Yeti Out is a music collective and a streetwear apparel brand that bridges the East and the West through pop-up raves, record releases, and radio broadcasts. Their newest collection “NO CODES” is an ode to the timeless ritual of going out, mixing tracksuits with table service, and button-downs with raves.

Imagine you’re on a night out in Hong Kong. It’s Saturday, and it just hit 34°C. The Hong Kong Observatory is telling you that an alert is in effect, and you’re out there in the streets with your long black baggy denim jeans, suffocating in your own swagger. Now, imagine you’re wearing the new “NO CODES” tracksuit pants, and you can just unzip the bottoms and magically turn them into shorts — Yeti Out’s “NO CODES” is the manifesto for a post-border, boundary-free world. All city, all night.

Graphic heavy-tees, bedazzled logos, and an iconic big star motif. Released in-store on August 6, Yeti Out’s “NO CODES” is an eight-piece capsule collection that is the definition of utilitarian design. Zip-up jackets with reflective details and removable sleeves, tracksuit trousers that can transform into shorts within a moment’s notice — ”NO CODES” reflects the current youth movements and brings functional streetwear to a city that never sleeps.

With a global release online and an exclusive stock in their hometown concept store J-01 in the K11 Art Mall, Yeti Out describes itself as a borderless music label, and when asked why, Arthur Bray, one of the co-founders, says: “I honestly think that Yeti Out and, like, our community are all quite transient and have a sort of a global mindset, you know? Obviously, hey, we rep Hong Kong forever still, but how do you be local and global at the same time?”

As a collective, Yeti Out also hosts its own record label, Silk Road Sounds, which is all about connecting Eastern and Western music influences together to curate the sound of a modern Silk Road. “It’s literal in the sense that we work with a lot of artists that we discover and sign when we’re on the road,” he says.

“The artists we sign always kind of represent multiple identities in multiple places, you know? And I think in 2026, in this current state, we got to destroy borders,” he says. “I think we need to be more united, not separated.”

In the background, Casey Anderson plays his set on a modular synth as cold beers get passed around from an ice cooler that always stays fully stocked throughout the night. Unsuspecting shoppers walk by and walk into the store just to catch a vibe.

“We stay curious,” Bray says, before sprinting back in to greet another friend.

The post YETI OUT LAUNCHES “NO CODES” COLLECTION appeared first on T&C Magazine.

Football is the most watched sport in the world. So it is no surprise that the 2026 FIFA Men’s World Cup has prompted inspiring fashion moments. From the players to the supporters, the relationship between football and fashion is based on pride and energy, and this relationship has never been stronger.

The World Cup isn’t just about football; it’s about representing the best of the country. The best players, the best supporters, and of course, the best designers.

The Democratic Republic of Congo (DRC) landed in Houston in matching black tailored suits featuring a leopard brooch and a leopard print sash. This year is the first time since 1974 that Congo has qualified for the World Cup, and what better way for them to arrive at this international affair than styled head to toe in outfits reflecting their national identity. 

Designed by Alvin Junior Mak, the Congo-born creative designer of Jmakx Paris, the leopard brooches and sashes represent their team nickname, “Les Léopards.” The sharp suits draw from the iconic looks of Congolese Dandyism or the ‘Sape,’ which is a menswear style that focuses on refined tailoring and elegance. But it is not just about fashion. For many, Dandyism is a lifestyle and an important subculture. Their suits are more than just a striking fashion moment; they are a representation of Congolese national pride.

Côte d’Ivoire (‘Les Elephants’), the Ivory Coast national football team, arrived in Philadelphia wearing both meaningful and chic outfits. Côte d’Ivoire designer Ibrahim Fernandez styled ‘Les Elephants’ in orange and white, colours taken from their national flag. 

The team stepped out in orange tie-dye blazers with elephants embellished on the back. Notably, the material used for these blazers was tapa, a woven barkcloth from West Africa. The sleek white shirts and trousers worn alongside the blazers allowed all the attention to go to the intricacies of the embellishment and tie-dye. The coordinated suits not only represent the unity of the Côte d’Ivoire national football team, but also pay tribute to the Côte d’Ivoire and West African textile practices.

While Congo and Côte d’Ivoire were easily the best-dressed teams upon arrival, other football teams were also represented by national designers and extremely well-dressed. The Spanish team partnered with one of Spain’s oldest fashion houses, Loewe, stepping out in Tennessee wearing navy and tan casualwear. 

