Vans gives the Old Skool 36 a new visual treatment with the Pearlized Yacht Club edition, using sailing flags as the starting point for its color scheme. The design draws on maritime graphics and pairs contrasting tones with decorative surface details inspired by customization and wear.

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The shoe uses a distressed upper as the base for pearl and crystal accents. These embellishments create the impression of a pair that has changed through use and personal alteration. Vans builds that effect into the material treatment instead of presenting the sneaker with a pristine finish. Detailed stitching adds definition to the upper, while a glossy sidewall changes the appearance of the sole and introduces another finish into the design.

The color arrangement references sailing flags, whose visual language relies on strong combinations of color and graphic division. Vans translates that source into the Old Skool 36 through nautical blocking and connects it with the irreverent styling of 1990s sportswear. The result gives the familiar skate silhouette a more decorative character while keeping its established shape recognizable.

The Old Skool 36 has roots in Style 36, which Vans introduced in 1977. The company created it as its second skate shoe, and the model introduced the Sidestripe for the first time. Vans later renamed Style 36 the Old Skool during the early 1990s. After the sneaker reached its 30th anniversary, Vans included it within the Classic category.

For this edition, Vans also applies the principles of its Premium line. The company uses that range to update classic models through improved comfort, higher-grade materials and revisions to form, fit and feel. The Pearlized Yacht Club follows that framework while giving the Old Skool 36 a distinct surface treatment and color identity.

Vans connects the release with Paris’ Fête de la Musique through imagery featuring DJ Hank Korsan. The brand followed Korsan during the event and documented the sneaker within a setting linked to music, creativity and self-expression. That campaign gives the launch a cultural reference beyond the product itself while keeping the footwear visible within an active event context.

The Yacht Club colorway arrives on September 10, 2026, through Vans.com and selected Vans retail stores. Vans plans additional Old Skool 36 Pearlized versions throughout the season through its website, retail network and wholesale partners.

For EMEA, the Marshmallow colorway returns on September 10. Lime Pop follows on November 10, with Navy returning on November 19. Black/Marshmallow arrives on November 27, and Red launches on December 10.

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Willy Chavarria presents AUTOEROTICA, the Fall Winter 2026 campaign, with a narrative centered on desire, self-possession, fantasy and personal freedom. The campaign approaches eroticism and glamour through a direct visual language, drawing from a fearlessness that the brand connects to the 1970s.

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AUTOEROTICA rejects restraint in favor of imagery that feels visceral, sophisticated, humorous and alive. The campaign presents trans and queer identities within a broader exploration of autonomy, desire and personal freedom.

The evolving identity of the WILLY WOMAN sits at the center of the project. Chavarria defines her as glamorous, intelligent, confident and fully in control of how she presents herself. She commands the image on her own terms, giving the campaign a clear sense of power and self-possession.

The Fall Winter 2026 collection develops familiar Willy Chavarria codes through strong silhouettes, powerful tailoring, exaggerated proportions and sensuality. The clothes maintain a close connection to the people wearing them, with the collection presenting a personal and provocative perspective without imposing creative limitations on its direction.

Suiting appears across tailored and relaxed silhouettes, with several looks pairing jackets with shorts to create a more casual schoolboy reference. Knits feature padded shoulders that build a stronger posture, while structured shirts use the brand’s signature pointed collar. These elements bring confidence and conviction into the shapes of the collection.

Chavarria develops the season’s sensuality through garments that drape, expose and alter proportion. Silk dresses move across the body, while voluminous cocktail dresses introduce greater scale. Form-fitting pencil skirts reveal boxer shorts underneath, and cropped jackets complete tailored looks. Leather miniskirts appear with work shirts, extending the collection’s approach to provocation through contrasting wardrobe references. The women’s category continues to develop through pieces the brand describes as modern, edgy, confident and chic.

Photographer Diego Bendezu captures the first chapter of AUTOEROTICA, with further portions of the project set to unfold throughout the FW26 campaign. His images focus on qualities central to Willy Chavarria’s identity, including fearlessness, sensuality, humor, humanity and resistance to conformity.

