LOEWE takes its Fall Winter 2026 campaign to Pointe Helbronner in the Mont Blanc Massif, where Jack McCollough and Lazaro Hernandez place the season’s menswear at elevations reaching 3,470 meters. Photographed by Talia Chetrit, the campaign uses ice, snow and granite peaks to sharpen the collection’s color, texture and sculptural forms.

FALL WINTER 2026

The cast includes LOEWE ambassador Théodore Pellerin, alongside Lil Yachty and model Siegfried Blanche.

McCollough and Hernandez use the high-altitude setting to push familiar clothing into a harsher visual environment. The changing weather shapes the campaign throughout, with snow, mist and reduced visibility giving the images an unsettled energy. Against the white surroundings, saturated tones and heavy textures become more pronounced.

The collection brings that effect into focus through bright knitwear, substantial shearling and outerwear built around volume and texture. Chetrit photographs the pieces with close attention to material, proportion and surface, allowing LOEWE’s leatherwork and cold-weather clothing to register clearly against the mountain terrain.

Athletic movement gives the campaign much of its pace. The cast crosses the snow in broad strides and physical poses, drawing attention to the collection’s sportswear references and exaggerated volumes. Storm boots, wraparound Shield sunglasses and inflatable parka jackets reinforce the sense of function and movement created by the location.

Discover Full Campaign on DSCENE

The mountain conditions remain a constant part of the series. Snowfall and mist shift from image to image, sometimes reducing visibility to only a few meters. Chetrit uses those changes to create a cinematic atmosphere where color and form remain sharp even as the surrounding environment becomes increasingly diffuse.

For Fall Winter 2026, LOEWE uses altitude as a way to intensify the collection’s proportions, textures and movement. The Mont Blanc setting gives McCollough and Hernandez’s menswear a direct physical context, while Chetrit’s images turn unstable weather and extreme terrain into part of the season’s visual language.

View Gallery 11 images

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For a new MMSCENE Magazine exclusive, Harry Ash steps in front of the lens of photographer Pat Supsiri. Represented by Mates Model Management, Ash appears in a new editorial accompanied by an interview exploring the early development of his modeling career and the experiences shaping his approach in front of the camera.

MMSCENE EXCLUSIVES

In conversation with MMSCENE, Ash speaks about learning to trust the creative process, the personality he brings to shoots and his growing interest in the wider creative side of fashion. He also reflects on personal style, the influences that currently hold his attention and the direction he hopes to pursue as his career develops.

What first made you curious about modelling, and how did you end up signing with an agency?

I fell into modelling more than anything, people would tell me I should give it a go, but I never really took it seriously at first. Once I started shooting and saw what could actually come from it, I became pretty obsessed with improving. Eventually that led to signing with an agency and realizing it was something I genuinely wanted to pursue properly.

What have you found most challenging about learning how to work in front of the camera?

Probably learning that doing less can actually be more. At the beginning I’d overthink where my hands were, what my face was doing, whether the pose looked right. The more I’ve shot, the more I’ve learned to trust the photographer.

What has been the most memorable moment of your modeling career so far?

Just recently I was on set with an older guy from New York City and he was one of the most interesting, grounded and friendly guys I’ve ever met. Like many more memorable people I’ve met so far, they always leave a mark on me and excite me for what’s next.

What do you think you bring to a shoot that feels distinctly yours?

Probably my personality and energy. I’m pretty cheeky and I don’t take myself too seriously, which I think helps me stay relaxed on set. But when it’s time to shoot I can switch on. I like bringing some attitude into an image rather than just trying to look good.

What kind of clothes do you naturally gravitate toward in everyday life?

Usually pretty simple silhouettes but with one or two pieces that stand out. I’m into vintage pieces, good denim, leather jackets and simple fitted clothes that make me feel relaxed.

What kind of music, films, or other culture are you drawn to right now?

