For the Louis Vuitton Cruise 2027 collection, Nicolas Ghesquière forges a connection — between the distinct identities and realities of Paris and New York, and between the cities within that city: its dichotomies, its dualities.

New York has always been comprised of multiple identities, divergent cultures, and fused experiences. Never singular, it is an amalgamation — uptown and downtown, past and future — a place of alternate sensibilities and simultaneous attitudes. Beautiful contradiction, perfect differences. This is the luxury of paying homage.

A city as pop culture experience, New York in the twenty-first century has an inherent universality. A place of aspiration, it is both a destination and a point of cultural embarkation. There is, equally, a universality to Louis Vuitton — globally known, globally understood. Pop art, pop culture, and pop luxury: the notion of the popular as a powerful medium for the conveyance of messages to all.

The discovery within the Louis Vuitton archives of a 1930s leather suitcase, radically reworked as a literal canvas by the American contemporary artist Keith Haring, connects Louis Vuitton to pop art. This chance encounter reemerges as a fundamental inspiration, with a selection of Haring works featured across clothing pieces and accessories. In turn, these pieces again serve as canvases, honoring Haring’s distinct artistic language and legacy.

Travel between spaces, travel between eras. Here, a travel between identities — a voyage of discovery. Between the salons of the Frick — a charged and meaningful environment embedded in this metropolis — lies a vessel for exploring different times and alternate experiences. As the Frick celebrates French decorative arts through an American eye, diverse expressions of American style are framed here through French savoir-faire, in an ongoing conversation.

Workmanship can elevate actuality; reflections of real wardrobes are sublimated. Blue jeans, jersey, leather — a heritage of American style is retranslated here. Within an American wardrobe is the idea of American women, their character: dynamic, liberated, energetic. The depth of European cultural history and the breadth of the modern American experience — grand masters and pop art, old world and new — are celebrated concurrently.

Different connections, unexpected intersections. Within the clothes, different eras and identities of New York coexist, as they do in the fabric of the city itself. Fragments of pop culture — slot machines, automobile chassis, tooled leather — and echoes of the grandeur of the Gilded Age are recontextualized, embedded in clothes or recreated as accessories: ways to cherish their memories.

Color is vibrant, brilliant, and positive. Graffiti-like passementerie or sequin embroidery crafts unexpected laces. Modern figures move, like ghosts of the future, disrupting spaces reminiscent of the past. In the end, all may belong here.

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“How can we find ourselves in the world we live in?” With this question, Sarah Burton opens a new chapter for Givenchy, one shaped by reflection, instinct, and the evolving strength of contemporary femininity. Her third women’s ready-to-wear show for the Maison becomes not only an exploration of silhouette and craftsmanship, but also a meditation on identity — on the many ways women move through the world while remaining entirely themselves.

At the heart of the collection lies the language Burton has steadily established since arriving at Givenchy: cut, tailoring, and silhouette. Yet this season, those foundations are turned on their head. Shapes shift unexpectedly, as though caught mid-motion, revealing the spontaneous creative exchange between the atelier and the woman who ultimately inhabits the clothes.

The collection unfolds with an effortless tension between discipline and freedom. Precision tailoring appears sharp and controlled, while draping moves with sensual fluidity. Together, these opposing forces create a wardrobe that feels deeply alive — one capable of reflecting the layered realities of modern womanhood.

There is a distinctly artistic atmosphere running through the show. Painterly motifs and sculptural forms evoke the aesthetic world of the great Northern European masters, infusing the collection with depth, drama, and quiet intensity. A heavy duchesse satin coat falls in rich drapery around the body, commanding attention through its sculptural elegance. Elsewhere, shredded floral evening dresses introduce movement and fragility, balancing romance with rawness.

The dialogue between structure and spontaneity continues through the accessories and styling. Headpieces imagined by Stephen Jones transform simplicity into something strikingly expressive. “This is the most natural way to cover the hair. All it takes is a T-shirt. One twist. But it has to be the right one, with the right twist,” he explains. The gesture feels instinctive yet deliberate, turning an everyday object into an intimate form of self-expression.

