SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: Ik Saul Nash presented Masquerade, unveiling a collection that examined clothing as both performance and protection This collection begins with masquerade — not as decoration, but as behaviour. Prompted by Nash’s experience of Notting Hill Carnival, where costume operates as ceremony, mimicry, and release, the work considers what it means to dress as transformation. Venetian masquerade culture enters as parallel reference: concealment as power, anonymity as freedom. These histories are filtered through a London upbringing, resulting in a contemporary language of power dressing that moves fluidly between tailoring and sportswear. Tailoring is dismantled and reassembled. Suit jackets arrive with built-in hoods and detachable sleeves, shifting formalwear into something adaptive and kinetic. Shirts are traced with graphic line-work inspired by Ben Magid Rabinovitch’s Tamaris from Dirge (1931), the illustration’s tension and contour translated into motion. Executed in stretch cottons and merino wool, these pieces extend Nash’s ongoing interest in movement into a more structured register. A pinstriped all-in-one jumpsuit references 1980s power suiting, but is cut wide and deliberately warped on the body. It carries the authority of tailoring while moving with the theatricality of masquerade costume — presence without fixity. Outerwear anchors the collection. Military drill jackets feature transformable collars designed to shift shape and function. Cropped trench coats employ Nash’s signature kinetic cutting techniques, while padded jackets with elongated ribbed-knit sleeves and exaggerated hems remain ultralight, insulated with PRIMALOFT Gold. Across categories, adaptability replaces rigidity. Clothes are designed to respond rather than dictate. The palette remains grounded — greens, navies, and earthy browns — allowing texture to do the work. Silky utility trousers in LENZING™ Viscose are styled with crinkled recycled nylon zip-ups. Mohair blazers sit alongside alpaca and merino cardigans that expose the body, introducing controlled vulnerability into the silhouette. The idea of the mask becomes literal. Compression tops printed with hazy body imagery and finished with funnel necks create the illusion of wearing another form. An over-dyed raw denim twinset, laser-etched with a chiselled torso, recalls classical depictions of the male body — strength rendered as surface, not certainty. What emerges is a wardrobe that treats disguise as agency. Clothing not as armour, but as choice. Power, redefined through movement, concealment, and release.
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SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Willy Chavarria operates beyond fashion. What he proposes is a posture, a way of being visible without becoming accessible. A studied unapproachability that remains sexually alive, intriguing, and charged. Sultry without sadness. Distant, yet potentially available. Focused, but never resolved. For Autumn/Winter 2026, Chavarria presented ETERNO at Paris Fashion Week as a cinematic experience rather than a conventional runway. Music, movement, and performance merged into a fluid narrative where clothes revealed themselves through emotion rather than pose. This was fashion designed to be felt before it was seen. At its core, ETERNO examined faith, not in a religious sense, but as a question of what anchors us, what we trust, and what carries us forward. The main collection unfolded through elevated daywear: strong tailoring, tactile dresses, shearling, mid-weight outerwear, and accessories that balanced authority with vulnerability. Each look held tension, between softness and control, intimacy and armour. Formalwear remained central. Relaxed tuxedos for men moved with ease rather than ceremony. Women wore shimmering, textured cocktail dresses and sculptural gowns shaped for slow, deliberate movement. Silhouettes shifted fluidly: cinched waists and assertive shoulders gave way to elongated drape, relaxed mini shirt dresses, and tailored forms that felt lived-in rather than styled. Menswear stayed rooted in luxury sportswear, sharpened with refinement. Cashmere track jackets, elevated utility pieces, graphic jerseys, and tailored workwear trousers carried the spirit of 1970s athleticism, worn, cherished, reimagined. Chavarria’s signature codes persisted: slim waists, broadened shoulders, generous hips, and legs cut wide, flared, cropped, or tapered with intention. Queer intimacy, long central to Chavarria’s language, came into sharper focus through a collaboration with Grindr. Introduced discreetly via mesh underwear, the partnership framed connection as catalyst rather than statement. “The show is rooted in love, desire and human connection,” Chavarria noted, positioning Grindr as the space where encounters evolve into stories that fuel ETERNO’s emotional core. The debut of Big Willy, a new evergreen workwear line, expanded the universe without diluting it. Chinos, shirts, bombers, and Sutton coach jackets in khaki and black introduced humour, accessibility, and democratic ease, an entry point into Chavarria’s world that remained aligned with his values. ETERNO wasn’t about spectacle. It was about presence. A collection that didn’t ask for attention, it held it. Press: Purple PR @WILLYCHAVARRIA WILLYCHAVARRIA.COM Director of Photography: Benoît Debie Runway Photography: Gaspar Lindberg
