Found 9 results for “fashion”
## The Eastern Color Wheel Beijing Fashion Week AW2026 brings together more than 120 events across the Chinese capital, with new product launches up 75% year-on-year. The opening show featured 80 models in a visual spectacle the organizers call the "Eastern Color Wheel" — a statement about China's fashion identity that goes far beyond imitation of European houses. The defining tension this season: quiet luxury versus conceptual design. Chinese Gen Z and millennials are rejecting logo-heavy branding in favor of authenticity, sustainability, and cultural connection. The result is a generation of designers who are fusing traditional Chinese craft — embroidered heritage, Hanfu-inspired silhouettes — with frontier technology: 3D-printed latticework, AI-assisted tailoring, and sustainable fabrication. This is the split personality of Chinese fashion in 2026. On one side, whisper-quiet luxury rooted in refinement and restraint. On the other, conceptual design that treats the runway as installation art. Beijing Fashion Week is where those two impulses collide, and the collections emerging from it are unlike anything coming out of Paris, Milan, or New York. ## Why It Matters China isn't just the world's largest luxury consumer market — it's becoming a design originator. The shift from consumption to creation mirrors the broader creator-class transfer: Chinese designers are no longer interpreting Western aesthetics. They're building their own design language, exporting it, and finding an audience that values cultural specificity over global homogeneity. Beijing Fashion Week is smaller and less hyped than its counterparts in Paris or Milan. That's the point. The work here is rougher, more experimental, and less concerned with commercial viability. If you want to see where fashion goes next, watch the edges, not the center.
## The Sophomore Season Paris Fashion Week AW2026 was defined by second acts. Jonathan Anderson showed his sophomore womenswear collection for Dior inside a glass greenhouse built around an artificial pond scattered with water lilies — a set inspired by Monet and the Parisian tradition of promenading. The collection centered on 'seeing and being seen': Belle Époque ruffles transformed into mini dresses, the Bar jacket loosened into pastel knits with fluted peplums, and heritage tweeds reimagined with rippling hems. Matthieu Blazy returned with his second Chanel ready-to-wear collection at the Grand Palais, where the set resembled a playful construction site with oversized colorful cranes and a glittering floor. The translation: Chanel's historic codes made lighter, more fluid, less precious. Miu Miu closed the week as the final power move. Gillian Anderson, Chloë Sevigny, Gemma Ward, and Kristen McMenamy walked a grass-carpeted runway inside the Art Deco Palais d'Iéna, surrounded by faux-fur-lined seats and a scenography that turned the palazzo into a wild indoor forest. ## The Architecture of Fashion The real story this season was the sets. Dior's greenhouse, Chanel's construction playground, Miu Miu's palazzo-forest, Hermès at the Garde Républicaine beneath a dusky sky, Pierre Cardin projecting surreal Venetian imagery inside their flagship across from the Élysée Palace — every major house treated the runway as installation art. The collection is what you wear. The set is what you remember. The season proved that heritage houses are at their most interesting when new creative directors stop reverencing the archive and start arguing with it. Anderson's Dior doesn't look like Dior. Blazy's Chanel doesn't look like Chanel. That's the point.
The most consequential Paris Fashion Week in years. Jonathan Anderson's sophomore Dior womenswear show transformed the Jardin des Tuileries into a sun-drenched glass greenhouse, sending Belle Epoque ruffles reimagined as mini dresses alongside heritage tweeds and crystallized denim. Matthieu Blazy at Chanel stripped ornamentation to reveal precise tailoring and intellectual minimalism — rigor where Anderson offered romance. Michael Rider at Celine and the McCollough-Hernandez duo at Loewe rounded out a season defined by new creative directors finding their voice. Dior secured the top spot with $90.5M in earned media value. The collections move from romance to restraint, but the real story is a generational handover at fashion's most storied houses.
Beijing Fashion Week runs March 17-23 with over 120 events celebrating the collision of traditional Chinese craft and contemporary design. The headline theme is China Chic — ancient embroidery techniques, Qing dynasty silhouettes, and Song dynasty color palettes reinterpreted through modern tailoring. This isn't costume; it's a design philosophy that treats 5,000 years of textile heritage as living material rather than museum artifact. The tension between quiet luxury and conceptual design runs through every collection, reflecting China's broader identity negotiation between heritage reverence and global ambition.
Two brands that understand workwear as cultural artifact, clearing out their vaults. Carhartt WIP has spent thirty years translating American workwear for European club culture and street fashion. Brain Dead has spent a decade making graphics feel like punk flyers and art prints in equal measure. Their collaborations have always sold out immediately—oversized chore coats, printed duck canvas, pieces that reference both construction sites and rave flyers. This three-day archive sale brings together deadstock from both brands: past-season collaborations, sample pieces, and limited runs that never made it to retail. Pricing starts at 40% off, increasing to 60% on the final day. The real draw isn't the discount. It's access to pieces you can't buy anymore—some of which have appreciated on the secondary market. This is archival shopping as treasure hunt.
Palais Galliera presents over 350 pieces celebrating the invisible artisans of French haute couture -- from 18th-century lacemakers to Lesage, Chanel, Dior, and Vivienne Westwood. Weaving, embroidery, lace, textile printing, and flower creation. The techniques that built luxury, finally given the spotlight.
Rare prints from Richard Avedon's seminal series In the American West (1979–84), curated by his granddaughter Caroline Avedon. The exhibition presents 21 of 126 editioned images, with several pieces unseen since their 1985 debut. Shot against stark white backdrops using an 8×10 Deardorff camera, the series captures working-class Americans — coal miners, ranchers, drifters — with unflinching intimacy. A significant departure from his fashion work, these portraits reveal Avedon's ability to find profound dignity in ordinary lives.
The first-ever museum retrospective of Japanese creative director NIGO outside of Japan. The exhibition traces his trajectory from 1990s Harajuku streetwear pioneer — founding A Bathing Ape — to his current role as Artistic Director of KENZO. Visitors encounter vintage clothing, Americana collectibles, and works from his personal archive alongside pieces documenting his influential collaborations across fashion, music, and design. A definitive survey of one of streetwear's most important figures.
The most extensive UK retrospective of Lee Miller, celebrating one of the 20th century's most urgent artistic voices. Featuring approximately 250 vintage and modern prints — many never previously displayed — the exhibition spans her remarkable trajectory from sought-after 1920s model to leading avant-garde photographer. Her work moves through surrealist experiments in Paris, fashion photography, unflinching war documentation, and rarely seen Egyptian landscapes from the 1930s. Tickets £20, free for members.