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.

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.

Wellness used to want something from us.

Wake up at 5am. Drink the green juice. Hit 10,000 steps. Meditate. Journal. Pilates. Supplements. Eight hours of sleep. Perfect skin. Perfect body. Perfect life.

Exhausted yet?

Bella Hadid and ALO are proposing something considerably more appealing: what if feeling good didn’t have to look like a performance?

The model and entrepreneur is the face of ALO’s latest campaign, photographed in Los Angeles by legendary fashion duo Mert & Marcus and styled by Mimi Cuttrell.

And rather than presenting wellness as another thing to achieve, the images centre on something much simpler — being present.

THE WELLNESS GIRL IS GROWING UP

Bella Hadid has spent much of her career existing within fashion’s fantasy machine.

Runways. Campaigns. Red carpets. Paparazzi photographs dissected outfit by outfit. The kind of visibility that turns simply leaving the house into an aesthetic event.

Which makes seeing her presented through the language of stillness particularly interesting.

Born and raised in Los Angeles, Hadid shares a natural connection with the city that shaped ALO. The campaign returns both to their roots, capturing Bella through intimate portraiture, natural light and understated styling.

There are no complicated wellness commandments attached.

Instead, the focus is on the small rituals that bring her back to herself: movement, meditation, slowing down and finding moments of consistency even while travelling.

“As I’ve gotten older, I’ve realised how important it is to create space for myself,” Hadid says. “Whether that’s slowing down, moving my body, or just taking a moment to reconnect, those little rituals have become such a big part of how I take care of myself.”

It sounds simple.

Perhaps that’s why it feels refreshing.

FROM WELLNESS AS PERFORMANCE TO WELLNESS AS FEELING

For years, the internet sold us a very particular vision of what “wellness” looked like.

It came beautifully packaged.

Matching activewear. Immaculate kitchens. Expensive smoothies. Colour-coded supplements. Elaborate morning routines filmed before most of us had opened both eyes.

Somewhere along the way, taking care of yourself started looking suspiciously like another full-time job.

ALO’s campaign with Hadid taps into a different mood.

“To me, that’s what wellness is all about,” she says of those everyday rituals. “That’s why this partnership felt so authentic — it reflects a part of my everyday life that’s been there for years.”

The distinction matters.

Wellness doesn’t necessarily have to be transformative. It doesn’t need a before and after. Sometimes the point isn’t becoming a better version of yourself.

Sometimes it’s simply returning to yourself.

BELLA, BACK IN LOS ANGELES

Los Angeles is more than scenery here.

Shot against the city that shaped both Hadid and ALO, Mert & Marcus balance cinematic polish with something softer and more intimate.

Strength exists alongside stillness. Fashion exists alongside function. And Bella is photographed less as an untouchable supermodel than as a woman comfortable occupying her own space.

Of course, it still looks fabulous.

This is Bella Hadid photographed by Mert & Marcus and styled by Mimi Cuttrell, after all.

But that tension between high fashion and ease is precisely why the partnership works.

“Bella has been part of our community for years, and she represents the ultimate ALO girl who moves seamlessly between the worlds of fashion, wellness, and culture while remaining deeply connected to herself through it all,” says Summer Nacewicz, ALO’s EVP of Marketing & Creative.

And perhaps that idea of connection is the real luxury being sold here.

Not perfection.

Not optimisation.

Not becoming somebody else.

Just feeling completely at home in the person you already are.

If this is where the wellness era is heading, we’re listening.

The post BELLA HADID IS ENTERING HER SOFT POWER ERA WITH ALO 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.

As anticipation builds for Euphoria Season 3, one thing is already clear: beyond the drama, the chaos, and the glitter-soaked heartbreak, it’s Maddy’s wardrobe that fans are ready to fall back into. And honestly—how could we not miss it?

The Era of Maddy Perez
Played with magnetic intensity by Alexa Demie, Maddy Perez didn’t just wear clothes—she weaponised them. Every look was deliberate, sculpted, and unapologetically bold.

From skin-tight co-ords to barely-there dresses, her style walked the line between hyper-feminine and fiercely dominant. Think bodycon silhouettes, cut-outs, and high-glam makeup—paired with an attitude that made every hallway feel like a runway.

Maddy wasn’t following trends. She was the trend.

Fashion as Power

What made Maddy’s style so unforgettable wasn’t just the clothes—it was the intention behind them. Her wardrobe reflected control, confidence, and contradiction. Soft fabrics, sharp energy. Vulnerability wrapped in gloss.

In a show built on emotional extremes, Maddy used fashion as armour. Each outfit told us exactly who she was in that moment—whether she was reclaiming power or quietly falling apart.

And that’s why it stuck. It felt real.

The Influence Still Lives On

Even between seasons, Maddy’s aesthetic hasn’t gone anywhere. Scroll through TikTok or Instagram and you’ll still see her fingerprints everywhere: slicked-back hair, statement liner, matching sets, and that signature “don’t touch me” energy.

