Berner Kühl Copenhagen Spring 2026 Collection
By way of illustration, the designer brought furniture and decorative objects from his and his partner's own apartment—including a Wegner airport chair and Egon Eiermann desk—to furnish Brigade Gallery (artworks adorning the walls were curated by Berner Kühl from the gallery's collection). A rotation of models slowly made their way through the constructed interior spaces, making themselves at home among the furniture (so much so, it was at times difficult to tell the models apart from stylish guests).
The overall effect was cozy: cotton-silk cardigans were layered over sweaters, paired with brown corduroy that could have easily been found on a '70s sofa. In keeping with the theme, the designer worked with heavier fabrics this season, using deadstock silk polyesters and wools—which might otherwise have been turned into curtains—for his tailored outerwear. Elsewhere, lightweight shirts were designed to resemble pajamas that can be worn both inside and outside the home.
For Berner Kühl—who grew up with an interiors-obsessed mother—garments should be assigned the same value as the objets d'art that so many of us surround ourselves with. 'These are things we really cherish when used, and then we keep them for ages,' the designer explained. 'Our clothing can be used for as long a time, so it becomes part of your personal collection—you actually start collecting clothing like you would collect objects.'
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Vogue
40 minutes ago
- Vogue
Maryam Nassir Zadeh Fall 2025 Ready-to-Wear Collection
Maryam Nassir Zadeh's fall collection is a reminder that how you wear your clothes is as important as what you put on. This season's lookbook, photographed in a Parisian apartment, is a kind of masterclass in defying convention and exciting the eye. See how cinching a belt inches above the waistline creates an unexpected proportion? Or how tights paired with lucite wedges are so wrong they're right? Nassir Zadeh makes little distinction between men and women; both genders tuck their pants into their boots and both are photographed in a delicious bubblegum-pink leather blouson jacket. In one photo a male model ties a cummerbund-shaped bi-color belt over a pair of luxuriously pleated pants; it's unexpected and effective in zhuzhing up a basic outfit. In Nassir Zadeh's world, spontaneity is encouraged and non-clothes become wearable—that suede fringe that's worn as a skirt is just a narrow band that you can wind around a neck, a wrist, or on top of another garment. One of the foundation pieces of this collection is a bustier top, à la '70s Saint Laurent Rive Gauche. There's one in orange embellished with shell discs that look like Necco wafers. By creating an off-the-shoulder neckline and accessorizing with animal-print boots, a tiered dress goes beyond boho. 'I think for fall there's a vibrancy and an element of uplifting celebration and illuminating something,' said Nassir Zadeh, who explained that the season was in many ways an homage to her beloved grandmother. The designer was actually bringing together memories from her life with her nana, and revisiting her own repertoire. 'The mix is so interesting and yet familiar,' she said. Also a bit off, to great effect. There are a lot of patterned silks of the kind Princess Diana favored in the '80s. These are used for ruffle hemmed skirts and a Juliet-sleeved top. The composition of some of the photos vaguely recall Sheila Metzner's work from that era too—but the MNZ magic is to elude categorization, all the better to let the spirit run free.
Digital Trends
2 hours ago
- Digital Trends
Mafia: The Old Country review: a game without an identity
Mafia: The Old Country MSRP $50.00 Score Details 'Mafia: The Old Country is a game struggling with an identity crisis that ends up crumbling as a result.' Pros Lovingly authentic world Impeccable performances Cons Barebones shooting and stealth Clunky knife combat Plot takes too long to get going Recommended Videos A poignant line from the early hours of Mafia: The Old Country states that we can choose who we are, not what we do. I kept that line in my head as I experienced this historical take on the crime franchise. The further I dove into the world Hanger 13 has crafted, the less apt that quote felt. It isn't just the fact that Mafia: The Old Country opted to take a more linear route than the last entry, but how the game itself never seems to settle on what it wants to be. This is a game struggling with an identity crisis that ends up crumbling as a result of disjointed gameplay systems and a protagonist who spends too long feeling like an observer than a driving force. Mafia media and tropes are so well-known and ingrained into pop culture that creating a new story that is both authentic and engaging is borderline impossible. The Old Country's strategy is to go all the way back to the origins of the mafia in early 1900s Sicily and follow Enzo's rise into the life of crime. At least in the case of the former, it is a wild success. Enzo's story begins with promise, but he spends much too long feeling like he's simply along for the ride. Without a solid focus on what kind of game it needs to be or a protagonist with strong enough motivation to rally behind, the entire experience begins to fracture. An offer you can't refuse As a franchise, the Mafia games each veered closer and closer to a GTA-like in terms of gameplay and structure. With Mafia: The Old Country, Hanger 13 decided to scale back the experience to a tight, focused experience. And while this isn't a purely linear game, somehow its handful of gameplay systems all still feel barebones at best and clunky at worst. Gunplay works, but not even the period-appropriate weapons can give it any sense of identity. The three core pillars of The Old Country are third-person shooting, stealth, and one-on-one knife duels, although I could argue that walking, talking, and doing chores are the bulk of the gameplay. As I cycled through each, with some unique setpieces like race or chase sequences sprinkled in, I quickly realized there was no part of them that I was looking forward to. The gunplay is technically the best, but it is about as basic a cover shooter as you can get. Encounters all boil down to going into cover and playing stop-and-pop with the enemies. I might get rushed by an enemy here or there, or flushed out by a grenade, but this is about as forgettable a shooter as can be. Gunplay works, but not even the period-appropriate weapons can give it any sense of identity. Stealth is perhaps a worse offender here. Enemy AI is comically braindead and doing each section as intended is needlessly tedious. The Old Country tries to take a page out of The Last of Us's approach here by having long struggles as Enzo chokes out a guard, which can be skipped by using your knife at the cost of durability. Yet