Harry Nuriev and Crosby Studios have long occupied a particular position in contemporary design. Their work spans architecture, fashion, hospitality, and cultural programming, each project marked by a distinct visual language and conceptual rigor. Earlier, DSCENE sat down with Nuriev for an in-depth interview that explored the studio’s evolution and vision. Now, the Paris and New York-based practice is making a significant move: opening a permanent exhibition at Chelsea’s High Line 9 that also marks the studio’s first foray into retail.

Running through July 19, “Home of Football: Home & Away” is a curatorial and architectural undertaking developed alongside the curatorial collective Air Afrique and the platform Home of Football. It is an unusual exhibition in that it does not simply display artifacts but rather recasts them within a fully realized spatial environment, asking fundamental questions about how we experience cultural history and, more broadly, what role sport plays in shaping identity and creativity across borders.

The Architecture of Sport

At the core of the exhibition sits a collection drawn from The Manzano Heritage Collection, an archive of over 60 match-worn jerseys, trophies, photographs, and rarities from football’s defining moments. The pieces are substantial: Pelé’s 1958 Brazil World Cup jersey, artifacts from Ronaldo and Brazil’s 2002 World Cup victory, materials from the New York Cosmos era. Yet the exhibition’s power does not reside in the artifacts alone.

Nuriev’s spatial strategy is characteristically conceptual. A grounding mint-green color, referencing the grass of a football field, envelops each of the six thematic chapters. Circles and curves appear throughout the lighting design, graphic systems, and wayfinding, echo­ing both the geometry of the ball itself and the center point of the field from which play originates. It is a vocabulary of abstraction that translates the visual and emotional codes of sport into a contemporary design language. The effect is immersive without being literal, allowing visitors to encounter the memorabilia within a context that speaks to belonging, movement, and gathering as much as to historical record.

“This concept is about the clash between football, fashion, and art culture,” Nuriev said in a statement. “It is a form of cultural transformism, translating the energy and visual codes of football into a new media format that feels open and accessible, not only to football fans, but also to people discovering this world for the first time. The green is a digital version of the football field color, and the circles reference both the ball and the center point of the field, becoming symbols of movement, gathering, and play.”

The Crosby Shop: A New Retail Category

What distinguishes this exhibition is its commercial dimension. For the first time, Crosby Studios is launching The Crosby Shop, a retail concept the studio signals it intends to develop further. This is not a museum gift shop in the conventional sense. Rather, it represents a new category altogether, one that blends curated merchandise with the studio’s design philosophy.

The shop features a carefully selected edit of fashion, skincare, and technology brands, many making their U.S. debut. Among them are Baccarat, Nothing Technology, Rizzoli, Obayaty, La Terra Di Neena, Buddy Buddy, Patricks, Avau, and Hello Klean. The curation reflects Nuriev’s aesthetic and values, presenting objects that operate at the intersection of craft, innovation, and cultural significance.

The retail experience extends beyond traditional merchandising. The space integrates technology from SAP to create what the platform describes as a “seamless, connected fan experience,” linking inventory, real-time availability, and personalized discovery. Additionally, a Balira Coffee café pop-up, curated by Sami Khedira (the former Real Madrid player and World Cup champion), operates within the space, adding another layer of cultural programming.

Crosby Studios was founded by Nuriev in 2014 and has since grown into a global practice spanning fashion retail, hospitality design, private residences, product design, contemporary art exhibitions, and cultural programming. The studio’s client roster includes Nike, Balenciaga, Delta Airlines, Baccarat, Dover Street Market, Gucci, Augustinus Bader, Clive Christian, Caron, Amina Muaddi, Jimmy Choo, Alexander Wang, Delvaux, Valentino, alo, and H&M. Nuriev has also exhibited at the Louvre Museum, Dallas Contemporary, Dittrich & Schlechtriem Berlin, and Sultana Gallery Paris, and has collaborated with artist Liam Gillick and architect Rem Koolhaas’s OMA.

Discover more in our gallery:

View Gallery 22 images

The move into retail, then, is both natural and bold. It represents an expansion of the studio’s cultural platform into a space where design, commerce, and curation converge. It is also, perhaps, an indication of how Nuriev envisions the future of creative practice: not confined to traditional disciplinary boundaries but rather flowing across exhibitions, fashion, hospitality, and commerce with equal conceptual rigor. “Home of Football: Home & Away” is open daily from 9 a.m. to 8 p.m. through July 19, 2026, at High Line 9, Hudson Yards, 507 W. 27th Street, New York. Tickets are available through Fever.