And finally, while France may not have given us a fashion moment the second they landed in the US, they have been feeding us fashion moments since long before. For the 2026 FIFA World Cup, Parisian luxury fashion house Jacquemus teamed up with Nike and the French Football Federation (FFF) to curate a capsule collection that honours the French national football team, also known as ‘Les Bleus.’

The striped jersey has been spotted on both players and supporters throughout the tournament, and the collection fused fashion and football so seamlessly that it sold out almost instantly. It’s clear that for France, fashion and football go hand in hand. 

But the World Cup is just as much about the supporters as it is about the players. The World Cup brings out an opportunity for individuals to represent themselves and their nations.  

Though the sporty aesthetic may hark back to the 2022 microtrend ‘Blokecore,’ football fan fashion undoubtedly runs much deeper than a microtrend. Think back to the 2000s and the iconic style of Victoria Beckham and other WAGs (wives and girlfriends of professional athletes).

Dressing up for matches, whether in a stadium or at the pub, has always been a part of football culture. Some brands are going the extra mile, designing limited-edition pieces for World Cup fans and supporters. Menace Vintage, for instance, recently announced the release of England and Brazil-themed baby tees. Style these with any skirt or trousers, and you’ll easily be one of the best-dressed supporters.

For the more eclectic football fans, Hairy Mary has taken football shirts and upcycled them into their signature ‘Call the Ref’ dress. Each dress is made up of a different jersey as the brand prioritises sustainability, but all play around with pleating, structure and layering to create a one-of-a-kind piece. 

Brands like Menace Vintage and Hairy Mary have made supporter style and football fan fashion more accessible, especially to those with a more feminine style. And so far, the 2026 FIFA World Cup has inspired several collections and football-themed pieces that can fit anyone’s style. 

For those who prefer something more laidback and street style, Nigerian designer and artist Slawn recently collaborated with Nike to create a bold and vibrant collection representing the best of his home country.

Inspired by the Nigerian team nickname “Super Eagles,” Slawn hand-drew the eagle-wing details that make up many of the designs in the collection. Additionally, Nike has collaborated with Palace to create a collection for England team supporters, with Patta for Dutch fans, Peaceminusone for Korean team fans, and V.A.A. for US team enthusiasts. 

All in all, the 2026 FIFA World Cup is shaping up to be the most fashionable World Cup yet, setting the bar for all future sporting events. Throughout this World Cup, there have certainly been more iconic football fashion moments, as many opt to wear their national colours and jerseys, styling them in their own personalised way. 

Personally, I like to style my mum’s French national football team jersey with a pair of Diesel jeans, a chunky belt, and lots of jewellery. 

What about you? 

The post FROM PLAYERS TO SUPPORTERS, IS THIS THE MOST FASHIONABLE WORLD CUP YET? appeared first on T&C Magazine.

The babydoll dress is fashion’s greatest paradox. Every generation reinvents it, not because it represents innocence, but because it represents freedom—the freedom to play, to romanticise, to rebel and to redefine femininity on one’s own terms.

There is perhaps no garment that demonstrates fashion’s cyclical nature quite like the babydoll dress. Every few decades it returns—first as rebellion, then romance, then nostalgia—only to be reinvented by a new generation.

Its latest revival arrives with impeccable timing. Olivia Rodrigo’s forthcoming album “You Seem Pretty Sad for a girl so in love’ leans heavily into the visual language of modern girlhood, with babydoll dresses, ribbons and vintage-inspired styling appearing throughout the album campaign. At the same time, Miu Miu continues to champion exaggerated femininity on the runway, sending out sheer babydoll silhouettes, satin bows, bloomers and knee socks that have become some of the most influential looks of the decade. Meanwhile, celebrities including Sabrina Carpenter, Taylor Swift and Cindy Kimberly have all embraced the silhouette, proving that the babydoll remains one of fashion’s most enduring uniforms. Once again, the babydoll dress is everywhere.

Every revival seems to invite the same debate. Is the babydoll dress infantilising, empowering, nostalgic, or simply fun? Perhaps the answer has always been all of the above.

