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.

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.”

The post MFW: Demna’s First Runway Honours The Phenomenon Of Gucci appeared first on Grazia.

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.

At Grand Palais, the opening pulse of ‘Just Dance’ by Lady Gaga signalled that something playful was afoot at Chanel. For his Fall/Winter 2026 show, artistic director Matthieu Blazy drew on a line from Gabrielle Chanel: fashion as both caterpillar and butterfly. The metaphor proved apt for a collection that evolved, quite literally, from grounded practicality to nocturnal flourish.

Blazy began with the House’s most reliable instrument: the Chanel suit. But here it was loosened, stretched, and reimagined in a language that felt both archival and futuristic. Ribbed knits replaced rigid tailoring; tweeds were threaded with lurex and even silicone; bouclé work shirts and masculine blousons suggested a wardrobe that could drift easily between settings and time. These silhouettes traced a loose path through the Maison’s history, with echoes of the twenties and thirties, then the mid-century decades, before circling back to the present.

Gradually, the collection gathered lift. Silk jerseys and featherlight beaded knits introduced movement, while the waistline dipped lower, creating elongated torsos and languid proportions. Long sweater vests paired with pleated skirts hinted at the ease Blazy seems keen to bring to the Chanel vocabulary. No more was this visible in the colour palette, though. While Coco’s black-and-white foundations will always be ever-present on the runway, Blazy’s joyous use of colour across his now three collections is so well considered and balanced that even the most purist Chanel customer could embrace its spectrum.

Casting underscored this evolving mood. Viral newcomer Bhavita Mandava appeared alongside the irrepressible Alex Consani, while the welcome presence of veteran models reappeared in a buck against the industry’s tireless obsession with the new! new! new!

By nightfall (at least sartorially), the butterfly had well indeed emerged. Streamlined coats, sinuous dresses and iridescent embellishments glimmered under the lights, while enamel jewellery, pastel second-skin boots and playful minaudières added a surreal, almost Impressionist sheen.

After a history-making SS26 debut, it’s clear that in Blazy’s hands, Chanel remains what it has always been: sensible and fantastical at once. Clothes to live through the day in, and come alive in the night, transforming as we do.

The post PFW: Matthieu Blazy Finds Wings For Chanel Fall/Winter 2026 appeared first on Grazia.

Meghan Markle may make headlines wherever she goes, but with a well-documented instinct for dressing according to geography—often using her wardrobe to spotlight local designers—we find ourselves paying particularly close attention to her sartorial choices as she touches down in a new corner of the world.

Eight years after her last official tour with Prince Harry, the Duchess’s return to Australia has been marked by a distinctly modern royal formula: polished dressing deeply influenced by local fashion. If the 2018 tour was defined by her elevated maternity wear, the 2026 visit reads like an ode to the coastal sophistication and tonal palettes of her current surroundings.

Ahead, see all her looks from the couple’s 2026 Australian tour.

Every outfit from Meghan Markle and Prince Harry’s 2026 Australia tour

For her first engagements in Melbourne, which included visits to the Royal Children’s Hospital and McAuley Community Services for Women, the former actress channelled understated authority in the ‘Priscilla’ Dress by Australian designer Karen Gee. Rendered in deep navy with a clean crew neckline and a gently cinched waist, the piece was punctuated by six gold buttons at the bust, providing just enough ornamentation.

And speaking of shiny things, her Puffy Hearts earrings from Real Fine Studio complemented the look perfectly.

Later that day, for an appearance at the Australian National Veterans Arts Museum, she pivoted into something subtly more directional, donning a suede utility cocoon bomber and matching column skirt in khaki from St. Agni.

Underneath, the taupe Annie top by P. Johnson added a layer of soft contrast, while nude heels from Aquazzura elongated the silhouette without distracting from the suede’s texture.

On a chillier Thursday morning, she opted for something more laidback, but no less statement-making, with a graphic white t-shirt that supports Alliance of Moms, a community of mothers supporting pregnant and parenting teens in foster care. Her bootcut jeans by ROLLAS in a faded wash, white sneakers, and the ‘Lou’ coat by Friends With Frank completed the outfit.

Continuing the Friends With Frank theme, she later swapped out the jeans-and-a-tee look for the brand’s new ‘Anya’ dress in a deep khaki tone.

Featuring an elegant crew neck and chic shift silhouette, the mini was accessorised with black stockings and black pointed Manolo Blahnik pumps.

For a guest appearance on the Her Best Life podcast, the Duchess went back to her go-to outfit formula of luxe neutral sets. This one, by Australian label Scanlan Theodore, featured the Cashmere Tie Sleeve Top in Tuile and the brand’s Italian Slouchy Pant in Taupe.

The post Meghan Markle & Prince Harry Bring Their Style To Australia 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.

By this time of the year, most industries have found their footing, but across the worlds of fashion and beauty, there is little room for pause.

As the mood shifts from tentative beginnings to something more assured, particularly with fashion month and awards season behind us, it’s a time of movement that has us struggling to keep up.

So, to help keep you updated, consider this a snapshot of everything to have on your radar this month.

