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.

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.

A Blend of Heritage and Modernity
For the 2026 season, Ralph Lauren fused his timeless American sensibility with contemporary
influences that appeal to a broad audience – from nostalgic heritage lovers to fashion-savvy Gen-Z
consumers. The runway featured a dual showcase of both Polo Ralph Lauren and the ultra-luxurious
Purple Label, a pairing not often seen together on the same stage.
Design motifs ranged from classic Ivy League prep and Western inspired pieces to tailored suiting
and chic après-ski looks. Rich knitwear, alpine accessories, and cowboy accents such as fringed
suede jackets and rancher hats. The collection was vivid storytelling quality, evoking everything
from American road trips to intimate lodge-side moments.
’90s Vibes and Youth Culture.

While rooted in heritage, the collection also leaned into ’90s nostalgia and street-informed styling,
acknowledging the brand’s surprisingly strong resonance with younger generations. Oversized Polo
Sport rugby shirts, baggy jeans, tiny sunglasses, and eclectic layering reflected a sense of relaxed,
reference-laden dressing that resonated with the fashion week audience.
Industry observers highlighted this balance, noting that the designs were “timeless yet of the
moment,” deftly navigating between classicism and trend awareness. A rare but powerful
combination that has renewed Ralph Lauren’s relevance amid evolving menswear tastes.

A Cultural Moment in Milan
The event was not just about clothes, it was a cultural moment. A lineup of international celebrities
and style figures attended, including Tom Hiddleston, Henry Golding, Liam Hemsworth, and
Colman Domingo, adding to the night’s palpable buzz and media attention.
Inside the opulent courtyard, guests mingled after the show at an intimate dinner reminiscent ofclassic American glamour, complete with equestrian-themed décor and a relaxed, convivial
atmosphere that reflected the lifestyle ethos at the core of Lauren’s brand.

Brand Strategy & Future Direction
According to Ralph Lauren’s CEO, the decision to stage this show goes beyond a single season: it’s
part of a larger push to strengthen the menswear narrative and reaffirm the brand’s global luxury
footprint. Despite pressures in the wider luxury market, Ralph Lauren has seen strong financial
performance and sustained consumer interest, underpinned by a clear focus on quality, heritage, and
storytelling.

In summary, the Fall/Winter 2026 Ralph Lauren men’s show was a glorious celebration of
American style. Where legacy meets youthful energy, and tradition embraces innovation. It not only
reconfirmed Ralph Lauren’s iconic status in fashion but also reasserted his relevance for a new
generation of style enthusiasts.

Words by Fabianna Gutierrez

The post Ralph Lauren’s Triumphant Return to the Men’s Runway — Fall/Winter 2026 appeared first on Voir Fashion.

Bags With Character

Courtesy of Mozhdeh Matin

We can all agree that everyone wants to have a bag that no one else has, and the SS25 runways were full of unique gems. From Coach to Versace we saw so many cool styles for the Voir readers to know about, with many designers steering away from safe options. Whether it’s a fringe moment or a wild colour combination, you’re bound to stand out.

Courtesy of Coach

Courtesy of Versace

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Sporty Chic

Courtesy of Adidas Originals x Willy Chavarria

Sportswear is working its way more and more into the fashion world as we see a multitude of collabs with fashion houses ever year, such as Jacquemus and Dior recently. The fresh silhouettes pair with the durability of sportswear for a unique fusion look or can lean heavily towards the sportswear aesthetic with a baggier design, creating a remarkable versatility.

Courtesy of Dior

Courtesy of The Attico

Fringes

Courtesy of Isabel Marant

Bohemian chic is back and Voir loves the throwback in time on the runways. Whether it reminds you of Glastonbury or you just love the motion of the fabric this is going to be a go-to for Spring. The loose fringes are a match for any garment – tops, skirts and even hats you have a plethora of choice.

Courtesy of Bottega Veneta

Courtesy of Dior

Plaid

Courtesy of Acne Studios

Plaid captures the essence of Britishness. Burberry and Vivienne Westwood starting it off for us Brits and now we have it in abundance from many brands. Working on any garment, it is so easy to style all year round, not just for Spring but it takes styling work. Try it with plain colours that match one of the squares and you can’t go wrong with this classic print.

