A-POC ABLE ISSEY MIYAKE and contemporary artist Tomokazu Matsuyama have opened a landmark exhibition at the newly inaugurated ISSEY MIYAKE / NEW YORK flagship on Madison Avenue, marking the physical manifestation of their TYPE-XII collaboration that began in Tokyo last spring. Running through August 31, the show transforms the brand’s gallery space, MADO, into an immersive installation that collapses the boundary between wearable art and studio practice.

The project emerged from Matsuyama’s first major solo exhibition, “Tomokazu Matsuyama: FIRST LAST,” at Tokyo’s Azabudai Hills Gallery in Spring 2025. The reception was strong enough to warrant expansion, and now, a year into the collaboration, A-POC ABLE is releasing new coats that embed Matsuyama’s artwork directly into fabric, alongside exclusive T-shirt releases available only at this Manhattan location. The pieces arrive at a moment when fashion is increasingly positioned as a vehicle for fine art rather than a surface for it, and this collection argues the distinction dissolves entirely.

The New York exhibition itself is structured around Matsuyama’s recurring motif of equestrian sculptures, fabricated using the same 3D printing technology that shapes A-POC ABLE’s mannequins. These sculptures sit alongside original paintings and dynamic textile installations suspended from the ceiling, creating visual continuity between gallery object and garment. The coats themselves are the centerpiece: vividly printed in Kyoto with a triangular pattern applied via specialized technique, the base fabric shifts dimensionally as the body moves. What reads as flat graphic on the bolt transforms into three-dimensional texture through wear, making each piece responsive to its wearer rather than static.

This responsiveness is central to A-POC ABLE’s design philosophy. The line, which operates under the umbrella concept of exploring “ABLEs” through cross-industry collaboration, has consistently treated the garment as a site of encounter rather than a finished object. By partnering with an artist whose practice spans sculpture, painting, and installation, the collaboration extends that logic: the coat becomes a gallery piece that travels, changes, and lives in the world rather than remaining fixed on a wall.

The timing of the exhibition at the newly opened Madison Avenue flagship amplifies its significance. ISSEY MIYAKE’s return to a substantial New York presence after years of operating primarily through wholesale and smaller storefronts signals a strategic recalibration toward direct-to-consumer retail in major markets. The space itself, designed with the brand’s minimalist vocabulary, functions as a blank canvas for exhibitions like this one. Rather than competing with architecture, the gallery accommodates art; the coats and sculptures exist in clean, deliberate space.

The seven exclusive T-shirt designs, printed on A-POC’s seamless knitwear, offer a more accessible entry point to the collaboration. These pieces democratize the concept without diluting it: the same dialogue between Matsuyama’s visual language and A-POC ABLE’s construction methodology is active in a $300 shirt as it is in a $1,200 coat. For collectors of both contemporary art and design, this tiered approach makes the exhibition economically inclusive while maintaining conceptual rigor. Discover more of the exhibition in our gallery:

View Gallery 11 images

The exhibition runs through August 31 at ISSEY MIYAKE / NEW YORK, 45 Madison Avenue. Hours are Monday through Saturday, 11:00 AM to 7:00 PM, and Sunday, 12:00 PM to 6:00 PM. The coats and exclusive T-shirts are available for purchase throughout the run.

For more on the TYPE-XII collection, see our previous feature. Follow coverage of New York’s design and fashion scene here, and explore more from ISSEY MIYAKE.

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Camper approaches summer footwear through two designs that place choice, comfort, and circular thinking at the center: ROKU and Right Niko. ROKU brings the brand’s modular innovation into a sneaker built from six interchangeable recycled parts, while Right Niko translates the same idea into a playful ballerina form with two exchangeable components. Together, they create perfect summer companions for movement, travel, and everyday wear, giving the user shoes that can shift with mood, setting, and personal style.

FOTWEAR

The idea behind ROKU begins with a simple question: what if a shoe could last longer because the wearer could change it? Camper developed the concept over three years, moving from sketches and prototypes to a final product that rethinks how footwear is built, worn, repaired, and eventually recycled. Named after the Japanese word for “six,” ROKU consists of six separate parts that can be assembled and disassembled without glue. The result is a shoe that reduces waste, extends product life, and gives the wearer a direct role in its design.

ROKU draws from Camper’s Wabi, the brand’s minimalist shoe first launched in 2000. Wabi used simplified processes and a humble design language inspired by Japanese minimalism, and it became one of Camper’s most sustainable products. ROKU takes that foundation further. It keeps the idea of simplicity, but adds a technical system built around circularity. Each element has a purpose. The upper, inner sock, footbed, outsole, laces, and cord work together as a lightweight modular structure that can be repaired, replaced, customized, and recycled.

This construction gives ROKU its strongest summer quality: adaptability. The shoe can move from city streets to weekend travel, from casual mornings to long days outside, without feeling fixed to one look. Its interchangeable parts allow users to build different color combinations and refresh the shoe without replacing the whole pair. With new colorways expanding the line, Camper opens up a wide range of possible combinations, turning the shoe into a personal system rather than a finished object.

ROKU also responds to a larger problem in footwear. Many shoes leave wardrobes not because they fall apart, but because people get bored of them. In a fashion system driven by rapid trends and constant newness, product fatigue creates waste. ROKU challenges that cycle by allowing change to happen within the same object. Instead of buying another shoe, the wearer can replace a part, alter the color, repair damage, or rebuild the design. This makes customization practical rather than decorative.

