Just as audiences devoured every last pleated skirt and pop of tennis green from Zendaya’s Challengers press tour, her latest film has once again turned the promotional circuit into a masterclass in method dressing. This time, however, for her new A24 film The Drama, the mood is less athletic and more bridal intrigue. Across premieres and photocalls, the actress, who is rumoured to have secretly wed Tom Holland recently, has dipped into a palette of bridal whites and tongue-in-cheek traditions, with gowns that could easily find their way down an aisle.

Co-starring Robert Pattinson, The Drama follows a couple whose relationship begins to fracture just days before their wedding after a disturbing confession from the bride-to-be. And while we suspect Zendaya would not harbour such secrets, the 29-year-old has decisively leaned into the theme.

Working in close step with stylist and Image Architect Law Roach, the duo have put a creative spin on the Victorian adage “something old, something new, something borrowed, something blue,” turning it into a full-fledged fashion storyline.

Here, a look back at every ensemble from The Drama press tour.

Alexander McQueen

For a quick stop in Los Angeles to navigate the talk show circuit, Zendaya opted for florals in this ethereal sheer gown from Alexander McQueen’s Fall 2026 collection.

Moschino

For an appearance on Jimmy Kimmel Live!, the leading lady opted for a modern short-suit set with a twist. Plucked from the Moschino Fall 2026 runway, the look comprises a pale grey blazer, tailored Bermuda shorts, and a crisp white shirt with dangling ruffles at the wrists.

“Old” Vivienne Westwood

For her “something old”, Zendaya revisited her own archive, re-wearing a Vivienne Westwood corseted off-shoulder gown that she originally wore on the Oscars red carpet back in 2015.

“New” custom Louis Vuitton

What’s better than fresh-off-the-runway for “something new”? A custom look by Louis Vuitton, of course. Featuring a long-sleeve, crew-neck silhouette, the floor-length white gown made jaws drop when Zendaya turned around, revealing a large cutout, a high slit, and a statement black bow train.

“Borrowed” Armani Privé and Louis Vuitton

If we were to borrow an outfit from anyone, we would look to Cate Blanchett, too. For the Roman premiere of The Drama, Roach tapped the actress for a custom Armani Privé gown that Blanchett has worn twice—both to the 2022 SAG Awards and at the 2025 Venice Film Festival.

Featuring a plunging neckline and onyx gemstones, the look was a stark departure from bridal whites, but no less impactful. Zendaya even made sure to honour the look correctly, wearing the same Louis Vuitton earrings as Blanchett.

“Blue” Zimmermann 

Australian brand Zimmermann received the honour of being Zendaya’s (first) “something blue” with this whimsical lace moment from the brand’s Fall 2026 collection.

More “Blue” Schiaparelli Couture and Tiffany & Co

Talk about drama. At the film’s New York City premiere, the actress donned one of her most statement looks to date with this striking gown from Schiaparelli’s Spring 2026 Haute Couture collection.

Complimenting the blues with, well, more blues, she opted for an abundance of Tiffany & Co. jewels featuring vibrant sapphires.

Stella McCartney

In California, she picked up the white theme again with a set from Stella McCartney‘s Fall 2026 show, which features power shoulders, a cinched waist, and a faux-fur peplum trim at the hip.

The post Every Bridal-Themed Look Zendaya Said “I Do” To For ‘The Drama’ Press Tour appeared first on Grazia.

When Gucci announced that Demna would take the creative helm, fresh from his era-defining tenure at Balenciaga, the industry braced for impact. Fall/Winter 2026 now marks the moment that anticipation truly crystallised, with Demna’s first physical runway for the Italian fashion house.

Set within a monumental, museum-like space lined with marble statuary, the show proposed Gucci as both brand and cultural artefact. This shared language, spoken across archetypes, identities and dress codes, has been the throughline of his previous debuts (SS26 and Pre-Fall), and for this season, the sense of Tom Ford-era Gucci and its bougie club kid fandom made for rich inspiration. From ultra-tight tops and bumbags to svelte mini dresses and voluminous faux furs, Y2K nightlife was revived with a modern elegance.

It opened with a palate cleanser: an ultimate seamless white turtleneck minidress in hosiery fabric that channelled the pure femme-fatale assurance of Sharon Stone in Basic Instinct. From there, body-clinging silhouettes engineered with invisible heat-sealed edges and curved hems, cut close in a way that felt like a fusion of both Gucci and Demna’s greatest hits. Jackets were cropped and snug, paired with pencil skirts and ab-baring trousers.

