Today's fashion affairs started at 9am this morning when I went into university again and had to painstakingly withhold from watching all these shows live - leaving me to have to watch them and view the looks after the action and fashion has already been seen, I became a second-hand viewer today. And I didn't like it! Dior of course was the No1 today! And Jonathan Anderson did not dissapoint, however Acne Studios still brought in an amazing collection, as did Tom Ford (this one really blew me away), and Balmain was... Acne Studios - October 1 @5:30pm Look 44 This collection was a glorious reminder of everything Acne Studios does best: classic acid-wash denim, washed-out leathers, quirky tailoring, and styling that felt intentionally off-kilter (jumpers hanging off the body or armholes repurposed as head holes!) It was a masterclass in deconstruction meets academia, rooted in contrasts, between hard and soft, sheer and structured, prim and undone. There were layers! Foundations! Tailoring! And nestled among the chaos, corsetry and lace wove themselves beautifully into the undone narrative. Look 44 (right) was a standout for me. A layered shirting moment: a crisp white button-up worn beneath a deep charcoal V-neck sweater. The sleeves dramatically extended past the wrists, giving the illusion of four arms - weird, but undeniably cool. It leaned into a dishevelled intellect aesthetic: crumpled, overlong, and consciously careless. A structured belt sharply cinched the layers at the waist, pulling it all together in the most perfect, styled-to-the-millimetre kind of way. I was obsessed. Lace had a strong presence throughout as it showed up in numerous looks - as sheer skirts, peekaboo layers, and antique-toned pieces that brought a jarring delicacy to otherwise severe silhouettes. From asymmetric corsets to ripped sheers, it offered a soft rebellion against the collection’s more tailored moments. Accessories played a key role, too. The oversized, angular sunglasses gave the looks a cerebral coolness, the kind of aloof energy of a main character. The bags, meanwhile, felt more grounded and ‘normal,’ anchoring the looks and adding a hint of polish amidst the wildness. The whole show danced between tailored silhouettes and lacy, goddess-like details, sometimes merging both. It gave the impression of a professor’s daughter raiding three wardrobes: her father’s academic closet, her mother’s lingerie drawer, and her own collection of downtown accessories. There’s a deliberate awkwardness built into every look. Shirts are wrinkled yet formal. Skirts are sheer but modestly layered. Leather is distressed in that Acne way that’s somehow strict but slouchy. It's an intellectual rebellion through styling. If I had to deeply criticise one thing it would be the overwhelming amount of orange and the unfortunate conclusion that Acne wants orange to be the SS26 colour of the season. EW.  I’m rejecting that immediately, good riddance. Let’s hope it doesn’t trickle down to the high street. This collection focuses on academic deconstruction, subtle tailoring, unconventional dressing, youthful rebellion, and subversive femininity. It's so Acne Studios, it's clever, ironic, slightly haunting, and never trying too hard. It doesn’t beg to be loved; they have a niche and stick to it loyally! I’m here for it. All my favourite looks:  1, 5, 8, 9, 12, 14, 16, 18, 19, 24, 26, 30, 31, 34, 37, 39, 42, 44 Link to the entire collection: https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/acne-studios/slideshow/collection Tom Ford - October 1 @7pm The opening trio!! POWERFUL What a show, what a man, what a city, what a colour palette , what tailoring ! Need I go on? Haider Ackermann’s Spring/Summer 2026 collection for Tom Ford was nothing short of breathtaking. This 58-look lineup was bold, beautiful, and immaculately styled, a triumphant display of power, elegance, and sensuality that honoured the brand’s DNA while injecting it with Ackermann’s signature poetic flair. Let’s start with the casting: exceptional. The diversity of models and the strength of their presence allowed the collection to sing. Short hair across many of the early looks gave space for the garments to take centre stage - and take it they did!! The show opened with a dazzling trio of belted overcoats in rich, embellished burgundy, black, and a vivid pop of green. These first looks (which set the tone for a collection heavy on cohesive trios and pairs)  were cinched perfectly at the waist, exuding structured glamour from the get-go. The group photo of them together? Absolutely powerful. Ackermann’s tailoring was undoubtedly the star. From fluid suiting to skin-tight slinky dresses, every piece was constructed with intention. The silhouettes? Impeccable. Standouts included a series of velvet jackets in deep jewel tones, and the trio of power suits at looks 47 to 49 (below) - in shocking green, pastel pink, and a minty blue. Fitted to perfection, they radiated confidence and sex appeal.  Menswear wasn’t left behind either. Among others, a pale pink suit stuck out to me, paired with a matching scarf, oozed monochromatic charm, while a deep blue silk set appeared in both men’s and women’s looks - a nod to the increasing fluidity and co-ed focus of Ackermann’s Tom Ford. But it wasn’t all suits. Lace and sheers played a huge role in the collection, injecting a sense of raunchy romance. One unforgettable look (number 44 - below) layered a sharply tailored black blazer over a barely-there sheer dress - essentially a single sliver of fabric trailing up the neck. The only real coverage came from the blazer itself, but it worked. It was bold, impractical, and utterly  beautiful. Alex Consani floated down the runway in a sheer, lingerie-inspired black lace dress, adding more to the sensual aspect of the collection. And the penultimate look featured a jaw-dropping dress with a sharp silhouette to expose one breast and have it covered only by a structured neckline wrapping around and hanging over. Again, it was tailored, clever, and strikingly sensual. Haider Ackermann was appointed creative director of Tom Ford in September 2024. While Tom Ford has always been about sex appeal and sophistication, Ackermann brings a softness, a sense of contrasts: day vs night, structure vs fluidity, purity vs seduction. The SS26 show encapsulated that vision. It felt cinematic, cohesive, and conscious of the brand’s global expansion, offering wearable luxury without compromising on impact. As Tom Ford moves further into Paris under Haider’s lead, we’re witnessing the brand evolve from overt spectacle to atmospheric seduction - but make no mistake, the drama is still alive. It’s just sharper, and sexier! All my favourite looks:  1, 3, 12, 14, 16, 23, 25, 31, 38, 42, 44, 46, 47, 48, 49, 50, 58 See the full collection here:   https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/tom-ford/slideshow/collection Balmain - October 1 @8pm Look 48 Olivier Rousteing, the French designer who has helmed Balmain since 2011, continues to prove why he is one of the most influential figures in contemporary fashion with the brand’s Spring/Summer 2026 collection. Rousteing became creative director at just 25, succeeding Christophe Decarnin. Since then, he has transformed the house, creating a modern and inclusive “New French Style” that fuses Balmain’s couture heritage with contemporary influences, expanding its global presence and digital reach dramatically. Today, Balmain’s Spring/Summer 2026 collection felt like a perfect continuation of that vision. Earthy tones dominated the runway: olive, khaki, rust, beige, cream, chocolate brown, with surprising pops of red and orange and sand (of course!) that seamlessly blended with the overall palette. Silhouettes were airy and flowing, from wide-leg trousers to hobo-style draping. Slouchy boots, shell-covered dresses, flip-flops, and intricately draped pieces created a sense of effortless movement while remaining wearable. Beaded necklaces doubled as tops, netted designs teased glimpses of the stomach, and fringe added playful texture, all nodding to current trends without ever feeling forced. Rousteing’s signature artistry was evident throughout. Inspired by his 2024 Met Gala sand dress for Tyla, the collection incorporated sand and shell details in multiple ways: a bodysuit in Look 19, a bralette in Look 32, and a fully shell-and-sand tracksuit in Look 40 (below), paired with ankle boots also covered in shells. These pieces evoked the ocean witch aesthetic - otherworldly, tactile, and entirely mesmerising. All of the details throughout the entire collection were so planned and evidently well executed. It was so purposeful and intentionally done! Every detail. I’m gobsmacked.  