The material choices follow the same logic. ROKU uses recycled components, including recycled PET for cords, laces, uppers, and inner socks, as well as recycled EVA in the footbed and outsole. The outsole, made with XL EXTRALIGHT® EVA, was designed with recycling in mind and can be ground down to support new material use. Camper also integrates a QR code experience that offers instructions, traceability, and information on the product’s lifecycle. The shoe becomes easier to understand, not only easier to wear.

Right Niko continues this modular direction through a different form. Inspired by Camper’s Right Nina, the brand’s soft and flexible take on a ballerina, Right Niko combines feminine simplicity with the innovation introduced by ROKU. Its name refers to the Japanese idea of a “pair,” reflecting its two-part construction. The shoe consists of an engineered upper and a midsole and outsole unit, designed without glue or stitching. The wearer can switch upper styles and colors by inserting the outsole into the upper structure, creating different looks from one base.

Where ROKU feels more technical and sneaker-driven, Right Niko brings modularity into a softer everyday silhouette. It keeps the lightness, comfort, and flexibility associated with Right Nina, but adds a new layer of function. The shoe supports different moods and occasions, making it especially relevant for summer dressing, when ease and versatility matter most. It can feel casual, polished, playful, or minimal depending on the chosen upper and color combination.

Right Niko also deepens Camper’s focus on circular materials. Its upper is made from textile-to-textile recycled yarn, sourced from unwanted garments and textile waste, helping reduce dependence on recycled plastic bottle streams. Its dual-density TPU outsole unit uses one material in two forms: softer expanded TPU for cushioning and harder compact TPU for durability. Because the unit remains mono-material, it can be more easily recycled at the end of its life.

Together, ROKU and Right Niko show how Camper uses design to answer both style and sustainability. These shoes do not ask the wearer to choose between comfort and responsibility, or between practicality and self-expression. They make the act of changing, repairing, and extending a product part of the design itself.

For summer, that idea feels especially strong. Footwear needs to be light, comfortable, adaptable, and ready for movement. Camper answers with two concepts that travel well because they are built to evolve. ROKU and Right Niko are not only shoes for the season. They are systems for living with less waste, more choice, and a more personal relationship with what we wear.

For customers in Serbia, Camper ROKU is available at the Camper store in Galerija, in all Fashion & Friends stores in Belgrade, Novi Sad, Kragujevac, Pančevo, Čačak, and Niš, as well as on the Fashion & Friends website and mobile app.

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Fashion house Rabanne has appointed Olivier Rousteing as creative director, opening the next phase of a transformation that has reshaped the Maison during the past decade. The decision links the house’s future to the pioneering vision of Paco Rabanne, whose ideas challenged convention and established a distinctive, subversive creative identity. Rousteing now takes responsibility for carrying that identity forward as Rabanne continues its growth in fashion and beauty.

FASHION NEWS

His remit will extend beyond seasonal fashion collections. Rabanne plans to develop new product categories and create a broader ecosystem connecting fashion, beauty and innovation. Each division will contribute to a shared creative direction, allowing the Maison to strengthen the exchange between its products and reach a wider global audience. The company sees this structure as a way to support audacity, experimentation and cultural relevance while preserving the qualities that have defined the house.

This is a House that has always challenged convention, transforming bold ideas into creations that have shaped fashion history. Its spirit of innovation, craftsmanship, and fearless creativity has inspired generations, and today it inspires me – Rousteing

Ana Trias, President of Prestige & Fashion Brands at Puig, linked the appointment directly to Rousteing’s ability to communicate confidence and self-expression through fashion. She described his creative vision as magnetic and closely connected to the energy of the present, calling him a natural choice for Rabanne.

“With Olivier, we are opening a new chapter for the House,” Trias said.

Rousteing responded by describing the role as a tremendous honor. He praised Rabanne’s history of challenging convention and transforming daring ideas into creations that shaped fashion history. Innovation, technical skill and fearless creativity have inspired generations, he said, and they continue to inspire his own work today. His remarks also revealed a strong connection between his personal view of fashion and the values Paco Rabanne championed.

For Rousteing, fashion involves emotion, identity and the confidence to express an authentic sense of self. He linked those beliefs to Paco Rabanne’s vision of freedom and individuality, while expressing deep respect for the Maison’s past. He also emphasized collaboration, saying that he looks forward to working alongside the house’s teams as they develop its future together.

Before joining Rabanne, Olivier Rousteing spent 14 years as creative director of Balmain, where he reshaped the French house through sharp tailoring, dense embellishment, sculptural silhouettes and close ties to popular culture. Balmain appointed him in 2011 at age 25, making him the youngest non-founding designer to lead a major Paris fashion house since Yves Saint Laurent took charge at Dior. The appointment also made Rousteing the first Black person to direct every design category at an established French fashion house.

During his tenure, Balmain’s annual revenue grew from €30.4 million in 2012 to an estimated €300 million in 2024. Rousteing developed a direct relationship with a younger international audience through social media and created the “Balmain Army,” a circle of models, musicians and public figures that included Beyoncé, Rihanna and Kim Kardashian. Rousteing also served as Jean Paul Gaultier’s guest couturier for Fall 2022 and, after leaving Balmain, designed Beyoncé’s crystal-covered skeleton gown for the 2026 Met Gala.

