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 It always makes me think about ‘The Devil Wears Prada ’ scene where Miranda articulates to Andy how her outdated blue knit jumper was handpicked by,  “the people in this room ”.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

These shows were great, but today in general was amazing. These aren't even the main event. Dolce & Gabbana brought in Miranda Priestly who hasn't been spotted for over 20 years at a show. WILD. Then Louise Trotter debuted for Bottega Veneta with one hell of a collection. But before any of that even started Ferrari, Ferragama, and emerging designer Stella Jean who arguably was my favourite of these three, although the lesser known. See about Ferrari below... Ferrari - September 27 @9:30am Look 38 Ferrari started with a bang - literally. The show opened to a deep, pulsing bass line that felt like the soundtrack to a high-speed chase scene. Dramatic, cinematic, and slightly superhero like. Fitting, of course, for a brand with racing DNA. Models began strutting out in monochromatic creams and whites - chic, minimal, and impeccably tailored. This palette held strong until Look 20 (below), where things shifted dramatically. Acid-washed denim took over, reminiscent of Acne Studios but with Ferrari’s signature precision in tailoring. Jackets, trousers, bags, blazers - everything was razor-sharp. And the music shifted to a more slow, classical ballad, as if they were telling a story!  All my favourites - 2, 4, 10, 12, 14, 20, 23, 27, 34, 35, 36, 37, 38 , 41, 43  Watch the full show here - Look 20 was a transitional moment going from whites to denim: a simple white vest paired with a statement acid-wash denim skirt. The skirt’s standout features were collar-like shapes at the hip bone that sculpted the body beautifully, Ferrari-embossed hardware, and leather pocket detailing that felt both industrial and luxe. Soon after, red denim entered the chat - adding more bass again to the tune. A fiery update to the earlier acid wash, this version came lined in Ferrari’s iconic bright red. Braided cable knits also made an appearance in the same shades - in coordinated two-piece sets, grounding the collection in tactile texture. Then came the shift we were all waiting for: Ferrari Red in full force. Look 31 echoed the first trench but now in a sultry burgundy tone. The red theme intensified with sculptural dresses and finally peaked with my favourite look of the show. Look 38 (above)! WOW. It was a tomato-red skirt flowing right down to ankle length where the same shade matched on the heels, paired with a matching box bag clutched effortlessly at the side. But the showstopper? A perfectly tailored burgundy leather jacket that fitted so flawlessly it was almost offensive. I know I’ll never own anything that fits me that well. The final six looks turned up the glamour with mirror bead embellishments scattered across dresses, jackets, and trousers. Look 43 (above left) was a true standout - an entire suit covered in reflective beads. Someone in the front row probably saw themselves in it. The venue itself added to the drama: mirrored walls, stark white floors, and fashion legends in the crowd - including none other than Anna Wintour. Ferrari absolutely have proved themselves again this season, proving that speed isn’t the only thing they do well, they also are now masters of tailoring and bold, beautiful fashion.  Ferragamo  - September 27 @11:30am  Look 29 Under Maximilian Davis, Ferragamo continues its evolution - sleek tailoring, rich tones, and an identity rooted in understated power. From the moment the livestream started, one detail stood out immediately: the set. The runway was maze-like: circular, winding, and cleverly designed so guests were seated all around, catching glimpses from different angles. An unconventional layout for an unconventional show. Anok Yai opened in a strong, oversized black blazer and matching wide-leg trousers, accented with a silk scarf tied at the waist. It wrapped around multiple times before falling to the floor in dramatic, tasselled fringe. That fringe detail would go on to dominate the collection - appearing in scarf-belts, sleeves, and full-length trims. The vibe was mysterious. A soundtrack of minimal, moody beats paired perfectly with the models’ cool confidence as they walked in layered suiting, tailored coats, and bold accessories. But the standout footwear choice? Flip flops. A slightly jarring choice against the heavy tailoring, but perhaps a reminder that this is  Spring/Summer. Watch the full show here - Look 11 was a menswear favourite, a beige boxy suit worn shirtless, with a deep-cut blazer and another silk scarf belt, in a slightly darker tan. Shades of rust, brown, and gold began to trickle in from here. Look 28 featured a stunning kimono-style dress with panel work in greys, browns, and golds. Silk fringe dripped from each panel, transforming a mini into a floor-length maxi dress. Pure elegance. Then Look 29 - arguably the star. A full silk trench cinched with an exaggerated scarf-belt that melted into yet more fringe. It was soft, sophisticated, and impeccably made. All my favourites - 1, 3, 6, 8, 11, 15, 18, 20, 22, 26, 28, 29, 31, 32, 35,  40, 45, 48, 58, 62  The colour palette expanded gradually. From a black-heavy start, the show unfolded into muted tones of grey, navy, pink, rust, yellow, and soft golds. Pops of neon made surprise appearances, including Alex Consani in Look 14: a pleated, high-energy yellow two-piece. Yellow emerged again and again marking Ferragamo's shade for SS26. Amongst the refined tailoring were playful elements: oversized bangles, ties tucked into pockets, sheer mesh pieces (nipples out, unapologetically), and the occasional feather. The craftsmanship was impeccable, especially in the silk pieces, fringe-laden, feminine, but grounded in structure. The final looks shifted into high-shine territory with glossy black, latex-like textures. A bold close, though the final latex two-piece felt slightly off - perhaps due to harsh lighting or just a mismatch with the otherwise luxurious lineup. My final verdict is that Ferragamo knows exactly how to finesse elegance with an edge.  