At a walkthrough of Self-Portrait’s spring 2026 collection, conversation quickly turned to this season’s reshuffle of creative directors, and the 15 debut-making designers vying to define the look of the moment. Founder Han Chong is, like all of us, curious to see what happens there, but will happily leave it to them to set the agenda. The great thing about Self-Portrait, and the reason it continues to be such a commercial phenomenon, is that Chong is more interested in reflecting back and refining what is already fashionable. If the collective mood says polka-dot dresses or funnel-neck jackets are in vogue, he’ll oblige, with tweaks to proportion, cut and fabrication to make them as wearable and relatable as possible. “The question is always: how do we build on and perfect a piece?” he said. “So it’s timeless even after the trend moves on.” It’s not radical, but the clothes are nice, and it works.

Chong began to think about this season while on a flight somewhere between the heat of a Hong Kong summer and the chill of a London one. “Every time I go to Asia, I’m like, ‘Shit, it’s too hot to get dressed,’” he said. “Then I go to Europe or the United States, and well, our suitcases should be able to accommodate all climates.” The task, then, became about dressing for summer when summer means different things around the world. His solution was a wardrobe that had it both ways: autumnal in look but as light as spring in construction. Crochet rompers, cropped trench coats, and viscose-rayon maxis with plunge-back cutouts. One-shouldered sateen shifts, a mesh column tiled with rhinestones, and halter-neck minis in croc-lasered denim. The leather used for drop-waist biker jackets and shrunken bombers and ruffled short-shorts was so supple it almost felt like silk, while a new jersey development—ultrafine with enough weight to hold a sculpted drape—resulted in asymmetrically gathered gowns with big swooping hems in baby pink, yellow, and variegated stripes.

Self-Portrait’s ability to innovate in fabrication comes down to scale. Chong has built state-of-the-art manufacturing hubs throughout Asia, which means he can really drill down into the minutiae—composition, finishes, the tiniest trim details—and respond quickly when sales data shows what his customers actually want. (In many ways, he’s become more of a product designer, obsessively improving upon his last creation, than a fashion-with-a-capital-F designer.) What those women are choosing are pieces with cleaner lines and fewer embellishments. “Our audience is diverse, but the best-sellers across the board tend to be light and fresh,” he said. “So this had to feel freer.” It was a sense of ease that extended to the lookbook, which, for once, wasn’t shot against a backdrop with mannered poses, but out and about on the streets of London. The clothes looked all the better for it: a little less precious. You believed the models inside them could also just be people.