Throughout the collection, Givenchy becomes a mirror with many facets. Burton presents femininity not as a singular idea, but as something complex, emotional, sculptural, and ever-changing. The transition from rigorous tailoring to sensual draping mirrors the contradictions women navigate every day — strength and vulnerability, precision and softness, confidence and introspection.

That same spirit extends into the very atmosphere of the show itself. The staging and bold casting reinforce the idea of individuality as power, celebrating the courage to express one’s identity openly in the world. Nothing feels static or fixed. Instead, the collection captures movement — between the atelier and the wearer, between construction and emotion, between the inner self and outward expression.

What emerges is a vision of Givenchy rooted in transformation. Burton does not abandon the codes she established upon entering the Maison; rather, she allows them to evolve naturally, shaped by instinct and by the women they are created for. Tailoring remains central, but it breathes differently now. Silhouettes no longer simply frame the body — they respond to it, move with it, and reveal its complexity.

There is also an undeniable intimacy to the collection. Even in its most sculptural moments, the clothes maintain a closeness to the woman wearing them. The draped satin, the fragile florals, the twisted head coverings — all feel deeply personal, as though formed in direct conversation with the body itself.

With her Fall/Winter 2026 show for Givenchy, Sarah Burton offers more than a collection. She creates a reflection of modern femininity in all its contrasts and nuances. Through tailoring, draping, and sculptural beauty, she asks a simple but profound question: how do women find themselves in the world today? Her answer is neither rigid nor singular. It lives instead in expression, individuality, and the quiet power of becoming fully oneself.

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Far from the polished confines of Parisian salons, a different rhythm emerges – one shaped by salt air, sunlit horizons, and the perpetual motion of the sea. In Biarritz, CHANEL returns not merely to a place, but to a philosophy. It is here that Gabrielle Chanel once redefined the language of fashion, aligning the eternal cadence of nature with the urgency of modern life. For the Cruise 2026/27 collection, Matthieu Blazy revisits this origin story, conjuring a world where freedom of movement, multiplicity of identity, and the poetry of practicality converge in a quietly radical vision.

Biarritz, as Blazy evokes it, is not simply a destination but a living stage – one where artists, workers, aristocrats, and sailors coexist without hierarchy. This spirit of shared presence, where function and fiction blur, becomes the foundation of the collection. It is a place where clothing sheds its rigid codes, where the salon slips seamlessly into the beach, and where elegance is no longer confined but set free in motion.

At the heart of this narrative lies Gabrielle Chanel’s enduring liberation of the body. Rejecting the constraints of salon-bound existence, she turned to the outdoors – the sea, the wind, the sun – as her collaborators. Jersey and sportswear became instruments of emancipation, offering women not only comfort but autonomy. Blazy channels this ethos with a collection that feels perpetually in flux, guided by the simple, sensual act of dressing and undressing. Bathing suits emerge as essential anchors, while fluttering silk foulards, rustling raffia skirts, and washed cotton canvas suits echo the rhythm of a life lived between land and sea.

The collection unfolds as a study in contrasts that ultimately dissolve: French workwear meets leisurewear, rigor dances with effervescence, and uniforms of sailors transform into the flourish of gowns. The Basque stripe threads its way throughout, a visual line that binds these disparate elements into a cohesive whole. Here, hierarchy is not merely challenged – it is rendered obsolete.

Materiality plays a central role in this sensorial exploration. Fabrics are chosen not only for their beauty but for their tactile resonance, mirroring the abundance of the natural world that surrounds Biarritz. Fluid silks ripple like water, springy tweeds carry a buoyant energy, and compact flocks offer structure without rigidity. Soft beaded knits and shimmering fish-scale paillettes evoke an aquatic dreamscape, where reality and imagination merge in a new CHANEL folklore – one that moves effortlessly between the grounded and the fantastical.

Within this fluid architecture, the double C motif emerges not as a symbol of branding, but as an elemental form embedded within the garments themselves. Its sinuous contours recall Gabrielle Chanel’s original manifesto – her insistence on clarity, precision, and self-definition through dress. Introduced radically in the 1930s, it remains a signature that invites interpretation. In this collection, it becomes a framework upon which the wearer inscribes her own narrative, reinforcing the idea that clothing is not prescriptive but participatory.

