Wow. So I officially dropped off the face of the earth for a solid 5 days - of which were the most important days in this year for fashion. Classic. I went through quite the ordeal and had to make some lifechanging decisions for myself, let's just say I'm no longer going to be a university student... Yep, Mimi is free and only lasted a solid three weeks before figuring out uni is not for her. So with my many panic attacks and anxious meltdowns behind me, I am now reporting on the best of the past four days I missed. We've got lots to catch up on from the final four days of Paris Fashion Week. So without further ado... Let's start with the legendary Loewe show!!! Loewe (Jack McCollough & Lazaro Hernandez) - October 3rd @11:30am Their signature polish has officially steered Loewe into bold new territory. Anticipation for Jack McCollough and Lazaro Hernandez’s debut has been sky-high - especially following JW Anderson’s phenomenal reign. If you read our “Here Comes Super September” post, you’ll remember the duo said they wanted to honour Loewe’s DNA while infusing it with their own voice. And let me tell you: they delivered. This isn’t their first Paris Fashion Week rodeo. The Proenza Schouler founders had a two-season run in Paris pre-pandemic. Well, fast forward to March, and they had officially replaced Anderson as creative directors of Loewe. A couple months earlier, they’d stepped away from Proenza - a huge, career-defining decision made with unwavering enthusiasm. And the result? Quite simply: the most Loewe collection I’ve ever seen. Every look had a surreal, animated quality - the tailoring was so sculpted and hyper-polished, it looked like clothing made of plasticine. Moulded jackets, cartoonish silhouettes, and graphic pops of red, green, yellow and blue made every outfit feel playful, expressive, and unmistakably fresh. Intertwined with more wearable pieces of course. It was intelligent, invigorating, and fully in dialogue with the brand’s heritage while being totally new. McCollough and Hernandez proved not only that they were the perfect choice for this role, but also that two creative minds at the helm might just be the future of fashion. From start to finish, this was fun, fearless fashion - and an absolute masterclass in how to enter a legacy house with style, substance, and zero hesitation. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/loewe/slideshow/collection Maison Margiela (Glenn Martens) - October 4th @12pm -   Maison Margiela is in a transitional moment, following John Galliano’s dramatic exit - a seismic shift for a house built on avant-garde rebellion and theatrical brilliance. All eyes are now on Glenn Martens, and this show was his first real statement since stepping in. What did he do? Well, he debuted his ready-to-wear collection accompanied by a 61-piece orchestra… of children. The musicians, aged 7 to 15, performed (or attempted) Mozart, Bizet, Strauss, Beethoven and Prokofiev - in oversized tuxedos. It was completely surreal and genuinely heartwarming. It was chaotic and pure, and totally unexpected. In stark contrast, the models wore metal mouthpieces that held their mouths open, tagged in each corner - “like obligatory smiles,” Martens explained. It was unnerving, and deliberately so. A commentary on forced performance and artificial emotion, echoing Martin Margiela’s original fascination with anonymity and mask-wearing. TikToker and model Calum Harper vlogged himself walking the show and echoed what I felt: visually striking, but emotionally jarring, the mouth pieces were metaphoric. The metaphor stung a bit - because how often are  we just pretending to smile our way through? The clothes themselves were fine... The silhouettes were safe, the colour palette subdued, and nothing screamed “showstopper.” If anything, the garments played supporting roles to the greater performance. Because let’s be honest: the children weren’t trained musicians. The music was clumsy, sometimes awful, and if you’d only listened without watching, you’d wonder how they found the worst orchestra in France. But that’s the point. The show was a performance piece more than a fashion moment. It was bold, clever, and very Margiela - just don’t expect TikTok-worthy runway looks. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/maison-martin-margiela Balenciaga - October 4th @8pm Pierpaolo Piccioli’s debut at Balenciaga was one of the most talked-about moments of the season - and not just because it took place inside the actual Balenciaga headquarters. After nearly a decade of dreamy, romantic reign at Valentino, Piccioli’s move marked a major shift for both him and the house. So yes, expectations were sky-high. There were glimmers of his signature, those poetic couture volumes, refined tailoring, and painterly colour choices were all present. For those who adored his Valentino era, it felt like a familiar friend walking into a new space. But here’s the thing: this wasn’t Valentino. It was Balenciaga. And the two couldn’t be more different in aesthetic heritage. The collection, while undeniably beautiful in parts, didn’t quite land. It felt polished, but slightly hollow - like an edit of Pierpaolo’s past work transplanted into a setting that didn’t quite fit. There were some standout moments of course! A knitted floral dress, petal appliqués cascading from a skirt - but they didn’t feel rooted in Balenciaga’s DNA. The only truly Balenciaga-coded touches were the classic oversized bug-eyed sunglasses and the return of the classic BB belt. It wasn’t a disaster by any means, just a little unsure of itself. Piccioli has the vision, no doubt. But for this new chapter, he’ll need time to find the Balenciaga within him. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/balenciaga/slideshow/collection Jean Paul Gaultier - October 5th @4pm I’m not even going to begin commenting on this. EW.  Please save yourself and don’t view the entire collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/jean-paul-gaultier Chloe - October 5th @7pm Look 50 I’ve always been a Chloé girl - through and through. The brand has long stood for timeless elegance, effortless bohemian luxury, and an unapologetic celebration of femininity. But this season? It left me semi-underwhelmed (I hate to say it!) Chemena Kamali, stepping confidently into her creative stride, clearly wanted to shake things up. “We’re living through such a unique moment in fashion history,” she said during fittings. And yes, I get it - the energy of reinvention, the pull to redefine a brand’s DNA. But for the first 49 looks, it felt more like trial and error than evolution. The colour palette was jarring in places, with odd pops that felt incohesive and off-brand. It lacked the fluid romanticism and polish that usually defines Chloé. But then - Look 50 (above). Finally. Piles of dreamy lace and cascading ruffles, silhouettes that whispered luxury without shouting. That floaty, ethereal femininity came rushing back in. The final nine looks delivered what I’d been waiting for: elegant shapes, fluid pleats, and all the soft power of boho-chic done right. Kamali dipped back into the archives, pulling inspiration from Gaby Aghion’s 1950s and ‘60s designs - minus the stiffness, minus the petticoats. It was a homage to Chloé’s roots, just updated for now. I just wish we’d felt more of that spirit earlier on. But when Kamali did successfully channel Chloé? It was perfect. Here’s hoping next season delivers that magic from start to finish. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/chloe McQueen  - October 5th @8pm With feral sighs and guttural squawks echoing through the speakers, we took our seats on a set that felt somewhere between a pagan ritual and an underground rave. We could only be at McQueen. For Spring 2026, Sean McGirr channelled The Wicker Man - a haunting 1973 folk horror film laced with religious obsession, eerie isolation, and unsettling femininity. McGirr used it as a launchpad to explore classic McQueen themes: faith, sex, nature in all its strange beauty and brutal force - and, crucially, the power of the feminine. “It’s the first time I’m doing a womenswear-only show,” he noted. And god, did it show. He had a unique take on it and did a first womenswear debut PERFECTLY! This was McQueen in full theatrical glory. It was sexy, shadowy, weird, and brilliantly unhinged in all the right ways. Low-rise isn’t just back - it’s below the belt . Literally. Models like Alex Consani wore theirs so  low we may need to collectively rethink our thresholds, and get a wax. Lace trousers, sheer panels, visible crack - it was sex on a stick. But clever. McGirr brought that visceral, performative McQueen energy we haven’t felt in a while - where the show is the spectacle and the clothes follow. It felt inherently true to Lee’s original vision: fashion as drama, darkness, and desire. And look - if McQueen says low-rise is the move? I’m buying a belt, getting a bikini wax and and heading down under. End of. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/alexander-mcqueen Chanel!!! - October 6th @8pm Matthieu Blazy’s Chanel debut had been one of the most anticipated shows of the season, and it was saved for last, closing out Paris Fashion Week with a bang. Ten months in the making, and following 14 other Spring/Summer 2026 debuts, the moment had finally arrived. The Grand Palais - once home to Lagerfeld’s most iconic Chanel shows, set the stage. And hanging above the runway? A glowing solar system of planetary orbs, casting light down on an otherworldly collection. The scale was cosmic, and so was the delivery. The clothes were superb in craftsmanship. There was the signature Chanel suiting and classical tailoring, reimagined with Blazy’s personal flare. Cascading feathers, embroidery so detailed it was almost surreal, and