 

Fashion news and beauty launches

Weekend Max Mara celebrates expression with new collaborations

Weekend Max Mara’s latest Signature Capsule Collection, A Weekend with an Artist, takes a familiar wardrobe staple and gives it a painterly twist. At its centre is the Canasta trench, a longstanding house icon reimagined by five globally recognised artists: Victoria Kosheleva, Paola Pivi, Tschabalala Self, Tai Shani and Shafei Xia.

Selected by curator Francesco Bonami, each artist approaches the trench as a blank canvas. Kosheleva brings a kind of cyber-expressionist intensity, while Pivi’s rainbow stripes feel sun-soaked and playful. Self introduces her signature Infinity Flowers, Shani leans into glossy black vinyl with irreverent illustration, and Xia offers something more poetic, with watercolour motifs that explore femininity and strength. The silhouette remains unchanged, allowing the artistry to speak.

Shop here.

Adidas taps superstars for Superstar campaign

Few sneakers have managed to remain culturally relevant across decades quite like the Superstar, and Adidas Originals’ latest campaign leans confidently into that legacy. Titled “Superstars,” it stars Samuel L. Jackson alongside a cast spanning music, sport and fashion, including familiar faces such as JENNIE and Kendall Jenner, as well as James Harden and Lamine Yamal.

Set within the surreal “Hotel Superstar,” the campaign plays with the idea of time—or rather, the absence of it. As Jackson moves through its corridors, each room reveals a different cultural force, all united by the same shoe. Directed by Thibaut Grevet, it’s cinematic without being overly polished, allowing personality to take centre stage.

The collection itself follows suit, with classic black-and-white being sharpened with red accents, while apparel expands into looser tailoring, denim and even crochet.

Shop here.

Gucci unveils See-Now-Buy-Now edit for Primavera collection 

Gucci’s Fall/Winter 2026 Primavera collection arrives with disruption. Following Demna’s debut show in February, the House has introduced a see-now, buy-now edit—a curated selection available immediately, well ahead of the collection’s official July release.

Equally notable is the digital experience. Presented through a newly designed platform, the collection unfolds sequentially, inviting users to navigate it as they might a show, making it less a traditional window-shopping experience and more about discovery.

It’s a move that challenges the traditional cadence of the fashion calendar, which fits with Demna’s subversive MO. And perhaps it’s a glimpse into how fashion might be consumed moving forward…

Shop here.

Yu Mei rolls out renewed favourites with Leather ’26

Yu Mei continues to fulfil all our accessory needs with Leather ’26, a slow, considered rollout of foundational pieces delivered in monthly Editions.

Anchored in the brand’s supple New Zealand deer leather, alongside suede and lambskin, the collection builds on a modern “carrying wardrobe.” Edition 02 sees the return of the ‘Claudia’ tote in Molasses, a deep chocolate-brown, while cult favourites like the ‘Teresa’ and ‘Brooke’ reappear in soft Sand Stone, an elegant pale-camel hue.

Shot in Sydney, the campaign leans into gesture and movement, offering an elegant study in everyday utility.

Shop here.

Friends With Frank unveils its Autumn/Winter ’26 collection

Friends With Frank’s AW26 collection leans into what it does best: refining the essentials. Think softly structured shirting in versatile colourways, natural-fibre knitwear and denim, all layered with an ease that feels instinctive rather than styled.

This season, an elevated plaid and subtle injections of colour—the perfect poppy red and a deeply versatile chocolate brown, to name some—lend a fresh perspective, while on the accessories front, reworked signatures bring new depth.

It’s a wardrobe built on familiarity of tone and purpose, only sharper, more assured, and perfectly crafted for the upcoming season.

Shop here.

 

MECCA MAX launches a multitasking beauty hero

If you, too, have been attempting the ‘Nina Park lip’ without success, MECCA MAX’s new Multiplayer Mode Shaping Stick is here to provide some assistance. Intuitive, tonal, and unfussy, it encourages experimentation across eyes, cheeks, lips, and jawline, with eight versatile shades to play around with.

Its creamy, blendable formula offers a sheer, matte colour with a softly diffused finish, while the rounded tip makes precision feel effortless—Yes, even for the less steady-handed!

Shop here.

UNIQLO U fuses function and fashion with Future Layers

UNIQLO is a brand that has perfected the art of the collab, but its U collection is always a particular hit. For its latest Fall/Winter offering, designed by Christophe Lemaire and Sarah-Linh Tran in Paris, continues its cerebral approach to everyday dressing.

Drawing on the deep blues of the North Sea, this range is a study in calm, solitude and restraint. Titled “Future Layers,” it plays with contrast: merino wool against crisp nylon, soft lambswool alongside technical PUFFTECH. Silhouettes are functional yet polished, from water-repellent parkas to softly sculpted knits, all rendered in a palette of indigo, basil and plum—a perfect wardrobe addition for the season ahead.

Shop here.

Trudon marks a new chapter with a fresh scent

Renowned fragrance brand Trudon has quietly entered a new chapter under Creative Director Hugo Ferroux, whose debut scent, Figuerie, looks to the past to shape something entirely contemporary.