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: Estrop / Francesc Ten A Decade, Reworked Marking ten years since its founding, QASIMI’s Spring/Summer 2026 collection is less a celebration than a reckoning. Under the creative direction of Hoor Al-Qasimi, the brand continues to evolve the vision of its late founder, Khalid Al Qasimi, one rooted in cross-cultural dialogue, memory, and transformation. This eleventh collection explores hybridity as condition rather than concept. Silhouettes, materials, and references move across geographies and generations, grounded by QASIMI’s familiar palette of browns, sandy neutrals, and black. Texture becomes the site of tension, where structure softens and surfaces carry trace. Womenswear introduces modular tailoring: sharp jackets paired with experimental trouser-skirts that resist fixed categorisation. “Memory nylon” plays a central role, a fabric that records creases before releasing them, operating as a quiet metaphor for impermanent memory and a subtle nod to Khalid’s early use of distressed materials. Layering functions as visual language. Shirts accumulate, hems fray, pockets multiply. Garments suggest lives carried, adjusted, and worn over time. Check motifs drawn from the brand’s archive return with renewed sharpness, edited rather than revived. Artistic collaboration remains integral. This season sees QASIMI work with Lebanese-born, London-based artist Dala Nasser. Her process-driven engagement with site and decay filters through raw edges, loose threads, and “doodle” embroidery. The result is clothing that feels marked by time, not aged, but lived with. A decade on, QASIMI continues to speak in layers. Quietly. Precisely. Press: Purpler PR
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Rooted in Time Salvatore Santoro enters the Milan Fashion Week calendar with a measured debut, presenting its Men’s and Women’s FW26–27 collection alongside the opening of its first permanent Milan space at Via Marcona 3. The gesture is deliberate. Expansion without acceleration. Presence without spectacle. ‘Rooted in Time’ the collection reinforces Santoro’s long-standing investigation of leather as both material and method. Time remains the brand’s primary design tool. Rather than responding to seasonal urgency, garments evolve through accumulation. Past and present coexist without nostalgia or futurism. Everything feels worn-in, yet precise. Silhouettes are open and protective. Oversized outerwear, generous proportions, and softened constructions create volume without rigidity. There is no sharp tailoring, no overt gender coding. Menswear and womenswear operate on the same axis, allowing form and function to negotiate quietly. These are clothes designed to be inhabited, not imposed.
Leather sits at the centre, treated with confidence and restraint. Carefully traced from origin to final construction, it functions as structure rather than surface. Hand-drawn patterns and seams follow the material’s natural behaviour, allowing weight, fold, and stretch to dictate shape. Sophistication emerges through technique, not decoration. The colour palette is subdued but expressive. Ochre, burgundy, deep green, and powdery light blue surface through material treatments rather than applied pigment. Light and shadow activate texture, reinforcing the collection’s emphasis on tactility and depth. There is continuity rather than contrast, a refusal of seasonal colour narratives. Naples, the brand’s home, is present as process rather than reference. Its influence is felt in proximity to making, in inherited craftsmanship, in respect for material as daily practice. Sustainability is embedded, not announced. Materials are sourced from the food industry, exotic leathers are excluded, waste is minimised, and a lifetime service reinforces long-term ownership. These garments are intended to age, improve, and gather meaning.
The Via Marcona 3 Milan space extends this philosophy architecturally. Designed by Parisotto + Formenton Architetti, the 380-square-metre environment functions as narrative rather than showroom. A raw metal staircase cuts through the interior, while mirrored surfaces implicate the visitor. Archival pieces anchor the present to origins dating back to 1887. Time, made visible.  
