Mis en avant
LOUIS VUITTON CRUISE 2026/27
Nicolas Ghesquière doesn’t worship at the self-referential altar of the maison he leads. He tends carefully to the legacy of Louis Vuitton, of course, but rarely feels compelled to extrapolate from it. The house’s history — simultaneously one of the oldest in fashion and one of the youngest when it comes to ready-to-wear — affords him such freedom. Louis Vuitton’s Resort 2027 is resonant of this privilege.
Held at The Frick Collection, a recently renovated museum on Manhattan's Upper East Side, the show was an exercise in contrast. Ghesquière, a Frenchman in New York, utilised the friction between uptown and downtown as a basis for the collection. The first was embodied in exaggerated frills on shirts, protruding organic shoulders, and ruffled hems. Flowy, layered camisoles, ribbed leather jackets, and satin shorts illustrated the second.
The latter was further embodied by the mythology of art in the city. Keith Haring was made the muse. The choice is justified by the artist’s connection to Louis Vuitton. In 1984, Haring graffiti-ed one of the maison’s suitcases for a friend. The opening look — a chunky knit cardigan with jeans — was paired with that same piece of history (or art, or both). Further references to the artist were seen in hand-printed leather jackets, brightly colored sleeveless tops, and an origami-like folded white dress.
Throughout his tenure at Louis Vuitton, Ghesquière has grown interested in pushing the body outward, sculpting silhouettes that protrude, curve, and resist natural movement. Here, his experimentations were a bit more tame than, say, last season, but even so, rigid leather dresses with villainous shoulders exploded into asymmetrical skirts past their hems.
It wasn’t just New York; Americana as a whole was taken on as a guideline. Strong-shouldered leather bodysuits and patchworked skirts in red, brown, and silver leather spoke to a futuristic fantasy of American nostalgia. That is where the designer shines brightest – Ghesquière’s ongoing project is one that constructs wardrobes for lives that do not yet fully exist.
Words by Pedro Vasconcelos
GUCCI CRUISE 2026/27
For its Cruise 2026/27 collection, Gucci handed the keys to New York City over to Demna, who went on a cinematic exploration of the metropolis and its endlessly compelling cast of characters. From backpack-clad Wall Street bros to fur-wrapped downtown 365 party girls and jewel-laden Upper East Side socialites en route to charity galas, the collection captured the city through a sharply exaggerated yet deeply observant lens.
Set against the grand backdrop of Times Square, the show unfolded as a full-scale fashion spectacle, amplified by a headline-making cast. Paris Hilton delivered a nostalgic moment in a pussy-bow silk shirt dress and brunette wig, revisiting her unmistakable runway strut with playful self-awareness. Meanwhile, sports superstar Tom Brady embraced a darker, naughtier aesthetic in head-to-boot black leather inspired by the Tom of Finland fineries (did he go to a leather bar after the show?). Model-du-jour Amelia Gray further cuntyfied the runway, elevating a jangling set of keys into a statement accessory through her fierce walk.
As expected from Demna, the collection rejected convention in favour of exaggerated silhouettes and provocative styling. Outerwear emerged as a central focus: a vivid red fur revealed a striking Flora-print lining, while a sharply tailored coat offered the white interpretation of the motif. Structural peacoats in navy and red matched the energy of sharp, tailored trousers and even sharper, spiky heels. Tailoring itself proved to be another standout category. Traditional suiting was reimagined through both masc office-fantasy cuts and dramatically cinched double-breasted silhouettes that injected theatricality into formalwear.
Although unmistakably filtered through Demna’s aesthetic, the collection remained rich with instantly recognisable brand’s signatures – after all, it was titled GUCCICORE! Horsebit hardware appeared across black heels, while the house’s iconic green-and-red stripe was transformed into lanyard details on backpacks and binder-inspired chest accessories. The result? A collection that fused irony, luxury, and urban character study into a distinctly contemporary vision of Gucci.
Words by Martin Onufrowicz
DIOR CRUISE 2026/27
“There’s no Dietrich without Dior.” In 1950, Marlene Dietrich refused to star in Alfred Hitchcock's Stage Fright without a Christian Dior wardrobe – the better part of which she conveniently kept after production wrapped. Dietrich was but one of a clientele that reads as Olympian rather than human: Marilyn Monroe, Grace Kelly, Sophia Loren, Elizabeth Taylor, Audrey Hepburn. Dior’s myth itself is intertwined with that of the golden age of Hollywood.
It makes sense, then, that for his first Cruise show, Jonathan Anderson chose Los Angeles as his location. In the recently inaugurated David Geffen Galleries at LACMA, the Northern Irish designer projected the seductive effect of the city of angels. Not that Anderson is not privy to such magnetism. Since 2022, his collaborations with Luca Guadagnino have birthed films like Challengers and Queer – and there are more to come. Anderson revealed he’ll be collaborating on another three movies in the near future. The point is: he’s no stranger to the intersection of cinema and fashion. And therefore, here, a show dedicated to Hollywood was made into a story, a narrative of different characters and stories. It’s a creative strategy that has become quite popular in recent seasons but, under the thematic guideline of Hollywood, has found its most appropriate interpretation.
