While the traditional fashion show amasses plenty of excitement—especially from the K-Pop fans swarming to catch a glimpse of their favourite celebrities inside—Haute Couture is where you'll spy the weirdest and most wonderful creations, with the confines of ready-to-wear largely out of the window. And the Autumn/Winter 26 shows did not disappoint.

Jean Paul Gaultier pushed the parameters of Marie Antoinette-inspired styling. Schiaparelli swapped traditional couture-worthy fabrics for synthetic fibres. And Chanel created its own fantasy land, bringing many a favourite fairytale to life, complete with a life-sized scarecrow, fairy-adorned shoes and a Jack and the Beanstalk-printed silk. The inspiration clearly running wild.

Throughout the whimsy, though, a handful of moments have stuck with me—each more than worthy of a deep dive into their design and delicate creation processes. Scroll on to see why.

The Haute Couture Fall/Winter 2026-2027 Moments We Loved:

Pierpaolo Piccioli's Big Balenciaga Couture Debut

The most highly anticipated moment of Couture Week was arguably Pierpaolo Piccioli's Balenciaga Couture debut. Classic couture codes—feathers, tulle, and voluminous fabrics—featured in no short supply, alongside traditional Balenciaga frameworks. He also publicly thanked the team behind the collection, writing, "This collection is the result of the work of the people in the atelier, human beings who are couture—because couture is made by the people who live it. This note is to thank each and every one of them for their time, love, and commitment. This is our collection, this is our work, this is Balenciaga Couture, now."

Matthieu Blazy's Fairytale at Chanel

Blazy's Chanel continues to be a key talking point in the fashion sphere and beyond, and the designer's second haute couture show has done nothing to slow that momentum. "I started to wonder, was Gabrielle Chanel's life a fairy tale? I found a small book in her library, Les Fées, Contes des Contes, and asked myself if, together with the Haute Couture ateliers, we could make garments that tell stories like a book," he wrote, before sending interpretations of some of our favourite children's stories down the runway: Jack and the Beanstalk, Goldilocks and the Three Bears, and The Scarecrow among them.

Daniel Roseberry Opens Up at Schiaparelli

The press texts accompanying each collection are often overly eloquent stories of inspiration and laborious savoir-faire from the fashion houses as a whole—but Daniel Roseberry took a different approach, writing as though speaking to a close friend about the struggles that actually go into creating a collection. It's one of the best press releases I've ever read. "I'll be honest. Last season's collection, The Agony and the Ecstasy, felt like a kind of breakthrough, a new benchmark for Schiaparelli. Great, I thought: I've cracked the formula," he wrote. But "it didn't work like that." Instead, he turned to synthetic materials, breaking classic couture codes.

Victor & Rolf Does a Double Act

Haute couture is often centred around opulence, with craftspeople using fine fabrics and trims to create incredibly beautiful (and expensive) pieces. Viktor & Rolf, however, sought to challenge that idea. As the label put it, gold and burlap become different expressions of the same human reality—beneath every layer of adornment or discipline lies the same fragile humanity, exposed and enduring. To illustrate the point, two models took to the stage in identical outfits: one crafted from utilitarian burlap, the other from sequins and gold.

Dior's Lynda Benglis Influence

Inspiration comes in many forms, particularly when the constraints of wearable clothing needn't be heeded, as is the case with haute couture. Jonathan Anderson took his from American sculptor Lynda Benglis for Dior's Winter 26/27 Haute Couture collection. Her work places a heavy emphasis on texture, using paper, glitter, metal, and chicken wire to knot, pleat, and mould her creations, and those tactile techniques can easily be spotted throughout the collection. This look is a stunning recreation of part of her Peacock series, with an Armadillo bag adding Anderson's signature sense of fun.

Duran Lantink Takes on the Traditional Train at Jean Paul Gaultier

Who remembers the giant pair of breasts that delighted and horrified fashion fans in equal measure on the Autumn/Winter 2025 runways? Well, Duran Lantink is back to his customary boundary-pushing ways with this Jean Paul Gaultier haute couture collection, taking each garment to the limits of its sculptural potential. Marie Antoinette served as a key reference point, with crinolines, bustiers, and trains all challenging the boundaries of what's considered classic.

Rahul Mishra's Standout Sculptures

"Within temple complexes, cave sanctuaries and monumental carvings hewn from sandstone, granite and basalt, Indian artisans transformed stone into eternal muses, dancers, apsaras, devis, celestial attendants, divine lovers and gods," read the Rahul Mishra Haute Couture show notes. These figures became the designer's source of inspiration, as he saw them as "some of the most intimate records of how beauty was once imagined". Layered necklaces, elaborate girdles, anklets, armlets and headdresses took centre stage before the clothes, with statue-like silhouettes stalking onto the runway.

For all its exclusivity, fashion doesn’t exist in a vacuum—it reflects the culture, mood and real-world tensions of the moment, translating them into sartorial form. Throughout history, shifts in the wider cultural climate have found expression in what we wear: economic downturns have sparked trends rooted in restraint and practicality; darker periods have gone hand-in-hand with sombre palettes, while the ‘naked dressing’ boom has unfolded alongside a social media age defined by heightened visibility, performance and the relentless pursuit of perfection. There's even a so-called 'Hemline Index' theory, which suggests skirt lengths rise and fall directly in line with the economy...

Which is perhaps why, as I sat front row through the recent Autumn/Winter 2026 season of shows, I found myself increasingly struck by the number of padded, sculptural silhouettes emerging on the runway—at the very moment bodies in the real world appear to be moving in the opposite direction.

It’s hard to imagine that the timing is mere coincidence. Over the past few years, the inexorable rise of GLP-1 weight-loss medications such as Ozempic has transformed not only the medical landscape, but the wider cultural conversation around the female body itself. For many, of course, these drugs have been genuinely—and positively—life-changing. Yet their rapid dissemination and normalisation has also coincided with a perceptible shift in aesthetic ideals: namely, that thin is once again 'in', and visibly at the forefront of celebrity, fashion and popular culture alike.

Arguably, the fashion industry has always favoured smaller silhouettes, and any recent strides in the size inclusivity movement have felt more tentative than transformative—even performative, at times. This season, however, the relative absence of mid- and plus-size bodies on the runways felt impossible to ignore. Instead, in their place: traditionally thin models in clothes constructed specifically to create artificial curves and physically larger forms.

See: the padded-out skirts and tops at Magda Butrym, inflatable outerwear at Loewe, dramatic layered ruffles at Dior, sculpted, puffed-up and voluminously embellished coats at Bottega Veneta, boned hourglass gowns at Richard Quinn, the sculpted hips skirt at McQueen, Simone Rocha's bulbous crinolines, as well as the prominence of peplums everywhere from Givenchy and Mugler to Patrick McDowell.

Rather than signalling a genuine shift in body ideals, however, the season's shapely silhouettes seem to expose a more uncomfortable truth: that while thinness is once again being actively pursued, traditional notions of feminine shape and the concept of 'taking up space' remain aesthetically valuable, just not when they exist naturally.

Instead, curves and physical volume are becoming something that can be switched on and off; bought, styled and removed at will. "It seems to me that what's being sold isn't really the notion of curves, but an interchangeable body shape," says author and Marie Claire UK contributor Stephanie Yeboah. "There’s clearly an undercurrent of nostalgia for curves, but instead of rejecting thinness outright, [the industry is] keeping thinness as a base and reintroducing curves as decoration."

"As someone who lives in a bigger body, this 'trend' is frustrating to watch play out," continues Yeboah. "Because even though the look of my body is desirable, the lived reality of my body isn’t fully accepted on runways or in sizing. Fashion wants the idea of my body—just not my actual body. It feels like curves are being aestheticised at the exact moment they’re being erased, which is a contradiction in and of itself. Fashion is still trying to have it both ways, selling the fantasy of femininity and shape while maintaining the industry's preference for thinness."

And on top of this, it's giving capitalism at its most extreme, in which both the perceived 'problem' and its 'solution' are endlessly monetised. For now, at least, fashion seems content to only create the illusion of curves—without making space for the bodies that actually have them. Here's hoping the scales soon tip in the other direction.

The most immediately identifiable Valentino signature? Rockstuds. More specifically, the Rockstud shoes that featured on the feet—and, failing that, the moodboard—of every fashion fan during our collective obsession era of 2016. It was rare to walk into any bar, office, or restaurant between 2014 and 2017 without spotting at least ten pairs, making them, really, a pop culture icon. Therefore their return—also anticipated in the initial The Devil Wears Prada 2 trailers—is certainly one to celebrate.

Add to that the numerous looks layered over skinny jeans, oversized sunglasses, and a heavy emphasis on costume jewellery, feathers, and sequins, and it's clear we are far from the only ones feeling nostalgic about our outfits from a decade earlier. For Valentino's 'Interferenze' Autumn/Winter 2026 show in Rome last night, creative director Alessandro Michele pulled out all the major style moments—a far more elevated take on the 2016 aesthetic—and merged them with his signature elaborate baroque flair. A mood that the impressive show venue echoed back beautifully.

Heading home to Rome, presumably in homage to the late Valentino Garavani in what was the first ready-to-wear show since his passing, it was the iconic Palazzo Barberini that set the scene. Not an architecture of peace, the show notes read, but "a battlefield where many devices conspire to question form's claim to stability."

"In a similar way, fashion too can be read as a field of opposing forces cohabiting in and on the body," the show notes continued. "The garment is never merely a decorative surface: it is an apparatus that organises the dialogue between discipline and desire, between social norm and individual gesture, between belonging and excess."

Skinny jeans and fur coats. Sequin gowns beside more muted suits. An amalgamation of eras as inspiration. Lily Allen, Gwyneth Paltrow, Tyla, Pink Pantheress, Britt Lower and Myha'la Herrold on the front row... Michele's opposing forces are plain to see—much like the competing elements of the Palazzo Barberini itself, each vying for attention.

Pietro da Cortona's 'Allegory of Divine Providence and Barberini Power' spreads across the ceiling, while Gian Lorenzo Bernini's geometry-ordered staircase starkly contrasts Francesco Borromini's elliptical one. "It is a space inhabited by tensions, by layered walls, by visions that measure themselves in matter. What guides and what cracks can share the same perimeter, the same representational ambition: this co-presence generates density," the show notes continue. And clearly, the same could be said for the collection.

"The construction of a garment, like that of a building, is always the provisional result of a negotiation between code and invention, between memory and mutation," Michele's words add—reflecting how the memory of our favourite Valentino pieces is now evolving into the modern day.

Paris Fashion Week marks the final—and decidedly most anticipated—stop of fashion month, and this Autumn/Winter 2026 season is already delivering plenty of headline moments. Running from 3–10 March, the city is currently teeming with industry insiders, editors, buyers and tastemakers, all with a packed schedule of runway shows, presentations and glitzy events ahead—not to mention hopes of some seriously star-studded front rows.

As the world’s biggest fashion houses including Dior, Chanel, Louis Vuitton and Loewe unveil their latest collections, the Paris Fashion Week AW26 shows are setting the tone for how we’ll all be dressing come autumn, and beyond.

So, whether you're in town right now or not, below you'll find all the key highlights to emerge from Paris Fashion Week AW26 to ensure you're in the loop. From the most iconic runway moments and viral celebrity appearances, to the trends and collections everyone's talking about, these are the biggest stories worth knowing from Paris Fashion Week so far...

Dior's Glorious Garden Party

Jonathan Anderson set the bar incredibly high for this season of Paris Fashion Week as he kicked off proceedings with an extravagant Dior show in the Jardin des Tuileries—complete with Alexa Chung, Anya Taylor-Joy, Jisoo, Willow Smith and Priyanka Chopra on the front row. The collection itself was as grand and glorious as the setting called for: a series of voluminous tutus opened the show, with classic checks, pretty peplums, jazzy jeans, exquisite tailoring and playful accessories following behind. A pair of heels crafted to resemble a lily-pad was a particular highlight, and no doubt destined for sell-out success.

Saint Laurent's Star Power

Without fail, Anthony Vaccarello's Saint Laurent shows are some of the most glamorous and star-studded on the annual fashion calendar—and this season was no different. The front row was packed with the likes of Kate Moss, Michelle Pfeiffer, Zoe Kravitz and Blackpink's Rosé, while Bella Hadid surprised guests by hitting the runway. The collection, meanwhile, acted as a tribute to the iconic Le Smoking suit, which was first debuted by the house's founder 60 years ago. Other highlights included fresh takes on sultry, lingerie-like sheer lace dresses, statement bird-shaped earrings, and mega fur-trimmed coats; all together, the epitome of timeless glamour.

Dries Does It Again

For his fifth show at the helm of Dries Van Noten, rising star Julian Klausner was inspired by "the transient moment that leads from youth to adulthood." He explained in the show notes: "When identity forms and what we wear defines how we are perceived, and how we perceive ourselves. The fragile time of change, before identity sets in, lasts for a little moment before it is gone." Cue preppy touches and school uniform-inspired looks—albeit "with a rebellious tingle"—alongside more grown-up materials, patterns and cuts, but always with an alluringly playful touch.

Horsing Around at Stella McCartney

Stella McCartney took the Year of the Horse quite literally, hosting her AW26 show in a grand Parisian equine arena complete a dozen beautiful black and white horses. Oprah Winfrey and other high-profile guests had a front-row seat to enjoy the artistic display, that was led by equine artist Jean-François Pignon and formed a fantastic backdrop as model emerged clad in the latest collection. The standouts? Fabulous faux furs, gemstone-covered jeans, and a tongue-in-cheek t-shirt emblazoned with the words "My dad is a rock star".

Every Single Thing at Tom Ford

Everyone's (still) talking about the Tom Ford AW26 show, that was an undisputed standout of not just Paris, but this Fashion Month season as a whole. Haider Ackermann riffed on the dialogue of seduction for the collection; one with a decidedly sinister edge, and a certain underlying darkness. As the show notes explained, the concept was all about contrasts: "Hard and soft. Sharp and cocooning. Purity, with tension. The perfect suit, twisted." Pointy, sky-high stilettos, lashings of leather, plastic skirts, sheer layers, ultra-delicate lace and sharp tailoring made for a magnetic, deeply sultry vibe—one that the whole industry is already desperate to channel. Let the countdown to the collection drop begin...

Pieter's Adieu to Alaïa

Pieter Mulier has officially closed the curtain on his five-year tenure at Alaïa, with a show that stripped it all back to the "minimal, pure, essential" core of the brand—and that celebrated the team behind the scenes. In a touching gesture, the show space was decorated with portraits of personalities from the Alaïa atelier, shot by artist Keizo Kitajima—while Mulier added his own personal tribute and final farewell in the show notes. Everyone from Matthieu Blazy and Raf Simons to Alicia Silverstone turned out to see the historic AW26 show—the latter, of course, being the one who famously uttered that iconic Alaia line in Clueless many decades decades ago—all of whom rose to their feet to give Mulier a standing ovation as he took his final bow.

The Penfolds Party

Fashion darlings including Gabbriette, Lila Moss, Fai Khadra and designer Ludovic de Saint Sernin descended on Paris' trendy Quartier Général loft to celebrate the new creative partnership between two Australian icons: wine brand Penfolds, and Troye Sivan. The pop icon himself hosted the event, which included a glamorous dinner, DJ set and after-party, as well as the official unveiling—and drinking, naturally—of the limited-edition bottle Bin 389 Designed by Troye Sivan.

Chloé Goes Cottagecore

Chemena Kamali has officially called it: fashion's pared-back, quiet luxury, minimalism-obsessed days are over—in the world of Chloé, at the very least. Her latest collection was giving Little House on the Prairie in all the best ways, complete with peasant dresses, frou-frou skirts, ruffled hems, checked capes, and ditsy florals.

Wearable Fantasy at Schiaparelli

Daniel Roseberry continued to lean into Schiaparelli's surrealist DNA for AW26, exploring the tension between structure and fantasy—timely, too, given the house's illustrious history is set to be celebrated in an upcoming retrospective exhibition at London’s V&A. Aran knits were spliced with illusion tulle, leather-effect sheaths turned out to be printed silk, and fluid spiral-cut gowns came topped with glossy lamination. House codes—from the keyhole motif to measuring-tape detailing and sculptural animal-inspired accessories—reinforced the brand’s signature balance of artful irreverence and couture-level craft.

Isabel Marant's Girl Gang

Isabel Marant delivered exactly the kind of cool-girl wardrobe her fans come for, with creative director Kim Bekker riffing on the archetypal Parisienne for AW26. Boxy leather jackets, slouchy denim and chunky knits set the tone, later offset by sheer tulle dresses, lace camisoles and thigh-high boots that added a dose of after-dark sensuality. The result was classic Marant: effortless, slightly undone, and built for a fabulous night out with the girls.

Stars & Statement Shoes at Roger Vivier

The likes of Alexa Chung, Aubrey Plaza, Tracee Ellis Ross and Catherine Deneuve joined industry insiders for Roger Vivier's seasonal showcase in the grand surrounds of the recently unveiled Maison Vivier. Entitled 'CHOC: Architecture de la Séduction', the collection placed a renewed focus on the iconic curved Choc heel, originally conceived by Roger Vivier in 1959, now offered as a 'reflection on femininity as a statement', and destined to become a new-season must-have.

New Loewe, Round Two

For their sophomore Loewe show, Jack McCollough and Lazaro Hernandez further expanded the playful, craft-led language they introduced last season. The AW26 collection saw the design duo lean into experimentation with sculptural silhouettes, art-inflected details inspired by Cosima von Bonin, and plenty of irreverent touches that nodded to fashion as a space for creative play—and “an expression of joy”. The collection also offered up a new contender for the next big ‘ugly shoe’: rubber-topped scuba-style kitten heels, that feel destined for success. Meanwhile, over on the front row, the likes of Aubrey Plaza, Julia Garner and Emily Ratajkowski flanked Love Story actor and fashion’s new favourite darling, Sarah Pidgeon.

Givenchy's Modern Woman

Sarah Burton continues to refine her vision for the historic house of Givenchy, with an AW26 collection rooted in cut, tailoring and sculptural silhouette. Her third runway outing for the brand also leaned into a broader idea of femininity—a multi-faceted mirror reflecting the complexity and strength of modern women. In this vein, Burton introduced bolder-than-usual hues and patterns while moving between sharp sartorial precision and fluid draping, with duchesse satin capes, shredded floral evening dresses and painterly references to Northern European old masters adding a sense of drama. Legendary milliner Stephen Jones collaborated on the headwear, twisting simple T-shirts into striking headwraps, while Eva Herzigova led a strong runway cast. Rooney Mara, Alexa Chung, Diane Kruger, Yseult and Elizabeth Olsen ensured plenty of star power on the front row, too.

Everything at Celine

Michael Rider's latest Celine collection was a major hit, delivering a collection of clothes (and accessories) that felt far more real-world-ready and wearable than many of the brand's designer counterparts. Which makes sense, given the show notes explained that the designer prioritised "style without irony", "intuition over strategy" and "making the things we all dream of finding and wearing" this season. Bravo!

Cheeky Chappell and a Radish Bouquet at Westwood

From the moment Chappell Roan arrived at the venue in a dramatic hair-do and dress that exposed her derrière, it was clear that Andreas Kronthaler's AW26 Vivienne Westwood show was going to be quite the spectacle. Lola Young, Paris Jackson and Jeremy Pope ensured the front row was suitably glitzy, while on the runway, models emerged in a fun, experimental collection inspired by Romy Schneider, Danilo Donati's 'The Canterbury Tales' costumes, and elements of erotic underwear. And for the finale? The traditional Westwood bride, hand-in-hand with a beaming Kronthaler, and carrying a bouquet of radishes.

Balenciaga's Cultural Moment

Pierpaolo Piccioli delivered one of the week’s most talked-about shows for Balenciaga, blurring fashion and pop culture with a dark, cinematic runway developed alongside Euphoria creator Sam Levinson. The collection leaned heavily into glossy black leather, oversized outerwear and sharply sculpted silhouettes, all set against moody lighting inspired by chiaroscuro painting. But it was Heated Rivalry star Hudson Williams who stole the show as he took his pew on the front row beside the likes of Winona Ryder and Harris Dickinson, having already caused a feverish frenzy among fans outside.

Colour Pops at Paloma Wool

Barcelona-based brand Paloma Wool brought a much-needed dose of playful energy to the Paris Fashion Week schedule, kicking off day six with a catwalk composed of blue confetti, and a collection filled with characterful skirts, off-beat knits, staple jackets, and pops of fuchsia, green and blue. The handbags filled with 'emotional support' plushies and a final bow with the designer's young daughter certainly added to the joyful atmosphere, too.

Textural Feeling at Akris

For AW26, Akris' creative director Albert Kriemler collaborated with renowned Colombian textile artist Olga de Amaral, using her richly tactile woven works as the starting point for his latest collection. As one might expect, then, texture was (quite literally) the thread that ran through the show—from the beautiful black-and-gold woven fabric swatch on each guest's seat and the giant beaded curtain that models emerged through, to the looks themselves. Pieces crafted from shiny, luxurious eel leather and horsehair were real surprise standouts, while the use of bold pinks, greens, blues and reds added an injection of luminous joy to this meditation on how clothing is something to be felt as much as seen.

McQueen's Modern Dolls

Once again, Chappell Roan set the tone ahead of the show, arriving at McQueen in a sheer black gown worn with nothing but a thong beneath, a bejewelled metal collar necklace and her signature red locks dramatically draped down her back. Seán McGirr leaned into a similarly dark, theatrical energy for AW26, borrowing silhouettes from the house’s iconic Widows of Culloden collection to explore themes of modern identity. The result? Sharp gothic tailoring, boned corset dresses and delicate lace, alongside a striking feather-covered shoulder cape, a refreshed iteration of the infamous Bumsters, knee-high leather boots and eerily doll-like beauty looks.

Zimmermann’s Trailblazers

For a collection inspired by “trailblazing Australian women who redefined what was possible for future generations”, it felt fitting that the front row at Zimmermann was filled with modern-day powerhouses such as Oprah Winfrey, Jessica Chastain, Naomi Watts, Gugu Mbatha-Raw and Saffron Hocking. Their presence imbued the occasion with a certain spirited energy, that was only exemplified further by the sun shining through the venue’s glass roof and the subtle gold shimmer emanating from the set. A glorious backdrop for a beautiful, joy-sparking collection, that played with the contrast between feminine silhouettes and menswear details, introduced new signature prints, and channeled the brand’s signature elevated Aussie free-spirit aesthetic while making it AW-appropriate by way of leather, faux fur, and knits.

Clothes With a Cause at Gabriela Hearst

Gabriela Hearst dedicated her AW26 collection to Save the Children founder Eglantyne Jebb, translating the activist’s strength into a collection grounded in craft and purpose. Lace emerged as a key thread—from the brand’s signature cashmere lace dresses to hand-crocheted pieces made with a women’s artisan collective in Bolivia—alongside tactile tailoring in tweeds and cashmere corduroy. The palette was kept typically restrained to echo Jebb’s own wardrobe, albeit occasionally punctuated by flashes of blue and rich reds. But beyond crafting beautiful clothes ready to step right into the modern woman's wardrobe, Hearst used the finale to deliver a quietly powerful message. Models walked to a children’s choir rendition of God Only Knows, before the designer herself took her bow in a Save the Children T-shirt—a poignant reminder of the cause at the heart of the collection, and one that feels particularly resonant in light of current world events.

