Mode – Numéro Berlin

VISIONARY ISSUE VOL. A – MAXIM BALLESTEROS

Anna Klusmeier — Mon, 09 Mar 2026 12:28:42 +0000

PHOTOGRAPHY MAXIME BALLESTEROS STYLING NIKITA VLASSENKO HAIR DALIBOR VRTINA MAKEUP MARIEKE THIBAUTS STYLING ASSISTANT SAMBA BARBÉ-CISSÉ TALENT TALI LENNOX SPECIAL THANKS ZOHRA ALAMI / PASSAGE ARCHIVES

Coat LES HEAL AW2009 Dress ALEXANDER MCQUEEN SS2011 Shoes DIOR BY JOHN GALLIANO AW2003 Tights STYLIST’S OWN Necklace JOHN GALLIANO 2000S

Jacket MARTIN MARGIELA SS2009 Shoes MARTIN MARGIELA AW2007 Tights STYLIST’S OWN

op VIVIENNE WESTWOOD SEDITIONARIES 1977 Skirt YOHJI YAMAMOTO AW2003 Belt A.F. VANDERVORST SS2003 Jewelry ANN DEMEULEMEESTER SS2003

Dress YOHJI YAMAMOTO SS2001 Earrings & tights STYLIST’S OWN Tights STYLIST’S OWN

Jacket ANNA-MARIE BERETTA AW1984 Corset TONI WHITAKER 1990S Skirt ANNE-MARIE BERETTA SS1990 Shoes SONIA RYKIEL 1996 Bag LANVIN BY ALBER ELBAZ SS2011 Bracelets ANNE-MARIE BERETTA AW1982

JUNYA WATANABE AW2000 Top COMME DES GARÇONS 2005

Dress MARTIN MARGIELA SS2002

Dress ALEXANDER MCQUEEN SS2011 Gloves THIERRY MUGLER 1990S

Dress A.F. VANDERVORST SS2002 Shoes MARTIN MARGIELA 2000S

Tights STYLIST’S OWN

Dress ANNE-MARIE BERETTA AW1990 Top JEAN-LOUIS SCHERRER HAUTE COUTURE 2002

Dress ALEXANDER MCQUEEN AW2010 PROTOTYPE COLLECTION POSTHUME

Dress JOHN GALLIANO RESORT 2008 Shoes JOHN GALLIANO 2000S Hat STYLIST’S OWN Necklace JOHN GALLIANO 2008 Gloves ANNE-MARIE

Coat LES HEAL AW2009 Dress ALEXANDER MCQUEEN SS2011 Shoes DIOR BY JOHN GALLIANO AW2003 Tights STYLIST’S OWN Necklace JOHN GALLIANO 2000S

Jacket MARTIN MARGIELA SS2009 Shoes MARTIN MARGIELA AW2007 Tights STYLIST’S OWN

op VIVIENNE WESTWOOD SEDITIONARIES 1977 Skirt YOHJI YAMAMOTO AW2003 Belt A.F. VANDERVORST SS2003 Jewelry ANN DEMEULEMEESTER SS2003

Dress YOHJI YAMAMOTO SS2001 Earrings & tights STYLIST’S OWN Tights STYLIST’S OWN

Jacket ANNA-MARIE BERETTA AW1984 Corset TONI WHITAKER 1990S Skirt ANNE-MARIE BERETTA SS1990 Shoes SONIA RYKIEL 1996 Bag LANVIN BY ALBER ELBAZ SS2011 Bracelets ANNE-MARIE BERETTA AW1982

JUNYA WATANABE AW2000 Top COMME DES GARÇONS 2005

Dress MARTIN MARGIELA SS2002

Dress ALEXANDER MCQUEEN SS2011 Gloves THIERRY MUGLER 1990S

Dress A.F. VANDERVORST SS2002 Shoes MARTIN MARGIELA 2000S

Tights STYLIST’S OWN

Dress ANNE-MARIE BERETTA AW1990 Top JEAN-LOUIS SCHERRER HAUTE COUTURE 2002

Dress ALEXANDER MCQUEEN AW2010 PROTOTYPE COLLECTION POSTHUME

Dress JOHN GALLIANO RESORT 2008 Shoes JOHN GALLIANO 2000S Hat STYLIST’S OWN Necklace JOHN GALLIANO 2008 Gloves ANNE-MARIE

DOLCE&GABBANA SS26 – PYJAMAS

Anna Klusmeier — Fri, 13 Feb 2026 17:19:32 +0000

Forget pyjamas in the bedroom. Dolce & Gabbana takes the classic pyjama out of its private niche and catapults it directly into the spotlight of street styles and dinner parties. The result? A collection that provocatively dissolves the boundary between comfort and high end elegance.