The photographs allow bodies and personalities to take up space without hiding desire behind polished perfection. AUTOEROTICA treats sexuality as something human and immediate, allowing beauty, humor and discomfort to exist within the same visual world.

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ZEGNA introduces its Su Misura made-to-measure experience through a new Fall Winter 2026 campaign starring Global Ambassador Mads Mikkelsen. Built around the idea of clothing passing between generations, the campaign follows Mikkelsen as he brings one of his jackets to a tailor for alterations before giving it to his son.

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Su Misura represents ZEGNA’s made-to-measure wardrobe, with each garment shaped around the individual who will wear it. A dedicated team adjusts pieces according to the desired silhouette and personal style, offering hundreds of potential alterations alongside choices in textiles, buttons, linings and finishing details.

The Fall Winter 2026 campaign presents that process through the relationship between a tailor, a garment and its wearer. Mikkelsen’s jacket becomes the central object in a story about continuity. The tailor alters it for the next generation, giving an existing piece a new role while preserving its connection to the person who wore it first.

Three established ZEGNA designs sit within the Su Misura offering: Trofeo fabric, Abito #1 and the Falcon Jacket. ZEGNA introduced Trofeo in 1965 through the Ermenegildo Zegna Wool Mill. Made from Australian superfine merino wool, the fabric combines softness with strength and resilience. Sixty years later, it remains part of the house’s textile offering and continues to serve the requirements of tailored clothing.

Abito #1 draws inspiration from suits worn by ZEGNA’s founder during the 1930s. Made from 100 percent Australian wool, the design holds a specific place within the company as its first suit and provides another reference point for the made-to-measure program.

The Falcon Jacket takes its inspiration from Oasi Zegna, the 100-square-kilometer natural territory in the Italian Alps connected to the company’s values. Its concept references the falcon and the bird’s ability to see beyond its immediate surroundings, a quality admired by the founder. The outerwear design balances function with a refined construction.

The campaign uses these pieces to frame Su Misura as a process that begins with the wearer. Tailoring becomes a matter of proportion, adjustment and observation. Small changes to the shoulder, lapel or seam contribute to how a garment sits and how the person wearing it experiences the finished piece.

That attention drives the campaign’s narrative. The tailor reflects on the moments when clients see themselves differently after putting on a finished suit. Proposals, speeches and becoming a father become examples of the important occasions that clothing may accompany throughout a person’s life.

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H&M has announced Elie Saab as its designer collaborator for Fall 2026, bringing the Lebanese fashion house’s approach to eveningwear into a collection spanning womenswear, menswear, accessories and footwear. The partnership places one of fashion’s leading haute couture houses within H&M’s long-running designer collaboration series. Elie Saab has built an international reputation around eveningwear and formal dressing, with its designs regularly appearing on red carpets around the world.

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Elie Saab founded his business in Beirut as a bridalwear label before expanding into eveningwear. His career later brought him into the French haute couture system, where he became one of the first international members of the Chambre Syndicale de la Haute Couture. The house has since expanded its offering beyond couture to include ready-to-wear and accessories.

That wider product range provides the foundation for the H&M project. The Fall 2026 collection will translate recognizable elements of the Elie Saab vocabulary across several categories while maintaining the house codes associated with its formalwear.

H&M says the collaboration will reflect Elie Saab’s contemporary vision through womenswear, menswear and a broad accessories offering that includes footwear. Embellished gowns form one of the central components of the collection, bringing the designer’s eveningwear focus into the partnership.

Shimmering separates extend that direction into pieces that can work independently, while sharply cut tailoring introduces a more structured element across the range. Fine lace, gradient sequins and signature monograms provide key decorative details throughout the collection.

H&M has confirmed that the collection will cover both women’s and men’s wardrobes, allowing the project to move across gowns, separates and tailoring. Accessories and footwear will complete the offering. Their inclusion reflects the broader Elie Saab business today, which has developed beyond its couture origins into multiple product categories.

Ann-Sofie Johansson, H&M’s creative advisor and head of design for womenswear, described the project as a “landmark collaboration.” She characterized the upcoming collection as magical, ornate and glamorous, pointing toward a release that will place decorative treatments and dressed-up silhouettes at the center of the offer.

