The spectacle of the podiums has gradually faded, at the very moment when designers have begun to be criticized for projecting dresses onto supermodels live, unleashing robot dogs or sending the Kardashians wandering around Disneyland — and all of this, let us recall, concerned only Coperni. Since then, a return to a more classic formula: mannequins who walk up and down the runway, in line. This does not mean that happenings have completely disappeared. Last season, for example, Prada only had 15 mannequins, each wearing four looks layered, for a total of 60 looks. But overall, we are indeed going through a period of recession of buzz. Is this really a bad thing? Perhaps it simply forces us to look at the clothes with more attention, to search for the surprise rather than having it appear before our eyes. And if this is precisely what you are looking for, there are still the arrivals of celebrities. At the Milan Fashion Week, Jacob Elordi loves Bottega Veneta (and Kendall Jenner). Jacob Elordi has always been an enthusiast of Bottega Veneta (he had already been photographed with his "Cassette" bag before Erling Haaland's Birkin collection became unnoticed), but attending the spring-summer 2027 show in Milan on Saturday night must have been a particularly special moment for him. Why? Because his girlfriend walked the runway. Kendall Jenner, herself a friend of the house, closed the show in a black draped dress, with dangling earrings and ballet flats, while her boyfriend, wearing a leather jacket and holding a red pocket square, watched her from the front row. The question arises: which of their wardrobes contains the most items in intrecciato? A joint campaign seems inevitable. The Devil is Dressed in Gucci. What made the success of Demna's first show at Gucci at the beginning of the year was the way he honored the brand's true customers: phone thieves wearing monogrammed banana bags to yacht partygoers in sequined mini-dresses, passing through the Milanese high society dressed in floral printed pleated dresses and carrying handle bags. The designer took this concept even further during his spring-summer 2027 presentation, staged in a replica of a Gucci store, apparently inspired by prototypes of his new boutiques. The mannequins emerged from a street projected on a screen and slipped between the windows and shelves, stopping to remove their sunglasses and admire their reflection in the mirrors, like Anok Yai, wearing an extravagant synthetic fur jacket and a sparkling mini-dress. One could also see Elsa Hosk in a wide-shouldered aviator jacket layered over a striped sweater and a collared shirt with rolled-up ankle-length pants; Rosie Huntington-Whiteley in a large fake fur coat over a black lace bodysuit and a satin pencil skirt; Candice Swanepoel in a high-neck sparkling mini-dress with an asymmetrical waist cut and a trailing belt; and Alex Consani, who was chewing gum, a much better way to display her attitude than holding a fake cigarette, which was seen too much in London, in a long-sleeved black lace dress held on the side by a crystal G-shaped clasp. These were not the smiling, coy "Angels" of Victoria's Secret, but the mean girls of fashion. "I would gladly let these women assassinate me," said Laura Hawkins, editor-in-chief of the fashion and jewelry sections of British Vogue. The show of the season? At least until now. The "nepo-baby" moment of Marni. Nicole Kidman, on the cover of the September issue of British Vogue, admitted that when she goes out to clubs in Ibiza at 1 am, she does so wearing glasses and "a small dark wig." One can only hope that somewhere in the audience of Meryll Rogge's second show for Marni, Nicole Kidman had put on a square black wig to see her daughter, Sunday Rose Kidman Urban, walk the spring-summer 2027 runway in a lilac sheepskin coat, buckle boots and a plaid mini-skirt (a "whatever passes through the head" combination, synonymous with the style of the Belgian designer). It was not the first time that Sunday Rose had walked the runway. In October 2024, Madame Prada had chosen her to open the spring-summer 2025 Miu Miu show, and she had walked the runway for the brand again the following season. One will have to wait until October 4 to find out if Nicole Kidman will also dress up to see her daughter walk the runway in Paris. A "Gossip Girl" meeting at Max Mara. Spotted in the front row of the Max Mara show? Leighton Meester and Kelly Rutherford, a.k.a. Blair Waldorf and Lily van der Woodsen the inveterate Birkin bag collector of Gossip Girl. As one might expect from the Italian house, headed by Ian Griffiths since 1987, its spring-summer 2027 collection brought together all the essential elements of an Upper East Side high-end wardrobe: light trench coats, white tailored suits and elegant asymmetrical dresses, all adorned with functional details such as multiple pockets. As for what Meester and Rutherford were discussing at the front row, sitting next to Kate Mara? "That’s one secret we'll never tell!" The house of mirrors Fendi. The writers may have been somewhat disconcerted by this mirror set that blocked their view and reflected their own image, drowsy and still under the effect of the spritz from the Bar Basso, but one thing was very clear. The bras (thin and unlined) are in vogue on Milanese runways, as evidenced by the 33 models presented by Prada, the 26 versions in double silk lace by Fendi, and the