The directive for autumn? Let tailoring take the lead. By day three of Milan Fashion Week, the verdict was unmistakable: suiting is the season’s prevailing language. Not that the suit ever truly left. For Boss, tailoring is not a trend, it’s a language. But this season, the suit was rearticulated with a new fluency: texture on texture, layer upon deliberate layer, rich fabrications cut with razor precision. Creative director Marco Falcioni’s vision for the house has steadily sharpened over recent seasons.

Archival silhouettes were revisited and refined; late-1980s proportions, reimagined with assertive shoulders tapering into sculpted waists. Double-breasted jackets were paired with softly pleated trousers, styled with an ease that sidestepped anything resembling corporate uniform. Fine-gauge knits replaced traditional shirting. Leather, in particular ostrich, played a pivotal role. Outerwear ran the gamut of floor-grazing overcoats to cropped bombers. There was a sensuality to the structure, expressed through fabric rather than flash. This was power dressing, liberated.

Then there is the Boss man, embodied so enduringly by David Beckham. Season after season, he remains the ultimate expression of the brand’s codes: disciplined yet relaxed, polished yet approachable (if you can actually get to him). In this collection, you could imagine Beckham in nearly every look, no matter the colour palette: ink black, midnight navy, smoky grey, olive, russet brown, terra cotta, and golden ochre. Perhaps even with a reworked boutonnière made from the offcuts.

The runway made it clear that the Boss woman stands equally at the forefront. Tailoring and layering mirrored the men’s but introduced subtle provocations: cinched waists, elongated lapels, skirt slits just high enough. Long wool coats belted tightly at the waist created strong silhouettes with hints of archival paisley skills peeking under. The collection, in its entirety, felt urban, cosmopolitan, and unapologetically ambitious.

Falcioni’s Boss is not reinventing the suit—it is refining it. Through texture, layering, and impeccable tailoring, the brand reasserts its core identity while pushing it forward. The message is clear: power dressing is not about nostalgia. It’s about evolution. And at Boss, evolution looks impeccably cut.

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There is something powerful about a designer coming full circle—not to revisit the past but to forge ahead with renewed purpose and quiet authority. Maria Grazia Chiuri’s fall/winter 2026/27 collection for Fendi isn’t merely a new seasonal lineup but also a creative homecoming. Chiuri returns to the heritage Italian house where she spent 10 years in the late 1980s/’90s under the guidance of the five Fendi sisters as accessories designer—and now as chief creative officer.

The “Less I, More Us” written on the floor of the show’s space at the Fendi Milan headquarters on Via Solari functioned as more than scenography—it was a manifesto. At its core, the message signalled a rejection of the cult of the singular fashion auteur. In an industry often driven by ego and spectacle, Chiuri has long positioned herself as a designer who foregrounds collaboration: artisans, historians, writers, and the community of women who inspire her work. By literally inscribing the words beneath the models’ feet, she grounded the collection in the idea that fashion is a collective act, conceived by many hands, worn by many lives.

The show opened with a chain of black looks, and Chiuri’s signature was unmistakable: an emphasis on black, an affinity for tailoring, and a belief that fashion should reflect the wearer’s real life, not just a fantasy of it. Within this framework, blazers and pants took centre stage, not as afterthoughts but as the backbone of a wardrobe that traverses genders and seasons. There were recognizable elements from her time at Dior that have been seeded into Fendi: black lace, laser-cut leather, long ballet skirts, bias-cut gowns.

This collection was very much a change for Fendi, a brand known for bold colour combinations, patterns, and monograms. And so, the debate. Critics have called the collection “wearable” and “too safe.” Some voices in the fashion press and on social media have labelled it “basic,” (a Canadian tuxedo for her and another, for him) chiding it for its near absence of vibrant colour and dramatic “wow” moments. This critique—that the collection is too wearable—is a long-standing tension in Chiuri’s work. During her tenure at Dior, she was often celebrated for translating haute couture ideas into lived-in pieces. But the very quality that brought her commercial success and broad audience appeal has repeatedly been read by some as lack of theatricality.

While this collection was not a showcase of Fendi’s traditional boldness, we must remember that a designer’s aesthetic is a brushstroke—personal and essential. A fashion house can be rebuilt; a voice cannot. And Chiuri’s is one defined by intellectual rigour, emotional resonance, and silhouettes that speak softly but with conviction. Her clothes are less about immediate shock and more about sustained presence—pieces that, once in a wardrobe, become familiar, vital, even empowering. In an industry that often celebrates spectacle, that alone feels like its own kind of rebellion.

