Sacai Spring 2026 Menswear Collection
Abe explained through her interpreter that the season's starting point was a white cotton cashmere tuxedo, its versatility and simplicity becoming a stand-in for the broader Sacai endeavor. Abe's touch, particularly her signature garment hybridization, has become a source of inspiration for many and it's easy to clock off the runways. This may be why, in recent seasons, her runway collections seemed to have moved into becoming concept-driven and built around a singular theme as opposed to being more broad contributions to her body of work—see the rawness of her disheveled furs from her January men's show or the streamlined, gestural sensuality of the women's one from March. Still Sacai, but presented as more specific, singular statements.
What was on display at Abe's showroom this time was, instead, a sharp and clear reminder of the core tenets of Sacai. Was the intention to clean the slate or reset? Not at all, she said, answering the question this time sans translator. It was, instead, just to show this side of the label. Ditto opting out of the runway this season—no broader point being made here other than switching things up. Fair enough.
Much of fashion has started to once again opt for thinness, in castings for the runways and in the proportions of clothes, but not Abe. Instead, as exemplified by that very look, the dominant silhouette in this collection was dictated by a wide, ballooning trouser and a voluminous sleeve. In many ways this was a collection about sleeves, each more fascinating than the other. They appeared slashed and open down to the elbows or rounded out entirely; made with extra volumes optionally released by zippers or with double shoulder-caps and bell-like hems; simple and curvaceous or intricately cut and folded in ways too puzzling to describe with mere words. Such technical prowess is hard to see on a runway; it was a joy to be able to experience it up close.
Even more fun: After starting the day at the Sacai HQ, the fashion crowd was summoned to end it there too, this time with the promise of Japanese food and karaoke. Some of your favorite fashion editors, publicists, and multi-hyphenates belted out everything from Elvis and George Michael to Japanese pop and even Shakira (this last one may or may not have been yours truly). As a treat, the artist D4vd, who was in attendance as a guest, decided to sing his viral hit 'Here With Me.' The true star of the show, however, was Abe herself. She ended the night with a rendition of 'Empire State of Mind' accompanied by a choir of guests. She was wearing a little Sacai frock, as were many others in the room. Undeniable proof that hers are clothes not just made to live in every day, but to seize every moment
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Vogue
31 minutes ago
- Vogue
Soft Power and Serene Luxury—Recollections of The Row's First Paris Show for Spring 2016
Editor's Note: In honor of Vogue Runway's 10th anniversary, our writers are penning odes to the most memorable spring 2016 shows. New today: The Row's Paris debut. In September 2015 Mary-Kate and Ashley Olsen took their American brand, named after Britain's famed Savile Row, to France for the first time. Although some editors, including Vogue Runway's own Sarah Mower, were able to preview the collection in Paris, the show and dinner party following were held at a distance from the capital, at the 17th-century Château de Courances. There, on the gravel paths that wind around plots of boxwood manicured into baroque arabesques originally laid out by Achille Duchêne, models crunched by guests seated on white-painted metal garden furniture sipping red wine. The Row, spring 2016 ready-to-wear Photo: Courtesy of The Row The Row, spring 2016 ready-to-wear Photo: Courtesy of The Row Mother Nature delivered blue skies and full sun. The Olsens contributed a cumulus and a cirrus cloud, in the form of the first and last looks. The former, somewhat angelic, was draped, opaque and fluid; the latter, vaguely Grecian, was finely pleated and transparent, revealing a white bra and high-waisted panties underneath. Within the context of the sisters' fashion nunnery, this was a daring collection, midriffs were revealed by a one-shouldered crochet top and shirts and jackets that were worn open over bra tops. The Row, spring 2016 ready-to-wear Photo: Courtesy of The Row The Row, spring 2016 ready-to-wear Photo: Courtesy of The Row The mood was summery and the palette was peak Olsen: black, white, gray, navy, and khaki. Enlivening things a bit was a mustard yellow coatdress, a gold-beaded mesh top, and, most unexpectedly, a coat made of a vintage-seeming floral jacquard, which would have looked right at home in the château's lavish interiors. Also signature was the style of photography; the models were caught in action, with some of the shots looking like candids. This show was a one-off, the Olsens didn't start presenting regularly in Paris until spring 2023, but it was a sign of the sisters' ambitions. The elevated taste level of the collection served to show that the concept of an American luxury brand is not oxymoronic. Yet this was accomplished in a round-about way; the location's distance from Paris, and from other designers' shows, underlined the sisters' insider-outsider status. The Rowification of fashion is an example of the Olsen's use of soft power and silence.
