For Pre-Fall 2026, Jonathan Anderson continues to recalibrate Dior’s wardrobe, translating the radical volumes of his runway debut into pieces designed for everyday wear—without losing their edge.
Courtesy of Christian Dior
The collection refines proportion rather than abandoning it. Oversized denim, cut so wide it reads like a pleated skirt, anchors the lineup and becomes the foundation for multiple interpretations of the Bar jacket: cropped, elongated, smooth, densely textured, and even reimagined as outerwear. Rendered in ultra-light, washed denim, the silhouette injects a contemporary attitude that nods to Gen Z’s love of exaggerated flares while subtly reshaping one of Dior’s most iconic codes.
Courtesy of Christian Dior
Anderson approaches the house archive obliquely. The 1948 Arizona trapeze coat informed the collection, but only in spirit: its logic dissolved into deconstructed forms, from a chocolate-brown jacket with a relaxed shawl collar to double-faced striped blanket coats fastened with hat pins. References are present, but never literal.
Craft remains central. A Bar jacket woven from multicolored ribbons and paired with pleated bloomers showcased the atelier’s savoir-faire and will resonate with admirers of Anderson’s more intellectual work. Elsewhere, original fabrications—such as a ribbed blue cardigan shaped like a tailcoat—struck a precise balance between conceptual design and commercial appeal.
Courtesy of Christian Dior
Romantic femininity, a growth driver for Dior in recent years, also found a place here. Draped silk scarf dresses embroidered with laser-cut florals invited close inspection, while slip dresses supported by stiff tulle delivered ease without fragility. Eveningwear pushed further, with voluminous gowns knotted at the hip and plunging moiré-silk styles gathered into dramatic side bows, including a pistachio-green bustier dress worn recently by brand ambassador Mia Goth.
Courtesy of Christian Dior
Throughout, Anderson’s focus is expansion rather than definition—testing ideas, adjusting scale, and building a vocabulary over time. As he prepares for his first haute couture collection, Pre-Fall 2026 signals a designer steadily shaping Dior’s future: thoughtful, exploratory, and deliberately unfinished.
Here’s an ode to simplicity, versatility and not over-complicating things — all features whose pursuit Ian Griffiths sees as “an act of courage” for a designer. “We think that because we’ve put more features on, that makes us cleverer designers, but in actual fact, maturity in design is the ability to leave them out,” said Ian Griffiths, wrapping up the walk-through of the Max Mara pre-fall 2026 collection.
Courtesy of Max Mara
The lineup he conjured was an ode to simplicity and versatility, with the creative director defining such an exercise as “an act of courage” for those in his same post, as designers often fall into the trap of over-decorating and “complicating things.”
He resisted such an urge, delivering an edited wardrobe of wearable pieces that can be easily dressed up and down, and that magnified the pragmaticism and timelessness intrinsic to the Max Mara ethos. As per his standard practice, Griffiths relied on cultural references and seasonal muses to convey these qualities. Here, he nodded to modernism and an overall maritime theme as he looked at cruise liners as the purest expression of the modernist aesthetic. Personalities like Nancy Cunard and Dorothy Parker popped on his mood board, but it was the image of the “Transat” armchair by designer Eileen Gray that stood out with its simple-looking yet technically intricate construction.
Courtesy of Max Mara
The furniture piece clicked with the pleated structure of a suit Griffiths designed during his sophomore year at the company, when he was tasked by his then-boss Laura Lusuardi to include lighter solutions in the brand’s fall 1989 collection. As result, he came up with a relaxed, one-button blazer and low-waisted slouchy pants to convey a sense of effortless elegance.
“We considered all sorts of tweaks, but in the end we decided to launch this look into this collection exactly as it was because it seems to have a perfect balance and proportion,” said Griffiths.
Courtesy of Max Mara
He leaned on the pleating technique also for the new designs, encompassing a breezy duster coat, fluid pants, pristine sleeveless blouses to wear with matching bias-cut skirts, and taffeta maxi frocks to style with chunky-heeled sandals or sleek loafers for daytime occasions. While an archival floral pattern and spots evoking portholes appeared on dresses or a whisper-thin knit, the collection was mainly made up of color-blocked pieces, the best of which were, as expected, the tailored options, such as the Olimpia blazer in a new white version, a pinstripe jersey suit and a light ecru belted coat — highly impactful even with its sparse lines and stripped-down appeal.
For Pre-Fall 2026, Rebecca Hessel Cohen delivers one of LoveShackFancy’s most expansive collections to date, imagining a woman in constant motion—romantic, playful, and unmistakably global. Her journey moves fluidly from country club lawns to Ibiza nights, stitched together by nostalgia, femininity, and a confident sense of ease.