I am very much a Maria Grazia Chiuri fan—her ability to translate conviction into craft and to weave emotion into clothes that feel both personal and wearable while championing a vision of femininity that is modern and quietly radical. The Roman designer’s debut collection for the 101-year-old Roman fashion house is a strength that doesn’t need spectacle to be seen or heard. Chiuri understands that fashion, at its best, is not armour for performance but a companion to lived experiences. In an industry enamoured with volume and virality, this Fendi collection is a reminder that conviction can be quiet. And sometimes, the most radical gesture is refinement.

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While fashion cycles through aesthetics, eras, and attitudes, Yasmin Warsame has remained a quiet constant. The Somali Canadian model was discovered in the 1990s while strolling down Toronto’s Queen Street East, fresh out of university with a degree in psychology—and five months pregnant. From that moment, Warsame’s career became a study in quiet ascendance. She walked runways in New York, Paris, London, and Milan, moving with the poise of someone who understood fashion not as spectacle, but as dialogue. A breakthrough editorial for Vogue Italia, photographed by Steven Meisel, heralded her true arrival. Each season, in everything from Tom Ford’s Gucci and Karl Lagerfeld’s Chanel to Hedi Slimane’s Saint Laurent and Maximilian Davis’s Ferragamo, Warsame’s presence has been a study in adaptability—bridging generations and styles while retaining her own unmistakable look.

Prada look.

Off the runway, Warsame has shaped conversations as deliberately as she has started them. She has long championed diversity in fashion, lending her voice and visage to campaigns and initiatives that elevate designers and models from African and immigrant backgrounds. Her advocacy extends beyond the industry: she supports education charities and women’s empowerment programs, channelling her influence for causes that help those whose journeys of perseverance and self-determination mirror her own.

Warsame belongs to a generation of models whose success has been earned, not engineered—built on craft and professionalism. In an age of instant visibility, her 20-plus-year career feels almost revolutionary: a reminder that elegance, resilience, and purpose are timeless.

Re-pull look.

Chanel look.

Gucci look.

Maison Margiela look.

Ashlyn clothing, Alainpaul sandals, and Clash de Cartier ring.

Hermès top and Clash de Cartier necklace.

Chloé look.

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Spring is a season of change, and this year change has been especially pronounced in the fashion industry, defined by a high-stakes game of musical chairs that sent creative directors, maisons, and insiders into a state of heightened anticipation. Long-established houses shifted direction, new voices stepped into important roles, and the ripple effects sparked intrigue well beyond the runway. In moments like these, we are reminded that fashion (much like life) is not static but a living conversation between heritage and reinvention. For this spring edition of NUVO, Issue 108, we explore what it means to reimagine tradition while remaining grounded in craft, culture, and purpose. We’ve sought out stories that reflect a thoughtful evolution.

With Yasmin Warsame, our cover talent, we are celebrating the creativity of fashion as the industry seems poised to turn the page to its next chapter. Warsame, a Somali-born Canadian supermodel, captures this momentum through the season’s defining silhouettes. Fashion houses are redefining everyday dressing, with style becoming less about formality and more about freedom. It’s a conversation we see echoed not just on the runway but also in how people are choosing to dress: fluidly, confidently, and with a sense of individuality.

NUVO editor Claudia Cusano.

Design and architecture continue to shape how we gather, and in these pages, we highlight spaces that have been carefully rethought—museums, homes, and public spaces are being reshaped to foster dialogue. Behind them are designers and architects who are creating environments that encourage connection, reflection, and a deeper sense of belonging.

Travel, too, feels newly purposeful. Whether journeying to quieter coastlines, revisiting cultural institutions through fresh eyes, or discovering destinations that reward patience and curiosity, this issue celebrates travel as a form of connection to place, history, and self.

Throughout the issue, craftsmanship remains a guiding principle. Whether expressed through watches, ceramics, food, or wine, the makers profiled approach their crafts with precision and patience, displaying along the way that skilled hands and considered processes are more relevant than ever. In a world driven by speed, there is something quietly powerful about objects and ideas made to endure. Here’s to spring and what comes next.

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The season of red envelopes changing hands is upon us: Lunar New Year. And while tradition calls for paper envelopes symbolizing good fortune, watchmakers are offering something more enduring: Year of the Horse timepieces. In celebration of Year of the Horse, these limited-edition timepieces are designed to be worn, collected, and passed on.

