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.

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.

London Fashion Week officially wrapped up this week, closing another season defined by bold casting, emotional storytelling and a renewed focus on craftsmanship. As the final guests departed show venues on Monday evening, the energy across the capital felt clear — AW26 marked a turning point for British fashion.

Over five days, London transformed into a moving runway. Editors rushed between venues, street style photographers crowded entrances, and designers delivered collections that reflected both the realities of modern dressing and fashion’s enduring need for spectacle.

From Burberry’s star-powered finale to Simone Rocha’s redefining of femininity, here’s what stood out from the shows that shaped London Fashion Week AW26.

Burberry Closed the Week

Closing the schedule, Burberry delivered one of the week’s most talked-about moments. Outside the venue, crowds gathered hours before showtime, signalling the anticipation surrounding Daniel Lee’s latest vision for the British house.

This season shifted Burberry firmly into city territory. Oversized trench coats, textured shearling and deep-toned leather outerwear reflected London after dark — practical yet unmistakably polished.

Midway through the show, attention turned as Romeo Beckham appeared on the runway, reinforcing the brand’s connection to contemporary British culture. Later, Rosie Huntington-Whiteley brought cinematic glamour, her walk drawing audible reactions from the audience.

The collection felt confident, grounded and unmistakably London.

Simone Rocha Redefined Modern Femininity

Simone Rocha presented one of the most emotionally resonant shows of the week. Her continued exploration of softness collided with athletic practicality, as delicate tulles and pearl embellishments met sportswear silhouettes.

Layered tutus worn over track trousers captured the mood perfectly — romance adapted for movement and reality. Rocha’s AW26 woman felt protected rather than fragile, signalling a broader shift seen across London’s runways.

Erdem Marked Twenty Years of Design
Celebrating two decades of the brand, Erdem’s collection reflected on past muses while pushing forward. The atmosphere inside the show carried a quiet reverence as layered textiles, floral embroidery and historical silhouettes moved down the runway.

Rather than nostalgia, the collection functioned as evolution — demonstrating how heritage can continuously reshape itself within contemporary fashion.

Richard Quinn Delivered Pure Runway Theatre

Richard Quinn once again embraced spectacle. Voluminous gowns, high-impact florals and sculptural eveningwear transformed the runway into couture fantasy.

In a season dominated by practicality, Quinn’s commitment to glamour felt intentional — reminding audiences that fashion still thrives on drama and escapism.

Conner Ives Brought Intimacy to the Schedule

Presented at Claridge’s, Conner Ives’ show stood in contrast to larger productions. Guests sat close enough to observe reconstructed fabrics and hand-finished details, reinforcing the designer’s commitment to sustainability through storytelling.

Upcycled textiles were elevated into refined eveningwear, proving conscious design continues to shape London’s creative identity.

Patrick McDowell Championing Responsible Luxury

Patrick McDowell’s presentation highlighted craftsmanship and collaboration. Structured tailoring merged with repurposed materials, positioning sustainability not as limitation but innovation.

The atmosphere reflected London’s growing emphasis on community-led fashion practices.

Di Petsa Celebrated the Body

Di Petsa closed her presentation with signature wet-look draping that moved like liquid across the body. The collection explored sensuality through empowerment, celebrating natural form and emotional vulnerability.

After London Fashion Week

Now that London Fashion Week AW26 has wrapped up, the season leaves behind a clear message: British fashion is entering a period of confidence and reflection. Designers balanced heritage with experimentation, proving London remains the industry’s most fearless creative platform.

As the show spaces empty and the city returns to normal pace, the influence of this week’s collections is only just beginning.

Words by Jyoti Matoo

The post London Fashion Week AW26: The Shows That Just Wrapped Up Across the Capital 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.

