Chanel introduces Jacob Elordi as the new face of Bleu de Chanel, placing the Australian actor at the center of one of its most recognized fragrances. The campaign will debut in May, continuing the house’s approach of pairing scent with cinematic storytelling.

FRAGRANCES

Elordi has built a visible presence across film and television, with roles in Euphoria, Frankenstein, and Wuthering Heights. His influence extends into fashion, where his personal style has shaped how audiences approach menswear. This visibility supports his role within the campaign, where his image aligns with the direction Chanel sets for Bleu de Chanel.

Thomas du Pré, Chanel’s head of global creative resources for fragrance and beauty, describes Elordi as a natural fit for the project. “I have been following Jacob Elordi’s career for several years, since Euphoria,” he states. “He perfectly embodies Bleu de Chanel, expressing freedom, mystery, magnetism, and a masculinity that blends modernity with a certain classic elegance.” His remarks position Elordi as a figure who carries the attributes associated with the fragrance.

Elordi’s connection to Chanel extends beyond this campaign. He previously worked with the house on See You at 5, a film tied to Chanel No. 5, where he appeared alongside Margot Robbie. The project introduced him to the brand’s process of creating film-based narratives around its fragrances. Du Pré described that collaboration as a turning point, which led to further discussion and eventually to this campaign.

Elordi acknowledges the significance of joining the campaign, noting the history of artists involved in similar projects. “The filmmakers and actors who have collaborated with the house before me are people I deeply respect and admire,” he says. “Being able to become part of this story is an honor.”

The choice of Elordi also responds to his influence on audiences beyond film. His presence has shaped how many approach clothing and personal style, with his public appearances often referenced within menswear circles. The upcoming campaign continues Chanel’s focus on connecting fragrance with narrative through film and casting.

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Nahmias introduces its Spring Summer 2026 campaign with Irish actor Barry Keoghan, set inside a stripped-back boxing gym that frames the collection’s sport-driven direction. The setting removes distraction and focuses on movement, structure, and function, placing the garments within a space defined by physical activity.

SPRING SUMMER 2026

Barry Keoghan has built a strong presence through roles defined by intensity and control. He gained recognition with The Killing of a Sacred Deer and Dunkirk, later earning an Academy Award nomination for The Banshees of Inisherin. His recent work includes Saltburn and Peaky Blinders: The Immortal Man.

The collection builds around updated athletic silhouettes, led by navy track sets that define the season. Each piece features a structured fit and a lightweight construction that supports mobility and durability. The garments rely on precise cut and considered fabrication, with branding reduced to a minimum. Keoghan presence introduces a direct, unfiltered tone that aligns with the collection’s construction.

“Spring Summer 2026 continues the brand’s focus on sport-driven design, approached in a direct and practical way,” the brand states. This perspective carries through the collection, where each element reflects a clear intention.

The Spring Summer 2026 campaign continues this trajectory, presenting a collection that remains grounded in sport. The pieces reflect a clear direction shaped by material, cut, and purpose. The collection is available now through the brand’s website and selected retailers.

View Gallery 11 images

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Maison Valentino presents its Pre-Fall 2026 campaign featuring musician Sombr, under the direction of Alessandro Michele, with imagery captured by Johnny Dufort. The project unfolds inside the palazzo of Cy Twombly in Bassano in Teverina, a residence that shaped decades of the artist’s work. Sombr moves through a space marked by history where architecture remains present in every room.

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Twombly acquired the palazzo in 1975 after guidance from art collector Giorgio Franchetti. He withdrew from city life and used the residence as a private environment for work and reflection. The limestone structure held a quiet rhythm, opening only to a small circle of collaborators. Several of his key works developed within these walls. The site now houses the Iris Foundation, which supports cultural initiatives, while Twombly’s presence continues through the structure and atmosphere of the space.

The campaign draws from a visual reference that connects to the house’s history. In 1968, photographer Henry Clarke shot Valentino Garavani’s white collection for Vogue inside Twombly’s Roman apartment, shared with Tatiana Franchetti. That moment established a link between the maison and the artist. The current campaign returns to another Twombly residence, using the setting to extend that connection.

The 1968 photographs placed figures within structured compositions that aligned closely with architecture. The new campaign shifts away from that order. Gaze, and fabric disrupt the space, while color alters the reading of each room. Movement reshapes how the body interacts with its surroundings, turning the interior into an active setting. Michele frames Valentino as a site where past and present operate together, using Twombly’s palazzo to express this direction through architecture, image, and motion.

