Whilst put on to champion the future of entertainment, its lucrative “blue carpet” was lined with archival, off-the-runway and custom looks before the ceremony – here at GLASS‘ Best Dressed.

Charli XCX in Saint Laurent by Anthony Vaccarello

Greta Lee in Dior with Tiffany & Co. Jewellery

Kaia Gerber in custom Givenchy by Sarah Burton

Olivia Rodrigo in Giorgio Armani Privé Spring/ Summer 2005

Jeremy Allen White in custom Louis Vuitton

Michelle Monaghan in Carolina Herrera by Wes Gordon Spring/ Summer 2026 with Tiffany & Co. Jewellery

Carolyn Murphy in archive Giorgio Armani 

Zoë Kravitz in Saint Laurent by Anthony Vaccarello

LaKeith Stanfield in Dior

Dwayne Johnson in Giorgio Armani 

Maggie Gyllenhall in custom Celine

Leslie Bibb in Carolina Herrera x Sybilla

Naomi Watts in Balenciaga Spring/ Summer 2026

Channing Tatum in Fendi with Tiffany & Co. Jewellery

Cara Delevingne in Tamara Ralph Haute Couture

Jeff Goldblum in ERL with Stephen Silver Fine Jewellery

Chase Infiniti in custom Louis Vuitton with Bvlgari Jewellery

Rachel Sennott in Balenciaga Spring/ Summer 2026

Monica Barbaro in Dior

Selena Gomez in custom Giorgio Armani Privé and Benny Blanco in Giorgio Armani

Charlie Hunnam in Saint Laurent by Anthony Vaccarello

Odessa Young in custom Louis Vuitton with Louis Vuitton Fine Jewellery

Eddie Redmayne in Giorgio Armani Made to Measure

Rachel Zegler in Tamara Ralph Haute Couture

Kodi Smit-McPhee in Saint Laurent by Anthony Vaccarello

Rosie Huntington-Whiteley in custom Giorgio Armani Privé  with Tiffany & Co. Jewellery

Seth Rogan in custom Brunello Cucinelli 

Kerry Condon in Carolina Herrera by Wes Gordon Resort 2026

Mikey Madison in Dior with Tiffany & Co. Jewellery

George Clooney in Giorgio Armani 

Rose Byrne in custom Celine

Sydney Sweeney in custom Giorgio Armani Privé 

Logan Lerman in Saint Laurent by Anthony Vaccarello

Tessa Thompson in Balenciaga Spring/ Summer 2026

Jaden Smith in custom Louis Vuitton

_{All images courtesy of the stated brand and Getty images}

The post Glass Presents the Best Dressed at 2025 Academy Museum Gala first appeared on The Glass Magazine.

Focusing on friendship and human connection, the brand found no others who could encapsulate this better than them – showing that warmth comes from within, and most notably, from the bonds you share with those around you.

_{Robert De Niro and Al Pacino in Moncler’s Warmer Together}

De Niro embodies this truth whilst wearing the Maya 70 jacket: a revitalised version of the original hero piece that is down-quilted and considered one of Moncler’s most treasured and widely worn designs. Made from the brand’s signature longue saison recycled nylon, its design features a logo-adorned pocket on the left sleeve and a detachable hood.

Al Pacino, on the other hand, is pictured in the Bretagne jacket: a new design for the Autumn/ Winter 2025 collection. This short, hooded puffer offers the same protection against the harsh elements of the cooler months. Though smaller in design, it allows for greater flexibility in wear, without a cocooning silhouette or form; better suited to the urban lifestyle.

_{Robert De Niro and Al Pacino in Moncler’s Warmer Together}

Shot in New York, the campaign marks the first time the duo has appeared together in a fashion campaign, reframing their partnership through a new lens all these years later. Photographed by British image-maker Platon, the series of black-and-white images, along with five accompanying short films, translates Moncler’s manifesto into a visual narrative.

To accompany Warmer Together, the score is a rendition of Bill Withers’ Lean on Me by Moncler ambassador Tobe Nwigwe and his wife, further reinforcing this notion of shared endurance.

