And at Copenhagen Fashion Week SS27, the streets delivered.

Outside the shows, fashion’s coolest crowd descended on the Danish capital in outfits that seemed to reject the idea that good taste has to be terribly serious. There were clashing prints, flashes of turquoise, romantic lace, sporty shorts, sequins before sunset and enough scarves to make you reconsider every silk square currently abandoned at the back of your wardrobe.

The message?

The era of being afraid of your clothes might finally be over.

SCANDI MINIMALISM HAS LEFT THE CHAT

For years, “Scandinavian style” became internet shorthand for immaculate neutrals, oversized tailoring and the sort of wardrobe where cream, oatmeal and slightly darker oatmeal counted as three different colours.

Copenhagen clearly didn’t get the memo.

The SS27 street-style set embraced a far more expressive side of Nordic dressing, mixing pared-back staples with colour, texture and deliberately unexpected combinations.

A glittering skirt with a sporty jacket? Absolutely.

Lace with denim? Why not.

Athletic shorts with heels? Apparently, yes.

Prints weren’t politely separated either. Florals met animal print, stripes appeared everywhere and outfits frequently looked better because the individual pieces weren’t supposed to belong together.

That tension is precisely what makes Copenhagen style so compelling.

Nothing feels too precious.

TURQUOISE IS HAVING A MOMENT

Every fashion week eventually crowns a colour, whether it means to or not.

Copenhagen’s contender? Turquoise.

The saturated blue-green shade appeared across clothes and accessories, injecting colour into otherwise understated looks and providing a refreshing alternative to the predictable neutrals that have dominated wardrobes for seasons.

Elsewhere, mustard yellow and vivid colour combinations continued the mood.

The takeaway isn’t necessarily to dress head-to-toe like a tropical cocktail. It’s the confidence of introducing one slightly strange colour into an outfit that shouldn’t technically need it.

Copenhagen’s best dressers understand that sometimes the “wrong” colour is exactly what makes the look.

LACE GOT A PERSONALITY TRANSPLANT

Romance also returned to Copenhagen — just not in the way you might expect.

Lace dresses and delicate fabrics appeared across the streets, but instead of leaning completely into femininity, they were interrupted by denim, practical accessories and casual layers.

And that’s where things became interesting.

The Copenhagen approach to romantic dressing is less waiting wistfully in a field of wildflowers and more wearing the lace dress, grabbing your enormous bag and cycling across town.

Pretty, but never precious.

It’s part of a broader fascination with prairie-inspired florals, ruffles and nostalgic femininity that appeared throughout the week — only filtered through Copenhagen’s instinct for making almost anything feel contemporary.

THE FLIP-FLOP REFUSES TO DIE

If Copenhagen has taught us anything, it’s that fashion people will eventually make a case for almost any shoe.

This season, the humble flip-flop continued its unlikely ascent.

Flat versions appeared alongside kitten-heeled interpretations, while wedges and pointed mules offered equally compelling alternatives for navigating the city between shows.

There is something very Copenhagen about taking footwear associated with holidays, corner shops and questionable pedicures and placing it next to beautifully considered tailoring.

It shouldn’t work.

Which, naturally, means it does.

SPORTY, BUT MAKE IT FASHION WEEK

Perhaps the most entertaining styling lesson came from pieces that normally belong nowhere near a front row.

Sport shorts were pulled into fashion territory with belts, heels and elevated separates. Bermuda shorts continued their takeover. Jerseys and athletic references collided with feminine skirts and polished accessories.

The result wasn’t athleisure.

It was something stranger — and much more interesting.

Copenhagen’s street style works because the wearer rarely looks as though she has spent three hours attempting to achieve “effortless” dressing.

A practical piece can remain practical. A glamorous piece doesn’t need an equally glamorous companion.

Sometimes the best thing to wear with something fabulous is something completely ordinary.

MORE IS MORE — BUT MAKE IT COPENHAGEN

Accessories were given equally little opportunity to behave.

Scarves migrated from necks to heads and waists. Fringe and tassels added movement. Shield sunglasses brought a dose of futuristic drama, while sequins escaped their traditional nighttime habitat and sparkled unapologetically under the Scandinavian sun.

Even the bum bag is creeping back into the conversation.

Yes. We said it.

But perhaps the most important accessory spotted in Copenhagen wasn’t a particular shoe, bag or pair of sunglasses.

It was personality.

Because beneath all the micro-trends was a much bigger shift.

THE COOL GIRL DOESN’T WANT A UNIFORM ANYMORE

Fashion has spent the past few years obsessed with categorising women.

Clean girl. Tomato girl. Mob wife. Coastal grandmother. Office siren. Quiet luxury. Old money. New money. Whatever TikTok decides we’re supposed to become next Tuesday.

Copenhagen offers a much more appealing proposition:

What if you simply got dressed?

What if your lace dress could live with sporty sunglasses? What if your sensible shorts deserved heels? What if sequins were appropriate at 11 a.m.? What if your outfit didn’t need to belong to an “aesthetic” at all?

That is what made Copenhagen Fashion Week’s SS27 street style feel particularly refreshing.