It is no secret that the Italian duo Domenico Dolce and Stefano Gabbana has a knack for staging intimacy. But this season they redefine the concept of loungewear entirely. The classic pyjama two piece forms the heart of their vision, yet what walks across the runway shares only the silhouette with original nightwear.

Despite the classic cuts the designs exude an extravagant sophistication. Dolce & Gabbana prove how versatile the pyjama concept can be. We see models covered in Swarovski crystals or captivating through delicate floral embroideries.

The epitome of the traditional cotton pyjama remains. Striped looks in baby blue, soft pink and timeless black form the basis but appear anything but ordinary through the combinations and the perfect drape.

The play with proportions is essential for this look. While the trend clearly moves towards oversized cuts that radiate a casual nonchalance, the house skillfully breaks these volumes. Matching, tiny bustiers paired with flowing pyjama trousers create an aesthetic that is simultaneously cozy and sexy.

Dolce & Gabbana show us that the pyjama is a fashion chameleon. Combined with trench coats, structured blazers or leather, the look appears in a completely new urban light.

Especially exciting in connection with an opulent fur coat or a sharp blazer, the two piece transforms into an elegant dinner look that can skillfully keep up with any evening gown. Looks with black lace provide a feeling of lingerie while still looking dressed. Who would have thought that pyjamas could be so sexy and elegant?

Dolce & Gabbana has allowed the pyjama to show how bright it can actually shine.

IN CONVERSATION WITH SABER AHMED

Anna Klusmeier — Thu, 12 Feb 2026 15:34:19 +0000

Juliette Leoncini Roux – @juliette.leoncini

At Ogata, Glass Cypress held its first fashion show in Paris with its Fall Winter 2026 collection titled “A Quiet Frontier.” Founded in 2016 by brothers Saber Ahmed and Samee Ahmed, the Texas-based menswear label has evolved outside the traditional fashion capitals. Raised by Bangladeshi parents, the brothers grew up with a sensitivity to craft and material that continues to inform the brand’s contemporary language in quiet, deliberate ways.

The rooms were spare yet quietly striking, light settling gently across wood and stone. There was a sense of stillness before anything began. On every chair lay an envelope containing a letter and a pen, waiting.

The note opened simply: “Dear friends, thank you for being here. My name, Saber, means patience, a value I did not naturally possess and one I have learned through time and work.” What followed reflected on discipline and reduction, on removing excess so that form could surface through repetition. The garments, it explained, were constructed without added effect, designed to sit with the body and reveal themselves gradually through wear.

When the show ended, the invitation remained. Guests were asked to respond, leaving behind a word of their own.

Glass Cypress continues to work closely with artisans, employing techniques such as dyeing, quilting, gathering, bridging, and washing. In Paris, the space, the letter, and the work itself seemed to move at the same tempo, unhurried and deliberate, leaving an impression that lingered long after the room had emptied.

Juliette Leoncini Roux – @juliette.leoncini

Elena Kaempfe: This season marked your first presentation in Paris. What did that moment represent for you, both personally and professionally?

Saber Ahmed: Everything I do is a continuation of a body of work. Showing in Paris felt less like an arrival and more like
a moment of alignment, when the clarity of the brand and the reason for making the work felt fully formed
and ready to be shared. Personally, it confirmed that the intuition guiding the process could hold up under
scrutiny.

What was the starting point for this collection? Was there a specific reference, idea, or period you kept returning to?

I try to avoid working from fixed references. The collection began with a feeling I experienced while
walking in Jackson Hole, watching my niece move freely through an open landscape. That sense of scale,
movement, and quiet tension became the foundation.

Juliette Leoncini Roux – @juliette.leoncini

That sense of scale and tension is very present in the silhouettes. How did that feeling translate into construction and material on the runway?

It translated through construction rather than imagery. I was interested in the beauty that emerges from tension, in how landscapes are worn in and shaped over time. Techniques such as gathering, bridging, and washing were used to test gravity and use, allowing garments to collaborate with time rather than resist it.

What proved most challenging during the process?