Music is probably the biggest one for me. I’m always finding new stuff and my taste changes depending on what I’m doing. Visually, I’m really drawn to fashion imagery, campaigns and films that feel a little darker or more raw. Anything that feels authentic makes me feel the most connected.

Is there a skill or interest you would like to spend more time developing outside of modeling?

Definitely the creative side of fashion. I’d like to understand more about creative direction, styling and what actually goes into building an entire campaign or concept rather than only being the person standing in front of the camera.

What kind of creative project would you be excited to be part of, even if it pushed you outside your comfort zone?

Something really conceptual where I almost don’t recognise myself in the final images. Completely different styling, hair, location or character.

Do you see modeling mainly as a career in itself, or as something that could open doors to other interests as well?

Both. I want to take modeling as far as I possibly can, especially internationally, but I also see it opening doors into the wider creative industry. Long term I’d love to be involved in creative direction, fashion and potentially building projects of my own.

What would make the next few years feel successful to you?

Working internationally is the big one. I’d love to spend time working in markets like Milan and keep building a portfolio that feels stronger and more editorial. Beyond specific jobs, success would just be looking back in a few years and knowing I took every opportunity I had instead of playing it safe.

Model: Harry Ash at Mates Model Management
Photographer: Pat Supsiri

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There’s a particular quality to summer light on Greek islands, one that reveals the integrity of what you’re wearing. On Hydra, accessible by ferry from Athens, that clarity becomes unavoidable. Nasos Gatsos embodies this effortless Mediterranean aesthetic in ST33LE’s latest collection, a series shot by photographer Ioanna Tokmakidou that proves great styling transcends location and season. What emerges is not vacation wear in the conventional sense, but rather a considered approach to warm-weather dressing, one that prioritizes clean lines, textural depth, and proportion over trend-driven excess.

The collection itself speaks to a specific philosophy: pieces designed to function as standalone wardrobe essentials while remaining versatile enough to layer across seasons. Striped knits in muted colorways sit comfortably against tailored shorts in earthy tones. Sportswear elements appear alongside more formal basics, suggesting a wardrobe logic that refuses easy categorization. This is where ST33LE distinguishes itself, building collections around the idea that functional design and visual interest are not mutually exclusive. Each piece has been considered for both how it hangs on the body and how it photographs under natural light.

Ioanna Tokmakidou, the Athens-based photographer behind the lens, captured this narrative in film stock, a choice that adds warmth and dimensionality to what could easily have become a generic resort story. The decision to shoot on film rather than digital elevates the entire project, lending an intentionality that speaks to both the photographer’s craft and the brand’s commitment to quality. Her compositions work with the architecture of Hydra, using the island’s whitewashed buildings, weathered stone, and brilliant blue water as counterpoints to the collection’s neutral palette. The result is a series that feels earned rather than constructed, where each image rewards close looking.

Styling by Zarko Davinic reinforces a narrative of restraint and sophistication. Rather than maximizing product visibility through variety, each look builds methodically. A striped knit becomes the focal point, paired with shorts that allow the garment to breathe. A cap and textured shorts create visual rhythm without noise. Hair and makeup by Ilias Koutsaftikis, represented by Beehive Artists, maintains that same editorial discipline, keeping the focus on the clothing and the interplay between model, photographer, and location. There is no competing visual noise here, no distraction from the core proposition: these clothes work, they photograph beautifully, and they suit the body and the moment.

Nasos Gatsos, represented by Ace Models, carries the collection with the ease of someone comfortable in front of a camera and confident in what he’s wearing. His presence grounds the shoot in reality rather than aspiration, which is precisely what makes the imagery resonate. This is not fantasy casting or impossible beauty standards, but rather a model who understands how to move, how to hold a pose, and how to let clothing speak for itself. His collaboration with Tokmakidou creates moments of genuine ease, the kind that cannot be directed but only captured.

