THE DIALOGUE OF DESIRE

 

    original image and video courtesy ©Tom Ford

Haider Ackermann's Spring/Summer 2026 collection for Tom Ford opened with three models in patent leather moving slowly across a midnight blue lacquered floor. A warm green trench coat with a popped collar, a deep mauve jacket-and-skirt set, a black hooded ensemble, each piece glistening like water under moonlight. This opening gesture announced the collection's central proposition: seduction rendered through careful calibration between exposure and restraint. 

The midnight swim inspiration revealed itself gradually. Patent leather carried laser-cut perforations that suggested mesh, creating patterns of revealed skin beneath. Bias-cut silk dresses moved like liquid. Satin suits appeared in unexpected pastels: lime green, baby pink, mint, pool blue, and orange. David Bowie's stripped-down, a cappella version of "Heroes" filled the space, the song's yearning transformed into an intimate whisper as models walked slowly, often in pairs, making eye contact with each other and the audience. 

Ackermann's technical mastery showed in the details. Wire construction held strapless gowns suspended as though from invisible threads. A lapis blue gown with cap sleeves featured a cutout back plunging low enough to eliminate undergarments entirely, yet the precision of construction read as classical sculpture rather than provocation. Shawl draping appeared on evening pieces. A mint-and-black draped gown created visual tension through two-tone contrast. Slip dresses carried trim of laser-cut leather lace, juxtaposing the delicate against the strong. 

VILLA ZEGNA, WORN BY LIGHT

 

    original images and video courtesy ©Zegna

Dubai offered Alessandro Sartori a landscape demanding a singular form of attention. Inside the Opera House, reimagined as Villa Zegna, the Spring/Summer 2026 collection breathed in measured proximity to the heat, the air, and the desert sand. The setting dictated the rhythm of the cloth, framing a wardrobe calibrated for the honesty of exposure and the grace of movement. 

Sartori’s narrative began with fabric intelligence. There is a profound ethics in the way these materials behave. Linen, poplin, and silk suits appeared as though washed into softened stripes, their surfaces already yielding to the body’s heat. Silk tailoring reached a ghostly lightness, suits weighing a mere three hundred grams, articulating a value system where portability becomes a spiritual asset. The construction remained precise, achieving an ease born of balance and structural harmony. 

Leather entered this sanctuary in a transformed register. Washed and softened until it reached absolute pliancy, it moved as a mirror to the body, a second skin responsive to the smallest gesture. Knit leathers, sanded hemp twills, and rustic hand-spun silks expanded a tactile vocabulary grounded in material behaviour and the truth of the surface. This is the Zegna strength: innovation expressed through stillness. 

LEMAIRE’S WINTER GRAMMAR

 

    image and video courtesy ©Lemaire

Paris in January, a city breathing mist from its stone lungs, provided the frame for Lemaire’s Fall/Winter 2025/2026. What unfolded was not a spectacle, but a grammar of quiet elegance, garments cut to move with the body and to be lived in, rather than merely displayed. Pina Bausch and Merce Cunningham hovered invisibly in the wings, not in costume but in gesture. These were clothes conceived for living movement, not static tableaux. 

The collection opened in restraint: stone, taupe, coffee, grey, navy, and black tones formed its architecture. These earthbound shades were interrupted by sharp accents of scarlet, cobalt, indigo, pale yellow, lavender, and vermilion. The contrasts did not overwhelm but punctuated, like sudden notes in an otherwise measured score, awakening the eye within the calm. 

Fabrics revealed themselves as a dialogue between density and lightness. There were rich wools, alpaca and yak blends, elongated knit collars that rose almost to the face, their weight counterposed with silk sets that seemed to glide, satin surfaces catching and releasing light, twill carrying its structure quietly, and leather rendered with sculptural precision. Coated and lacquered finishes lent sheen, as though surfaces were designed to hold light as much as shadow. 

