Max Mara’s 2026 Resort collection is a study in contrasts — a seamless blend of timeless Italian elegance and contemporary sophistication. Drawing on its rich heritage, the house revisits its roots while looking boldly to the future, producing a collection that feels at once classic and entirely now.

Inspired by the glamour of post-war Italy and the iconic women who defined its style, RE26 channels effortless confidence in every silhouette. From Naples to Rome, the Max Mara woman of 2025 is self-assured, poised, and unafraid to embrace sartorial detail with precision and panache.

The collection’s highlights include monogrammed silk pajamas, delicate embroidered cashmere sweaters, and striped shirts in soft pinks and blues with crisp collars and cuffs. Jackets adopt a lighter construction, drawing from Neapolitan tailoring, while audaciously rolled shorts and full-circle skirts with geometric pockets inject a playful edge. Signature cravat-print designs, first seen in 1951, make a stylish comeback, while strapless dresses, tops with portrait collars, and matching bras nod to Max Mara’s enduring commitment to elegance with intention.

Outerwear is unapologetically timeless. Belts, shawl-collared coats, funnel-necked jackets, and fringe-detailed pieces ensure the line transitions effortlessly from day to evening, while strapless gowns, adorned with crystal detailing and silk gauze, feel simultaneously sculpted and ethereal. The collection is Italian in its essence — designed to look good, feel strong, and move seamlessly through life’s moments.

Accessories also play a starring role. Max Mara introduces new iterations of the Whitney Bag alongside delicately refined silk scarves, available in a curated selection of exclusive models from June 18. Every detail, from tailored collars to rolled hems, speaks to the house’s commitment to refinement without excess.

Anchored by Italian cinematic glamour and the effortless verve of Naples and Rome, the Resort collection is a study in understated drama. Max Mara continues to prove why its style commands a global stage: it is confident, exacting, and unmistakably Italian.

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New York has not hosted a Chanel spectacle since 2018, when Karl Lagerfeld unfurled his Métiers d’Art collection inside The Met’s Temple of Dendur. Last night, the house returned and, in true Matthieu Blazy fashion, it doubled down.

Fresh off his lauded spring 2026 debut in Paris, Blazy staged not one but two Métiers d’Art 2026 shows in Manhattan. A 3pm presentation was followed by a 7pm reprise. Both unfolded inside a nondescript station at 168 Bowery, where a stationary subway car became the gateway to his latest vision.

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Guests lined worn wooden benches as models stepped out of the train and onto the platform, couture unfurling beneath fluorescent light and tiled walls.

The front row was unmistakably New York. A$AP Rocky and Margaret Qualley, Teyana Taylor, Jessie Buckley, Ayo Edebiri, Tilda Swinton, Meg Ryan, Bowen Yang, Dapper Dan and Christine Baranski were among those in attendance.

Many have lived, studied or built careers in the city and remain fixtures within its cultural fabric. Their presence gave the night the air of a homecoming rather than an industry takeover.

For Chanel, it was exactly that. Gabrielle Chanel first arrived in New York in 1931 en route to Hollywood.

Decades later, Lagerfeld returned repeatedly, culminating in his final Temple of Dendur show. Blazy, too, carries the city with him, shaped by three formative years working under Raf Simons at Calvin Klein. If Paris is Chanel’s origin myth, New York is its proving ground.

Blazy traced the anti-hierarchy of the subway, where one fare carries everyone in the same direction — bankers, mothers, students, night-shift workers. The cadence of that collective movement felt stitched into every look.

Slouchy denim opened the show, some crafted from Lesage embroidery disguised as jeans. Sharp tweeds followed, including a leopard print suit that perfectly balanced irreverence and tradition.

The styling felt drawn from the platform itself. Coats draped over bags, knits tied at the waist, shoulder bags tucked close. A camel quarter zip with light wash jeans looked lifted from a downtown morning commute. Nothing felt misplaced.

Yet the Chanel codes pulsed throughout. Little black dresses, flapper silhouettes, pastel flashes, veiled fascinators, opera capes and plunging beaded gowns appeared in steady rhythm, lighter and more fluid than before.

Humour cut through in sequinned terriers, zebra striping and a bedazzled “I Heart NY” tee beneath tweed, a playful nod to Canal Street replication and Lagerfeld’s graffiti era.

Look closer and the whimsy deepened: ladybirds glinted across tailoring, and a Chanel bag embellished with a golden giraffe’s head and stick-like legs emerged as one of the night’s quiet talking points — hidden creatures roaming Blazy’s subway fantasy like an urban jungle in miniature, revealed only to the most attentive eye.

Couture at rush hour should not make sense. Yet in Blazy’s hands, it achieves a kind of metropolitan inevitability.

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Since stepping onto the Fendi x Versace runway at Milan Fashion Week in October of 2021, insulin pump on full display, the 23-year-old model has become an advocate for those living with Type One Diabetes (T1D).

Moss is often seen posting photos with both her continuous glucose monitor and insulin pump visible – not to flaunt her condition, but to normalise it. Because here’s the thing about T1D: it’s often dubbed an ‘invisible illness’.

Despite there being more than 420 million diabetics worldwide, many still confuse Type One with Type Two, assuming it’s caused by ‘eating too much sugar’ or being unhealthy as a child rather than a genetic predisposition completely out of our control. This common misunderstanding is inherently linked to the fact it’s the kind of illness that’s easy to conceal – something many of us do.

Why? Because nobody wants to make a fuss or feel different, particularly when they’re young — which is when many Type One diabetics are first diagnosed. It’s also why seeing someone like Lila Moss normalise the condition and raise awareness feels so significant.

Speaking to Vogue recently, Moss echoed this very sentiment.

“When I first started going out and doing these things, I got so many messages from people saying that seeing me helped them, or their children, feel more proud and represented,” she said. 

Here lies the downfall of her Victoria’s Secret runway moment. While I’d never expect every catwalk appearance from the model to centre on her illness – nor should it, because it doesn’t define her – the decision to cover her up, when the brand has made such strides to champion diversity in every other sense, feels disappointing.

For her PINK runway look, Moss wore a grey sweatshirt combo that covered all the areas a diabetic device would be, even adding a second sweatshirt tied around her waist to hide her upper back thigh. 

I quickly found myself scrolling through her Instagram, hoping she’d simply chosen not to wear her devices. Instead, post-show photos revealed her in her hotel room with not one but two diabetes monitors in plain sight.

The Victoria’s Secret Fashion Show has, since its rebranding in 2024, become a celebration of all bodies. After all, a very pregnant Jasmine Tookes opened the show yesterday, setting the tone for an hour-long celebration of female bodies in all its forms.

But while VS so clearly wanted us to be left with the message that every body is sexy, I found myself wondering, why not Lila and her diabetes, too?

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But the bigger conversation happening online wasn’t about who was there – it was about who the show is really for.

Once the ultimate male fantasy, Victoria’s Secret has, under new creative director Adam Selman, become a mirror for women instead. “I wanted to take the best of an American heritage brand that’s been around for more than fifty years,” Selman said before the show, “but show a broader range of emotions – not just one ideal of sexiness.”

That intention was clear from the opening moment. Jasmine Tookes, visibly pregnant, glided down the runway to a standing ovation. “Raise your hand if you’re still recovering from @jastookes opening,” wrote one fan. Another echoed the sentiment: “That was pure power. Pregnancy glow and wings – iconic.”

Paloma Elsesser, Precious Lee, Anok Yai, and Imaan Hammam followed – each redefining sensuality as confidence. “It’s not about fantasy and perfection anymore,” one long-time viewer posted. “It’s about representation and confidence in every form of womanhood. It feels more real – and more empowering.”

Women Watching Women

The comments section became its own chorus. “This year felt like girlfriends cheering girlfriends,” one TikTok user wrote. “We used to watch to look like them. Now we watch because they look like us.”

Even the nostalgia was feminine. When Candice Swanepoel appeared, the comment flood was instant: “Ladies and gentlemen, the one, the only – QUEEN CANDICE!” wrote one. “THE QUEEN MOTHER!!!! Best to do it!!” screamed another. Yet those same voices celebrated the new era too: “Victoria’s Secret, do you realize you have a real Angel in @realbarbarapalvin?! She’s the perfect mix of old magic and new meaning.”

Doutzen Kroes, returning to the runway after years away, captured that balance backstage. “This show used to be about perfection,” she said. “Now, it’s about presence. Women owning their stories, their bodies, their power.”

Do Men Still Watch The Victoria’s Secret Show?

Yes. It’ll always appeal to men, but it’s not for them anymore. Of course, there were men – Patrick Schwarzenegger, Dylan Sprouse (cheering on his wife Barbara) in the audience – but it felt like they were attending a party for the girlies. As one viewer joked, “The boys looked like they’d accidentally wandered into a feminist fever dream – and honestly, good for them.”

The front row, meanwhile, belonged to iconic women – Helena Christensen, Jessica Stam, June Ambrose. The energy was less voyeuristic spectacle, more collective celebration. “It felt like the Super Bowl for women,” wrote one X user. “Glamorous, yes, but not performative. It was about us.”

Even the critiques came from a place of care. “Only two things didn’t sit right with me,” one fan admitted. “The poker-face trend – where did the smiles go? – and using mature models in the Pink segment. But overall? This show ate.”

By the finale, Missy Elliott had the entire studio on its feet. Karol G glittered, Twice twirled, and Gigi Hadid closed the night.

“The fantasy has changed,” another fan wrote. “It’s not about being desired – it’s about desiring yourself.”

So do men still watch the Victoria’s Secret Fashion Show? Probably. But this year, that question feels beside the point. The show’s revival isn’t about what men want – it’s about what women see, celebrate, and share.

As Doutzen Kroes put it: “Every woman is an angel in her own way.” And for the first time in decades, Victoria’s Secret finally seems to agree.

