Photographs by Nicolas Gerardin

By NERMIN A., Editor

Paris, France - ​Céline Dion performed on stage in a custom CHANEL Haute Couture dress designed by Matthieu Blazy that pays homage to a Spring  Summer 1997 Haute Couture look she wore on the 69th Academy Awards® red carpet that same year.

About the custom Haute Couture dress

Céline Dion’s custom Haute Couture dress was handcrafted with technical virtuosity in the ateliers at 31 Rue Cambon in Paris, reinterpreting the Spring Summer 1997 Haute Couture look and evolving it by taking unique elements from the Fall Winter 2026 Haute Couture collection—embroidered muslin encasing a padded, corseted toile bustier underneath. The neckline was entirely detailed in raffia. To further bring this design to life, Atelier Montex, a Maison d’art resident at le19M, built an entire foundation of glass-crystal rhinestones, each encircled by a delicate trim of seed beads and glass bicone beads, embroidered using the Lunéville technique and needlework. Together, they create a shimmering gradient effect inspired by stardust and composed of 6,000 jewels and 5,000 beads. The dress was paired with black satin pumps created by Massaro, also a Maison d’art resident at le19M. The entire look required 1,380 hours of work.
About the High Jewellery necklace
To echo the starry-like dress, Céline Dion wore a CHANEL High Jewellery necklace, inspired by the one she wore in 1997— the COMÈTE necklace in platinum, 18K white gold and 1,080 diamonds totalling more than 67 carats. The piece is an emblematic 1932 design from Gabrielle Chanel’s one and only High Jewellery collection, “Bijoux de Diamants”.

ALL IMAGES GETTY Courtesy of YSL.

By Nermin A., Editor

Paris, France - Saint Laurent today announces the departure of Anthony Vaccarello, who led the House's creative direction since 2016. Over the past decade, Anthony Vaccarello has played a key role in Saint Laurent's development, helping to strengthen its identity and influence across the worlds of fashion and culture. Hopefully he wil replace some of the colleagues at Kering owned brands, but who will ever replace Vaccarello who gave us moments that are so much YSL.... lie his latest Spring 2027 show for the brand something which even stunned Paris, the city of Light and eternal love of late Monsieur Yves.

Luca de Meo, CEO of Kering, said: "I would like to express my sincere gratitude to Anthony for his contribution to Saint Laurent over the past ten years. Through his creative vision and exacting standards, he has contributed to strengthening the enduring influence of one of France's greatest couture Houses, as we embark on a new chapter in its history."

Cedric Charbit, President and CEO of Saint Laurent, said: “I would like to warmly thank Anthony for his ten years of dedication to the House. During his tenure, Anthony took Saint Laurent on a remarkable trajectory, elevating the House to the forefront of desirability and image, while accomplishing exceptional work both creatively and through his cultural impact.”

The House will soon announce its new creative leadership. Kering réaliséd 14,7 milliards eur in 2025.

Founded in 1961 by one of the most talented couturiers of the 20th century, Saint Laurent is one of the most prominent fashion houses in the world. Yves Saint Laurent aimed to create clothes that would set women free, borrowing elements from classic menswear like the iconic smoking or saharienne. In 1966, the designer revolutionized the industry with the first luxury ready-to-wear line, Saint Laurent Rive Gauche, offering a new elegance that conveyed youth and power. This vision was further amplified through the brand’s bold imagery, including campaigns shot by Helmut Newton and Robert Mapplethorpe, which shaped fashion history. Today, Saint Laurent has over 300 stores around the world.

All images Ritz Paris FRAME

The latest must-see collection
24 hours in Paris with Charlotte Lawrence
We invited the magnetic singer-songwriter and longtime fan of FRAME to Paris for a flying visit, wearing key pieces from our new collection. The camera captured private pauses and adventures around the city.
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Lily Brant (above) followed in her mother’s Alaïa footsteps--Vogue adds, by Practicing in Heels on a Treadmill. All images courtesy of Alaïa.

By Nermin A., Editor

Paris, France -  The Richemont-owned French Maison is undergoing a transition period following the exit of creative director Pieter Mulier, (who left to work for Prada-owned Versace), so it was up to the design studio to convey the house's essence, with a success as numerous French brands like Chanel and others did recently when they had no one as the conductor. The new collection was presented in the same surreal venue of Mulier’s swan song, the former Fondation Cartier address on the Boulevard Raspail, left bank of Paris.

This time editors lined the glass outer walls of the Jean Nouvel-designed art museum as models wove through videos projected onto curved walls.
The show by Alaïa had all its classics: the taut black Spencer jackets with small, tightly spaced rows of buttons; the sexy leather skater skirts, their pleats spiraling down like a peeled apple, and new versions of its iconic knit skater dresses in pretty colors like butter yellow and somewhat all lighter executed this time.