Accessories extend this sense of journey, traversing the spectrum between utility and whimsy. A small valise handbag suggests departure, while a capacious holdall anticipates arrival. Waterproof flap bags coexist with oversized striped beach paniers, and even a pala carrier finds its place within this eclectic ensemble. Footwear mirrors this duality: elegant Art Deco heels stand alongside barefoot “heel caps,” offering a freedom that transcends setting. Jewellery, too, reflects the architectural elegance of Biarritz, infused with an aquatic sensibility – shell earrings cling to the ear, and the CHANEL pearl finds a natural, almost spiritual resonance.

Central to the collection’s narrative is the enduring power of the black dress. Introduced by Gabrielle Chanel in 1926, it was never intended as a mere garment, but as a declaration. Purposeful and precise, its simplicity masked a profound disruption of fashion’s established order. At a time when haute couture reveled in excess, the black dress proposed clarity. It drew from the attire of working women – servants, shopgirls, and convent sisters – and elevated it, challenging societal hierarchies with quiet defiance.

Blazy reintroduces this iconic piece as the opening look of the collection, returning to its original archival sketch. Notably, the bow absent from the 1926 illustration reappears here as a clutch bag, a subtle yet meaningful transformation that bridges past and present. The black dress, once revolutionary, now stands as an archetype – its significance not diminished but deepened by time. It is a garment that demands interpretation, inviting each wearer to define its meaning anew.

This ethos extends to the broader vocabulary of French workwear referenced throughout the collection. From the sailor’s marinière to the humble bleu de travail, these garments carry both functional integrity and a rebellious undercurrent. Their presence within the CHANEL lexicon affirms their evolution from utilitarian staples to cultural icons, reinforcing the collection’s commitment to dissolving boundaries between the ordinary and the extraordinary.

“There is no beauty without freedom of the body,” Gabrielle Chanel once declared. In Biarritz, that freedom takes on a tangible form – woven into fabrics, embedded in silhouettes, and carried through every movement. The Cruise 2026/27 collection does not merely revisit history; it reanimates it, offering a vision of fashion that is at once grounded and transcendent.

In this space where the salon meets the sea, CHANEL proposes a new way of being – one defined not by constraint, but by possibility.

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A cast steps forward, enigmatic and electrifying, as Duran Lantink unveils his second collection for Jean Paul Gaultier Autumn/Winter 2026/27. They arrive not as mere models, but as characters—each one charged with possibility, each one suspended between identities. A detective, a cowboy, a raver, a steampunk vision, a banker in a sharply tailored coat with sloping shoulders. A femme fatale, perhaps just risen from bed, her allure both effortless and deliberate. Together, they form a world where elegance collides with disruption, and where tailoring and sportswear exist in a restless, compelling harmony.

The story begins with a personal relic: a vintage mesh T-shirt cherished by Lantink, emblazoned with the face of Marlene Dietrich. Dietrich—legendary, enigmatic—embodied contradiction. As Jean Cocteau once quipped, “Her name starts with a caress and ends with a whip.” She was sweetness and dominance, sensuality and grace intertwined. The ultimate hybrid. It is precisely this duality that resonates within the House of Gaultier, where opposites do not merely coexist—they amplify one another.

Within this universe, boundaries dissolve. Feminine and masculine blur into a seamless dialogue; garments turn inside out; vintage merges with the new; underwear boldly becomes outerwear; the technical meets the tailored. The presence of Dietrich on Lantink’s moodboard acts as a portal, ushering in a multitude of personas. She herself reappears throughout the collection—immortalized once more, cigarette in hand, on a dress that feels as much like a statement as it does a memory. It is an invitation: let’s play.

That spirit of play is deeply rooted in both heritage and reinvention. While exploring the archives, Lantink was struck by the absence of certain key pieces—gaps that seemed to call out for reinterpretation. Yet this absence aligns seamlessly with the ethos of Monsieur Gaultier, who never hesitated to revisit and reshape his past creations. Garments, like actors, were always ready for a new role—cut apart, reassembled, reborn.