That collaboration will guide Rabanne’s next stage as the company brings fashion, beauty and future categories into closer conversation. Rousteing will shape this broader creative system while the Maison continues to pursue fresh opportunities and develop a contemporary vision of luxury. The appointment gives Rabanne a designer whose work aligns with its interest in confidence, experimentation and cultural energy. The wider strategy also gives him room to address several areas of the business under one creative direction.

Rousteing succeeds Julien Dossena, who left Rabanne in June 2026 after 13 years at the Maison. Since joining in 2013, Dossena renewed the house’s metalwork, chainmail and futuristic material codes, strengthened its presence at Paris Fashion Week and dressed figures including Beyoncé, Miley Cyrus, Michelle Obama and Sabrina Carpenter.

Rabanne will present Olivier Rousteing’s first show for the Maison in March 2027. The debut will introduce his creative direction for the house and begin Rabanne’s next chapter under his leadership.

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The 2025 and 2026 fashion calendars will be remembered for its dizzying rotation of creative talent. More than 20 European houses brought in new designers within a single year, driven by sluggish luxury markets, repositioning anxieties, and a collective urgency that saw names like Matthieu Blazy (Chanel), Jonathan Anderson (Dior), and Demna (Gucci) leap between houses while others like Olivier Rousteing, 14 years at Balmain, and Véronique Nichanian, 37 years leading Hermès menswear, stepped down from generational tenures. The list of departures and arrivals reads like a structural overhaul of the entire industry.

Yet some houses didn’t blink. While the industry reshuffled its creative deck with unprecedented velocity, a handful of labels held firm, betting on continuity over reinvention. Their logic, it turns out, is more strategic than sentimental.

Louis Vuitton and Nicolas Ghesquière

When Nicolas Ghesquière moved from Balenciaga to Louis Vuitton in 2013, it marked one of the most closely watched creative transitions in modern luxury. More than a decade later, he hasn’t moved. In November 2023, LVMH renewed Ghesquière’s contract for five additional years, anchoring him through 2028. With his long-term extension he continues to present collections, the latest including the Fall Winter 2026 collection in Paris and the Cruise 2027 show in New York. For a house of Louis Vuitton‘s commercial scale, that kind of tenure is almost anomalous. His architectural sensibility, ease with technology references and sportswear influence, and ability to build spectacular runway environments while remaining connected to the monogram’s codes have kept the brand among the most discussed each season. LVMH has not had a compelling reason to change course. That commercial alignment, more than any aesthetic loyalty, is the anchor.

Saint Laurent and Anthony Vaccarello

Since taking the creative helm in 2016 after a quick stint at Versus Versace and quitting his eponymous label, Anthony Vaccarello has built arguably the most coherent modern identity Saint Laurent has held in its contemporary history. He understood the assignment differently from his predecessors: not to deconstruct, not to shock, but to distill. The Yves Saint Laurent archive filtered through a nocturnal, sharply modern lens. After nearly a decade, that vision is commercially mature and critically consistent. In a year when Parisian houses from Celine to Givenchy pivoted for the second or third time within a generation, Saint Laurent‘s steadiness looked less like inertia and more like confidence.

Max Mara, Ian Griffiths, and Laura Lusuardi

The story of Ian Griffiths at Max Mara is one of the industry’s most understated case studies in creative longevity. He joined the Italian house in 1987 after winning a student design competition, and has served as creative director since 2016, a formal title that does little to capture four decades of institutional knowledge. His philosophy is rooted in what he describes as designing for desire and wearability in equal measure, thinking like an architect to build garments that do not depend on novelty to justify themselves. “My creativity is driven by the challenge to produce clothes which are desired by women and also wearable,” he has said. Max Mara‘s identity, one of the most consistent in ready-to-wear, owes much to that commitment. The 101801 coat remains one of the most recognizable pieces in modern fashion not because it is reinvented every season, but because it is never fundamentally questioned.

But Griffiths does not work alone. Since 1960, Laura Lusuardi has been the architectural spine of Max Mara‘s creative vision. Now Fashion Coordinator and overseer of all 19 labels within the group, Lusuardi joined at the age of 18, brought in by founder Achille Maramotti (whose family connection to retail gave her immediate credibility). She spent decades traveling the world with Maramotti, learning his philosophy of dressing “the doctor’s wife” rather than the richest women in the world, and building the brand’s identity across categories. Lusuardi invented the Weekend line, designed the first Sportmax collection, and collaborated with everyone from Karl Lagerfeld to Narciso Rodriguez. Today, she oversees the design teams, sits in the company’s fashion library (which holds 4,000 books, 350 international magazines, and 3,000 periodicals), and photographs women wearing Max Mara coats on the streets of New York, building a private dossier of how real women use the pieces. “I started three years ago and I’ve already collected a pretty big dossier,” she said. When Griffiths and Lusuardi work together, it is a meeting of two people who have given the better part of their lives to understanding a single aesthetic problem: how to make a coat.