_{Robert De Niro and Al Pacino behind the scenes in Moncler’s Warmer Together}

Speaking on the campaign, Al Pacino said: “Friendship is the greatest thing you can have. Friends, people whom you share the same world with. There is just an innate trust. And the understanding of life.” Adding to this De Niro aptly said: “Warmth was never about the outside. It was always about what was happening on the inside.”

by Imogen Clark

The post Robert De Niro and Al Pacino Star in Moncler’s Warmer Together Campaign first appeared on The Glass Magazine.

Just like champagne, music relies on the same pursuit of excellence in every part of its creation.

_{Max Richter for Maison Krug}

Looking back to the year 2008, the harvest was of exceptional quality, leading Cavil to create three distinctive expressions. Inspired by the different qualities of each, Richter was asked to respond in the language of music to what he felt with the cuvées. The result was three original pieces composed by him, titled Krug from Soloist to Orchestra in 2008 (Act 2).

The first, Krug Clos d’Ambonnay 2008, is reflected in Clarity —a solo piece celebrating the purity of champagne from a single year, a single plot, and, of course, from a single grape. Krug 2008 is seen in Ensemble, a chamber composition that is centred around the ideas that came from 2008. Finally, Krug Grande Cuvée 164ème Édition is translated into Sinfornia; this is the most expressive bottle that boasts 127 wines from 11 different years.

_{Maison Krug 2008}

Together, these three adjoining partnerships prove that two disciplines and methods can unite to create an unparalleled experience.

by Imogen Clark

Discover more at krug.com/maxrichter

The post Krug Champagne and Composer Max Richter Unite Taste and Music first appeared on The Glass Magazine.

Now, with the arrival of Miss Dior Essence, a new chapter unfolds in its story. This new creation reimagines the House’s most beloved floral signature through a lens of intimacy and purity. At its heart lies a sensual jasmine sambac while an opening accord of blackberry and elderflower adds a gourmand sweetness that feels both indulgent and fresh. Below it, a dense, enveloping woody oak base grounds the fragrance lending depth and warmth to the overall composition.

Crafted with the same precision and passion that defines both the French House and Portman herself, Essence is not merely a scent but a standout fragrance in its own right. This new Miss Dior Essence reinterprets Dior’s heritage through a modern lens: the frosted glass bottle recalls the original 1948 design, now etched with a houndstooth motif and crowned with a bow.

Reflecting exclusively with GLASS, Portman takes a moment to celebrate both scent and self.

_{Natalie Portman by Zoe Natale Mannella for Christian Dior Parfums}

You have been the face of Miss Dior for 15 years now… How has your relationship with the House and the fragrance evolved throughout the years?

I felt much more intimidated by it at the beginning, but working with Dior for so long, the team has really become like a family and I am much more at ease now. They were with me before I had kids and as I’ve gotten older and gone through different periods of my life. The Miss Dior character has grown as I have grown.

Can you describe Miss Dior Essence in three words?

Floral, feminine, bold.

How much of yourself do you inject in the Miss Dior character? Or is she shaped on you like a handmade dress?

The character was definitely created by the Miss Dior team, but since it is associated with me as a person, some of it is based on who I am. The main inspiration comes from Catherine Dior, who was the original Miss Dior for her brother Christian. The energy of her spirit is the inspiration for what the character is: a courageous, strong, bold, free, liberated woman who stands up for justice.

_{Natalie Portman by Zoe Natale Mannella for Christian Dior Parfums}

Can you say a few words about Catherine? When were you first introduced to her story?

Several years into my collaboration with Dior, the team started digging up the archives and this wonderful story emerged. Catherine was an incredibly courageous woman. She was very active in the Resistance to the Nazis during the war, was sent to a concentration camp, survived and came back.

I think her story also gives a lot of meaning to the whole enterprise of what Christian Dior was doing: he was trying to revive beauty after a very ugly time, and to bring it back into people’s lives after they had lived through so much horror. I think that’s so necessary, and that there can be so much pleasure and meaning in beauty and in the power of humans to create beautiful things.

