If you’re chasing that elusive Parisian sweet spot—somewhere intimate yet polished, central yet calm—Padam Hôtel is for you. Tucked on a discreet street in the 16th arrondissement, just minutes from the Arc de Triomphe and the Champs-Élysées, this boutique hotel is a quietly chic Paris bolthole perfect for a quick city break, or, in my case, a base during Paris Fashion Week. With early starts and late returns, finding a hotel that is both stylish and well located is always essential. For my full review of the hotel, plus tips if you do decide to stay, keep scrolling…

The Vibe

Small enough to feel like a well-kept secret, Padam trades grand-hotel theatrics for something softer and more contemporary. Housed in a beautiful Haussmann-style red-brick building—a classic example of traditional Parisian architecture—it sits with quiet elegance on the street. If you’re a fan of Soho House interiors, the mid-century wood finishes, bouclé sofas, and earthy marble bathrooms will be pleasing to the eye. Most importantly, it feels instantly calming after a day navigating the city’s intensity.

The Rooms

Padam Hôtel’s rooms blend contemporary Parisian style with understated elegance. Neutral tones, subtle pops of colour, and sculptural lighting create a calm, refined feel. Though compact, they’re thoughtfully designed, with plenty of natural light and sleek marble bathrooms. The result is a quiet, comfortable retreat that feels polished, intimate, and distinctly boutique. I stayed in a Junior Suite, complete with a desk area for late-night editing and ample wardrobe space—a must during Paris Fashion Week.

The Location

This is where Padam really shines. Set in a polished yet relatively peaceful pocket of the 16th arrondissement, it’s within walking distance of major landmarks, with metro stations like George V close by—making it easy to dip in and out of the city while still enjoying a quieter, more residential feel. This is by far the reason why I would book this hotel again.

The Facilities

For a boutique hotel, the offering is surprisingly well-rounded. There’s a small fitness space and a hammam—ideal for unwinding post-sightseeing or, in my case, after a busy day of back-to-back fashion shows—as well as a cosy restaurant serving classic French cuisine, perfect for early morning breakfasts or a quiet meal at the end of the day. On evenings when I returned to the hotel later, there’s also a great Italian restaurant just a two-minute walk away.

The Verdict

Padam Hôtel is a quietly confident addition to Paris’s boutique scene: stylish without being showy, central without being chaotic. It won’t suit those craving sprawling suites or palatial grandeur, but for design-conscious travellers who value location, comfort and a sense of calm, I would recommend it without a doubt.

Marie Claire verdict: A polished, intimate base for a chic Paris city break—best booked with a room upgrade for that extra breathing space.

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.

French women have long mastered the art of looking chic, and the effortlessly cool look of Parisian women is up there with one of my favourite things about Paris. In my opinion, there is nothing more chic than the Parisian woman. The French do it best. Not only do they have the best beauty brands and the most iconic fashion houses, but they also boast the longest, and best, fashion week in the calendar.

Paris Fashion week has already delivered standout beauty looks that we will be taking with us into the year, and it's always my favourite time of the year. Whenever I’m in Paris, I can’t help but absorb the styling tips and the beauty notes both on and off the runway to bring back with me to London. Having returned from the streets of Paris and the iconic Victoria Beckham show, I discovered the three major trends that I simply could not ignore, and nor should you.

Serious side parting

The 90’s are back whether we like it or not, and alongside the return of the thin eyebrow, skinny jeans and ballet slipper lip, is the side parting… and we’re talking a serious side part. I first spotted it at the Victoria Beckham show, and then the look continued to reappear at the following highly-anticipated shows. From backstage at Dior to Zendaya at Louis Vuitton, the side part is having a major, major moment.

This is one look that has already made its way off the runway and onto the streets of Paris with the street style set already showing us how to make it wearable. At every street corner I turned, someone would appear sporting a side part, and while I’ve always been loyal to my middle part, it's clearly time to let that go. The side part is well and truly back in as one of the biggest French hair trends.

At the Victoria Beckham show, the side part was paired with a ponytail for an effortlessly undone style that you could wear to work through to the evening. Hair Lead Anthony Turner said, "For 2026, French-girl hair is all about effortless luxury - hair that feels easy and undone, yet still has that unmistakable salon-quality finish. It shouldn’t look overworked or overly ‘done’, just naturally expensive. I rely on Schwarzkopf Fibre Sealer to achieve that polished texture while keeping the hair soft and authentic." Turner also remarked that he wanted “There’s a strong side parting which gives the look structure, but the overall feeling is relaxed and slightly undone – almost like the girls have already been to the after-show party. It’s simple, elegant hair with a little bit of personality and ease”.

Speaking on the choice of hair styling at her show, Victoria Beckham said: “For the Autumn/Winter 2026 show, we wanted the hair to feel effortless, feminine and slightly undone — reflecting the collection’s balance of strength and softness. Working with Anthony Turner, we created a side parting and a low ponytail with smooth, natural texture using Schwarzkopf products. Simple, yet elegant.”

Missing Mascara

I’ve seen mascara disappear from the models backstage at fashion months the past couple of seasons, but never on a scale like this. This fashion month, it proved hard to find a model wearing any mascara at all. While the overall theme screams ditch the mascara, the look was balanced out in different ways: in some cases a dark smokey eyeliner, a bright eyeliner moment, a curled eyelash, or no eye make up paired with a bright red lip.

