SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøBeauty Director/Article: Astrid Kearney SøFashion Director: Savannah Barthorpe Photographer: Jake Schühle-Lewis Makeup/Hair Designer: Astrid Kearney Model: Bridget Ren with D1 Models Start with the skin. Luminous, glass-smooth, prepared with Weleda Skin Food to give the complexion that deep, almost lit-from-within quality that makes everything placed on top of it land with intention. Dior Forever Skin Foundation and Dior Forever Skin Correct build coverage that doesn't sit on the face but becomes it. The base for everything that follows. The look is anchored by a single, unwavering commitment: a saturated red lip in Lisa Eldridge's 'Classic Pillar Box Red'. It is the constant. The thing that holds. Around it, a muted wash of Danessa Myricks' 'It Girl' moves across the cheek, and Victoria Beckham's 'Orchid' sweeps the eye. Pink that reads electric against red, softening nothing, simply shifting the frequency. Then the thread begins. Red has always meant something. Scarlet dye was once so costly to produce it was reserved for royalty. That rarity became status, and that status never left. Across centuries and cultures, red has signaled power, presence, a refusal to go unnoticed. A red lip has never been a whisper. It has always been a declaration.
But underneath the history, underneath the politics of the colour, runs something older and quieter. Red is the thread women have always followed. It marks the first time and the last. It is the monthly tide, the moment of becoming, the passage through loss and through birth. It is the thing the body knows before the mind catches up. The coiling thread across this face traces that same path. Loosely at first, almost tender, then tightening, wrapping, winding around the eye and neck until adornment and experience become inseparable. Ceremonial in one frame. Raw in the next. The red lip holds through all of it. Unwavering. It always has. "Red is the great clarifier." — Diana Vreeland
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SøEdited Team Article: Kellie Neilson SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe As the 2026 season approaches, Lío Ibiza is entering a markedly more sophisticated chapter, inviting high-end visitors to experience a venue that redefines contemporary cultural luxury. Unveiled through a new global campaign created in collaboration with Carnale, the brand’s latest evolution signals an ambitious recalibration of identity: immersive, cinematic and unmistakably international. At the heart of this transformation is Julio Bruno’s vision, which continues to reshape Lío from an iconic Ibiza destination into a globally resonant cultural reference point. The campaign itself reflects that intention with striking clarity. Rejecting the predictable visual codes of nightlife marketing, it instead embraces an editorial language more commonly associated with luxury fashion publishing and contemporary art photography.
Bodies appear sculptural rather than performative; movement is measured, precise and restrained. The imagery unfolds through shadow, texture and atmosphere, allowing sensuality to emerge from tension rather than excess. The collaboration with Carnale reinforces this refined positioning. Known for its distinct visual approach that fuses fashion, art and contemporary culture, the creative studio brings a layered sophistication that elevates the campaign beyond promotional imagery. The result feels less like advertising and more like a cinematic manifesto for a new era of experiential luxury. This creative repositioning aligns with the debut of Halftime Show, premiering SPRING 2026. Under the artistic direction of Pol Chamorro, the production takes inspiration from the intense, condensed energy of major global sporting halftime spectacles, translating that vibrant atmosphere into Lío’s immersive performance style. Halftime Show is not solely focused on spectacle; it unfolds through deliberate pacing and storytelling, creating a seamless blend of choreography, staging, music, and scenography. Performers move with theatrical accuracy, blurring the line between audience and stage. Dining, performance, and nightlife merge into a continuous experience, with each aspect crafted to enhance the next.
At the core of this development is Lío’s culinary direction led by Michelin-starred chef Andreu Genestra. His menu forms the foundation of the evening, blending sophisticated modern techniques with the authentic flavours of local Mediterranean ingredients. Rather than being separate from the show, the dining experience interacts with the performance, enhancing the immersive atmosphere that characterises the venue’s philosophy. As midnight approaches, the atmosphere shifts seamlessly into Lío’s second identity: the club. The deliberate transition creates anticipation and excitement, ensuring the emotional momentum carries naturally onto the dancefloor, promising an uninterrupted, immersive experience that captivates every guest. Together, the new branding and Halftime Show exemplify Lío Ibiza's evolution into a vibrant cultural hub where performance, cuisine, and design converge, offering an immersive experience that redefines modern luxury.
