ODDA - Issue 30 / Spring Summer 2026

ODDA — Issue 30

As I take in both the fullness of my life and the weight of what it asks of me, I’m constantly reminded how inseparable strength and kindness really are.

When the plani!cation of the new issue started, the first word that came to my mind was “Proportion,” and you may ask, why? Nowadays, the work we do unfolds on a different scale altogether—one of vast reach, in uence, and responsibility. Yet the need to !nd balance and educate ourselves within this “uncontrollable space” remains a daily lesson, one we all must live through to understand where we truly stand.

As a Millennial, I spent some time early this year analyzing the way I used to live compared to how I now live. When I was growing up, there was an incredible TV show in Spain every night after 12 a.m. called “Cronicas Marcianas.” Of course, my mother disliked the idea of me watching it, but when my family was sleeping already, I used to always sneak into the living room, turn on the TV and watch the most inexplicable chain of situations unfold one after another. I can truly say this show changed my life and helped shape my creative vision, and ultimately the way I do my job. People like Boris Izaguirre dropping his trousers every 5 minutes in between laughs and innocence, Carmen de Mairena and her unique energy, Tamara and “El No Cambie”… they did not just perform a “role” in the show, it was about the way they used to live, the authenticity behind their personalities and the way they were educating the generations to come, likely without even 
realizing it!

ODDA 30 is nourished by those early years of my existence. Cultural references that keep shaping my taste and point of view, a re ection of what our environment taught us, our parents and their guidance, conversations with friends, and the prohibited nudity that turns into discovery. Welcoming different points of view from all different aesthetics. The importance of the word “freedom” as well as understanding why we are all unique, in our own right, is a central theme in 

The Expanse of Our Needs. 
Since we launched with Issue One back in 2012, our main goal has been to provide an insider and more democratic point of view to Fashion. New photographers, new designers, a space where people can discover page by page something they are drawn to or resonate with. As well as an environment where both Women’s Wear and

Men’s Wear could be explored hand in hand. As one of our biggest issues yet, welcoming new members into the team, and somehow, coming back to the origins  of ODDA 14 years later, The Expanse of Our Needs accounts for a total of 10 covers, connecting the fundamental dots that tie us all together.

In October 2025, right after wrapping up the most exciting Fashion Week of the Debuts, I flew to Seoul with my team to shoot our !rst cover: K-pop sensation, ILLIT. I remember the first time I heard of them was in Japan, entering a 7-Eleven, and there I saw the faces of YUNAH, MINJU, MOKA, WONHEE, and IROHA on all of the shelves.

Just a few days later, my dear friend Songe Park approached me with the idea of shooting ILLIT, and the rest, as they say, is history. Unsurprisingly, considering the world’s K-Pop obsession, I also personally got addicted to the “Physical 100” show.  While watching, two things became apparent: I need to work out way more often and just how much respect and care it takes to nurture athletes while helping shape their dreams. 

Yun Sung-bin is one of the names I got to discover from the Korean team, and so I couldn’t miss the chance to make him a part of the new issue. Somebody we can all agree belongs to the Star fandom, and is known as “the original in uencer”, is Paris Hilton. She was the very first celebrity we shot in ODDA back in 2015, and now the first one to be shot again, 10 years later. I flew 24 hours to LA to be on set with her—to personally rediscover “Stars Are Blind” as we see it in 2026. We also get to celebrate the new universe of Dior by the hand of Mr Jonathan Anderson with a cover dedicated to the !rst Menswear collection as well as a cover story celebrating creativity and culture alongside the Dior Haute Couture Spring/Summer 2026. 
Isabeli Fontana is one of “The Supers” in the industry. 

With a career that spans more than 25 years, we sit down with her and get to know more of who she is today. Speaking of legendary models, I remember losing my mind the !rst time I saw Hanne Gaby Odiele walking down the runway. She is also a model we shot a decade ago for a cover in ODDA, and in celebrating proportion, we start to see it as a measure of time—one that reveals it can, at times, be just a number.

We travel to Japan at the hand of Loro Piana. In a 12 hour trip between Tokyo, Osaka, Okayama and Naoshima, and through this, we explore the house’s craftsmanship, rooted in a country where dedication to one’s craft and life’s path is held above all else. In Naoshima, we visited the Benesse House Museum as well as iconic landmarks in Osaka, such as the Glico Running Man. 

Another cover features Brooke Shields, who I can truly say is a GEM, a beautiful soul and an incredible legacy for the Fashion and Entertainment world. On a bright day in NYC, we met with her to celebrate love, men, and womanhood in her sixties. To close, we head to London with Letitia Wright and the new Prada Spring/Summer 2026 collection—ordering pancakes, because in London, not celebrating Pancake Day simply isn’t an option.

ODDA 30 The Expanse of Our Needs explores the city of Los Angeles as the new Docu-serie for this issue, as well as some of my most beloved “Londoners” in a special project called: Get The London Look. We meet Kate Hawley, who just last month won an Oscar for the incredible work she did as Costume Designer for 
“Frankenstein”, and also spend time in the studio with the iconic Sal Salandra.

In an unconscious movement between passion and rationality, the number of pages in this issue grew beyond control—but in the hope that you enjoy what you see, I can only say: enjoy the issue

ODDA's signature is the volume of material in each issue — multiple collectible covers, a printing budget that lets editorial run at scale, and a more international cast than most of the European fashion biannuals. A useful magazine to keep around for visual reference and one of the more substantial print objects on our fashion shelf. Semi-annual; UK cover price £30.