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Derrick Spring 2026 Menswear Collection
Fashion

Derrick Spring 2026 Menswear Collection

by jummy84
written by jummy84

If Luke Derrick has seemed go quiet since his sophomore London fashion week show for spring ’25, it’s because he’s very sensibly been concentrating on the serious business of selling and meeting buyers. Developing things slowly and meticulously is, in any case, the whole Derrick modus operandi: it’s the nerdy nuances of his clothes that make them great in close-up. “I feel there’s the external perception of men’s fashion in London, where there’s traditional Savile Row and Dunhill over there,” he observed, “and then you’ve got really subversive things over there. And I’m in this funny gray space in between.”

That highly specialized space is inhabited by the class of men who are extremely particular about their clothes, yet reject putting on anything that’s fussy, uncomfortable or obviously traditional. Derrick’s exactly the man with the wardrobe for this ageless club of international coolsters—this time, with a smart eye for navigating summer city heat. “The challenge is that you’re dealing with the need for lightness,” he said. “But often with light tailoring comes the fuss of pressing—or you look like a wrinkly bag quite quickly.”

His creative antidotes to that were honed to “have the optics that slightly evoke old British legacy fabrics, but I want to demonstrate that these are things you can live in, scrunch up when you’re traveling, and they will still look good,” he said. This was achieved by Derrick’s use of state of the art Japanese fabrics, some coated with silicone and machine washable. Examples: the “broken” stripe on trousers “which is halfway between a tuxedo or a tracksuit stripe in grosgrain, which is a bit of a code through the collection,” said the designer. Similarly, a fusion which suggested both a bib-front dress shirt and a zip-up Harrington jacket. In cream, it would do for daywear—right up to formal occasions. “And it’s machine-washable cotton silk,” said Derrick.

However subtle, every piece will whisper its story at full volume into the ears of people who encounter Derrick’s work in shops. Like every young, independent designer, he has his head down “navigating a season where you’ve got a lot of instability going on in the world from all sorts of places.” Hence the work put into presenting to buyers instead of putting on a show this season. “It gave us the opportunity, I felt, to actually just focus a bit on the clothes, and capture the storytelling of who this guy is,” he said. “But what’s exciting is, when we do have a stockist (meaning clients in Japan and America) it really sells when it arrives.”

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Denzil Patrick Spring 2026 Menswear Collection
Fashion

Denzil Patrick Spring 2026 Menswear Collection

by jummy84
written by jummy84

Denzil Patrick officially launched its first take on womenswear this season, though sisters, mothers, and female friends have long worn the designs of creative director Daniel Gayle and artistic director James Bosley.

“We’ve really taken it back to our very first season, when we were making clothes for people that Daniel knew,” said Bosley. This was the brand’s 10th collection, and they were feeling particularly introspective. “Across the collections, we’ve built a story of British uniforms, clubs, scenes, and tribes, and now, we’re breaking down how people remix them and make their own style codes.” That’s articulated in the duo’s keenly researched storytelling, with a ragtag cast of characters as reference. Where fall 2025 was a brigade of speedway racers and medieval knights, this season was about the Teddy Girls, scrappy South London musicians of the ’80s, grandmas made up as ’40s movie stars, Cockney boxers, and the button-festooned Pearly Kings.

Touchpoints of these cultures and the brand’s South London heritage were reimagined for real and riotous lives: raw hemlines and sporty, breathable cottons, the front plackets of silken shirts sitting in a permanent rumpled state, a chaotic energy made architectural. Bosley, who also works with Dior Men, was delighted to introduce more detailed prints. Tailored evening jackets printed with old London postcard scenes, spangled with silver threads to look like shimmering Polaroids, were paired with black lace-up boxer boots. Sheer and sensual chartreuse polo tops—part of the brand’s “commercially successful” suite of “x-ray” knits, carried over from last summer’s collection—were toughened up with black bras and bloomers, and a sweet purple gingham bralette was paired with flowing suit trousers featuring a boxer short waistband.