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Restraint has become Saint Laurent’s most seductive weapon. Across Anthony Vaccarello’s Summer 2027 men’s runway presentation, the house doubles down on what it does best: the power of nothing said, nothing worn, nothing left to chance. The show marks the opening day of Paris Fashion Week.

The women’s collection strips itself to essentials. Stone-washed skirts paired with leather blousons create a studied ambiguity, their volume questioning rather than announcing. Vaccarello refuses ornament; instead, construction becomes narrative. Stretch fabrics meet guipure. Couture textiles are distressed. Cigaline silk, printed with Saint Laurent’s animal and floral signatures, submerges itself in silicone, emerging otherworldly and strange. Pointed shoes catch light through satin rose embellishments. Rock crystal jewelry, Yves Laurent’s favored stone, punctuates wrists and ears. The palette is saturated but narrow: Saint Laurent colors held tight, disciplined.

The men’s collection pivots on the same philosophy but finds its anchor in one fundamental directive: buy a suit. Here, Vaccarello excavates the 90s grey silhouette – boxy, structured, Armani-adjacent in its architectural simplicity. A three-button jacket sits higher on the body, worn with narrow flat-fronted trousers or softly pleated legs. Waistcoats and ribbed V-necks emerge not through innovation but through proportion and precision. Athletic blousons materialize in technical taffeta, unexpectedly delicate. Eyewear becomes focal: sculptural, sheer, high-gloss. And sheer pieces—a technical rebellion—resurface throughout, introducing transparency where Saint Laurent traditionally offered opacity.

Gold enters not as luxury’s shorthand but as transformation. The utilitarian trench coat becomes extraordinary, practical yet gleaming. The palette grounds itself in grey, brown, black, beige, then cracks open with flashes of orange, ochre, claret, lime, powder blue, and that insistent shimmer.

Vaccarello invokes Marguerite Duras (meaning in the unsaid), Tina Chow (reduction over excess), and the fictional Mr. Ripley (composure concealing contradiction). These are figures who understood that absence is not empty—it is full of intention.

The presentation itself becomes text. Models move through Fujiko Nakaya’s fog installation, Cloud #07156, emerging and disappearing within luminous mist for sixteen minutes. They are not wearing the clothes in the installation; they are part of it. Presence and absence dance together. What you don’t see fuels what you do.

This is not a rejection of excess dressed up as restraint. It is a genuine reckoning with our compulsion to always speak, always show, always know. Saint Laurent’s message is direct: buy a suit. In a moment of relentless visibility, the house chooses clarity. And in that clarity, desire speaks loudest.

Learn more about Saint Laurent.

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Thom Browne presented Spring 2027 menswear collection at Palazzo Serbelloni in Milan, on June 22, returning to Italy for the first time since 2008. Inside the palazzo, 400 seersucker flowerpots formed Thom’s garden in a grid that echoed the symmetry of the building’s neoclassical porticoes. The set gave the show a visual order, while the collection carried the garden idea into tailoring, color, embroidery, appliqué and fabric.

SPRING SUMMER 2027 MENSWEAR

Browne approached the season through American prep and traditional menswear details, then lightened them for spring. Classic tailoring appeared in windowpane check cool wool, technical nylon seersucker, open weave cotton suiting, grid check wool pique, jacketweight cashmere and madras plaids. Sleeveless bal collar coats, short sleeve sport coats and sac jackets came unlined or half lined, giving familiar forms a warmer weather construction. The designer’s usual grey, white, red and navy gained yellow, green, pink and sky blue, adding a brighter range to his graphic language.

The garden became clearest on the clothes. Embroidered bumble bees climbed over honeycomb, frogs leaped over lilypads, and cricket and ant appliqués glimmered beside dragonfly wings and honey comb embroidery. Browne also used radial embroidery camouflage, bouillon thread work, hand painted checks and floating yarns with fun mix, intarsia and patchwork embroidery. Distressed tipping appeared throughout the collection, pointing to seasonal cycles and the life these garments will see.