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Pedro Pascal takes the cover story of Fantastic Man issue 42, photographed by Ethan James Green with styling by Carlos Nazario. The editorial places him in Los Angeles, in a series of looks built around Chanel, vintage pieces, and everyday staples.

MAGAZINES

The story focuses on the long path that led to his current position. Pascal recalls years of working in theatre, taking small television roles, and supporting himself through restaurant jobs in New York. That period shifted with his role in Game of Thrones, which marked a turning point and brought wider recognition.

From there, his trajectory continued through Narcos, The Mandalorian, and The Last of Us, establishing him across major productions. He reflects on reaching visibility later in his career, describing it as a process shaped by years of work before public attention.

The interview also captures recent moments, including his appearance at the Super Bowl halftime show with Bad Bunny, where he moved from spectator to participant within minutes. The anecdote reinforces his current presence across different spaces, from film and television to live performance.

Fashion runs through the feature as an extension of that visibility. Pascal discusses his evolving approach to dressing and his collaboration with Chanel, describing a growing interest in how he presents himself in public.

DISCOVER: G-Dragon and Pedro Pascal Star in Chanel Eyewear Campaign

The feature closes with a look at upcoming projects, including De Noche and The Mandalorian & Grogu. The images and interview position Pascal within a moment shaped by steady growth, ongoing work, and increasing cultural presence.

Photography © Ethan James Green for Fantastic Man, read more at fantasticman.com

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Peter Finn stars in a new MMSCENE Magazine exclusive, where concrete surfaces, open sky, and coastal elements set a tone for the story. Photographed by Ferran Casanova with styling by Cristian Betancurt and grooming by Martin Ruffolo, the editorial moves between controlled structure and a more physical, exposed presence. Peter moves between controlled stances and more physical gestures, building a rhythm that shifts in intensity.

MMSCENE EXCLUSIVES

The editorial features garments from Old Navy, Calvin Klein, Michael Kors, Suzy Forel, Prada, Dolce&Gabbana, Massimo Dutti, Ralph Lauren, and BOSS. In conversation with our MMSCENE editor Borislav Utjesinovic, Peter reflects on entering the industry through instinct, describing how early experiences shifted his focus toward presence and timing. He speaks about maintaining consistency through routine, keeping his approach direct and measured, while also pointing toward a growing interest in storytelling and long-term development within the industry.

What first inspired you to start modeling, and how did you get your first break in the industry?

I was just sharing my day-to-day on Instagram without overthinking it. A casting director in New York reached out and asked me to come in.

From there, I started doing test shoots and realized it wasn’t really about posing, it was about presence. Capturing a feeling, a moment, something real. That shift made it interesting to me. It felt more like storytelling than anything else.

What’s been your favorite modeling experience or brand collaboration so far?

Being on set with a strong team where everyone is aligned on the vision. There’s a certain energy when everything clicks. It becomes collaborative, almost instinctive.

That’s when it doesn’t feel like work and it just flows.

If you could work with any brand or designer in the world, who would it be?

Saint Laurent and Tom Ford stand out to me. I’m drawn to brands that create a world. Something confident, refined, and understated. It’s not about trying too hard, it’s about presence that draws people in.

How do you maintain your physique and overall health? Do you follow a specific workout or diet plan?

I keep it simple and consistent. Daily movement, usually a long walk. Some light weight lifting once or twice a week focused on posture and balance. Diet: I lean into whole foods, protein, and cooking at home when I can. For me, it’s more about consistency than any extremes.

What’s your favorite cheat meal when you’re taking a break from your routine?

A warm chocolate chip cookie with vanilla ice cream.

What’s your grooming routine like? Are there any skincare or haircare products you swear by?

I keep things minimal and consistent. A good moisturizer, SPF, and proper rest. I don’t overdo anything. The goal is to look like myself, just maintained.

How do you spend your free time when you’re not modeling?

Traveling when I can, spending time outdoors, anything that helps me switch off and be present. I’m just as happy exploring a new city as I am disappearing into a movie theater with popcorn and no plan for a couple hours.

What kind of music are you listening to lately? Any favorite artists?

It depends on the mood. I listen to a mix of everything. Lately I’ve been leaning more into audiobooks during walks or long drives. It helps me reset and focus.