There were some recurring characters, flashes of the body of work the designer has spent the better part of the last year building. The dramatic and colourful flowers on the shoulders flounced similarly to those in the couture show. Tasselled capes worn with nothing but jeans were reminiscent of the latest menswear offering. The Bar jacket remains a protagonist in Anderson’s Dior, this time in frayed versions that untangle at the hems and cuffs.
It wasn’t all new characters, though. John Galliano’s bias dresses and Marc Bohan bags made cameos. Elsewhere, milliner Philip Treacy recreated his feather headpieces, most recognisable from Isabella Blow’s iteration – a timely reference with the news of a movie about the stylist’s relationship with Lee McQueen, the latter played by Behind the Blinds current cover star, Russell Tovey. But no Blow was in sight; here, the milliner spelt Dior, Buzz, or Star atop the heads of male models.
Whereas the womenswear was an array of characters, the menswear presented a tighter vision. Artist Ed Ruscha collaborated with Anderson to create graphic shirts. A particularly impressive wool coat replicated film noir lighting in angled stripes. Perhaps nowhere more than here was Anderson’s perspective concise. Hollywood is an illusion, a machine built to manufacture emotion.
In womenswear, the designer was looking to convey glamour. A white gown scalloped at the edges, a slit swishing open as the model walked. Minute details on scaled dresses were made evident by their sheer repetition. Just shy of the first anniversary of Anderson at the brand – a celebration that will take place at the upcoming men’s show this June – his confidence is palpable. He might’ve had to move things around, put his imprint on the couch, but there’s no denying it: Dior is Anderson’s house.
Words by Pedro Vasconcelos
CHANEL CRUISE 2026/27
Ever since he joined Chanel, Matthieu Blazy has been tracing its founder’s footsteps. It makes sense, then, that for his first cruise collection for the maison, he would stage the show in Biarritz. Rue Cambon, for all its might in Chanel’s mythology, is perhaps second to the seaside town where Gabrielle Chanel first envisioned her brand.
Not that Blazy is the first to unearth Biarritz from the brand’s history. Spring/Summer 2003 was Karl Lagerfeld’s interpretation of its significance (where surfboards matched the giant glossy CC in the centre of the runway), while as recently as Fall/Winter 2024, Virginie Viard staged a show on a beachside-inspired boardwalk.
Blazy is not as campy as Lagerfeld or as literal as Viard. Instead, he takes the maison’s history as his muse, starting the show with its most distinctive symbol: the LBD. An almost exact replica of the garment that inspired Vogue’s 1926 title of “Chanel’s Ford” appeared on the runway. With the dropped-waist silhouette revived in all five of Blazy’s Chanel collections, the dress was the first to walk down the salon-inspired set. The 1920s inspiration continued in swimming caps, Art Deco jewellery, and handkerchief dresses.
Staples of Blazy’s Chanel were present in voluminous skirts and textured sets, the latter of which drowned embroidered flowers in light feathers and tightly packed textile petal edges. Graphic logo details in silk blouses and pleated skirts are both new and dearly welcomed to Blazy’s lexicon. Accessories were undeniably delicious, from the barefoot heel caps that have taken over my feed to the waterproof flap bags and the practically model-sized raffia bags with enlarged CCs to raffia clutches.
Blazy’s tracing mythology in more than one way. Mermaids filled the pre-show teasers (as well as the shell necklace that served as the show’s invite). Unsurprisingly, they reemerged on the runway, inspiring the two closing looks. The first, a jacket and shirt set with a matching bag – another one of Blazy’s signatures – layered shiny, fiery scales over one another, while the second featured pebbled shades of blue on a dress with a dramatic, scalloped back. Once again, the designer proves that his greatest strength is his balancing act. Blazy’s Chanel is as complex as it is easy-going, as fantasy-filled as it is wearable. Storytelling is woven with wearability in a cohesive gesture.
Words by Pedro Vasconcelos
ABRA FW26
This season, the ABRA show was an extra-special family affair. The starting point for the Fall/Winter 2026 collection, presented in an industrial space in the 11th arrondissement of Paris, was disarmingly personal. The time the designer Abraham Ortuño Perez spent in the studio with his niece and nephew (side note: how lucky are they to have such a cool guncle!) seeped into the process, leaving traces in the form of doll clothes, school craft projects, and spontaneous material combinations scattered across the workspace.
What began as a pleasant background noise gradually shaped the collection’s striking language: exaggerated details, layered silhouettes, and playful proportions that feel instinctive, rather than engineered. Velour cocktail dresses featured chest constructions reminiscent of plush club chairs, while a lavender mini appeared as an avalanche of swinging leather fringe with every step. The show’s standout looks – in gold and black leather – can only be described with justice as a fantasy on car wash brushes ready to hit the town after dark.