It is interesting that, of all senses, smell is rather absent in movies…

I think about it all the time! Many actors get into character by scent, and it can sometimes be very helpful. I had a rose scent for Black Swan. On Star Wars, because we shot in North Africa, the scent of jasmine was very present. And A Tale of Love and Darkness, the movie I directed in Israel, is related to orange blossom.

_{Natalie Portman by Zoe Natale Mannella for Christian Dior Parfums}

You shot the new Miss Dior Essence campaign in Paris. Do you remember your first time -or times- there?

My first time, I can’t remember it, even though my parents told me about it a lot. I was 3 years-old when we moved from Israel to the United States. We had a layover in Paris, and my dad always tells the story of how I tried to take a bath in the bidet in the hotel room.

But my real first time was at 11, when I was filming Léon. It was magical. I had this image of Paris being the chicest, most intellectual city in the world. And it was! I was in awe of how everything and everyone looked. My mom took me to museums on the weekends, and I ate crepes every day for dinner. I thought they were the best thing I’d ever eaten in my life.

Can you talk a little bit about Arco, one of your exciting new projects?

Arco is the first feature from a young French animation director called Ugo Bienvenu. He is such a beautiful artist and has a very important voice in animation, it feels like the birth of a Miyazaki. The story is also very touching: it is about kids figuring out how to take care of the planet through time travel.

_{Natalie Portman by Zoe Natale Mannella for Christian Dior Parfums}

You played a major role in the creation of Time’s Up in the wake of the Me Too movement. Can you talk a little bit about the state of things for women in Hollywood today?

It’s been an incredible part of my life experience to get to be part of Time’s Up with so many amazing colleagues. I built friendships and working relationships that continue till today. When we created Time’s Up in 2018, it was the first time women in our industry came together. For the first ten years of my career, I was the only woman on set except for hair and makeup, and I had a lot of girlfriends outside my work but I didn’t know any women in my industry. We were so often kept apart and pitted against each other because of the scarcity of interesting roles.

So, it was such an incredible moment to all talk, share experiences and information, be friends and support each other. We talked about what we could ask for in our contracts, about money, about who’s a good person to work with or not, about the importance of taking leadership roles in producing and directing, of speaking up and being a leader on set as an actress, of reaching out to younger actresses and being a support system for each other… We still have those friendships and reach out to each other and gather all the time. About the film industry, I think it’s changed a little but there’s still a very long way to go.

by Imogen Clark

Miss Dior Essence from £93, dior.com

The post Natalie Portman On Being The Face of Dior’s Miss Dior Essence first appeared on The Glass Magazine.

_{Yulia Mahr and Compton Verney Speaking in Dreams. Photograph: © Compton Verney and Jamie Woodley}

Speaking in Dreams, a new installation by the Hungarian-born British artist Yulia Mahr, transforms the chapel into a tactile and dreamlike space where time collapses. The work inaugurates Mahr’s long-term collaboration with Compton Verney, setting the tone for a series of interventions that will entwine the site’s 300-year-long history with her own distinctive language: both poetic and psychological.

Mahr’s practice – spanning multi-media disciplines like sculpture, photography, and immersive installation – has always balanced on the threshold between intimacy and myth. Employing chiaroscuro, monochromatic tones, and still-life compositions, her works feel suspended in an almost devotional hush. In Speaking in Dreams, she brings that sensibility to the heart of Compton Verney.

Within the chapel’s pristine white geometry, Mahr introduces natural materials (charcoal, taxidermy, and ash) to stage a meditation on anxiety as the defining hum of our age. Her installation doesn’t disturb the space so much as converse with it, echoing the way Capability Brown’s own design blurred boundaries between art and nature, control and wildness.