For Lantink, this philosophy is instinctive. For years, his creative process has revolved around transformation: garments sourced from past designer collections, vintage treasures, even his own wardrobe, all dismantled and reimagined into something entirely new. In his world, nothing is untouchable. Creation demands risk, and everything is subject to change. “There were times when I had no clothes left to wear,” he recalls—a testament to a practice where reinvention consumes even the personal.

This transformative energy pulses through every look. A pinstripe suit from the Haute Couture Spring/Summer 2016 collection Le Palace becomes the foundation for sculptural tailoring experiments, its gathered waist reinterpreted into bold, architectural forms. A cropped bomber jacket—first seen in 1985, revisited in 1988 and 2002—returns with remarkable fidelity, a thread connecting past and present. Fair Isle knits from Autumn/Winter 1990 are reborn as body-hugging base layers, their heritage reframed against the body.

Elsewhere, the unexpected takes center stage. Rubber car tires are reimagined as accessories, injecting an industrial edge into the collection’s narrative. A wooden puppet evokes Les Marionnettes from Autumn/Winter 2004, a poetic nod to the house’s theatrical past. Pleated jersey dresses introduce an extraordinary bounce, animating the silhouette with movement and vitality. Each piece becomes a character in its own right, contributing to a broader, ever-evolving story.

Conversations between Monsieur Gaultier and Lantink often drift toward cinema, a shared fascination that underscores the collection’s narrative depth. They also reflect on the ambitions of Futurism—a movement that sought to reshape perception and form. Gaultier’s early years as assistant to Pierre Cardin, fashion’s great Futurist, remain a vital influence. Cardin’s sculptural vision, his fearless approach to redefining the body, echoes in Lantink’s own exploration of shape and structure. Nothing was too strange, too radical—only possibilities waiting to be realized.

One anecdote lingers, almost like a whispered philosophy. Gaultier recalls finding a jacket at a flea market, turning it inside out, and discovering that he preferred the lining to the exterior. It is a simple gesture, yet profoundly emblematic: beauty lies in perspective, in the willingness to see differently.

Ultimately, this collection is not just about clothing—it is about freedom. The freedom to live, to work, to love, to design, to dress. A freedom that demands curiosity, courage, and above all, a relentless desire to play. In Lantink’s hands, the legacy of Jean Paul Gaultier is not preserved in stillness, but propelled forward through transformation, where every garment, every character, and every idea remains in motion.

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There is something quietly radical about the Missoni Fall/Winter 2026 collection – a sense that fashion, at its most compelling, does not shout but unfolds, instinctively, like a second skin. This season, Missoni is not merely a wardrobe; it is an attitude. A spontaneous, almost intuitive ritual of dressing that resists prescription and instead celebrates the deeply personal act of self-expression.

At the heart of this vision lies Alberto Caliri, whose signature approach continues to shape a narrative that evolves organically, season after season. Rather than chasing the urgency of novelty, the collection refines a language already rich with meaning. It is a world where the everyday is elevated – sublimated into something tactile, emotional, and quietly extraordinary.

This season’s defining gesture is a dialogue – one that feels both intimate and expansive – between masculine and feminine. Not as opposites, but as complementary forces in constant conversation. The Missoni woman steps into this space with confidence, borrowing freely from the masculine wardrobe. She adopts its pieces not as disguises, but as extensions of her own identity, layering them over her inherent sensuality, her sinuous presence, her shimmering essence.

The result is a wardrobe built on duality. On one side, there is structure: roomy martingale coats that envelop the body with ease, blousons that command attention, shearling jackets that exude tactile richness. Blazers with sharp, pointed collars lend a precise, almost architectural edge, while pleated trousers and wide leather Bermuda shorts – secured with belts – revisit bourgeois classics through a lens of softened volume.