Are you more of a “plan everything” type or do you like to keep things spontaneous?

I like having a loose structure, but leaving room for things to unfold naturally. The best moments usually aren’t planned.

How do you handle criticism or rejection in such a competitive industry?

I don’t take it personally. I don’t view any one opportunity as make or break. I focus on what’s in my control and what I’m doing next.

Where do you see your modeling career going in the next few years? Do you plan to branch out into acting, business, or another field?

I want to continue building in the campaign space working with brands that have a strong point of view and a lasting identity. Acting is something I’m naturally drawn to as an extension of that and storytelling. For now, I’m focused on building something long-term and intentional, and letting that evolve in the right direction.

Photography: Ferran Casanova
Styling: Cristian Betancurt
Talent: Peter Finn at Traffic Models
MUAH: Martin Ruffolo for The Artist Talents
Interview by: Borislav Utjesinovic

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AMIRI directs High-Summer 2026 toward Palm Springs, where the California desert shapes the tone of the collection. The setting carries a long association with Hollywood escape, defined by sunlight, privacy, and a distinct visual language formed over time.

SPRING SUMMER 2026

Midcentury architecture and open lawns sit within the Colorado desert, creating a setting removed from routine. The location has drawn creatives for decades, offering a shift in perspective tied to light and atmosphere. AMIRI uses this context to frame a collection built around movement, surface, and a focused interpretation of California dressing.

The collection develops through American sportswear, refined through proportion and material. Familiar garments take shape through tailored adjustments, with silhouettes that follow the body. High-waisted trousers and slim knit shirts establish a continuous line across the collection, keeping the structure controlled and direct. The approach draws from leisure references, including golf, tennis, and poolside dressing.

Color reflects the desert environment. Sky blue and yellow sit alongside neutral tones such as chocolate, beige, and taupe. These shades respond to the effect of sunlight on surfaces, where color shifts and softens under constant exposure.

Stripe patterns draw from the furnishings found in Palm Springs hotels, appearing across garments with precision. The AMIRI MA monogram integrates into terrycloth, introducing texture. Accessories follow the same direction, with Sunset sunglasses presented in a streamlined aviator shape finished with gold detailing.

Discover Full Campaign on DSCENE

Silk and cotton form the base, chosen for their response to heat and movement. Crochet appears in key pieces such as polo shirts. Leather elements, including crocodile-embossed belts, introduce contrast through surface. Embroidered monograms and gold buttons and snaps create focused points across the garments. AMIRI High-Summer 2026 holds a controlled direction shaped by place, proportion, and material.

View Gallery 12 images

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Luxury house CHANEL presents its Spring Summer 2026 Eyewear campaign through a portrait series captured by fashion photographer Craig McDean, bringing together a group of House ambassadors. Within this lineup, G-Dragon and Pedro Pascal define the menswear focus, each appearing in eyewear designs that emphasize structure, surface, and visible detailing.

SPRING 2026

K-pop superstar G-Dragon wears graphic two-tone sunglasses featuring the double C, along with additional frames marked with the emblematic motif. These styles introduce contrast through color and branding, placing emphasis on the visual identity of the frames. Actor Pedro Pascal wears sunglasses featuring the House’s quilting, alongside aviator eyeglasses detailed with CHANEL lettering. His selection focuses on defined construction, where surface treatment and recognizable design elements shape the overall look.

The eyewear designs draw from established CHANEL codes translated into frame construction. Diamond quilting appears within certain models, while two-tone treatments introduce contrast across different styles. The double C functions as a recurring element across both sunglasses and optical frames, joined by CHANEL lettering applied across multiple designs.

Across the sunglasses, the designs bring together rhinestones, CHANEL lettering, and delicately carved contours, with vivid tones introduced throughout the frames to create variation between styles and define the direction of the collection. Material finishes, including tortoiseshell, add further variation across the range.

The campaign also includes Nicole Kidman, Lily-Rose Depp, and Ayo Edebiri.

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ZEGNA places Mads Mikkelsen at the center of its Summer 2026 campaign at Lake Maggiore, where the story unfolds along the edge of the Italian Alps near Oasi Zegna, a 100 square kilometer natural territory restored by founder Ermenegildo Zegna. The setting establishes the pace of the season, shaped by a landscape the Zegna family has returned to for generations. The rhythm of daily life, tied to the lake and surrounding mountains, guides both the imagery and the collection.