Hydra Island functions here as more than backdrop. The destination, still relatively unknown compared to Santorini or Mykonos, rewards those seeking substance over spectacle. Its narrow streets, working harbor, and preservation of architectural character make it an ideal setting for a collection that values integrity over flash. The ferry ride from Athens becomes part of the narrative, a commitment to discovering something less obvious, more considered.

What ST33LE has accomplished here is the delicate balance between summer collection viability and editorial authenticity. Tokmakidou’s work ensures that every image carries weight, that the summer light and Greek landscape enhance rather than overshadow the collection itself. Discover more of the Hydra shoot with ST33LE in our gallery: 

View Gallery 19 images

Model: Nasos Gatsos (Ace Models) | Photography: Ioanna Tokmakidou | Styling: Zarko Davinic | Hair & Makeup: Ilias Koutsaftikis (Beehive Artists)

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Aimé Leon Dore presents its FW26 collection with a broad mix of sportswear, tailoring, knitwear and denim, joined by several collaborative projects. The New York label continues its work with Technics and GORE-TEX, introduces footwear with Last Resort AB and includes a new piece with The North Face.

FALL WINTER 2026

The lookbook also features one detail that immediately stands out: a New York Knicks cap. Aimé Leon Dore has not confirmed a collaboration with the basketball team, though the accessory suggests that a first project between the two could be in development.

A Knicks partnership would add another New York sports reference to the brand’s history. Aimé Leon Dore has used New York Yankees imagery since 2017, and FW26 continues that connection through new Yankees caps and beanies.

The collaborative lineup extends beyond sports. Aimé Leon Dore continues its relationship with Japanese audio company Technics, which appears this season through a varsity leather jacket. GORE-TEX also returns, while The North Face contributes a puffer jacket finished with leather yoke details.

Swedish footwear company Last Resort AB enters the mix through its first collaboration with Aimé Leon Dore, adding another new partnership to the season.

Outerwear plays a substantial role throughout the collection. Alongside the Technics varsity jacket and The North Face puffer, the Suede Cafe Racer Jacket introduces another leather-focused option. The category relies on different materials and familiar cold-weather shapes without moving away from the brand’s established wardrobe.

Knitwear brings more pattern and texture into FW26. Aimé Leon Dore uses chunky yarns and colorful Fair-Isle designs across the category, giving the colder-weather pieces a more expressive character.

Tailoring follows a more traditional direction through woolen tweeds and earth-toned windowpane checks. Double-breasted jackets appear with matching trousers, bringing formal proportions into a collection still closely tied to sportswear and casual dressing.

Denim provides another recurring element. The brand uses it for double-knee carpenter pants, pinstriped jeans and shirting, introducing workwear references throughout the season.

The Knicks cap remains the most open-ended element in the lookbook. Aimé Leon Dore has yet to confirm whether it belongs to an official collaboration, so the accessory currently serves as a preview of what could become another local sports partnership.

Aimé Leon Dore FW26 Delivery 1 is scheduled to release on Friday, August 2 through the brand’s website and its flagship stores in New York, Los Angeles and London.

View Gallery 60 images

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Nike updates the Pegasus Plus with a second-generation model built for faster daily running. The Pegasus Plus 2 combines an exposed forefoot Air Zoom unit with ZoomX foam, creating a lighter and more responsive setup for runners who want one shoe to cover daily miles, longer sessions and quicker efforts.

SNEAKERS

The main change appears in the forefoot. Nike uses a curved Air Zoom unit that remains visible within the sole and works together with a lightweight ZoomX midsole. According to the brand, the combination delivers at least 18 percent more energy return than the first Pegasus Plus.

Nike developed the shoe with inspiration from its road racing footwear, while keeping the construction free of a plate. Tensile fibers inside the Air Zoom unit work like preloaded springs, helping return energy with each step. The curved form also supports smoother transitions through the stride.

“Our goal was simple: speed without sacrifice,” says Deepa Ramprasad, Senior Director of Nike Running Footwear. She says the design team spent years refining the system around speed, comfort and confidence.