Inspired by the Royal Figuerie of Louis XIV’s Versailles gardens, the fragrance explores fig in duality—bright and green at first, before deepening into something earthier and more shadowed. Notes of patchouli, moss and sandalwood lend a grounding warmth, evoking wintered trees and wooden crates. Available across candles, diffusers and room sprays, it offers a refined, atmospheric take on a familiar note.

Shop here.

Antler expands on its premium Heritage collection

Luggage atelier Antler continues to refine its travel offering by introducing Forest Green, a rich evolution of its signature hue, across its Heritage Trunk and Cabin cases.

The new shade is rooted in luxury, lending depth to the brand’s clean and functional design ethos. Alongside it comes a new travel bag and a considered edit of tags and charms, designed to personalise the journey. It’s a subtle update, but it explores how even the most practical pieces can carry a sense of identity.

Shop here.

The post The Fashion & Beauty News Not To Miss This Month appeared first on Grazia.

By day three of Australian Fashion Week, momentum was still alive and well. Wednesday’s schedule leaned heavily into texture, tactility and clothes designed to showcase fabrication.

At ESSE, we saw a masterclass in restrained dressing, proving that precision and polish can still feel warm and accessible. Elsewhere, NAGNATA transformed a Darlinghurst warehouse into an immersive ode to fibre, movement and spirituality, complete with dancers, wool bales and the debut of the brand’s first-ever bags.

What emerged across the day was a broader shift within Australian fashion towards intentionality. Whether through craftsmanship, sustainability, or simply a sharper sense of identity, these designers seemed less interested in chasing trends and more focused on offering something that endures.

Read on for our favourite shows from the day.

 

AFW DAY THREE

 

ESSE

With no shortage of clothing in the world, ESSE Studios showed us what it means to dress with intention. For her latest presentation, The ESSE Editions, founder Charlotte Hicks rejected the noise and churn of trend culture in favour of something more enduring: clothes designed to actually live in.

Hicks described the collection as a response to fashion’s obsession with speed and visibility, drawing inspiration from the dandy’s relationship to restraint and control. That thinking carried through every element of the show. The room itself was pared back, with Jessica Steuart-Hoyler‘s elegant styling and Yu Mei’s timeless accessories allowing the precision of the clothes to take focus. Tailoring was elongated and structured without feeling severe; draped jersey, fluid separates, and sharply cut outerwear moved with assurance.

What made the collection resonate was its clarity of purpose. Rather than delivering disconnected runway moments aimed at pleasing the shifting masses, Hicks approached the lineup as an evolving wardrobe system in which pieces are designed to build upon one another over time. “Nothing exists without purpose,” she told GRAZIA. “At the centre of it all is the woman herself, not as a character, but as a presence. Everything is considered in relation to her, the way she moves, the way she holds herself and the space she occupies.”

 

 

NAGNATA

In a sunlit studio in Darlinghurst, NAGNATA turned a raw space into a runway for the unveiling of Movement 21, titled FUTURE = FIBRE. With this collection, co-founder Laura May Gibbs expanded the brand’s ongoing conversation about natural materials, grounding it in the idea that “what we put on our skin matters”, she explained to GRAZIA.

The show opened with dancers moving through the space in hypnotic repetition, activating the seamless knitwear through stretches, spirals and flowing gestures as Gary Sinclair’s meditative soundscape pulsed around the room. Wool bales stamped with Nagnata mantras lined the set, reinforcing the collection’s focus on fibre, tactility and connection to the planet.

On the runway, the label’s signature studio-to-street codes evolved into something sharper and more refined, but still just as effortless. Knit tailoring softened traditional structure, vegetable-dyed denim added texture and depth, while layered ribbed separates and jerseys retained the ease that has become central to the brand’s appeal. Keeping with this sentiment, EVERAU footwear grounded the looks with a relaxed practicality that complemented the collection’s quietly earthy mood.

Perhaps the most notable development, however, was the introduction of NAGNATA bags. Crafted in denim and designed with the same focus on longevity and material consciousness as the clothing, the latest offering felt like a natural extension of the brand’s growing universe.

The post AFW DAY THREE: ESSE, Nagnata & More Reimagine Modern Wardrobe Essentials appeared first on Grazia.

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.

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Awards season may culminate with the Academy Awards, but fashion’s final act actually begins afterwards. Following the ceremony at the Dolby Theatre, Hollywood heavyweights make their way to the legendary Vanity Fair Oscars After Party, an after-hours gathering that has, over three decades, become as much a part of Oscar night as the ceremony itself.

With its famous guest list spanning actors, musicians, models, designers, athletes and industry power players, the VF party’s red carpet—transformed this year into a sleek silver setting—has long offered a second fashion moment to rival the Oscars. After all, once the awards are handed out, the mood tends to loosen, and the outfits follow suit.

This year’s ceremony saw Michael B. Jordan win Best Actor for Sinners, while One Battle After Another secured Best Picture and Best Director for Paul Thomas Anderson. Now, the evening continues with a fresh round of looks, as stars swap their awards-show ensembles for something a touch more daring.

 

2026 Vanity Fair Oscars After Party

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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.

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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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