The silhouette itself is hardly new. Long before social media christened it “coquette,” the babydoll dress emerged as a symbol of youthful liberation during the 1960s. Designers including Mary Quant rejected the rigid tailoring and restrictive waists of previous decades, replacing them with playful silhouettes that celebrated movement rather than structure. Then came models like Twiggy who embodied this new optimism, wearing abbreviated dresses that reflected London’s cultural revolution as much as its fashion one.

Which sparked another revival in the nineties, when Courtney Love took that exact same innocent look and completely dragged it through the mud. Her whole “kinderwhore” vibe was a gorgeous mess: she took these sweet little babydoll dresses and threw them on with bleeding lipstick, ripped tights, and heavy combat boots. Suddenly, a garment that was supposed to look ostensibly delicate became something confrontational. Decades later, Miuccia Prada has once again elevated bows, lace, sheer fabrics and babydoll proportions into one of fashion’s defining aesthetics, proving that femininity never truly disappears—it simply returns in a different language.

Perhaps the babydoll dress has endured because it refuses to belong to just one era or one interpretation. Instead, each generation reshapes it to reflect its own ideals, anxieties and aspirations. What is it about this deceptively simple silhouette that continues to resonate with women, time and time again?

After years dominated by quiet luxury’s muted restraint and minimalism’s insistence on refinement, fashion is once again embracing play. Dressing has become expressive rather than prescriptive. A babydoll dress is no longer simply “pretty”; it can be ironic, theatrical, sentimental or joyful, depending entirely on the woman wearing it.

Perhaps this is where Olivia Rodrigo’s latest era resonates so deeply. Her music has never presented girlhood as passive or perfect. Instead, it embraces contradiction—heartbreak alongside humour, vulnerability alongside rage, sweetness alongside sharp self-awareness. Her babydoll dresses become costumes not of innocence, but of emotional honesty. They acknowledge that femininity doesn’t need to be simplified in order to be taken seriously.

Perhaps that’s the true power of the babydoll dress. Not that it asks women to return to girlhood, but that it refuses the outdated belief that growing into womanhood requires abandoning softness, whimsy or joy. In an industry—and a culture—that so often demands women justify every aesthetic choice they make, there is something quietly radical about wearing a dress simply because it makes you feel beautiful.

Sometimes fashion doesn’t need to prove a point. Sometimes the point is that dressing up, in all its frivolity and fantasy, can be an act of freedom in itself.

The post PRETTY, POWERFUL, UNAPOLOGETIC: WHY THE BABYDOLL DRESS NEVER REALLY GOES OUT OF STYLE appeared first on T&C Magazine.

We spoke with Olivia Buchon, founder of Excuse My French, a Hong Kong based concept store on redefining the retail experience. With two locations in Hong Kong, Repulse Bay and Central district, EMF offers an immersive shopping experience selling clothing, accessories and home wear. At its core EMF is a natural fibres, slow fashion brand specialising in timeless and high quality pieces. EMF acts as a unique bridge between France and Hong Kong, balancing Olivia’s French heritage with the energy of Hong Kong.  

In a world shaped by consumerist culture, Olivia and her brand act as a beacon of hope for slow fashion. Olivia spoke passionately about slow, ethical and high quality fashion. For every piece there was a story to tell, a detail to highlight. You can tell how much thought and energy go into each piece, reflecting Olivia’s own heritage and beliefs. Olivia invites us to challenge the social norms of consumption, and instead, think about what we buy and what story it can tell. 

T&C: Can you tell us about your journey of becoming a natural fibers fashion brand?

Olivia: I think it simply comes from my origin. I grew up in Brittany in the countryside and would spend a lot of time with my grandma. Everything she had was all natural fibres and made by hand. We used to not have much, but what we had was high quality. This is what you can find in my collection. We do natural linen, embroidery and silk. It’s back to the roots. 

My parents were in the clothing business and I’ve spent 30 years in the fashion industry — from LA, to Paris, to Australia, then to here. I think the big change is when you become a mother, because you know what you want, and what you don’t want. I’ve built another brand before. But for this one, I really focused on what I wanted. It’s really about the value of the family, back to the roots. Nothing fancy, but once again, it’s about natural fabrics. Everything I do is stitch ‘a la française’. There is no overlock and the product is very well done (the boudoir, the right colour). I’m against all plastic. There isn’t one piece in my shop which is nylon or polyester. Even with our main product, which is knitwear, we need to use a bit of polyester to make the yarn and we use plastic bottles from the ocean for the 5 or 6% we need. 