In a fashion ecosystem increasingly driven by algorithmic spectacle, virality, and accelerated trend
cycles, Pharrell Williams’ Louis Vuitton Fall–Winter 2026 menswear collection arrives with an
almost disarming calm. Presented during Paris Fashion Week, the show unfolded around
DROPHAUS. A prefabricated modernist home that functioned as both architectural installation and
conceptual frame. A foreshadowing that this was a collection concerned not with theatrical
disruption, but with how clothes inhabit life.Since assuming creative direction at Louis Vuitton menswear, Williams has operated within one of the most commercially powerful fashion systems in the world. A house where visibility, branding, and cultural scale are inseparable from design. FW26 marks a shift away from overt symbolism and headline-driven moments toward something quieter, more composed, and arguably more conservative. The question becomes not whether the collection is elegant (it is), but what such elegance signifies in an industry that increasingly rewards provocation over permanence. It seems the LV might be jumping in the bandwagon in a parade that is all about honouring creativity and craftsmanship.

Architecture as Concept, Not Spectacle
The show’s setting – DROPHAUS – borrowed heavily from mid-century modernist ideals:
transparency, modularity, functional beauty. Architecture here was not ornamental but ideological,
echoing the logic of designers such as Donald Judd or Mies van der Rohe, where form follows lived
use rather than symbolic excess. The house staged fashion not as fantasy, but as extension of
domestic and social life. This spatial framing positioned the garments as part of an ecosystem rather than as isolated statements. It also subtly distanced the collection from the hyper-theatrical runway spectacles that dominate luxury marketing today. Williams seems to be recalibrating Louis Vuitton’s visual language away from Instagram immediacy toward something slower, more materially grounded. However, one could argue that the very act of staging minimalism at Vuitton’s scale inevitably neutralises its radical potential. What once functioned as critique in modernist art becomes
aestheticised comfort when absorbed into global luxury machinery.

Silhouette: Soft Authority and the Post-Streetwear Body
The silhouettes in FW26 favours tailoring that is relaxed but controlled. Jackets draped instead of
sculpted, trousers move fluidly rather than assert rigidity. The masculine body here is neither hyper athletic nor aggressively coded. It is composed, mobile, and emotionally neutral. A real
interpretation of masculinity with all of its nuances. This marks a departure from the oversized streetwear vocabulary that defined luxury menswear throughout the late 2010s and early 2020s. Instead, Williams gestures toward a post-streetwear masculinity aligned more closely with contemporary lifestyle luxury than youth subculture. The shift reflects broader market movements: consumers increasingly seek longevity, versatility, and material value over logo-centric novelty.
This recalibration also raises questions of creative risk. The collection’s silhouettes, while refined,
rarely challenge the conventions of tailoring or proportion in ways that push the discipline forward.
Compared to designers like Rei Kawakubo, Raf Simons, or even contemporary innovators working
with structural experimentation, FW26 remains safely within the boundaries of recognisable luxury.
Pattern Cutting as Invisible Discipline Where the collection finds intellectual credibility is in its pattern logic. Construction priortises mobility and bodily accommodation rather than visual aggression. Sleeves are articulated for movement, shoulders softened to allow natural posture, and volumes positioned strategically rather than theatrically.

This approach aligns with a growing industry conversation around wearability as ethics. Garments
designed merely for image production are out. In a market saturated with disposable fashion cycles,
such restraint carries authority. Nevertheless, invisibility can also dilute authorship. The refinement
is evident to trained eyes, but its subtlety risks being lost within Vuitton’s mass-scale consumption
context, where craftsmanship often becomes secondary to brand recognition.
Materiality and the Aesthetics of Ageing Material choices reinforce the collection’s commitment to longevity. Leathers are supple rather than lacquered; wools and suedes invite touch and wear rather than display perfection. The emphasis on patina suggests a philosophy closer to Japanese wabi-sabi than European luxury gloss. There is an appreciation for ageing as aesthetic evolution rather than degradation.

Branding remains discreet. The Louis Vuitton monogram appears embedded within textures or
structures rather than declared graphically, signaling a shift toward quieter luxury codes
increasingly visible across high-end fashion. Still, within a brand whose commercial success
depends heavily on recognisable iconography, this restraint may function more as symbolic
positioning than genuine operational transformation. Colour as Emotional Temperature
The palette – anchored in browns, greys, and muted neutrals – establishes a calm atmospheric
continuity. Strategic injections of saturated colour operate as emotional punctuation rather than
spectacle. This chromatic discipline reinforces the collection’s architectural logic and emotional
neutrality.