It wasn’t minimalism versus maximalism.

It was personal style versus the algorithm.

And personal style won.

After seasons of restraint, perhaps the most exciting fashion statement isn’t buying the next It item.

It’s opening your wardrobe, ignoring the rules and wearing the weird combination you’ve been talking yourself out of.

See you on the streets of Copenhagen.

Forget quiet luxury. The streets of Copenhagen are making a convincing case for colour, chaos and wearing whatever makes you happy.

If Paris is polished, Milan is seductive and London thrives on rebellion, Copenhagen has perfected something altogether harder to manufacture: looking like you’re actually having fun.

And at Copenhagen Fashion Week SS27, the streets delivered.

Outside the shows, fashion’s coolest crowd descended on the Danish capital in outfits that seemed to reject the idea that good taste has to be terribly serious. There were clashing prints, flashes of turquoise, romantic lace, sporty shorts, sequins before sunset and enough scarves to make you reconsider every silk square currently abandoned at the back of your wardrobe.

The message?

The era of being afraid of your clothes might finally be over.

SCANDI MINIMALISM HAS LEFT THE CHAT

For years, “Scandinavian style” became internet shorthand for immaculate neutrals, oversized tailoring and the sort of wardrobe where cream, oatmeal and slightly darker oatmeal counted as three different colours.

Copenhagen clearly didn’t get the memo.

The SS27 street-style set embraced a far more expressive side of Nordic dressing, mixing pared-back staples with colour, texture and deliberately unexpected combinations.

A glittering skirt with a sporty jacket? Absolutely.

Lace with denim? Why not.

Athletic shorts with heels? Apparently, yes.

Prints weren’t politely separated either. Florals met animal print, stripes appeared everywhere and outfits frequently looked better because the individual pieces weren’t supposed to belong together.

That tension is precisely what makes Copenhagen style so compelling.

Nothing feels too precious.

TURQUOISE IS HAVING A MOMENT

Every fashion week eventually crowns a colour, whether it means to or not.

Copenhagen’s contender? Turquoise.

The saturated blue-green shade appeared across clothes and accessories, injecting colour into otherwise understated looks and providing a refreshing alternative to the predictable neutrals that have dominated wardrobes for seasons.

Elsewhere, mustard yellow and vivid colour combinations continued the mood.

The takeaway isn’t necessarily to dress head-to-toe like a tropical cocktail. It’s the confidence of introducing one slightly strange colour into an outfit that shouldn’t technically need it.

Copenhagen’s best dressers understand that sometimes the “wrong” colour is exactly what makes the look.

LACE GOT A PERSONALITY TRANSPLANT

Romance also returned to Copenhagen — just not in the way you might expect.

Lace dresses and delicate fabrics appeared across the streets, but instead of leaning completely into femininity, they were interrupted by denim, practical accessories and casual layers.

And that’s where things became interesting.

The Copenhagen approach to romantic dressing is less waiting wistfully in a field of wildflowers and more wearing the lace dress, grabbing your enormous bag and cycling across town.

Pretty, but never precious.

It’s part of a broader fascination with prairie-inspired florals, ruffles and nostalgic femininity that appeared throughout the week — only filtered through Copenhagen’s instinct for making almost anything feel contemporary.

THE FLIP-FLOP REFUSES TO DIE

If Copenhagen has taught us anything, it’s that fashion people will eventually make a case for almost any shoe.

This season, the humble flip-flop continued its unlikely ascent.

Flat versions appeared alongside kitten-heeled interpretations, while wedges and pointed mules offered equally compelling alternatives for navigating the city between shows.

There is something very Copenhagen about taking footwear associated with holidays, corner shops and questionable pedicures and placing it next to beautifully considered tailoring.

It shouldn’t work.

Which, naturally, means it does.

SPORTY, BUT MAKE IT FASHION WEEK

Perhaps the most entertaining styling lesson came from pieces that normally belong nowhere near a front row.

Sport shorts were pulled into fashion territory with belts, heels and elevated separates. Bermuda shorts continued their takeover. Jerseys and athletic references collided with feminine skirts and polished accessories.

The result wasn’t athleisure.

It was something stranger — and much more interesting.

Copenhagen’s street style works because the wearer rarely looks as though she has spent three hours attempting to achieve “effortless” dressing.

A practical piece can remain practical. A glamorous piece doesn’t need an equally glamorous companion.

Sometimes the best thing to wear with something fabulous is something completely ordinary.

MORE IS MORE — BUT MAKE IT COPENHAGEN

Accessories were given equally little opportunity to behave.

Scarves migrated from necks to heads and waists. Fringe and tassels added movement. Shield sunglasses brought a dose of futuristic drama, while sequins escaped their traditional nighttime habitat and sparkled unapologetically under the Scandinavian sun.

Even the bum bag is creeping back into the conversation.

Yes. We said it.

But perhaps the most important accessory spotted in Copenhagen wasn’t a particular shoe, bag or pair of sunglasses.

It was personality.

Because beneath all the micro-trends was a much bigger shift.

THE COOL GIRL DOESN’T WANT A UNIFORM ANYMORE

Fashion has spent the past few years obsessed with categorising women.