The October 22 launch positions the collection ahead of the year-end party season, giving the embellished gowns, shimmering pieces and tailoring a clear seasonal context. Customers will be able to shop the collaboration through selected H&M locations and the retailer’s online store.

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Thom Browne presents its Fall 2026 collection through Homeward, a campaign photographed by Robbie Lawrence in and around Birnam, Scotland. Set across rolling meadows and the surrounding hillside town, the images feature a cast of local residents and friends wearing the season’s knitwear, tailoring and outerwear.

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The campaign builds on Thom Browne’s existing connection to Scotland, where the brand has developed part of its textile language over time. The house maintains an officially registered grey and navy tartan with Lochcarron, extending that relationship beyond knitwear and into a wider use of Scottish textile traditions.

For Fall 2026, knitwear plays a central role. The collection draws on techniques refined across generations of Scottish textile production, using fine cashmere and merino wool to create texture and depth. Cable-knit construction, jacquard, Fair Isle patterning and graphic intarsia appear across V-neck pullovers, cardigans and exaggerated patchwork pieces.

The silhouettes move between relaxed and classic proportions. Some pieces follow familiar knitwear structures, while others push scale and texture further through larger patchwork compositions and heavier outerwear treatments. The result gives traditional methods a broader presence across the collection without separating them from Thom Browne’s established approach to proportion.

Outerwear introduces another shift in construction. Thom Browne combines technical down filling with fabrics more commonly associated with tailored clothing. Chalk-stripe flannel, jacket-weight cashmere and windowpane tweed gain added volume and insulation, changing the way those materials behave across winter pieces.

Sport references appear through details inspired by ski clothing. Engineered thumbholes and rib-knit gaiters add practical elements to cropped zip-front vests, football parkas and jackets that fall to the lower calf. These features support a layered approach to winter dressing while keeping the garments connected to the collection’s tailored foundation.

Formalwear also moves into new shapes for the season. Black-tie codes appear across dresses, capes and sharply structured sport coats. Trompe l’oeil details alter familiar tailoring elements, while open-back apron closures introduce a different construction to pieces rooted in evening dressing.

Windowpane checks return as part of that formal language. Thom Browne translates the pattern into precise grids of pearls, shifting a familiar tailoring code into a decorative surface treatment. The technique continues the collection’s focus on changing the role of recognizable materials and motifs through scale, construction and texture.

The Fall 2026 collection uses Scotland as more than a location. Through its registered tartan, knitwear development and textile references, Thom Browne connects the season to materials and techniques already present within the house.

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JIL SANDER presents its Fall Winter 2026 campaign through an unsettling vision of home, departure and uncertainty. Under Simone Bellotti, familiar domestic objects leave the interior and occupy the runway of a private airport, creating an environment that feels deliberately unresolved.

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A table covered in latex and a sofa wrapped in foil sit outdoors without walls or a floorplan. The arrangement offers only fragments of a home. The airport runway adds another layer to the narrative, suggesting a place where something could begin, end, arrive or leave at any moment.

Bellotti uses this setting to examine heightened restraint through tension and ambiguity. He takes the simplicity associated with JIL SANDER and pushes it into stranger territory, building the campaign around contradictions. Addition can resemble subtraction, excess can gain purpose, and familiar objects can lose their usual meaning once removed from their expected surroundings.

The campaign avoids a fixed storyline. Instead, it presents incomplete scenes and leaves viewers to decide what connects them. Bellotti introduces faint references to Alfred Hitchcock and Rainer Werner Fassbinder, using suspense and psychological unease as subtle points of reference rather than direct quotations.

Edie Campbell and Daisuke Ueda lead the campaign, appearing in moments shaped by tension, introspection and feverish energy. Their relationship to the setting remains unclear. The images never explain whether they live among these displaced interiors, prepare to leave or have just arrived.

Photographer and videographer Moni Haworth shot the project as a short film, with the campaign photographs taken from the moving footage. Grain and desaturated VHS tones give the images a rough, unstable quality that supports the sense of unease running through the story.

