For me, it wasn’t simply about making something beautiful . It became an exploration of character, presence, and the contradictions that can exist within feminine’s essence

The idea started with something simple:

Every image hints at a life beyond the frame.

What we see is only a fragment of a much larger story.

Why editorial?

I wanted to explore this idea through an editorial lens because of how precise the medium can be.

An editorial allows you to remove the noise.

Every element within the frame has a purpose. The styling, the light, the movement, the silhouette, the expression. Nothing is there simply to fill the space.

What we emphasize, what we hide.Simply what we allow into the frame that contribute to the persona we create.

You’re deciding who we get to see.

That precision was important to me.

I wanted the concept to be clear enough simply to feel the contrast without being distracted by everything around it.

Two personas, one idea

Contrast is nothing new to the editorial and creative world.

Fashion has always explored softness against structure, light against shadow, movement against restraint.

But I wanted to use those contrasts as a way of constructing two distinct personas.

The first was built around lightness and flow.

She moved instinctively. Her gestures were slow and almost unconscious, as though she were responding only to herself.

Hair caught the light and moved with the wind. Fabrics followed the body. The styling embraced her softness but never in a way that she becomes fragile. It’s a light control.

Everything was meant to feel natural, fluid, and lived-in.

The second persona moved in the opposite direction.

Structure replaced fluidity.

Every movement was deliberate. Every pause carried weight.

The styling became more architectural. The posture more controlled. The gestures more intentional.

Light no longer softened the face; shadows began to sculpt it.

Her confidence came through precision rather than ease.

The contrast lives between the frames

I didn’t want the contrast to exist only in the styling aspect . It had to exist in the entire visual language of the editorial.

The quality of the light.

The movement of the hair.

The way the bodies occupied the space.

The silhouettes.

In the textures.

Even in the rhythm of each frame.

One persona needed space to flow.

The other needed structure to hold her.

The goal was to create two completely separate aesthetics, but most importantly enough distance between them that each could communicate a different feeling.

Soft and severe.

Fluid and controlled.

Instinctive and deliberate.

The space between those opposites became just as important as the personas themselves.

What the contrast reveals

For me, the interesting part was never deciding which woman felt more powerful.

It was understanding how two completely different visual languages could communicate the same authority.

A woman can command a room through warmth just as easily as through restraint.

She can invite attention or never ask for it at all.

She can move like water or stand like stone.

Neither expression is stronger than the other.They simply speak different dialects of confidence.

And that is what I wanted Lived-In to explore.

Not femininity as one fixed conception, but as something that can exist between opposites.

Lived-In

Perhaps that’s where the title really begins.

An image can only show us a fragment of a person.

And somewhere between all of those distractions, a persona begins to exist.

Until next time!

Yes, florals are beautiful. They bring softness, color, femininity. That whole idea of rebirth that naturally comes with spring. They mean something, and that’s exactly why they’ve stayed so present in fashion for so long.

But at this point… it feels expected.

And if there’s one thing fashion shouldn’t be, it’s predictable.

So instead of relying on prints to tell the story, it’s time to shift the focus somewhere else: colors

Color predictions

Looking at the Spring 2026 color predictions— from Blue Courage to subtle Iced Pink, it feels like two energies existing at the same time.

And this season, runways didn’t choose between the two, they leaned into both.

Blue Courage / Latex Blue

At Courrèges and Akris, the use of blue felt… precise.

Not soft, not romantic, more like something structured, almost technical. It gives control and clarity.

It’s the kind of color that doesn’t need anything else to support it. Rich in pigmentation, without being overwhelming.

Fuchsia Shot / Pink Euphoria

For Valentino, pink stopped trying to be sweet.

It became direct.

There’s something about it that feels unapologetic. Like it’s not asking to be liked, just to be seen and accepted. Because at this point, pink is always the right choice.

And that shift alone says a lot.

