GmbH Berlin Spring 2026 Collection
'Emotionally, the last few weeks have been draining. Marked by a lot of pain and sadness,' they said of their work on the show, which began with a minute's silence for the victims in Gaza. But instead of anger and rage, only tangible beauty reached the catwalk. Their thoughts revolved around charity and debt relief, family celebrations, and coming-of-age experiences. Like almost all of their previous shows, it was moving and emotional. In this case, it was divided into three acts, repeatedly interrupted by music, including the score to Hitchcock's Vertigo and a piece by Zeki Müren, Turkey's queer visionary and music star.
Huseby and Işık prove the gender flexibility of any wardrobe. They embellished their waist-emphasizing blazers with large knots and bow details at the back, while knee-high leather boots were paired with airy cape shirts and boxer shorts. Lots of satin and skin brought physicality to the fore; while some pants were unbuttoned at the hip bones, most of them were still held together with belts. Even the most formal looks lacked nothing in lightness—feathers and strips of fabric fluttered through the air.
Tops made of euro banknotes fastened with small bows had many of the guests pulling out their cell phones. 'Beauty and message must go hand in hand. We want to make beautiful clothes. But if you neglect craftsmanship and quality, the power of the message is completely lost at some point,' said Huseby. Fortunately, this is a fear that these two talented designers don't have to face.
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Forbes
23-07-2025
- Forbes
David Koma's SS26 menswear show was one of the most talked about collections at Berlin Fashion Week
DAVID KOMA'S Runway Show Berlin Fashion Week SS26 by Reference Studios at Palais am FunkturmDavid Koma's Spring/Summer 2026 menswear show was never going to be quiet, but by choosing Berlin he nodded to the direction his menswear brand David Koma will take — full of verve and packed with subcultural references. At Berlin Fashion Week Koma took over Bruno Grimmek and Werner Düttmann's 1957 Palais am Funkturm for the Intervention initiative run by buzzy PR agency Reference Studios, an invite scheme for designers backed by funding from the German Fashion Council. His collection I Love David was a sharp blend of ego, irony, and iconography. England player David Beckham on his mobile phone at the launch of the Adidas 'I kiss Football' ... More campaign at adidas HQ in Stockport on March 15, 2001 . (Photo Gary M Prior/Allsport/Getty Images)For Koma, at the helm of Blumarine as creative director and known for bringing body-conscious evening wear into mid-2000s culture, his Berlin debut linked his love for Y2K that run through his throwback designs at Blumarine with a playful riff on the concept of David, from Beckham to the designer himself. The Intervention program gave Koma the opportunity to be eccentric with the concept of a muse. His collection zoned in on three Davids—David Beckham, Michelangelo's David, and David Koma. Beckham brought back classic 1990s headline moments— low-slung jeans, crystal-trimmed tanks, and a tongue-in-cheek rhinestone tee nodding to the footballer's iconic 'I Kiss Football' moment. Michelangelo's David counterbalanced this with draped marble-like tops, lace aprons rendered in crochet, and souvenir-shop camp reimagined as high fashion while Koma's own trademarks of tailoring, sculptural flourishes and sex appeal anchored the collection. Here he talks to Grace Banks about building a namesake brand that's both personal and commercial, the return of sex to the runway and maintaining a decades-long career in a rapidly evolving industry. DAVID KOMA Runway Show Berlin Fashion Week SS26 by Reference Studios at Palais am Funkturm, Berlin You're only a couple of seasons into you new menswear line, how does it feel like to show your spring 2026 collection in Berlin? You know, I consider myself both the customer and a creator of I Love David. I've never approached collections with that perspective before and it feels personal again. Showing in Berlin, a city I respect on so many levels, makes that choice even more personal. One of the most important things for me is that I would enjoy the moment, because very often things that I do, they're amazing, but I need to wait a day or two or a week just to kind of digest it all. I told myself I would enjoy the moment more this do you enjoy the moment? I've really tried to be present in every single part of the experience and not just the show, from sourcing material to the model castings. During the show, and even now talking to you, I really feel calm, happy and relaxed. So I do enjoy centered the collection on three