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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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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On Tuesday afternoon, the Jardin des Tuileries became, once again, a theatre for society. Commissioned in the 16th century by Catherine de’ Medici and later reshaped under Louis XIV, the garden has long been a place to see and be seen, historically enforcing a strict dress code that delineated social ranking. While today it is enjoyed in a far more liberal fashion, for his first Fall/Winter ready-to-wear collection at Dior, Jonathan Anderson leaned into that history, treating the park’s purpose as inspiration.

The Grande Allée, that axial promenade that runs through the lush greenery, set the scene. Anderson’s notes invoked Charles Baudelaire and his flâneur, conjuring a Paris of charged glances and strictly coded dress. The collection distilled those references into two recurring silhouettes: one tracing the House’s floral femininity, the other nodding to tailored masculinity. Peplumed Bar jackets flared over abbreviated skirts, while oversized checked suiting and satin-lapel dinner jackets slouched with studied nonchalance.

Many looks concealed their wit at the back—a bustle here, an unexpected swell of volume there— details designed for the passing observer. Water lilies, which were teased as a theme before the show took place, surfaced as brooches and prints, a gentle reminder of Dior’s enduring love of flowers refracted through Anderson’s cerebral lens.

If the Tuileries has always functioned as a stage, Anderson suggested that clothing remains its most eloquent script: a means of self-invention, played out in public. Only with these clothes, we’re encouraged to look a little longer.

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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.

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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.

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Jonathan Anderson’s Dior era is barely out of the gate, yet already it feels impossible to look away. Today in Los Angeles, the Irish designer unveils his first Cruise collection for the maison. Having already tackled ready-to-wear and Haute Couture debuts with aplomb, this show is poised to further piece together his vision for one of fashion’s most storied houses.

The setting alone suggests drama. Staged at the Los Angeles County Museum of Art against the newly unveiled David Geffen Galleries by Pritzker Prize-winning architect Peter Zumthor, the presentation places Anderson’s Dior in dialogue with art, architecture and Hollywood mythology all at once. Fitting, perhaps, for a designer whose work has always thrived on marrying concept with artistry.

Since taking on one of fashion’s most influential creative roles, Anderson has approached Dior with a steady confidence. From his Spring/Summer 2026 debut in Paris to his inaugural turn on the Haute Couture schedule, he has been lauded by new fans and Dior purists alike. Now, with Los Angeles as his backdrop and an Alfred Hitchcock-inflected teaser starring Alison Oliver already fuelling anticipation, Cruise 2027 promises another compelling chapter.

Watch the teaser and catch Dior Cruise 2027 show live from Los Angeles below.

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By the time guests climbed the stairs to Elizabeth Bay House on Thursday evening, Nicol & Ford had already transformed one of Sydney’s most austere colonial homes into something brimming with an intimate glamour. For their fifth consecutive Australian Fashion Week runway show, the designers took Australian artist Adrian Feint as their starting point, building on a long-held admiration for his vibrant florals, and creating a beautifully coded love letter to fantasy, performance and queer survival.

“Feint’s colour and form brought a kind of openness and joy,” founders Katie-Louise and Lilian Nicol-Ford told GRAZIA before the show, and you could feel that exuberance ripple through the rooms. Making their way down an ornate staircase, models drifted through the historic house in sculptural pannier gowns, draped chiffon and hand-painted silks, weaving between floral installations by Date Night Studio while the scent of Tsu Lange Yor’s orchid-and-galbanum fragrance, designed especially for the show, lingered in the air.

The clothes themselves masterfully balanced grandeur with eccentricity, bringing together the designers’ passion for art history and forgotten figures of resistance. Natasha Walsh’s extraordinary oil-painted gowns, which were developed through research into Feint’s handwritten patron ledgers at the State Library of NSW, were an especially compelling element. “Bringing [Walsh] into the process introduced a material language that felt entirely new to us,” noted Nicol-Ford. “We learned a great deal through that collaboration, even as it pushed and challenged how we usually work.”

Within Feint, florals not only nodded to Feint’s surrealist botanical fantasies but also took symbols once used to mark persecution in queer history and transformed them into expressions of defiance. With each look circulating the salon, a character of epic poise offered guests a close-up of what could only have been achieved with painstaking artistry and a host of talented collaborators.