Jaune mousse/ Radiant Yellow

At Jil Sander and Prada, yellow didn’t scream.

It just settled in… and somehow took over the space.There’s something about it that feels effortless.

It brings light without forcing attention. It’s subtle, but impossible to ignore.

Powder Green / Mint Cream

Loewe being intentional, as always.

Refined, composed, almost reserved—but in a way that draws you in.

Green doesn’t try to stand out. It blends into the look, then slowly becomes the thing you notice the most.

Orange Pulse

At Bottega Veneta, Alaïa, and Balenciaga, color felt so alive.

No confusion, just energy.

These iconic looks gave us everything we needed: a refreshing colour palette mixed with innovation.

The kind of shade that shift an entire look without needing anything complicated. They bring movement just by existing.

Can we talk about this absolutely gorgeous Bottega jacket?

So… where do florals fit in?

They’re still there, but they’re not leading anymore.

And maybe that’s why it feels more personal. Because color isn’t something you decode, it’s something you feel and associate.

Silhouettes shaped the body this season.
But colors? Colors shaped the mood.

And maybe that’s the real evolution of spring dressing— not what blooms, but what we choose to experiment with.

Until next time!

Across New York, London, Milan, and Paris, designers moved beyond clothes as mere garments, embracing something far more expressive: shape as language. Throughout the years, we’ve seen silhouettes evolve with time, but now, garments are expected to tell a story,beyond just visual fit. They carry meaning and used as a channel to express the vision.

At Balenciaga, Loewe, and Comme des Garçons, the body was enveloped—almost erased by exaggerated volume. Rounded shoulders, inflated proportions, and cocoon-like coats shaped silhouettes, that gives a protective and expressive look. But doesn’t it feel distant at the same time?

This wasn’t about hiding, but more about redefining presence. The wearer now becomes secondary, allowing the proportions themselves to take over the narrative.

In many ways, this signals a shift toward a more open, controlled vision. For a long time, the runway felt untouchable—it was the physique that sold the look, only feeding the supermodel-centric era. Not that it was a bad thing, but we needed more. Now, that dynamic is evolving.

It’s about deciding the space and form a look will take through the fabrics, beyond who wears it and how. The human behind the clothes becomes almost irrelevant, but in a liberating sense.

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At Alaïa, the silhouette was built through a strong, architectural A-line and V-shape that carried throughout the collection. It felt grounded, controlled and intimate compared to previous seasons. The proximity of the runway brought the silhouettes closer to us, making every structure, every curve, feel more real.

It showed how staging, silhouette, and garment experimentation work together. Even with a different atmosphere, the vision stayed coherent. The silhouette became the anchor of the entire collection.

At McQueen, Jil Sander, and Courrèges, we saw a different kind of control. From sharp, powerful tailoring to long, uninterrupted lines and second-skin silhouettes.The body was either structured or refined to its purest form.

The silhouette here becomes almost discipline. Whether through strong shoulders or close-to-the-body shapes, it was more about precision and intention.Nothing feels accidental.Every line has a purpose.

At Sacai and Y/Project, the silhouette is built through accumulation. Layers overlap, garments merge, proportions shift depending on how the pieces interact. A jacket becomes a skirt, a shirt extends into a dress. Nothing exists in isolation, and it gives so much perspective.

The outline of the body feels constantly interrupted. It’s like there’s no single clean shape,just a composition of fragments.

This creates movement even in stillness. The more you look at it the more the silhouette evolves. It offers multiple visions at once.

Silhouettes this season weren’t just about aesthetics—they were about the story they told. Whether exaggerated or stripped back, each shape was about how we choose to exist in our clothes.

And maybe that’s the real art of it: not what we wear, but the space we decide to take up with it.

Until next time!

So it only makes sense that Demna would revisit those established codes through his own lens while keeping a certain continuity. Fashion houses evolve, but they don’t exist in a vacuum. At the end of the day, a brand is still a business, and part of that balance is delivering the elements people already associate with, and love about the house.