It’s my brand and I control everything from A to Z. From the sourcing, to the drawing, to the grading by hand.

T&C: You are a slow fashion brand, can you tell us more about how this aligns with your brand identity?

Olivia: If a product I develop is not perfect, I’d rather wait. I’ve been working for two years on a product. But I won’t do it until it’s exactly the way I want, until it’s perfect, and until it’s completely ethical. And by ethical, it’s not only the material, it’s the people you work with. I work with the ateliers and with small factories. I don’t want a major collection and I don’t follow the trends much. Of course we have to bring in new products, but I always choose the priority of the product over the lead time, over everything. 

T&C: As a French brand you are heavily inspired by French fashion, but how does Hong Kong inspire your pieces?

Olivia: I’ve been in Hong Kong for 16 years and EMF will soon be 10 years old. I’m French so in my collection you will always find the French touch and the effortless chic. But what’s really inspired my collections is Hong Kong. The old and the new. The heritage and the modernity. All this contrast is what you can find in my brand. 

For example, in the new collection we have silk with dots. The silk is from China (they are so strong in silk), and the dots are retro and very French. So we developed this jacquard silk with dots. For the September collection we have developed another jacquard silk and we drew from the Li River in China. The brand is really the bridge between France and Asia.

T&C: What is the future of EMF and natural, ethical fashion?

Olivia: I think China has been criticised a lot for their production. To me, China is fantastic as they have small ateliers. Hong Kong is a fantastic place to build an ethical brand and there are always interesting ways to develop new products ethically. 

We were really the pioneers in Hong Kong. We were the first to do this super ethical knit. We were the first true ethical brand. I think the brand will keep evolving in the sense of the East meets West. 

We don’t do wholesale and we’re a full concept store. We started our website a year ago and we ship internationally every day right now. We’re also looking for other shops around the world. Maybe we’ll open some pop-up stores in other cities. But to be a concept brand, retail is very important, it’s not only about the product. I don’t want to just open shops to open shops. 

This brand is built for everybody — from babies to 100 year olds. I want to do timeless pieces. Behind every product I design my priority is always quality. The first question when the product is finished is, “how long would I keep it in the wardrobe?”. In the future I think we can still do a lot. We’re really into educating people about buying less, but buying better. Don’t buy your product, buy your story. Take the product, and make it yours.

You can explore EMF online or in person in their perfectly curated, immersive shops in Central and in Repulse Bay, with one more opening soon in a secret location!

Address

Address: 28 Beach Road The pulse, level 2 shop 201(e, Repulse Bay, Hong Kong             

Address: 75 Hollywood Road, Central, Hong Kong

The post EXCUSE MY FRENCH: A BRAND ROOTED IN TRADITION WHICH CONTINUES TO REDEFINE FASHION appeared first on T&C Magazine.

KE: Tell us more about yourself & your brand                                                                                           

LD:  Hi my name is Lena Dang and I am the creative director and chief executive officer for Posthuman Lab. By leveraging cutting edge technology and a futuristic design language, we aim to bring humanity closer to the next stage of evolution, which inspired the name Posthuman Lab.  On a deeper level, the brand uses jewelry & accessories as a medium to explore philosophy and human psychology with every piece, every collection created with intention and meaning. Ultimately, the brand is for people who are unafraid to reflect & push the boundaries of self expression.

KE: Walk us through your creative process when coming up with the concept of a collection. How do you assert your narrative and authenticity ?                                                             

LD: As a brand that experiments and transcends the ordinary, having our own process is crucial when it comes to our creative development. Our first step is philosophical exploration. We believe that every accessory we create should be made with meaning in shaping the narrative and visual language of our designs. The second is technology. We often experiment with emerging technologies, sometimes even outside of the jewellery or accessories industry. In one of our recent collections, we even integrated an NFC chip into a necklace allowing an interactive experience with our buyers through activating important links inside your jewellery. The third would be material exploration. We are constantly researching and experimenting with new materials.

KE: ⁠Futurism and cyberpunk aesthetics have been trending for some time now. What would you say sets Posthuman Lab apart from others of this realm?                                            

LD: Beyond mainstream aesthetics, cyberpunk and futurism to Posthuman Lab are a philosophy, a way of thinking. We are the first adopters of emerging technologies, whether it is a new material or manufacturing method. We like experimenting with developments coming from outside the traditional jewellery & accessories industry throughout our core design process. The brand’s creative direction does not stop at branding but helps focus the exploration on how technology and philosophy can expand human expression through our creations.