Each look carries a small twist – an offbeat texture pairing, an unexpected construction – that mirrors the spontaneity of childhood creativity. Shirts are given jumbo-sized cuffs, while a deep V-neck blouse is decorated with rows of white collars. Ruffles spill out of an oversized navy blazer with big power shoulders. Elsewhere, a corset detail sat loosely at the hips of a flowing bubblegum-pink dress, tied with an XL satin ribbon.
As the designer took the final lap with his young collaborators, the audience erupted into an ultra-joyous wave of applause. Often in the industry, we lose the sense of fun in favour of unapproachability and putting too much focus on achieving undisputed refinement. Luckily, Ortuño Perez is here to show us that the most compelling fashion begins with curiosity and a refusal to grow up entirely. And with the recent announcement of his appointment as the creative director at CAMPER and CAMPERLAB, the play is just beginning.
Words by Martin Onufrowicz
MIU MIU FW26
Miuccia Prada wants us to address our insignificance, or better said, to make us reflect on how small the human body is when compared to the size of the world. That was the premise behind Miu Miu’s Fall/Winter 2026 collection, Mindful Intimacy, which placed body and mind as refuge and objects of attention, particularly when existing in unstable environments.
“An ownership and agency of your own body, your own self and value – a warm sensuality, a warm sexuality. A focus on our bodies, our minds, ourselves, to which we must dedicate attention,” described the collection’s notes.
Not by chance, the interior of the Palais d'Iéna, the chosen venue, was turned into an enclosed forest with moss covering its regal floors. Both the palazzo and the staged woodland were chosen to convey feelings of magnitude – to the audience, it worked more as a reminder of our constant need to be close to nature, AKA to touch some grass.
Looking inwards, clothes were then designed using the body as a main basis, with enveloping silhouettes that outlined the figure with a more minimal, ‘90s-centred approach. Delicate bows, centrally placed in almost every presented look, resembled underwear details, with a lot of the pieces crafted prioritising a washed, soft, and sensorial feel, as though they’ve been comfortably worn before.
Mini dresses with square necklines and straight hemlines appeared in a muted palette, as did long-sleeved, micro nylon camisole-resembling garments. Opposed to the romanticism were more utilitarian pieces in robust fabrics such as leather and tweed, often designed with shearling linings and paired with gloves and aviator hats. Coats and jackets carried marks and crinkles, purposefully celebrating the past and a type of clothing that endures, a theme that lives close to Miuccia Prada’s heart and has been equally explored at Prada.
Speaking of endurance, Miu Miu’s bubble-soled footwear, originally debuted in 1999, made a key comeback for FW 26, ranging from trainers to clogs and knee-high boots. The idea of the antique, the season’s press release also stated, was “not about the passage of history, but about existing within times.”
Embroidered sheer tulles and decorated dresses, both Miu Miu signature codes, appeared more towards the end of the show, which had a much-needed multigenerational casting and included legendary supermodels Kristen McMenamy and Gemma Ward. Ultimate it girl Chloë Sevigny was also one of the models, over 20 years after the first time she walked a Miu Miu show, during Spring/Summer 1996. The final strut was delivered by actor Gillian Anderson, wearing a fully embellished nude number paired with a peach-toned bra peeking out in true Miu Miu fashion.
Words by Ketlyn Araujo
AGNÈS B. FW26
Presented at the six-story building that has housed the brand since the ‘90s, agnès b. introduced a collection with clothing for all the occasions in life: practical and deeply tied to everyday city realities. A refreshing casting of models of all looks and ages reinforced the brand’s commitment to breaking stereotypes and refusing to conform to outdated beauty norms.
Stepping away from classical femininity, the designer created silhouettes that feel genderless yet deeply tied to menswear. Black and white are present in effortless styles, from striped tops to relaxed tailoring. But this time it’s the prints and colours that take centre stage in the collection. Each of them follows contrasting narratives, creating an energetic pace on the runway — from lizard-print tops to sunsets printed on jackets. As for tartan, it is modernised and styled in suits, pencil skirts and hoodies.
Garments don’t hug the body in a restrictive way; instead, they leave space for movement and breathing, privileging silhouettes that are straight rather than fitted. Fabrics feel soft on the body, contributing to that movement.
Masculine and feminine are aligned within the same aesthetic, leaving little space for division and instead complementing each other naturally. There is, however, a reappropriation of male codes by womenswear through tailored suits, coats, trousers, tracksuits and ties, blurring the lines between traditional gender restrictions.
Words by Carolina Benjumea
CHANEL FW26
Moments before the Chanel Fall/Winter 2026 show, I’m told the set that transformed the Grand Palais into a colourful construction site reflects Matthieu Blazy’s mindset this season: he was thinking like an architect. In truth, he’s been doing that since his first day on the job. When you inherit a house as historic as Chanel, some remodelling is only natural. Codes must be upgraded, silhouettes need new upholstering, new references beg to be explored. Still, the bones must be respected. God knows what would happen if they weren’t, when the entire world appoints itself architecte des bâtiments. Not that we need to worry. For all the change he has brought to the house in just four collections, Blazy’s Chanel is nothing if not devoted to legacy
Gabrielle Chanel, both the founder of the maison and a recurrent muse of the Belgian designer, is seen in 1930s-inspired pieces, like embroidered silk dresses, that, at the hip level, jolt strips of fabric cut on a bias. Blazy isn’t creating historically accurate garments; he’s establishing a conversation. The dropped-waist silhouette that we’ve seen him toy with since his debut evolves. This season, he belts skirts closer to the hem than their natural waist, further highlighting the silhouette. Imaginary waists are created on the upper thigh with loops through which leather belts slide.