As I always do, let’s start with the foundations. The Italian house first mastered its leatherwork and craftsmanship in the 50s and 60s, building its reputation through artisanal expertise and expanding from leather goods into ready-to-wear. Gucci marked the fashion landscape with a unique visual language and signature patterns you can spot from a mile away. Jacqueline Kennedy Onassis’s chic style defined the era — sexy and composed.

After lots of controversies and family-run business drama in the 80s and early 90s, the brand completely pivoted toward extreme boldness, introducing a visual image that felt almost too clear and uncensored for that time. That’s when Tom Ford, with the help of the French stylist Carine Roitfeld, completely reshaped the brand archetype. They created this catchy, over-the-top, hyper-sexual Gucci woman that made everyone talk. Sex and provocation in campaigns, pushing all the limits. A way to catch the eye and put the name in everyone’s mouth. And it worked.

But we all know that good things still need to evolve and keep pace with the times. Demna created this perfect balance between the brand identity and what the audience is seeking today. Skin, but not too much, silhouettes and garments that let us feel the look and the whole vibe. Cause that’s what the new Gucci women is all about. In addition, the show’s energy reflected an iconic, natural sex appeal, with models like Gabriette, Amelia Grey, Alex Cosani, Kate Moss, and Meredith Duxbury completely owning the runway.

To capture exactly what I mean, we can take the first look as an example: a simple white at first sight. Stretchy, sculpting fabric that shapes the model’s body inch by inch, leaving no sign of underwear and drastically revealing whatever is beneath without being fully naked. Same imagery, interpreted differently.

Garments were ingeniously used to allow a subtle, but unapologetic body exposure. Here, the body’s sensuality exists in what we can imagine. Slick and reflective fabrics that feel undeniably sexy—not because we actually see the body, but because it suggests it. Pushing further the idea that sexiness is an the attitude, not just what we wear.

Demna’s genius creative power is exactly what the house needed: “My idea is to put Gucci back in the cultural spotlight.”— he quoted for Vogue. Instead of chasing spectacle and pushing boundaries, he focused on the bodies and expressions. He revisited the codes and reminded us that Gucci is not just fashion — it’s an embodied presence, only reclaiming its place between the younger generation and the brand’s identity.

It’s all in the details, not only the collections itself: the models, the front-row selection, the music track, the venue, the campaigns. The industry loves when a brand sets a vision and feels confident about it. Not leaving much room for critique, and slowly moving toward a more pull-driven marketing method, like some of the most performative houses.

The Gucci Jackie now comes in leather, with a cool attitude.

Until next time!

To understand why it resonated, we first have to return to the foundations. Etro has always been a house deeply anchored in its codes. Founded in 1968 in Milan by Gerolamo Etro as a textile company, the brand built its identity on fabric experimentation and a Persian boteh motif as its DNA (paisley). Etro expanded through the years with ready-to-wear collections, fragrances, and home decor. But it’s always been about fabric and print.

For decades, Etro remained family-run. That translated into constant coherence. Season after season, their textile mastery evolved into a distinct visual language. If you see a paisley psychedelic layered motif in deep tones? Very likely Etro.

The creative directior,Marco De Vincenzo sets the tone right with this beautiful Fall collection. The first looks gave powerful tailoring and a surprisingly buttoned-up manner. Soft but dark colour palette. Suggesting a maximalist that doesn’t shout way of speaking.

It felt like the more the show unfolded, the more the garments loosened up. Moving in a bouncy and effortless way through space. There was this subtle ’70s nostalgia creeping in. The slouchy silhouettes, the sheer patterned fabric made us all dream.

Wait… now I feel like I’m in this magical ’70s bohemian dream I never want to wake up from. The bounce, the texture, the perfectly controlled maximalism — it’s all there. Effortless, but intentional. Free, but still disciplined. Impersonating a politely crazy real pelage effect.