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Ushering in a new era in 2025 under the direction of their new creative lead, Adam Selman, and performances locked in from Twice, Missy Elliott, Karol G and Madison Beer, this year is shaping up to be one to remember.

If you didn’t get the chance to watch the show live, we’ve rounded up the biggest moments from the runway, below. 

We Recap 2025 Victoria’s Secret Fashion Show’s Biggest Moments

Jasmine Tookes Opens The Show Pregnant

American model Jasmine Tookes opened the show in an ethereal golden number complete with orb-laden cage. But it was her burgeoning baby bump that stole the show. While Tookes isn’t the first model to walk the VS runway pregnant, she is the first to walk in her third trimester, showing off her gorgeous pregnancy body.

Heidi Klum, Alessandra Ambrósio, Lily Aldridge and Doutzen Kroes all walked while in the early stages of pregnancy – either not yet showing or using strategic outfits to hide the news.

Irina Shayk was the last model to walk the show pregnant in 2016. The model was in her second trimester, flaunting her growing tummy while on the runway.

The Next Gen Of Supermodels

The Victoria’s Secret Fashion Show has always been recognised as a marker of supermodel status, having catapulted and solidified the careers of Miranda Kerr, Kendall Jenner and the Hadid sisters.

This year, the runway ushered in the next gen of it-models featuring Gen-Z names like Iris Law, Alex Consani, Barbie Ferreira and Lila Moss.

‘Latina Forever’

The Colombian singer, Karol G, gave a fiery performance in her native tongue, clad in an equally hot red lace cat suit. The red hot portion of the show concluded with the words “Latina Forever” flashing across the screen before the singer left the stage and reappeared wearing her own set of red angel wings.

It was a delightful moment to behold but one that also felt politically charged given the current state of the U.S.

Diversity To The Front (Mostly)

Size, race, age and gender intersected to create one of the most empowering shows we’ve seen to date, with sheer joy radiating through the screen. Diversity has been at the forefront of the lingerie label’s rebrand, so this intentional shift felt expected. The brand has previously featured models and advocates with disabilities, including Aaron Rose Philip and Paula Carozzo, but this level of representation felt somewhat limited in 2025.

Angelina Kendall’s VS Debut

The Brazillian-Kiwi model, raised in Sydney Australia, has been hailed as the next big name in modelling and her VS debut all but solidified the commentary around her growing career. Kendall featured heavily throughout the show, flying the NZ and Australian flag proudly. 

Missy’s Iconic Medley 

One again proving she’ll always be the Queen of RnB, Missy Elliot gave an iconic performance with a medley of her greatest hits including ‘Get Your Freak On’, ‘Work It’ and ‘Lose Control’. The runway moment made for the perfect build up to the finale for the show which saw the models take to the catwalk as pink glitter rained down from above.

• Gigi Hadid
• Candice Swanepoel
• Lily Aldridge
• Alessandra Ambrosio
• Adriana Lima
• Joan Smalls
• Imaan Hammam
• Ashley Graham
• Barbara Palvin Sprouse
• Paloma Elsesser
• Anok Yai
• Doutzen Kroes
• Lila Moss
• Jasmine Tookes
• Emily Ratajkowski
• Barbara “Barbie” Seppe Ferreira 
• Iris Law
• Bella Hadid
• Alex Consani
• Angelina Kendall

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The 2025 Victoria’s Secret Fashion Show may have proved one of the brand’s best runways yet. The show marked a confident return to spectacle, spotlighting a new generation of icons alongside the faces that defined the brand’s legacy. Gigi Hadid, Candice Swanepoel and Adriana Lima shared the runway with Imaan Hammam, Paloma Elsesser and Ashley Graham, in what became one of the label’s most joy-filled (and almost most diverse) lineups yet.

The runway also ushered in the next generation of models with Angel Reese, Suni Lee, Iris Law, Alex Consani, Barbie Ferreira and Lila Moss all gracing the famous catwalk. There was also a notable debut from Angelina Kendall, the Brazillian-Kiwi model raised in Sydney whose star is swiftly rising. 

With performances from Missy Elliott, Karol G and Madison Beer setting the tone, the energy inside the room was nothing short of euphoric. Lingerie met liberation, sparkle met sincerity, and finally, the Victoria’s Secret runway felt like it belonged to everyone (almost). While age, gender,  race and body shape knew no bounds, there was a clear lack of representation from people with disability, leaving room for the brand to grow.

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While the brand is known for it’s lingerie, when it comes to the runway show it’s typically the accessories that make the show shine. From intricate headwear to the iconic angel wings, each portion of the runway event is themed – this year featured a Greek mythology like segment and fiery red Latina-inspired looks.

One of the most iconic looks for 2025 was the opening outfit, worn by a pregnant Jasmine Tookes who donned a pearl-adorned wire clam and mermaid-esque netting. From then, it was one iconic look after another.

The Best Looks From The 2025 Victoria’s Secret Fashion Show

To see all the best looks of the 2025 Victoria’s Secret Fashion Show, scroll on below. 

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The season is punctuated by generational shifts: Matthieu Blazy unveiling his inaugural Chanel collection, Jonathan Anderson imprinting Dior Women’s with his sculptural intelligence, and Pierpaolo Piccioli reimagining Balenciaga with his romantic precision. Glenn Martens at Maison Margiela, Duran Lantink for Jean Paul Gaultier’s ready-to-wear, Miguel Castro Freitas at Mugler and Proenza Schouler’s Jack McCollough and Lazaro Hernandez at Loewe complete a constellation of exciting debuts.

Even the calendar itself signals change. Saint Laurent opens at the Trocadéro in a display of monumental theatre, Louis Vuitton abandons its nocturnal tradition for a daylight Louvre presentation, and Jean Paul Gaultier returns to prêt-à-porter after more than a decade away. Alongside these icons, the schedule welcomes Ganni’s Paris debut and the fresh perspectives of Julie Kegels and Façon Jacmin, emerging voices whose inclusion underscores a city willing to expand its vocabulary.

Seventy-six runway shows, thirty-six presentations, seven landmark debuts: this is not merely the conclusion of fashion month but a moment in which Paris asserts its power to both honour heritage and script what comes next.

Below we have rounded up our favourite shows from Paris SS ’26.

Paris SS ’26 Fashion Week Highlights

Chanel

Under the new direction of Matthieu Blazy, Chanel’s Spring/Summer 2026 show marked a theatrical rebirth for the house. Blazy took the maison’s treasured codes — tweed jackets, camellias, knitwear — and reworked them with a fresh irreverence: satin tees paired with feathered ball skirts, knit v-necks layered over undershirts, and wrap skirts embroidered with historic motifs.

Zimmermann

Dubbed Kindred Spirit, Zimmermann’s latest collection was a love letter to the artistic kinships of the 1970s — a celebration of creativity, community, and the bold women who defied convention. Inspired by the Lavender Bay art collective in Sydney, Creative Director Nicky Zimmermann channelled the decade’s liberated energy into exuberant silhouettes awash with psychedelic florals, warped prints, and offbeat colour combinations.

Loewe

A study in sculptural minimalism and sensual clarity, Loewe’s SS’26 runways reinterpreted the house’s 180-year Spanish heritage through a contemporary, sun-drenched lens. Designers Jack and Lazaro distilled the essence of craftsmanship into clean silhouettes – think: parkas, minidresses, and macs rendered in vivid, printer-cartridge hues and tactile leathers.

Balenciaga

The Heartbeat, marked Pierpaolo Piccioli’s debut as Creative Director, redefining the Maison’s legacy not through homage, but through recalibration. Central to the collection was the dynamic interplay between body and cloth, where garments like leather jackets, knits, chinos, and t-shirts explored space, air, and form as vital components of their construction.

Valentino

Drawing inspiration from Pier Paolo Pasolini’s reflections on the luminous insects as symbols of hope amid darkness, creative director Alessandro Michele reimagined fashion as a vessel for human connection and quiet rebellion. Each piece shimmered like a flicker of defiance — delicate yet powerful — celebrating individuality in an age of conformity.

Celine

Celine’s Spring/Summer 2026 collection, envisioned by Michael Rider, unfolded like an unbroken narrative—a seamless continuation of the house’s July show. It explored the tension between restraint and sensuality, pairing the brand’s signature discretion with the ease and heat of summer. There was a quiet romance in its simplicity: garments conceived not just as fashion, but as companions to moments and memories. Lightness, longevity, and an effortless sense of cool defined this chapter of Celine’s evolving story.

Dior

At the Dior Spring/Summer 2026 show, Jonathan Anderson boldly stepped into the House’s storied couture legacy with a debut that felt reverent yet radically personal. The collection reframed archive codes like frock coats, Bar jackets and waistcoats, re-assembling them alongside youth-inflected elements: inflated cargos, distressed denim and unexpected deconstruction that tugged tradition into fresh territory.

Tom Ford

At the Spring 2026 Tom Ford show, Haider Ackermann took the house’s cinematic signature into seductive new territory, orchestrating models who “slithered and slinked” across a lacquered midnight-blue set as if caught in a lovers’ tête-à-tête. His silhouettes played daring games with exposure—triangle bra tops stood in for shirts, sheer shorts revealed jockstraps, and asymmetric gowns draped in gravity-defying wire construction clung to the body in evocative arcs

Saint Laurent

For Saint Laurent’s Spring 2026 runway – staged beneath banks of white hydrangeas spelling “YSL” with the Eiffel Tower as a nocturnal witness – Anthony Vaccarello leaned into the House’s codes. Think: exaggerated shoulders, crisp pussy-bow blouses, and leather corsetry. But, in this latest collection these signatures of the maison felt looser courtesy of with sheer nylons and flowing dresses that whispered of intimacy and risk. The collection shifted from sharp, structured tailoring into romantic neo-baroque gowns, each silhouette gradually softening but never losing its edge in a stunning unravelling.

