotional value. Clothes don’t just dress the body, they keep it company. By folding memory into construction, he reminds us that growing up is less about rupture than it is about carrying what stays with you.
Words by Pedro Vasconcelos
MAGLIANO FW26
A visit to Magliano’s Instagram page reveals the brand’s mission statement in three provocative words: “Fucked up classics.” The cheeky slogan neatly encapsulates Luca Magliano’s design philosophy — one driven by a visible pleasure in crafting garments that are, in his own words, “precise in their chaos”.
Over the past few years, Magliano’s fascination with Italian provincial elegance has made a notable impact on Milan’s fashion scene. Now, the designer enters a new chapter, relocating his runway to Paris and unveiling a more streamlined vision that becomes less location-specific.
Titled Unplugged, the Fall/Winter 2026 collection excelled in outerwear and tailoring, showcasing Magliano’s unrivalled ability to make slouchy silhouettes read as deeply sensual. Roomy trousers and V-neck sweaters were reworked with literal twists: collars and waistbands curled inward, disrupting familiar proportions. XXL leather belts sat low on the hips, elongating the body, while an oversized wool blazer channelled just the right amount of ’80s macho bravado.
Magliano’s signature humour and social commentary surfaced throughout. A red silk shirt printed with tangled bunches of keys shared space with a chunky wool cardigan adorned with “ABCD” lettering — the “A” standing for Antifa, complete with the movement’s logo.
Elsewhere, refinement came deliberately undone: scarves emerged through slits in jacket collars, and the final look — a mismatched, oversized double-breasted suit — was punctuated by an untied bow tie, left hanging as a final gesture of dishevelled elegance.
Words by Martin Onufrowicz
WILLY CHAVARRIA FW26
Willy Chavarria’s Fall/Winter 2026 show, Eterno, gathered more than 2,000 attendees in the audience, from fashion professionals to enthusiasts. Mon Laferte, a Chilean-Mexican artist, opened the spectacle with a heartfelt rendition of Femme Fatale in a cabaret-inspired performance.
The show unfolded in three stages, each shifting the storyline as the clothing and music evolved. One notable aspect of the designer is his ability to distance himself from the cliché of the Latino aesthetic while still celebrating its culture and subtly referencing its visual and cultural codes.
The model casting reflects the continent's multiethnic richness, a diversity further highlighted through its roster of talents, including Colombian Feid, Puerto Rican singer Lunay, Mexican groups Latin Mafia and Santos Bravos, and Italo-Egyptian singer Mahmood.
Suits tailored for both men and women opened the runway. For women, they were paired with pencil skirts that elongated the silhouette, creating a distinctly feminine aesthetic. For men, structured blazers and long coats were softened with vibrant shirts and pussy-bow blouses.
Satin fabrics and sequin dresses added a sense of classic glamour, while roses and animal prints reflected the kitsch imagination that thrives in Chavarria’s creative universe, delivering not just stylish clothing but culturally relevant garments. Then, the show transitioned from timeless allure to a Chicano aesthetic, represented by the designer’s signatures such as plaid shirts, bomber jackets, wide-leg jeans, tracksuits, strong shoulders, keychains, and shading hats.
Words by Carolina Benjumea
EGONLAB FW26
Feathers were the thread that united Egonlab’s Fall/Winter 2026 menswear collection. Presented through body-fitted tops worn under jackets, they created a refined and tender look, emphasising elongated necklines and evoking a phoenix-like sense of rebirth.
The collection plays with masculinity and femininity, expressed through tailored suits next to cut-out dresses and one-shoulder looks. Masculine garments such as hoodies and jackets were softened through tailoring and styling, creating an androgynous vision. Feathers catalysed this approach, lending a romantic sensibility that disrupted conservative ideas of manhood. Asymmetric cuts and oversized silhouettes were also part of the rich visual language. From its colours to its shapes and textures, there was a clear intent toward provocation and artistic radicalism.
Suits excelled in flawless tailoring, while shirts were, in some cases, oversized and partially unbuttoned. Trousers were long and fluid, and shoulders subtly exaggerated. The colour palette ranged from black, charcoal, deep oxblood, and grey to occasional pops of electric blue and red plaid that brought exciting tension. Sensuality was revealed through glimpses of skin and was not connected solely to femininity, but to attitude and confidence itself.
Words by Carolina Benjumea