TWO SIDES

The collection was a sort of homage to Mr. Laurent, to Yves, as a human being, facing two sides of him, one impeccably elegant during his work time, in a suit and tie attire, sleekness translated into perfection. On the other side, it was a night-out Yves, who liked a dungeon-like scene, the feel and smell of leather, the one that Robert Mapplethorpe used and marked in his works, a play of contrast between elegance and audacity, used as an inspiration by Anthony Vaccarello. The attraction of the opposites is a timeless wardrobe of ultra-cool suits, embraced by overcoats and paired with knee-high leather boots.

INCONTRI

 

The collection displayed at Triennale Milano features encounters between the city and the beach. The creative director, Sabato De Sarno, aims to express freedom and a sense of welcome in the clothes, translated into a collection that includes precise cuts, electrifying colour nuances, and new silhouettes inspired by traditional designs, hand-knitted polo shirts, formal wear, unique shirts with beaded fringe, and striking prints with summer symbols, like surfers, dolphins, hibiscus flowers, and banana leaves.

TECHNO-UTILITARIAN

If you ever thought to get an easy, specific, one-thing collection at Prada, you were wrong or you never really got Miuccia´s aesthetic, yeah that famous "the beauty of ugly." In this this occasion the focus is on leisurewear/sportswear. Sounds easy, too easy for this Milanese brand, and you are right, because Miuccia this time sees his man (and woman, as it is a part of the show too, showcasing traditionally a pre-collection) sharing the wardrobe with a traveller, parachutist, explorer and even a cowboy. Utilitarian style goes hand-by-hand with active-wear, a galore of layered wardrobe made mostly by technical fabrics, shoes included. Not to mention the accessories of the season, at least for Prada, the return on the spotlight of the brand´s nylon backpack, originally invented by dame Prada in the 1990´s, the one that among other Prada nylon-accessories started to make a fortune to the brand. 

CLASSIC TAILORING IN GVASALIA WAY

Classic timeless tailoring pieces reinterpreted in the Gvasalia way, meaning boxy-square jackets, reminding us almost the rugby-esque shell jackets but with a classic coat –like knee length and double-breasted blazers with wide shoulders on one side, while on the other the total opposite thing, really tight, body-embracing silhouettes. Everything was spiced up with some inevitable Gvasalia humour seen in baseball caps, super-sized bright blue weekender, some rock-shoes with stacked wood heel and those "cannot be unnoticeable" Balenciaga white business cards tucked into pockets.

SOFTENED AND CONE-SHAPED

The sound of Neil Young´s 1970 song "After the Goldrush" accompanied Rick Owens S/S 2017 menswear collection that had been smoothed of the usual hard edges. Overall the clothes are gentler, softer-looking, regardless their complicated draping and exaggerated volumes. Through different techniques of his well-known draping, Owens always proposes new silhouettes, this time more cone-shaped, made of crisp, washed silk gazars and sturdy industrial cottons in a colour palette of off-white, rust, gold and black. There are his typical pyramid-shaped pants discreetly revealing the new sock-like sneakers, as a latest collaboration made with Adidas, and worn under cropped jackets with lengthened sleeves or really tiny ribcage-length bomber and leather jackets, making this way an effect of "lifting the torso", not to mention T-shirts and tops slung and twisted around the body and the shiny embroideries with radiant lines on loose black robes and sculpted tuxedo jackets. 

INDIVIDUAL

In this rave of "street-wear + androgyny" that really marked the fashion scene/industry in the last few season, Glenn Martens for Y/Project is probably with Demna and his squad, among the leaders of this fashion "movement". If Demna plays/collaborate with iconic street/sportswear labels, is Glenn doing in it on its own. He plays, most of the time in a quirky way, but resulting very interesting and unique by mixing, probably since before un-mixable and there´s nothing left out from this; from different volumes, cuts, cultures and fashion periods, materials too, everything in the name of genderless, after all he is a master in this territory. His human-being is romantic, poetic, but also sharp and tough. Actually I don´t really know, and this is what I like about this brand, the non-definable part of the brand, no boxing-thing, consequently giving an opportunity for a high-level of personalization to each individual, which nowadays, where you can see hordes of same-looking people, is a true value. 