Club Residencies SUMMER 2026 Mondays - Nasty Beats Afro House & Tech-House Tuesdays - Arcadyan Voyage Organic House & Balkan Beats Wednesdays - Toy Room (Hip-Hop, R&B & Reggaeton) Thursdays - Tiempo Nomis House, Deep House & Afro House Fridays - Vintage by Sebastian Gamboa House Classics & Atemporal Hits Saturdays - Kodo Tech House, House & Deep Tech Sundays - Travieso Latin House, Reggaeton & Classics RESERVATIONS Lío Ibiza
SøEdited Team SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe There is a quiet assuredness to PORTS 1961 this season—an introspective turn that feels less like revival and more like a return. For Spring/Summer 2026, the house looks to Greece not as a reference, but as a resonance: an atmosphere, a sensibility, a way of considering the body in space. Titled A Modern Odyssey, the collection unfolds with a certain restraint. Not minimal, but considered. It speaks to a woman in motion—physically, certainly, but also psychologically—whose wardrobe is shaped by experience rather than excess. There is no urgency here, only intention. At its core lies téchne: the idea of art as discipline, as craft, as something lived rather than performed. You feel it in the clothes—in the way they hold, release and move. Cottons arrive crisp, linens almost weightless, knits open and breathable against the skin. Surfaces catch the light gently—mother-of-pearl, beaded netting—never demanding attention, only rewarding it. There is a kind of intimacy in these details, a closeness that reveals itself over time. Fringing in hand-worked silk and the precision of fine pleats introduce movement without excess, echoing the natural fall of ancient drapery without slipping into costume. The references are present, but abstracted—felt rather than seen. Tailoring is sharp, but never rigid. There is a fluidity to the construction that allows pieces to shift with the body, moving easily between moments, between times of day. This is clothing designed to be lived in, not merely looked at. Proportion is precise, almost architectural. You see it in the balance, the spacing, the clarity of line—an echo of classical form, reworked with a lighter hand. Peplums curve gently at the waist; skirts and dresses take on rounded, sculptural volumes that feel instinctive rather than imposed. There is a dialogue here—between control and release, between formality and ease. It is this balance that defines the collection.
SøEdited Team Article: Kellie Neilson SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe In recent seasons, luxury streetwear has faced a familiar challenge: how to preserve authenticity once a subcultural language becomes part of the global fashion mainstream. With Island Speed, its Spring/Summer 2026 campaign unveiled in Milan this May, Palm Angels responds with one of its most visually assured statements to date: a collection that exchanges overt spectacle for atmosphere, tension and emotional heat.
Set along a blazing coastline and infused with the restless spirit of Jamaica, the campaign centres on a motorbike hovering improbably above the sea. Around it, models appear scorched by the environment itself: skin luminous beneath punishing light, silhouettes oversized yet vulnerable. The imagery signals a subtle evolution for Palm Angels. While the label has long explored the collision between American skate culture and Italian luxury craftsmanship, Island Speed feels more instinctive and emotionally charged. Drawing from Jamaica’s growing bike culture, where motorcycles have become extensions of identity, rhythm and display. The collection captures movement not simply as action, but as attitude.
That sense of motion runs through the garments themselves. Technical fabrics are cut into relaxed, deconstructed proportions; washed textures appear deliberately exposed and imperfect. The result is clothing that feels lived in rather than manufactured, resisting the hyper-finished precision that has come to dominate much of contemporary luxury streetwear. In this regard, Palm Angels distinguishes itself from its closest contemporaries. Where Fear of God pursues spiritual minimalism through muted palettes and architectural restraint, Palm Angels embraces abrasion and sensuality. There is less serenity here, more friction. The comparison with Off-White is perhaps more revealing. Under the late Virgil Abloh, Off-White transformed streetwear into a conceptual dialogue about luxury, irony and cultural quotation. Palm Angels, by contrast, has always been less intellectualised and more cinematic. Island Speedcontinues in that vein, offering emotion instead of commentary and a collection shaped by humidity, danger and masculinity.
There are echoes, too, of the rebellious glamour cultivated by A Bathing Ape (BAPE), particularly in the campaign’s fascination with bikes as symbols of performance and identity. Yet Palm Angels avoids nostalgia. The Jamaican influence grounds the collection in something contemporary and culturally alive, rather than retrograde fantasy. Perhaps the clearest indication of the brand’s next chapter is the introduction of a new Palm Angels logo patch, integrated throughout the collection as both insignia and statement. In an era when luxury fashion is moving away from overt branding toward subtler forms of recognition, the patch feels strategic: a distilled symbol designed for visibility without excess. What makes Island Speed compelling is not simply its styling or references, but its conviction. At a moment when many luxury streetwear brands appear caught between commerce and credibility, Palm Angels understands that mood remains its most valuable currency. This season, that mood is intoxicating: sun-bleached, dangerous and impossibly fast. Purple PR
SøEdited Team Article: Kellie Neilson SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Avavav is a designer brand rooted in fine arts, sculpturing and childish humour - translated across apparel, accessories, footwear and objects. Founded by Creative Director Beate Skonare Karlsson, the design universe is built around her sculpted world of figurines. Avavav has gained worldwide recognition for its conceptual and humorous ideas, abilities to stir strong emotions and its pioneering silhouettes.
Avavav’s Fall/Winter 2026 collection arrives wrapped in the language of disruption, but it ultimately reveals a more complex negotiation between concept and control. Staged as an inversion of the traditional runway, The Female Gazepositions the guest as the spectacle-an ostensibly radical gesture that collapses the boundary between observer and observed. Yet beneath its theatrical reversal lies a familiar tension: who controls the gaze, and can it ever be meaningfully redistributed within the rigid choreography of Fashion Week or in the coded performances of everyday urban life?