Music adds another layer of disruption. Space Afrika’s “If This Is Hell,” featuring Deuén, provides the score, with lyrics delivered at rapid speed. The track interrupts any straightforward reading of the images and pushes the fragmented narrative further away from a conventional fashion campaign.

Bellotti describes the project as an attempt to create tension and surprise with very limited means. For him, doing more with less remains central to JIL SANDER, though the Fall Winter 2026 campaign takes that principle into a darker and more unsettling direction. He describes the resulting mood as elegant and charged with “erotic electricity.”

That tension defines the campaign from beginning to end. Domestic furniture appears where aircraft would normally move. Models occupy a setting without offering clues about what has happened or what comes next. For Fall Winter 2026, JIL SANDER leaves those questions deliberately unanswered.

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Gabbriette takes a central role in Supreme Fall Winter 2026 collaboration with Larry Clark, becoming the subject of a new series of photographs created specifically for the New York label. Clark photographs the model and musician through the direct, intimate approach that has defined his work for decades, bringing a contemporary figure into a project rooted in his visual archive.

FALL WINTER 2026

The collaboration connects new portraits of Gabbriette with photographs from Clark’s influential 1971 book Tulsa. Supreme places images from different periods of his career across clothing, skate hardware, home goods and a limited printed publication. Gabbriette provides the project with its present-day subject, appearing across several of its most prominent pieces.

One image of Gabbriette appears on a skateboard deck, showing her holding the deck while dressed in underwear. Other photographs from Clark’s session appear inside the collaboration’s 48-page zine. Supreme also uses her image alongside photography from Tulsa on a navy hooded piece with yellow striped trim, directly connecting Clark’s new work with material created decades earlier.

Her involvement follows a period of increased visibility across fashion. Gabbriette has appeared on runways for Gucci and Fendi and in campaigns for Marc Jacobs and Bottega Veneta. Born Gabriella Bechtel in California, Gabbriette first entered the wider cultural conversation through music. She became the lead singer of Nasty Cherry, the pop-punk group formed by Charli xcx, after previously appearing in a Charli xcx music video. When the band paused activity during the pandemic, she began sharing cooking videos online, adding another element to a career that now moves through music, modeling, food and acting.

DISCOVER: Supreme Teams Up With Larry Clark for Fall Winter 2026

For Supreme, Clark places that contemporary profile within a collaboration tied closely to his own history with youth culture. Born in Tulsa in 1943, the photographer documented friends and acquaintances between 1962 and 1971. Those photographs became Tulsa, a book centered on drug use, violence and self-destructive behavior among young Americans.

The Fall Winter 2026 project now introduces Gabbriette into that continuing relationship. Through Clark’s new portraits, she becomes the contemporary face running through the collection, connecting Supreme’s current generation with a photographer whose work has documented youth from close range for more than five decades.

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For most of the last century, a product’s public life began with a single frame. Someone built a set, lit it, styled it, and photographed the object at its most persuasive angle. That image did everything, created the desire, established the world, told you what kind of person owned this thing. It still does a great deal, but it no longer works alone. A chair now exists as a campaign shot, a cropped product view, a social clip, a rotating asset, a showroom object, and increasingly as something you can stand in your own living room and walk around. The product image has stopped being a frame and become a system.

The campaign image creates desire

Nothing has replaced what editorial imagery does best, and it’s worth being clear about that before discussing what comes after it.

A campaign frame is an argument about atmosphere. The set design, the styling, the light, the way a composition holds a single object at its centre, all of it works to make you want something before you’ve assessed whether you need it. Fashion has understood this longest, but design brands have absorbed the same grammar. A lamp photographed in a particular kind of room is telling you about a life, not a light source.

That work is emotional and it happens quickly. What it doesn’t do is answer practical questions, and it was never supposed to. Desire and information are different jobs.

The product page asks for detail

The moment someone moves from wanting to considering, the questions change entirely. How large is it. What is that surface actually made of. Does the finish read warm or cool. What does the back look like. Which of the four variants is the one in the photograph.

A product page has to speak a different visual language to answer those, close-ups that hold up under scrutiny, honest material detail, scale references, rotating views. For design-led categories where scale, material, and placement change how an object is perceived, AR product visualization gives brands a way to move beyond the static product image and let customers preview furniture, lighting, appliances, décor, windows, or doors in their own environment.