Crochet and knits in vibrant hues also added to the collection’s beachy, summer-ready energy. But Look 9 took it one step further by wearing a literal towel. A red toned towel dress, as if freshly out the ocean, paired with flip flops covered in shells and a really large tasseled bag! And while we are talking about crazy looks - Look 38 included a top that was made of what looked like a very realistic amethyst crystal! This level of  innovation needs to be studied! The final look (Look 48 - above) was pure magic: a mini dress imagined as if crafted by mermaids, exactly the kind of thing a siren would be wearing before luring a man into the sea. This collection was more than clothing, it was storytelling, a celebration of artistry and wearable fantasy! Rousteing as usual appeared after the finale in an understated white tee and wide-leg jeans, fully letting his creations speak for themselves - and that they did! Balmain SS26 is the epitome of summer: colors, textures, and silhouettes that feel like the beach you can wear, a bold yet elegant testament to Rousteing’s genius. Once again, he proves that Balmain under his guidance is not just a fashion house - it’s a living, breathing work of art. All my favourite looks: 3, 4, 6, 8, 9, 10, 11, 14, 19, 20, 26, 30, 31, 32, 38, 39, 40, 43, 48 See the full collection here: https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/balmain/slideshow/collection What's to come Um The Row, Mugler, Rabanne, Rich Owens and topping it all off with Schiaparelli & Isabel Marant. Tomorrow has all the right ingredients to be such an amazing day! Just will they be able to cook or not... we will see. With love, Mimi x

Look 20 When I tuned into the livestream for Dior’s Spring/Summer 2026 womenswear show, I’ll be honest -  I was confused. For the first 40 minutes of the show’s official start time, there was no runway, no models, no music. Instead, we saw a stream of celebrities entering Dior’s historic atelier and being fitted. Was this the new collection? Was it being spoiled in real-time? Of course not. But as someone eagerly awaiting the collection, I was getting antsy. As it turned out, what we were seeing was a behind-the-scenes look at the arrival outfits! The fittings, the tweaks, the iconic white-coated artisans of Dior’s atelier at work. A rare and intimate glimpse into the craftsmanship that usually hides behind the curtain. It was a clever misdirect: a prelude, not a reveal. Then the camera cuts to the actual venue. A large white exterior, buzzing with fashion’s elite, was punctuated by a giant suspended triangle descending from the ceiling. Onto this 3D pyramid a projection played: “The House of Dior.” An emotional, non-linear film chronicling Dior’s legacy. Not just a tribute to Christian Dior, but also to the designers who carried the torch -  Galliano, Ferré, Bohan, Chiuri. It was a cinematic montage of Dior’s best moments, cut together like memory fragments. I loved that it acknowledged every era, as if to say: “Here’s what’s come before. Now watch what comes next.” Watch the entire livestream here: Jonathan Anderson is Dior’s new creative director for both menswear and womenswear - a huge step for the house and for him. SS26 is one of his first major statements in this role, and what a statement it was. He’s not here to erase Dior’s legacy, but rather to recodify it. He’s twisting it, subverting it, and layering it with his own brand of surreal, often cheeky elegance. The cinematic pre-show began with a soundscape of sombre music, sporadic screaming, and a woman asking: “Who are you?” A simple question, yet one loaded with weight. Who is Dior under Jonathan Anderson? And then the pyramid pulsed red and exploded into a frenzy of colour and imagery, every past moment in the montage now hyper-sped into chaos. It was dizzying, electric, and utterly captivating. I had goosebumps. People began applauding before a single model had walked out. Then the laboratory-bright lights came on, and the first look (below) entered the prism-shaped runway. The look was polished, sculptural, clean and unmistakably Dior. And Lady Dior at that! Draped fabric flowed with precision. A bow sat neatly at the bust. Even the shoes had an elegant but Anderson whimsy to them.  Some of my favourite looks included: 1, 5, 6, 14, 20, 21, 22, 26, 27, 28, 29, 30, 33, 37, 41, 43, 45, 50, 53, 55, 56, 57, 63, 64, 68, 69, 71, and 74 - a hefty list, I know. But this was a 74 look very dense, rich collection. The pacing was swift. Models glided past in precise intervals. Music softened. The heels - square-toed kitten styles with delicate bows (were ones we’d seen teased days before on JW Anderson’s Instagram) I love them! Already iconic. Headwear was a key motif: tricorn hats, sculptural couture toppers, and wild feathered pieces. Some looks reimagined 18th-century silhouettes -  think Marie Antoinette, but as reinterpreted by Stephen Jones on a surrealist bender. There were jackets nodding to the tricorn cut, massive bows blooming from the back of gowns, and lace spilling from unexpected seams. Tailoring was sharp, but softened by playful volume. A series of blue and white dresses featured perfect draping, airy yet grounded in structure. Pops of tomato red punched through the palette (as predicted!) Some looks were wearable, some fantastically impractical - but all felt considered. And then came THE look (20 - above). The one leaked weeks ago on Anderson’s personal Instagram: a baby blue, silk-woven dress with sharp tailoring and an accentuated waist. It floated, and blew me away. Later, its surprise sisters appeared in black and cream. Triplets on the runway. Confirming that the leaked piece wasn’t just teaser bait -  it was the crown jewel. Of course, not everything landed. For some reason there were these limp legging sets with ruffled collars (Look 36) These felt like a misstep. It looked undercooked. Slightly cheap. Almost like a rehearsal piece that snuck its way into the final lineup. Not very Dior. But overall? More hits than misses. A whirlwind of fabric and fantasy. It wasn’t always quintessentially Dior, but that’s the point - Anderson isn’t trying to recreate the past. He’s remixing it. There were standout moments of deconstruction: bunched up fabric on mini skirts, sculptural blazers, exposed seams, dramatic ruffles which moved from back to front. Some of my favourites of this deconstructed unconventional category were two twin pea coats, high neckline, peplum cut and unconventionally cut to leave all the lower level hanging at the front! Look 53 (above)’s brown and Look 69’s navy counterpart! Other details: hand-beaded embellishments, individually placed petals, a touch of knitwear. Feathered bubble skirts. And yes, the rose shoes. They were… divisive.  The soundtrack was also layered with meaning: “She Walks in Beauty” by Lord Byron was read aloud over the audio of “Song of the Sex Monk” by Tom of England. Unexpected, oddly beautiful. Welcome to Anderson’s Dior. Then came Look 74 (above) - the closer. At first glance, a shimmering ivory gown. But look closer and you’ll notice: it’s covered in tiny shell motifs, like a reimagining of the classic Miss Dior dress, which featured blue shells. Here, we saw white, smaller, denser shells- a tribute, not a copy. A soft, beautiful nod to Dior history, filtered through Anderson’s lens.  The King himself! Seemingly all the creative directors debuting this season are taking it back to basics by rooting through the archives! The collection left me both overwhelmed and elated. Filled with hope and admiration for the collection, but not feeling it was very clearly Dior. You have to watch the intro video to get all the references! Jonathan Anderson closed the show with his signature shy wave, visibly exhausted. He is always such a modest and shy KING! He deserves a m onth-long nap. Go get that rest king. Recharge for AW26! With love,  Mimi x