Stella Jean - September 27 @1:30pm  Look 25 Returning to the Milan schedule with her signature blend of Haitian-Italian heritage and ethical craftsmanship, spotlighting fashion as a vehicle for cultural storytelling. She did just that with a curated collection of just 25 looks, each one bringing the wow factor, nothing was repetitive, it was all remarkably unique and the craftsmanship was otherworldly!  Handpainted prints, embroidery, creativity, embellishments, colour work, everything had been perfected in this collection. It seamlessly blended her Haitian culture with her Italian culture, Stella has a remarkable eye and a very distinguishable trademark on her style. She is talented, bold and unwaveringly clever.  The craftsmanship was top tier from just Look 1, with a tailored two piece suit cinched at the waist with a handpainted and embellished display of a rural Haitian landscape, she always brings culture into her collections which I love! Look 2 (below) featured small embroideries of traditional Haitian ladies carrying produce in baskets on their head, and the model wore a basket style woven straw hat! - paying homage to her culture again! Look 8 was another beautiful one with a simplistic wide dress silhouette in a white shade with only one arm. The other was covered with a 3D crystal covered sleeve which I can only imagine would have been remarkably heavy! All my favourites: 2, 3, 8, 9, 11, 2, 14, 17, 18, 22, 23, 25 The closing look was absolutely breathtaking, it was all things elegant, sophisticated, fun, quirky all rolled into one! It was that vibe I mentioned the other day, “funky chic” She captured this vibe entirely throughout every single piece. But this Look 25 (above) audibly made me gasp, a white pair of flared trousers which practically floated off the skin. Which merged perfectly with a halter neck top which was connected to the trousers by a large multicoloured beaded fish! This fish was embellished with an exhaustive amount of beads, sequins, and even some patchwork to make it look as if it had its mouth open! If I bought that and wore it anywhere in Europe (Italy in particular) I know for a fact I would receive an unhealthy amount of compliments!  Her final wave to close the show was nothing short of poetic. She emerged in a look that perfectly encapsulated the spirit of the collection - a vibrant patterned skirt, a sharply striped tailored shirt, and the new season boots (which were seriously cool). But the real statement was in her hands: a simple white T-shirt reading, “Grazie Mr. Armani. Stella.”  A heartfelt tribute to the late Giorgio Armani, who passed earlier this month, it felt like a quiet promise - that his legacy will live on through her Italian-rooted work. A beautiful, emotional end to an already stunning collection. Too often, the big-name fashion houses overshadow emerging artists, however compared to some of the major fashion houses I’ve commented on this season so far this collection is far better in all regards, looks, feel, and craftsmanship. See the full collection here -  https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/stella-jean/slideshow/collection What's to come - I cannot believe today was the penultimate day of Milan Fashion Week! Well basically the final day, because tomotrow is fully booked off for Giorgio Armani's final farewell from fashion. These three shows today were just the morning warm-up, and yet they each brought something unforgettable: Ferrari's high-octane precision, Ferragamo’s effortless fringe, and Stella Jean's heartfelt cultural craftsmanship. And somehow, the most surreal moments were still to come - Miranda Priestly at Dolce & Gabbana? Louise Trotter debuting at Bottega? The day was full of historical and jaw dropping moments! With love, Mimi x

Look 62 Although absent from the official Milan Fashion Week runway schedule, Dario Vitale’s debut collection for Versace dropped last night in an intimate presentation, it marked a significant moment for the brand: the first collection following Donatella’s unexpected departure earlier this year. Her exit shocked the industry, and all eyes have been on Vitale to see what direction he’d take this iconic house in. Having spent over a decade at Miu Miu, his luxury credentials are undeniable, but Versace? I wasn’t 100% convinced.  Versace has needed a reset. The appointment of Vitale suggested change, a pivot from the hyper-glamorous Donatella era to something (perhaps) more considered. So when I opened Instagram after four hours of typing (and losing the will to live), only to see Versace had dropped their new collection without warning, I had mixed emotions. Elation, excitement… and rage. Because my fingers can’t keep up with Milan Fashion Week's relentless calendar! The vibe? Block colours, bold layering, and accessories galore. There were 75 looks in total - a serious debut statement. The layering was chaotic, with colours overlapping, clashing, and harmonising all at once. Accessories were classic Versace: chunky chains, singular oversized earrings, and a delightful disregard for subtlety. The styling was full throttle and I did love that, it was very 80s.  