MODA / FASHION
Statement coats that look like they’re made of mink fur were almost every- where. Gucci presented weightless faux fur coats, while examples included in the Valentino, Phoebe Philo and Totem col- lections were so sophisticated that they looked like real mink. Animal prints are also officially back. Balmain’s striking coat, combined with over-the-knee boots and a ‘90s-inspired bag, stood out. The catwalks for the Autumn/Winter 2026 collections presented a touch of playful- ness thanks to bold proportions – from oversized cuts and cropped lengths to ex- aggerated silhouettes. Voluminous puffer jackets, dramatic hemlines, baggy trou- sers and flowing dresses bring an ex- pressive and striking approach to fash- ion. The trend embraces a dose of drama – because that’s life – but doesn’t lose its sense of balance. And when the evening comes, Art Deco takes the stage. Although F. Scott Fitzgerald’s 1925 novel The Great Gatsby predates this artistic direction’s peak, his vision of 1920s luxury forever linked the story to the geometric motifs and opu- lent aesthetics characteristic of Art Deco. From Khaite to Colleen Allen, designers have embraced the spirit of the Art Deco era through rich textures, glamorous sil- houettes, fringes, long gloves, plush vel- vet and sumptuous evening bags. This year marks the 20 th anniversa- ry of the premiere of Sofia Coppola’s film Marie Antoinette, so it comes as no sur- prise that many designers have found in- spiration precisely in its pastel aesthetics and opulent “let them eat cake” philoso- phy. Valentino’s Alessandro Michele com- bined lavender and soft pink on a lacy evening gown, while Connor Ives’ new pink dress is irresistibly reminiscent of the legendary creation worn by Gwyneth Paltrow at the 1999 Oscars. In the meantime, the noughties have also returned. Nicola Brognano, crea- tive director of brand 7 For All Mankind, based his Autumn 2026 collection on a Y2K aesthetic and heroines, inspired by stars like Paris Hilton, Nicole Richie and Lindsay Lohan. “She’s a rebel, she’s a rich girl,” Brognano said of his ficti- tious muse. “She can go out in the morn- ing and come back the day after wearing the same clothes, with a Starbucks cup in her hand and a bracelet from the club the night before.”
Gucci
ermann for Tom Ford, as well as Michael Rider for Celine, created pieces intended to be worn together, completing a care- fully considered whole. These are combi- nations that you can effortlessly imagine being worn on the red carpet by celebrity brand ambassadors. Current, fashion-informed and so- phisticated, the new lady stood out as one of the key archetypes of the au- tumn-winter 2026 season. Houses like Chanel, Givenchy and Balenciaga rede- fined power dressing through a contem- porary prism. Instead of stiff business suits, the upcoming season will favour softer constructions – slightly dropped waists, sculpturally tailored jackets and rich textures that balance strength and lightness successfully. Freshness was also included through styling details – hats, coats casually draped over the shoulders and plenty of striped patterns. This season also sees designers ex- periment with new materials. The Row presented a silk dress turned inside out, revealing all threads and seams. At Dior, Jonathan Anderson used a houndstooth pattern for a blouse and trousers to give them a heavy and bulky look, despite be- ing made of lightweight, highly-pleat- ed silk. One of the Loewe show’s models looked as though he was fluttering in the wind, thanks to a rubber outfit that creat- ed the illusion of constant movement.
er it is on key pieces that can be easily incorporated into an existing wardrobe and are meant for real life. Prada accen- tuated this idea further with the dynam- ics of its show: 15 models constantly cir- cled the catwalk, removing one layer of clothing with each appearance. This once again confirmed the power of styling – great style doesn’t mean owning more things, but being able to view familiar pieces, such as cardigans or work jackets, from a completely new angle. Everyday classics also gained new meaning thanks to unusual combinations, layered dress- ing and unexpected accessories. Many collections were also based on combining different influences, nur- turing personal style and buying second hand pieces. Instead of complete fash- ion looks, these combinations look like they’ve been carefully gathered over the course of many years. Meryll Rogge’s de- but collection for Marni, as well as Con- ner Ives’ latest collection, both looked as though they’d been found in London’s best charity shops. In contrast, fashion houses like Chanel – whose new creative director, Matthieu Blazy, unveiled a col- lection that sold out the day it hit stores – advocated a philosophy of the com- plete look. Both Blazy and Haider Ack-
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