There are two types of people in fashion.

Those who believe you should remove one accessory before leaving the house.

And Betsey Johnson.

At 84 years old, the legendary American designer is still doing what she has always done best: refusing to tone it down.

And this time, she has found the perfect partner in crime.

Paris Hilton.

The two maximalist icons have joined forces for a new Betsey Johnson x Paris Hilton collection, bringing together enough pink, rhinestones, bows, leopard print and deliciously unnecessary glamour to send quiet luxury running for cover.

Launching on Betsey Johnson’s 84th birthday, the collaboration feels particularly fitting.

Because while fashion has spent the last few years rediscovering the joy of dressing up, Betsey and Paris never stopped.

WHY DO LESS?

“Why do less when you can do more?”

It’s a Betsey Johnson philosophy that could just as easily have come from Paris Hilton.

For decades, Johnson has built a universe where femininity isn’t something to intellectualise or restrain. It can be loud. Girlish. Sexy. Camp. Punk. Covered in rhinestones.

Preferably all at once.

Paris operates with a remarkably similar philosophy.

Long before Y2K became an aesthetic searchable on Pinterest, Hilton was living it: diamanté accessories, tiny dresses, pink everything, enormous sunglasses and outfits designed with absolutely no intention of disappearing into a room.

Together, they make almost suspiciously perfect sense.

Their new collection dives enthusiastically into both women’s visual languages, spanning shoes, bags, jewellery and clothing with plenty of references to Johnson’s archives.

There are towering heels. Rhinestone-covered boots. Leopard print. Tulle. Bows. Bridal touches. And, naturally, a handbag emblazoned with Paris Hilton’s immortal contribution to the English language:

“That’s Hot.”

Subtle?

Never heard of her.

BEFORE IT WAS AN AESTHETIC, THEY WERE ACTUALLY THERE

Here’s where things get interesting.

Fashion has spent the last few years enthusiastically resurrecting many of the things women like Betsey Johnson and Paris Hilton were once dismissed for loving.

Bows are everywhere.

Leopard print is back.

Rhinestones have escaped the fancy-dress drawer.

Hyper-femininity has become fashionable again.

The 2000s are being dissected, reblogged, recreated and sold to a generation who were either children when Paris ruled the paparazzi pages or weren’t born yet.

But Betsey and Paris don’t need the mood board.

They are the source material.

Paris has spoken about growing up attending Johnson’s fashion shows and wearing her designs, while Johnson watched Hilton take her pieces and transform them through her own unmistakable style.

Years later, the relationship has come full circle.

They aren’t referencing the women who defined this aesthetic.

They are the women who defined it.

WHEN “TACKY” BECOMES FASHIONABLE

There is something satisfying about watching aesthetics once dismissed as excessive return with new cultural currency.

Particularly when those aesthetics were overwhelmingly associated with women.

Pink was childish.

Rhinestones were tacky.

Leopard was too much.

Being overtly feminine meant you couldn’t possibly be serious.

And enjoying fashion simply because it made you feel fabulous apparently required an explanation.

Betsey Johnson never seemed particularly interested in giving one.

Neither did Paris.

That refusal now feels remarkably contemporary.

Paris has said that Betsey taught her fashion didn’t need to be serious to be powerful — a sentiment that might as well be the manifesto for their collaboration.

Because somewhere along the way, fashion became very concerned with looking tasteful.

Minimal wardrobes. Discreet logos. Perfectly tailored neutrals. Expensive handbags recognisable only to people who know exactly how expensive they are.

Nothing wrong with any of it.

But sometimes you don’t want beige cashmere.

Sometimes you want a rhinestone-covered boot.

THE ORIGINAL MAXIMALISTS ARE HAVING THE LAST LAUGH

What makes the collaboration feel more interesting than another Y2K revival is the generational exchange happening underneath all that glitter.

Betsey Johnson is 84.

Paris Hilton is 45.

Neither woman has aged out of the aesthetic that made her recognisable.