On the other side lies fluidity. Midi-length dresses drape loosely across the upper body before tracing the figure with quiet precision, creating silhouettes that feel both relaxed and defined. Metallic flashes ripple through these pieces, catching the light in fleeting moments – never overpowering, always suggestive.

Accessories act as connective tissue, weaving the collection together with subtle coherence. Long scarves wrap and trail with effortless grace, while cowl necks and small knitted stoles add layers of intimacy. Hats – poised somewhere between sea wolf ruggedness and newsboy charm – introduce a playful ambiguity, complemented by pumps and flat ankle boots that ground the looks in everyday wearability.

Yet it is in the fabric of the collection – both literal and conceptual – that Missoni’s identity reveals itself most profoundly. The brand’s iconic interplay of patterns and colors evolves into what can only be described as monochrome polychromy. It is a study in nuance: tonal variations of a single color blending seamlessly into one another, drawing the eye closer, inviting a more attentive gaze.

Here, color becomes an experience rather than a statement. Shades of brown, tobacco, ochre, cognac, and milk form a warm, organic foundation, punctuated by moments of intense blue. Checks and fiammato motifs move in rhythm with vertical stripes, creating a visual cadence that is both structured and fluid.

Textures, however, are where the collection truly comes alive. They disrupt the surface with subtle agitation, revealing the depth of three-dimensional geometries. Each piece becomes a landscape of movement and dimension, encouraging touch as much as observation.

Layering is not simply a styling choice – it is a philosophy. Garments envelop, overlap, and blend into one another, creating a sense of continuity that mirrors the fluidity of identity itself. And yet, amidst this interplay, the body is never lost. Its energy, its presence, its character remain at the core of every look.

Missoni Fall/Winter 2026 is not about reinvention for its own sake. It is about refinement, about trusting instinct, about allowing different worlds to meet and merge in unexpected harmony. It is a reminder that true style does not follow rules – it writes them, intuitively, with every step.

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What does modernist femininity look like today? At Rabanne, under the direction of Julien Dossena, the answer arrives not in polished perfection, but in something far more intriguing: a deliberate embrace of the undone, the elusive, the quietly subversive.

This season, femininity is redefined as an aesthetic rooted in the present moment – one that resists rigid definition. Instead, it thrives on decontextualization, weaving together fragments of decades past and present into something entirely personal. It is less about dressing to impress and more about dressing to feel – an intimate dialogue between wearer and wardrobe. Fashion, here, is not static; it is alive, shaped by the characters who inhabit it.

And what characters they are. The Rabanne Fall–Winter 2026 clique is described as “a little louche” – a phrase that lingers with seductive ambiguity. Slightly shadowy, a touch unknowable, yet unmistakably self-possessed, these women – and a few men – command attention without ever demanding it. They provoke curiosity. You notice them instantly, yet remain unsure of their story. Where have they come from? Where are they going?

This narrative unfolds through a wardrobe that feels both intuitive and unexpected. A boat-collar dress whispers of the 1940s, yet is paired with a jacket in shearing intarsia, collapsing eras into a single silhouette. A traditionally bookish check suit is reimagined with a blouse left open, a slip intentionally revealed – suggesting a tension between propriety and abandon.

Elsewhere, the styling becomes an exercise in layered contradiction. Men’s plaid trousers are punctuated by the surprise of an animal-print pump, offset by a floral blouse and a vividly colored Fair Isle sweater vest. The effect is not chaotic, but curated – each piece contributing to a larger, deeply personal narrative.

The wardrobe itself reads like a collection of stories: a coat adorned with eyelets in graduated sizes; a chemise scattered with paper plane prints; a leather blazer blooming with florals. A twinset, fully embroidered and beaded with delicate flowers, is grounded – almost disrupted – by a pair of stylized cowboy boots. Preciousness is never allowed to linger too long; it is always countered, reframed, made real.

On another day, the same woman might appear transformed. A top of flower-printed metal mesh drapes fluidly across the body, paired with a skirt of deconstructed, fringed jersey encircled by tiers of miniature metallic tubes. Movement becomes part of the garment, each step activating texture and sound, each gesture amplifying presence.

