Valentino Beauty has announced Dakota Johnson and Alexander Skarsgård as the faces of its new fragrance era, introducing a chapter centered on intimacy, emotion and contemporary romance. The soon to be unveiled fragrance story brings together two distinct screen presences, each chosen for a different expression of individuality and magnetic presence.

BEAUTY

The campaign positions Johnson and Skarsgård as complementary forces, connected through instinct rather than convention. Valentino Beauty frames the new narrative around passion, authenticity and emotional intensity, speaking to a generation drawn to connection and unapologetic self-expression.

Dakota Johnson, already a fashion ambassador for Maison Valentino, extends her relationship with the house into beauty. Her presence brings a sense of quiet irreverence, ease and instinctive sensuality to the campaign. Speaking about the partnership, Johnson described intimacy as honesty and connection, adding that she is drawn to Valentino Beauty’s ability to celebrate individuality while creating something sensual and deeply human.

Alexander Skarsgård joins the Valentino Beauty family with a different but equally compelling energy. The Golden Globe winning actor brings a free spirited charm and restrained intensity that aligns with the brand’s vision of authentic self-expression. Skarsgård shared his excitement about joining Valentino Beauty for this new chapter, pointing to the brand’s focus on individuality, emotion and connection.

The campaign marks the beginning of a new fragrance chapter for Valentino Beauty, with further details expected soon.

Read more on Beauty SCENE.

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POST ARCHIVE FACTION (PAF) Spring Summer 2027 arrived at Paris Fashion Week with Creative Director Dongjoon Lim building the collection around pressure, transformation, and the instability of becoming. The collection turned questions of becoming, memory, and loss into clothes that distorted the body while shifting between concealment and exposure. That intensity moved through familiar materials made strange, with translucent surfaces, curved construction, and technical layers.

SPRING SUMMER 2027

The opening look set the tone with a white translucent raincoat, clean white pants, light grey gloves, and glossy black lace-up shoes. A silver iPod nano wired into the model’s ears added a nostalgic tech detail and gave the look a precise cultural charge. From there, the collection moved into airy pieces that kept the body in motion. Short-sleeve button-ups, panelled tees, and light-washed jeans brought a more casual register, while PAF’s curved seam lines shaped each garment with control and force.

The lighter section used crisp whites, pale pastels, and muted greys to create a cleaner visual rhythm. These pieces carried the brand’s technical language into everyday forms, giving simple garments a sense of construction and tension. Curved cuts traced the body without flattening it, while panels shifted the eye across each look.

As the presentation moved into darker tones, the palette shifted to charcoal grey, deep navy, rich brown, and black. Outerwear gained weight and scale through long double-breasted trench coats, semi-sheer high-neck tunics, and deep brown leather flight jackets with oversized plush collars. These garments gave the collection a tougher edge, while their proportions pushed the body into more sculptural territory.

PAF also introduced modular utility elements that opened and interrupted the clothes. Track-style bomber jackets used zippered shoulder cutouts to expose the body. Cyan long-sleeve tops carried heavily gathered fabric along the sleeves, adding compression and release to the silhouette. Bright blue and deep red appeared through hood linings, layered shirts, and collar trims.

PAF Spring Summer 2027 turned the question of becoming into a physical experience. Dongjoon Lim used familiar materials, exposed structures, and technical garments to create a collection that felt tense, reflective, and charged by the heat of Paris.

View Gallery 33 images

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The wrap of NOMAD Hamptons days (June 25-28, 2026) at The Watermill Center leaves the design world with a pressing question: Was this a singular cultural event, or the beginning of an annual tradition? The fair’s debut U.S. edition unfolded with unmistakable momentum, Giorgio Armani as official partner, Robert Wilson’s legendary archive opened to collectors, 23 vetted galleries, and a curatorial depth that felt less like commerce and more like a living exhibition. Yet the harder question persists: Does NOMAD’s power lie in its scarcity, or would the design community genuinely benefit from annual iteration?

The answer hinges on what NOMAD fundamentally is, and what it refuses to become.

The Anti-Fair Model

Traditional design fairs operate on predictable logic. Salone del Mobile in Milan cycles annually. Design Miami returns every December. Frieze, ADAA, Affordable Art Fair, the calendar is built around routine, volume, and commercial return. These fairs measure success in attendance, booth revenue, and inventory turnover.

