osoi pre-autumn 2026 | iconoclasm

Mark Kean for COS.

New York Fashion Week has not even started yet and COS is already making itself at home. Ahead of its return to the official NYFW schedule this September, the London-based brand has released its Autumn/Winter 2026 campaign, handing Park Gyuyoung, Awar Odhiang and more the keys to a distinctly monochrome version of the city.

Photographed by Mark Kean and styled by Jane How, the campaign stars the South Korean actor and COS global ambassador alongside Odhiang, Leon Dame, Malick Bodian, Jacqui Hooper and a wider cast of familiar runway faces and newcomers. New York makes a fitting backdrop for the campaign, particularly as COS prepares to return to the city following its Spring/Summer 2026 presentation in Seoul.

Autumn/Winter 2026 takes an understated approach to colour, working primarily with black and white before flashes of purple interrupt the palette. Fabric and textures do much of the talking, with cashmere, wool, leather and suede appearing throughout, while pinstripes bring an old-school tailoring reference into the mix and delicate floral embroidery introduces a softer note.

Mark Kean for COS.

Mark Kean for COS.

Gyuyoung wears some of the collection’s key womenswear looks, where tailoring arrives with more room to breathe. Double-breasted shapes appear across blazers, dresses and floor-skimming coats, while a leather blouson is layered over fine merino knitwear and streamlined stirrup leggings. One particularly good shirt takes the familiar white cotton button-down somewhere smarter, with a tuxedo-inspired wing collar, sharply pressed French cuffs and enough sophistication to make an ordinary office shirt reconsider its life choices.

Menswear takes a similarly considered approach to wardrobe staples. A waxed-cotton trench gives the classic coat a weather-ready update, while a richly grained leather flight jacket adds a more substantial finish to the season’s outerwear. Relaxed tailoring and fluid silhouettes run throughout, giving the collection structure without making anyone look as though they have been sewn into their clothes.

Mark Kean for COS.

Mark Kean for COS.

Mark Kean for COS.

The campaign arrives ahead of COS’ runway presentation on 13 September, where the brand will return to New York Fashion Week as part of the CFDA schedule following its last season presentation in Brooklyn.

For now, the campaign offers the first official look at where COS is heading for the new season: big coats, richly textured leather, pinstripes, flashes of purple and black-and-white dressing with considerably more going on than the colour palette initially lets on.

Discover more here.

photography. courtesy of Mark Kean for COS
words. Gennaro Costanzo

James Cochrane.

By Malene Birger is back. Under the creative direction of Emilie Martinsen-Kønigsfeldt in conjunction with Head of Design, Sydney Roark, after a six-year absence, one of Denmark’s leading brands has returned to the runway. Since the eponymous designer left the helm of the brand she built out of her home more than two decades ago, for a simpler life as an artist, the quiet luxury empire seemed to be involved in a game of musical chairs. Re-envisioned by a revolving door of creative directors, each offering their own version of By Malene Birger’s next chapter.

After the swift exit of former Head of Design, Søren Le Schmidt last summer, Martinsen-Kønigsfeldt was tasked with finding a worthy successor. Originally from California and educated in Italy, Roark had already spent five years on the By Malene Birger design team, playing a pivotal role in bringing the brand into its current era.

James Cochrane.

James Cochrane.

An era of tassels dancing on coats, fabrics playing in the wind and black broderie anglaise peeking out from sleeves. While these clothes were meant to re-introduce the tried-and-true affections of established house codes, they were also tick marks of Roark’s bona fide design skills, not aiming to reinvent the wheel but perhaps create a generational bridge. A collection of staples to be passed down and re-fashioned in the youthful sheen of a gold dress, for example, kissed by the sun at golden hour. The collection’s colour palette of gold, white, blush, beige, brown and black was in keeping with the brand’s bohemian meets polished oeuvre. Although I think this new By Malene Birger woman may be more fête than free love.

James Cochrane.

Guests were bused out to Friheden, a private park and estate, roughly thirty minutes outside of Copenhagen, and were greeted by champagne and handwritten seating cards, set along a winding gravel path alongside the splendour of vast manicured greenery and the quiet tranquillity of a nearby pond. Models fittingly walked to sounds by DJ Christian D’Or, including Caribou’s ‘Sun’ just before sunset, with Danish supermodel Mona Tougaard closing the show.

Officially untitled, the Birger team crowned the collection a homecoming. I think it fits.

Discover the Spring/Summer 2027 collection here.

photography. courtesy of James Cochrane
words. Malcolm Thomas

Bea Vanhala.

“Everyone will be able to get in. I promise!” screamed one of Iamisigo’s Spring/Summer 2027 show organisers over the wall-to-wall crowd at The Lab, as guests waited outside of the show’s doors. While they waited, dancer Maji Miyake-Mugler provided plenty of entertainment, as she performed aerial tricks in platform heels with a pole in the centre – marking herself in chalk and paint along the way. While creative director Bubu Ogisi’s recent show, ‘Sacred Ecologies,’ like shows of the past, was a feat of avant-garde technique and dramatic showmanship, an adjective Ogisi holds dear when discussing her work, it is also a continuation of a narrative of indigenous reclamation.

Founded in 2009 and based between Lagos, Nigeria, Nairobi, Kenya and Accra, Ghana, Iamisigo describes itself more as an art practice than a Westernised version of what a traditional fashion brand should be. The practice is a best-in-class sampling of West and East African craftsmanship. Lauded as a 2026 LVMH Prize semi-finalist and a 2025 Zalando Visionary Award recipient, Iamisigo has been the only brand of its kind to show on the Copenhagen Fashion Week calendar.

​“It’s representing myself, but also, outside of that, experimenting with showing people a new perspective on where I am from. It’s not only about me being here. It’s also about me being here to draw people back to where I’m coming from,” says Ogisi.  

Bea Vanhala.

Bea Vanhala.

Bea Vanhala.

​Inspired by the fiction novel, ‘Wizard of the Crow’ by Ngũgĩ wa Thiong’o, the collection’s framework is built around a deeply rooted social ecological consciousness. “The focus was mainly how to reverence the land in everything we create,” says Ogisi. This was consistent with the construction of the collection, which consisted of banana fibres, wooden beads, sisal, recycled aluminium and glass from across the African continent, using natural dyes and woven in Kenya; nothing was left to waste, including the visuals.

​And when those metal sliding doors did finally open, a scene lay before the show’s guests. One by one, as if awakened from a spell, models leisurely stepped up to a podium. Styled by KK Obi in looks one more fantastical than the next – a nude textured coat with lattice crocheted trousers, a beaded cape and matching bucket hat under a wedding veil, with a similar style available in black, a circle-shaped dress and skirt set, a metallic paillettes matching mermaid skirt, bag and top reminiscent of knight’s armour. The pieces took form, becoming living, breathing organisms with bodies inside them.    

Bea Vanhala.

Bea Vanhala.

​“I think for me everything has to be so maximalist,” says Ogisi. “We need to give ourselves this idea of adornment,” she continues, comparing maximalism to spiritual alignment.  

​This is the essence of Iamisigo. A kind of mad fashion fervour that happens when the heart captures the imagination.

Discover the Spring/Summer 2027 collection here.

photography. courtesy of Bea Vanhala
words. Malcolm Thomas