Luxury in the Age of Stability
LV’26 menswear reflects a broader industry moment: luxury fashion recalibrating toward stability
after years of cultural volatility. As markets mature and consumers seek durability over disruption,
brands increasingly champion timelessness, lifestyle integration, and material value. Pharrell
Williams’ Louis Vuitton aligns seamlessly with this shift. It is coherent, refined, and commercially
intelligent. But it also raises a critical question: can luxury still function as a cultural engine if it
prioritises comfort over confrontation? The collection succeeds as a proposition for contemporary
living. Whether it advances fashion as a critical discipline remains open to debate.

Words by Fabianna Gutierrez

The post Pharrell Williams Proves Louis Vuitton Is a Lifestyle at Paris Fashion Week appeared first on Voir Fashion.

Gucci

Day 1 featured the one and only Gucci kicking off the fun. The runway was designed as two interlocked letter Gs possessing an intense and sinister vibe with a live orchestra playing and the music at a constant crescendo – what are they building to…perhaps the announcement of a new creative director? 

The collection itself was inspired by Guccio Gucci and had a very retro Italian aesthetic along with a 70s flair and a bit of the 50s sprinkled in with the dress shapes. The second look was one that stood out with a leather skirt dusting the knees, an oversized vest jacket with large buttons to match, purple heels and a headscarf to complete the look. Purple tights and lime green outfits popped throughout, adding depth to the looks with burnt orange also making an appearance. Horse bit necklaces and accessories were peppered throughout the show and of course fur was not forgotten, along with tweed, tweed, and more tweed. Gucci know the meaning of a classy woman that’s for sure.

Diesel

Oh my gosh, what a way to stand out. Diesel probably had the most unique set design when you look into the story behind it. It was created by a collective of over 7000 people across the world as Diesel sent miles and miles of fabric to art schools and street artists across the US, UK, China, South Africa and Europe to create the street art installation as Glenn Martin strove for freedom of expression. For the looks themselves they were fresh and crisp featuring icy silvers, crisp denim (obviously) with disrupted aspects, a lot of grey and black shades and apparently the crack is back. Bouclé and tweed coats featured here as well in a houndstooth pattern, fur trims featured on oversized bags with full fur options as well pairing perfectly with the denim. Everything was distressed and created a very raw feel.

Blumarine 

Under the new creative direction of David Koma, he showcased a simple yet effective colour palette. Kicking off with Irina Shayk, the audience was served dark romanticism – heavy on the black with a pop of devilish red and a dusting of white with floral patterns. Fluid lace tops and fitted black and white mesh dresses were seen throughout, with denim making a brief appearance, all finished off with silver embellishments and crystal appliqués.

Roberto Cavalli

Fausto Puglisi was inspired by Pompeii for this collection which included rich reds, matching the runway, and paired with leopard print trims. Lace and velvet were intertwined, and he didn’t hold back on the prints – especially florals, which are increasingly becoming more frequent on the runways. Hot lava prints were spilled over the dresses creating a fierce energy on the runway alongside roman motifs with a toga dress and gold leaf straps. Puglisi created a garden scene on the dresses as he dug into Italian garden imagery with pistachio and emerald greens.

Dolce & Gabbana 

The runway was kicked off with an army green ensemble paired with black lace and fur trims across the looks. D&G went heavy on the silver chain belts and black was featured a lot – in a sexy boudoir way, along with leather boots and leather coats with a variety of trims – furs, tassels, and jewel embellishments as well. Leopard print was featured once again this season as we have now confirmed it’s been promoted from micro-trend, and denim was not forgotten with double waisted jeans and jackets of course. Look 19 was a standout for Voir, the coat created a dramatic cloud-like effect with its fluffy white texture contrasting perfectly with the structured black boots. Accessories included alien sunglasses and fur bags were a hit, and as the show drew to a close, we were presented with going out styles – silver and jewels were a standout point along with lace and feathers.

Prada

The models opened the show in black dresses as they walked on an elevated runway adorned with a cream floral carpet. Accessible silhouettes and styles were at the forefront of the collection with designs most people can wear and have access to alongside Prada making a statement that tube dresses are on their way back. The whole show nodded towards subtle glamour featuring lots of shirts, oversized buttons, bows making a return, and prominent florals as seen in other Milan shows. Of course, furs weren’t forgotten as the go to coat for this autumn/winter.