Browne kept the decoration tied to house codes. Self tipping, self armbands, shell construction, cotton cricketing and red, white and blue taping gave the collection its familiar structure. Patchworked tailoring materials and fabric manipulation developed those codes for 2027, while large brimmed boater hats trimmed in grosgrain ribbon, translucent checked beekeeper veils and silk rep stripe ties extended the garden theme through accessories.

The lighter layers added another part of the season’s construction. Poplin shirting came with detachable contrast collars and cuffs, layered with fine gauge cotton knits. Outerwear included cordura trench coats, nylon funnel neck parkas, seersucker shell car coats and tech field jackets. Burnished grey leather shaped a structured moto jacket, while a patent leather scout jacket appeared with a coordinating skirt.

For the finale, Browne turned to white. The bride emerged in sharp cotton swiss dot tailoring outlined in grosgrain tipping, wrapped in a tulle veil hand beaded with pearls. The look closed the collection with a ceremonial image of renewal, returning the show to its spring premise. Through 400 seersucker flowerpots, lighter tailoring, garden details and American prep codes, Thom Browne’s Spring 2027 menswear collection brought his core identity back to Italy with fresh growth.

View Gallery 57 images

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OTW by Vans joins UNDERCOVER for a new release that brings Jun Takahashi’s design language to two Vans silhouettes: the Classic Slip On 98 and the Sk8 Hi. The collaboration places UNDERCOVER’s view of fashion, art and subculture inside the Vans universe, with a focus on technical construction, visual tension and familiar footwear forms.

SNEAKERS

The Classic Slip On 98 uses artwork by painter Emma Bennett, turning the upper into a direct surface for image and expression. Her paintings Whence You Came and Ardour appear across the left and right vamps, giving the shoe an immediate graphic identity.

The Sk8 Hi follows a different path. UNDERCOVER founder Jun Takahashi reshapes the high top through his own design vocabulary, using sharp lines and a clean, precise update. Takahashi’s approach brings the shoe closer to UNDERCOVER’s long running interest in street culture, art and music, with a finish that feels direct and considered.

UNDERCOVER gives the collaboration its deeper fashion context. Takahashi founded the brand in 1990, and UNDERCOVER first gained attention in Tokyo’s underground scene. The label built its identity through street fashion, art and music subcultures before moving into high end fashion and presenting collections at Paris Fashion Week. Over more than three decades, UNDERCOVER has reached a global audience while keeping a singular worldview at the center of its work.

The release also arrives as Vans continues to regain momentum. According to Lyst, demand for Vans has risen 38 percent year on year, as skate inspired footwear returns to the mainstream. The same report points to luxury’s renewed interest in similar silhouettes, including Pharrell’s Combi for Louis Vuitton, described as a shape with clear Vans adjacency.

OTW by Vans x UNDERCOVER will launch on June 24. Through the Classic Slip On 98 and Sk8 Hi, the collaboration connects Vans’ skate codes with UNDERCOVER’s subcultural foundation, creating a release that feels precise, graphic and tied to the current return of skate footwear.

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The bedroom is the most personal room in the house. Choosing its colors, fabrics, lighting, and furniture means shaping what greets you in the morning and what surrounds you at night. In 2026, that choice turns toward warmer paint, softer textiles, lower lighting, fuller curtains, and furniture with a lived-in presence.

Bedrooms now feel less like hotel rooms and closer to the people who use them. Matching furniture sets, generic art and identical accessories can make the room feel flat. A mix of old and new pieces gives the bedroom more character.

A vintage chair, framed photograph, handmade vase, stack of books or small artwork can make the room feel personal. These details work best when they have a real connection to daily life. The goal involves warmth and identity, and not decoration for decoration’s sake.

The Bed

The bed is the first major decision. Its size, height, frame, and headboard affect the wall behind it, the scale of the nightstands, the curtains, and the way the room takes color. Current bed design puts the frame back in view, with upholstered bases, curved headboards, vintage iron, darker wood, and low platform forms defining the bed through material and proportion.

These choices make the frame part of the room’s architecture, especially with full curtains, textured walls, and lower bedside lighting. A statement bed frame for a styled bedroom also makes sense as a long-term piece. A quality frame can serve for years.

Warmer Color

The all-white bedroom no longer dominates interiors. Designers now reach for clay, cocoa, mushroom, olive, ochre, burgundy, cream, sand, and soft brown. These colors give bedrooms a sense of warmth that plain white walls rarely achieve.