Look 39 Stella McCartney’s Spring/Summer 2026 show opened with a statement: Helen Mirren reciting “Come Together” by The Beatles. Poetry as fashion. Activism as art. From that very first moment, it was more than fashion, it was a movement. Held at the Centre Pompidou, a venue dripping in cultural weight and modernity, the tone was set: this was going to be more than just a collection. It was going to mean something. Opening the runway was Apolline Rocco Fohrer - giving full Gisele Bündchen energy with her powerful, horse-like stomp. She wore a two-piece pinstripe suit with a belted peplum blazer cinched at the waist. It was full boss-woman energy, a clear declaration of the show's central theme: power. Femininity. Purpose.  Watch the entire show here - What followed was a seamless blend of masculine tailoring and feminine ease - boxy suits, wide trousers, ‘80s-style shirts. Think businesswoman meets downtown it-girl. Silhouettes ranged from sharp to slouchy, and the colour palette danced between soft pastels, earthy neutrals, and bold pops. Eveningwear was sculpted in satin, while sheer fabrics and pollutant-absorbing textiles (like PURE.TECH ) quietly reinforced the message: fashion doesn’t have to harm the planet to make an impact. There were show-stopping pieces like Look 7’s cascading lilac dress and sequinned mini dresses in flirty pinks. The denim was exceptional - perfectly cut jeans that draped with effortless cool. Everything felt like it was made for an it girl. Even when casual, it screamed empowered! And then came the pom-poms. Models dressed like human pom-poms. Look 17 (below) featured a giant teal wearable puffball, later repeated in pink and cream. So absurd, so fabulous. Wear that to dinner and you're the main event, no question. All my favourite looks: 1, 3, 4, 7, 8, 10, 16, 17, 18, 20, 24, 25, 30, 31, 36, 39, 42, 48, 50 The collection had this brilliant duality: one half powerful CEO in tailoring and gloves, the other half pastel-loving marshmallow girl heading out for cocktails. (Look 4 - left - literally looked like a marshmallow, in the best possible way.) But whether dressed for business or play, each look carried the same energy: unapologetic confidence. Refined tailoring, of course, is where Stella shines. Peplum shirts in Looks 18 (below) and 20 were instant must-haves. And then there was Look 39 (above): a tufted black two-piece peplum suit that practically radiated luxury. The texture, the silhouette, the attitude of the model wearing it - I was obsessed. Stella is simply the master of modern tailoring. Florals (for spring? Groundbreaking!) made a brief but welcome appearance in Looks 25 and 28: one a mini, one a maxi, both exquisitely cut and catering to opposite ends of the feminine spectrum. And as for the accessories? Most were subtle, but then came the giant fringe bags (Look 31 - below), tassels grazing the floor as the model glided. Iconic. I need one. Toward the finale, the feathered gowns emerged - including a divine lilac maxi worn by mother Alex Consani (below) to close the show. Light as air, yet completely animal-free. McCartney worked with UK startup Fevvers to debut a plant-based feather alternative, and it moved just like the real thing. This was scientifically and ethically forward-thinking. The entire collection was 100% cruelty-free, with no leather, fur, feathers, or exotic skins. Depending on the source, it was either 91% or 98% sustainable, which is staggering for a collection of this scale and polish. Stella, our sustainable seamstress! And then, in true Stella style, the finale walk flipped the script - models returned in a different order, with Amelia Gray somehow finding herself at the front. A small touch, that I noticed but was this done on purpose? We may never know! With SS26, Stella McCartney is becoming THE leader in sustainable fashion. This collection didn’t just do less harm; it did something new. Something exciting. Something bold. It fused high fashion with ethical innovation, activism with accessibility, glamour with meaning. The message was clear: you can be empowered in anything - tailored or tulle, business or play - as long as it’s done with purpose! Stella isn’t just changing the way we dress. She’s changing the way we think about what dressing can do, and that is 1000% what the media needs to focus more on! With love,  Mimi x

First full day of Paris Fashion Week is a-go! We've had Louis Vuitton at the Louvre this morning, then Lanvin, Courrèges, Dries Van Noten & finally Stella McCartney - who absolutely stole the show for me and managed to get herself a separate blog post because, it was just THAT good! Starting below with Lanvin - in chronological order of course! It was blue, it was bold and it was archival. Peter Copping really is bringing Lanvin back to be great again... Lanvin - September 30th @2:30pm  Lanvin’s Spring/Summer 2026 collection marks what feels like a rebirth for the house, the oldest French fashion house still in operation! With Peter Copping stepping in as Artistic Director in mid-2024, this season sees the beginning of a new chapter: one that reconnects with Jeanne Lanvin’s heritage while reshaping it for the modern world. It’s not about nostalgia, but revival - elegant, quiet, and deeply considered. Founded in 1889 by Jeanne Lanvin, the house was originally known for refined craftsmanship, luxurious materials, and rich detailing - qualities that are now being restored under Copping’s direction. Thank God! One of the most symbolic returns is the reappearance of “Lanvin Blue,” a signature shade developed by Jeanne herself in her Nanterre dye factory. In SS26, this colour becomes more than a reference - it’s the foundation. The entire collection is staged against a blue backdrop, with many looks exploring the hue in varying tones. Look 4, in particular, a caped billowing blue blouse which blends so seamlessly into the set that it almost disappears - an elegant visual metaphor for identity, legacy, and presence. Copping’s vision is about wearable elegance: rich draping, fine tailoring, and ornamentation that whispers rather than shouts. He draws directly from the archives with ribboned silhouettes, lace, cape details, and Art Deco influences, but never falls into replication. These references are filtered through a contemporary lens, reinterpreted to feel relevant, fluid, and modern. Menswear also had a revival in this collection, under his direction there is an increased emphasis on inclusivity and utility. The silhouettes blur gender lines, and the pieces feel designed for life beyond the catwalk.  What struck me most about the show was its quiet confidence. The styling - head wraps, oversized earrings, modest yet structured cuts which exuded grace and regality. While the collection is anchored in blue, the colour palette expanded with surprising injections of red, orange, yellow-green, and rich neutrals. The result? A serene yet vivid symphony of tone and texture. This collection was a statement that Lanvin are back and are returning to their roots, with a modern twist! The SS26 pieces don’t scream for attention. They draw you in with their elegance, their detail, their unmistakable sense of heritage. Lanvin SS26 is a beautiful tribute to the house’s origins and a subtle declaration of its evolution. It proves that legacy isn’t something to be left in the past - it’s something to be built upon. And with Copping at the helm, Lanvin is doing exactly that: gilded but wearable, decorative but not overdone, timeless yet fresh. My favourite looks: 2, 4, 6, 8, 15, 16, 17, 24, 30, 33, 35, 39, 44, 48, 52, 57, 59, 60 See the full collection here: https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/lanvin/slideshow/collection Dries van Norten - September 30th @4pm  SO MUCH COLOUR! Colour was dripping from (almost) every look in this 62 look collection. It was unique, it was fresh and it wasn’t providing the same menial average looks we’ve been served day after day at a large quantity of these shows over the past few weeks.  Look 18 The show started off with a bare faced model wearing a buttoned up cream trench coat appliqued with slightly darker accents. It created a lace effect on the coat and I knew already this collection wasn’t going to be full of boring silhouettes and simplistic colourways! Even in this opening look there were pops of colour in a burgundy trainer shoe and matching burgundy ankle socks.  The one thing that did catch my eye immediately was the hair on this model which I will admit isn’t the most flattering, the hair was tied up but also falling down in a messy, “I did it myself” kind of way, and she had a microscopic micro bang - which didn’t fully blend into her natural colouring so It did look sometimes like a barcode on her forehead. And this was the central theme of the hair as many of the models had this same situation!  The entire collection was a day-dream, filled with ruffles, absurdly capacious handbags - held at the hip, embellishments - which were so detailed and beautifully done - Look 5 has the most beautiful jacket covered in so many beads and gems, it was stunning! And paired with a strategic hot pant to bring all the focus to the jacket.  Sheer fabric made an appearance, trend prediction for SS26 apparently! So many houses are bringing forward sheers to this season, but these pieces were so beautiful, one in particular - Look 18 (above)! This Look merged the sheer, with polka dots, colours, and the cape silhouette rapidly growing in the trends. It is so beautiful, so delicate, and so on theme! I would 1000% buy this, not even to just wear in Spring/Summer but over jeans in the winter. WOW.  This is where the colour begins to really brew in this collection as stripes, swirls, spots,  colour blocking in every possible avenue basically. And yet none of it is overwhelming, the colours are partnered together and are done so beautifully - there was green mixed with orange in the form of a blazer, usually I would say ew but this worked so perfectly.  