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      

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 fashion closer to the next stage of evolution, which inspired the name Posthuman Lab. 

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.

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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.

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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.

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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.

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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?

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After years of chasing minimalism, algorithm-driven aesthetics, and microtrends, 2026 stamps our calendars with a fresh yet nostalgic type of energy that rejects the 2025 persona of ‘being nonchalant.’ Millennials and Gen Zs alike have crowned 2026—‘the year of chalance’ or the new 2016—calling for the return of explicit effort, emotion, and intention in every aspect of life, including fashion. 

TRYING HAS BECOME COOL AGAIN.

Rather than glorifying industry novelty-led statements or worshipping clean-girl aesthetics, our team predicts that 2026 fashion will prioritise celebrating individuality and authenticity, no matter how cringe it may be. Instead of fitting in, 2026 fashion will be about standing out and living unapologetically, with both fashion designers and enthusiasts gravitating towards pieces that feel familiar, nuanced, and real. 

HERE ARE T&C MAGAZINE’S TOP PREDICTIONS FOR 2026 FASHION

1. A POP OF BOLDNESS

In true Zara Larsson “Lush Life” fashion, 2026 style will echo the boldness and colourfulness of 2016 with a focus on expression and experimentation of personal style. Personality will once again become a pillar of fashion, and the joy of dressing up just for fun will be renewed. Authenticity will emerge from the customisation or personalisation of what you may already own rather than the act of buying something new. Forget the need to ‘save something for a rainy day’—2026 is the year to wear your best dress and dance in your most expensive shoes. 

Pops of colour will be key—think all-black outfits made whimsical with a pair of blue gloves, all-red suits made eccentric with a peeking white collar. Accessories will be vital. Fashion enthusiasts will pull from their own personal collections, transforming jewellery, hats, bags, and more into statement pieces that really make an outfit stand out.

Brooches will provide pivotal accents for styling, elevating basics and delivering a sense of maximalism that echoes the bold, unashamed personas of 2016. We’ve already seen ties as ties, ties as scarves, ties as belts—and in 2026, we expect to see more people ‘wearing things the wrong way’—emphasising styling over just simply wearing clothes. By reworking and playing with layers, accessories and clothes will serve as a feature of personal branding, impossible to recreate, and crucial to everyday looks.

2. SPORTSWEAR REIMAGINED

Sports-inspired clothing has never been far from the surface of fashion, but in 2026, we predict that its popularity will only grow. Between Timothee Chalamet’s religious promotion of the Marty Supreme (2025) jacket and celebrity athletes such as Lewis Hamilton, who are known to dress incredibly well both on the racetrack and the red carpet, the lines between workwear and casual wear—athleisure and streetwear—have blurred. 

Following the rise of fashion subcultures like gorpcore and urban core, 2026 fashion will prioritise function, grit, and comfort. Athleisure and streetwear will blend in a hybrid fashion, with the tracksuit slowly side-stepping its way back into the limelight—especially following the hype of Marty Supreme (2025).  

Casual athleisure is here to stay—tracksuits are no longer about lounging or breaking a sweat, they’re about showing your support, staying relevant, and looking good while doing so. Wearing your favourite sports jersey will be a way of tapping into the shared visual language of fashion and athleisure, connecting the individual to wider cultural moments.

Sportswear is the new streetwear. The approach of this year’s World Cup will likely push this narrative as the purpose of athleisure shifts from pure functionality to creative self-expression. Paired with accessories, layers, and sneakers, 2026 sportswear will be reimagined as an integral part of everyday dress.

3. ALTERNATIVE ANIMAL PRINTS

Alternative animal patterns can add an unfamiliar, maximalist texture to designs, playing with materials—like fur, leather, and feathers—to curate a lived-in sensory experience for both the wearers and the observers. In 2026, the ‘mob-wife’ zebra stripes of 2025 will evolve into other alternative forms. 