_{Yulia Mahr and Compton Verney Speaking in Dreams. Photograph: © Compton Verney and Jamie Woodley}

A key motif of the work is the crow: a dark, intelligent sentinel of folklore. At Compton Verney, where the birds are a familiar presence, Mahr elevates them into symbols of communication between worlds. “I was born in an era and in a culture where dreams and folklore were still relevant. Hungary has one of the most symbolically rich and spiritually ambivalent folk traditions in Europe, where dreamworlds are saturated with longing, threat, and metamorphosis,” explains Mahr. “

“Actually, throughout my whole childhood – but especially after my mother and I moved to the UK – I lived more in a dream world than the real world. I became semi mute for a couple of years, my dream world becoming a tool of self-preservation that allowed me to navigate a national and linguistic change that I found so utterly overwhelming and alienating. Crows – which appear in my piece – symbolise warning almost universally across folklore traditions. Their urgent call couldn’t be louder.”

For Compton Verney, Speaking in Dreams marks the beginning of an ambitious partnership with an artist uniquely attuned to the site’s poetic possibilities. Over the coming years, Mahr will respond to the estate’s 120 acres of art and nature, weaving together its layered histories and her own meditations on spirituality, ritual, and renewal.

by Imogen Clark

The post Yulia Mahr and Compton Verney Begin Partnership with Speaking in Dreams Installation first appeared on The Glass Magazine.

Would we be left with questions, or with a clear statement of what this new chapter would look like? The answer was simple: we were invited to listen in on the quiet dialogue between Blazy and Gabrielle Chanel herself.

The Spring/ Summer 2026 show was titled Une Conversation, a slow three-part exchange that traced the House’s 115-year history. It began with a cotton shirt and trousers that directly referenced Charvet, the historic French shirtmaker that supplied her lover Boy Capel’s shirts. Blazy’s opening whisper was a declaration of love.

“The birth of Modernity in fashion comes from a love story. This what I find most beautiful. It has no time or space; this is an idea of freedom. The freedom worn and won by Gabrielle Chanel.” The gesture was straightforward: he presented a woman wearing traditional men’s clothes. This beautiful paradox stemmed from the founder and was an outfit that signalled, Blazy’s Chanel would lead not through replication but by reflection.

The opening chapter, Un Paradoxe, therefore was charged with menswear codes. The silhouettes were almost architectural: cut with the understanding that construction and fluidity needed to walk hand-in-hand.

Suits were made in pressed tweeds that looked purposeful with waistlines low, trousers loose and skirts slit to expose the leg – a nod to his precision of cut learnt working under Raf Simons and Phoebe Philo – but executed with a softer sensuality. “Never just something, but someone,” reads the press release, illustrating this is not about designing a new archetype, but rather offering presence.

Le Jour was up next, and this shushed the focal point of structure and invited erosion. How could he disrupt daywear without losing pragmatism and beauty? The result was an array of familiarity. The famous 2.55 bag arrived battered and beloved, with its burgundy lining deliberately exposed. Crumpled camellias weaved their way onto knitted silks, tweeds were frayed and suits seemed to carry a layer of patina on them.

Even the colour palette felt new although the shades of ivory, burgundy and grey were just manipulated into other forms. The black and white monochrome referenced both the Art Deco era and of course, the brand’s design DNA but it arrived in a more contemporary syntax that felt unobvious.

The final third of the collection was L’Universel, a more personal statement that invited us to look outward. The Chanel woman was once distinctly Parisian, now she is not defined by her environment but by how she carries herself. This chapter is maybe where Blazy truly begins to write his own distinctive declaration. The exploration of tweed reached new frontiers: it was hand-knotted, translucent and at times, looked like it melted.

Jackets revealed their interiors showing off contrasting linings and textures played against each other in visual duels. Jewellery leaned into excess with baroque designs, strings of pearls and enamelled chains looking like swinging relics that have been passed from one Chanel woman to another. This was a collection that ignited motion: we are all moving forward.

As the fourth designer to lead this House, Chanel has come to an integral intersect of what comes next. Blazy’s approach to this mammoth task was both cerebral and tactile, not chasing novelty but rather restoring purpose to the codes.