Which is a meaningful shift in what an image is being asked to do. The campaign frame asks how does this look. The AR preview asks where does this belong, and that’s a question no photograph has ever been able to answer.

The room becomes part of the product

Anyone who works in interiors knows that furniture is never fully understood in isolation. An object’s proportions are relative. A cabinet that reads as elegant in a photographer’s studio can read as heavy against a low ceiling. A pale oak table looks like a different piece entirely on dark floorboards.

This is the awkward truth at the centre of selling design objects online: the product isn’t really the product. The product plus the room is the product. A sculptural chair positioned in a spare, high-ceilinged apartment is a different proposition from the same chair in a Victorian terrace with patterned wallpaper, and the buyer, not the brand, owns the second half of that equation.

AR closes the gap by handing the object over to the buyer’s own context. Their light, their floor, their ceiling height, their existing furniture standing a metre away. Placement stops being an act of imagination and becomes something you can look at.

The virtual showroom becomes a brand space

The same assets that make a product previewable also make it presentable without a building.

Physical showrooms are expensive, geographically limited, and constrained by what will fit inside them. A digital showroom carries no such limits, a full collection, every colourway, at any scale, available simultaneously in Milan and Seoul and wherever a buyer happens to be sitting. Interactive catalogues extend this further. Product launches can happen to a global audience on the day of announcement rather than the day the pieces arrive by freight.

For design brands, the interesting part isn’t the logistics. It’s that a virtual showroom is a curated space, which means it’s a creative brief. How a collection is arranged, lit, and moved through says as much about a brand as a physical space would. The best of these feel authored. The weakest feel like a folder of models on a white plane.

AR still needs creative direction

Which leads to the caveat, and it matters. Technology without taste weakens the experience it was meant to improve.

Not every product needs AR, and building it for objects where placement isn’t the question is effort spent on novelty. Where it is warranted, the asset has to be right: proportions accurate to the millimetre, because an AR preview that misrepresents scale actively misleads. Materials have to behave credibly, a fabric that reads as plastic under a phone’s rendering pipeline undermines the very quality the brand is selling. Lighting has to respond to the real environment rather than sitting flatly on top of it.

And the whole thing has to belong to the brand‘s visual world. An AR model that looks like a generic 3D object dropped into a room, when every other touchpoint has been carefully art-directed, creates a discontinuity a design-literate customer will notice immediately. The digital asset deserves the same attention as the campaign image, because for many customers it is the campaign image.

The product image becomes an experience

What’s emerging is less a replacement than an expansion. A single object now moves through a sequence of visual states, the editorial frame that creates the want, the rendered asset that serves the catalogue, the product-page detail that answers the doubt, the interactive model that lets someone turn it over, the AR preview that places it, the social clip that circulates it, the showroom object that presents it in company.

The brands doing this well aren’t treating those as separate deliverables handled by separate teams. They’re treating them as one visual language expressed in different registers, the same material honesty, the same lighting sensibility, the same restraint or exuberance, carried across every state the object appears in. Consistency across that sequence is becoming a design discipline in its own right.

Finally, AR isn’t retiring the product image. It’s extending it into a place photography could never reach, the buyer’s own room, at their own scale, under their own light. The campaign frame will keep doing what it has always done, which is to make people want things. What’s changed is that the wanting can now be followed, immediately, by the seeing. For design-led brands, that’s less a technical upgrade than a new surface to art-direct, and the ones who treat it that way will be the ones whose digital objects feel like they came from somewhere.

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Jaeger-LeCoultre has named Robert Pattinson its newest Global Ambassador, bringing the British actor into the Swiss watchmaker’s international roster. The appointment arrives with a new campaign featuring Pattinson wearing the Master Control Chronometre Perpetual Calendar, a model produced and assembled at the Manufacture-Atelier in the Vallée de Joux.

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The partnership follows Pattinson’s appearance at the 2026 Academy Awards, where he wore a then-unreleased rose-gold version of the Master Control Chronometre Perpetual Calendar. The watch generated attention before Jaeger-LeCoultre officially introduced the new Master Control Chronometre collection in April. Pattinson now returns to the model as the face of the brand’s latest campaign.

