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Armarium Spring 2026 Ready-to-Wear Collection
Fashion

Armarium Spring 2026 Ready-to-Wear Collection

by jummy84
written by jummy84

“When everything fades, what remains is the essential,” said Giorgia Gabriele more than once. She was keen to stress that essential is not a synonym for aesthetic minimalism. Rather, it is a work of subtraction conceived as an invitation to permanence. “In such a chaotic and complex moment, the pressure and expectations of the market risk become a distraction. I felt the need to pause, to pare back the superfluous, and to reconnect with what truly endures,” the designer said.

Gabriele has turned her focus to the true wearability of garments and the versatility of a 24-hour wardrobe. Moving away from a static notion of seasonality, she has translated her idea of continuity into clean lines, a meticulous selection of fabrics, and a palette of understated sophistication. Her spring collection aimed to blend the chic and the pragmatic: The Nila ballet flats, for instance, were lined in suede for comfort.

The rigor of tailoring, a cornerstone of the brand’s identity, was amplified by the contrast with the semi-transparency of mesh. Gabardine and split suede counterbalanced cotton, silk, and viscose. The Francis skirt and top were created to highlight raw materials in their most elemental form; fringes crafted from floating yarns were deliberately left suspended.

This need to “slow down in the race for appearances” also came through in the silhouettes and volumes, which were fluid and inviting. The color palette felt more attuned to the every day than in past seasons. Alongside beige, caramel, dark chocolate, powder blue, ecru, and black, the introduction of peony pink infused freshness and vibrancy into the collection.

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Giorgio Armani Spring 2026 Ready-to-Wear Collection
Fashion

Giorgio Armani Spring 2026 Ready-to-Wear Collection

by jummy84
written by jummy84

Say it ain’t so. This was the final time we would ever see newly designed clothes conceived by Giorgo Armani on the runway. Although in many ways, of course, they weren’t new at all. For as the 50th-anniversary exhibition installed upstairs in Milan’s Pinacoteca di Brera so beautifully demonstrated, Mr. Armani’s aesthetic might have been subject to constant seasonal variation, but it was also unwaveringly consistent and true. The Yves Saint Laurent coined-phrase “fashions fade, style is eternal” might have been invented for him. Tonight’s collection could be directly traced back to the first show he ever presented, in October 1975, about ten minutes walk away on Corso Venezia.

Mr. Armani died, aged 91, at the beginning of this month. That meant watching a collection which you could see had been conceived as both a seasonal commercial offer and a gently celebratory retrospective of many of his key fashion gestures suddenly felt like watching a poignantly posthumous montage. The cast included a sprinkling of models whose associations with Armani sometimes went back to the early 1980s, among them Olga Serova, Veronika Pospisilova, Veronica Ruck, Olga Sherer, Lavinia Birladeanu, Laura Reiff, Gina Di Bernardo, Anna Ry, Andrea Krakhecke, Mark Vanderloo, Daniela Peštová, and Nadège Dubospertus. Some of them, you could see, were tearful.

The woven leather blue sweater vest jacket hybrid in this gallery’s image 43 was reminiscent of that earliest Armani collection. The global influences, the greige, the navy, the deconstruction, the fluidity, the softened masculine proportion both for men and women, the imperial purple, the sparkle, the depth of pattern, the material richness… Armani, Armani, Armani. Look 34 was to me close to the platonic ideal of a single menswear look. The greatest shock tonight was that for perhaps the first time I can ever recall, there was not a single hat in the show.

These had been doffed by Silvana Armani and Leo dell’Orco, Mr. Armani’s design successors, who came out to warm applause after the last look—a blue skirt and top, both crystal spun. The top bore the famous portrait of Giorgo in his pomp, chin cradled in one hand, looking intently into the lens and onwards into the future. As Lauren Hutton observed after this show: “He will live pretty much forever, or as long as we’re going to be here.” Because how could we ever forget?

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Sunnei Spring 2026 Ready-to-Wear Collection
Fashion

Sunnei Spring 2026 Ready-to-Wear Collection

by jummy84
written by jummy84

In fashion, designers almost never get to script their own farewells. The industry is partial to the pomp of a corporate beheading, delivered with a press release dipped in rosewater by the executioner. You’re “parting ways amicably,” though your head’s already neatly in the basket. What follows is the usual mess of bruised egos, crocodile sobs, and bosses pretending the guillotine is just a warm handshake.

But Sunnei’s Loris Messina and Simone Rizzo, who received a majority stake investment from Nanushka and Aeron owner Vanguards Group in 2020, weren’t having any of that corporate theater. They staged their own death instead—campy, snarky, and gloriously unhinged. A parody funeral, complete with humor sharp enough to slit through the industry’s polyester veil of respect. These two wrote the obituary themselves and performed it live, a final genius middle finger.

True to their sharp critique masquerading as brilliant showmanship, the Sunneis, in cahoots with Christie’s, staged an auction where nothing was actually for sale but everyone pretended it was—a case of peak fashion logic. Guests were handed scratch-off lottery cards preloaded with “fashion dollars.” My personal jackpot was a measly F$30,000, while my seat mate casually revealed F$200 million. Even in the realm of fake money I’m still in the wrong tax bracket.