Tone-on-tone color gives bedrooms depth through subtle shifts in shade, material, and finish. One color family can shape the wall, trim, bedding, rug, and furniture, with each element carrying a slightly different shade. A brown bedroom might use espresso wood, linen sheets, a tan rug, and a bronze lamp. A green bedroom might pair sage walls with olive curtains and dark timber. The result depends on small shifts in tone, material, and finish.

Textured Walls

Paint still matters, while surface now plays a larger part in bedroom design. Limewash, plaster, grasscloth, silk wallcovering, timber paneling, and trim give walls texture. These finishes suit bedrooms because they change under morning light, bedside lamps, and the softer glow of evening.

Grasscloth brings fiber to a neutral room. Limewash makes deeper color feel less flat. Paneling gives the bed wall structure and can replace a tall upholstered headboard. Wallpaper has also returned through botanical prints, narrow stripes, and small-scale geometric designs. These patterns work well behind the bed, along a single wall, or throughout smaller bedrooms where paint alone can look too plain.

Full Curtains

Curtains have become one of the clearest signs of a finished bedroom. Designers favor full-height panels, ceiling-mounted tracks, generous pleats, layered sheers, and heavier night curtains. Fabric changes the way daylight enters the room and gives windows a softer frame.

Some projects take curtains beyond the window. Fabric panels behind the bed can replace a traditional headboard. Canopy curtains add enclosure without heavy construction. Wall-to-wall pleats can hide awkward windows or uneven wall lines. Pattern also returns through curtains, especially in bedrooms with simple bedding and restrained walls.

Layered Lighting

A bedroom needs several kinds of light. Bedside lamps, wall sconces, floor lamps, picture lights, small dresser lamps, pendants, and dimmable ceiling fixtures support different parts of the day. A single overhead light usually creates a flat, practical glare.

Good bedroom lighting stays low and warm. A shaded lamp beside the bed helps with reading. A wall sconce frees space on a small nightstand. A small lamp on a dresser softens a storage area. Picture lights and pendants add glow without filling the ceiling with bright fixtures. Dimmers now matter as much as the fixture itself, especially in rooms where evening light needs gradual adjustment.

Softer Furniture

Bedroom furniture now favors rounder forms, fabric finishes, darker timber, and pieces that feel less matched. Upholstered headboards connect to this shift, while designers also bring back vintage iron beds, skirted tables, curved chairs, benches, and dressers with stronger character.

The matching bedroom set has started to look flat. A better room might pair a timber bed with a lacquered nightstand, a fabric bench, and a vintage dresser. This mix gives the bedroom a collected look. Dressers also return as important bedroom pieces, with enough surface for books, framed photographs, a tray, a lamp, or ceramics. Storage becomes part of daily use, not an afterthought hidden behind the bed.

Relaxed Bedding

Bedding trends now favor layers that can change with the season: washed linen sheets, muslin covers, wool blankets, waffle cotton, jacquard, stitched coverlets, and lighter quilts. These materials give the bed variation through weave, weight, and finish. Color follows warmer room palettes, with off-white, clay, ochre, muted red, and leafy green across sheets, covers, and pillowcases. A complete matching set can feel flat, so related tones with different textures create a richer effect.

Pattern comes through heirloom-style florals, vintage motifs, refined pinstripes, and smaller prints scaled to the bed. These choices add character and keep the frame and headboard visible. Sheets, covers, throws, and pillowcases can shift with the season, giving the bedroom an easy way to change through fabric.

Storage

Storage shapes the way a bedroom feels each day. A beautiful room quickly loses its effect when clothing, books and small items take over surfaces. Current bedroom design gives storage a stronger visual and practical part. Dressers, wardrobes, bedside tables and benches now need to serve daily routines. A dresser with strong proportions can become one of the key furniture pieces in the room. A bedside table with drawers can hide small items. A bench at the end of the bed can hold blankets, clothes or bags during the day.

Built-in wardrobes also suit modern bedrooms, especially in smaller homes. Simple doors, warm wood, fabric panels or painted finishes can make storage feel integrated with the rest of the room. The best bedroom storage reduces clutter and helps the room feel calm.