KE: ⁠How does your brand, anchored on the notion of estheticized post-humanism, position itself in a global context characterized by growing concerns for the intersection between technological progress and humanity?    

LD: Our perspective at Posthuman Lab is ultimately optimistic. 

“We see technology not as an enemy or something that replaces humanity, but as something that expands human potential and creative vision. Posthumanism, for us, is not about losing our humanity but rather about exploring how humans evolve alongside technology, beautifully and mindfully”

Through the design, we try to express the possibilities that emerge when technology, fashion & human perception evolve together.

KE: Your label puts a heavy emphasis on sustainability, using 3D printing and releasing limited, on-demand drops to reduce waste. How has this model, contrasting with the short-trend cycles dominating the industry at the moment, been working out for you?                                                              

LD: Sustainability is part of our brand DNA. We believe in creating a posthuman world by minimising our impact on the environment. One of the reasons we work with 3D printing is that it allows a much more precise production process compared to traditional manufacturing. We can reduce unnecessary material waste and produce pieces with far greater efficiency. At the same time, our limited drops allow us to avoid the overproduction that is common in the fashion industry. Instead of producing large volumes in advance and hoping they sell, we release smaller quantities, which make our collections more exclusive than trendy. So in many ways, this model has worked well for us as it aligns with how we see the future of fashion: more thoughtful production, more intentional design, and less waste.

⁠KE: Where do you think the future of fashion is headed and how do you imagine Posthuman Lab to fit within this vision?                                                                                                   

LD: Technology is giving more opportunities for people to express themselves. Knowing how to optimize different creative tools is therefore becoming one of the most valuable skillsets. And in terms of the future of jewellery and accessories, I absolutely believe that at some point, 3D printers are going to be accessible to everyone. I even read that in the future, we might be able to 3D print our own shoes from the comfort of our home. We’re definitely going to be continuously disrupted by technology, which makes me excited to see how our brand evolves in parallel at the forefront of technological development.

The post MEET LENA FROM POSTHUMAN LAB appeared first on T&C Magazine.

The film’s return to ‘Runway’ brings with it the all-too-close-to-home reality of working in publishing in 2026. The Devil Wears Prada 2 has been highly anticipated not only for the return of its iconic characters, but also as a revisit to a world audiences still romanticise. Its press tour understood this perfectly. From fashion partnerships and features to adverts, beauty product collaborations and skits, the rollout became an extension of the story: a film about fashion media selling itself back to an audience shaped by the visibility of the digital age.

Beneath the fanfare, both created and genuine, the sequel takes a calculated risk. It has to honour the original film without being trapped by it, while showing Runway has something to say in a transformed industry. The first film positioned the magazine as untouchable, almost mythic in its authority. The sequel opens the doors wider, exposing the struggle behind the glamour and the compromises needed to keep an industry titan standing.

Andy’s return to the magazine shifts the perspective. No longer wide-eyed, she comes back seasoned by years of work and survival. Walking away from Runway in 2006 felt like a moral victory for the character, and her return in 2026 is more complicated, showing a character that understands integrity is harder to protect when the industry doesn’t stand on firm ground.

At the centre of the storyline is a magazine struggling to keep control of its own identity. Editorial decisions are now shaped by audience opinion, brand relationships, public image, and overwhelming pressure of commercial survival. Industry leaders are no longer entirely in control; often forced to respond to the noise around them. Miranda Priestley, played by Meryl Streep, remains commanding, composed, and a fierce influence in matters of taste. The problem is, taste alone no longer seems to be enough.

The film has its fun with its classic characters, and repositioning them within this changed landscape. Emily Charlton, played by Emily Blunt, has moved over into the commercial side of fashion as a fashion house executive – a choice that feels pointed rather than accidental. Her character sits closer to the money, reflecting a world where influence is no longer solely held by editors, but by those who control advertising, partnerships and access.

The most interesting tension is not whether Runway can still look powerful, but whether it can still hold power in the same way. The magazine remains visually immaculate, but the authority it holds feels fragile. The film is not without weakness. The sequel is most compelling when it stops reminding audiences why they loved the original and starts asking what has happened to the industry since.

The reality of this storyline touches a little too close to home. That’s All.