Another Blazy Triumph

The Chanel show is always the most hotly anticipated on the Paris Fashion Week calendar, and even more so this season given that Matthieu Blazy's first collection for the house had finally dropped in stores just days before, and caused a veritable frenzy. Hungry for more, guests including Margot Robbie, Oprah and Kylie Minogue lapped up every look at Blazy's AW26 show, filling their mental wish-lists with all the striking skirt suits, couture-worthy dresses, fabulous coats and exquisite accessories that made their way down the runway.

Zendaya at Vuitton

Zendaya's sole appearance of the AW26 Fashion Week season? On the front row for Louis Vuitton, of course! The house ambassador brought serious star power to the show as she arrived in a white shirt dress featuring a dramatic puffball skirt, exaggerated lapels and a major leg slit—certainly an interesting choice given that rumours of a secret wedding have only just started to emerge...

Miu Miu's All Grown Up

And last but certainly not least came Miu Miu, closing out another epic season of fashion shows with a collection that offered a grown-up take on signature girlish house codes. Think: pared-back but bow-topped mini dresses, lived-in leathers, fur-lined shell jackets, hiking shoes, pretty camis, and nostalgic Nineties zig-zag headbands—as well as an all-star runway cast that included Chloë Sevigny, Gillian Anderson, Kristen McMenamy and Gemma Ward.

The Autumn/Winter 2026 Fashion Week season has arrived, and so far, the hair looks have been excellent. From stacked braids to unkempt glamour, this season is shaping up to be about loose, unfussy hair, with a key point of interest.

Paris Fashion Week

Victoria Beckham: Side partings and low ponytails

The look at Victoria Beckham centred on a strong side parting and a loose, low ponytail, which championed natural texture.

Vivienne Westwood: Romy Schneider's 60's glamour

Over at Vivienne Westwood, the hair drew inspiration from actress Romy Schneider and the glamour of the 1960s. The look centred on strong, dry texture, softly structured shapes and very low side partings, with backcombed roots and brushed-out curls.

Ann Demeulemeester: From preppy to punk rock

At Ann Demeulemeester, hair celebrated individuality, inspired by a university classroom of alternative characters, from rockers and goths to preppy archetypes. Each look was tailored to the model’s natural texture and persona, united by a subtly dishevelled, lived-in finish.

Milan Fashion Week

Sportmax: Air-dried hair

Models walked the runway with damp hair, which appeared to dry as they walked.

Gucci: Deep side parts

The party vibe at Gucci was echoed in the hair, which saw a return to 90's era side parts.

Prada: Greasy strands

At Prada, models embraced an unkempt with greasy looking strands.

Bluemarine: Low ponytails

Low ponytails and sharp middle parts dominated the runway at Bluemarine.

Fendi: Tousled hair

Hairstylist Guido Palau crafted hair into low buns, leaving out some wavy tendrils.

Etro: Just out of the shower

At Etro, models' hair were doused in water, as if they were freshly out of the shower.

London Fashion Week

Dreaming Eli: Marie Antoinette's court

Hair lead Danilo Giangreco looked to the court of Marie Antoinette, and created dishevelled, party-esque updos.

Paul Costelloe: Sculptural Chignons

Cos Sakkascreated low, sculptural chignons at the nape.

Joseph: Power femininity

Backstage, Anna Cofone, who led the hair, explained that the look was a blend of 1970s freedom and 1980s power femininity. The result was softly pushed back, lived-in and texture-led strands, which aimed to convey the effortless modern woman.

Annie's Ibiza: Romantic silk roses

At Annie's Ibiza, hair lead Sam McKnight created soft, textured updos, which he then adorned with silky pink roses.

Erdem: Texture galore

At Erdem, the hair was romantic, with fuzzy, wispy accents.

Simone Rocha: Weather-beaten hair

Backstage at Simone Rocha, stylist Anthony Turner used Sebastian Professional to create an "exaggerated sense of reality in the hair", drawing inspiration from Perry Ogden’s book Pony Kids, which was a key influence for the show.

Turner says: "Longer hair feels weathered and wind-beaten. Sometimes, textures are lightly deconstructed, and other times, textures are completely deconstructed. This is a narrative of travelling, going from one place to the next... Something that once was and no longer is."

Chet Lo: Glass hair remains king

Hair at Chet Lo was presided over by Anna Cofone, who created glass-like and uber-straight lengths, using Authentic Beauty Concept.

New York Fashion Week

Tory Burch: Stacked Braids

Hair stylist Guido Palau gave models at Tory Burch stacked braids, separated into tiers.

Christian Siriano: Hair Scarves

At Christian Siriano, stylists wrapped models' hair around their necks, it was part scarf, part snood.

Zankov: Side parts are so back

Side parts were everywhere at Zankov, as were unfussy, skew-whiff partings.

Following New York and London, it was the turn of Milan Fashion Week to come into the spotlight for the Autumn/Winter 2026 show season. Running from February 24th until March 2nd, the Italian fashion capital played host to editors, buyers, celebrities and industry insiders from all over the world, who were in town to see the new collections from big-hitters such as Fendi, Prada, Gucci, Bottega Veneta and Ferragamo.

Then, of course, there were all the showrooms, presentations, launches, parties and events going on alongside, not to mention the countless fabulous street style moments in between. It's a lot to keep up with, by any standard—so to help, we've put together a cheat sheet to get you up to speed on all the highlights, talking points and viral moments to come out of Milan Fashion Week.

The Diesel Junkyard

Diesel isn't a brand to do anything by halves, but still—guests were certainly surprised to find a room filled with around 50,000 pieces of memorabilia from the brand's archive as the setting for Glenn Martens' AW26 show. But the immersive installation wasn't just about shock value or Insta-catnip... As the show notes explained: "The memorabilia are forensically displayed under bright lights, like conclusive evidence of nearly fifty years of partying at Diesel. Through reuse and transformation, the installation expresses Diesel’s commitment to upcycling in creative expression, a commitment that is reflected in the collection featuring a diverse range of responsibly sourced and recycled materials across denim, ready to wear and bags."

Rigorous Minimalism at Jil Sander

Simone Bellotti's sophomore show at the helm of Jil Sander was a masterclass in pared-back minimalism, featuring tailored separates, classic coats, smart dresses and butter-soft leather pieces in elegant neutrals—plus a surprise burst of leopard-print in the form of a single midi skirt.

Maria Grazia Chiuri's Fendi Debut

After nine years at the helm of Dior, it was announced late last year that Maria Grazia Chiuri had been appointed Chief Creative Officer of Fendi—the iconic Roman luxury fashion house where the designer first cut her teeth in the accessories department some decades ago. So, Chiuri's first ready-to-wear collection for the brand felt like a full-circle moment, not to mention one of the most important debuts of the season—hence a front-row peppered with celebrities such as Uma Thurman, Jessica Alba and Monica Bellucci. The resulting collection felt decidedly restrained, dominated by black dresses and tailoring, alongside pops of animal print, utilitarian khaki and yellow, as well as the house's signature fur-focussed outerwear.

Party Pants at Missoni

Missoni might be most closely associated with the summer season, but the brand's AW26 collection proved it very much deserves a spot in your winter wardrobe, too. There were chunky knits, oversized coats, warm layers, and more season-appropriate pieces offered in the house's signature patterned fabrics—albeit decidedly more muted—but it was the so-called 'party pants' (tailored trousers jazzed up with lurex thread) that undoubtedly stole the show.

Etro's Evolving Narrative

Creative director Marco De Vincenzo continued to refine his idea of what constitutes “Etro-sity” for AW26. The collection featured tartans layered over paisley, trompe l’oeil scarf prints and heraldic motifs, British-inflected tailoring, and luxe, glamorous flourishes from feather trims and sequins to devoré jacquards and richly worked knits. An ever-evolving eclecticism that felt more considered and compelling than chaotic—and a little more grown-up to boot.

Modern Utility at Max Mara

Max Mara leaned into modern utilitarian elegance this season, trading its signature precision tailoring for looser, more enveloping silhouettes in weighty, tactile, cold-weather-appropriate fabrics. There was a distinctly outdoorsy undercurrent—flat over-the-knee suede boots, practical belt bags, acres of suede—balanced by sweeping coats and maxi jumper dresses that felt both pragmatic and polished. Even eveningwear arrived with woolly epaulettes, reinforcing the idea that this is luxury designed for real winter, not just the front row.

Becks at Boss

More than 600 guests turned out to see the latest BOSS show—and that's before word even got out that brand ambassador David Beckham would be gracing the front row with his presence. Happily, the eye candy extended to the catwalk too, where a standout cast of models emerged in sharp suiting and impeccably tailored separates jazzed up with rich colours, textures and embellishments.

Bella's Back, Four Times

Bella Hadid made her first runway appearance of the Autumn/Winter 2026 season for Prada, where she and just 14 other models took four turns each on the runway, removing a layer every time to show how one outfit can transform at different moments in the same day—and how key pieces come together to form the ultimate, hard-working capsule wardrobe.

Meryll Rogge’s Marni

By all accounts, Belgian designer Meryll Rogge nailed the brief for her Marni debut, capturing the Italian brand's signature quirky, artsy style whilst simultaneously providing a fresh perspective. The collection itself was one of clever contrasts: mountaineer-inflected sportswear met substantial leather and industrial ciré, delicate organza and satin offset utilitarian shapes, while bold stitching, patchworks and off-kilter proportions subtly reworked familiar house codes.

Quiet Luxury at Tod's

Tod’s remains one of the few fashion houses still steadfastly sticking to a decidedly quiet luxury aesthetic, and doing so incredibly well. This season, Matteo Tamburini kept the collection grounded in beautiful leather, from enveloping trenches and pea-coats to supple quilted bombers, rendered in warm, earthy tones of caramel, ginger and chocolate. Subtly reworked loafers, saddle-inspired ankle boots and refined updates to the T Timeless bag reinforced the house’s commitment to craftsmanship over spectacle—all while the likes of Minnie Driver, Lily James, Helena Christensen and Nicky Hilton brought an extra dose of polish to the front row.

The Stars Align for Demna’s Gucci

Demna’s debut show for Gucci was every bit as glamorous, dramatic and star-studded as expected. The front row was filled with the likes of Demi Moore, Eva Herzigova, Donatella Versace, Romeo Beckham and the Hilton sisters, who looked on as supermodels including Emily Ratajkowski, Karlie Kloss, Amelia Gray, Alex Consani and Gabbriette stepped out in the Georgian designer’s sultry, heavily Nineties Tom Ford-coded creations. And as if that weren’t already enough, Demna ensured the show ended with a serious bang courtesy of Kate Moss, who took to the Gucci runway for the first time in more than two decades wearing a backless black gown and Gucci-logo G-string. Iconic.

Argentina, Moschino-fied

There’s never a shortage of tongue-in-cheek fun and whimsy at Moschino, and for AW26 Adrian Appiolaza turned to his native Argentina for inspiration. References to tango, Evita and Buenos Aires were woven throughout the collection, offset by the trompe l’oeil bags and knowingly exaggerated details. But beyond the punchlines, there was a run of genuinely beautiful dresses, rich in ruffles, vibrant patterns and craft, that gave the collection heart as well as humour.

Ferragamo's Stylish Speakeasy

For AW26, Ferragamo's creative director Maximilian Davis—who is still very much in situ, despite recent rumours—continued his ongoing fascination with the 1920s, the era in which the house was originally founded. Using the speakeasy as a jumping-off point, the collection was inspired by the cast of characters who might cross paths there after dark, resulting in everything from reworked sailor uniforms and utilitarian attire, to slinky slip dresses, elegant eveningwear, and cocooning, couture-inspired coats. Paloma Elsesser's turn on the runway was another source of delight, while Tracee Ellis Ross led a stylish real-life cast on the front row.

Madonna at Dolce & Gabbana

Dolce & Gabbana kicked off its AW26 show with a (very worthwhile) 45-minute wait for the inimitable Madonna to take her pew on the front row—before screening a video manifesto declaring that “identity is the ultimate luxury”. The collection itself felt cleaner and more restrained than usual, built around sharp tailoring, black lace and strong outerwear that nodded to the house’s Sicilian roots. The styling, too, was deliberately minimal, with dresses, coats and shirts featuring intricate back detailing—revealed as models paused mid-runway to turn and show the reverse.

Louise Trotter's Bottega: Take Two

It doesn't get much more major than having Daisy Edgar-Jones, Lauryn Hill and Julianne Moore on your front row—but Louise Trotter's sophomore Bottega Veneta collection more than rose to the occasion. For AW26, the British fashion designer continued to refine her vision for the house, balancing structure with sensuality and star power. Think: precise tailoring softened by curved silhouettes, standout coats and unique dresses in fabulously tactile fabrics, epic leather accessories and subtle flashes of nostalgia—all grounded in the quiet confidence and craftsmanship that Bottega does so well.

The fashion sphere has quietly been scaling back its sustainability commitments, muddying the waters with misinformation and greenwashing. Yet threads of hope remain: a number of designers at LFW continue to champion meaningful, sustainable practices.

Designers are now conscious of excessive fabric production and consumption and are now using practical methods to design and produce sustainably: from bespoke couture tailoring (the most sustainable fashion model) to incorporating upcycled fabrics, organic & natural materials plus developing and sourcing textiles from waste using no water and no chemicals.

There’s an endless supply of designers if you look hard enough. Here are a few of my favourites spotted at the London Fashion Week Autumn/Winter 2026 shows:

Steve O Smith

A bold couture collection recreated from Steve’s fluid ink-sketched forms feels as if it’s been poured straight from his ink pots. Every piece has the look and feel of the hands that meticulously appliqued layers of chiffon, crepe de chine, and pleated mille-feuille tulle. Bows and lines are hand-stitched using vintage glass beads and sequins. The main character's dress comes in a sorbet yellow deep V puff ball gown etched with striking black lines and layers of delicate frothy tulle reminiscent of a peony bursting out of delicate protective sepals.

Ksenia Schneider 

Ksenia Schneider revisits her distinctive style of cubic denim, evolving the shapes further in cotton sweatshirt tracksuit bottoms and recycled patchwork denim, sponsored by her continuing collaboration with Lee Cooper. Sharp denim forms were created in reconstructed fabrics, knits, prints and quilting. The collection played with the construction of fabric details from funtional multi layered utility pockets attached to everything from dresses, jackets and cardholder labels placed on jeans and t-shirts. Playing with denim motifs, Ksenia recreated the iconic linear gold top stitching details of denim on innovative fabrics blended from recycled denim waste.

Jawara Alleyne

His presentation was a study, questioning how fashion can be lived and explored from a sociological point of view. A discussion about the lack of spaces where you can dress up and meet your community in pubs and clubs. Clothing was displayed using walls, plinths and chairs to recreate the gallery set-up. The collection featured deconstructed polo shirts and signature multi-layered t-shirts mixed with neon lace that hung like paintings. A wall hanging of crisscrossing jersey strands trailed across the gallery floor. Jawara’s use of unexpected cuts and layered textures told his story in art form reminiscent of the artist Jenny Saville’s use of ordinary objects in unexpected sculptures, reinterpreting the clothed forms devoid of bodies.

Chopova Lowena

Stepping into the golf-themed world of Chopova Lowena, abuzz with playfully dressed regency core mannequins, you felt compelled to find your main character in the room. The collection was a beautiful mix of craftsmanship and sophisticated fabric parings; tartans mixed with florals, Argyle and camoflague, beaded cotton dresses and faux fur booties, low-rise boned zip skirts and corsets in cotton chintz. The elevated collection is born from upcycled deadstock, redefining the remnants of past seasons. The cat knit jumper and boned tulle skirt accesorised with a cat-shaped bag and bonnet is currently living rent-free in my head.

Phoebe English

Phoebe showed her reflection of the seasons from a horticulturist's eye, it felt like you were visually leafing through the pages of a Royal Horticultural Society’s encyclopaedia of plants and flowers throughout the season; snowdrops in January, dandelions marking the end of winter dormancy and the beginnings of spring, each look denoted a month of the year. Flower motifs were adorned and wrapped like vines across bodies, mixing textures, light and shade. Imprinted fabric leaves blowing in the light breeze, foxgloves and ivy trailing down sleeves, ferns sandwiched between cotton tulle, all against a backdrop of an all-white collection of crushed gossamer silk, cotton and satin acquired from bridal companies.

The Autumn/Winter 2026 Fashion Week season is upon us, and with it comes a whole host of superb beauty looks. From the great return of eyeshadow to the ever-present focus on skin, so far, this season is about considered maximalism and technical skill.

Paris Fashion Week

Victoria Beckham: Matte pink lips

Make-up artist Lucia Pica created matte pink lips on the models, using the brand's Posh Balm in Colette.

Tom Ford: Velvet lips

The vampy, velvet lips at Tom Ford were created using the brand's Runway Lip Stylo Matte in 16 Scarlet Rouge.

Milan Fashion Week

Sportmax: Orange eyes

At Sportmax, models wore vibrant orange cat eyes, all across their lids.

Prada: Grunge returns

Models sported blocky black eyes and exaggerated under-eye bags at Prada; it was indie sleaze, but on steroids.

Bluemarine: Bronzed lids

There was a wash of goddess-like bronze across models' lids at Bluemarine.

Roberto Cavalli: Gothic lips

Bold, almost black lips were the name of the game at Roberto Cavalli.

Moschino: Minimalist lines

Models wore incredibly precise, jet back eyeliner, including in the water and tight line.

Gucci: Party make-up

At Gucci, new creative director Demna Gvasalia evoked the party vibe of the late 90's. There were smudgy, smoked out eyes, and glossy red lips.

Fendi: Taupe minimalism

Renowned make-up artist Pat McGrath went minimal, lightly sculpting models' eyes and lips with pared back taupe shades.

London Fashion Week

Selasi: Make sweat great again

Backstage at Selasi, Herbar, who specialise in science-backed, mushroom-led skincare, set out to reframe sweat as a signal rather than a spectacle. Models' skin was left dewy, with no heavy setting, no mattifying, no blotting. Instead, it responded to heat and movement in real time.

Completed Works: 'Oil painting' skin

Make-up artist Zoe Taylor used Morphe to channel a 90's aesthetic over at Completed Works. When it came to the star of the show, Jemima Kirke, she built up several shades of cream blush, with a particular favourite being the plum shade 'Wine and Dine'. The models' mirror-like shine was enhanced by backstage skin prep from 111Skin.

Erdem: Structural Glass Skin

Celebrity facialist Hadda Akrim gave SkinCeuticals Express Glass Skin Sculpting Facials backstage at Erdem. The treatment was designed to lift, de-puff and enhance skin integrity to ensure the skin looked firm, bouncy and radiant through multiple show changes.

Julien MacDonald: Bronzed goddess

Julian MacDonald partnered with Charlotte Tilbury to deliver the brand's signature, sexy glam. The eyes were blown-out and elongated with a suffused, smoky haze, and framed with dialled-up lashes. The look was finished with a metallic, light-catching sparkle on the lids.

Simone Rocha: Eye-bags galore

At Simone Rocha, no attempt was made to cover the under-eyes of models—the result was an entirely natural, slightly puffy, discoloured eye area. This is one trend we can certainly get behind.

Chopowa Lowena: Liner art

Models at Chopowa Lowena sported this intricate, softly diffused liner and eyeshadow art reminiscent of flowers. It also acted as a nod to the Regency-era, which the designers were inspired by.

Harris Reed: Elongated Eyeliner

At Harris Reed, models wore jet black graphic eyeliner, which extended to the temples, and the under-eye area.

Dreaming Eli: Versailles Chic

At Dreaming Eli, make-up artists drew inspiration from the make-up of the French court during Marie Antoinette's reign. As such, the base was white, and accented with dramatic, messy pops of colour on the cheeks and lips.

Bora Aksu: 'Dead Girl' Greige

Make-up artists made models' skin and lips super pale, à la the "dead girl" aesthetic that saw a surge in popularity last year. The lids were softly washed with grey to complete the look.

New York Fashion Week

Ralph Lauren: More blush please

Models at Ralph Lauren, including Gigi Hadid, sported the "cold girl blush" look to dramatic effect. In fact, it was rather reminiscent of Margot Robbie's flushed, ruddy cheeks in Emerald Fennell's "Wuthering Heights".

Marc Jacobs: Vampy Minimalism

Over at Marc Jacobs, the focus was either on the eyes or the lips—never both. I loved the vampy feel of this super dark lip paired with incredibly minimal skin and apparently nothing on the eyes. Even the nails were bare.

Anna Sui: Graphic, Metallic Eyeliner

This oversized eyeliner look at Anna Sui was part indie sleaze and part 60's mod.

Private Policy: Peach is in

20's style, super skinny eyebrows and a soft, diffused peach lid were on the catwalk over at Private Policy.

Carolina Herrera: OTT Eyeshadow

Make-up artist James Kaliardos washed models' lids with a single bright colour, extending right up to the brow bone.

I’ve been a devoted UGG wearer ever since my teens, when the Southern California–born sheepskin boots first burst onto the international scene and established themselves as a Noughties style staple. For most, they were a trend that happily faded away alongside the era's velour tracksuits, denim minis, and skinny jeans—at best relegated to guilty-pleasure status, strictly worn at home or post-gym. But not for me. Against my better judgement, I never quite gave them up, and have resolutely continued to wear them, out and proud, reactions be damned, ever since.

Some time ago, however, I began to notice a shift. Where once my choice of footwear might draw raised eyebrows, confusion, amusement, or even sneers, the post-pandemic prioritisation of comfort made UGGs—along with trainers, ballet flats, et al—acceptable again, and not just in off-duty contexts either. But, it turns out, that was only the beginning. In the years since, UGG has undergone a full-blown transformation, elevating the humble shoe from simply permissible to genuinely cool—and it’s all thanks to a handful of seriously clever collaborations.

Much of that transformation can be traced back to where—and with whom—UGG has chosen to align itself. In the past few years alone, the brand has released campaigns fronted by stars such as Sarah Jessica Parker, Cher, Central Cee, Elsa Hosk, Post Malone, NFL player Stefon Diggs, Seth Rogen and Rina Sawayama, positioning itself firmly at the intersection of modern culture and embedding itself in all the varied aesthetics that come with it.

“Celebrity endorsement has played a huge role,” explains stylist Corina Gaffey. “Seeing people like Bella Hadid wearing UGGs in a non-kitsch way has given them so much style currency. It’s made them feel current again, rather than nostalgic.”