NOMAD inverts this entirely. Since 2017, founder Nicolas Bellavance-Lecompte has positioned the fair as a deliberate counterweight to “conventional fairs relying on volume and routine.” Each edition unfolds in an architecturally singular location: Capri’s limestone cliffs, St. Moritz’s alpine peaks, Monaco’s Belle Époque waterfront, Abu Dhabi’s desert modernism, and now the Watermill Center’s ten acres of Long Island arts sanctuary.

The structural differences are stark. While major design fairs host 300 to 500-plus exhibitors, NOMAD caps participation at 20 to 23 galleries. Admission requires invitation to NOMAD Circle, VIP status, or select industry credentials. No public ticketing. No Instagram-friendly sprawl across manicured booths. The scale is deliberately intimate, almost private.

The Hamptons edition exemplified this curatorial intensity. Robert Wilson’s apartment became part of the fair itself. His decades-long correspondence with Gio Ponti was excavated and displayed. Rachel Hayes’ site-specific textile installation transformed the South Lawn into a participatory artwork. These are not booth activations, they are exhibitions and intellectual exchanges that happen to involve galleries and collectors.

Scarcity Equation

NOMAD has operated on an irregular schedule. Between its 2017 founding and the 2026 Hamptons edition, 16 editions unfolded across five continents, averaging roughly 1.5 fairs annually, with variable spacing that reflects curatorial opportunity rather than calendar predictability.

This irregularity may be strategic. When a fair doesn’t anchor itself to an annual date, each edition becomes an event. Collectors plan around it. Galleries commit serious resources because it isn’t competing against ten other fairs that month. The scarcity creates cultural weight.

The traditional model operates differently. A gallery might show at Design Miami in December, participate in Salone Satellite in April, exhibit at NYCxDesign in May, and present at ADAA in October, cycling through the same venues, testing inventory, maintaining visibility through repetition. The economics favor volume over depth. The cultural stakes diminish.

NOMAD’s model prioritizes the opposite: a smaller universe of collectors, galleries, and artists gathered in a location chosen for its artistic and architectural resonance. The Hamptons selection wasn’t arbitrary. The Watermill Center, founded in 1992 by Wilson, operates as a multidisciplinary laboratory dedicated to experimental artistic research. It houses over 8,000 artworks and objects in its collection, hosts fully funded artist residencies, and maintains The Robert Wilson Archive. The venue isn’t a rental space, it’s a living creative institution.

This context matters. Wilson’s residency program brings 30 to 40 artists annually to work on interdisciplinary projects, blurring boundaries between theater, visual art, architecture, and design. These residents work in fully funded studios across the Center’s grounds, pursuing what Wilson calls “what no one else is doing.” Adding NOMAD to this ecosystem was a curatorial decision, not a commercial one, and the United States could become a regular host.

Renewable Venue Question

The critical test is whether this partnership can sustain repetition without dilution. Can the Watermill host NOMAD annually without the fair consuming the Center’s identity? Or does the venue’s power, and the fair’s power, depend on singularity? At the same time when it comes to the interest it produced, I am seeing parallels to the growing world of Alcova, which from Milan ventured even into a Miami edition. 

The numbers suggest caution. The Watermill Center employs a skeleton staff dedicated to residencies, education programs, exhibitions, and archival work. An annual design fair, even at NOMAD’s curated scale, introduces logistical and curatorial demands that could strain institutional resources. More practically, repeating the same location risks turning it into a scheduled event rather than a site-specific dialogue.

NOMAD’s previous editions suggest a different model. St. Moritz hosted the fair in 2023 and again in 2024, but this appears to be the exception, not the rule. Capri, Monaco, Venice, and Abu Dhabi received single or occasional editions. The pattern suggests Bellavance-Lecompte privileges location discovery over venue loyalty.

What the Market Actually Needs

The Hamptons edition demonstrated genuine collector appetite for what NOMAD offers, a curated refuge from the commercial saturation of the traditional fair circuit. The caliber of galleries (Gallery FUMI from London, Todd Merrill Studio from East Hampton, Leila Heller Gallery with its 40-year focus on Middle Eastern artists) treated the fair as a serious platform, not a routine placement.

