Balenciaga Fall 2026 Couture, photo by fashionweekdaily

Even before couture week officially got underway in Paris, cries of “He’s back!” echoed following Olivier Theyskens’ co-ed spring 2027 ready-to-wear show for Boloria, praised for its neo-Gothic romanticism and fluid tailoring without over-the-top gimmicks. “He’s back!” is how I initially felt looking at Pierpaolo Piccioli’s couture debut for Balenciaga, which marked the same return-to-form feeling.

“Pierpaolo Piccioli’s debut for Balenciaga couture was remarkably intelligent. What impressed me was the restraint. Piccioli’s instinct is emotion, but here he channeled it through construction rather than sentimentality.” – Maria Kublin, daughter of fashion photographer Tom Kublin and co-author, ‘Balenciaga-Kublin: A Fashion Record’.

Balenciaga Fall 2026 Couture, photo by Danielle Oberrauch for gorunway.com

But then I thought, back where? I quickly realized what I liked—the designs that showed the most restraint—was very much, if not exactly, like Pierpaolo’s work at Valentino. Feathers, continuing as a major theme across the fall 2026 couture runways in Paris, add a playful, tactile element to this collection. A little goes a long way.

Balenciaga Fall 2026 Couture, photo by fashionweekdaily.com

While I felt there was a bit too much Demna in Piccioli’s first Balenciaga outings, this couture show played to PP’s strengths, particularly his mastery of color, his way with sportswear, and his endorsement of pants. PP is still finding his way, but there is no question that Pierpaolo Piccioli and Cristóbal Balenciaga are a match made in fashion heaven, couturiers bound by a shared devotion to sculptural volume, architectural purity, and the elevation of craftsmanship.

Iris van Herpen Fall 2026 Couture, photo by fashionweekdaily.com.

While “modern couture” might sound like a paradox due to the traditional roots of handmade, bespoke fashion, it is not an oxymoron. Today’s industry embraces modern couture by marrying centuries-old Parisian craftsmanship with innovative technology, size inclusivity, and contemporary, highly wearable designs. At Paris Couture Week for Fall/Winter 2026–2027, the most interesting development was the blurring of the line between fashion and hard science.

Iris Van Herpen stole the show with a collection that practically functioned as a particle accelerator. She basically trapped plasma between two layers of fabric, supercharged it with a particle accelerator, froze it, and then put it on the runway.

Schiaparelli Fall 2026 Couture, photo by Acielle for Style du Monde

The Schiaparelli Fall 2026 Couture collection, “The Abyss,” is a surreal, avant-garde triumph, featuring creative director Daniel Roseberry’s use of unconventional materials to explore artificial intelligence and the digital age. At Jean Paul Gaultier, the standout was Duran Lantink’s boundary-pushing debut as the brand’s new creative director.

Jean Paul Gaultier Fall 2026 Couture, photo courtesy of Jean Paul Gaultier

Duran fused 18th-century French royalty with sci-fi futurism. He subverted traditional couture constraints by reimagining the iconic house codes through experimental silhouettes, glitch-inspired motifs, and advanced technologies. Jonathan Anderson is unquestionably a defining force of modern haute couture.

Christian Dior Fall 2026 Couture, photo by anothermagazine.com

Known for his artistic, sculptural approach, Anderson designs unconventional, thought-provoking pieces that function as wearable art. At the Dior Fall 2026 Haute Couture show at the Musée Rodin, he fused architectural sculpture and delicate natural elements, marking Anderson’s triumphant sophomore couture collection.

Christian Dior Fall 2026 Couture, photo by Acielle for Style du Monde

With his gender-fluid aesthetic, surrealist wit, and championing of contemporary craft, Anderson has masterfully recalibrated Christian Dior, delivering a textural wonderland and a modern twist on maison archetypes, including great iterations of the softened bar jacket.

Christian Dior Fall 2026 Couture, photo by Filippo Fior for gorunway.com

Assuredly, not everything works, but I applaud Anderson’s pure, unadulterated quirkiness, creativity, and ingenuity. Is it just me, or were there a number of pieces at Dior that looked more Chanel than Chanel? There are still many who argue that under Matthieu Blazy, Chanel does not look like Chanel. Ask 10 people what they think, and you will get 10 different responses.

Chanel Fall 2026 Couture, photo by Isadore Montag for gorunway.com

I do think that Blazy’s Chanel couture collection, rich with nature-inspired motifs and whimsical touches, needs to be seen up close to be appreciated. While I applaud the workmanship and relaxed silhouettes, I can’t help but feel that many of the designs are a bit dowdy and unflattering. I’m just not a fan of all the floral prints or the drop-waist 1920s Roaring Twenties aesthetic, which Blazy has shown a distinct affinity for. I loved the Chanel Subway collection a lot more!

Fendi Fall 2026 Couture, photo by Paolo Lanzi for gorunway.com

For her Fendi Couture debut, Creative Director Maria Grazia Chiuri focused on flowing, minimalist glamour evoking a sense of freedom. She eschewed rigid corsetry in favor of fluid, weightless silhouettes (kimono coats, caftans, satin suits, satin slips, sheer lace), played out almost entirely in black, ecru, and parchment.

“Minimalism is not a lack of something. It’s simply the perfect amount of something”. Nicholas Burroughs

It was stripped back, pared down, and simplified. Some argue it was too much so. While it read more like a resort collection than haute couture, it was like a breath of fresh air: a couture palate cleanser.

Alexis Mabille Fall 2026 Couture, photo by Salvatore Dragone for gorunway.com

Why does everything have to be so overdone in couture? Every house is different. Not everything has to scream. Minimalism, a certain refined austerity in haute couture, is the new black. Actually, black is the new black. It’s never looked better.

Standing Ground Couture Fall 2026, photo by Umberto Fratini for gorunway.com

Nobody knows this better than American couturier Ralph Rucci. While Ralph did not show in Paris this season, I can’t help but see Rucci’s enormous influence on many runways. I saw vestiges in the designs of Alexis Mabille and the sculptural, minimalist designs of Irish designer Michael Stewart in his Paris debut for Standing Ground.

Marisa Berenson wearing Schiaparelli, Instagram photo

In my previous column, I extolled the virtues of shirt dressing. Some of the best-dressed and chicest showgoers looked cool and chic wearing some form of shirt. That includes Tilda Swinton and Ines de la Fressange in Chanel, and Elsa Schiaparelli’s granddaughter, Marisa Berenson, in a Schiaparelli black silk shirtdress with a dramatic hem, attached to her hand with a gold chain.