This shift has also encouraged more experimental styling. “It’s all about contrast,” continues Gaffey. “Mixing textures, restraint, and wearing them in unexpected ways. It should look intentional rather than ironic—not that ‘I got caught outside in my UGGs’ vibe.” Her preferred approach? Slouchy denim, tailored coats, leather jackets and tonal palettes—proof that the boots now operate comfortably within a more sophisticated wardrobe language.

The brand's renewed focus on releasing experimental, trend-led designs has certainly helped too, with clogs, mules, ballerinas and hybrid styles helping to broaden the brand's appeal and audience. Associations with a single, sun-soaked image of Malibu starlets in leggings and chestnut booties are, thankfully, no more.

Most significant of all, however, has been UGG’s slow, studied entry into the highest echelons of the fashion world. First, it dipped its toe into luxury by partnering with Jimmy Choo on an exclusive line in 2009, before going the edgier route with a Jeremy Scott collab in 2017—the results of which still fetch hundreds at resale, with the signature flame-painted boots worn by Timothée Chalamet just the other day. It's a strategy the brand has only continued to refine and ramp up in the years since, with collaboration collections with Telfar, Molly Goddard, Sacai, Palace and The Elder Statesman also reaching rapid sell-out status.

And while not official partnerships, it’s also telling that high-end labels like Miu Miu, Gucci, Fendi and Dior have released their own logo-topped takes on the classic UGG boot over the years—serving only to further bolster the original silhouette’s new-found fashion credibility.

Given the runways are by far fashion's most powerful validation system, it makes sense that UGG would use this ultra-exclusive milieu to help reshape its reputation, too. In recent seasons, UGGs have featured in buzzy Fashion Week shows including Y/Project, Collina Strada, Feng Chen Wang, KNWLS, Chopova Lowena, Tolu Coker and Talia Byre in various creative iterations.

And most recently, UGG teamed up with up-and-coming Danish designer Anne Sofie Madsen to launch its newest silhouettes as part of her AW26 Copenhagen Fashion Week show—namely the Otzo clog, Quill ballet trainer, GoldenGlow embossed sandal and Minimel sneaker, albeit reworked to become "part of the same structural and tactile language as the collection," as the designer put it. Customised with metal studs, textile bows, spray paint and leather straps, the shoes acted as a canvas for craftsmanship, paired with everything from avant-garde gowns to tailored two-pieces—firmly cementing their place within the realm of cutting-edge fashion.

The fact that most of the exclusive UGG designs featured on the runways never actually go into production is almost by-the-by. “The value of these collaborations lies in cultural capital,” explains Gaffey. “Even when they don’t go into production, they reshape how you think about the brand. They create demand, visibility, relevance and credibility—especially when they work with cooler, more indie designers.”

"Sales don’t just measure visibility," she continues. "With UGG constantly collaborating, it keeps it from being just that nostalgic boot from the 2000s, guarantees coverage in editorials and on catwalks, and creates conversation, which in turn creates demand. It’s constantly reinventing, offering fresh alternatives, which is so important in fashion."

And for me? It feels like the ultimate vindication for being so stubborn after all.

Checks, plaid and gingham are familiar fixtures on the catwalk—just look to the Spring/Summer 2026 collections from Brandon Maxwell, Burberry, Bernadette and Chanel for proof. Yet while inspiration for these patterns comes in many forms, from kilts to picnic blankets, one item in particular is currently front of mind for many fashion fans: the checkered polypropylene bag.

You know the ones—big, plastic, and instantly recognisable with it's checked pattern. You might have seen them at your local market or piled high at your nan’s house, if yours is anything like mine. Otherwise, you may know them as a “Ghana Must Go”—a name that will bring up countless results on Amazon, though is now being questioned for its continued appropriateness.

Right now, the bag’s distinctive check pattern and its frequent appearance in fashion are drawing renewed attention. This is largely thanks to the resurfacing of Louis Vuitton’s Spring/Summer 07 reinterpretation, which is currently reselling for around £1,600—a far cry from the £2 non-branded versions found in markets and corner shops. Add to that the flurry of similar checks and colourways on the Spring/Summer 26 runways, and it’s clear this humble pattern has become a talking point once again.

The reason this particular print holds such an emotional tie? It’s steeped in complex history. "For some, it is painful reminder of the 1983 mass expulsion of Ghanaians from Nigeria following the oil crash," explains celebrity stylist, editor and fashion expert Marian Kwei, noting how these bags were often used to hastily pack up belongings during that time.

"Being of Ghanaian heritage I know that for many there are mixed feelings with regard this affordable carryall bag, for those who find it painful it is a reminder of the confusion, displacement and enforced expulsion from Nigeria and the alienation felt," she continues.

"For others, it has come to connote an inexpensive, resilient, easy to attain carryall that encapsulates the movement of people and the carrying of goods and items," she adds, noting that the bag is known by various names across Africa and the rest of the world.

Today, however, the pattern has been reclaimed by African designers and creatives. Visual artist Òbìnna Òbíòmà created an entire shoot, Anyi N’aga (We Are Going), using the bags to craft a full outfit and set. "Through fashion, we are both expressing ourselves and hiding something at the same time both metaphorically and physically. The 'Ghana Must Go' print captures that duality perfectly: it holds the memory of displacement while also celebrating movement, identity, and renewal," he shares. Adding, "Over time, it has transformed from a marker of hardship into an emblem of cultural reclamation and pride".

Wanda Lephoto built their Home Affairs Spring/Summer 22 collection and Our People collections around the theme of cultural inclusion and belonging, using the bags as a central motif. And artist Abdur Rahman Muhammad immortalised them in oil in his The Allegory of a Seeker exhibition.

Aisha Ayensu, founder of Christie Brown, also referenced the pattern throughout the Autumn/Winter 25 collection. “For me, the checkered polypropylene bag print has always been more than just a pattern. It holds memory, history, and the lived experiences of migration and resilience, especially tied to the ‘Ghana Must Go’ story," she says. "When we referenced it in Christie Brown’s Fall 25 collection, it wasn’t about aesthetics alone. It was about reclaiming something once seen as ordinary or even stigmatised, and reframing it as a marker of strength, adaptability, and identity".

"The print has indeed gone from being a symbol of displacement and resilience to the mainstream," notes Kwei. Meanwhile, Idelle Taye, founder and CEO of Guzangs, a magazine spotlighting African style, reflects that “it’s one of those prints that tells a full story without words. What was once seen as ordinary or even disposable now sits in a luxury context—and that shift says a lot about who gets to define value in fashion.”

Òbíòmà adds, "What’s powerful about seeing this pattern on international runways today is how it speaks to the cyclical nature of cultural exchange where something once stigmatised is now reimagined as high fashion. African designers have been instrumental in reframing the narrative, using the print as a statement of ownership and reinterpretation. It represents how we reclaim our stories, our aesthetics, and the power to define what beauty and value mean on our own terms".

However, Ayensu stresses, "to see it now on global runways is powerful, but I do believe fashion has a responsibility here: not to erase its roots, but to honour the culture and stories it represents".

Where the print truly found resonance in mainstream luxury, however, was through Virgil Abloh’s (of Ghanaian descent) Off-White x Free The Youth (a Ghanaian youth collective) collaboration—where the print was used across bags and T-shirts. Its meaning and cultural significance fully appreciated.

It’s this sense of historical and emotional recognition that fashion fans now want to see from luxury labels—whether through collaborations with African designers and artists, acknowledgment of the print’s roots, or active support for emerging talent continuing to tell its story. "Now that is the beauty of design when it’s done with intention—it becomes a bridge between the past, present, and future," adds Ayensu. Designers who are planning on using it best take note.

Runways might be ruled by sight, but this season, it was the unseen that left the biggest impression. Designers are using fragrance not just as a finishing touch, but as part of the storytelling, an invisible thread weaving together clothes, inspiration, mood, and memory. The result? Fashion that you don’t just see, you feel—and it’s changing the way we experience both. “I believe that fragrance doesn’t just complement style, it elevates it by infusing each outfit with presence and a deeper sense of identity,” explains Amanda Connock of Connock England. “Although invisible, fragrance is the ultimate accessory, that final touch that completes any look." The right scent can amplify what the eye sees—or even reveal the unseen mood beneath a garment.

Scent meets style

At the Roksanda Spring/Summer 2026 show, for example, fragrance was not an afterthought but a collaborator. The space was suffused with STORIES No.02 Eau de Parfum—warm, forested, and evocative—enveloping models, backstage artists, and front-row guests alike. Roksanda herself described the fragrance as complementing the organic inspirations behind the collection: “With notes of natural surroundings and forestry, there is a connection to Barbara Hepworth, this season’s inspirations, and her dialogue with nature and organic form.” The fragrance was to feel like part of the collection itself—echoing the clean lines and earthy tones.

Over at Barrus, scent was experimented with at an even more elemental level— using nanotechnology to embed scent into its fabrics. In collaboration with Art de Huile, scarves and select garments exuded an aroma, inspired by Istanbul’s spice bazaars, adding a tactile depth to the drape and motion of the fabrics. Creative Director Neslisah Yilmaz framed it beautifully: “a journey through scents, textures, and hidden lights.”

In Paris, Saint Laurent staged its latest show beneath the Eiffel Tower and infused the space with the house’s most iconic scent: Opium. The fragrance floated through the night air, mingling with the dramatic lighting and Yves Saint Laurent’s signature precision tailoring. It was both nostalgic and defiant—a reminder that scent can crystallise a brand’s history in the same way a sharply cut blazer does. The guests didn’t just witness the collection; they breathed in the YSL legacy.

Backstage at Ginny Litscher, master perfumer Azzi Glasser scent-styled each celebrity model, matching fragrance to look and mood, creating what she called “the catwalk that left the scent trail.” Sadie Frost wore Perfume C, “as it gives off that pheromone sexual aura with that mysterious quality, perfect for my look.” And Laura Whitmore wore Perfume Twisted Iris: “I love Ginny’s designs and I want my fragrance to match the story told in this dress.” The collab elevated the 'just another' collection into a fully multi-sensory experience.

Meanwhile, Chopova Lowena’s ‘Cheerlore’ show turned the runway into a playful scent narrative. ‘Perfume girls’ carrying bottles of the label’s newly launched fragrances—Queen Rosa, Hay Zhasmina!, Great Root/Green Ruth. And then there is Miu Miu’s Miutine—not necessarily diffused on a runway, but born from the same impulse to entwine a house’s aesthetic with smell. Inspired by the Matelassé leather codes of the brand, Dominique Ropion, the perfumer, says the composition “invites self-affirmation and confidence.” Ambassador Emma Corrin called it “a scent for free spirits.” In one small flacon, Miu Miu compresses its fashion identity into scent.

Your fragrance wardrobe

“Although invisible, fragrance is the ultimate accessory, that final touch that completes any look," says Amanda. Here's how to bring the runway's sensibility into your own everyday wardrobe.

Mood alignment - If your outfit features crisp tailoring—sharp lines and structured silhouettes—lean into greener woods, such as vetiver, leather, or incense. These base notes echo the confidence and intent behind your look. If you’re wearing something romantic or fluid—such as soft silks, bias cuts, chiffon, airy florals, musks, or a whisper of vanilla—airy florals can mirror that sense of ease without overwhelming it. As Amanda puts it, “Fragrance also has a powerful connection to mood. Light, green notes can refresh and uplift; warm ambers and woods can calm and comfort.” Much like dressing, scent becomes a daily ritual for deciding how you want to feel—confident, serene, bold, or sensual.

Season and fabric - In spring and summer, citrus, green notes and watery florals sit beautifully beside linen and sheer fabrics—they amplify that freshness. Come autumn and winter, heavier materials like wool and velvet pair perfectly with amber, tobacco or resinous woods. Think of your perfume as a second layer: in warm weather, it should feel like cool air on skin; in winter, like a cashmere throw.

Occasion and character - For daytime or work, choose clean yet complex notes—iris, soft woods, white florals—that whisper rather than shout. For the night, you can build intensity with tuberose, labdanum or oud. The goal isn’t to match perfectly, but to harmonise: your scent should affirm your look, not compete with it. Amanda likens this to building an olfactive wardrobe: “Through fragrance layering and combining, you can craft a scent that is uniquely yours—a personal olfactive wardrobe that reflects your style in every season. Just as no two people wear an outfit in the same way, fragrance becomes most powerful when it’s worn with intention and tailored to you.”

Narrative thread - Just as designers now weave scent into their runway story—think of how fragrance fills a show space, echoing the fabrics or plette—you can use perfume as your own finishing flourish. Try misting it through a silk scarf or inside the neckline of a jacket so it lingers like a secret. The first breath as you enter a room becomes your signature—invisible but unforgettable.

Shop fashion fragrances

Extra-large galaxy sets, outfit egg hunts, and a larger than life laptop screening the shows—fashion week is a time for industry insiders to get creative, especially on the catwalk. And yet, this season, something struck us all by surprise—an especially difficult reaction to obtain from the people who have seen shows at Disneyland, in lavender fields, and with a metal robot arm spray-painting Shalom Harlow—as multiple models walked out wearing (almost) the same outfit.

At Saint Laurent, a white sculptural shirt, leather pencil skirt and occasional leather jackets sauntered down the catwalk no less than thirteen times. At Chloé, it was both a floral frock and blazer and trouser look, albeit in different colourways, that had us questioning "are we seeing thruple?" And Coperni showed us that some things are better in twos by showcasing the same look in two different shades on its Spring/Summer 26 catwalk.

But, of course, this copycat catwalk was no accident. "In a season of many ‘firsts’, we saw an abundance of pretty, elegant clothes, which were safe, sellable, easy to wear, but few creative statements," says Mimma Viglezio, former executive at Bulgari, Louis Vuitton and Gucci Group (now Kering).

"When times are tough, customers disappear and designers fear for their jobs, fashion turns stale and repetitive," she says. Adding, "in three decades in this industry, I’ve rarely seen trends repeated, almost identical. With a few exceptions, brands are playing it safe".

Now, given the significant luxury slowdown, hitting even the top brands hard, according to McKinsey, this idea of playing it safe certainly makes sense. However, the repetitive nature of these looks also added clarity to the brand aesthetic and vision. A leather pencil skirt and white shirt is now undoubtedly Saint Laurent and Anthony Vaccarello has achieved this without a single logo in sight—which is no mean feat. No doubt this is the look consumers will immediately be reaching for once it lands in stores. And, as the show notes put it, "beauty is plural".

"Designers focus on key pieces that evolve into true codes of their house," adds Simon Longland, director of buying fashion at Harrods. "These silhouettes— whether a sharp Saint Laurent jacket or a perfectly cut shirt—are continuously reinterpreted through new colours, fabrications and styling. Far from simple repetition, this strengthens a brand’s identity and builds a visual language that audiences immediately recognise."

In the case of Chloé, where Chemena Kamali stepped away from the traditional airy boho aesthetic the brand is best known for, the repetition of looks made more of a statement—an unmistakable signal of a shift in aesthetic, delivered en masse.

Although, as Viglezio stresses, relying on similar looks is risky business. "Short-term, that may lift sales; long-term, it risks rendering fashion irrelevant and ceding its pole position within the creative culture," she shares. Given the positive response to these collections, however, for now it seems to have worked in their favour.

"In today’s landscape, where we are constantly bombarded with fleeting images on social media, this consistency creates reassurance—signalling that certain pieces are not just trends for the moment but enduring elements that carry from one season to the next," notes Longland.

And with conversations around sustainability, a slow yet continual shift away from trend-chasing and towards personal style, and a desire for our luxury fashion finds to last longer, it could well be that these designers stepping off the hamster wheel of newness have garnered the most praise of all.

The curtain is about to fall on Fashion Week, and with that, the Marie Claire UK team wraps up what has been a very busy season. But first, it's time for a recap of the very best beauty looks from Paris. Here, we saw everything from graphic liner to some very back-to-school inspired cuts. Get the lowdown, ahead.

Messy buns at Saint Laurent

While most of the hair looks we've seen so far in London have been loose, unstructured waves, or ultra-precise updos, at Saint Laurent, the buns were messy, by way of indie sleaze.

Dusty pink lips at Louis Vuitton

The soft pink lips at Louis Vuitton were so wearable.

Micro fringes at Dries Van Noten

Tiny, spaced-out micro fringes were everywhere at Dries Van Noten, alongside asymmetric lengths.

Mermaid waves at Christian Dior

I'm obsessed with these mermaid-style waves at Dior.

It's super balmy over at Gabriela Hearst

Balmy lips and sheeny balmy skin was the main takeaway from Gabriela Hearst.

Red laquered lips at Tom Ford

These precisely outlined, uber glossy, red lips were a real statement.

The return of the side fringe at Balmain

The side fringe made its great return at Balmain.

Boy blush at Rabanne

The high, flushed cheeks were gorgeous at Rabanne.

Slicked back fronts at Loewe

At Loewe, hairstylists slicked back the front of models' hair, leaving the ends to trail loosely.

Cocao tones at Victoria Beckham

Victoria Beckham Beauty joined forces with their fashion arm to debut their new cocoa make-up collection; comprised of their iconic Satin Kajal Jewel liner in Cocoa Pavé.

Retainer core at Maison Margiela

The mouth pieces at Margiela reminded us of retainers, but in the best possible way.

Bubblegum pink lips and fluffy hair at Chloé

The pops of bright bubblegum pink and lilac were a showstopper at Chloé. We also loved the fluffy hair, which was styled using Authentic Beauty Concept.

Smoked eyes at Hermès

The gently smoked out eyes at Hèrmes almost looked gilded.

Dramatic eyeliner at Vivienne Westwood

This dramatic cat eye in a matte black was everything.

Layers galore at Balenciaga

This ultra layered style has something of the mullet in it, and we're not mad.

Graphic liner at Celine

Statement graphic liner reigned supreme at Celine.

And at Coperni...

Coperni took it up a notch with these thick, sparkly lines.

Dolly eyes at Miu Miu

These thick, curled lashes stole the show.

Deep side parts at Chanel

First, we saw side fringes, and now these deep side parts at Chanel. I think we have ourselves a new trend...

It’s been a month full of creative director debuts—Valentino, Bottega Veneta and Gucci, to name just a few—but none has been as highly anticipated as Matthieu Blazy’s for the House of Chanel. And it’s safe to say fashion fans across the globe have given a collective round of applause for this new era of the luxury French maison, whether seated front row or tuning in via livestream. New bags, bold prints and deeply ingrained House codes have all been reimagined through a fresh lens.

As the unofficial closing show of Paris Fashion Week—with arguably the biggest celebrity turnout—expectations were sky-high. Margot Robbie, Kendall Jenner, Penélope Cruz, Naomi Campbell and Jennie were just a few of the stars joining new House ambassadors Ayo Edebiri and Nicole Kidman on the front row.

Add to that the weight of Blazy being only the fourth creative director in Chanel’s history—following Virginie Viard, who spent over 30 years at the brand learning under Karl Lagerfeld—and it’s clear the stakes were high. Coming from Bottega Veneta (where new creative director Louise Trotter impressed earlier this week), Blazy was brought in for his sharp eye for accessories and his modern, architectural approach to design.

So it’s with great excitement that, among his 77 looks (to be exact), not one but several new Blazy-designed bags made their debut on the Chanel Spring/Summer 26 catwalk. Beyond providing a particularly chic accessories line-up to arrive in stores next season, they also mark a shift in direction for Chanel—one where polished can also look lived-in.

Speaking of the importance of this subtle styling shift, our Fashion Director Lily Russo-Bah says, “the most significant piece in this collection was the 2.55 bag in Look 5. It was softer, left open, worn—as if Matthieu Blazy were delivering a message to the world: this was the antithesis of the box-fresh 2.55s we've grown accustomed to seeing on our social media feeds over the past decade. Chanel bags are meant to be used. Exactly as Gabrielle Chanel intended”.

It’s this idea of what Gabrielle Chanel would have wanted that runs through the entire collection. “This is a universe, the Universe of Chanel. Within it, outside the usual constraints of space and time, conversation unfolds in three parts. This is between Chanel’s new Artistic Director of Fashion Activities, Matthieu Blazy, and the founder, Gabrielle Chanel,” reads the show notes.

The three parts in question? Un Paradoxe—traditionally menswear-inspired shirts and trousers reimagined with Chanel’s innate femininity. Le Jour—classic Chanel daywear viewed through a contemporary lens, with hand-painted prints, knitted silks and frayed tweed. And finally, L’Universel—where the House’s most iconic codes step confidently into the future.

As the show notes highlight, “grids of tweed become hand-knotted knits and transparencies, the architecture of the Chanel suit laid bare; jewellery, so intrinsic to Chanel, is loaded and treasured, both real and ephemeral, with baroque pearls, glass planets and enamelled chains; footwear is found with a familiar contrasting toe-cap, with heels all perfectly realisable, to propel the wearer forward, securely into the future”.

When it comes to footwear in particular, it’s the classic contrasting toe-cap and a new thong-like pump that are already shaping up to be next season’s It shoes.

But if there’s one lasting takeaway, it’s Blazy’s message from the show notes: “above all, there is an idea of freedom, of a new universal dress and a borderless blending of styles; the inheritance of not just one Chanel woman, but rather, of Chanel women”.

This season, Paris Fashion Week has easily cemented itself as one for the books. From impressive designer debuts to celebrity moments, show-goers have also proven that this season's spectacle hasn't been confined to the runways alone. And with back-to-back shows, presentations, appointments, unpredictable weather, and endless photo ops, we're pleased to say that the style set's Paris Fashion Week looks have been equally as impressive as their stamina.

From chic Parisian styling cues to classic autumnal pairings, below, we have rounded up our top must-see looks from the week to help inspire your next workwear look or spark an idea on how to style your latest cult buy.

Paris Fashion Week Street Style: The Best Looks

As seen on Tiffany Hsu, you can't go wrong with layering a boxy leather jacket over a suit for extra warmth and style points.

Leather bermuda shorts prove to be a great autumnal wardrobe addition, especially when paired with kitten heels and a cropped bouclé jacket.

For those of us not quite ready to let go of this summer's scarf styling trick, simply add this to your outerwear pieces for a polished look.

A leopard print jacket + baggy black trousers + flats = a fool proof outfit formula.

Influencer Aimee Song pairs a wool scarf jacket with parachute trousers for a comfortable yet stylish look.

The days of thinking you can't pair blue with brown are long gone.

This look is a masterclass in mixing different textures. Opt for a sleek leather skirt with a technical nylon bomber jacket.

Elevate your classic suede coat with an elegant navy colourway.

Embrace classic autumnal palettes by mixing butter yellow with shades of mustard.

Taking styling cues from Miuccia Prada, Eva Chen layers two polo tops with an A-line midi skirt. Chic.

The word boho rarely comes without Chloé close behind it. Chemena Kamali’s vision for the luxury label has placed lace, sheer fabrics and wide-leg denim firmly at the forefront in recent seasons. But just when we thought the brand’s whimsical aesthetic was well and truly established, Chloé has surprised us with a new direction—and it’s bursting with nostalgia.