Demna’s perennial fascination with hybrid garments surfaced in tracksuit dresses, leggings fused to trousers, and jackets merged with tops into ultra-fitted one-pieces. Feathered bombers framed the face, while butter-soft leathers relaxed bikers and circular stoles. Eveningwear then tipped into decadence with waist-high slits and a backless dress revealing a diamond-studded white-gold GG thong.

Accessories were pragmatic but grounded in a point of view. The Bamboo 1947 streamlined, minaudières stretched for modern life, and a new Manhattan sneaker blending basketball minimalism with moccasin ease stepped up.

And then of course, the runway closed with a bang: Kate Moss, the ultimate 2000s club queen in a slinky black sequined gown, reminiscent of Demna’s couture work. But beyond nostalgia and celebrity cameos, the inaugural runway cemented a new epoch for Gucci, where the past is celebrated with a fresh point of view.

“This collection, and my overall vision for Gucci, is built around a sense of pragmatism,” he wrote in his shownotes. “Products that can be enjoyed by a variety of people, that enrich their lives and make them feel great, that can stand on their own, without the need for pseudo-intellectual justifications.”

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At Palazzo Barberini, grandeur has transformed over the centuries. For Fall/Winter 2025, Valentino leaned into that instability, staging a collection that treated fashion as a live negotiation between order and impulse.

The Baroque palazzo, with its measured façade and aged interiors, set the tone. It is a building shaped as much by friction as by form, where the disciplined clarity of artist Gian Lorenzo Bernini meets the disorienting curves of architect Francesco Borromini, inspiring artistic director Alesandro Michele, per his show notes. That same push and pull played out on the runway, where garments oscillated between structure and release, control and abandon.

Tailoring arrived with a certain authority through clean lines, precise proportions, and an architectural sense of hierarchy. Dresses dissolved at the edges, volumes shifted unexpectedly, and surfaces seemed to catch movement mid-flight, as if resisting definition. Transparency and opacity were in constant dialogue, while embellishment flickered between restraint and excess.

These proffered a sense that the clothes were not simply worn but part of an ongoing negotiation. Silhouettes guided the body, then subtly destabilised it—curves interrupting straight lines, drapes softening rigidity, and gestures of lightness offsetting weight. Like the storied frescoed ceilings above, these pieces suggested that form is always on the brink of transformation.

And yet, for all its intellectual undercurrent, the collection never felt heavy-handed or compromised on aesthetic indulgence—it is Alesandro Michele, after all. Instead, it carried a lightness of spirit, as well as a willingness to let contradiction exist without over-explanation. In this season, Valentino proposed fashion not as a fixed statement, but as a field of interferences: a place where discipline and desire meet, collide, and, crucially, coexist.

The post MFW: Order In The Palazzo For Valentino Fall/Winter 2026 appeared first on Grazia.

Australian Fashion Week 2026 has officially kicked off with an epic lineup of local talent.

Returning with a new address, there was a fresh sense of momentum in the air, and an idyllic vista to match. For the first time, the festivities unfolded at the Museum of Contemporary Art, where the harbour shimmered in the background and editors, buyers, creators and models darted between shows beneath increasingly ominous clouds.

The week began with a moving Welcome to Country ceremony, grounding the proceedings in reflection and community before the fashion crowd launched headfirst into a packed schedule of runway debuts and long-awaited returns. Inside venues across Circular Quay and the CBD, designers leaned into craft and storytelling, from Toni Maticevski’s sculptural salon presentation to Beare Park’s sensual tailoring.

By evening, some dramatic weather had finally arrived just in time for Carla Zampatti’s closing show, where Shanina Shaik strode through the drizzle with the kind of glamour that rain can’t dampen. If day one proved anything, it’s that Australian fashion is entering an exciting new era.

Read on and watch this space for GRAZIA‘s show dispatches throughout the week.

AFW 2026 DAY ONE

Maticevski

Ten years after his last on-schedule appearance at Australian Fashion Week, Toni Maticevski made an irreverent return on day one. Staged inside The Collider in Haymarket, and opened by Gemma Ward, the designer’s Winter 2026 presentation offered an intimate look at 23 ornate looks, with guests brought close enough to appreciate every sculptural fold, floating frill and feat of construction.

For Maticevski, inspiration didn’t begin with a singular reference point. Instead, the collection emerged from an ongoing exploration of silhouette, fabrication, and technique that has defined the house’s two-decade visual language. “The mood often begins with fabric and colour; they create a feeling and shape in my mind, which slowly takes form as the collection develops,” he told GRAZIA ahead of the show. “There is also an interplay of motifs and textures I’ve explored throughout the last twenty years, leaf motifs transformed into fringes, layered volumes and exaggerated proportions… Ultimately, it becomes a meeting point between the realities of modern wearability and a more fantastical, fairytale sense of dreaming.”