While most of us will never be able to afford haute couture, the simplest way to look like you’re wearing expensive haute couture is to select something in black with a defined shape and silhouette. Add a touch of white, gold, or color. Or add nothing at all. You cannot go wrong.

end

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Chanel Fall 2026 Ready-to-Wear, Photo by Spotlight Launchmetrics for The Impression

The fall-winter shows in Paris normally set the stage for what nominees and presenters will wear to the Oscars. Celebrities and their stylists are in Paris to secure specific runway looks (often directly off the catwalk) before they are seen by the public. This makes PFW the final, most crucial sourcing event for Hollywood’s biggest night.

With Paris Fashion Week ending just days before the Oscars, there is unprecedented potential for an immediate runway-to-red-carpet transformation. This timing should guarantee Oscar ensembles reflect Paris’s freshest trends with vivid immediacy.

Christian Dior, Fall 2026 Ready-to-Wear, Photo by Daniele Oberrauch for Gorunway.com.

Of course, there are notable exceptions (we will probably see some of them on Sunday night), but the problem is that this is one of the least traditionally red-carpet-focused fashion months I can recall.

The fall 2026 runways have seen a reduction in grand or conventional ballgown-style evening dresses, favoring a more understated, intimate form of glamour instead.

Zoe Kravitz arriving at Saint Laurent dressed in Saint Laurent, Photo by Wire Image

This shift is driven by a reaction to the world’s chaotic state, moving fashion toward more personal, wearable looks instead of overt displays of wealth. As a result, the Fall 2026 season emphasizes clothes with precision and edge, rather than traditional Hollywood red-carpet glamour.

Currently, major trends prioritize high-impact street style and individual expression over traditional luxury. Instead of conspicuous opulence, designers now elevate subtlety and refined craftsmanship.

Alaia Fall 2026 Ready-to-Wear, Photo Courtesy of Alaia

The new mood is perfectly exemplified by Pieter Mulier’s minimalist swan song, which focuses on refined body-con silhouettes and sculptural tailoring rather than theatrics.

The collection emphasized pure, essential forms, using materials such as jersey, raw-cut wool, and velvet to highlight impeccable construction and form-fitting design. It serves as a poignant and controlled farewell to the atelier’s craft.

Givenchy Fall 2026 Ready-to-Wear, Photo Courtesy of Givenchy

Many designers are rejecting standard red carpet codes for practicality, structure, and “real life” dressing. This season replaces familiar glamour with tailored, wearable luxury—suits (“Le Smoking” looks better than ever), cocoon coats, and resilient pieces for today’s realities. It is a focus on reality over fantasy. Designers are favoring dressing with intent over traditional luxury spectacle.

Lanvin Fall 2026 Ready-to-Wear, Photo by Acielle for Style du Monde

Collections focus on pragmatism, comfort, and protection. High, sculptural collars and protective headwear are the order of the day. It looks as if the American Academy of Dermatology (AAD) sponsored some of the shows, given the use of large-brimmed hats that would act as perfect protection from the sun’s UV rays.

Jean Paul Gaultier Fall 2026 Ready-to-Wear, Photo by Launchmetrics Spotlight for The Impression

I’m glad to see a return to the hourglass shape and a greater focus on the waist, which is vital in fashion and looks especially good after seasons of oversized, shapeless clothes.

Highlighting the narrowest part of the torso defines the figure, adds shape to loose clothing, creates the illusion of curves or a longer leg line, and prevents outfits from looking baggy, ensuring a polished, confident appearance.

Chanel Fall 2026 Ready-to-Wear. Photo by Spotlight Launchmetrics for The Impression

I’m also glad to see the return of the knee-length coat, so modern, practical, and always a favorite of Miuccia Prada. This season, Chanel’s Matthieu Blazy showed a number of different proportions and lengths, but many of his skirt suits and coats hit at the knee.

All about the mix, Prada Fall 2026 Ready-to-Wear, Photo by Umberto Fratini for Gorunway.com

There is a noticeable emphasis on mixing day and evening, which I always think is the most modern way to go—party on the top, business on the bottom, or vice versa. It’s all about the eccentric, quirky mix, adding surprising elements to personalize.

Left: Celine Fall 2026 Ready-to-Wear, Photo courtesy Celine; Right: Norman Norell’s “Subway Costume”

At Celine, brilliantly designed by Michael Rider, a seemingly plain tan raincoat serves as the perfect cover-up for a jazzy paillette-encrusted dress. It reminds me of Norman Norell’s “Subway Costume” designed for Lauren Bacall in 1958.

Meanwhile, a few more thoughts. If there is any question about how difficult and challenging it is for a designer to take over an established fashion label, this season exemplifies it. Michael Rider makes it look easy. As a designer, he doesn’t overthink.

Not only is Michael talented and highly consistent, but his innate instinctual good taste also serves him well as he moves effortlessly into his role as Celine’s creative director.

Balenciaga Fall 2026 Ready-to-Wear Photo by Filippo Fior for Gorunway.com

On the other hand, Pierpaolo Piccioli’s once superb instincts seem to be failing him. The magic that put PP on the fashion map, his innate, instinctual elegance, and his joyful way with color while at Valentino, are sorely missing from Balenciaga.

It wasn’t that the show was horrible. There were some nice pieces. It was just ‘meh’!

Maria Grazia Chiuri, Pierpaolo’s former Valentino co-designer, is now creative director of Fendi. While I admit to being a bit underwhelmed by the show in Milan, to her credit, Maria’s hand is so apparent in Fendi’s designs that I look at images and still think it’s Dior, where she served as creative director from 2016 to 2026.

When I look at Balenciaga, I still see Demna! I now look at images of Balenciaga, and keep thinking it’s being designed by Demna Gvasalia rather than Pierpaolo, and that’s a problem!

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Marc Jacobs, photo by Hunter Abrams

Marc Jacobs’ Spring 2026 collection, held at the Park Avenue Armory on February 9th, kicked off New York Fashion Week by reflecting on 1990s minimalism and grunge, specifically referencing his own 1992 Perry Ellis collection. The show featured low-rise plaid skirts, greige knitwear, shrunken button-downs, and slim, sculptural tailoring, blending nostalgia with a modern, “jolie laide” (pretty-ugly) aesthetic.