Davids—including yourself! I'm a huge fan of David Beckham and his iconic style throughout so many decades. So I always had him on the mood board, and the more time passed it became clear how symbolic the name David is for me. My favorite sculpture is Michaelangelo's David. And then there's me, I'm in good did you work those very different David personas into a coherent collection? The draping, broaches and tailoring mixe the classical with contemporary. Then there is this whole kind of paparazzi era with the diamanté and the jeans. The models were wearing my glasses, that unified the whole look. Then there's a few signatures of this collection— the garter detail that we had over the couple of trousers. I wanted to add these spikes of sex and glamour so there are flower broaches inspired by KOMA Runway Show Berlin Fashion Week SS26 by Reference Studios at Palais am Funkturm, Berlin The lace apron is a reference to those aprons you get in Florence with Michelangelo's David on, but you wanted to elevate the materials. What was that process like? Yes it started with that, you know the lacy tourist aprons you get all over Florence. But I applied this really elevated technique, which is like a silk crochet by hand. It's very couture, but still staying true to the touristy souvenirs from Florence. So I thought, have a sense of humour—keep the basic shape but make the texture there similarities between the David Koma woman and man? The man is more edgy, like the guys in Berlin. The woman is glamourous—glamorous women love to date grungy guys so it works!You launched your namesake label in 2009 and joined Blumarine as creative director in 2024, one of the buzziest brands on the market now. How have you stayed so nimble and made sure your creative vision was in the market over the years? You need to obsessed you really do. Access and opportunity are key too. Obsession really is essential. With what, trust me, you'll be successful.
Yahoo
18-07-2025
- Yahoo
The Serious Issue That 'And Just Like That' Is Playing for Laughs Is Generating Controversy
Charlotte York has long been, to me, the least relatable character in the Sex & the City universe—she's privileged, has a lighthearted outlook no matter what and seems to manage family, career and her friends with ease. So I've never been super into her, until the most recent episode of And Just Like That. In season 3, episode 8, she has an unexpected attack of vertigo, an illness that's played for laughs but is no joke, evidenced by the polarized comments about it online. As a vertigo alum myself, I've done a deep dive into the condition. Near the top of the episode, Charlotte is at her gallery, assembling a mattress installation clearly inspired by Tracy Emin's seminal work My Bed, when she bends over and moans softly: 'Kai, may I have your hand? I think my vertigo is back.' 'I didn't think vertigo is real?' the gallery worker responds. 'You know, like Epstein-Barr.' 'Oh, it's a real thing,' Charlotte nods, woozily. 'I had it last year, I had to take to my bed.' Charlotte's condition subsides, then recurs during a long set piece at the gallery, in which Charlotte pratfalls while rushing across the room. Again, when Charlotte explains that she fell due to vertigo, another character looks her dismissively and says 'Is that even a real thing?' Later that same evening, Charlotte is shown entering her home alone, still bent over from the condition, trying to talk to Lisa on her phone. Craig Blankenhorn/HBO Max Granted, vertigo isn't as serious as Charlotte's husband's prostate cancer or Miranda's alcoholism, but online banter calls out the show for its misinformation and insensitivity. In Vulture's comment section, for example, Mediaqueen1985 says she has vertigo, then criticizes the depiction: 'Ugh. More Charlotte as Lucy Ricardo but with vertigo as an excuse. Vertigo usually involves heights, so WTH?' Next, an ear-nose and throat specialist writes 'vertigo isn't a fear of heights, but a room-spinning sensation. Charlotte likely had BPPV, although the depiction was a little…off.' Johnandtara chimes in: 'Nurse here—and I have a few friends in menopause experiencing vertigo, so I think they are throwing it into the mix as a women of a certain age thing.' And finally Nnfowlds opines: 'They sent Charlotte home on her own in a vertigo state? Goofy and irritating.' Reality check—according to the Cleveland Clinic, 'vertigo causes dizziness and makes you feel like you're spinning when you're not. It most commonly occurs when there's an issue with your inner ear. But you can also develop it if you have a condition affecting your brain, like a tumor or stroke. Treatments vary and can include medication, repositioning maneuvers or surgery.' It may or may not