Clothing

The Valmont takes the same fluted cuff as the Illico dress and puts it on a plain long-sleeve top, so the two can be worn together or apart. The wool is knitted fine and close, and the cuffs fall open into points well past the wrist. Black leaves nothing but the shape of the sleeve.

The Valmont takes the same fluted cuff as the Illico dress and puts it on a plain long-sleeve top, so the two can be worn together or apart. The wool is knitted fine and close, and the cuffs fall open into points well past the wrist. Lacca is a hard, clear red, closer to lacquer than to wine.

Stephan Janson works fine wool the way other houses work silk, and the Illico falls straight from the shoulder to let it do that. Long sleeves finish in fluted cuffs that drop to a point, the only interruption in an otherwise unbroken line. Safran carries the whole dress on its own.

Cut close from the waist down, with seaming across the knee that borrows from riding breeches and a turned cuff at the ankle. The wool blend has enough stretch to hold the line without pulling, and the flat front is left unbroken by pockets or a fly. Khaki reads warm here, closer to a soft bark than to army green.

The Aria twists at the waist and lets the rest of the dress follow, cut in a crepe-back satin that drapes close and finishes on an asymmetric hem. A round neckline and cap sleeves keep the front quiet; the back drops to a V. Unlined, so the fabric is the whole structure. Marsh green suits its restraint.

Alaïa's tailoring follows the line of the body, and this skirt holds to it from waist to ankle. Cut from light wool in black, it runs in long panel seams below a smooth yoke, with two deep pockets set proud at the hip. Those pockets give the column its only width.

Alaïa gives the poplin shirt a sculpted flare. In black cotton, panel seams run from the shoulder and open into an A-line that falls past the hip, finished with a long pointed collar, a concealed placket and deep cuffs. Worn over slim pants, the hem swings as it moves.

Cotton poplin and rib knit meet halfway down the arm on this Alaïa shirt. The body is cut short and cinched, with a French collar, a concealed button placket and V-shaped seams at front and back, while the sleeves gather above the elbow into close ribbed knit to the wrist. In black the two textures separate by sheen alone.

Alaïa builds this short poplin shirt with a knitwear sleeve. Crisp cotton forms the body, with a French collar, a concealed placket and V-shaped seams front and back; above the elbow each sleeve gathers into a long rib knit that runs close to the wrist. White poplin makes the change of texture sharp.

Alaïa's Le Teckel at its longest and lowest: a narrow clutch in dalia pink suede, carried by two short rolled handles caught together by a leather loop. A double zip runs the length of the top, with the Alaïa signature in gold on the front and again on the hanging tag.

Alaïa's Mina tote carries the Vienne pattern, the house openwork inspired by lace and moucharabieh screens, cut through its whole body and finished in a scalloped top edge. At 37cm it is the largest of the family, in chocolate haircalf with smooth leather handles and gold-toned feet. On the shoulder, it brings the house's lacework to an everyday scale.

Alaïa's rectangular mask sunglasses take a sleek, wraparound shape in black acetate, with the house's signature worked into the temples. Made in Italy, the cut favours a clean, graphic rectangle over the softer curves seen elsewhere in the line.

Alaïa's rectangular mask sunglasses take a sleek, wraparound shape in tortoiseshell havana acetate, with the house's signature worked into the temples. Made in Italy, the cut favours a clean, graphic rectangle over the softer curves seen elsewhere in the line.

Alaïa's rectangular mask sunglasses take a sleek, wraparound shape in red acetate, with the house's signature worked into the temples. Made in Italy, the cut favours a clean, graphic rectangle over the softer curves seen elsewhere in the line.

Rabanne assembles the 1969 bag by hand, the way the house has always worked metal: small polished discs linked into a curved, flexible body. Strands of pearl and faceted glass beads in silver, champagne and smoke hang in a fringe along the base. A removable chain carries it on the shoulder, and a magnet closes it.

An ankle-length dress in printed shiny double-sided jersey in navy, butter and rose with a Hibiscus Raining motif. A ruched V-neckline with a self-tie at the front creates definition at the waist, while long fitted sleeves balance the fluid skirt below.

Balmain's silk charmeuse top is all drape. A high standing collar, buttoned at the back, gathers the cloth at the throat before it falls across the body to a wide silk sash knotted at the hip, its ends left long. The armholes are cut away and the back left open, so the green satin catches light on every fold.

Balmain cuts this black silk shirt loose, with raglan sleeves and a long pointed collar. Panels of satin fall from the shoulders like a short cape and gather in soft folds along each arm, so the shirt moves more than it sits. Buttoned cuffs and a curved hem keep the tailoring precise underneath.

Balmain drapes lambskin across the front of this midi skirt, the leather gathered from one hip and folded into a wrap. A metal zip runs down the back, its pull engraved with the house name, over a tone-on-tone satin lining. Fitted through the hip, the wrap falls to a point at the hem.

Balmain takes the motorcycle line into smooth lambskin: a belt with a rectangular buckle at the waist, angled zip pockets cut across the hip, and ribbed panels topstitched over each knee. The front closes on a concealed zip and two press studs. Ankle zips finish a leg cut narrow to the foot.

Launched during the AW26 show, the Kizette draws inspiration from the striking linework of Tamara de Lempicka.

Launched during the AW26 show, the Kizette draws inspiration from the striking linework of Tamara de Lempicka.

The Jones is a classic long-sleeved crewneck t-shirt in the brand's bespoke cotton-cashmere blend, combining the lightness of cotton with the warmth and softness of fine cashmere. This long-sleeved crewneck is a variation on the brand's traditional, straight-fit t-shirt, the James. It's a luxurious essential all year round.