While I noticed this rising trend across all the runway imagery, being in Paris meant that I started to notice that barely any of the Parisian women I encountered were wearing mascara either. At first I assumed this was a day time situation but as the evening unfolded, I realised that in Paris, mascara seems to be a take-it-or-leave-it step in your make-up routine. Is this a continuation of the clean girl? Or is this an opportunity to go all out with eyeshadow and a bold eyeliner colour? However you decide to embrace the trend, I for one will be stepping up my eye make-up game by curling my lashes more, not being shy about purple eyeliner, and bringing that little part of Paris home with me to London.

Minimal Mani

One crucial thing about me is that I am a self-proclaimed nail addict. It’s no secret that I have more than 300 nail designs saved across my instagram folder, on Pinterest, and even more screenshots. It’s one of the first things I notice about anyone, because I'm always looking for new nail inspo. So to me, the most notable trend I observed in Paris - both backstage and in my day-to-day interactions - is the minimal mani. Possibly the most chic thing someone could do? Embrace that less really is more. While I was there with my zebra print nail art, I realised it was more rare to see a Parisian with gel nails than without. The barely-there manicure is the only way the Parisians are doing their nails, and I want in.

Witnessed at Chanel, Dior, Bottega Venetta and so, so, so many more shows across Paris Fashion Week, it’s clear that this manicure style is the only way to go when in the city of love. Despite my nail art addiction, the more I saw this natural look, the more I noticed just how understated and elegant it was to have a short, pared back nail. What I believe makes it super put together is a clear gloss. Don’t be fooled in thinking that this is just an excuse not to put time into your nails; rather, this is a chance to get them looking healthy, glossy and minimal.

Chloë Sevigny, Kristen McMenamy, Yeonjun, Gemma Ward, and Gillian Anderson—the line-up of famous faces walking Miu Miu's Autumn/Winter runway was more than impressive enough to cement it as the unofficial finale of Paris Fashion Week. And that's not to mention the celebrity front row: Little Simz, Daisy Edgar-Jones, and Alexa Chung, included.

Merging tailoring (a particularly exaggerated high-waisted blazer among the highlights) with girlhood-esque mini dresses, leathers, and shell jackets that are fast becoming a brand staple, this season saw a Miu Miu more muted in colour yet more tactile in texture. The focus, the show notes read, is "the smallness of our human bodies, in the vastness of our world."

"Garments embrace the body, prioritising and valuing what is inside," they continue. "Purity, simplicity" becoming the core aim. Although, it has to be said, there was nothing simple about the 18 sequinned shearling trapper hats. Proof that, while this Miu Miu collection may feel decidedly grown-up, it remains Miuccia Prada's place of play.

Add Gillian Anderson's closing look, my personal favourite of the entire line-up and a sequin-embellished shift, and it's clear that Miu Miu's multi-faceted approach to fashion shows no sign of being pigeonholed.

For Anderson, though, this wasn't her only major fashion moment of the day. Always busy with acting, writing, activism, and running soft drink brand G Spot, she has now added another title to the list: Chief Compliments Officer of Marks & Spencer, or CCO for short.

The role, in essence, is to spread a little joy to M&S shoppers and staff. "A simple compliment can genuinely boost confidence and change how someone feels all day, so as CCO, I'm here to help make those moments more commonplace," she says. And honestly, a compliment from Gillian Anderson would absolutely make my morning.

So, it seems Anderson really is fashion's favourite it-girl again. And if you remember her 2001 Academy Awards visible-thong moment, you'll know this is a title she's more than earned.

Matthieu Blazy mania has well and truly descended on Paris. Chanel boutiques have been packed with stylish shoppers vying to get their hands on pieces from the designer's debut SS26 collection—much of which has already sold out—and the Parisian house's AW26 fashion show was by far the hottest ticket on the schedule. With good reason: Blackpink's Jennie, Margot Robbie, Olivia Dean, Lily-Rose Depp, Kylie and Oprah were among the guests in attendance at last night's Grand Palais spectacle, and it's all anyone has been able to talk about since.

The set! Margot's bob! The FROW vibing to Lady Gaga! The epic casting! The must-have accessories! And, of course, the clothes, that ranged from fabulous skirt suits and drop-waist-everything to couture-worthy dresses—and were instantly added to every woman's wish list of dreams. Sadly, even for those with healthy shopping budgets, there are still a long few months ahead until the collection is actually available to buy—but that doesn't mean we can't make the most of the styling inspiration right away...

Below, five standout looks and fresh-feeling styling tricks from Matthieu Blazy's Chanel AW26 collection, and how to replicate them now.

The Eighties Blazer + Pleated Skirt

Sure, Chanel's new drop-waist mini skirt might not be the most real-world-ready of fashion items—nor, as far as I can see, currently made by any other brand—but the combination of an oversized Eighties power blazer with a pleated skirt certainly is. It's a fresh, modern way of styling two heritage pieces, and perfect for wearing to the office.

The Dress Coat + Lace

Matthieu Blazy's idea to layer an exquisite tweed check dress coat over a pink lace two-piece was nothing short of genius. Think: Noughties vibes but new, and infinitely elevated.

The Butter-Yellow Dress + Contrast Accessories

A girlish butter yellow dress is nothing new, but pairing it with unexpected, slightly jarring accessories such as a chunky chain necklace, red heels and a black leather clutch certainly feels fresh.