dresses layered in fringe-petal florals. The classic plaid returned in full force, this time via knitted blazers and tailored skirts - while pops of tomato red lit up the darker accents of maroon and burgundy. The colour palette flowed like a constellation, bold yet beautifully balanced against the galactic backdrop. Accessories didn’t miss either: classic leather bags, colourful chains, subtle stripes. And as for the soundtrack? A bold mix of music and iconic speeches, adding texture to an already multisensory experience. Final Look Then came the  closer. A silk t-shirt paired with a voluminous, jaw-dropping skirt made of multicoloured fringe and feathers, almost tie-dyed in vibrant hues. It moved like liquid light. The model danced her way down the runway, completely owning the moment, before embracing Blazy in a celebratory hug. It was pure joy, and pure Chanel. Blazy isn’t just a worthy successor - he’s the future of the house. And judging by this debut? Chanel’s in very good hands! See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/chanel Back to normal... After dropping off the face of the earth, I am now very much back (she says after only being gone for four days - so dramatic!) Back to our regular bi-weekly scheduling on Wednesdays and Fridays. Starting with an in depth dive to my (brief) time as an embroidery intern for a Paris Fashion Week designer on Saturday... With love, Mimi xx

Today I promised myself I wouldn't overwork and try and write on everything. But then everything was impressive and so so so good! What is happening this fashion week?! There are no duds. It is CRAZY. No season has ever been this good one after the other. The talent is immense, so I give you today's offerings... Rabanne, Rick Owens (freaked me out), and Schiaparelli... Rabanne - October 2 @2pm Look 34 Rabanne SS26 was nothing short of stunning, and a bit weird at times. Finally, finally, a brand that didn't fall into more of the monochromatic, nude-toned trap. This collection was bright, quirky, floral, funky, patterned, a bit chaotic… in short: fun! It was trendy and unique, a little off-kilter in the best possible way, and honestly such a breath of fresh fashion air. Let’s start with the accessories, because these chunky (almost skirt length) belts? Wow. Shaped like moons or backwards Cs, they added such a cool punch to multiple looks - especially the final one (right), which was luscious. It was a whimsical white blouse layered under a perfectly cut black satin corset, leading into a sleek skirt with that same crescent belt. Then, BOOM red and pink embellishments bursting across the bottom half like couture confetti. The whole ensemble I need immediately.  And the shoes? Absolutely yes. We’re talking silver kitten heels with what looked like feathered wheat sprouting from them. Sounds weird, looked brilliant. And guess what, they came in gold too. Thank you Rabanne, from one gold girl to another. There was this incredible mint green mini dress (Look 2) that I haven’t stopped thinking about. Ruffles around the hem, a dual-layer structure with the bottom poking out all bedazzled in sequins, beads, florals, and applique all around! A DIY girlie’s fever dream but make it fashion. “Cool” doesn’t even cut it. Everything, from the shoes to the layered embellishments just worked. Florals came through strong, but in that modern, power-girl kind of way. The shirts were fun and often left open to reveal more layers beneath (so much layering this season!). The skirts were beaded, sparkly, textured and full of life. And the glasses? Some were the size of my hand, literally. One-way mirrored shields that let the model see out but gave everyone else a reflection. I don’t know if I’d wear them to Tesco, but runway? Yes. There were tinsel dresses, shirts under wetsuits, and okay, some of the menswear veered a little too weird for my taste, but the women’s looks? Which are obviously the most important! Spot on. The embellishments were flawless, the colour palette felt rich but playful, and the patterns were thick and far. I didn’t realise Rabanne was this cool. Was I delusional, or just not paying attention? Either way. Make fashion fun again! Rabanne got the memo. All my favourite looks: 1, 2, 4, 5, 8, 11, 17, 20, 25, 26, 29, 30, 34 See the full collection here: https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/paco-rabanne Rick Owens - October 2 @5pm  Now, I’m not exactly a Rick Owens die-hard fan, so I’ll only give him a moment of my time… but wow, what a location. The SS26 show was held at the Palais de Tokyo, Paris, classically majestic until they slapped on some very industrial stairs that, frankly, ruined it a bit. But I’ll give them credit - those stairs led straight into a fountain, which the models then walked through. Because of course they did. The STUNNING location Cue the hilarity of models teetering down 15 metres worth of stairs (I’m not exaggerating), wearing Rick’s notoriously horrid & high balloon boots. Like, imagine trudging down all those stairs in sky-high heels... straight into five inches of water. You couldn’t pay me enough. Actually, no, you probably could, but still -  it was giving “unique for the sake of being unique.” The vibe? Classic Rick: black-on-black, drenched wet looks, alien-coded eye makeup, and creepy blacked-out eyeballs. Very dystopian. Very “we come in peace” but also “we might eat your soul.” Some of the models looked genuinely scared of falling, and understandably so! Given they were basically doing a triathlon in heeled hooves. And let’s not even think about the dry cleaning bill after that water segment. I will say the visuals were striking - the weirdly sculptural silhouettes against the stark Parisian architecture were cool, and the neutral palette of nudes, whites and the inevitable goth blacks was cohesive. At times, it almost bordered on a spiritual alien ritual - especially when models started flooding down the stairs at the end all at once. I swear, if that crowd of booted, wet-haired, dead-eyed models came at me, I’d genuinely believe Earth was being invaded. If this was coming towards me I would run! There were some fabulous bold shoulders, a few near collisions (one poor girl clearly had no clue where she was going - bless her), and an unrelenting pace of looks just not stopping. Then, suddenly, the final 20 or so models began to ascend the stairs, readying for the finale. Models on the left, right, centre - and boom, they all descended in this overpowering wave of alien-chic chaos. And finally, Rick himself, in black-on-black-on-black (shocking), came down and did a classic designer underwhelming wave and spin.  I get the vision. I appreciate it from afar. But personally? It’s not my cup of dystopian tea. Actually, it kind of scared me. See the full livestream here - https://www.youtube.com/watch?v=n6na-bJPm44 Schiaparelli - October 2nd @7pm  The Schiaparelli Spring/Summer 2026 show was a feast of drama, surrealism, and sheer fashion spectacle. It’s September’s most opulent moment - and under the direction of Daniel Roseberry, the brand’s couture-informed RTW collections continue to turn heads, dripping in gold, structure, and quiet madness (the chic kind). This season was no different. From glowing chokers to ruffled non-tops, tomato-red gowns to sheer near-nothings, the collection was an unpredictable ride, and I’m very much here for it. Let’s talk casting first: Kendall Jenner makes her second appearance of the entire season, yes, only her second, joined by Alex Consani, Mona Tougaard, and Amelia Gray. All walking with the kind of attitude this collection demands. As always, Schiaparelli draws an impressive front row and model lineup - this is where the industry’s cool kids show up. The venue, however, slightly lets the drama down. That industrial ceiling? Not doing the clothes any favours, especially when the lighting hits more pipes than cheekbones. But we’ll forgive it - because the collection is serving. Fabrication is at the core of this season’s magic. Sculptural silhouettes reign, from razor-sharp tailoring to gowns that bloom like modern art installations. There’s a strong thread of black and white tones running throughout  but never in a boring way. Laser-cut polka dots feel fresh (finally, a new take), and gold accents were everywhere. Sometimes dripping, sometimes glowing - literally. The headwear? Questionable at times, in the best way. Some models strutted with helmet-like headpieces, sliced in half and plopped on the crown of the head like bizarre futuristic crowns. Then there are pillbox hats, high necklines (some covering even the mouth and nose), and surrealist detailing at every turn. One standout was a tomato-red gown - floor-length, sculpted, with a mesh-lined bodice and architectural collar swirling around the neck. It’s bold, regal, and utterly Schiaparelli. Another model walked out after in what looked like just a single giant ruffle on her top half. Iconic chaos. Accessories stole the spotlight. A glowing choker (yes literally glowing!!!) becoming one of the show’s defining moments, lighting up against a sheer-but-not-sheer suit. Elsewhere, a chocolate brown blazer was paired with cascading smaller glowing gems, dripping down the chest and into the tailoring like wearable chandeliers. Alex Consani, as always, delivered - twice. She floated down the runway in a sheer cascading gown with nothing but black pants and a luminous choker - Fab, as she’d say. Mona Tougaard stunned in a gold glittered halter neck, finished with silver sparkles hanging from cut pieces of fabric, exposing skin and silver all at once! And delicate feathered polka dots - a look that dances between elegant and eccentric. And of course, Kendall closed the show! In a sheer black version of the feathered polka dot gown, thong only underneath. Nearly-nude and undeniably show-stopping. There were classically Schiaparelli  illustrated dresses, unconventionally structured shirts, and pieces that genuinely felt new. It’s the Schiaparelli sweet spot: theatrical, couture-rooted, and always absurdly opulent,  just how I like it. Roseberry doesn’t just design clothes; he crafts moments. And this one? Glowed - literally. What's to come: It's LOEWE day tomorrow! Thats all I'm excited for. Thats what's to come, that's it, that's what matters! With love, Mimi x