IWC Portugieser Automatic 42 Year of the Horse

IWC marks Lunar New Year with a technically refined and symbolically rich limited edition: the Portugieser Automatic 42 Year of the Horse. Limited to just 500 pieces, this 42.4-millimetre wristwatch balances classic Portugieser proportions with festive flair. A burgundy dial, inspired by the auspicious red tones widely used in Lunar New Year celebrations, features golden hands, Roman numerals, the characteristic Portugieser subdials, and a seven-day power reserve indicator at 3 o’clock. IWC’s in-house calibre 52011 powers the watch. The real horological flourish is visible through the sapphire case back: a gold-plated rotor shaped like a galloping horse that makes for mechanical excellence paired with cultural storytelling.

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Piaget Altiplano Zodiac Horse Edition

For the Year of the Horse, Piaget elevates its Altiplano into a rarefied realm of artistry and ultrathin horology. Limited to just 18 pieces, this Altiplano Zodiac Horse Edition is a marvel of watchmaking. The 41-millimetre 18-karat white gold case is ringed with baguette-cut diamonds on the bezel, brilliant-cut stones along the lugs, and a rose-cut diamond on the crown. The dial is a master class in paillonné and cloisonné enamel work in shades of blue, grey, and white. Inside, Piaget’s ultrathin calibre 830P—just 2.5 millimetres—keeps the silhouette elegant while ensuring mechanical excellence. This Altiplano isn’t merely a zodiac tribute, it’s haute horlogerie of craft.

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Arnold & Son Perpetual Moon 41.5 Red Gold Year of the Horse

The Perpetual Moon 41.5 Red Gold Year of the Horse is a limited edition of just eight timepieces and blends high watchmaking with métiers d’art. Housed in a 41.5-millimetre red gold case, the dial unfolds as a nocturnal tableau: a hand-engraved rearing horse in 18-karat red gold is set against a star-specked black aventurine sky with a radiant mother-of-pearl moon. The manufacture A&S1512 movement offers exceptional lunar accuracy, requiring correction only once every 122 years, quite a flex of horological mastery. This timepiece is less about marking hours than about contemplating cycles: of time, of nature, and of myth.

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Dior Grand Soir Year of the Horse

Dior has long walked the line between couture and fine art, a sensibility it brings to its world of watchmaking. With the Grand Soir Year of the Horse, the maison transforms Lunar New Year into visual poetry. The Grand Soir, first released in 2010, has been a canvas for gem-set dials, handcrafted motifs, and sartorial creativity drawing on the maison’s heritage in fashion and haute jewellery. For the Year of the Horse, this 36-millimetre timepiece is a wearable work of art. A spirited horse rears across a mother-of-pearl dial dusted with diamonds, blue sapphires, yellow sapphires, amethysts, and fiery spessartite garnets. This is a limited edition of only 30 timepieces.

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For decades, Omega has been synonymous with Olympic time—measuring the moments that define careers, rewrite records, and live forever in the highlight reels. But during the Games, the watch manufacturer isn’t just tracking history by the millisecond; in Milan, it’s inviting the world inside it. Enter Omega House Milan, a cultural hub—occupying Cracco restaurant in Galleria Vittorio Emaneule—that functions as equal parts brand showcase and Olympic clubhouse.

Omega’s relationship with the Olympics dates back to 1932, when the brand first served as official timekeeper at the Los Angeles Games. Since then, Omega has revolutionized sports timing, introducing everything from photo-finish cameras to motion-tracking systems that capture results no human eye could ever clock. At Omega House, that legacy is brought to life through immersive displays and a behind-the-scenes look at how Olympic timing actually works. Omega House is a vibe where even George Clooney popped in, proving that timing pairs well with a little star power.

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Valentine’s Day arrives every year with the subtlety of a heart-shaped box and the emotional complexity of a prix-fixe menu. There are flowers destined to wilt, chocolates designed to disappear, and a collective agreement to pretend this is all very spontaneous. Jewellery, however, refuses to play along. It doesn’t expire, it doesn’t melt, and it doesn’t ask to be Instagrammed before it’s enjoyed. Instead, it’s worn, reworn, layered, borrowed, and eventually imbued with a meaning far more interesting than the occasion that inspired it. In a celebration built on grand gestures and a short shelf life, jewellery is the rare Valentine’s gift that feels stylishly immune to the whole thing. And so, these are our picks for jewellery that will be cherished well beyond February 14.