multitude of bras peeking out from unstructured shirts by MM6. Chiuri drew inspiration from the stage costumes of singer and television personality Raffaella Carrà, using her bedroom-inspired outfits as vehicles for irony, from syrupy dress-suits to sequined blouses, passing through leopard-print suits and denim undies. Simone Bellotti breaks the perfect image of Jil Sander. The past two weeks have been rather fruitful for Simone Bellotti and his team at Jil Sander. Just two weeks ago, the brand unveiled its cinematic campaign featuring Edie Campbell, praised by the entire industry; and today, the creative director presented his third collection for the house, a set that pushed Bellotti's reimagined vision of the minimalism characteristic of Jil Sander to its most captivating form to date. The strict clothing codes were both respected and deconstructed: as the show progressed, the clean lines in wool and leather were subtly wrinkled and twisted, with folds and creases giving the impression of a garment picked up and put on directly from the floor of the bedroom. The color associations were "incongruous" (shiny black satin and matte lilac, copper and duck blue) but were all the more successful. It was a collection that presented everything while subtly questioning the austere parameters of "good taste" to which the minimalism of the Jil Sander brand has long been associated, and which was all the more delicious for it. The Prada woman left home in a hurry. One can expect certain codes from a collection directed by Miuccia Prada: modest skirts, elegant heels and a certain disdain for the hairbrush. This season, the Prada woman has gone even further, completely forgetting her shirt and stepping out decisively dressed in a satin bra and beaded heels, with sunglasses askew. A true lesson in "after-party" style, the spring-summer 2027 collection presented coats left open over printed scarves serving as small tops, irregular knit sweaters left sticking out of pants, unbuttoned jackets hastily stuffed into the waistband and chaotic touches splashed over pencil skirts. At the front row, the usual army of Prada It-girls was present, including Alexa Chung, Hunter Schafer and the mother-daughter duo Uma Thurman and Maya Hawke, dressed in sequined socks and knits that seemed straight out of the wardrobe of a beginner on the path to self-destruction. At the New York Fashion Week 1001 legs at Thom Browne at Thom Browne. Thom Browne drew on 1001 legs for his spring-summer collection, sending out a real army of caterpillars before gathering them around a giant chrysalis, then transforming them into butterflies, bees, dragonflies and scarabs at the venue of the show, The Shed. The insects were everywhere: embroidered bumblebees on suit jackets, dragonflies woven into checkered coats, passing through black and red ladybug patterns and scarab wings spread over skirts and sculptural corsets. In the final look, the caterpillar finally reached its ultimate form. Probably the exact opposite of what the exhausted journalists and press attachés feel on the last day of the New York Fashion Week, but also a reminder that inspiration can come absolutely anywhere. Next time an errant scarab crosses your path, think of Thom Browne rather than recoiling in horror. OA Ulla Johnson has a green thumb. The choice of Ulla Johnson to present her show in Gotham Park, dotted with young trees and tall grasses, with the imposing Brooklyn Bridge silhouetted against the sky in the background, perfectly echoed a collection that played on the balance between tailoring and romanticism — or what the designer calls the "urban pastoral." In this story of two cities, her women wear fringed floral dresses, bold-colored suits, airy chemise dresses and trenches: pieces that could just as easily be found on a Greek island as in the Hamptons. Long committed to sustainability, Ulla Johnson also cares about the ground her models walk on. Once a meeting place for skateboarders, Gotham Park is currently undergoing a large-scale rehabilitation project by the architects of Field Operations. Ulla Johnson plans to offer 750 native plants and 12 trees for her permanent landscaping. LH Conner Ives walks across the Atlantic. "The idea of doing a show in New York has always been there, and people used to mock me a bit because I considered New York as my Paris," Conner Ives told Vogue before his debut in the United States. If this move may seem sudden, only a few months after his victory at the BFC/Vogue Fashion Fund, it is not really. The idea of appearing in New York began to take shape at the end of 2025, when Conner Ives, born in Westchester County, returned to the United States for a long stay during the renewal of his British visa. He then rediscovered this irrepressible desire to return to America. When he started preparing his London show in February, he presented his American project to Laura Weir, general director of the BFC, then to the CFDA. Both helped him to make it a reality. He named the collection "Across the Pond," multiplying references to New York: The Grill, the iconic power-lunch restaurant, the 60th anniversary of Truman Capote's Black and White Ball or Birth, the Jonathan Glazer film with Nicole Kidman. If Lila Moss and Iris Law represented the British delegation on the runway, the creator's parents, his high school art teacher and several current students were present in the audience. "I have the