And there was certainly fantasy here, albeit the controlled kind. A layered all-white look with cascading organza evoked bridal ether without ever tipping into saccharine territory, while one of the closing looks appeared to hover around the body entirely untethered from gravity.

Yet beneath the theatricality was remarkable precision. With every drape, shimmer, and exaggerated proportion, there was purpose. Perhaps, after a long absence, that is what made the show feel so resonant. In returning to the AFW schedule, Maticevski wasn’t attempting to keep up, but rather, reintroduce us to his own world, trusting in its enduring originality.

Beare Park

Presented within the soaring curves of the Sydney Opera House, where the brand first debuted five years ago, Beare Park’s Pre-Fall 2026 collection channelled the aching romanticism of Sinéad O’Connor’s ‘In This Heart’, conjuring a wardrobe that felt intimate, intelligent and self-assured. Impeccably styled by Nicchia Wippell, the collection exuded a palpable sense of confidence in each look. Every detail was given thorough consideration, executed with the effortless polish we’ve come to expect from the designer.

For this season, founder Gabriella Pereira explored devotion as both a feeling and a discipline, translating personal transformation into elongated tailoring, liquid draping, and silhouettes that moved with sensual ease. Crisp cotton shirting was softened by translucent silk layers, while metallic ash dupion caught the light like smoke and outerwear made for the ultimate statement. A palette of burnt sienna, tobacco, ivory and near-black nightshade only heightened the mood.

What continues to distinguish Beare Park is its ability to make restraint feel seductive. Even the most dramatic proportions retained an ease to them, as though the wearer had simply thrown on an impeccably cut floor-length coat before slipping out the door.

In a sweet gesture, Pereira included a detailed directory of the local makers and suppliers behind the collection, spotlighting the Australian artisans and craftspeople integral to the brand’s process. At a time when fashion often speaks vaguely about “craft”, Beare Park chose specificity—and all the better for it.

The post AFW DAY ONE: MATICEVSKI & Beare Park Make Their Respective Returns appeared first on Grazia.

Spread across Sydney, day two of Australian Fashion Week saw designers explore contrasts of softness and structure, and nostalgia and futurism—sometimes within the same look. Beginning with some dramatic weather at COMMAS‘ early seaside presentation, the day was abuzz from sunrise to sunset.

If the opening day established a renewed sense of confidence in Australian fashion, Tuesday’s packed schedule proved that designers, both veteran and emerging, have so much more to offer.

From fluid tailoring and sculptural silhouettes at Bianca Spender that floated through an industrial warehouse installation to Aje’s powder-pink runway in the heart of the city, and Courtney Zheng’s triumphant solo debut, the day was a testament to the spectrum of creativity and craft of local labels.

Read on for the full runway reports from Day Two of Australian Fashion Week 2026.

AFW DAY TWO

Bianca Spender

For Resort 2027, Bianca Spender presented a collection steeped in subtle drama. Staged within a raw industrial warehouse softened by Lauren Brincat’s suspended parachute installation, the show explored the tension between structure and surrender.

Prior to the show, Spender described the collection as an exploration of “quiet rebellion”, and there was something deeply appealing about the restraint of it all, where movement, proportion and texture spoke for themselves. Tailored column silhouettes dissolved into liquid organza; crisp suiting softened against chiffon and parachute nylon; sculptural funnel necklines framed the body without ever restricting it. Clothes either delicately hugged the body or seemed to ethereally hover over it. But whether it floated, shifted or billowed, the intention behind it was palpable.

What made the collection particularly persuasive was its balance of conceptual intrigue and genuine wearability. Even the more architectural pieces, such as bubble hems, wrapped faux-leather necklines, and sheer dresses, retained an ease that felt entirely modern. Primed for real wardrobes and real lives.

In Spender’s hands, fluidity became less an aesthetic choice than a philosophy, one where vision and engineering converge with flawless execution.

Courtney Zheng

After last year’s turn within The Frontier, Courtney Zheng marked a milestone by staging her first standalone show during day two of AFW. Titled Beauty as Resistance, the Resort ’27 collection drew heavily from the Sydney designer’s memories of queer nightlife, live music and the creative communities that shaped her early twenties. Beyond its aesthetic allure, it’s a world, Zheng explained, defined by “carelessness and rebellion”.