Ferrari

Elegant, sleek, and expensive are three words that flawlessly capture Ferrari’s show. The runway was a Ferrari red, setting the scene for what’s to come – we received opulent furs matched with grey suits and red ties in line with the brand’s signature rosso colour. The audience saw a pop of yellow to match Ferrari’s logo paired with burnt orange shoes in a variety of styles, alongside a prominent forest green as the final colour seen on the logo. This was featured on fur trims, coats, and accessories. Ferrari’s innovative recycled Q-CYCLE material was used on the in the looks and the show ended with burgundy leathers, crinkled organza and lots and lots of tassels. 

Moschino 

Moschino presented us with the trend that is about to surge into our wardrobes – polka dots, featured on dresses, skirts, and jackets. Rigid silhouettes were balanced with bubble skirts, and light, flowy materials on dresses alongside numerous floral print garments. Unique denim designs walked the runway with oversized back pockets on the front and the highest of high waists paired with the classic Moschino belt of course. Alex Consani closed the show with a powerful wake-up call regarding environmental awareness as she carried trash bags representing the waste the industry emits and wearing a t-shirt dress picturing a globe with ‘SOS’ written beneath. She was preceded by two models wearing looks made from a material resembling bin bags, with one holding a globe, mirroring the start of the show where we saw imagery of unfinished garments with exposed stitching sending a message of fast fashion’s process.

Fendi

Fendi marked its 100^th birthday with a luxurious collection. Sarah Jessica Parker was pictured front row with the Baguette Bag celebrating one of Fendi’s most historic moments of it being featured on SATC as Carrie’s go-to accessory making it a global sensation shortly after. 1920s flapper dresses nodded towards the house’s origins that decade along with lavish furs. Polished leathers were showcased in the form of full-length coats, skirts and unique co-ord with bubble silhouettes in burnt orange, white and black. Belts were heavily used throughout the show to accentuate the waist, plenty of trench-style coats were seen, and jewels were powdered throughout the collection.

Words By Zlata Gavula

The post Milan Fashion Week AW 25 Rundown the best looks appeared first on Voir Fashion.

London Fashion Week 2025 proved once again why it remains a global leader in innovation, artistry, and trend setting beauty. While the runways showcased visionary fashion, the beauty looks took centre stage, redefining traditional aesthetics and pushing creative boundaries. From crystallised tears to avant-garde minimalism, here are the standout beauty moments from the season.

Grete Henriette: Ethereal Shimmer and Dewy Elegance 

Lead Makeup Artist: Sophia Sinot using Wonderskin 

Grete Henriette made her London Fashion Week debut with a runway inspired by divine femininity and natural beauty. Sophia Sinot’s makeup direction echoed this vision, opting for a soft, dewy finish that gave models an ethereal glow. Shimmering eyeshadow and delicately highlighted cheekbones enhanced the models’ features, creating an understated yet captivating look. Models were adorned with glitter and shimmer across their faces and bodies, amplifying the otherworldly aesthetic. One standout look featured an intricate cascade of pearls, beads, and shells running down the model’s spine, further reinforcing the collection’s organic, goddess-like theme. The fusion of bold fashion and light reflective beauty cemented Henriette’s arrival as a designer to watch.

Di Petsa: Tears of Desire and Smudged Romance

Lead Makeup Artist: Crystabel Efemena Riley

Dimitra Petsa has long explored themes of fluidity, sensuality, and female desire, and her FW25 collection, Reflections of Desire, was no exception. The beauty look was an evocative extension of this narrative. Models’ eyelashes were encrusted with salt to mimic crystallised tears and to represent snow lashes, while smudged lipstick suggested love notes left on skin. Riley, a champion of zero-waste makeup, used milky and bloody textures to reflect the raw, unfiltered aspects of attraction. This avant-garde approach blurred the lines between beauty, art, and storytelling.

