It’s been a rollercoaster of a fashion season, which concluded with the final day of Paris Fashion Week yesterday. An unprecedented number of debuts took place at fashion’s biggest houses – so many that it was, at times, hard to keep track – from Jonathan Anderson’s fantasy-inflected first take on the Dior woman to Matthieu Blazy’s joyful start at Chanel. With these blockbuster moments dominating much of the airtime, some intriguing displays from independent brands may have flown under the radar – from beautiful imagery to bookshop takeovers, museum displays and travels across the pond, these talented designers are doing things their own way.
Here, we select the best collections you might have missed from the S/S 2026 season.
Stefan Cooke
(Image credit: Courtesy of Stefan Cooke. Photography by Angus Williams)
Stefan Cooke and Jake Burt have taken pleasure in doing things their own way over the past few seasons, opting to host relaxed gatherings rather than get caught up in the stress of producing runway shows. Last season, they invited friends, editors (and pets) to Burt’s east London shop, Jake’s, to try on pieces from their A/W 2025 collection. Amid jumper-swapping and chatter, an enormous cake by baker Louis Thompson provided a convivial centrepiece. This season, the pair took over Tenderbooks on Cecil Court, presenting their S/S 2026 collection with a newspaper-style lookbook and window display shot by Angus Williams. There was no cake this time, but generously filled ice buckets of beer (Thompson, however, did make an appearance as a model in the lookbook). The collection itself saw the pair’s unmistakable wardrobe take on skin-baring, thrown-together configurations – men in ecru trenches paired with tracksuit bottoms and ballet flats; women in chainmail mini-dresses and glam-rock boots, drop-waist pleats and chevron-detailed cinched jerseys. It made for an off-kilter but easy offering from two designers who somehow just get better season after season.
Lucila Safdie
Since graduating from Central Saint Martins in 2021, Argentina-born Lucila Safdie has used her brand to explore various ideas of girlhood, drawing upon the worlds of cinema, literature and Tumblr to craft clothes that skew saccharine fantasies with the wearable edge of the real women in her life. While most young designers are caught up in personal fantasies, already Safdie has grounded herself in a community – outside of the studio, she hosts a well-attended monthly film club, screening features that have inspired her world.
This season marked Safdie’s first appearance on the London Fashion Week calendar, and she used the opportunity to do something quite unusual. Inviting editors to the Soho Review gallery, the designer staged a teen bedroom scene where her models – impervious to their visitors, as teenagers so often are – lounged on beds and tried on her S/S 2026 designs in mirrors. The collection used Helen Rappaport’s book The Romanov Sisters as a starting point, translating its tragic tale into a 2010-coded wardrobe that brought together Peter Pan-collared jersey polos, frill-edged shorts and cut-out cotton dresses in girly hues of pink, white and grey. It was a clever and distinctive introduction to the designer’s world, marking the arrival of an intriguing new storyteller in the city. We’re looking forward to seeing what she does next.
16Arlington
(Image credit: Courtesy of 16Arlington)
Marco Capaldo enjoyed a season off the schedule, turning up to cheer on friends at their displays instead (the designer attended Chopova Lowena and Conner Ives in support). Presenting his S/S 2026 collection with a sleek, pared-back lookbook circulated online, this season Capaldo was thinking about an ineffable quality of glamour that stretches through decades. 1920s lingerie, 1940s sleepwear, 1970s shirting and 1990s pencil skirts formed the framework of his collection, creating points of intrigue through an assemblage of tactile textures and embellishments – from a delicate brown feather trim floating from oversized trench coats to a dress formed of glimmering strands of sequins. These were clothes, said the brand, ‘made to be worn; to be seen in movement; to be enjoyed’.
Federico Cina
(Image credit: Courtesy of Federico Cina. Photography by Ilenia Luzzara)
Italian designer Federico Cina named his S/S 2026 collection ‘Sottovoce’ – meaning to speak in a low or hushed tone. In keeping with the word’s dulcet spirit, he chose to forgo the circus of a runway show for something quieter during Milan Fashion Week. Inviting guests to Fondazione Sozzani, the designer created a ‘silent landscape’ where models gently embraced before paper backdrops, while others interacted with the cool blue set, slipping their arms into paper jackets affixed to the walls. The clothes themselves explored ideas of fragility and structure through workwear silhouettes and crisp tailoring in a palette of blue, white and grey, inspired by the muted paintings of Bologna-born artist Giorgio Morandi. The soothing presentation, said Cina, was about pausing to contemplate what it means to ‘inhabit a place, a body, a garment, the world’.
Vaquera
(Image credit: Courtesy of Vaquera)
Over the past decade, Patric DiCaprio and Bryn Taubensee have established Vaquera as one of the most original forces in New York’s fashion scene. As the brand turned ten, they promptly upped sticks to Paris – keen, it would seem, on retaining their underdog status. This season, they were thinking about ideas of ‘good’ and ‘bad’ taste, presenting a cast of unruly, expressively dressed characters in an intimate showspace covered in draped curtains.
Proposing the idea that there’s a right place and time to wear anything, this season their typically berserk wardrobe mixed up romantic 18th century dress, square-shouldered two-piece sets of an 1980s bent, and surreal patchworked lingerie, worn with sneakers that were the product of a new collaboration with Nike – a sign of the ever-rising popularity of their witty, anti-glam aesthetic.
‘We moved to Paris this summer – iconically the centre of “good taste”,’ said the pair. ‘But what does that mean? When you start to see the world through our lens, you realise that these categories don’t exist… We are always examining why we are still doing this brand after so many years. The answer we always come back to is joy.’
Hodakova
(Image credit: Courtesy of Hodakova)
Ellen Hodakova Larsson has hit her stride. Marking her second Paris display since winning the LVMH Prize last year, the Swedish designer showed her S/S 2026 collection in the stony 1992 extension wing of the Musée Bourdelle. This season, as ever, saw a merging of stories from the designer’s rural upbringing with scattered references of personal artistic intrigue. Using an array of salvaged materials from Swedish small towns (vintage bed linens, leather furniture covers, and umbrella boning), the collection looked to three different makers for inspiration – Donatello’s 1440 woodwork of Mary Magdalene, the architectural metalwork of sculptor Claes Oldenburg, and the heritage thatch work of Joar Nilsson, who helped her make several of the collection’s straw-woven pieces. From this melting pot, a highly original wardrobe emerged, spanning bulbous outerwear in heavy leather, furry shapes that recalled mittens, and her first experiments with shoes, which arrived in rounded, toe-capped shapes with sturdy wooden heels. It made for a rich, textural study in form and material – and yet another glimpse into Larsson’s endlessly interesting world.
August Barron
(Image credit: Courtesy of August Barron)
Shown at Gare des Mines in Paris, August Barron’s S/S 2026 collection marked a new era for New York natives Bror August Vestbø and Benjamin Barron – their first since rebranding from All-In to a portmanteau of their names, and a new chapter across the pond in Paris (where they’ve been based for less than a year).
The collection continued the duo’s signature approach to character dressing, this time channelling the suburban housewife of 1950s America through a lens of ‘subversion and desire’. Inspired by Japanese bondage magazines in which women’s clothing appears caught mid-undress, garments were suspended in moments of ‘tension and release’ – shirts and cardigans lifted and frozen above the chest, double-layered hoodies revealing lace bras beneath, and dresses twisting across the body as zippers sliced through midriffs.
Styled by longtime collaborator Lotta Volkova, the show saw models – including Alex Consani – bounce animatedly through the space, ruffling the heads of onlookers on the front row. August Barron might have moved on from All-In, but their irreverent spirit, evidently, remains intact.
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