Yseult dressed in Marc Jacobs, photo by Spotlight Lauchmetrics for The Impression

Titled “Memory. Loss.” the collection brought back a refined 90’s aesthetic and was a mature, restrained meditation on the past. It was an intimate, reflective, and nostalgic yet forward-looking approach to fashion, marking a distinct shift towards more understated, curated designs. It marked a major departure from Marc’s overly experimental, cartoonish designs, which were seen on a number of high-profile show attendees.

Over the years, Marc has been inspired by many iconic designers, and he gives credit where it is due. The “credits and receipts” section of his show notes generously cites references to Yves Saint Laurent, X-Girl, ’90s Prada, and Jacobs himself (both at his namesake label and in the grungy Perry Ellis years).

Marc Jacobs Spring 2026 Ready-to-Wear, photo by Lexie Moreland for WWD

Interestingly, the one name I did not see was Chanel, although I saw plenty of allusions to the iconic designer whose vision was to empower the modern active woman with a uniform that offered freedom and effortless style, famously staging, “Luxury must be comfortable.”

Marc Jacobs Spring 2026 Ready-to-Wear, photo by Hunter Abrams

Chanel revolutionized 20th-century fashion by designing simple, comfortable, and functional sweaters and skirts. She championed nubby, plain-textured fabrics like boucle and tweed. And of course, there were the collarless tweed skirt suits, often lined in silk satin and paired with silk satin tops. With its minimalist, elegant, and comfortable design ethos, and relaxed, pared-down simplicity, Jacobs’ collection touched on all these themes, but of course, he made them his own.

Marc Jacobs Spring 2026 Ready-to-Wear, photo Courtesy of Marc Jacobs

Marc’s idea of a modern uniform is a charcoal-gray V-neck sweater and a narrow, mid-calf skirt made of nubby, speckled black wool. Instead of a little black dress, Marc proposes a not-so-little, elongated, slim black dress and an ivory one, both made of satin. His cap toe pump has a pointy toe, playfully turned up, just so.

Marc Jacobs Spring 2026 Ready-to-Wear, Photo by Hunter Abrams

Coco Chanel loved pockets and considered them a crucial, functional element for women’s fashion. She famously added functional, patch pockets to her jersey pieces in the 1910s, promoting a more relaxed, casual look. The idea of a pocket, or something “pocket-like,” as a place to rest one’s hands, is a recurring theme at Marc Jacobs, reinforcing the sense of effortless style.

Marc Jacobs Spring 2026 Ready-to-Wear Photo by Hunter Abrams

When Jacobs uses ornamentation, he does so with restraint. Unlike Ralph Lauren, who presented his collectionon Tuesday evening. There were some beautiful pieces, and it looked luxurious, but I often found the collection a bit heavy-handed and contrived, not especially modern.

Marc Jacobs dressed in Chanel, photo by @charDefrancesco

As far back as 2005, Jacobs described leading Chanel as the “coup de grâce” and a job he would be “thrilled” to take. He has been noted for incorporating classic, high-fashion elements into his personal style, including wearing vintage, boxy Chanel tweed jackets.

Jacobs has expressed interest in becoming Chanel’s creative director (often described as his “dream job”) following Virginie Viard’s departure. In a late 2024 interview with WSJ Magazine, Jacobs stated, “There’s only one job I want, and I haven’t been asked to do it”.

Marc Jacobs and Sofia Coppola, photo by Francesc Planes

Unlike most designers who keep such negotiations private, Jacobs openly admitted to wanting the job, which was considered the most coveted role in fashion. Jacobs revealed he had enlisted his friend, director, and Chanel collaborator Sofia Coppola, to put in a good word for him.

Despite his interest, Chanel ultimately appointed Matthieu Blazy as their new artistic director in December 2024. The way fashion is going these days, with creative director hirings and firings, the only thing set in stone is that nothing is.

Marc Jacobs with Alex Consani backstage at his 2026 Ready-to-Wear show, Photo by Lexie Moreland for WWD

Who knows how long Blazy will last? Marc is assuredly waiting in the wings. And he has proved that he is up for the task.

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A joyful Matthieu Blazy at the show’s end, Chanel 2026 Ready-to-Wear, Photo Isadore Montag for Gorunway.com

The most important story of the season was the number of luxury houses introducing new creative leads. 

Significant designer debuts in Europe included Matthieu Blazy at Chanel, Pierpaolo Piccioli at Balenciaga, Dario Vitale at Versace, Jonathan Anderson at Christian Dior, Louise Trotter at Bottega Veneta, Demna at Gucci, and Jack McCollough and Lazaro Hernandez at Loewe. 

If nothing else, it caused some confusion. You almost needed a scorecard to keep track. There were many times I looked at Balenciaga and kept thinking it was Valentino because Pierpaolo Piccioli is so associated with that house, rather than Alessandro Michele, who, for so long, was linked to  Gucci, where Demna is now creative director.

There was so much hype and anticipation surrounding some of these high-profile debuts; they were bound to disappoint. Almost nobody can live up to that level of scrutiny and expectation. As they say, anticipation is always better than reality. 

Balenciaga Spring 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com

Take Balenciaga, for example. I wanted to REALLY love it because I’m such a huge Pierpaolo Piccioli fan. Yes, I liked it. PP has flawless taste, with some beautiful and notable designs, but I somehow found myself wanting more.

While Pierpaolo gave us an authentic and refreshing reinterpretation of the brand’s heritage, focusing on the founder’s architectural and sculptural couture techniques over the previous streetwear focus, the magic and emotion typically associated with PP’s work at Valentino were lacking. It was a bit like “Valentino Lite”.

Balenciaga Spring 2026 Ready-to-Wear, Photo by Isadore Montag for Gorunway.com

Moreover, I was surprised that Piperpaolo chose to accessorize with Demna era bug eye sunglasses. There were too many bare midriffs, and I felt he overused beach-like thongs on the runway. I am certain that in the future (particularly with couture), I will see more of the Pierpaolo I have come to love.

Dior Spring 2026 Ready-to-Wear Photo by Acielle for Style Du Monde

There were many things about Dior that I liked, especially JW Anderson’s irreverent, playful approach to fashion, the way he thinks out of the box, and the element of surprise always injected into his designs, keeping the audience engaged and intrigued. On the other hand, I found it often catering too much to the very young, and there were some real clinkers and headscratchers.