Louis Vuitton

Nicolas Ghesquière’s latest collection for Louis Vuitton Spring/Summer served as a celebration of the boundless freedom of the private sphere and a championing of the art of living.  There was a sense of rebellion against the rules of what “indoor” clothing should be, yet it never lost Vuitton’s sharp tailoring and refined finish.

Stella McCartney

Stella McCartney’s Spring/Summer 2026 show channeled a spirited duality—masculine energy meeting feline sensuality—within an ethos of uncompromising sustainability. Denim played a starring role: stitched with PURETECH fibers that cleanse the air, they appeared in wide-leg interpretations and asymmetrically knotted back panels. For the finale, McCartney debuted Fevvers, a plant-based alternative to feathers used to adorn a strapless purple column dress that fluttered like couture plumage without harm.

GANNI

GANNI’s Spring/Summer 2026 show at the Bastille Design Center in Paris was a nostalgic love letter to seaside summers and the freedom of self-expression. Inspired by Creative Director Ditte Reffstrup’s childhood in the Danish fishing town of Hirtshals, the collection captured the innocence of long, endless days by the water while reimagining them for the self-assured GANNI Woman. Patchwork styling, hand-crochet textures, and draped silhouettes brought a sense of play and adaptability, while tulip-shaped coats, smocked dresses, and blurred floral prints evoked memories softened by time.

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That’s not to say Spring Summer 2026 didn’t contain plenty of references to the house codes. In many ways it was an ode to the house founder, Coco Chanel, and her pioneering take on womenswear.

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“Chanel is about love,” Blazy described of his debut collection. “The birth of Modernity in fashion comes from a love story. This is what I find most beautiful. It has no time or space; this is an idea of freedom. The freedom worn and won by Gabrielle Chanel.”

Referencing the preferred uniform of the maison’s namesake, the first looks down the runway were an homage to Chanel suiting. Removing stiffness and formality from these looks, the matching sets featured boxy, cropped blazers over relaxed tweed trousers for ultimate casual androgyny. Sure to be a popular piece from the collection, the simple white button-up, donned on the front row by Kidman, offered a daytime take on a tuxedo shirt, with a classic bib front and a distinctive red ‘Chanel’ embroidered at the waist.

Blazy’s take on Chanel tweed drew on British patterns and colours, in a nod to Coco Chanel’s English, polo-playing lover and muse, Boy Capel. With traditional brown tweed and grey plaid, these new patterns stood out amid more common hues used by the house in its suiting, such as black, white and red. Clean black-and-white lines observed across several Art Deco-inspired looks paid homage to Chanel’s distinct minimalist packaging.

Meanwhile, future red carpets are set to receive an injection of old world elegance thanks to Blazy’s take on formalwear. From luminous, fluid silk, and billowing feathered skirts, to cascading florals, the feminine gowns of Chanel SS26 moved gracefully down the runway.

Accessories remained true to the house roots, with embellishments invoking the concept of the forward-thinking Chanel universe. From traditional contrasting, toe-capped shoes, to a wild new take on the Chanel camellia, new interpretations of the maison’s icons abound.

The runway’s Grand Palais setting was transformed with planetary motifs, symbolic of Chanel’s expansive ‘universe’. The maison welcomed a slew of celebrity clientele to its front rows, including Margot Robbie, Pedro Pascal, Jennie Kim, Nicole Kidman, Ayo Edebiri and Gracie Abrams.

Following a year of “fashion music chairs”, in which several major houses handed the reins of artistic leadership to new talent, the Spring Summer 2026 runways were among the most anticipated in years. With Matthieu Blazy’s debut at Chanel, devotees of the brand are sure to be thrilled by a new direction.

Chanel SS26 Runway

View highlights from the debut collection of Matthieu Blazy.

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No other debut this season carried its weight. Anderson’s appointment alone marked history as the first designer since Monsieur Dior himself to hold creative authority across menswear, womenswear, and haute couture. Outside the walls of the show’s venue in Jardin des Tuileries, and at watch parties across the city, the anticipation felt palpable. Inside, the front row could have doubled as the guest list to the party of the year: Jennifer Lawrence, Anya Taylor-Joy, Rosalía, Greta Lee, Mikey Madison, Jonathan Bailey, alongside Anderson’s own peers, designers Glenn Martens, Rick Owens and Alessandro Michele.

His womenswear debut unfolded as a conversation that didn’t ignore or resist Dior’s past, but rather, invited it in. The symbolism began before a single look appeared. Inside the venue, an inverted pyramid created by Luca Guadagnino and Stefano Baisi sat centre stage. Onto its mirrored planes flashed a montage of Dior’s lineage: the sculptural New Look of 1947, Marc Bohan’s restraint, Galliano’s theatrics, Maria Grazia Chiuri’s feminism. A cinematic invocation of the house’s vast lexicon, projected as a prelude to the inauguration of a new era. As the lights came into focus and the models stepped onto the runway, a voiceover of Lord Byron’s ‘She Walks in Beauty’ played over Tom of England’s ‘Song of the Sex Monk’, steeping the room in romance and reverie.

The first look said as much. A white strapless dress, suspended away from the body in a swoop of fabric which called back to Dior’s founding codes while glancing at Anderson’s own work at Loewe. From there, the dialogue expanded. Bows — the eternal emblem of Miss Dior — were made oversized and unruly, tied across tuxedo shirts or perched on denim minis. Slim cigarette trousers reappeared, but softened into languid suiting. Skirts rippled with ruching and bubble hems, their petal-like forms blooming into volume before being anchored back down with sharp shirting and boxy coats.

Everywhere, tension animated the clothes: between prim and punk, couture and street. Plaid tailoring edged toward rebellion, while satin tricorn hats evoked both buccaneer romance and a sense of theatre, much like Galliano’s illustrious years. Waistcoats and capes played at historical costume yet were cut with a modern looseness. Even the Bar jacket, Dior’s holy garment, was pushed into new shapes: elongated, bulked out, or splayed open in back, as if to prove that reverence can coexist with reinvention.

The collection’s palette reinforced this duality. Sky blue, dove grey, and palest cream felt almost ghostly in their delicacy, while denim, khaki, and plaid grounded the story in something grittier. Accessories sharpened the contrasts: slingback bows, heels with exploding rose, triangular handbags knotted like origami. And hats — so many hats — tilted the line between couture relic and surrealist gesture.

What emerged was not a tidy thesis but a living conversation. Anderson didn’t smooth Dior’s history into a single narrative; he let it speak in fragments, allowing silhouettes from different decades to jostle against one another, then re-stitching them into something distinctly his. That push and pull — the willingness to let tension breathe — is perhaps the clearest marker of his authorship.

It’s a curious thing, witnessing the weight of history and the thrill of something new at once. And in the quiet after the show, it lingers: the sense that even the most monumental traditions can be approached with fresh eyes. A reminder that beginnings are always hidden within endings.

This article was originally published on ELLE Australia and was re-shared here with permission.

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The atmosphere was underscored by a soundtrack that felt equally personal—Tanguy Destable’s composition built around David Byrne’s “This Must Be the Place”, recited by Cate Blanchett.

The collection blurred lines between loungewear and outerwear, crafting pieces that suggested liberation within the everyday. There was a sense of rebellion against the rules of what “indoor” clothing should be, yet it never lost Vuitton’s sharp tailoring and refined finish.

Semi-sheer, draped and soft, flowing materials gave evening wear a delicacy that was swiftly balanced by maximalism with pieces such as a crystal-covered fur jacket and watercolour-esque fringed set. 

Garments whispered confidences, revealed unique perspectives, and served as a manifesto of individuality – one of Louis Vuitton’s many explorations in which the guiding principle is clear: carry your essence with you wherever you go.

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This season will be remembered as one of Milan’s most transformative in recent history, a week dense with debuts. But the stage does not belong solely to the marquee names. A new guard of designers is using Milan’s platform to stake their claims, experimenting with form and storytelling to challenge what “Italian fashion” can mean today.

Below, we’ve rounded up the biggest shows and moments from Milan S/S’26. 

Max Mara

Max Mara’s SS26 collection is a study in contrasts: sharp tailoring meets Rococo romance. Trench coats bloom with gilded shoulder frills, organza skirts flutter like petals, and gauzy crests sweep across hips like aquatic plumes.

Soft pastels, strict pencil skirts and black harness belts ground the whimsy, creating power through playfulness. Madame de Pompadour inspires — elegance, wit, and unapologetic individuality anchoring a collection as cerebral as it is sensual.

Fendi

Fendi’s SS26 collection is a kaleidoscopic ode to ease and sensuality. Silvia Venturini Fendi blends featherlight tailoring with saturated colour, from bubblegum pink to vermillion, for pieces that blur the line between everyday wear and couture-level craft.

Organza skirts, pixelated prints, and deconstructed jackets play with negative space, while candy-hued accessories and sling-back sandals bring a wink of joy. This is summer refracted: romantic, irreverent, and distinctly, playfully Fendi.

Boss

BOSS SS26 explores duality with The BOSS Paradox, a collection balancing order and chaos. Precision tailoring meets fluid silhouettes, matte fabrics clash with shine, and trenches are reimagined with pleats that float.

Womenswear is anchored by low-slung trousers, pocketed dresses and inverted knits, while menswear lightens corporate suiting with airy proportions and rebellious layering. Accessories include the new Revers bag, pointed flats, sleek loafers and near-barefoot sneakers, creating a wardrobe for the bold, confident, self-defined BOSS.

Emporio Armani

Emporio Armani’s SS26 collection captures the fleeting sensation of returning to the city after travel, where memories mingle with reality and everyday life feels lighter. Fluid silhouettes, soft tailoring and neutral tones channel the house’s signature elegance.

