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Petite tote bag in grained calfskin leather with softly squared base, flat top handle, and interior leather tie closure.

Compact top-handle bag in waxed calfskin leather with flat handle and leather-covered button with flap closure.

Compact top-handle bag in waxed calfskin leather with flat handle and leather-covered button with flap closure.

Diamanté mesh sparkles from every angle on this dark silver maxi dress for head-turning shine. A removable flower brooch adds an elegant finishing touch.

Catching the light, fine pleating lends sculptural dimension to this strapless black taffeta top. An internal corset offers sensual support beneath its sleek, structured line. Pair with our wool silk cropped trouser for a complete look.

Lanvin took this one from Jeanne Lanvin's own travel clothes: an asymmetric cut, hemmed in fringing that moves a step behind the wearer. The knit is fine and light, so the drape stays close rather than stiff. Moon is a warm off-white, almost the colour of the yarn undyed.

Oscar de la Renta works an openwork crochet into tiers, then finishes the cotton with a silver foil that catches the light along every band. Pattern alternates with transparency down the midi length, so the skirt shifts as it moves. Handmade closely enough that no two bands read quite the same.

A hooded cape in B-Jersey double face. The cloth is a double weave in a cashmere and wool blend, a family reinterpreted by Agnona and developed in two weights, of which this is the heavier. A gold-tone zip runs the length of the front, and two deep flap pockets sit below a seam across the body.

In chocolate, the zip and the cloth share the same warmth.

Cut from Italian-woven, speckled wool, this tailored midi skirt showcases a structured silhouette with embellished floral threadwork. At the back, a dropped pleat panel in textured satin lends a unique contrast.

Alaïa's A-line trench is cut from pony-hair calfskin, the short, glossy hair lying flat and catching light across every panel. A pointed collar, raglan sleeves and a concealed button placket keep the front clean, with welt pockets set into the seams, and the body swings out from the shoulders to midi length. The rouge runs deep and even across the hide.

The Furling palette runs to earth tones, and bordeaux is the deepest of them. The Niv jacket wraps across the front with no visible closure, cut from merino shearling shorn to a short dense pile, its point collar rolling soft against the neck. In most light the colour reads closer to black than to wine.

Furling calls its sheepskins superleggeri, and the Flora shows what that buys in volume. The pile is long and softly blond, cut full length on a double-breasted front with flap pockets and a stand collar that turns up against the wind. Miele is the brand's word for it: honey, more gold than beige.

A belted cape in pure cashmere double face. The double cloth keeps a soft, full and warm hand under a cloth-like finish. A shirt collar tops a single-breasted front with a covered English placket, built with a second crepe de chine layer for lightness. Vertical front and back seams open for the tubular nappa leather belt, closed with a ring and logo-engraved metal tips.

Alaïa cuts the Vienne belt's perforation from a pattern inspired by precious lace and moucharabieh screens, worked deep and scalloped through chocolate haircalf. A thin buckle closes it at centre front. Structural rather than decorative, it reads as armour softened into lacework.

From the same stretch velvet as Alaïa's bodycon dresses, this one is cut for movement. A high funnel neck and sleeveless bodice fit close to the hip, where godets break into a skirt of deep flounces that drop to handkerchief points. The pile catches the light unevenly as it moves, which is the reason to cut velvet this way.