Young Gen Z women are already leaning into bambiesque aesthetics, embracing the softer brown and fur textures of deer skin. Whereas stronger patterns—such as leopard, snake, and crocodile—have formed a strong bond with Millennials and luxury designers, appealing to their tastes as strategic accents and loud, iconic statements that tie the whole ensemble together

If that isn’t enough, with the lead-up to the new The Hunger Games: Sunrise on the Reaping (2026) movie, we’re also starting to see the fashion of the Capitol leak into the real world and onto our for-you page. Clothing inspired by the fictional dystopia of The Hunger Games (2012) has already begun to make its way onto the streets with showy statement pieces like Alex Cosani’s iconic Gucci tiger print coat and Elle Fanning’s leopard scarf, breaking fashion headlines around the world.

Whether it’s crocodile or snake-textured leather for bags, wallets, or belts, animal patterns—both real and inspired—connect fashion to the organic world through tactile experiences. 

Animalistic motifs turn street fashion into a medium for reconnecting with nature, bringing comfort through shared references and identities. Dressing up like a deer conveys a sense of otherworldly innocence, while cheetahs stand strong as feisty, chic, warrior-like animals that are not afraid to bite. 

4. OLD WORLD UNIFORMS

Approached as anchors of construction and not authority, Old World uniforms in 2026 will offer a bit of structure within the otherwise fluid culture of contemporary fashion. Across catwalks and online forums, pre-modern silhouettes such as naval tailoring, aviator references, and structured hats have been reappearing like ghosts, bringing back the streamlined cuts of the 1920s.

2026 fashion will project whimsy into what was once considered a direct symbol of authority. Strong lines and double-breasted tailoring will be layered with jewellery and scarves. Naval blues, khaki, and deep tones will be offset by brass hardware and expressive details. Aviator jackets will be worn casually, and hats from berets to officer caps will be styled for silhouettes—not rank.

Playful offshoots will also emerge with ringmaster-inspired jackets and circus-coded polka dot patterns, adding a certain lightness to an already disciplined aesthetic. With its 2026 reinvention, these Old World uniforms will no longer be about maintaining hierarchy or defending obligations—they will express confidence, control, and offer an alternative route for belonging without erasing personality.

5. FEMININE FOCUS 

As an alternative to the more hyperfeminine modern styles that accompanied the fallout of Barbie (2023), 2026 women’s fashion will lean away from the playfulness of exaggerated, saturated colours and instead take on a softer approach, embracing a more muted colour palette. 

The ‘trad wife’ trend that took over the algorithm has undoubtedly accelerated this jump to traditionally feminine clothing, as silhouettes similar to those of aprons and pinafores reappeared on the catwalk for Miu Miu’s SS26 collection.

Feminine silhouettes, lace, and sheer will become subtle features of everyday outfits rather than a spectacle reserved only for special occasions. These sharp accents signal the return of intimacy and intricacy in womenswear, but without the same old sense of fragility and timidness, reclaiming the act of dressing for yourself and facilitating the experimentation of personal style.

Gothic romantic references reinforce this shift towards alternative femininity rooted in atmosphere and depth. Darker colour palettes, classical silhouettes, and details like pointed shoes all reflect the visual language of recent gothic style media such as Nosferatu (2024), Frankenstein (2025), and Season 2 of Wednesday (2025). By the end of 2025, the costume designs from these viral films and television shows took the internet by storm, creeping into the realm of everyday wear and blurring cinematic fantasy with reality.

T&C PREDICTIONS WRAPPED

Our predictions suggest that 2026 will be a year that is less about chasing trends or discovering new niches and more about reconnecting with what is familiar. Our advice? Dress to participate, not to perform. 

Through personalisation, construction, reimagination, and alternative takes on long-time established aesthetics such as animal prints and hyperfeminine styles, 2026 fashion will refocus to prioritise authentic self-expression. Fashion taste and style will become a way to highlight personal branding—an extension of creativity in everyday life—elevating outfits by revealing personality. 

The post T&C PREDICTS 2026 appeared first on T&C Magazine.

