Runway
For FW26, ManéMané is inspired by existentialist art, literature, and cinema, exploring the profound tension between gravity and weightlessness. Explore how the brand masterfully translates "the void" into highly covetable fashion.
Updated 08:29 pm EDT, March 20, 2026
Published 08:28 pm EDT, March 20, 2026
Photo Courtesy: © IFEMA MADRID
For FW26, ManéMané is inspired by existentialist art, literature, and cinema, exploring the profound tension between gravity and weightlessness. Explore how the brand masterfully translates "the void" into highly covetable fashion.
Updated 08:29 pm EDT, March 20, 2026
Published 08:28 pm EDT, March 20, 2026
Photo Courtesy: © IFEMA MADRID
What exists between our body and the space around us? Some may be inclined to say “nothing,” as, understandably, there’s nothing tangible to be seen there. However, others may take a different, less physical view. Looking to philosophy and, more specifically, existentialism, some may see the space as full of tension between gravity and weightlessness, and existence and non-existence.
It was this tension that Miguel Becer sought to explore for his Fall/Winter 2026 collection for ManéMané. To aid in this exploration, Becer specifically looked to existentialist sources in art, literature, and cinema for inspiration. These included Yves Klein’s iconic work “Leap into the Void” (1960), Milan Kundera’s novel The Unbearable Lightness of Being (1984), and Wong Kar-Wai’s film In the Mood for Love (2000).
The result was a showcase rife with contrasting textures, thoughtfully exposed skin, and distinct takes on layering. In terms of the first of these, several looks saw weighty textiles paired with those that were lighter. Perhaps the most intriguing example of this was the use of faux fur.
In one instance, a light blue stole was layered under the straps of a silky brown maxi dress, creating an interesting reference to the tension between heaviness and lightness. At the same time, similar stoles were placed along the hems of some garments, physically weighing them down. This included a relatively simple yellow and brown striped shirt with an oversized collar, which had a beige sole attached at the bottom.
Cutouts and skin-baring garments were also a prominent feature. A series of dresses saw a triangle cutout starting at the base of the bust and ending at the belly button. At the same time, cropped shirts were paired with low-rise pants and skirts, exposing the entire torso. Often, the sets had spiralled fabric flowers with a loose “stem” stitched onto them. This detail not only added movement to the garments but also helped to emphasize the flowing, ethereal theme of the show.
Aside from these standout elements, Becer also played with elements of traditional suiting, producing sets and separates that were undeniably cool. This included a navy blue polka-dot skirt suit, consisting of a cinched blazer with a rounded collar and a chic low-rise mini skirt, and a long, grey backless vest with two playfully mismatched buttons at the front.
In his meditation on “the void” and how our bodies interact with it, Becer created a collection that is as thoughtful as it is playful. The use of opposing fabrics and cutouts, combined with silhouettes that will surely resonate with a young, dynamic audience, makes it both intriguing and covetable. When analyzed as a whole, ManéMané’s latest show proves that it’s a brand to watch on the contemporary fashion scene, both in Spain and beyond.
Sarah Powless is a freelance writer currently based in New York. Previously, she has written for a variety of fashion and culture names, including CR Fashion Book, Daily Front Row, Worth Magazine and Wearing Magazine. Her work covers a broad range of subjects including, style, history, pop-culture, sustainability, and lifestyle.
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