In case you missed them, we’ve rounded up our most popular stories of the week to help you stay in the loop. No need to thank us — just toast a white chocolate mocha in our honor when you’re discussing who did what over your scrambled eggs. Homepage photo: Launchmetrics Spotlight Fashionista’s …
Continue reading
Jennifer Lawrence is taking her styling cues straight from the spring 2026 runway.
Today, the actor was spotted walking in New York City, dressed for the brisk weather in a long, off-white embroidered house coat and a bright red scarf, which she wore over a white T-shirt and loose black trousers. In lieu of her recent favorite bags—among them, her zebra-printed Fendi backpack, leopard Prada tote, and Loewe bowling bag—Lawrence opted for a tried-and-true classic: a black Hermès Kelly.
Instead of keeping her bag in pristine, museum-level condition, Lawrence wore her top-handle bag with abandon, leaving the gold hardware unclasped so it hung wide open. It’s a styling choice she surely saw on Jonathan Anderson’s inaugural Dior womenswear runway just over a week ago. Anderson wasn’t alone in showing a pickpocket-friendly format: Matthieu Blazy sent the classic Chanel flaps down the runway flung open, too.
The actor isn’t the only one who opted for this styling. Earlier this month, ahead of her own spring 2026 show in Paris, Victoria Beckham toted her Kelly in a similarly nonchalant fashion. One can imagine that Jane Birkin—whose namesake bag was always overflowing and covered in stickers—would approve of both her and Jennifer Lawrence’s choices.
Mira Mikati is her florist’s best customer. “It makes or breaks my day, so I go early in the morning two or three times a week before Pilates class,” the designer said over tea at Toraya during Paris Fashion Week. She paused a beat, and added: “Once I am done with fashion, maybe I will open a flower shop with a Japanese tea place and sweets, because we don’t have that in London.”
Until Café Mira takes shape, the designer offered up a flowerbed of a collection for spring. Blooms sprouted in 3D on sweaters, a belt, and a white sundress; as sequined pansies on jammies; as bouquets of hollyhock, daisies, anemones, and magnolias arranged herbarium-style on a “Fleuriste” sweatshirt featuring some of her perennial favorites; and as negative space as laser cut-outs on a grass green shorts and top ensemble. A denim jacket had a flower stall embroidered on its back, and even a trench coat had little patches of flowers, butterflies, hearts, and clouds.
Mikati is leaning into knitwear this season, for example a handmade crochet cardigan with patches or a joyful mashup of rainbow stripes, as on a rainbow skirt turned on the bias with beaded straps (“when it’s high quality, even when it’s hot you don’t fry,” she noted). Also kawaii: an orange cashmere sweater embroidered with a little bunny wagashi like the ones served over at her favorite meeting spot in Paris. But it was the back of one striped shirt that best summed up the Mikati way of life: “Stay close to the people that feel like sunshine.”
With all this color swirling about, it’s easy to overlook the fact that Mikati has added a new hue for spring, showcased as an otherwise unadorned sundress in the very last image here. “I’ve never used red, but it’s starting to grow on me,” she said. “I find it glamorous and a really big statement, so for the first time I thought, why not?” That was the kind of one-and-done piece that makes vacation packing a breeze.
As the grand finale to the Spring 2026 season, Paris Fashion Week officially closed the curtain on the runway-filled month on Tuesday. Now that the Parisian designers have taken their final bows, we’re looking back on the standout collections from the French catwalks. Paris welcomed a stacked …
Continue reading
Bosideng Spring 2026 Ready-to-Wear
Bosideng Spring 2026 Ready-to-Wear
For their spring collection, Duckie Brown’s Steven Cox and Daniel Silver offered a melange of vintage Duckie pieces mixed with brand new ones. It’s the kind of thing that happens when you are packing and come across your old things and decide it’s time to give them a new spin. As it happens, the Duckies are indeed packing up their West Village studio up in a crate and sending it to Greece, where they’re currently in the midst of constructing their house. “Duckie Brown is definitely happening over there, and now we’ve gone from this apartment that we used to live in that Daniel bought in the ’80s and we made Duckie Brown in it, into a kind of slaughter—well that’s a harsh word—but there’s something about taking this desk, pushing everything off it, and start again,” said Cox with characteristic elan. And thus an oversized yellow suit (2016) worn with a pink blouse (new); a jacket adorned with trompe l’oeil beaded medals (2006) worn with their classic big shirt in red silk jacquard (new) and plaid trousers (2012); a gorgeous green cashmere coat (2007) worn over a paisley silk jacquard robe (new), and pink wide leg trousers (new). A red and blue patterned jacquard coat from 2014 looked just as amazing now as it did over a decade ago. All are for sale.