And neither appears particularly interested in doing so.

That’s quietly radical in an industry still obsessed with reinvention — particularly when women reach an age at which they’re expected to become more restrained, sophisticated and, essentially, less visible.

Betsey Johnson’s response?

More sparkle.

Paris Hilton’s?

More pink.

There is something rather wonderful about that.

Style doesn’t have an expiration date. Fun doesn’t become embarrassing when you reach a certain birthday. And growing older doesn’t require slowly draining the colour from your wardrobe.

If anything, maybe the opposite should happen.

GOOD TASTE IS OVERRATED

Perhaps that’s the real lesson of Betsey Johnson and Paris Hilton.

They’ve both understood something fashion occasionally forgets:

Getting dressed is supposed to be fun.

Not every outfit needs to communicate intellectual sophistication. Not every purchase needs to become a timeless investment piece you’ll hand down to your grandchildren.

Sometimes the shoe can simply be ridiculous.

Sometimes the bag can sparkle.

Sometimes you can wear pink because you bloody love pink.

At 84, Betsey Johnson remains gloriously, unmistakably herself.

And alongside Paris Hilton — another woman who turned being underestimated into an extraordinarily successful personal brand — she’s reminding fashion that being “too much” was never really the insult people thought it was.

So wear the leopard.

Add the bow.

Keep the rhinestones.

And if somebody tells you to take one thing off before leaving the house?

Put another one on.

The post 84 YEARS OLD AND STILL TOO MUCH: BETSEY JOHNSON AND PARIS HILTON REFUSE TO TONE IT DOWN 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.

And naturally, what would a football campaign be without a Beckham?
Leading Burberry’s line-up is Romeo Beckham, joined by an all-star cast featuring Rosie Huntington-Whiteley, Neelam Gill, Declan Rice, Leah Williamson, Son Heung-min, Eberechi Eze and Naomi Girma alongside Jason Sudeikis, Jodie Turner-Smith, Stephen Graham and Lucy Punch. Models including Bright Vachirawit, Mika Hashizume and He Cong complete the campaign, creating a cast that moves effortlessly between fashion, sport, music, film, and global celebrity culture.
The casting itself says everything about where Burberry stands today. Heritage faces sit beside contemporary icons. Models mix with athletes. British glamour collides with football culture in a way that feels instinctive rather than forced.

Visually, the campaign embraces a kind of organised chaos. Rain-soaked energy sits beside polished tailoring. Traditional Burberry outerwear is layered with sportswear references, while stadium culture becomes elevated without losing its authenticity. Even the soundtrack — Bloc Party’s Banquet — adds to the unmistakably British atmosphere running throughout the film.
But what makes A Good Sport particularly compelling is that Burberry does not romanticise football from the outside looking in. It understands that football is not simply a sport in Britain — it is a language. A community. A visual identity of its own.

Burberry has always existed close to that conversation, whether intentionally or not. Long before luxury fashion fully embraced football culture, the Burberry check had already become embedded within British street style and terrace culture for generations. This campaign feels like the house reclaiming that history with confidence — not distancing itself from it, but evolving it into something sharper, more self-aware, and culturally current.
And perhaps that is why A Good Sport feels so successful. It is not trying to imitate British culture.
It already belongs to it.

The result is a campaign that feels both nostalgic and modern at once — cinematic without losing humour, luxurious without feeling distant.
With A Good Sport, Burberry is not simply selling fashion.
It is selling British identity itself.
And in doing so, the house has entered a league of its own.

Watch here

The post Burberry’s A Good Sport Has Entered a League of Its Own appeared first on Voir Fashion.

While the moment itself wasn’t rooted in London, the look draws from one of the city’s most exciting fashion voices—Di Petsa, the London-based womenswear label redefining sensuality through an ecofeminist lens.