The venue for this intimate affair was so disturbingly Versace, it almost didn’t matter what the clothes looked like. Hosted at the historic Pinacoteca Ambrosiana in Milan, a museum dripping in marble statues, grand staircases, and full Renaissance vibes. No celebrities were invited, just the fashion industry’s inner circle and a cast of international models so meticulously curated it felt like a Vogue Italia fever dream. As for the runway route - the models had to descend a precariously long  staircase. Iconic, yes, but also a liability. Any asthmatics would've been out immediately, and the scattered rugs across the floor, marked with music notes and bold red lines. When the runway began the backdrop of muted marble and stone immediately allowed the collection’s explosive colour palette to take centre stage.  Look 1 The opening look is crucial. And honestly? I wasn’t sold. A red T-shirt peeked out beneath a blue vest, layered under a dark blue jacket, paired with bright green capri trousers and a brown leather handbag. Add one dramatic hoop earring, a dual-toned chain, and bejewelled mules, and you've got a lot going on. It was’t ugly but it wasn’t beautiful. It wasn’t screaming, “This is my opening look of my debut collection for Versace!”  For a debut collection, I wanted a punchier start. But things picked up quickly. Look 2 (above left) featured multicoloured jeans printed with about seven expressive faces in black lino print - a recurring motif throughout the collection. These artistic, face-covered pieces became signature moments, which I did love. That said, there were… clown trousers. Quite a few. Boxy, balloon-like shapes in loud stripes made appearances in multiple looks - from bold orange-yellow-green in Look 66 (below left) to equally exaggerated versions in Looks 63, 65, 67, 68, 69, and 70. The trousers were funny, but maybe not in the way Vitale intended. They clashed awkwardly with beautifully crafted tops, like a stunning beaded bra in Look 66 that deserved a less cartoonish pairing. Favourites - 2, 6, 7, 8, 11, 15, 18, 20, 21, 28, 32, 35, 45, 48, 49, 50, 57, 62, 64, 71, 73.  Look 73 (below left), which closed the show with subtle grandeur. It was the only look I felt truly resonated with classic Versace! A black and gold beaded bra top paired with a matching beaded skirt, refined, sexy, and so Versace. Of course colour had to come in as well so a red jumper was tied around the waist, and blue suede heels with ankle socks added an unexpected but welcome twist. What I admired most was the beading. In a collection bursting with chaos, the hand-crafted, laborious details stood out. Pieces that whispered “60 hours of work” instead of pieces that were so colourful my eyes hurt, gave the collection a layer of sincerity and craft that was much needed. Overall, the collection leaned hard into the 80s, as Vitale intended it to with high-waisted jeans, exposed branded underwear, slinky dresses, tailoring and power silhouettes. The mood was a modernised spin of Gianni’s legacy. In Vitale’s own words: “I wanted to go behind the clothing. What is the spirit of Versace, more than the clothes itself?” And while the spirit of Versace was certainly present - the sexiness, the colour, the showmanship, the collection didn’t quite land the knockout punch. It was colourful. It was playful. It had serious potential. But it lacked the razor-sharp cohesion you expect from a house like Versace. For a debut, though? It didn’t disappoint. It felt like Vitale testing the waters, figuring out how much Versace DNA he can splice with his own. It played things safe in some areas (a wise move if you want customers to actually buy the clothes), but took risks in others. It laid a foundation for him to discover and experiment with in future seasons.  With love,  Mimi x

Day 4 absolutely delivered, with less designers than other days it felt quite quiet today actually. However the talent that did announce itself did not disappoint, with Blumarine, TOD's and master crochet designer Marco Rambaldi all providing talkable moments from todays affairs. These are three collections that, while very different, each told a compelling story about modern fashion, texture, and craftsmanship. Starting with Marco Rambaldi... Marco Rambaldi  - September 26 @10:30am  Marco Rambaldi’s Spring/Summer 2026 collection stayed true to his identity as a crochet visionary, cementing his status as a designer celebrated for his unique take on feminine aesthetics. He is a master of merging craftsmanship and emotional storytelling, Rambaldi delivered a collection rooted in his signature crochet work, but elevated with structure, subtle tailoring, and modernity. Crochet was the heart and soul of the show, from intricate knits to bold, architectural pieces. Vogue  highlighted Rambaldi’s more restrained and sculptural direction this season, but the handmade elements remained central. The stunning pink asymmetrical crochet top in Look 28 was a clear standout for me, I would buy it.  But the truly unforgettable piece was Look 33 - All-white, completely crocheted bridal gown with delicate textures and an embellished beaded bouquet, serving high romance with a twist of whimsy! The muted palette of soft blush, ivory, and charcoal, allowed the textures to take centre stage, with tailored lines and sheer layering adding depth.  Rambaldi’s SS26 felt like a matured evolution: personal, poised, and still brimming with quiet sensuality. It was a love letter told through yarn -  a blend of softness and strength, restraint and beauty.  