Courtesy of Bottega Veneta

Courtesy of Burberry

Sailor Core

Will sailor core be the big new trend in 2025? It’s looking very likely. Stripes and fishnets aren’t just for boat trips, they’re for every day. This minimalistic print is subtle but speaks volumes on Rabanne’s runway, and Alaïa creates a playful glimpse of what’s beneath with their use of fishnet. This trend is undoubtedly versatile.

Courtesy of Alaïa

Courtesy of Dior

Courtesy of Rabanne

Utility

Courtesy of Mugler

Wasn’t it TikTok who said #womeninmalefields? Women can do anything and it’s time for a spin on utility wear and for it to filter into the fashion world. Cheryl Cole was the first and Voir is obsessed with this trend. This cool girl style mixed with army core creates a sexy and poweful woman.

Courtesy of Alexander McQueen

Courtesy of Ferrari

One Leg Out

Courtesy of Louis Vuitton

One leg in and one leg out is a trend that graced many runways for SS25, and all the big fashion houses did it, from Coperni to Bottega Veneta and Louis Vuitton. This interesting concept creates a unique play on trousers and overall gives an indoor-outdoor vibe and will definitely make heads turn this coming season.

Courtesy of Bottega Veneta

Courtesy of Coperni

Colourful Coats

Courtesy of Miu Miu

It’s been done before and that’s because it works. It’s time to switch up your classic black puffer and add some vibrancy into that wardrobe. The trend is great for spring as it offers a cheerful vibe and unapologetically lets you make a bold and confident statement.

Courtesy of Versace

Courtesy of Lacoste

Words By Zlata Gavula

The post Here’s What To Wear Going Into 2025 As Seen On The Runways appeared first on Voir Fashion.

Stars like Kim Kardashian, Ciara, and Jennifer Lopez have already embraced Ling’s avant-garde designs, a testament to her growing influence in both fashion and pop culture. The Neanderthal collection was no exception, with models like Alex Consani (who opened the show), Ashley Graham, Neelam Gill and Meredith Duxbery showcasing pieces that epitomized Grace Ling’s vision of elegance redefined by technology and art.

Ethereal Meets Primitive: A Fusion of 3D Design and Ancient Symbolism 

Grace Ling’s SS25 ‘Neanderthal’ collection, masterfully combined cutting-edge 3D technology with primitive, nature-inspired elements. This fusion reached its peak with two standout looks that encapsulate the collection’s ethos: Alex Consani’s 3D sculptural dress and the captivating finale, Look 34. 

Alex Consani’s look opened the show with a breathtaking display of 3D-printed elements, merging art and technology in a way that challenges traditional fashion boundaries. The intricate, metallic design created a futuristic silhouette that felt both otherworldly and grounded in the tactile reality of material innovation in material innovation, setting the tone for the entire collection. 

The final look n°34, featured a model in a metallic dress surrounded by birds, evoking a witchy, ethereal energy reminiscent of dark fairytales. 

The metallic sheen of the dress and the eerie presence of the birds symbolized the collision of ethereal elegance and primal beauty. This look didn’t just close the show—it left a lasting impression, embodying the Neanderthal collection’s theme of evolution and the convergence of past and future. 

Tailoring and Blazers 

Grace Ling’s SS25 collection features captivating tailoring that redefines traditional elegance. The collection showcases a series of torn and deconstructed blazers, each adding an edgy, avant-garde twist to classic silhouettes. Among these, the white tailored blazer stands out as a potential bestseller. Ling’s design incorporates transparent elements and a raw, unfinished look, merging sophistication with rebellion. 

Ling’s confidence in this piece is clear: “My gut tells me that this is going to be one of the bestsellers,” she remarked, emphasizing her belief in the white-tailored blazer’s commercial and artistic impact. This standout garment exemplifies her innovative approach to fashion, where the juxtaposition of refined tailoring and dramatic deconstruction creates a striking visual contrast. 

Nailed It: Primitive Nails by Meechynails 

Another captivating detail was the primitive nails designed by Meechynails, which echoed the collection’s blend of raw and futuristic elements. These intricate designs added a unique, tactile dimension to the runway looks, further enhancing the collection’s overall impact. 

Illusionistic bags 

Grace Ling’s SS25 collection is highlighted by her creative use of bags that play with perception and function. Key pieces include: 

Butt Minaudière: This signature piece features a glossy, silver finish that cleverly mimics the contours of a human form. Its versatility was showcased throughout the show, appearing in various styles and colourways, including a striking black version. 