Prada and the Co-Creative Model

Prada‘s arrangement with Raf Simons, formalized in 2020, presents a different kind of continuity. This is not about a single longstanding director but about a creative dialogue that the house decided was more valuable than any individual appointment. Miuccia Prada, who has shaped the brand’s intellectual and subversive identity for decades, found in Raf Simons a conversation partner rather than a replacement. The result has been some of the most discussed collections of recent years, and the model itself, two genuine creative forces working through a shared house vocabulary, has become one of fashion’s most compelling ongoing experiments. In the context of 2025’s upheaval, Prada‘s refusal to participate in the reset cycle speaks to a confidence in its own continuity.

Hermès Women’s and Nadège Vanhee-Cybulski

While Hermès made headlines for the men’s transition, with Véronique Nichanian‘s 37-year tenure ending and Grace Wales Bonner stepping in, its women’s ready-to-wear direction has been held quietly and steadily by Nadège Vanhee-Cybulski since 2014. Her approach, rooted in the craft vocabulary of the house, in material quality and an absence of excess, mirrors Hermès‘s deeper institutional patience. The brand does not operate on the same commercial anxiety cycle as most luxury groups. It builds. That culture, applied across the house, makes it structurally resistant to the reactive reshuffling that consumed the rest of the industry.

When it comes to the star personality of a creative director, Hermès takes a markedly different approach. Unburdened by the pressure to maintain celebrity status, they focus on the day-to-day work of creative direction. While most creative directors give one or two interviews annually, searching Hermès’ official website yields no results for Nadège Vanhee-Cybulski. In fact, her only recent interview was a six-minute conversation with Wall Street Journal , Vogue Q&A in 2024, and Suzy Menkes in 2021, the longest sit-down she has granted.

Zegna and Alessandro Sartori

Alessandro Sartori has been artistic director of Zegna since 2016, a decade-long tenure that represents one of the quiet success stories in modern menswear. His connection to the house runs deeper still: he first joined to lead the Z Zegna line in 2003, spent years building his credibility within the group, and returned at the top. The result is a designer who understands the brand’s textile heritage from the inside. Under Sartori, Zegna has repositioned itself around Oasi Cashmere and a philosophy of understated luxury, navigating the shift away from streetwear and logo-driven dressing with a clarity that many larger houses struggled to find. His Fall 2026 collection was read as a quiet but powerful statement of maturity, weaving the brand’s past into a precise present.

Ferragamo and Maximilian Davis

When Maximilian Davis was appointed creative director of Ferragamo in March 2022 at age 27, it was one of the most closely watched bets in luxury. A British-Trinidadian designer with no prior artistic directorship, brought in by CEO Marco Gobbetti to overhaul a house whose commercial performance had stalled. Four years later, as houses around him cycled through new names, Ferragamo held. Davis built his vision steadily, returning the brand to its Hollywood-era origins through second-skin silhouettes, precise leather work, and a sensuality that felt genuinely contemporary. The Fall Winter 2026 collection drew strong critical attention. In an industry prone to cutting directors loose the moment revenue targets slip, Ferragamo‘s commitment to Davis reads as a vote for creative vision over short-term correction.

Dolce & Gabbana, Founders Domenico Dolce, and Stefano Gabbana

Domenico Dolce and Stefano Gabbana have remained the co-creative directors of their eponymous house through the entire upheaval. While Stefano Gabbana formally stepped down from his executive roles and chairmanship in April of 2026, his creative partnership with Dolce remained intact. The two founders continue to produce some of their most theatrically ambitious work, their runway shows functioning as cultural events as much as fashion presentations. The separation of executive duty from creative control was, in their case, a clarification rather than a concession. Both designers remain fully invested in the creative vision that has defined the brand since its founding.

Brunello Cucinelli and Humanistic Capitalism

Brunello Cucinelli remains Executive Chairman and Creative Director of his eponymous Casa di Moda, grounded in his founding vision of “humanistic capitalism.” He leads the brand alongside co-CEOs Riccardo Stefanelli and Luca Lisandroni, maintaining direct creative oversight. His label, built on principles of craft, material integrity, and labor fairness, operates outside the velocity logic that consumes most of the industry. Cucinelli designs slowly, deliberately, and from Umbrian headquarters that function as both manufactory and philosophy.

The Founder Factor: American Luxury

Several of the industry’s most consistent houses are those where the founding designer remains active and controls the creative vision. In North America, this model remains singularly strong, tied to the American tradition of the designer brand.

Ralph Lauren’s Sustained Ascent

Ralph Lauren continues as Executive Chairman and Chief Creative Officer of his empire, stepping back from the CEO role but never from creative vision. His sustained control of creative direction has corresponded with remarkable commercial momentum. In fiscal 2025, Ralph Lauren revenues reached $7.1 billion, a 7 percent increase year-over-year, with momentum accelerating into 2026 as the brand surpassed the $8 billion threshold. The fourth quarter of fiscal 2026 posted 17 percent revenue growth, driven by double-digit sales across Europe and Asia. This expansion reflects successful brand elevation strategies that increased average unit retail, signaling that the market rewards coherence of vision. Ralph Lauren‘s steadiness at the helm has meant that the brand can raise prices, expand geographically, and maintain customer loyalty, all while avoiding the reactive reshuffling that consumed competitors.

