GET THE LOOK:
BLAZÉ Milano Jealousy Cotton-velvet Jacket
AGOLDE Delphi Ribbed Jersey Top
Magda Butrym Lace-trimmed Silk-satin Midi Skirt
Ancient Greek Sandals The Slipper Satin Mules
Julian Klausner delivered his strongest solo outing at Dries Van Noten to date. The autumn–winter 2026 menswear collection radiates the youthful spirit of student days, when anything seems possible: drifting from one party to the next, cramming for exams at the last minute, and handing in papers a day past the deadline. The naturally cool spontaneity of a vintage-inspired striped sweater paired with a kilt, a hilariously kooky chullo-like beanie, and lace-ups with thick socks peeking out is intoxicatingly inspiring. So, too, is the campus-inflected layering: oversized capes worn over prim, uniform-like tailoring and neatly knotted neckties.
Yet this was not a collection about preppiness. I found it beautifully folkloric instead. Nordic knitwear patterns clashed with subtly faded, sensational Polaroid-like florals on satin trousers and raincoats. These are life-affirming clothes – and styling cues – that make you feel young again, no face-lift required.










Dries Van Noten Double-breasted Embellished Striped Wool And Linen-blend Coat
Dries Van Noten Nylon and Leather Low-Top Sneakers
Dries Van Noteb Pine Straight-Fit Flocked Denim Jeans
Dries Van Noten Hen Oversized Graphic T-Shirt
Dries Van Noten Velen Embellished Jacket
Dries Van Noten Rock The Myrrh Eau de Parfum
Collage by Edward Kanarecki.
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LOEWE Leather-trimmed Cotton-blend Peplum Jacket
Golden Goose Kim High-rise Boyfriend Jeans
Grazia and Marica Vozza Yellow Chalcedony and Tiger’s Eye Fish Pendant Necklace
Chloé Susanna Studded Leather Ankle Boots
Gabriela Hearst Large Crossover Knit Bag in Red, Orange & Yellow Cashmere
Rick Owens’s latest collection? Hard as ice-cold metal, raw as Kim Gordon’s newest song, emotionally explosive like a Lynne Ramsay film – yet, at the same time, utterly and devastatingly beautiful. This season, the designer was invested in the idea of uniforms: they command presence and provoke threat, but once mocked, they can easily tip into something almost hilarious. It was therefore intriguing to see how Owens reimagined hyper-masculine utilitarianism within his twisted universe, where darkness functions as the true source of light.
The athletic models appeared even more otherworldly in elongated, skin-tight silhouettes, ornamented with floor-sweeping tentacles, razor-sharp shoulder pads, and origami-like constructions that quite literally enveloped the wearer. Color-washed, cropped gothic cashmere coats took on a grunge edge when paired with stone-washed pants, while Rick’s signature high-platform boots pushed each look into even more extreme, radical territory. It’s a tough world out there, and Owens designs clothes that protect you – physically and mentally – from the harsh detriments of reality.
Rick Owens Jumbo Tabard Silk-chiffon Turtleneck Blouse
Rick Owens x Dr. Martens 1460 Quad Sole Megalace Leather Ankle Boots
Rick Owens Triple Donut Convertible Cashmere Sweater
Rick Owens Cropped Bleached Brushed-cotton Bomber Jacket
Rick Owens Satin Wide-leg Cargo Pants
Collage by Edward Kanarecki.
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On the stage of the Opéra Bastille, the Lemaire troupe emerged in small configurations, each representing different themes and attitudes across the collection. One model moved a chair; another wandered into the audience; and then there was dancer Julie Anne Stanzak, who gleefully leapt and twirled in a floaty yellow dress while clutching her pumps. Theatrics aside, this was a quintessentially Lemaire collection, defined by “a very pragmatic approach to clothes,” as Christophe Lemaire and Sarah-Linh Tran stated. It is grounded in the everyday – somewhere between the utilitarian and the functional – yet at the same time unmistakably chic. Whether a quilted skirt that converts into a cape, a sculpted bag shaped like buttocks, or the dramatic insertion of impressionistic colour layered into earthy tones, Lemaire’s pieces are designed to be worn, loved, and lived in.
Collage by Edward Kanarecki.
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