Yet translating appetite into annual structure in a grid of specific location is dangerous. The moment NOMAD becomes “the annual fair in the Hamptons,” it risks becoming another calendar fixture. The freshness erodes. The scarcity dissolves. Galleries begin to question whether a yearly booth justifies resources. Collectors lose the urgency that scarcity creates.

The design community doesn’t need another annual fair. It needed a fair that treated curation, site-specificity, and artistic dialogue as non-negotiable. NOMAD delivered that at the Watermill. Whether that happens annually, biennially, or across rotating destinations matters less than whether Bellavance-Lecompte can resist the pressure to scale, routinize, and franchise the very thing that made it valuable. Bellavance-Lecompte‘s next move will be revealing. It will answer not whether the fair should return to the Hamptons, but whether he understands what made the fair work in the first place.  Yet, this year there is no rest for NOMAD, with schedule already set for Abu Dhabi edition from 18th to the 22nd of November at the city’s old airport. 

Find more of the highlights form NOMAD Hamptons in our gallery: 

View Gallery 17 images

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TAAKK Spring Summer 2027 begins with a return to attention. Takuya Morikawa frames The Ability of Discovery around two lasting fascinations: flowers and Irving Penn. Both become ways of looking rather than simple references. The collection asks how familiar things can become new again when the eye shifts, the hand changes its pressure or the distance between body and object narrows.

SPRING SUMMER 2027

Flowers enter the season through memory and time. Morikawa recalls the garden of his childhood home, the flowers tended by his mother and the lives of his grandparents close to nature and seasonal change. A flower grows, opens and fades, carrying time within its form. TAAKK uses that cycle as an emotional and visual structure, building garments that suggest emergence, fragility and transformation without turning the idea into romance alone.

Irving Penn gives the collection its sharper lens. Morikawa looks to Penn’s ability to remove distraction while keeping density and presence intact. His influence appears in the collection’s restraint, where reduction does not lead to emptiness. Instead, it leaves behind tension, shadow and weight. TAAKK studies the familiar through this kind of focus: flowers, fabric, the body, material and structure become subjects for renewed observation.

Textile development remains the core of the brand. For TAAKK, fabric does not arrive after design. It becomes the starting point. Morikawa works through weaving, texture, structure and finishing techniques to let garments grow from the material itself. This approach gives the collection its strongest identity, as surfaces shift, deepen and create movement before silhouette even takes control.

Gradient fabrics continue as one of TAAKK’s defining techniques. Here, gradient does not function only as color transition. Different materials and fabric structures evolve within a single cloth, allowing texture, tone and weave to change across the surface. The result gives garments a sense of movement from within, as if the fabric were discovering its own form.

Embroidered structures add another level of depth. Cutwork and embroidery work together, with tape made from the same fabric placed over precise openings. This creates shadow, volume and sculptural presence. The technique avoids decoration for its own sake. It changes the fabric’s behavior and gives the garment a more physical surface.

Jewelry extends the collection’s material thinking. Minerals appear in raw and irregular forms, carrying a sense of primordial memory. Created in collaboration with 4°C, the jewelry reflects TAAKK’s interest in revealing what already exists inside a material. Belts made with yuhaku bring another crafted element into the season.

With The Ability of Discovery, TAAKK does not chase novelty through excess. Morikawa finds force in looking again, touching differently and allowing existing forms to reveal something unexpected.

View Gallery 30 images

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Office chairs have come a long way from the basic padded seats once found in most workplaces. Today, people expect more from the chair they use every day. It should support posture, allow movement, adjust to different body types, and remain comfortable through long hours of computer work, calls, and focused tasks.

Still, not every ergonomic feature is equally important for every user. A headrest, for example, can be useful in the right situation, but it is not something every office worker automatically needs. Its value depends on how a person sits, how often they recline, and whether they experience neck or shoulder fatigue during the day.

Why Additional Head Support Is Getting More Attention

For people researching headrests for Herman Miller chairs, the decision should go beyond appearance. A headrest needs to fit the chair correctly, support the neck naturally, and avoid pushing the head forward. It should also match the user’s height, sitting style, and preferred recline position.

For years, headrests were treated as optional because office chair design mostly focused on the lower back. Lumbar support, seat height, armrests, and tilt mechanisms received most of the attention. That made sense in older office routines, where people moved around more often, walked to meetings, and rarely sat in the same position for several hours straight.

