Numéro Berlin

Following Oslo Runway’s invitation, Numéro Berlin experienced the 11th edition of Norway’s Fashion Week first-hand. The week was overshadowed by the passing of King Harald V, which set a whole country on half-mast. Afterparties were cancelled and minutes of silence held before the shows would start.

His work is defined by an inherently asymmetrical approach, working directly from the human body, with no pattern piece ever mirrored. When meeting the Berlin-based designer at his collection launch in Berlin, he told us about his work and his clothing line, LEB, a distilled, more focused line that concentrates on the most essential elements of the main collection. In conversation with Numéro Berlin, we got an insight into who he is as an artist and designer and into his way of thinking.

He produced some of the most recognizable hip hop tracks of this century, such as “Money Trees” (Kendrick Lamar), “Worst Behaviour” (Drake) and the iconic “I Don’t Fuck with You” (Big Sean) – Dahi. Back then still known as DJ Dahi, he has a talent for finishing songs with a certain creativity: He sampled, for example, Beach House for “Money Trees” and generally never shied away from thinking outside the box when it came to hip hop and rap.

A NEW TAKE ON CLASSICS BIRKENSTOCK and ETRO present a new collaboration, first unveiled during ETRO’s Fall/Winter 2026 runway show in Milan. The collection reinterprets two BIRKENSTOCK classics, the Boston clog and Gizeh sandal, through ETRO’s signature codes, including Paisley motifs, intricate embroidery, long fringe, Western-inspired buckles and Pegasus-branded rivets.

Gonzalez Haase AAS is one of the most recognizable names in architecture and design out of Berlin, though their reputation extends internationally. Since founding the studio in 1999, Judith Haase and Pierre Jorge Gonzalez have moved from designing spaces for Berlin’s gallery scene, working with next to no budget in the city’s early-2000s art world, to shaping projects for international names spanning art, design, and fashion, from Robert Wilson’s Watermill Center to Acne Studios and Ferrari.

England in the 14th century: a devastating wave of plague has wiped out large parts of the population. The people suffer under an oppressive tax burden and social injustice. Anger and despair over the tyrannical rule of the young King Richard II. spread further and further across the country. The simple peasant Ploughman (Andrew Garfield) has lost his entire family during the plague and now finds himself at the center of the Peasants’ Revolt of 1381, joining a group of rebels.

As the beautiful chaos of Oslo Runway slowly comes to an end, the crowd gathers for one of the last shows in Café Sara. On arrival, I’m not sure if I’m in the right place: an old-fashioned café on the street corner, “the most democratic café in Oslo,” as I would learn later. People sit outside at the tables, having promising-looking lunch inside and an early beer here and there. I find a seat in the backyard and wait with the rest of the fashion crowd for what’s to come.

Helena Narra is a hair and make-up stylist, creative consultant, and brand ambassador for John Frieda – in short, a true creative all-rounder. Based in Berlin, she moves fluidly between the worlds of beauty, editorial, and brand work, lending her eye to everything from single looks to full campaigns. Driven by a desire to lift up emerging talent, Helena recently organized an event built around one goal: giving up-and-coming creatives a platform to experiment, collaborate, and grow.

WESTSTERN CELEBRATES: NRW´S ART ASSOCIATIONS The €40,000 prize for the most compelling annual programme went to Kunstverein Siegen, whose focus on urban transformation, public space and participation particularly impressed the jury. A highlight was the group exhibition “_STADT”, presented inside the former KARSTADT department store.

Marcus: This is your first ever exhibition in Berlin. Does it have an implication for you to be exhibiting in this city? Jakub: From the Prague perspective, Berlin was always this capital of dark autumn nostalgia and post-rave depression. There is definitely a romanticisation. It was the nightlife we wanted to have in Prague, but maybe we were just afraid to go that deep into the darkness full-time.