For her runway debut at Paris Fashion Week, Brant took a little advice from her mother Stephanie Seymour, revisited her lifelong connection to Alaïa, and found her own stride. With family supporting in Paris including her bigger brother Brant Jr, the 20-year-old exuded Parisian chic wavy hairstyle and off shoulders look that accentuated waist and shoulders in a sand hour silhouette, which the French Maison is famous for and its unrestricted movement of the body.

ZUHAIR MURAD Spring-Summer 2027 ​ 
THE NEW READY-TO-WEAR SPRING 2027 COLLECTION
 
- WHEN THE SUN WHISPERS

By Nermin A., Editor

Paris, France -  During the Paris Fashion Week, we are presented-La Dolce Vita, the summer sun, the waves… It is an escape to the Mediterranean. The new ZUHAIR MURAD Spring-Summer 2027 collection tells a story of freedom, infused with sensuality and light, and tinged with a gentle nostalgia for the 1970s.
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Between Impressionist landscapes, lush gardens, sun-drenched shores and long summer tables, the collection evokes a way of life defined by freedom, where the woman is instinctive, relaxed and sophisticated all at once. It celebrates escape and the pleasure of a summer without constraints.

Image courtesy of Jitrois.

By Nermin A., Editor

Paris, 2 October 2026 “It was a dream come true: leather as a second skin,” says Jean-Claude Jitrois, in the press notes. With P.L.A.Y., that skin steps out into the daylight. Jitrois, the Paris couture house of stretch leather founded by Jean-Claude Jitrois, presents P.L.A.Y. (Put Love All Around You), its Spring/Summer 2027 collection for women and men, on the official Paris Fashion Week calendar. Designed by Tristan Van Bruwaene and Jay Wilson under the artistic direction of Jean-Claude Jitrois, the collection takes stretch leather and suede outside.

Spring/Summer 2027 starts where a good party keeps going: outside, in the morning, with everyone still dancing. P.L.A.Y. began as a conversation, and with a simple belief that love turns up in unexpected places: on the skin, on a dancefloor, between friends, in the way a stranger looks at you. “There is no such thing as chance, there are only encounters.” The starting question was this: what would the Black Leather Ball look like in daylight? In the 2000s, Jean-Claude Jitrois threw these parties at his home on the rue de Rivoli. The dress code was leather and black, and the motto was carpe diem, for one night at least.

This season the party moves to the street and the festival field, where the sun hits the leather. After years devoted to psychomotor therapy and psychodrama, a form of therapeutic role play, Jean Claude Jitrois asked the two designers to imagine a collection that answers it in a festive, sunlit key: clothes made to P.L.A.Y. The references are personal. The team spent the summer between Barcelona, Mykonos, Tomorrowland and Paris and brought back what they lived. Jay Wilson describes the collection as “a freak mix of life snapshots, put through a washing machine until it came out beautiful.”

​The mood is indie sleaze: girls in couture and rubber boots, still dancing at a festival long after sunrise. The soundtrack is inspired by the new wave of women DJs, Charlotte de Witte and Amelie Lens among them. The multicoloured fringe dress, a nod to Bob Mackie, was made to be danced in. On the black fringe jacket, every strip of leather sits on a silk base, so it moves almost weightlessly. The embroideries show the house's technical mastery at its finest. The bolero embroidered with roses is worked in ladder-stitch openwork and comes with a matching zipped corset top. Other embroideries start from torn posters layered on city walls. Each one is embroidered and cut by hand. T

All images courtesy of Saint Laurent. 

“A light shines all the more brightly because we know it cannot be held. What passes sometimes leaves more light than what remains.” Anthony Vaccarello 

By Nermin A., Editor

Paris, France - For Summer 2027, Anthony Vaccarello explores the transformative power of gold, a color deeply rooted in the history of Saint Laurent and beloved by Monsieur Saint Laurent himself. From sahariennes, trenches and wrap skirts of Monsieur Saint Laurent’s era to the house classics introduced by Vaccarello, iconic Saint Laurent archetypes are revisited through a contemporary lens.

Lame, organza, guipure lace, mousseline, brocade, jacquard and metallic cotton amplify the collection’s golden palette, while intricate embroideries and jewelry bring an artisanal dimension to the silhouettes.
As the show draws to a close, gold gives way to black, absorbing the light it once reflected.
Discover more on ysl.com or watch the spectacular show and finale with French singer here.

All images courtesy of Montblanc.