That spirit ran through the collection with a cohesion that solidified Zheng as a force of Australian fashion. Kicking off with lace-up, club-ready minis plucked straight from Y2K moodboards, the runway demonstrated a bold evolution of her signature fluid tailoring. With sheer chiffon gowns disrupted by distressed denim, heavy silver hardware, and dramatic silhouettes that effortlessly jumped between decades, the result was a wardrobe that balanced romance with grit. There was a lived-in sensuality to the clothes, as though each look already carried stories from a long night out. Bridie Gilbert’s styling sharpened that mood further, layering moto references and vintage-inspired pieces with an instinctive looseness that made the collection feel inhabited rather than something overly constructed.

“I wanted the runway to feel like a cast of characters,” Zheng said prior to the show, and it did exactly that. Models included friends of the brand, and moved through the space with cinematic nonchalance, including an expanded unisex offering—a creative shift Zheng described as “refreshing”.

With her solo debut, Courtney Zheng offered a portrait of community, celebrating the people and places that inspire us.

Aje

Down the road from the MCA grounds, Aje transformed The Lands by Capella into a rose-tinted fever dream, where everything from the plush carpet to the walls was washed in soft pink hues. Apty named Siren, the brand’s Resort 2027 collection, was inspired by the shifting moods and textures of the Australian landscape and evoked the same awe.

Rather than leaning into the more obvious Australiana, founders Adrian Norris and Edwina Forest approached the idea with a lighter touch, exploring the interplay between ruggedness and romance through fabric and silhouette. Sculptural draping curved around the body in waves, sheer organza floated in airy volumes, while sequinned separates and tassel detailing brought a sense of whimsy with every step. Elsewhere, vegan leather and suede added weight and sharpness, grounding the collection’s softer moments with a subtle toughness.

After nearly two decades in business, what Aje continues to do particularly well is make occasionwear feel relaxed rather than contrived. Even the more dramatic dresses retained a sense of ease and play, styled with the kind of polished nonchalance and irreverent spirit that keeps global audiences flocking to Aussie brands.

Hansen & Gretel

At the Museum of Contemporary Art, Hansen & Gretel brought a slice of the South Coast to Sydney Harbour, sans the travel. For Resort ’26, titled TIDE, creative director Ainsley Hansen looked to the ocean rhythms and surf culture of her beachside upbringing, translating them into a collection that felt breezy, tactile and casually seductive.

The set quite literally leaned into the theme: ice sculptures embedded with shells and starfish lining the runway, while Gary Sinclair’s immersive soundscape ebbed and swelled like distant waves. But the collection avoided veering into costume territory thanks to its easy confidence. Ombré silk gowns shifted from shell-pink to deep mauve like the sky at dusk, washed denim came scattered with mother-of-pearl appliqué, and airy broderie pieces captured that specific feeling of throwing something on after a late-afternoon dip.

There was a softness running throughout, though not without edge. Hansen & Gretel’s signature “femininity with bite” appeared in slinky cuts, oversized accessories and crystal embellishments. The overall effect was less mermaid fantasy, more beachside nostalgia translated with a grown-up sensibility.

Alix Higgins

Celebrating six years of his namesake label—and his fifth season at AFW—the Sydney designer leaned further into the beautifully chaotic visual language that has made his work feel so singular within Australian fashion right now.

“I wanted to make something from the past,” Higgins told GRAZIA of his inspiration, though nothing here felt nostalgic in the traditional sense. Historical porcelain florals sourced from museum archives and eBay listings were digitally warped into hyper-saturated prints that appeared glitched, sampled and glowy. Working with longtime friend Daniel Faust, Higgins also created what he described as an “impossible beach”, a video-game-like print that turned paradise into something uncanny and surreal.

The clothes themselves moved between sincerity and irony with ease, as is Higgins’ gift. Colour-blocked jersey dresses, upcycled polo skirts and draped printed silks collided with Pandora charms, Nothing headphones, and smoky, teased Gibson Girl beauty looks. It shouldn’t have worked, but somehow it absolutely did.

There’s often a temptation to over-intellectualise Higgins’ work. In reality, its power lies in emotion, instinct and world-building. This season felt sharper, stranger and more self-assured than ever. In fashion, taste and skill will get you far, but it’s Higgins’ knack for world-building that pulls everyone in, and cemented him as a pillar of Australia’s new frontier of design.

The post AFW DAY TWO: COMMAS, Bianca Spender, Courtney Zheng & More appeared first on Grazia.

On the final day of Paris Fashion Week, guests arriving at the Palais d’Iéna stepped into something unexpected. For Fall/Winter 2026, Miu Miu had transformed the stately modernist interior into a mossy woodland clearing, complete with a dirt floor and the faint scent of fresh earth. It was an evocative stage for Miuccia Prada’s latest collection, which looked at the body in its larger context, exploring how small it may be in the world, yet how powerfully it inhabits it.