Accessories, too, carry their own quiet narratives. A slender belt holds more stories than it reveals. Tights are chosen not to blend, but to contrast boldly with color-blocked T-bar pumps. An oversized metal bracelet adds weight – both literal and symbolic – while a leather trench coat promises to grow more beloved with time, its evolving patina mirroring the life of its wearer. Beneath it all, an assemblage skirt sways with every step, a rhythmic reminder of motion and individuality.

Throughout the collection, the atmosphere is undeniably moody, yet never heavy. Dressing up is no longer about performance; it is about intention. Each choice signals something – an attitude, a memory, a fleeting impulse. Dossena’s vision is not about imposing identity, but about uncovering it, piece by piece.

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At Paris Fashion Week, Nicolas Di Felice presented a focused and cinematic collection for Courrèges Fall/Winter 2026–2027, titled “24 Hours in the Life of a Courrèges Woman.” Inspired by the films of Chantal Akerman, the show followed a modern Parisian woman through an entire day – from waking at dawn to moving through the city, working, going out at night, and returning home. The collection captured this rhythm through a wardrobe that blends intimacy with urban reality, archival references with contemporary sensuality, and structure with ease.

Marking his fifth anniversary at the house, Di Felice distilled Courrèges’ identity into its essentials: geometric precision, restraint, and quiet confidence. The result is a youthful, sharp aesthetic that feels both protective and subtly revealing. The collection unfolds like a continuous tracking shot, emphasizing movement, routine, and the interplay between public and private life in a hyper-connected world. It closes with a full lineup in white, symbolizing renewal and offering a blank canvas for the next day.

Silhouette plays a central role. Elongated, body-skimming shapes dominate, creating a second-skin effect that is both taut and fluid. Structured coats – often trapezoidal or slightly flared – are paired with A-line skirts, straight trousers, and sharply cut dresses. Pinafore styles, sheath dresses with slits, tubular evening pieces, and zip-up bodysuits evoke both functionality and sensuality. High, sculptural collars and asymmetrical cuts add drama, while graphic cutouts and backless designs introduce a controlled, edgy allure.

Details remain precise and intentional. Pleated skirts, vinyl constructions, zippers, and snap buttons reference the brand’s archives while reinforcing a sense of movement and practicality. Chest patch pockets and draped elements – especially in the opening looks inspired by bedsheets – bring a tactile softness to the otherwise structured designs. The balance between utility and sensuality is carefully maintained throughout.

The color palette is strictly monochromatic, moving between white, grey, and black like photographic contrasts. Soft whites and satins define the morning; neutral greys reflect the daytime cityscape; deep blacks dominate the evening. The finale’s all-white looks emphasize light, purity, and continuity with the house’s heritage.

Materiality is equally important. Signature vinyl appears in multiple forms, from casual sets to sharply pleated dresses. Satin and jersey create fluid, body-conscious pieces, while denim treated with asphalt-like textures evokes the urban environment. Organza embroidered with metro tickets and cloakroom stubs introduces a poetic, everyday narrative, while glass bead embellishments reflect the glow of nightlife. These elements create a dialogue between softness and rigidity, gloss and matte, intimacy and exposure.

Accessories extend the concept with the introduction of the “Shadow” bag – a flexible, minimalist design that molds to its contents and retains temporary imprints, echoing the passage of the day. Streamlined sunglasses and restrained styling reinforce the collection’s emphasis on form over excess.

Ultimately, the collection presents a complete wardrobe grounded in real life yet elevated through design. Di Felice refines Courrèges’ space-age legacy into something contemporary and wearable: a balance of geometric discipline and human experience, where everyday movement becomes a form of modern expression.

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There is something hypnotic about the way ETRO moves—never in a straight line, never confined to a single destination, but instead tracing a continuous, evolving circle. For the Women’s Fall Winter 2026/2027 collection, this circular language becomes both philosophy and aesthetic, an ever-expanding system of eclectic elements gathered along an endless journey. Each season begins where the last one ended, yet nothing is repeated in quite the same way. Everything returns, transformed.

