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Kith Spring 2026 Ready-to-Wear Collection
Fashion

Kith Spring 2026 Ready-to-Wear Collection

by jummy84
written by jummy84

For winter, Ronnie Fieg continued building upon the “return to classic Kith,” that he presented on the runway back in September. It’s a more mature and considered offering this season, and not just because the lookbook opens with Fieg himself wearing a tobacco brown double-breasted suit—with matching tonal shirt and tie—from the brand’s ongoing Giorgio Armani collaboration. (Get this on Jeremy Strong, stat!)

Fieg relishes the winter collections because he can really indulge in his love for fabrics and layering, and this season was no exception, with an emphasis on blown-up takes on classic textures like bouclés and chain stitches, and workhorse fabrics that deceive the eye, like a tightly knit felted terry used for a very ’80s oversized cropped sweatshirt with a cropped fit, or a patchwork suede and leather jacket that was actually faux but had the perfect worn-in patina of a vintage piece. A spectacular felted wool suit with a boxy, cropped double-breasted jacket and creased pants had the artful drama of a Beuys but made for every-day. A pair of herringbone trousers had a soft drape and a slightly stiff hand that made them one of the standout pieces of the collection.

Elsewhere, a collaboration with the Japanese label Ssstein yielded some super-cozy, steal-from-your boyfriend/husband/friend/whatever fuzzy sweaters, and silk wool swishy button-down shirts. While it was one of Fieg’s more subdued collections in terms of color palette, Kith’s signature funky pieces were were well represented: the statement leather bomber jacket, a devastating dark green pony coach jacket, a groovy tapestry fleece, and a pair of pleated jeans with darts at the front and back of the hem with a slightly carrot shape. “This is one of the best-fitting pants I’ve ever had,” Fieg said, which is of course one of the many reasons why he continues to get it right each season; because he makes clothes he actually wears everyday, and not just in photo shoots.

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Dominnico Spain Spring 2026 Collection
Fashion

Dominnico Spain Spring 2026 Collection

by jummy84
written by jummy84

For spring, Dominnico’s Domingo Rodríguez Lázaro took on the 18th century, transforming his signature upcycled pieces into the ultimate dream for any devotee of Sofia Coppola’s Marie Antoinette. Think corseted silhouettes, rococo volumes, and brocades colliding with taffetas and pop culture into an unmistakable vision the designer called “Rococunt.”

“I loved Coppola’s plasticized, over-the-top take; the delicate fabrics, the textures, the way it’s seen through a modern, rebellious lens,” Rodríguez Lázaro said. He has distilled that complex mix into his own signature codes, highlighting the fun and playfulness of the film, with reimagined French sleeves, bows, and other hallmarks of the era. “I use it as an aesthetic excuse,” he added. “[Marie Antoinette’s] figure fascinates me, and it’s amazing to explore past, present, and future—seeing how we evolve and reinvent the way we express ourselves through fashion.”

Some pieces came from a collaboration with Vinted, a natural partnership given Dominnico’s commitment to sustainability, including a look crafted from motorcycle suit linings and protective gear like knee pads which were transformed into panniers. Other looks, worn by models like Jessica Goicoechea and Bonnie Strange, blended leather and lace. “I followed the particular layering people used back then,” he explained. For accessories, he called on additional collaborators: shoes with Jeffrey Campbell, and jewelry with 1Concept. Together, they helped build a sensibility that defied the predictable. According to Rodríguez Lázaro, 18th century fashion asked for “neither permission nor forgiveness.”

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Ponte Spring 2026 Ready-to-Wear Collection
Fashion

Ponte Spring 2026 Ready-to-Wear Collection

by jummy84
written by jummy84

The organizing principle of Harry Pontefract’s spring 2026 collection—a dress-up party—provides a framework that unites his disparate characters and demonstrates to best advantage the evolution of the brand and its pillars. These are story-telling, “exploration into the body and proportions,” and mind-blowing technique. Take look 19, a suit that was, hour after hour after hour colored in with pencils and then hand-burnished with a spoon to “smooth the layers into each other,” the designer said on a call. The Joan of Arc-like character in look 21 is wearing a dress made of wire filaments “finer than hair” that was cut by a hairdresser and then brushed with magnets. 

Even the simplest looking designs are simple in the slightest. The “nun’s” habit (the designer wants the viewer to assign roles to the figures) is made with a circular pattern. The “harlequin” bodysuits are made of diamond-shaped pieces of hosiery. Each garment is like a party unto itself, celebrating craft and imagination, memory, and the body. A lumpen-looking t-shirt is filled with microbeads that allow it to be manipulated into different shapes; the shoulders of an oversized blazer lean forward; and the “gilded” looks achieve the “living sculpture” aspect Pontefract was after.