without the survival themes or intelligent AI backing it up, it feels like a time-waster. I can toss coins or bottles to distract enemies, and even activate a listen mode equivalent to see enemies through walls for some reason. I completely ignored the mechanic of picking up bodies to dump them into crates after my first few stealth missions when I realized there was no point in spending all that time picking them up and transporting them — not once was a body I choked out discovered before I snuck through the area. this isn't so much a world to be explored but a container for hundreds of collectibles. Knife fighting was heavily marketed and could've been the feature The Old Country could hang its hat on. But not only does it not gel with the other two disparate gameplay modes, but taken on its own, it might be the weakest of them all. These duels bring the action in tight and swap the controls to something more akin to an action game, but feel weightless and unresponsive. There are two types of attacks, a dodge, a parry, and a guard break. Each move has its place and use, but the way duels play out never made me feel like I was mastering a system. Spacing and range always felt weird, and reading animations felt loose on everything but moves I was meant to dodge since they were the only ones accompanied by a visual indicator. The moment I really began to question what The Old Country's identity was was when the game opened up. Hanger 13 made it clear this game wasn't an open world, but that isn't completely true. There is a decently sized hub world that, at points, I am free to explore by car. But much like Mafia 2, this isn't so much a world to be explored or admired but a container for hundreds of collectibles. There are even vendors and later an apartment out there to visit, but the lack of waypoint system makes exploring or rounding up those collectibles a chore. It feels like a half-step into open world that confuses more than it adds. Welcome to the family The introduction to our new protagonist working slave laborer in a mine had tons of potential that was sadly never capitalized upon. Instead, Enzo abandons his early ambitions as soon as he makes his escape and is taken under the wing of the Torrisi family. At this point, he almost becomes a blank slate, just going along with no goals or personal motivations. A romance with the Don's daughter is rushed along to give him some purpose later, but Enzo's lack of personal stake in anything for the majority of the game makes it hard to get invested in his integration into the crime family. Thankfully the supporting cast of mobsters is far stronger. Don Torrisi is a bit of your stereotypical raspy-voiced father figure who values family, honor, and loyalty above all, but the interplay between the straight-laced and kind Luca and the entitled and brash Ceasare is a standout. I loved getting to know them through the more episodic structure the first half of the game takes, but that slow burn ends up feeling meandering without Enzo having a consistent driver throughout. I spent the majority of the game feeling like I was doing a series of disassociated side quests that ran the gamut of mob activities. I spent the majority of the game feeling like I was doing a series of disassociated side quests. Mafia: The Old Country is a game at war with itself. None of the pieces it puts down fit together to form a unified picture. It lacks any standout gameplay system to build around, nor a strong character with clear motivations to give the game a distinct identity. It is a game that feels torn between multiple different directions, with the only piece left unscathed being the strong performances, an authentic historical setting, and the writing of the supporting cast. However, that can't hold up a barebones gameplay experience and narrative hook that takes way too long to take hold. This is one offer you can safely refuse. Mafia: The Old Country was tested on PC.
New York Times
2 hours ago
- New York Times
Luxuriate in Sicily With a Threatening Mafia Family
Tradition can go both ways. In the early-20th-century Sicily where Mafia: The Old Country takes place, tradition is a powerful force. It makes certain men rich while forcing everyone else to fall in line — to follow code and be loyal — or die. But tradition also brings comfort in the form of festive celebrations, brotherhood and belonging. It allows people to feel connected to their land and their history in the face of an unknown and frightening future. The Old Country is a traditional video game, and that's a good thing. Next to the trend of games as endless online experiences, it is small and discrete, like a sawed-off shotgun tucked inside a crate of lemons. Though it's backed by a fleshed-out and explorable open world, most of the game takes place along a linear path. It tells the story of Enzo's rise through the ranks of the Torrisi family, one of several warring clans. The narrative's crescendos and reveals provide the game's main source of excitement and discovery, distinct from the collectibles and exploration of popular open-world fare like the Assassin's Creed or Far Cry games. Resisting the expectation for single-player games to be chockablock with content, The Old Country is sparing and restrained. Its pacing, especially in the first few chapters, is slow and deliberate. Walking as Enzo often feels more natural and rewarding than breaking out into a sprint. It's the best way to take in the postcard beauty of Hangar 13's depiction of Sicily, and to listen in on the conversations between other characters. This world is believable and well-realized. The sprawling Torrisi vineyard, your home base for much of the game, is alive with activity: Cars and horse-drawn carriages come and go constantly, workers pick grapes out in the field, cooks and maids chatter in the kitchen. There's a lot to soak in, and The Old Country seems designed to encourage taking your time doing so. It takes several hours before Enzo is required to fire his gun, opting instead to wave it threateningly at balking victims of the Torrisi protection racket. He finds it better still to sneak into their storehouses, using the game's basic but functional stealth system, and grab their goods without need for violence. Naturally, things will get bloodier, but stealth is almost always an option, as are the scripted one-on-one knife fights that are a central component of the game. The Old Country's story is relatively short and to the point. Players will witness Enzo's meteoric rise, from a childhood of indentured servitude at a sulfur mine to one of the most trusted Torrisi soldiers, in the span of 12 to 14 hours. The open world mostly flashes by as you drive to your next destination. There's not much time to spare. In the backdrop is a smoldering volcano whose earthshaking tremors kick off the game's plot. Want all of The Times? Subscribe.