A flower-printed set shines in a way that almost resembles leather despite being cotton. The effect is achieved through a couture technique utilised by Chanel herself. Here, Blazy revives it for ready-to-wear. The dialogue between the two is omnipresent. If the founder of the maison sought to make clothes for women out of the practical fabrics, then exclusive to menswear, the French-Belgian answers in reverse, rummaging through Chanel’s technical lexicon to expand what ready-to-wear feels like.
At the re-see the next day, held in the same space (crates and all), I spent close to two hours navigating through looks. Translucent tweed, Pollock-esque silicone overlays, sequin-threaded knits, pastel chain mail, layered lurex, feather flowers, embroidered silk, washed linen, geometrically shaved fur, My Little Pony-inspired tweed blends: it’s hard to hyperbolise Blazy’s textile intelligence.
Even with all the imagination required to use this diverse scope of fabrics, Blazy doesn’t design for fictional, fetishised women. The silhouettes are made to be comfortable when worn. The classic tweed set is reinvented through that mantra, its jacket wider in the shoulders, roomier at the waist. The interior of a garment is as important as its outer shell. In certain jackets, the lining’s beauty matches that of the outside – quite a feat on garments made of pearl-threaded knits with encrusted fringes at the hem. These assume a more visible role in jackets made of razor-thin tweed, where their translucency offers a peek into the colourful lining.
The ability to create pieces that are as special as they are wearable is where Blazy is most successful. Beyond critical acclaim and artistic satisfaction, the designer is making something that people want. To have been in Paris in the first week of March is to have heard of the chaos that followed the release of Blazy’s debut collection in stores. You couldn’t go somewhere without overhearing the struggle to purchase even just one pair of shoes or a bag. We predict a similar despair in six months, when Fall/Winter 2026 hits the stores. Here, Chanel’s legacy is a first step on whimsical adventures. The black toe squares off in a pair of thigh-high boots. The idea is pushed further in pumps, with the toe shaped like a waxing moon, inspired by the dipping of madeleines in chocolate. The same philosophy is applied to bags: crocodile-embossed patent leather totes, a hybrid of Chanel’s double flap and the 2.55 with two buckles, and a metallic tweed oversized classic flap bag.
On the night of the show, guests wore new season bags just as they did the slot machine or spaceship bags. Somehow, even among the maison’s most recognisable pieces, Blazy’s creations felt at home. He’s not distancing himself from the past; he’s not tearing down walls. He’s breathing life into a house already alive. Chanel is both past and present, and in his hands, it becomes urgent again.
Words by Pedro Vasconcelos
LOUIS VUITTON FW26
A pilgrimage, a journey, a mission. Perhaps a search for whatever seems to be missing in an ultra-connected, AI-pushing society. For Louis Vuitton’s Fall/Winter 2026, Nicolas Ghesquière focused on a travelling quest, where the magnitude of nature and multiculturalism inspired enduring clothing silhouettes and were equally translated into protective gear and fabric choices.
Production designer Jeremy Hindle, famously credited for crafting the mood of Apple TV’s major success series Severance, developed the moss-covered Vuitton show space, which simulated futuristic, swirling green mountains for the models to freely walk.
Held at the Cour Carrée du Louvre, this season’s path started with four looks featuring gigantic, broad-shouldered architectural forms and ended with more romantic, ruffled-collared pleated dresses, one of them paired with a matching crocheted bonnet.
With accents of folklore and references to the mountain people of the South American Andes and the Himalayan and Mongolian landscapes, fur-lined garments conveyed ideas of shielding, as did the various headwear pieces spotted on the catwalk, the latter ranging from subtle hoods to enormous hats in different geometrical shapes.
Sunglasses resembled pilots’ goggles, pockets served as a utilitarian detail, and a few handbags, always a coveted Louis Vuitton piece, were carried with the help of a walking stick. Earthy and muted tones fused with the vibrancy of windbreaking capes, waterproof-looking jackets and checkered sets with printed, sheep-themed surrealist illustrations designed by Ukrainian artist Nazar Strelyaev-Nazarko.
Nature was honoured as "the greatest designer,” Ghesquière said to the press, and therefore used to inspire not only the abundance of silhouettes seen as part of the collection but also its sophisticated array of textures, embroideries and materials, spanning from leather to tweed and denim to shearling.
During FW 26, Ghesquière, known as an avant-garde fashion designer, seemed to practically and metaphorically acknowledge not just what our future holds, but what we lack in contemporaneity, too. There was this anthropological idea of gathering items of clothing and natural elements as wearable souvenirs, a motto of appreciation along the way.