You’ll note that this review is posting after the season. The lag is deliberate because, as the designer said, Ponte is “its own kind of beast in a way, because it’s not fashion, it’s not art, it’s not one thing or the other.” What it is is extraordinary. Every season Pontefract pushes the limits of what is possible in terms of make. The hours that go into the garments are like those that go into couture pieces. Yet there is, despite it all, a down-to-earth Englishness about the work. 

“Maybe I’m dreaming,” mused Pontefract, “but for me I see them as really wearable pieces. That’s why we put a lot of work into them. I mean it’s nice to escape . . . . Click[ing] through a series of pieces, it’s always like, ‘what’s going to be the next person and the next one and the next one and the next one?’ It’s a nice surprise. And I think I’m starved for things like that. You want to be surprised. And because next season maybe we will do just 30 suits . . . .”  If so, they’re sure to break the mold. Masquerade or not, Ponte is always building bridges between this and a dream world.

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'Toto the Ninja Cat' Stage Musical Adaptation Set for Spring 2026
TV & Streaming

‘Toto the Ninja Cat’ Stage Musical Adaptation Set for Spring 2026

by jummy84
written by jummy84

Dermot O’Leary’s bestselling children’s book series is leaping from page to stage in a new family production featuring puppetry and original songs.

Little Angel Theatre, Mercury Theatre Colchester and Mayflower Southampton have unveiled the world premiere stage adaptation of “Toto the Ninja Cat and the Great Snake Escape,” based on the popular children’s book by broadcaster Dermot O’Leary and illustrated by Nick East, published by Hachette Children’s Group.

The “Toto the Ninja Cat” series, based on O’Leary’s real-life pets, has sold more than half a million copies globally and been translated into 17 languages.

The story follows Toto, an almost completely blind cat with incredible ninja skills, who must use her courage and cunning to stop a deadly King Cobra that has escaped onto the streets of London, alongside her cheeky brother Silver.

The stage rights were acquired from Hachette Children’s Group in a deal negotiated between Sarah Lennon Galavan, head of licensing for Hachette Children’s Group, and Samantha Lane, artistic director of Little Angel Theatre, and Natasha Rickman, artistic director of Mercury Theatre.

The production will be adapted and directed by Lane, with music and lyrics by Barb Jungr. The duo previously collaborated on “The Smartest Giant in Town,” which received an Olivier nomination for Best Family Show in 2023.

Set, costume and puppet design will be by Little Angel associate director Oliver Hyman, who recently won a special Fringe Theatre Award for exceptional services to puppetry. Lighting design is by Sherry Coenen.

O’Leary, who currently co-presents ITV’s “This Morning” on Fridays, is best known for hosting “The X Factor” from 2007 to 2018. He also presents BBC Radio 2’s Saturday morning breakfast show.

“I’m over the moon to see my book brought to life through puppetry,” said O’Leary. “Toto is currently fast asleep, blissfully unaware of all the attention, but speaking on her behalf, she’ll be thrilled to bits that her adventures are about to come to life, in theatres to audiences all around the country.”

Lane and Jungr added: “It’s such a joyful, funny, and heartwarming story, and we can’t wait to bring Toto’s world, full of courage, friendship, and adventure, to life on stage. Led by a stellar creative team, the production promises brilliant songs, imaginative puppetry, and an abundance of surprises for audiences of all ages.”

The musical will open at Mercury Theatre Colchester April 2-18, 2026, followed by runs at Little Angel Theatre London (May 16-July 19) and Mayflower Studios (July 23-26). Additional tour stops include Bristol Redgrave (July 28-30), Birmingham Town Hall (Aug. 15-16), Weymouth Pavilion (Aug. 18-19), Guildford Yvonne Arnaud (Aug. 20-23) and Capital Theatres (Oct. 23-25), with further dates to be announced.

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Shushu/Tong Shanghai Spring 2026 Collection
Fashion

Shushu/Tong Shanghai Spring 2026 Collection

by jummy84
written by jummy84

“What is left after beauty decays?” That was the fascinating prompt from designers Liushu “Shushu” Lei and Yutong “Tong Tong” Jiang, who’ve built an aesthetically concise and tightly packaged world at Shushu/Tong, a brand is synonymous with a certain kind of prettiness—prim, sophisticated, put together. 

This season, they appeared eager to challenge those ideals, and the exercise made for a compelling collection that was satisfying and at times even surprising. After the show, Shushu said that the duo had pushed themselves to explore different fabrications and materials. Ten years in, the pair have a robust body of work—there’s no better time to play around. 

