Anthony Vaccarello’s Saint Laurent menswear show for Summer 2026 is quiet but deliberate. It is about light, presence, and the space between things. Set in the Bourse de Commerce in Paris, the collection exists in a moment between places (part Paris, part Fire Island), where escape and elegance meet.
The inspiration is subtle. It pays tribute to artists who gave shape to desire, names like Stanton, Angus, and Ellis. And to Yves Saint Laurent himself, who in 1974 stepped away only to return with something new. Vaccarello does not look back in nostalgia. He moves forward.
The setting matches the mood. Instead of nighttime drama, the show unfolds in clear afternoon light. No filters, no artificial glow, just simplicity. The clothes follow. Silhouettes are precise but never heavy. Waists taper, shoulders extend, yet everything feels effortless. Fabrics like silk and nylon drift over the body. Colors are soft: sand, salt, pale ochre, dry moss, pool blue. Nothing shouts. Everything lingers.
At the center is clinamen, an installation by Céleste Boursier-Mougenot, a pool where porcelain bowls float, touch, and create their own quiet music. The clothes move the same way: natural, unhurried. Shorts echo those once worn by a young Yves, but this is not a reference. It is a return.
1974 was a pause. 2026 is what comes after. Not tribute, not memory, but a line that continues. The models do not perform. They simply are. And in that quiet presence, there is sensuality without show, elegance without need for words.
NUMO is the kind of place that works equally well for a proper summer holiday or one of those late-season escapes where you can make summer last just a bit longer.
Presented during Berlin Art Week 2026 at The Foundry, The Overview Effect brings together an international group of artists and designers whose practices ask us to reconsider our relationship with the planet, with materials, with memory and, ultimately, with one another.
Tommy Hilfiger staged a personal New York celebration at The Plaza Hotel, presenting Spring 2027 in the legendary address where he once lived with his family.
The partnership continues to explore the universe of the London label founded by Sofia Prantera, which has built its identity by combining classical art references with counterculture and an irreverent attitude rooted in urban culture.
The shift comes with a new identity, a new headquarters, and a corporate reorganisation in which Águeda Amiano and María Fitz-James Stuart remain at the helm.
From skate culture and American suburbia to a new campaign for Bershka and Aries. Ed Templeton is taking over Barcelona with “Tomorrow Never Comes”, less a retrospective than an ongoing conversation between past and present. Free to visit from 10–20 September at Espai Metrònom.
Ann Demeulemeester unveiled its Fall/Winter 2026 campaign, shot by Nikolai von Bismarck, styled by Elodie David, and creatively directed by Stefano Gallici.
We sat with the talented Amsterdam-based designer to discuss the inspiration behind his latest collection, promoting tolerance through clothing, and why fashion still has such a problem with larger bodies.
Camiel Fortgens returned to Amsterdam Fashion Week with a Spring/Summer 2027 show set in an unexpected but familiar place: an Albert Heijn supermarket after closing hours.
Acne Paper Palais Royal has opened Rodeo, an exhibition of seventy-seven vintage photographs by Bruce of Los Angeles, curated by Vince Aletti and drawn from his private collection.
For Issue 28, TRANSPARENCY, we explore the shifting relationship between what is revealed and what remains concealed, questioning ideas of authenticity, identity, vulnerability, and self-expression in an increasingly exposed world.
