Behind our Fall ‘26 shoot with Tadaima

Fall ‘26 continues familiar codes of precision and materiality. Signature T-shirt styles are elevated through the luxurious look and feel of silk and cashmere, while new knitwear additions carry an architectural edge. Meanwhile, our core collection is updated in seasonal hues – all steeped in a warm, weathered palette inspired by our hometown of Copenhagen.

Following an emerging Son of a Tailor tradition, the collection unfolds in dialogue with furniture and objects that in their own right stand for precision and materiality. This season’s collaboration partner is Tadaima, a Copenhagen-based design destination just one block from our own office. Founded and led by mother-daughters trio Hanne, Emma, and Josefine Berzant, Tadaima stands out through meticulous curation while sharing Son of a Tailor’s commitment to craftsmanship, timeless design, and responsible manufacturing.

Curation for discovery

Stepping into Tadaima’s apartment store in central Copenhagen is a deeply personal experience. “It feels more like a home than a shop,” emphasizes Josefine, and that is intentional, as the name suggests: the Japanese expression ‘Tadaima’ translates to ‘I’m home’, and in their bright and airy space, “each piece contributes to the conversation on material, craftsmanship, and what makes a home.” This extends beyond the apartment store’s walls into the three founders’ own homes. “We like to test the different products at home,” Emma adds. “We use the David Mellor coffee pot every day; we use the Sundance Studio coasters to put our cup on. So when we meet clients or do the storytelling, we can advocate for the pieces because we use them ourselves.”

This personal approach and well-trained eye for proportion, tactility, and the small details that make a piece truly special result in a universe that’s strikingly coherent yet anything but predictable. Emma reflects, “Many of our customers come up here seeking a feeling of getting introduced to something new.” More often than not, that doesn’t mean that the piece or the brand have to be new in the literal sense. “We like to take items out of context,” Josefine explains. “Everything can change according to the environment. Let’s say something appears very industrial or very English, then we take it out of that context and pair it with something else and people see it in a completely different light.” And Emma elaborates, “When we work with a brand, that’s something they need to know about us. We hand-pick every piece. We have some brands where we maybe only carry two things because if we took everything we’d start to lose the wholesome experience you get when you come up to the apartment store.”

“The curation is the core of Tadaima,” concludes Josefine. And the trio does so guided by intention and consideration, something that reveals itself in every corner.

A dialogue unfolds

“When we collaborate with designers or brands on the set of our seasonal shoots, we are looking for more than decoration; who we partner with is an expression of our brand values,” explains Senior Communications Manager Kay, who produced the shoot. “It was Tadaima’s relentless dedication to being intentional and their sharp eye for curation that resonated deeply with our approach at Son of a Tailor. Hanne, Emma, and Josefine are experts in their field and have a distinct point of view, navigating the meaning of timeless design in a way that feels subtly experimental. The selected pieces on set are in dialogue with the collection, reflecting our shared focus on form, materiality, and craftsmanship.”

“We were particularly interested in the tension between materials, and what happens when they are placed in conversation with one another,” elaborates Son of a Tailor’s Art Director Julia. “The coolness of steel against merino wool, leather against cashmere, or the tactility of rattan beside a finely knitted surface. These contrasts create something that only emerges from the combination.”

Julia reflects, “The selection moves between forms that feel familiar and enduring, referencing designers such as Marcel Breuer and Mies van der Rohe, and more contemporary voices like Jialun Xiong and Edoardo Lietti, whose work brings a different tension and sense of possibility to those established ideas. Then there are pieces like Gerrit Rietveld’s Steltman Chair. Its almost brutal, uncompromising geometry felt very important to me. It disrupts the more familiar forms around it and introduces an element of friction. I think that balance, between familiarity and something slightly unexpected, softness and structure, past and present, is ultimately what drew me to the pieces we chose.”

Timeless yet dynamic

Tadaima’s universe carries a sense of timelessness, a grounded energy rooted in the muted color palette, tactility, warmth, and occasional imperfection that characterize the curation. But importantly, it’s anything but static. “Our collection is constantly evolving, and the universe is taking new shapes; it’s very dynamic,” explains Josefine. Partly, that’s because many pieces are unique, but also because the team likes to disrupt the collection with something unexpected. “Being a bit brave, create that fun experience so it doesn’t get too subtle,” Emma adds. “We actually mix a lot of different style periods and materials,” Josefine elaborates. “There’s not a lot of color, but we focus a lot on tactility.”

Built to endure

“We really care a lot about learning about the production and the craftsmanship behind the pieces,” says Josefine and continues, “A lot of our partners have a very long history of being family businesses; they have a specific technique that they're very proud of that they are passing on to the next generation.” “And that we can help preserve,” adds Hanne. Customers value that kind of insight, the personal stories that emerge from using the pieces in their own everyday routine and from the close connection to the producers and brands.

“It’s really important to us that we can stand by the quality of the pieces we offer,” states Josefine. “And that includes how they are going to age over the years,” adds Emma. “A good example is the Cantilever Chair by Mies van der Rohe that you included in the shoot.” Josefine recalls, “When we got it three years ago, the wicker was much lighter and the metal–it looks like steel, but it’s actually nickel, which has more depth–will get this really nice golden silver color over time.” “To us, it’s about having few items, but very good, meaningful items,” closes Hanne.