Ikat fabrics, kimono ties, obi belts and raffia caps bring a nomadic edge, softened into a city wardrobe of dusters, jumpsuits and abbreviated skirts. Evening-wear arrives in ethereal nylon, proving dressing can be both spontaneous and precise.

Moschino

Adrian Appiolaza used Moschino SS26 to deliver a playful but pointed message: reuse, recycle, reimagine. Dresses were made from burlap potato sacks, patchworked tees and vintage pieces, with rope and raffia replacing embroidery.

Gag bags included a sand bucket and saucepan clutch, nodding to Moschino’s cheeky legacy. It was a rare step into social commentary for Appiolaza, signalling a planet-conscious Moschino while hinting at the sharper tailoring still to come.

Prada

Prada SS26 was a response to cultural overload, with Miuccia Prada and Raf Simons finding freedom in uniformity. Military shirts and officer trousers were disrupted by crystal earrings, satin opera gloves and glossy ladylike bags.

Silhouettes floated away from the body — bras offered coverage but no support, suspender skirts exposed midriffs, and patchworked bubble skirts stole the show. In a stripped-back Fondazione set, Prada proved once again that disruption and elegance can coexist — and redefine modern dressing.

KNWLS

KNWLS made its Milan debut with a Nike collaboration that redefined athleisure with edge and sensuality — and no yoga pants in sight. The show fused KNWLS’ indie London grit with Nike’s technical mastery, delivering futuristic sneakers inspired by archival boots, a transgressive waffle-sole handbag and even a Flyknit corset.

Leather-bonded jackets, bodycon layers and cotton knits radiated warrior energy. As VTSS DJ’d from above, the message was clear: this was athleisure built for running straight to the club.

Jil Sander

Simone Bellotti’s debut at Jil Sander marked a return to the house’s Piazza Castello HQ after eight years, bringing quiet excitement back to the brand. He reworked iconic double-face coats in ultra-fine leather, cut jackets with high vents to flash skin, and layered gossamer knits for subtle sensuality.

Skirts featured geometric darting and Fontana-esque slashes, while chainmail-like bras peeked beneath porthole dresses. The result balanced structure and lightness, reaffirming Jil Sander’s minimalist codes for a new generation.

Tod’s

At Tod’s this season, Matteo Tamburini made the case for quiet mastery over fleeting trends. Spring/Summer 2026 saw leather take center stage, cut into square skirts, handkerchief tops, and raw-stitched cabans that felt at once precise and relaxed. Trenches were worn inside out, seams shown off as deliberate punctuation, while stripes in sun-washed hues brought a late-summer lightness. The result was a collection that spoke softly but confidently, proving that refinement — when done with wit — still turns heads.

Versace

For his debut at Versace, Dario Vitale faced a formidable brief: stepping in as the house’s first non-Versace creative director just as the brand is sold to Prada. Rather than yield to the pressure, he grounded Versace’s mythology, reimagining it for modern life. Out went opera-length gowns. In came slashed jersey dresses, embroidered leather vests and chain-mail bra tops.

Vivid colour pairings and layered prints lent the collection a louche, contemporary sensuality that felt intimate rather than iconic.

Bottega Veneta

Louise Trotter made a confident debut at Bottega Veneta, reminding the industry why she was worth the wait. Known for her precision at Lacoste and Carven, Trotter leaned into the house’s artisanal DNA: intrecciato coats that mimicked snakeskin, floor-sweeping capes, and feather-trimmed robe coats that floated down the runway.

The show balanced structure and sensuality, with recycled fiberglass knits shimmering under the lights and parachute silk dresses skimming the body. A poised, quietly powerful start.

Giorgio Armani

Giorgio Armani’s final collection was a love letter to his own legacy. Staged at Milan’s Pinacoteca di Brera, the show felt both celebratory and bittersweet following his passing earlier this month at 91.

Silhouettes traced back to his very first 1975 show: fluid tailoring, softened masculinity, and that iconic greige palette. Models who’ve long defined Armani’s world returned, some visibly moved. His successors, Silvana Armani and Leo dell’Orco, took a bow to heartfelt applause, closing a chapter but securing his eternal style.

The post Our Favourite Shows From Milan Fashion Week SS26 appeared first on marie claire.

The show opened with a whisper rather than a shout: diaphanous blouses paired with fluid trousers, jackets softened by curved lines, and a palette that transitioned seamlessly from hushed neutrals to glimmers of soft metallics. Fabrics floated, catching the light as if weightless, while delicate embroidery shimmered across gowns that felt less like statements and more like memories being woven in real time. Each look carried Armani’s signature – purity of line, quiet luxury, and a refusal to bend to passing trends.

But it was the atmosphere that set this collection apart. The venue was bathed in muted light, casting a cinematic glow over the runway. Guests – an audience of industry titans, Hollywood stars, and longtime muses –watched with reverence, acutely aware that they were witnessing history. The pacing of the show, unhurried and deliberate, mirrored Armani’s own philosophy: elegance lies not in excess, but in presence.

As the finale unfolded, models glided in gowns embroidered with celestial sparkle, a poetic nod to the timelessness of his vision. The audience rose to their feet, a standing ovation that lingered as the designer himself appeared. Armani’s bow was characteristically understated, his expression a mix of pride and humility. No theatrics, no spectacle—just the quiet dignity of a man whose name has become shorthand for sophistication.

This was not merely a fashion show, but a farewell letter in fabric and form. Armani leaves behind a legacy that transcends trends, built on the belief that women should feel both empowered and beautiful in his clothes. As the curtain closed on his final collection, the sentiment in Milan was unanimous: an era has ended, but Giorgio Armani’s imprint on fashion will never fade.

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As ever, there’s a lot going on—so to help you navigate the endless events, we’ve rounded up the major highlights from each day in one place so you can get easily get your Fashion Week fix.

Here, you’ll find all of the biggest talking points and memorable moments of the day, from surprise A-list appearances and emerging street style trends, to the most notable collections and items that editors are already adding to their mental wish-lists.

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Erdem: A Great British Triumph

For Spring/Summer 2026, Erdem Moralioglu was inspired by Hélène Smith, the late 19th-century Swiss medium, who was an Indian princess and member of the French court. She believed she had lived other lives at different times and in different places. Though Smith was eventually discredited, what endured was her relentless self-reinvention through art—a refusal to be confined to a single narrative. Reflecting this idea of transformation, the collection showcased antique lace, corsets, bustles, and delicate hand embroidery inspired by her paintings—with just as much detail on the back as the front. While Erdem’s signature craftsmanship remained (few designers on the London Fashion Week schedule can match his attention to detail), there was a surprising sense of ease to this collection: more relaxed, more colourful, and altogether more playful. An excellent way to mark 20 years of the brand, that remains independently owned to this day.

Quiet Evolution At Tove

Tove’s SS26 collection—aptly named ‘Confidence in Subversion’—saw the brand lean into sensuality more than ever before, albeit in their signature grown-up, elevated way. Structured high-neck tops featured unexpectedly exposed backs, Grecian-style gowns were crafted from fabrics that were subtly sheer in all the right places, and fluid dresses were slashed at the torso to reveal a surprise hint of skin. Meanwhile, the tailoring was fabulously fluid, the separates soft and silky, and jackets made from desaturated suede. As ever, these are pieces that offer that perfect mix of understated ease and comfort while still having the power to command a room—something that only women designing for other women can really do.

A Springtime Promenade With Kent & Curwen

ust over a year since making its London Fashion Week debut, heritage brand Kent & Curwen is already a much-loved fixture on the schedule thanks to its signature British eccentric aesthetic and transportive shows. This season, guests were immersed in the beauty of the Royal Parks, by way of screens set up around the Royal Horticultural Halls venue that displayed scenes of a typical British summer, from early-morning lido swimmers and leisurely dog walkers to the pedalos that pepper the Serpentine—all of which acted as inspiration for ‘The Blossoming’ collection. There were silhouettes and skirts reminiscent of swans, bags shaped like rugby balls and picnic blanket-like checks, alongside florals, colour-pop stripes, and crisp sporty whites. Preppy as ever, but decidedly fresh and delightfully wearable. Set against Erland Cooper’s calming piano music, which the composer performed live, the show provided a much-needed moment of escapism for those in the throes of Fashion Week madness—much like London’s parks do for inhabitants of the bustling metropolis.

Talia Byre’s Runway Debut

Buzzy, up-and-coming brand Talia Byre kicked off a sunny day four with an intimate show on the edge of the Vauxhall Pleasure Gardens-its first since launching in 2020. “A manifesto to the clothes I want to wear,” as designer Talia Lipkin-Connor put it, the collection featured signature rugby stripes in new iterations alongside tailored trousers, bodysuits, light knits, apron dresses cut from bridal satin, and, for the first time, florals—all not just wearable, but downright desirable. You could almost see editors making a mental shopping list as each look emerged—and eyeing up the brilliantly reworked Uggs to boot.

A Supermodel Moment at Richard Quinn

Olivia Palermo, Saweetie, Amy Jackson, Lucy Bronze and more descended on the historic Sinfonia Smith Square for a ‘A Night at the Opera’, Richard Quinn style. Inside, extravagant floral displays, crystal chandeliers, gleaming marble fixtures and the English Chamber Orchestra awaited guests, whose annoyance at the hour-plus delay dissipated the moment Naomi Campbell stormed down the runway to open the show. As ever, sweeping princess gowns and old-world, grand bal glamour were the order of the day, and glittering embellishments, dramatic tulle skirts and big bows reigned supreme.