Finally, the strongest bedroom trends in 2026 point to rooms that support rest, comfort, and daily use. Warm color, tactile walls, natural materials, layered lighting, simpler bedding, and better storage all contribute to that effect. A strong bedroom needs a clear relationship between comfort, function, and personal taste. When those elements work together, the room feels warmer, easier to use, and better suited to the way people live now.

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Akoni and Retori present Tailored Reality, an immersive experience created around their collaboration and their aligned view of contemporary luxury. The event takes place during Men’s Fashion Week, bringing together industry leaders, tastemakers, media and distinguished guests for an intimate look at the modern man’s wardrobe.

EVENTS

The project connects two brands through a refined approach to design, material detail and personal style. Akoni brings eyewear shaped by Swiss precision and Japanese artistry. Retori brings bespoke tailoring and a clear approach to refined menswear. They create an environment that places eyewear, tailored clothing and lifestyle objects within the same visual and cultural frame.

Tailored Reality transforms the traditional retail environment into a focused setting for modern dressing. The installation places each element in conversation with the others, allowing eyewear, tailoring and selected objects to define a complete wardrobe. The experience looks at how the modern man chooses, combines and understands the pieces around him.

Akoni and Retori use the space as a living expression of modern elegance, where guests can experience the collaboration through setting, object and garment. The result gives the wardrobe a broader role, connecting design decisions with personal presence. Eyewear does not appear as an afterthought. Tailoring does not stand alone.

The collaboration also reflects a shift in how menswear brands present identity. Tailored Reality looks beyond function and places wardrobe choices within a cultural context. The modern wardrobe becomes a way to communicate personality and taste.

The organizers describe the project as an event built around the values that connect both brands. Their aim focuses on creating an environment for today’s modern gentleman, with quality and individuality guiding the experience.

View Gallery 11 images

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Art Basel closed its 2026 edition in Basel with strong sales, 90,000 visitors and an international audience of collectors, curators, institutions and art professionals from 103 countries. Director Maike Cruse led an edition that brought together 290 galleries from 43 countries and territories at Messe Basel from June 18 to 21, with Preview Days on June 16 and 17. UBS served as Global Lead Partner.

ART

The fair covered Modern and postwar masterworks, historical rediscoveries, contemporary art, emerging artists, large scale installations and cross media practices, while Basel Exclusive, Zero 10, Art Basel Awards and a broad city program gave the 2026 edition several new points of focus.

Strong Sales From Opening Hours

Galleries reported strong sales from the opening hours and continued to share results during the week. Hauser & Wirth sold Pablo Picasso’s Le peintre et son modèle dans un paysage from 1963, with an asking price of USD 35 million. The gallery also sold Gerhard Richter’s Abstraktes Bild (940-7) from 2015 for USD 20 million and Louise Bourgeois’ Les Fleurs from 2009 for USD 2.5 million. During the first hour, Gagosian sold Willem de Kooning’s No title from 1984 for a high seven figure sum to a private collection in Asia.

GRAY marked renewed attention around David Hockney with two sales following the artist’s death earlier this month: Studio Interior #2 from 2014 for USD 8.5 million and The Arrival of Spring in Woldgate, East Yorkshire in 2011 (twenty eleven) – 31 May, No. 1(2011) for USD 650,000. The fair also coincided with Helen Frankenthaler’s retrospective at Kunstmuseum Basel. Thaddaeus Ropac sold Sudden Wave from 1982 for around USD 3 million, while Yares Art sold Gliding Figure from 1961 for USD 2 million. Thaddaeus Ropac also sold Pierre Soulages’ Peinture 146 x 97 cm, 31 janvier 1954(1954) for around USD 3 million. White Cube sold Lynne Drexler’s Untitled from 1960 for USD 2.5 million and Doris Salcedo’s Untitled from 2008 for USD 1.35 million.

Basel Exclusive Debuts in Basel

Art Basel launched Basel Exclusive for the 2026 edition after developing the initiative with galleries. Over 190 galleries from the main sector took part by reserving significant works for public unveiling at the Preview opening. Sales from the initiative included a Pablo Picasso painting at Almine Rech in the range of USD 6 to 6.5 million, Elizabeth Peyton’s Transmission (E, rose) from 2026 at David Zwirner for USD 1.2 million, a David Hockney painting at Galerie Lelong & Co. in the range of EUR 1 million, and a John Baldessari work at Sprüth Margers for USD 500,000.