Modern work has changed that. Remote work, hybrid schedules, and long video meetings mean many people now stay seated for longer stretches. When movement decreases, small posture issues become more noticeable. The neck and shoulders may start carrying tension, especially during screen-heavy tasks.

Does Every User Need a Headrest?

A headrest can be helpful, but it is not a universal fix. Some people lean back often while reading, thinking, or joining virtual meetings. For them, extra support behind the head and neck can make the chair feel more complete.

A headrest may be useful if someone:

• sits for long periods each day;
• reclines often during work or breaks;
• feels neck stiffness after desk work;
• spends many hours in video calls;
• prefers a more relaxed sitting position.

However, some users sit upright most of the time and rarely use the recline function. Others prefer more freedom around the shoulders and upper back. In those cases, adding a headrest may not change much.

The better question is not “Does every office chair need a headrest?” but “Does this user’s work style make a headrest useful?”

What to Check Before Buying

Buying a headrest is not only about choosing a product that looks right. The practical details matter more, especially when the chair already has a specific ergonomic design.

Before ordering, it is also worth checking whether installation requires tools and whether the accessory can be removed without leaving marks. This is especially important for users who want to preserve the original look of a premium chair.

Why Adjustability Is More Important Than Extra Padding

Many people assume that a soft headrest automatically provides better comfort. In practice, adjustability usually has a greater impact on the overall experience.

People naturally change posture throughout the day. Someone may sit upright while typing, recline during a virtual meeting, and lean back while reading a report. A fixed headrest often supports only one of these positions, while an adjustable one can move with the user.

The most useful models typically offer:

• height adjustment for different body sizes;
• tilt adjustment to match various reclining angles;
• stable positioning that stays in place after adjustments.

A properly adjusted headrest should support the head when needed without forcing it into an unnatural position.

Choosing the Right Material

Material affects comfort just as much as adjustability.

Mesh remains a popular option because it allows air to circulate and helps reduce heat during long work sessions. Foam provides a softer surface that some users find more comfortable, especially when reclining for longer periods. Hybrid designs combine breathable fabrics with supportive padding to balance comfort and durability.

Rather than looking for the “best” material, it is usually more practical to choose one that matches the office environment and personal preferences.

Will a Headrest Change the Chair’s Appearance?

Some buyers hesitate because they enjoy the clean design of their office chair and worry that adding a headrest will make it look bulky.

Modern aftermarket headrests are generally designed to complement the original chair instead of competing with it. Many follow similar shapes, colors, and materials so they blend naturally with the existing design.

Even so, appearance remains a personal preference. Some people appreciate the additional functionality regardless of visual changes, while others prefer to keep their chair exactly as it was originally designed.

Can Installing a Headrest Affect the Warranty?

This is a question many buyers overlook.

Before installing any aftermarket accessory, it is worth reviewing the manufacturer’s warranty information. Warranty policies differ between brands, and some may include specific guidance regarding modifications or third-party accessories.

Installing a headrest does not automatically affect warranty coverage, but checking the documentation first can help avoid confusion later. Choosing accessories designed specifically for the chair model is also a practical way to reduce compatibility issues.

Looking Beyond the Product Description

Specifications provide useful information, but they do not tell the whole story.

Before making a purchase, it helps to look at real installation photos, user experiences, and adjustment demonstrations. These often reveal details that are difficult to judge from technical specifications alone, such as how easily the headrest can be adjusted or whether it stays stable after repeated use.

Many buyers also compare products from specialized retailers such as OfficeLogixShop, paying attention to compatibility, available adjustment options, materials, and installation methods. Looking at these practical details often leads to a better decision than focusing only on appearance or brand names.

Comfort Depends on the Entire Workspace

Even the best headrest cannot compensate for a poorly adjusted workstation.

For the most comfortable setup, several elements should work together:

• The chair should be adjusted to the correct height;
• Lumbar support should fit the natural curve of the back;
• Armrests should allow relaxed shoulders;
• The monitor should be positioned at an appropriate viewing height;
• The desk should encourage a neutral working posture.

When these components are adjusted together, a headrest becomes part of a complete ergonomic system rather than a standalone solution.