Ahluwalia’s Exploration of Love

From Bollywood cinema to the Taj Mahal, Ahluwalia’s collection—entitled ‘Affinity’—paid homage to the high and lows of romantic love. Designs featured cultural motifs, embellishments and headwear that referenced her joint Indian and Nigerian heritage, though overall, it felt more elegant and pared-back than collections past. There was a stronger-than-usual emphasis on tailoring, while standout looks featured oversize fringed bags and blazers, alongside deliciously draped fabrics and satin dresses.

Patrick McDowell’s Love Letter to Lancashire

For his first show since winning the prestigious Queen Elizabeth II Award for British Design earlier this year—presented to him by the Princess of Wales, no less—Patrick McDowell went back to his roots. His SS26 collection is an ode to his late grandmother, who was born in Lancashire in 1923 to a family of fabric weavers, and inspired the designer to start sewing at a young age.

McDowell’s emotional tribute to his very own ‘Lancashire Rose’ included recordings of his grandmother’s voice intertwined in the show soundtrack and a recreation of her original passport (that held the show notes and a QR code for a video of her story), as well as rose motifs, and vintage-inspired silhouettes and design details. Battersea Power Station’s recently renovated Control Room A formed a fitting backdrop for guests that included the Spencer twins, Charli Howard, top editors and three generations of McDowell’s family.

Labrum’s Epic “Osmosis” Collection

A collection that felt like a tale of two halves, yet ultimately was a cohesive study in delightful discord—true to Labrum’s world, where art, fashion, music, and culture intersect to create magic. Ultimately, wearability becomes key and looking beyond the playful styling, Labrum SS26 if full of clothes you’ll actually want to wear. Jewel tones—opal, ruby, and amethyst—appeared in bold blocks colours offset by utilitarian neutrals like khaki, muted lilac, and beige. Silver, shell-like stones, and rope embellishments became conversation pieces, adorning jacket hems, headwear, and ornate body jewellery.

Chopova’s Take On Cheer

Classic Chopova Lowena—riotous fun and full of spirit. Naturally, skirts took centre stage, from denim drop-waists to chain mail iterations, with ornate riveting, lacing, and playful adornments. The modern pearly queen with a punk edge. “Cheerlore” brought football, cheerleading, and Bulgarian costume references into a modern clubhouse uniform—part team spirit, part rebellion. For the bold: do what you feel, wear the full look, play with colour and print! But for those print shy: look to simple singular statement pieces that will add depth to your wardrobe.

Fashion East Turns 25

To celebrate its 25th year as London’s foremost talent incubator, Fashion East took over the Institute of Contemporary Arts—both for a dedicated retrospective exhibition (that runs until 21st September) as well as its Spring/Summer 2026 show. As ever, it showcased the work of three up-and-coming designers: Louis Mayhew (of Mayhew), Cameron Williams (Nuba) and Jacek Gleba, whose collections were undoubtedly some of the most cutting-edge and out-there we’ve seen this season so far.

Mithridate’s Stellar Second Outing

Daniel Fletcher’s second collection for Mithridate was a triumph, a combination of “1980s city revelry and British sporting heritage,” per the show notes. Town and country aesthetics were blended into one, as models emerged from the sun-soaked Royal Opera House backdrop in sharp tailoring, rugby shirts, sequin skirts and bomber jackets—while striped shirts, colourful knits and socks with loafers acted as a nod to school-day style. Hence the collection titled and opening song: Edge Of Seventeen. Even the front row was on-theme, filled with actors like Asa Butterfield, Georgie Farmer and Ellie Bamber, who made their name on hit teen shows.

H&M’s Celebrity Extravaganza

H&M helped kick off London Fashion Week with a serious bang, as it took over 180 Strand for its first on-schedule show in seven years—and everyone from Central Cee, Little Simz and Gabbriette to ASAP Nast and Emily Ratajkowski was there to mark the occasion (along with about 700 more guests).

But it wasn’t just the front row that was star-studded: the show itself saw top models Lila Moss, Iris Law, Paloma Elsesser, Amelia Gray and Alex Consani take to the runway dressed in the Autumn/Winter 2025 collection, and there was a surprise catwalk cameo from appearance from Romeo Beckham to boot. And the cherry on top? Lola Young’s live performance to close out the show, as the models danced along. Now that’s how you make your grand return.

This story originally appeared on marieclaire.co.uk from Clementina Jackson

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The busy streets of the Big Apple are always a buzz, but when New York Fashion Week takes over the city there’s a different kind of electricity in the air.

From September 11- 16, 2025, Spring/Summer ‘26 collections are taking to runways across the city from some of the most prominent fashion houses.

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This year’s S/S schedule includes iconic Americana labels like Calvin Klein, Coach and Ralph Lauren as well as minimalist favorite Khaite and a reinvigorated Tory Burch.

Outside the NYFW mainstays, there’s emerging brands showing for the first time (Diotima, Zankov) and edgy, boundary-pushing favourites, Collina Strada and Off-White.

With so much sartorial goodness to keep up with, we’re rounding up the biggest shows and moments from NYFW S/S’26 here. 

Michael Kors

Michael Kors turned Chelsea’s Terminal Warehouse into a sun-drenched desert escape for Spring/Summer ‘26. The clothes echoed the set: fluid caftans, slouchy tailoring, and airy silks in branch, espresso, and ecru, jolted by flashes of quartz and guava. Nothing felt overworked; it was an easy, wearable collection that leaned into Kors’ signature mix of polish and laid-back glamour.

Accessories sealed the mood – oversized clutches, knotted totes, and bold leather jewelry paired with unfussy sandals and mules. With Paloma Elsesser, Adut Akech, and Anok Yai leading the lineup and Gwyneth Paltrow, Suki Waterhouse, and Olivia Wilde watching front row, Kors proved once again he knows how to marry star power with clothes that women will actually want to wear.

Ralph Lauren

Ralph Lauren’s Spring 2026 collection was a masterclass in tension: strength meeting sensuality, precision offset by softness.

Staged in the brand’s Madison Avenue headquarters, the show delivered modernist ease through razor-sharp tailoring in black, white, and red, while subversive twists – ballooned trousers cinched at the ankle, trench jackets over pedal pushers, poet blouses tied with oversized bows – kept heritage codes feeling fresh.

Accessories doubled down on contrasts, from sculptural silver jewelry to wide-brimmed hats that added just the right dose of mystery.

Calvin Klein

At the Brant Foundation in New York, Veronica Leoni’s sophomore collection for Calvin Klein transformed everyday dressing into a cinematic affair. Minimalism meets modernity in pieces that feel lived-in yet effortlessly polished—trench coats, pinafores, and sneaker-soled moccasins mix with geometric earrings and meticulously crafted handbags, capturing the city’s pulse from 9AM to 9PM.

The collection’s quiet boldness comes through lingerie-inspired touches, layered tailoring, and innovative textures—from laser-cut leathers to flowing silks. Against a custom soundtrack by Grammy-winning producer Kid Harpoon, the show felt at once intimate and electric.

Tory Burch

Tory Burch reimagined her signature American sportswear through cardigans, knit polos, prairie dresses and boxy skirts that carried an almost studious charm, while unexpected accents like pierced shoes, antique-style embroidery and seed-bead embellishments kept the looks playful and modern.

Diotima

Rachel Scott’s Diotima Spring 2026 runway was a vibrant celebration of craft, sensuality and radical joy – an emotional response to both Caribbean heritage and personal resilience. Texture came in surplus as crochet, crystal-mesh, shredded rayon bits mimicking feathers and macramé skirts felt expertly crafted and alive at once. Meanwhile, silhouettes invited the body to move freely – balloon hems, tiered ruffles, nonchalant layering – alongside practical accessories like low heels and bags that grounded the spectacle.

Coach

Coach’s Spring/Summer 2026 show under Stuart Vevers was an homage to New York, a city of duality – grit and glamour, rough and romantic. The collection balanced clean tailoring (oversized trousers, cropped jackets) against romantic flourishes: tulle and organza dresses appliquéd with stars, clouds, balloons.

The post New York Fashion Week’s Most Striking Spring/Summer ’26 Shows appeared first on marie claire.

Millennials will remember the gravity of a VS runway show, which minted the careers of a number of the world’s richest supermodels. A landmark annual event, it elevated the fashion runway to celebrity status, attracting major musical acts to its stage, and airing on prime time television at its peak.

However, following several scandals (such as body shaming, transphobia and an alleged Epstein tie) that saw a dramatic fall from grace, the brand has been desperate to resurrect its former image, with some much-needed improvements. After key leadership positions were vacated, the brand hopes some fresh blood will help resuscitate interest in the brand: starting with the iconic fashion show.

This year, Victoria’s Secret tapped the former design executive behind Rihanna’s Savage X Fenty lingerie brand to lead a new generation of the show. ELLE reports Adam Selman joined VS in April as its new senior vice president and executive creative director, several years after he started his originally launched his career with the company.

So, will this bring something new or more of the same—and which do fans actually want?

By the looks of the announcement, posted to Instagram on August 27, the show is going to stick to its roots. Models synonymous with the brand, including Adriana Lima and Lily Aldridge, helped launch the show’s 2025 return in the short clip. Featuring the iconic hot pink backdrop, a string of models stepped up to a mic to make the ‘Angel Announcement’.

Scroll on to find out what we know about the Victoria’s Secret 2025 Runway Show.

Who Will Walk In The Victoria’s Secret Show 2025?

Upon the Victoria’s Secret show’s grand return in 2024, plenty of Angels were keen to don their wings on the iconic runway. The cast of models included Gigi and Bella Hadid, Kate Moss, Ashley Graham, Tyra Banks, Irina Shayk, and Adriana Lima, to name only a few. But what of 2025?

Many of the familiar VS crew is looking set to return, with the announcement featuring models Lily Aldridge, Joan Smalls, Adriana Lima, Alex Consani and Anok Yai. There’s also a fair chance they’ll be joined by recent VS campaign faces, like Paloma Elsesser and Candice Swanepoel.