The Loose Shirt + Skirt Suit

As timelessly fabulous as Chanel woven skirt suits are, they do tend to lean into twee territory at times. Not so if you modernise them by styling with a loose shirt, however, as proven by multiple looks on the AW26 catwalk.

The Unexpected Colour Combo

Who would've thought that pink, burgundy, lilac and grey would make for such a stylish combination? Well, the visionary that is Matthieu, clearly—and it's well worth trying out at home.

Fashion month is undoubtedly the most exhilarating time in the calendar for me. Twice a year the world’s greatest design talent unveils new collections across four cities — New York, London, Milan and Paris — culminating in the French capital with a stellar audience of celebrities, editors and buyers to boot. From Jack McCollough and Lazaro Hernandez’s new chapter at Loewe to the theatrical spectacle of Schiaparelli, there is never a shortage of creativity or craftsmanship.

But whether I’m in London or Paris, sitting front row or attending a re-see appointment to examine the pieces up close after the show, I always ask myself: how do they fit? Do they flatter the model wearing them? And more importantly, will they translate onto a real woman’s body?

Of course, not every brand presents collections with wearability in mind. Some houses are driven by spectacle or conceptual storytelling. But at a time when designers are fighting for space and identity in an increasingly crowded market, the ability to merge creativity with real-world wearability feels more relevant than ever.

Few designers understand this balance better than Sarah Burton.

Since joining Givenchy as creative director in September 2024, following a remarkable 26-year career at Alexander McQueen, Burton has begun carving out a new chapter for the historic maison — one that blends couture-level craftsmanship with an instinctive understanding of the women who will ultimately wear the clothes.

Her appointment felt like a full-circle moment. Burton spent over two decades at Alexander McQueen, including thirteen years as creative director following the death of the brand’s founder, Alexander McQueen. During that time she mastered the delicate balance between fantasy and function, turning the house into one of fashion’s most emotionally resonant brands while maintaining its commercial success.

At Givenchy, Burton brings that same sensibility — but with an added clarity of purpose. Her collections are not about designing for an abstract, imaginary woman. They are about designing for women as they actually exist.

And that distinction matters.

As a former creative director and buyer, and now a fashion director, clothing is something I have lived and breathed for as long as I can remember. My mother’s first job was at Browns on South Molton Street in London in the seventies, where serving Paul McCartney and Linda McCartney while running around the shop floor in 10cm Charles Jourdan heels was simply another day.

Decades later, it was impossible for my mother’s love of fashion — and her deep appreciation for design and craftsmanship — not to be passed down to me. The most important lesson she ever taught me was that clothes are never just objects we wear. They are a language.

Through clothing we communicate who we are, how we feel and how we wish to move through the world. The right piece can give us confidence, presence and even a sense of control. Anyone who disputes this is merely denying one of life’s unwritten rules. But for clothes to empower us, they have to fit.

While that might sound like an obvious statement, a surprising amount of my career has been spent critiquing brands — whether high street or luxury — for failing to understand that, first and foremost, clothes must work with a woman’s body rather than against it.

Too often fashion asks women to adapt themselves to the clothes. As women we spend far too much time faffing with tops that need taping, dresses that require constant adjusting, or silhouettes that only function when standing perfectly still.

In truth, the greatest luxury, is simplicity: buying something, putting it on, and walking out the door. This is precisely where Burton’s work feels so refreshing.

Across her early collections for Givenchy, tailoring has emerged as the foundation. Jackets are cut to follow the natural line of the shoulders, trousers skim the body rather than restrict it, and dresses are engineered with an understanding of movement. Nothing feels overworked, yet everything feels considered.

That doesn’t mean Burton has abandoned drama. Far from it. There are sculptural coats, razor-sharp tailoring and moments of couture-level embellishment. But unlike many runway collections, the spectacle never overwhelms the wearer. Instead, it serves her.

This instinct has long defined Burton’s work. At Alexander McQueen she proved that emotion and technical mastery could coexist. At Givenchy she is demonstrating something equally powerful: that fashion can be both beautiful and practical. In an industry that often prioritises image over experience, that might just be the most radical idea of all.

Because ultimately, the women who buy these clothes are not standing under runway lights or posing for street-style photographers. They are living their lives — going to meetings, running between commitments, navigating daily life, careers and families. They need clothes that move with them.

And Sarah Burton, perhaps more than most designers working today, seems to understand exactly that.

Shop my favourite Givenchy capsule wardrobe pieces:

Paris Fashion Week in the 90s was nothing like it is today. The front row wasn’t lined with phones, celebrities came through films and music rather than social media, editors didn’t have to speed-type online stories, and you could smoke inside—two of which I wish would come back. And yet, a small handful of things haven’t shifted at all: Kate Moss' regular appearance being one of them.

First on the Paris Fashion Week scene in 1993, the supermodel has spanned over three decades of events. But instead of walking every major runway—although she did put in a rather special performance for Gucci in Milan—Moss is now a mainstay on the front row. So far this week, we’ve spied her at Tom Ford and Saint Laurent, and we expect to see her again at favourites Chanel, Isabel Marant and more. Yet it’s her downtime wardrobe that’s commanding the most attention.

Towing the line between her two best-known aesthetics—bohemian and indie sleaze—the model’s effortless approach to dressing is hard to emulate, but that doesn’t mean we can’t try. Below, five looks I’ll absolutely start channelling, and I know I’m far from the only one.