Tommy Hilfiger’s Principal Vision

Tommy Hilfiger, the principal visionary behind his brand, remains actively involved in global creative direction. The brand oversees a global design team and strategic collaborations while maintaining Hilfiger‘s foundational aesthetic as the organizing principle. Unlike houses that brought in new creative directors to chase trends, Tommy Hilfiger has held the center, allowing the founder’s vision to evolve with collaborations rather than replacement. Founded in 1985, the brand built its identity around accessible American sportswear and the iconic red, white, and blue color palette that has remained the brand’s north star for nearly four decades. Hilfiger himself, now in his seventies, continues to steer creative strategy and serve as the face of the house, appearing in campaigns and maintaining relationships with major retail partners. His sustained presence means the brand avoids the identity confusion that plagued competitors who cycled through multiple creative directors searching for relevance. Tommy Hilfiger knows exactly who its customer is and refuses to apologize for that clarity, a stance that has proven commercially resilient even as fashion trends shift around it.

Rick Owens and Independent Creative Direction

Rick Owens continues to operate his label entirely independently, unfunded by major luxury conglomerates, from Paris. The brand remains fully privately owned by Owens and his partner Michèle Lamy, producing runway shows on its own terms and schedule. In an industry increasingly consolidated into large groups, Rick Owens represents a different kind of continuity: autonomy. That independence allows him to move without the board-level pressures that triggered so many of 2025’s creative upheavals. However, collaborations with sneaker brands such as Converse have throughout the years established the brand within various communities. This also includes cross brand collaborations such as the ongoing partnership drops with Moncler.

Michael Kors and Accessible Luxury

Michael Kors continues as Chief Creative Officer of his company, guiding the label through milestone presentations and collections. His 45th Anniversary shows anchored the brand’s continued evolution in accessible luxury. Like Ralph Lauren and Tommy Hilfiger, Kors‘s sustained creative control has meant the brand can maintain identity while expanding reach, avoiding the identity crises that plagued houses forced to cycle through multiple creative directors.

These American founders are structurally immune to the board-level calculations that triggered so many of 2025’s changes in Europe, because the designer and the brand remain, for all practical purposes, the same entity. The founder’s longevity is the business model.

The Case for Continuity

What these houses share is not stubbornness. What they share is alignment: between creative vision and commercial result, between the personality of the designer and the identity of the house. The 2025 upheaval was, in many ways, a diagnosis of misalignment, of brands chasing relevance without identity, of designers brought in for momentum rather than genuine fit. The houses that held firm are those that have learned what they are and found the person, or people, most capable of articulating it. In an industry increasingly prone to treating creative directors as interchangeable variables, that clarity reads as its own kind of disruption.

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Adidas Originals and Bad Bunny return to the adidas F50 archive with the F50 Ghost Sprint, a low-profile sneaker that reinterprets the 2004 F50 Spider cleat. The partners created the release ahead of the FIFA World Cup 2026 Final. The project connects one of adidas Football’s best-known speed franchises with the streets, where the sport has long shaped style and identity.

SNEAKERS

The original adidas F50 “Spider” arrived in 2004 and came to represent attacking instinct. For this new version, Bad Bunny looked to Puerto Rico’s wolf spider, an animal from Benito’s home with incredible sprinting speed. That reference gives the sneaker its Ghost Sprint name and links its technical design to the tropical conditions of Puerto Rico.

The F50 Ghost Sprint uses a more technical, sport-inspired approach to the lifestyle low-profile sneaker. adidas equips the upper with an “Araña” cage that supports flexibility, stability, and breathability. A deconstructed spacer mesh helps address the heat of Puerto Rican summers. Together, these elements connect the shoe’s appearance with its functional references while keeping the F50’s speed-focused identity intact.

Its color treatment draws from the 2004 “Ocean” colorway. Clear Blue, Clear Sky, and Light Purple shape the palette, creating a direct link to the earlier football design. The blue edition keeps the archival reference visible while giving the silhouette a new lifestyle context.

adidas and Bad Bunny designed the Ghost Sprint for athletes, fans, and people who understand football as a network of opportunities to act. The partners present the sneaker as a global football release with a lifestyle format. Through Bad Bunny’s perspective, the F50 leaves the pitch for the street, where football, style, and global identity share the same thread. The concept treats the game as a cultural language that reaches far beyond stadium competition.

The release continues Bad Bunny’s work with adidas Originals through a recognizable sports archive and his Puerto Rican background. Each design detail connects to the F50 “Spider,” the island’s climate, or the speed of the wolf spider. The result keeps the football reference direct and translates it into a low-profile sneaker for lifestyle use.

adidas will release the adidas Originals BAD BUNNY F50 Ghost Sprint in Blue through the CONFIRMED App and adidas.com/badbunny on July 18, 2026. The sneaker will retail for $160 USD. The launch arrives as attention turns toward the FIFA World Cup 2026 Final and links the archival football design to Bad Bunny’s Puerto Rican perspective.

For a place in the FIFA World Cup 2026 Final, France will face Spain on July 14 at Dallas Stadium in Arlington, Texas, while England will meet Argentina on July 15 at Atlanta Stadium in Georgia. The two winners will play for the title at New York New Jersey Stadium on July 19. Adidas will also supply the Trionda Final for the semifinals, the third-place match, and the final.