Clean girl. Tomato girl. Mob wife. Coastal grandmother. Office siren. Quiet luxury. Old money. New money. Whatever TikTok decides we’re supposed to become next Tuesday.

Copenhagen offers a much more appealing proposition:

What if you simply got dressed?

What if your lace dress could live with sporty sunglasses? What if your sensible shorts deserved heels? What if sequins were appropriate at 11 a.m.? What if your outfit didn’t need to belong to an “aesthetic” at all?

That is what made Copenhagen Fashion Week’s SS27 street style feel particularly refreshing.

It wasn’t minimalism versus maximalism.

It was personal style versus the algorithm.

And personal style won.

After seasons of restraint, perhaps the most exciting fashion statement isn’t buying the next It item.

It’s opening your wardrobe, ignoring the rules and wearing the weird combination you’ve been talking yourself out of.

See you on the streets of Copenhagen.

The post Forget quiet luxury. The streets of Copenhagen are making a convincing case for colour, chaos and wearing whatever makes you happy. appeared first on Voir Fashion.

When temperatures climb and the city begins to feel like an oven, Saint Laurent offers a different kind of forecast. Respiro—Italian for “breath”—is Anthony Vaccarello’s latest summer campaign, inviting us to slow down, exhale and disappear into the effortless glamour of the Mediterranean. Shot by South African photographer Henrik Purienne, the campaign feels less like a fashion advertisement and more like a hazy holiday remembered through sun-faded film.

Set against the rocky coastline of the South of France, Respiro unfolds through moments rather than poses. Models Vittoria Ceretti, Mona Tougaard, Loli Bahia, SJ and Jenn du Puy drift between the sea and sun-drenched cliffs, lounging on pebbled beaches, carrying leopard-print swim rings, balancing surfboards and slipping into raffia accessories as if they had packed only the essentials for an endless Riviera escape.

Purienne’s signature analogue aesthetic is central to the campaign’s appeal. Grainy textures, golden-hour light and spontaneous compositions blur the line between editorial photography and personal holiday snapshots. Rather than polished perfection, the images embrace movement, heat and intimacy—qualities that have made the photographer one of fashion’s most recognisable visual storytellers.

The wardrobe reflects that same understated confidence. Vaccarello pares back summer dressing to its essentials: breezy silhouettes, barely-there dresses, raffia interpretations of the House’s iconic Panier and Loulou bags, oversized acetate sunglasses and lightweight layers that feel designed for late afternoons by the sea. The styling never appears overworked, yet every look carries the sharp precision synonymous with Saint Laurent.

Beyond fashion, Respiro expands the Saint Laurent universe through Rive Droite, the House’s lifestyle platform. Alongside ready-to-wear, the campaign introduces exclusive summer objects, including collaborations with Wilson, handcrafted Jitensha bicycles and Fieldbar coolers—transforming luxury into a complete holiday state of mind rather than simply a wardrobe.

At a time when Europe is experiencing another intense heatwave, Respiro feels especially timely. The campaign doesn’t simply sell summer dressing—it captures the universal desire to escape. Whether that’s diving into the Mediterranean, switching off for the weekend or simply imagining yourself somewhere far cooler, Saint Laurent delivers a visual fantasy that feels impossible to resist.

Sometimes the best summer destination isn’t on a map—it’s inside a campaign.

The post Saint Laurent’s Respiro Is the Summer Escape We All Need appeared first on Voir Fashion.

Victoria’s Secret brings back the push-up bra with Candice Swanepoel, Anok Yai, Imaan Hammam, Abby Champion and Paloma Elsesser. But this isn’t just lingerie nostalgia. Fashion is falling for overt glamour again.

For a while there, fashion wanted us to pretend we hadn’t tried.

The perfect white tank. The invisible bra. Barely-there makeup. Undone hair that required several products to look appropriately undone. Even sexiness became quieter — less bombshell, more nonchalant.

Well, somebody found the push-up bra.

And naturally, it was Victoria’s Secret.

The lingerie giant is revisiting one of the silhouettes that defined its cultural dominance with its new Very Sexy campaign, starring Candice Swanepoel, Anok Yai, Imaan Hammam, Abby Champion and Paloma Elsesser.

Shot against the cinematic backdrop of Rome, the campaign feels like an unapologetic return to something fashion has spent the past few years cautiously rediscovering:

Glamour.

Not whispering. Not hiding. And definitely not pretending you woke up like this.

BOOBS ARE BACK. YES, WE SAID IT.

Fashion’s relationship with the female body has always moved in cycles.

One decade celebrates cleavage; the next hides it beneath oversized tailoring. Bras become increasingly engineered, then disappear beneath bralettes. We go from bodycon to quiet luxury and somehow convince ourselves each revolution will last forever.

It never does.

Now the pendulum appears to be swinging towards a more deliberately constructed femininity.

Corsets have escaped the costume department. Lingerie is being worn as clothing. Lace is appearing everywhere. Y2K glamour continues to infiltrate wardrobes, and dressing up — properly, extravagantly dressing up — feels exciting again.

Enter the push-up bra.