As for performances, last year welcomed Cher, Lisa (from Blackpink), and Tyla. While there’s been no other hints as to who will perform this year, we’d love to see acts like Sabrina Carpenter—known to rock a bedazzled one-piece!—and Doechii, whose upbeat tracks would slay a runway. On that note, remember that year Taylor Swift tore up the VS runway? Let’s do that again, shall we? She is a showgirl, after all…

The post Victoria’s Secret Announces A New Runway Show For 2025 appeared first on marie claire.

Attendees started the week on a high with beaded (and beating) heart necklaces at Schiaparelli and sculptural swathes of bioluminescent fabric on Iris Van Herpen runway proving there’s nothing quite like the spectacle of couture week – this year is no exception. Of course, moments like the last Chanel studio collection, Demna’s Balenciaga swansong and Glenn Martens first collection for Jean Paul Gaultier, only adds to an atmosphere heavy with anticipation.

From Keira Knightley to Dua Lipa, the celebrities in attendance are already delivering serious FROW style to rival last season’s star sightings, promising another memorable sartorial schedule to look forward to.

Below, all the celebrities making a serious case for Haute Couture in the cooler months.

Celebrities At Paris Haute Couture Fashion Week Autumn/Winter 2025

Tessa Thompson

At the Balenciaga Haute Couture Autumn/Winter 2025/2026 show

Law Roach

At the Elie Saab Haute Couture Autumn/Winter 2025/2026 show

Zooey Deschanel

 At the Viktor & Rolf Haute Couture Autumn/Winter 2025/2026 show 

Nicole Kidman

At the Balenciaga Haute Couture Autumn/Winter 2025/2026 show

Michelle Yeoh

At the Balenciaga Haute Couture Autumn/Winter 2025/2026 show

Abby Champion & Patrick Schwarzenegger 

At the Balenciaga Haute Couture Autumn/Winter 2025/2026 show

Lorde

At the Balenciaga Haute Couture Autumn/Winter 2025/2026 show

Dianna Agron

At the Maison Margiela Haute Couture Autumn/Winter 2025/2026 show

Katy Perry

At the Balenciaga Haute Couture Autumn/Winter 2025/2026 show

Lorde

At the Chanel Haute Couture Fall/Winter 25/26 show 

Penelope Cruz

At the Chanel Haute Couture Fall/Winter 25/26 show 

Keira Knightley

At the Chanel Haute Couture Fall/Winter 25/26 show 

Gracie Abrams

At the Chanel Haute Couture Fall/Winter 25/26 show 

Naomi Campbell

At the Chanel Haute Couture Fall/Winter 25/26 show 

Marion Cotillard

At the Chanel Haute Couture Fall/Winter 25/26 show 

Kirsten Dunst

At the Chanel Haute Couture Fall/Winter 25/26 show 

Cardi B

At Rahul Mishra’s Fall 2025 show

Hailee Steinfeld

At the Tamara Ralph Haute Couture Fall/Winter 2025/2026 show

Hunter Schafer

At the Schiaparelli Haute Couture Fall/Winter 2025/2026 show

Philippine Leroy-Beaulieu

At the Schiaparelli Haute Couture Fall/Winter 2025/2026 show

Dua Lipa

At the Schiaparelli Haute Couture Fall/Winter 2025/2026 show

Cardi B

At the Schiaparelli Haute Couture Fall/Winter 2025/2026 show

Camille Rowe

At the Bal D’Ete At The Musée Des Arts Décoratifs 

Kirsten Dunst & Jesse Plemons

At the Bal D’Ete At The Musée Des Arts Décoratifs 

Keira Knightley

At the Bal D’Ete At The Musée Des Arts Décoratifs 

Diane Kruger

At the Bal D’Ete At The Musée Des Arts Décoratifs 

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Pharrell Williams, Men’s Creative Director at Louis Vuitton, looked eastward for inspiration, capturing the multi-dimensional essence of modern India: its cities, nature, spirituality, and vitality – all channelled through fabric, cut, and colour. The collection fused tailored silhouettes with fluid, sun-soaked textiles; vibrant marigold and turmeric hues met soft cottons and silks, hand-embroidered with artisanal precision. Layered kurta-inspired tunics, elongated coats, and draped suiting referenced Indian heritage while remaining distinctly global, embodying Louis Vuitton’s house philosophy of travel and interconnectedness.

The show’s location, bathed in warm amber lighting and ambient soundscapes reminiscent of a monsoon dusk, heightened the narrative – blurring the lines between fashion presentation and cultural odyssey. As the models walked, they embodied the evolving identity of the modern global man 0 one who is discerning, curious, and deeply attuned to craftsmanship.

A front row glittering with global stars only amplified the spectacle: Beyoncé and Jay-Z arrived as fashion royalty, while Anok Yai and PinkPantheress embodied next-gen style icons. K-pop megastars j-hope, Yuta from NCT127, and Jackson Wang shared the spotlight with cultural icons such as Spike Lee and Omar Sy. Indian representation came strong in the form of Ishan Khatter and HH Sawai Padmanabh Singh of Jaipur, further underscoring the show’s cultural dialogue.

At its core, Louis Vuitton SS26 was more than a collection – it was a sensorial study in modern identity, shaped by the past, rooted in place, and moving ever forward. By collaborating with Studio Mumbai and reflecting the rich pluralism of Indian sartorial traditions, Pharrell continues to position Vuitton not just as a fashion house, but as a platform for global artistic and cultural exchange.

The post Pharrell’s Vision of Modern India Shines at Louis Vuitton Men’s SS26 appeared first on marie claire.

The show opened like a love letter to Southern Italy’s contradictions: discipline and decadence, matriarchy and machismo, coastlines and chaos. Creative director Ian Griffiths traced a new narrative of Italian femininity- one rooted in postwar prosperity, but laced with a cinematic sensuality that conjured Sophia Loren, Silvana Mangano and the dapper scugnizzi of classic Italian cinema. Mangano’s famous rolled-up shorts in Riso Amaro became a touchpoint for micro-hemmed tailoring, paired with sculptural bras and structured tops with portrait collars. 

The spirit of Naples pulsed throughout. “We wanted to honour the bella figura,” Griffiths said backstage, referring to Italy’s deeply embedded philosophy of making a good impression- of always looking, and feeling, strong. Cue full-circle skirts with lozenge-shaped pockets, fringed funnel-neck coats, and slip dresses that clung and shimmered. There were gowns in dense panno wool, strapless and dripping in crystals, their built-in corsets peeking out from beneath a sharply cut décolleté – daywear turned disco, with all the understatement of a Fellini heroine at dusk. 

A standout feature was Max Mara’s collaboration with legendary Neapolitan tie-makers E. Marinella. Using archival cravatte prints first designed in 1951, silk pyjamas were elevated to eveningwear, while giant tie motifs were embroidered onto cashmere sweaters. Shirts in candy-stripe pinks and baby blues nodded to the flamboyant Neapolitan chiattillo – a fashion-forward dandy with a flair for the theatrical. Fedora hats and softly constructed jackets added masculine counterpoints to the otherwise fiercely feminine silhouettes. 

This was Max Mara at its most playful, most romantic, and – crucially – most grounded. Amid the opulence of Caserta’s cascading marble staircases, it was impossible not to be moved by the house’s enduring commitment to utility-meets-glamour. From the brand’s beginnings in Reggio Emilia, where founder Achille Maramotti dreamt of dressing the “wives of doctors and lawyers,” to today’s global citizen, Max Mara has always designed for women with ambition. 

And the accessories? The iconic Whitney Bag returned in four limited-edition styles, alongside five silk scarves, all available from June 18th on maxmara.com.  

Ultimately, the Resort 2026 collection captured the contradictions that define Italian womanhood – sharp yet soft, composed yet expressive, effortlessly powerful.  

The post Max Mara Returns To Its Roots With A Joyful, Decadent Resort Show In Naples  appeared first on marie claire.

Here, amid the statues and cypress shadows, Maria Grazia Chiuri conjured her dreamscape for Dior’s Cruise 2026 collection— a poetic dialogue woven from memory, myth, and imagination.

The show paid tribute not only to the Eternal City, but to a deeper thread, an enduring love story between Dior and Italy that began in 1947, when Christian Dior first entrusted Italian artisans with breathing life into his creations. He called it “paradise,” succumbing to the land’s sun-soaked ease, fragrant air, and luminous spirit.

Decades later, in her native Rome, Chiuri filtered this heritage through her own poetic lens. Her muse: Mimì Pecci Blunt, the enigmatic 20th-century hostess of legendary salons in Rome, Paris, and New York. It was Mimì’s famed Bal de l’Imagination that lit the fuse—a decadent pageant where disguise was liberation and art dissolved the borders between reality and fantasy.

Chiuri’s collection danced on this threshold, seamlessly combining resort and couture. The runway opened, veiled in fog, revealing sharp tailoring—a white tuxedo ensemble featuring a cropped tailcoat and deep V-neck waistcoat paired with fluid, floor-sweeping trousers.

White, in all its nuance—from delicate, diaphanous layers of tulle to sculptural jacquards—became the canvas for a sartorial symphony throughout the show. Military jackets and vests, with their masculine slant, punctuated the ethereal beauty—inviting a playful tension between discipline and ease, convention and subversion.

Dresses veiled in fine, shimmering lace or embossed like bas-relief sculptures resembled relics of half-remembered dreams.

Black and red velvet moments were cleverly interspersed, echoing the sensual drama of La Dolce Vita and the glamour of the Fontana sisters’ atelier. Like characters in a Fellini film, each look was both present and spectral, part of a farandole of stories stitched from Rome’s mythos. Chiuri offered more than fashion: she offered a portal.