See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/marco-rambaldi#review Blumarine  -  September 26 @11:30am  Look 40 David Koma’s sophomore season post-Y2K revival continues to stir serious interest. Since his appointment as Creative Director back in July 2024, Blumarine has been on the rise - getting more iconic as time goes on. And this collection? Iconic, priceless, and classically  Blumarine. When I think of Blumarine, I think of animal prints, ruffles, and absurdly elevated femininity, reserved for only the most iconic souls. This collection provided exactly that: a clear vision, a unique aesthetic, and most importantly, a beautifully girly energy that made me want to ditch every outfit I own. This collection really proved that some men do  love women and know exactly  how we should be dressing. Let’s normalise showing up to the local pub in these looks. There were 47 looks in total, and narrowing my favourites down to 28 felt borderline criminal - horrible stats, really, and clear proof that I can’t make up my mind. Here’s my exhaustive faves list: Favourites: 1, 2, 4, 5, 8, 9, 10, 12, 13, 15, 16, 20, 23, 27, 29, 30, 31, 36, 37, 38, 39, 40, 42, 43, 44, 45, 46, 47 The show opened with a pink ruffle overload, setting the tone for the ultra-feminine fantasy ahead, and of course featured leopard print - it is  Blumarine, after all. The pink animal print dresses (4) were genuinely breathtaking, and just a few looks later we were gifted a green version. Look 13 was a major standout, a green leopard print tulle skirt mini dress! I’m not usually a mini dress girl, but it was gorgeously tailored. Look 30 also rode this girly wave, with a simple white mini dress elevated by absurdly flared lace sleeves so elegant. Between the pinks and greens, we had a Halloween-esque moment. Look 5 felt more Autumn/Winter with a black mesh blouse covered in butterflies, flies, moths and just bugs in general! Even the jeans played into this creepy-crawly aesthetic. I loved the spookiness, but not sure it screamed Spring/Summer. ABOVE - LOOKS (in order) 4, 46, 42 Butterflies were a key motif. Look 42 (above) featured silk trousers and a matching cape paired with a tiny lace top, embroidered with a butterfly in a slightly darker beige, stunningly subtle but still striking. And Look 40 (above) was my ultimate favourite. A tiered ruffle skirt crafted from lace, tulle, and mesh, paired with a sheer long sleeve overlay smothered in 3D butterflies, sewn in different directions to give the illusion they were flying. It was genius! The final seven looks? Every single one made my favourites list - oops - they just kept getting better. There were ruffles galore, ultra-feminine silhouettes, and a punky twist courtesy of layers of jewellery, mostly heavy crosses. Look 44 (below) featured a ridiculous metal dragonfly bra that covered nothing but looked incredible. Then came Look 46 (above): a cropped tailored blazer with floor-trailing ruffles spilling down the model’s back, paired with perfectly cut trousers and a jewel-heavy choker stacked with huge silver crosses. Look 44 It was the ultimate mix of punk and elegance - powerful, cool, and hyper-feminine all at once. Look 47 mirrored this energy in a sheer ruffled gown and cape, draped over layered oversized cross chains.  A tomato red gown (31) that could’ve been worn at Christmas or  on a summer holiday. A fresh burst of colour also appeared in the nearly-nude mesh pieces (Looks 21 and 23), where embroidered butterflies modestly covered the models in just the right places. I have to say -  butterflies were everywhere this season, but I did get there first… my A-level collection was 100% butterfly themed! This collection was everything I needed: girly, confident, dramatic, and divine. Koma’s Blumarine is shaping a new, more stable, powerful moment in the house's history. Embracing femininity and weaponising it. I loved every second.  See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/blumarine/slideshow/collection Tod’s - September 26 @2pm  Look 40 Matteo Tamburini’s Spring/Summer 2026 collection for Tod’s was… fine, but nothing crazy. With 40 looks on the runway, there were definitely some cool moments, but overall it didn’t exactly sweep me off my feet, especially compared to some of the other Milan heavy-hitters this season. It was a solid collection and very on brand for Tod’s but is definitely not making my Top 10.  Let’s start with the good stuff. Tod’s played to its strengths with leather, leather, and more leather which overall was done very well. The opening look featured a tan mini dress cut from boxy leather, with a 3D perforated matching bag. It was sharp, considered, and felt like a fresh Tod’s moment. Bags were actually a strong point across the board: slouchy, structured, and striped (lots of stripes this collection) Speaking of leather, Look 26 was interesting, a burgundy leather jacket detailed with tonal leather appliqué. What could’ve been just another outerwear piece became quietly distinctive through its artisanal, almost handmade feel.  The collection leaned into textures: smooth leathers, suede, snakeskin accents, and a particularly interesting use of laser-cut hole details. The styling also played with leather accessories in creative ways - think dangling leather straps worn like necklaces and scarves tied high on the neck. The palette was very grounded with a few surprises: browns, black, white, grey, rust orange (yuck), lime green, burgundy, and pops of yellow and blue. Stripes were a huge motif throughout (usually bringing the pops of colour) from diagonal colour-block dresses to more classic headscarves. Look 14 (left) stood out with a bright orange wool jumper, micro shorts, and a diagonally striped bag, all tied together with an orange scarf-tied-around-the-neck. That said, not everything landed. Look 6’s (above) head-to-toe multicoloured plaid was visually chaotic - a sensory overload. Some of the monochrome leather tailoring, while clean and well-cut, began to feel repetitive as the show went on. But the final four looks, redeemed the collection. They closed the show on a high note with a quad of asymmetrical dresses in bold diagonal stripe patterns. Standouts included Look 40 (above) and Look 37, both breathtaking in silhouette, yet differentiated by their striking palettes. Look 40 was a timeless beauty, featuring moussy brown stripes sliced across a white and black base, with a sharp asymmetric hem. Look 37 offered a bolder take, replacing neutrals with lime green, black, brown, and grey for a more daring, modern twist. These final looks felt elevated, directional, and offered a glimpse into what Tamburini can achieve when he fully embraces contemporary femininity with an edge! Overall, the collection delivered quiet luxury with texture play and subtle innovation - but lacked the energy or cohesion to really captivate. Tod’s is clearly continuing to reposition itself with clean silhouettes and artisan finishes, but next season, I'm hoping for a bit more.  