Jaeger-LeCoultre positions the actor’s independent approach to his career, creative choices and understated personal style alongside the principles that shape the Manufacture and its watchmaking. The 39mm Master Control Chronometre Perpetual Calendar runs on Jaeger-LeCoultre’s automatic Calibre 868 and combines a perpetual calendar with a moon-phase display and a 70-hour power reserve.

The stainless-steel edition uses a blue-grey gradient sunray-brushed dial with polished rhodium-finished numerals and hour markers. Opaline and azuré finishes define the calendar counters, while a hammered platinum-leaf moon appears within the moon-phase display. An integrated stainless-steel bracelet continues the combination of brushed and polished surfaces used across the case.

Robert Pattinson is a British actor whose career spans major studio productions and director-led cinema. More recently, he starred in Bong Joon Ho’s Mickey 17 and Lynne Ramsay’s Die My Love, followed by 2026 releases The Drama with Zendaya and Christopher Nolan’s The Odyssey. He also leads the upcoming Primetime, in which he plays Chris Hansen and serves as a producer, and appears in Dune: Part Three. Pattinson is currently filming The Batman: Part II, returning as Bruce Wayne under director Matt Reeves.

Pattinson’s appointment formalizes a connection that Jaeger-LeCoultre had already begun introducing publicly through his Oscars appearance. The new campaign now places him directly alongside one of the Manufacture’s major 2026 releases, establishing the Master Control Chronometre Perpetual Calendar as the first watch associated with his role as Global Ambassador.

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Nike continues its collaboration with FC Barcelona through the Kobe 3 Low Protro, introducing a Black and Electric Purple edition that connects the basketball model with the Spanish football club. The sneaker uses FC Barcelona insignia, Kobe branding and Metallic Gold details within an updated version of the original Kobe 3 design from 2007.

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The upper features an Electric Purple gradient that extends onto the outsole, while black provides a darker foundation for the palette. Metallic Gold accents reference the pursuit of trophies and connect with the gold details used throughout the wider Kobe x FC Barcelona project. The official color designation lists Black, Metallic Gold and Electro Purple.

FC Barcelona’s crest appears directly on the sneaker. Nike etches the club emblem onto the dubraes and places it on the left tongue alongside the Kobe Sheath, bringing the identities of the club and Kobe Bryant together within the shoe’s detailing.

The release forms part of the second season of the Kobe x FC Barcelona partnership. Nike introduced the collaboration in 2025 with FC Barcelona’s away uniform, the Kobe 4 Protro, Air Force 1 Protro, post-match slides and co-branded apparel. The project drew from Kobe Bryant’s lifelong interest in football and his admiration for FC Barcelona’s playing philosophy.

For the 2026–27 season, Nike returned to the partnership with another FC Barcelona away kit and a larger selection of training pieces, sportswear and footwear. The collection incorporates the Kobe Sheath and Barça crest for a second consecutive season, with the Kobe 3 joining an FC Barcelona edition of the Nike Dunk Low. The club’s 2026–27 away kit also uses purple and gold, creating a visual connection between the football uniform and accompanying footwear.

Nike updates the Kobe 3 Low Protro with performance technology suited to contemporary basketball. A full-length Air Zoom Strobel unit runs underfoot and supplies responsive cushioning, while Cushlon 3.0 foam forms the midsole. Nike developed this Protro configuration to increase energy return and responsiveness while retaining references to the 2007 Kobe 3.

The low-cut construction gives the original Kobe 3 concept a new format while preserving recognizable elements from the model. Purple covers much of the upper and extends through the net-like exterior structure, tongue and outsole, while Metallic Gold provides smaller accents around the shoe.

Nike will release the sneaker on September 4, 2026 through SNKRS for $190 in the United States.

Name: FC Barcelona x Nike Kobe 3 Black and Electric Purple
Colorway: Black/Metallic Gold/Electro Purple
SKU: IO6257-001
Price: 190 USD
Release Date: September 6
Available at: Nike and select retailers

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