Words by Ketlyn Araujo
KIKO KOSTADINOV FW26
“What does it mean to see and to be seen? This question lies at the heart of womanhood,” wrote Australia-born, London-based designers Laura and Deanna Fanning as part of the opening lines for their Fall/Winter 2026 womenswear Kiko Kostadinov collection notes. The query was posed alongside the concept of an observer and observed, derived from the act of gazing attentively at the presence of nature, more specifically, birds, even amidst the chaotic life of grand urban centres.
Other sources included Fitcher's Bird, one of the Brothers Grimm’s fairy tales, as well as the 1992 namesake photographic book by American artist Cindy Sherman, which retells Grimm’s story through a visual and haunting narrative. The season’s general theme of exploration, as well as the collection’s rich colour spectrum and its feathered details, were all inspired by the two references.
While various designers sometimes struggle to give real women what they actually want when it comes to fashion, the Fanning duo seem to effortlessly nail it, show after show. Exhibit A is the collection’s focus on modular items, crafted from fabrics and designs that adapt accordingly to what the customer needs. Exhibit B lies with the development of utilitarian and practical trousers, lightweight waistcoats, and jackets, all with pockets that can carry everything from notebooks to binoculars. Exhibit C, as if the previous two weren’t enough, are practical, tailored silhouettes borrowed from menswear – if they've always moved and taken space with freedom, so should we.
Drawn from nature and the skies were also the collection’s shades, prints, and patterns. Gradient greens with brown and yellow accents, light, medium, and deep blue tones, powder pinks, oranges, and burgundy variations formed the FW 26 palette. Iridescent and light-reactive pieces made an impact, such as the draped skirts seen on looks 11 and 13, as well as the loose-fitting, golden dress chosen to end the show.
Fanning’s birdwatching efforts, too, resulted in a constant feeling of lightness and liberation through the clothes' chosen materials and design techniques, as if the weightless nature of fluttering sleeves, flowy skirts, and fluid dresses allowed some of the garments to sway while worn. The looks were often a hybrid, the perfect analogy to female multitudes: undoubtedly as beautiful as birds, yet protected by layers of utilitarian outerwear, as any adventurous, untamed spectator would be.
Words by Ketlyn Araujo
POLO RALPH LAUREN FW26
When a career spans over five decades, self-referencing can be a brilliant tool. Evidence lives in Ralph Lauren – both the designer and the brand universe – and in his latest womenswear Fall/Winter 2026 ready-to-wear collection for his preppy sister label, Polo.
Developed by Karen Brown Brody, senior brand creative director for the women’s Polo line under Lauren’s direction, the looks drew inspiration from two main sources: Lauren’s earlier women’s collections and the American designer’s own personal style during 1970s New York City.
Held at an art space in the Parisian Le Marais, the mix of presentation and catwalk show caught attention for its great styling, with looks that fused vintage-looking pieces with a more contemporary, high-low, layering proposal.
There was a clear influence of Western and Americana cultures, more specifically, the American Southwest. Hence, the myriad of cowboy hats and boots, fringed detailing, checkered shirts, and double denim. Juxtaposed and masterfully paired were baseball caps, long wool coats, leather and sporty bomber jackets, and contrasting gloves in bright yellow and green.
Accessories played a key role this season and were co-created with Native American artists who participated in the Ralph Lauren Artist in Residence (AiR) and Authentic Makers partnership programmes. Honouring craftsmanship and Indigenous heritage, artists and silversmiths Neil Zarama and Jimmy Begay were responsible for designing handmade belts and jewellery pieces, while wife-and-husband designer duo Jocy and Trae Little Sky, from Indigenous-led clothing brand TÓPA, worked along with Lauren to create a suede-fringed jacket.
Jhumka-style earrings, a traditional South Asian bell-shaped accessory originally from India, were also spotted on a few models, as were printed silk scarves, tied or placed on the body in various ways.
The collection aimed to celebrate Lauren’s rich heritage, yet with a more romantic and urban, NYC-centred feel. And it turned out to be a delight for any fashion aficionado's mood board.
Words by Ketlyn Araujo
ZADIG & VOLTAIRE FW26
The Zadig & Voltaire Fall/Winter 2026 collection by Dan Sablon made us think of effortlessly cool teenage irreverence. An aesthetic that is daring, provocative, and unapologetically youthful, carrying echoes of the ‘90s clubbing scene, channelling a “too-cool-for-school” energy.
Jackets take centre stage throughout cropped silhouettes, bombers, and leather pieces, leading the brand’s signature rock attitude. Coats, on the other hand, appear oversized and dramatic, adding a glamorous edge to the offering.
The collection has a unisex appeal, where masculine and feminine aesthetics intertwine, each contributing to the other to create strong silhouettes. Skin becomes central to understanding the provocative nature of the looks. At Zadig & Voltaire, sensuality feels empowering and fully assumed. Lace, sheer garments, lingerie worn as outerwear, and ultra-low-rise pants create a sense of confidence and defiance.