Under the direction of Marco De Vincenzo, continuity becomes a creative force rather than a limitation. His approach feels almost musical: a composition of recognizable notes—flou silhouettes, intricate prints, echoes of a British-inflected masculine and formal wardrobe, and a persistent wandering spirit—that shift and rearrange themselves into new harmonies. The result is not a repetition, but an evolution, a narrative in motion where each piece contributes to a larger, unfolding story.

This season, the essence of ETRO—its unmistakable “Etro-sity”—reveals itself as an act of collecting. Not just objects, but experiences. Not just references, but entire worlds. Distant influences are brought into dialogue, creating a rich interplay of textures, motifs, and ideas. Tartans meet trompe l’oeil scarf prints; patterns inspired by medieval bestiaries coexist with magnified coats of arms; the iconic paisley finds new life alongside lean tailoring punctuated by unexpected details.

There is a sense of discovery in every look, as though each garment carries fragments of a larger journey. Feather trims add a touch of lightness and movement, while small sea-wolf coats introduce an element of intrigue. Sequins shimmer throughout the collection, not as mere decoration but as a pervasive presence, catching the light and guiding the eye. They elongate into fluid lines, dissolving into feathers, blurring the boundaries between texture and form.

The collection unfolds as a continuous flow, where everything is in motion. It engages the senses—eye, touch, and imagination—in equal measure. Heraldic cords run across knits like subtle signals from another time, while pleated skirts bring rhythm and structure. Devoré jacquards appear on jersey, adding depth and dimension, while golden fringes trace the edges of scarves tied at the hips like sashes or martingales. Embroideries, dense and glittering, depict fantastical animals that seem to emerge from a dreamlike realm, reinforcing the idea of a narrative that transcends time and place.

Color plays a crucial role in this unfolding story. The palette blends organic neutrals with vibrant yellows and blues, creating a sense of balance between earthiness and luminosity. Black anchors the collection, solid and absolute, providing a grounding force amid the constant movement. It is a palette that mirrors the collection’s philosophy: diverse yet cohesive, grounded yet open to infinite possibilities.

Accessories complete the journey with equal intention. Sturdy boots suggest resilience and exploration, while slender-heeled sandals with chunky buckles at the ankle introduce a refined contrast. Suede mules, created in collaboration with Birkenstock, bring a tactile softness, bridging comfort and craftsmanship. Handbags are softly shaped, ranging from small totes to intricately embroidered pouches, each one echoing the collection’s spirit of gathering and storytelling.

Ultimately, ETRO’s Fall Winter 2026/2027 collection is not about arrival, but about movement. It is a celebration of continuity and change, of memory and imagination, of the familiar and the unexpected. The circle turns once more, carrying with it fragments of the past and possibilities for the future.

ETRO loops forward—again and again—always different, always the same.

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For Fall Winter 2026, Max Mara turns its gaze to the past to define the future. The house explores an aesthetic steeped in history, reimagining modern utilitarian elegance with a daring touch of neo-medievalism and a whisper of gothic chic. The result is a collection that feels both grounded in heritage and strikingly relevant today – an ode to the enduring spirit of Italian women and to their most powerful historical ancestor.

At the heart of the narrative is a woman defined by fortitude, resilience and timeless style. Silhouettes are confident yet fluid: a hip-hugging gored cashmere maxi skirt sculpts the body with quiet authority, while a buttery suede page boy tunic introduces a note of historical romance. Ultra-flat boots rise softly to the mid-thigh, grounding the look with modern ease, as rows of metal rivets and coats with nubuck shoulder patches add an edge that feels unmistakably contemporary. In Max Mara’s hands, the so-called “Dark Age” aesthetic becomes unexpectedly of the moment.

As always, craftsmanship is the foundation. History, after all, gives beloved objects their deepest beauty – the kind refined by time. Max Mara’s signature materials embody this philosophy: sumptuous camel hair, luxurious cashmere, alpaca and mohair, fine wools, lustrous double-faces and plush teddy textures. Designed as lifelong companions, these fabrics are more than garments; they become witnesses to the stories of the women who wear them.