Look 17 The Isabel Marant Spring/Summer 2026 show opened with thumping bass and an orange-carpeted runway that sprawled across a venue that felt somehow both indoors and outdoors. Very Parisian of them. It was a muted palette from the get-go, creams, khakis, olives, but that’s classic Marant. If it were neon bodycons or latex, I’d have gone into shock. The collection kicked off with the brand’s signature boho chic, and while the tones were toned-down (no surprise there), the details were far from boring. We saw their embellished jackets, dripping in charms like they were thrifted from a French flea market, but in a luxurious kind of way. The lacey blouses, the light knits, and of course - the crochet, all which made their expected, but still adored, return. The crocheted shorts were so cute, and honestly, I’d wear them tomorrow. Now let’s talk about the catwalk itself. The models had to take the scenic route before even making it into the frame, walking the length of this gorgeous Parisian building, entering through dramatic gates, and then arriving on the orange runway. Major drama. But effective. Watch the full livestream here: Capri pants were of course everywhere - which is a bold move considering the fashion community is still debating their relevance, but I have to say, I'm now officially Team Capri. I wasn’t convinced they could ever be that chic… and then Isabel said: watch this. The queen of boho-chic, providing life lessons in how to dress like every stylish French girl you follow.  And can we have a moment for the shoes? Khaki-green, browns, and cream boot-trainer hybrids that scream “2007 Marant rebooted for 2026”. Genius move. She’s bringing back those iconic Isabel Marant boots - you know the ones, but with an updated edge. A very clever rebrand. Alex Consani walked in a cream jacket with a sequined vest peeking underneath - not the most groundbreaking of looks, but at least she sparkled. There was also this amazing trench with thick stripes (a pattern that surprisingly popped up a lot), lined in an orange fabric that worked perfectly with the burnt-orange carpet. Unexpected, but satisfying. One model strolled out with the best abs I’ve ever seen, just casually in a bikini. Another carried what looked like a picnic blanket disguised as a bag - very Marant-coded. Throughout the show, the music matched the mood: upbeat, bassy, but still cool-girl Parisian. Fast-paced walks helped keep the huge collection from dragging, and honestly, there were so many looks, but they all still felt cohesive. Further into the show, the neutral palette gave way to hints of red and orange - not exactly a rainbow, but enough to keep it spicy. Sequins appeared, and accented the looks in the best ways, working well alongside oversized earrings and gem-studded accessories. By the time Alex popped up again in a black cut-out two-piece, black had officially taken centre stage. Then came a stunning mini dress made of asymmetrically cut panels and oversized circle sequins! It was boho but make it cool girl who doesn’t know she’s the main character. Also, the casting? Perfection. Every model looked like they actually would wear Isabel Marant on the regular. And seeing all the supermodels joining the runway such as Alex or Mona Touggard, solidified how respected and loved this brand is. And I mean… it shows. The whole collection was very true to the Isabel Marant DNA - effortless, French, a little undone, and always stylish. All my favourite looks:  1, 3, 6, 13, 14, 17, 19, 22, 27, 29, 30, 31, 36, 43, 44, 46, 49, 50, 51, 52, 55, 58, 61, 62 As the final walk began, everything tied together beautifully. The colour story, the textures, the silhouettes, it all flowed so naturally. It was boho. It was chic. It was everything I want my summer 2026 wardrobe to be. If I don’t own a pair of Capri pants by May, I’ve failed myself. Isabel Marant, I love you. Please sponsor my wardrobe. Or at least the shoes. With love, Mimi x