There was a section of the collection that focused primarily on bright yellows and bold black appliques, which again worked in an unconventional way. Then there were more stripes, and spots, and even a look with abstract shapes?! Which then becomes the core focus of the collection until the end as bold reds, blues, oranges, fuchsia, and neon greens all announce themselves through several different looks. ABOVE - LOOKS (in order) 49, 44, 5, 1 One standout being Look 44 (above) which is a bright red (Tomato red!) superbly tailored two -piece skirt set, with white shapes in abstract manners coming into the red and leaving a unique design. This runs throughout the rest of the collection! But at Look 49 (above) we get another upgrade as the same bold colours emerge but this time covered in sequins, beading and a sparkly tinsel-esque fabric. Some of which was giving Christmas, but if the sets were separated would 100% be summer approved! This collection was superb, it was cool, fun, fresh and served 100% funky chic which is exactly the vibe I aspire to be excluding when it gets to Spring/ Summer 2026!! Dries Van Noten just gave themselves a skyrocketed upgrade in my books.  All my Favourite looks:  2, 5, 10, 12, 14, 15, 18, 20, 25, 35, 44, 45, 47, 49, 57, 60 See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/dries-van-noten/slideshow/collection Courreges - September 30th @5:30pm This collection was bold, it was fresh, it was Courrèges. The house, founded in 1961 by André and Coqueline Courrèges, has always marched to the beat of a very futuristic drum, space age silhouettes, geometric lines, and fabrics that feel more engineered than sewn. We’re talking rigid shapes, PVC, sculptural boots - fashion that at the time questioned what women could  wear and redefined it! Look 1 Fast forward to today, and under Nicolas Di Felice (Creative Director since 2020), Courrèges is in full revival mode. Di Felice brings a strong background, and he’s made it clear: he sees Courrèges as a house of optimism, clarity, and simplicity. While recent years had felt a little detached from the now, SS26 proves that this brand is listening again. It’s growing, modernising, and finally tuning into the Gen Z wavelength - without losing its DNA. The SS26 Pre‑Collection set the tone beautifully. Titled “Mirrors of Paris,”  the campaign ditched traditional studio shoots for something far more intimate - mirror selfies. Eighteen muses shot themselves on smartphones across real Parisian spots: stairwells, streets, shopfronts. It felt spontaneous, raw, and wearable. Clothes in context. It was about authenticity and digital self-expression, letting fashion be seen as lived , not staged. That authenticity bled right into the main collection - but make no mistake, there was drama. The first four looks were eccentric - above! Blue-on-blue monochromatic outfits (clearly the colour of the season), each featuring baseball caps that were covered in fabric and melted down into veiled tops, obscuring the model’s faces and billowing dramatically. Visually, they stunned. Practically? Who knows. But they were gorgeous. And they reappeared again later in the show, looping us back to the start -  a clever narrative move from Di Felice. The middle section leaned more wearable - but still had cool girl energy all over it. Tailoring met streetwear in effortless ways. Slick leather jackets layered over teal blues, chunky silver bangles that felt straight out of the it-girl starter pack, and clever little shorts which led into a skirt trailing behind! Like a backwards skort! Look 21 (below) nailed it in denim.  ABOVE - LOOKS (in order) 21, 39, 28, 26 Then came the final four, echoing the show’s opening in a cyclical structure. Four structured dresses, each wired to curve up and around the model’s faces, were sculptural, spacey and softened by wearable colour palettes. From a shimmering beige mini to a floor-sweeping black gown, they tied the whole show together: futurism meets functionality, statement meets subtlety. And if the clothes didn’t convince you it was the show to be at, the cast certainly did, Alex Consani, Mona Tougaard, Loli Bahia, and Anok Yai all walked. Courrèges is officially back on the map, and SS26 is proof that it’s looking firmly and fabulously forward. All my favourite looks:  1, 4, 9, 20, 21, 26, 27, 28, 32, 37, 39 See the full collection here: https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/courreges/slideshow/collection What's to come - Pinch me, the day has finally (almost) arrived! Dior Day! I have been anticipating this show for months, JW Anderson is my idol in today's design demographic. I am on the edge of my seat - literally. Not as important (as i'm sure you will concur) but also on offer tomorrow is Acne Studios, Tom Ford and Balmain! So exciting. With love, Mimi x

Louis Vuitton SS26 – By Nicolas Ghesquière Look 1 If you’re going to put on a show at Paris Fashion Week, you may as well go all out, and Louis Vuitton certainly did. Hosted at the Louvre (arguably the most beautiful museum in the world) the show had spectacle built into its DNA before a single look hit the runway. Add to that a front row featuring some of the most elusive and elite names in fashion and Hollywood - Emma Stone, Anna Wintour (of course), and they even managed to bring Zendaya out of hiding!  The venue alone had me hooked. The Louvre is steeped in cultural heritage, its red marble interiors and gilded ceilings interspersed with historical paintings. It’s not easy to book a show here, there are layers of bureaucracy and technicalities involved - so the fact that Vuitton managed to host such a large crowd in such a prestigious space was impressive! The setting was ornate, regal, and unapologetically opulent. Honestly, I wouldn’t expect anything less from Louis Vuitton. As the show began, calming music filled the space, overlaid with a woman’s voice softly narrating the intent behind the collection.The 45-look collection opened with a look (above) that immediately felt very Iris Van Herpen-coded: a sculptural three-piece outfit in soft grey, with striking black piping tracing the 3D forms. The material was thin and airy, giving lightness to what was essentially wearable architecture. The wire-supported puff sleeves twisted upward, edged in black to emphasise their structure, and the set was completed with a maxi skirt and corset-style top. It was one of those rare opening looks that fully delivers: bold, feminine, and conceptually strong without trying too hard. From there, the collection moved through an array of aesthetics: twin silk dresses in pale pink and cream, covered in tiny stars and beautifully draped, followed by a standout baby blue dress (Look 4) with more wire work, and a very clever product placement. An unzipped LV makeup bag (right) was used as a clutch, filled with products from their newly launched (and controversial) makeup line, including two lipsticks and their extortionately priced palette!  Look 27 (above) was a clear favourite for me, a white dress with a bubble skirt and dual layers revealing the legs underneath. It featured one of the oversized collars seen throughout the collection, but in this case, it blended seamlessly into the dress, enhancing the shape rather than competing with it. The cherry on top was the leather detailed scarf tied as a belt, with an LV monogram wallet sewn into it. Genius. Watch the livestream here:  All my favourite looks:   1 , 4, 5, 7, 14, 17, 18, 20, 23, 24, 27, 29 , 32, 39, 42, 43, 45. The colour palette floated between baby blue, pink, white, grey, beige, orange, and a series of nudes, soft tones that helped ground some of the more experimental silhouettes, creating a kind of wearable surrealism. That contrast really came to life in the tailoring, especially in pieces like Look 17 (below): a baby pink ruffled mini dress layered over sharply tailored black trousers. The dress itself was sheer, with a subtle plaid print climbing the bodice and meeting a structured collar - like vampire fangs at the neck, but made from suiting fabric and wrapped in silk. A bit theatrical, a bit avant-garde, definitely not brunch attire! Look 7 (below) caught my eye too. It featured a ruffled corset and a really unique 3D-printed neck piece that emerged from the top. Weirdly, despite how complex it sounds, it was one of the more wearable looks. The accessories across the collection, particularly the bags, deserve a mention. They stayed true to LV’s heritage but steered away from logo overload. Then came the headpieces. Looks 10 through 12 featured turban-style wraps tied in a traditional Sikh style, but with the model’s hair left out, cascading beneath. It made me pause. My initial reaction was to question whether this crossed a line into cultural appropriation. I still don’t know where I land on that - intent matters, but so does execution, and this one felt a little too ambiguous. The shoes were also a questionable moment! What was that? The footwear styling felt completely disjointed from the rest of the collection. Loafers, boots, and low trainers were paired with open ankled socks?! Often in wildly clashing colours. Neon orange socks and rainbow loafers on a model dressed head to toe in baby pink - What on earth?  