Etro is one of the houses that has kept its codes remarkably coherent, shaping this unapologetic intellectual maximalist archetype. It proves that when it comes to fashion, everything is about intention and coherence.

Until next time!

The concept was first introduced by Charles Frederick Worth in 1858 with his vêtements sur mesure, for one of his special client, a moment that permanently reshaped the fashion industry. From there, emblematic houses such as Chanel, Christian Dior, and Balenciaga carried the movement forward, presenting pieces that were powerful and unmistakably singular. Couture then became a symbol of vision and discipline.

Today, haute couture remains protected under French law. Fashion houses presenting collections under the Couture title must meet strict requirements. From made-to-measure production to atelier-based craftsmanship. But to be clear...these rules exist not to limit creativity, but to protect the integrity of an exclusive system built on time.

From spectacle to intention

Has the industry shifted from pure visual fantasy to something more restrained and thoughtful? Most of the time, collections reflect the cultural currents of their era. Take Art Deco in the late 20s and 30s, for example.Known for its sleek lines, geometric motifs,controlled elegance. A fashion world fascinated by structure and modernity. Just like then, today’s couture seems to respond less to excess and more to intention by reflecting values of the time we’re living in.

More recently, during the 60s and 70s, the pop era completely reshaped the fashion landscape. Rebellious creative minds breaking away from tradition, introducing unexpected color palettes and playful proportions that felt so radical for that time. Fashion became more graphic,less restrained. Proving that boldness and unexpected can signal true expertise.

Couture is still there, but the message has evolved

Couture still relies on exceptional craftsmanship , but the real question is: what is it communicating? With Haute Couture Week 2026 now behind us, it became clear that many houses are shifting their focus. Instead of relying on grandiose jamais vu pieces designed to impress at first glance, designers leaned more heavily into storytelling, references, and emotional depth.

This season showed us that technique alone is no longer enough. Yes, we saw innovative constructions and fabrics unlike anything we’ve seen before, crafted with an almost obsessive level of precision. But beyond the visual impact, what truly stood out was the meaning behind each look and show. Couture now isn’t just about spectacle, it’s about intention.

Haute Couture 2026 felt like a moment of alignment. A space where technical mastery met narrative.Where emotion carried as much weight as heritage techniques. For many designers, especially those making their couture debut, this season was an opportunity to demonstrate a clear understanding of what audiences are seeking today: not just beauty, but connection.

Has couture become more wearable?

The industry has clearly pivoted toward a more inclusive and accessible way of speaking. What I really mean is a shift in narrative: fashion is no longer presented as something distant or untouchable, but as something that belongs to everyone. Something that you can recognize, connect with, and even see yourself in.

Many designers have embraced this idea, translating couture codes into more familiar references and everyday gestures. Matthieu Blazy’s Haute Couture debut collection is a perfect example of this approach — where expertise remains extraordinary, but the silhouettes and materials feel grounded, almost lived-in( in the best way ).In this sense, everything becomes less about excess and more about relevance.

This year, the houses have offered a vision that felt emotional and surprisingly relatable. Instead of reinforcing the idea that couture is distant and unattainable, the collections invited us into their story.We still had grandiose spectacle, don’t get me wrong,but it felt less like a fantasy reserved for a few and more like a language that speaks to many.

We are shifting from something we admire from afar to something we can finally understand and relate to.

Until next time!

The collection draws inspiration from The Power Vacuum in Italy, a letter written by the Italian director Pier Paolo Pasolini in 1941, while he was still a student. In the letter, fireflies become a symbol of fragility, local culture, traditions, and values slowly fading away in the modern world. Their disappearance signals a deeper loss: a world that keeps moving forward while quietly erasing its diversity and human connection. That depth is exactly what makes this collection so interesting.