Di Petsa: Where Craft Meets Concept

Founded in 2019 by Greek designer Dimitra Petsa, Di Petsa is a London-based brand built on the exploration of the relationship between women and water. The label merges traditional craftsmanship—shaped by Petsa’s upbringing alongside her seamstress grandmother—with her academic training in performance design and womenswear at Central Saint Martins.

The result is a distinctive “contemporary goddess aesthetic”: a balance of draped silhouettes, innovative textile development, and interdisciplinary storytelling that spans fashion, performance, and film.

The Signature “Wetlook”

Central to the brand’s identity is the now-iconic “Wetlook” dress—an instantly recognisable design that appears as though fabric is suspended on the body like water. More than an aesthetic, it represents self-acceptance, fluidity, and the natural evolution of the body.

The design has been embraced by a powerful roster of artists and cultural figures, including Bella Hadid, FKA Twigs, Lizzo, Doja Cat, and SZA.

It has also shaped defining fashion moments, most notably in ethereal pregnancy reveals worn by Bella Hadid and Nicki Minaj—transforming the garment into a symbol of creation and transformation.

AW26: A Study in Fluid Power

Zendaya’s AW26 look captures the essence of Di Petsa’s philosophy—fluid, sculptural, and emotionally charged. The drapery moves with intention, echoing water’s natural rhythm while celebrating the body in all its forms.

Di Petsa’s approach to design remains rooted in intimacy and inclusivity, embracing all sizes, gender expressions, and the ever-changing nature of the body. It is fashion that invites connection rather than perfection.

A Growing Global Presence

The brand’s conceptual strength has earned it international recognition, with features in Vogue US, Vogue Paris, i-D, DAZED, and Harper’s Bazaar Singapore. Its nomination for the DAZED100 NextGen Designer in 2021 further cemented its position as a rising force in contemporary fashion.

More Than a Look

Zendaya’s appearance in Di Petsa AW26 is not just a fashion moment—it’s a continuation of a narrative. One that embraces fluid identity, honours craftsmanship, and challenges traditional ideals of beauty.

With Di Petsa, fashion becomes something deeper: a language of the body, shaped by water, movement, and emotion.

The post Zendaya in Di Petsa AW26: The Rise of the Contemporary Goddess 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.

Lady Gaga — Regal in Black Feathers
Lady Gaga led the fashion pack in a dramatic black feathered gown by Matières Fécales. The
mermaid silhouette, high neck and long train gave her a goth-regal air on the red carpet, perfectly
paired with icy platinum-blonde hair styled in a romantic up do and bleached brows. This was a
theatrical fashion moment that felt timeless and stage-ready.

Bad Bunny — Schiaparelli Statement
Bad Bunny made history last night, and there was no more fitting way to do so than in a custom
Schiaparelli tuxedo. His velvet suit featured a corseted waist and a laced-up back, a direct nod to the
house’s surreal symbolism and couture technique. Finished with Cartier jewellery, the look fused
classic tailoring with theatrical precision. In it, Bad Bunny became the first artist to win Best Album
while singing entirely in Spanish – a moment where fashion and cultural significance aligned
seamlessly.

Olivia Dean — Chanel Elegance
Olivia Dean staked a claim for classic glamour in a black-and-white Chanel gown replete with
intricate beading and feather details. The timeless colours and silhouette elevated her presence on
the red carpet with old-Hollywood poise and fashion house savoir-faire.

Sabrina Carpenter — Ethereal Valentino
Sabrina Carpenter appeared in an ethereal Valentino gown adorned with pearls and delicate
detailing, giving her a luminous, red-carpet-ready elegance that balanced youthful glamour with
couture artistry.

Billie Eilish — Deconstructed Tailoring
Billie Eilish fused avant-garde with tailored refinement in a deconstructed ensemble by Hodakova.
Embracing fashion risk with her signature flair, her look played with structure and silhouette in a
way that felt uniquely Eilish – expressive, unexpected and editorial.