Feathers made a few appearances, as did unique 3D elements - Look 14, for example, incorporated circular cut-outs sewn at varying angles, sizes, and colours to create a movement in fabric form. Stripes as well via shawls and trousers, ruffles were another recurring motif, flowing through floral skirts like the one in Look 20 (below), where cascading white layers gave a high-end, luxurious finish. They really tried their best to incorporate every trend! Further in the collection came more luxurious pieces including embellished fur pieces such as jackets coated in oversized floral gems and one fuzzy pink cardigan bejewelled with colourful stones. While the embellishments were beautifully executed, the fur pieces themselves had a strange energy, kind of giving “dressing gown, but make it fashion.” Fringe, as expected, made its way in. It’s been everywhere this season, but Vuitton’s version was distinctly its own. Looks 41 and 42 took it to an artistic level, particularly Look 42 (below), which featured a matching blouse and trouser set drenched in multi-coloured fringe that moved like a rainbow waterfall down the runway. It was fringe, but editorialised - classically Louis Vuitton.  The final 3 looks shifted to monochromatic black, bringing a sense of cohesion and elegance that I wish had come earlier. Look 43 (above) was a highlight: a long leather-striped cardigan paired with a black leather skirt. It was polished, structured, unmistakably Vuitton. The closing look carried the same DNA, with a massive rolled-neck wool jumper that looked so warm and inviting I almost forgot it was for spring/summer.  The finale walk was also beautifully orchestrated. Models walked in from different directions, at different speeds, gradually merging into one united front. It was powerful and poetic, especially against the dramatic backdrop of the red marble Louvre. A true Louis Girl moment. Overall, the show didn’t hit me the way I hoped it would. It wasn’t a jaw-dropper, but it was fresh and carefully thought through. There were clear attempts to tap into modern trends while maintaining the brand’s DNA, even if not every experiment landed. Some looks were truly beautiful, and the Louvre setting certainly earned them a few extra points. You can’t go wrong with a show staged in the world’s most iconic museum! With love, Mimi x

Look 47 As I settled down tonight to watch the livestream of the SS26 YSL show I switched on my tv to be met by a very large pixelated view of Madonna. Which then came into focus and transitioned to a picturesque view of the most beautiful venue I have ever seen! The venue was exquisitely right in front of the Eiffel Tower! Front and centre! They had tailor made the runway - completely covered in white hydrangeas to configure the three famous letters intertwined like the classic YSL logo. It was otherworldly, it was ethereal, it was regal. Setting the scene no doubt for an equally luxurious collection.  The show took place at 8pm EST, allowing the Eiffel Tower to stand tall and shine brightly in full force. The entire tower could be seen from the seats of all guests, these seats were colour coordinated in a beige colour, to match the flooring , allowing the YSL floral display and the collection itself to stand out the most. YSL did not disappoint with the collection, nor who got to witness it first hand! The show brought in a healthy amount of celebrities such as Charli XCX, Lila Moss, Renée Zellweger, Shalom Harlow, Amelia Gray, Iris Law, Zoe Kravitz, Hailey Bieber, and even Central Cee, among others I’m sure I missed!  The show started abruptly with hardly any warning, just a swift change in music - much more rich, emotive and powerful. Then the first model took the runway in a boxy silhouetted leather jacket, practically drowning a silk shirt underneath which had a collar tied in a large bow - loved this detail! And a matching pencil skirt in matching leather, very much serving the most elegant cool girl aesthetic.  The tones during the first half of the show seemed to be classically YSL, with purely white, black, and an occasional dark brown colour palette - some of the looks even beared a very similar resemblance to one another, all with large bows coming from the shirts, and lots of leather, boxy silhouettes and all with the most extravagant jewellery! Each and every model had very large gold earrings (each one the size of my hand), grand in design and in material, either dripping with pearls, or various coloured crystals. They accentuated the looks tremendously - as did cyborg sunglasses which were sported by all models!  The cinematography throughout the entire livestream was outstanding, showing all the details as well as zooming out for full effect on the venue and its prime location! The models weaved in and out of the YSL floral lettering while looking bodaciously opulent, walking with grace, style and elegance, each look giving very much YSL energy but modernised, for the modern woman who wants to dress up but also remain comfortable and semi-casual.  Watch the entire livestream now: Overall there were lots of leathers, as well as this weird shiny lightweight fabric that began to emerge around Look 16 (below) - a dark plum coloured trench, that resembled the same texture as a Ziplock bag! However the colour was divine, as were so many others that came after, this first trench was the beginning of an 18 look series and sub-collection of similarly constructed garments (many trenches) all in various hues. Some burgundy, khaki, orange, beige, olive, rust, cherry, teal, various nudes and of course classic black! All made of this mystery thin fabric, some skirts, dresses, lots of trenches, and even some capri style trousers - Look 20. Bella Hadid even made her SS26 runway debut, wearing orange belted blouses & capri in Look 31 - left!  Don’t get me wrong I don’t hate it, I would have to first hand see the garments to accurately comment on their composition, but from where I was watching (the livestream) I wasn’t convinced. I loved the first section and had lost hope after the plastic sheeted trenches, but it was at this point the show shifted for a third and final time as an immense gown came into view. A black gown made of a similar, less shiny version of this thin lightweight fabric. It had a layered skirt and accentuated shoulders. It was bold, exciting and fresh!  This continued for the final 15 looks as gowns each as immense as each other came onto the runway, in an assortment of colours - gold, olive, rust, then grey, then a bold emerald green - Look 41 - which I loved! Each model was walking so fast, almost as if running away from something. The large train on all of them blowing in the wind and bouncing with every step! Every gown was a sister, or cousin of the one before - differing slightly in construction but holding the central theme, there were mountains of pleats, explosions of ruffles, bold silhouettes and so many colours! Mustard yellow, then Anok Yai in a plum purple, dark orange, chocolate brown, then a unique twist at Look 46 - a tri-colour feature of various neutral shades! Switching it up!  Look 50 By now the entire YSL runway was completely covered with beautiful women each in unique, colourful gowns, living and enjoying their beauty as they walk against the wind. Look 47 (above) was one of my favourites, in a neon orange colour, as bright as a flame - the model was glowing against the Eiffel Tower night light. It was exceptionally magical, as was the final look, the gown with the most ruffles to ever be put on a dress… the closing look (right) came in a striking fuschia hue - covered in towers of cascading ruffles, pleats and every overly feminine technique you can think of!  Different music begins to play and I question if there could possibly be more… but it was the que for the final chapter of the show. The finale! All of the looks came out once more, starting with the classical casual elegant woman vibe. All blacks, whites, leathers, silks, bows, gold jewels, pearls, baker boy hats. Then the second sub-collection with the emergence of colour and thin materials! Each model weaving in and out of the YSL lettering beautifully, allowing every angle to be seen for all guests. Then the gowns begin to come out one by one, trains flowing behing them, zooming out the camera shows the beginning black/white looks on one side and the colourful gowns on the other! Contrasted completely, yet complimented still as the entire collection is fueled by a feeling of overwhelming opulence.   breathtaking!!! Of the three different sub-collections within this larger SS26 Collection Anthony magically merged them all using the middle as a middle ground for the three. And as for Ready-to-Wear the gowns may not be everyday approved for anyone other than Marie Antoinette, however I am seriously craving one of the opening looks leather jackets! The final walk around by Anthony Vaccerello was truly inspiring, he didn’t bow, he didn't shy away from the camera but he also didn’t take away from the true focus of the collection - the clothes! The entire experience was exceptionally beautiful, I may just go rewatch it now… With love,  Mimi x