• Handaxe Bag: A collaboration with Humane, this bag stands out with its integration of advanced technology. Designed to house the AI-powered Ai Pin, it combines ancient inspiration with modern tech, making it a standout accessory that bridges the gap between the past and the future. 

Glam: Timeless Elegance

To complement the futuristic pieces, the models sported classic, timeless makeup courtesy of Laura Mercier. The classic red lip added a touch of glamour and sophistication, providing a contrast to the more avant-garde elements of the collection. 

Watch the show’s makeup in action here 

Video: https://www.instagram.com/reel/C_rK_UvxE0B/?igsh=NjAxcWp3bmhjMWRz 

A New Era in Fashion Soundscapes 

No detail was left untouched, including the music. Madeon, the visionary electronic music producer, crafted a bespoke soundscape for the runway, infusing the show with a dynamic rhythm that brought the collection to life. His mix of pulsating beats and ethereal melodies perfectly complemented the duality of Ling’s designs, creating an immersive sensory experience. 

Words by

Noa Balou

The post How Grace Ling’s SS25 Collection Neanderthal stole New York Fashion Week appeared first on Voir Fashion.

ASMR On Your Feet

The sun has set on practical footwear, and we’re embracing loud, fun shoes this autumn. Hitting runways, collections, and bustling cities alike, bold shoes are hitting the streets to remind you that September is the best time to get creative. Feathers and frills are not the typical textile for footwear, given some impracticalities, but when has that ever stopped innovation?! 

_{Image Credits: Vogue Runway. Brands featured: Ferragamo, Simone Rocha, Jil Sander.}

Adding furs and feathers to shoes is a bold way to instantly elevate a look that might be lacking in interest or dimension, instead adding intrigue and a focal point that isn’t usually explored in an outfit. By drawing the eyes down to the shoes, one must take in and explore all elements of the look in harmony as the eyes travel downwards. Rather than the eyes fixating on a bold jacket which would encompass the gaze, the designer is prompting you to dig a little deeper and take in the outfit as a whole.

_{Image Credits: Vogue Runway. Brands featured: Ermanno Scervino, MSGM, Carven.}

So, while impractical, this fun and daring trend is a unique way to explore creative styling and demand attention. All while keeping your legs warm of course.

Extra-Long, Extra Cosy, Fuzzy Scarves

Gone are the childhood days of lying to your mother that you wore your winter scarf because it’s “not cool” and instead we’re exploring what this versatile, and practical, accessory can really do. Aside from the obvious weather -bound relevance, scarves can be an easy gateway to elevating your accessories to encompass a little more style, and this season: the bigger the better!

_{Image Credits: Vogue Runway. Brands featured: GCDS, Dries Van Noten, Eckhaus Latta.}

This autumn, prepare to combat the cold with an extra-long, extra cosy scarf that’ll ensure both warmth and showstopping style.

_{Image Credits: Vogue Runway. Brands featured: Puppets and Puppets, Marni, Alexander McQueen, Erdem, Luar, Michael Kors.}

Ranging from feathered to fuzzy; oversized is the autumn style of 2024 and scarves joining this trend is an accessible way to either dress up a classic look or compliment a bolder style. Seen most often on runways in traditional autumn earth tones to keep in tone with the season, we’re loving that beauty doesn’t always equal pain, and that mother really does know best.

A Bracelet Bag

In this next autumn trend of 2024, make way for the classy older sister of the bum bag: the bracelet bag. Going hands-free on the catwalk and red carpet is just as practical as it is on the high street, and we’re all learning how we can ditch the clutch for something a little more cosmopolitan. Posing as more than an accessory, you can really make this trend your own by finding a bag that suits both your fashion and jewellery sense in a design that accentuates how many city-girls already carry their bags. 

_{Image Credits: Vogue Runway. Brands featured: Chloé, Valentino, Prada, Chanel, Sacai, Carolina Herrera.}

With styles ranging from long chains between bag and bracelet, letting the bag hang below the hand, to designs that allow the bag to neatly fit into the shape of a relaxed palm as bag and bracelet form one streamlined unit. Either way, you can’t deny the genius of the trend which marries style and functionality in a design Jane Birkin would be proud of. 

Birds Of a Feather

From Vivetta to Alexander McQueen, runways have seen models shake their tail feathers this autumn with A/W24 collections branching out into a fluffy, feathered fabric with texture reigning loud and clear. The autumn season has always been the time to experiment with layering, textures, colours, and designs, and 2024 is sticking to that tradition with the next modern twist on a classic style.