Miley Cyrus — Rock-inspired Edge Custom Celine
Miley Cyrus stood out in custom Celine black leather biker jacket punctuated by one of the largest brooches of the night — a bold, rock-slash-glam statement that combined tailoring, metal hardware and personal expression in a way befitting her fearless persona.

Kendrick Lamar — Tailored in Chanel
Kendrick Lamar arrived at the 2026 Grammy Awards in a custom Chanel look that stood out
through precision rather than spectacle. Opting for a sharply tailored black ensemble, the silhouette
was clean and controlled, with a perfectly proportioned jacket and streamlined trousers that
prioritised fit over drama. The choice of fabric, matte and richly textured, read subtle on camera yet
unmistakably luxurious up close, allowing the craftsmanship to do the talking. Minimal accessories
kept the focus on construction and posture, reinforcing a sense of intentional restraint. In a room
dominated by maximalist statements, Kendrick’s look felt deliberate and intelligent – a reminder
that true luxury often operates in quiet confidence rather than excess.

Pharrell Williams — Dapper Yet Distinct
Pharrell brought his signature mix of classic tailoring and playful modernity to the red carpet,
combining a tailored silhouette with expressive hair and accessories. His presence reminded the
night that menswear doesn’t have to be conventional to feel polished.

Teyana Taylor
Teyana Taylor made a commanding style statement on the Grammys carpet in a gravity-defying
gown by Tom Ford. Her choice featured shimmering metallic gold chainmail-inspired fabric that
hugged her silhouette and accented her athletic frame, paired with high-impact jewellery from
Tiffany & Co., including a striking gold chain-link necklace and metallic gold nails that elevated the
whole look. The result was fashion-forward and red-carpet fearless, blending classic glamour with
modern bravado.

Tyla
Tyla turned heads in a vintage Dsquared2 Fall/Winter 2013 gown that felt both nostalgic and utterly
now. The look featured a flowing feather-accented skirt, a deep neckline and—with more than 100
lab-grown Pandora diamonds sparkling throughout—an opulent visual impact that stole attention on arrival.

Words by Fabiana Gutierreza

The post Best Dressed at the 2026 Grammy Awards appeared first on Voir Fashion.

A Prelude of Fluidity: The Opening Look
The show opened with a silhouette that felt like breath made visible: a light, flowing dress
assembled from whisper-thin fabric that seemed to inhale and exhale with the model’s steps. This
moment set the tone for the entire collection – a couture that celebrates movement and emotional
register rather than rigid structure. The simplicity of the cut belied its complexity: this was not
minimalism but emotive restraint, an invocation of form that asks us to lean in rather than be
overwhelmed.

The Bar Jacket Reimagined: Dialogue With Dior’s Archive
The most striking motif was the reinterpretation of the Bar jacket. Dior’s enduring symbol of postwar femininity and structure. Anderson did not preserve it as a museum piece; he subverted it. In
some looks, the jacket appeared with broadened shoulders, exaggerated proportions, or softened
waists that hinted at silhouette without enforcing it. The result was less restoration and more
reinterpretation. A conversation between historical discipline and contemporary ease. These
variations felt like questions: what does authority look like if it no longer constrains? What does
refinement mean when loosened from tradition? And how does couture operate in a moment that
prizes expressive identity over coded uniformity?
Ornament as Narrative Far from decoration, adornment became language throughout the show. Pearls were oversized, not delicate; bows – historically symbols of sweetness – reappeared as architectural punctuation, bold and slightly ironic. Metallic forms surfaced like relics repurposed into symbols of power. What could have been static adornment instead became semantics: each ornamentation conveying agency, intent, and emotional texture.

Ambiguous Bodies One of the most unforgettable threads woven through the collection was how Anderson treated the human form as something in motion: mutable, hybrid, and resonant. Sculptural elements sometimes clipped onto fluid fabrics, as if structure and ephemerality were engaged in perpetual tension. Some silhouettes encased the body in dramatic capes or extended planes that felt architectural, not merely decorative. Others gently revealed curves in unexpected ways. The tension between concealment and suggestion became deeply expressive.