The Pegasus Plus 2 also uses the MR10 2.0 last, first introduced with the Pegasus 42. The shape gives runners more room through the forefoot and toe box, while the midfoot construction keeps the foot secure during faster running.

Nike also updates the materials around the ankle and adds reflective elements to the upper. Underfoot, a modern waffle outsole uses flex zones designed to improve flexibility and road feel.

More than 30 elite Nike athletes tested the Pegasus Plus 2 during development, including marathon runners and track athletes. The Nike Sport Research Lab also studied how runners performed and responded to the shoe.

Nike tunes the pressure of the Air Zoom unit by size and adjusts its construction to maintain consistent energy return across the size range.

The Pegasus Plus 2 joins Nike’s wider road running lineup. Pegasus focuses on responsive cushioning and energy return, while Vomero provides maximum cushioning and Structure offers additional support and stability.

The model continues the development of Nike’s longest-running and best-selling running franchise with a stronger emphasis on speed and responsiveness. The Nike Pegasus Plus 2 will become available in late August through select retail partners and Nike.

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Theo James fronts the September 2026 issue of British GQ, photographed by Ben Parks and styled by Sam Ranger. The 41-year-old actor appears in the magazine as his career enters another busy period, with The Gentlemen returning for a second season and his profile continuing to grow after The White Lotus.

MAGAZINES

James discusses his life outside acting at Ornella, the second Italian restaurant he has co-founded in London. The setting becomes part of a wider conversation about his life outside acting. James also co-founded Lupa, which opened a year earlier, and talks about his personal investment in both restaurants, from their interiors to the people working inside them.

Much of the interview turns toward The Gentlemen, Guy Ritchie’s Netflix series in which James plays Edward “Eddie” Horniman, the Duke of Halstead. The first season became one of Netflix’s major hits of 2024, and James now also serves as co-executive producer. Season 2 takes Eddie deeper into the criminal operation he inherited, while the story examines power, class and the pull of lineage with greater intensity.

James explains that he initially approached Eddie with what he calls “middle-class guilt,” imagining a character uncomfortable with inherited privilege. Ritchie encouraged him to consider the attraction of a 600-year bloodline. That idea becomes increasingly important as Eddie grows more ambitious and begins to understand the influence attached to his family name. James describes the coming season as darker and more interested in the ways power can alter someone’s morality.

The actor also reflects on his relationship with fame. His breakout role in the Divergent films brought intense attention during the 2010s, something James struggled with at the time. He recalls withdrawing from public life and considering leaving acting altogether. An oceanography degree in California even became a serious possibility before smaller projects helped reconnect him with the reasons he wanted to perform.

That experience continues to shape the way he approaches his career. James says he now enjoys acting more than he once did because greater success allows him to choose projects more carefully. His recent work includes an Emmy-nominated performance in The White Lotus, The Gentlemen, the upcoming South Korean thriller The Hole and Untapped, the independent production company he co-founded.

James also discusses the tension between public recognition and private identity. He admits that he once refused selfies with fans and preferred conversation, although he eventually realized that refusing could make the interaction last longer. He remains cautious about fame and the effect intense public attention could have on his family.

The post Theo James Stars on British GQ September 2026 Cover appeared first on Male Model Scene.

Jimmy Choo turns to the English countryside for its Fall 2026 men’s campaign, “Wild Rose,” starring flower farmer and model Alfie Nickerson. Creative director Sandra Choi builds the season around the English rose, using its beauty, structure and resilience as the foundation for a collection that gives the house’s floral codes a tougher character.

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Choi places British identity at the foundation of the season. “For this collection, we escaped to country gardens for inspiration; English roses became the subject that we were enchanted by – the beauty, the formation, the resilience and strength all feed into what we wanted to design for our men’s collection,” she said.

 

 

 

 

 

 

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That interest in roses carries directly into the footwear. Jimmy Choo interprets the flower through precision-perforated leather, hand-applied details and sculpted floral relief soles. The collection also introduces eel-printed leather and stone suede across familiar silhouettes.