Courtesy of LoveShackFancy
Cohen’s muse is a “global goddess,” channeling ’90s Charlotte Gainsbourg with a hint of heiress nonchalance. The result is a wardrobe that balances bohemian softness with Americana polish. Crochet pieces glow in sunset hues, while floral prints and lingerie-inspired silhouettes underscore the brand’s signature sensuality.
Preppy influences take center stage in knitwear: cherry-embroidered sweater-and-short sets, tennis-inspired looks, patchwork dresses in red, white, and blue, and chunky cable knits paired with matching shorts. New details refine the aesthetic, including the introduction of cotton piqué and subtle LSF logo embroidery worked into patchwork motifs reminiscent of classic polos.
Courtesy of LoveShackFancy
Dresses remain the emotional core of the collection. Cohen leans into embroidery and her beloved shades of pink, revisiting the original LoveShackFancy bridesmaid dress with fresh energy. Bias-cut slip dresses nod to 1930s lingerie, while Malibu-at-sunset Barbie fantasy meets Ibiza nightlife in floaty, flirtatious styles designed for travel and transformation.
Courtesy of LoveShackFancy
The brand’s global ambitions extend beyond clothing. A small capsule launching in March mirrors the prints of two upcoming fragrances, while a new London boutique in Chelsea signals LoveShackFancy’s growing international footprint. Pre-Fall 2026 captures a woman who travels light, dresses romantically, and leaves a trail of pink wherever she goes.
Mona May on Storytelling Through Clothes: From Clueless to a Lifelong Creative Journey
“I think passion is very, very important”
“People talk too much about it or not enough, but i think you have to be passionate about what you do, because this is not an easy job” is what Mona tells me when describing her role as a costume designer.
“It’s a very different job. You live like a gypsy a little bit”.
Rewind a month: Mona and I start talking through Instagram shortly after her book “The Fashion of Clueless” launched, she will start travelling soon for its tour but we are able to arrange a call.
“I’m exhilarated and exhausted at the same time. It’s been so wonderful” is how she is describing it so far when we talk.
Mona May has had a very extensive career working in the film industry
With 70+ movies behind her, Mona May is a renowned costume designer, mentor and now book author who aims to share her passion and knowledge with the creatives of tomorrow. Born in India but raised between Warsaw and Berlin, her European background is part of what helped her stand out in the fashion scene. She exploded onto the scene when Clueless (1995) was released, a film acclaimed by the critic and that marked fashion for good.
Today we sat together – at a 9987km distance – to dive into her journey, her works, the lessons she learnt and discuss her new book released this October.
“We as costume designers, we are storytellers” – Mona May
Mona May in her L.A. studio.
Having worked more than 30 years in the industry Mona has had enough time to find her own definition of costume designing and grasp the facets of this role. “We as costume designers, we are storytellers. We tell the story with the costumes and the looks, who the characters is” she says “Are they happy? Are they sad?”.
For Romy and Michelle’s high school reunion she tells me how by blending her and the director’s vision of the characters she was able to differentiate the protagonists’ styles “Michelle was the feminine. she was the designer. She was a little bit more flamboyant. So there was more pink, there was more glitter, there was more jewellery”. On the other hand Mira Servino’s character was more masculine which reflected in the colours and cuts chose for her outfits “There was a lot of blue and burgundy and maybe less crazy accessories, kind of keeping her simple”.
A shared line of thinking was also applied in Clueless specifically for Cher’s wardrobe. And Mona’s face lights up when we mentioned the plaid yellow suit.
Alicia Silverstone’s ‘Clueless’ suit
“Oh my god i love that. It was so fun, because you know I didn’t know what colour we were going to have for Alicia”.
They knew it was going to be a suit, because of course Cher, born and raised in Beverly Hills would have worn only designer. They also had to take into account the setting of the scene. Outside, in the chaos of a school entrance, they needed a bright colour in order to make the character stand out.
Yellow was not the first choice, as she tells me it doesn’t usually go well with blondes. Nevertheless when she saw the Jean Paul Gaultier suit something inside told her to buy it anyway. The fitting displayed other two alternatives: a blue suit which “it’s beautiful, just doesn’t have this pop” and a red one, dismissed because it resembled too much the Christmas colour palette.
“And here comes the yellow. Alicia puts it on, and it was just so beautiful. In this moment when she puts it on, it was like a ray of sunshine”.