Enter: the 1980s. Complete with vibrant florals in every iteration—pink rose-printed mini dresses, purple smock tops and blue floral micro shorts aplenty—the opening looks could have been plucked straight from your grandmother’s photo album. Only a perm could have added more retro charm, and the styling shift has, unsurprisingly, caught the attention of every fashion devotee in Paris.

And yet, these floral frocks, tops and jackets weren't solely about the print. "I wanted to explore what the idea of couture could mean in the Chloé context," shares Kamali in the show notes. "So, I came back to something very personal for me—the instinctive gesture of draping to form, volume and movement," she adds, lending each piece a striking shape without the typical rigid structural elements of boning or lining.

"For me this became about merging the grandeur of couture inspired techniques with the most ordinary of cotton poplins. Stripping back all but the essential simple, “poor” fabrics and giving them shape through draping," Kamali continued. And the prints? A redrawing of florals from the archives of the 1950s and 1960s.

Post-florals came the business-casual looks: structured blazers, straight-leg trousers and statement leather belts that leaned away from classic corpcore. Proof, if ever we needed it, that Kamali is a subtle shapeshifter when it comes to evolving the brand’s signature style, which was the whole aim of this Spring/Summer 26 game. "I wanted to push the boundaries of what defines Chloé, expanding its language, taking it into new and unexplored territory and looking at why and how Gaby Aghion founded Chloé," writes Kamali in the show notes.

Although, of course, the boho spirit made its return by the show’s close—this time in the form of flouncy coats, tiered skirts and cropped puff-sleeve blouses, all finished with lashings of lace, crochet and ruffles. It’s official: we’ve now got a Chloé that can do it all.

And if you’re looking to get a head start on next spring’s shift in style, consider this your cue. Below, a quick guide to the key pieces worth investing in now. Choose your fighter.

Full-on Florals

Chloé's retro florals are big and bright, ushering in style we haven't seen for quite some time. The aim when channeling this look: wear a print that could also be wallpaper.

All About Business

Business-casual comes without a collar, according to Chloé Spring/Summer 26, so ditch the stiff neck for a more relaxed fit and don't be afraid of bright and bold colours. We'll have to wait until next year before we adopt the large leather belt look once it's available in stores.

Frivolous Flounce

Flouncy fabrics and tiered hems are no stranger in the classic Chloé collections. In fact, there's plenty of pieces in the current Autumn/Winter line-up that perfectly fit the brief.

In a world that calls for inclusivity, fashion has long been guilty of walking in the opposite direction. Take the fashion show as a prime example: a dimly lit room, an exclusive guest list, and "strictly non-transferable" stamped across the invite. If you’re not on the list, you’re not getting in. And for those left outside those coveted four walls? We’re relegated to a social media livestream—a decidedly less thrilling affair. Until now.

Ever heard of a fashion show watch party? You’re about to. For the first time, we have a solution to the catwalk’s fierce exclusivity. And, refreshingly, everyone’s invited.

It all began with disappointment. When influencer Lyas didn’t receive an invitation to the Dior show in June, he didn’t sulk—he improvised. Projecting the livestream onto a screen in a small Parisian bar, he drew an unexpectedly large crowd. The watch party was born, and with it, a community of fashion fans ready to rewrite how we experience the catwalk.

Unsurprisingly, the idea immediately took off, and Lyas has since hosted events across London, Milan and Paris this season, with crowds of over 1,000 people flocking to La Watch Party venues.

But why the sudden success? According to chartered fashion psychologist and author of The Psychology of Fashion, professor Carolyn Mair: "Fashion week watch parties mark a striking reversal of the traditional dynamics of the runway. Whereas the front row has long symbolised exclusivity, hierarchy and quiet observation, watch parties are communal, noisy and participatory."

It’s that sense of community—so often absent inside the hushed show space—that makes all the difference. "Psychologically, that shift matters because humans are inherently social beings, and shared experiences amplify emotion. Being in a room where others are reacting, debating, and celebrating generates a sense of belonging and collective elevation that can’t be replicated in isolation," Mair adds.

In many ways, those filling the watch parties could be considered the luxury labels’ true community. They’re the ones willing to travel, not for a front-row seat, but for the chance to immerse themselves in a room full of like-minded people with one common passion. "For luxury labels, this shift is both a challenge and an opportunity," says Mair. "Exclusivity has historically underpinned luxury’s appeal, and watch parties appear to democratise the runway. Yet today, people want more than passive observation, they want to feel part of the story."

For Paris Fashion Week, La Watch Party has officially cemented its place on the (unofficial) schedule. Picture an oversized laptop screen streaming up to two shows a day—from Saint Laurent and Courrèges to Loewe, Balenciaga and beyond. The full line-up is shared via the La Watch Party Instagram, with a polished press release to match (yes, it now has its own PR machine). "It marks a cultural shift that Lyas has been shaping from the very start: fashion as an open door, a shared heartbeat, and a movement that belongs to everyone," the release reads.

And the opportunity here is vast. "Brands that embrace watch parties transform fashion shows from spectacles to social rituals of belonging. In doing so, they foster community, deepen emotional connection and build loyalty," Mair stresses. So far, only Mac Cosmetics has tapped into the potential. Where the rest of the industry goes from here—we’ll find out in February.

The fourth and final major Fashion Week of the action-packed Spring/Summer 2026 season has wrapped in Paris, and it was the longest of the lot, running from 29th September all the way through to 7th October. During this time, some of the world's most influential A-listers, influencers, buyers and editors descended on the so-called City of Light to see the shows, attend the parties, pose for street style snaps, and a whole lot more in between.

With so many big-name shows on schedule, hotly anticipated designer debuts (Jonathan Anderson at Dior, Matthieu Blazy at Chanel, Pierpaolo at Balenciaga, to name but a few...), and glitzy events planned, there was a lot to absorb. So to help, we've rounded up all of the biggest highlights you need to know—whether you were in town or not...

Paris Fashion Week SS26: Day Eight Highlights

A New Dawn at Chanel

Closing out this action-packed Fashion Month season was Chanel, for the unveiling of Matthieu Blazy's debut collection. It was as stellar as the come, from the epic planetarium set, exquisitely crafted looks and reimagined cult accessories to the glitzy guest-list, that included the likes of Ayo Edebiri, Nicole Kidman, Margot Robbie, Pedro Pascal, Kendall Jenner, Penelope Cruz and Tilda Swinton. As model Awar Odhiang closed the show in a spectacular feathered skirt, she couldn't help but beam at the crowd around her, before making way for Blazy's bow that received a standing ovation. You can read all the details in our Chanel SS26 show report.

A Thom Browne Alien Invasion

Thom Browne's Spring 2026 show was truly out of this world, modelled by an army of aliens holding up signs that read "I come in peace". The designer's signature preppy tailoring was more bold and experimental than ever, featuring "paranormal proportion" like extra trouser legs (to accommodate all the tentacles, of course) and exaggerated silhouettes, while graphic prints, purposefully clashing materials, and trompe l'oeil designs contributed to the surreal vibes. A true spectacle.

Zimmermann's Seventies Style

This season in particular, questions have arisen around the wearability of some of the high-fashion collections unveiled on the runways—not to mention how summer-appropriate they are. Nicky Zimmermann, however, can always be relied upon to deliver on both fronts, and her SS26 offering followed suit. Inspired by the Seventies and its spirit of liberation, Zimmermann's new collection was a joyful burst of billowing dresses, psychedelic prints, draped designs, puff sleeves and layered organza, providing an alluring blend of carefree fun, freedom and elegance.

The New Workwear at Miu Miu

The latest Miu Miu collection was all about work. More specifically, the work of women, including "their challenges, adversity, experience." Through Miuccia Prada's designs, "its invisibility is confronted and addressed, recognised and valorised"—and so the humble apron was given an unexpected starring role, elevated through the use of luxurious leather, delicate crochet, ruffles and rich embroidery. Heavy-duty boots, utilitarian jackets, fleeces, polos and brogues were also given the high-fashion treatment, alongside the retro floral 'pinnies' worn for housework in the Fifties and Sixties, playfully reimagined and styled for the modern day. Richard E. Grant's surprise stint on the runway went down a treat, too.

Paris Fashion Week SS26: Day Seven Highlights

The Bumster is Back at McQueen

Seán McGirr's SS26 collection for McQueen was an explosion of leather, lace-up corsetry, sharp tailoring and lashings of bare skin—in line with the house's innately sexy, rebellious spirit, while ensuring its ongoing appeal in the modern day. In the show notes, McGirr spoke of "a febrile charge in the air", explaining the mood of his collection as "a site of simmering tensions, peak summer, pulling between carnal restraint and release. Navigating order and an opposing impulse: a primitive drive, submitting to raw animal instinct."

The show was powerful, and an impressive display of the designer's range—from "everyday" pieces like military-style jackets, sculpted shirts and slashed denim, to billowing silk gowns, heavy metal separates and exquisitely embellished dresses that formed "an incendiary climax". But for longtime McQueen fans, one thing stood out above all: the return of the iconic Bumster, reimagined in various iterations yet cheeky and provocative as ever.

Valentino's Message of Hope

Alessandro Michele was the only major designer to allude to current world events this season, with a collection entitled 'Fireflies' and show notes that called for the need to "disarm the eyes and awaken the gaze". Valentino's creative director took inspiration from a 1941 letter by Pier Paolo Pasolini, who in the midst of war and living under Italy's fascist regime, wrote about fireflies providing a glimmer of light on even the darkest nights. His poetic message of hope filled the room as the show began, narrated by Pamela Anderson who also sat on the front row alongside Lana Del Rey, Colman Domingo and other industry heavyweights.

Michele's designs were "fleeting sparks in the dark" in themselves, and a reminder of fashion's ability to provide joy, escapism and beauty even in the most challenging times. But while maximalist, opulent and eclectic as ever, they felt notably more toned-down and pared-back than in collections past, and decidedly more wearable. Most memorable and moving of all, however, was the finale, that saw all 80 models come together in the centre of the room and gaze up to beams of light overhead—representing, as the designer put it, "constellations of fireflies that unveil gateways of possibilities and nourish imagination with political force."

Paris Fashion Week SS26: Day Six Highlights

A Royal Surprise at Balenciaga

The Duchess of Sussex, Meghan Markle, made a surprise appearance at Paris Fashion Week—her first ever!—to see longtime friend Pierpaolo Piccioli make his much-anticipated debut for Balenciaga. She arrived wearing an elegant all-white tailored ensemble designed by the Italian creative director, and joined the likes of Anne Hathaway, Simone Ashley, Tracee Ellis Ross and Rosie Huntington-Whiteley on the front row, which was by far the glitziest we've seen this season so far.

As for the collection itself, it was a marked departure from the edgy aesthetic of Demna's decade-long tenure at the house, returning instead to the bold, structural silhouettes and timeless glamour for which Balenciaga was originally known—but with a Pierpaolo twist. Think: princess-style skirts, draped gowns, feather trims, long leather gloves and creative 3D embellishments, alongside giant futuristic visor-like shades, platform flip flops, logo belts and new iterations of the iconic City bag.

Radical Beauty at Alaïa

Only Pieter Mulier could rouse the fashion world (Kim Kardashian included) so bright and early on a Saturday morning, six days into Paris Fashion Week—but all agreed that his latest collection for Alaïa was well worth the wake-up. The show notes ended simply with the words "clothes that cry", and sure enough, much of the audience did in fact shed tears as look after beautiful look emerged onto the catwalk. Simplicity, purity, intimacy and craft were central to the collection, that was largely made up of cotton, python, leather and silks, while sculptural skirts, figure-hugging dresses, and bold fringed pieces stole the show.

Paris Fashion Week SS26: Day Five Highlights

Givenchy's Powerful Women

Sarah Burton's second collection for Givenchy was centred around the idea of "powerful femininity". She explained in the show notes: "I wanted to explore the strengths of women through feminine archetypes. It started with peeling back the structure of tailoring to reveal skin and a sense of lightness and ease—and then exploring the female vocabulary of dress and undress."

As one of the few female creative directors currently helming a top luxury fashion house, Burton's profound understanding of how modern women want to dress continues to shine through. Her SS26 collection included crisp white shirts, fresh takes on tailoring, leather dresses, lace minis, sultry lingerie details and red carpet-worthy gowns—all worn by an impressive line-up of supermodels such as Naomi Campbell, Eva Herzigova, Mariacarla Boscono, Alex Consani and Kaia Gerber, who closed the show with a bang.

Loewe Celebrates Colour

Jack McCollough and Lazaro Hernandez led Loewe into a colourful new era for SS26, their first collection as joint creative directors of the Spanish luxury house. It was enough to make the fashion world fall head over heels in love with colour again, filled with clothes and accessories in countless joy-sparking hues—the bright blue, red, green and yellow leather pieces being a particular highlight.

Paris Fashion Week SS26: Day Four Highlights

Isabel Marant's New Direction

Iris Law, Paris Hilton, Lou Doillon, Dree Hemingway and more descended on Paris' Place Colette for Isabel Marant's Spring/Summer 2026 show to close out day four—the first since the brand's founder handed the reins over to creative director Kim Bekker. The collection was achingly cool as ever, leaning heavily into the boho aesthetic that made Marant big in the first place, while also heading in a fresh new direction—specifically, into the desert.

"This season, drawn to the sun, she travels alone," read the show notes. "The collection bears the marks of her journey: washed silks and jerseys, leathers embossed and weathered by heat. Totemic embroideries, beaded fringes, and jewellery etched with bark textures signal an obsessive attention to detail... [and] silhouettes move with ease."

The Jenners At Schiaparelli

Kylie Jenner made her first front-row appearance of the Spring/Summer 2026 show season for Schiaparelli in a showgirl-worthy sparkling silver dress. But beyond supporting one of her favourite fashion brands, she was there to cheer on her sister Kendall, who made a memorable return to the runway by closing the show in a see-through polka dot gown.

As for the SS26 collection itself, it was entitled 'Dancer In The Dark' and unveiled in the Centre Pompidou—"Not because I wanted this collection to explicitly centre on the relationship between fashion and art, but because I felt, and feel, that going to a Schiaparelli show should feel like going to a museum: an experience equally inspirational, aspirational, and reassuring. It should awaken the sensation of dancing alone at home after work. It should feel Iike dancing in the dark—just as liberating; just as private; just as joyful," explained creative director Daniel Roseberry in the show notes.

Rabanne's Seaside Style

The fact that The Summer I Turned Pretty's Rain Spencer was on the front row may have been a subtle foreshadowing of what to expect from Rabanne's new collection. SS26 was all about "opulent holiday escapism" and exuded major seaside vibes, albeit with a futuristic, high-fashion spin. Think: 1950s-inspired swimming costumes and wetsuits, tropical motifs, colourful plaids, vibrant stripes, flip flops and XXL goggles—reimagined, reworked, and elevated with Rabanne's signature silver sparkle.

Mugler's Showgirls

Another day, another debut—and this time, the spotlight was on Portuguese designer Miguel Castro Freitas, the new creative director of Mugler. For his first show, he delved into the house's archives and found inspiration in its close links to showgirls throughout history, as well as their own complex characters. "At once vulnerable and self-possessed, sexually charged yet unattainable, they stand as time-honoured symbols to the magnetic, often dangerous powers of seduction," read the show notes. A number of notable showgirls were in attendance for the occasion, too: Pamela Anderson arrived in a suitably shimmering black gown, and sat on the front row alongside Elizabeth Berkley (of cult 1995 film Showgirls fame), and Drag Race's Gigi Goode.

'Stardust Aphrodite', as the collection was called, was therefore all about dualities, in which pared-back, hourglass-shaped beige suiting gave way to voluminous feathers, dramatic fringe, corsetry, and lashings of leather. Plus, of course, that internet-breaking nude gown held up by two nipple rings. As Freitas put it: "[the collection] articulates maximalist flamboyance with the contrasting purist element of bare skin as the ultimate, most exquisite cloth we live in."

Paris Fashion Week SS26: Day Three Highlights

Stars Align at Tom Ford

The general consensus since his debut show back in March has been that Haider Ackermann has found his natural home at Tom Ford—a view only strengthened by his latest collection. For Spring/Summer 2026, the designer went big on the brand's penchant for the slinky, sexy, seductive and gloriously glamorous by way of glossy, body-hugging coat dresses, necklines cut down to below the navel, sheer lace, louche tailoring, tiny lingerie, and a palette of nighttime blacks and blues interspersed with alluring jewelled tones.

And looking on in delight, an equally sexy front row made up of Kate Moss, Pamela Anderson, Rita Ora, FKA Twigs and Kylie Jenner, dressed in suitably party-worthy ensembles with cut-outs, plunging necklines, diamanté embellishments and thigh-high leg slits aplenty.

Laura Dern at Gabriela Hearst

Everyone loves a surprise celebrity catwalk appearance, so imagine guests' delight when Oscar-winning actor Laura Dern unexpectedly opened Gabriela Hearst's Spring/Summer 2026 show in an intricate dress composed of hundreds of leather flowers. Even more impressive was the fact that the tarot-inspired collection was so sustainability-focussed, featuring upcycled and deadstock materials from previous seasons.

Jonathan Anderson's Dior Debut

It was one of the most hotly anticipated shows—and hardest-to-secure tickets—of the season, and Jonathan Anderson's Dior debut did not disappoint. The British designer ushered in a new dawn for the historic Parisian fashion brand while the likes of Jenna Ortega, Jennifer Lawrence and Greta Lee looked on, offering fresh takes on the iconic Bar jacket, alongside ultra-covetable bags, shoes, jewellery and dresses.

Paris Fashion Week SS26: Day Two Highlights

Stella McCartney's Urge to "Come Together"

Can you imagine a better way to open a show than Dame Helen Mirren reciting The Beatles' 1969 hit Come Together in spoken word? I think not. And true to form, Stella McCartney's many high-profile fans came together for her Spring/Summer 2026 show—among them, Cara Delevingne, Robin Wright, Anais Gallagher, Johnny Depp, Ice Spice and Paris Jackson.

This same mission statement—to "come together for humanity, animals and Mother Earth"—was also woven throughout the collection itself, that was crafted with 98% conscious, 100% cruelty-free materials.

Stella is known for leading the way in fashion innovation, and her SS26 designs ensured she delivered on that front too. The collection included two world-firsts: a plant-based, vegan alternative to feathers called FEVVERS that the designer used on her sculptural dresses and coats, and PURE.TECH, a material that neutralises pollutants and actively cleans the air as it is worn, applied here to deconstructed denim. Genius on all fronts.

Lanvin's Love Letter to Blue

Peter Copping's sophomore show for Lanvin was bathed in blue—the house's signature shade, founder Jeanne Lanvin's lifelong fascination, and a representation of "tranquility, sincerity and freedom." Variations of the colour covered the show-space's walls and floor, while also appearing in various forms throughout the collection itself—whether as pale powder-blue gowns, suits and silk two-pieces, midnight-hued panels in a black draped dress and leather coat, the base of a jazzy pattern, or simply the tint of a sunglasses lens.

The Art of Living, the Louis Vuitton Way

Nicolas Ghesquière's latest show for Louis Vuitton took place in the spectacular surrounds of the Louvre—specifically inside Anne of Austria's summer apartments. As grand and gilded as you'd expect from the mother of Louis XIV, they formed the perfect backdrop for a collection described in the show notes as "a celebration of the art of living... intimacy and the boundless freedom of the private sphere". The result? Pieces inspired by history but that felt thoroughly modern, from ruffle- and fur-trimmed jackets and stone-coloured suiting, to sculptural dresses, elegant sheer fabrics, and a glorious bead-fringed gown.

Paris Fashion Week SS26: Day One Highlights

A Star-Studded Saint Laurent

True to form, Saint Laurent kicked off the SS26 edition of Paris Fashion Week with a supremely glitzy show held under the sparkling lights of the Eiffel Tower, and attended by the likes of Hailey Bieber, Zoe Kravitz and Charli XCX. Bella Hadid also made her much-anticipated return to the runway for the occasion.

The collection itself was a triumph, too: all 80s power dressing with sharp shoulders, epic leather separates, bow-fronted shirts, high-neck tie-waist trenches, and XXL sunglasses and crystal earrings for added glamour.

The lights are dim, the music tense, and there’s an indistinguishable murmur of multiple languages. Cue the spotlight, and within moments a model parades in front of you as you sit cross-legged on a white bench—a little too close to the people on either side, who may, or more likely may not, acknowledge your existence. Yes, I’m painting the picture of a fashion show. But you probably knew that—you’ve watched Zoolander, right? Or maybe America’s Next Top Model? Ugly Betty? The list goes on.

But while the traditional catwalk, with all its grandeur and exclusive guest list, may immediately spring to mind, this season we’re witnessing a shake-up. Luxury labels are stepping away from the confines of the catwalk, surprising industry insiders and consumer communities alike with activations that go beyond whitewashed walls and single-file model walks. The result? So far, a resounding success.

Take Gucci’s cinematic short film The Tiger, with Demi Moore taking centre stage as Donna Gucci and the entire cast clad in the latest Spring/Summer 2026 collection. Proof of its popularity? Nearly 100,000 Instagram likes and comments ranging from “wow, this is the best thing I’ve seen in years” to “this is what we want to see”.

It’s this virality that stylist Bee Newham claims makes a social media–first approach a no-brainer for brands. “If you can produce a ‘viral’ online moment which reaches more people (and therefore customers), and it’s cheaper to produce, why wouldn’t you do it?” With results like Gucci’s making a strong case for this anti-show set-up, she’s sure the movement is only going to grow.

“The online world and social media aren’t going anywhere, and they offer brands a way to instantly connect with their customers and fan base,” she adds. “Plus, it’s a way to keep consumers inspired by using different forms of media and approaches to present their brand.”

Over at Diesel, Glenn Martens got playful, inviting everyone to take part in an egg hunt—and not the chocolate kind. Taking all 55 looks to the streets of Milan, the brand offered up a prize for whoever could find them all the fastest. Martens’ message was clear: “this is Diesel for the people, a collection discovered by the public at the same time as everyone else. Fashion is a game and we are playing it: everybody gets to be on the front row”.

To call it a clever consumer activation would be an understatement. As Francesca Gibson, fashion marketing BA lecturer at York St John University shares, "the commercialisation of shows lost brands some of their credibility, and the retail industry knows that they need to offer more than a simple service, so these new creative, artistic activations seem to bridge the gap between ‘show’ and ‘retail’".

Meanwhile, for those on the inside, it was Sunnei’s live auction that stood out. As an industry commentary on how “fashion is finance, creativity is for sale,” the collaboration with Christie’s posed the question of what actually matters in fashion today. Thought-provoking, theatrical, and unforgettable—for those in the room and for spectators outside.

And so, it begs the question: with the most memorable moments of fashion month happening off the catwalk, what becomes of the traditional fashion show? With industry insiders overexposed and consumers eager to be part of the conversation, it’s clear that brands need to get creative.

When it comes to updating your everyday wardrobe basics, you can always rely on Fashion Month for inspiration. With Milan Fashion Week now wrapped and Paris Fashion Week kicking off yesterday, we’ve been keeping an eye out for outfit ideas, new-season trends, and—most importantly—pieces worth investing in.