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: Tommar Shak Collected Moments, Refined Form Olivia Black opens a new chapter with Serendipity SS26. Seasonless, considered, and quietly intimate, the collection is a meditation on people, places, and chance encounters that shape creative practice. It is less fashion than reflection — a dialogue between maker, community, and memory. Magpies provide both metaphor and palette. Black-and-white plumage dictates the monochrome, while gold accents signal discovery and shared value. These details underscore the brand’s philosophy: clothing as assembled stories, craft translated into purposeful, wearable form. Silhouettes are timeless. Blazers, coats, trousers, dresses, skirts, and shirts are built to endure — elevated essentials refined with restraint. Every garment is produced in the UK by local makers, blending sustainably sourced fibres with curated deadstock fabrics. Function and longevity outweigh novelty. The recurring safety-pin motif threads through the collection. A symbol of connection, resilience, and the seamstress legacy of Olivia’s Nana, it anchors the work in lineage and lived experience. Each piece carries its history lightly, insisting on presence rather than proclamation. Serendipity is not about display. It is about accumulation — of influence, memory, and intent. Black distills these fragments into form, producing work that is quietly exacting, reflective, and enduring.
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Lacoste looks to the mountains, not for performance, but for posture. The Olympic Heritage Cortina d’Ampezzo 1956 capsule revisits Alpine style through restraint rather than nostalgia. Seventy years after Cortina hosted the Winter Games, the collection reframes mid-century winter codes for life beyond the slopes — the moments between movement and rest. This is clothing designed for altitude without urgency. For hotel lounges, late afternoons, and quiet winter rituals. Archival references are translated with discipline. Merino wool knits sit close and controlled. Quilted jackets nod to vintage outerwear without exaggeration. Polo shirts and sweatshirts feature a reworked Olympic emblem, present but never loud. Tailored trousers ground the collection, keeping it composed. Colour remains considered. Signature Olympic blue appears as a linking thread rather than a statement, connecting past and present with ease.
Accessories — gloves, scarves, hats — complete the wardrobe, treated as functional elements rather than afterthoughts. As an official licensee of the International Olympic Committee, Lacoste approaches Olympic heritage with care. This is not revival, but interpretation.
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Some collaborations arrive with noise. Others arrive with certainty. Lacoste’s appointment of Adrien Brody as global eyewear ambassador belongs firmly to the latter. Fourteen years after leading the brand’s Unconventional Chic campaign, Brody returns to the Lacoste universe not as a reinvention, but as a natural extension of an existing dialogue. Brody has never chased fashion moments. His relationship with style has always been instinctive rather than performative, shaped by ease, confidence, and restraint. Over the years, he has remained a familiar presence at Lacoste runway shows, embodying the brand’s balance of sport, elegance, and understatement.
The timing feels considered. Brody’s return follows a period of renewed acclaim, marked by his second Academy Award for Best Actor for his role in Brady Corbet’s The Brutalist (2024). His portrayal of architect and Holocaust survivor László Tóth earned him further recognition at the BAFTAs, Golden Globes, and Critics Choice Awards, reinforcing his position as one of cinema’s most distinctive talents. Across a career spanning film, television, and theatre, Brody has built a reputation for thoughtful selection rather than volume. From The Pianist — which made him the youngest Best Actor winner in Academy history — to collaborations with Wes Anderson, Steven Soderbergh, Spike Lee, and Peter Jackson, his work is defined by depth and range. Alongside acting, he continues to explore production, painting, and music, extending his creative practice beyond the screen.
Lacoste eyewear fits seamlessly within this framework. The designs worn by Brody balance heritage with modern refinement. Lightweight geometric frames feature bio-injected fronts for comfort, paired with acetate temples detailed by engraved metal core wires. The signature crocodile appears as a discreet metal accent, while a 7-barrel hinge ensures durability and precision. “I’m honored to join the Lacoste family as the global ambassador of their newest eyewear campaign,” Brody says. “Lacoste has always represented style, authenticity, and craftsmanship.” The sentiment reflects the partnership itself — considered, authentic, and enduring. In a landscape driven by speed and spectacle, this collaboration feels refreshingly measured. A meeting of shared values rather than surface appeal. Not a return for attention. A continuation with intent. |
Sø•FASHIONStructure over ornament. Memory over surface. Archives
March 2026
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