Loewe Ready-to-Wear Photo by Acielle for Style Du Monde

I’ve always been a huge fan of Lazaro Hernandez and Jack McCollough at Proenza Schouler, and their show is always a highlight of New York Fashion Week, so of course, I wanted to adore Loewe. The scuba jackets are great, as is the leather denim and their use of color blocking. I love that the collection favors utilitarianism and sportswear. However, for me, the collection often felt a bit forced and stiff (trying too hard?), and overall, it did not have the luxurious ease I was hoping for. I am certain the duo will find their footing going forward.

Jean Paul Gaultier Spring 2026 Ready-to-Wear, Photo by Launchmetrics Spotlight for The Impression

Duran Lantink’s Spring/Summer 2026 debut for Jean Paul Gaultier was shockingly bad and insulting. Hairy bodysuits, anyone? The collection, Lantink’s first since being appointed permanent creative director, moving past the brand’s recent guest-designer model, resembled a lookbook for Halloween costumes, and it should never have seen the light of day.

Bottega Veneta Spring 2026 Ready-to-Wear, Photo by Dominique Maitre for WWD.com

Louise Trotter hit the right note with her superb debut for Bottega Veneta. The collection is fashion-forward, playful, joyful, and exuberant, making it both wearable and fun. The clothes have a luxurious ease, and Trotter effectively balances the houses’ classic craftsmanship and artisanal handwork with modern, effortless, and comfortable pieces, not to mention a refreshed approach to iconic bags.

Chanel Spring 2026 Ready-to-Wear Photo by Launchmetrics Spotlight for The Impression

Fashion is a universal language, but there is perhaps no brand that is more universal than Chanel. There’s no question that the Chanel Spring 2026 show, marking Matthieu Blazy’s debut, was arguably the most anticipated event of the season, with media, industry experts, and celebrities expressing high levels of excitement for the new era of the iconic French house.

Like everything else these days, thanks to social media, there is no shortage of opinions. Everyone is an editor and journalist. While the reviews were generally positive, there was also a lot of criticism citing unflattering silhouettes, calling the collection dowdy, un-modern, and un-Chanel. 

There were many unfavorable comparisons to Lagerfeld, who modernized Chanel and added pizzazz and youthfulness to the house. Someone noted that the only one who can do that now is Galliano. Hey, let’s give Matthieu a chance to settle in.

Chanel Spring 2026 Ready-to-Wear Photo by Isadore Montag for Gorunway.com.

Clearly, Blazy understood the assignment. I found the collection to be elegant, luxurious, feminine, and quite lovely, a word I would not use to describe many others. I love the slouchiness and the ease of the clothes. Even in their high heels, the models moved briskly. 

That’s more than I can say about some of the models at Thom Browne. Hey Thom, can we finally say goodbye to those unwieldy, dangerous platforms? There is nothing attractive or modern about not being able to walk.

Richard Quinn Spring 2026 Ready-to-Wear, Photo by Umberto Fratini for Gorunway.com.

I like that Matthieu is not trying to appeal to the Kardashians, the hip hoppers, or the teenyboppers. He is not overly reverential, and he used restraint. It looks like Chanel without hitting you over the head. If camellias are what you’re after, check out Richard Quinn, whose beautiful collection in London looked very Chanel in that obvious way.

It was a well-balanced collection of daywear and eveningwear; reality and fantasy. Blazy did not resort to camp or irony, a la Karl, although either of those elements would make for a more youthful playfulness. This balance inspires the audience to imagine new ways to incorporate these elements into their own style.

Celine Spring 2026 Ready-to-Wear Photo by Launchmetrics Spotlight for The Impression

Although Michael Rider’s official debut for Celine was in July during Paris Couture Week for resort 2026, I’ve already become a huge fan. With the Celine spring 2026 collection, Rider continues to build on his distinctive American-influenced polished prep sensibility blended with Philo’s minimalist chic. 

Celine Spring 2026 Ready-to-Wear Photo by Launchmetrics Spotlight for The Impression

Once again, the styling is fantastic, and Michael’s distinctive accessories are put to great use. Rider has a strong, decisive point of view and a signature. I can look at the Celine runway and absolutely know who the designer of the collection is. Most importantly, it is believable, wearable, yet elevated enough to be highly distinctive.

Really, what more can you ask?

The post The Spring 2026 RTW Collections: Postscript to a Season appeared first on lookonline.

Calvin Klein Spring 2026 Ready-to-Wear, Photo Courtesy of Calvin Klein

In the 1990s, Calvin Klein, Donna Karan, and Ralph Lauren, collectively known as The Big Three, helped shape the essence of NYFW. Their influence, building on Claire McCardell’s ideas, created a distinct American style of casual sportswear separates, allowing wearers to craft their own looks.

Donna Karan New York Spring 2026 Ready-to-Wear, Photo Courtesy of Donna Karan

Of course, Donna Karan is back on the schedule with Donna Karan New York, but it’s a far more commercial and watered-down version of Donna Karan Collection.

“I think the thinning out of the vision (of Ralph Lauren) over the past few seasons, the lack of surprise, is a mistake that will become even more evident as Paris and Milan brands put on a real show this month and in October.” – Cathy Horyn

Ralph Lauren Spring 2026 Ready-to-Wear, Photo by Luca Zanoni for Gorunway.com

Ralph is riding high after several strong back-to-back collections and his recent nomination for the 2025 CFDA Women’s Wear Designer of the Year award.
Unfortunately, all of this makes Ralph’s spring collection all the more disappointing.

There were some nice pieces, but overall, it was a bit bland and lacked Ralph’s unmistakable stamp. If the designer’s name wasn’t attached, it would have been difficult to identify it as a Ralph Lauren creation.

I agree with Cathy Horyn, who said that the Ralph Lauren Collection lacks surprise, and Ralph’s vision is diluted. It looked a bit stale and old-fashioned. Unfortunately, I also agree with Horyn that the excitement is in Europe, and New York is just the waiting room for the main event!

Celine Spring 2026

I think Ralph could have really benefited from some of the magic created by Michael Rider, the former creative director for Polo Ralph Lauren, who is now the creative director of Celine. Rider’s innovative designs, fabulous styling, and terrific accessories could have injected some much-needed excitement into Ralph’s collection. I remember feeling very excited when I watched Rider’s debut for Celine back in July.

Calvin Klein Fall 2025 Ready-to-Wear, Photo by Launchmetrics Spotlight for The Impression

In February 2025, Calvin Klein returned to the shows after a six-year absence. Veronica Leoni’s debut as creative director of Calvin Klein was the hottest ticket in town.