The Wilder boot uses two types of leather with laser-cut rose appliqués, giving the floral motif a more physical presence. The new Wilder loafer lowers the shape and adds a Vibram rubber sole with a traditional leather heel. The Rowan derby boot uses laser-cut perforations to create a rose pattern, while the Vine lace-up brings the same idea into a sharper, more formal profile.

The Ember moccasin takes a softer route through fabrication and tubular construction. Jimmy Choo also extends the season into casual footwear and accessories. The Diamond Maxi Hi/M introduces a sculptural high-top shape, while the Sunny returns in new colorways with rose perforations. The Bar holdall completes the accessories offering with the house’s signature hardware.

“Wild Rose” works best when the floral idea appears through material and structure instead of straightforward decoration. The rose changes from one style to the next, giving the collection a consistent visual thread without repeating the same treatment.

The campaign also gains strength from Nickerson himself. His work with flowers gives the imagery a connection to the collection’s main reference, while the English countryside supports Choi’s focus on British identity without relying on obvious national symbols.

Nickerson founded Burnt Fen Flowers in 2019 on his family’s land in the Norfolk Broads in eastern England. The company supplies British-grown stems nationwide and has worked with fashion brands including JW Anderson, Loewe and Anya Hindmarch.

DISCOVER: Alfie Nickerson Fronts Jimmy Choo Summer 2026 Campaign

Choi, who received an OBE for services to fashion in King Charles III’s 2026 Birthday Honours List, continues to shape Jimmy Choo menswear through a mix of formal and casual footwear. For Fall 2026, the English rose gives that direction a clear seasonal character, from laser-cut leather and textured suede to rugged soles and floral relief details.

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PUMA and le PÈRE launch the first installment of their FW26 collaboration with a redesigned version of the classic Suede. The sneaker takes cues from vintage French bowling footwear while reflecting le PÈRE’s Lower East Side “Gentle Man” style.

SNEAKERS

The PUMA x le PÈRE Suede changes the proportions of the familiar silhouette through a slimmer shape and a new split-toe construction. A premium full-suede upper covers the shoe, giving the design a consistent finish and keeping the focus on its altered form.

 

 

 

 

 

 

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le PÈRE uses the shape and character of vintage French bowling shoes as a starting point, giving the PUMA model a different profile from its standard version. The split toe adds another defining feature to the front of the sneaker and makes the construction immediately recognizable.

The collaboration also reflects le PÈRE’s approach to menswear and its “Gentle Man” concept, which connects the shoe to the brand’s Lower East Side identity. The design relies on proportion, material and small construction details to shift how the classic model reads.

A contrasting heel panel introduces the main co-branded detail. The panel carries PUMA and le PÈRE logos, marking the partnership while keeping the rest of the shoe relatively restrained.

The first colorway arrives in cream, covering most of the suede exterior in a neutral tone. A green lining adds contrast inside the sneaker and gives the release a sharper color detail without interrupting the monochromatic look of the upper.

This Suede serves as the opening release from a wider PUMA x le PÈRE FW26 capsule. The partners begin the project with one of PUMA’s most recognizable sneakers and use it to introduce the design language that defines the collaboration.

For its opening installment, the collaboration focuses on a concise set of changes. The full-suede construction, slimmed-down proportions, split toe, contrasting heel panel and green lining give the PUMA Suede a new character while keeping the original model clearly recognizable.

The post PUMA Suede Gets a le PÈRE Update for FW26 appeared first on Male Model Scene.

A booking confirmation lands in your inbox. The rate looks good, the client is reputable, the flights are covered. Then the job wraps, and the money takes six weeks to appear, smaller than the number you agreed to, denominated in a currency you didn’t sign for, and reduced by fees nobody mentioned during negotiations.