Not coincidentally, this Shanghai Fashion Week was full of milestone anniversaries. Labelhood, the retail-cum-incubator that has helped establish labels like Shushu/Tong, celebrated its 20th season, and Samuel Guì Yang also marked a decade in business. The city’s fashion industry is still young, but some of its defining talents are formidable, and Shushu/Tong is one of its more influential. Their peers often pick up on their cues—a little flared dress, a painstakingly embellished blazer, the power of a well-placed logo. So this season, Lei and Jiang turned their signatures upside down.

What in the past would have been peplums in wool crepe or suiting fabric became layers and layers of light cotton, dyed to appear as if aged. The most body-hugging silhouettes came cut in leather (a tailored cocktail dress, a paneled skirt), while lace dresses were worn over contrasting underwear. Sheaths, cut looser than usual, were styled over colorful brassieres or on top of cropped knit sweaters. The whole thing was cooler and more nuanced.

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Xu Zhi Shanghai Spring 2026 Collection
Fashion

Xu Zhi Shanghai Spring 2026 Collection

by jummy84
written by jummy84

Xuzhi Chen is Shanghai’s resident boho spokesman. At first glance, his spring 2026 collection—his second since his big return to the Shanghai Fashion Week fold last season—looked as if it were engineered to accompany the fashion dictionary’s entry on boho-chic, checking every box with its wispy dresses, ballooning pantaloons, and diaphanous silk blouses. But as he explained in the lead up to the show, Chen was getting at something deeper and more romantic. 

He cited the French poet Arthur Rimbaud as an inspiration, but rather than focus on his volatile early years and his torrid affair with Paul Verlaine he was thinking about his later days. After spending his youth in the arts, leading a precarious, vagabond-like life with Verlaine, Rimbaud left his career as a writer and began travelling extensively. He traversed Europe, mostly on foot, and became a soldier to explore Indonesia, then the Dutch East Indies, eventually settling in Yemen. On his runway, Chen considered what Rimbaud might have found during his travels.

To his credit, rather than a melange of disparate elements, what Chen conjured was a sense of wanderlust. On the womenswear front, he offered some nice dresses and embellished both blouses and dresses with cascades of ruffles, which he paired with either trousers—jeans or tailored, the former not always successfully—and flouncy skirts. His boho vision was most clearly realized in his menswear: three-piece suits were cut amply but not oversized in pretty silk brocades and styled either shirtless or with blouses and, here and there, a pantaloon—and always accessorized with sandals. Super short-shorts helped add sharpness to the softness of other looks, and amped up the sex appeal of the collection overall. There was an air of idiosyncrasy to his men’s looks that the designer should leverage across his full collection. The story Chen told felt as if Rimbaud had taken up traveling not to move on from his writing, but to document it as a poet.

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Spring 2026 Runway Trends That Will Influence Design
Fashion

Spring 2026 Runway Trends That Will Influence Design

by jummy84
written by jummy84

Fashion and interior design have always been closely connected—both serve as expressions of personal style, culture, and mood. Yet when new runway collections debut, our first instinct is to think about how they’ll influence our wardrobes rather than our living spaces.

With that in mind, I decided to look at the spring 2026 runway collections from a different angle this time—spotting those that are not only poised to dominate the season but also translate beautifully into interior design. Spring, after all, is a time of renewal—the perfect moment to rethink our surroundings, declutter our homes, invest in new meaningful pieces, or spring-clean, as some like to call it.

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Markgong Shanghai Spring 2026 Collection
Fashion

Markgong Shanghai Spring 2026 Collection

by jummy84
written by jummy84

Chalk it up to Bella Hadid’s widely-documented cowboy era or to the influence of Vogue cover-certified horse girls Gigi Hadid and Kendall Jenner, but something about stomping around in some leather fringe and cowboy boots has conquered the hearts of fashion-minded twenty-somethings.

At face value, Mark Gong’s spring collection suggests that he’s clocked the trend. But actually, Gong was a pioneer. It was in 2019 that he first riffed on the cowgirl theme, and this season he gave it a do-over. “I was chatting with my friends and said I would like to re-do it” he said. The impetus was a movie night featuring the 1991 Ridley Scott film Thelma and Louise. 

“I know it’s not a movie about cowboys,” Gong said, explaining that he was attracted to the rebellious, freewheeling energy of its main characters, two defining traits of who he calls his “Gong Girls.” It also inspired him, he said, to look at the American West with a more feminine point of view, rather than from the male gaze with which he designed that first connection.