At its core, the vision was about dreams and representation. One of the first looks sets the tone: a mesh button-up that feels bouncy yet structured, paired with a classic pencil skirt. It’s pure Valentino in its simplicity, but with an added layer of meaning. The body is subtly visible through the fabric, like a firefly glowing through darkness. It’s giving light, presence, and vulnerability.

The use of mesh throughout the collection was particular. Michele leans into embroidery that he does so well, layering it over sheer and fluid materials that move effortlessly through space. The garments don’t just exist on the body— they interact with it, responding to motion and light in a way that feels so relevant and intentional.

Then there are major moments like this solid, transparent top that plays with slouchy ease while imposing a precise silhouette. Accentuated shoulders, controlled ruffled sleeves. Constant softness mixed with structure.

That said, I don’t often interpret this way, but this collection also leaves room for critique. While the concept is rich and playful, it doesn’t always feel pushed to its full potential. The core codes of Valentino are clear and beautifully present — but many of the looks feel familiar, relying on styling rather than real creative transformation. Given the emotional weight of the reference here, there were moments where a deeper risk could have elevated the narrative even more.

Still, Fireflies remains such a thoughtful and poetic collection. It asks us to slow down and question what we choose to preserve in our world.

I’d love to know how you experienced this collection. Did it resonate emotionally, or did you expect something more radical from the vision?

Until next time!

1. The Design Museum- Fashion Evolution

I’ll start with the classic, the one that maps out every major and historic moment in the fashion industry from the 1950s to the 2000s. This book is the perfect entry point for building strong references and understanding the foundations of the major fashion houses that started it all. It breaks down key facts and insights in a way that feels accessible and never overwhelming. So easy to read and endlessly informative . I call it my fashion bible.

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Under creative director Daniel Roseberry, the house’s surrealist legacy has been fully revived. He taps into Schiaparelli’s obsession with gold accents and fearless silhouettes, adapting them for a modern audience that craves drama with intention. Roseberry also made history as the first American to lead a French couture house. His vision quickly translated into cultural moments, dressing some of the most influential women of our time, such as Beyoncé, Michelle Obama, Lily Collins, Kim Kardashian and Lady Gaga.

This season, there was no dream, no spectacle, just dangerous and quiet elegance. The use of black, white and gold paired with sculptural cuts was magical, especially with those meticulously crafted holes that felt controlled and so intentional.

This playful tension between see-through and solid created a true moment with these beautiful dresses, delivering a perfectly unexpected look and a subtle nod to the house’s iconic 1938 collaboration with Salvador Dalì.

Then came these sheer,draped, breathtaking suits, balancing sensuality with the authority of traditional tailoring. The structure of the suit remains intact, but the transparency softens it while creating that quiet mysterious sex appeal. Perfectly paired with gold light-up accent jewelry. Futuristic and powerful.

As Elsa Schiaparelli once said: “A woman must be seen, but not necessarily understood.” This collection reflected that philosophy perfectly, translating it into a modern language that feels for the first time , truly wearable. The fantasy is still there, but delivered with a quiet confidence that feels very now.

Until next time!

If we go back in time, Hubert de Givenchy was designing in his prime more than 50 years ago, famously bringing men’s shirting into women’s couture in his very first season. That was his big disruptive move. But women’s lives then and women’s lives now could not be more different. So… would it really be so terrible to trust a designer with a new idea?

I mean, to be fair, there were some nods to Hubert’s past: the men’s shirting he introduced in 1952 shows up again here, reinterpreted in today’s language.

A lot of bold, loud jewelry makes an appearance throughout the collection. Huge statement pieces that almost steal the entire show.

Additionally, Sarah is really showing off her sophisticated side this season. Amongst all the flashier and spicier looks, you see her slipping in that sharp and fluid tailoring she does so well. Precise structures paired with sensual draping. Givenchy spoke a new language of womanhood.

They came two times in the show, and the amount of time it took me to fully understand these deconstructed suits is actually insane. What they’ve done is split the blazer straight down the back, and the two sides of the slit flare out at the shoulders.

