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.

The post Watch the Livestream of Jonathan Anderson’s Womenswear Debut for Dior first appeared on The Glass Magazine.

Returning deep into the House’s archives, the Belgian designer wanted to play with contrasts this season – but ones that also played beyond the eye and into a feeling. Could she be both a fearless heroine and a classic vision? Could restraint walk hand in hand with provocation? And, can we balance delicate romanticism with the art of severity?

The answer once again came from Robert Mapplethorpe, an artist who portrayed himself through a constant juxtaposition of opposing ideas. Drawing from this style identity, Vaccarello was inspired not only by the stark visual contrasts but also by how there was a constant thread of eroticism evident. The show notes highlighted this further, stating: “In a time when dialogue is fading, style becomes a form of discourse – not one that imposes but one that connects and adds nuances”. For SS26, the idea was to reinvent an aesthetic.

Designed to be a nocturnal creature, the Saint Laurent woman embodies confidence and sensuality in equal measure. Tension is bursting at the seams as leather and latex, structure and fluid fabrics create a push-and-pull between softness and rigid constructs. Strong shoulders in trench-style overcoats and exaggerated upper body shapes in bomber jackets dominate the first half of the collection as they arrive with fitted pencil skirts and cinched waists to give both a nod to the 80s and also a playful wink to masculine silhouettes.

Most notably, however, were the oversized and super dramatic pussy-bow blouses that find a new evolution for this season. Both skin-revealing and oversized, they give a new meaning to officewear. As the collection continued to evolve, so did the narrative, shifting from its tougher, dominating materials to romantic, somewhat emotional gowns crafted from nylon, which lightly danced in the wind as they played with volume from another angle.

As per Vaccarello’s lineage of creating sought-after accessories, SS26 kept things minimal but remained head-turningly bold: oversized sunglasses, chandelier earrings, and sharply pointed stilettos.

Never not theatrical, Anthony Vaccarello reasserts the sexual confidence and power that YSL was founded on, not in a token way but through dramatic silhouettes, thought-through styling, and inherent presence in every design. Finding the equilibrium of heritage with the trenches, tailoring and bows, and bringing his own raw edge to the equation, SS26 rejects the notion of “quiet luxury” in favour of being more expressive – it’s a collection that proves self-expression always creates a desirable moment.

by Imogen Clark

The post PFW SS26: Saint Laurent by Anthony Vaccarello first appeared on The Glass Magazine.

_{Giorgio Armani SS26}. _{Photograph: Ryan McGingley}

For the Spring/ Summer 2026 show, the runway was accompanied by the music of famed pianist Ludovico Einaudi, staged at Palazzo Brera in an event that closed Milan Fashion Week. It acted both as a celebration of the company’s 50th anniversary—already marked earlier this year with the launch of a new men’s collection—and as a farewell to the designer.

The show, the last Mr. Armani worked on, also introduced ARMANI/Archivio and inaugurated the exhibition Giorgio Armani: Milano, Per Amore at the Pinacoteca di Brera on September 24. There, 133 archival creations were displayed alongside Italian artworks, offering a glimpse into the evolution of Armani’s vision. In the front row sat Cate Blanchett, Glenn Close, Lauren Hutton, Richard Gere, and others.

_{Jil Sander SS26}

_{Jil Sander SS26}

_{Jil Sander SS26}

At Jil Sander, the collection turned to the roots, exploring purity as a method rather than a limitation—a tightly edited expression of contrasts. Tension and calm, straight lines and torsions played in counterpoint through somber neutrals, dusty pastels, and vibrant hues. Textures added a tactile element to the discourse. The mirroring of menswear and womenswear was constant, animated by meticulous craftsmanship and obsessive attention to detail. Silhouettes remained rationally concise, with high buttoning occasionally disrupted by folds and raw hems.

_{Versace SS26}

_{Versace SS26}

_{Versace SS26}

At Versace, newly appointed creative director Dario Vitale shook the foundations of the House. The collection began with the archive but reached beyond clothing, connecting with a feeling, an attitude, a way of being. Letters, photographs, ephemera, and art unlocked gesture and sensibility.

Staged in the intimate chambers of the Pinacoteca Ambrosiana—a former private residence housing an eclectic collection of masterpieces—the show materialised the brand’s deepest foundations. The archive’s essence, never knowable through mere study, was embodied on the runway. Unrestrained by inhibition and indulging in tactile pleasures, Vitale bridged Italian elegance with bold irreverence.

Emerging designers also made a strong impression. Pierre-Louis Mascia, Onitsuka Tiger, Institution, and Francesco Murano each expanded tailoring into new territories.

_{Institution SS26}

_{Institution SS26}

_{Institution SS26}

Pierre-Louis Mascia’s SS26 collection drew from the theatre—its illusions, truths, and rhythms of life as spectacle: fragile, intense, implacable. Inspired by the 1945 French film Les Enfants du paradis, draped fabrics seemed to emerge from an attic, dusty yet precious, like fragments of memory telling forgotten stories. Light weaves, trompe-l’œil effects, overlays, and pleats suspended the collection between illusion and reality. Silk reigned supreme, expressed through 18 original prints that once again showcased Mascia’s mastery of mixing motifs, colours, and juxtapositions.