5 Kate Moss Paris Fashion Week Looks Worth Copying

Printed frock + lace-up boots

Kate Moss has long been a boho lover, and it looks like she’s stepping back into her signature 00s style. Her exact dress is a vintage find, a 1970s Mayur style, which you can still find on sites such as Etsy and eBay. She paired it with lace-up ankle boots, what I’m confident in guessing is a large version of the Gucci Jackie bag, and a gold-tone beaded necklace that we’ve seen her style in a number of different ways this week. Proof, if ever you needed it, that a good accessory can go a long way in any wardrobe.

Grey skirt suit + purple shirt

Saint Laurent is well acquainted with ultra-polished, office-friendly outfits, and Kate Moss’s show look is no exception. Instead of a classic blazer and skirt set, however, she opted for a longer-length coat—something COS has a particularly great option for. A punchy purple shirt only leans the entire look further into the soft-rock aesthetic the supermodel is also famous for.

Black maxi dress + ballet flats

A black maxi dress is a failsafe item to pack in any suitcase—and a favourite among many of us for an easy summer outfit. Ballet flats, sunglasses and a black bag prove little is needed by way of styling, as Kate Moss so effortlessly shows. Note, too, her repeated use of the (presumed) Gucci Jackie bag and long gold necklace. Clearly, Kate is one to pack light and I applaud her for it.

Silver trousers + grey cardigan

Shimmery silver trousers, a maxi cardi and oversized hoops? This Kate Moss look may be my favourite of the week. Note how she’s played with proportions (especially when opting for a trending balloon trouser), yet still chosen an outfit that works for a wide range of occasions. Really, it nods to both boho and her soft-rock glam style in a way we can only hope to recreate.

Polka dot shirt + pencil skirt

Kate Moss has the rare ability to shapeshift into different aesthetics—a floaty bohemian dress one day and a polished pencil skirt the next—’tis the trait of a great model, after all. Personality comes through in the preppy polka-dot shirt, while the rest of the look is kept relatively classic, making it one to bookmark for office outfit inspiration.

Beauty, poise and grace may be the essence of any great fashion show, but the hour before the models take to the runway is often anything but. Picture frantically working make-up artists, clothes steamers blasting at full force, and spaces tight enough to incite fear of being burned by a curling wand—and that’s painting it in a positive light. I promise I have some horror stories as someone whose first foray into this world was as a fashion week show runner.

Yet, at Chloé this morning—where bohemian beauty effortlessly fuses with care-free cool, especially this season—the energy was decidedly different. Models danced to music, Saie make-up artists were actually smiling, and Dyson hair stylists got creative with brushed-out braids and gold-tone accessories—the energy of the collection essentially rippling out into every facet of the label. Apt, really, considering whimsy, folkloric craft and countryside glam stood out as key themes.

"This season has been a reflection on humanity, empathy and devotion—on how clothing can both hold emotion, and carry memory. In a world that often feels mechanised and accelerated, I felt drawn back to the essence of making; the human touch, the spirit of community, connection and shared values," shares creative director Chemena Kamali in the show notes, highlighting the originality and irregularities of handmade craft in every garment.

Check prints played a major role across voluminous frilled skirts and dresses. Capes and oversized coats leant into a more rugged, outdoor look. And any equestrians will be pleased to see the checked-shirt, tucked-in-trousers and over-the-knee-boots aesthetic also played a leading role—combine this with Stella McCartney’s dancing horse display and it may be enough to convince some fashion fans to get down to a stable, or at least look like they are. Little House on the Prairie meets countryside chic really is the aim of the game.

Although, as is always the case with Chloé, there are a few styling tweaks that keep each look cool and considered rather than twee: statement sunglasses, strappy sandals with socks, and elaborate accessories in the form of extravagant belts, leather boots and another big push for the Chloé Paddington bag—the 2005 favourite re-released with some small twists.

Plus, let’s not overlook the easiest element to immediately recreate: flushed cheeks, freckles and fairly heavy highlighter. Aim for "the way your skin looks in the fall after gaining a tan in the summer—flushed, not blush, very wild and lived-in," says Shain Kish, Saie’s director of makeup artistry.

And as you lean into the countryside style, keep Kamali’s words high in your mind: "Folk, for me, is about togetherness. It is about empathy, humanity, and a connection to the past—the symbolic and spiritual threads that bind people together".

"This sense of humanity, community spirit and empathy feels essential right now; it is what I want this collection to express."

Shop The Look

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.

“Where is the beauty?” Marie Claire’s fashion director Lily Russo-Bah asked me last week as we sat through shows of muted colour palettes, strobe lights and screeching soundtracks. The answer, it seems, lies with Jonathan Anderson, as Dior kicks off the start of Paris Fashion Week Autumn/Winter 26.

Set in the Jardin des Tuileries—originally commissioned by Queen Catherine de Medici in 1564, later redesigned by Louis XIV, and famed for its habit décent dress code (clothing deemed appropriate to one’s social rank)—the setting offered a telling glimpse of what was to come. Add to that Louis XIV’s well-documented interest in being seen, as noted in the show notes, and it’s little surprise that a combination of Baroque beauty, extravagance and femininity swept down the catwalk.

Cue particularly large peplums, extravagantly layered tutus, sequinned jeans and floaty silks, all offering a softer yet still striking take on the House of Dior. Having now delivered two men’s shows, one haute couture runway and now a second womenswear collection, it’s safe to say Anderson is fully flexing his creative-director muscles. Given his recent lean into bold graphic book totes and denim mini skirts, his creativity clearly knows no bounds.

