ray-ban.exe | the digital awakening campaign

The decades-long conversation between adidas and Yohji Yamamoto remains one of the most reliable forces in fashion. For Spring/Summer 2026, Y-3 returns with Chapter 1, a collection demonstrating that the Master of Shadows still has much to offer in the language of black and white.

While recent seasons have seen the brand experiment with visceral nature prints and oxidation, SS26 marks a return to the quintessential monochrome palette that defines the Y-3 uniform. However, the absence of colour is not an absence of interest. Instead, the collection trades pigment for structural rebellion.

The standout innovation of this chapter is genuinely interactive: the new wired Three Stripes. Integrated into the garments with pliable wiring, the wearer can contort, twist and sculpt the silhouette themselves, effectively handing the final design authority back to the individual – a principle Yamamoto has championed in his mainline collections for decades.

The apparel balances volume and protection. Padded bomber jackets provide a structured armour, sitting alongside the brand’s signature flowing cargo trousers. In a nod to the wabi-sabi aesthetic of Yamamoto’s archives, raw-cut details are left exposed, offering an expressive imperfection that contrasts with the clean, clinical lines usually associated with sportswear.

It’s a sensibility that long-standing collaborator Oscar Foster Kane captures perfectly, having shot the lookbook with a distinctive focus on the dynamic interplay between the clothing’s rigid structure and its flowing movement.

In terms of footwear, the hybridisation on show for SS26 is particularly sharp. The headline act is the reimagining of the Y-3 GSG9. Taking the legendary tactical boot designed for the German special forces (Grenzschutzgruppe 9), the brand has softened and subverted it with delicate brogue detailing – a fantastic, jarring clash of military utility and gentleman’s formalwear that encapsulates the entire Y-3 ethos.

Elsewhere, the icons get an update. The Y-3 STAN LOW PRO offers a brutalist, angular take on the classic Stan Smith court shoe, while the running category is bolstered by the Y-3 ADIZERO RC6, pulling adidas’ top-tier marathon technology straight onto the street. All-time favourites like the NIZZASTAR HI, the TOKYO and the REGU LOW make a return, rounding out the collection.

Y-3 Spring/Summer 2026 Chapter 1 is available now online and at select retailers.

photography. courtesy of Oscar Foster Kane
words. Gennaro Costanzo

As the days shorten and temperatures drop, it signals the start of the season for sophisticated gatherings – be it a glittering Christmas party, a black-tie event or the main event: New Year’s Eve. For these moments, Ferragamo has curated a Holiday 2025 collection that focuses on sharp tailoring and luxurious textures, ensuring every entrance is suitably stylish.

The accompanying campaign, ‘Rewind the Future’, captures the holiday season’s essence with the nostalgic charm of the 90s. VHS-style clips reveal the fashion around and beneath the table inside a cosy, warmly lit chalet, evoking the intimacy and shared traditions of that era.

The festive wardrobe offered by the House centres on silhouettes that are both timeless and modern. For evening, elegant dresses are executed in liquid silk and rich midnight velvet, designed to catch the light beautifully. Meanwhile, the men’s offering balances modern cuts with exceptional fabrics, featuring razor-sharp suits in deep seasonal colours, perhaps a rich emerald green or classic oxblood polish, providing a refreshing alternative to traditional black.

To anchor these looks, the accessories are essential evening armour. The beloved Hug Bag, a signature of the House, returns in miniature and clutch variations, perfect for evenings where only the essentials are required. These pieces are rendered in luxurious materials like shimmering metallic finishes or bold crimson red patent leather, ideal for adding a crucial pop of festive colour. The smaller Wanda Bag, structured and sleek, also features heavily, often finished with delicate jewellery-like hardware.

The shoe selection offers an interesting contrast between signature femininity and traditional craftsmanship. For women, the classic Vara shoe with its iconic grosgrain bow remains the gold standard, now reimagined for the season. It appears in materials like sumptuous velvet or a shimmering glitter finish, solidifying its status as a foundational piece for feminine grace. 

For gentlemen, the Tramezza shoe represents the pinnacle of shoemaking. This line is Ferragamo’s most revered, built using a complex, hand-stitched technique that incorporates a thick leather layer (the trammezzo), ensuring superior quality and enduring style, often presented in deeply polished calf leather suitable for any formal affair.

The Ferragamo Holiday 2025 collection provides the perfect toolkit for navigating the social demands of the winter season.

Discover the collection here.

photography. courtesy of Ferragamo
words. Gennaro Costanzo

For Pre-Autumn 2026, Erdem Moralioglu has found a muse who perfectly disrupts the prim-and-proper narrative the brand is so often associated with: Maud Wagner.

If the name doesn’t ring a bell, the visual certainly will. Wagner was America’s first known female tattoo artist, a circus aerialist and contortionist from the Belle Époque who not only performed but also turned her own body into a living gallery. At a time when women were laced into corsets and silenced, Wagner was covered neck-to-ankle in ink, trading the Victorian parlour for the tattoo parlour.

It is a delicious contrast for Erdem, a designer who usually deals in polite florals and historical romance. But here, he draws a sharp, clever parallel between the needle of the tattoo machine and the needle of the embroiderer. 

For this collection, the decoration feels etched into it. The tattoo-like motifs appear as tiny emblems of memory and mark-making, featuring classic American traditional designs like swallows, nautical anchors, and blooming roses, rendered not in black ink, but in meticulous micro-beadwork or delicate chain-stitching.

To prevent the Belle Époque silhouette, with its typical high necks and subtle S-curve structure, from feeling heavy, Erdem looked to the photography of Jacques Henri Lartigue. Lartigue was renowned for capturing life in motion – early race cars, leaping figures and women braving the elements.

That sense of ‘wind-caught’ immediacy is stitched right into the seams. The collection features pleated ruffles that look like they’ve just been whipped up by a gust of wind and skirts that feel lifted mid-motion. The shapes shift fluidly from the structured to the elongated, echoing the social loosening of the era itself.

It’s a particularly poignant collection as it also marks a moment of introspection for the House, revisiting signatures from the past twenty years. But rather than a dusty retrospective, this feels like a remix. By channeling Wagner’s rebellious spirit and Lartigue’s kinetic energy, Erdem proves that while style might be ephemeral, the stories we write on our bodies – and our clothes – are permanent.

Discover the collection here.

photography. courtesy of Daniel Archer 
words. Gennaro Costanzo