Finally, headrests have become more relevant as working habits continue to change. Longer periods at the desk, remote work, and greater awareness of ergonomics have encouraged many people to think more carefully about how they set up their workspace.

However, a headrest is not essential for everyone. The best choice depends on individual work habits, preferred sitting positions, and the design of the chair itself. Taking time to compare compatibility, adjustment features, materials, and installation requirements makes it much easier to select an accessory that genuinely improves everyday comfort.

Instead of viewing a headrest as a universal upgrade, it is better to treat it as one element of a well-designed workstation. When chosen thoughtfully and matched to the user’s needs, it can provide meaningful support while fitting naturally into an ergonomic office setup.

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Études Studio Spring Summer 2027 looks at the city as a place that never stays still. Presented on June 23, 2026, in the Galerie Basse at the Palais de Tokyo in Paris, Collection No.29 continues the brand’s dialogue between art, clothing and environment. This season, the studio turns toward urban space, reading the city through marks, interventions, movement and surfaces altered over time.

SPRING SUMMER 2027

Titled Short Term Eternity, the collection takes its name from the Art Cards of Gordon Matta Clark, the artist and trained architect known for his radical interventions in buildings facing demolition or abandonment. His work questioned permanence, structure and the ways architecture changes before it disappears. Études Studio uses that thinking as a framework for the season, treating garments as surfaces that can carry traces of use, construction and decay.

The collection moves between tailoring and workwear with a clear sense of purpose. Structured overcoats, softened jackets and precise ensembles create a wardrobe that feels functional without becoming rigid. Zippers, technical pockets and removable elements allow the clothes to shift in volume and layering. These details connect the collection to utility, yet they also support its larger idea of change. Nothing feels completely fixed.

Materials deepen that reading. Tailoring appears in textured blends of virgin wool and viscose, linen and washed silk, while shirts in Tencel and organic cotton bring a lighter touch. Denim receives some of the strongest surface treatments, appearing through mismatched combinations, overdyeing, acid and stone washes, spray applications and resin finishes. These processes give the clothes a weathered quality, as if the city had left marks directly on fabric.

Knitwear adds further texture through cotton nylon blends, jacquards, bouclé wool and open knit constructions. Across the collection, surfaces feel layered, worn and reworked. Études Studio does not use texture only for visual interest. It turns material treatment into a way of thinking about time, movement and urban memory.

The palette stays close to the built environment. Chalky beiges, greige sands, metallic browns and brick reds recall façades, plaster, industrial materials and old walls. Dusty khaki, charcoal and slate tones create a darker rhythm, while deep aubergine gives the collection a sharper accent. Sprayed color applications and faded wallpaper like patterns bring the sense of walls marked by passing gestures.

The Gordon Matta Clark collaboration appears through archival photographs and text fragments, which enter the wardrobe as both image and language. His Art Cards appear across a shirt and trouser ensemble and also resonate through the show’s soundtrack. Rather than treating the artist as a simple reference point, Études Studio uses his ideas to shape the collection’s structure and mood.

For the runway, artist David Douard created a site specific installation made from screen printed vertical blinds. The curtains formed a temporary environment that opened and closed around the models, changing the viewer’s perception of space and clothing. This setting sharpened the collection’s central theme: the city as something unstable, layered and constantly rewritten.

Études Studio lets art and garment function inform each other. Short Term Eternity does not turn urban decay into decoration. It studies how clothing can absorb the logic of shifting architecture, marked surfaces and temporary gestures, creating a wardrobe built for movement through a city in transition.

View Gallery 35 images

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Doublet Spring Summer 2027, titled A Day in the Life, starts with an ordinary sequence. A person wakes up, gets dressed, steps outside, works, meets someone, eats, returns home, and sleeps. Nothing special happens. That simple rhythm gives the collection its focus. Rather than treating the future as distant or dramatic, Doublet imagines it as something that enters daily life quietly, through the clothes people reach for without thinking.

SPRING SUMMER 2027

The collection begins with a question about future materials and how they might one day feel normal. Today, clothing labels list familiar names such as cotton, polyester, and nylon. Doublet looks toward a time when other words may appear there with the same casual familiarity. Air, wood, carbon, banana, marine resources, and agricultural waste could one day sit beside the materials people already know. Names that sound strange now may become part of ordinary dressing.