The collection also featured a new section of hand-painted and sprayed jersey tops, something they previously steered clear of for fear that the pieces would subsume the brand’s tailoring message. A button-adorned dinner jacket, with Mother of Pearls creating undulating patterns, was crafted using a legion of Etsy and eBay suppliers—it seems likely to be a hit with their celebrity followers.

Making clothes that speak to the Denzil Patrick woman has been both a liberation and a challenge. “I’ve worked with different designers who have their own approaches to who their woman is—someone with a sense of power, or as these otherworldly beings…but I just kept thinking about my mum, sisters, and cousins…or an incredible woman I used to see in a dodgy bar in Beckenham. How do I make them feel and look good?” said Gayle.

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N.Hoolywood Spring 2026 Menswear Collection
Fashion

N.Hoolywood Spring 2026 Menswear Collection

by jummy84
written by jummy84

The unusual layout of N.Hoolywood’s lookbook pictures is a kind of call for action. The idea is that you’ll tilt your phone to get the expansive landscape experience. A South African safari which, the designer said, became “a truly healing and wonderful journey” inspired both the collection and an appreciation for vastness.

Now, a safari theme for spring might seem as groundbreaking as a floral one, but it does fall within the brand’s remit of translating standard issue “uniforms” for urban wear. The idea also was to contrast the modernity of Johannesburg with the unpredictability of the animal and natural world. Daisuke Obana’s affinity for functional wear came through in the more straightforward looks, jackets, shorts, camp shirts. The idea was to “emphasize elegance and presence through elements such as thickness and texture,” qualities that are difficult to discern in photographs. What really catches the eye is the designer’s use of pattern. Tonal animal prints, Obana indicated, were conceived as a kind of camouflage, an interesting spin on what looks like leopard spots. Spiral motif and geometric designs, derivative of African wax print and mud-dyed Bogolan, were printed on tech fabrics. More successful was the designer’s “off-road” approach, as in his use of variously angled stripes on a navy-and-blue top that offered a conceptual and unexpected take on zebra stripes.

Though Obana’s safari inspired this collection, he was back in Japan when the clothes were produced, therefore the location of the shoot was the Kirigamineski resort in Nagano Prefecture. “Toward the end of filming,” the designer related, “a large number of deer—apparently a family—suddenly appeared before us. It truly felt like a real safari. I was deeply moved, as if the wonderful encounters in Africa had brought about this unexpected connection.”

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Todd Snyder Spring 2026 Menswear Collection
Fashion

Todd Snyder Spring 2026 Menswear Collection

by jummy84
written by jummy84

A sense of wanderlust has overcome some of New York Fashion Week’s top-billing designers. While a few of their counterparts are ruminating on politics and the state of the world at large, these have opted for escapism: Michael Kors ventured out west to Utah and offered desert oasis-ready fluid dresses, Ralph Lauren’s cabana stripes and floppy straw hats were made to sit poolside, and Todd Snyder, one of two dedicated menswear designers on this season’s schedule, looked to the Caribbean for inspiration.

“La Buena Vida” was the title of Snyder’s spring lineup. He explained at a preview that his daughters are half Cuban, and that he was reminiscing on a trip he took there with them some time back. Snyder is a well-rounded designer, of the school of Lauren and Kors, who know the value and power of considering the full picture. “When I’m designing I’m always thinking, ‘who’s the guy, where’s he going, what’s the car, what’s the watch?’” Snyder said.

His moodboard featured beautiful, colorful images that answered most of those questions. They included snapshots of Havana and other tropical destinations, of handsome vintage cars, and of dapper, well-dressed men. One vibe-setting example was a black and white photograph of John Wayne and Gary Cooper in Acapulco from 1953. Both in laidback, relaxed shirting; one in short shorts, the other in wide trousers.

