h&m x e.l.f. | make it make scents

Julian Klausner is clearly in his feels for his second outing at Dries Van Noten, and understandably so. “I wanted to praise the joy of new beginnings,” he wrote in the show notes, “the unfolding of possibilities; the naivety and the honesty of the first experiments with self out of the comfort zone.” Six months on from his June beach presentation, where graduates celebrated at dawn, this collection imagined them leaving home – packing bags, catching trains with spirits full of promise.

Titled ‘Yo Ga Aketara’ or ‘When Dawn Breaks,’ the Autumn/Winter 26 collection is a beautifully messy tribute to that specific coming-of-age era; of the bravery it takes to step out of your comfort zone, carrying nothing but a suitcase full of friendly clothes and a few inherited trinkets. The 1969 track by Maki Asakawa also set the pace, playing throughout the show. 

You have the tailored strictness of old-school uniforms clashing against oversized fatherly coats and mother’s blurred florals that look like they were snapped on a vintage Polaroid. The proportions are delightfully unhinged too, playing with a “too tight, too big, a bit short” energy that perfectly captures the awkwardness of growing up.

Knitwear is the real MVP of this collection, appearing in every possible form from chunky FairIsle patterns to nostalgic argyles and stripes. It is all rendered in an ‘intuitive impasto’ of textures that stays true to the Dries legacy, using a palette of moody greys and blues that gets a sudden, sugary jolt from ‘Fruitella pastels.’

Klausner approaches styling here in a way that doesn’t feel planned, specifically with what he calls “knotting as a gesture with intention.” Whether it is a scarf tightened for warmth or a necktie left loose and rebellious, it feels like a genuine reflection of a character in flux.

The accessories really drive the wanderer narrative home. Models were adventuring on the go in flat sneakers and hi-top boxing shoes, hauling oversized laundry bags and school satchels that looked heavy with secrets. Closely, you could spot patchwork knit hats, attentive/nerdy eyeglasses and inherited trinkets, like fishing lure pins and semi‑precious lucky charms, which gave a sense of personal mythology. As Klausner says, it is all about the “unfolding of possibilities.” 

Discover the collection here.

photography. courtesy of GoRunway
words. Gennaro Costanzo

C.P. Company has never treated the city as a backdrop. For Autumn/Winter 2026, the Italian sportswear institution approaches it as terrain. If the daily commute feels closer to survival sport than lifestyle fantasy, this season understands exactly why, offering a simple proposition: clothes should function like infrastructure.

The Metropolis Series, which is being extended over its Spring/Summer starting wardrobe, is the sharp end of this philosophy. It treats urban wear as a field of research, resulting in pieces that feel like a technical extension of the individual, almost like a shield.

Nano Titanium returns as a defining fabric thanks to its split fibre construction finished with a corrosion-resistant coating that gives jackets and overshirts a dark, industrial sheen. The material is enhanced with the brand’s Re-Colour treatment and paired with a detachable felt inner layer for modular warmth. That technical focus continues through Micro-Tek styles, where a mechanical stretch micro rip-stop is developed using recycled and bio-based yarns, balancing structured surfaces and deep colour development.

Details are precise and considered: concealable hoods, zip gaiters at the hem and internal pockets secured with hook-and-loop fasteners that disappear when not in use. But it is not all cold industrialism. The mainline collection softens that severity through texture and material play, anchoring innovation in the brand’s utilitarian lineage.

The Aramid Type-C Explorer Jacket is the undisputed winner of the season. Constructed from a lightweight aramid fibre usually reserved for aerospace and highly resistant to tension and heat, it features a distressed film overlay and is limited to just 200 pieces worldwide. It sits alongside the new Gore G-Type, a garment-dyed spin on Windstopper, and Wool-HT, which mixes resin-coated wool with cowhide and crinkled sheepskin to update the iconic Goggle and Mille Jackets.

C.P. Company is also showing off its alchemy skills with the expanded Re-Colour treatment. This is a process where pieces are dyed and then overdyed using pigment-soaked cotton scraps, depositing dusty, tonal variations on the surface that make brand-new down jackets look beautifully lived-in. There is even a nod to the archives with the return of the legacy logo – a 1971 design by the godfather of urban sportswear, Massimo Osti, inspired by the typography of the Bristow comic strip.

Unveiled at their new showroom on Rue des Archives in Paris, the collection launches alongside the second chapter of ‘Behind The Seams’. This community project traces the journey of the garments from the Bologna archives to the R&D lab, proving that while the tech is futuristic, the culture remains very much human.

Discover the collection here.

photography. courtesy of C.P. Company
words. Gennaro Costanzo

If only the walls of a Laurel Canyon mansion could talk, they would probably ask for an NDA, but since they can’t, Mike Amiri has decided to let the clothes do much of the storytelling. For Amiri Autumn/Winter 2026, the designer took us on a trip up the Hollywood Hills to the hazy, golden era of the 1970s. 

Hosted at Le Carreau du Temple, the show space was transformed into a luxurious, careworn den that set the tone for a collection obsessed with intimacy. Mike Amiri calls it the “sweet spot” between the stage and the street, and in all fairness, he has nailed the artist’s uniform this season.

“For me, men’s formalwear is most interesting when it feels effortless and personal. I love the idea of artists wearing tailoring in an informal way,” he notes. Last season’s Club Amiri provided a clear starting point but, this time, the vision is even more refined.

We are seeing tailoring that refuses to be rigid, with blazers thrown over trendy Henleys and boots swapping in for dress shoes. It gives major shared-wardrobe energy, where boyfriend suits are actually borrowed by girlfriends and delicate embroidered knits drift seamlessly between the men’s and women’s racks.

Denim becomes one of the collection’s underlying heroes. Jeans are flocked with velvet, bleached and softened, or finished with intricate embroidery that feels almost jewellery-like in its placement. Some are cut with a lived-in looseness, others sharper through the leg, but all of them carry that slightly worn, much-loved quality Amiri does so well. The palette looks like it has been left out in the California sun just long enough, moving through deep merlots, dusty sage greens, vintage-tinged blues and washed-out mints.

American classics styles, such as western wear, officer’s jackets and leather, are given the much needed modern high-luxury makeover. The accessories follow the same logic, with the Honey bag and the East-West Pouchette reconsidered for a modern itinerary, alongside recalibrated western boots that are ready for a little stomp.

Amiri Autumn/Winter 2026 felt like a wardrobe for the main character in a biopic that hasn’t been written yet. As Mike Amiri said, the closer you get, the more you feel.

Discover the collection here.

photography. courtesy of Amiri
words. Gennaro Costanzo