Restraint. It is easy to over-design, and learning when to stop, to trust repetition and editing, was the most demanding part of the process.

Juliette Leoncini Roux – @juliette.leoncini

The casting felt very intentional and understated. What was your vision for the models?

I wanted models who could carry tension and human presence without projecting personality or attitude.
The intention was for the garments to speak first, without any performance or narrative attached.

You are based in Texas, which is not typically associated with contemporary menswear. How does that distance shape your work?

Texas is not a fashion reference point, and that distance is important. It allows me to work without
constant visual noise or immediate comparison, which keeps the process grounded and personal.

How would you say living in Texas nourishes you as an artist?

It provides distance from trends, urgency, and general overexposure. That separation gives ideas time to
mature and cultivate internally and quietly before they are shared.

Do you see your work as connected to a specific place, or do you try to keep it geographically open?

The work is informed by context but not tied to one place. I am more interested in conditions such as time,
movement, pressure, and of course texture, than geography.

Juliette Leoncini Roux – @juliette.leoncini

How do you see the current state of menswear, and where do you position Glass Cypress within it?

Menswear today moves very quickly. Glass Cypress exists intentionally outside that pace. I am less
interested in novelty and more focused on continuity, building a language that can be returned to and
refined over time.

How would you describe your vision of modern menswear?

Classic pieces are forms that have already proven their longevity. Working within familiar structures forces
discipline and leaves little room to hide behind novelty.

You continue to work with classic pieces like shirts and tailoring. What draws you back to these forms today?

Classic pieces are forms that have already proven their longevity. Working within familiar structures forces
discipline and leaves little room to hide behind novelty.

In a fashion climate that often prioritizes novelty, what does classic mean to you now?

I don’t think classic is a refusal of change. Fashion exists because of the impulse to leave what is familiar
and move toward something new. At the same time, moving too far from the idea or too quickly risks
isolation. For me, classic lives in the tension between novelty and sameness. It is a balance, introducing
subtle difference without abandoning the idea, allowing garments to evolve while still remaining legible
and usable over time.

The name Glass Cypress suggests a contrast between fragility and strength. How did the name come about, and how does it relate to the brand’s identity?

The name reflects the same tension that runs through the work. Glass Cypress is about balancing
opposing forces i.e. fragility and strength, novelty and sameness. The clothes are meant to introduce
subtle differences without removing familiarity, allowing forms to adapt and erode without losing their
structure. That balance gives the work durability, both physically and conceptually.

The Paris venue was very considered visually. How involved were you in choosing the space, and what role did it play in presenting the collection?

The space was integral. Ogata is quiet, precise, and built around attention rather than spectacle. It
allowed the collection to exist without distraction, which was important to me.

Juliette Leoncini Roux – @juliette.leoncini

When you think about the wearer, are you designing for a specific person or a broader idea of masculinity?

I am designing for someone who understands balance. Someone who values familiarity but is not
confined by it, and who is open to change without chasing novelty for its own sake. It is less about
masculinity and more about conviction and presence, where the clothes adapt to the wearer and
confidence remains intact, even as the garments change.

After this Paris presentation, what feels most important for you moving forward as a designer?

Continuity and balance. I am focused on refining the language rather than expanding it. I’ll try to make
sure the work holds up quietly, over time, without needing constant explanation.

Juliette Leoncini Roux – @juliette.leoncini

VALENTINES DAY AT NUGNES 1920

Anna Klusmeier — Tue, 10 Feb 2026 12:04:51 +0000

In the 1920s, Giuseppe Nugnes laid the foundation for a vision in the heart of Puglia that, four generations later, stands as the essential expression of Southern Italian elegance. What began as a bespoke tailoring atelier in Trani has evolved under the family’s stewardship into a global benchmark for curated luxury.

The house’s identity is rooted in quiet confidence, an aesthetic that doesn’t need to shout to be heard. This very sense of understatement is what draws icons like The Row, Saint Laurent, Miu Miu, and Jil Sander together within the world of Nugnes. It’s a perfect symbiosis of artisanal heritage and contemporary avant-garde.

Quiet presence, grand gestures.

For Valentine’s Day, this philosophy manifests in the art of intentional choice. At Nugnes 1920, gifting is more than a mere gesture. It’s a purposeful selection. This year’s curation bridges emotional depth with sartorial precision.