His intellectual pursuit of what Gabrielle Chanel set out to do was met with resonance – how could he bring her ideas of rebellion and freedom to the present day and give birth to a new uniform fit for the woman she designed for? His collection was not only a calming reassurance but also a profoundly elegant rediscovery of Chanel’s ever-evolving spirit.

by Imogen Clark

The post Chanel Enters A New Orbit With Matthieu Blazy’s Debut first appeared on The Glass Magazine.

Within a wicker-like structure and a soundtrack that simultaneously echoed the woods at twilight against the humming beat of a nightclub, the weathered ceremony became a thoughtful exploration of crucial imperfection.

Making a headline-grabbing return was the resurrection of the bumster – McQueen’s notorious ultra low-rise trouser silhouette – pushed this season to theatrical extremes. Whilst nostalgic at first, McGirr doesn’t utilise the form in a gimmicky way; rather, it serves as the starting point of his thesis: can boundary, tension, and eroticism co-exist?

The reintroduction of the bumster immediately redistributes erotic tension across the body, forcing tailoring and details to take on new roles: like G-string detailing, adjustable polished hardware and additional zips for playful exposure.

The past was even more present with archetypes that anchored the collection. Military-cut and braiding details on marching jackets were worn open with impossibly low trousers to create a confrontational posture; asymmetrical T-shirt versions lifted from AW06, cage-slit tops recalling AW00, and corseted bustiers revisiting McQueen’s fascination with structure all breathed new life into the designer’s legacy of controlled desire.

Like much of what the British brand has stood for visually, the marriage of contrasts continued to thrive. Tactile materials like rendered floral jacquards and dressed leather pulled us back to nature whilst shard embellishments and metal chainmail proposed fractured theatrical ostentation. Even print work played the game doubles – abstracted insect prints that came alive, the closer you get.

It seems that McGirr has found his own sense of identity that walks the line between heritage and reinvention with a clear distinction from what once was. He’s not copying Lee’s theatrics, nor is he even trying to, he’s restaging them in a tone that is both relevant and modern.

This collection is proof that the Irish designer understands the importance of the past and its revered trademarks – the bumster, the horn heel, sharp tailoring – but is using his skill in reinterpreting the archives with an entirely new and of-the-moment energy. Whether SS26 will be marked as the moment McGirr found his voice or as poignant marker of return, he’s offered McQueen a look that is both inward and outward.

by Imogen Clark

The post PFW SS26: McQueen first appeared on The Glass Magazine.

Taking over the helm of the Spanish house after Jonathan Anderson’s twelve-year tenure, which not only changed but also reinvented the brand as a key global player, meant the saying ‘big shoes to fill’ couldn’t have been truer. But it was time to redefine the tone.

McCollough and Hernandez immediately brought a distilled, assertive clarity to Loewe. Both New Yorkers with a long-standing affection for precision – evident in their hailed womenswear brand Proenza Schouler – the pair brought a rhythm of form that felt disciplined but not joyless, sensual but not sentimental.

Opening with an ultra mini two-piece with a contrasting black leather minimalistic jacket, it became clear that structure would be the centre point of this new era. What followed was a sequence of propositions that balanced body-conscious tailoring with unexpected silhouettes – bare shoulders, towel-like dresses and bermuda shorts against a utilitarian array of sweeping hems, cinched waists and scrunched knits. It all felt very Loewe but it was presented through a sharper, more architectural lens.

The palette of the collection was a powerful indicator of identity as they leaned into primary colours as a vehicle for change. Chrome yellow sat beside navy blue, tomato red was seen with a sea of greys, and buttery yellows were matched with rich greens. But it was leather that inevitably played the starring role in SS26.

Loewe has always had an emphasis on craft and texture, and here we saw it played with from the clothes to accessories, bringing at points a softer touch and in others, a rigid stiffness with raw edges that together showcased an applaudable variety of savoir-faire.

The reimagined Amazona 180 bag arrived with an asymmetric single handle and firm structure with ample interior that was both nostalgic in design and engineered to present newness.