As Simon Longland, director of buying for fashion at Harrods, puts it: “The collection struck a delicate balance—romantic yet modern, soft yet assured. There was a clarity in the silhouettes and a confidence in the restraint. Nothing felt forced; everything felt considered. It is at this point that a designer moves beyond introduction and begins to define a legacy within a house.” And with that comes a number of unexpected trends.

Extravagant tutus

It’s easy to see Anderson’s inspiration in Louis XIV and the Palace of Versailles in these extravagant pieces of exaggeratedly layered tulle. Tutus emerge as a hero piece of the collection, styled with blazers, jackets and yet more frills.

Classic checks

We saw check prints crop up across Anderson’s debut Dior Spring/Summer 26 catwalk, so it’s little surprise to see them return here. This time, however, they come with more bite, and in far greater number. Note, too, the bow detailing on several of the jackets, which appears to be emerging as a new Anderson-era Dior house code.

Pretty peplums

You may have invested in a peplum blazer (or two) back in 2010, but it may be time to do so again, as Anderson makes a strong case for the striking silhouette. Paired with jeans, skirts, dresses and balloon trousers, he proves the pretty peplum can extend far beyond our old favourite skinny-jean styling.

Jazzy jeans

Sequins, beads and studs have been cropping up on denim for some time now, and Autumn/Winter 26 sees them return once again. Instead of the classic straight-line stripe design, however, Anderson has introduced a softer, more feminine flair. We imagine the high street will soon follow with plenty of variations on the style.

Adorable accessories

The novelty bag is back, thanks to Anderson, with sequinned peanuts and an adorable green frog making appearances on the runway—and let’s not overlook the lily pad shoes. Always one to bring a lighthearted take to fashion (remember the JW Anderson pigeon bag?), we’re excited to see the creative director inject his signature sense of humour into the historic house.

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.

New York

NYFW has already begun with a bang at Ralph Lauren, with a translucent hooded gown, winking with embellishment, that resembled high-fashion armour (a comment on the state of the nation and the need to steel oneself? Perhaps). It's most-anticipated show of AW26—Proenza Schouler—is showing today, however. It's Rachel Scott's inaugural collection as creative director, while her own label, Diotima, will be showing later in the week. Her appointment was met with something more than excitement, although there was plenty of that in the air. As one of the only women—not to mention women of colour—at the helm of a major design house, it's another (long-overdue) step towards parity in traditionally male-dominated spaces, in this case ateliers that, ironically, make clothes for women. Proenza Schouler has long been a byword for the kind of clothes that are easy to wear but make you look twice. With Scott's focus on craft, it's a debut that deserves the hype.

Elena Velez—whose designs have already been worn by fans including Jenna Ortega, Rosalía and Taylor Swift—will be showing her fourth collection as part of NYFW. Velez's clothes are reminiscent of historical garments with attitude—one skirt suit's bottom half currently on sale is strategically hoiked to reveal a under slip—and often flirt with controversy (Anna Delvey stepped on the catwalk, along with her tell-tale ankle monitor, last September). The American designers, with their sportswear DNA, are usually seen as being the most commercial of the core four. Not Velez, which is what makes her something of a wildcard.

Fforme is another one-to-watch. The American Phoebe Philo is how you could pitch it to someone who's not yet familiar with its easy artistic minimalism (see folded corset tops styled with chino-style pants for SS26).

London

London AW26's schedule will have no shortage of creative firebrands courtesy of famous talent incubator Fashion East, which last year celebrated 20 years. This season's line-up includes Jacek Gleba, Mayhew and newcomer Traiceline Pratt, whose designs have already been worn by A$AP Rocky.

Selasi is also making its first catwalk appearance in several years (its second to date). The brand is masterminded by creative, designer and curator Ronan Mckenzie, with the kind of clothes—thoughtful instead of trend-led—that have quietly won its legions of fans that appreciate her ability to blend fashion, books, flowers, you name it, with the label's spirit (Bibi Abdulkadir leaves an emoji under almost every post on Instagram). With a name that means "God hears me" from the Ghanaian Ewe, Selasi brings together its founder's multidisciplinary practices—making scent to furniture to original scores—all imbued with a sense of self-trust and belief that grounds every garment.

Joseph is returning to show after a hiatus of several years (its last creative director, Louise Trotter, is now at the helm of Bottega Veneta). Although its ready-to-wear comprises refined tailoring that's still the best in the business, its catwalk offering used to be boundary-pushing and, typically for London Fashion Week, usually shown in a dank warehouse. Will it return to its grungy roots under Mario Arena (a man who has form when it comes to edge with previous stints at Christopher Kane, as head of ready-to-wear, and JW Anderson, where he served as director of product and design)? We'll see but it looks promising.

Milan

It's debut season (again!) in Milan, with big-hitters arriving at three of the city's most historic (and influential) brands. Maria Grazia Chiuri will be presenting her first collection for Fendi, with the show scheduled on Wednesday 25 February. Excitingly, another woman also makes her debut at Marni, Meryll Rogge, on the following day, Thursday 26 February. With her eponymous label to simultaneously manage, Rogge is joining the ranks of newly-appointed creative directors wearing two hats such as Rachel Scott, making it a truly game-changing time for women firing on all cylinders.