Leather and lace are mixed throughout several looks, building an interesting visual interplay between strength and delicacy, showcasing femininity as both powerful and vulnerable. Golden details elevate some pieces, lending a subtle sense of glamour and lavishness.
The collection is rich in textures and contrasts, driving the narrative towards an assumed maximalism instead of the quiet luxury discourse of recent years. Black is the core colour, accented by gold, deep browns, and some touches of white.
The men’s and women’s silhouettes come together in an eclectic mix of styles to form a distinct camp take on rockstar wardrobe. The overall energy feels reminiscent of Y2K trends, such as extra-low-rise pants, denim ensembles, and the black-and-white striped scarf, while evoking the rebellious spirit of the Avril Lavigne era.
Words by Carolina Benjumea
JEAN PAUL GAULTIER FW26
If Duran Lantink's debut collection for Jean Paul Gaultier – showcased during Spring/Summer 2026 – was controversial enough to spark conversation inside and out of the fashion industry, the Dutch designer's sophomore show for the French house came with a slightly different approach. However, his witty manner, publicly approved by Monsieur Gaultier himself (who has been a supporter of Lantink’s work so far), did not vanish.
For Fall/Winter 2026, the starting point was an image of German-American actress and singer Marlene Dietrich, sourced from Lantink’s own wardrobe, as seen on one of the designer’s vintage T-shirts. Dietrich’s hybridised mood of dominance and grace was then placed alongside a whip, resulting in a mood board that had the archetype of this "madame masculinity" as its anchor, as Lantink explained in an interview with CNN.
Honouring the essence of Jean Paul Gaultier as a house that thrives in complementary opposites, Lantink developed more characters to play a fundamental role during his offering – all born from the cinematic juxtaposition of past and future, masculine and feminine. Western motifs, sportswear, lingerie and boudoir elements were combined, with a greater focus on sharper and more experimentally tailored pieces, mostly in black and white.
Challenging body proportions, round-shaped details resembling car tyres cinched waists, hugged necks and were placed as bracelets, while eveningwear carried flowy, rounded, and bouncy jersey forms, created with pleating. Futuristic hoods with a helmet look and a waterproof feel were styled with classic neckties, while shirt collars were maximally stretched until covering the head. Later on, Dietrich’s image returned to the catwalk, more literally, with a photograph of the actor smoking printed on a long-sleeved, turtleneck, midi-length dress, and real smoke coming out of its back – steamy!
A trip to the brand’s archives, personally discussed between Lantink and Monsieur Gaultier, resulted in contemporary iterations of previously seen garments, from haute couture to ready-to-wear. The waist of a pinstripe suit from a couture collection named Le Palace from 2016, for example, inspired the silhouettes of various F/W 26 pieces, the season’s press release described. Gaultier’s early-career shows, where tailored garments were, by design, displayed with visible, exposed lining, were also used as a key reference.
From a 1990s F/W collection, Scottish Fair Isle knitwear was transformed into skin-hugging bodysuits, while looks 12 and 13, both trompe l'oeil wooden puppet outfits, evoked JPG’s 2004 collection, Les Marionnettes. A cropped bomber jacket, dated from both the 1980s and early 2000s, was once again revisited, a proof point of fashion’s cyclical nature.
Words by Ketlyn Araujo
VIVIENNE WESTWOOD FW26
Three were the main references used by Andreas Kronthaler before designing his Fall/Winter 2026 collection for Vivienne Westwood, a lineup of over 40 looks crafted to embody joy and establish continuity, despite the complexity of ongoing grief and the state of the world. Dame Vivienne Westwood died three years ago, in December, leaving a legacy that Kronthaler has been committed to honouring ever since.
Rooted in theatricality and – good – chaos, Kronthaler’s F/W 26 mood board was firstly inspired by German and French screen actor Romy Schneider, known as one of the greatest of all time. Schneider’s fierceness and eclectic acting choices were used as a tool to convey emotion through the season’s pieces.
Still in the cinematic universe, Kronthaler was equally inspired by 1972’s The Canterbury Tales, Pier Paolo Pasolini’s film adaptation of the namesake medieval poem by English author Geoffrey Chaucer. The film's costume design, developed by Italian costume and production designer Danilo Donati, was crucial to conveying the show’s intentional smorgasbord aesthetic. Finally, Chaucer’s literary work also served as the final piece for Kronthaler’s trio of muses, adding a touch of historical humour to the final result.
With the three elements combined, the broad collection had Kronthaler’s characteristic eroticism always present, teamed with Westwood’s classic 1980s punk flair. Checkered and tartan prints were seen on wide-shouldered coats, corseted dresses, and skirt suits. Masculine and feminine traditional codes were purposefully blurred, with ballet flats, stockings, and garter belts garnishing both women's and menswear looks.
Corsetry work, striped gowns, and cinched waists, yet still relevant, were a secondary focus of the collection, which mostly featured loose structures over rigidity. Voluminous shapes with open seams and drapes, as well as slouchy footwear and vibrancy in colour, led the way. The playful aspect came through the use of headpieces, often oversized and purposefully mismatched with the looks.