The guiding spirit of the collection is Matilde di Canossa, one of the most powerful figures of her era. Described as “as wise as a serpent, as simple as a dove,” she balanced serenity with strength. A shrewd diplomat, accomplished military commander and patron of the arts, Matilde ruled vast territories from her castles above Max Mara’s hometown. As an architect of peace between princes and popes – and a feminist long before the word existed – she stands as the ultimate heroine, living on in every woman.

History also mirrors the brand’s own legacy. For Matilde, the pivotal year was 1081. For Max Mara, it was 1981 – the birth of the legendary 101801 coat. Since then, the brand’s promise of empowerment has made it a touchstone for women on the rise. The Max Mara archive continues to inspire, particularly through the strong-shouldered, architectural outerwear that defines the house’s identity.

This season, those iconic shapes return in shades inspired by the natural coats of the wolf, the fox and the lion. Through them, Max Mara envisions the modern woman as a new Matilde: calm, fearless and victorious. Not a queen of the battlefield – but of the boardroom.

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In a season where fashion looks beyond the city skyline, Louis Vuitton turns its gaze toward something far more elemental. For the Women’s Fall/Winter 2026 show, creative director Nicolas Ghesquière unveils “Super Nature,” a collection where clothing evolves as if shaped by the earth itself.

Mountains, forests, and endless plains become the silent architects of the wardrobe. Here, fashion is imagined as a twenty-first-century architecture of clothing—one that grows from instinctive human responses to climate and terrain. Garments designed for endurance, protection, and freedom transform into elevated fashion statements, reflecting the primal dialogue between humanity and the landscapes that surround us.

The silhouettes feel sculpted by the elements themselves. Wind, rain, and sun leave invisible signatures on exaggerated shapes and unexpected details. Like traditional costumes born from specific lands and ways of life, these garments carry echoes of belonging—of people shaped by place and time. Yet Ghesquière reimagines this heritage for a digital age, crafting what might be described as a new folklore for the future. It is not an escape from modern reality, but a poetic reflection of it.

Nature leaves its imprint on every surface. Flora and fauna appear as subtle traces within the fabrics: reinvented animalier patterns woven into canvas and denim, sculpted leather flowers functioning as both ornament and armor. The collection treats clothing as a form of travel—collaging divergent materials and references to create a living topography of the body. Histories, cultures, and attitudes intertwine, forming garments that carry an inherent sense of global identity.

At the heart of “Super Nature” lies hyper-craft. Instead of merely imitating nature, the collection sublimates it. Technology merges with timeless artisanal skill: three-dimensional printing and innovative resins conjure materials that appear almost geological. Buttons resemble minerals, heels curve like antlers, and vegetal furs invent entirely new textures. Leather undergoes remarkable transformations—grained, grooved, and tanned to evoke the surface of wood while remaining supple and fluid. The result is surreal, almost impossible, yet unmistakably alive.

This exploration naturally extends to the house’s heritage of travel. The expertise of the brand’s malletier craftsmanship reimagines objects designed to move through the world. The iconic Noé bag, first introduced in 1932, returns to its original proportions and color—a timeless companion that seems to shift through decades while carrying the idea of home within it. Bags designed for exploration and wanderlust celebrate humanity’s eternal curiosity and our relationship with the earth.

Jewelry also travels through time. A reinterpretation of Man Ray appears as a modernist parure translated into the unmistakable language of Louis Vuitton: earrings, a ring, and a collier punctuated with the nail-heads reminiscent of a Louis Vuitton trunk. These pieces feel like artifacts from the past that have stepped confidently into the present.

The setting completes the narrative. Inside the Cour Carrée of the Musée du Louvre, a visionary neo-landscape unfolds. Created by production designer Jeremy Hindle—known for his work on the series Severance—the environment transforms nature into abstraction, filtering it through a futuristic lens. Inside and outside dissolve into one another as models traverse a shifting pastoral tableau.

The result is cinematic and dreamlike: a living painting where fashion becomes landscape and landscape becomes story. In this sci-fi pastoral allegory, Louis Vuitton proposes a powerful idea for the future—one where humanity, technology, and nature move forward together.

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