At Aknvas , as the late Bill Cunningham once said, “the show starts on the street.” Guests dressed in pieces from the Autumn/Winter collection — feathers, fur and frenetic fringe danced on 10th Avenue. The front row appeared to be immune to the lingering summer heat.
A sprinkle of fairy dust perhaps? Now in its third chapter, ‘Swans Before Innocence’, Christian Juul Nielsen continued his narrative arc inspired by Hans Christian Andersen’s epic fairytales centred around a Danish princess.
This season, she was on a mission to rescue her brothers from an evil spell. Spring/Summer 2027 was Nielsen’s take on ‘The Wild Swans’, which took us on a harrowing journey into the woods.
The clothes told the tale in three acts. Act 1: ‘Eleven Shirts’, the most pragmatic of the bunch, was Nielsen’s way of refreshing the work shirt.
Mixed-stripe cottons in bubblegum pastel blues and pinks were fashioned with hand-embroidered florals and swans patched on breast pockets. Rip-stop anoraks were made dainty with ruffles, peplums and corsage collars.
Princess Eliza was taking shape, and her feather crown was simply a reminder that our protagonist’s adventure was just beginning.
Act 2: ‘Forest Nymph’ leaned into utility with acid-washed denim and structured bustiers as the focal points. Purple-hued jackets hugged white lace blouses hiding underneath. Flora hung off the skirts of black bustier corsets, teasing the ground as models walked by. The raised stiffness of the skirts meant to mimic swan wings. Models accessorised with wild branches under their arms, some spilling out of supple leather handbags. Our princess was not leaving empty-handed.
Act 3: ‘Wild Swans’ was the finale of the story, also known as the gala portion of the offerings. Here, dramatic trains graced the runway in a variety of fabrics, among them: pink satin and sheer tulle.
A nude dress, a mixture of a bodysuit and a gown, was the most approachable, something that required little imagination to envision at a red carpet on a rosy-cheeked starlet, aiming to make a subtle but pointed statement.
At the end of the show, some questions remained. Did the princess ever find what she was looking for, or like most of us, was she still searching? We may never know, but at least the journey was fun.
Discover the Spring/Summer 2027 collection here .
photography. courtesy of Aknvas words. Malcolm Thomas
By the time this collection is released, Tibi will be 30 years old. The once fledgling label started by Amy Smilovic in a tiny Hong Kong corner office in 1997 will be celebrating three decades of being “doggedly independent” (her words) in 2027. But fashion has a penchant for impatience, so Tibi, naturally, is celebrating early.
To mark this milestone, they stepped into fragrance with a self-titled luxury eau du parfum, in partnership with Abel, in a clear oblong-shaped bottle, composed of 18 natural ingredients including top notes of timut pepper and orange molecule. They also launched a retrospective of candid home videos collected from its people over the years.
The Spring collection leaned into this nostalgic storytelling, taking inspiration from a research trip to Nashville, Tennessee, and its sights and sounds and the legends who had found their way onto its stages. Inspired by the guts and the glory of these authentic contrarians, Smilovic and Senior Vice President of Design, Traci Bui-Amar , used this as a jumping-off point for the collection.
Mindful not to leave their corporate customer in the tumbleweed, they landed somewhere between cowgirl core and tycoon tailoring. The Spring/Summer 2027 collection was as rich in modern suiting, think slouchy oversized boyfriend blazers with matching trousers or denim, and python print pumps, as it was in novelty.
Subtle details like studded hardware and metallic wingtip collars brought the country flair. A kind of 1950s rockabilly sensibility that not only took us down memory lane but could also make even the safest looks cool.
Silk vintage car-printed shorts and skirts, tassel and fringe embellishments and leather pants were a few of the pieces that got the heart racing. The ironically unironic Americana style that has been served up to consumers like apple pie for decades seemed perfectly aligned here.
Then, as the finale neared, a familiar twang of guitar chords and the warm sound of Dolly Parton’s honey-dripped vocals serenaded the speakers. “I Will Always Love You,” she cried. The audience gave a heartfelt round of applause.
photography. courtesy of Tibi words. Malcolm Thomas
The Royal Oak has been through enough incarnations to qualify for its own memoir, but Serena Williams has given it a particularly personal new chapter. Today, Swiss manufacturer Audemars Piguet unveils the Royal Oak Selfwinding Chronograph ‘Serena Williams’ Limited Edition .
After more than a decade as a house ambassador, the legendary athlete has had a direct hand in shaping a timepiece that brings together her sporting heritage, her interest in design and a convincing argument for putting pink on a ceramic sports chronograph.
The reference measures 38 mm and comes dressed almost completely in white ceramic, a demanding material that shapes the case middle, bezel, crown, push-pieces and integrated bracelet. Audemars Piguet hand-finishes each component with an alternation of satin-brushing and chamfering to highlight the signature octagonal architecture.
“Working with Audemars Piguet on this watch has been special because it reflects so many parts of who I am. I’ve always believed that strength and feminine energy can exist side by side.
People often see strength, determination and competition, but there’s also creativity, intuition and joy,” says Williams. “The white ceramic feels strong and resilient, while the pink mother-of-pearl dial brings warmth and softness.