Calvin Klein Fall 2025 Ready-to-Wear, Photo by Launchmetrics Spotlight for The Impression

The consensus at the time is that the debut was a good start, highlighting Leoni’s ability to balance the brand’s heritage with a fresh perspective, particularly through refined tailoring, architectural outerwear, and subtle reinterpretations of classic Calvin Klein minimalism.

I wasn’t blown away, but critics generally praised the thoughtful, modern silhouettes, the luxurious fabrics, and the strategic inclusion of both archival and new designs. However, some, like Horyn, noted a missed opportunity for more overt “sexiness” and sensual languor.

Leoni is known for her unique design philosophy, ‘maximal minimalism’, which focuses on creating bold and impactful looks with minimal elements, as well as her expertise in tailoring. It was thought that Leoni brought a reverent yet modern perspective to Calvin Klein’s heritage. The designs showcased a deep understanding of the brand’s DNA while avoiding becoming a relic of the past.

Norma Kamali Spring 2026 Ready-to-Wear, Photo by Marilyn Kirschner

This season, Veronica missed the mark. Making it all the worse is that, by all rights, NYFW should emphasize the best of American sportswear. Veterans like Michael Kors and Norma Kamali, who prove they are still at the top of their game, continue to lean into their strengths and stay relevant.

Calvin Klein Spring 2026 Ready-to-Wear, Photo Courtesy of Calvin Klein

Veronica’s Calvin Klein Collection is uneven, not particularly compelling, and somewhat disjointed. Leoni didn’t commit to a message. I’m not sure I know what she stands for. It’s as though she can’t make up her mind. Worse, the fit was off, there was no art, and nothing of interest or to seduce sales.

Calvin Klein Spring 2026 Ready-to-Wear, Photo Courtesy of Calvin Klein

Indeed, there were a few sleek and modern dresses, as well as some decent suits. Caroline Bessette-Kennedy, who once worked for Calvin, was an obvious point of reference, if not a muse, for Leone this season (see the headscarves). Still, even CBK could not save this collection, and I doubt CBK would wear many of the unflattering, overly voluminous designs. And what’s with the diapers?

Left: Area Spring 2026 Ready-to-Wear, Photo by Daniele Oberrauch for Gorunway.comp Right: Calvin Klein Spring 2018 Ready-to-Wear, Photo Courtesy of Calvin Klein

Meanwhile, I see bits and pieces of Raf Simons in this collection and others, specifically, Area, now designed by Nicholas Aburn.

I can’t help but think about Raf Simons, who received critical acclaim for being “sharp and relevant” but failed to drive the expected sales, leading to his departure from Calvin Klein in 2018 after disagreements with the parent company, PVH, over the brand’s strategic direction.

Calvin Klein Collection is not inexpensive. The luxury sector is struggling, and intense competition exists at every level. Leonie is not providing a compelling reason for us to go out and spend money. “Meh” is good enough.

The post Calvin Klein Spring 2026: Veronica Leoni’s Missed Opportunity appeared first on lookonline.

Michael Rider, photo courtesy of Celine

Michael Rider was appointed as the new Artistic Director of Celine in October 2024, succeeding Hedi Slimane. Rider, who was raised in Washington, DC, and attended Brown University, began his role in early 2025 and presented his inaugural runway collection for Spring/Summer 2026 in Paris on Sunday, July 6, 2025.

Celine Spring 2026 Ready-to-Wear Photo by Salvatore Dragone for Gorunway.com

This marks a significant milestone in Rider’s career, a journey that began as the design director of Celine from 2008 to 2018, working under the guidance of Phoebe Philo. His path also includes a four-year tenure as a senior designer at Balenciaga under the leadership of Nicolas Ghesquière.

Rider’s name surfaced when reports emerged in October 2017 that Philo would be leaving Celine. However, in 2018, Michael joined Ralph Lauren as SVP and Creative Director of the women’s Polo collection, where he was tasked with elevating the mid-priced women’s line.

All I can say is America’s loss, Paris’s gain! Yet another major talent finds his footing across the pond!

Celine Spring 2026 Ready-to-Wear, Photo by Filippo Fior for Gorunway.com

Michael’s Celine collection, a manifestation of my fashion ideals, is based on sportswear, exuding casual ease yet meticulously thought out in a highly considered way. Something we unfortunately see far too few of in today’s fashion landscape.

Celine Spring 2026 Ready-to-Wear, Photo by Fior-Dragone for Gorunway.com

This collection, seasonless (it could easily have been for fall/winter), unisex, and almost completely interchangeable, is a perfect synthesis of Michael’s past influences and his impressive resume: a bit American preppy and a touch European. It’s the best of both worlds. I see touches of Ralph Lauren, Balenciaga, Celine, Chanel, and Saint Laurent, but done Michael’s way, perfectly proportioned, a touch quirky, a bit tomboyish yet feminine.

Celine Spring 2026 Ready-to-Wear, Photo by Filippo Fior for Gorunway.com

Unlike the extremes we witnessed in Venice, Italy, last weekend, Michael has struck a perfect balance in his collection. His ability to control volume and master the concept of proportion is truly commendable and a vital aspect in fashion. The slouchiness brought to mind Annie Hall at times.

Celine Spring 2026 Ready-to-Wear. Photo by Filippo Fior for Gorunway.com

The collection’s focus was on layering and tailoring, featuring great jackets, coats, and some truly sensational faux furs. I love how Michael uses crisp white shirts beneath many of the pieces.

Celine Spring 2026 Ready-to-Wear, Photo by Fior-Dragone for Gorunway.com

Also vital is the use of accessories, and let’s talk about Michael’s fabulous accessories, which are sure to sell: the great bags, belts, patterned silk scarves, and jewelry often piled on with abandon. Sporty flat shoes and ankle boots complemented most of the looks, but there were also some heels. There are many women I know who want to look like this. Myself included.

Celine Spring 2026 Ready-to-Wear, Photo by Salvatore Dragone for Gorunway.com

Several friends observed that I could have easily styled the collection because it bears my imprint. I take that as a huge compliment. Yes, it represents everything I adore about fashion.

Celine Spring 2026 Ready-to-Wear, Photo by Filippo Fior for Gorunway.com

On a personal note, I could not be more thrilled for Michael and his mom, Ellie Rider, who is a dear friend of my brother-in-law, David, and my late Sister, Sherry Berz. I had the pleasure of meeting Michael several years ago when he was living in London and working for Phoebe Philo at Celine.

