Conor Cunningham and Ed Gumuchian for Moose Knuckles.

Even when the weather forecast promises sunshine, city life has a habit of delivering sleet on the way to lunch and freezing wind on the walk home. Moose Knuckles is dressing for that particular uncertainty with ‘City Tundra’, its Autumn/Winter 2026 collection , which imagines the modern city as a wilderness of shifting temperatures, concrete canyons and unpredictable conditions — basically London on a good day.

For the Canadian outerwear label, preparing for winter means thinking beyond the cliché heavyweight puffer, with adaptable layers and new fabric treatments joining its established cold-weather staples.

“This season is about people who don’t wait for perfect conditions because they don’t need to,” says Ludovico Bruno , Global Creative Director. “AW26 celebrates those who trust their instincts, embrace individuality and leave their mark wherever they go.”

The collection’s defining innovation is Iceberg Quilt, a new outerwear construction inspired by the formations of glaciers, featuring sculptural quilting that gives the down-filled pieces a pronounced three-dimensional surface, while lightweight insulation keeps the volume from becoming cumbersome. The Iceberg Quilt Down Puffer is among the season’s standout designs, bringing a more architectural look to a familiar winter essential.

Elsewhere, the Original 3Q 2.0 Down Jacket revisits one of the brand’s established styles, while the Gilded Long Down Parka offers a longer silhouette for colder days. The Banff Down Bomber and Aurora Down Trucker bring shorter proportions into the mix.

Layering is another key part of the collection, with lightweight outerwear designed to accommodate the increasingly erratic transitions between indoor and outdoor temperatures. The expanded womenswear offering also introduces more refined silhouettes, premium materials and considered finishing details, while new technical developments focus on warmth, comfort and freedom of movement.

The clothes arrive alongside a global campaign featuring five figures from music, sport and creative culture: British skateboarder, artist and model Blondey McCoy ; Olympic fencer Miles Chamley-Watson ; UK rapper AntsLive ; experimental pop musician Isabella Lovestory ; and New York skateboarder and creative Melissa Ramirez . Shot by photographers Conor Cunningham and Ed Gumuchian , the imagery places the cast in a landscape where snow, wind and heat become part of the urban environment.

Founded in Montréal in 2009, Moose Knuckles continues to expand its signature Bunny, Freehang, Puffers, The Originals and Gold Series families with fresh textures, prints and graphic details inspired by the intersection of nature and the built environment.

The Autumn/Winter 2026 collection is now available globally, with seasonal releases continuing through autumn. Find out more here .

photography. courtesy of Conor Cunningham and Ed Gumuchian for Moose Knuckles words. Gennaro Costanzo

There’s a long-standing assumption that upcycled industrial materials are destined to remain stuck in a world of utilitarian design, making it a challenge to bring sustainability into the more elevated end of the fashion market. FREITAG , however, is rethinking that equation with ‘ REFERENCE ’, a new generation of bags that brings its longstanding approach to discarded materials into a more refined aesthetic, without erasing the stories that make each piece unique.

Founded in Zurich in 1993, FREITAG built its identity around an unlikely accessory material: used truck tarpaulins. Brothers Daniel and Markus Freitag, searching for a durable, water-resistant bag suited to their cycling commutes, found inspiration in the heavy goods vehicles passing through the industrial neighbourhood around Hardbrücke. Their first creation, the F13 TOP CAT messenger bag, was made in their shared apartment using retired tarpaulins, discarded bicycle inner tubes and car seat belts.

That history remains visible across the streets of Zurich. The brothers’ original neighbourhood has since become home to the brand’s striking flagship tower, constructed from 19 recycled shipping containers beside Hardbrücke station in 2006.

The company later moved its headquarters and production facilities to Nœrd, an industrial complex in Zurich-Oerlikon, where the transformation of truck tarpaulins continues. From the streets that inspired the first bag to a container-built retail landmark and a working factory, FREITAG has made its surroundings an integral part of its identity.

Now, more than three decades after its beginnings, the brand is revisiting a chapter of its own. First introduced in 2009 and discontinued in 2019, ‘REFERENCE’ returns with four new updated designs.