Victoria’s Secret’s new Low Cut Push-Up Bra takes the familiar formula and pushes it lower, with a plunging neckline and Memory Foam padding designed to create a medium lift of up to one cup size.

But the interesting part is what happens outside the underwear drawer.

The same lift technology moves into corset tops, camisoles, bodysuits and slip dresses, blurring the increasingly irrelevant boundary between lingerie and ready-to-wear.

The bra isn’t simply going underneath the outfit anymore.

It is the outfit.

THE RETURN OF THE VICTORIA’S SECRET BOMBSHELL

Of course, nobody understands the visual language of the bombshell quite like Victoria’s Secret.

The brand spent decades turning it into an archetype: glossy hair, impossible lingerie, heels, wings and the kind of confidence that entered a room several seconds before you did.

Candice Swanepoel’s presence in the new campaign deliberately connects that history with the present.

But she isn’t alone.

Alongside Swanepoel are Anok Yai, Imaan Hammam, Abby Champion and Paloma Elsesser — a cast that makes this version of the Victoria’s Secret woman feel considerably broader than the rigid fantasy that once defined the brand.

It matters because the bombshell itself is being renegotiated.

Maybe she doesn’t have one body.

Maybe she doesn’t have one aesthetic.

Maybe “sexy” works better when women get to decide what it looks like.

IF YOU’RE GOING TO DO Y2K, COMMIT

Victoria’s Secret isn’t being subtle about the nostalgia.

Its bestselling Bombshell Push-Up Bra has been turned up accordingly with rhinestone straps, bows and logo embellishments — precisely the sort of deliciously excessive details that would have made perfect sense beside a diamanté-encrusted flip phone twenty years ago.

And suddenly, they make sense again.

Fashion’s Y2K obsession has moved beyond low-rise jeans and tiny sunglasses into something more interesting: the return of performed glamour.

We’re seeing clothes that acknowledge the pleasure of getting ready.

The going-out top.

The ridiculous shoe.

The tiny bag that carries absolutely nothing.

The dress requiring specific underwear, strategic tape and possibly assistance from a close friend.

After years dominated by stealth wealth, beige minimalism and expensive clothes designed to announce how little you supposedly care about fashion, overt fabulousness feels almost rebellious.

Sometimes you want the simple white T-shirt.

Sometimes you want rhinestones on your bra straps.

Women contain multitudes.

THE NEW BOMBSHELL DOESN’T NEED PERMISSION

There is, however, an important difference between resurrecting an old beauty ideal and reclaiming the pleasure associated with it.

The push-up bra has baggage.

For generations of women, bras were marketed around correcting, enhancing, lifting and reshaping bodies towards whatever silhouette happened to be considered desirable at the time.

Which makes its comeback interesting.

Because the most compelling interpretation of the push-up revival isn’t that women suddenly need bigger-looking breasts again.

It’s that after years of fashion dictating that sophisticated women should aspire to restraint, there’s pleasure in choosing excess simply because you want it.

Wear the bralette.

Go without one entirely.

Or put on the most outrageously engineered push-up bra known to humanity.

The point is choice.

Perhaps that’s what makes Victoria’s Secret’s latest chapter feel more culturally relevant than a straightforward nostalgia trip.

The brand isn’t merely bringing back a bra.

It’s arriving at precisely the moment fashion is remembering that femininity doesn’t have to be quiet to be modern.

The rhinestones are back.

The corsets are back.

The cleavage is back.

And the bombshell?

She never really left.

The post THE BOMBSHELL IS BACK — AND SHE’S DONE PRETENDING NOT TO TRY appeared first on Voir Fashion.

The piece, delicate and sheer, felt closer to lingerie than a traditional top. Styled with low-rise bottoms and minimal accessories, the look was equal parts effortless and intentional. Within hours, it was everywhere—across social feeds, trend reports, and moodboards shaping what summer 2026 will look like.

The Look That Everyone’s Talking About

Kylie’s outfit tapped into multiple trends at once: sheer dressing, lingerie as outerwear, Y2K silhouettes, and archival fashion. But what made it stand out wasn’t just trend alignment—it was restraint.

There was no overstyling, no heavy layering. Just one strong, well-chosen piece worn with confidence.

That balance is what made the look feel current. It wasn’t trying too hard, and that’s exactly why it worked.

Why Vintage Chanel Still Hits

There’s a reason vintage Chanel continues to dominate moments like this. It carries cultural weight—recognizable, but never predictable.

Wearing archival fashion signals more than just style. It reflects a shift in how fashion is consumed and understood:

Curation over consumption
Longevity over trends
Personal taste over mass appeal

In Kylie’s case, the look didn’t feel like nostalgia. It felt like a reintroduction—bringing classic, ultra-feminine pieces into a more stripped-back, modern context.

Beauty: Keeping It Soft

Instead of competing with the outfit, the beauty look stayed understated. Glowy skin, soft lips, and barely-there eye makeup kept the focus exactly where it needed to be.

Hair followed the same direction—natural, slightly undone, and effortless.

It’s a styling shift that’s becoming more visible: letting the outfit lead, while beauty enhances rather than dominates.