Favourite looks: 2, 3, 6, 8, 13, 14, 15, 17, 25, 26, 27, 30, 32, 34, 37, 38, 39, 40  See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/tod-s/slideshow/collection Whats to come Versace just absolutely blindsided me by pulling a secretive runway presentation out very quietly. I will have to report on that first thing tomorrow, before the rampage of Day 5 Milan Fashion Week commences... Including Ferrari and Ferragamo - both ones that I never expect too much from and am either left shocked or remain very unamused by the collections. As well as Haitian - Italian heritage designer Stella Jean who Is a really cool emerging designer. One to watch. But the big dogs tomorrow, one of the ones I have been madly waiting for - Bottega Venetta by Louise Trotter!! One of the only women to be a part of the mass creative director switch of 2025. And of course the classic cult favourite of Milan Fashion Week - Dolce & Gabbana!! There is lots to see tomorrow, I would recommend taking the day off. With love, Mimi x

How is it already the third full day of Milan Fashion Week! Crazy. Today is stacked with so many world famous fashion houses including Max Mara, Emporio Armani, Prada, Roberto Cavalli , Boss, and emerging designer Francesco Murano. By the time I woke up this morning both Max Mara and Boss had already done their collections so I had to catch up immediately! Starting with Max Mara below... Max Mara - September 25 @9:30am Max Mara served up a treat this morning! Wow. Ian Griffiths delivered 47 crazily beautiful and crafted Ready-to-Wear looks! The collection carried a cohesive and restrained neutral palette: beige, black, white, cream, and browns. It worked incredibly well. However some of the looks played with muted floral prints such as one kimono style coat (Look 9 - below) in a baby blue and white floral print which was beautiful.  All models wore a beehive-style hairdo with a black headband, and makeup was very natural; the focus was clearly on the clothes. Even the footwear was kept casual - sandals, mules and flip-flop vibes - perfect for Spring/Summer! Of course the accessories were also pretty minimal which helped translate the collection from day to night or night to day.  The clothes themselves were stunning. The first seven looks were office-wear-meets-brunch, with bespoke tailoring and accentuated silhouettes, there were puffed sleeves, cinched waists, and the classic elastic waistband shown throughout.  Look 4 Look 4 (left) stood out the most for me, a perfectly fitted beige suit I’d 100% wear to an office. Wide-leg trousers, a cinched blazer, and a black base layer peeking through the sleeves that gave it depth. The flip-flops helped downplay the look, along with a casual black bag. It was so beautifully crafted! Alex Consani (above) closed the show in a textured two-piece featuring a show-stopping (literally) skirt/trouser hybrid bottom and a cropped, cape-esque cardigan top. The waist was out, the figure on show, and an elasticated black waistband was placed on the stomach, perhaps to disrupt the silhouette and formalise the two pieces. It was event-ready but could easily be dressed down if separated.  The collection was very much Max Mara, simplistic and elevated basics done in such a unique and tasteful way. That's the only way I can describe it! Brilliant use of creative freedom, very much wishing each piece wasn’t in the thousands.    See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/max-mara/slideshow/collection Boss - September 25 @11:30am  65 looks by Marco Falcioni. This collection was superb. I’ve said that many times during Milan Fashion week, but if it deserves it it deserves it! The collection was classic, modern and elegant in such a way that I kept being surprised by how chic and smooth the collection was flowing. The menswear flowed seamlessly side by side with the womenswear. Both complimenting one another, if you saw a couple both step out in head to toe SS26 Boss you would think they were the coolest couple ever.  Boss’s SS26 was a masterclass in refined elegance, it was quiet luxury - with a bit of an edge. Under Marco Falcioni’s eye, the collection was a balance between polished tailoring and subtle surprise.  The fabrics were so luxurious with crisp cottons, lightweight wools, and softly draped silks which very much dominated. Some pieces carried a faint sheen, but nothing tacky; it was all a muted and understated affair. The fabrics were all layered, textures intertwined as smooth panels were juxtaposed with pleats or darts, the tailoring was so precise and calculated with unstructured shoulders and sleek seams that allowed for movement. Prints weren’t even visible, other than a few stripes, the few prints that appear feel as though they belong: quiet, elegant, barely there. It was the layering and accessorising that stole the show.  My favourite look was 100% Look 53 (below) which featured a washed lilac corset style top, sheen silk waist element as well as black and orange belt, and wide leg brown trousers. Paired with a recurring highlight of the show - a head scarf. Tied neatly at the side. It was absurdly elegant, I need this exact ensemble immediately!  