“It’s a great story, because i think for the costume designers our there, you have to understand it’ not just “oh, I’m going to put Alicia in a yellow suit. It doesn’t work that way. It’s a process” – Mona May
Teamwork, patience and quick-wittedness seem to be on the agenda for a costume designer. Reason why passion has to lay at the heart of your moving force. “I have to get up at 5 in the morning. I have to travel a lot. So i think that being passionate enough to be like – ok this is more important to me than anything. I love this, I’m going to get up at 5 – “
But as well as passion, strength of character in navigating exacting actors and demanding directors is central to translating a vision into reality.
“I can fight for some things and sometimes i have to let go of some things and be happy”. She explains to me.
On set her job comprehends as well taking into account the budget and the practicality of the designs when worn. While working on Enchanted, she often had to find a middle ground with the animators, as what fits animation does not always work on real life actors.
“For example, there was a character the sidekick of the prince, which is like a bigger guy and he’s starting to draw and they are putting mini shorts and I’m like no, my actor is 250 pounds. He can’t be running around New York City”.
Overall the thing that she highlights the most when I ask her about the lessons she learnt is being true to your self. “Work on yourself and who you are as an artist. So that can be more and more of your essence to bring into each project. That’s why you get hired, because you have something to say, you have a signature”. But in a fast changing industry finding inspiration can be challenging, especially if you are required to find it for work and with a deadline on the way. What she finds helpful is meditation in order to come back to herself and checking in with her feelings. “Am i too stressed? Do i have enough sleep? Where am i? I kind of also have a bigger picture of things”
“You have to step away and and kind of see, ok, this is just a shirt”.
The Fashion of Clueless – Celebrating the 30th year’s anniversary of the film
As I write Mona is probably on the road travelling between LA, Europe and the States to share her new work: “The Fashion of Clueless” a look book created in honour of the 30th years of Clueless and assembled with behind the set images, exclusive insights on the designing process and interviews from cast members.
Working on a book it’s definitely a new experience, but you can hear it from her tone and enthusiasm how much the world of Clueless impacted her life and how passionate she is about this movie.
Images from Mona May’s book
“I never left the world of Clueless. I lived it all my life” she tells me when we talk about how it felt re-immersing in the movie. “That moment in our lives really bonded us because after the movie came out we all became famous”. Heckling (the director) and May arleady worked together on a pilot but for some actors like Paul Rudd the experience on Clueless was the first on set. Therefore there was a very light hearted atmosphere on set, which she describes as fun and joyful: core adjectives for how she also wants the book to be described as “I hope this also inspires people to wear fun clothes and look at their own wardrobes and see maybe if they can do something more colourful”.
Available on Amazon and distributed in bookstores her book is the project that’s keeping her busy these days, nevertheless through the tour she is also able to fuel another passion of hers: mentoring.
With interviews in school and sets she is able to get into direct contact with the younger public who looks up to her.
“You want to inspire people with who you are” – Mona May
“What has fashion taught you about yourself?” I ask her before our goodbyes.
“To be my self. To really express my self”
“Now everything is changing in fashion. With technologies, different designers go to different houses and they create the new ideas. But then I think in the end, you have to really filter it through yourself. Who are you? You don’t want to be a fashion victim. You want to inspire people with who you are”.
Advice i find to be extremely coherent with who Mona is, because the vibrant colours she wears perfectly reflect her enthusiastic and passionate personality.
For the costume designers of tomorrow, the lesson is simple: when fashion lives in your bloodstream, you are not just creating – you are becoming. Wear that becoming unapologetically.
For more insights on Mona’s journey, advices and practical lessons…
The full interview (40+ minutes) is available on YouTube under Fiammausa and Rebeccakrizman.
We cover topic such as:
What does the role of a costume designer comprehend
Practices to find inspiration as a designer
Experience on the sets of Clueless, Romy and Michelle and Enchanted
Rocco Iannone looked to London for Ferrari’s Pre-Fall 2026 collection, drawing inspiration from the brand’s first flagship opening in the city this spring and from a distinctly British cultural canon. His mood board fused royalty and music legends—Princess Diana, a young Queen Elizabeth II, David Bowie, John Lennon, Jamiroquai, and Twiggy—filtered through Ferrari’s sleek, performance-driven lens.
Courtesy of Ferrari
The collection unfolded in three seasonal drops, moving from light fabrics and brighter hues to richer textures in wool, flannel, and shearling. Throughout, Iannone’s focus on garment architecture remained sharp. A body-skimming cashmere jersey dress with precise pleating exemplified this approach, engineered with discreet side zips to ensure ease without sacrificing sensuality.