The first lot came as a giant Sunnei logo, because let’s face it, branding is the only real currency left. It was sold for a staggering F$111 million. Second lot: the founders themselves, who were encased in a wooden box and wheeled in like rare collectibles, auctioned off at F$95 million. The spring collection shuffled around the room on Sunnei team members who were cosplaying as telephone operators. There were the usual laughs and cheers, and everyone floated out wearing the Sunnei afterglow—pensive yet weirdly sunny. Never mind it was pouring outside.

But this performative tour de force was actually a background act to the real performance: brand implosion. Moments later, the designers surprised everyone by announcing online that they were stepping down, transforming the entire spectacle into a going-out-of-business skit. It was a true shock-and-awe moment that has left their fashion watchers still scrambling to understand what happened.

Sunnei has always been a beam of incisive intelligence cutting through the haze of trend chasing and musical chairs at the big conglomerates. Fiercely independent, it has operated more as a nerdy, artsy platform than a bona fide brand, skirting the usual fashion affiliations and refusing to play by the industry’s often cruel, self-consuming rules.

Messina and Rizzo vanished after the auction, declining to elaborate on their departure—a gesture of discretion, leaving the room charged with unanswered questions. In the press notes they circulated, they wrote: “Fashion is finance; creativity is for sale. More than ever, today’s industry is governed by hidden yet powerful dynamics. This performance is not a direct critique, but a hyperbolic, theatrical metaphor of that mechanism. The Sunnei auction is a stage where the contradictions of the system are enacted, where what’s symbolic challenges what’s real, and desire itself is questioned.”

Arrivederci, Sunnei. Thank you for the exhilarating ride—and for reminding us that, sometimes, genius leaves as mysteriously and suddenly as it arrives.

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Ermanno Scervino Spring 2026 Ready-to-Wear Collection
Fashion

Ermanno Scervino Spring 2026 Ready-to-Wear Collection

by jummy84
written by jummy84

“This collection was born from the desire to let go of a more constructed approach and embrace an essential simplicity,” said Ermanno Scervino, who still feels a thrill when months of work finally take shape. “I worked on a concept of fashion that is rather different from the usual, because I wanted to create space for a desire for change.” Indeed, the spring collection was a less soirée-driven, less ostentatious expression of his aesthetic. There were no caftans or sweeping evening gowns, but rather pieces that channeled a more pragmatic elegance designed for everyday wear.

“What gives meaning to luxury is the highest level of craftsmanship and our manual savoir faire,” Scervino emphasized. And it is impossible to be disappointed when observing such techniques under a magnifying glass. With meticulous technological research applied to fabrics, it was the ancient “iris petal” layering technique that elevated a clean yet never bare stylistic narrative. Chiffon, layered and printed with denim or a Prince of Wales pattern, retained its lightness and transparency while acquiring an unexpected structure and feel. It became the fabric from which to craft tailored suits and trench coats. “It looks simple, but it isn’t. And it requires the same care as a lace gown,” explained the designer. Contrasts, however, were only subtly suggested: Lingerie slips were paired with crochet knitwear, lace with napa leather, crystals with sporty bombers.

It was cutwork and embroidery that made the ordinary extraordinary—on leather jackets but also on satin and technical fabrics. Among the novelties were billowing cloud skirts and lace flip-flops. Recurring motifs included polka dots, pareo-inspired prints, and checks, while a discreet palette of chalk, cappuccino, powder blue, and black was unexpectedly punctuated by mandarin orange.

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Dolce & Gabbana Spring 2026 Ready-to-Wear Collection
Fashion

Dolce & Gabbana Spring 2026 Ready-to-Wear Collection

by jummy84
written by jummy84

Today, the devil wore Dolce & Gabbana. Domenico Dolce and Stefano Gabbana had the celebrity gets of the season: With movie-perfect timing, Meryl Streep and Stanley Tucci, dressed in character as Miranda Priestly and Nigel Kipling of Runway magazine, swooped in just as everyone else had taken their seats. Newcomer Simone Ashley, whose role in the sequel has not yet been revealed, perched above them in the second row. As the photographers got their shots, Streep peered around the side of a flashing camera and greeted Anna Wintour, the editor in chief of Vogue on whom Priestly is based, who was sitting on the opposite side of the runway. A meta moment if ever there was one.

As for the runway? It was a pajama party—one that picked up where Dolce & Gabbana’s men’s collection, presented in June, left off. At that time, the memo was “a kind of no-fashion fashion…something more individual, more spontaneous.” At the very least, it was a change from the jog bras and exercise leggings that have become so ubiquitous on city streets. And why not? After the men’s show, Dolce reported, they had women customers clamoring for pajamas of their own.

Of course, these were no ordinary striped cotton pajamas. In signature D&G fashion, the designers embroidered them with tiny bouquets of flowers or clusters of crystals and layered them over lacy black bras and briefs, sometimes swapping out the pajama bottoms for black cotton hosiery (a callback to a late-1980s show in which Linda Evangelista and Christy Turlington walked). Other times they tossed a tailored blazer on top, or a blouson leather bomber, or a shrunken brocade jacket that could have belonged to your grandmama, “like a memory,” Dolce said.

For evening, the designers swapped out striped cotton for black chiffon tops and bottoms and accessorized them with their famously elegant tuxedo jackets. Some of the looks got skyscraper satin sandals, but just as many were paired with fuzzy slippers. “This new generation,” Dolce commented, “they don’t dress with too much styling. They’re much more relaxed.” If we see Ashley’s DWP2 character turning up at Runway in her pj’s, we’ll know where she got the idea.

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