The post EDITORS PICK: THE DEVIL WEARS PRADA appeared first on T&C Magazine.

Yesterday afternoon’s exclusive launch event was organised by Zynthesis HK and welcomed a curated crowd of influencers, tastemakers, and media insiders. As guests arrived, the skyline provided a cinematic backdrop for the space to unfold: loungers dressed in the collection’s colour palette, railing of clothes and surfboards sporting the brand name, nothing out of place. With drinks in hand and branded coconuts circulating throughout the space, the atmosphere struck a balance between relaxed poolside ease and elevated social gathering.

This showcase elevated more than a traditional presentation, focusing on the subtle connection of the Calzedonia Group. The narrative for the SS26 swimwear collection was based on the ongoing creative dialogue with Calzedonia’s sister brand Intimissimi. Known for it’s direction towards grace, delicacy and evolving femininity, its attention to detail and elevated loungewear had made a presence in the release. While Calzedonia itself remained true to its playful textures and luxury swimwear narrative, both labels operate under the same group and came together to align their seasonal storytelling into a cohesive lifestyle collection.

At the Calzedonia club this translated into the pool-side environment. Swim looks and coverups were served up alongside the brands custom branded coconuts. Inspiring an immersive experience

 in the hotel, inviting influencers and media to enjoy a sneak-peak of both their S/S26 collection, and this city escape they have created.

Photos @Birdie Chan

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A few days ago, we dived into STAPLE’s Spring/Summer 2026 collection at their Hong Kong flagship store in Hysan Place, where creator Skylar guided us through an exclusive preview that captures the essence of resilience.

The store was filled buzzed with bright energy where streetwear enthusiasts and trendsetters sported the latest looks. Creators showcased their personal flair while media representatives highlighted the collection’s innovative designs and stories.

The items in this collection aren’t just clothing, they are powerful statements of strength in the face of adversity.

Originally founded in New York City by Jeff Staple, STAPLE has since expanded to other regions, including Hong Kong where the brand continues to spread the New York spirit and iconic pigeon through their campaign’s in store activations and cross-disciplinary collaborative approach. STAPLE’s philosophy on movement is viewed as both a lifestyle and a form of spiritual expression. This collection brings transitional moments in modern urban life to the surface for their audience and buyers to experience in real time.

Titled “WE WERE NEVER BURIED,” SS26 resonates with Jeff Staple’s impactful mantra: “THEY TRIED TO BURY US. THEY DIDN’T KNOW WE WERE SEEDS.” A phrase that fully embodies the spirit of resilience and transformation STAPLE embodies.

SS26 is not about the destination, but the ongoing journey where hardship is transformed into the momentum to keep moving forward.

The collection builds its overall colour system through a visual language centred on the coexistence of nature and the city. The palette is grounded in earthy tones, with beige-brown, black, and grey, which serve as steady core shades throughout the collection and echo its key themes of resilience, growth, and forward momentum.

The post FOLLOW US TO STAPLE’S SS26 EXCLUSIVE PREVIEW IN HK appeared first on T&C Magazine.

In a landscape saturated with shortening micro-trend cycles, newness becomes scarce, and emerging brands rise up to the surface. My top picks highlight five labels to keep a close eye on for Spring Summer time.

Yeung Chin

Avant-garde designer Yeung Chin’s shows, known across Milan, Shanghai, Beijing, Paris, New York, London and Tokyo fashion weeks, turn fashion into a spectacle under his namesake label, where he bridges art forms from film to sculpture. Disinterested in the beauty of traditional models, his collections defy aesthetic conventions of the fashion industry to show appreciation for the unusual. This ethos manifests through deconstructed materials and creative fabrics, such as raw wood. Reconfiguring body shapes with asymmetrical lines. Skull-like structures and distressed textures are reminiscent of the brand’s punk inclinations, while an emphasis on maxi-proportions draws genderless shapes.