_{Image Credits: Vogue Runway. Brands featured: Alexander McQueen, Erdem, Michael Kors.}

Reminiscent of old Hollywood, the mesmerising sway of the feathers as the wearer struts creates an airy, poetic look that softens even the boldest of colours and designs, oozing femininity and fearlessness.  

_{Image Credits: Vogue Runway. Brands featured: Richard Quinn, David Koma, Dion Lee.}

From Ginger Rogers to Chappell Roan, feathers are the epitome of versatile and instantly adapt to and portray the style you’re going for. So, whether you’re dancing on the ballroom floor, or in a Las Vegas bar, you can be sure of the fact that all eyes are on you.

Dom Dressing

Darker colours have always been seen in autumn wardrobes. But this kinky spin on the timeless classic brings a whole new vibe to a winter palette. Expertly clad in leather, chains, and attitude, wearers can find themselves dominating more than the runway this autumn in a look that is sure to send your confidence through the roof. 

_{Image Credits: Vogue Runway. Brands featured: Di Petsa, Dilara Findikoglu, Alexander McQueen.}

Specialising in black leathers, cut in obscure and un-traditional ways, the sexy, biker style is perfect for all body types to ensure that you feel you most bold and most importantly seen. 

_{Image Credits: Vogue Runway. Brands featured: Di Petsa, Fashion East, Marques’Almeida.}

Showcasing the arms and shoulders is a classic in this genre and as the sturdiest part of us, we can see why highlighting board shoulders is the perfect accompaniment to this look, presenting a firm, calm, and controlled essence. So, will you dare to be different in this up-and-coming trend of autumn 2024 that’s not for the faint of heart? Now’s your chance.

Written By Isobel O’Connor

The post 5 Autumn Trends we will be copying and pasting from the Runway into our wardrobes appeared first on Voir Fashion.

With its complexity, setting, and choreography, it was much more than a regular show – it was a performance. After Lucky Love’s emotional “Now I Don’t Need Your Love” and a stunning short film setting the tone, we had a chance to marvel at over 40 outfits, with their corsets, eye masks, patchwork, bandage-like tights, and layers of transparent, patterned tulle, organza, and chiffon. Add some oversized trenches, tweed flat caps, and black knee socks to get into the avant-garde Parisian mood. The run-down bar setting arranged for the show, with its worn wooden floor, old-school chairs, winking yellow lightbulbs, vintage mirrors, and empty wine bottles had a magnetising vibe of an antebellum bistro somewhere in the artistic district of Montmartre. 

https://www.instagram.com/p/C2jnB0MgA9D/

The highlights of the collection include long, oversized trousers, suits, and woollen trenches with lines of thread visible – as if the amendments process was still in progress. Other recurring motifs were body curves underlining long skirts and elegant female coats with puffed sleeves, covered with thin, loops-containing Lycra. The iconic tobi-toe shoes were also there! The most impressive outfits were undoubtedly the transparent, ankle-length tulle dresses, which brought female corporeality with all their curvy lines, artificial wasp waists, and pubic hair to the front. No taboos are to be found there! The collection ended in four white-blue striped dresses, the last of which was presented by the classy Gwendoline Christie. The outfits, together with long gloves, curly wigs, and blue eyelids created the effect of an American doll from the 1950s. 

One of our absolute favourites was a long, purple-pink-yellow tulle dress, accompanied by a tulle-wrapped white hat. The outfit left an uncanny feeling, as the model’s face looked like the one of a button-eyed doll from Tim Burton’s Coraline, and the tulle seemed to cover the whole body, looking like the skin of an alien. Indeed, the great idea behind this and many other looks was for the models to resemble dolls. From the corsets worn by both men and women to the porcelain-like necks, inhuman, unearthly-looking faces, bandaged legs and throats, the shaky-walking models seemed like actual porcelain dolls brought to life. As they passed unstably, looking deep into the spectators’ eyes, often nervously covering themselves 

to produce a shy, emotional effect, they were much more than mere models. They were actors, who played in the great show embracing human sensuality, emotionality, and corporeality. 

The doll effect was mostly reached thanks to the breathtaking makeup done by the fabulous Dame Pat McGrath. The porcelain-like, perfectly smooth faces, the glittering lips, and the intense colourful eyes were just marvellous, with the fluffy, aerodynamic, hat-like hairdos by Duffy completing the looks. 