SRVC: Futuristic Minimalism

Lead Makeup Artist: Aurore Gibrien

Ricky Wesley Harriott’s SRVC show, set atop London’s BT Tower, embraced sci-fi influences with sleek tailoring and futuristic silhouettes. The beauty looks followed suit, featuring an almost-bare complexion with luminous, natural skin. Some models wore subtle metallic eyeshadow, while lips varied dramatically ranging from bold black or muted orange to a striking half painted effect, where the upper lip was black, and the lower lip left bare or glossed. This high contrast aesthetic reinforced SRVC’s cutting-edge identity. 

Dilara Findikoglu: Venus Reborn in Gothic Glamour

Lead Makeup Artist: Yadim Carranza

Hair Stylists: Eugene Souleiman and Kevin Murphy

Dilara Findikoglu’s Venus from Chaos collection was a dreamlike vision of goddesses and mythological rebels. The beauty looks were equally mesmerising, eyebrow less models with silvery eyeshadow, lace edged lips, and tattoo-like facial embellishments created an otherworldly, gothic aesthetic. The show’s defining moment was “Look 23,” where a model emerged with cascading fiery ginger hair that flowed to her thighs, her body shimmering in iridescent hues of purple and blue. It was a breathtaking nod to Botticelli’s The Birth of Venus, reimagined through Findikoglu’s rebellious lens.

George Keburia: Broken Doll Beauty

Lead Makeup Artist: Alice Dodds

George Keburia’s FW25 collection toughened up delicate, doll-like aesthetics with a moody colour palette. The beauty looks followed suit, models wore stark black lipstick against bare, luminous skin, creating a striking contrast. Some featured exaggerated black eyeliner, while others played with metallic green lips. The effect was both haunting and futuristic, reinforcing Keburia’s exploration of childhood nostalgia and toughness.

Harris Reed: Rebellion Meets Romance in Dramatic Lashes

Lead Makeup Artist: Sofia Tilbury using Charlotte Tilbury

Harris Reed’s FW25 show, staged at the Tate Britain, was a celebration of unapologetic self-expression. Makeup artist Sofia Tilbury balanced rebellion with vulnerability, creating soft, glowing skin and nude lips to contrast with bold, exaggerated eyelashes. Upper and lower lashlines were adorned with long falsies, amplified further with layers of Charlotte Tilbury’s Exagger-Eyes Volume Mascara. Florence Pugh’s show-opening monologue set the tone, and her goth-glam spiky two-inch lashes became an instant highlight of the season, proving that bold beauty is here to stay.

London Fashion Week Fall 2025 saw beauty take on new forms, romantic, futuristic, rebellious, and surreal. Whether through sculptural eyelashes, crystallised tears, or moody lip contrasts, this season’s standout looks will no doubt shape the future of beauty trends in the months to come.

Words By Claire Gaura 

The post The Best Beauty Looks From London Fashion Week 2025 appeared first on Voir Fashion.

DSQUARED2 celebrated their 30^th anniversary last night by turning the runway into a New York club scene, even including a gathered crowd outside, for the ultimate birthday bash. 

The runway was graced by famous faces in leu of their 30^th anniversary. The stars that featured were Alex Consani, Irina Shayk, Isabeli Fontana, Tyson Beckford, and of course iconic supermodel Naomi Campbell closing the show, and not forgetting a special performance from JT at the end.

Doechii kicked off the show as she pulled up in a military-style vehicle exiting with dollar bills and in an army inspired look; wearing denim booty shorts, an oversized chunky brown belt, and a green corseted jacket, she stormed the runway along with a makeshift cigarette packet fixed to her sleeve which she pulled a cigarette out of.

Born in Canada, Made in Italy, is the founding brothers, Dean & Dan Caten’s slogan but it’s clear their inspiration was drawn from America as we saw Western cowboy tropes, biker leather and an abundance of New York City references including the classic yellow taxis and NYPD cars. 

Dean and Dan unveiled heavy duty denim, studded leather jackets, fur trims, a whole lot of army green, plus the return of DSQUARED2’s iconic Skate Boot. Cowboy references ran deep as the audience saw a heavy nod towards the trend that’s been so prominent over the past year and clearly on its way to making a return this autumn. Brought to life by the models strutting in cowboy boots with silver accents, leather chaps and jackets, flannel shirts and neckties, and not forgetting the most important accessory – the cowboy hat (and a belt here and there) to bring the looks together.