View Gallery 14 images

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A$AP Rocky continues his work as PUMA Creative Director with the return of the Suede ’94, a version of the familiar sneaker drawn directly from the brand’s 1990s archive. Launching worldwide on July 16, the release connects Rocky’s personal history with the shoe to the music, streetwear and skate scenes that shaped New York during that decade.

SNEAKERS

The A$AP Rocky x PUMA Suede ’94 restores the original design stitch for stitch while introducing a focused set of custom details. A slimmer tooling shape gives the sneaker its distinct 1990s profile, while a raw-edge padded tongue and retro woven label strengthen its period-specific construction. Rocky adds a gold PUMA lace keeper and a custom shoebox to separate the collaboration from a standard archive reissue.

The full retro PUMA logo across the quarter panel provides the sneaker’s clearest identifying feature. According to the brand, no previous Suede iteration has used the logo in this form. Its scale gives the otherwise controlled design a stronger graphic presence and allows the ’94 edition to register immediately.

Rocky selected the model for reasons that extend beyond its proportions. New York in 1994 brought hip-hop’s Golden Era, the development of modern streetwear and a downtown skate culture into close proximity. The Suede belonged to that moment as an everyday part of how people dressed across those communities.

His own memories of the sneaker begin at home. “I remember when my mom bought me my first pair of suedes,” Rocky says. He also points to basketball player Walt “Clyde” Frazier, whose personal style and association with PUMA gave the silhouette an earlier cultural identity. For Rocky, restoring the ’94 model offers a direct way to revisit the visual codes that surrounded his childhood while adding details connected to his current creative position.

The release continues a history that began before the Suede acquired its current name. PUMA launched the Crack in 1968 as its first lifestyle shoe, introducing it during the Olympic Games in Mexico City. Track and field athlete Tommie Smith raised the shoe on the podium following his medal ceremony.

In 1973, Walt Frazier reshaped the silhouette through the Clyde. After his era, the model became known as the Suede, taking its name from the material used across the upper. B-boy crews and the growing hip-hop scene later adopted the shoe, while its United Kingdom release during the 1980s carried the name States in reference to its American popularity.

Rocky’s edition returns to one specific chapter in that extended history. The project avoids excessive alteration and concentrates on proportion, construction and recognizable period details. Its narrow sole, exposed tongue edges and enlarged side logo retain the direct character of the 1994 model.

Ahead of the global launch, A$AP Rocky will host a pop-up at Joe’s Ginger, located at 25 Pell Street in New York’s Chinatown. The event runs from 4 to 8 p.m. EST on July 15 and gives visitors the first opportunity to purchase the sneaker.

The A$AP Rocky x PUMA Suede ’94 launches worldwide on July 16 through PUMA’s website, PUMA stores and selected retailers.

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Francesco Scognamiglio names his Haute Couture Fall Winter 2026/27 collection La Grazia and builds it around the relationship between structure and fluidity. The designer presents femininity as free, self-aware and current, using silhouette as the collection’s primary means of expression. Jersey column gowns and flowing draped dresses trace the body and preserve comfort, joining couture construction with a direct physical response to the wearer.

COUTURE COLLECTIONS

The gowns establish Scognamiglio’s approach from the opening looks. Long vertical lines give the figure an elongated profile, and draping introduces softness around that framework. Jersey supports this close connection to the body and allows the fabric to follow each contour. Scognamiglio uses these qualities to examine how couture can maintain technical discipline and serve the realities of wear.

The atelier distributes micro-sequins, crystals and embroidery over the garments in diffused arrangements. These elements create three-dimensional textures and give the fabrics a shifting luminosity. Embellishment contributes directly to construction, linking surface treatment with shape and volume. Each application changes how the garment reacts to light and how the body appears within it.

Nineteenth-century dressmaking provides another source for the collection. Scognamiglio returns to historical structures through weightless silks and sculpted corsets. Artisans embroider the corsets entirely by hand and apply every micro-crystal individually. Firm construction and airy materials create technical tension. Architectural exactness guides the structure, and visual lightness keeps the garments connected to the body.

Sharply tailored suits feature strong shoulders that define their proportions, and pink satin ribbons function as sculptural accents. Scognamiglio draws from 1980s power dressing, then filters those codes through a current approach to proportion and detail. References to the visual culture of David Bowie and Madonna connect fashion, music and performance within the same aesthetic vocabulary.

Micro Mongolian fur pieces intensify the collection’s study of volume. Their texture recalls club culture and the atmosphere of Studio 54, giving the female figure a pronounced stage presence. Scognamiglio uses material as an expressive device and allows scale, surface and texture to shape the wearer’s image.

The finale introduces the Mariée, a bridal creation in tulle, embroidery and crystals. Scognamiglio interprets the traditional wedding gown through lightness, protection and atelier skill. Layers create softness around the figure. Embroidery and crystals give the final look a luminous finish.

La Grazia defines couture through the connection between monumentality and fluidity. Scognamiglio brings historical construction, technical research, tailoring and hand embroidery into one collection, with the body guiding each decision. The result presents artisanal savoir-faire as the foundation of current couture and lets fabric, structure and light define its image of femininity.

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Having spent the past few seasons experiencing Dior through the pace of fashion week, showroom appointments and industry presentations, La Galerie Dior offered something unexpectedly rare: time. Time to move through the house differently.