Kylie Jenner didn’t just wear a viral outfit—she highlighted where fashion is heading.

Coachella 2026 is confirming a broader shift:

Statement pieces over full looks
Vintage as a new form of luxury
Subtle sensuality over obvious glamour

“Barely-there” fashion isn’t just about showing skin. It’s about intention—choosing pieces that feel personal, directional, and considered.

And if Coachella is any indication, this moment won’t stay in the desert for long.

The post Kylie Jenner Just Rewrote Coachella Style in Vintage Chanel appeared first on Voir Fashion.

Fronted by Margot Robbie and directed by Michel Gondry, the campaign is built on repetition. Set
against a stylised Parisian street recreated on a soundstage, Robbie moves through the same
sequence again and again. With each loop, she multiplies—versions of herself appearing,
overlapping, occupying the same space in slightly altered rhythms.
It is a direct reference to Gondry’s Come Into My World video for Kylie Minogue, but here the
mechanics are stripped back, controlled, and redirected toward a singular focus: the bag.
The Chanel 25 remains constant throughout. While Robbie’s movement repeats and her presence
duplicates, the bag anchors the frame. It appears in different iterations—variations in texture, scale,
and finish—but its role does not change. It is not styled to transform the look. It exists as the one
fixed element within an otherwise shifting environment.

This is where the campaign departs from traditional luxury storytelling. There is no progression, no
climax, no clear beginning or end. Instead, Chanel builds its narrative through accumulation. The
more the image repeats, the more it embeds itself. The viewer is not guided through a story, but
through a rhythm.

Watch Here

The styling reflects this restraint. Robbie is dressed in a mix of casual and coded Chanel—denim,
knits, understated tailoring—grounding the surreal structure of the film in something recognisable.
There is no attempt to overwhelm the frame. The clothes remain secondary, supporting the
movement rather than interrupting it.
Even the setting resists excess. Though constructed, the street feels deliberately contained—almost
too perfect, too controlled. It reinforces the sense that everything within the frame is operating according to a precise system, one that the viewer gradually becomes aware of as the loops
continue.

The campaign’s most self-aware moment arrives quietly, with a cameo from Kylie Minogue herself.
It is brief, almost incidental, but it completes the reference. The original and its reinterpretation
exist side by side, collapsing time into a single visual gesture.
What Chanel achieves here is not reinvention, but recalibration. Rather than introducing a new
narrative, the house leans into something more structural: the power of repetition as a tool of desire.
In a landscape where campaigns often rely on spectacle or conceptual excess, this approach feels
almost counterintuitive. Nothing dramatic happens. Nothing needs to.
The image repeats. The bag remains. And slowly, almost imperceptibly, it becomes the only thing
that matters

£ 4870

CHANEL 25 bag

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£ £5,220

CHANEL 25 bag

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£ 5,100

CHANEL 25 Small Handbag

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The post Chanel’s Latest Campaign Turns Repetition Into Desire appeared first on Voir Fashion.

Rather than stage a sombre memorial, Michele approached the moment with the kind of layered
romanticism that has come to define his work. The collection unfolded as a dialogue between
reverence and disruption, heritage and imagination.

Rome as Stage
Palazzo Barberini, with its frescoed ceilings and monumental architecture, provided a setting that
felt almost operatic. Michele has always been a designer fascinated by history, and the location
allowed him to frame the collection within Rome’s visual mythology—where art, cinema and
aristocratic glamour have long intersected.
The palace’s ornate interior echoed the richness of the clothes themselves. Velvet, lace and
jewel-tone fabrics caught the light of the historic rooms, reinforcing the sense that the show was as
much an atmospheric experience as a fashion presentation.

Silhouettes: Between Discipline and Excess
Michele’s signature maximalism was immediately evident. Layers of fabric, elaborate embroidery
and dramatic draping dominated the runway. Yet beneath the decoration there was a surprising
structural clarity.
Coats appeared elongated and precise, their lines controlled despite the weight of embellishment.
Dresses fell into carefully managed pleats, sometimes paired with lace hosiery that introduced a
subtle sensuality.

The silhouettes carried echoes of classical statuary—long vertical lines that allowed the garments
to move with a quiet theatricality.
Where Michele’s earlier work often celebrated visual chaos, this collection suggested a designer
increasingly conscious of Valentino’s historic elegance.

Colour: The Language of Roman Luxury
Colour functioned almost like a narrative device throughout the show. Deep emeralds, sapphires
and burgundy tones appeared repeatedly, creating a palette reminiscent of Renaissance painting.
Velvet gowns in saturated jewel tones moved against darker wool coats and layered silks,
producing contrasts that felt almost painterly.
And then, inevitably, came the moment everyone was waiting for: Rosso Valentino. The house’s
iconic shade of red appeared in the finale gown, a gesture that read unmistakably as homage to the
founder whose name remains synonymous with the colour.

Accessories and Ornament
Accessories amplified the show’s baroque atmosphere. Oversized jewellery, bows and intricate
embellishments appeared throughout the collection, reinforcing Michele’s fascination with
decoration as storytelling.
Yet the styling also included playful touches—layered necklaces, textured tights, and unexpected
pairings that softened the drama of the garments.
The effect hovered somewhere between couture elegance and theatrical costume, a tension
Michele seems particularly drawn to.