Unlimited and Zero 10 Build the Program

Unlimited brought together 59 projects in installation, sculpture, performance, film and immersive environments. Ruba Katrib, Director of Curatorial Affairs at MoMA PS1, curated the sector for the first time. Galerie Bucholz, Hauser & Wirth, and David Zwirner presented Isa Genzken’s Untitled from 2018, which a European museum acquired for EUR 1.2 million. White Cube sold Tracey Emin’s Knowing My Enemy from 2002 for GBP 1.25 million. Galerie Georges-Philippe & Nathalie Vallois placed Niki de Saint Phalle’s Blue Obelisk from 1992 with a private museum in France for above EUR 1 million.

Zero 10 Makes Its European Debut

Zero 10, Art Basel’s initiative for artists working with digital technologies, made its European debut in Basel. Digital strategist Eli Scheinman and artist Trevor Paglen co-curated the expanded presentation, the initiative’s largest to date. The section brought digital, generative and cross media practices into the fair and drew strong interest from collectors, curators and institutions. Fellowship sold john Gerrard’s STANDARD from 2022 for USD 500,000 to a significant private US collection. bitforms and Max Estrella presented multiple works by Rafael Lozano-Hemmer, while Interface Gallery and Oniris Gallery reported the placement of 12 Vera Molnár works with collectors in Europe and the United States.

Several exhibitors described a highly active week. Millicent Wilner, Managing Director of Gagosian, cited brisk energy and strong engagement around the gallery’s works. Xavier Hufkens, Founder of Xavier Hufkens, called Art Basel the most important fair of the year. Andreas Gegner, Senior Director of Sprüth Magers, described focused collectors from the first hours. Marianne Boesky, Founder of Boesky, cited one of the stronger energies she could remember and noted the sale of an important 1990s painting by Mary Lovelace O’Neal to a European museum. P420 Co-Founder Fabrizio Padovani cited early sales and robust institutional interest, while Aleya Hamza, Gallery Director of Gypsum Gallery, noted the response to Hana El-Sagini’s large scale installation.

Parcours and Public Projects Extend the Fair

Stefanie Hessler, Director of Swiss Institute, New York, curated Parcours under the theme Conviviality. The city program included 21 site specific installations, sculptures, interventions and performances that connected artistic practice with Basel’s civic, architectural and social spaces. Public commissions also shaped the week. 2025 Art Basel Awards Gold Awardees Nairy Baghramian and Ibrahim Mahama debuted new works in the city. Baghramian presented Modèle vivant (S’empilant) from 2026 on Messeplatz, while Mahama presented the immersive sculptural installation The God of Small Things from 2026 on Münsterplatz.

Conversations and Public Programming

Art Basel’s Conversations program took place in a new auditorium in the Eventhalle and drew a record 3,600 attendees. The 2026 program focused on artist led dialogue and critical exchange, with one on one conversations featuring Art Basel Awards Medalists Arthur Jafa, Maria Magdalena Campos-Pons, Farah Al Qasimi, Diego Marcon, Kulapat Yantrasast and Precious Okoyomon. Lawrence Abu Hamdan joined philanthropist and Art Basel Awards Medalist Mercedes Vilardell for a conversation, while Ben Luke moderated a panel on gallery longevity with Márcia Fortes, Claes Nordenhake and Karen Jenkins-Johnson.

Public programming also included Warehouse Artefacts, an immersive experience by Thomas Bangalter, Julian Charrière and Rampa. Nordstern Basel produced the project with Art Basel and Fondation Beyeler. Hall 1.1 hosted the one day and one night project on June 20 as a deconstructed dance floor bringing together art, sound, political history and underground culture.

Art Basel Awards Continue in Basel

The second cycle of the Art Basel Awards continued in Basel in partnership with BOSS. Rathaus Basel hosted the Medalist Ceremony on June 18, honoring 33 Medalists in nine categories covering artists, curators, institutions, patrons, media, allies and cross disciplinary creators. Art Basel will announce the 2026 Gold Medalists at Art Basel Miami Beach in December after a peer to peer voting process. The Awards also introduced the Gallery Legacy Award, which went to Paula Cooper Gallery on June 17. As part of the award’s mentorship component, Paula Cooper Gallery nominated Chapter NY as a next generation gallery to support, with Art Basel contributing a grant of up to USD 50,000 toward the gallery’s participation in Art Basel 2027.