Geneva, Switzerland — Montblanc and Ferrari celebrate pioneering design, stylistic originality, and the art of personal expression with a writing instrument inspired by the Ferrari Tailor Made Inedita world. With the new Meisterstück Great Masters Ferrari Tailor Made Inedita Special Edition, Montblanc and Ferrari write the next chapter of their creative partnership by bringing the avant-garde spirit of Ferrari’s Tailor Made Inedita design world into fine writing.

Following the introduction of the Classica edition in 2025, which focused on timeless elegance and classic materials, this second release in the collection explores a more experimental vision of the Ferrari Tailor Made program, one defined by aesthetic uniqueness, pioneering materials, and the courage to embrace the new. Both Montblanc and Ferrari share the same pursuit of quality and fine craftsmanship, as well as a commitment to technological innovation. 
​

By Nermin A., Editor

Paris, France — A Romantic and misty Christian Dior Fashion show for 2027 is again set in a fortress-like runway where models catwalk symbolically across a misty water pound, potentially the designer was inspired by this when he crossed from the British islands to the continent to take the lead as Creative Director of the Maison last year. 

​The stars ascended to the structure created in the hear of Paris just for the 15min show, including American celebrities like Rihanna and Anya Taylor-Joy, arriving at the Dior show in the Tuileries Garden that was surprisingly cloudy today in a cold light that drenched the cinematic show venue, built around the park’s octagonal basin, which was turned into a pond with steamy surface.. While the inspiration for the collection is clearly founded upon Dior archives, it signals a careful approach to be the new direction since the provocative opening shows last year for women's and men's collections by the same designer. The weather in Paris makes for an interesting backdrop for the contemporary shows and collections, highlighting the death of the seasonal wardrobe, as WWD noted earlier this year. Dior creative director Jonathan Anderson noted the for an example fall clothes will start to arrive in stores in June while this new collection will be in stores after the New year. “You’re trying to show transitional wardrobes,” he said during a preview. “I wanted clothing that worked in daylight.”

Dior has held its shows at the Tuileries since 2020, after signing a partnership with the adjoining Louvre Museum to help restore one of the largest and oldest public gardens in Paris. Originally commissioned by Queen Catherine de’ Medici, it was later redesigned for Louis XIV, the Sun King, as a place to see and be seen.
Riffing on the 18th-century codes that he’s turning into a hallmark of his Dior tenure, Anderson toyed with the idea of formal dressing with deconstructed frock coats, peplum jackets and bustle skirts in candied almond shades, Chantilly lace and metallic jacquards.
Shrunken blazers and lampshade skirts came in baby soft shearling, were mostly a deja vu from the last show just like the show venue itself was a copy paste. Anderson added cozy knits that took on sculptural shapes, and dotted Swiss ruffle skirts with long trains offered a youthful take on founder Christian Dior’s legendary Junon gown.
Dior stands now for ivory hammered silk track pants with covered bridal buttons, jeans with ribbon embroidery, and plain robe coats worn as dresses — the kind of thing that’s already available in Dior boutiques, but was less visible on the runway in his debut show last fall. 
“We’re going to get some things right, some things wrong, but then each thing that is working, we just keep building on top of,” Anderson said at the last show.
The spiral cage dresses from his recent couture show reappeared as clouds of soft pleated fabric, while menswear fabrics gave way to a trompe-l’oeil houndstooth print on hand-pleated jackets and coats.



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He reprised his Donegal tweed take on the brand’s signature Bar jacket, but made it longer and looser, while reining in the volume of his oversized jeans. With a growing emphasis on lightness, his Dior silhouette is coming into focus, though Anderson insisted it would remain a moving target.
“I’m never going to do a formula. It’s never going to be a one-look brand, because I don’t believe in that,” he said.
“It used to be that you would have permanent lines that would carry the business, where you could just be like, ‘Here’s a jacket and we’re going to run it for 10 years.’ That doesn’t work anymore — that’s all falling apart — so for me, it’s going to be about, how do we find a hand that is recognizable?” he added.
“As much as Dior is Dior, it’s going to take time to really work on the craft of it. Especially on bags, we have a long journey to go on, so it’s better to do small amounts to get them right, than doing loads and getting it wrong,” Anderson said.
It was a curiously worded admission of where luxury brands went wrong after the post-pandemic boom. As prices spiraled, an estimated 50 million aspirational consumers have dropped out of the market, according to a Bain-Altagamma study.
Will aristocratic codes speak to those who have turned their backs on luxury goods, or is it a sign that brands must now court the 1 percent? The jury may be out, but Tuesday’s show confirmed one thing at least: the sun shines on everyone.
Christian Dior Fall 2026 Ready-to-Wear Collection66 Photos