If recent Miu Miu seasons have thrived on playful provocation, this one felt quieter, more introspective. Clothes hugged close, rendered in washed cotton poplin, double cashmere and linen that appeared gently worn, as though already part of the wearer’s life. There was a softness to the fabrics that suggested intimacy, garments designed to be felt as much as seen.

Silhouettes played cleverly with proportion, as Prada’s work often does. Some jackets shrank around the shoulders, recalling ’90s minimalism, while coats ballooned outward in textured layers. Elsewhere, delicate dresses with 1920s-style drop waists shimmered with crystal sprays and scalloped appliqués. Even the sweetest details—bows placed like fragments of lingerie, embroidered tulle, plush shearling linings—seemed to underline Prada’s fascination with clothing that sits closest to the body.

Casting took on its own narrative. Actors including Gillian Anderson, Chloë Sevigny and Diana Silvers walked alongside runway stalwarts such as the iconic Kristen McMenamy and legendary Australian model Gemma Ward, establishing a cast that stayed true to Miu Miu’s irreverent spirit.

A focus on texture grounded some of the romance. Chunky mittens, fluffy trapper hats, rumpled leather coats, shearling trims, high-sheen neutral tones, and the brand’s cultish bubble-soled boots added a practical counterpoint to the collection’s tenderness.

After the show, Prada spoke simply: the body may be small, but it is enough. During a time that prioritises speed and keeping up, Fall/Winter 2026 celebrates the value of individuality and doing things a little differently.

The post PFW: The Body In Context At Miu Miu Fall/Winter 2026 appeared first on Grazia.

Influence, as any seasoned observer of culture will tell you, isn’t always loud, but at the 2026 Time100 Gala, it certainly was. On Thursday evening in New York City, the world’s most compelling figures gathered at Jazz at Lincoln Centre for the annual celebration of Time magazine’s definitive list of leaders, innovators, and icons, marking the event’s 20th anniversary with a guest list that served as a living snapshot of the global zeitgeist.

As actors, activists, musicians, and industry disruptors mingled with one another, they proved that power dressing can take many forms. Honourees, including Alan Cumming, Keke Palmer, Kate Hudson, and Sterling K. Brown, stepped out alongside fellow cultural heavyweights, each bringing their own personal style to the red carpet. Hosted by comedian Nikki Glaser, with performances by Coco Jones and Luke Combs, the evening’s sense of occasion was a welcome throwback to awards season.

As Time editor-in-chief Sam Jacobs noted in his letter to readers, influence resists easy measurement. But we think the style tends to speak for itself. From Dakota Johnson’s ethereal Valentino to Jennie Kim’s sculptural Schiaparelli, here are all the best looks from the red carpet.

2026 Time 100 Gala red carpet

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Last August, Zoë Kravitz, 37, and Harry Styles, 32, set the internet ablaze with a casual stroll abroad that hard-launched their romance. Though it’s unclear when the duo first connected, it seems they may already be on the way down the aisle, if a recent outing is anything to go by.

On April 21, 2026, the couple were photographed out and about in London when fans noticed that Kravitz was sporting a massive diamond on her ring finger. In the images published by The Sun, the duo are dressed casually, sipping matcha and coffee.

While nothing has been confirmed, the ring is a fairly strong indicator that a proposal has transpired.

Following their debut, a fan-shot video (see here) captured the duo walking arm-in-arm through the cobbled streets of Rome, both incognito, wearing dark sunglasses and discreet baseball caps—a coordinated look they’ve since maintained as their signature. The actress was also wearing a white mini dress and black ballet flats, while Styles wore a blue chore jacket, jeans and Dries Van Noten sneakers.

Though not much else was captured—not even enough for Internet lip-readers—their ease in each other’s company felt telling.

Kravitz was in the midst of her global press tour for her film, Caught Stealing, while Styles had been enjoying a summer of his own romantic headlines: from a Glastonbury kiss with a mystery woman in June to reported festival flirtations with producer Ella Kenny, following his split from Taylor Russell earlier that year in May.

Since then, the duo have been spotted engaging in some light PDA around the world, not shying away from photographers. And according to a source, the actress believes the singer is her “soulmate”.

According to Page Six, Kravitz has been telling her inner circle that things are very deep between the two, and that the relationship “feels different” to her others.

Last year, an insider also suggested to the outlet that the feeling was mutual.

“It’s so hard to date as a celebrity,” they said. “Harry wouldn’t have gone public with Zoë if it wasn’t anything.”