Look 53 Most looks leaned solid or tone-on-tone, letting the styling and silhouette take the lead. The colour story is classic Boss: a well-curated neutrals palette. Black, ivory, beige, soft camel, touches of chalky white and light putty tones. Occasionally a deeper taupe or muted cocoa anchored a look, but nothing bright or overpowering. From first to last look, the collection feels wholly coherent. The consistency in palette, cut, and material means you could mix nearly any two pieces and they’d converse. The understated tailoring vocabulary, blazer, trouser, dress - the core pieces we all wear - Boss nailed the classics this season. It felt like the wardrobe of someone who knows how to live: work, dinner, travel, everything. SS26 Boss offers clothes you want to live in. It’s not flashy, but it’s never dull.  See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/hugo-boss/slideshow/collection Emporio Armani - September 25 @3pm Look 84 Following the recent passing of Giorgio Armani, many were left with complex emotions watching what marks his final direct influence on the fashion world. The Emporio Armani SS26 show debuted earlier today, while the Giorgio Armani runway is set to take place on Sunday 28th September at 7pm. The 85-look Emporio collection featured refined tailoring, flawless silhouettes, and unexpected pops of colour. Closing with embellished mini dresses and skirts in soft lilac and faded pale blue with monochromatic beading that was delicate, yet eye -catching. The collection was successfully aimed at appealing to the younger audience Emporio Armani speaks to. It was clever, fresh, and perfectly Spring / Summer.  I’ll be saving my full analysis until after the Giorgio Armani collection is released, as a way to honour his brilliant, creative mind one last time through both of his namesake labels. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/emporio-armani/slideshow/collection Francesco Murano  - September 25   @ 7pm  Murano is well known for his masterful knowledge of technical precision and his clever eye for elegance. He has dressed some amazingly impressive celebrities, including Beyoncé. I had complete faith he would bring exactly what he is good at this season, and that he did.  The entire 27 look collection remained exactly his niche, refined elegance, there was a miniscule colour palette including mainly white and black with a few neutral tones sprinkled in. Each piece was luxurious and oozed opulence. Every look was sophisticatedly sculpted and moved very fluidly as the models graced the runway. Every look held a clean silhouette, constructed in light, sheer materials with soft drapery which was occasionally offset with sharp tailoring in jackets or trousers. (Look 25 & 26) Monochrome hues dominated, with blacks, whites and muted neutrals underscored by subtle structure and volume shifts. The collection’s strength lay in contrast: between rigidity and flow, minimalism and detail, classic shapes and new forms. Overall, Murano delivered a refined, cohesive vision that felt thoughtful, wearable, and quietly confident - a promising step forward for his emerging name. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/francesco-murano/slideshow/collection Roberto Cavalli - September 25 @8pm  Look 27 I was excited to see what Fausto Puglisi had in store this season, and as a self-proclaimed gold girl, I’d now like to personally thank him for channelling my dreams into one hell of a collection. It was fiercely feminine, powerful, and unapologetically gold. The 40-look collection offered a wide variety of silhouettes, but each look shared three core elements: strong, eye-catching shapes, a tight and cohesive gold-toned palette, and an undeniable elegance. Roberto Cavalli has had such a powerful comeback since Puglisi stepped in as Creative Director. Models walked out onto a glitter-lined floor that stretched up the walls and across the entire catwalk - a setup that mirrored the central colour theme and instantly set the tone. A few of the looks used a material I’m personally not a fan of - that crinkled gold tin-foil looking fabric. It’s shiny and, more often than not, looks tacky.  That said, Look 4 worked surprisingly well: a long maxi dress with black lace detailing that gave the fabric some needed contrast and depth. But just a few looks later, Look 7 transported me right back to my usual dislike with a gold trench and jumpsuit combo that felt cheap and costume-y. Hated it. There were a handful of other “filler” looks, using that same solid gold fabric that just felt underdone. But when the gold hit, it really hit. If the garment - whether dress, trousers, belt, blazer, trench, blouse, necklace, or shoe, wasn’t entirely gold, it was threaded with gold, appliquéd in gold, beaded in gold, or accessorised in it. You get the gist. My favourite looks: 2, 4, 12, 13, 15, 16, 18, 19, 20, 21, 24, 25, 27, 28,  29, 33, 36, 39  Some silhouettes felt very 80s-inspired -  especially Look 27 (above), one of my absolute favourites. A striped gold floaty shirt, semi-tucked into flared trousers, cinched with a wide gold belt featuring a big buckle. The fabric had this stunning sheen that feels floaty and mysterious in the best way. It’s unique, luxurious, and dramatic. I’m obsessed (though I imagine silver lovers may feel differently). These floaty shirt-and-trouser combos were a staple of the collection - always belted, always fabulous. I also adored the gold-wash denim jeans in Look 15 (left) and their sister, Look 16: crisp white trousers detailed with a muted golden leopard print. The collection was impressively cohesive from start to finish. However craftsmanship really shone through with the gowns. My personal favourite? Look 28 (above!) A black sheer long-sleeve dress, completely covered in gold lace-style detailing. The gold strands dripping from the wrists were breathtaking. There’s panelling, a tie-up detail, an open back… it's my dream dress. Other honourable mentions go to Look 39, which featured heavy gold embellishment with silver branch-like accents, and Look 40,  a floaty, minimal champagne-tinted silk gown that closed the show with quiet glamour. I think you get the idea. As a gold girl, this collection spoke volumes to me. From the moment the show began, and as I scrolled through, realising no other colours were coming - I was speechless. Not many designers can pull off a fully monochromatic collection, and while there were a few misses, the majority was pure gold perfection. I want more. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/roberto-cavalli/slideshow/collection What's to come - What a day! Prada, Max Mara, Boss, Emporio Armani, Francesco Murano, and Roberto Cavalli all delivered standout collections, and that’s why they made it into this post. Prada even deserved its own blog post, which I highly recommend if you want a deep dive into Miuccia’s latest innovations with Raf Simons. I was genuinely impressed by today’s talent, and honestly a little overwhelmed trying to capture it all - but it was too good not to share! I hope you enjoyed the roundup and maybe even learned something new. Tomorrow promises a quieter schedule, with Blumarine and Tod’s catching my eye, so we can pace ourselves before the next big fashion wave hits on Saturday! With love, Mimi x

Look 29 Moschino, to me, has always been bold, theatrical, and unapologetically camp. They love to make headlines, though, admittedly, sometimes for the wrong reasons. It’s usually a gamble: the collection is either underwhelming or absolutely spectacular. And obviously, this season I was praying for the latter. Luckily, Moschino delivered. This 52-look collection was one of the campest, most iconic things I’ve ever seen from the brand and honestly, one of the most exciting shows of the entire SS26 season. There were pieces that had me gagged. Every look was wearable in its own weird, wonderful way -  though you'd definitely need to be ultra cool to pull off Look 21: a custom-painted, two-piece Moschino potato sack.  There were so many standout moments. A mirror skirt (Look 11 - below) which reflected the lights in every direction. Large arm cuffs (Looks 1 and 20) resembling robotic limbs. Look 13 - a trench coat with a massive, fluffy 3D spider attached to the front collar. Look 22 gave us studded suede bags, which I loved. And then, as if by some SS26 cosmic rule, Look 27 (below) brought the season’s honorary bright purple piece - it’s like every designer got the same dare to add one random purple piece! ABOVE - LOOKS (in order) 11, 27, 42 There was also some surprisingly beautiful tailoring. Ruffles were added to shirts in unconventional ways (Look 18), interesting cut-outs appeared throughout, and of course, the signature Moschino play on texture and material returned with coats made of fabric scraps (Look 23 - below) - the scraps hung down in neat layers of neutrals, creating a cohesive and almost elegant deconstructed vibe. This collection excelled in accessories - some of the most inventive I’ve seen all season. Look 14 featured a crown made out of twigs. Then came Look 29 (above): a gravity-defying tower of six differently shaped and patterned gift boxes balanced on the model’s head ( it made me feel anxious just looking at it) And if that wasn’t enough, Look 30 featured a hairpiece hand-crafted to look like a nest, complete with 3D-printed birds, held in place by visible wire. It was sculptural, surreal, and brilliant. The floral section - of course for Spring! Looks 31 to 34, were very elegant, 3D appliqué flowers swept the floor, trailing from pale pink dresses (right), suit sets, skirts, and even a dramatic black maxi dress. It was delicate but still distinctly Moschino. One of my personal favourites was the newspaper dress (Look 42 - above). It was covered in prints from various newspapers, tinted with soft yellow, pink and white hues. The model even carried a bundle of fabric “newspapers,” neatly folded in her hand, every detail served to complete the look and tell a full story. Smiley faces popped up too. Look 45 (above) featured a butter-yellow mohair mini dress with a bold black smiley face on the chest and a unique rolled hem - it was unusual, playful, and of course, camp. I also fell in love with the sheer, structured wire skirts in Looks 3 and 47, one in black and one in orange. Built with wire to hold their exaggerated silhouettes, they were totally sculptural. The orange skirt in particular (Look 3) stood out as it was paired with a large orange t-shirt, cleverly restructured into a fitted vest, with one of the armholes pressed flat across the model’s chest. It was confusing and genius at the same time. The final few looks continued to push boundaries. Looks 46–49 introduced a caricature vibe. Look 46 had a purple pixelated knit top and trousers, printed with graphic legs. Looks 47, 48, and 49 were crisp white tailored pieces adorned with black hand-drawn lines, giving a cartoonish, illustrated effect that made the garments pop in motion. But two of my absolute favourite looks were 38 and 39. They took the idea of “recycling” to a new level! Shirts with collars, striped tees, and random garments were flattened or pressed together to create a single sheet of fabric. Look 38 (left) was a full dress made of this patchwork technique, and Look 39 used the same concept in skirt form. It felt revolutionary. Honestly, don’t throw away your old clothes… just glue them into something fabulous. Duh. Then came the final three looks: 50, 51, and 52. All were beautifully pleated dresses -  a blue gown (Look 50), a minimal grey dress (Look 51), and a white version of the same pleated gown (Look 52). What made them so intriguing wasn’t the garments themselves but the accessories. The blue gown came with a blue sand bucket. The grey dress? Paired with a cooking pot. And the white one? A literal napkin. Simple pieces elevated by absurdly clever styling - leaving you confused but laughing. See the full collection here - https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/moschino/slideshow/collection Fashion doesn’t often excite me anymore. But this collection made me blush with pure excitement. It gave me hope for the future of fashion. It was camp, it was chaotic, it was clever. SS26 as a whole has felt like a miraculous recovery after years of industry mediocrity… and Moschino just added their name to my list! With love,  Mimi x