This is the part of international modeling work that rarely makes it into the conversation. The industry runs on cross-border bookings. Agencies operate in Milan, Paris, Tokyo, Sydney, São Paulo, and increasingly across Southeast Asia, and models move between these markets constantly. What doesn’t move as smoothly is the money. Each border a payment crosses adds a layer of cost, delay, and uncertainty, and those layers compound in ways that can quietly erase a meaningful slice of what you earned.

Understanding where the money goes requires looking at the payment chain itself, who holds it, who converts it, and what each participant takes along the way.

The Currency Problem Nobody Puts in the Contract

A rate quoted in euros is not a rate in dollars. That sounds obvious, but the gap between those two numbers moves daily and is rarely locked in at booking.

Timing Risk Between Booking and Payment

Modeling payments are famously slow. Sixty to ninety days is common; longer isn’t unusual. During that window, exchange rates drift. A €5,000 booking might be worth $5,400 the day you shoot and $5,150 the day the transfer clears. Nobody did anything wrong. The market simply moved, and you absorbed it.

The reverse happens too, and occasionally you come out ahead. But treating currency movement as a coin flip ignores something important: you’re carrying that risk involuntarily, on money you’ve already earned, for a period you don’t control.

The Spread Is the Real Fee

Here’s where most of the money actually disappears. Banks and payment processors advertise low transfer fees while building their margin into the exchange rate itself. The rate you see on Google, the mid-market rate, is the midpoint between what buyers and sellers are trading at. It’s the honest number. What you get offered is usually a few percentage points worse.

A 3% spread on a $5,000 payment is $150. That’s more than most flat transfer fees, and it doesn’t appear as a line item anywhere. The Consumer Financial Protection Bureau has pushed for clearer disclosure on international transfers precisely because this cost is so easy to miss.

So the first question to ask about any payment method isn’t what it charges. It’s what rate it uses.

How Agency Structures Shape What Reaches You

Currency is only one variable. The other is the path the money takes, and that path is determined largely by how your representation is organized.

Mother Agency and Local Agency Splits

Most models working internationally have a mother agency at home and local agencies in each market. The local agency invoices the client, takes its commission, then remits the remainder — often to the mother agency, which takes its own cut before paying you. Two commissions, two internal transfers, and potentially two currency conversions before the money reaches your account.

Each handoff is an opportunity for cost. Ask specifically: does the local agency pay me directly, or does it route through my mother agency? The answer changes your math.

Expenses Charged Back Against Earnings

Agencies commonly advance costs, housing, test shoots, comp cards, sometimes flights, and deduct them from future bookings. In a foreign market, those advances are usually denominated in local currency while your mental accounting happens in dollars. A model can finish a two-month Milan season with strong bookings and a statement showing near-zero net, because the apartment, the portfolio work, and the agency’s administrative fees consumed it.

Request an itemized statement in the currency the expenses were incurred in. Reconciling a converted summary against a converted total tells you very little.

Withholding and Tax Treatment at the Source

Many countries withhold tax on payments to foreign performers before the money leaves. Rates vary widely. The U.S. has income tax treaties with dozens of countries that may reduce or eliminate that withholding, but the relief usually requires paperwork filed in advance, not a refund claimed later.

That paperwork is your responsibility, not your agency’s. Miss it and you’ve paid tax twice on the same income, with only a slow foreign credit process to fix it.

Getting Paid as a U.S. Model Working Overseas

Once you understand what’s being taken and where, the practical question becomes how to move the money efficiently.

Choosing Where the Payment Lands

A U.S. model in Tokyo generally has two options: receive yen into a local account and transfer it home, or have the agency send dollars directly. Neither is automatically better. Receiving locally gives you control over when you convert, which matters if you’re covering rent and living costs in that currency anyway. Having the agency convert hands them the timing and, usually, the spread.

If you’re working a season in one market, holding local currency for local expenses avoids converting twice. Convert once, at the end, on the amount you’re actually bringing home.

Comparing Transfer Options Honestly

When it’s time to move funds, compare the total landed amount rather than the advertised fee. Traditional wire transfers frequently involve intermediary banks that deduct their own charges mid-route, so the amount that arrives can be lower than any quote you were given. Digital-first providers tend to be more transparent about the full cost.