For her, sculptural accents come to life in heart-shaped earrings by Bottega Veneta or iconic Alaïa slingbacks that lend a razor-sharp edge to modern romanticism. For him, artisanal perfection takes center stage: polished Tom Ford loafers and Brunello Cucinelli leather accessories embody a masculine sovereignty that transcends fleeting trends.

These are pieces that tell their own story, an invitation to timeless elegance.

Explore the curated Valentine’s Day selection now online at nugnes1920.com and in our flagship boutiques in Trani and Bari.

DEMNAS OWN LENS DEFINES GUCCI

Anna Klusmeier — Thu, 04 Dec 2025 12:20:38 +0000

Presented as a lookbook captured through Demna’s own camera, the collection immediately carries a rare sense of intimacy. It is striking to see a creative director step behind the lens, and the result feels like an unfiltered conversation between him and the world of Gucci. Generation Gucci becomes less a documentation of clothes and more a portrait of his vision, built from the House’s long history and reshaped with his unmistakable modern edge.
What emerges is a wardrobe that moves with quiet confidence. Tailoring has an airy elegance, silk carries a soft aged feel yet remains timeless, and lines stay fluid, allowing the pieces to fall naturally as if they have always belonged to the wearer. There is a gentle sophistication throughout the collection, a calm luxury that never announces itself but is felt in every detail.

Demna’s modern twist appears in subtle gestures: a touch of nineties attitude in leather and denim, sleeker silhouettes that feel contemporary, and fluid travel ready sets that move with effortless rhythm. Outerwear envelopes the body in texture through layered combinations of shearling, silk and featherlight elements, while evening looks drift naturally, balancing relaxed ease with refined elegance through transparent layers, silk and jersey.

Accessories and shoes complete the narrative, evolving familiar Gucci shapes with just enough change to signal a new era without erasing the past, with small unexpected details like subtle spikes on loafers, seamless heels, or lightly reshaped bags.

Taken together, Generation Gucci reads as a reflection of the House through Demna’s own lens. Chic without stiffness, modern without coldness, grounded in memory yet reaching toward something new, it is a confident statement of a chapter shaped by someone who understands Gucci’s history deeply enough to push it forward with clarity and vision.

Dolce & Gabbana Alta Moda and Alta Sartoria Collection

Anna Klusmeier — Mon, 20 Oct 2025 14:19:53 +0000

Domenico Dolce and Stefano Gabbana called the city “the triumph of Beauty.” From emperors to La Dolce Vita, they celebrated its power to inspire art, cinema, and fashion. Rome, they declared, remains the eternal muse of dreams and creation.

Photo by Luigi & Iango Model: Kristen McMenamy

Alta Moda collection which was presented at the Foro Romano celebrated Rome’s grandeur, blending ancient myth with Renaissance and Baroque splendor. Inspired by the elegance of 1950s cinema and couture, each handmade creation honored the city’s timeless artistry. It was a tribute to Rome as the heart of Alta Moda and Made in Italy.

Photo by Luigi & Iango Model: Kristen McMenamy

Presented at Castel Sant’Angelo, Alta Sartoria collection paid homage to ecclesiastical tailoring and Rome’s sacred legacy. Drawing from the robes of popes and cardinals, the collection showcased centuries of Italian craftsmanship. It was a union of faith, history, and meticulous handwork.

Photo by Luigi & Iango

CAMPAIGN – Alliance of the Epic II

Anna Klusmeier — Thu, 25 Sep 2025 16:22:29 +0000

Founded in London in 2021 by creative director, Saeed Agboke, Geschwister is an avant-garde luxury label exploring fashion as a form of art, storytelling, and cultural critique. Through its conceptual collections and resistance to the traditional industry model of designing multiple seasons a year, Geschwister reimagines luxury as more than scarcity

or status, framing clothing as a medium for relaying “valuable” lessons or sparking meaningful conversations. At its core lies a deep curiosity about the intricate dimensions of identity and the relationships between individuals… the beauties, the passions, the frictions that are central to our shared human experience.

The newest campaign, “The Alliance of the Epic II” unfolds in a remote forest in Hertfordshire England, where characters gardbed in Geschwister and medieval war armour bring the brand’s artwork to life. Portraits of strength and nobility emerge. The distinct markings of Geschwister become their uniform. Photographed by Philipp Raheem, this palimpsest of heritage imagery encapsulates a new emerging order: one that is unafraid of tension or differences, yet steadfast in its moral, unifying, and material integrity.