Fluidity and function defined the range. Silk handkerchief dresses in bluish purple gave way to technical cotton and denim jackets trimmed with leather, corduroy pantsuits, and shearling bombers, including a standout version treated with a crackled, glazed finish. Innovation surfaced in materials as well: wool was blended into Ferrari’s proprietary Q-cycle fabric—derived from recycled tires—softening its feel while elevating its refinement.
Courtesy of Ferrari
Classic British codes were subtly reworked. Prince of Wales checks appeared blurred across tailored pantsuits and pencil skirts, while shirtdresses and blouses featured prints inspired by Officina Ferrari tools. The workshop motif extended to boiler suits and blousons, detailed with tiny bolt rivets on denim shirts.
Courtesy of Ferrari
Accessories reinforced the collection’s momentum. Bags continued as bestsellers, led by the La Ferrari Dino and Ferrari GT soft bags. Sequined brooches shaped like the Prancing Horse added a restrained flash of whimsy. A palette of neutrals, rust, burgundy, and petrol grounded the looks, balancing heritage references with Ferrari’s modern, performance-led elegance.
Valentino Pre-Fall 2026: A Return Marked by Restraint
Alessandro Michele’s Pre-Fall 2026 collection for Valentino reintroduces the Rockstud—but through a distinctly Michele lens. The house’s iconic hardware, long associated with Pierpaolo Piccioli and Maria Grazia Chiuri, now appears sharper and more architectural: think elongated square toes reinforced with metal caps and studs reimagined with sculptural precision.
Courtesy of Valentino
Michele approached the Rockstud cautiously, allowing time to understand its significance within Valentino’s vocabulary before reshaping it. The motif’s roots in Roman architecture—the studs on ancient doors—offered the designer a tangible link to the house’s heritage, giving him permission to reinterpret rather than replicate.
Courtesy of Valentino
The season’s imagery also signals a strategic shift toward accessories, evident in nearly fifty iterations of the new DeVain shoulder bag. Yet the most profound evolution lies in the clothing. Michele, known for maximalist exuberance, pivots toward a more reductive language. “I’m in a phase where absence feels decorative—like I’m creating the negative of my maximalism,” he explained. The result is a disciplined approach that reframes volume, texture, and proportion without abandoning his cinematic signature.
Courtesy of Valentino
Silhouettes nod to the 1980s through saturated color-blocking, liquid silks, and assertive shoulders. Prints grounded in archival patterns keep the collection tethered to Valentino’s identity, while contrasting weights—lingerie-inspired slips layered under structured leather—create clear, readable looks. Essential tailoring appears in lightweight black-and-white tweed, crisp poplin shirting, linen suiting with scalloped edges, and a taffeta gingham skirt suit accented with a pleated front.
Courtesy of Valentino
Eveningwear remains the lone arena where Michele allows himself full flourish. A dreamy cascade of tulle, embroidery, and sequins showcases the house’s couture discipline, providing a counterpoint to the season’s newfound restraint.
Ferragamo Pre-Fall 2026: Quiet Luxury With a Twist
Maximilian Davis continues to energize Ferragamo with a focused, quietly daring vision—elevating essentials through meticulous cuts, sumptuous materials, and subtle distortions of the everyday.
For Pre-Fall 2026, leather remained the anchor of the collection, expressed through standout pieces like a deep-burgundy reversible shearling jacket and a fluid trench in the same saturated tone. Tailoring held equal weight: a military-green suede safari jacket for men, languid wool dresses with knot-tied leather accents, airy knitwear, wide pleated trousers, and low-slung tube skirts all spoke to Davis’s disciplined yet sensual approach.
Courtesy of Ferragamo
Accessories—the heart of the house—felt especially considered. Davis revisited his newly established Ferragamo staples: the Hug bag, the Soft rendered in grosgrain, and the double-flap Gancini bag elongated into sleek horizontal proportions. Oversized totes, built for real function, grounded the lineup with a sense of modern utility.
Drawing from themes introduced last season, Davis reinterpreted 1920s silhouettes and revived an archival nautical motif. Sail-inspired prints animated silk skirts and scarf dresses, while linear cotton dresses and double-face cashmere coats featured maritime button placements. Leather belts with metal-edged eyelets and rope-like ties reinforced the seafaring influence.
Courtesy of Ferragamo
Knitwear offered some of the collection’s strongest statements, particularly lightweight pieces marked by asymmetric stripes. High-waisted sailor pants in crisp cotton distilled Davis’s gift for turning wardrobe basics into something quietly unexpected—an ability echoed throughout the lineup in details like Gancini hardware embedded in navy knits or slender leather trims sharpening everyday trousers.