Institutional Attendance Reaches 270 Museums

Institutional attendance reached over 270 museums and foundations. American museums included the Metropolitan Museum of Art, The Museum of Fine Arts, The Museum of Modern Art, National Gallery of Canada, New Museum, Walker Art Center, Whitney Museum of American Art, Museum of the African Diaspora, Parrish Art Museum, Montreal Museum of Fine Arts, Museu de Arte de São Paulo and Guggenheim Museum. European institutions included Centre Pompidou, Rijksmuseum, Tate Modern, Moderna Muséet, Louisiana Museum of Modern Art and Kunsthalle Zurich. Zeitz Museum of Contemporary Art, Guggenheim Abu Dhabi, Art Gallery of New South Wales, M+ and Yuz Museum also sent members of their teams.

Regional Exhibitions and Upcoming Shows

The fair took place alongside a major institutional program in Basel and the region. Fondation Beyeler presented Pierre Huyghe, while Kunstmuseum Basel presented Helen Frankenthaler, Cao Fei: Testimonies to the Near Future and The First Homosexuals: The Birth of New Identities 1869–1939. Kunsthalle Basel presented Janiva Ellis and Shuang Li. Kunsthaus Baselland presented Monira Al Qadiri: Annual Project and Mémoires voyageuses / Traveling Memories. Museum Tinguely presented Laboring Bodies, La roue = c’est tout, Nicolas Darrot: Fuzzy Logic, and Angelica Mesiti: Reverb. Kulturstiftung Basel H. Geiger presented Chloe Wise: Extrasensory, Vitra Design Museum presented Hella Jongerius: Whispering Things, and Vitra Schaudepot presented Verner Panton: Form, Color, Space. Laurenz Foundation and Schaulager also presented Das Weinen (Das Wähnen) at the Schauspielhaus of Theater Basel from June 17 to 21, directed by Christoph Marthaler and based on texts by Dieter Roth.

Art Basel’s next shows take place in Paris from October 23 to 25, 2026, Miami Beach from December 4 to 6, 2026, Qatar from January 28 to 30, 2027, Hong Kong from March 25 to 27, 2027, and Basel from June 17 to 20, 2027, with Preview Days on June 15 and 16.

View Gallery 45 images

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Malo Spring Summer 2027, The Architecture of Lightness, expands the house’s restoration through product: knitwear, outerwear, tailoring, color and the technical intelligence of Italian making. The collection reduces weight, construction and touch on the body while preserving the definition and form that give Malo garments their character.

SPRING SUMMER 2027

The season draws energy from tensions inside the Malo process. Structure meets fluidity, expertise meets instinct, and discipline meets emotion. Architectural outerwear and sculptural ergonomic blouses create a defined line, while soleil pleating, foulard inspired skirts and one shoulder dresses adapt to the body as it moves. Malo treats these garments as vehicles for emotion, pleasure and confidence, giving summer dressing both control and softness.

For Spring Summer 2027, the house applies more than five decades of archive stitches, gauges and treatments to a contemporary silhouette. The Canessa cable and the signature 2/28 cashmere braid bring cable constructions back into focus. English ribs, openwork, fully fashioned details and bi color ottoman knits show the precision of Malo’s fine gauge work.

A rare vintage machine in Malo’s Emilia Romagna atelier gives the collection exceptional lightness and exactitude. It produces pure silk ribs, cashmere capes with cocoon light volume and wool and silk constructions with an almost weightless hand.

Hand crocheted details from Puglia add another layer to the collection. They move through malfilé cashmere and cotton knits, ribbed surfaces and openwork pieces, bringing slow artisanal production into direct contact with the body. Malo also uses innovation to refresh tradition. A diagonal jacquard reproduces the look of denim while remaining fully knitted.

Ultra light technical nylon, slub viscose, water repellent coated linen and garment washed Japanese cotton denim appear alongside mélange mixes of cotton, silk and linen. These surfaces carry a naturally irregular, lived in depth. Double face construction, one of Malo’s specialisms, reveals checked or contrasting interiors. Detachable knit collars and signature wooden toggles bring the house’s outerwear codes into the summer season.

A nautical current runs through the collection. Eyelets and slub viscose draw from sailing, while rope and ring closures add a maritime function. Soleil pleated dresses feature cords made from the garment’s own yarn, and toggles take cues from seafaring tradition.