Finally, Demna, who'll be making his hotly-anticipated catwalk debut at Gucci (Friday 27 February). While he's already made his mark, with a lookbook that caused more than a frisson of excitement as he created house characters such as "La VIP", "Milanesca" and "La Bomba" for SS26, this show will be his masterplan for the brand, a blueprint that could put Gucci, flailing somewhat after a few years of creative director comings and goings, back on top.

Paris

As well as a debut, a designer's final collection for a brand can be a bittersweet moment. That will almost certainly be the case at Alaïa, who is bidding farewell to Pieter Mulier, the man who is just in at Versace.

Elsewhere, second seasons can be just as telling as firsts, with the opportunity to either surprise or cement (see Dior, Jonathan Anderson will be presenting his second womenswear collection, Loewe and Jean Paul Gaultier).

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.

There’s never a shortage of famous faces at Paris Fashion Week—Kim Kardashian, Eva Longoria, Kate Moss and Zendaya, to name just a few. But an appearance from Meghan Markle still came as something of a surprise. Despite her long-standing interest in fashion, it’s rumoured the Duchess of Sussex has never actually sat front row at a Paris show—until last night.

Taking her seat at Balenciaga for Pierpaolo Piccioli’s debut collection—a designer Markle has collaborated with many times before—the Duchess watched models walk down the runway in all-black outfits, sculptural dresses and the brand’s now-signature oversized sunglasses. Yet it was Markle’s own outfit that stole the spotlight: a custom Piccioli creation that was as effortlessly elegant as it was easy to emulate.

Her all-white look featured crisp silk trousers paired with a matching shirt, complete with an exaggerated cape-like collar that lent a timeless edge to the ensemble. Markle then grounded the look with contrasting black accessories—a sleek clutch and pointed-toe heels—proving once again the enduring appeal of monochrome dressing.

Later that evening, the Duchess of Sussex continued the aesthetic at the Balenciaga afterparty, opting for a black maxi dress with a similar draped silhouette—also custom-made by Piccioli—equally chic and wearable for almost any occasion.

But, while neither of Markle’s exact looks appeared on the Balenciaga Spring/Summer 26 runway, there was a clear shift towards sculptural, pared-back designs in the same vein, setting the tone for Piccioli’s vision at the house.

Until more of his pieces are available to buy, one thing’s certain: draped dresses, coats and knits are about to be in high demand. Fortunately, there’s no shortage of elegant options to channel the look—starting with our edit below.

Shop The Look

Black has long been the clothing shade of choice for most fashion folk, but that's about to change—and it's all thanks to Loewe. The historic Spanish luxury brand presented its first collection today under the new creative directorship of Jack McCollough and Lazaro Hernandez (formerly co-founders of Proenza Schouler), and the message was clear: colour is officially cool again.

From the show invite and blown-up branding at the venue entrance, to the outfits on the front row and artworks lining the walls, the designers ensured primary brights were front and centre for their Spring/Summer 2026 debut. And naturally, the collection itself provided back-to-back bursts of colour, too—resulting in a veritable masterclass in styling colour the chic, modern way.

Colour Pop Styling

First, the classic "colour pop" approach: styling one bright piece with neutrals to tone down the overall effect. For Jack and Lazaro, this came in the form of a red jumper or yellow shirt worn over textured beige trousers, and vice versa: bold yellow or orange trousers topped with a black or white knit. Ditto a statement cobalt-blue beaded skirt topped with a minimalist stone-coloured bomber jacket, and a simple cream leather trench with orange trousers peeking out beneath. Accessories followed suit, with a yellow hat here, a red shoe there, and contrast-colour tote bags to boot.

Shop The Look

Considered Colour Layering

The duo also gave a lesson in beautifully balanced, playful layering, with a red shirt peeking out from beneath a subtle butter-yellow knit and black shorts; a branded yellow high-neck jumper worn with a classic black blazer and brown leather skirt; and in the opening look, both pieces combined to exquisite effect under a structured black leather jacket. Proof that when done right, even the most unexpected, theoretically incompatible colour combinations can work—and an important reminder that fashion can, and should, be something to have fun with.

Shop The Look

Single-Item Impact

Of course, Loewe is best-known for its leather, and Jack and Lazaro ensured the luxe material became a vehicle for bold colour, too. See: the structured green and red leather blazers, cobalt-blue mini dresses, distressed yellow and pale-green shifts, electric tote and new satchel-style bags offered in every shade under the sun.

As for those keen to embrace bold Loewe colour without worrying about styling? Look no further than the epic multi-coloured striped maxi dresses, and the textured, full-length yellow and orange coats, that are an outfit in themselves—and, like the rest of the collection, exude pure joy.

Front Row Outfit Inspo

And last but not least, the front row provided real-life outfit inspiration aplenty—showing how to style Loewe's colour-first collection in a multitude of uncomplicated ways.

The looks I'll be copying, stat? Yara Shahidi's bright red skirt and oversize black bomber jacket, Tracee Ellis-Ross breaking up an all-black ensemble with a multicoloured stripe tank top, Pom Klementieff in a bubblegum-pink jacket, and Milly Alcock adding a colour pop to her otherwise muted outfit with an orange knitted jumper tied around the shoulders.

This fashion month has been a time of firsts, with debuts at so many houses that it's constituted a rather thrilling changing of the guard. None, arguably, has been more hotly-anticipated than Jonathan Anderson's, the designer who, today, showcased his womenswear vision for Dior—and received a near-unanimous standing ovation for his efforts.