Some banking platforms now build this in directly. A model who keeps a primary account in the States can use SoFi’s international money transfer to send funds abroad from the same account they use at home, which removes a step compared with maintaining separate accounts in every market you work. The relevant comparison is always the same: what rate is applied, what fee is charged, and what actually lands.

Keeping Records That Survive Tax Season

Save everything. Booking confirmations, agency statements, transfer receipts showing the rate used, and proof of any foreign tax withheld. The IRS requires foreign income reported in dollars, converted at the appropriate rate, and if you’re claiming a foreign tax credit, you’ll need documentation of what was actually taken.

A shared folder organized by market and year takes ten minutes to set up and saves considerably more than that later.

The Compounding Effect Over a Career

Individually, none of these costs looks alarming. A percentage point on a conversion. A wire fee. Three weeks of unfavourable drift. But models working internationally aren’t running one transaction a year, they’re running dozens, across multiple currencies, over careers that often span a decade or more.

Two percent lost repeatedly on every payment is a meaningful share of lifetime earnings. The models who protect that margin tend not to be the ones earning the most. They’re the ones asking better questions earlier: what currency, what rate, what deductions, what timeline.

Finally, working across borders is one of the genuine advantages of this profession. Markets open, opportunities multiply, and a career that might have been limited to one city can span continents. But the financial infrastructure supporting that mobility wasn’t designed with individual performers in mind, and the gaps it leaves are filled by fees, spreads, and delays that quietly redirect earned income.

The remedy isn’t complicated. It’s attention. Reading contracts  for currency terms, understanding how many hands the money passes through, choosing transfer methods based on what arrives rather than what’s advertised, and keeping records that make tax obligations manageable rather than mysterious. None of it requires financial expertise, only the willingness to treat the payment side of the work with the same seriousness as the booking side. The number you negotiated should be close to the number you receive. Closing that gap is worth the effort.

The post From Milan to Manila: How Working Abroad Changes a Model’s Paycheck appeared first on Male Model Scene.

Dolce&Gabbana presents its Fall Winter 2026 menswear campaign, photographed by Steven Meisel. The images focus on identity, personality and contemporary masculinity, using posture, expression and body language to shape the character of the season.

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Meisel approaches the campaign as a study of individual presence. Each subject brings a different attitude to the frame, allowing clothing and personality to work together rather than treating the collection as a separate visual element.

For Fall Winter 2026, the house builds its menswear language around tailoring, knitwear, denim and Mediterranean sensuality. These elements carry familiar Dolce&Gabbana references into a contemporary setting, where styling and physical expression give each look a distinct identity.

Tailoring plays a key role throughout the collection, supporting the campaign’s focus on masculinity and personal attitude. Knitwear and denim introduce different textures and proportions, expanding the wardrobe beyond formal dressing while keeping the house’s recognizable visual language intact.

Meisel uses body language to give the clothes additional character. Gestures, expressions and stance become part of the way each look communicates, creating portraits that feel connected to contemporary life. The campaign presents several personalities through the interaction between clothing and individual presence.

That approach reflects Dolce&Gabbana’s wider interest in identity as a creative principle. The house has long developed its collections through recurring codes, attitudes and references that return in different forms from season to season.

Steven Meisel’s involvement also continues a creative relationship with Dolce&Gabbana that dates back to Fall Winter 1989. His photography has played an important role in shaping the house’s visual identity over the decades, particularly through images centered on sensuality, glamour and personality.

Discover Full Campaign on DSCENE

The campaign presents Dolce&Gabbana menswear as a language shaped by both clothing and character. Tailoring, knitwear, denim and Mediterranean references provide the foundation, while Meisel’s portraits bring individual attitude into each image.

View Gallery 7 images

The post Dolce&Gabbana Explores Identity for Fall Winter 2026 appeared first on Male Model Scene.