Look 36! Mugler is well known for its theatrics and overtly dramatic vision. Under new creative direction from Miguel Castro Freitas, the fashion industry was, as usual, eager to see what he could bring to the house - I was expecting bold newness and excitement. And that is exactly what I was served. Miguel Castro Freitas marks a fresh chapter for the iconic French fashion house. Known for his sharp tailoring and architectural silhouettes, he brings a refined, sensual edge to Mugler’s legacy of bold, body-conscious design. His vision centres on evolving the brand’s powerful, femme-fatale aesthetic into something more fluid and future-facing - balancing strength with vulnerability. Castro Freitas wanted to push gender boundaries while honouring Thierry Mugler’s original spirit of glamour and theatre. He leans unapologetically into high drama and innovation, embracing the house’s heritage of transformation, spectacle, and sharply defined lines, but with a contemporary, inclusive twist. This debut collection was nothing short of dramatic. Tailoring took centre stage, structured and regimented in ways that created some of the most superb silhouettes seen all season. The show opened with a series of looks in an orangey nude palette - minimal in tone but maximal in shape and fit. For the first ten looks, this colour reigned, before the show transitioned into a brief all-black moment, with five darker, moodier designs. Then came the chaos. Feathers, multicoloured details, and a shock of neon yellow suddenly erupted on the runway, entirely disrupting the colour flow and throwing the audience off balance. It was as if Castro Freitas was deliberately dismantling any preconceptions about what the show’s "vibe" was. By Look 22, we were back to nudes and warm tones, followed again by black, and then the unexpected entrance of new shades - greys and greige tones. The middle ground between beige and black, if you will. Just when it seemed the palette had settled, a standout moment came in Look 39 (below): a sheer teal blue piece that broke through the neutral fog. It incorporated one of the show’s most innovative elements - piercings! This look featured a low-cut top held up not by straps, but by the model’s ears. Hoop earrings extended into the fabric, holding the garment aloft. So innovative. So new. But Castro Freitas didn’t stop there. In a bolder expression of Mugler’s unapologetic sensuality, a model walked with her chest fully exposed, fabric suspended from body piercings. Look 36 (above!), in particular, showcased a sheer nude dress adorned with a metallic star pattern. It stopped just where a skirt might, and instead of traditional support, it was looped through nipple piercings. Yes, you read that right - the fabric was held up by the model’s body. Wild. Crazy. I loved it. All my favourite looks: 3, 5, 10, 11, 14, 16, 19, 21, 22, 23, 26, 27, 31, 32, 33, 34, 36 , 37, 39, 40, 41, 42 And yet, even among these shocking, theatrical moments, there was a consistency, a Mugler DNA. The innovation never felt out of place. Several looks pushed boundaries in quieter ways. Look 6, for example, was made entirely of beads worn over a full bodysuit. The way it hung so perfectly hinted at how bold it could be worn without the underlayer (though that would definitely risk a nip slip… or several). Other designs incorporated the large beads more practically - as corset tops under blazers, or sewn directly onto garments in structured, sculptural ways (Look 27 stood out here). There were even animal centered looks. Look 23 (right) was, in silhouette, a relatively expected Mugler moment - flared trousers and a second-skin bodysuit in orangey-beige. But it was the headpiece that turned heads: a fully feathered lion’s mane leaving just a small oval for the model’s face. Animalistic references continued in Look 16 (above), where black tailored trousers were paired with a top covered in bird feathers that cascaded over the hands and neck, creating a striking avian effect. A similar feathered skirt appeared a few looks later, echoing the theme. Fringe, too, was of course present, but not in an overdone, been-there-done-that way. It was integrated into dresses, skirts, and tops, all worn nude underneath. As the models walked, the fringe swayed just enough to expose bare chests, leaning into the vulnerability Castro Freitas intended to explore. The silk suits also deserve a moment of recognition. Their obsessively detailed tailoring was genuinely superb, precise and intentional, yet flowing and wearable. Subtle hints of glamour shimmered through in silver beading, deconstructed cuts, and disfigured silhouettes, done just subtly enough to feel like they weren’t the centre of attention. This was Mugler, yes, but it was new, sophisticated, and sharply defined. In all, the collection was executed to near perfection. See the full collection here: https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/mugler/slideshow/collection Miguel Castro Freitas’ Mugler is one where identity, empowerment, and bold expression take centre stage. He delivers collections that are as emotionally resonant as they are visually striking. This show was proof that Mugler’s signature drama is alive and well, evolving in very capable (& malleable) hands!  With love,  Mimi x

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