The Closing Statement: Mona Tougaard as Bridal Myth
And then…the finale. The closing look was delivered by Mona Tougaard, whose walk felt less like
a runway exit and more like the unveiling of a new myth. Cloaked in a bridal-adjacent silhouette
that transcended wedding tropes, Tougaard’s look was both ceremonial and spectral – white fabric
that folded like memory itself, detailed with couture handwork that whispered of legacy and
reinvention. Her presence was deliberate: not a fleeting afterthought, but the final thesis of Anderson’s argument. In choosing a model of Tougaard’s stature and versatility – a figure whose very name evokes freedom, strength, and poetic ambiguity. Dior suggested that couture’s future is not about passive beauty but active presence. This closing look did what the entire collection whispered all along: it asked us to reconsider what couture means when its author refuses to be confined by history yet remains in deep conversation with it.

Couture, Context, and Cultural Circulation
What made this debut particularly resonant was its self-awareness: couture no longer exists solely in
hushed salons or elite ateliers; today, it moves through networks of images, screens and cultural
discourse. Anderson understood this. His silhouettes are not just garments; they are content,
arguments, metaphors – tailor-made for the digital moment without ever feeling simplified for it.

A New Dior Vision: Authority Reimagined
Jonathan Anderson’s first haute couture collection for Dior asserted something decisive: the house’s
authority is not located in replication, but in re-imagination. It is a couture that listens as much as it
speaks, that questions as much as it adorns.
This was not a debut born of uncertainty but of confidence. A bold vision that respects tradition
without being bound by it, and that finds poetry in paradox. In doing so, Anderson has not merely
dressed couture; he has opened it – to possibility, to contradiction, to a future that remains undecided
yet compelling. In this moment, Dior does not look backwards. It looks outward.

Watch the full Dior Haute Couture Show Here 2026

Words by Fabianna Gutierreza

The post Jonathan Anderson’s Dior Couture Debut: Poetic, Powerful, and Paradoxical appeared first on Voir Fashion.

At the heart of the collection stood a figure that felt less like a model and more like a myth: a
narrow black pencil skirt anchoring the body in classical propriety, paired with a flesh-toned bodice
blooming in delicate appliqué flowers — and rising from it, a scorpion-like tail arcing into the air,
poised somewhere between threat and fantasy. The piece carried the theatrical absurdity of
Schiaparelli’s surrealist roots, yet was executed with the seriousness of sculpture. It demanded
engineering, balance, and choreography.

This tension between elegance and unease, beauty and danger, threaded through the entire
collection. Roseberry understands that couture today must function on multiple frequencies at once:
it must seduce the eye, ignite digital circulation, and still reward close inspection. His silhouettes
begin with classical discipline — pencil skirts, corseted torsos, controlled proportions – before being
disrupted by something impossible: an appendage, an exaggerated jewel, a surreal intervention that
fractures the illusion of normalcy.

The motifs felt deliberately loaded. References to historic jewels and royal ornamentation echoed
through the collection, not as reverence, but as exaggeration. Pearls, diamonds, and metallic forms
were inflated into theatrical symbols — relics of power transformed into wearable myth. Rather
than restoring history, Roseberry distorted it, pushing luxury toward fantasy rather than
preservation. There was also a sense of courtly imagery beneath the surface: echoes of Spanish
infanta portraits, rigid silhouettes that imply control, hierarchy, and performance. Yet these
references were never romanticised. They were destabilised — innocence edged with menace,
refinement sharpened into spectacle. Even beauty here carried teeth.
Animal suggestions surfaced subtly through sculptural footwear and surreal forms, reinforcing

Schiaparelli’s longstanding fascination with the body as a hybrid creature. The wearer becomes
part-human, part-object, part-myth. What made the collection resonate was not simply its visual
audacity, but its emotional clarity. In a fashion climate increasingly obsessed with restraint,
minimalism, and quiet luxury, Schiaparelli offered maximalism with intelligence. Not noise for
noise’s sake, but ornament as narrative, excess as language. Where many houses are currently
whispering about refinement, Schiaparelli chooses to speak in metaphors, symbols, and theatrical
exaggeration.