A bridal ivory satin skirt suit closed the show, carried by a model with yellow-polished nails and smudged red lipstick – in case anyone has forgotten, there’s nothing strict about being a Westwood bride. With a radish-red bouquet in hand, she had an ultra-tall cylindrical hat crowning her head. Her name is Vivienne Rohner. In the end, we always go back to Vivienne.
Words by Ketlyn Araujo
CELINE FW26
There are few maisons as aspirational as Celine. Through its different eras, the connecting thread between all visions has been just that: its ability to tap into not what people want, but what they need. And what we need is Michael Rider’s Celine. Fall/Winter 2026 was a perfect example of it.
Just shy of the anniversary of his first collection, Rider’s vision is crystal clear. Up until this point, it feels as if the American designer has been busy tidying up the house, showing us where all of its different eras fit in his take on Celine. We saw Hedi Slimane’s skinny jeans, Phoebe Philo’s quirks. Now that he’s proved he understands the vocabulary, he’s expanding it. His off-kilter brand of preppiness was all over, this time deliciously blended with a hint of the ’70s that (much like the music blasting out of Matéo Garcia–designed wood speakers) felt very rock. Enlarged, colourful floral patterns flooded two bell-sleeved knit dresses.
Interest was added through bright pops of red and furry animal prints, all of which added an electric eccentricity. Boys in skinny jeans donned feather headgear, one of whom was wearing a butter-yellow leather trench we’re still dreaming about. Bowler hats and perfectly circular glasses were peppered throughout the collection. A satin hot pink shirt paired with a full red look and a purple leather trench proved Rider remains a master of colour.
The everyday wardrobe was twisted just enough. Scarves were tied so high they almost blocked the vision. Two tight leather jackets – one a delicious brown, another silver – had murals carved in the back. Layered over the Prince music coming out of the sculptural amplifiers, Rider staged three ASMR opportunities: the first in a woven metal dress with an entire alphabet hanging off it, the second in a heavily sequined red dress, and the third in a skirt packed with oversized paillettes. Good fashion is heard as much as it’s seen.
Even in its most technically impressive moments, Celine is chic because it doesn’t emulate perfection. It’s reminiscent of the way a jumper is tied around the shoulders out of necessity, or how one would collect charms on a bracelet. Rider designs for the imperfection of human life. Heavy necklaces congregate seemingly random objects that look as if they were preciosities accumulated over a lifetime. In a season where we often saw patina sold first-hand, Rider offers something much less contrived: clothes we want to wear enough to gain it.
Words by Pedro Vasconcelos
MCQUEEN FW26
For Fall/Winter 26, Seán McGirr delivered a collection quintessentially McQueen, yet unmistakably his own. Velvet blazers, skull-print scarves, and the iconic knuckle clutch made bold statements, while silhouettes were as feminine as they were edgy, exploring the signature aesthetic that has driven McQueen since its debut.
Femininity was expressed through high collars, bows, ruffles, and deconstructed tailoring. Pants sat low, and skirts were mini, while blazers remained sharply structured, creating a seamless bridge between past and present. Black military-inspired peplum dresses gave the collection a commanding presence.
It was an eclectic collection, blending different historical references through the creative prism of McGirr and the heritage of the house. Prints, colours, and textures were layered throughout, creating a vivid sense of theatricality. Lace, embroidery and sheer fabrics appeared in delicate and deconstructed dresses that reinterpreted sensuality for evening wear.
Baby-doll minis were given puffy sleeves and voluminous skirts, while strong shoulders recalled the feminine silhouettes of the ’90s. The show closed with a bridal gown in three-dimensional floral appliqués with a matching headpiece, showcasing McQueen’s signature drama and craftsmanship.
McGirr’s rendition of McQueen is fresh, youthful, and energising. His creative expression is deeply tied to the brand’s signature theatricality and sensuality, while imprinting his own distinctive codes. He blends the house’s heritage, craftsmanship, and storytelling with a new voice, enhancing the brand’s cultural relevance while honouring the daring spirit of its founder.
Words by Carolina Benjumea
LACOSTE FW26
Washed Out Match, the Lacoste Fall/Winter 26 collection by Pelagia Kolotouros, draws inspiration from René Lacoste’s 1923 match in Deauville and revisits the spirit of 1920s tennis wear while infusing it with contemporary luxury and athletic functionality, emphasising movement, comfort, and elegance.
It offers a nostalgic take on tennis style, enriched with vintage tennis club motifs. Silhouettes are predominantly oversized and fluid, creating the characteristic Lacoste look where laid-back practicality meets chic nonchalance. Robe-like trench coats, longline parkas, and funnel-neck overcoats drape loosely over the body and are paired with wide-leg trousers, pleated midi skirts, and A-line dresses.
Weather-resistant outerwear, like rain capes and coats, completes the silhouettes, creating a visual contrast between the sheerness and the opacity of the fabrics beneath. Layered athletic pieces reinforce the collection’s balance between practicality and refinement. Boxy blazers, bombers, and hoodies with exaggerated shoulders allow for layering that feels effortless. Textures play an important role, evoking performance while nodding to the brand’s athletic heritage.