Celine Spring 2026 Ready-to-Wear, Photo by Filippo Fior for Gorunway.com

When I sent Ellie a congratulations note, she responded, “I was on emotional overload before the show; then I was blown away by the way Michael’s mind apparently works!! Seated with family members, I was deeply moved as each look emerged: gorgeous, chic, sporty with a twist, tailored, sparkling… and so on. Now happily in my hotel room, slow-slipping a Grey Goose & leaving the after-party to the younger contingency.

Last week, editors raved over Marc Jacobs. Many hailed Marc’s fall 2025 ready to wear collection as the closest thing to haute couture. I understand the appeal of Marc’s unbridled creativity. Still, models wearing clothing that distorts and disfigures their bodies, walking in high-heeled platforms that are not only ugly but dangerous, is not my idea of modern fashion in 2026.

On the other hand, Michael’s Celine is the epitome of modern. And how smart of him to show the day before Paris Couture Week for Fall/Winter 2025-2026. Undoubtedly, this collection will surpass much, if not most, of what we see on the runways over the next four days.

Of course, nothing’s perfect.  I’m not sure about the logoed footwear; sometimes, the volumes were a bit too extreme, and I would love to see more special pieces for evening. But, Rider is off to a good start, while at the same time, separating himself from the Hedi Slimane era.
…

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Left: Celine Pre Fall 2018, Photo by Monica Feudi for Indigital.tv, Right: Brandon Maxwell Fall 2025 Ready-to-Wear, Photo by Monica Feudi for Brandon Maxwell

I’ve seen it all as someone who has covered fashion for 50-plus years. It’s hard for me not to find cross-references within fashion collections. After all, there is very little new under the sun.

The way Rachel Tashjian, The Washington Post’s fashion critic, sees it, the biggest trend at fashion week is copycats. “Everyone is knocking off the Row on the runways for fall 2025,” opines Tashjian. There’s no question the Olsen twins’ aesthetic has infiltrated the fashion landscape. However, I continually see vestiges of another designer, Phoebe Philo, and not only in the actual designs.

Celine Spring 2018 Ready-to-Wear, Photo by Monica Feudi for Indigital.tv

In life, as in fashion, God is in the details; little things mean a lot. Something so seemingly subtle can make a difference. Phoebe Philo knows this very well. She is adept at turning something relatively simple into something statement-making with a quick gesture.

Philo has mastered a particular styling technique, using an accessory as a prop to enhance the overall look. This season, I’ve noticed two that keep reappearing, and Phoebe seems to be the originator of this trend.

Left: Celine Fall 2017, Photo by Monica Feudi for Indigital.tv, Right: Brandon Maxwell Fall 2025 Ready-to-Wear, Photo by Monica Feudi for Brandon Maxwell

As far back as the Celine Fall 2017 ready-to-wear collection, I’ve noticed that Philo often throws a blanket (normally used on couches and chairs) over a model’s arm on the runway. It’s a prop but a clever way to add color, pattern, or texture to an otherwise simple outfit.

Phoebe Philo Doodle Blanket, $1900, and Doodle Top, $900, phoebephilo.com

Philo is consistent. She loves a good blanket. Like Linus, we all want a blanket’s comfort, warmth, and security. Even if we are not necessarily wrapping ourselves in it, a blanket adds another dimension to an outfit.

Celine Fall 2017 Ready-to-Wear, Photo by Monica Feudi for Indigital.tv, Michael Kors Collection, Fall 2025 Ready-to-Wear, Photo courtesy of Isadore Montag for gorunway.com

Michael Kors enlivened a camel coat with a hefty mohair fringed blanket in the same shade. Brandon Maxwell added more pattern to a patterned outfit, using a blanket and scarf tied at the waist (a la Philo).

Brandon Maxwell Fall 2025 Ready-to-Wear Photo by Spotlight Launchmetrics for The Impression

It’s not just about blankets. The same effect can be achieved with a sweater, a coat, a jacket, or a scarf. Brandon used a faded denim jacket to offset an otherwise luxurious leather skirt, maxi skirt, striped shirt, and cashmere pullover.

Left: Celine Pre Fall 2018 Ready-to-Wear, Photo by Monica Feudi for Indigital.tv, Right: Luar Fall 2025 Ready-to-Wear, Photo by Hunter Abrams

At Luar, a long black and white patterned scarf added a touch of intrigue to a black tunic and pants ensemble, showcasing the versatility of this styling trick.

Celine Fall 2014 Ready-to-Wear, Photo by Monica Feudi for FeudiGuaineri.com

The second styling trick involves taking a handbag or an oversized tote and holding it like a clutch, sometimes turning it, putting your arm through the handles, and carrying it sideways.

Left: Celine Fall 2011 Ready-to-Wear, Photo by Gianni Pucci for Gorunway.com, Right: Luar, Fall 2025 Ready-to-Wear, Photo by Hunter Abrams

I can trace this as far back as Celine’s fall 2011 ready-to-wear. Again, it’s a styling trick without a specific purpose other than being an affectation. It certainly isn’t useful; if anything, it’s rather unwieldy.

Quilted oversized crossbody bag, $490, cos.com

I remember years ago when the clutch trend started to take hold. An editor at Vogue likened carrying a clutch (and many enormous iterations featured) to the impracticality of having one’s arm in a cast.

Regardless, based on what I’ve seen this past week, it’s a styling trick with legs (or arms).

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Khaite, Fall 2025 Ready-to-Wear Photo by Hunter Abrams

Since staging its first runway show in 2019, Catherine Holstein’s KHAITE has become one of the hottest tickets at New York Fashion Week. Last night, Katherine showed one of her strongest collections yet, proving that she has her pulse on the moment’s mood.

Khaite Fall 2025 Ready-to-Wear Photo Courtesy of Khaite

Holstein’s polished approach to closet staples and her ability to elevate the everyday modern wardrobe garnered her two back-to-back CFDA Womenswear Designer of the Year Awards in 2022 and 2023. However, as evidenced on Saturday evening, Holstein is not content to rest on her laurels.

Khaite Fall 2025 Ready-to-Wear Photo by Hunter Abrams

Catherine continues to re-imagine archetypal American style through a timeless design lens and evolve her KHAITE-ims: exceptional materials, expert craftsmanship, and the deft mixing of opposing elements: masculine and feminine, strong and soft, structure and fluid.