Open since June 10th, the exhibition traces almost eighty years of Dior history across thirteen themed rooms, not as chronology, but as continuation, moving between archive, process and image, and tracing how the house has been constantly rewritten by those who have shaped it. Seeing Jonathan Anderson‘s couture placed alongside Christian Dior, John Galliano, Raf Simons and Maria Grazia Chiuri shifts the perspective. Removed from the pace of the fashion calendar, it becomes less about season and more about continuity, where new work sits within a much longer conversation.

Before the exhibition properly begins, visitors are greeted by La Galerie Dior‘s signature spiral staircase. Rising through the centre of the building, its white architecture is framed by hundreds of miniature Dior creations, introducing the house through colour, craftsmanship and instantly recognisable codes.

The first room returns to origin. Sketches, archival material and early references map Christian Dior‘s foundations, bringing together the influences that shaped the house before it became the house we know today.

What becomes clear is not comparison, but continuity. The same ideas return across decades, each creative director interpreting them in their own way. Seeing Jonathan Anderson’s work alongside them gives a completely different perspective than seeing it on the runway.

What becomes clear is how much of Dior‘s visual language began long before his first collection. The colours of his childhood home, alongside the people, places and cultural references that surrounded him, feel less like background detail and more like the foundations of the aesthetic he would go on to build. Running through the room is a timeline charting the house’s earliest years. What stands out is the speed of its rise: from its founding to international recognition in remarkably little time, establishing an identity that has remained recognisable ever since. From there, the exhibition shifts into The Enchanted Gardens. Garments from Christian Dior and his successors are brought together, allowing decades of Dior to exist within the same space.

RELATED: FIND THE LATEST DIOR STORIES

What becomes clear is not comparison, but continuity. The same ideas return across decades, each creative director interpreting them in their own way. Seeing Jonathan Anderson‘s work alongside them gives a completely different perspective than seeing it on the runway. Seen outside of that context, you notice things differently: not as seasonal collections, but as a longer visual language being repeated and adjusted over time. As the room opens into a lighter space, the florals remain, but the focus returns to Dior himself, with a large image of his childhood home positioned behind the garments. Rather than repeating the reference, the exhibition builds on it, connecting the garments back to the world that first shaped them.

Beyond this point, the exhibition shifts away from finished garments and towards construction. Archival material introduces Dior‘s idea of the “office of dreams”, where ideas begin as sketches before becoming clothing. It is less about display than structure, showing how the house thinks before it makes. The most revealing shift comes in the atelier, where bags are made in real time, offering a rare glimpse into one of the most closely guarded parts of the house. What stands out is not the craft alone, but the access to it. Work usually concealed is slowed down and exposed, shifting the object from outcome to process. From there, attention moves into the visual language of the house itself.

Alongside the garments, imagery sits within the same system, showing how Dior is constructed not only through clothing, but through the details and symbols that become recognisable over time.

Alongside the garments, imagery sits within the same system, showing how Dior is constructed not only through clothing, but through the details and symbols that become recognisable over time. The bow is one of those details. Returning across Dior‘s history, it has become one of the house’s most instantly recognisable codes. From Christian Dior‘s own writing through to later collections, and more recently in Jonathan Anderson‘s work for Dior, it is a detail that immediately signals the house. The exhibition then opens into the ballroom. After the closeness of process, the shift is immediate: a vast space where silhouette and ceremony take over. Ballgowns fill the room, and the scale of the house returns.

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Ultimately, La Galerie Dior does not present the house as something fixed. It shows it as something continuously rewritten through those who first shaped it and those who continue to work within its language now. Dior is not anchored to a single creative director or moment. It moves through time, reinterpretation and image. What stays with you is not the structure of the exhibition, but the way it slows everything down just enough to make that structure visible.

Words by DSCENE London Contributing Editor Lewis Stratton. 

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Fashion campaigns are shaped long before the camera reaches the set. Before a single image is made, creative teams move through mood boards, sketches, product references, set ideas, and written briefs, building the direction piece by piece. AI 3D prototyping adds another layer to that stage, giving teams a way to test scale, product placement, spatial relationships, lighting direction, and set proportions while the idea is still open to change.

At this point in campaign development, the value is practical. A loose concept can become a visual draft that can be reviewed, adjusted, and compared with other options. Instead of discovering too late that a product feels lost in the frame or that a set element takes over the image, the team can study those relationships while the campaign is still being shaped.

Why Early Visualization Matters

Mood boards remain central to fashion campaign development because they gather references, suggest atmosphere, and establish direction. Their strength comes from openness. A mood board can suggest whether a campaign should feel intimate, architectural, cinematic, raw, polished, or product-led, while still leaving space for interpretation.

That openness can also leave practical details unresolved. A reference image may communicate the right feeling, but it rarely explains how a handbag should sit within the frame, how a sculptural prop should relate to the model, or how much space a set needs to work. A 3D study gives those choices a visible form, turning a general direction into something that can be examined more closely.

Testing Product Hierarchy

AI 3D prototyping becomes useful when a campaign needs to decide what should carry the image. In product-led campaigns, the balance between the garment, accessory, model, set, and surrounding objects can change the entire reading of the frame.