What makes McCollough and Hernandez’s touch so distinctive is their ability to synthesise opposites: blending American pragmatism with European sensuality. This duality proves fertile here, as by no means are they trying to out-clever Anderson’s quick-witted ability to explore the many facets of conceptualism; rather, they seemed to have grounded the brand into reality. And as Madrid’s oldest luxury fashion house, it seems like its future is being formed by deliberate acts that are shaping ideas into new forms.

by Imogen Clark

The post Jack McCollough and Lazaro Hernandez’s Loewe Arrives first appeared on The Glass Magazine.

His transition from the Italian brand to this House, rooted in couture but continually reshaped into an ultra-contemporary leader, led him to the conclusion he couldn’t ignore the past decades – rather, he needed to find the equilibrium between Cristóbal Balenciaga’s legacy and the forward-thinking touch of his predecessors.

Titled The Heartbeat, Piccioli’s debut collection was foregrounded by recalibration rather than reinvention. He wanted to begin by finding the pulse of what Balenciaga means – the codes that have never left and continually keep the brand alive. The show opened with a sculpted black gown, its form suggesting the presence of a cape. The immediate injection of sharp minimalism was a reset: it turned the clock back and oozed the same beautiful simplicity that the founder thrived on.

Full skirts and sweeping hems were contrasted with strong tailoring and leatherwear, whilst voluminous forms arrived in a combination of ruffles and feathers. Restraint was further exercised in the colour palette: bursts of rich hues like aubergine and blood orange sat alongside a decadent domination of monochrome looks.

Like many of his contemporaries who are also making their debuts, there is a common pattern of highlighting one design synonymous with the founder. For Piccioli, it was the Sack Dress from 1957: a design that eliminated the waist. Using it as a template, his couture sensibilities emerged through the shape and its draping, creating his own version in pale pink to close the show.

Whilst Spring/ Summer 2026 felt like a new dawn, there were still moments of the brand’s edgier past. Bug-eye shaped sunglasses, chunky platformed sandals, and opera-length gloves were reminiscent of the ‘cool’ aesthetic often linked to the brand, whilst remaining entirely aligned with the new vision.

What Piccioli has always thrived in is offering theatrics that feel wearable, crafting fantasy that doesn’t feel out of reach but rather borders the avant-garde. Many new appointments have glistened with familiarity this season, but Piccioli has managed to gracefully create an emotionally resonant reinvention for the House.

by Imogen Clark

The post Pierpaolo Piccioli Unveils A New Era at Balenciaga with SS26 first appeared on The Glass Magazine.

For Spring/ Summer 2026, the British designer helped etch the new identity of the brand further by continuing to embrace the dialogue between its heritage of fine-tuned minimalism and tailoring, with her signature feminine lens.

Framed around the idea of “peeling back the structure of tailoring to reveal skin and a sense of lightness” – as the show notes simply state – this season, Burton played around the border of dressing and undressing. Her design language has always been rooted in precision, but so far, she has remained devoted to feminine codes rather than borrowing from masculine dressing.

Dismantling the skeleton of tailoring, she peeled back lapels with bras peaking out, continued swapping jacket fronts to the back, and emphasised curved sides, from sculpted hips to rounded sleeves. Satin duchess added a lightness to SS26 – most notably, a black duchess satin mini-dress opened the show with a cutout neckline, signalling the start of her showcase of visual tension – followed swiftly by mesh, shredded chiffon, and ornate silk.

What Burton has done so well in only two collections is lay a clear framework of silhouettes that will become synonymous with Givenchy. However, what’s even more interesting is her subtle approach to bridging couture elements with ready-to-wear, like the “bed sheet” style gown, held close to the model’s chest, designed with fringed embellishments more akin to the upper echelons of ostentation than runway.

Less than a year in, Burton has solidified the new look for the House – one that finally pushes cyclical trends and ultra-logo driven pieces to the side, and follows the founder’s couture route to the present day.

by Imogen Clark

The post PFW SS26: Givenchy by Sarah Burton first appeared on The Glass Magazine.