Yet even within the surreal madness, control was evident. The chaos was engineered. Behind every
dramatic gesture lived discipline: precise tailoring anchoring the silhouettes, careful weight
distribution allowing sculptural elements to exist without collapsing into costume, handwork that
elevated fantasy into craft. The house continues to demonstrate that spectacle, when properly
constructed, can be intellectually rigorous. Couture, in this context, becomes less about aspiration
and more about authorship. These garments are not designed to blend into wardrobes or trend
cycles. They exist as statements — collectable pieces meant to be passed through generations.
The front row amplified this logic. Celebrities arrived already wearing pieces from the collection,
collapsing runway, styling, and viral distribution into a single moment. Schiaparelli no longer waits
for editorial interpretation; it designs for immediate cultural circulation. The garment is
simultaneously couture object and media artifact.

This collection was not about wearability or seasonal relevance. It was about presence. About
creating garments that feel like encounters rather than products. About reminding fashion that
beauty can still be strange, that elegance can still provoke, that fantasy can still feel dangerous.
Schiaparelli survives and thrives through another couture season – and remains the undefeated ruler
of creativity

Watch the show here

Words by Fabianna Gutierreza

The post Schiaparelli Couture SS26: When Fantasy Learns to Bite appeared first on Voir Fashion.

Jennifer Lopez in vintage Jean-Louis Scherrer Haute Couture
(2003)
Lopez went full archival bombshell in a sheer, nude-toned mermaid gown from Jean-Louis Scherrer
Haute Couture 2003, built from hundreds of yards of silk tulle and finished with lace and stonenembellishment that read like couture trompe-l’œil under flash photography. Multiple outlets noted the styling leaned luxe and minimal, letting the construction do the talking, with statement jewelry (including reports of Sabyasachi jewels) and classic glam. There was also a very J.Lo twist: she revealed the vintage Scherrer look was from her own closet, a rare “personal archive” flex in an era of loaned couture.

Jenna Ortega in Dilara Fındıkoğlu
Ortega’s look was black, sharp, and performative: a marching-band–inspired Dilara Fındıkoğlu moment with fringe epaulettes, a high neck, and dramatic side cutouts that turned negative space into the main event. Fashion coverage clocked how deliberately the outfit “played character” (structured, slightly militant, very Wednesday-adjacent) while also tapping into the low-waist redcarpet silhouette that’s creeping back into formalwear.

Miley Cyrus in Saint Laurent (Anthony Vaccarello)
Cyrus delivered a masterclass in don’t-overthink-it glamour: a plunging black sequin Saint Laurent gown (Vaccarello doing what he does best: sleek, midnight, razor-clean), then punctured the classicness with unexpected sunglasses for a jolt of rock-star disinterest. The neckline was a major talking point across coverage, and the styling kept the focus on line, shine, and attitude. Undeniable proof that a “simple” black dress is never actually simple when the cut is ruthless.

LISA in Jacquemus (with Bulgari)
LISA’s Globes look doubled as a trend report: naked dressing, but sharpened with Jacquemus Spring/Summer 2026 proportions: sheer elements up top, a more grounded skirt below, plus capelike/tasseled sleeves that moved beautifully on camera. Beauty coverage emphasized the overall “dark and edgy” direction (including her new brunette hair), keeping the vibe moody rather than coquettish. On jewellery multiple sources spotlighted her Bulgari Serpenti-style necklace, a rare red carpet move because it’s a specific icon, not just “diamonds.”