A second for the front row, who included Tracee Ellis Ross, Greta Lee, Little Simz, Taylor Russell, Camille Cottin, and Jenna Ortega, who wore a high-necked, and fabulous, frogged waistcoat with a shorn-off denim mini.

Anderson's Dior, you can tell from their collection of outfits alone, is not just about soaringly-beautiful gowns, although there was plenty of inspiration in that department ahead of the Oscars (the ankle-length jersey frocks with twisted necklines, bustle hips and bouncing silhouettes were stunning; ditto the gossamer-thin lace creations featuring elaborate bow-crafted backs). Jennifer Lawrence, for example, who was filmed at her fitting ahead of the show and wore a shirt, waistcoat and jeans, gushed over the fit of her trench, calling it "so cool" and joking, "I hope it's cold tomorrow". Charlize wore a leather biker jacket sans blouse and Bermudas (iconic).

The buzz had already reached fever pitch courtesy of a few well-dropped breadcrumbs on Instagram. One was an innocent pair of satin slingback sandals, which caused a 48-hour frenzy. These are princess shoes, perfectly formed with a sole that points then curves, creating an asymmetric line, as well as a bow that's subtly logoed on either tie. One pair is black, one coral, one lilac and one floral, not so much hinting as heavily suggesting that it's going to become a key accessory.

This makes sense. Dior, after all, has never shied away from plus ones with "It", particularly when it comes to bags (its family includes the Saddle, Carrie Bradshaw's favourite, the Lady D-Joy, and the Book Tote).

This catwalk proved, however, that hits don't have to be arm candy, although there was lots of deliciousness on display. Instead, the items that will be on every personal shopper's wish list included directional minis, denim shirts and, yes, delectable handbags in a show that served classics with a twist, a sideways view that has always been a signature of Anderson's (frock coats were turned back-to-front; sweaters were paired with ball-gown skirts). Simon Longland, Director of Buying at Harrods, said of Anderson’s debut, “Jonathan Anderson’s debut at Dior marks a revolution rather than an evolution. The show was a collection of contrasts—couture against everyday ease, femininity with androgyny, covered versus sheer. His update of the Bar jacket and skirt will undoubtedly be on countless wish lists, setting the tone for a bold new chapter at Dior.” The designer, after all, is the master of clothing that marries the characterful with the cool.

These 7 Pieces Are Destined for the Waitlist

Logoed Loafers

The logoed pair of loafers have the potential to become the maison's definitive flat, as recognisable on the streets as, dare we say it, the classic horse-bit style of Gucci's. Anderson's, ingeniously, have a o-shaped cut-out, the "o" in question of course forming the second to last initial of the founder's surname: Dior.

"Delft" Skirts

For his inaugural collection at Dior Homme, which took place earlier this summer, Anderson retooled the "Delft", Dior's 1948 dress that encompassed angular folds that fanned out from the waist, creating doorway-wide shorts with deep pockets (genius). Today, he applied a similar technique to a miniskirt, giving it a high-waisted, wide-hipped silhouette that will, undoubtedly, become a sought-after shape for Spring.

Bow-Tied Sandals

The bow-tied sandals were as princess-y as expected, except they were styled with the alt combinations of frayed denim minis and knitted capes or frocks with a hemline resembling folded ribbons. Brides looking for "fun" footwear, or anyone with taste for that matter, couldn't find a better trophy shoe.

Pillow Bags

Taylor Russell's handbag was a clutch with a closure shaped like farfalle pasta, the leather creasing into a bow. On the catwalk, however, it was a quilted envelope that kept turning heads. Pretty yet playful, with a chain-link strap, expect to see it hanging from the crook of every stylish arm next year.

Rose Mules

One pair of sandals comprised of soft leather petals, covering each foot with a flowerhead. Styled with high-necked blouses with lace panels rising to just beneath the nose, it was proof that something pretty, exquisite even, can still have punk spirit.

Denim Shirts

Jonathan Anderson's denim shirt featured the cravat detail that first appeared in his menswear collection, giving the once-humble item of clothing a haute glow-up. Fans of double denim, FYI, will also be snapping up the boot-leg jeans seen on Rosamund Pike.

Heart Pumps

The court heel is officially on a comeback arc courtesy of Anderson. As well as logoed pairs with hardware in the shape of a "D", there were kitten-heeled styles with a heart that stood up from the upper. Such a cute shoe will have no problems getting paired off with A-listers.

The New Bar Jacket

Christian Dior's "Bar" jacket is still as iconic as when it was first unveiled in 1947. Anderson's take would surely tickle Monsieur Dior, with its cinched-waist emphasised by a bow detail with a tie sitting on either hip. Gorgeous.

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.

Paris tends to be the most celebrity-heavy of the 'big four' Fashion Week cities, but still, the guest-list at Louis Vuitton was on another level. Earlier today, some of the most prominent stars in the world descended on the Musée du Louvre for the luxury maison's Spring/Summer 2026 show—among them: Zendaya, Lisa (of Blackpink fame), Sophie Turner, Ana de Armas, Emma Stone, Jennifer Connelly, and Léa Seydoux.

Their arrival in an array of standout Nicolas Ghesquière designs was a major 'Fashion Week moment' in itself, with a particular frisson of excitement surrounding Zendaya's rare appearance (with internet-breaking Jessica McCormack diamond engagement ring in tow). But the biggest buzz of all came from behind the closed doors of the venue itself.