For Spring/Summer 2026, the emphasis is on practical yet stylish wardrobe essentials. And although the catwalks are showcasing clothes that won’t hit stores until next spring, who says you need to wait to be inspired?

That’s why we’re already looking at trends we can incorporate into our autumn wardrobes—one of which is the highly popular jacket silhouette known as the technical bomber jacket.

Aesthetically, it blends the design sensibilities of a raincoat with the structure of a bomber jacket, resulting in a stylish yet wearable everyday cover-up. As seen on the runways at London Fashion Week, the technical bomber is evolving beyond its sportswear roots and entering everyday wardrobes. At Mithridate and Kent & Curwen, it was styled with polo tops and skirts, while Johanna Parv opted for a more traditional approach, pairing it with biker shorts and heels.

Characterised by its distinct, cropped silhouette that echoes a retro ’80s windbreaker, this iteration is versatile and easy to style—without the worry of cheesy prints.

This modern take often features a funnel-neck collar and voluminous sleeves, which not only lend a timeless look but also provide warmth for the colder days ahead. They can be layered under cashmere jumpers, eliminating the need for a scarf.

For a polished autumnal office look, style technical bomber jackets with a pair of straight-leg jeans or tailored trousers paired with kitten heels or flats (weather permitting).

Of course, for the oversize-averse, opt for less voluminous bottoms, such as flared jeans or capri trousers. Alternatively, as styled by our Fashion Director, Lily Russo-Bah, pair them with a midi skirt and knee-high boots for a refined approach.

To put it simply, consider technical bomber jackets as your new fail-safe day-to-night jacket, suitable for any season. Ready to give them a go? Below, find our favourite styles.

Shop technical bomber jackets

What does it mean to be as YSL as possible? Rumour has it, that was Anthony Vaccarello’s mantra for his 30th show at the house—and, as it turned out, he delivered.

The setting said it all: twilight under the Eiffel Tower, where winding trails of white hydrangeas spelled out the famous YSL logo. Très Saint Laurent. The fragrance drifting through the air? YSL Opium, naturally. The front row? A roll call of It girls—Charli XCX, Hailey Bieber, Zoë Kravitz, Rosé—all in lace-trimmed shorts, skirts and shell parkas. A uniform that sums up the Saint Laurent girl perfectly: unexpected, a little undone, and always ready for the after-hours. Still, it was the catwalk that shouted “YSL” the loudest.

Building on Autumn/Winter 25’s bold colour and the corpcore mood of Spring/Summer 25, this season was all about making a statement with minimal effort. A crisp white shirt and leather pencil skirt took on drama with oversized cuffs and a sweeping bow. A leather jacket became a showpiece in an exaggerated cut with sculptural sleeves. And every outfit followed the same accessories code: a simple court shoe and statement earrings.

And it's clear Vaccarello is absolutely not afraid of outfit repeating, a trait the chicest of women have more than mastered.

Colour, too, came with intent. Beyond the black-and-white signatures, head-to-toe looks appeared in navy, orange, green, yellow, purple and khaki. No fuss, no print, just pure block colour—a simplistic styling trick anyone can borrow.

Still, there was nothing plain about it. The drama came through fabric: sheer nylon, seen everywhere from parkas to floor-length gowns. Unexpected, especially for eveningwear, yet innately Saint Laurent—sultry, striking and unexpected. Backstage, Vaccarello reportedly said the gowns could be scrunched into a ball and still look chic, ushering in an air of practicality.

So, there we have signature Saint Laurent—self-assured simplicity that is in turn striking, where shape and material do most of the talking. Now to swap out our classic white shirts and leather jackets for a more attention-grabbing structure.

Perhaps it's the cultural significance of its collections, or maybe it's the impeccable craftsmanship—regardless, you can always count on Prada's shows to be among the most anticipated on the Milan Fashion Week schedule.

At the helm of the brand, Miuccia Prada and Raf Simons are known to begin designing each collection by engaging in lengthy discussions about the state of the world. The result? Collections crafted to provoke wider conversation—and yes, even to confuse the audience. This season was no different. But if you’re a longtime Prada addict, you already know: that’s just part of the magic that keeps the fashion crowd captivated.

Which is exactly why most of us simply can't wait until next year to start applying the style lessons Prada’s Spring/Summer 2026 collection has already taught us. Think: layering workwear jackets over shift dresses, or mastering the art of pastel colour-blocking.

So, of course, I’ve taken it upon myself to round up all the key pieces from the collection that you can start incorporating into your wardrobe now - some you probably already have in your wardrobe.

Workman Jackets

Juxtaposed with chic shift dresses, one of the key items in the Spring/Summer 2026 show was the classic workman jacket. The styling secret? Prada's genius colour pairings - black with pink or grey with yellow.

Leather Gloves

A stand out styling trick to this show was layering. Shirts under dresses, cropped cardigans under utilitarian suits, and gloves tucked into outerwear - in the eyes of Prada, it doesn't matter, as long as it's layered. For SS26, a key item used for layering was leather gloves, in both pastel and neutral colourways - the greater the colour clash the better.

Bright Shift Dresses

Thinking ahead to the holiday season (it's never too early), consider investing in a brightly coloured shift dress. Style it under a utility style leather jacket and add a pair of contrasting coloured heels.

Bubble Hem Skirts

Remember this summer's bubble hem skirts? They're not going anywhere; in fact, they're only getting chicer and slightly longer in length. Wear with an unexpected contrasting bright shirt and jacket.

Silk Handbags

Prada's SS26 collection featured many ladylike accessories, including embellished heels, gloves, and ballet-inspired sneakerinas. However, one standout piece was its silk pouch handbag. Available in three different colourways, this handbag was styled alongside grey trousers, bubble hem skirts, and long cardigans.

And that’s a wrap on Milan Fashion Week; the halfway point of what’s already been a bumper season. The Italian fashion capital certainly delivered on the beauty front—and to keep you in the loop, the Marie Claire UK team and I have been keeping a keen eye on the runway, making notes on each make-up, hair and nail trend as they arrive. Ahead, the need-to-know looks straight from Milan.

Party vibes at Bluemarine

The models at Bluemarine looked as though they'd spent the previous evening partying into the early hours. Thick rings of charcoal were smudged around their eyes, and their hair was styled in waves that appeared loosened—likely due to all the dancing.

Tousled waves at Moschino

Undone, fluffy waves were the name of the game over at Moschino.

Sleek sophistication at Prada

Every look at Prada was finished with ultra sleek, slicked back hair. It wasn't about perfection though, the uber-glossed looks also looked lived-in.

Statement highlighter at Emporio Armani

At Emporio Armani, models sported strong inner corner highlights in various shades. I love this bold silver, which almost feels like a neutral.

Vintage-inspired updos at Max Mara

Big, voluminous, '60s-inspired updos were everywhere at Max Mara. Some were replete with thick headbands.

Flicky micro bobs at Jil Sander

Bobs are apparently going nowhere, and I really loved this flicky, micro take at Jil Sander.

Undone bobs at Diesel

I wasn't kidding when I said bobs are back. This super loose, textured, and undone style at Diesel stole the show.

Quiet luxury at Fendi

This gold, shimmery, understated lid was paired with soft pink lips and a sweeping side part.

Satin skin at Missoni

The skin at Missoni looked positively airbrushed, with natural-looking highlights at the high points of the face.

Graphic liner at KNWLS

Graphic eyeliner came back with a bang at KNWLS, where models sported strong, white lines right under their brows.

Stained berry lips at Versace

These balmy, stained berry lips at Versace looked freshly kissed.

Gucci's new creative director Demna has always been one to do things differently—and one can assume that this was precisely his appeal for the Italian fashion house, that has been struggling for the past few years. It follows, then, that the Georgian designer would take a somewhat unorthodox approach to debuting his new vision for the brand, eschewing the traditional runway show in favour of something a little more unusual, but no less internet-breaking.

On the eve of Milan Fashion Week, Gucci unveiled a surprise first look at Demna's new collection via Instagram, entitled La Famiglia. "This collection marks the genesis of a new Gucci era: unapologetically sexy, extravagant and daring," according to the brand. "La Famiglia is a study of the 'Gucciness' of Gucci, an expression of the brand as a mindset and a shared aesthetic language."

A so-called "prelude" that serves to define "the aesthetic base upon which Demna’s Gucci vision will be built leading up to his first show in February,” it features 37 looks shot as framed portraits of "an extended Gucci family". Among them, tongue-in-cheek archetypes like 'La Drama Queen' (in an OTT feathered gown), 'Miss Aperitivo' (in a sparkly mini dress and heels), and 'La Bomba' (wearing a fur dress-coat, and nothing else)—with all pieces available to shop exclusively in ten Gucci stores, New Bond Street included, for a limited time only (September 25th to October 12th).

But naturally, that was just the start. The main event? A star-studded film premiere that really brought Demna's Gucci vision to life.

In another surprise move, Gucci took over Milan's Palazzo Mezzanotte last night to unveil The Tiger, a short film showcasing looks from Demna's debut. The work of Oscar winner Spike Jonze and Halina Reijn, it stars Demi Moore as Barbara Gucci, the fictional matriarch of an alternative-reality Gucci family as she struggles to hold it all together beneath her impossibly polished surface.

“I’m not defining my Gucci vision yet, more the platform on which I will build that,” Demna told guests at the premiere, according to the Financial Times. “I want people to be excited again about the archives and personalties of this brand.”

And his ingenious, unexpected, multi-format unveiling of the La Famiglia collection ensured just that—much helped by the fact that many of the big names that make up the real-life Gucci gang were in attendance for the occasion, and very much dressed the part, too.

Demi Moore arrived at the hyper-exclusive premiere wearing a spectacular embroidered gown befitting of her Barbara Gucci persona, while Gwyneth Paltrow wore head-to-toe Gucci monogram, and Serena Williams stunned in an elegant black feathered dress from the brand.

Meanwhile, Alex Consani and Lila Moss arrived in the exact looks they modelled for Demna's La Famiglia campaign—an incredibly glamorous tiger-print mink coat-dress, and Sixties-style turtleneck, croc-leather miniskirt and knee-high boots, respectively. New-gen cool girls Devon Lee Carlson, Mariacarla Boscono and Amelia Gray were also in attendance.

If this is just a small prelude taster to what we can expect from Demna at Gucci, the future looks very bright indeed.

London is known to be the most edgy, creative and experimental of the 'big four' Fashion Week cities, seen both in its roster of buzzy, up-and-coming talents and street style of the most wonderfully weird and wacky kind. But the city has a softer sartorial side to it, too; one of effortless elegance, subtle sensuality and luxurious craftsmanship with its own kind of quiet power—and a decidedly more universal appeal.

This is what Camille Perry and Holly Wright set out to capture when they founded their brand Tove back in 2019, that has since become a go-to for stylish women the world over, from CEOs to celebrities such as Alexa Chung, Katie Holmes and Kendall Jenner. As former heads of buying and design for Topshop respectively, they were, and continue to be, intimately au fait with how women want to dress—a depressing rarity in an industry dominated by male creative directors. This, coupled with their fashion nous, design talent, focus on quality and consistent aesthetic vision has been a recipe for success.

"When we started out, there were two clear camps: there were the androgynous brands, and then those overtly feminine brands," Wright tells Marie Claire UK. "We wanted to strike a chord in the middle, that balanced both of those things, and placed the woman at the centre."

Where other high-end designers draw from academic sources and niche cultural references when putting together collections, Perry and Wright take inspiration from the Tove woman directly. "It's always about her, and she is a constant," explains Wright. "She is us and the women who are in our world. She's smart, she's intelligent, she's worldly and confident, and she dresses more for herself than for others. She is the real guiding force for our vision, and I think that's why the brand speaks to so many."

As a result, Tove's signature aesthetic has been clear from the outset: "modern, minimal, feminine, refined, but never boring" as Perry describes it, comparable to the likes of The Row, Khaite and Toteme. Perry and Wright have also remained steadfastly immune to the sway and vagaries of trends. "It's been easy, really, to stick to our vision and aesthetic, because when we first started the brand we were clear on the space we wanted it to sit in—that's where we could see the opportunity" says Wright. "We have our signature details, both subtle and front-facing, that set us apart, and really make something a Tove garment."

That said, Perry and Wright are always "keen to evolve" rather than simply "sit on one thing and then that becomes all we do"—tempting as that might have been following the viral hit that was their Lauryn dress (if you don't know the name, you'll recognise the gathered cups and fitted bodice).

Instead, they work hard to hone their vision each season. "The way we work is really instinctive," says Wright. "We bounce back and forth, we think about how we're feeling, our experiences, what we would love to wear at this time in our lives... It's a really organic approach."

For Spring/Summer 2026, this meant leaning into the Tove woman's sensuality more than ever before. "We're becoming more confident—this is the fourth collection we're showing on the runway, and it felt instinctively right to lean into that sexier side a little bit more," says Wright. "The fabrics are quite sensual, some are a bit sheer, there's lots of nice textures and a bit of skin too, but mainly in the back. It's a really nice way for us to show that side of the woman in our world, which is still refined and chic and effortless but a bit sexy as well. There's so much overt sexiness out there, but I think it's more that subtle, quiet confidence, that unexpected detail, that ability to command a room that women are really attracted to—more so than a completely see-through dress."

Tove's SS26 collection was unveiled during London Fashion Week yesterday, high above the city in the light-filled surrounds of Space House, and before an especially inspiring crowd of Tove women—ranging from Joy Crookes and Tiffany Hsu to influential artists, actors, creatives, stylists, doctors and businesswomen. All impeccably dressed head to toe in Tove, of course, and visibly adding the full collection to their mental new-season shopping lists, Grecian-style gowns, silky tailoring, backless tops and all.

Also of note: the brand's partnership with Pandora, that saw a number of Tove looks punctuated with a specially curated selection of jewels. "It was a really natural collaboration—we straight away had so many things in common with Pandora," explains Wright. "Our name is Danish, and they're Danish; they have a very female-led team; they're big on the sustainability side of things; their approach to design, the idea of making pieces that are cherished and passed on...

"We loved the opportunity to use and bespoke the collection as we saw fit, layering and putting different pieces together to elevate each look. We actually decided to engrave some of the tabs with symbols that represent different kinds of neurodiversity, because it's a subject that's really personal to us as parents to neurodiverse children, and it felt like such a lovely way to be able to mark and celebrate that."

The partnership marks yet another way that Tove is moving with the times, not only in terms of experimenting with a new category, but also by finding clever ways to stay in the Fashion Week game. "There's huge value in doing a show—you really can't beat that moment," says Perry. "It brings so much in terms of assets and visibility and people talking about the brand, pushing it out there socially on so many channels... But it is insanely expensive and it can be hard to justify for a lot of brands, big and small."

That said, Tove plans to show on-schedule in February, too—and as for its own prices, they won't be changing significantly anytime soon. "Everything is kind of wild with what's going on at the moment—tariffs, shipping charges, taxes, duties, Brexit... The list goes on. Prices seem to be increasing everywhere for everyone, and there's a huge pressure to balance the margins," says Wright. "But it's so important to us to keep a price point that is respectful while ensuring the quality is super high. We always intended to be aspirational but attainable, so we just work harder to be able to do that for the customer, and I think it's been pivotal to the success of the brand that we've been able to maintain that." Amid the often-exorbitant price hikes happening elsewhere, no doubt this will only serve to heighten Tove's already-significant appeal all the more.

Shop our Tove favourites:

London Fashion Week has officially wrapped for the Spring/Summer 2026 season, running from September 18th-22nd. It was the first under new BFC head Laura Weir, and one that was filled with all manner of standout shows, buzzy designer debuts, glitzy events, milestone brand moments and celebrity-filled front rows.

As ever, there was a lot going on—so whether you were in attendance or not, we've rounded up all of the major highlights from each day in one place to catch you up on all the most important events.

Here, you’ll find all of the biggest talking points and memorable moments from the SS26 edition of London Fashion Week, from surprise A-list appearances and emerging rends, to the most notable collections and items that editors are already adding to their mental wish-lists.

London Fashion Week SS26: Day Five Highlights

Burberry's Star-Studded Great British Festival

Burberry once again closed out London Fashion Week with a bang, bringing together big-name celebrities, musicians, fashion world icons and top editors in the exclusive surrounds of Kensington Palace Gardens. The list of VIPs was astounding, even by Burberry's high standards, and saw hundreds of Londoners crowd outside the venue for their chance to glimpse the likes of Sir Elton John, Central Cee, Raye, Twiggy, Lila Moss, Alexa Chung, the Gallagher brothers, Joanna Lumley and Jennifer Saunders, who served a surprise Ab Fab reunion.

As the guest-list might suggest, Daniel Lee's latest collection celebrated the powerful connection between fashion and music. "Music is about self-expression, originality and belonging. From festivals and stadiums to open-air concerts, every summer the UK comes to life with style and sound," explained Lee in the show notes. "Musicians have always been pioneers—fearless in the way they dress and sound. A legacy you’ll see in the looks, cast and styling." Hence: the festival-style tent setting (albeit of an extremely luxurious kind, and with painted-on blue skies), and on the catwalk, Noughties-style skinny scarves, boho fringing, lace-up boots, crochet, paillettes, parkas and suede aplenty.

Nanushka's London Debut

Hungarian-based brand Nanushka celebrated its 20th anniversary with an intimate show in an elegant South Kensington townhouse—its first-ever at London Fashion Week, and hopefully the start of many more. Founder and creative director Sandra Sándor took inspiration from Cuban furniture designer Clara Porset for the SS26 collection, that was entitled 'The Weave' and "paid homage to the spirit of functional beauty," per the show notes. Think: elegantly clashing prints, sensory textures, natural forms and crafted details that exude the "warmth, vibrancy and energy" of the season—and for many, resulted in an extremely long wish list following the show. The funnel-neck bomber jackets, striped dress and mens suede two-piece are top of mine.

Ashish Is Making Fashion Fun Again

The London-based, Delhi-born designer Ashish Gupta brought a much-needed injection of joy and energy to the final afternoon of Fashion Week, putting on a show that saw models expressively dance their way along the catwalk in his brand's typically bold, colourful, sparkly, happy-making clothes. An important reminder that fashion needn't always be so serious—it's for having unrestrained fun in, too. Meanwhile, a t-shirt emblazoned with the slogan 'Fashion Not Fascism' will do doubt be a best-seller.

Susan Fang Does Sci-Fi

The ever-innovative designer Susan Fang transported guests to an imagined future in the year 5202, "where nature and technology breathe as one". Set in the plant-filled Barbican Conservatory, a combination of live music, dance performances and bubble sculptures made for a multi-sensory experience—and the perfect backdrop for Fang's Spring/Summer 2026 collection. Cutting-edge technology and techniques were used to craft surreal silhouettes, dream-like details and soft, airy textures, while the designer's signature laser-cut flower petals and bubble beads were also front and centre. Highlights included surreal bridal designs and dresses, bags and glasses covered in hundreds of tiny mushrooms, so detailed that they almost looked alive.

London Fashion Week SS26: Day Four Highlights

Erdem Turns 20

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

Just 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.

London Fashion Week SS26: Day Three Highlights

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.

Jerry Hall: The Completedworks Clairvoyant

We’ve grown to depend on Completedworks to bring a touch of drama to London Fashion Week proceedings, and the contemporary jewellery brand dutifully obliged yet again—this season, tapping the iconic Jerry Hall to take the stage for its latest sketch. Her role? A fortune-telling tele-sales host, who ‘reads the soul’ of jewellery, vases, and trinkets from the brand’s Spring/Summer 2026 collection. The light-heartedly satirical script was specially commissioned for the occasion, and also featured cameos from Josephine De La Baume and Raven Smith.

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.

London Fashion Week SS26: Day Two Highlights

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.

London Fashion Week SS26: Day One Highlights

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.

eBay's Pre-Loved Fashion Show

For the second season in a row, eBay hosted a catwalk show made up entirely of pre-loved fashion sourced directly from the site—this time, including designer gems from the likes of Acne, Louis Vuitton, Chopova Lowena, Paco Rabanne, McQueen and Givenchy. The inventive ensembles were expertly assembled by eBay's pre-loved style director Amy Bannerman, with each piece available to shop in real time as it came down the runway.

More often than not, the street style spotted outside Fashion Week tends towards the purposefully peacock-y—and understandably so. For it's the brightest colours, biggest sparkles, boldest pattern clashes, and most unexpected styling choices that act as catnip for photographers, and thus guarantee a snap or two.

Fascinating as these outfits are to observe from afar however, they're hardly the most useful when it comes to real-life fashion inspiration. That’s why I always keep an eye out for the more realistically replicable street style looks—and this season, New York came up trumps. All of the city’s chicest industry insiders stepped out in variations of one particular piece during Fashion Week, and you probably already own it: a statement midi skirt.

Woefully underrated yet quietly powerful, the statement midi skirt hits that sartorial sweet spot somewhere between attention-grabbing and effortlessly low-key—particularly when paired with a simple tee, tank, shirt or light knit up top. It's the ultimate in high-low styling, not to mention a clever way to bring a particularly sparkly or party-worthy number down a few notches for the daytime.

See: actress Shailene Woodley, who paired an epic zebra-print maxi with a casual denim shirt to attend the Khaite show, and Instagram's Eva Chen, who topped a dramatic black feathered midi skirt with an oversize shirt and mesh pumps as she walked around the city. Prime examples of this wardrobe hero's innate versatility, as both pieces could be easily dressed up to suit even the most elegant, formal occasions with just a silky top, heels and a few choice accessories.

There were countless more examples outside the recent New York Fashion Week shows, ranging from brightly coloured silky slips, playful prints and rich embroidery, to skirts that made a statement with their off-kilter silhouettes. Even summery styles abounded, like bubble-hem and lace-trim designs, albeit paired with jackets, boots, tights or cosy knits to render them ready for the colder climes.

A reminder that there really is a statement midi skirt for everyone, and to suit every style—plus styling inspiration aplenty to draw on thanks to New York's fashion set, too.

All this to say: if you have a statement midi skirt hiding in the back of your wardrobe somewhere, this is high time to pull it out and give it a new-season lease of life. And if you don't—or feel inspired to invest in a new one? I've curated the best statement midi skirts to shop now, from high-street to high end, below.

Shop the Best Statement Midi Skirts

Fashion Week is upon us once again, and this spring/summer 2026 season, New York really pulled out the stops when it came to beauty. Sure, while most people fixate on the clothes, I like to have a closer look at what lies above the shoulders, and there's been no dearth of inspiration this week.

From Pat McGrath's fresh pops of colour at Anna Sui to the sun-kissed bronze at Michael Kors, it's evident that make-up is no afterthought, especially in the summer months. Our breakdown ahead.

Old Hollywood glamour

Christian Siriano turned the Macy's store on Herald Square into a masterclass on Old Hollywood styling, and this extended to the face. To contrast with the largely black-and-white ensembles, make-up artists channelled classical Hollywood tropes with a sculptural twist. Model Coco Rocha, who opened the show, had velvety skin, graphic eyeliner, and, like the rest of the models, a statement, matte orange-red lip.

