The reference is obvious. The question is what survives the translation. For Dior’s Fall-Winter 2026–2027 Haute Couture collection, designer Jonathan Anderson drew on the work of Lynda Benglis. After the runway show at the Musée Rodin, the space reopened as Grammar of Forms, bringing the new collection together with Benglis’ sculptures and archival Dior pieces. Here, the pleated fabric recalls Benglis’ Kissel (1985), not simply as an image but as a way of organising form. A sculpture becomes a garment without becoming a copy.

At the bow of the Sirena Superyachts 42M, the social area is arranged as a separate outdoor room. A curved staircase leads down into the deck, where soft seating, warm lighting and a dining table make the space feel closer to a furnished terrace than an open foredeck. Built with a steel hull and aluminium superstructure, the 42 metre yacht was constructed at Sirena Marine’s facilities in Yalova, Türkiye. The first 42M will make its world premiere at the Monaco Yacht Show in September 2026.

A wave can be scenery, but here it was also weather, cooling system and mood. For Louis Vuitton Spring Summer 2027 menswear, a 37 metre wide water structure rose above the sand covered runway at Cité Internationale Universitaire de Paris. Supplied by Eau de Paris, the water circulated through a closed loop system before being returned to the city’s sewer network. The sand was later donated to the university’s beach volleyball courts, while timber benches from a previous Louis Vuitton menswear show were reused for seating. Beneath the mist and moving water, the surfing reference extended beyond the collection itself to include reuse, infrastructure and the mechanics of staging.

The Savile Row sign behind the Spirit of Ecstasy, Rolls Royce’s bonnet ornament, gives the first clue to Ghost Savile Row. This one off Rolls Royce Ghost Extended was conceived like a bespoke suit. Its two tone exterior combines Midnight Sapphire with English White, recalling the contrast of a dark suit and a white shirt. Inside, Navy Blue leather is finished with Selby Grey stitching inspired by pinstripes. Developed following consultations with Savile Row specialists, Ghost Savile Row takes its cues from the tailoring details revealed only when a jacket is examined closely.

Titled A Good Sport, Burberry’s Autumn 2026 campaign celebrates the culture and energy of football fandom, bringing trench coats, scarves, Harrington jackets and match-day spirit into the same frame. Featuring familiar faces from film, television, fashion and sport, including Jason Sudeikis, it sees the stadium not only as a place of sport, but as a scene of character, clothes and collective emotion.

The motif on the back of the leather jacket draws from Keith Haring’s visual language, one of Cruise 2027’s key references through a vintage Louis Vuitton suitcase the artist drew on in 1984. Presented at The Frick Collection in New York, the collection sits between the Old Masters atmosphere of the museum and the street language of 1980s New York.

The climbing vine in Chanel’s 7 July teaser did not appear from nowhere. It came from a house that has long known how to make its symbols, gardens and animals larger than life: Lagerfeld’s lion, the forest at the Grand Palais, the paper flowers, Viard’s bestiary. With Matthieu Blazy, that fantasy changes scale. His Spring 2026 debut placed couture among giant mushrooms and pink willow trees. For Fall Winter 2026 Haute Couture, the fairytale moved closer to the clothes. Flowers bloomed across tweed, vines climbed heels and tiny treasures appeared in braided hair. The spectacle is still there, but it feels softer now, closer to a story told look by look.

The Wksninfa trench balances quiet utility with the feeling of wearable art, bringing Shafei Xia’s painterly world into Weekend Max Mara’s SS26 “A Weekend with an Artist” capsule.

What makes a brand recognizable before its name is even read? Taschen’s The Elements of Brand Design treats branding as a kind of alchemy, shaped through form, colour, typography and intent. Across more than 100 case studies, from Netflix to Uniqlo, the book looks at how a company, a product, even a name begins to feel distinct before we can explain why.

At 40,000 feet, comfort is often reduced to what fits inside a small case: a comb, a mirror, a scent. Emirates’ latest amenity kits with Bulgari are less interesting as branded objects than for what has been chosen to go inside them. Materials, colors and essentials turn a practical travel case into something more personal.

Lacoste and Alpine’s 2026 collaboration brings together a one-off Alpine Lacoste A290 Rallye and a capsule collection. But the detail is elsewhere. In Beware of the Crocodile, the crocodile leaves the tennis shirt and enters the car. Its red tongue becomes a graphic line, then a fully red cabin. On the rally seat, petit piqué turns a tennis texture into a driving surface. The court and the circuit meet through lightness, performance and French ease. Not a logo on a car. A symbol learning another speed.

“Once a bubble is released into the air, its final form no longer belongs to the machine. It belongs to gravity, airflow, temperature, entropy, and chance.” Created in collaboration with BMW, A.A.Murakami’s Symbiosis translates BMW’s Symbiotic Drive into an ephemeral experience. The technology is built around the interaction between human intention and intelligent assistance; the artist duo carries that idea into a space where control is never absolute. The installation was exhibited at Art Basel 2026.