“The new pieces are all Duckie Brown favorites: the silk trousers, the tuxedo short, long skirt or dress, all done in crepe de chine and silk—we can’t do wool in Greece,” added Cox. They were primarily inspired by two things; the bathrobes worn by Josh O’Connor in The Durrells of Corfu; and the test swatches they painted on their studio walls in Brooklyn while trying to figure out the colors of the house in Greece. The pinks and greens from their kitchen and living room transposed into the clothes. (Frank, one of their best customers, has already taken home the kitchen-pink shirt). A terrific skirt made from a white fabric with the word SAMPLE printed on it came from their summer visit to SCAD, where they visited to advise the senior class and met a student by the name of Kaj Nielsen. “We really admired the fabric when we first met him and the next day he brought it to us, wrapped in a little bow,” Cox explained. They say home is where the heart is, but when the heart is built in to the clothes, then home can really be anywhere you want. We look forward to the next era of Duckie Brown.
My Paris show schedule started eight days ago with the two independent female voices of Julie Kegels and Hodakova, and it closed today with another, Meryll Rogge, who showed a strong and strongly witty collection of sportily layered embroidered dresses, hand knit sweaters with low-slung multi-belted leather skirts, jeweled safety-pin punctured English tweed coats for the girls, and floral/check collaged shirts, shrunken jacquard sweaters, and oversized leather jackets for the boys. (This is a loose grouping, to be clear, informed by the presentation; I mean, you know, wear from this collection what you want, whoever you are.) In a Paris season stoked with anticipation and excitement around so many (male) debuts at global luxury brands, the symmetry of that opening and closing feels encouraging and uplifting; that designers’ voices are able to be heard loudly even without all the wherewithal at their disposal enjoyed elsewhere.
Rogge, of course, is currently a one-woman juggling act, as she acknowledged at a pretty chill pre-show visit backstage. “Obviously, there’s a lot going on in my life,” she said, laughing, “what with Meryl Rogge, my work for my new knitwear brand BB Wallace, and starting as creative director of Marni. (She mentioned she, her husband, and their family have decamped from rural Belgium to Milan.) I’ve got a lot of creative outlets with which to say something; I always compare it to musicians who have the luck to play in different bands, like Damon Albarn. Sometimes as a designer you want to make different things.”
What that meant for Meryl Rogge spring 2026, she said, was that she felt that she could let herself go, and dare a bit more, a feeling spurred on by reading the late iconic downtown actor and writer Cookie Mueller’s 1990 autobiography, Walking Through Clear Water in a Pool Painted Black. Mueller’s life story gave Rogge the desire to honor the way Mueller had lived; it was an emotional, not aesthetic, homage to her. “I wanted to translate the lightness she had, even in her most difficult moments,” Rogge said. “There was freedom, and an independence, to her. I’m kind of obsessed with lightness right now,” she went on to say. “I’m not feeling things being heavy, heavy, heavy. The ultimate thing, the ultimate luxury, even if that word is complicated, is lightness.”