He mostly pulled it off, with the exception of the funny but mostly just gratuitous rearview mirror and police siren bra tops—which were actually designed in collaboration with the women-led jewelry design studio Yvumin. Other models carried gas pumps and wore outlandishly long thigh-high boots with their fringed and ruffled clothes.

Some of the fun leather pencil skirts and bandeau tops he made were embossed or embroidered with tooling motifs, which reappeared on his power tailoring and low stacked heel boots (“young women are less interested in high heels!”). He also showed t-shirts and jeans and cargo pants, and unveiled an extension of his ongoing Nike collab. Together it made for a covetable, commercial collection, delectably packaged as an entertaining story. All in all, Gong is proving to be one of Shanghai’s most proficient designer-merchants. 

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8ON8 Shanghai Spring 2026 Collection
Fashion

8ON8 Shanghai Spring 2026 Collection

by jummy84
written by jummy84

Li Gong has picked up running. He’s not alone; in fact, he is joining an entire generational cohort—that Millennial-to-Gen Z bridge of late 20- and early 30-somethings—that seems to have converted to fitness since the pandemic. At least according to the Internet, that is, with all the running clubs and running influencers taking over this very stationary writer’s feed.

A London Fashion Week mainstay since 2019, Gong brought his collection to Shanghai this season. He explained that he felt like coming home to China to commemorate his eighth anniversary. As you may have caught on by now, the number 8, a perfect closed loop, is a bit of a theme for this designer. Does that mean that he only jogs in infinity-shaped routes?

It’s what his models did at his show; some of them running around his 8-shaped runway and others simply appearing like they did. This he achieved by either adding horsehair to the bottom of running shorts—which took them from bottom-drawer staples to hero wardrobe pieces—or by lining suit jackets with swishy technical windbreakers and styling the tailored part open and draped over the shoulders. Elsewhere, Gong was equally clever with more standardized wardrobe classics: button-downs received that same hem treatment and other separates were heat pressed and then printed, creating a cool crackled look.

This is the kind of futuristic technicality that Gong has become known for in China, has it’s helped him build a robust business with an enviable portfolio of collaborations: Japanese Asics sneakers since 2020, Italian Canali tailoring in 2021, and even the all-American Gap, via a capsule collection for the Asia-Pacific region in 2023. What really defines 8on8, though, is a kind of eclectic retro-athleticism that is equal parts nostalgic and forward-looking.

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Samuel Guì Yang Shanghai Spring 2026 Collection
Fashion

Samuel Guì Yang Shanghai Spring 2026 Collection

by jummy84
written by jummy84

Founded by Samuel Guidong Yang in London in 2015, Samuel Guì Yang is today one of China’s most prominent fashion exports. Yang himself is also something of a hometown hero with a thoughtful East-meets-West aesthetic that has come to define New Chinese Style. Since 2017 Yang has been designing the collection alongside his partner and co-founder Erik Litzén. This season, they celebrated the label’s 10th anniversary with a show at the Rockbund Art Museum, a beautiful example of Shanghai’s unique blend of eastern and western architecture that has sat at the intersection of the Huangpu River and the Suzhou Creek since 1932.

“It felt nice to be able to be nostalgic about what we’ve done,” Litzén said, “even though it’s hard for designers to be nostalgic because you want to make something new.” Yang expanded: “You have memories, and then you can create—you cannot create on nothing. It felt good to reflect on what we have done and be honest about it.”

The collection did include some reissues, like a rubber sweater vest from an early outing and their original red dress, first introduced in 2017. A particularly stunning piece was a jacket first from 2019 that’s tailored and slim but fills out at the hip. All were made with better fabrics and the precise cutting they’re known for. Watching the show it felt like a privilege to witness designers like these evolve over time.

But there was also newness, most of it very good and executed with confidence. “When you have 10 years under your belt you take more chances,” Litzén said. Their newfound boldness came primarily in the shape of interesting volumes: a ballgown-like apron, a grand shoulder drape, some dramatic wraps, and even a pretty fabulous veil on a baseball cap. These punctuated the pragmatism of great trousers, easy eveningwear, and some fantastic windbreakers. “I think we managed to get a good flow,” Litzén concluded.

Apropos, the duo said that for this collection they ruminated on the lunar cycle and its effect on tides and waves—the ebb and flow of energy, the natural rhythm of the ocean. It’s a poetic way of reflecting on their own growth, but it had a practical effect on their collection, too. These were clothes that looked as good coming as they did going. “We wanted something that felt grand, like a big wave,” said Yang. May the next decade be just that.

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