Renderings of leather and denim played a significant role in DSQUARED2’s show, seen as both gilets, bottoms, and everything in between, and most importantly Naomi Campbell’s whole ensemble including thigh high leather boots for the finale. This along with a few baker boy caps dotted throughout gave a nod to a sort of 1930s American pluck.

DSQUARED2 didn’t forget about America’s punk-rock era with nods towards the band KISS in both the makeup and the clothing which included their logo as the show started to draw to a close. We also got a bit of 70s disco thrown into the mix with neon catsuits, jewelled disco ball dresses, a multi-colour sequin tank, and a roller skater in a fishnet vest with a bedazzled denim jacket performing jaw dropping tricks on the runway.

To finish the show off, the DSQUARED2 brothers pulled up in an NYPD cop car and were walked down the runway in handcuffs by a police officer. Arrested for that bombshell of a show? We should hope so.

Words by Zlata Gavula

The post DSQUARED2 really said icons for their 30 anniversary collection appeared first on Voir Fashion.

Photo credits sheismerkurial

Voir got to exclusively attend Grete Henriette’s debut show for London fashion Week, Elysium, last night and its safe to say that inclusivity holds high importance for the designer
along with their proud inspiration from the LGBTQIA+ community. As a brand this is
important to Voir as we stand for inclusive fashion regardless of race, size, shape or class and
were blown away by Henriette’s designs, so we’ve brought you all the insider information of
what went down at the show.
Famous faces were in attendance such as Jazzelle Zanaughtti, Lottie Moss, and Odette
Galbally, all wearing outfits Henriette would approve of. Henriette also has an extensive
portfolio of dressing big stars and our favourite celebrities including, Tyla for her Bose
collaboration, Sabrina Sato, Lizzo, Sam Smith, Paris Hilton, and Lil Nas X, alongside
handcrafting custom pieces for a collaboration between ROTATE Birger Christensen and
Pandora at Copenhagen Fashion Week last summer.

Set inside a church as an ode to her religious upbringing, it was clear that the models of all different shapes, sizes and backgrounds were channelling their inner goddesses with the way they walked slowly and gently around the circular runway. They were draped in Henriette’s signature style of metals and jewels stemming from her love of historical armour, accompanied by delicate music almost resembling wind chimes created by a live harp player.

Photo tabithamary_

Models were studded with chainmail looks in gold and silver or draped in mother of pearl and jewels of different colours, all shaped differently but harmoniously brought the collecAon together. Maxim Magnus walked the runway in a gorgeous chain mail piece draped over the front of their body with nails to match and showed off the look on the platform in the centre of the runway.

photo aethermagazine

Voir was obsessed by the jewels placed one by one along Nadiah Adu-Gyamfi’s spine, and many other models’, all created by the talented make-up artist Sophia Sinot to match each metal look. Henriette thought of everything down to smallest detail as models like Tabitha Corsin had long chains coming off of her nails for her runway debut. She was dressed in a maxi gold chainmail dress encrusted with mother of pearl and clear jewels covering only certain areas.

Photo itstayce

Voir cover star Tayce, closed the show, and blew us away as they walked in a chainmail head dress, sort of resembling a veil and going hand in hand with the religious elements of the runway, including Henriette’s addition of metal crosses on some of the looks. This was the pinnacle of the show as we saw gold metal cascading down Tayce’s back coated with red jewels and pearls, not forgetting the jewels stuck onto their torso to bring the look together.

photo loyolabilbao

As the show started to draw a close the audience watched the models gather around the centre of the runway, which was decorated with crystals, creating a mystical vibe. The models were gently dancing as Tayce stood centre stage on the platform like a celestial being, creating a magical ending to the show.

Voir must say that Grete Henriette created a masterpiece for London Fashion Week, and we can’t wait to see what this incredible designer will do next.

Words by Zlata Gavula

The post Voir Exclusive: Grete Henriette Dazzled The Runway With Her Debut Show At LFW appeared first on Voir Fashion.