Seoul has become one of fashion’s most compelling stages: A city where neon-lit skyscrapers rise above centuries-old palaces, and a hyper-connected audience consumes style at the speed of a swipe. It’s here that COS chose to unveil its spring/summer 2026 collection titled Cinematic Beauty, a show that placed the brand’s quiet poise within a decidedly bold, industrial frame.
For COS, the choice of Seoul is never incidental. Rather, it’s an extension of the collection itself. With its layered history and relentless modernity, the city feels like a natural counterpart to “Cinematic Beauty”. As Karin Gustafsson, COS’s design director, tells me during our chat, “We had the collection, the theme, the colour story… and with Seoul, it was about the venue,” Gustafsson explains. “The industrial contrast to the collection felt really right. Seoul has so much history, but it’s also very modern, and the two felt good together.”
Staged in an abandoned bathhouse on the outskirts of the city, the show unfolded within a brutalist-inspired structure. Empty pools were transformed into a geometric runway with platforms and columns creating a surreal, almost cinematic landscape. Models emerged through a soft haze, walking to a soundtrack recorded on the bustling Seoul subway.
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The morning after, I made my way to Movement Lab in Hannam-dong, a furniture gallery turned temporary fashion showroom now housing the collection. It’s less a traditional display and more a meeting point with editors, talents, and brand insiders moving through the space in quiet conversation. Across from me sits Gustafsson, COS’s design director, composed in her signature uniform of head-to-toe black: A slightly oversized T-shirt worn over tailored slacks, and finished with understated heels. It’s a look that mirrors her design philosophy in being in being measured and imperturbable.
She’s still processing the show. The verdict, she admits, will take time to settle. But one thing is certain. “I feel proud of my team and what we have done as a team,” she says. “There’s been a lot of work going into it.”
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This relational approach is central to COS’s runway strategy. Previous shows have followed a similar logic. Most notably in Greece, where a marble quarry echoed references to Renaissance drapery and classical architecture. “We do the collection first,” she says simply. The location follows the narrative.
Staged in an abandoned bathhouse on the outskirts of the city, the show unfolded within a brutalist-inspired structure. Empty pools were transformed into a geometric runway with platforms and columns creating a surreal, almost cinematic landscape. Models emerged through a soft haze, walking to a soundtrack recorded on the bustling Seoul subway.
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Among those present to witness the debut Seoul runway were Hollywood A-listers Alexander Skarsgård and Emma Roberts; Thai heartthrob Mile Phakphum Romsaithong; Mika Hashizume; and some of South Korea’s biggest names, including MEOVV’s Ella, Seventeen’s Seungkwan, actors Lee Dongwook and Park Gyuyoung; social media influencer Irene Kim; and Mexican actor Diego Calva. Their presence lent star power to the event and underscored the global appeal of COS’s first show in Seoul.
Inside this stark frame, the collection came into focus. Conceived as a wardrobe for strong characters, the collection draws from the enduring elegance of American Gigolo (1980)—particularly the early Giorgio Armani tailoring worn by Richard Gere—filtered through a distinctly COS lens.
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The interplay between the ’80s and ’90s is key. Womenswear leans into a distilled minimalism: Slimmer, more sensual silhouettes softened by sheer ribbed knits and fluid draping, while strong shoulders nod to power dressing. There’s a familiarity here that feels especially resonant now, recalling the perennial charm of Carolyn Bessette Kennedy, whose refined, unfussy style continues to shape the modern fashion psyche which is thanks, in part, to Ryan Murphy's Love Story: John F. Kennedy Jr. & Carolyn Bessette mini series.
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Texture, however, is where the collection finds its edge. “The crinkle effect we have in both silk and leather feels really important,” Gustafsson notes. “It’s been quite flat for a long time, so we wanted to make it more texture-rich.” Linen anchors the palette appearing across both menswear and womenswear in raw, tactile finishes. Neutrals dominate, punctuated by precise hits of red and blue, while technical greys and creamy outerwear add depth and contrast.
Menswear follows suit with a refined ease via relaxed tailoring cut in slimmer proportions, transitional outerwear, and understated suede accents that lend a quiet sense of luxury. Functional details ground the looks, while soft leather sandals and loafers complete a wardrobe designed for modern, everyday wear.
Our conversation then shifts from the collection to COS’s place within a fashion landscape defined by constant movement. From Matthieu Blazy at Chanel to Jonathan Anderson at Dior, designers are reshaping and modernising storied Maisons, while Clare Waight Keller and Jonathan Saunders redefine the intersection of high fashion and high street at Uniqlo and & Other Stories, respectively. In the midst of it all, COS, positioned between luxury and mainstream fashion, remains notably steadfast with a growing consumer base.
“From day one, we carved out a space that was more quiet luxury—almost before that actually happened,” Gustafsson reflects. “We see that customers resonate with that, and more and more people want quality that lasts.” Rather than chasing momentum, the focus is on refinement. Cashmere, wool tailoring, silk, and now linen, all approached with an emphasis on materiality and longevity. A standout this season is a dense, foamy silk that mimics denim, bringing ease and tactility into womenswear with an inherent sense of quality.
When it comes to building a modern spring/summer wardrobe, Gustafsson resists overcomplication. “You should always dress in a way that your personality comes across,” she says. “Not to overpower yourself.” Her answer is pragmatic: Easy sets, often in linen, that offer versatility without sacrificing polish. Pieces that move seamlessly from work to evening, from one city to the next.
That instinct for restraint carries through not just in the wardrobe, but in how Gustafsson shows up within the industry at large. As one of the few women leading a global fashion brand, Gustafsson occupies a space that carries both visibility and responsibility. Her advice to young designers is grounded and direct. “Be confident in what you want to do. If you persist and continue to develop yourself, it will pay off. Focus on where you want to be and carve that out step by step.”
She’s equally candid about the value of missteps. “You shouldn’t be so scared of making mistakes,” she says. “It’s easy to feel like you’ve ruined everything when things don’t go as planned, but you learn from them and you move on.” Staying creatively engaged, she emphasises, requires intention. Time away from the studio—whether at exhibitions, markets, or simply out in the city—is essential. “If you’re not inspired, you can’t inspire anyone else.”
More recently, she’s found clarity in horse riding. It’s a practice that demands complete presence. “It’s one of the only times I’m not thinking about anything else,” she admits. Back in the studio, she champions creating space for creativity and encourages her team to step outside, to observe, to absorb. “I just want them to prioritise inspiration,” she says.
All photos: Courtesy of COS