Sunkissed minimalism

At Michael Kors, simplicity ruled, but every detail—cheeks to eyes—carried a soft bronzed glow. Cheeks had a warm, almost windswept flush, and lips wore just a hint of sun-kissed colour. The spring/summer ’26 show drew inspiration from desert landscapes and far-flung travel, and the makeup perfectly captured that sense of wanderlust.

Ghost lashes

Ghost lashes have been a standout trend over the last few months—and Kate Barton is clearly a fan. On the runway, models were almost bare-faced, with their fresh, dewy skin carrying the entire look. Indeed, there appeared to be no mascara whatsoever, and it was a similar story over at Ralph Lauren and Calvin Klein; where models looked similarly ethereal.

If you're keen to replicate this at home, but like to have some definition, swap out jet black for brown, or just use less for a more editorial spin on your everyday look.

Uber sleek bobs

If 2025 was the year of the bob, then 2026 might well be too. At Kate Barton, the long bobs or "lobs" were sleek and polished, in the vein of the "office siren". In some cases, models' hair grazed their shoulders, but others sported more avant-garde takes on the style with choppy fringes or rounded, bowl-like shapes. In any case, each look was super shiny, with not one hair out of place.

Gothic beauty

I've been tracking the rise of "gothic beauty" all year. It first came on my radar with the release of Nosferatu, and the beautiful, Victorian-inspired make-up looks Lily-Rose Depp wore during the film's press run, and then I started noticing that the likes of Gabriette Bechdel, Charli XCX, Mia Goth, Amelia Gray and Zoe Kravitz had all been channelling something similar—so, hollowed out cheekbones, and cool-toned smoky eyes.

At Grace Ling, make-up artist Diane Kendal very much tapped into this vibe, describing the looks as "sombre romance glam". But here, everything was a bit warmer, with burnt-out smoky eyes transitioning into deep brown shades that perfectly complemented the models' skin tones. Think of it as a more wearable approach to the trend.

Pops of orange

While we've seen very little colour so far at NYFW, L'Enchanteur more than made up for it with all the electric orange accents. Make-up artists applied super shimmery pops of electric orange all over the face, including the eyelids, the tops of the cheekbones and even around the cupid's bow.

Graphic eyeliner

If you skew more maximalist, then the eye looks at Alexander Wang are worth a gander. Models sported pitch black, sculptural wings that extended past the eye and brow, almost looking like little horns on the face. This was counterbalanced by super-glossy skin and almost nothing else on the cheeks and lips.

Romantic Waves

At Altuzarra, romantic waves ruled the runway. The collection blurred reality and illusion, and the hair echoed those fluid silk florals—long, loose, and full of lived-in volume. Natural texture took centre stage; you could see every curl pattern and subtle bend. Most models wore clean middle parts or a soft side sweep, giving that effortless “cool-girl” energy with the femininity dialled up.

Mermaid Eyes

Anna Sui's Spring/Summer '26 show was titled 'Desert Blooms', and Pat McGrath very much delivered on the assignment. "The look fused windswept romance with painterly sky-blue lashes, glowing twilight eyes and unapologetic makeup maximalism," wrote the make-up artist on Instagram. There was a lot to pick from, but some of the standout looks were playful baby blue mascara, ombré mermaid-inspired eyeshadow and pink, doll-like cheeks and lips.

Bobby pins are back

The '90s reigned supreme at Khaite. Diane Kendal gave Kendall Jenner straight, skinny brows and clear, luminous skin, which looked beautifully lived-in. The hair was a similar story, and was styled in loose, casual variations on traditional office tropes, including half-updos and buns. Hairstylist, Guido Palau, added an extra wink to the '90s by incorporating bobby pins into the looks—these were not meant to be hidden, but rather shown off.

While many think that the beauty agenda for each season is set on social media, that couldn’t be further from the truth. It’s the make-up artists, hairstylists and session manicurists on the catwalks of Paris, London, Milan and New York who determine our blush placement for the upcoming months and the standout trends for the quarter.

AW25 was a masterclass in picking your battles, selecting one thing—whether it be perfectly crimped hair or larger-than-life lashes—and executing it perfectly. It was a breath of fresh air amidst the sheer volume of product churn we’re seeing in the industry, and served as a reminder that the past can be ripe fodder for inspiration, from tonal make-up to the resurgence of soft 60s glam.

90s grunge smoky eyes

Even though festival season may be over for the foreseeable future, one theme we saw again and again was '90s grunge-inspired smoky eyes. At Dreaming Eli, models went indie-sleaze with a sultry, burnt-out black eye, which had a glistening, clear balm applied on top. “It's not an Instagram-perfect look, it's like you've had it on for six hours... It’s like Alexa Chung in the 90s post-Glastonbury, with a Shirley Manson chunky lash,” M.A.C's Senior Artist Carly Utting said backstage.

Bluemarine and Marni followed a similar script, with the former opting for a matte, grey-ish eyeshadow encircling the eye, with a touch of electric blue liner. Marni leant grungier with heavy lashings of kohl along both waterlines—this was effortlessly blended into various shades of brick, charcoal and terracotta. Then, over at Roberto Cavalli, their smoky eye had a cool, blue hue, which was smoked upwards, but with clearly defined lines.

Androgynous hair

Over at SS Daley, the hair may have looked loose and relaxed, though it was anything but. Anna Cofone, Global Creative Advocate for Authentic Beauty Concept (and Lana Del Rey's hairstylist), gave us “back to school” vibes, but with a “party edge”. Backstage, she told Marie Claire UK that she combined aspects of traditionally masculine and feminine styles to create controlled looks. While there were elegant coifs and tousled waves, which looked as if the models had been on a night out, not one hair was out of place.

Likewise, at Acne Studios, hair lead Anthony Turner used Schwarzkopf to create striking looks that captured “the essence of modern duality”. There was contrast between the masculine and feminine elements, with the top being a structured, “handsome boyish” look, while the back was soft, long and natural. Tom Ford also played with androgyny, with stylist Guido Palau creating coifs so sleek they looked futuristic.

Tonal make-up

Autumn isn’t typically associated with warm, terracotta colours, but SS Daley brought dusty tones of ochre to models’ eyes and lips, in a way that really works for back to school season. Make-up artists used fluffy brushes to seamlessly blend the colours from the inner corners to the brow bones to form a halo-like effect, reminiscent of sunsets. This was then matched across the lips to create a cohesive appearance.

At Sandy Liang, make-up artist (and brand founder) Fara Homidi used a blue wash of colour over the lid, which contrasted with the models' bare lashes to create a "doll-like" effect. This tonality was heightened with the addition of a latex-y, opaque beige lip. It was a similar story at Chloé and Michael Kors, where models seemingly wore barely any make-up, just variations of their own skin colour all over the face.

Larger-than-life lashes

Gone are the days of “ghost lashes” or thin wisps; at Harris Reed, the lashes dominated the entire face. Models sported inches-long, sculptural eyelashes, painted black, metallic gold and cobalt blue. Continuing their collaboration with Charlotte Tilbury, the brand’s Global Artistry Director, Sofia Tilbury, dialled up the drama on the lashes by coating them with lashes of the Exagger-Eyes Volume Mascara, before keeping the base neutral and dewy. The lashes at Vaquera were similar and spidery on both the top and bottom.

Then, at Courrèges, they were even more dramatic; flapping like fans over the models' faces. Many had a twist and featured bald spots in the middle.

Renaissance romance

While this summer was all about ease, the upcoming season is leaning more towards traditional wintery tropes, especially Annie’s Ibiza, which channelled romantic, Renaissance tropes, some of which even skewed medieval. Sam McKnight used XXL extensions to achieve gently waved and crimped lengths, which were completed with braided updos, long, dropped plaits and chunky, glossy braids. He said it was easy to achieve a version of this at home, too: simply leave your hair braided for a couple of days before setting them loose.

M.A.C’s Dom Skinner adopted this approach for the make-up too, describing his models as “love-lorn warrior women”, inspired by Joan of Arc. “These women are powerful, they are strong, they are in control, they are warriors,” he said, applying lashings of blood-red lipstick and gilding the eyelids in gold pigment.

A romantic strain of 'just kissed lips' was also seen over at Carolina Herrera, where it looked like artists had pressed berry tones onto the models' lips and topped them with a wet-effect gloss.

The return of crimping

While we’ve long associated crimping with the 90s and early Noughties, the hairstylists over at Chet Lo—also presided over by Cofone—created a refined version of the look. The panels of crimped hair reflected the patterns within Lo’s sartorial canon. It was a thoroughly modern take on what is considered a “nostalgic” style.

At McQueen, the hair was decidedly looser and more flyaway, with key sections crimped gently, in what was a more wearable take on the look.

Soft 60s glam

At Richard Quinn, the swinging 60s and its ‘IT’ girls reigned supreme. Backstage M.A.C’s Global Creative Director of Artistry, Terry Barber, referenced the likes of Julie Christie, Jean Shrimpton and Diana Ross. As such, he swiped a thin slick of duck egg blue shadow across models’ lids, as well as a “putty beige” lip and reflective highlights on the cheekbones. Barber told Marie Claire UK that he’s bringing highlighter back for the upcoming season—saying that a reflective, not shimmery, tone across the eyes, nose, and high points helps pull a face together beautifully.

At TOGA, the reference to the swinging Sixties was a bit more modern; with soft grey being smoked all over the eye, with a little added definition in the socket. This smoky, 60s grey was also seen at Cavalli, but once again modernised by a lack of any mascara.

Satin skin

If the hair was “glass”, then the skin most definitely had a “satin-y” sheen. Across the board, there was a move towards translucent-looking skin, which wasn’t matte, but not quite shiny either. Literal aestheticians from Kate Somerville prepped the skin at Chet Lo, using the brand’s HydraKate Water Cream and Recharging Serum, and in a sign that our collective skincare obsession is only growing, they finished with a five-minute oxygen therapy boost facial. Likewise, EVE LOM’s master facialist Jon Rummins prepared the skin at Emilia Wickstead to achieve “modern, luminous, fresh skin”, which wasn’t reliant on “covering”.

Glass hair

If there was one standout hair note, it was super shine. For Harris Reed’s Gilded collection, which redefined fashion as armour, lead hairstylist Ali Pirzadeh drew inspiration from the sharp lines and cage-esque shapes to create sculptural looks. I watched backstage as Pirzadeh crafted intricately modelled buns, which were quite literally screwed into place—or assembled into highly-glossed, sky-high ponytails.

Similarly, at Tom Ford, the hair was controlled, with oodles of gloss. Acne Studios took it up a notch, though, with models walking down the runway with hair that was so glossed, it looked crispy, especially around the crown. If that's not for you, over at Ralph Lauren, it was all about healthy-looking hair. It was glossed, but in a more everyday and naturalistic way, as if the models had been sleeping in oils and masques for weeks in preparation.

Autumn/Winter 2025 has officially arrived and, with it, a plethora of looks to recreate, courtesy of Fashion Month’s attendees. Because, as any seasoned industry insider will tell you, the catwalk isn’t the only source of trend intel; for many, it’s the street-style set that offers the most inspiring takes on trending looks.

From celebrities and editors to influencers and stylists, the fashion elite take to the streets each season, providing a masterclass in new-season outfit pairings – plus fresh insight into which pieces are truly worth investing in to update your existing outfits.

Here, we round up the 10 of the best outfit formulas we’ve spotted outside the AW25 runways across New York, London, Milan and Paris. And whether you dip your sartorial toe into double suede and an XL shaggy coat or reimagine babydoll dresses and capri trousers for autumn, it’s a cheat sheet you don’t want to miss.

1. Maxi skirt and cropped jacket

While maxi skirts aren’t a conventional autumn/winter wardrobe staple, there’s no reason to pack them away for winter. Instead, pair with a cropped jacket for proportional balance, then finish with flats or boots, and add tights when the temperature drops.

2. Suede on Suede

Forget double denim – this season, the fashion set is doubling up on suede. Offering major style points while ensuring you stay warm, mixed shades of suede will elevate any look; just accessorise with pops of colour, such as cherry red, to tie everything together.

3. Babydoll dress and faux-fur jacket

Babydoll dresses and long nighties became one of spring/summer 2025’s standout trends. Now, thanks to the addition of faux-fur jackets and fresh styling inspiration, we can continue to waft around in whimsical shifts, winter-ready.

4. Animal-print outerwear

Maximalists rejoice: animal print is leading the charge for autumn/winter 2025 – and dominating outerwear. Cow, leopard, zebra, dalmatian prints: anything goes this season. Just be sure to pair wild prints with sleek wardrobe basics, like denim and loafers.

5. Lace detailing

Looking to upgrade your capsule wardrobe with minimal effort and maximum reward? Consider lace detailing. Lace slip dresses may have been popular this summer, but now think about expanding the trend into your outerwear. Imagine lace shawls and skirts layered over a coat and cosy tights; we especially love this look against wool and leather coats for added drama.

7. Jorts and knee-high boots

Editor-approved, the new way to wear your summer staples is with knee-high boots. Whether your jorts are knee-length or shorter, this is the perfect combination for that effortless cool-girl style. Of course, for those unsure about the look, you can opt for a slightly longer style, like a denim culotte, to achieve the desired effect.

7. Capri trousers

A styling formula we’re saving for autumn: layer capri trousers under your favourite capsule wardrobe pieces. From fringed jackets to fluffy coats, go all out and even style these under textured skirts. Simply add closed-toe pumps or flats to finish off the look. Chic, elevated and cold-weather compliant.

8. XL shaggy coat and denim

The AW25 runways were clear: the XL shaggy coat, in either faux-fur or wool, is the standout piece of the season. Street-stylers are taking a ’70s approach, so complete the look with denim staples – think baggy jeans, midi skirts or statement flares.

9. Matchy matchy co-ords

Ask any industry insider what their fail-safe fashion tricks are and they’ll probably mention monochrome dressing. Comprising various shades of a single colour, this modern, cohesive approach to styling is your fast-track ticket to a polished everyday wardrobe this season.

10. Cold shoulder outerwear

Elevate your staple winter outerwear this season by adding some extra structure with 80s-inspired shoulder pads. Borrowing styling cues from the street style scene while maintaining the warmth of a classic winter staple, this styling twist is set to become one of the most talked-about silhouettes for a good reason.

Although often viewed as distinctly different worlds, fashion and art have always been intrinsically linked. Both serve as powerful forms of expression that have motivated some of the most iconic cultural moments of the past century.

Often cited as fashion’s first major crossover with the art world, the partnership between designer Elsa Schiaparelli and artist Salvador Dalí in 1930s Paris led to nearly a decade of surreal collaborations — from perfume bottles to fabric prints and the now-iconic lobster dress worn by Wallis Simpson. Their work set a precedent, paving the way for future creative pairings: Yves Saint Laurent and Piet Mondrian, Louis Vuitton and Takashi Murakami, Alexander McQueen and Damien Hirst, to name just a few.

“Art has never just been a trend in fashion – it’s the very foundation of it,” says Koibird founder Belma Gaudio. “Designers like Miuccia Prada, Issey Miyake and Roksanda don’t look to art for seasonal inspiration; they live in that space where fashion and art constantly inform each other. It’s a dialogue that’s always existed — not a moment, but a movement.”

“What we’re witnessing is a new creative legacy in motion,” says creative director and stylist Barbara Ayozie Fu Safira. “Designers are using fashion to stretch the boundaries of reality, pulling from sculpture, performance, and storytelling to build entire universes.”

The Autumn/Winter 2025 collections showcased exactly that. Luxury houses across New York, London, Milan, and Paris looked to the art world to illustrate their collections — from Erdem’s partnership with artist Kaye Donachie, whose paintings were printed directly onto fabric, to Loewe’s homage to Josef and Anni Albers, and Marni’s joyful collaborations with Olaolu Slawn and Soldier Boyfriend.

“The relationship between fashion and art is deeply rooted and symbiotic — each discipline consistently informs and challenges the other,” reflects Tiffany Hsu, Chief Buying Officer at Mytheresa. “As designers seek to create more meaningful, narrative-driven collections, turning to the art world for depth, context, and emotional resonance feels both natural and inevitable.”

Indeed, this season’s collections followed design codes that invited new forms of connection — allowing audiences to interact, reflect, and feel empowered. Fashion didn’t just reference art this season — it fully embraced it, with both worlds coming together to create bold, expressive collections.

“This concept isn’t about referencing art; it’s about living it,” adds Ayozie Fu Safira. “Fashion and art were never truly separate spheres. Now, more than ever, they speak as one, evolving language.”

Below, we explore seven runway shows that blurred the lines between fashion and art this Autumn/Winter 2025.

Roksanda and Phyllida Barlow

For over 20 years, Roksanda Ilinčić has led the way in blending craft, design, and artistic expression through her eponymous label, Roksanda. For the brand’s Autumn/Winter 2025 show at London Fashion Week, Ilinčić drew inspiration from the late artist Phyllida Barlow.

Known for her bold, playful, and large-scale installations, Barlow has long influenced Ilinčić — from her use of recycled materials to the conceptual thinking behind each piece. With a focus on space, form, and challenging traditional sculptural methods, Barlow’s work invites viewers to question what they see.

These ideas translated beautifully on the runway. Traces of Barlow’s architectural sensibility combined with Ilinčić’s signature tailoring resulted in a 35-piece collection that honoured both the artist’s legacy and the designer’s vision.

Erdem and Kaye Donachie

Erdem Moralıoğlu, creative director of his eponymous label, has long bridged the gap between art and fashion. Known for referencing influential artists like Tracey Emin and Nan Goldin, his collections often explore themes rooted in the female form.

For Autumn/Winter 2025, Moralıoğlu collaborated directly with artist Kaye Donachie — a partnership that began when he commissioned her to paint a portrait of his late mother. Moved by Donachie’s poetic approach to image-making, he was drawn to the way her work captures the lingering presence of a life once lived.

The result: Donachie’s ethereal female figures now appear across the collection — their silhouettes printed on ready-to-wear pieces crafted from natural fibres, interwoven with signature Erdem motifs like velvet embroidery and romantic florals.

Courrèges and Dan Colen

The Courrèges’ Autumn/Winter 2025 show was a masterclass in bold minimalism. Staying true to the brand’s sleek design codes, creative director Nicolas Di Felice drew inspiration from Moments Like This — a book featuring artist Dan Colen’s confetti-inspired works and graffiti splatters.

A long-time favourite of Di Felice, the book served as a creative springboard for injecting joy and spontaneity into the collection. On the runway, confetti rained down as models wore everyday staples elevated by unexpected textures and trims. The opening look mimicked the motion of confetti swirling around the body, while confetti-speckled tweed became a key fabric, blending Colen’s playful aesthetic with Courrèges’ futuristic minimalism.

Issey Miyake and Erwin Wurm

Unusual, witty, and humorous are just some of the words often used to describe artist Erwin Wurm’s work. Known for exploring the body and unconventional forms of craftsmanship, his influence on Issey Miyake’s creative director, Satoshi Kondo, feels particularly fitting.

Wurm’s sculptural practice often involves everyday materials — from screws and chairs to suitcases — reimagined in surprising ways. His aim: to challenge perception and offer a new point of view. It’s a philosophy Kondo shares, using fashion to transform the familiar into something entirely unexpected.

Indeed, through his work at Issey Miyake, creative director Satoshi Kondo has consistently challenged traditional notions of garment design by drawing on sculptural references. For the label’s Autumn/Winter 2025 collection, Kondo found major inspiration in Erwin Wurm’s work, particularly in a presentation at Paris Fashion Week that explored the idea of the "One Minute Sculpture.”

Here, attendees watched performers hold spontaneous, sculptural poses — a living installation that brought Wurm’s playful philosophy to life through fashion.

Alaïa and Mark Mander

This season, Alaïa’s creative director Pieter Mulier explored themes of sculpture, geography, and what has always been central to the brand: women.

Drawing inspiration from the work of sculptor Mark Manders, Mulier was intrigued by the artist’s reflections on culture, transformation, and impermanence. Manders is known for combining everyday objects — like tables, chairs, and newspapers — with wet clay to create works that appear unfinished or fragmented. With crumbling faces and missing parts, his sculptures examine beauty and geography without defined boundaries.

For Mulier, these ideas aligned closely with Alaïa’s legacy — particularly Azzedine Alaïa’s vision of celebrating individuality and strength. The result was a confident Autumn/Winter 2025 collection built around structural silhouettes, headpieces, and cutouts in a neutral palette, punctuated by bursts of canary yellow and cobalt blue.

Loewe and Josef & Anni Albers

For Jonathan Anderson’s final collection at Loewe, the brand took an unconventional approach, presenting it as a scrapbook. At the Hôtel de Maisons in Paris, Anderson curated a blend of memories—both old and new—that filled the pages with mementos. This method allowed him to merge Loewe’s classic motifs with fresh artistry and craftsmanship.

Central to the collection was a collaboration with the Josef & Anni Albers Foundation, celebrating the mid-century art pioneers. Drawing inspiration from Josef Albers' Homage to the Square series, Loewe’s accessories—like the Puzzle, Amazona bag, and Flamenco clutch—were reimagined through the artist’s geometric forms.

Albers’ distinctive use of color and technique also influenced the ready-to-wear pieces. Leather was sliced and sculpted, while everyday garments were elevated with draping, nodding to Anni Albers’ innovative textile techniques. The collection embodied the same boundary-pushing spirit of art and design that defined the Albers’ legacy.

Marni and Olaolu Slawn and Soldier Boyfriend

An unlikely partnership formed last year between Marni’s then-creative director, Francesco Risso, and artists Olaolu Slawn and Soldier Boyfriend during a month-long artist residency. Working together in a shared studio, the trio combined their approaches to art and design, drawing inspiration from history and culture.

Fusing the artists’ Nigerian heritage with Risso’s Italian roots, they created The Pink Sun collection. Using the runway as their canvas, Marni’s Autumn/Winter 2025 show became a bridge between mediums, cultures, and expressions—a testament to both the brand and artists’ dedication to craftsmanship. Their vibrant graffiti work melded seamlessly with Marni’s innovative, experimental aesthetic.

The collection serves as an industry blueprint for the transformative power of connecting art and fashion. Its vibrant runway looks showcased bold colour-blocking on silk dresses (worn by Marie Claire UK cover star Tracee Ellis Ross), flowing coats, and floral appliqués extending from tailored suits.

If the Autumn/Winter 2025 collections taught us anything, it’s that accessories deserve just as much attention as our clothes. Whether you're trend-curious, a jewellery magpie, or ready to invest in timeless pieces, there’s no shortage of stylish add-ons to elevate your wardrobe.

Versatile yet playful pieces stole the spotlight this season — from faux-fur stoles at Miu Miu to contrast bow detailing at Chanel. For those drawn to statement details, Dries Van Noten’s woven corset belts and Christian Dior’s ruffled collars delivered standout drama. Minimalists weren’t overlooked either, with Tory Burch and Isabel Marant offering slouchy bags that blend style with function.