Miuccia & Rà Prada always brings all fashion icons together and this season, it felt like the ultimate midweek staple. Miuccia Prada and Raf Simons returned with yet another collection rooted in intellectual elegance. I was so excited for this one, especially after last year’s jaw dropping heels! In a pre-show interview with Interview Magazine  earlier in the month. Raf Simons reflected on the wider fashion calendar this season, packed with designer debuts and major switches. “Honestly, it's a special moment,” he said. “There are so many designer switches and hires … the September shows, it's going to be a bit of thunder and lightning. You just have to do your thing … and that’s what we do.” Miuccia added, “What I’m aiming to do is really push more of what we started saying in the men's collection. I feel a real twist in fashion.” They know full well they can do whatever and people will still take the time to watch because it's Prada! As kindly shown by @stylenotcom on Instagram, the invitation for this season was unreal: a grey hardback box that opened to reveal a small silver metal wallet embossed with the Prada logo. Inside: the invite. Chic and industrial. Setting the tone. And the invitees were of course the most famous faces, including Charli D’Amelio, Sadie Sink, BTS, and of course Anna Wintour - the buzz was in the air.  The venue set the mood immediately: a large, very industrial-like space with sky-high ceilings and concrete walls adorned with burnt orange-toned metal structures. Huge columns lined the centre of the room. Some walls had a clean, white, industrial finish - it felt utilitarian, almost sterile, but in the best way. And of course, the resin-covered orange floor. Very Prada . Watch the livestream of the show here: Or see the full collection here: https://www.vogue.com/fashion-shows/spring-2026-ready-to-wear/prada/slideshow/collection The show kicked off with bold utility-style jumpsuits: two twin looks in navy and bright blue, paired with slicked-back hair and gloves. Later came an olive green version, matching the factory-floor energy of the venue to perfection. It was a strong, cohesive start. Then came more colour, lace skirts with layered ruffles and textured finishes. Lime green made its debut in Look 7 (below), opening the floodgates for an array of vibrant tones. Yellows, blues, reds, greens. Hints of teal and even bubblegum pink. The colour combos were unexpected but worked surprisingly well. Take Look 18 (below): a boxy mint green dress with an embellished neckline, under which peeked orange ruffles. The contrast shouldn't  work… but it shocking did. ABOVE - LOOKS (in order) 7, 18, 40 Textures were everywhere. Cotton clashed with satin, silk met lace - but never messily. It felt deliberate, controlled, and visually exciting. Look 22 featured a boxy pink silk mini dress that caught the light with every step. Everything had a slight offbeat charm but remained totally wearable. The shoes? Kitten heels. On every model, which was understated but classically Prada with just basic black and white tones. Loved them. Loli Bahia (Look 33 - below) glided down the runway in a white jacket and orange-detailed skirt - another favourite. Honestly, the skirts were everything this season. From the tailoring to the texture play, they were standouts. We saw lace mixed with cotton, pleats paired with ruffles, and every combination felt fresh.  Another key detail? The silk gloves. They came in every shade: light blue (53), purple (7), mustard, yellow (18), champagne, pink (17), olive green - they kept reappearing across looks. This consistent accessory tied the whole collection together. Despite the range of styles, the colour palette bled beautifully from one look to the next. That sense of continuity made the show feel like one long sentence - particularly in the final walk around.  Favourite looks:  3, 8, 10, 11, 18, 21, 27, 33, 35, 37, 40, 43, 51. Every single one had something exciting going on. ABOVE - LOOKS (in order) 8, 33, 37 However, Look 37 (above) was a major standout. The skirt? Ethereal. Layers of fabric and texture all worked into one piece. A buttery yellow front panel with tiered ruffles, alongside a sheer black lace section, next to a pleated grey officewear-style panel. So many stories in one skirt, but it felt seamless. It was tied at the top with a black ribbon. Genius. This tiered-skirt technique appeared a few more times throughout the show and honestly? Obsessed. Look 8 (above) did it too with a black pleated panel, orange centre, and baby blue ruffles. The finale, when all 53 models circled the runway, was breathtaking. The collection flowed. It was wearable, but not boring. Elevated, but still rooted in reality. Raf and Miuccia struck that Prada balance: basic enough to be Ready-to-Wear, bold enough to be occasion wear. It was distinctly Prada - but with a fun, modern twist. It was colourful, clever and cohesive. Raf and Miuccia have done it again. And the applause as they stepped out at the end? Deserved. (Miuccia is so cute.) With love, Mimi x