Paris Fashion Week: the mother of all fashion weeks. The city of cities (well actually the city of love) - but when it comes to fashion, no one does it better. If you can make it to Paris Fashion Week you can make it anywhere.  There’s a reason most people romanticise Paris, and an even bigger reason why so many of the world’s leading fashion houses were born here. Chanel, Céline, Yves Saint Laurent, Dior, Givenchy, Chloé, Hermès, Mugler, Jacquemus, Coperni, Ami, Louis Vuitton — need I go on? And alongside the native Parisian houses, I’m so excited to see a whole wave of international talent debuting collections this season. Such as Balenciaga (newly taken over by Pierpaolo Piccioli), as well as newly appointed Creative Directors at Chanel, Loewe, Mugler, Maison Margiela, Jean Paul Gaultier, and, the show I’m personally dying to see — Dior by Jonathan Anderson!!!  We just got a little sneak peak into Anderson’s first take at Dior. Posting on his personal instagram a delicate woven silk masterpiece that set the tone for what’s to come - that left me actually speechless.  There are a ridiculous amount of creative takeovers this season, from exciting emerging designers to icons who’ve carried the fashion industry on their backs for years. The Schedule PFW officially kicks off later today, running over a historic eight-day period from 29th September - 6th October. It's without a doubt my most anticipated week of the year. With over 76 listed shows on the official schedule and 36 separate presentations. Making a grand total of 112 fashion events over a limited 8 days. It’s going to be packed, and I’ll be reporting all the best bits (and the worst)! Fingers crossed I’m impressed… I’ve made a personalised, colour-coded PDF of the full schedule with my recommendations on what to prioritise during this chaotic week: And if you want the plain version, here is the original p df: Paris Fashion Week Schedule. Without further ado lets get into Mimi’s most anticipated shows of the season. This week is going to fuel fashion lovers’ mouths and more importantly minds for the next six months. Whether we realise it or not, the decisions made on these runways will impact everything: From the colours, patterns, textures, layers, brands, designs, and silhouettes we gravitate towards. To the techniques, price points, and even what ends up on the high street. It always makes me think about ‘The Devil Wears Prada ’ scene where Miranda articulates to Andy how her outdated blue knit jumper was handpicked by,  “the people in this room ”. Because it is 100% true!  Can’t‑Miss Shows & Debuting Creative Director shifts Multiple creative rebounds await at Paris Fashion Week, much more than any of the other three cities. With the highest stake transitions that could reshape the fashion landscape. Each one promising renewed energy and hundreds of headlines. I could not be more excited about the shows below!!!  I’ve merged “Can’t-Miss Shows” with “Debuts” because the overlap is insane. Every debut is  a can’t-miss. The below shows are coming from the most established fashion houses, those that are guaranteed to dominate headlines and make jaws drop worldwide: September 29th: Saint Laurent - September 29th @8pm -   Opening the week, setting a glamorous tone for the season and hopefully setting the scene for the remaining 8 days of shows… September 30th: Louis Vuitton - September 30th @12pm -   A rare lunchtime runway at the Louvre, the dreamiest location ever (one of my favourite places in the world) bringing heritage luxury into a bold new moment.  October 1st: Dior (Jonathan Anderson) - October 1st @2:30pm -  Jonathan Anderson’s first women’s collection for Dior, following the red carpet debut from Venice film festival with a sneak peak into Anderson's take on Dior with the singular blue dress taking over 100 hours to finish. I’m excited to see his entire collection, especially following his men's debut. Expect innovation and star power. Dresses so meticulously detailed we are left in awe. He is one of the only designers I would have complete faith in to redefine Dior’s modern legacy. October 2nd: The Row - October 2nd @10am -   Minimalism in its most luxurious form. Expect timeless silhouettes, ultra-refined tailoring, and a quiet confidence that speaks louder than any logo, not always the boldest but The Row has a clear vision and will provide a visual cleanse amid fashion week chaos. Mugler (Miguel Castro Freitas) -  October 2nd @12pm -  Reinvention for the brand known for theatricality. With the upcoming creative switch for the house I am excited to see if they bring bold newness or something a bit meh. Schiaparelli - October 2nd @7pm -  September’s most opulent spectacle, Daniel Roseberry’s couture-informed RTW collections continue to turn heads with gold-dripped surrealism and sculptural silhouettes. Expect drama, grandeur, and serious front-row heat, usually pulling in an impressive spectacle of celebrities and fashion icons. Isabel Marant - October 2nd @8:30pm - A Parisian staple. The queen of boho-chic is sure to deliver a collection packed with fringe, soft tailoring, and effortless insouciance -  a lesson in how to dress like every stylish French girl you follow. One of my favourite designers ever. I am super excited to see what Marant has for us this season. October 3rd: Loewe (Jack McCollough & Lazaro Hernandez) - October 3rd @11:30am -  Their signature polish will steer the brand into new territory. There is so much anticipation for this duo taking over Loewe, especially after such a powerful run from JW Anderson. If you’ve read our blog post - “Here comes Super September”  you will know the duo claim they are trying to channel signature Loewe, but in their own style. I’m ecstatic to see this show! October 4th: Maison Margiela (Glenn Martens) - October 4th @12pm -  Maison Margiela is currently undergoing a highly anticipated creative transition, following the departure of John Galliano. A seismic shift for the house known for its avant-garde codes and theatrical storytelling, with the fashion world now watching closely to see how Martens is going to reinterpret its deconstructive legacy. Balenciaga (Pierpaolo Piccioli) - October 4th @8pm -  Pierpaolo Piccioli’s inaugural creative vision for the brand, whatever he has up his sleeve is set to be a seismic shift in the house’s identity. Marking a bold reimagination for the brand. October 5th: Jean Paul Gaultier (Duran Lantink) - October 5th @4:30pm -   Return to ready-to-wear with his debut on October 5 - cultural and creative expectations are sky-high. Celine - October 5th @12pm - A headline-stealing return expected from Hedi Slimane, who brings razor-sharp tailoring, cinematic showmanship, and that unmistakable blend of youth culture and French polish. Always a fashion week favorite for a reason. Chloé (Chemena Kamali) - October 5th @7pm  -   One of the most anticipated debuts of the season. Chemena Kamali, newly appointed Creative Director, takes her first bow at the house - will she revive the romantic, free-spirited codes of Chloé or reinvent them entirely? October 6th: Coperni - October 6th @12pm -   This tech-savvy label keeps redefining the future of fashion. After last season’s spray-on dress moment, expectations are sky-high for another show built for virality. Clean lines, clever design, and a Gen Z cult following. Miu Miu - October 6th @2pm - The ultimate cool-girl label returns with Miuccia Prada’s trend-setting vision. Always a runway to watch, with micro-minis, and looks that go from catwalk to editorial in a blink. Chanel (Matthieu Blazy) - October 6th @8pm - Eyeing a refreshed vision for the storied house. Matthieu Blazy’s much-anticipated debut for Chanel poses as a pivotal moment for the house’s future, will he be able to channel signature Chanel? Will he butcher it? Fingers crossed for him. One of the closing shows on the penultimate day of PFW. Emerging Designers Rising names in Paris, while not all newcomers to the industry, these designers are beginning to carve out their space on the Paris stage this season. I’ve spotlighted just a few below who caught my attention, as the main focus of PFW naturally leans towards the industry’s most established powerhouses:  Weinsanto - September 29th @12:30pm - Victor Weinsanto blends theatrical couture and performance - one to catch very early in the week (In fact it is the opening show on 29th September!) Ganni - September 30th @10am - Breaking its off-calendar habit to officially join the PFW lineup in a new presentation format. A new vibe for Ganni, debuting at PFW this year. Ottolinger - October 5th @5:30pm - Berlin’s powerhouse label meets Paris with deconstructed silhouettes and technical edge. Meryll Rogge - October 7th @6pm - Closing the week as another ANDAM-backed name to watch. Other Shows I’m Watching Closely There are of course so many more designers I would love to put in this list, but PFW is so ridiculously packed with talent, even more so than previous years. I’ve had to minimise a bit, however you can see my full list of recommendations above in my personalised pdf version of the schedule.  