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With the audience cheering and shouting “Bravo!” repeatedly right after the show, it seems that John Galliano once again proved that he and the Maison Margiela fashion house truly deserve their position at the top! 

Words By  by Julia Sułkowska 

The post Galliano’s Spring/Summer 2024 Artisanal Show is a night to be included in fashion history books! Mesmerising, sensual, avant-garde appeared first on Voir Fashion.

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Undercover

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After the lights dimmed at Undercover, we assumed the finale had just occurred, but as gasps and exclamations echoed from the beginning of the runway, we knew we were about to witness fashion history. Three models were languishing down the runway wearing glow-in-the-dark birdcage dresses with live gardens and butterflies inside. The glasshouse 3D pieces are one of the most talked about moments of the season, so it’s to one’s surprise that the designer responsible is the ever-inventive Jun Takahashi. Even the harsh, fan-favorite critic @hautelemaude was impressed. Unlike the one-and-done marketing gimmicks we’re used to seeing from brands, the dresses seamlessly blended with the rest of the collection and its theme: the surreal contrast between dark and light. Backstage Takahashi shared that “He feels like he’s stuck in the world, but he wants to release himself.”

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This sense of existing in limbo was in the see-through veils and loose, feminine silhouettes that billowed like fading memories. The opening sheer tailored suits showed razors, playing cards, and flowers trapped in between the front and back layers. Georgette black suits, bedazzled spider embellishments, and faded t-shirts made the collection look like workwear rinsed in a cauldron. A somber color palette gave way to polka dots and bright yellow, followed by graphic co-ord sets of Neo Rauch’s paintings that perfectly conveyed that surrealist feeling. Tulle was everywhere; overlaying hoodies, as shoulder pads, and even crunched up as portraits from his first oil painting exhibition shown earlier this month, “They See More Than You Can See”.

https://www.instagram.com/undercover_lab/?img_index=1

The ambiance further enriched the theme, with broken and lit chandeliers on the cement floor, low-pitched cellos obfuscating the background, and gifted scarves with folklore illustrations upon our seats. With ‘Deep Mist’, Jun Takahashi devised an ingenious moment amongst an already innovative collection. Flooding our feeds on day two of fashion week, this show will go down in the books.

Alexander McQueen

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A bittersweet moment for fashion, this season Sarah Burton presented her last collection for Alexander McQueen. After three weeks of back-to-back shows, it’s hard to draw an emotional reaction from saturated guests; and yet. Kaia Gerber and Naomi Campbell’s appearances already sparked cheers, but it was nothing compared to the hollers and applauds that drowned the room when Burton herself (for the first time in what seemed like forever) did a full circuit of the runway. In a plain shirt and jeans that gave no indication of the magnificent collection that had just preceded her, the designer blew kisses and hugged longtime industry friends like journalist Sarah Mower, making for a deeply emotional grand finale. In her 26-year tenure with the brand (half working closely with McQueen and half as creative director), she has been persistent in honoring McQueen’s designs while reimagining womanhood from her perspective.

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With ‘Anatomy II’, she delivered both a culmination and a retrospective of her work. On every seat, a departing note read “This collection is inspired by female anatomy, Queen Elizabeth I, the blood red rose and Magdalena Abakanowicz, a transgressive and powerfully creative artist who refused ever to compromise her vision. The show is dedicated to the memory of Lee Alexander McQueen, whose wish was always to empower women, and to the passion, talent and loyalty of my team.”

Kaia’s opening look set the tone, a corseted dress slashed with the first of many surgical cuts inspired by the ‘Hunger’ 1996 collection. Gold and silver embroidery substituted the violence and horror from the original pieces, instead celebrating the female body. Blood red, bone-white and black made up a very anatomical palette, all while referencing Britain and empowering women. Everything was a triple entendre; poppy flowers alluded to Tudor times, were printed in aquarelle graphics that degraded to blood stains, and became 3D dresses that petalled like vaginal folds. They were in shiny bustiers, sharply tailored mini dresses, and frilly embroideries on suits. The embrace of women’s bodies was also in the textiles printed with creations of Polish feminist artist Abakanowicz. Skeletons were reimagined in soft knitwear, where yarn bundled up as intestines and stitches and loops formed a feminine silhouette. Bones jutted out in the shape of sharp cutouts, tailoring flayed open with aggressive slashes as if it was skin or a reference to McQueen’s famed destruction of Saville Row tailoring.