involve heights. There are two main types, peripheral and central; peripheral is the common sort. A decade-long study of nearly 1,000 women showed that one type of peripheral, BBPV (Benign paroxysmal positional vertigo), is increasingly common in perimenopausal women. Watching the show, I was perplexed by the lack of sympathy given to Charlotte when she's incapacitated, since I have had stress-induced bouts of the condition. Initially, I woke up with the room spinning so profoundly, alone and frightened, that I speed-dialed a friend to come take me to the emergency room. (My condition was diagnosed and I was given anti-nausea medication.) After subsequent attacks, an ENT taught me the Epley Maneuver, a head movement exercise designed to reposition the ear crystals that cause BBPV. It's a recurring condition for me, in the manner of commenter Itcouldbeworse: 'I had it for months, but only when I got up from bed too quickly (luckily.) The room would spin. Even after it stopped happening, I got up very slowly for a long while, in case it had come back. (The first time it had happened, there was no warning.)' Here's the rub: Never once did anyone suggest that I might be fantasizing my illness, or doubting that the condition even exists. Nor would anyone have sent me home, unaccompanied, if I couldn't walk straight. Charlotte deserves better—the poor woman is just regaining her footing, so to speak. She's just been through a recent major health scare with her husband, a massive career responsibility and caretaking a heartbroken daughter and teetotaling friend! A little information about her well-being as well as compassion for her is in order. I'm left with a lingering bad taste about the whole vertigo storyline, maybe best expressed by Hotfoot2020: 'Gross how it was played for laughs. I've noticed people aren't very caring on this show when someone's sick. Things get quippy in no time. UGH. Are there any humans left in the writers' room or is this all the work of a Temu bot?' I Have a Major Theory About 'And Just Like That' Season 3—and OG 'Sex and the City' Fans Are Gonna Love it Solve the daily Crossword
Hypebeast
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The Best Runways at Berlin Fashion Week SS26
The design talent in Berlin is rich, and the crowd the German capital draws for its bi-annual fashion week is particularly impassioned. Each February and June, international editors, journalists, stylists, buyers, influencers, and celebrities flock to the city to witness the sprawling manifestos of Berlin's top designers — and the results continue to outdo their predecessors. Everyone fromGmbHandDavid KomatoOttolingerandHADERLUMPput their best needle forward at the latest iteration ofBerlin Fashion Week, which wrapped up at the end of last week. Their ideas of style could not be more distinct from one another, but one thing they all share is a strong perspective. Below, see the best shows from the affair. Sun's out, toes out—or so that seems to be the new rule across the men's Spring 2026 runways. During Berlin Fashion Week, David Koma became the latest designer to free the toe on his first-ever menswear catwalk. Across all 33 looks, the dogs roamed free in thong sandals under contrastingly formal ensembles inspired by a triad of Davids: David Beckham, Michelangelo's sculptural David, and Koma himself. Titled 'I LOVE DAVID,' the collection drew from Beckham's turn-of-the-millennium style (with a specific nod to his famous 'I KISS FOOTBALL' jersey) just as much as it did from Michelangelo's masterful artistry (see the formalwear's drapery) and Koma's own signature (crystal garters, classic tailoring). With cultural and historical icons saturating the mood board, the line still appeared very wearable, in part thanks to the flip-flop's attainability. Perhaps that was because Koma saw himself as the person buying and wearing these clothes. 'It was my most personal collection to date, partly because I took on several roles: muse, designer, and customer,' Koma said backstage. On the third night of Berlin Fashion Week, GmbH's Spring 2026 show was a poetic, emotional, and raw 'Imitation of Life.' Designers Benjamin Huseby and Serhat Işik's latest manifesto was a commentary on the current state of the globe. 'The cruelty of this world has severed our connection to it,' they wrote in their show notes. 