Clash de Cartier

Clash de Cartier has been turning heads since its 2019 launch, and the reverence hasn’t slowed down for a second. Clash is jewellery for someone who loves elegance but has that je ne sais quoi of the unapologetically cool. As a collection known for its distinctive studded mesh, Clash de Cartier is expanding its repertoire just in time for Valentine’s Day with extra-large volumes and adding coloured stones: dramatic onyx, lush green agate, and romantic pink chalcedony. Clash de Cartier is classic meets rebel and the ultimate love gift.

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Because Love Deserves Tiffany & Co.

No matter what’s inside a Tiffany & Co. box, the first sight of robin’s egg blue sets hearts racing. The storied Fifth Avenue jeweller remains a sure bet for Valentine’s Day with offerings as endless as love itself. From HardWear, LoveLock, and Elsa Peretti’s hearts to Pharrell Williams’s Titan, Tiffany &Co. speaks to every kind of romance. Symbols of love that feel as meaningful years later as they do the moment that blue box is opened.

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Chanel Coco Crush

Coco Crush from Chanel is the definition of cool-girl jewellery. One of the maison’s most recognizable codes—the quilted motif—is distilled into jewellery: the criss-cross pattern reinterpreted in gold. The collection spans rings, bracelets, necklaces, and earrings, but the real hero is the Coco Crush ear cuff, the kind of piece that makes an outfit feel styled in seconds. No piercing, no fuss, just slip it on and go. Worn solo or stacked, the ear cuff is modern, nonchalant, and unmistakably Chanel. This is jewellery that doesn’t try too hard—it doesn’t need to.

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Chopard Happy Hearts

The Chopard Happy Hearts collection is a gift that could actually make her heart skip a beat. With its dancing diamonds and signature heart motif, this collection turns rings, bracelets, necklaces, and earrings into playful talismans of affection. This is jewellery meant to be worn every day, not saved for special occasions. In addition to the jewellery, the Happy Hearts watch blends classic watchmaking with the collection’s spirited design, making for a romantic twist she’ll check every hour. Chopard Happy Hearts is wearable joy, forever.

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Wellendorf Noble-Forget-Me-Not Ring

Nothing says eternal like a circle that keeps on spinning, and that idea sits at the heart of every Wellendorff ring. Still family-run and proudly based in Pforzheim, Germany, Wellendorff is a rarity in modern jewellery, guided by heritage rather than hype. Its designs are distinguished by rich cold-enamel colours, velvety gold ropes, and craftsmanship you can actually feel—precisely why this ring makes a perfect Valentine’s Day gift. The heart motif is refined, while the rotating band adds playfulness—a symbol of love that doesn’t stand still.

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Van Cleef & Arpels Zodiaque Collection

Even the people who insist they’re not into zodiac signs usually are—just quietly. There’s a reason celestial culture has evolved into a multi-billion-dollar industry: astrology offers meaning, identity, and a sense of order, whether you read your daily horoscope religiously or pretend you don’t. Van Cleef & Arpels’s reimagined Zodiaque collection taps into the fascination. This year, the maison unveils 12 yellow gold bracelets featuring medallions and translating the symbols of the zodiac into wearable art. Giving Zodiaque isn’t just about jewellery; it’s offering something personal, thoughtful and timeless—a way to mark a connection written in the stars.

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From the moment Chanel staged its Métiers d’Art show in New York this past December—transforming the mythology of the maison into a cinematic subway reverie—the fashion world began asking the same question, in a hushed but insistent voice: What will Matthieu Blazy do with couture?

If New York sparked the question, the ready-to-wear began to outline the stakes. Blazy’s first two collections for Chanel didn’t merely reassure—they recalibrated expectations. They were confident without being loud and suggested a designer deeply attuned to the house’s codes yet unafraid to stretch them, gently, into the present. Couture, of course, is another proposition entirely. It is Chanel’s most sacred terrain. For decades, the ateliers (housed at 19M) have been the ultimate expression of the maison’s discipline—camellias rendered in feathers, tweed elevated to near-religious significance, craftsmanship operating at a level that borders on the devotional. Couture is not simply designing a collection but entering a conversation with Gabrielle Chanel herself.

Stephanie Cavalli opening the spring/summer 2026 Chanel couture show at the Grand Palais, Paris.