Gloriously styled by Miguel Urbina Tan, Murano-glass bags, Julian Dimase’s surreal prosthetics, Phoebe Hyles’ millinery and Tobias Sangkuhl’s metalwork pushed the collection into deliciously theatrical territory. And, as expected, the beauty proved as much a highlight as the clothes, with hair creations by John Pulitano for Original & Mineral, nails by Libby May, and Pinky (Nicole Thompson) for MAC.

In their trusted hands, beauty and camp became something more tender, made palpable by a cast that truly reflected the community Nicol & Ford has nurtured.

“It feels like a lighter chapter for us,” the designers explained, “one that makes space for humour, beauty and resilience alongside the histories that continue to shape the work.”

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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.

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Headlines of sequels, prequels and remakes are fairly run-of-the-mill these days, but one project we can absolutely get on board with is the return of Practical Magic.

Starring the original Owens sisters, Nicole Kidman, and Sandra Bullock, part two of the witchy dramedy was confirmed back in 2024 by  Warner Bros., which produced the original 1998 flick. And as of today, it seems the wait is almost over, as we have the first official trailer for the sequel!

While it’s unclear if Evan Rachel Wood and Camilla Belle, who starred as younger versions of the sisters in the original film, will return, Stockard Channing and Dianne Wiest have reprised their roles as the sisters’ aunts, per the trailer.

Also joining the cast are Maisie Williams, Joey King, Lee Pace and Xolo Maridueña.

Directed by Griffin Dunne—who just so happens to be the nephew of Joan Didion—Practical Magic was adapted from the 1995 novel of the same name by Alice Hoffman.

The story follows sisters Sally (Bullock) and Gillian (Kidman), who, after losing their parents, are raised by their aunties—played by Channing and Wiest—to fulfil their inherited supernatural capabilities. Like many others, the two are navigating a family curse passed down, which inhibits them from forming healthy romantic relationships. When one of those flings turns dangerous for Gillian, the women must tap into their craft to be liberated.

Though the film itself wasn’t a critical triumph, it’s grown into a cult classic over the years, most notably for its endless sartorial, beauty, and even interior inspiration. Between Gillian’s 90s blowout, Sally’s effortless style and the rustic-whimsy appeal of the house they reside in, it makes for moodboard catnip.

Back in 2019, it was reported that HBO Max was pursuing a Practical Magic spinoff series titled Rules of Magic, based on Hoffman’s prequel novel. Nothing ever came to fruition, but this news feels much more promising.

Watch the full trailer below.

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It appears there may be a new love story quietly unfolding in Brooklyn.

Fresh from the acclaim surrounding Ryan Murphy’s Love Story: John F. Kennedy Jr. and Carolyn Bessette, actress Sarah Pidgeon has been photographed engaging in some PDA with British actor Joe Alwyn, sparking speculation that the pair are dating. Photographs published by People show the actors together in Brooklyn on Saturday, appearing relaxed and affectionate during an afternoon stroll.

According to the publication, the sighting was not a one-off. Pidgeon and Alwyn were reportedly seen together multiple times in the borough throughout the previous week, suggesting that their connection may extend beyond a casual outing.

For their latest appearance, both sported denim and basics. Pidgeon, 29, paired some low-waisted bootcut jeans with a simple white tank top, while Alwyn, 35, opted for a black t-shirt and faded baggy jeans. At one point, Pidgeon was photographed with her arm around the actor and then kissing him in a restaurant.

If the rumours prove true, the relationship would mark Alwyn’s first publicly reported romance since his split from Taylor Swift in April 2023. The actor and pop superstar dated for more than six years, keeping much of their relationship out of the public eye despite intense interest.

Since their breakup, Alwyn has remained characteristically guarded when discussing his personal life. In a 2024 interview with The Times, he reflected on the challenges of navigating a highly scrutinised separation, describing the experience as having something “very real suddenly thrown into a very unreal space”.

He also reaffirmed his commitment to privacy, explaining that he and Swift, who is set to marry Travi Kelce this July, had mutually chosen to keep the details of their relationship private and that he saw no reason to change that approach.

Neither Alwyn nor Pidgeon has publicly commented on the dating speculation, but we’re expecting to see some future sightings.

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