“Then I start to build the costume, in a way,” Snyder continued, “so I start to think about who he is.” That’s something he has a firm grasp on. He said that he leaned into this summer escapade idea because he does a “fair amount of business” on “things that are more resort wear” in the early summer months. “You would think it was Christmas [with the way people shop],” he joked. He expanded: “It’s when guys start to think about where they’re going on vacation, particularly on the East Coast where we have four or five stores and we have guys shopping for guys.” Meaning for themselves or, taking some editorial liberties to presume, gay customers. “They’re thinking about getting ready for summer,” Snyder concluded.

There was lots to want here for both of those camps and everyone in between. As an overarching idea, Snyder leaned into the 1950s charm that has become visually attached to Havana, which he merged, he said, with Miami in the ’80s. (The former, of course, was the basis of the latter.) This meant a plethora of camp collared shirts rendered in stripes and polka dots and solid colors, some in stunning dupionis and soft rayons and linens and others, the most desirable and sexiest of the bunch, in diaphanous voiles that rendered them semi-sheer. Snyder also brought up the waist in his bottoms and cut the shoulder in his tailoring closer to the body to balance out the looseness of his trousers and their roomier waists.

“It’s a blend of sartorial with ease,” Snyder said. That rang through in the way he balanced the put-togetherness of his output—suits and shirts and other grown men clothing—with the fun: Polka dots and brocades and shiny silks and wrap jackets. If at times the accessories, namely the short ties and the wide-brim hats, veered a little into costume territory, it was not to the detriment of Snyder’s overall effort here. God forbid menswear embraces a little whimsy.

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N.Hoolywood Test Product Exchange Service Fall 2025 Menswear Collection
Fashion

N.Hoolywood Test Product Exchange Service Fall 2025 Menswear Collection

by jummy84
written by jummy84

There’s a lot of play-acting in fashion, and it extends beyond “types” into materiality. This is especially true in menswear, where over the past few years work- and activewear have become trendy. Translating purposeful garments into fashionable ones often means stripping them of their original functionality; an office worker, for example, is unlikely to need the protection offered by a steel cap in a boot, but he might be all-in for the aesthetic.     

Daisuke Obana’s N.Hoolywood Test Product Exchange Service occupies a middle ground between function and fashion. The very purpose of this line is to reinterpret military gear for urban use; at the same time, the idea, according to press materials, is that TPES be “recognized as an authentic military line,” which seems like a big ask. Expertise is the difference between this offering and others with a similar aesthetic. Obana is deeply knowledgeable and passionate about the subject, working with his team to understand the history, setting, purpose of the vintage garments they find. For fall, the team focused on the British Special Forces; the result is a plethora of jackets and pants with plenty of zippers and utility pockets in a somber palette of khaki, olive drab, navy, and black, many of which look sturdy or warm. A number of pieces seem incredibly light in their make. Via email, Obana explained that many of the textiles used work new synthetic fibers into active fabrics. 

In keeping with TPES’s style, this season’s “scenography” has a documentary feel. Photographed, Obana said, in “a training facility unofficially used by members of Japan’s Self-Defense Forces special units, [that] is also famous as a kind of holy ground for people who play serious survival games,” the models look like soldiers. This August marked 80 years since the bombing of Hiroshima and Nagasaki in World War II, following “the war meant to end all wars,” World War I.  Global peace remains elusive. Given the incessant reporting on the activities of ICE, the fact that some of the models wear face-hiding masks is triggering. (It’s difficult to pedal back and remember that these accessories have an actual protective function—warmth.) Having shared this reaction with the designer, he replied: “In Japan, images like these are shown in the media so routinely that people’s awareness has weakened. What begins with masks can easily extend to how we see war and crisis on the news—treated as if it were just part of everyday life. Through this visual, I wanted viewers to pause and reflect, to resist that sense of normalcy, and to hope for this global situation to end soon….” He continued, “Beyond politics, I believe it’s important for each of us to raise awareness so things can move toward resolution. Some may see my visuals as amplifying unease, but the reality is that people are risking their lives on battlefields. By confronting feelings of fear, urgency, or compassion, I hope we can take even a small step forward.”  

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