That impulse touched everything. It upended the usual day to night order of a runway show in favor of a whatever, it all works approach. Rogge opened with an acid lime boudoir slip and kingfisher lace peignoir layered beneath a slouchy beige trench, blithely mixing up the practicality of day with the glamour of evening, before emblazoning Mueller’s most famous line about not being wild, but wild finding her (I’m paraphrasing here) over a vividly hued satin dress with a photo print of a searing blue sky on one side, and on the reverse fucked up, bow-trimmed leather, or later, presenting a wedding dress, traditionally the closing look in an old school Paris runway show, about two thirds of the way through the lineup. “Just because you’re married it doesn’t mean life stops,” Rogge said was the point of that running order. I eyed the show’s remaining looks, all short swingy dresses—one of the major stories of the season—some of them worn with the elegant punketerie of the graphic silver chokers and bauble necklaces by Belgian jewelers Wouters & Hendrix in collaboration with Rogge. “It certainly looks like she’s still having fun,” I said to Rogge. “Maybe she chose polyamory after she got wed.”
It was the sparky attitude and woman-centric approach of this collection (even if there were 12 men’s looks in it, the most Rogge has ever done) which made it work so well. It was a singularly compelling way to bring the Paris season to an end. Rogge had recently gone to see the Girls show at the MoMu fashion museum in Antwerp, which celebrates the power of pubescent girls, and that had struck a chord with her too. “It’s not about looking to the past, but what is happening now,” she said. “And that’s interesting, because there’s not enough of that about now.” Indeed not. But Rogge, on current form, is doing a lot to redress the balance.
The Zuhair Murad woman is traveling this spring, as she often does, but this time around the journey is inward. “She’s not seeking a place but a light within,” Murad explained in his collection notes.
Sartorially speaking, the journey in search of self calls for ease of movement and, above all, serenity. Monochrome dressing drew essentially on autumnal and desert hues for day or night, for example in a safari-style jacket, jumpsuit or coat in faille treated to look like linen, or halter dresses in ocher or sunset pink. This season, Murad focused more on comparatively restrained daywear, then incorporated bohemian flourishes with a jumpsuit in cotton lace among other lightweight knits. Florals, in stylized laser cut-outs, prints, or 3D embroidery on silk tulle, were counterbalanced by crisp tailoring in cady, for example on a cropped black spencer jacket shown here with a matching miniskirt as well as a couple of looks inspired by the classic trench.
Embellished eveningwear also seemed to be led by movement, with jet black or silver sequins forming organic incrustations on transparent gowns and, strikingly, on black jackets and a cape number. Those seemed to nod to the designer’s fantasy jewelry renaissance, due around the time that he plans to move his shop, showroom and atelier up the Rue François 1er, closer to the Avenue Montaigne.
Bahareh Ardakani is expanding her vocabulary. Now that her brand, ArdAzAei, has established a foothold as one of the newest additions to the Couture calendar, it’s moving into ready-to-wear for spring and, to that end, ramping up e-commerce in the next month or so.
“I’m trying to develop a language that’s all my own, but at the same time one that simplifies couture and makes it more accessible,” the designer said during a visit to her jewel box of a showroom on the Rue Saint-Florentin in Paris. “Couture is such a dream world. It’s a special and unique part of fashion, but my mission is to dress more women for the life they live every day.”
Taking as a starting point last spring’s “Folded Sea” couture outing, Ardakani’s spring collection, entitled “Souvenirs,” drew on her own lifestyle, incorporating knitwear, denim, and shoes for the first time. Body-skimming knits in misty pastels were designed for easy layering: a structured, cropped bralette seemed destined for a younger customer. Among little tops and dresses with pretty peplums and swingy hems, a lilac number with mint-tinged godets neatly checked next season’s trends in color and shape; on the mannequin it was shown slipped underneath a cinched black biker jacket.
Given that she holds degrees in math, engineering, and gemology, it is perhaps no surprise that the designer cuts a smart trouser. This season she brought her eye for line to white GOTS-certified denim flares as well as a ready-to-wear iteration of the Artemesia couture jacket, a softly draped panel construction worn cinched with a wide belt. Thus far, that piece is the brand’s bestseller—proof enough that when Ardakani lets herself relax a little, design-wise, her client follows. A semi-couture top in draped white jersey looked like a signature in the making: exactly the kind of piece that requires ArdAzAei to strike a balance between craftsmanship, its eco-conscious commitments and the accessibility it needs to grow.