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The show was filled with symbolism in a way we’re accustomed to seeing from Burton, an exquisite end to a respected and historical chapter in the legacy label–and fashion. The show was a melancholic and beautiful moment in itself, making us grateful to have experienced her touch at McQueen in real-time.

Mugler

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From the very beginning, Casey Cadwallader’s arrival at the Maison has stirred up a lot of drama: Thierry Mugler superfans desperate for a comeback of his Vegas-style spectacles, high-brow editors frowning upon the brand going commercial, and an unexpected fervor from the gen populous (his H&M collaboration sold out in 8 minutes). It makes sense then that with this collection he’s leaning into the newly-found mass media appeal and away from haughty fashion critics. “We’re kind of an emerging brand in a funny way”, he chuckled at the show’s preview.

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The show still clung to the theatrics Mugler was famed for (maybe because of this), but he gave it a showbusiness spin. Cadwallader even included the one-hour delay and throngs outside that are surmised before a spectacle. His fear of being too ‘costumey’ now assuaged, the designs were inspired by his love of octopuses and jellyfish. Large fans and bright lights turned the stage into a very dramatic wind tunnel. And the cast? He gave it the star power usually reserved for a Broadway production. Celebrities and supermodels alike walked the show, earning whoops and delighted gasps as they walked. Paris Hilton, Angela Basset, Helena Christensen, and Aber Valletta walked alongside Irina Shayk, Kai Isaiah-Jamal, Paloma Elsesser, Adut Akech, and Alex Consani. Phones and smiles were just as high when jersey garments billowed as if underwater and body-con dresses had seven-meter-long chiffon trains rippling like tentacles. Signature spiral-cut jeans and corset jackets were patterned with polka-dots and ombré sprays inspired by sea slugs, while sequined sheer bodysuits glistened like fish scales. Those weren’t the only classic and archive pieces given the aquatic treatment: elegant coats inspired by the SS97 collection had fringes inspired by jellyfish, resin body plates became exoskeletons, and tulle sleeves and trousers gave the illusion of SS99’s ‘floating’ tailoring. The show delivered one of the biggest spectacles of the season and served as an identity reset, proving that the new, more commercial Mugler is successful– and not going anywhere.

Y PROJECT

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After hosting a 6,000-person rave in Milan for the Diesel show, pressure and anticipation were high for Glenn Martens’ Y Project show. The standing-only room front row was crowded with the same young stylish people gathered outside the venue, making the inside look like superfans had sneaked past security and PR instead of invite-only. And with Martens’ reputation as fashion’s newest wunderkind, they might as well be crazed fanatics.

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The collection was based on the fabric manipulation of denim, a material at this point synonymous with the Belgian designer. It was twisted, frayed, and saturated in fierce shades of lavender, yellow and red. They made up scrunched dresses, crumpled boots, and even hooded shawls. Denim became transformable and appropriate for every occasion, a concept some might remember him pushing since his earlier years. Although it began as a way to send the same look down the runway twice, this revolutionary concept is taking a firm hold on fashion now. From stacked trousers and scrunched-up bags to jackets zipped up to make a Y-shape, we won’t be surprised to see his innovative draping at Zara or Shein in a few months (unfortunately maybe days for the latter). This particular collection was inspired by the Gothic architecture of his hometown, Bruges. With it, he finally gave us an insight as to why he chooses denim: “In Bruges we have the tallest Medieval tower that’s made of bricks. It’s nice that the material they were using is basic bricks, unlike in England or France who were using ornate stone. The material that we use is very basic and archetypal, cotton and denim, but from them we create these constructive twists.” Even if the triad of models wearing fake serpent necklaces around their necks were the most talked about looks, it’s the cementing of the denim-is-fit-for-all revolution that made the show so significant.

^{Words by Alexia De Las Heras}

^{Header Images by @kaiagerber @yproject_official & @undercover_lab}

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The LINO womenswear show started off in classic Owens’ doom: a demonic melody played as obsidian ensembles opened the show, the Palais de Tokyo setting shrouded in artificial fog. But as soon as colorful petals began falling from the sky, we knew something was different. Sure, they were in reference to when Roman Emperor Heliogabalus notoriously suffocated his guests with rose petals (‘I didn’t have enough of them to kill everybody’ said Owens), but an uncharacteristic positiveness was in the apocalyptic fog.