Unlike many who take on the daunting task of creatively directing an entire House – especially one whose past is cemented in the upper echelons of fashion – Jonathan Anderson did not approach his debut collection with a desire to clean the slate.

Rather, he understood the importance of each chapter, writing clearly in the show notes, “an embrace of beauty has enduringly taken shape in the House, no matter the moment.” To design for Dior, he needed to understand the language of the past in order to write his own chapter.

Earlier this summer, we were given the first taste of his Dior during men’s fashion week – a collection that felt like a youthful declaration of style. Would the same be said of his womenswear? Simply, yes. In true Anderson fashion, he threaded his knack for visual tension throughout the 74 looks, interchanging opposing sides: old versus new, structure against softness, and historical references with reinvention.

The Bar Jacket was a clear starting point. Screwed in as a foundational silhouette to the Dior identity (a central piece of the 1947 “New Look”), the Irish designer reworked its proportions, cropping them and sometimes lifting the peplum toward the breasts, and even pairing it with a mini skirt. The latter accompaniment was continually reinvented, arriving in canvas and either knotted at the front, echoing FW1954, or layered at the back, mimicking the famous 1948 “Delft” gown.

Millinery was a star player in this collection. For those unaware, before becoming a couturier, the founder began as a hat sketch artist. Throughout his time, and through the hands of his many successors, hats have remained a central part of the Dior wardrobe. Leaning on the talent of Stephen Jones, Anderson referenced Galliano’s trianon hats while adding military bicornes to centre the headpieces.

His most prominent nod to Christian Dior himself may have been an obvious choice, but he lifted and translated the layering of the Junon couture dress into variations of wearable mini dresses—showcasing the discipline of designing for tribute rather than replica.

However, Anderson’s take on the past stretched far beyond 1946. Looking beyond the 20th century, he delved further into France’s history of fashion. Panniers from the 18th century appeared under gowns, crafting exaggerated hips; waistlines dropped with a wink to the 1920s; and capes nodded to aristocratic uniforms.

What may have been most surprising was the clear wearability of the looks. The French brand has a storied history of ostentatious drama and glamour, yet Anderson exercised restraint in favour of thoughtful decoration – feminine bows, delicate lace, subtle sequins – and far simpler proportions. At times, he even injected elements of androgyny through styling choices.

Anderson’s debut, at first sight, may have seemed like a radical break from what we have witnessed over the past decade. But when you look deeper, this collection is revealed as a thoughtful evolution, woven from every chapter of the archives. The show underpinned the very legacy once left open to manipulation and reinterpretation. Anderson’s choice of vocabulary for Spring/Summer 2026 made one thing clear: history cannot be repeated, but it is here to stay.

by Imogen Clark

The post Jonathan Anderson’s Radical Debut for Dior SS26 Womenswear first appeared on The Glass Magazine.

Now, five years after lockdown, the designer has taken note of the change in our style – we live with a more casual demeanour. For SS26, he therefore poses the question: what does it mean to dress beautifully when the outside is less relevant?

In short, there was a visual tension throughout the collection: loungewear alongside ceremony, cosy familiarity with decadent detailing. Silhouettes were long and flowing, switching between slip-like dresses, gowns with interior-boning, and lightweight outer-layers that brushed the floor.

Cocoon shapes were obvious nods to protection, and sculptural knits elevated the bottom-shelf jumper. Long johns were given the Ghesquière touch and were reimagined in stripes, coming off the shoulder and clinging to accentuate the body.

This was a far cry from old sweatpants and more of a rich spectacle that looked into the various corners of intimate dressing and the many facets of its self-expression. The designer has always balanced archival references with technical innovation, and SS26 continues to play in the grey areas of history and modernity, whilst giving space for a personal narrative.

Whilst the last couple of seasons have been focused on exploration, the turn inwards to discover self-encounter that shows why Ghesquière continues to thrive – his own design evolution is far from over.

by Imogen Clark

The post PFW SS26: Louis Vuitton first appeared on The Glass Magazine.