mschf x mercedes-amg | not for automotive use

Since 1972, the ‘Pin’ has been a defining silhouette for Delvaux, a curved-bottomed bag drawn in a few elegant gestures: two vertical lines and a gentle arc, often described as a smile traced in leather (two lines, one smile). This year, the Belgian house introduces a new interpretation of the classic: the Pin Twist. Lighter, more fluid, and distinctly adaptable, it offers a fresh take on one of Delvaux’s most iconic shapes. 

The Pin Twist joins a historic lineage at Delvaux, sitting alongside the Brillant, the Tempête, and the more recent Lingot and Cool Box. As the oldest fine leather goods house in the world – founded in Brussels in 1829 and the inventor of the modern handbag – Delvaux continues to rework its archive with an ever-original mind. The Pin Twist, with its emphasis on movement and transformation, is a timely evolution of a longstanding favourite.

While it retains the relaxed, easy form of the original Pin, the Twist is all about versatility. Designed to adapt, it can be worn crossbody, over the shoulder, or carried by hand, shifting easily between everyday and occasion. Made from soft Taurillon leather that holds its shape, the bag is discreetly finished with a zip closure and fitted interior, sized for daily essentials.

Available in six colours, ranging from warm neutrals to vibrant summer tones, the Pin Twist exudes lightness and charm throughout the day. Its strength, however, lies in the details: the softness of the leather, the ease of transformation, and the subtle playfulness that runs through the design.

The Pin Twist is now available online and in select stores. Find out more here.

photography. Delvaux
words. Gennaro Costanzo

Cardigans that don’t sit quite right, combined with a trench coat that signifies fieldwear rather than fashion week: for Resort 2026, Tory Burch leans into subversion by twisting familiar codes just far enough to make you do a double take.

The collection riffs on American sportswear archetypes, those wardrobe classics we think we know: polos, jeans, suits, and shirting. But here, collars are slashed and shoulders are left bare. What looks like a plaid flannel turns out to be soft, fluid viscose. A wrap dress isn’t really wrapped – it’s knotted, pulled, and draped with precision.

There’s a clear thread of utility throughout, often warped through a preppy lens. Shrunken field jackets are cut from vintage references found in Japan, now stitched with contrast seams and reinforced knees. A nod to workwear, yes, but also a challenge to its rigidity. Even the colour palette feels slightly off-kilter: splashes of greens, chartreuse clashing with oxblood, jade florals dyed to a single shade but shifting in the light, greys and navys holding it all down.

Fabrications walk a fine line between ease and extravagance. Raw-cut silk-cotton cloqué, sunset sequins on chiffon, crosshatch tailoring with engineered stripes – a thoughtful mix that mirrors how women actually dress. Nothing too perfect, and all the better for it.

Accessories push this offbeat sensibility further. The Balloon bag and Kira messenger return in high-gloss patent, while the Marshmallow satchel – that surprisingly squishy piece from Autumn 2022 – gets a reptilian update in khaki and espresso. Shoes continue the theme: monk-strap flats with sharp cut-outs, vampy lace-up wedges, and a Reva pump with a twisted heel that plays with proportions just enough to feel modern. Even the jewellery repeats this quirkiness, featuring oversized resin earrings (some with floating crystals), enamel chicken pins, rhinestone belts that fall slightly askew.

There’s humour here, and a kind of looseness, as if the collection got dressed with one eye closed and still nailed the proportions. Resort 2026 doesn’t try too hard to be clever, but it is. A polo shimmers with micro-sequins, a rhinestone belt shows up where it has no business being, and somewhere in the mix, an enamel chicken pin makes everything less formal.

It’s prep, it’s utility, it’s a little bit unhinged – in the best way possible. And honestly, who wouldn’t want their wardrobe to have a sense of humour right now?

Discover the collection here.

photography. Esther Theaker for Tory Burch
words. Gennaro Costanzo

Norwegian photographer Sølve Sundsbø has been named as the photographer for the 2026 Pirelli Calendar, marking the 62nd edition of the iconic annual publication. Nature will play a central role in the upcoming edition of The Cal™, which is currently being photographed in London and will be unveiled in Prague this November.

Known for his striking visual storytelling and pioneering use of technology, Sundsbø promises a calendar that defies expectations. “It’s a dream I have had for a very long time,” he says of the project. “With the 2026 calendar, I want to transport people into a world they don’t expect – a world that brings a sense of poetry, sensuality, and intimate mystery. It’s a reflection of my deep bond with nature and my curiosity, wonder, and storytelling.”

Born in Norway and based in London, Sundsbø is one of fashion’s most imaginative image-makers. His portfolio spans collaborations with houses including Chanel, Prada, and Louis Vuitton, as well as award-winning film work and editorial shoots for Vogue Italia, W, and i-D. His signature: dreamlike imagery that blends craftsmanship with technological experimentation, from 3D scanning to hand-painted retouching.

Sundsbø joins a celebrated roster of photographers who have shaped the Pirelli Calendar’s legacy since its inception in 1964, including Richard Avedon, Sarah Moon, Herb Ritts, Annie Leibovitz, Tim Walker, and most recently Ethan James Green. His 2026 edition is expected to bring a distinctive blend of emotion, nature, and surrealism to one of fashion’s most anticipated calendars.

photography. Sølve Sundsbø
words. Gennaro Costanzo