Khaite Fall 2025 Ready-to-Wear Photo Courtesy of Khaite

Catherine considers herself a downtown girl. Holstein opened her first store in Soho but recently added a shop on Madison Avenue and 69th Street. The push and pull between uptown and downtown is always very evident within Holstein’s well-thought-out, versatile designs.

Khaite Fall 2025 Ready-to-Wear Photo Courtesy of Khaite

KHAITE’s fall 2025 ready-to-wear collection is effortlessly ‘cool,’ wearable, and desirable. Instead of sequins and beads, there’s Japanese denim, cashmere, double-face wool, leather, and snakeskin. These are not precious, special-occasion clothes for the red carpet—unless you want to consider them the red carpet of your life.

Khaite Fall 2025 Ready-to-Wear Photo Courtesy of Khaite

The clothes are polished and urbane but with a certain rawness thanks to deconstruction techniques and asymmetry. There is a palpable sensuality. Holstein reinvented sexy for the urbane warrior. Catherine proposes a variety of lengths, proportions, shapes, and silhouettes. They all work.

Khaite Fall 2025 Ready-to-Wear Photo Courtesy of Khaite

Holstein’s chunky knitwear and outerwear are always sensational. There are sculptural leathers with an armor-like feel, sensational shearlings (cropped and almost to the floor), double-face blanket coats, and, new this season, a fierce leopard print.

Khaite Fall 2025 Ready-to-Wear Photo Courtesy of Khaite

No jewelry is needed. Accessories include newsboy caps, which impart a streetwise Parisian attitude (think Saint Laurent), long leather gloves, which add elegance, and an array of great bags and footwear, some heeled, some flat.

Khaite Fall 2025 Ready-to-Wear Photo Courtesy of Khaite

The models had swagger as they walked the dramatic circular runway, their hands thrust in the pockets of their perfectly cut jeans and trousers, their legs encased in pancake flat thigh-high equestrian-style boots.

They not only looked great, but they also looked comfortable, confident, and ready to brave the elements, pound the pavement, or run errands around town.’

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Left: Calvin Klein Collection Fall 2025 Ready-to-Wear Photo by Hunter Abrams Right: Fforme Fall 2025 Ready-to-Wear – Photo by Spotlight Launchmetrics for The Impression

The fashion world is abuzz with the anticipation of numerous debuts this year. Are they ‘Make or Break’? Let’s just say there’s a lot at stake. The debut of Calvin Klein’s creative director, Veronica Leoni, was particularly awaited, with many considering it to be the most anticipated show of NYFW. The excitement was palpable, and the pressure was on!

In her article, “Can Calvin Klein Reinvent ‘Sexy’?” Vanessa Friedman opined that the future of Calvin Klein (a brand that helped define American fashion), and in some ways the future of New York fashion, and maybe even, NYFW, was “riding on Leonie’s ability to reinvent sexily.” In that case, we might be in trouble.

Calvin Klein Collection Fall 2025 Ready-to-Wear – Photo by Launchmetrics Spotlight for The Impression

I wouldn’t say Leoni reinvented sexy. It was a good, solid start, but it was not necessarily a home run. Is that enough? Only time will tell. Veronica proves herself to be a designer with excellent taste and an ability to make good use of her cache of highly informed fashion references.

Leoni’s success is not surprising, given Leoni’s impressive resume. An Italian in Rome, Leoni is a veteran of Jil Sander, Phoebe Philo’s Celine, Moncler, and The Row.

Calvin Klein Collection Fall 2025 Ready-to-Wear. Photo by Hunter Abrams

It’s impossible not to see the echoes of these designers, including Yohji Yamamoto, Bottega Veneta, Miuccia Prada, Helmut Lang, and, of course, Calvin Klein, in this collection. It’s a testament to Leoni’s rich and diverse fashion journey.

Calvin Klein Collection Fall 2025 Ready-to-Wear, Photo by Spotlight Launchmetrics for The Impression

The collection was pretty much as I expected. The program notes emphasized “clothes for life”. There was a certain sporty elegance, an unforced ease that ran throughout. Nothing was overdone, and there were a few delightful surprises, like the pale satin square-toed satin ballet flats, the sculptural gold metal CK One perfume-shaped bags, some of the eveningwear, and one fabulous highly textural oversized cocoon coat in chocolate brown.

Fforme Fall 2025 Ready-to-Wear Photo by Spotlight Launchmetrics for The Impression

The problem is that the fit is off on many jackets and coats. Veronica had the misfortune of preceding Frances Howie’s debut as creative director of Fforme, one of the most exciting new names to emerge from NYFW since the label’s February 2022 debut. The Howie collection is sensational and everything I had hoped Calvin Klein would be.

“I want to bring the female form to Fforme,” Frances Howie, Creative Director, Fforme.

Fforme Fall 2025 Ready-to-Wear Photo by Spotlight Lauchmetrics for The Impression

Howie, who replaced Paul Helbers as creative director of the three-year-old NY label last July, honed her Savile Row tailoring skills while working for Stella McCartney, and it shows. So does Howie’s time spent as Alber Elbaz’s assistant. She worked for the legendary creative director of Lanvin for three years.

Fforme Fall 2025 Ready-to-Wear Photo by Spotlight Launchmetrics for The Impression

There are many similarities between Calvin Klein and Fforme. Both labels are rooted in American minimalism, focus on luxury sportswear (“clothes for life”), and use a predominantly neutral color palette enlivened with touches of red. There was a bit more color in the murky pastels at Calvin Klein. Not all of it worked.

Fforme Fall 2025 Ready-to-Wear Photo by Spotlight Launchmetrics for The Impression

Like Calvin Klein, Fforme juxtaposes masculine and feminine, hard and soft, day and evening. The difference is that at Fforme, the volume is more controlled; the fit of the coats and jackets is better.

Fforme Fall 2025 Ready-to-Wear Photo by Spotlight Launchmetrics for The Impression

Moreover, Frances Howie uses sensual textures and hand-frayed, hand-shredded details, which add a feeling of playfulness and sensuality that Calvin Klein lacks.

I especially loved Howie’s bias-cut dresses. They were a modern homage to Mme. Gres and Mme. Vionnet.

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Christian Lacroix Photo Condé Nast Archive

On January 7, 2025, Spanish fashion group Sociedad Textil Lonia (STL) announced the completion of its acquisition of the famed French haute couture brand. The company promised “they would do everything we can to ensure that the unique talent of its creator and his invaluable contribution to the fashion world reach their full potential.” The terms of the deal were not disclosed.