Adding further intrigue to this development is Kravitz’s called-off engagement to Channing Tatum, and her long-standing friendship with Taylor Swift, who famously dated Styles during her Red album era in 2012.

Kravitz herself recently praised Swift’s upcoming The Life of a Showgirl album as “fantastic, no skips,” suggesting the bond between the two still stands, which makes her arm-in-arm moment with Styles all the more compelling.

Since splitting with Tatum, Kravitz has also been rumoured to be dating Noah Centineo following multiple sightings of the two together in New York City, but neither party has commented on their relationship.

The post Zoë Kravitz & Harry Styles Spark Engagement Rumours With Sizeable Clue appeared first on Grazia.

There is a particular kind of shopper who can identify a GORE-TEX shell from half a block away. And in recent years, it’s safe to say that person has become increasingly visible in Melbourne. Not only on hiking trails and ski fields, but in city streets, galleries, wine bars, and the queue for a new café in the early days of winter. While it may not have been the plan to appeal so widely to metropolitan crowds, Arc’teryx, the Canadian outdoor brand whose skeletal logo has become a kind of contemporary status symbol, appears well aware of this evolution.

This week, at Chadstone Shopping Centre, the company officially opened the doors of its latest Australian flagship, a place where technical apparel and cultural cachet now comfortably coexist under one roof. Its new location is not only Melbourne’s first Arc’teryx ‘Alpha’ Store but also stands as the largest Arc’teryx retail destination in the Southern Hemisphere.

The opening arrives only weeks after the brand debuted Australia’s first Alpha Store inside Sydney’s Queen Victoria Building, signalling an ambitious new phase of growth for the company across Australia and New Zealand.

The Alpha Store concept represents Arc’teryx’s most comprehensive retail format globally. Rather than functioning simply as a place to buy jackets, the Chadstone flagship has been designed as a complete brand destination, bringing together product, education, craftsmanship, and community all in one place. 

The space itself feels expansive without being overwhelming—an atmosphere that welcomes experts and novices alike. Displays highlight the technical outerwear, as well as the brand’s extensive offering across climbing, trail running, hiking, snow sports, footwear, packs, and everyday performance apparel. Whether you’re planning an alpine expedition or simply hoping to survive a Melbourne winter in style, you’ll find a solution somewhere within its walls.

Notably, the store is not necessarily about the breadth of its product, but about the emphasis on longevity. Chadstone is now home to the largest Arc’teryx ReBIRD Service Centre in the Southern Hemisphere, an area dedicated to washing, repairing, restoring, and maintaining garments. Customers can bring in well-loved shells for technical cleaning and reproofing, receive expert repair services, or seek advice on extending the life of their gear.

In an industry often driven by newness, the proposition feels refreshingly old-fashioned—truly emphasising the difference between spending and investing. This philosophy of buying well and keeping for as long as possible aligns neatly with Arc’teryx’s broader commitment to durability and circular design, while also reflecting something increasingly valuable in luxury and performance retail: the promise that good products are worth caring for.

Another notable feature is the store’s dedicated Veilance environment, the largest of its kind across Australia and New Zealand. Veilance, Arc’teryx’s minimalist, urban-focused line, has long occupied an intriguing space between technical performance and fashion. Here, its sharply tailored silhouettes and innovative materials receive room to breathe, creating a distinct destination for customers seeking functionality without sacrificing aesthetics.

“Opening Melbourne’s first Alpha Store at Chadstone is an exciting milestone for Arc’teryx and reflects the incredible growth we’ve seen within the Victorian outdoor community,” Bianca Bernardi, Arc’teryx ANZ Country Director, said of the launch. Victoria, she noted, remains one of Australia’s most engaged outdoor markets, with strong participation across climbing, hiking, trail running, and snow sports.

To mark the occasion, Arc’teryx has embraced the celebratory spirit. Across opening weekend, the brand shared more than $65,000 worth of sought-after products with its Melbourne community, including the coveted Alpha SV Jacket, Beta Jacket, Veilance pieces, footwear, packs, and accessories. A handful of fortunate shoppers even had the opportunity to win back the full value of their purchases.

Perhaps the most charming activation, however, involves its beloved beanies. Guests were invited to exchange a pre-loved beanie for one of Arc’teryx’s iconic Bird Head Toques, a piece that has travelled an unlikely path from mountain essential to globally recognisable fashion object. The collected beanies are set to be repurposed and redistributed through a local community initiative, extending their usefulness beyond a single owner.