Selena Gomez in custom Chanel (323 hours of work)
If anyone “did” Old Hollywood without costume-y nostalgia, it was Gomez. She wore a custom black velvet Chanel bustier gown, engineered like a classic screen-siren dress. Then elevated with couture-level surface work: over 200 feather/organza/silk-chiffon floral elements (white, textural, and slightly surreal up close). The key PR-style detail that made the rounds: the gown took 323 hours in the atelier. It’s the kind of number brands love to share because it turns beauty into labor you can measure.

Amelia Gray in custom Swarovski (by Giovanna Battaglia
Engelbert)
Amelia Gray’s red-carpet appearance was a crystal-house statement: custom Swarovski, with multiple fashion roundups explicitly attributing the look to Giovanna Battaglia Engelbert. Swarovski has been visibly pushing fashion-facing, high-glam narratives (not just “accessory sparkle”), and this look landed like a brand thesis on a live global broadcast: maximum shine, built for flashbulbs and wide shots.

Teyana Taylor in custom Schiaparelli Haute Couture
Taylor went for couture with a plot twist. In custom Schiaparelli Haute Couture, the gown sculpted the body with strategic draping and cutouts. Then delivered the headline detail: a crystal “whale tail” moment at the back (yes, that kind of whale tail), executed as jewelry-level sparkle rather than pure provocation. Several write-ups framed it as an “expensive” take on the cheeky trend. Schiaparelli doing subversion the way Schiaparelli does: surreal, sharp, and engineered.

Words by Fabianna Gutiterreza

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From the red-carpet streets of Paris to the luxury boutiques of every global capital, few fashion symbols carry as much history, recognisability or quiet power as the Louis Vuitton Monogram. In 2026, that iconic LV canvas — originally created in 1896 by Georges Vuitton as both a tribute to his father and a way to outsmart copycats — turns 130 years old.

This isn’t just a birthday; it’s a moment of heritage meeting reinvention.

The Monogram was conceived at a time when travel was a statement and craftsmanship was currency. From its first appearance on trunks and luggage in the late 19th century to its position today as the emblem of one of the world’s most influential luxury maisons, the pattern has become a language of its own — instantly recognisable, endlessly reinterpretable.

In celebration of 130 years, Louis Vuitton is launching a year-long anniversary programme anchored by a series of exclusive collections and reinterpretations of its historic monogram. From the storied Speedy, Keepall and Noé silhouettes, to modern classics like the Neverfull and Alma, the anniversary honours both tradition and evolution.
Town & Country

Three Anniversary Capsules, One Living Legacy

At the heart of the celebrations are three limited-edition bag capsules:

Monogram Origine — A thoughtful homage to the first 1896 pattern, re-expressed with jacquard weaves that resonate with archival references.
Louis Vuitton

VVN — A tribute to Louis Vuitton’s leather goods savoir-faire, crafted in rich natural cowhide that develops its own patina over time.
Louis Vuitton

Time Trunk — A visually striking collection that plays with trompe-l’oeil effects to echo classic trunk textures and hardware in graphic, modern form.
Louis Vuitton

Across these capsules, the monogram is not simply printed — it’s reimagined. The result? Pieces that honour the past while speaking clearly to today’s collectors, travellers and tastemakers.
Louis Vuitton

Heritage, Creativity & Cultural Echo

Over the decades, the monogram’s story has been shaped by creative collaborations and reinterpretations — from experimental colourways and artist partnerships to streetwear-inflected versions that made it a global cultural signifier.

This anniversary isn’t about nostalgia alone. It’s about heritage as a living, breathing design code — one that continues to shape fashion, travel style and aspirational expression around the world.

In 2026, the monogram isn’t just a pattern.
It’s a dialogue between past and present — and, if its enduring appeal is any measure, a powerful statement of what comes next for luxury itself.

VOIR Highlights

130 Years of the Monogram: From trunk canvas to global icon.

New Anniversary Collections: Monogram Origine, VVN and Time Trunk reinterpret heritage with craft and creativity.

Cultural Influence: The monogram has been reinvented through decades of collaborations and remains central to Louis Vuitton’s identity.

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