Every detail was intentional. To me, this watch is a reminder that you don’t have to choose between power and grace – you can embrace both.”
That refined, pink-tinted mother-of-pearl dial fully alters the visual mood, offering a soft iridescence that contrasts with the robust white casing. The layout features 18-carat white gold hands and luminescent markers, with rhodium-toned pink gold threads encircling the chronograph counters.
A coordinated pink date window with white numerals sits between 4 and 5 o’clock. For a more casual option, the package includes an additional pink rubber strap featuring white ceramic studs and a titanium folding clasp.
Inside the 11.1 mm case lies Calibre 6401, the manufacture’s latest-generation integrated automatic chronograph movement. Composed of 350 components and 44 jewels, this in-house calibre replaces the historic Calibre 2385, which has powered the brand’s smaller chronographs for nearly three decades.
The redesigned architecture moves the minute and hour counters to 9 and 3 o’clock, using an integrated column wheel and a simplified, patented vertical-clutch system engineered to enhance structural reliability. The mechanism runs at a frequency of 4 Hz, guarantees a 55-hour power reserve and showcases its 22-carat pink gold oscillating weight through a sapphire caseback framed in titanium.
The watch highlights a long-term connection to Williams’ own timeline, running parallel to her historic return to professional tennis. Having joined Audemars Piguet in 2014, she has worn the brand’s sports models in high-performance settings, competing in a Royal Oak Offshore Diver during her 2021 Australian Open run and a pink-dialled Offshore at Wimbledon earlier this year.
The release continues a lineage of athlete-focused collaborations for the Royal Oak chronograph, which launched in 1997 and has previously honoured figures like sailing team Alinghi, cricket icon Sachin Tendulkar and football legend Leo Messi.
“Serena’s influence extends far beyond sport. Through discipline, constant reinvention and a strong sense of community, she continues to open paths for women across fields,” says Ilaria Resta , Chief Executive Officer at Audemars Piguet. “Our relationship is rooted in the belief that progress is collective, shaped over time and forged by those who support and challenge us along the way.”
Limited to 500 pieces worldwide, the titanium caseback frame is engraved with ‘Limited Edition,’ marking the latest chapter for one of watchmaking’s most recognisable designs.
The new Audemars Piguet Royal Oak Chronograph ‘Serena Williams’ edition is available to explore through authorised boutique channels. Find out more here .
photography. courtesy of Audemars Piguet words. Gennaro Costanzo
During New York Fashion Week, Tommy Hilfiger booked one of the city’s most recognisable addresses — The Plaza Hotel. For Spring/Summer 2027 , ‘Plaza Prep’ took over the landmark Fifth Avenue building, a particularly personal choice for Hilfiger given that he once lived there with his family. The grand interiors became the backdrop for a collection that takes American prep apart and puts it back together with considerably more personality.
“For 40 years, I’ve been inspired by the style of New Yorkers — how the people of the city take the classics and make them their own,” Hilfiger says. “This season, The Plaza is our playground, where Tommy icons feel remixed and refined for today.”
The collection is recognisably Tommy, although very little has been left completely alone. Red, white and blue return alongside brighter yellow and green, while traditional prep staples get new proportions and unexpected fabrics.
Rugby dresses arrive colour-blocked, Oxford shirts appear in Ithaca stripes and tartan finds its way onto blazers and Ivy jackets. Polos swing from intentionally shrunken to generously oversized, finished with tiny Tommy crest embroidery and collars turned upwards in a collegiate nod.
Chinos receive one of the more entertaining updates, transformed into high-cut hot shorts in vivid colours, while more restrained versions borrow from denim with subtly twisted seams. The Tommy Flag is faded and washed across superfine suede and silk-cashmere, also appearing on oversized totes that seem designed with the very realistic problem of needing somewhere to put everything you bought at The Plaza in mind.
Accessories keep the ‘90s references coming, mostly due to rounded two-tone skate sneakers, boat shoes and penny loafers. Meanwhile, a leather version of the pool slide takes something firmly associated with summer holidays and gives it a slightly dressier finish.
The runway itself supplied plenty of star power, with Gigi Hadid opening the show in a slouchy khaki blazer with cherry-red trousers, followed by Romeo Beckham , who closed proceedings wearing the final streetwear look.
The guest list was almost as eclectic as the clothes, with Kate Moss , Camila Cabello , Jisoo, Patrick Schwarzenegger , Arón Piper and more filling the Palm Court and Terrace Room. The high-energy finale culminated with a surprise performance by Slayyyter , who illuminated the room in custom red shirting, cropped shorts, a collegiate necktie and striking black knee-high boots as she sang her hit song ‘DANCE’.
Slayyyter performing for Tommy Hilfiger, by Noam Galai.
The Plaza has remained woven into Hilfiger’s own New York story since his family lived there, and Spring 2027 turns that personal history into the backdrop for his latest take on Classic American Cool. After all, there may be no better place to put modern prep through its paces than a hotel where everybody already knows how to make an entrance.
Discover the Tommy Hilfiger Spring/Summer 2027 collection here .
photography. courtesy of Noam Galai for Tommy Hilfiger words. Gennaro Costanzo