Here, in the Eternal City, Dior Cruise 2026 became a dance of ghosts and dreams, a love letter to a city and a state of mind—where beauty confuses, liberates, and transcends.

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The collection opened with Australian model-of-the-moment Julia Nobis in a deconstructed knight’s uniform, setting the tone for a collection where Arthurian legend met glam-rock rebellion. Ghesquière’s medieval vision wasn’t costume drama but pure fashion alchemy—extravagant tunics with intricate embellishments, gathered capes that billowed with purpose, and soft Joan of Arc dresses in metallic jersey that caught the golden-hour light streaming through the palace windows.

Texture was everything. The designer went wild with unusual materials and craftsmanship techniques borrowed from manuscript illumination—that gilded 3D embellishment traditionally found on rare book covers. Alma bags emerged as wearable artworks, their surfaces decorated with the same precious attention medieval scribes lavished on sacred texts. The collection’s rich, often metallic fabrics created a sartorial tapestry that felt both ancient and futuristic.

As with most LV shows, the accessories stole the show. Open-toed, sock-like booties were emblazoned with mirrors and precious materials, while leather cavalier boots bore countless silvery grommets that caught every flicker of light. Caps crafted from raffia added unexpected texture, while wood-framed handbags—created in collaboration with 30-year-old Alsatian craftsman Thomas Roger—brought artisanal authenticity to the medieval narrative.

Silhouettes balanced past and present masterfully. Short skater skirts and knitted hot pants grounded the collection firmly in contemporary territory, while the colours and motifs drew directly from artworks and decorations found in the papal bedroom itself. Simple pea coats provided modern counterpoints to the collection’s more theatrical moments, and leggy skirt suits offered sophisticated options that wouldn’t look out of place in today’s power corridors.

The knitwear deserved special mention—Ghesquière manipulated jersey and knits until they became virtually unrecognisable, creating pieces that looked more like medieval chainmail than contemporary sportswear. The demonstrative approach to these humble materials elevated them into high-fashion statements worthy of the palatial setting.

Set designer Es Devlin’s contribution proved crucial to the collection’s impact. Her tiered red velvet theatre seats, left pointedly empty, placed the audience where performers would traditionally stand during the city’s famous summer festival. This perspective reversal reinforced Ghesquière’s theme of fashion as performance, with each look serving as a costume for life’s daily dramas.

The front row’s stellar cast—including Cate Blanchett, Emma Stone, Saoirse Ronan, Catherine Deneuve and Alicia Vikander, many fresh from Cannes—provided the perfect audience for this theatrical tour de force. Their presence underscored the collection’s central thesis: that fashion, like theatre, transforms the wearer into something larger than life.

See all the highlights from the Louis Vuitton Cruise 2026 show below. You can watch the show here.

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True to LV’s reputation for assembling Hollywood’s most stylish elite, Cruise drew the house’s constellation of brand ambassadors and loyal devotees. Cate Blanchett, stunning in leather pants paired with a draped silk cape that perfectly complemented the palace’s soaring Gothic architecture, was spotted chatting with film icon Catherine Deneuve. The Aussie actress, a longtime muse of Ghesquière’s, has become synonymous with Louis Vuitton’s most memorable moments, from show-stopping Cruise appearances to bold red-carpet gowns.

Sophie Turner, striking in a patterned short suit, brought modern glamour to the ancient setting, proving once again why she remains one of LV’s most photographed front-row fixtures. The British actress, alongside fellow ambassadors Chloë Grace Moretz and HoYeon Jung, represented the new generation championing Ghesquière’s vision.

The guest list read like contemporary culture’s A-list, with Jaden Smith bringing signature boundary-pushing style in a parachute jumpsuit, while Pharrell Williams and K-pop sensation Felix sent the crowd into a frenzy as they took their front-row seats. LV’s gravitas was further emphasised by the presence of French First Lady Brigitte Macron, who Ghesquière stopped to kiss during his victory lap post-show. Emma Stone, Saoirse Ronan and Alicia Vikander were also in attendance.

Befitting for the Gothic setting, LV’s latest collection was a masterful ode to medieval dressing—draped gowns, gathered capes, embellished tunics and richly textured separates that seemed to emerge from the palace walls themselves. The Palais des Papes provided a breathtaking backdrop tailor-made for Ghesquière’s architectural eye. Built in 1335 (and in less than 20 years, may we add), the palace represents the largest Gothic palace in the Western world, spanning 15,000-square-metres with 25 public venues. The location choice speaks to Louis Vuitton’s commitment to celebrating cultural heritage—a tradition spanning from Kyoto’s Miho Museum to Brazil’s Museum of Contemporary Art Niterói.

As Avignon celebrates the 25th anniversary of its UNESCO World Heritage listing, Louis Vuitton‘s contribution extends beyond the runway. The house is funding a comprehensive lighting project illuminating the Palais des Papes, cathedral, and surrounding historic buildings, ensuring the city’s architectural treasures shine long after fashion week ends.

The Cruise 2026 collection hits Louis Vuitton boutiques worldwide in November, but for those witnessing its debut amid papal splendour, the show offered something priceless: fashion, history and star power converging beneath ancient stones that once housed Catholic power.

Watch the Louis Vuitton Cruise 2026 show here.

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Hosted at the 15th-century Palazzo Settimanni, the creative and archival heart of the brand, the show marked a homecoming steeped in sentiment yet sharpened with intent. This wasn’t nostalgia for nostalgia’s sake. It was a return to Gucci’s roots, filtered through a modern lens of tactile maximalism and reimagined luxury.

A Material World

Florence, long synonymous with sartorial craftsmanship, came alive on the runway. Brocades shimmered. Velvet was slashed and sculpted. Lace dripped in crystal strass. Silhouettes swung from exaggerated and sharp-shouldered to fluid and elongated, straddling the day-to-night divide with Gucci’s signature ‘sprezzatura’.

Rather than resting on house codes, the collection revived them. The GG monogram threaded quietly through the looks; the single G was re-stamped across belt buckles and heels. Leather goods—the soul of Gucci’s Florentine beginnings—appeared with fresh softness and ease. The new Giglio bag, named after the city’s symbolic lily, nodded to local pride without screaming it. Consider it the It-bag of the season, already available for those who can’t wait.

The New Wave Of Opulence

Cruise 2026 reaffirmed a move away quiet luxury. It was about considered flamboyance, maximalism with restraint and a layering of craft and heritage. This was a sentiment echoed in the new high jewellery collection Monili, co-created with Pomellato. Leather, gold and pavé diamonds coexisted in delicate balance, with pieces lifted from Pomellato’s ‘80s archives and recontextualised for today.

Gucci isn’t chasing a trend cycle. It’s staging a cinematic return to character dressing—the kind that rewards emotion, detail and identity over algorithmic sameness.

A Finale That Felt Like A Beginning

In place of a traditional runway close, models poured into the street, blurring the line between show and city. It was a gesture as symbolic as it was stylish: Gucci, reabsorbed into Florence. The Florentine maison aknowledging, “Gucci is Florence, and Florence is Gucci.”

In an era craving authenticity, Gucc’s latest collection served as a love letter to legacy that managed to transcend time. Cruise 2026 was proof that fashion’s future may just be rooted in knowing exactly where you came from—and dressing like you never forgot it.

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Australian Fashion Week is ushering in a new era with its 2025 return under the Australian Fashion Council — and it’s showing on the runways. 

Heritage brands like Carla Zampatti and Bianca Spender as well as the new fashion guard—Courtney Zheng, Beare Park, Wynn Hamlyn, et. al—are a show of Australia’s most treasured talent, both here and abroad.

They’re also setting the tone for what’s to come locally from the fashion set, dictating the trends we’ll see everywhere in the months to come, attuned to our style palette in ways the international fashion weeks aren’t.

Already, a few key trends are taking form at 2025 Australian Fashion Week, our favourite of which we’re curating here. 

2025 Australian Fashion Week Trends

Frills & Fringing 

Whether it was floor-skimming and frayed edges at Wynn Hamlyn, fringed skirts and dresses that satisfyingly swished as models walked the Aje runway or the delicate, feminine ruffles that gave sumptuous texture to Lee Mathews pieces, there was no shortage of fabulous frills and fringing this year. 

Romance & Sensual Dressing 

A strong shift away from structured tailoring was evident amongst the runways this year, designers instead favouring the feminine, sheer and delicate.

Beare Park’s signature tailoring took on a soft focus and was complimented with draped silks, lace and sensual silhouettes.

Over at Carla Zampatti and Lee Mathews chiffon was gathered and draped oh-so delicately while at Aje billowing dresses and layered layered ruffles brought an air of romance to the runway. 

Checks & Plaid 

Once reserved for our winter wardrobes, plaid and checks quickly become a transeasonal staple.

The print has had a strong presence on international runways (seen at Tod’s, Acne and The Row) and now it’s made its way to our shores albeit in a more muted palette.

At the Frontier show Wynn Hamlyn clashed check on check on floral, while signature silhouettes were given at preppy flare courtesy of the print at Lee Mathews. 

Polka Dots 

TikTok influencer Rebeca Oksana was onto something when she predicted the polka dot revival of 2025 earlier this year.

The former go-to print of 2010s it-girls was all over the AFW runways, looking fresh and elevated in sheer fabrics at Bianca Spender and varying proportions at Carla Zampatti while over at Lee Mathews dots were imperfect, as though hand-painted. 

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Lee Mathews’ Australian Fashion Week show didn’t just mark an incredible milestone but also served as a time to reflect on the past 25 years building her eponymous brand. 

“The design process did feel different this season, it naturally came with a sense of reflection,” Mathews tells marie claire Australia. “Reaching 25 years gave us the space to pause and look back at the pieces that have shaped us.” 