ALWAYS SERENE

Anyone who knows and/or admire Howell´s aesthetic made of clean lines and quite colours will always go from the show and/or shop, after seeing the new collection, somehow serene. Brand´s collections are mainly build on signature pieces, this time remixed in a fresh retro vibe by the enter stylist Beat Bollinger. And this is not bad, quite the opposite, because after all who doesn´t want practical, easy, high-quality and timeless pieces in their wardrobe, that perfect amount of sporty-chic on daily basis. The extra plus here is that the brand each season offers also something new. This time was the allure of the Fifties schoolboy uniforms; our always bellowed high-waist pants with a front pleat and mostly cuffed worn with boxy, short-sleeve linen shirts or tank tops, or tailored shorts paired with all kind of knits, not to mention cotton raincoats and parkas for those chilly days.

TO ROBERT

Raf Simons made his return to Pitti Uomo in its proper, trademark way; he transformed Florence´s Stazione Leopolda into a 90´s inspired warehouse, "equipped" with electronic music, some coloured spotlights and an extent of distressed old mannequins turned into installation, showcasing a range of the brand´s past, iconic pieces, a sort of celebration for the brand´s 20^th anniversary. In that atmosphere, accentuated by the music from the "King Arthur" opera, Simons presented a collection that was not only inspired by Robert Mapplethorpe´s work, but was actually a true-homage to this giant of modern American photography, known for his really striking black and white images, among them loads of self-portraits, nudes, still lives and New York´s underground BSDM scene of the ´60s and the ´70s.

"I was contacted by the foundation, usually it’s me contacting the artists," Simons said right after the show. "They wanted to see if these could be transported to another field or medium."

The designer had free access to Mapplethorpe´s complete archive. He selected several images from different periods of the photographer´s career, including portraits of Patti Smith, which he used as prints on every single outfit presented on a runway. The result is a collection evoking New York underground mood, made of oversized cotton shirts, apron skirts over slim pants, apron tops and oversized, distressed sweaters with a very low neckline, revealing photo-prints featured on tops.

SOFTENED RIGOUR

We all have in mind the “less is more” while thinking about the aesthetic of Jil Sander, as a brand and not only. Rodolfo Paglialunga did, in terms of that, a masterly work this time. Not that the winter collection was less, but in the matter of Sander codes, this one is a true winner. He maintained that known essential, elegant and rigorous aesthetic of the brand, made, yes, by sharp silhouettes, but put aside the stiffness part and opted for a more comfortable ease. The collection, mostly composed by monochromatic assemblies, is a nice mixture of cool sportswear, boxy suiting and a touch of utilitarian, where you can among other find oversize A-line cut trenches, jackets embellished with multiple pockets and flood-cut trousers, not to mention the pieces with a charming twist, like outfits featuring an ombre effect, green and blue, or a charming blurred floral print seen on jackets, pants and suits. You need a cherry on a top? We got it! There are lovely rolled leather lunch-bag purses that were carried by hand. 

CONTEMPORARY AND FIERCE ELEGANCE

Extreme contrasts merged together in the same collection seems to be a common way to build a collection for many creative directors lately, regardless if it´s womenswear or menswear. Kim Jones in his fifth year at the French lux house re-explored his childhood in Kenya and Botswana that was his main source of inspiration for his debut collection at the brand. This time he used a traditional detailing from safari jacket and reinterpreted it in various tailored pieces to build a collection where, yes, the Saharan shades are predominated, but the whole travel and exotic spirit metaphor is "chilled" by a touch of eccentric, punk-inspired elements, patterns included, to turn the whole luxury experience into a contemporary and fierce elegance. 

THE SOFTER SIDE

Madame Woo and her daughter Katie Chung were interested into showcasing a delicate, softer side of masculinity for the brand´s S/S 2016 collection, made of loads of fluid clothes. Their key reference was artist LeWitt and his wall drawings, seen mostly in pieces with graphic, geometric patterns combined intriguing with classic menswear ones like pinstripes and checks. That was not only contrast present, actually through the whole collection was a constant a play with them, like in contrasting fabrics, combining for example heavy cotton and soft silk or uniting tailored pieces with oversized, fluid ones.  