The collection brings together materials the brand has explored across several seasons and places them inside the rhythm of everyday life. It imagines a future where new fibers and resources no longer need explanation, because people already live with them. In that world, a material made from carbon dioxide in the air may become something someone wears to work. A fiber created from burned, discarded clothing may become part of a shirt picked up half-asleep in the morning. Resources from wood, plants, the sea, and things once thrown away may return as garments with daily purpose.

Doublet does not picture the future through spectacle. It places it in a room, on a chair, across a city street, and inside a routine. The clothes belong to a slightly futuristic day, yet that day remains deeply ordinary. Someone might wear these garments while walking through the city in the afternoon, then leave them hanging in a room at night.

Spring Summer 2027 also reflects the brand’s wider idea of “strangest comfort.” Founded in 2012 by Masayuki Ino, Doublet continues to look for clothing that carries curiosity into the familiar. A Day in the Life imagines an ordinary day in a world where future materials have already become part of what people wear.

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ssstein Spring Summer 2027 begins with a scene of quiet attention. Kiichiro Asakawa found the starting point for the season at daybreak, standing beside a lake in misted air, waiting for the first sunlight to appear. That image shaped the collection’s palette and mood, giving the clothes a sense of calm before movement begins.

SPRING SUMMER 2027

Asakawa later connected that memory to Remembered Words, a series of watercolor paintings by Roni Horn. The accumulation of colored dots in Horn’s work echoed the sensation he had experienced by the water, where pale light seemed to build color gradually. From there, ssstein developed a palette of light yellow, almond green, blush pink and powder blue, balanced by taupe, greige and reddish brown.

The collection treats color as a material issue, not a styling choice. Asakawa works through the relationship between tone, texture and hand feel, using fabric development to reach precise shades. A light yellow nylon blouson, developed exclusively for ssstein by Olmetex, was garment washed to create a softened, time worn tone. The process also gave the surface an airy touch and produced subtle puckering between the garment’s parallel stitches.

Leather follows the same careful approach. Deerskin appears through drum dyeing rather than pigment dyeing, giving the material an even depth of color and a supple finish. Denim also becomes a site of experimentation. A new cotton and hemp denim uses ring dyed yarns to create a relief like play of light and shadow, while over dyeing brings the final tone into a softer, more muted register.

This attention to nuance gives the collection its quiet strength. Most of the season relies on plain color, with a grey toned check as the only pattern. One version is woven by the British mill Moon in a wool linen composition, adding softness and gradation without disturbing the collection’s calm rhythm.

The silhouettes feel more classic and easygoing than usual, but Asakawa keeps them controlled. A mid length coat made from Pontoglio corduroy stands out as a key piece. The fabric was washed and tumble dried to emphasize the wale, while the boxy shape gains structure through darts placed at the top of the sleeves. The coat feels relaxed without losing its architecture.

Comfort appears through interior construction as much as silhouette. Some garments are lined with silk rayon flannel, creating a refined sensation against the body. This private detail suits ssstein’s approach to menswear, where luxury often remains hidden inside the garment rather than announced on the surface.

Lightweight pieces bring another layer to the season. Washable silk becomes a softly shaded shacket, positioned between shirt and jacket, and worn with a matching shirt. A skipper shirt and easy pants in extremely soft linen create a full look built around ease and precision. The pants combine single pleats, an elastic and drawstring waist and a fly front, turning a relaxed shape into a carefully engineered hybrid.

The hand stitched seven fold tie gives the collection its clearest accessory moment. Paired with shirts in super light wool from Canonico or Delfino, it connects classic menswear form with Asakawa’s interest in exceptional craft.

For Spring Summer 2027, ssstein does not chase dramatic effect. Asakawa builds the collection through fabric, tone and proportion, allowing small decisions to carry the weight of the season. The result is a menswear wardrobe shaped by softness, restraint and the quiet optimism of first light.

View Gallery 43 images

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LAD/ Spring Summer 2027 returns to its point of origin with KIN LA BELLE, a collection shaped by identity, memory, and emotional connection. After the journey introduced through Kinshasa to Capri and Osaka Layover, the label turns inward and looks back to Kinshasa, the capital of the Democratic Republic of Congo. The title means Kin the Beautiful, and the collection treats the city as a source of rhythm, pride, and personal meaning.

