RUNWAY

Victor Weinsanto revisits his Spring/Summer 2027 collection in Dubai, bringing corsetry, animal prints and club-culture references to a runway increasingly interested in fashion beyond conventional glamour Victor Weinsanto has never been particularly interested in making clothes that disappear into a crowd. The Paris-based designer, whose background in dance and experience working with Jean Paul Gaultier inform his theatrical approach, has built a label around exaggerated fem

At Dubai Fashion Week, the Iranian designer draws on ancient poetry, mythical birds and traditional craftsmanship to create a collection about transformation, resilience and the enduring power of cultural storytelling There is something particularly compelling about fashion that draws from mythology without reducing it to decoration. At Dubai Fashion Week, Iranian designer Sara Pedram presented Simurgh, a Spring/Summer 2027 couture collection inspired by one of Persian litera

At Shanghai Fashion Week, Jingwei Yin transforms personal loss into a study of protection, vulnerability and the emotional possibilities of clothing. Fashion has always had a complicated relationship with armor. Structured shoulders, rigid tailoring and tightly controlled silhouettes can communicate confidence, but they can also suggest a need for protection. At Shanghai Fashion Week, Oude Waag designer Jingwei Yin approached that contradiction from a more intimate perspectiv

At São Paulo Fashion Week, Mayari Jubini delivered a collection of sculptural silhouettes, elaborate embellishment and futuristic fantasy Fashion has become increasingly fascinated with the future, particularly the possibilities of artificial intelligence, digital design and automated production. Yet at São Paulo Fashion Week, Brazilian designer Mayari Jubini offered a compelling reminder that some of fashion's most futuristic creations still depend on an extraordinarily old-

The collection offered a clearer understanding of his ambitions for the house, even as fashion's impatience with creative directors raises questions about how quickly designers are expected to establish a legacy Fashion has developed an extraordinary impatience with its creative directors. A designer is appointed, a debut collection arrives, and almost immediately the industry begins debating whether the appointment has succeeded. Every show must deliver a definitive vision,

For its tenth anniversary, the Shanghai-founded label introduced womenswear with a collection that reconsidered the relationship between masculine tailoring, feminine identity and the freedom to dress somewhere in between Fashion has spent years borrowing from menswear, but borrowing is not quite the same thing as belonging. A woman in an oversized suit is hardly a radical proposition in 2026, yet much of the conversation around gender-fluid dressing still revolves around tak

The clothes were technically sophisticated, but the collection exposed a growing tension between Ghesquière's extraordinary creative legacy and his influence on fashion today There was a time when a Nicolas Ghesquière collection could make the rest of fashion look several seasons behind. His work at Balenciaga in the late 1990s and 2000s introduced a radical visual language of futuristic construction, unusual proportions and unexpected material combinations. He made the impro

For Spring/Summer 2027, Miuccia Prada is reconsidering the wardrobe she made everyone want to copy There comes a peculiar moment in fashion when a designer's most original ideas become so successful that they begin to look entirely ordinary. Miu Miu knows this predicament better than most. The pleated micro-mini, the exposed waistband, the prim cardigan and the slightly dishevelled schoolgirl became some of the most recognizable fashion codes of the decade. They were copied b

While the industry's attention was fixed on the familiar luxury giants, some of Spring/Summer 2027's most compelling collections were happening elsewhere. Paris Fashion Week has a peculiar way of deciding which collections matter before anyone has actually seen them. The biggest houses arrive with enormous expectations, spectacular venues, celebrity-filled front rows and the kind of publicity machinery that ensures their shows become international news within minutes. By the

For their second Loewe collection, Jack McCollough and Lazaro Hernandez stopped worrying quite so much about the house they inherited and allowed more of themselves into it. Taking over Loewe after Jonathan Anderson must be one of fashion's more intimidating assignments. Anderson did not simply leave behind a successful collection of clothes and handbags. Over eleven years, he constructed an entire intellectual ecosystem around the Spanish house, combining extraordinary craft

At Chanel SS27, Matthieu Blazy finally stopped showing us how well he understands the house and started showing us what he can do with it. There comes a point in every new creative director’s tenure at a heritage house when demonstrating respect for the archive stops being particularly interesting. We have seen the tweed. We have found the camellia. The quilting has been acknowledged, the chains located, the pearls accounted for. Everyone can relax. The new designer has read

Alessandro Michele's Spring/Summer 2027 collection piles colour onto lace, corsetry onto romance and enormous jewelry onto already elaborate clothes, yet somehow the woman never disappears underneath it all. There are collections where you immediately start editing. Remove the necklace. Lose the bag. Simplify the styling. Let the dress breathe. Valentino Spring/Summer 2027 produced almost the opposite reaction. The pleasure was in seeing Alessandro Michele refuse to stop. A v

Julian Klausner's Spring 2027 collection suggests continuity may have been seriously undervalued. Fashion has developed a very particular ritual around the departure of a major designer. The old era ends, an incoming creative director is announced, the archive is opened and within months we are promised a transformation. Logos change. Stores change. Campaigns change. The debut arrives under suffocating expectations to demonstrate exactly how different everything is going to b

Two of Paris Fashion Week's biggest shows started with the same old couture distinction: flou versus tailleur. Fashion weeks are very good at manufacturing trends after the fact. Three designers show red, somebody declares red the colour of the season. Four collections contain lace, suddenly lace is back. But occasionally two collections collide around something much more specific, and the coincidence tells us more about where designers' heads are than another trend report ev

Gucci had the store, Prada had the skirts and Bottega had the crowd. Meanwhile, some very good collections were happening elsewhere in Milan. Fashion Week attention has never been distributed according to merit. A major creative director can alter the length of a trouser and generate hundreds of headlines before an independent designer has managed to upload the runway images. Celebrity arrivals become news, debuts consume entire days of coverage and the biggest houses arrive

As Ferragamo approaches its centenary, Maximilian Davis keeps returning to the archive without allowing himself to become trapped inside it Fashion has developed a complicated relationship with its archives. At heritage houses, every incoming creative director is expected to study the codes, identify the icons and demonstrate an appropriate level of respect for whatever happened before them. The result can be collections that are impeccably researched but strangely lifeless,

The debut of Loris Messina and Simone Rizzo suggests they understand the attitude of the house better than its wardrobe. For now, that might be enough. Moschino has never had a shortage of jokes. The problem is that somewhere along the way, the joke became the product. That distinction matters when considering the Spring 2027 debut of former Sunnei founders Loris Messina and Simone Rizzo. Franco Moschino built a house that was funny, certainly, but humour was rarely the dest

It took Demna a year, several collections and a very public process of trial and error to understand what Gucci meant to him. Perhaps the problem was expecting him to know on day one Fashion loves a debut. The first collection under a new creative director is treated as a declaration of intent, picked apart for clues about what stays, what goes and what the next version of a house is supposed to become. By the following morning, the verdict is usually already taking shape. Th

At Fendi, Maria Grazia Chiuri has moved beyond the homecoming and started showing us what she actually intends to build Fashion is obsessed with the debut. The appointment is announced, archives are excavated, old interviews resurface and months of speculation begin over what a designer might possibly do with a house that has existed for decades before their arrival. Then comes the first runway and, within minutes, the verdicts. New era. Wrong direction. Brilliant reinvention

Forget trying to watch everything. These are the collections that could actually tell us something about where Italian fashion is going next There was a point recently when opening a Milan Fashion Week schedule felt like reading the announcements page of an unusually glamorous corporate restructuring. New designer followed new designer. Gucci changed. Fendi changed. Marni changed. Bottega Veneta changed. Jil Sander changed. Versace changed, changed again and then temporarily