SPRING SUMMER 2026

Mikkelsen moves across the shores of Lake Maggiore in Piedmont, where the environment defines the tone of each image. The campaign focuses on a direct reading of the Italian summer, grounded in calm surroundings and a steady tempo.

Movement across the lake takes place aboard the Zegna family’s Riva Aquarama, a 1960s motorboat designed by Carlo Riva. Long linked to summers spent on Lake Maggiore, the boat reflects a shared approach between Riva and ZEGNA, where design, function, and material align with precision.

The collection develops through relaxed silhouettes constructed from lightweight fabrics. The Oasi Lino line forms a central part of the offering, produced from European-grown flax fibers with full traceability, grounding the garments in their origin.

ZEGNA shapes the collection through a mix of cashmere, linen, and cotton, forming garments suited to both daytime heat and cooler evenings. The Mocassin loafer returns as a key element, reinforcing the house’s direction in footwear. Color follows the natural surroundings, with pine green, taupe, and luminous white drawn from the shifting light of Lake Maggiore.

ZEGNA Summer 2026 holds a clear direction shaped by place, material, and daily rhythm. The collection carries this approach through each element, forming a precise expression of the season grounded in its environment.

View Gallery 12 images

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LOEWE Paula’s Ibiza 2026 arrives as the final collection developed by the house studio before the transition to new creative leadership. The release carries a clear sense of direction, grounded in material and atmosphere.

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The campaign, photographed by Jack Pierson, sets the tone through a visual language that favors immediacy. His images shift between beach settings and interiors, moving from open air into enclosed spaces without breaking rhythm. Light drives each frame, shaping surfaces and emphasizing the physical presence of fabric against skin. Figures appear relaxed, often partially bare, placed against sand, rock, or water.

Draped silhouettes define the structure, with shirts falling loosely over trousers and layered combinations maintaining a sense of movement. The collection draws from the legacy of Paula’s boutique on Ibiza, a reference point that informs its relaxed attitude. That influence comes through in the use of basketry and crochet, which anchor the material approach.

The imagery extends this narrative through a mix of environments. Outdoor scenes point toward island life, while interiors suggest how the collection operates in an urban setting.

Discover Full Campaign on DSCENE

A sun-driven intensity defines the atmosphere across the campaign. Paula’s Ibiza 2026 maintains that focus throughout, closing the studio chapter through material, movement, and a direct connection to its surroundings. The collection is available in stores and online.

View Gallery 9 images

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Berluti introduces A Journey in Craft, a film series featuring brand ambassador Lee Jun Ho that follows the Maison’s production across Italy and France. The project unfolds as a multi-episode narrative, beginning in Italy before continuing in Paris later in Fall 2026.

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The first sequence centers on Italy, where Berluti grounds its operations. The opening episode takes place inside the Manifattura in Ferrara, a site where more than 300 artisans carry out the brand’s production. The film presents this environment as a place of precision, where each stage of shoemaking unfolds through defined gestures and techniques. Materials move through a sequence of steps that lead from raw form to finished product, with attention placed on the details that define the outcome.

 

 

 

 

 

 

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Within this setting, Jun Ho engages directly with the artisans. Conversations reveal the approach behind their work, with each craftsperson contributing knowledge built through repetition and practice. The episode focuses on the construction of Berluti’s Alessandro Oxford shoe, tracing its development through each phase. It also introduces the patina process, a defining element of the brand’s leather treatment.

The second episode shifts to Venice, where Berluti draws part of its visual and material direction. The city serves as a reference point for the brand’s use of color and its approach to leather. Known as La Serenissima, Venice provides a setting shaped by water, light, and stone.

As he travels along the Grand Canal, the film draws a link between the qualities of Venice and the characteristics of Berluti’s Venezia leather. The surface of the material, shaped through patina, echoes the variations found in the city’s environment. Light shifts across water and architecture, creating a visual rhythm that aligns with the treatment of the leather.

Jun Ho appears in Berluti garments throughout the series, including a Forestière jacket in light linen during the Venice sequence. Its lilac tone reflects the color of the sky at sunset, reinforcing the connection between environment and design.

The series will continue with a second sequence set in Paris, where Jun Ho will experience Berluti’s bespoke process. This upcoming chapter will focus on tailoring and bootmaking workshops, extending the narrative into another key part of the Maison’s operations.

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