On Tuesday, beneath the soaring glass dome of the Grand Palais (a venue synonymous with the house’s most theatrical moments), Blazy set his debut couture show in a pink fairy-tale forest, a wonderland with looming magic mushrooms framed by pink weeping willows. When the first look emerged, Stephanie Cavalli in weightless mousseline, it signalled immediately that Blazy was reframing couture as something meant to be worn, not merely admired.

The looks that followed—including a pair of jeans and a white tank top—flowed like lingerie around the body in mousseline so fine that even through multiple layers you could still see skin. Even the Chanel 2.55 handbag was a glorious see-through objet. Blazy’s choice of mousseline was a deliberate nod to Mademoiselle Chanel: she was the first couturier to use mousseline as a standalone fabric, liberating it from its decorative role.

After the usual parade of daywear, with models of different ages, the collection really took flight. There were feathers, tweed coats, cocktail suits, sleeveless sheaths, beaded dresses, and a velvet blue and silver two-piece pant look that offered a counterpoint to the collection’s prevailing lightness. The final, signature look departed from the expectations of a classic couture wedding dress with Blazy presenting an oversized collared shirt and below-the-knee-length skirt made of mother-of-pearl scales. Shoes throughout the show translated the set into something wearable with mushroom heels.

The final look.

After the show, in the intimate salons of rue Cambon, clients lingered in eager anticipation, the press brushing against the garments as if in a gentle caress. What seemed simple at first glance (as some critics have commented) was transformed into the sublime. On closer view, jackets revealed extraordinary internal structure, hems were traced with a delicate signature Chanel chain, embroideries melted seamlessly into fabric rather than sitting upon it, and materials traditionally associated with formality were treated with unexpected lightness. Every piece whispered of alchemy, of artistry, of the poetry woven into every stitch.

Blazy is not a designer given to provocation for its own sake. His work suggests a fascination with the intelligence of clothes: the way fabric behaves, the way construction can be quietly radical. Haute couture, is by definition, an antidote to speed: months of labour, thousands of hours, hands trained over decades. In a fashion landscape increasingly driven by immediacy, Blazy’s couture debut for Chanel represents a pause worth savouring. It was a debut that asked for attention rather than demanding it. Blazy, it seems, isn’t promising fireworks, but rather meaning. And right now, that may be the most luxurious proposition of all.

Photographs courtesy of Chanel. 

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The Louis Vuitton Monterey is one of those rare accessories that manage to feel both delightfully unexpected and unmistakably rooted in the French maison’s design language. The 39-millimetre yellow-gold watch is a revival of Louis Vuitton’s first wristwatch, originally released in 1988 and now reimagined with a white Grand Feu dial (noticeably much simpler than its predecessor) and powered by an in-house automatic movement. It leans into a playful, almost retro-futuristic aesthetic with round edges and the signature crown at 12. In a crowded landscape with serious watches, the Monterey, limited to just 188 pieces, demonstrates that whimsy and watchmaking aren’t opposites but companions. Even the most joyful designs can house horological substance.

Louis Vuitton’s Monterey watch from 1988.

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When it launched in 1970, Range Rover made a bold statement: releasing a vehicle that bridged rugged capability and refined luxury—a design proposition unlike anything else on the road at the time. Today, as Range Rover marks more than half a century, its design legacy continues to inspire not just what a luxury SUV can be but also what it should feel like.

The original Range Rover model in Tuscan Blue, with its clean lines, floating roof, and balanced proportions, earned a place in the Louvre as an exhibit of “exemplary industrial design.” It remains the only automobile ever displayed there, a rare acknowledgement of artistry within engineering—and the moment that cemented Range Rover’s position as design icon.

How do you balance heritage and innovation in the Range Rover design philosophy? “A timeless design with very clear proportions,” says Martin Limpert, global managing director for Range Rover. “We have consistently evolved in the same design language and same kind of DNA of what Range Rover represents.” By this, Limpert implies sculpted, elegant, and unmistakably British.

Fifty-five years later, in the fifth generation of Range Rover “you still recognize the reductive modernist design philosophy,” Limpert continues, “through our interior design, exterior design, and even the apparel range.” Through each decade, Range Rover has mastered the balance between power and poise and can navigate a mud trail in the morning, pull up to the Met Gala in the evening, and look perfectly suited to both places. That seamless balance between off-road capability and ultraluxury design is unmatched. For Range Rover, rough terrain and red carpets aren’t opposites but rather complementary halves.

While Range Rover symbolizes adventure, it is also an icon of modern craftsmanship, and for years to come it will continue to be, as Limpert notes, “an object of desire.”

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