The iconic Valentino Rockstud made a striking return on the Valentino Fall/Winter 2026 runway, reminding fashion insiders why the design became one of the house’s most recognisable signatures. First introduced under Pierpaolo Piccioli and Maria Grazia Chiuri, the pyramid studs once again appeared across accessories and footwear, adding an edge of modern glamour. The revival felt both nostalgic and fresh, proving that the Rockstud remains a timeless emblem of Valentino’s bold yet elegant identity.

A House After Valentino
The emotional context surrounding the show inevitably shaped its reception. As the first runway
presentation since Valentino Garavani’s death, the collection carried the weight of history.
For decades, Valentino himself defined the house’s aesthetic—refined glamour, immaculate
tailoring, and the unmistakable presence of Rosso Valentino.
Michele’s approach does not attempt to replicate that legacy directly. Instead, he treats it as a
foundation on which to build something new.
The Fall/Winter 2026 show suggested a house in conversation with its past rather than constrained
by it. The codes remain—romanticism, opulence, the colour red—but they are filtered through
Michele’s own visual imagination.

If the founder’s era was defined by disciplined elegance, Michele’s Valentino appears poised to
explore something more layered: a world where Rome’s history, cinema and art collide with
contemporary fashion.
And in the shadow of Valentino Garavani’s passing, that conversation between past and future
feels more poignant than ever.

The post Valentino Fall/Winter 2026: Meet the New Valentino Woman appeared first on Voir Fashion.

Over the past few years, the once-controversial trouser has quietly become a staple among fashion’s most influential dressers. From off-duty model moments to polished city looks, capris have been embraced by a new generation of style leaders including Bella Hadid, Kendall Jenner, Emily Ratajkowski and Hailey Bieber. Their effortless styling has helped transform the silhouette from early-2000s nostalgia into a modern fashion essential.

What makes capri pants work right now is their versatility. Designers and fashion insiders alike are embracing sleeker, more tailored versions that sit just below the knee or mid-calf, often styled with sharp blazers, oversized shirts, or minimal knitwear. The result feels polished yet relaxed — exactly the balance that defines contemporary spring dressing.

Street style has also played a major role in the trend’s longevity. Fashion girls across New York, Paris and Copenhagen have been pairing capris with ballet flats, kitten heels, and slim sneakers, creating silhouettes that feel both nostalgic and refreshingly modern.

For Spring 2026, the look continues to evolve. Black stretch capris remain the most popular choice, but we’re also seeing tailored versions in suiting fabrics, soft neutrals, and even denim entering the conversation. Styled with structured jackets or simple tanks, the piece easily transitions from day to evening.

In a season where practicality and polish go hand in hand, capri pants offer a perfect middle ground between tailoring and casualwear. And if the fashion crowd — and its favourite It-girls — have anything to say about it, this once-debated silhouette is officially here to stay.

Shop the Look

£ 29.50

M&S Slim Fit Capri Trousers

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£ 5,100

CHANEL 25 Small Handbag

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£ 229

Coach Short Trench

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£ 99

Victoria Beckham Shrunken Fit T-Shirt In White

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£ 925

Miu Miu Brushed leather sling backs with buckles

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Words By Monica Blanco

The post The Capri Pants Trend Continues: Why They’re Still a Spring 2026 Favourite appeared first on Voir Fashion.

The Mugler Power Suit
One of the most striking looks came in Milan, where Hadid stepped out wearing a sculptural blush
suit from Mugler. The sharply tailored jacket featured a cinched waist and structured shoulders,
paired with a fluid midi skirt that moved dramatically as she walked.
The look carried all the signatures of the house founded by Thierry Mugler: architectural tailoring, a
hyper-feminine silhouette, and subtle sensuality. Bella completed the outfit with pointed ivory
pumps and softly waved hair styled in a vintage supermodel blowout.
The result felt almost cinematic — part 1990s couture, part modern street moment.
Parisian Off-Duty: The Bomber Jacket Formula

Arriving at shows in Paris, Hadid leaned into a uniform she has perfected over the past year:
elevated casualwear.
One standout outfit paired:
• a cropped beige bomber jacket
• a fitted white T-shirt
• high-waisted ivory trousers
• a black leather belt
• square sunglasses

The minimal palette allowed the proportions to do the talking. The oversized bomber contrasted
with the tailored trousers, creating that perfectly relaxed silhouette that has become synonymous
with Hadid’s off-duty wardrobe.
The look was finished with sleek black loafers and understated gold jewelry.

The Leather Slip Dress Moment
For an evening appearance, Hadid turned to a darker palette, stepping out in a fluid black slip dress
layered under a leather jacket.
The dress featured delicate draping and a subtle V-neckline, while the oversized leather jacket gave
the look a slightly rebellious edge. Narrow cat-eye sunglasses, diamond studs and pointed black
heels completed the ensemble.
It was a masterclass in restrained styling — proof that sometimes the most powerful fashion
statement is simply impeccable proportions and impeccable fabric.