Other shows i am excited to see (just not at the top of my list) are: Alaia, Dries Van Noten, Courrèges, Stella McCartney, Rick Owens, Acne Studios, Tom Ford, Balmain, Rabanne, Issey Miyake, Nina Ricci, Givenchy, Victoria Beckham, Hermès, Vivienne Westwood, Elie Saab, Comme des Garçons, McQueen, Paloma Wool, Valentino, Zimmermann, and Thom Browne.  And even then there are still about 50 shows I haven't named! Paris is that stacked. There is so much to see and so much to report. I will be doing my absolute best to report on only the best of the best and the worst of the worst (hopefully not too many in this pile). Keep up to date by reading every few days on the blog! You will not regret it. This is where my unfiltered opinionated self thrives. I cannot wait to report on literally THE MOST anticipated week of my year. Here’s to a full week of hopefully picking my jaw up off the floor.  With love, mimi xox

With the recent passing of Giorgio Armani, emotions ran high across the fashion world. Both the Emporio Armani show on the 25th of September and the Giorgio Armani show on the 28th carried a heavy weight, these were the final collections under the direct influence of a man who remained creative head of all Armani labels until his death. An almost unheard-of legacy in today’s fashion landscape. If you're unsure of the difference between the two labels, here's a quick breakdown: Giorgio Armani is the main and original luxury label synonymous with refined, high fashion.  Emporio Armani , on the other hand, is its younger, more playful sibling. Stylish and sophisticated, but aimed toward a younger audience with trend-led designs at a mid-range price point.  Emporio Armani - September 25th “Ritorne” Look 35 The Emporio Armani show was first out the gate, and its 85-look collection offered up everything the brand is known for - sharp tailoring, fluid silhouettes, and a gentle injection of colour that kept things interesting.  The collection itself was called Ritorni  ("Returns") and was themed around that post-travel period where you're still mentally on holiday, even though you’ve come home. It opened with earthy, post-safari tones - greige tailoring, metal-sheened silks, and fringed belts, all whispering of sun-kissed skin and slow afternoons. From Look 22 onwards, the colour story expanded: navy, gold, soft pinks, teals, and lilac flowed together in a dreamy crescendo. Look 35 (above), 36, and 37 were some of my favourites in a pinky-orange colour palette - things I would most definitely pack with me on holiday! All my favourites: 2, 4, 9, 29, 30, 35 , 36, 37, 40, 42, 50, 51, 57, 58, 65, 71 , 80, 85 Eveningwear towards the end of the show offered that nostalgic hit of glamour, there were parachute pants in crisp lilac nylon (Look 71 - below), paired with crystal-embellished bandeaus and low-cut black dungarees. Look 65 deserves a special mention for its hot pink karate-style belt. Iconic. The closing looks, embellished mini dresses and skirts in lilac, blue ( Look 85 - below), and blush pink were beaded to perfection. Eye- catching, delicate, and very much for the younger crowd Emporio Armani speaks to. After the final looks exited the white-bricked runway, an applause broke out, loud and lasting. Models returned for a final lap, joining the clapping crowd. All eyes drifted to the backstage archway, where Giorgio Armani so often emerged to give his signature nod and half-wave. But this time, it stayed empty. Silvana Armani - Mr. Armani’s niece and Emporio’s womenswear lead, had already stated she wouldn’t be taking a bow. A respectful decision in light of the moment, and one that made the applause even more emotional. This show carried more meaning than just a seasonal debut. It marked the symbolic end of Mr. Armani’s 44-year leadership of the Emporio label. His presence lingered, even in his absence.  Giorgio Armani - September 28th - Mystique Eternal Three days after the Emporio Armani show came what had originally been planned as Giorgio Armani’s 50th anniversary show. Now, it stood as his final runway moment. And what a tribute it was. The beautiful venue with live pianist The show was streamed live from the majestic Palazzo Brera in Milan, a location so atmospheric it almost did half the storytelling itself. Lanterns filled the square, and guests, who were almost all fashion’s elite or celebrities solemnly filled the space beneath its historic arches. The runway wove around the courtyard, ensuring every seat had a perfect view. And then as if it couldn’t get more beautiful, a pianist walked into the square and sat by the grand piano and as he began to play, the show began. Watch the show here: It opened softly with neutral tailoring, greys, browns, and beiges, all in whisper-light fabrics and impeccable cuts. But this wasn’t just a muted palette, it was a slow build up. A moment to breathe, and introduce the everyday pieces that can easily adapt to any wardrobe. But by Look 27, hints of colour began to peek through - lilac trousers under grey blazers, navy shirts layered with beige knits. Then, everything changed. Look 40 was where colour truly exploded. A trio of royal hues - deep blue, lush fern green, and that unforgettable regal purple all took centre stage. Each look was bolder than the last, but nothing felt abrupt. It was orchestrated, seamless. These weren’t clothes, they felt heartfelt, they were memories of Giorgio’s legacy materialised in luxurious silks.  Something else stood out too: the staging of the looks. Many were presented in pairs - male models trailing a few steps behind their female counterparts. And not by accident. It felt like a deliberate, respectful nod to the women Armani adored and designed for so exquisitely throughout his life. The couples were so unbelievably chic. If I passed them in the street, I’d question whether they were even real. ABOVE - LOOKS (in order) 9, 65, 74, 60, 88 ,55 All my favourites: 9 , 14, 18, 19, 23, 32, 40, 41, 42, 46, 47, 55, 60, 62, 65 , 66, 69, 74, 79, 82, 84, 87, 88 , 90 Look 60 (above) was particularly striking, royal purple silk trousers with a matching top, glowing under the lights. Green and purple even came together in some pairings, one look (55 - above) seamlessly blended the green with the royal purple in a tie dye effect, and somehow it worked - miraculous. There were bright blue looks (63, 65 (above), 67) And intertwined between these looks was more purples (62, 64, 66, 68) Everything was done so strategically and you could tell!  Then came Look 69, which marked yet another shift. From playful daywear to a climax of eveningwear glamour. Embellishments and beading took centre stage. Dresses sparkled like constellations, while the men’s suits - often cut in velvet or detailed with their own subtle glints (Look 88 - above - was a really nice one!) played a quiet supporting role just a few paces behind the women. Look 90 "Giorgio Armani" The final look... left me speechless. The dress worn by the opening model, made in a beautifully rich royal purple, glittering with beaded embellishments all over the bodice and tulle skirt, fitted beautifully and was tied at the waist with a rope-tassel belt.  But more than that, on the front of the gown, formed entirely out of thousands of light-reflecting beads, was the face of Giorgio Armani himself!  A tribute in the most literal, breathtaking sense. One final look, for one final show. A moment of fashion history I’ll never forget. Honouring his name and his lasting legacy in the fashion world by immortalising him in a piece of fashion at his last ever creatively influenced show.  Both shows were done in such a beautiful way to honour Giorgio’s brilliant, creative mind. The Giorgio Armani in particular completely blew me away, it was a beautiful honour to watch, I only wish I could have been there!  Grazie Mr Armani. It has been a pleasure respecting and viewing your creative genius. With love,  Mimi x