Set against the Harbour presence of Hong Kong, the opening ceremony was held at the Ocean Terminal Deck, while the closing ceremony took place at POPCORN. The events were organized by the Hong Kong Design Institute (HKDI) and supported by the Cultural and Creative Industries Development Agency. The festival set the tone for a new generation of designers who are unafraid to challenge convention. Effectively reintroducing denim to Hong Kong audiences, the festival presented it not as a static material, but as an ever-evolving medium shaped by the vision and determination of local designers.

TENCEL’S CONTINUOUS PARTNERSHIP

As a continued thread of support throughout the festival, and a gold sponsor for this year’s Denim Festival, TENCEL emerged as a defining mark on the material presence. In emphasis of how the evolution of fashion at even fibre level can reshape the future of denim, TENCEL provided certain innovations to the projects, as well as provided tours and AIC to the up and coming designers.

When reflecting on the collaboration of the institute of design, TENCEL and the Hong Kong Denim Festival (HKDF), Travis Li, Senior Lecturer at the Hong Kong Design Institute (HKDI), commented that “The collaboration between the HK Denim Festival and Lenzing had served as a vital bridge between academic creativity and industrial innovation, empowering designers to reimagine the future of denim.” This observation was embodied fully through the work of two alumni from the second edition of Lenzing’s Global Denim Talent Programme, both of whom integrated TENCEL fibres into their collections on display at Harbour City. Jesse Lee’s Blue Fossil Record used “the fibre’s smooth nature as a canvas for laser-printing,” resulting in what Li describes as a “‘living fossil’ effect where patterns emerge over time.” In contrast, Jason Lee of YMDH “challenged denim norms in Ready to Formal,” leveraging “TENCEL’s soft drape to execute reversible, deconstructed designs that blend refinement with sustainability.” Both approaches highlighted the versatility of the fabric and the importance of quality sustainable materials in the designing process. Rather than appearing as a standalone showcase, TENCEL was embedded within the wider exhibition narrative, reinforcing Li’s belief that “by equipping talent with such materials, we ensure the next generation creates fashion that is both aesthetically daring and environmentally responsible.”

The warmth and commitment to a supportive sponsorship of this kind was even mentioned by Rex Mok, Global Director of Technical Marketing & Development of LENZING. This was more about “sharing the beauty of collaboration”, not only nurturing young talent, but fostering education, mentorship and material support in line with the future of the denim and fashion industry. At LENZING, we connect deeply with the textile world to deliver excellence for generations to come”, a sentence that truly reinforced the company’s involvement with the Denim Festival and how that it is also an investment towards the future of fashion itself.

Many of these conversations throughout the venue remained heavily focused on the next steps, as several of the featured designers prepared to showcase their work beyond Hong Kong, including upcoming appearances at Paris Fashion Week. The evening felt more like a confident declaration of intent than an ending, signaling the growing presence and ambition of Hong Kong’s denim talent on the global stage.

At T&C, we spoke to several designers who have collaborated with TENCEL this year when it came to the design process of their collection.

JESSE LEE

Speaking to Jesse Lee, there’s an immediate spark that lights up his eyes when you mention fashion and sustainability. It’s clear that fashion, design, and creation have been significant parts of his life. As a recent graduate with a master’s in menswear design from the University of Westminster in London, Jesse has been paving his path in the fashion world. Consequently, he shows attention to detail and care when selecting fabrics for his collections and expresses immense gratitude to TENCEL and LENZING for their continuous support over the years.

This year, Jesse’s collection inspiration stemmed from his love for dinosaur fossils, a representation of the exhibitions and exploration of evolution’s journey. “I used TENCEL’s denim with a firm and soft touch to the body to create garments in my collection.” making it an ideal choice for contemporary menswear. The textiles he uses are not only animal-free but also sustainable, often incorporating TENCEL’s fibers into his designs, reflecting his commitment to ethical fashion, and innovative practices.

When we asked what his message was to the fashion community in Hong Kong, Jesse dove into his love for sustainability, and urged his peers to prioritize reducing carbon footprints while fostering creativity. Through not only this year, but in all of his collections, he demonstrates that it is possible to create captivating designs that are both stylish and environmentally responsible.