The palette revolves around Lacoste’s signature greens, creams, sandy neutrals, and navies, with some pops of red that give the collection dynamism. Subtle nods to ’90s minimalism appear through clean lines and understated embellishments. Bold screen prints inspired by tennis imagery contrast with delicate floral embroideries, creating a striking balance.
Words by Carolina Benjumea
COMME DES GARÇONS FW26
Relating the colour black to the ongoing legacy of Rei Kawakubo in fashion is a given. Yet, the Japanese designer continuously finds means to cleverly incorporate the shade in her collections. For Comme des Garçons Fall/Winter 2026, Kawakubo went a step further, turning the colour’s relevance and power into the main focus of her show, named Ultimately Black.
“In the end, there is black. Ultimately black. I have come to realise that, after all, black is the colour for me. It’s just the strongest, the best for creation, and the colour that embodies the rebellious spirit. And has the biggest meaning: the universe and the Black Hole,” Kawakubo expressed in the season’s show notes.
The collection followed a clear order, showcased in three acts. Sixteen predominantly black looks, a few of them blended with white, opened the show, all of which were sculptural, architectural, and extremely rich in materiality and detailing. Echoing some of Comme des Garçons’ signature codes, such as the acclaimed Spring 1997 collection Body Meets Dress, Dress Meets Body, popularly known as Lumps and Bumps, this was a seasonal reminder of how fortunate we are to witness Kawakubo’s dramatic creations to this day.
Challenging body proportions, a crucial part of the label’s DNA, garments were ruffled, pleated, puffed, draped, and maximised on the hips and bust – often fringed, laced, ruched, and sequined. Three black dresses caught attention for carrying a bright-coloured silk piece of fabric, asymmetrically belting the silhouettes and favouring contrast with pops of red, green, and blue, respectively.
After that, a pause. The music went down, and what followed was an army of fast-paced models dressed in six bubble-gum pink looks, a complete antithesis to what had just been shown. Chaotic, romantic, energetic, with bulbous shapes and fabric draped, twisted and folded to the max.
Was pink placed there to represent black’s shadow colour? Or was it perhaps an attempt to disclose what is hidden underneath our shadows? Was the colour a metaphor for our most human side – sharing the same coloured flesh and blood?
Once the soundtrack resumed, the final act commenced. Five other full black looks closed the show, with exaggerated, powerful proportions blended with delicate brocade, lace, and fringe details. Questions were posed with no further answers. Leaving a collection open for interpretation is another Kawakubo speciality.
Words by Ketlyn Araujo
BALENCIAGA FW26
ClairObscur, Pierpaolo Piccioli's sophomore collection for Balenciaga, aimed to explore darkness and light as the defining forces of humanity. The show revolved around a celebration of community, serving as a reminder of our shared experience with all its wonders and complexities.
Helping Piccioli with his Fall/Winter 2026 mission was filmmaker Sam Levinson, creator of HBO’s Euphoria, who was invited to play a key role this season. Levinson and Piccioli collaborated on the development of the show space, which had Euphoria scenes playing on various screens scattered around the venue.
Going from concept to execution, some of the Balenciaga pieces that were part of the show, such as jumpers, coats and fleeces, carried Euphoria prints and motifs. “In the end, we are both creating a Fresco of Humanity, using the artistic technique of clair-obscur with love as a goal,” Piccioli said of Levinson in the press release, one that emphasised Balenciaga’s desire to keep its proximity with pop and celebrity cultures.
From hoodies and capes to embellished gowns, black pieces were far from missing this season. Quite the opposite, the majority of the looks were all black, alluding to the season's “light and darkness” motto. A few phosphorescent items, embodying the idea of radiance that emerges from the shadows, were carefully highlighted, including two orange pieces, an electric pink coat, and a set of glossy red leather skirt and jacket that happened to be an audience top choice, worn by Alex Consani.
Still experimenting and finding his own language at Balenciaga, Piccioli also used elements inspired by his predecessors. Some of the shapes presented, for example, resembled the couture works of Cristóbal Balenciaga, especially the ones that focused on weightlessness through silhouette and fabric choices. High collars, hoods, and sportswear references were a clear nod to Demna’s tenure at the label, as were the prevalence of a moody atmosphere and the darker colour choices.
Cocooning shapes, one of the house's main codes throughout its history, were seen on wool coats and jackets. Cutouts and draping details led the way in eveningwear and light, long dresses, often styled with leather opera gloves, a seasonal favourite accessory for multiple labels.
This was also Piccioli’s first time designing menswear for Balenciaga, building a male wardrobe laser-focused on outerwear and slouchy trouser silhouettes. Key materials, for both men’s and womenswear, varied from leather and cashmere to silk and embroidered sequins. Championing ideas of both individual and collective power, the casting was a big highlight of the show, marked by a truly diverse cohort of models in terms of both body type and age range.
Words by Ketlyn Araujo