The power of accessories and their ability to transform an outfit should never be overlooked. So whatever your style, consider this your go-to guide to discover this season's most coveted accessories.

Grab-and-go Bags

Offering the ultimate in practicality, slouchy handbags are a staple in any wardrobe. Comfortable to carry, spacious and effortlessly stylish, they embody the grab-and-go silhouette that fashion insiders love worldwide. Slouched iterations were shown in New York, London, Paris and Milan this season, with Tory Burch, Isabel Marant and Louis Vuitton models nonchalantly carrying gathered oversized bags in their hands.

Haute Fuzz

The revival of ’80s-inspired maximalist faux fur is the standout trend this season. Seen at Simone Rocha, Miu Miu, Sacai, Chloé and Christian Dior (to name but a few), soft-fur stoles, handbags, shoes and, of course, giant snuggle bunnies are the tactile accessories to reach out and touch right now.

The Wildcard

Chic, versatile and easy to style thanks to its monochrome palette, zebra print has become increasingly popular with designers of late. This season, Duran Lantink championed the print across its footwear, hosiery and headwear offerings. Meanwhile, Nina Ricci paired its zebra-print shoes with a plum-coloured blazer and sage belt.

Gothic Collars

Offering a sense of opulence, whimsy and drama, gothic collars are set to adorn everyone’s necklines this winter. Dubbed ‘clowncore’, the trend takes its cue from collars worn by 14th-century court jesters and, later, designs used in 18th-century royal ceremonial attire. The modern take, however, sees Sean McGirr for Alexander McQueen draw inspiration from various Victorian dandies, while Alaïa adopts a sculptural, experimental approach.

XL Earrings

At Givenchy, Fendi, Rokh and Huishan Zhang, models’ ear lobes were decorated with enormous earrings. Crafted from various metals and precious stones, the modern designs delivered everything from two-tone silhouettes and organza supersized flowers to low-hanging adornments. Whether you go for huge hoops, jumbo gems or shoulder-grazing drops, just be sure to size up - the bigger the better.

Wading In

Wader boots may seem like an unlikely choice for city wear, but according to the runways, they couldn’t be more fitting. Diesel, Louis Vuitton, Stella McCartney and Sportmax have reimagined the humble boot, giving it a high-fashion polish for fall. Whether you opt for thigh-highs or take a subtler approach, just add tights and a wool coat for a luxe-heritage finish.

The Modern Corset

Blending art and fashion, AW25’s belts are structural, meticulously crafted and bold. Corset belts made an appearance on the Dries Van Noten, Louis Vuitton and Bally runways, featuring studded, woven, and untied silhouettes paired with double denim and billowing dresses, and styled over winter coats. If you need one accessory to breathe new life into your existing winter wardrobe, this is it.

Supersized Shades

Maximalists rejoice: oversized sunglasses continue to dominate this season. Spotted at Chloé, Dolce & Gabbana, Valentino and Acne Studios, this look serves as a subtle nod to ’90s indie-sleaze, so pair your max-sized sunnies with faux-fur trimmings, slouchy beanies, flared jeans and polished pant suits.

Hardware Hits

Summer’s love affair with studded accessories isn’t over — for AW25, everything from handbags to shoes and even head caps comes adorned with bold hardware. Take your styling cues from Versace, Jil Sander and Isabel Marant, and pair your statement piece with matte textures and muted tones for a refined contrast.

Headliners

Beanies, ushankas, balaclavas and cloche hats dominated for AW25. Unsure how to style them? Take inspiration from Miu Miu, Roksanda, Paco Rabanne and Acne Studios, who paired their headwear with everything from wool coats, and evening gowns to pencil midi skirts.

Ladylike Detailing

Looking ahead to the festive season, it was polished bow detailing at Chanel, Simone Rocha and Nina Ricci that brought the feminine glamour. Think oversized sashes worn across the bodice and undone bows flowing behind wool tops.

Fish and chips, scones and jam, a proper cup of tea: just a handful of things that are synonymous with the words ‘Made in the UK’. Fashion, though? Probably not—but that wasn’t always the case.

“Britain used to be a powerhouse in global fashion manufacturing,” says Alicia Taylor, founder of sustainable shopping platform Gather & See. Indeed, The London Museum reports that the capital had a thriving manufacturing economy throughout much of the 20th century, producing huge volumes of clothing, shoes and accessories. In the 1930s, 45 per cent of all garments made in the UK came directly from London, with the areas surrounding Soho dubbed the centre of ‘wholesale couture’. So, what changed?

“The rise of fast, disposable fashion made overseas caused the industry to decline rapidly,” explains Taylor. “It resulted in the closure of factories as brands opted for cheaper production elsewhere.” Add to that the decline of atelier training, the ease of global communication, and the destruction of many London-based factories during WWII, and it’s little surprise that the percentage of clothing imported from overseas jumped from 57 per cent in 1993 to 92 per cent by 2001. Today, that number is predicted to be even higher. But slowly, signs of a ‘Made in the UK’ fashion revival are emerging.

“Thankfully, consumers are becoming more aware of the negative impacts of fast fashion and are calling for more transparency and sustainably made products that last,” says Taylor. According to the UK Fashion & Textile Association, after many years of decline, the number of UK garment manufacturers rose by 13 per cent to 4,005 between 2010 and 2020.

“There are so many positives to manufacturing in Britain if you want to produce a more sustainable, quality product,” Taylor continues. “Carbon emissions and energy consumption are typically lower due to reduced transport; quality is second to none, and many manufacturers are specialists and masters of their craft.”

That’s not to say issues don’t remain, though. The Leicester sweatshop scandal continues to cast a shadow over the industry, but with greater awareness, lower tolerance and a more localised supply chain, unethical practices are much harder to hide.

Still, rebuilding a ‘Made in the UK’ clothing culture isn’t without its challenges. “Labour costs here are higher and that can be a hurdle for the consumer, especially when we're used to getting everything faster and cheaper—and particularly in a cost-of-living crisis,” says Amy Powney, founder of sustainable womenswear label Akyn. There’s also the reality that many skilled craftspeople and factories have been lost over time, and that the UK doesn’t grow certain natural fibres, such as cotton—though linen (produced from flax) is certainly gaining traction again.

As a result, most of the UK’s recent home-grown labels focus on producing garments themselves domestically, often sourcing deadstock fabric already available within the country (though originally made elsewhere) or, in rarer cases, working exclusively with British wool or linen.

To spotlight the labels championing this thoughtful way of working, we asked seven leading British brands what being a ‘Made in the UK’ fashion business means today.

Laura Pitharas

Laura Pitharas’s supply chain reads like a guidebook to England. Her tailoring cloth is woven in Leeds by family-run mill Alfred Brown; thicker coat wool comes from Dugdale Bros & Co in Huddersfield; and pleated kilts are crafted by one of the last remaining hand-pleaters in London, Kyri Hadjikyriacou of Rosamanda Pleaters—whose client list includes the likes of Alexander McQueen and Christopher Kane. It’s nothing short of a love letter to the UK.

“From the initial brand vision, I had a strong desire to create as much as possible within the UK, so I could work closely with—and build strong, lasting relationships within—the British fashion industry,” says founder Pitharas. “The goal was to collaborate, learn and work alongside these incredible artisans,” she adds.

Liberowe

Few brands do elevated basics as well as Liberowe. But while the inspiration comes from traditional Indian tailoring and 1970s Parisian style, the majority of the collection is created in London, within the heart of the Liberowe studio.

Expect traditional tailoring in opulent fabrics and the knowledge that deadstock materials always come first.

Le Kilt

Avid fashion fans may remember Le Kilt from Dior’s dynamic Cruise show in Scotland (yes, the one staged outside a castle)—a fitting spotlight for the Scottish-based label.

Founded in 2014, Le Kilt built its reputation on reimagining the traditional kilt but has since expanded into knitwear, all with the same ethos: timeless pieces designed to be worn and treasured for generations. The brand is firmly committed to natural materials and works exclusively with small-scale manufacturers across Scotland and the wider UK, ensuring every garment is rooted in craftsmanship and conscious production. Chic.

Herd

Mention ‘Made in the UK’ fashion brands to any industry insider and they’re almost guaranteed to steer the conversation to Herd. Specialising in knitwear crafted from Bluefaced Leicester wool sourced directly from British farmers in the north of England, every and every Herd piece is produced within a supply chain spanning a 150-mile radius—an impressive feat for any label.

“‘Made in Britain’ is a by-line for quality, supporting multi-generational craft, keeping rural economies and manufacturing centres thriving, and [ensuring] ethical working practices,” says founder Ruth Alice Rands. “We work directly and closely with all our small-scale suppliers and factories, and tell their stories through our website and marketing to share how our pieces are made,” she adds, noting that each collection is named after the town where the sheep are located.

As for British wool, Rands believes the future is promising. “There is an opportunity for Britain to lead again globally in wool production, which we have the facilities, skills and field-to-fibre supply chain to support. This is a sustainable, biodegradable, luxurious fibre with many uses—the potential for which hasn’t nearly been realised,” she shares, adding: “There is also British craft heritage in leather—both materials are cornerstones for high-end fashion manufacturing, from clothing to accessories.”

Akyn

"With the loss of our manufacturing industries, we’ve also lost sight of the true value of craftsmanship—and that’s something I’m trying to revive and showcase through Akyn,” says Amy Powney, founder and creative director of the label and a long-standing voice in sustainable fashion.

"We produce small runs in our London-based atelier—typically reorders or pieces where we have slightly smaller production runs,” she adds, highlighting the limited availability of natural fabrics and skilled craftspeople as two key challenges. “Our atelier accounts for around 5 per cent of our production, as our in-house focus is mostly on the creative design process and prototyping. But we’re inviting the consumer behind the scenes into our atelier to show the level of care and detail that goes into creating each piece.”

Temperley London

“For Temperley London, ‘Made in Britain’ is not just a label—it’s a statement of integrity, craft and heritage,” says founder and creative director Alice Temperley MBE. “It represents a commitment to quality, storytelling and community. It’s about celebrating British artistry and supporting the local economy, while preserving age-old techniques and skills that are disappearing in today’s globalised fashion landscape.”

In 2021, the brand moved into its Somerset headquarters, bringing its atelier, training studio, bridal flagship and store all under one roof, with the aim of making as many pieces in-house and with British manufacturers as possible.

But, “there are definitely challenges,” admits Temperley. “Producing in Britain means higher labour and manufacturing costs, especially when compared to offshore mass production. And sourcing local materials can also be more expensive, and sometimes limited in range or scale.” Still, she stands firmly behind the decision. “Our customers appreciate knowing where their clothes come from—and the price reflects the story and skill behind each piece.”

Elwin

Taking the idea of locally made one step further, much of Elwin’s collection is produced within just five miles of its east London studio—socks, scarves, sweaters, you name it. “We make as much as we can on our doorstep so that our work supports the local community,” says founder and creative director Deanne Wallace, a Central Saint Martins graduate who has made ‘Made in the UK’ a core part of the brand’s ethos. But it’s not just a values-led choice, she insists: it also makes good business sense.

“Working with British factories across the UK enables us to be more hands-on with development; to know the people who make our clothes, and to see first-hand that everyone in the supply chain is fairly treated and well paid. We couldn’t do what we do without their support, knowledge and expertise,” she adds. It also eliminates the need to ship materials and products across the world—especially as Elwin sources surplus fabrics from the luxury fashion industry, repurposing waste instead of creating virgin materials—and leads to faster development, with fittings and meetings taking place face to face.

The biggest challenge, however, remains finding the right manufacturers. Let’s hope provenance, not price, wins out in the end.

Grenson

Around 40 per cent of Grenson’s shoes are made in its UK factory, including the premium G1 range and all collaborations—a feat creative director and CEO Tim Little is particularly proud of. “‘Made in Britain’ for us is the heart and soul of the company. We have been making shoes in our factory for 160 years and although we also make some shoes overseas, it’s what makes us who we are,” he shares. “‘Made in the UK’ isn’t in any way a guarantee of quality, [but] the reason it works for us is that we have our own factory and can stay close to the production,” he adds.

So, what holds them back from going 100 per cent UK-made? Primarily cost and consumer understanding. “Costs are a big challenge, as many people don’t understand why a shoe should cost as much as it does. However, anyone who visits the factory can’t understand why they don’t cost more,” says Little. “The other huge challenge is finding the craftsmen to come into the factory when our people retire,” he continues, noting that without more artisans—and, in turn, a more flexible production line—they’ve simply hit capacity.

E.L.V. Denim

Another brand that’s built its business model on its doorstep is E.L.V. Denim, the go-to jeans brand of every London cool girl. Not only does the label craft all of its pieces from 100% upcycled materials, it also makes them within a five-mile radius of its East London studio. “I chose to design and manufacture all garments within a five-mile radius of our East London studio to minimise our environmental impact, support the local economy, and ensure complete transparency and quality control at every stage of production,” says Anna Foster, founder and creative director of the brand. “This hyper-local approach allows us to dramatically reduce our carbon footprint while building strong relationships with skilled makers in our community.”

“To E.L.V. Denim, Made in the UK (in our case, Made in London) means more than just a label—it represents a commitment to craftsmanship, transparency, and sustainability,” she adds. “It reflects our dedication to supporting local talent, upskilling manufacturers, and ensuring ethical production.” And when asked about the cons, Foster assures us there are none.

&Daughter

&Daughter is one of the poster brands for 'Made in the UK', working with just five yarns and five makers across the nation with one common goal in mind: to create the best knitwear in the best way. "The UK has an unrivalled history in yarns and knitwear manufacturing—this was a big part of why we launched &Daughter and continues to inspire us to this day," shares co-founder Buffy Reid. "Being able to work so closely with artisan mills and makers, and benefit from those generations of skill and craftsmanship to create forever knitwear is an important founding principle and at the heart of everything we do."

Inspired by her own Irish granny, an avid knitter, Reid has made it her mission to keep celebrating the craft. Now, &Daughter is one of the most coveted knitwear brands by fashion fans. "Equally important to us is the idea of a business built on personal relationships. We have a community-based approach to business, working with local makers—we depend on each other and it's a mutually supportive network which creates the best product, in the best way," she continues. And the fashion industry could certainly benefit from more from this mindset.

Mulberry

Mulberry has long been a cornerstone of British heritage, with 50% of its iconic bags still stitched in Somerset. In fact, it stands as the largest manufacturer of luxury leather goods in the UK, employing a team of 600 skilled craftsmen and craftswomen just a stones throw away from the kitchen table on which the brand was first created in 1971.

While not every element is sourced or built in the UK, inspiration has always been drawn from England—both the chaos of London and the calm of the countryside. Right now, the re-release of the iconic Roxanne Bag is gaining plenty of attention.

Never would I believe anyone who claims they never run out of outfit inspiration—even the chicest stylists sometimes stand in front of their wardrobe wondering what to wear. Which is why it never hurts to add a few fresh references to your mental moodboard to keep things feeling new. And there are very few sources sleeker, cooler and just experimental enough—while still wearable—than Fashion Week street style snaps, especially during Couture Week.

Think: all-black summer outfits, unexpected ways to style a triangle scarf (spoiler: as a belt), and a red gingham dress look that could convince even the most neutral-loving fashion fan to embrace more colour. Plus, an elevated way to wear jeans—the faithful staple in almost all of our wardrobes. Consider this your cheat sheet to chic summer dressing.

An all-black outfit

While some see summer as the season to lean into light and bright shades, never underestimate the enduring allure of an all-black outfit. To keep cool in the warm weather, opt for lightweight fabrics—think a simple slip dress paired with classic black sandals that feel equal parts practical and polished.

A graphic floral dress

A chic summer dress is a must in any wardrobe, but green might not be a shade you’ve considered. This Prada Spring/Summer 23 piece shows exactly why it’s worth a second look—especially when paired with a graphic floral print that feels both fresh and timeless.

A crisp white shirt and wide-leg trousers

Between the sweltering commute and chilly office air con, summer work outfits can be particularly tricky to master—yet this look offers the perfect solution. Simple yet chic, a crisp white shirt, light brown wide-leg trousers and an oversized shoulder bag are a combination that never goes amiss.

A gingham maxi dress

Even the most colour-averse are sure to be tempted by this red gingham summer dress. Simple in silhouette, it strikes the perfect balance between countryside charm and statement city style—especially when paired with a basket bag and a bandana.

Blue jeans and a waistcoat

Jeans form the foundation of many of our outfits, yet styling them in warmer weather isn’t always straightforward. Here, the versatility of a waistcoat comes into play—fashion’s current top du jour—worn open for a laid-back, summer-ready look.

A black ruffle midi dress

The Chanel show is always a highlight of Couture Week, and the street style never fails to impress. Here, an all-black look feels anything but basic thanks to the intrigue of a ruffled skirt detail.

A white maxi skirt

If you invest in only one item this summer, make it a white skirt. While the retro bubble hem may be trending, a classic crisp cotton maxi never loses its appeal—especially when styled with a silk scarf as a belt to subtly break up the monochrome look.

"Fashion is not just about shows and clothes. Fashion gives us a preview of society’s next chapter. It’s time to write a new story together," said Laura Weir, the new CEO of the British Fashion Council, at last night's summer party. And with that, she announced a new and particularly exciting action plan to put British fashion—and, importantly, London Fashion Week (LFW)—back on the map.

After all, as any fashion fan will know, LFW has been rapidly losing talent to the likes of Paris and Milan for several seasons now—Victoria Beckham, Stella McCartney and Paul Smith among them.

This, Weir says, is "not because of a lack of creativity, but because of a lack of infrastructure to support our designers to make, create, show and importantly, to scale in this country." So, she has a solution. Designer members will no longer need to pay to showcase at London Fashion Week this September. There will be an increase in scholarship funding for the next generation of designers. The ever-successful BFC NEWGEN programme has secured another three years of funding. And, in a bid to give British designers a global stage, investment in the international LFW guest programme has doubled.

Plus, led by Sarah Mower—one of the world’s most respected fashion critics—we’ll see the pilot of the BFC Fashion Assembly, taking designers back to their former schools across the country to inspire the next generation to consider a career in fashion.

With the key aim of making UK fashion a nationwide mission—not solely focused on London—while creating an environment where designers can truly thrive, we could soon be seeing a British fashion boom. Here’s hoping.

Forget Formula 1, Wimbledon and the Oasis reunion tour... The topic dominating the digital discourse right now is Michael Rider's Celine debut—and with very good reason.

Taking place recently in the French fashion house's Parisian headquarters, the hotly anticipated Celine Spring 2026 show marked the beginning of a new era for the brand under the creative direction of the hitherto-relatively-unknown American designer. And by all accounts, it was an absolute triomphe (get it?).

In case you've forgotten—and I wouldn't blame you, given last year's barrage of creative director changes at top fashion houses—Michael Rider was appointed artistic director of LVMH-owned Celine in October 2024, following Hedi Slimane's exit after seven years at the helm. Well-known to industry insiders but less-so in the mainstream, Rider's CV includes stints at Polo Ralph Lauren, Balenciaga (under Nicolas Ghesquière, no less), and a decade as design director for Phoebe Philo at Celine.

Naturally, it's the latter that has had the fashion world excited above all. Would Rider's appointment mark a return to the much-missed Philo-era glory days of the brand? Yesterday's show certainly suggested it might be so.

Much to longtime devotees' delight, Rider's Celine Spring 2026 collection was rife with Philo-isms, from the return of the Phantom bag, to the relaxed tailoring, silk scarves and minimalist moments peppered throughout. Rider also incorporated nods to the signature rock'n'roll aesthetic of his predecessor Slimane, such as skinny jeans, sharp shoulders, lashings of leather and cropped faux furs.

But while homages to the brand's heritage were present, they were not the whole point. Rider's collection offered an evolution of house codes, imbued with fresh personality and his unique POV—be it in his elevated take on preppy-chic and modern equestrian vibes (a reference to his time at Ralph Lauren, perhaps?), or pops of primary colours, elegant silhouettes borrowed from French history, and cleverly covetable selection of accessories.

The ingenious styling seen at the show also deserves special mention—particularly since it's the only element we can copy while we eagerly await the collection drop later this year. Belts, Rider decrees, are officially back, and should be worn in multiples and/or laden with chic charms. Chunky necklaces and bracelets should be piled on to the extreme, and rings worn on every finger, all the way up to the knuckle. Silk scarves are a new essential, whether draped nonchalantly over the shoulder, atop a jacket, or peeking out from under a collar. And layering is not just practical, but effortlessly cool—take cues straight from the catwalk on this one, too.

Little wonder the VIP-filled front row—that included everyone from Naomi Watts, Dan Levy, and Alanis Morrissette to Raf Simons and Jonathan Anderson—erupted into applause at the finale. Meanwhile, insiders have already been compiling their pages-long wishlists from the collection and the internet has been ablaze with buzz and excitement. It seems that thanks to Rider, everyone wants to be a Celine girl again.

As fashion’s gender lines continue to blur, so too does the seasonal runway calendar. Nestled between the menswear collections of Dior, Louis Vuitton and Dolce & Gabbana came the Jacquemus Spring/Summer 26 show—and, predictably, it’s shot straight to the top of fashion fans’ conversations. So, if you’re hoping to impress your chicest friend, be prepared to take notes.

Inspired by Simon Jacquemus’ love for his hometown in the South of France, the collection embraced a refined palette of milky whites, baby blues and the sugared-almond shades of soft pinks and yellows. Yet it’s the silhouettes that truly steal the spotlight: think voluminous skirts, tasselled hemlines and playful novelty bags shaped like spring onions. After all, this is the designer who turned micro bags into a global trend.

And by revealing a full Spring/Summer collection three months ahead of most labels still tied to the traditional September schedule, Jacquemus has cleverly positioned his brand ahead of the curve. Below, three easy styling tweaks from the show to bookmark now and start weaving into your wardrobe.

Three trends to take away from the Jacquemus SS26 collection

Voluminous skirts

Forget pencil skirts, asymmetrical hemlines and micro minis for just a moment—because a Jacquemus summer is all about volume. With a hefty handful of full-skirted looks swanning down the runway, there was no shortage of airy layers and tulle. To translate the trend into your own wardrobe (without venturing into tutu territory), look instead to a flowing maxi skirt or a design featuring an exaggerated bubble hem.

All-white outfits

All-white outfits are a timeless summer staple, yet here Jacquemus proves they can go far beyond a simple white T-shirt and jeans. Instead, consider eye-catching fabrics or exaggerated silhouettes to add depth and intrigue, and finish with colour-coordinating accessories to ensure the crisp white remains the focal point.

Statement stripes

Stripes were a key trend on the Spring/Summer 25 runways, appearing in collections from Proenza Schouler, Prada, Louis Vuitton, Dior, and more. Yet it’s clear the print isn’t going anywhere anytime soon. If anything, stripes are becoming even bolder and more graphic, with contrasting colours and wide, statement-making lines.