Founded in 1997, STL is a Spanish designer, manufacturer, distributor, and retailer of the fashion brands Purification Garcia and CH Carolina Herrera. Both are considered to be mid-price luxury “lifestyle” collections rather than high-end aspirational luxury lines.

Christian Lacroix Fall 1999 Couture, Photo Condé Nast Archive

Christian Lacroix has maintained its signature luxurious and flamboyant design style since its first haute couture women’s collection for Fall/Winter 1987. This begs the question of whether or not they are equipped to handle fashion at its highest artistic level.

The fashion house’s collapse served as a bleak reminder that haute couture rarely makes money and ready-to-wear is a tough business unless global sales are big enough to support high fixed costs.

The company’s history of financial fragility, including the lack of profit in its 23 years and the impact of the 2008 global spending slump, does not diminish the potential for a successful revival. Despite the potential challenges, a Lacroix reboot holds significant promise.

There is a place for powerful opulence, exaggeration and fun which was clearly proven throughout Dries Van Noten’s breathtaking Spring/Summer 2020 ready-to-wear collection.

This wedding gown is one of Christian’s favorites, Christian Lacroix Spring 2008 Couture, Condé Nast Archive

One non-negotiable aspect of the brand’s future is the need for a strong creative director. With his unique and prolific creativity, Christian Lacroix is a prime candidate for this role. Since closing his couture house in 2009, Christian has returned to his first love, costume design, and continues producing diverse creative works.

“The hope is that Christian designs the line again. He seems up for it. I’m not sure if they would do haute couture. I only know that Christian will do it if the terms are correct and to his liking.” – Christine Suppes, Philanthropist, Visionary Fashion Collector.

Christian Lacroix Fall 2005 Couture brocade worn by Christine Suppes, Condé Nast Archive

It was reported that the couturier was called before the announcement and has given his blessings but will not be formally involved with the brand. Christine Suppes has a different take, and she should know. The San Francisco-based philanthropist, patron of the arts, collector, and longtime couture client is a close friend of Christian Lacroix, and they speak regularly.

Christine Suppes donated this Christian Lacroix Couture dress made of fur, felt, and lace embroidery to the deYoung Museum.

Suppes donated a large portion of her couture fashion collection, culled over 30 years, to the Fine Arts Museums of San Francisco. Included are many pieces by Christian Lacroix, McQueen, Chanel, Yves Saint Laurent, Balenciaga, and Rodarte.

Inspired by the incredibly generous Suppes donation, the de Young Museum mounted “Fashioning San Francisco: A Century of Style” from January 20 to August 11, 2024. This exhibition featured the legacy of some of the Bay Area’s most fashionable women, past and present.

Dries Van Noten Spring 2020 Ready-to-Wear Photo by Alessandro Lucioni for gorunway.com

Looking ahead, the prospect of a collaboration between Christian and Dries Van Noten, similar to their successful partnership in 2019, is a source of excitement. Dries, now an advisor and chairman of the board at the fashion house he sold in 2018, continues contributing to the brand’s beauty line and store design.

What about a collaboration between Christian and master colorist Pierpaolo Piccioli? Picciolo, still without a job, would tone things down and add some modern minimalism to the otherwise heady mix.

“A recent École de la Chambre Syndicale de la Couture Parisienne graduate, De Vilmorin launched his debut collection on Instagram—where else?—and quickly attracted the attention of Jean-Charles de Castelbajac and Christian Lacroix, two designers who know a thing or two about exuberance”. Nicole Phelps, “Could Charles de Vilmorin Be Gen Z’s First Fashion Star,” vogue.com, June 1, 2020

Eva Chen wears Christopher John Rogers to the 2021 Met Gala, Instagram

Meanwhile, until Christian Lacroix announces his full involvement, it’s exciting to speculate which designers might be a good fit. One name that comes to mind is Christopher John Rogers. His exuberant, colorful, joyful designs brim with optimism. The designer’s voluminous silhouettes, sharp tailoring, and unabashed use of color have already earned him the CFDA Womenswear Designer of the Year award.

Richard Quinn Spring 2025 Ready-to-Wear Photo by Isadore Montag for Gorunway.com

Then there’s Richard Quinn. The British designer is known for his bold, theatrical, playful womenswear, vibrant colors, floral prints, and couture-inspired sensibility with an edge. Giambattista Valli is known for his opulent color and sculpted gowns.

Marni Fall 2021 Ready-to-Wear Photo by Launchmetrics Spotlight for The Impression

Francesco Risso, renowned for his audacious and imaginative approach to fashion, has carved out a distinctive place in the industry as the creative director of Marni. Since taking the helm in 2016, Risso has transformed the Italian house into a powerhouse of eccentricity and modern luxury.

How about Marc Jacobs? A cultural icon, Jacobs celebrates individuality and authenticity and is known for his collaborations with other fashion companies and for his interpretations of popular culture trends. He would undoubtedly put his inimitable own spin on things.

Charles de Vilmorin surrounded by his colorful drawings, Photo courtesy of Charles de Vilmorin

Charles de Vilmorin is also a gifted and imaginative illustrator capable of transmitting vivid moods and characters. Like Lacroix, whose interest in costume started in 1985 during his early role as a designer at the house of Jean Patou, costume design, not fashion, is Vilmorin’s first love.

Charles de Vilmorin, British Vogue, December, 2020

Charles de Vilmorin made his debut on Instagram on June 1 at the age of 23. His buzzy genderless couture collection, backed by Jean Paul Gaultier, comprised colorful quilted jackets and coats with patchwork faces and flower hearts paired with hand-painted leggings. It recalled Christian Lacroix and Jean-Charles de Castelbajac, both fans of the young designer.

Charles de Vilmorin was named creative director of Rochas from February 2021 to March 2023. He was 24 when he was appointed, succeeding Alessandro Dell’Acqua. De Vilmorin left Rochas after his contract was not renewed. It’s not uncommon for European houses to look to young talent to attract a new generation of customers. While relatively inexperienced, these designers often have high social media profiles. Of course, it doesn’t always work.

Charles came back last February with a small ready-to-wear collection for fall 2024. The 25-piece line, inspired by a George Sand poem, was presented at the Sphere showroom during Paris Fashion Week.

De Vilmorin is a promising talent. He needs focus, support, and the right backing.

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