SPRING SUMMER 2027

KIN LA BELLE draws from Kinshasa in the 1980s, a period marked by music, elegance, and cultural confidence. The collection looks to the force of La Sape and the influence of Congolese rumba, using clothing as a language of dignity, individuality, and presence. In this context, dress becomes a way to stand fully in oneself.

Earlier work followed movement across cities, while KIN LA BELLE grounds the label’s identity in Kinshasa itself. The collection focuses on the city’s culture, rhythm, and emotion, giving the season a clearer sense of place and personal return.

LAD/ reworks it through softer construction, fluid silhouettes, and layered proportions. The garments move with the body while holding shape and intention. Jackets, trousers, and layered pieces keep sartorial discipline in view, while the softer build gives the collection a more open feeling.

Travel wool, Italian linen, easy iron cotton, cotton with cashmere and silk, Japanese denim, satin viscose, vintage Japanese textiles, Italian leather, Mexican silver, cotton jersey, and Italian knit all enter the collection. These materials give LAD/ a broad tactile range, from tailoring cloths to lighter surfaces and pieces made for daily movement.

Custom jacquard developments, brand-developed animal prints, graphic embellishments, Congolese-inspired detailing, and subtle American collegiate references shape the visual language.

LAD/ uses soft-structured tailoring, innovative pattern cutting, functional details, and stitch-based design accents to give the clothes clarity and purpose. Each element supports the collection’s focus on presence, movement, and identity.

A performance by Fally Ipupa accompanies the presentation, connecting the collection to music and the cultural force that shaped its direction. KIN LA BELLE reaffirms where LAD/ begins and how it continues to develop. The collection looks to Kinshasa as origin, memory, and emotional ground, while opening a path toward future expansion, including the introduction of LAD/Y.

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BED j.w. FORD Spring Summer 2027, Lemon, begins with a scene from Cinque Terre. Last October, designer Shinpei Yamagishi saw two women carry chairs onto a sloping street at dusk. They placed them by the roadside, poured wine, and sat outside their homes as laughter moved through the evening. Nothing dramatic happened. The houses carried marks of generations, the women’s sun-browned faces held deep lines, and a lemon tree stood between them. After the glasses emptied and the women went inside, one traveler stayed there, unable to leave.

SPRING SUMMER 2027

Yamagishi returned from that memory with a question about richness. The answer did not arrive through grandeur or decoration. It came through a state of mind that could turn an ordinary day into a good one. He keeps that feeling provisional, aware that tomorrow may bring another answer.

The season loosens the severity long associated with the brand. Yamagishi lets tension fall away and moves toward relaxed sensuality, unpretentious fabrics, and clothes that invite air around the body. Outerwear largely disappears. In its place, the collection introduces cupro shirts with a worn-in look, slacks with rib-knitted waists, beach-ready shorts, and summer knits. Sheer bodies reveal tiny komon-like floral motifs, giving the clothes a trace of innocence. Washi paper brings a softer hand to the knits, and multistripes open another side of the brand’s visual language.

A Mediterranean brightness runs through the collection. Rolled sleeves suggest a casual gesture rather than a styled pose. The clothes seem ready for movement, sun, and a day that carries no need for performance. Sandal-style footwear developed with SUICOKE uses crushed sequins that catch light with a muted glow. Silk yarn mixed with linen allows washed wrinkles to look familiar, as if the garments already belong to someone’s daily life.

A pinstriped tailored jacket stays composed inside the collection’s most relaxed mood. A pinky ring developed with PREEK sits on the little finger and adds a small, affectionate detail. These elements keep precision in play, even as the season moves closer to softness. The man imagined here feels effortless and free-spirited, a figure the brand has followed for years.

The collection imagines a modest day among family and friends, with wind moving through the space, greenery offering shade, and a few flowers marking the setting. Yamagishi asks what kind of day might erase distance and divisions, a day that honors each person’s today equally and makes them want to return tomorrow.

The lemon appears on one shirt. Yamagishi borrowed the season’s lighthearted title from the tree that stood between the two women. When asked why the lemon mattered, he offers no neat answer. He simply remembers that a cat stood there too. BED j.w. FORD leaves the meaning open, placing a single fruit where an explanation might have been.

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