MULTI-BRAND-ING

Demna Gvasalia continues to surprise. For the S/S 2017 he maintained the tailoring in huge proportions, especially coats, jackets and shirts, as also that underground, Margiela-ish flavour. So where is the surprise, you may ask? He built this collection, subverting any norm or so called "fashion aesthetic rule", through various collaborations with really iconic brands, such as Brioni that produces menswear, Champion, Canada Goose and Sergio Tacchini who are into sportswear, one and only Levi´s denim, bomber and biker jackets of Perfecto, Schott and Lucchese, Juicy Couture famous fashion tracksuits, while the footwear was up to Manolo Blahnik, Reebok and Dr. Martens. Yes, you read it right. Each was in charge to design and produce outfits for Demna, of course in the aesthetic canons of Vetements.

IN SHORT

Is it possible to recap this 59-looks menswear collection in just few lines? Absolutely. A tonal patchwork-play, patterns based on photo floral tapestry, camouflage, deconstruction and different knitting technique, flowing silhouettes are key ingredients of DriesVan Noten S/S 2017 collection. We are especially fond in very roomy high-waisted pants, his well-known belted trench coats and most of the outwear that feature asymmetrical closures.

RELAXED RIGOR

Can you imagine contrasts like the Buddhist monks` "uniform" and the military clothing to join together in a new, harmonious unity? Take a look at this menswear collection by Lucio Vanotti, where the relaxing-side goes handy by hand with the rigorous one, if you are not convinced.  The result is an almost raw-purity defined by the ankle-length roomy coat or the she same length, double breasted bathrobe-like one clinched at the waist by a leather belt, oversize varsity wool jacket, while the other are lean and long, some of them sleeveless worn over narrow trousers, shorts or wide-leg ones. 

EASY CHIC

Even though the oversize white T-shirts with an “IN” written on in big capital letters (designed and produced by the artist Wolfgang Tillmans) that many fashion show attendees wore, as also the designer itself urging people to register to vote to remain in the EU, didn´t help, Patrick Grant reconfirmed again something that was never doubtful; he knows how to dress a modern man, making it look very chic even with a pair of his bellowed high-waist short-shorts and a roomy shirt. This 24-look collection in very elegant, Armani-type colours got everything that a man is looking for, those quintessential garments like oversize shirts and tops in crisp cotton or linen, wide jackets in rounded shapes, denim pieces and his well-known high-waist bottoms. The only thing here that maybe tries you, dear men, to dare are those white or black Mary Janes, but they put an extra thumbs up to every look in my opinion.

INFINITIVE SHADES OF GREY

Patrick Grant delivered for winter another great collection of gentleman´s sportswear and supersized chic tailoring. In his collections you can find everything for any occasion; business-job side checked, as well as sporty-casual free time, not to mention the classy evening wear. Everything is super-classy and with that Saville Row proud (legitimate) attitude, but also very fresh and young. You just need to know where to start; is from oversize and enveloping coats, as wool and cashmere trenches, double-breasted coats, parkas, bombers and chesterfield coats? Are the single-pleated roomy pants, as well as roomy shirts or are the heavy knits? From anywhere you choose to start among these infinite shades of grey, it will be a good one.

IMPECCABLE MILLER

Matthew Miller´s F/W 2016/2017 “Nouveau Riche” collection was a great juxtaposition between the modern minimalism and the arty-touch of the past. His well-known flawless tailoring, here seen in single –breasted suits and long coats are mixed with some urban, like bomber, biker or aviator jackets, while other pieces are elevated with some art-homage. Caravaggio´s David and Goliath print on raw-hemmed coat and t-shirt is a true cherry on the top of this collection, which may few (rare) individuals find it “safe”, but for me is a really impeccable one!