THE INJURY

In the same vein, the Sydney-based Hong Kong label takes fashion further awayinto a futuristic realm unbound by the constraints of reality. World-building is fundamental to the brand, acting as a manifesto permanently referenced and reinvented throughout the collections. Creative Eugene Leung becomes an architect,  for the playground of fashion, where characters come to life. Uninhibited by formal fashion training, the director overrides normative rules—rendering them irrelevant in a fantasy that blends  the tangible and the digital. It is his multi-disciplinary approach that imbues the label’s cinematic universe with wholeness. Fashion comes last in this multimedia scheme where CGI film and soundtracks paint the scene, providing context and latching onto the overarching theme: fearlessness. The designs—worn by influential figures like Blackpink’s Lisa—become an expression where see-through and reflective fabrics come in bright hues of red and green, combined with metallic accessories sharp enough to become weapons. This is all executed in obscene proportions with protruding shoulders or structural ribbing that maintains its shape regardless of movement.

VUNGOC&SON

Amongst the names spearheading the Southeast-Asian wave is Vungoc&Son—a brand known for iconic show locations like New York’s JFK Airport. The Vietnamese label recently hosted their latest Holiday 2026 collection, “Serenade of the Waves,” in Hong Kong—the city’s vibrant cinematic language paired perfectly with a palette of yellow, purple, green, pink, and blue. Silhouettes are elongated by thigh-highs and maxi-dresses embellished with feathered appliqués—blending brocade, organza, and taffeta with the brand’s signature knitwear tassels. By overlooking the Victoria Harbour skyline, the label positions itself at the forefront of the international scene, strutting through horizons it will undoubtedly expand beyond in the near future.

SAMUEL LEWIS

The Taiwanese Australian designer knows his fashion history—heavily influenced by film and the haute couture masters from the 1950s and 1960s. He adds the flair, sex appeal, and fervour of 70s rock—seen in the combination of flares, peaked collars, and gothic boots—as well as a touch of 80s and 90s grunge. Modernising recognisable references through his designs, he leans into a severe glamour that exaggerates silhouettes with form and eccentricity. He melds meticulous engineering with a kind of chaotic romanticism, garnering praise from the ranks of Lady Gaga, Chappell Roan, Blackpink, Victoria Monét, Yves Tumor, Julia Fox, Christina Aguilera, and Madonna. Beyond his love for corsetry—structured bodices with boning or lace-up closures—he finds beauty in the ways our clothes wear down, namely through hand-dyed silk and the illusion of decomposition. Lewis is a designer ripe with promise—and certainly one to watch out for.

JOELLE

The London-based label turns the Y2K extravaganza into timeless statement pieces imbued with a shameless sex appeal. Think dresses straight out of the Fifth Element and tank tops with wide slits on the sides. Worn-out leather is accessorised with metal cuffs ready to jingle at every step and tassel shawls for dramatic effect. Party at the back of the dresses offer suggestive sneak peeks as holes rip across the body. The label carries this sensual, form-fitting indie-sleaze flair reminiscent of a Kate Moss editorial, essential for a sense of laissez-faire. The colours are kept monochrome, between shades of black and brown, to let the look and allure speak for themselves. Watch out for the next it partygirl at the club, they’ll most definitely be donning Joelle.

The post 2026 SPRING SUMMER BRANDS TO BE ON THE LOOK OUT FOR appeared first on T&C Magazine.

Step into the role of a detective where every piece tells a story and everyone is a suspect. This captivating collection is framed as a classic whodunit, seamlessly blending high fashion with the intrigue of crime fiction. Expect to see a dramatic array of designs inspired by unforgettable character tropes, from enigmatic spies to charming yet dangerous figures.

You’re the detective and everyone’s a suspect. Framed like a classic whodunit murder mystery, SSSTUFF’s newest ensemble plays into the iconic character tropes of crime fiction. Think spy coats, murder weapons, colour-changing fabrics, and more. 

The clues are dotted all across the wardrobe. Are you ready to solve the mystery?

Collection Details

The Characters’ names

Suspect 01 The Hotel Management

Suspect 02 The celebrity on Rehab  

Suspect 03 The Plumber 

Suspect 04 The Posh Daughter

Suspect 05 The Lobby Boy 

Suspect 06 The Handy Man 

Suspect 07 The Honey Moon Husband 

Suspect 08 The Posh Mum 

Suspect 09 The Posh Son 

Suspect 10 The Gardener 

Suspect 11 The Security Guard 

Suspect 12 The Posh Dad 

Suspect 13 The Honey Moon Wife 

The Victim The Undercover Spy 

Character dressing has been taken to a whole new level! Which would you choose? Murder or Victim?

The post SSSTUFFF RETURNS TO PARIS FASHION WEEK “THE CASE OF CHATEAU” appeared first on T&C Magazine.