The collection, which Mathews dubs “a conversation between past and present” called for “revisiting our archive, pulling things apart and reassembling them to create something new.”

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Chanel has long been a master of the travel-inspired wardrobe, but this season was less about destination dressing and more about the art of vacationing. That is, the ritual of packing beautiful things for beautiful places, of slipping into a flounced pastel dress just to sip a Negroni on the terrace. There was an intentional frivolity at play here – luxury for luxury’s sake, and unapologetically so.

After all, Villa d’Este is no ordinary hotel – it’s a palace on the edge of the lake, known for its Renaissance architecture, manicured gardens, and guestbook of global A-listers. Rather than reinvent the setting, Chanel leant into it with full abandon. The clothes conjured a fantasy of hotel life as theatre: dramatic capes worn over cocktail-ready jumpsuits, taffeta gowns that could swan through corridors or ballrooms, and evening pyjama suits cut for a dancefloor that comes to life after dark.

Sofia Coppola’s teaser film for the show underscored the cinematic mood, while the designs themselves seemed plucked from a dream sequence: shimmering black flared trousers and lamé stripes in hues that mirrored the sun-kissed surroundings, ivory lace suits with Spencer jackets, and petal-soft pastels that matched the Lake Como sky at dusk.

While recent seasons across the industry have leaned toward quiet luxury and soft tailoring, Chanel made a powerful case for dressing up again. The Cruise 2025/26 woman isn’t minimal – she’s maximal with restraint, wearing gold lurex and beaded braid trims like second skin.

There were, of course, nods to classic Cruise codes (pea coats, nautical stripes, silk scarves tied just so), but they never veered into costume. Even a strawberry pink pea coat felt wearable for all seasons thanks to expert styling and the weightlessness of the fabric. Everything had movement, softness, and that elusive Chanel ease.

Even the lush grounds of Villa d’Este found their way into the collection, with wisteria, magnolias, and camellias reimagined as chiffon floral embroidery or delicate beaded motifs. A flared black skirt suit featured floral appliqués that danced in the light, while a white suit with cropped trousers bloomed with understated botanical flair. It was garden party dressing turned high fashion.

Naturally, no Cruise collection is complete without accessories, and Chanel didn’t hold back. Think oversized sunglasses, silk foulards knotted at the wrist or ankle, elbow-length gloves, and boxy minaudières made for slipping into a vintage convertible at a moments notice. Patent leather mules, large poolside totes, and cascades of pearls evoked “the joy of getting dressed up to be noticed.”

Where many luxury brands are grappling with the age of quiet everything, Chanel took a different tack: it reminded us there’s a romance to destination dressing.

The Cruise 2025/26 collection isn’t just about what you wear on holiday – it’s about the state of mind being on holiday conjures. That feeling of slipping into silk or sequins and thinking of nothing but the sun, the sea and where your next cocktail is coming from.

And in the sun-drenched world of Chanel’s Lake Como, that moment never really ends.

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The Palais des Papes is a marvel of gothic architecture, and was built in less 20 years during the Middle Ages, from 1335 and under the initiative of Benedict XII. It’s considered the most important Gothic palace in the West and with 25 venues within it, has been home to many cultural events. Exhibitions by artists such as Picasso, Botero, and Eva Jospin have all been hosted here, and this year, the palace celebrates 25 years since it was listed as a UNESCO World Heritage Site.

The setting is appropriate for Louis Vuitton, as the House has long paid tribute to the heritage and local craftsmanship of the locations it selects for shows around the world. Previous shows have taken place at iconic locations such as at the Miho Museum by I.M. Pei near Kyoto, and the Bob and Dolores Hope Residence by John Lautner in Palm Springs.

The Palais des Papes is also a nod to Louis Vuitton’s first Cruise show, which took place at the Place du Palais in Monaco, and the show at the Maeght Foundation in Saint-Paul de Vence. Alongside the Cruise 2026 show, Louis Vuitton will also contribute to the funding of a lighting project for the Palais des Papes, which will illuminate the facades of the buildings, and aims to “enhance the monumental architecture” and help with the safety of the surrounding roads.

Louis Vuitton’s Cruise 2026 show will be held on May 22 2025, and the collection will be available to shop worldwide in November 2025.

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Chiuri’s Eastward Gaze

This season, Chiuri turned her gaze East – not in pursuit of exoticism, but of equilibrium. The collection asked a fundamental question: where does the body end and the garment begin? It was a show about thresholds – of space, identity, and tradition. “The reality of a building is defined by its interior space,” she said, echoing a sentiment that could be applied to garments as well.

Reimagining The Kimono

At the core of the collection was a conversation with the kimono – not just as a garment, but as an idea. Chiuri traced a historical thread back to Christian Dior’s own fascination with Japanese dress, particularly the Diorpaletot and Diorcoat of 1957, tailored to envelop a kimono without disrupting its silhouette. Now, in 2025, that legacy is not simply referenced, but reinterpreted.

Volume, Movement, And Stillness

Jackets and coats swept down the runway in generous proportions, cinched with wide belts or left to flow with architectural ease. Silk panels echoed the brushstrokes of a Japanese garden; moiré monochromes and inky indigo gradients transformed classic French tailoring into something more fluid, more meditative. Origami folds whispered through wrap skirts and structured trousers, while pleated knits flickered with movement like temple lanterns in the wind.

Modern Utility

And yet, it wasn’t all softness. Denim made an unexpected entrance, reimagined through the lens of craftsmanship and mobility. Sport-inflected pieces – bomber jackets, panelled blousons – balanced the delicacy of floral embroidery and vegetal motifs with a grounded utility, speaking to the urban modernity of the contemporary wearer.

What emerged from Chiuri’s Kyoto odyssey was less a collection than a cartography of cultural interlace. Inspired in part by Love Fashion: In Search of Myself, the Kyoto Costume Institute’s recent exhibition, Chiuri pressed into the heart of what fashion can say about identity, memory, and the emotions etched into every hem.

Go to dior.com

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Fashion month for the autumn/winter 2025 season has come to a close, meaning there are countless runway looks to dissect, analyse and interpret. 

The often unfortunate seasonal misalignment with our northern hemisphere counterparts actually makes for perfectly timed styling inspiration as we head into the cooler months.

With the autumn/winter season upon us, fashion month has provided the perfect fodder when it comes to what will be trending.

From this season’s underrated accessory to the surprising influence of Elizabethan dressing, here are the key trends from autumn/winter 2025 fashion weeks. 

Autumn/Winter Fashion Week Trends For 2025

Bold Shoulder

Multiple collections during the autumn fashion week gave onlookers the bold shoulder. We’re not exclusively talking about the sharp points synonymous with ‘80s style, although those too were prevalent as Yves Saint Laurent, MM6 and Stella McCartney.

The rounded, slouchy and generally exaggerated shoulder also featured Miu Miu and Prada in the form of cropped jackets, coats and fur outerwear. The mastery of these statement silhouettes, and the common thread between each designer, was in the minimalist styling. 

Fur, Fur & More Fur

Call it a return to maximalism as we ditch the quiet in quiet luxury but hold tight to all its opulence, fur held a commanding presence on the runways this season. Classic styles like jackets and coats were seen at Prada and Miu Miu with statement shoulders and sharp silhouettes.

Meanwhile, fur stoles were given a modern twist, draped across model’s shoulders at Chloé and Nina Ricci. Then, there were more unexpected styles at Acne in the form of fur body suits and dresses, only reinforcing fashion’s reignited obsession with the fabric. As winter approaches we will be embracing the trend with vintage and faux pieces, only.

Fringe-Watch

Designers relished in the textural delight that is fringing this season, with frills, frayed and feather-like finishes becoming the embellishment du jour for autumn and winter.
Laser-cut fringes create uninterrupted lines, expanding and contracting in dramatic fashion as models walked the runway at Sportmax while Dries Van Noten adorned jackets, dresses and skirts with multicoloured tassels. 

Chunky, cord-like fringing added texture and volume to looks at Etro, Alaia and Giambattista Valli while head to toe looks at Ferragamo and Aishish brought a touch of frivolity to the runways.

An Elizabethan Edge

An Elizabethan opulence took over the runways at McQueen, Dior and Chanel to bring a touch of Tudor-inspired dressing to our winter looks. Perhaps inspired by Lily Rose Depp in recent cult film, Nosferatu, cuffs were reimagined in delicate ruffles at Chanel while Dior created soft lace collars and pearl-embellished chokers reminiscent of the era of romanticism. 

Bold Belts

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Bows, tweed, pearls—the new collection gathers the codes of the house and resizes them for a new sense of play. Instead of delicate strings of pearls, these precious gems were supersized into bags, clutches and layered necklaces. Meanwhile, the pussybow also featured in an array of proportions, and bow motifs continued in various abstract forms: some, large and knitted, others cut-out and lined with pearls.

Naturally, the house offered a nod to its female founder, Coco Chanel, by re-interpreting her preferred tweed suits. With Chanel, it always pays to see the clothes up-close, where you can observe the delicate details. Illusion plays a huge part in Chanel’s fabric, with its delicate tulle fancies and trompe l’oeil effects.

This season’s tweed suits were often paired with chic boater hats of the matching fabric—accessories that will be just at home on the sophisticated woman, as they will on those wanting to put a popular preppy edge on their streetwear. Speaking of streetwear, it wasn’t all tweed suits and frilled dresses. The show tried a new spin on its classic cuts with a small collection of patent leather coats, tops and trousers.

The Paris Fashion Week runway attracted friends of the house to the front row, including Tyla, who donned a purple tweed suit for the occasion, and Australia’s own Phoebe Tonkin.

Overall, the Fall Winter collection focused on femininity. The return of these classic Chanel details culminated in an ode to womanhood, imbuing high-femme styles with a sense of youthful play.

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