JASON LEE

Founder & Creative Director of YMDH, Jason Lee talks to Vincent Leung, Head of Global Brand Communications, and shares his journey as a designer while reflecting on the role TENCEL played within his recent collection. Originally beginning as a dedicated vintage fashion enthusiast, Jason spoke about how his appreciation for timeless craftsmanship and garments shaped his approach to sustainable design.

Within his conversation, he highlighted that TENCEL’s mission ‘sustainability definitely has an impact on the fashion world’, even down to their use of lasers on denim it ‘reduces pollution and promotes a lower carbon footprint,’. These values align very closely with his own creative philosophy, making the collaboration and use of TENCEL’s fibre a natural choice for his work. Jason’s innovative and sustainability first approach is evident in his creation of reversible garments, enforcing greater consideration for designs and the longevity of a piece. Fortunately, all of these ideas take advantage of TENCEL’s fibers , as well as them being “soft to the touch, which ensures comfort on the skin”, factors that ensure variety, and ease of wear, whichever way the garment is worn. His designs reflect in a collection that balances versatility with refinement, reflecting the modern customer’s desire for adaptable and responsible fashion.

Jason also expressed a keen interest to ‘study on how the blend of fibers in denim can create a different feel on skin through garments’, exploring how to better understand how different material combinations can enhance texture, movement, and tactile experience. With plans for ongoing research, he is eager to continue refining his practice, aligning future collections with the evolving landscape of sustainable fashion while contributing meaningfully to its progression.

Both designers we spoke with returned to the same idea: sustainability is not a surface-level consideration, but something embedded into every decision, from the fastenings, constructions, to even the fibers. Their approach reflects a wider shift within fashion, where responsibility is treated as a part of the creative process rather than an afterthought. In this mind, access to innovative materials and informed collaborations become an essential foundation for experimentation, education and longer-term change- shaping how designers work, how garments are worn, and how the industry itself evolves.

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It is his steadfast belief that pursuing the dreams that call to us isn’t just passion but a requirement as “Each of us has a talent that is our duty to share with the world,”

That philosophy sits at the core of what Guardini calls ECOture. At its heart is a simple idea: “We are part of life, and life is part of us,”. Yet somewhere along the way, we constructed a world so detached from what is true, what is natural. FASHION TO RECONNECT exists as a response to that separation, a platform designed to bring people back together, and return to dialogue with the natural world.

The roots of this vision lie in a conversation between living beings and nature. For Guardini’, many of his earliest creations were made from raw materials, instinctive and unrefined. Though his approaches and method evolved into a more considered and embraced approach over time, the intention remained the same. Guardini challenged the perception that sustainable fashion had to be dull and boring, instead he remained determined to restore joy, beauty, and vitality to responsible creation.

Clothing, he believes, is the first layer between ourselves and the natural world. Rather than acting as a barrier, it should be approached as an extension of who we are, moving with us, evolving with us and all of the stories, and carrying our stories. Through conscious dialogue with nature, creation becomes a living process. “It’s about coming home,” he says. “Coming home to nature.”

Presented in Hong Kong, FASHION TO RECONNECT is supported by and shaped by the influence of artist Michelangelo Pistoletto and his concept of The Third Paradise. This is a space that exists between the natural and the artificial, the exploration of which is clearly key within this exhibition but also to Tiziano himself. Each designer featured explores this balance, questioning where fashion sits between innovation and responsibility.

FASHION TO RECONNECT challenges the idea that clothing loses value with wear, instead framing garments as living pieces that deepen in meaning through care and time. While sustainability has slipped from the industry’s spotlight amid commercial pressures, Tiziano Guardini sees hope in a new generation of designers who embed responsibility instinctively into their work. More than an exhibition, FASHION TO RECONNECT is an invitation to slow down, reflect, and remember fashion’s power to reconnect us as “we are nature, and life, we should be existing in harmony” with the world, with each other, and with ourselves.

FASHION TO RECONNECT Exhibition

Date: 25 November – 24 December

Time: Monday to Friday (12:00 – 20:00)

Saturdays, Sundays and Public Holidays (11:00 – 20:00)

Venue: ArtisTree, Taikoo Place

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