The original shoulder spot basically becomes a resting point for the elbow… like what? And then there are these straps that allow the perfect open sculptural moment. It’s insane.

The balance of the feminine detail is unreal with these delicate strap bralettes.

Until next time!

Saint Laurent’s core DNA has always been power, sensuality and that signature cool elegance you can spot from a mile away. Over time, the house has built its universe around the unapologetic cool girl archetype, the one who walks like she already knows what’s going on. The creative director Anthony Vaccarello, keeps the flame alive by interpreting its codes for the 21st century and recharging the brand’s identity.

The first looks definitely reflected that core. Pencil skirts, massive jackets with sharp tailoring. It’s sexy in it’s own way, it’s tough and provocative.

We then saw these windbreaker trench coats.Vibrant, colorful, and unapologetically alive. The filmy, shiny, mesh nylon material almost tells its own story, catching the light in a way that feels almost nostalgic. There’s this playful transparency to it. You can see what you can’t quite see, creating a mysterious elegance that keeps your eyes locked in.

It’s the kind of fabric that doesn’t just move, it whispers.

These somewhat transparent dresses!! Still giving us that suggestive idea.

Then came the gowns. Dramatic silhouettes with exaggerated shoulders, layers of ruffles and grandiose jewels paired with stunning earrings. It felt like the show’s visual anchor, the one detail that grounded every look and tied the whole narrative together.

Each dress seems like it comes from the same idea, but they’re all different at the same time.

Again, we see that semi-transparent nylon. Apparently these are so light that you can literally ball them up and pack them like a simple windbreaker. Talk about effortless.

Until next time!

I wanted to spotlight this collection in particular because it carries so much meaning and so many layered backstories for the house. Four years after Azzedine Alaïa’s tragic passing in 2017, the brand fell almost silent, only to be revived in 2022 under the creative direction of Pieter Mulier. His first 8 collections slipped under most people’s radar, which meant we didn’t really get to meet his vision until recently.And honestly, it makes perfect sense. Azzedine was famous for presenting pieces only when he felt they were truly ready. Like??? Can you imagine that in today’s fashion cycle? Practically unheard of!

The show itself felt deeply special,almost sentimental. Every detail seemed intentionally curated: the music, the venue, the visuals, even the shape of the runway. A massive mirrored ceiling reflecting the screen on the floor, creating this surreal and immersive atmosphere. It all pointed toward the futuristic and adventurous vision Mulier wanted to push with this collection.

Movement seems to be the new feature of Pieter Mulier’s Alaïa. In the show we were blessed with movement and visuals with these silk fringe knee-high socks underneath tunics. These sorts of fringe-material coats and dresses are made of macramé and actually crafted like feathers, which gives that beautiful and approachable bounce to the clothes.

The standout winner in the movement-excellence category is definitely this look:

These asymmetric skirts covered in the heaviest tassels you’ve ever seen—when the model walks, the weight of them whips the corner of the dress and creates this intentional movement. Spectacular!!

Flounces add volume ,rather than movement to the waist of this pair of balloon pants, which are wide open at the legs and barely cling to the model’s ankles. It’s such a fresh and almost rebellious take on the silhouette. Alaïa has been exploring balloon pants for over a year now, but never quite like this.

And lastly, I have to talk about the most discussed moment of the entire collection.The one that sparked all the “why are we making clothes where women can’t use their hands in 2025?” discourse. But let’s actually look at the looks from every angle here. Visually, it’s unreal. Like… what in the beautiful intergalactic alien is she? From the front, it really does look like you’re inside a sculptural blob with zero arm mobility.

But then the back tells a completely different story. It’s fully backless, revealing that underneath, the models are wearing skinny jeans with their hands casually tucked into the front pockets,creating this wide-open, unexpected silhouette. It’s genius.

Until next time!