Louis Vuitton Appoints Chase Infiniti as New House Ambassador
Louis Vuitton has named rising American actress Chase Infiniti as its newest brand ambassador, formalizing a red-carpet relationship that has quickly evolved alongside her ascent in Hollywood.
Courtesy of Louis Vuitton
Infiniti has become one of the industry’s most closely watched new talents thanks to her breakout performance in One Battle After Another, the Paul Thomas Anderson–directed action thriller featuring Leonardo DiCaprio, Sean Penn, Teyana Taylor, Benicio Del Toro, and Regina Hall. Her role earned her Golden Globe and Critics Choice Award nominations, solidifying her status as a star to watch. She first gained attention in Apple TV’s Presumed Innocent, portraying the daughter of Jake Gyllenhaal and Ruth Negga.
Louis Vuitton’s partnership with Infiniti began in 2024, with the actress attending the house’s last two women’s runway shows and consistently choosing Vuitton for major red-carpet appearances. Most recently, she wore custom champagne-embroidered LV at the Los Angeles premiere of One Battle After Another, a look she said made her feel as though she was “living the Hollywood dream in every possible way.” At the Academy’s Fifth Annual Gala, she opted for a green garment-dyed silk-taffeta bustier gown with sculpted overstitch pleating.
Nicolas Ghesquière praised the actress’s presence and talent, noting, “I’ve watched Chase’s debut with genuine delight; she is captivating in every role she takes on. Beyond her extraordinary talent, she radiates an unforgettable authenticity.”
With Pre-Fall 2026, Peter Copping continued to recalibrate Lanvin, balancing the house’s couture heritage with a sharper focus on modern daywear and more accessible price points. The result was a confident, eclectic collection anchored in volume, knit tailoring, and quiet references to Venice.
Courtesy of Lanvin
Copping’s starting point was Jeanne Lanvin’s 1920s trip to Venice with her niece Marianne, a narrative that surfaced through black-and-white looks, Fortuny-style pleats, flashes of Venetian red, and fluid silhouettes reminiscent of Murano glass. Marbled prints, sinuous dresses, and long chain necklaces punctuated with colored glass drops subtly echoed that influence without tipping into costume.
Courtesy of Lanvin
Practicality guided the core of the lineup. Generous outerwear dominated, from blanket-cut A-line skirts that nodded to travel to voluminous coats layered over leggings or relaxed trousers. Fitted knit tailoring added structure, while commercial highlights included merino wool sweaters finished with a delicate grosgrain ribbon at the back of the neck and short Art Deco–inflected dresses trimmed with shimmering fringe.
Courtesy of Lanvin
To broaden Lanvin’s appeal, Copping introduced sharper, more contemporary notes, such as glossy black faux-fur cropped coats with plunging necklines. The aim was realism with edge—clothes that feel relevant, wearable, and current, without diluting the house’s identity. That ethos extended to accessories, where the popular Cat bag received a sleeker hardware update, replacing the historic mother-and-child emblem with a more modern finish.
MM6 Maison Margiela Pre-Fall 2026: Ordinary, Reconsidered
For Pre-Fall 2026, MM6 Maison Margiela doubled down on a familiar proposition made quietly subversive: normality as a new expression of sexiness. In a fashion landscape dominated by screens and spectacle, the label once again chose to let the clothes do the talking—injecting tension and intrigue into everyday, utilitarian staples through construction, proportion, and material play.
Courtesy of MM6 Maison Margiela
The collection revolved around elongated silhouettes and relaxed volumes. For women, vertically dropped armholes created sleeveless jackets cut so low they exposed the side of the torso, while dropped waists transformed otherwise simple looks—jeans paired with a gray sweater and coat—into dramatic A-line shapes. Chunky knits appeared to surrender to gravity, slipping off the shoulders as bulbous tops or evolving into body-skimming dresses with languid flared sleeves.
Menswear leaned into trompe l’oeil and layered illusion. A crisp khaki shirt styled with trousers and tie revealed itself to be made from fine vegan leather, while a collegiate jacket worn over a red sweater turned out to be a hybrid: a wool suiting-sleeved knit layered with a faux-fur vest.
Courtesy of MM6 Maison Margiela
These gestures reaffirmed MM6’s fluency in Margiela’s foundational language—where garments are reengineered from the inside out. They added depth to the collection while resisting any notion that the look could be replicated through vintage scavenging alone. What appeared ordinary at first glance was, once again, anything but.