Vintage Dior in Paris
One of the most talked-about looks from the week was Hadid’s appearance in a mint-green archival
gown from Dior Spring/Summer 1998.
The dress featured cascading fringe panels that created movement with every step. Styled by
celebrity stylist Mimi Cuttrell, the archival piece perfectly captured the return of late-90s glamour
currently dominating fashion.
Hadid paired the dress with minimal accessories and soft, brushed waves — allowing the archival
piece to take centre stage.

The Y2K Denim Revival
Bella also tapped into one of the biggest trends of the moment: full denim looks.
In one appearance she wore a fitted light-wash denim set — a zip-front jacket and matching jeans
— layered over a white turtleneck. Narrow red-tinted sunglasses added a distinctly early-2000s
touch, reinforcing Hadid’s role in the revival of Y2K aesthetics.
The silhouette echoed the era when supermodels like Kate Moss and Gisele Bündchen dominated
both runway and street style.

The Polka Dot Evening Look
Another standout look featured a halter-neck polka dot top paired with black leather trousers. The
outfit blended vintage femininity with downtown edge — a styling formula Hadid often gravitates
toward.
Rectangular eyeglasses, pointed pumps and glossy straight hair gave the look a slightly intellectual
twist, demonstrating her ability to move between aesthetics without losing coherence.

The Accessories That Defined the Week
Across the week, Hadid relied on a consistent set of accessories that grounded each outfit:
• Slim 90s-inspired sunglasses
• Pointed pumps and sleek loafers
• Structured leather bags, including a glossy black tote from Prada
• Minimal diamond jewellery
These details helped unify wildly different looks — from archival couture to off-duty denim.
Why Bella Hadid Still Defines Street Style

What makes Bella Hadid’s fashion week wardrobe so influential isn’t simply the brands she wears
— it’s the balance between accessibility and high fashion.
She mixes archival runway pieces with everyday staples, structured tailoring with casual basics, and
vintage references with contemporary styling.
In doing so, Hadid continues to shape how fashion week looks beyond the runway.
While designers present the future on the catwalk, Bella Hadid — walking between shows in Milan
and Paris — shows how that future will actually be worn.

Bella Inspired Wardrobe

£ 220

Off-White Arthur Sunglasses

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£ 6239

Chanel 1992 Classic Flap shoulder bag

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£ 117

Bardot Slip Dress

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£ 2342.03

ALEXANDER MCQUEEN Cropped leather bomber jacket

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£ 325

Balenciaga XS loop earrings

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£ 294

ALESSANDRA RICH Studded leather belt

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£ 92

Abercrombie Vegan Skinny Leather Pant

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The post Bella Hadid’s Milan–Paris Fashion Week Wardrobe Was a Masterclass in Off-Duty Supermodel Style appeared first on Voir Fashion.

Staged against the dramatic backdrop of Paris, the runway delivered a vision of confident elegance. Vaccarello opened the show with a series of oversized power suits—structured silhouettes in deep charcoal, chocolate brown, and inky black that referenced the brand’s historic tailoring legacy. The message was clear from the start: power dressing is back, but this time with a modern, seductive edge.

Watch the Show

A Tribute to an Icon

Central to the collection was the revival of Le Smoking, Yves Saint Laurent’s legendary tuxedo suit introduced in the 1960s that revolutionised womenswear. Vaccarello’s interpretation honoured the heritage of the house while infusing it with contemporary attitude, presenting sleek tuxedo jackets paired with pencil skirts, lace bodysuits, and dramatic outerwear.

The reinterpretation felt both nostalgic and strikingly current. Broad shoulders, sculptural tailoring, and sharply cut silhouettes echoed the glamour of the 1980s, a decade that continues to inspire Vaccarello’s recent collections. Yet the styling remained minimal, allowing the precision of the tailoring to take centre stage.

Sensuality Meets Structure

While the show opened with commanding tailoring, the collection gradually revealed a softer, more provocative dimension. Lace evening jackets worn open over sheer bodysuits, plunging necklines, and delicate fabrics created a dialogue between strength and sensuality. This balance—power and vulnerability—has become a defining signature of Vaccarello’s Saint Laurent.

Accessories played an equally important role. Oversized aviator sunglasses, crystal statement earrings, glossy belts, and antique-inspired brooches added drama without overwhelming the streamlined silhouettes. The brooch, in particular, emerged as a key styling element, fastening lace jackets and hinting at a revival of vintage jewellery trends.

The Celebrity Factor

As expected, the show drew an A-list crowd, reinforcing Saint Laurent’s status as a cultural powerhouse. Figures from fashion, film, and music filled the front row, while models delivered a runway moment that blended glamour with attitude. The presence of celebrities and returning runway stars further amplified the spectacle surrounding the collection.

The Future of Saint Laurent

More than a seasonal collection, the show felt like a statement about the evolution of modern elegance. By revisiting the house’s most iconic pieces while pushing them into contemporary territory, Vaccarello demonstrated how heritage can coexist with innovation.

At a time when fashion is constantly redefining ideas of femininity and power, Saint Laurent’s latest runway offering reminds us that true style lies in confidence, precision, and a touch of daring.