Product designer Anne Bachmann, a 16-year veteran at the brand, led the new generation, developing a collection that places greater emphasis on form, finishing and versatility. “Used tarpaulins have no reason to hide their stories.

Each one of them has a raw elegance of its own. And ‘REFERENCE’ puts that firmly at the centre,” she explains.

For Bachmann, the design process involved looking both outside and inside FREITAG’s own world. Working through initial sketches and research graphs, she found an important visual reference in an editorial featuring Sandra Hüller, whose rawness helped shape the aesthetic direction of the new line.

Other inspiration came directly from the factory floor, where an industrial metal adjustment hook used on heavy-duty shelving caught her attention. Reimagined as a custom magnetic clasp with punched FREITAG branding, the component became the defining hardware detail across REFERENCE, carrying a piece of the brand’s industrial surroundings into its most refined collection to date.

The collection’s pre-launch celebration took place at the Nœrd factory, where guests were guided through the production process by contemporary dancers. As washing machines rumbled and tarpaulins moved from one stage of preparation to the next, performers transformed the practical business of making a bag into a live exploration of movement.

Curated in collaboration with House of Intuition, with scenography by Marie Matusz , the evening featured a performance by Anna Chiedza Spörri and The Collective , alongside music, food and further artistic interventions. Thomas Wakeford, Creative Director, and Peter Hollenstein described the thinking behind the campaign as an attempt to “channel this feeling of movement through contemporary dance.”

The four bags each take a different approach to everyday use. R201 ELLY is a compact crossbody designed for essentials, with a magnetic closure, adjustable strap and enough room for a small umbrella or 500 ml bottle. R202 BATES is the more capacious day-to-night option, with a zipped main compartment, adjustable magnetic closure and space for a 13-inch laptop. Its wide shoulder strap can be supplemented with a detachable crossbody strap.

For those who prefer to carry considerably more, R203 MAZIE is an oversized tote whose fold-in sides change its shape and volume, accompanied by a detachable pouch for smaller belongings. R204 NAN , meanwhile, is a more compact baguette silhouette, with a zipped compartment, external slip pocket and straps that can be carried over the shoulder, over the elbow or in the hand.

Across the collection, trapezoid shapes, carefully placed seams and a magnetic clasp inspired by an industrial shelving adjustment hook establish a shared visual language. The hardware bears punched FREITAG branding, while the bags’ restrained colours — white, silver, red and blue, alongside a limited black edition — allow the individual markings of the tarpaulins to remain visible.

Each piece is unique, its scratches, creases and faded lines recording a journey that began long before it reached its new owner.

The attention to longevity extends to the repair kit supplied with every bag. Made from the same tarpaulin as its accompanying design, the detachable pouch contains a piece of lining and the original sewing thread, giving owners materials that can be used to repair the bag years later. Once those contents are removed, the pouch remains useful for storing cards, keys and other small items.

The production model has evolved, too. The new bags are manufactured with European partners, including in Portugal and Bulgaria, while selected custom-made accessories continue to be produced in Switzerland.

At the Nœrd factory, FREITAG processes used tarpaulins, prepares them for production and reuses water wherever possible; its rainwater collection system feeds a substantial tank — stored in a secret under-passage — that supports factory operations. The scale of the work is considerable: in 2025, the company processed more than 326,000 square metres of used truck tarpaulins.

For CEO Janine Bühler, the collection makes a larger argument about consumption. “REFERENCE is attitude in the shape of a bag. The act of choosing one of these unique pieces is a statement in itself: it stands for resource-conscious material choices, for timeless elegance, and for rejecting the throwaway culture,” she says. “The forward-thinking design, meticulous finishing, and repairability enable a long, intensive bag life – fully in line with the circular economy.”

Additional designs and seasonal colours are planned for Spring and Autumn 2027. For FREITAG, REFERENCE represents an evolution in appearance, but not in principle: a bag can be refined without losing its past, and materials that have already served one purpose can find another life without pretending they are something else.