Designers, too, have echoed her impact—leaning into sensual silhouettes, glossy textures, and unapologetic femininity. The “Euphoria effect” may have started as a moment, but Maddy made it a movement.

Season 3: The Return of a Style Icon

With Season 3 on the horizon, the question isn’t whether Maddy will deliver—it’s how hard. Will we see a more refined version of her signature look? Or something entirely unexpected?

Either way, one thing is certain: all eyes will be on her.

Because Maddy Perez doesn’t just enter a scene—she owns it.

Oh Maddy… We Really Did Miss You

In a world of ever-changing aesthetics, Maddy remains timeless. Not because her style stays the same—but because her presence never fades.

And as Euphoria prepares to return, so does one of fashion’s most unforgettable muses.

Welcome back, Maddy.

The Trailer: A Shift in Tone

The Season 3 trailer signals a noticeable evolution. The glitter hasn’t disappeared—but it’s dimmed, replaced with something heavier, more reflective. There’s a sense of distance in the visuals, hinting at time having passed and consequences settling in.

The world of Euphoria looks sharper, more cinematic, and emotionally charged. Relationships feel fractured, identities more defined, and the chaos—more controlled, but no less intense.

Maddy Perez: A New Era of Power

Even in brief moments, Alexa Demie’s Maddy feels different.

Gone is some of the overt maximalism—replaced by a more refined, controlled energy. The styling hints at maturity: sleeker silhouettes, cleaner lines, and a quieter kind of dominance. It’s less about proving something, and more about knowing it.

If previous seasons gave us Maddy the icon, Season 3 might give us Maddy the woman.

When Does Season 3 Start?

While HBO has officially confirmed Euphoria Season 3, the exact release date is still being closely watched. Based on current announcements, the new season is expected to premiere in 2026, with production timelines pointing toward a likely mid-to-late year release.

What’s certain is that anticipation is at an all-time high—and the trailer has only intensified it.

More Than a Comeback

Season 3 isn’t just a continuation—it feels like a transformation. The trailer suggests a story that’s grown with its characters, stepping into a more grounded, complex space.

And at the centre of it all, Maddy Perez remains a cultural force—her style evolving, her presence undeniable.

The post Euphoria Season 3: Oh Maddy, How We’ve Missed Your Style appeared first on Voir Fashion.

Opening at London’s Victoria and Albert Museum, Schiaparelli: Fashion Becomes Art is already being hailed as one of 2026’s most important cultural moments—an exhibition that doesn’t just showcase fashion, but reframes it entirely.

Running from 28 March to November 2026, the show marks the first major UK exhibition dedicated to the house of Schiaparelli, tracing its legacy from the 1920s to its modern revival.

Where Surrealism Meets Couture

Founded by visionary designer Elsa Schiaparelli, the house has always existed in a space between reality and imagination. This exhibition brings that world to life—placing iconic garments alongside works by artists like Salvador Dalí, Jean Cocteau, and Pablo Picasso.

Expect the unexpected:
the legendary Lobster Dress, the haunting Skeleton Dress, and surreal accessories like the infamous Shoe Hat. These are not just garments—they are provocations, challenging the very definition of fashion.

Schiaparelli didn’t follow trends. She created a language.

More Than Fashion—A Cultural Movement

What makes this exhibition so powerful is its scope. Featuring over 200 objects, it moves beyond clothing to include photography, sculpture, perfume, and archival material.

It tells the story of a designer who blurred boundaries long before it became industry standard—merging fashion with performance, art, and identity.

As the V&A itself positions it, this is not just a retrospective—it’s a celebration of one of the most “ingenious and daring designers in fashion history.”

From Elsa to Now: The Roseberry Era
The exhibition doesn’t stop at history—it extends into the now.

Under creative director Daniel Roseberry, Schiaparelli has re-entered the cultural conversation with viral, sculptural couture moments—worn by the likes of Bella Hadid and Kylie Jenner.

From gilded anatomical details to hyper-surreal silhouettes, Roseberry’s work channels Elsa’s original vision while pushing it into a digital-age spectacle.

The message is clear: Schiaparelli isn’t heritage—it’s alive.

Why This Exhibition Matters Now

In an era where fashion is increasingly consumed through screens, Fashion Becomes Art reminds us of its physical, emotional, and artistic power.

Schiaparelli’s work feels more relevant than ever—bold, strange, unapologetic. It speaks to a generation that values individuality over perfection, expression over conformity.

This is fashion at its most fearless.

A Must-See Moment

More than just an exhibition, this is a statement: fashion has always been art—we’re only just catching up.

And in true Schiaparelli spirit, it’s outrageous, surreal, and impossible to ignore.

The post Schiaparelli: Fashion Becomes Art — The Exhibition Redefining Couture 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.

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.

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

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Chanel 1992 Classic Flap shoulder bag

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ALEXANDER MCQUEEN Cropped leather bomber jacket

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ALESSANDRA RICH Studded leather belt

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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.

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

The post Best Dresses: The Golden Globes Looks That Owned the Red Carpet appeared first on Voir Fashion.