_{Onitsuka Tiger SS26}

_{Onitsuka Tiger SS26}

_{Onitsuka Tiger SS26}

Onitsuka Tiger embraced the theme Urban Fantasy. Fashion here was not just clothing but a medium of self-expression, likened to stepping out of an Asian metropolis’s shade and feeling the sun on the skin. Inspired by the fleeting energy between cityscape and sunlight, the brand imagined a fashion fantasy: crinkled shirts and dresses with a vintage spirit, bodysuit-dresses layered over voluminous culottes, and crisp fabrics reshaped into parkas, cropped trucker jackets, and razor-sharp tailoring. Leather appeared in oversized biker jackets and mini skirts with bold zippers.

Pierre-Louis Mascia also introduced tailored jackets inspired by the Chepken, a traditional women’s vest. Cut from wool and bouclé, the pieces referenced both heritage and artisanal tailoring. Women’s communities in Azerbaijan’s Masallı and Lankaran districts contributed to the final development, grounding the collection in living tradition.

_{Francesco Murano SS26}

_{Francesco Murano SS26}

_{Francesco Murano SS26}

Finally, Francesco Murano explored movement as resistance to stasis. His collection, Kinesis, studied the relationship between body, clothing, and space—garments amplifying gestures and entering into dialogue with their environment. Inspired by futurist artists Giacomo Balla and Umberto Boccioni, as well as Étienne-Jules Marey’s chronophotographs, the pieces recorded movement and transformed it into form. Volumes, lines, and cuts became dynamic tools, dressing not just the body but the body in motion.

The post At Milan Fashion Week, Lightness and Escapism Were the Antidote for SS26 first appeared on The Glass Magazine.

And woven through the whole offerings were some of the signatures that James has extracted from the decade-long history of the brand: the handcrafted crochet bags, oversized woven details, and intricate beading. Actually, it wasn’t so much that the designer blended together his breadth of fascinations; it was more like he drew and twined them to create volume and movement.

“The collection is called Chaos, and it came from everyday life,” James told GLASS backstage post-show. “I wanted it to be artistic but at the same time very much wearable, and I wanted it to feature a series of statement pieces, something that you’ll be able to go out with,” he added.

“Strike up a conversation and people look at you but still, again, wearable. The mixture of art and craft is something that we’re really, really excited about because there was a lot of experimental craftsmanship this season and it’s something we’re excited to do.” James’ references always bet on Nigeria, London, and Milan’s heritages, three cities he deems “the greatest in the world.”

On the collection, “I think the best one for me and my standout one was the tiger print, the leopard print pants with the beaded legs,” he says. James showed a women’s collection in February, but not in Milan. “We did it in Lagos because it was a celebration of our 10 years of existence as a brand,” he noted.

This season, James partnered with Nahous, a cultural foundation dedicated to supporting art and creativity across Africa. In celebration of this collaboration, five exclusive looks were created for Nahous and revealed on the runway to exemplify James’ mastery of form and Nahous’ mission to champion African creativity on the global stage.

by Chidozie Obasi

The post MFW SS26: Tokyo James first appeared on The Glass Magazine.

This show brings together two worlds with a KNWLS x Nike collaboration. This partnership introduces a dynamic design language that blends performance with style, positioning the collection firmly within the growing athleisure movement.

Drawing on Nike’s heritage of sport and KNWLS’ forward-thinking aesthetic, the pieces feel both functional and refined. Bodysuits, offered in both long and short cuts, are crafted from flexible jersey that moves seamlessly with the body, ensuring a sculpted silhouette that transitions effortlessly from the gym to the club.

The collection also marks KNWLS’ third collaboration with TENCEL as a materials partner. Cellulose fibre is used for jersey button-down dresses and leggings, each elevated through KNWLS’ signature ruched draping. Coming in a subtle earthy colour palette of greys, browns and greens, the garments look as if they have been painted and dipped in luminous watercolours.

Through corseted tops, a fundamental for the KNWLS brand, they express meticulous attention to detail. Exposed seems contrast against colours, boning and exposed seams can be seen adding structure to otherwise loose garments. Through this structured detailing, oversized jackets shift into garments that highlight the architecture of a women’s body.

Matching prints sets are continually present throughout the collection. They have been designed in various forms like a cropped trench coat in a with a matching miniskirt. One trouser set, with a tan detailing and a slight flared trousers appears to be pulled out of a dystopian western, set in the near future. This occupation of timeless-ness is constant throughout the collection, as victorian ruffled high neck collars, and washed muted jerseys blend modernity and contemporary design together.

Styled with each look, the shoes elegantly allow our KNWLS women to cross and climb any challenge my may face. Through corsetry, Nike silhouettes are refreshed into something entirely new. Drawing inspiration from KNWLS previous shoe designs, that shoe pulling lacing under and into the back of the heel. A sharp point at the toe adds edge to the shoe, making it an accessory of self-defence.

It is made clear that this collection is a step forward for the KNWLS brand. One that has ensured they will remain as a source of inspiration for women who want to be their best selves.

by Ellis Dowle

The post MFW SS26: KNWLS first appeared on The Glass Magazine.