The only thing more exciting than the never-ending merry-go-round of creative directors at the top luxury fashion houses? Said designers' debut collections for the brands in question, of course—and few have been more hotly anticipated than Jonathan Anderson's first for Dior.

Taking place earlier today—just over a month after it was announced that Anderson would oversee womenswear, menswear and couture for the maison—the Irish-born designer unveiled his debut Dior Homme collection during the Spring/Summer 2026 edition of Paris Fashion Week Men's. And naturally, the great and the good of the fashion world turned out for the occasion.

A-list stars such as Rihanna (plus bump), Sabrina Carpenter, Daniel Craig, Pharrell and Roger Federer sat front row at the show, alongside some of the most prominent designers in the industry, including Donatella Versace, Silvia Venturini Fendi, Pierpaolo Piccioli and Simon Porte Jacquemus—proof of the immense buzz surrounding Anderson's appointment.

And rightfully so. This is, after all, one of the biggest design talents in the world—the man who completely transformed Loewe into the must-have label it is today, all the while also working on his own supremely successful brand, JW Anderson, and collaborating with Uniqlo to boot. So naturally, expectations have been high for what he can achieve at Dior.

As ever, Jonathan Anderson made sure not to disappoint. His SS26 Dior Homme collection ushered in a new era for the historic fashion brand, filled with fresh takes on menswear classics and his own unique interpretation of traditional house codes. Think elevated knits, gilded coats, multi-layered cargo shorts, embroidered waistcoats, elegant cravats and timeless tailoring—plus, of course, plenty of excellent accessories, impressive craftsmanship, and a big dose of Anderson's signature playful energy. A few of those new Dior Book tote bags also made an appearance, both on and off the runway.

Now, we await with bated breath his first womenswear and couture collections for the maison, that will provide a clearer picture of the designer's vision for Dior. That said, if this show is anything to go by, it seems we're in for a serious treat. Here's hoping Sabrina Carpenter's exquisite tweed Bar jacket ensemble for the occasion was a sneak peek at what is to come...

Yes, February and September are the heavyweights of the annual fashion calendar, when brands unveil their latest collections across the globe. Just take a look at our Spring/Summer 2025 report for the trends to know this season. But, nestled in between are the menswear shows—often overlooked, but full of inspiration too. And as fashion continues to blur the lines between what’s typically deemed ‘feminine’ and ‘masculine’, it’s time we all started paying attention. There’s no such thing as binary fashion, after all.

Incidentally, the latest edition of Fashion Week Men's has just come to an end, with shows taking place between Milan and Paris. Gaining particular buzz is Andreas Kronthaler for Vivienne Westwood, who is keeping the brand’s cheeky, rebellious spirit very much alive. Tod’s is turning heads for its pared-back, minimalist mood, complete with chic styling cues—think a sunglasses-case necklace (one of the key trends emerging), terracotta tones, and sharp, sleek silhouettes. Meanwhile, Emporio Armani’s latest collection draws from elements of traditional African dress, delivering a striking runway full of fluid linen and soft crepe. And, we can't leave out Jonathan Anderson's Dior debut, which had every fashion fan intrigued.

There’s no shortage of notes to take, and the men are well ahead of the curve—the collections shown now are for Spring/Summer 2026, meaning we're getting a glimpse at the biggest trends a whole year in advance.

So, we've done the hard work for you and pulled out seven key trends from the menswear shows that are well worth bookmarking, and embracing, now. Just take a look below for the ones to take note of.

Seven trends from Fashion Week Men's Spring/Summer 2026

The new way to wear sunglasses

Tired of digging around in your bag for your sunglasses case? Or worse, finding them floating around loose and scratched? There's a chic solution straight from the Spring/Summer 2026 menswear runways: wear them around your neck on a long leather cord or clip them to your belt loop. A carabiner has never looked so cool.

Pyjama pant parade

Proving the pyjama pant trend is here to stay, Ferrari, Emporio Armani and Dolce & Gabbana all sent the loose, laidback trouser style down the runway. The latter even named its entire collection 'Pyjama Boys', with almost every look centred around the casual trouser—styled with blazers for a more formal feel, bold terry polo shirts for a preppy touch, and embroidered co-ord shirts for something more striking. Never has nightwear seemed more versatile.

Check, please

Remember the Isabel Marant checked 'shacket' that every chic woman owned back in 2020? Well, it might be time to pull it out from the depths of your wardrobe—because checks dominated the Spring/Summer 2026 menswear runways. Dunhill, Ferragamo and Thom Browne were just a few of the brands that embraced the preppy print, showcasing it across everything from blazers and shirts to trousers and coats.

Noticeable neckwear

While ties have long been a menswear staple, the spring/summer 26 runways offered a fresh twist, swapping them out for more statement-making neckwear. Pussy-bow ties at Kenzo, vicar dog collar–style details at Dior, and oversized neckties at Hermès are just a few standout examples.

Fashion-forward fringing

The women’s Spring/Summer 2025 runways were full of fringing, with everyone from Stella McCartney to Bottega Veneta and Gucci adding elements of movement to their looks. And the trend's not going anywhere, if the SS26 shows are anything to go by. This time, though, we’re seeing a shift towards looser tassels—see Fiorucci and Emporio Armani—and a return to natural fibre fringing, as shown at Setchu, rather than the more polished strands of seasons past.

Hiked-up hemlines

The no-trousers trend has been gaining traction for quite some time now, becoming a regular fixture on both the red carpet and the runway. But, admittedly, it’s mostly been spotted on women—until now. At the men’s Spring/Summer 2026 shows, Prada, Dries Van Noten and Andreas Kronthaler for Vivienne Westwood hiked up the hemlines, proving that full-leg exposure here to stay.

The art of simplicity

While micro-shorts, elaborate neckties and styling sunglasses cases as accessories are all undeniably cool, the menswear spring/summer 26 runways also proved that few things are chicer than a pared-back look. Think crisp shirts, straight-leg trousers and softly structured blazers, as seen at Wales Bonner, Saint Laurent and Brunello Cucinelli, offering timeless inspiration.

It feels particularly significant that, in the midst of another busy Cruise season dominated by storied luxury houses, fashion's cool girls instead descended on Marrakech this week in honour of a relative newcomer to the scene. The occasion? Alémais' Resort 2026 show—the Australian brand's international runway debut, and the cherry on top of its most successful year yet.

Held in the spectacular surroundings of the Culinary Art Museum, and attended by the likes of Alva Claire, Princess Olympia of Greece, Leandra Medine, Lindsey Holland, Laura Jade Stone, and Hollie Mercedes—as well as top buyers and editors from all over the world—the event sent a message loud and clear: fashion industry, "look out".

Alémais founder Lesleigh Jermanus is only half-joking when she tells me this backstage, post-show. "I do feel like our trajectory has been very fast—I never would have expected this growth to happen so quickly," explains the Sydney-based designer. "The international market is our biggest, and we've never really touched the sides when it comes to showing the world who we are outside of Australia. It felt like the right time to do that, and create a brand moment that felt really special."

Founded in 2020 at Jermanus' kitchen table during the height of COVID lockdowns, the idea behind the brand was to "create something that brought some joy and magic to the world in a time that was challenging for so many". The response was immediate, and immense—and it wasn't long before Alémais was stocked at every major department store and e-tailer, worn by celebrities such as Gwyneth Paltrow, Kate Hudson, Lashana Lynch and Nicola Coughlan, and given the opening slot at Australian Fashion Week.

It was the recent third season of The White Lotus, however, that propelled the brand into the hearts, and wardrobes, of the masses. "The costume team reached out in November 2023 with selections from our Resort 2024 collection. Naturally, we jumped at the chance but didn’t know exactly which styles were featured until about a month before the release," explains Jermanus.

She continues: "When I saw the first trailer of Leslie Bibb as Kate in the dress, my jaw hit the floor! She looked incredible! Due to demand we’ve re-released the styles on our website worn by Parker Posey, Leslie Bibb and Michele Monaghan’s characters. The so-called ‘White Lotus Effect’ is real—we’ve really seen it in the demand for the styles."

No doubt that if the next season of The White Lotus were to take place in a glamorous Moroccan resort—the legendary La Mamounia, for example, where the brand put up a number of lucky guests for the show—the best-dressed characters would be wafting around in Alémais' latest collection.

But Resort 2026 felt like a distinctly elevated step forward for the brand—and not just because it was styled by British Vogue's Julia Sarr-Jamois, and featured supermodel Adot Gak on the catwalk.

"The nature of putting on such a big show really challenges you and encourages you to try new things," says Jermanus. Taking inspiration directly from the streets of Marrakech, and working closely in collaboration with local artisans including multidisciplinary artist Laurence Leenaert of buzzy design studio LRNCE, the collection acted as a full-scale immersion into traditional Moroccan culture, colour, and techniques—but with a high-fashion edge.

Think dresses and prints resembling tiles, billowing kaftans, harem-style trousers, rich embroidery, woven details, beaded fringing, sculptural silhouettes inspired by undulating doorways, and raw raffia aplenty. The colour palette, meanwhile, offered a beautiful blend of the local landscape's earthy tones and vibrant hues of the eclectic, sun-drenched city.

The meticulous craftsmanship and savoir-faire that went into designing each piece is also apparent to see. Jermanus tells me that one particularly detailed dress took an astonishing 317 hours of seed beading alone, but unlike couture, Alémais' pieces are very much on the more affordable end of the spectrum.

For the first time in my fashion career, I could actually make a realistic, mental shopping list as each look came down the runway—despite the fact I'm usually entirely colour- and print-averse. That alone speaks volumes about the aesthetic prowess of Jermanus' designs, as well as the powerful allure of the Alémais world and community.

Clearly, this is a brand that has tapped into how women want to dress, and feel, today. "The feedback we receive again and again is that people feel good wearing Alémais," explains Jermanus. "We design for the spirited individual. She’s a modern romantic with a spirit of adventure, but above all she’s looking to build her wardrobe with pieces that bring a little bit of magic to getting dressed."

Ultimately, in such turbulent times, we are all seeking something that sparks joy—and that's precisely what Alémais has perfected. So long, all-black, pared-back, quiet luxury wardrobe: I know what I'd prefer to be wearing this summer.

The Cruise 2026 fashion show season continues apace, and the latest luxury brand to fly A-listers, top editors and VICs to a spectacular locale for the occasion is Louis Vuitton.

Last night, on May 22nd, the iconic French maison hosted a star-studded show at the striking 14th-century, UNESCO-listed Palais des Papes in Avignon, which formed the perfect gothic backdrop—and provided direct inspiration—for Nicolas Ghesquière's typically theatrical, medieval-themed collection.

The likes of Sophie Turner, Emma Stone, Saoirse Ronan, Cate Blanchett, Jaden Smith, and Pharrell Williams sat front row in red velvet thrones, as look after lavish look emerged onto the catwalk.

The collection itself was as dramatic as they come, befitting of its setting in the papal residence's formal entrance, that has housed Avignon's annual theatre festival since 1947. But it was the clothes themselves that took their rightful place centre-stage on the night.

An exploration of "the performative aspect of clothing, its inherent artistic value, its narrative force, and the emotional power it unleashes," as the show notes put it, Louis Vuitton's Cruise 2026 collection featured opulent brocades, exquisite embroidery and rich metallic fabrics aplenty—albeit updated from medieval to modern courtesy of Ghesquière's experimental silhouettes, edgy styling and unexpected accessories.

The mirrored, peep-toe leather boots were a particular highlight, alongside a metal-fringed top that was equal parts ancient knight's armour and rock'n'roll, and the selection of wood-framed handbags created in collaboration Thomas Roger's Alsace-based design studio.

If this counts as official notice that medieval-inspired fashion is cool again, we're certainly not mad about it.

So long, quiet luxury, maximalist fashion is firmly back, as cemented by the just-shown Gucci Cruise 2026 collection. Think primary colour palettes, eye-catching prints and unapologetically oversized silhouettes provided by a plethora of shoulder pads.

Taking place on the 15th May, the luxury label returned to Florence, the birthplace of the brand in 1921, to present its yearly Cruise collection - the final by team Gucci before Demna Gvasalia starts his role as Creative Director in July. More specifically, to Palazzo Settimanni, a 15th-century building Gucci recently transformed into a brand archive. And it’s this archival inspiration that could easily be spied in every element of the show.

Opening with a look that set the tone for the collection—a studded leather mini skirt, monogrammed tights (yes, we’re back to loving a logo, more on that below), lace, fur and a flash of purple via the shoes—it was clear that subtlety wasn’t on the agenda. And it only got bolder from there.

As we’re reminded of Gucci’s vast archive, expect elements of late-2000s indie sleaze style, 80s office-core (plenty of power suits and statement prints), touches of 70s bohemian ruffles and heritage Florence fabrics, including rich velvets, silk and lace. All combining to feel equal parts nostalgic and new.

Tailored trousers, pencil skirts and boxy blazers spoke to the ongoing corpcore trend, but they came styled with extra-large accessories, most notably standout earrings, adding a playful touch to polished workwear. Even the more muted colourways were offset by more daring design details—a ruffled blouse or extravagant necktie. And, again, there was no missing the classic Gucci monogram.

Yet while the interlocking GG motif remains much unchanged from decades past, the graphic single G is reinvented. Here, you’ll see it stamped on belt buckles, inlays and the heels of a number of shoes, while the famous GG takes its place on a new bag design: the Gucci Giglio, which is already available to buy now. This is another homage to the brand’s birthplace, translating to lily in English, a symbol of Florence.

Out of the office and into eveningwear, the opulence continued with feathers, fur and lace aplenty, as well as a floor-length plunge neck sequinned gown that’s sure to be spied on the red carpet very soon. Plus, a new high jewellery collection created in collaboration with Pomellato is seeded throughout the show.

The notes to take away? Bold styling choices inspired by decades past and a new Italian word to add to our dictionaries: sprezzatura. This roughly translates to effortless grace, or ‘the perfectly imperfect, a studied effortlessness,’ according to the Gucci show notes, and it forms an integral part of the brand aesthetic. Here’s hoping we can all recreate it.

We all know the fashion capitals—London, Paris, New York, Milan. Even Copenhagen has earned its regular spot on the style circuit. But what if I told you there’s a new city to watch? And I’m willing to bet you won’t guess it. To save you the University Challenge-style guessing game: it’s Almaty, the largest city in Kazakhstan. And you’re bound to be as impressed as I was after spotting photographer Francesca Babbi’s chic street style snaps all tagged to this surprising location.

On the roster of attention-grabbing looks are statement sequins, fun fringing and sleek neutral co-ords snapped on some of the chicest Kazakh women. All of which proves the central Asian country is bustling with modern fashion inspiration as much as with traditional style—chapan, anyone?

Bringing these tastemakers together was the Pre-Fall 2025 edition of Visa Fashion Week Almaty, which saw a number of designers from Kazakhstan and nearby countries showcase their collections inspired by the theme ‘endless movement’. Brands such as Azuka Moreno, Zhsaken x Akmaral and Manuk Aleksanyan stood out as key highlights, but it’s the looks off of the runway that I’m pinning to my summer fashion moodboard. Scroll below to see why.

The best street style looks from Visa Fashion Week Almaty to recreate now

Nice and neutral

Stylist, influencer and art director Amalik Baiganisheva proves neutral looks needn't be boring. Combining a colour co-ordinating silk vest and trousers with brown leather accessories, consider this your inspiration for a minimalist trend-led fit.

A statement slip dress

Fashion maximalists and colour lovers are sure to take note of this vibrant fit. Proving a slip dress can be far from simple, Alexandra Ishutina styles her statement find with equally loud accessories.

Stripes and fringing

Designer Mari Airapetyan showcased her own brand Mariko at Visa Fashion Week Almaty and, unsurprisingly, wore her own pieces in this chic street style snap. Sadly, the label not yet available to buy in the UK, but I've found some similar pieces to help recreate the style.

An eye-catching check

Designer and stylist Elena Kolisnichenko wore two street style looks I plan on stealing—the blue fringed fit below and this chic check number. Here, she proves picnic blanket prints are both elegant and eye-catching, so take this as your sign to get more playful with patterns. This exact skirt is now sold out, but similar trousers are still available.

Make it monochrome

As the saying goes, 'if an outfit isn't interesting in colour, it has to be interesting in texture', and Kolisnichenko proves that point just perfectly with this look. Adding a touch of fun with fringing, this monochrome skirt and T-shirt fit is sure to garner plenty of attention.

A chic short co-ord

Smart and shorts are two words that often don't go together, yet designer Daiana Argimbayeva proves they can look particularly elevated with the right styling. This sleek co-ord is from her own label and not available in the UK (clearly, we need a store to start stocking some Kazakh brands) but a tailored long short and blazer will work to the same effect.

Statement sequins

Few pieces scream summertime style quite like a bold sequin skirt/dress. To pare it back for a more casual (I say very loosely) look, style with a sports-inspired tee and simplistic shoes. Nothing says street style like high-low styling.

Though it feels like only a few weeks ago that the fashion world was immersed in the back-to-back shows of Autumn/Winter 2025, for a number of major luxury brands, it's already onto the next.

Yesterday marked the official start of the Pre-Fall and Resort 2025 show season, which sees industry insiders, VIP clients and major celebrities travel to various glamorous destinations around the world. Their first stop? Kyoto, for Maria Grazia Chiuri's latest Dior collection—this time inspired by the Maison's historic ties to Japan, as well as cherry blossom season.

Though he never visited Japan during his lifetime, Christian Dior regularly took inspiration from its rich culture, as seen in his use of local textiles, artistic motifs, and coats specifically designed to be worn over kimonos. He was also the first Western couturier to offer his collections there in 1953.

Chiuri's Pre-Fall 2025 show was thus a continuation of Mr Dior's decades-long fascination with Japan, albeit with her own modern twist.

Set against the striking backdrop of Kyoto's Toji Temple, surrounded by sakura trees in bloom, and with the likes of Lily James, Deva Cassel, Sonam Kapoor and Elle Macpherson sitting front-row, models emerged in a series of looks featuring kimono-esque cuts, origami-like pleating, rich floral embroidery, and elegant silk prints.

Certain pieces feature the same motifs selected by Mr Dior for his own designs more than 70 years ago, while Chiuri also tasked Tatsumura Textile with crafting exquisite fabrics for the collection, continuing the Maison's founding couturier's close collaboration with the historic jacquard silk weaving workshops decades later. Collaborations with expert Japanese artisans, including milliner Sawa Vaughters and the Fukuda family—founders of a dyeing and embroidery research institute—also helped bring the collection to life.

Alternating between sleek Japanese minimalism, ultra-feminine dresses, elevated denim, lustrous leather, historic references, local craftsmanship, and all-out opulence in couture-worthy details, Chiuri's Pre-Fall 2025 show truly had it all.

If you work in the fashion industry, chances are that you have been breathing a sigh of relief, as the AW25 season has just wrapped. Across the weeks, there were a dizzying array of sartorial looks, and crucially, for my purposes, some truly excellent beauty across hair, make-up and nails.

I have spent the last month running around backstage, and then glued to my laptop, to bring Marie Claire UK readers the most defining looks straight from the Autumn/Winter 2025 runways. There was our detailed beauty report from London Fashion Week, as well as the best street-style looks across our hometown, and Paris, Milan and New York.

And now, it's over... Well, kind of. While we're only now entering into the warmer season, the trendiest amongst us are already thinking about what's to come. Below are the very best autumn/winter 2025 fashion month beauty looks that you'll be seeing everywhere, soon.

Paris

Chanel

Smoked-out, grungy eyes were the name of the game at Chanel—looks like an indie sleaze revival might just get off the ground this year.

Christian Dior

Bushy brows, clear skin and balmy lips were all over Dior. It's pared back, minimalist, and was a look that was seen all over the runways this season.

Miu Miu

Updos have been everywhere of late; from Margaret Qualley's Oscars hair to the street-style looks I spotted across the globe. I am particularly partial to Miu Miu's take though; it is undone, lived-in and just feels effortless, and not too staid.

Valentino

This season, I have waxed lyrical about the return of tonal make-up. I did not, however, expect to see it in Alessandro Michele's sophomore debut for Valentino, but it worked perfectly to balance his avant-garde stylings.

Acne

At Acne, hair lead Anthony Turner used Schwarzkopf to create striking hair looks that captured “the essence of modern duality”. There was a contrast between the masculine and feminine elements, with the top being sleek and structured, “a handsome boyish” look, while the back was soft, long and natural.

Louis Vuitton

At Louis Vuitton, the lips did the talking. This statement vampy red is something that I can't wait to recreate once the seasons change.

Loewe

At Balenciaga, hair was super long, and natural. With a messy middle part, it looks like the model had gently curled her hair the night before, and let it come undone.

Issey Miyake

Anthony Turner also did the hair at Issey Miyake, using Schwarzkopf. This time around, the hair was firmly transitional. He said: “[It’s about] the in-between phase where hair is neither one thing nor the other. It’s about the journey, creating two looks in one: dry moving into wet or wet into dry. This duality brings an unexpected edge, making the hair feel fluid and transformative.”

Chloé

At Chloé, the hair was effortlessly undone and chic, thanks to Gary Gill, who used Authentic Beauty Concept. He said: "The idea is a confident girl who gets up, leaves the house, and doesn’t mind if she sleeps on her hair—it’s all about a real, nice, gentle, and easy feel."

Hermès

At Hermès, hair was short and slicked. I've said it time and time again that this is the year of the bob, and I love this take—it oozes professionalism, with a bit of 80's prep to freshen it up.

Milan

Fendi

Workplace professionalism is always a theme when it comes to the autumn/winter season, but Fendi's take on it felt distinctly editorial with the addition of a sweeping side-part.

Prada

Prada has long been the queen of the bedhead, and this season's show was no different. Models wore their hair slightly unruly, embracing natural texture and frizz. I'm so here for it.

Versace

Bold, glossy, lips were the statement at Versace this season. The colour skewed towards a darker, vampy burgundy, and it was finished off with a thick clear gloss.

Gucci

Soft, blurred skin that looked velvety in texture was all over the runway for Gucci. While we're not seeing a return to all out highlighter, portions of models' faces were gently illuminated, as if they were lit from within.

Giorgio Armani

This subtle, yet effective, graphic eyeliner look at Giorgio Armani waves the green flag to experiment with make-up this upcoming season.

Roberto Cavalli

Almost skin-coloured, barely-there brows were spotted at Roberto Cavalli.

Max Mara

I am obsessed with these undone, tousled waves at Max Mara. They're perfectly coifed but refreshingly messy, and non-precise.

Sportmax

Bare-faced make-up was given editorial update at Sportmax. Here, the focus was on accentuating the features gently, without any one thing drawing the eye to it. It's about the face as a whole, rather than the classic emphasis on the eye or the lip.

Missoni

At Missoni, the long, over-grown fringes were absolutely stellar, and incited a collective exhalation from people like me, who have high maintenance bangs. Here, they were almost wispy at the front, and looked lightweight.

London

Harris Reed