Even in a complicated retail landscape, the brand remains steadfast in its authenticity. Perhaps that’s why it continues to leap from strength to strength, successfully building on a world where technical excellence, sustainability, and cultural relevance reinforce one another. And judging by the crowds already gathering, plenty of people are eager to join.

Learn more or shop the latest from Arc’teryx here.

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April in fashion is not a traditionally busy time, but as we’ve come to learn, the calendar never pauses in the worlds of fashion and beauty.

With constant new drops,  partnerships that become cultural resets, and viral campaigns making their way to our inboxes, we could all use an easy way to stay on top of all the news.

Read on for all the biggest moments to be across this month.

Beauty and Fashion News for April

Miu Miu taps Gigi Hadid for 2026 Leather Goods campaign

Miu Miu’s latest leather goods campaign unfolds like a gentle rebellion against tradition. Photographed by Steven Meisel, Gigi Hadid—who has fronted the campaign four years in a row—plays the role of a modern heroine inhabiting a prim, bourgeois apartment, only to subtly disrupt it with her own poised insouciance. There’s a youthful irreverence in the imagery as she shifts between introspection and mischief, turning stillness into something livelier.

The brand’s signature Arcadie and Wander bags, rendered in matelassé leather, take centre stage in punchy and polished hues, their soft structure designed to move with the body. It’s a study in contrast, where polish meets play and heritage meets modern liberty. Proof that confidence and individuality are always the ultimate accessories.

Discover more here.

CHANEL names Pedro Pascal as its new leading man

We can never get enough of Pedro Pascal, and the fashion world has also caught onto his charm, as Chanel officially appoints the actor as House ambassador. Known for effortlessly moving between blockbuster franchises and critically acclaimed dramas, Pascal brings a distinctly human charisma to everything he touches, and his red carpet appearances are always a highlight of any Hollywood event.

After attending the Spring/Summer 2026 show at the Grand Palais—the first under Creative Director Matthieu Blazy—and attending the Oscars in Chanel, the partnership now formalises what already felt like a natural alignment. With his thoughtful, emotionally intelligent, and irreverent spirit, this partnership feels truly aligned.

The AO enters a new era with BOSS

When BOSS announced its role as Official Lifestyle Outfitter of the Australian Open from 2027, it signalled more than a sponsorship, but a deliberate step into a major cultural arena. Tennis has long been intertwined with fashion, but this partnership taps into the sport’s renewed global energy and its increasingly style-conscious audience.

The scale alone is impressive, with up to 4,000 staff, officials and ball kids dressed in the brand’s signature tailoring-inspired uniforms, creating a cohesive visual identity across Melbourne Park. Expect clean lines, refined palettes and fabrics engineered to withstand the Aussie summer. It’s a move that positions BOSS squarely at the intersection of sport and lifestyle, where performance and presentation serve equal weight.

Discover more here.

Frank Green X LANEIGE

Amid all the opinions of experts, influencers, and everyone else in between we’re exposed to regularly, hydration is a universally praised hero. And with their renewed collaboration, Frank Green and Laneige lean fully into this. After their first partnership sold out in just 36 hours, the duo returns with three new shades of Frank Green’s ceramic reusable bottle, each designed to mirror the glossy finish of Laneige’s cult-favourite lip serums.

It’s the small luxuries that punctuate ordinary routines, and by bringing the two together, the cult favourite brands tap into a broader shift towards beauty that extends beyond the bathroom shelf and into everyday life.

Discover more here.

CELINE elevates the humble lip balm

Trust Celine to turn the humble lip balm into something nearing jewellery. The latest addition to the Le Rouge Celine collection introduces eight matte-finish balms this month, including one universal and seven softly tinted shades.

Designed to deliver hydration with a barely-there veil, it offers a perfectly natural, subtly blurred colour. In fact, during some recent travel, this balm and some SPF were all I needed to carry day to day.

The formula itself blends natural-origin ingredients with black rose oil and hyaluronic acid for comfort and moisture, just as the weather begins to cause some cracks. Housed in a faceted, refillable silver case embossed with the Maison’s Triomphe emblem, the balm also feels less like a cosmetic and more like a keepsake—and easy to spot in your bag!

Discover more here.

Lucy Folk delivers a sensory journey with ‘Languages’

Lucy Folk’s latest collection feels almost spiritual in its intent, exploring language as something felt rather than spoken.

Drawing on the four elements—Earth, Air, Fire and Water—the pieces centre on radiant gold, shaped to move with the body and respond to touch. In every detail, there’s the brand’s signature sense of joyful magnetism, charmingly brought to life by its own store community starring as campaign faces.

Discover more here.