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The distorted song revealed itself to be Diane Ross chanting ‘I still believe in love’, the fragrance from the petals pleasantly lingered, and the fog was in bright shades of pink and yellow. The inspiration behind this change was Bjork: ‘I went to (her) concert and her intelligent, life-affirming energy made me kinda embarrassed of my own mopey adolescent pessimism.’ said the designer.

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That’s not to say that the show wasn’t Owens at its core. The opening looks established a black theme filled with skin-tight silhouettes, long leather skirts, and structural jersey draping that remained a theme throughout. Models wore alien-like black contact lenses and slicked-back hair with micro bras, oversized gloves, and shaded sunglasses. Wastlines were high and hemlines were low, complete with the brand’s signature pointed shoulders.

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But then entered this utopic hope. Pink, burgundy, red, and brown reiterations of the black getups appeared, with delicate wedding trains and capes substituting sheer funeral veils. Then came silk garments billowing in the wind and the ‘donut’ gowns we saw last season– puffball cylinder-shaped mini and midi dresses in toned-down pastels. It’s that same faith we had in the models, watching them brave through stairs and wind in sky-high platforms and orthopedic gladiator sandals.

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It was surprisingly refreshing seeing his usual structural artwork interpolated with more wearable pieces– we can’t remember the last time we saw Owens do cropped leather jackets, and his decision to use lava red is sure to bring in commercial success for the brand.

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In LINO he found a cautious sanguineness, making us see the beauty present on Earth amongst his signature melancholic futurism. There was no better way to show this than by using eco-friendly recycled yarn for getups that were perfect for an ecological apocalypse. The five final looks certainly made us think of doomsday preparation: differently colored hazmat loose jumpsuits covered every inch of skin. From beginning to end, Owens urges us not to ignore the bitter and harsh reality, and yet he inspires us to find the light in the darkness.

_{Words by Alexia De Las Heras}

^{Header Image by @ssense}

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Di Petsa

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First up, London’s opening act: Di Petsa. Her SS24 collection ‘Reflections of Venus’ was inspired by the Greek Goddess of love. The show took us on a journey of womanhood filled with symbolism toward the deity, creating an ethereal dream of eroticism. Nude and ivory loose dresses depicted feminine purity, followed by references to sensual awakenings through revealing and tight-fitting silhouettes.

What followed was an embrace of dark femininity with long sheer, black gowns, and a woman holding an ancient jug to her belly, as if pregnant, to represent motherhood. But perhaps the most jaw-drawing moment was the show’s start: a naked model was surrounded by women who, led by Petsa herself, caressed and danced around her before she emerged in a metallic gold gown. Birth of Venus, indeed.

Some garments had Swarovski healing crystals as a nod to self-love, and the closing look was reminiscent of a wedding dress which, to some, is the culmination of love. The Greek designer masterfully weaved references to the birth of Venus myth, with colours tones of sea foam sculpted bikinis, and her now infamous wet-look conveying (quite literally) the goddess’ emergence from the sea. Despite her show last year making a splash, it’s her storytelling and embrace of the divine feminine this year that makes Di Petsa a must-watch name in our list.

Mowalola

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NSFW graphic tees, hentai emblazoned polos, micro belt skirts, and barely-there undies, alongside makeup fetishising a car crash. Who else could create such a scandalous and carnal collection other than the dark-humoured Mowalola Ogunlesi?

But the Nigerian-born designer has a reason for it: she stumbled upon the 1995 erotic thriller ‘Crash’ and was instantly inspired.Thus the collection was filled with skin-bearing designs and clothes that spiked an uproar. Of course, she filled the runway with an array of political criticisms and jabs to the elite too; hats, cycling dresses, and leather skirts were filled with distressed Union Jacks and Japanese or Chinese flags, all while Donald Trump screamed ‘China, Chins, China’ in the background.

There was even a direct stab at the late Karl Lagerfeld, as two models conjoined at the arms walked in an oversized version of his ‘only4slim people’ micro tee. Other models walked in twos as well, in a way that Mowalola says “is giving twin-personality”.

With Irina Shayk opening the show in a metallic silver dress and Kanye West (a.k.a. Ye) and his new wife Bianca Censori watching from the front row Mowalola has certified itself as the IT-brand in popular culture.