With sharp tailoring, sensual silhouettes, and a renewed focus on the legendary tuxedo suit, Saint Laurent’s Fall/Winter 2026 collection confirms that power dressing isn’t just back—it never really left.

Mariana Blanco

The post Saint Laurent Rewrites Power Dressing at Paris Fashion Week appeared first on Voir Fashion.

The result was a collection that felt less about spectacle and more about construction — a careful
rebuilding of Chanel’s visual language.

The Architecture of Tweed
The show opened with what might be described as the “foundation layer” of the Chanel universe:
tweed. But these were not the nostalgic, prim suits that often define the house’s commercial identity.
Blazy treated tweed almost like a sculptural material.
Jackets were cut with sharper shoulders and longer lines, paired with skirts that dropped slightly
below the knee. The proportions created a subtle shift in silhouette — elongating the body rather
than emphasising the waist.

There was something almost Bauhaus in the discipline of these early looks. The garments felt
reduced to their essential structure: line, texture, proportion. It echoed the Bauhaus principle that
design should reveal the integrity of materials rather than disguise them.
At Chanel, tweed has always been the ultimate material truth.

A Dialogue With the 1920s
As the show progressed, the silhouettes loosened. Drop-waist dresses appeared, and the tailoring
softened into garments that moved more freely around the body.
The effect was unmistakably reminiscent of 1920s Parisian modernism — the moment when artists
like Tamara de Lempicka and Fernand Léger began translating the speed and geometry of modern
life into visual form.
In particular, the way the dresses skimmed the hips before falling into longer lines evoked
Lempicka’s portraits of modern women: sleek, elongated, slightly mechanical yet unmistakably
glamorous.

Blazy seemed less interested in recreating the decade than in referencing its spirit — a period when
fashion, art and architecture were redefining femininity simultaneously.
Surface and Texture
If the silhouettes spoke to modernism, the textiles spoke to experimentation. Alongside traditional
tweeds were fabrics that appeared almost synthetic in their finish: metallic mesh, silicone-woven

textures and glossy knits. These materials created a contrast between the heritage of the house and
something far more futuristic.
The effect recalled the material explorations of Anni Albers, the Bauhaus textile artist whose work
treated fabric not merely as decoration but as a structural element. In several looks, the fabrics
seemed engineered rather than woven — as though Chanel were testing the limits of what a couture
material can be.
This tension between craft and technology gave the collection its intellectual core.
Bags: The Language of Objects

The accessories continued this conversation. The classic Chanel flap bag appeared repeatedly, but
its proportions had been subtly adjusted. Straps were lengthened, bodies softened, and the quilting
occasionally appeared slightly flattened, as if the bag had been worn for decades.
It felt like an object that had aged — intentionally. There were also oversized quilted totes that
introduced a more pragmatic note to the collection. Their scale contrasted with the delicacy of the
garments, suggesting the reality of modern life intruding gently into the Chanel universe.
And then there was the Chanel 25 bag, a new silhouette that merges the casual shape of a tote with
the house’s classic diamond quilting. It is less rigid than the traditional flap and reads as a
contemporary evolution rather than a replacement. Evening bags, meanwhile, were treated almost
as sculpture: small top-handle shapes in metallic finishes and jewel tones that resembled decorative
objects more than functional accessories.

Shoes and Ornament
Footwear remained close to the Chanel canon. The house’s signature two-tone shoes appeared
throughout the show, reinterpreted as slingbacks and pumps with slightly elongated toes.But the
ornamentation offered the real intrigue. Pearls appeared not merely as jewellery but as
embellishment woven directly into garments. Camellia motifs surfaced in appliqués along hems and
lapels, while chains — a long-standing Chanel motif — threaded through jackets and skirts.
These details echoed the surrealist tradition that once fascinated Elsa Schiaparelli, a reminder that
Chanel’s visual vocabulary has always existed within the broader artistic conversations of Paris.
Bhavitha Mandava: A New Face of the House

The show also marked an important cultural moment for the brand with the appointment of
Bhavitha Mandava as a new Chanel ambassador. Mandava, who previously made history as the
first Indian model to open a Chanel runway show, represents a shift in how the house is positioning
itself globally. Her presence at the show underscored the brand’s growing engagement with a wider
cultural landscape — one that extends far beyond Paris.In many ways, her appointment mirrors the
ethos of the collection itself: respectful of history, but aware that the future must expand its frame.

The Chanel Question
Every Chanel collection inevitably raises the same question: how far can the house move without
losing itself? Blazy’s answer appears to be measured evolution. The codes remain — tweed, pearls,
quilting, camellias — but they are stretched, reconsidered, and occasionally placed in unfamiliar
contexts. Rather than rewriting the Chanel language, he seems interested in adjusting its grammar.
And in a season where many brands chase immediacy, that kind of patience feels almost radical.
Chanel has always been about continuity. This show suggested that continuity, when treated with
intelligence, can still produce something new.

Watch the show here

Words by Fabiana Gutierrez

The post Everything You Need To Know About Chanel Fall/Winter 2026 Runway appeared first on Voir Fashion.