First, because of the ultra-exclusive show location. For SS26, Louis Vuitton took over a set of apartments inside the Louvre that were once occupied by Anne of Austria, Queen of France and mother of Louis XIV—which are every bit as grand, gilded and gleaming marble-filled as you might imagine, with ornately painted and sculpture-clad ceilings to boot.

To add to the existing splendour further, scenographer and designer Marie-Anne Derville was commissioned to dress the space with furniture and objets d'art from different eras, providing "an immersion into French taste from the 18th century to the present day," per the show notes.

Against this striking backdrop, Ghesquière's largely pared-back, stone-coloured, ultra-modern opening looks were all the more stark—and ditto the semi-sheer, draped and soft, flowing materials, that brought a lightness and ethereal air to proceedings.

But there was much on offer for the maximalists, too; the collection becoming more dramatic, bold and embroidered as the show went on. Standout pieces included a crystal-covered furry jacket with a ruffled peplum hem and Penny Lane-esque lambswool collar, a crisp white shirt dress with an asymmetric bubble hem and XXL collar, a colourful floral lace top styled over blue jeans, and a gown covered in intricately beaded fringing to form the subtle image of a springtime landscape.

As ever, the accessories were also a highlight, ranging from a gold chain waist belt-cum-watch and new styles of Sneakerinas, to fresh, patterned iterations of classic bags, a clutch with special compartments for the just-dropped Louis Vuitton La Beauté make-up line.

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.

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.

Most fashion fans will have heard of the boho renaissance by now. Wide-leg jeans, floaty dresses and ruffled blouses are currently taking centre stage in most high-street collections, thanks in large part to the ongoing Chloé effect. However, there is also a slight style change afoot right now, as the romantic aesthetic gains a little edge—and we find ourselves increasingly stepping back into the iconic era of indie sleaze. Think: the Olsen twins, Nicole Richie, and Lindsay Lohan circa 2010 as key inspiration—which, in turn, has re-sparked an interest in the lesser-known French luxury label that combines the two styles just perfectly: Isabel Marant.

If you’ve scrolled through social media in the past two months, you’ve likely seen cool girls from across the globe decked out in fringed jackets, slouchy suede boots and/or bandana scarf-style tops that wouldn’t look out of place at Coachella—all of which are core tenets of the Isabel Marant aesthetic. In the past few months alone, some of the most notable celebrity style moments have also come courtesy of the label: we're talking Bella Hadid's leather micro-shorts, Addison Rae's sheer sequin aquamarine dress, Kate Moss' studded boots and Suki Waterhouse’s shearling coat, to name but a few.

So, it’s fair to say that chic women everywhere seem to have unanimously fallen back in love with Isabel Marant, and re-discovered the wonders of the Parisian brand founded all the way back in 1995 by the designer of the same name.

Further proof comes courtesy of Google Trends, that reports searches for “Isabel Marant beach bag”, “Isabel Marant sandals”, “Isabel Marant Bobby” (yes, those iconic wedge trainers you remember from ten years ago...), and “Isabel Marant fleece” are all current ‘breakouts’. And we all know the data doesn't lie.

So, if you’re looking for your next luxury label investment, this is the brand—and the pieces—well worth considering. Consider this your insider tip-off.

But if your budget doesn’t quite stretch to £960 for the brand’s famous Oskan bag, or you simply can’t get hold of the now nearly-sold-out Bobby sneakers, Elmire dress and Velvee sandals—all items on my own current Isabel Marant wish list— there are a few styling hacks you can also use to achieve the luxury label's signature look, for less.

Taking a few key Spring/Summer 2025 Isabel Marant catwalk looks as a starting point, here's how to do it...

Buy into bags

Marant’s accessories are undoubtedly her most instantly recognisable. Slouchy suede bags with fringing and studs are a hallmark of the designer's signature effortless boho style, while a relaxed raffia tote is also a strong option for the summer months. Stick to neutral shades and natural fabrics—leather, suede, straw—to truly lean into the laidback look.

Embrace utilitarian touches

One of the main things that sets Isabel Marant apart from other brands' romantic bohemian style is her use of tougher utilitarian touches. Cargo trousers are a Marant mainstay, as are boiler suits and leather trousers. Look for a slouchy shapes and detailing like lacing, and contrast these items with something a little softer—a silk blouse, chiffon vest or pastel-shade shirt, for example.

Play with prints

While the Isabel Marant aesthetic largely sticks to earthy, muted shades like sand, ecru and olive, there is still a place for prints and small pops of colour. Think graphic embroidery and printed silk styles—or, in short, if you can picture it on a beach in Ibiza, you’re on the right track.

Style around your shoes

Just as bags play a big role in evoking Isabel Marant style, shoes are just as statement-making and similar rules apply. Fringing, studs, natural fabrics and neutral shades all act as key components, particularly in cowboy boot or sandal styles.

Don’t over-style it

In contrast to the styling tips above, the key to evoking Isabel Marant style is to not to look like you’ve tried. Stepping away from loud logos or monogrammed prints, this luxury label is all about the laidback, ‘cool girl’ aesthetic. So beachy tousled hair, super-natural make-up, and an outfit that looks thrown on rather than thoughtfully placed together will all work to achieve the aesthetic—even if that just means sticking with simple jeans and a white vest top. Think Noughties, morning-after Kate Moss (minus the hangover).