Discover the ‘REFERENCE’ collection, now available here .

photography. courtesy of Timothy Schaumburg for FREITAG words. Gennaro Costanzo

It doesn’t take much for an object covered in thousands of tiny mirrors to steal the scene everywhere it goes — ask Swarovski . For Autumn/Winter 2026, the Austrian crystal house is introducing the Sublima Bag , a limited-edition design that takes the sparkle of its namesake jewellery collection and applies it to an evening bag covered in thousands of hand-set crystals.

Crafted in Italy from leather, the bag is embellished with approximately 4,850 individually applied Swarovski crystals, creating a shimmering surface inspired by the light-reflecting cuts and fantastical character of the Sublima jewellery family. The effect is unapologetically opulent, with the crystals literally shining against the bag’s clean, elongated silhouette.

The design comes in four monochromatic colourways — white, pink, gold and green — each limited to just 200 pieces worldwide. That makes for a total of 800 bags across the collection, turning the accessory into a collectible addition to Swarovski’s offering for the season. The pink and gold versions bring a more expressive finish, while the lighter and green variations offer a different interpretation of the same crystal-covered surface.

There is some practical thinking behind all that sparkle, too. The Italian-made design features a handle that folds inside the bag to transform it from a handbag into a clutch. The construction means it can move between different occasions without changing its overall character, while the leather body and crystal embellishment bring together two sides of Swarovski’s expertise: material craftsmanship and decorative brilliance.

Arriving online and across selected boutiques this October, the accessory marks an adventurous expansion for the heritage brand, translating the complex, multi-tonal texturing of its fine jewellery catalogue into a fully formed evening companion. Find out more here .

photography. courtesy of Swarovski words. Gennaro Costanzo

Breguet ’s relationship with the sea dates back to 1815, when Abraham-Louis Breguet was appointed Watchmaker to the French Royal Navy. More than two centuries later, that maritime history continues to shape the Maison’s ‘ Marine’ collection , which returns for 2026 with fresh interpretations of two familiar references: the Marine 5517 and the Marine Chronographe 5527.

This time, however, the focus is on colour, dial craftsmanship and the small nautical details that have long distinguished the range.

The Marine 5517 is the more understated of the two, built around a 40 mm case and a three-hand display with the date positioned at six o’clock. Its most noticeable update lies in the dial, where the Maison’s hand-guilloché ‘Quai de l’Horloge’ motif creates a wave-like pattern across a gold base.

The name refers to the historic Paris address where Breguet established his workshop, while the design draws on the contours of the Île de la Cité and Île Saint-Louis. Three versions are available: 18-carat white gold with an ice-blue dial, 18-carat rose gold paired with black and titanium with a subtle blue gradient.

Each features Breguet Arabic numerals, the Maison’s characteristic apple-shaped hands and a gold appliqué at twelve o’clock.

The sportier Marine Chronographe 5527 takes the same decorative approach into a 42.3 mm case, introducing a flyback chronograph complication. Its layout places the chronograph-minute counter at three o’clock and the small-seconds display at nine, with the date again positioned at six.

Here, the dial combinations differ from those of the 5517: white gold and rose gold are paired with blue-gradient dials, while the titanium version features a grey gradient. The guilloché work brings continuity between the two references without making their personalities identical.

Both models share further details inspired by navigation. The tip of the seconds hand on the 5517 and the central chronograph hand on the 5527 form a letter B, referencing the maritime ‘Bravo’ flag, while the crown guard evokes the movement of waves. Turn either watch over and the sapphire caseback reveals a gold oscillating weight inspired by a ship’s rudder, extending the nautical references into the movement itself.

Under the dial, the 5517 houses the self-winding Calibre 777A, delivering a 55-hour power reserve, while the chronograph uses the Calibre 582QA, with a 48-hour reserve and a silicon balance spring — and on top of that, they’re both are water-resistant to 100 metres. Each metal and dial combination can be paired with a rubber strap decorated with a pattern echoing the dial or a matching metal bracelet, extending the collection’s mix of maritime function and traditional watchmaking into its finishing details.

The updated Marine 5517 and Marine Chronographe 5527 are available in white gold, rose gold and titanium, with the new dial treatments bringing a different character to each material. Discover more here .

photography. courtesy of Breguet words. Gennaro Costanzo