Jack Davison Shoots Comme des Garçons AW26 for T

Jack Davison photographed Comme des Garçons' AW26 collection for T Magazine's Fall Women's Issue 2026, with Fatou Kebbeh modelling and Raphael Hirsch styling. The commission matters less for any single look than for what it adds to the season: Comme des Garçons AW26 is being told in print through photographers chosen one magazine at a time.

Jack Davison Last Shot for T in November 2025

Davison's Models.com listing shows a T cover and editorial dated November 16, 2025, which means this is his second assignment for the title in under a year. The Fall Women's Issue credits split the work three ways: Davison behind the camera, Hirsch on styling and Kebbeh in front of it.

Hirsch is the credit worth watching. A stylist decides which pieces from a collection leave the showroom, and Comme des Garçons shows are built from shapes that read differently once a garment is on a body that moves. A photographer such as Davison then has to decide how much of that shape survives a single frame.

Ultimately Black Opened With Sixteen Looks

Comme des Garçons AW26, also filed as FW26, was shown in Paris in March 2026 under the title Ultimately Black. Sixteen predominantly black looks, a few blended with white, opened the show, and Hypebeast described a burst of pink looks in the middle of it.

Rei Kawakubo's show text for the season argues that black is her colour, the strongest for creation and the one that carries a rebellious spirit. It ends on two sentences: "In the end, there is black. Ultimately black." That is the brief any editorial has to answer, and a Fall Women's Issue is a good place to answer it.

The black in question is not a uniform. Reports on the show vary on how many looks it contained, but they agree that the pink interrupted the black on purpose, so a photographer shooting AW26 chooses between the rule and the exception. Interview magazine read the collection as a new take on silhouette and shape, while ELLE Brasil read it as black prevailing in the end, and both readings are open to a camera that has to pick one look to hold.

Dazed Sent Roversi, Mapsworld Sent Masks

T is the third magazine route the season has taken. Dazed ran Kawakubo on its Autumn 2026 cover in an interview written by Ted Stansfield and photographed by Paolo Roversi, dated August 27, 2026, in which the 83 year old designer talked about AI, black and advice for young designers and described black as a colour of resistance, justice and independence.

Before that, a seven image editorial for Mapsworld Media, shot by Seiya Fujii and styled by Masahiro Hiramatsu, previewed Comme des Garçons Homme Plus FW26 with sculptural masks by Syn Murayama and the face of model Hibiki Tomiyama hidden in every frame. The women's collection now gets a name and a face in T, where Kebbeh is credited, while the menswear editorial erased its model.

The other Comme des Garçons lines moved through retail instead of editorials. Homme FW26 skipped the runway and went straight to Dover Street Market New York, where Junya Watanabe has designed the line since 2003, and Comme des Garçons Girl arrived on the third floor of the same store in late August. The Homme Plus menswear show that season carried a title of its own, Black Hole.

What the Credits Leave Out

The caption attached to the T images names a model, a photographer and a stylist, and it does not say which looks Kebbeh wears, how many pages the story runs or where it was shot. Those details sit inside the issue, and anything written about the pictures before reading the pages would be guesswork.

What the credits do establish is a pattern. In one season Comme des Garçons has handed its work to Roversi for Dazed, to Fujii for Mapsworld and to Davison for T, three photographers with three different relationships to black, and none of them is a house photographer. For a label that has built shows around a single colour and a single sentence, the discipline is in the variety of eyes it allows.

The season that follows is already on show: Homme Plus SS27, titled If The War Were To End, was presented at Élysée Montmartre with an installation in the courtyard of Dover Street Market Paris.