A handbag may need more negative space to register clearly. A shoe may require a lower angle or cleaner surface. A fragrance bottle, watch, or piece of jewelry may need stronger control of scale so it does not disappear inside a larger set idea. In other cases, the clothes should remain central, and the objects around them need to support the mood without taking over.

These choices affect how quickly the viewer understands the campaign. AI-assisted 3D tools can support this stage by helping generate rough objects, environments, or visual references more quickly. An image to 3D workflow can also turn an existing reference into a more useful planning study before the concept moves into detailed production.

From Approval to Assets

Once a direction starts to form, the prototype can help with approvals. Fashion campaigns often pass through several decision points before a shoot moves forward. A visual draft gives those discussions a more specific base than written notes alone. If the product needs more presence, the frame can shift. If the set feels too heavy, the structure can become lighter. If the composition lacks focus, the hierarchy can change while the idea still has room to move.

The same study can also help plan the campaign beyond the hero image. A single direction may need to work as a full campaign shot, product crop, vertical social format, campaign film frame, ecommerce detail, and retail visual. Each format changes how the image needs to behave. A set that works in a wide frame may lose its effect in a crop. A product that feels balanced in a full image may need a closer composition for ecommerce.

This makes early testing useful beyond the first concept. It helps show whether the idea has enough flexibility to support different assets without losing its identity. The campaign can then move forward with a clearer sense of what needs to be built, shot, adapted, or simplified.

Extending Beyond the Campaign

Finally, AI 3D prototyping can also connect campaign planning with the digital side of fashion. Once a product or object exists as a 3D study, the same visual thinking can inform ecommerce presentation, virtual showroom material, AR try-on concepts, product previews, or internal development references.

That gives the prototype a role beyond the first campaign draft. It can help a brand understand how an item reads as an object, how it might appear in a digital selling environment, and how the same idea can travel from image-making into product presentation.

All images from Digital Footprint by Takahiro Ogawa for DSCENE Magazine – see full story here.

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Peet Dullaert begins Fall Winter 2026 couture with two portraits and a question about how fashion records its own era. Rembrandt van Rijn’s paintings of Marten Soolmans and Oopjen Coppit guide the collection. The Louvre Museum and the Rijksmuseum jointly acquired the works, and the Louvre currently displays them. Dullaert studies their scale, surface, individuality and social meaning, then turns those qualities into a contemporary couture vocabulary.

COUTURE COLLECTIONS

The collection treats portraiture as an exchange between maker and subject. Rembrandt defined his subjects through paint, fabric, gesture and light. Dullaert uses draping, textile development and handwork to examine the same relationship through dress. His silhouettes follow the realities of modern life and give the wearer an active place in the final image. Each look records a woman, a period and the technical knowledge that produced it.

During Rembrandt’s lifetime, rare pigments could exceed the value of gold. Their value came from scarcity, labour, specialist knowledge and the skill required to prepare them. Dullaert connects that system of value with haute couture, where time, invention and human work shape every garment. Colour therefore functions as evidence of process, expertise and cultural exchange.

Historical construction enters through specific references. Dullaert returns to the robe à la française and interprets the Watteau pleat through current techniques. He also draws from the liberated glamour of the 1920s, using refined leopard treatments to introduce a different register. These references support the collection’s broader study of how designers translate older forms through present materials.

The Paris atelier develops velours de panne, lace coupé, macramé and silk embroidery entirely by hand. The silk work takes inspiration from the luminous irregularity of historical chiné fabrics. These textiles also acknowledge the long exchange between Eastern and Western traditions that shaped couture over centuries. Dullaert treats every surface as a carrier of knowledge, labour and memory.

Sculptural draping gives several looks their strongest form. Gia Bab wears an entirely black couture creation where folds, texture and light create the full image. Knitted construction and technical stretch textiles appear beside established atelier methods, bringing materials associated with current innovation into the collection. They support the body and respond to the way women live today.

Some garments continue into sculptural hair arrangements, linking dress, hair and wearer in a single visual idea. This treatment extends couture beyond the garment while keeping the individual visible within the design.

The casting develops the collection’s intergenerational theme. House muse Anastasia opens the presentation, bringing independence and self-authority to the first look. Jade Parfitt closes it. Her career includes Steven Meisel’s Avalon campaign for Versace, an image closely tied to 1990s fashion. Dullaert links Oopjen Coppit, Anastasia and Parfitt as women whose images enter cultural memory and define their respective periods.

Every generation leaves behind its own portrait. Museums preserve them in paint; haute couture preserves them in movement. Every generation defines luxury through the innovations of its own time. Beauty exists in the relationship between creator, craftsmanship and the individual who embodies creation. Haute couture exists to honour craftsmanship while embracing the reality of how we live today. – Peet Dullaert

The collection also recognises the patrons and institutions that sustain couture. Dullaert names Mouna Ayoub and Yu-Chi Lyra Kuo as women who support a designer’s vision and the labour of the atelier. He places their role beside the work of the Louvre, the Rijksmuseum and the Fédération de la Haute Couture et de la Mode. Each contributes to the preservation of artistic knowledge and specialist practice.

The Paris atelier creates every look entirely by hand. Dullaert uses history as a source for invention, then defines luxury through the skills, textiles and ideas of the present. The result presents couture as a living portrait. The hands of the atelier shape it, and the women who wear it give it meaning.

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