The premise is seductive. Guests are led not to seats but into the show itself, walking alone through a corridor of models whose silent attention replaces the traditional audience. The absence of a front row suggests a dismantling of hierarchy, yet the experience feels less like liberation and more like a controlled passage. Closer to moving through a surveilled city space than an open act of expression. The participant is not freed from the gaze but re-scripted within it. Still framed, still curated, still performing. The power dynamic remains intact, only rotated.
This tension extends to the show’s central claim. The “female gaze” is positioned as a corrective to historically male-dominated perspectives, yet here it risks becoming flattened into something singular and benign- quiet, contemplative, communal. In reality, the way women look at one another is far more complex, shaped by admiration, competition, insecurity, and desire. It echoes the subtle negotiations of public space, be that on streets, in clubs, on transport, where looking is never neutral. By smoothing over these contradictions, the show offers an abstraction rather than a fully interrogated perspective.
The collection itself operates within this same ambiguity. Built on the idea of women dressing for themselves and for other women, it privileges character over conventional attractiveness. Hybrid garments, trouser-skirt fusions, engineered T-shirts, and silhouettes that shift categories resist fixed identity and binary codes. There is intelligence in this construction, particularly in how volume and closeness coexist, recalling the layered pragmatism of urban dressing, where function and expression constantly intersect. Yet the emphasis on imperfection as authenticity begins to feel aestheticised. What is framed as resistance risks becoming another stylised language, easily absorbed and reproduced.
Moments of vulnerability surface in details like tissue-stuffed bras and references to adolescent femininity, hinting at the awkward process of becoming. But even here, the rawness is mediated. The awkwardness is curated, distilled into a visual form that remains legible within a luxury context. It gestures toward lived experience without fully surrendering to its instability—the kind of instability that defines real, unfiltered encounters in public space. The AVAVAV x Adidas collaboration focuses on reworking classic sportswear through a surreal, performance-art lens, blending Adidas’s athletic heritage with AVAVAV’s exaggerated, often ironic design language. Presented at Milan Fashion Week, the partnership transforms familiar pieces like tracksuits, hoodies and sneakers into distorted, sculptural versions that prioritise visual impact over functionality, leaning into the idea of “high fashion, low performance.” While some footwear in the collab includes playful, altered designs, these differ from AVAVAV’s separate collections, where fully foot-shaped or anatomical heels appear as part of the brand’s broader exploration of body distortion and absurdity.
The most compelling twist, however, lies in the role of the audience. By placing the guest at the centre of the runway, Avavav collapses the boundary between observation and participation. Walking the space is not just an act of being seen, but of consenting to be seen under pre-designed conditions. The discomfort arises not only from exposure but also from the recognition of how instinctively one performs, adjusting posture, pace, expression, and all, under the pressure of being watched. In this sense, the show becomes less about reclaiming the gaze and more about exposing its internalisation. The models function less as judges than as mirrors, reflecting the participant’s own learned self-awareness. The gaze is no longer external; it has been absorbed, rehearsed, embodiedand shaped as much by the street as by the runway. Ultimately, Avavav’s FW26 presentation is most compelling not when it claims to redefine the gaze, but when it reveals its persistence. There is no clear outside position, no clean reversal. The system remains, diffused across everyone in the room and far beyond it. The audience does not simply witness it-they complete it.
SøEdited Team SøBeauty Director / Article: Astrid Kearney SøEditor-in-Chief: Chris Saint Sims SøFashion Director: Savannah Barthorpe Photography: Becca Geden Few emerging designers move as fluently across disciplines as Yvonne Wang. A graduate of BA Fashion Knit at Central Saint Martins, her practice refuses to settle in one register, shifting from art-referenced knitwear to deconstructed outerwear to provocatively ceremonial bodywork with the ease of someone who has truly mastered her craft. Her silver knit, developed as part of an Alexander McQueen project, opens with intention. Drawing inspiration from the artworks of artist Uddenberg, Wang focuses on “the expressive tension in his creations ,translating abstract visual languages into tangible designs, using texture contrasts and structural deformations to craft disorienting visual effects.” Through deliberate adjustments of knit density and fabric layering, the work ruptures conventional visual expectation thus inviting the audience to perceive “the intersection of art and fashion in subtle visual fluctuations.” The brown windbreaker originates somewhere quieter. “A nostalgic wander through the 1990s” , classic trench coat silhouettes extracted, decomposed and restructured into something simplified yet wholly distinctive. Screen printing on yarn meets leather-oriented fabric transformation, the result an integration of “retro aesthetics with contemporary design sense” that feels both rooted and entirely now. The black jersey piece moves into more charged territory. Exploring the fusion of flocking and knitwear - stretchy, considered, and ceremonial all at once. The figure is enclosed in something that reads as both second skin and ritual dress, the trailing transparent hems dissolving as they fall. Research on embroidery craftsmanship surfaces in the delicate glove designs, “blending decorative art with wearability” - a tenderness sitting quietly against the graphic sharpness of the piece. This is a figure who has chosen, entirely, how they are seen.
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Sø•FASHIONStructure over ornament. Memory over surface. Archives
May 2026
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