Bon Elliot has officially entered the skincare arena

Newcomer Bon Elliott has arrived with a proposition: luxury skincare grounded in dermatological precision.

Founded by Sydney-based, board-certified dermatologist Dr Bonnie Fergie alongside a family team spanning Sydney and New York, the brand blends the clinical science we need with the modern minimalism we crave. Its debut product, the Hydrating Performance Serum, centres on the patent-pending AMBR Complex—a luxurious blend of pre- and probiotics, ceramides and antioxidants designed to rebalance the skin’s microbiome and strengthen the barrier.

The result is skincare that prioritises long-term function over quick fixes, delivering hydration, luminosity and resilience in considered steps.

Discover more here.

Tod’s unveils its new Sydney destination

Italian craftsmanship has a new outpost, as Tod’s reopens its Westfield Sydney boutique with a luxurious new concept that leans into the brand’s signature Italian sensibility. Spanning over 130 square metres on level four, the space pairs Travertino marble with warm wood and soft leather finishes, evoking the intimacy of a refined home.

Alongside Spring/Summer 2026 ready-to-wear, icons like the Gommino loafers and T Timeless bag anchor the offering for new and loyal customers alike.

Discover more here.

The post All The Beauty & Fashion News To Be Across This Month appeared first on Grazia.

In the courtyard of the Cour Carrée, Louis Vuitton staged a landscape that felt both of this earth and something else entirely. Conceived by production designer Jeremy Hindle, the set transformed the historic square of the Musée du Louvre into a futuristic pastoral, part forest clearing, part sci-fi tableau, setting the scene for Nicolas Ghesquière’s Fall/Winter 2026 meditation on fashion and the natural world.

Ghesquière has long been a designer who looks forward by looking sideways, and here he turned his attention to nature, probing it not just for its beauty, but appreciating it as a design system in its own right. Mountains, plains and forests became metaphors for shape and structure, with silhouettes that appeared moulded by wind, rain and sun. The result was clothing that felt instinctive yet boldly futuristic, as though unearthed rather than constructed.

There was an intriguing sense of collage throughout, too. Animal-inspired motifs appeared on canvas and denim, while leather florals bloomed across coats and dresses, serving as sculptural appliqués. Some pieces evoked traditional dress, the kind shaped over generations by climate and labour, though translated through Vuitton’s crafted lens.

As we’ve come to expect from the Maison, craft and technology, past and future, walked hand in hand this season, with organic matter anchoring the vision. Buttons resembled polished stones; heels curved like antlers; surfaces were grooved and grained to mimic wood, but moved with surprising softness.

Accessories, naturally, bolstered the collection. The House’s heritage as a trunk maker came through in bags designed for movement and curiosity. A highlight was the return of the Louis Vuitton Noé bag, revived in its original proportions and colourway from 1932, cementing exploration as a part of Louis Vuitton’s DNA.

The post PFW: Natural Selection At Louis Vuitton Fall/Winter 2026 appeared first on Grazia.

Ariana Grande and Ethan Slater have reportedly ended their relationship after three years together.

According to Page Six, the pair quietly parted ways several months ago, with sources insisting the split was amicable. “Ariana and Ethan broke up several months ago, but they’ve remained friends since then and have nothing but respect and admiration for one another,” a source told the publication. “This wasn’t a decision they took lightly, but realised they were better off friends than in a committed relationship.”

The news arrives as Grande enters a particularly busy chapter. The singer launched her highly anticipated Eternal Sunshine tour in California over the weekend and is preparing for the release of her new album, Petal, in July. According to reports, the forthcoming record is not inspired by either the breakup or her relationship with Slater.

Grande, 32, and Slater, 34, first met while filming Wicked, in which they star as Glinda and Boq. Their romance became headline news in 2023, when reports emerged that both had separated from their respective spouses: Grande from then-husband Dalton Gomez, and Slater from his estranged wife, Lilly Jay, with whom he shares a son.

The relationship attracted intense public scrutiny in its early days, particularly after Jay publicly criticised Grande in multiple outlets, including a personally-penned essay about her divorce in The Cut. Sources close to the couple, however, maintained at the time that there had been no wrongdoing and that Slater had already separated from Jay before his romance with Grande began.

Despite the attention surrounding their relationship, though, Grande and Slater largely kept their romance out of the spotlight, making only occasional public appearances together. As recently as December, Slater shared rare personal photographs of the pair celebrating the holidays.

For now, Grande appears focused on the road ahead, with plenty in her career to keep her occupied.

The post Ariana Grande & Ethan Slater Have Reportedly Broken Up appeared first on Grazia.