The house treats cashmere as a field for chromatic expression, and Spring Summer 2027 extends that approach. Saturated oranges and marine blues meet sun bleached creams, soft naturals and earthen browns. Bi color pleating, mouliné stripes, striped intarsia and vanisé techniques allow color to travel across each garment.

“For Summer 2027, we worked to take Malo’s deep knowledge of knitwear and articulate it through lightness, movement and precision. The result is a collection distinguished by proportion, color and construction, in which cashmere and noble fibers are treated as a complete language of ready-to-wear,” said Michelle Kessler-Sanders, CEO.

View Gallery 56 images

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ETRO Men’s Spring Summer 2027, Extraordinary Journeys, starts with travel, a subject that has shaped the house from its beginning. The collection looks from India to Milan, then out toward many possible destinations. ETRO uses this idea through a platform scene, with a train on the track and luggage placed around men who appear ready to leave at any moment.

SPRING SUMMER 2027

These men dress through emotion. They use clothes to show feeling, character and pleasure. Color leads the story, joined by stripes and Paisley, two codes that ETRO handles with freedom. The collection presents a group of individuals who enjoy playfulness and self expression. They mix pieces with confidence, using print, texture and ornament as part of daily dressing.

Silk shirts and jackets carry archive foulard prints, which give the collection its name. ETRO places these prints alongside madras, precious embroidery, 3D check sweaters, printed suede trench coats, laser cut suede shirt jackets and double faced silk dusters. A suit carries the same relaxed character as a shirt, while a shirt can function as a jacket when the look calls for it. ETRO loosens the rules around categories and allows each garment to shift its role.

Stripes cut through the surface of shirts and give them a graphic rhythm. Paisley, one of ETRO’s essential signatures, appears in many variations. The house lets the motif meet other patterns, repeat across surfaces and grow through the collection with open energy.

ETRO’s travelers wear soft moccasins, mules and sandals. Braided scarves wrap around their necks. Charms, silver bracelets and pendants shaped like paper airplanes add detail to the body. Woven raffia caps finish several looks, giving the collection a light seasonal attitude. Arnica, the quintessential ETRO classic, covers the bags that surround the men on the platform. This detail connects the clothing with travel in a direct and practical way.

ETRO brings its familiar elements together with directness. Paisley, stripes, color, foulard prints, embroidery, soft tailoring and Arnica all appear in the collection, yet the styling gives the ETRO man a renewed image. Spring Summer 2027 presents him as relaxed, curious and ready to go. The train prepares to leave, and the clothes carry that final moment before departure.

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Prada Spring Summer 2027 Menswear begins with Clarity. Miuccia Prada and Raf Simons build the collection around precision, concentration and the reactive act, treating fashion as a field of conscious choice. Each decision carries weight. Each garment enters the collection through intention, with the designers focusing attention on what feels fundamental and meaningful.

SPRING SUMMER 2027

The collection does not pursue excess. It studies how clothes can gain force through focus. Prada and Simons take universal articles of life and reconsider them through new thought. They approach familiar garments as resilient forms, open to fresh reading through material, repetition and structure. Rematerialization and reiteration reshape garment typologies, changing how the viewer understands their function, value and meaning.

The silhouette stays exact, controlled and linear. Prada and Simons use refinement as a method of direction, creating a constant line that gives the collection its clarity. The clothes hold a precise shape, with little room for decorative distraction.

Jeans, jean jackets and T-shirts form a specific garment language in the collection. Prada and Simons choose these pieces for their pragmatic simplicity, then reevaluate them through cut, finish and context. Freed from extra detail and exaggeration, they become a framework for repeated possibility.

Accessories follow the same logic. Prada and Simons integrate them into the overall structure of the looks, streamlining each element until it belongs to the whole. Nothing interrupts the line. Nothing pulls attention away from the larger construction.

The collection also revisits paradigmatic clothing styles. Prada and Simons rework and reanalyze these familiar forms, treating them as active material for new interpretation. The garments resist easy classification by function or era. They carry a sense of recognition, then disrupt that recognition through proportion, surface and placement.

Spring Summer 2027 Menswear shows fashion shaped by precise instincts, authorship and conviction. Prada and Simons use clarity as discipline, turning familiar garments into charged objects through control, intention and a sharpened sense of choice.

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