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

Watch the Show

A Tribute to an Icon

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

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

Sensuality Meets Structure

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

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

The Celebrity Factor

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

The Future of Saint Laurent

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

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

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

Mariana Blanco

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

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

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

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

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

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

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

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

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

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

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

Watch the show here

Words by Fabiana Gutierrez

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

(DI)Vision

Founded by siblings Nanna & Simon Wick in late 2018, (Di)vision’s bold, playful, and divisive designs scream of innovation.

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With sustainability at the heart, (Di)vision’s brand ethos is creating from what already is. Creative sourcing of material from upcycling, reconstructing, and redesigning forms the pillars of the brand and adequately sets them apart from the crowd.

After their debut in 2018 with their custom workwear jackets, Wick stays true to the fairy grunge allure, frequently incorporating creative zippers into their pieces to produce an urban maximalist feel. These fun, edgy looks are very denim and cargo heavy staying true to their ‘downtown’ style, but Wick has also chosen to explore lighter tones and lace detailing, leaning into a subtly demure undertone to their edgy streetwear. 

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OpéraSPORT

Founded in 2019 by long-time friends Stephanie Gundelach and Awa Malina Stelter, OpéraSPORT forms the perfect bridge between Paris and Copenhagen to expertly marry timeless elegance and sleek activewear. 

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Working to fight over-production and waste, OpéraSPORT’s production only covers recycled or organic fabrics to yield a production volume that expertly reflects the demand.

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At Copenhagen 2024, OpéraSPORT have achieved a beautiful blend of two iconic cities, encompassing Paris’ sophisticated and feminine demeanour with Copenhagen’s athletic and practical style, giving each look that perfect je ne sais quoi. OpéraSPORT’s use of silk in particular expertly utilises the material’s natural shine to blend an association between high-class fabrics and Lycra active wear.

Sinéad O’Dwyer

Winner of the 2024 Zalando Visionary Award, Sinéad O’Dwyer is a forerunner in the integration of the feminine and the tough to expertly curate an elegant yet almost industrial design. 

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However, its O’Dwyer’s unique take on the human body itself that sets her apart from the crowd. “Diverse bodies are at the core of their design process, from research and development to the final product. This passion and care for the human body in all its iterations and their radical approach to design, sampling and production is what makes them unique” reads the brochure for SS25 at Copenhagen Fashion Week. O’Dwyer manages to almost make the clothes secondary to the model, instead showcasing the beauty of the human form first and foremost in a celebration of natural curves and beauty Aphrodite would be proud of. 

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To do this, the pieces are subtle and carefully designed to not overwhelm the model, but instead accentuate form and colour by focussing on earth tones with highlights of a deep blue denim in a gorgeous homage to the Earth.  

Berner Kühl

Frederik Berner Kühl is a fantastic up-and-coming talent diving into a traditional Scandi aesthetic with an elevated, modern approach that reads as sophisticated and cultured. Striving to convey his vision in ultimate materiality, Kühl focuses on grey-scale tones to allow his explorational textures and fabrics to speak for themselves, driving the pieces.

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Creating menswear with a signature Danish sensibility, his SS25 runway showcased practical coats and jackets for next spring and summer, among expert layering to elude style and functionality.

Han Kjøbenhavn

Founded in 2008, style veteran Han Kjøbenhavn are still making waves through their innovative designs and daring shape work.

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Focusing on shape in their work, the vision of Han Kjøbenhavn is bold and captivating silhouettes that captivate the audience and demand attention. Utilising dark and subdued colours not only provides an overarching grunge-feel to the collection, but really allows the avant-garde materials and structure to sing. However, these cutting-edge looks still remain reminiscent of the iconic Copenhagen, birthplace of Han Kjøbenhavn, with uncompromising craftmanship and attention to subtle details that the Danish do so well. 

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The exaggeration of the human form through the pieces, most notably around the neck and shoulders, promote a regal, powerful undertone to their runway and creates a natural yet untouchable feel. 

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Baum Und Pferdgarten

Leading Danish fashion house Baum Und Pferdgarten have been perfecting their practice since 1999. Where runway meets downtown, Baum Und Pferdgarten have mastered the art of inclusivity by designing captivating pieces that can be worn by anyone in an innovating streetwear collective. 

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An athletic undertone runs through their SS25 collection through the incorporation of stripes, jerseys, football accessories, and baseball caps in an effortless nod to a vintage style while remaining rooted in the contemporary. Through structures tailoring and bold colours, Baum Und Pferdgarten’s SS25 runway is reminiscent of American country club aesthetics, combining timeless style with luxury sportwear to elude a high-class yet effortless and relaxed beauty.

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_{Written By Isobel O’Connor} 

The post Showcasing Scandi Design: Meet Some of the Leading Names at Copenhagen Fashion Week SS25 appeared first on Voir Fashion.