If ever there was a show to sit up straight for, it was this one. Louise Trotter officially made her debut at Bottega Veneta with the Spring/Summer 2026 collection earlier today, she is the first woman to ever take over the helm of the house. Out of fifteen major designers showing in Milan this season, only two are women. That alone made this debut feel monumental. Watching live, the excitement was palpable. Stars arriving, the quirky seating, the kinetic energy of every look - it was a whole experience. Vogue live-streamed the show with a commentary blog, making it easy to follow even from home. It’s one of the best experiences as a fashion fanatic to watch the show live from the comfort of my bed!  Watch the livestream yourself here - The seats Arriving at the venue near the Fondazione Prada, the first thing that hits you is the seating: cubed, candy-coloured arrangements that look like a Haribo x wine-gum crossover. Everyone was obsessed! Myself included, with the modular design, which left room for the runway and framed the space beautifully. Overhead, 3D woven chain sculptures and hanging intrecciato details dripped from the ceiling, creating a playful yet architectural backdrop.  Natural light poured through the windows, soft and clear, a perfect contrast to the show’s darker, moody moments later on. Mark Holgate one of Vogue’s contributors via the live Vogue blog stream) described the lighting emphasising the “new beginning for the house,” and honestly, it felt exactly like that. Then the lights dropped. Nina Simone’s “Wild Is the Wind” filled the space, moody and simmering. When the lights came back on, the first model appeared in a tailored trench coat with oversized buttons. Simple, sculptural, quietly commanding - the classic Bottega intrecciato making itself known immediately in small details. The opening felt restrained, almost like a breath before the real excitement started. The models altered in their directions, adding to the theatrics of the show. And then it began: Louise’s 76-look collection, a mix of technical tailoring and fantasy. Right away, you notice her hallmarks: sculptural minimalism, softened silhouettes, and a play of textures. Fringe was of course involved as it’s the trend of the year, feathered coats shimmered, and crushed silks caught the light just right. There was a controlled energy here- alive, yet luxurious. Trotter isn’t reinventing Bottega; she’s refining it, sculpting it, making it move. All my favourite looks (there are a lot)-   2, 6, 7, 11, 13, 15, 19, 21, 24, 26, 28, 32, 35, 42, 43, 51, 52, 58, 64, 66, 67, 69, 71, 76.  Fringe and feathers dominated, moving hypnotically with every step. Look 32 (right) completely stole my attention, so much so I had to pause the livestream! A powder-blue jacket with a glassy, liquid-like finish that glistened with every move. Everyone was bewildered by the fabric, but it was mesmerising, like water in motion. One Vogue contributor even said it looked like the mirrored stools in the venue - and it definitely complemented them. Look 33, its sister piece, practically radiated sunlight, in a beautiful orangey-yellow shade stunning contrast to its water twin, and even further down the line Look 71 (above) - a bright red version also came into the picture! As the show went on, the variety of fabrics kept blowing me away: feathered fluffiness that looked warm yet shiny, crushed silks that gleamed, soft, bouncy jackets that seemed almost alive. Looks 32, 33, 58, 59, 71 - all were insane, each more magical than the last. Fringe on skirts, feathers on coats, optical effects on outerwear, Trotter was having fun, yet everything remained perfectly elegant and most importantly perfectly Bottega! Textures were everything this season, balanced by Trotter’s signature “soft masc” tailoring: boxy jackets and structured trousers softened by plush fabrics and flowing silhouettes. Even small gestures -  a strap slipping off a shoulder, the waft of a feather, everything was personal.  Then there’s the intrecciato, of course. Celebrating its 50th anniversary, it appeared in full-look coats, trousers, bags, and even inside jacket flaps. Top-to-toe intrecciato? Absolute heaven. Look 13 (below), a brown intrecciato jacket, is basically my dream piece - elegant, playful, tactile, and entirely Bottega, I want it immediately!!! Trotter also included her signature knot motif as structural details across garments and accessories, keeping a modern edge on classic codes. The colour palette was neutral at first with black and white as a palette cleanser - before pops of candy colours, jewel tones, and softer shades appeared. Blue, orange, and red punctuated the runway at key moments, giving the show a seasonal color story that felt fresh and cohesive. Seasonal colour analysis at its finest, honestly. The red finale dress (left) was classically Trotter but in a bold tomato red - it's white twin went just before! It was sleek, and sculptural, it moved magically and was so sophisticated in its silhouette. Louise Trotter herself appeared briefly carrying a bright red bag, but blink and you miss her! She let the collection speak for itself, and it very much did! Backstage, after the show, Trotter commented that the inspiration was about her journey through the archives and her own discovery of Bottega, blending heritage with her vision. This debut confirmed that vision superbly. Bottega is in very safe, and chic hands. Trotter’s take is refined, playful, and elegant. She doesn’t radically reinvent the wheel; she perfects it and twists it into her own! I’m already obsessed - Louise Trotter is officially one of my favourite designers right now. With love, Mimi x

This is historic Miranda Priestly and Nigel Kipling in the front row of Dolce & Gabbana?! WHAT ON EARTH. Maybe we won’t be getting The Devil Wears Zara after all?! because The Devil Wears Dolce sounds so much better! Yes, Meryl Streep and Stanley Tucci actually appeared at the show in character while filming scenes for The Devil Wears Prada 2, and with Anna Wintour also in attendance we got one of the most iconic photos to ever come from fashion. Life imitating art imitating fashion. I was gagged. Even the famously unfazed Anna Wintour looked ridiculously happy by her standards! Seeing her and  Miranda side-by-side did serious damage to my understanding of what is fiction and what is real. But moving onto the actual show, another classic collection from Domenico Dolce & Stefano Gabbana  titled “PJ Obsession,” which is an absoultely accurate way to describe it. The collection was pure striped Sicilian glamour... and then some. D&G have long mastered the art of maximalism, and this season was no different. The entire 66-look collection was built on a foundation of stripes, appearing in almost every single outfit. From head-to-toe tailoring to slinky loungewear and corseted slips, the stripe motif dominated so thoroughly that by Look 10, you were either fully obsessed or mildly bored. Watch the full show here -  It started with tailored ensembles: pinstriped three-pieces, slouchy-yet-sexy suiting, and sheer layers. But as the show progressed, the vibe shifted towards nightwear meets daywear, with embellished pyjamas, corsetry, and even fuzzy slippers and “cuddly” handbags. It became less “going out” and more stay in, for €2,000 a piece. All my favourite looks -   1 , 3, 7, 12, 25, 26, 28, 36, 38,  41, 42, 48, 50,  56, 62 , 64, 65   Look 1 (below) set the tone: a three-piece striped set: bralette, shirt, and trousers, dripping in beading - the kind of beading that means yes it is PJs but would cost an arm and a leg.The model herself looked AI-generated - genuinely jaw-dropping. ABOVE - LOOKS (in order) - 1, 42 ,56 By the finale, things turned ultra-Dolce. Look 64 featured a black silky co-ord with a voluminous fur coat - essentially an ultra-glam dressing gown. Look 65 had a cropped blazer with thigh-high stockings, and Look 66 floated down the runway in chiffon flowy trousers and a cropped blazer. It’s exactly what you’d wear if your rich Italian boyfriend texted, “I’m outside. Open the door in five.” The music pulsed between sultry and nostalgic, including tracks from Italian legend Patty Pravo, anchoring the collection firmly in its sensual, cinematic roots. And if you didn’t clock it already, this collection was more theatre than fashion. Domenico and Stefano even paused their final bow to let Meryl and Stanley disappear backstage. Priorities. This collection was 95% stripe and 5% sex. But also: sheer mesh, oversized jackets, corsetry, beading, leopard print, silk fringe, and unapologetic luxury loungewear. It blurred the line between power and seduction, where pyjamas met the red carpet and nightwear became a statement.  I’m almost convinced to swap my oversized T-shirts and baggy trousers for a D&G Matching PJ set! Enough said. With love,  Mimi x