Natasha Zinko

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London-based designer Natasha Zinko is another designer that stole the show on day one, debuting her SS24 collection ‘THE CAMP’. She took the camping theme for a streetwear-esque spin, with meldingutilitarian and gorpcore aesthetics decorating models fiercely stomped down the runway.

As well as referencing camping on holiday, Zinko also referenced the lifestyle through the journey of humans nomad origins to present day. All about cropped hoodies, wide sweatpants, caps, and cargo pants, the concept is also a nod to the war in her home country of Ukraine, present in the backpacks that doubled as vests, distressed textiles, and nylon reminiscent of tents’ material. Zinko transformed Soho Square into an emo campsite, even gathering a crowd of curious onlookers outside.

But what we loved the most about the show was her desire to normalize underwear. She said: “In a polarised world, one thing that unites us is underwear. We all wear it; we all travel with it, stuff it in suitcases; so why do we hide it?.”

Sinead Gorey

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It doesn’t get more British than Sinead Gorey’s ‘Summer of Love’ collection. For her debut show, she paid ode to her London roots and teenage rave years by creating the ultimate clubwear collection, charged with references to her Britishness. Described in her own words as, “That’s Sarcasm, pubs, unpredictable weather, and a love of partying.”

Punk, rave, and Britpop themes were present in the acid bright colours, weed graphics, wool two pieces, and lacy biker shorts.There were even explicit references to UK culture, with patch worked stripes nodding at Kate Moss’ legendary 2005 picture at Glastonbury and Ginger Spice’s iconic Union Jacks boots.

The show also debuted her collab with Buffallo, showing off the studded leather mules and bondage platforms. With her signature playfulness and bright colors, Gorey is soon to become a staple for British party girls everywhere.

SRVC

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For his debut at LFW, Ricky Wesley Harriott honed in on a feeling we all know and love to hate: FOMO. The appropriately named ‘Wish I Were Here’ collection exposes how the perfection of the holiday getaways we see on social media is false, distorting clothes in a way that calls out that infamous digital face tune.

Think distorted blazers, upside-down knitwear, and cropped hoodies accentuating to-tiny waists. The Tottenham-born designer also stayed true to his signature style, showcasing transformable clothes that can be worn from the office straight to the club. From cargo pants with adjustable waistbands to leather jackets with removable sleeves, SRVC focused on melding a sci-fi utilitarian aesthetic with elevated quality. With the brand finally launching in big retailers like Selfridges this year, Harriot is the newcomer to watch.

KNWLS

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Is there anything more iconic than having Mia Khalifa close your show? We don’t think so, it’s been an exciting two weeks for the South London-based brand Knwls, debuting their collab with Gaultier at NYFW just before having a LFW show that ended in hoots and hollers. For their ‘Petrol’ SS24 collection, designers Charlotte Knowles and Alexandre Arsenault stuck to their staples– but that didn’t mean it wasn’t innovative.

Brand superfans will recognize the signature corsets and broken leather jackets strutting down the runway, only this time they came with a rebellious twist. Feminine silhouettes contrasted with jagged spikes, scratched-out camo, and new denim washes, elevated the classics to match the theme. Inspired by a ‘need for speed’, the pair stirred up looks that seem to be fresh out of the races– and as scandalously muddy and dirty as this would expect. After partnering with a titan like Gaultier, there’s no doubt that the cult label Knwls is soon to be thrown into a stardom.

Ahluwalia

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For her SS24 show titled ‘Acknowledgements’, designer Priya Ahluwalia focused on just that: acknowledging history’s unspoken heroes. Appropriately hosted at the cultural hub that is the British Library, the collection was filled with references to iconic figures such as Marsha P.Johnson, the 60s LGBTQ activist and drag queen.

‘Illusion knitwear’ predominated, challenging viewers to take a closer look at the clothes (and history). But what’s been causing waves post-show has been her blend of occasion wear, as she styled tracksuits under slinky party tops and beach skirts with buttons up. There’s no doubt that those double-breasted suits with neon blue striping on the sides will be everywhere in 2024.

Label signatures like the saturated orange, green, and brown colors were seen on trendy items like football shirts, flowing gowns, and varsity jackets. Zebra prints, floral motifs, and graphics of indigenous sculptures paid homage to the Ahluwalia’s African heritage, while the ‘A’ emblem seen embroidered throughout the collection directly referenced her initial. With a standing ovation as she came out at the end of the show, Ahluwalia’s success is just getting started.

^{Words by Alexia De Las Heras}

^{Header Image by @mowalola}

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