Vogue
31 minutes ago
- Vogue
Why Fashion Still Loves the '90s—and What to Do About It
Ten years ago, at the launch of Vogue Runway, we published a series of articles about the '90s. Sarah Mower contributed a piece on the lasting impact of Helmut Lang, Lynn Yaeger penned an ode to grunge, and Luke Leitch shared his recollections of the decade's menswear (shout-out for warehouse-sale Maharishi!). In 2015, fashion's pre-internet years looked novel and fresh, and revisiting them felt illuminating. It was simple math, Mower argued at the time: 'All you do is take today's date, 2015, and subtract 25 (the age of today's rising designers). Result: 1990, of course!' Somewhere between then and now, though, nostalgia has become not just a passing fancy, but a de facto mode of being in fashion (and the world). A quick survey of the fall 2025 trends includes both 1980s Working Girl chic and aughts-era indie sleaze. But the '90s reign supreme, and with incoming creative directors at Gucci, Versace, and Maison Margiela, three brands at their It-iest in those years, the '90s aren't going anywhere anytime soon. A look from Alessandro Michele's Gucci women's debut, for fall 2015, when the '90s revival felt fresh. Photo: Yannis Vlamos / The fall 1996 Tom Ford for Gucci look that inspired it. Photo: Condé Nast Archive No doubt, the heritage-brand system is at the root of what feels like a perma-stasis. If brand codes were established in the '90s, it is reinterpretations and revivals of the '90s that we shall see. But it's equally a phenomenon of the internet itself, Pinterest and Tumblr included. As Kurt Andersen, writing in Vanity Fair in 2011, argued, 'Now that we have instant universal access to every old image and recorded sound, the future has arrived and it's all about dreaming of the past.' Indeed, as revisiting old forms took hold in other parts of culture—sequels begat prequels, the 1970s breakups of Fleetwood Mac members became Broadway musicals and TV miniseries in the 2020s—the formula has become more explicit in fashion. The year 2018 saw reeditions at both Versace, where Donatella marked the 20th anniversary of her brother Gianni's death by going back to the archives, and Marc Jacobs, where, 25 years after his agenda-shifting grunge show for Perry Ellis, the designer introduced a Grunge Redux collection.
Yahoo
an hour ago
- Yahoo
Kim Kardashian Goes Braless on a Flight to Korea in New Photos
Be it fashion's biggest runway or just a plane ride to Korea, knows how to get her glam mode on, going braless in new photos. The reality TV mogul recently shared pictures from her flight to Korea on Instagram, where she was accompanied by her sister, Khloe Kardashian, and friend La La Anthony. Modeling her new SKIMS face shapewear, the businesswoman went braless and nearly bared it all in the bold shots. From doing her makeup to sharing a few laughs with her companions, the KKW Beauty founder left fans awestruck with the latest update. Kim Kardashian goes bold in see-through look on her flight to Korea Kim Kardashian is no stranger to keeping it bold, but her recent photos truly took it up a notch as she went braless on her flight to Korea. On Monday, August 18, the reality TV star took to Instagram to share a photo carousel documenting her plane ride with Khloe Kardashian and La La Anthony. Putting a twist on the 'barely-there' trend, she modeled an equally chic and risqué look that went viral. The first photo captured Kim modeling the SKIMS face shapewear, known as the Seamless Sculpt Face Wrap, with Khloe and Anthony. She paired the product with a bold see-through ensemble. The SKIMS founder appeared to be wearing a Saint Laurent jumpsuit, her all-sheer fit further elevating her braless look. To add some texture, she layered the piece with a brown fur coat and completed her look with black sunglasses and a red lip. The trio modeled similar looks and were seen having fun in one of the other photos in the carousel. 'The Kardashians' star also added several close-up shots of her sheer ensemble in the update, including mirror selfies that highlighted her toned physique. Another photo captured Kim and Khloe with a bottle of champagne, which they likely enjoyed alongside their skincare routine. Meanwhile, Khloe took to the comments section to poke some light-hearted fun at herself. She said, 'I can't believe there's not an ostrich emoji because I feel like I look like an ostrich in the best way possible.' Anthony also dropped a comment, reflecting on their memorable trip. The post Kim Kardashian Goes Braless on a Flight to Korea in New Photos appeared first on Reality Tea. Solve the daily Crossword