'We no longer know how to act or feel.' This collection, however, was not inspired by said cruelty or destruction. This was a line that reflected the 'process of working and living through a time defined by the most abject forms of horror and moral collapse, and trying to come out on the other side still human.' In that attempt, the designers looked to their own childhoods, rewatched family tapes, and examined old rites of passage to dream up a line that felt hopeful for the future. Still, they toiled with a sobering question: 'How can you revisit your childhood without feeling devastated?' Richert Beil's Spring 2026 show marked a return to intention. Titled 'Milieuschutz,' the collection was built while founders Jale Richert and Michele Beil were leaving behind their old office and moving into a new studio, a 135-year-old pharmacy situated in the center of Kreuzberg, an area now known for its vibrant art scene. This season, then, Richert Beil looked to reflect on 'beginnings and endings, on transformation, and on the responsibility of creating something with meaning,' per the designers. The results were both intimate and orderly, freaky and kinky. Floral motifs appeared across the range—like tapestry on oversized blazers and centerpieces on knit turtlenecks—as a metaphor for the cycle of growth and decay. Elsewhere, many traditional shapes received contemporary renovations, like lederhosen made with latex and suspenders knotted with cheeky bowties. On an active construction site just outside Berlin's Kurfürstendamm, SF1OG's Spring 2026 show walked the dangerous tightrope between obsessive desire and emotional decay. Portraying two intensely opposing feelings, creative director Rosa Dahl effectively stylized the consequences of all-consuming love, but through the lens of a teenage dream. The label's muses crept through a suspended forest made from printed fabric pillars, which felt all the more claustrophobic against composer Gavriel August's thrilling soundscape and the room's in-progress sensibilities. Their fashions longed for youthful freedom, awkwardness, and chaos: flared sequin capes paired with low-rise trousers, while sheer long-sleeve tops complemented baggy skirt pants and tights alike. Across the line, SF1OG's affinity for old-time craftsmanship — lacework, corsetry, and distressing included — looked especially impressive on antique textiles, like vintage wools, leathers, and silks. Here, Dahl's goal was to show the audience a mirror to 'our own volatile, uncertain eras' — all of the conflicting phases throughout adolescence and beyond that, together, make us who we are. And if the number of illusory arrows targeting models' heads wasn't proof enough, SF1OG hit the bullseye. Ottolinger designers Christa Bösch and Cosima Gadient presented their first-ever show in their home city of Berlin this season to celebrate their label's 10th anniversary. At the Palais am Funktrum, the imprint's runway, titled 'Heidi,' was filled with powerful, feminine-powered 'fits — all part of a stylistic story about being an older sister. 'Being the cooler older sister isn't about being perfect,' the brand wrote in its show notes. 'It's about having lived-loved too hard, fallen harder, found her way back, and doing it all in a way that makes you believe you can too. She's the one who broke the rules first — so you wouldn't have to be afraid of breaking them.' As you can imagine, the result looked fearless. Haderlump Atelier's Spring 2026 collection was all about authorship and ownership—hence, the massive piles of printed and signed words that provided the set for Johann Ehrhardt's latest manifesto. The line's title, 'Exlibro,' Latin for 'from the books,' references the miniature nameplates that were once kept inside books as a means of identification. Those tiny artworks, per the label, were mottos, coats of arms, and mythological figures, 'each one a quiet yet deliberate declaration: This is mine. This is who I am.' HADERLUMP's fashion line championed that concept, dressing its scholarly muses in sculptural and expressive silhouettes inspired by those historical bookplates. Thus, strong-shouldered coats and clean bombers asserted dominance, while layered skirts flowed from their wearers' waists like pages from a book. The intention was for each design to look like a personal artifact, and it's safe to say we could see many of these pieces in a far-off retrospective. PALMWINE IceCREAM's Spring 2026 collection, 'MUSE,' was a masterful presentation of bursting color. Bridging his two hometowns of London and Accra, founder and designer Kusi Kubi was inspired by all of the empowered women in his life and their contributions to his creativity and community. In a kaleidoscopic celebration of femininity, the line's naturally dyed leathers, organza, mesh, and deadstock textiles turned up the genderless line's exposure to the max. Northern Ghanaian leather, specifically, claimed the leading role with coloring done by generational tree bark and sun-dying methods. Elsewhere, giraffe-printed boots were hand-painted, and striking bags were constructed with embellished calabash shells.
