sandro x clarks originals | the autumn/winter 25 collection

On stage, Hongjoong is the all-seeing Captain of ATEEZ – the K-pop group conquering global stages with a ferocious, pirate-king energy. A composer, rapper and performer, he’s known for an intensity that borders on feral. But for his first solo fashion film, ‘Petit Coussin’ (Little Cushion), Hongjoong trades that fire for something gentler – an introspective, deeply personal exploration of childhood memory.

The project marks his official debut as a creative designer, unveiling 24 original looks of his own making. Shot in Seoul, the film transforms a simple, sandy playground into a dreamlike runway for teen models. Told through four chapters, from dawn to night, it unfolds as a “poetic blend of music, fashion and memory,” tracing the slow rhythm of growing up.

Each of the 24 looks channels that nostalgic, day-to-night narrative. Silhouettes are soft and free, designed with a childlike sense of wonder but executed with precision. Gentle corals, mellow blues and muted pinks meet bursts of emerald and yellow-gold. A structured military jacket is softened with crystal embroidery; tulle skirts float over tailored shorts; and playful floral prints dance across loose-fit trousers. It’s an elevated children’s capsule, balancing sharp tailoring with the joy of movement and imagination.

The heart of ‘Petit Coussin’ lies in its inspiration – a direct homage to Hongjoong’s own past and his mother’s children’s clothing store. It’s what gives the project its authenticity, separating it from the usual celebrity design experiment.

For longtime ATEEZ fans, this creative turn hardly comes as a surprise. The group, known for their cinematic storytelling and explosive performances, has always had Hongjoong at its artistic core. Beyond composing and producing much of their music, he’s long been known for reworking and customising his own stage outfits, often with the precision of a couture atelier. ‘Petit Coussin’ simply expands that instinct into an entire visual world.

And while ATEEZ’s rise shows no signs of slowing – from making history as the first male K-pop group to perform at Coachella, to scoring two Billboard Hot 100 hits – ‘Petit Coussin’ represents a different kind of triumph for Hongjoong. It arrives just as the group prepares for their 2026 ‘In Your Fantasy’ world tour, a moment that perfectly mirrors his dual identity: performer and designer, global star and sentimental craftsman.

Discover more here.

photography. courtesy of KQ Entertainment
words. Gennaro Costanzo

How do you even begin to touch the Lady Dior? A bag so iconic it’s pretty much royalty. A fun fact: it wasn’t even called the ‘Lady Dior’ to begin with. It was the ‘Chouchou’ (French for ‘favourite’) until 1996, after France’s First Lady gave one to Princess Diana, who proceeded to make it the most famous handbag on the planet.

To reinvent a bag with that kind of history, you need a new vision. And for his first major accessories campaign, Jonathan Anderson has signalled his new era by casting the most compelling, art-house-adjacent women working today: the unnervingly brilliant Mia Goth, ‘Anora’s breakout star Mikey Madison and the woman who defined the last decade of indie chic, Greta Lee.

With a cast that sharp, Anderson’s move is even smarter. He’s made the Lady Dior personal and charming. Arriving in January 2026, his new mini versions are reimagined as lucky talismans, a witty wink to both Christian Dior’s famed superstition and Anderson’s own Irish roots. The Mini Lady Dior Clover comes scattered with embroidered four-leaf clovers and a tiny red ladybug.

The Mini Lady Dior Buttercup is even more of a craft-lover’s dream, featuring 3D, bright-yellow buttercups blooming from the cannage quilting. The masterstroke, however, is the tiny embroidered bee – a classic House emblem – seen gathering pollen from one of the flowers. It’s this blend of archival reverence (the cannage pattern itself is a nod to the Napoleon III chairs from Dior’s first show) and a surreal, playful touch that is pure Anderson. The ‘D, I, O, R’ charms still swing, but the bag is now, unmistakably, his.

Discover more here.

photography. courtesy of David Sims
words. Gennaro Costanzo

After taking us on a stargazing trip during Paris Fashion Week, the world of Chanel has sailed back to the shores of Lake Como, transforming the legendary, Renaissance-era Villa d’Este into the setting for its new Cruise 2025/26 collection campaign. Unfolding in a series of cinematic vignettes, the imagery, captured by the sensitive lens of photographer Mario Sorrenti, is a direct and glamorous continuation of the show presented earlier this year – a veritable ode to resort chic, hotel life and Hollywood-level escapism.

The campaign, featuring models Alix Bouthors, Ida Heiner and Xu Wei, embodies the elegant, carefree spirit of a dream holiday. It channels the mood of the Villa d’Este itself, a historical playground for cinema legends from Greta Garbo to Elizabeth Taylor, and a location that inspired director Sofia Coppola’s own short film accompanying the original show.

The collection operates in two distinct, yet harmonious, movements, covering the lightness of day and the sparkle of night.

The daytime wardrobe begins with a notable softness and insouciance. Chanel’s codes are playfully reinterpreted for sun-drenched afternoons: a classic ecru tweed coat is belted casually, resembling a chic dressing gown draped over a swimsuit. The iconic Camellia, a House emblem, adorns a pale yellow denim ensemble, subtly studded with pink beads to catch the light.

Nautical cues are present but refined: stripes, running either white on navy or terracotta on a cotton polo, punctuate afternoons by the water. The classic two-tone aesthetic is softened into fluid pieces, such as a relaxed tunic and trousers in white and navy silk, perfect for boat trips on the lake. The Chanel silk satin scarves, seen styled throughout the campaign, are reissued from the archives of Mantero, the storied Italian silk specialist that has partnered with the House for over 50 years.

As the Italian light fades, the collection shifts seamlessly into glamour and celebration. The evening silhouettes become more precious, built on a structure of dramatic contrast between iridescent whites and pure blacks.

Precious materials come to the fore: a short black and white lace dress is designed to capture the low light of a summer evening, while a striking leather dress reveals the back and shoulders with a sculptural, confident poise. These pieces reflect the ‘joie de vivre’ and Hollywood charm that was so palpable during the original Villa d’Este runway presentation back in April.

The visual score is intensified by the accessories, which are, as always, synonymous with a high-end getaway. The models are grounded in elegant patent leather mules and shielded by oversized black sunglasses. For practical luxury, there are large, woven raffia totes designed for poolside lounging, contrasted with miniature Chanel 25 bags rendered in an incandescent, sun-drenched yellow.

The Cruise 2025/26 collection is now available in boutiques. Discover more here. 

photography. courtesy of Mario Sorrenti for Chanel
words. Gennaro Costanzo