feeling of entering today a new stage in my career, where I am present in both spaces. For a long time, I almost thought it would not be possible," explained Conner Ives. AH The contemporary minimalism of Calvin Klein. The choice of Veronica Leoni to present her last Calvin Klein Collection in a huge brick-red, stripped and post-industrial warehouse in the West Side of Manhattan was particularly revealing. Her aesthetic indeed relies on function and restraint, on the idea of "removing everything that does not serve the work, until only the essential remains," as indicated by the show notes. An extension of her exploration of American minimalism, the collection was indeed reduced to the essentials. But a more urgent sensuality was felt in the movement of shiny silks on the body, while flashes of saffron yellow and cyan brought an optimistic note to a largely monochrome palette. Minimalist, perhaps. But certainly not austere. MS Michael Kors invites itself to the MoMA. The convergence between fashion and art has been making a lot of noise lately, especially due to the current exhibition dedicated to fashion at the Costume Institute of the Met. But for Michael Kors, the best place to observe the meeting of these two creative worlds remains a vernissage. "I like the idea of the mix of people one meets in a museum. Sometimes, it can be as interesting as the art itself," the designer said during a presentation. It was therefore in the garden of the MoMA, nothing less, that Michael Kors presented his vision of the "gallerina" contemporary wardrobe: an urban wardrobe that opposed classic black tailoring pieces to coats adorned with pictorial embroidery, dresses crossed with primary color flashes and op art stripes. As the Frieze Week approaches, it is hard to imagine a better source of inspiration. MS Alexa's New York moment. An almost unsettling atmosphere enveloped the Tory Burch show yesterday. Upon arrival, guests descended under the glass and steel towers of Wall Street to reach the Noguchi Sunken Garden, while the powerful bass of the opening theme of Shining resonated. This hardness seeped into much of the clothing: ultra-structured tailoring, subtly designed coats in matte finishes and sober tweed ensembles, like the one worn by Alexa Chung. The collection was not entirely focused on severity. "Feminine opulence meets American pragmatism," announced the show notes, with richly ornamented suits in precious hues, pleated silk dresses in the style of Fortuny and thick shiny belts coming to balance the austerity. In the end, the collection offered a vision of femininity that was both aspirational and realistic, as anchored in the need for armor as in the desire for escape — and, especially, for pleasure. MS Romeo, Romeo. The cultural richness of New York is full of mythical places, but when it comes to hotels, few possess the prestige of the Plaza. It was in the Palm Court of this grand hotel overlooking Central Park, between marble columns and palms, that Tommy Hilfiger presented his last show. A particularly symbolic place for the designer: he and his family lived there for several years. He then observed the ballet of women from the Upper East Side coming to lunch, soon joined by the young, stylish personalities of the city center on the weekends. The collection clearly leaned towards these last ones, rejuvenating the preppy wardrobe that Tommy Hilfiger has been developing for more than four decades. Boxy gabardine jackets, primary-colored rugby polos and variations full of energy around the classic poplin shirt adopted generational proportions, associated with silk scarf bags and knit ties. And these pieces were worn by the cool kids of the moment: Gigi Hadid opened the show, while Romeo Beckham closed it on Slayyyter's summer hit, "Dance." MS Happy birthday to Coach. Party hats, gifts and confetti cannons: no doubt, Coach was celebrating its 85th anniversary! For this downtown party imagined by Stuart Vevers, Elle Fanning and Troye Sivan wondered what trends they hoped would no longer exist in 85 years — waiting in line for frozen yogurt, for example. A young orchestra from the Bronx and voguing dancers had the task of recreating the festive atmosphere of Studio 54. No pressure. The silhouettes drew inspiration from Meg Ryan in the unfairly underestimated 2000 film Hanging Up, as well as from the costume worn by Stuart Vevers on his own wedding day. But the real highlight finally came from the sound system rather than the runway, with "Love Is the Message" by MFSB. AN Everything is romantic at Ralph Lauren. The ultimate chic is sometimes to walk off-schedule. On September 9, Ralph Lauren did it in his own way, with a presentation designed to "upend traditional notions of chic." At 86 years old, the quintessential American designer, who wears the varsity jacket like no one else, let himself go to his romantic side. His ambition: to imagine "a new elegance" through ways of dressing that "celebrate ingenuity, originality and character." Concretely, this gave tailoring and evening dresses, to which ruffles, feathers and fringes injected new fantasy, bouncing with each step of the mannequins as if they all had spring in their legs. The beginning of the season is always a particularly exciting moment. This intimate presentation at Tribeca, where Viola Davis, Helena Christensen, Iman and Katie Holmes were gathered, set the tone for the upcoming fashion month. AN