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How Yayoi Kusama Turned Louis Vuitton Into Wearable Art

By
Runway Magazine Editorial Team
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Yayoi Kusama Made Louis Vuitton Her Canvas, Twice Over
A Louis Vuitton flagship facade in Paris, where the house twice transformed its stores for collaborations with Yayoi Kusama.

Marc Jacobs walked into her Tokyo studio in 2006 and waited six years for an answer. What he eventually got redrew the most recognizable monogram in luxury, twice, and set the template every artist collaboration since has been measured against.

Yayoi Kusama and Louis Vuitton collaborated twice, in 2012 and again in 2023. The first, Dots Infinity, arrived under Marc Jacobs alongside her Whitney Museum retrospective. The second, Creating Infinity, ran under Nicolas Ghesquière. Kusama died at a Tokyo hospital on August 14, 2026, aged 97; her museum announced it this week.

What Was the Yayoi Kusama Louis Vuitton Collaboration?

Two collections, eleven years apart, built on the same idea. In both, her dots did not decorate the monogram — they consumed it.

The 2012 collection covered ready-to-wear, footwear, accessories and handbags. Her polka dots ran across the Keepall, the Neverfull, the Papillon and the Speedy.

The 2023 return went considerably further. Creating Infinity spanned womenswear, menswear, bags, luggage, trunks and fragrance, and it was the first time the partnership included men’s pieces.

Four motifs organized it. Painted Dots, Metal Dots, Infinity Dots and Psychedelic Flowers each drew on a different period of her work.

The Metal Dots reference is the most precise. It alludes to the mirrored orbs she installed at the 1966 Venice Biennale, uninvited, and sold to passersby for two dollars each.

Key Takeaways

  • Kusama died on August 14, 2026, at a Tokyo hospital; her museum and foundation announced her death twelve days later.
  • The first Louis Vuitton collection launched in 2012 under Marc Jacobs, alongside her retrospective at New York’s Whitney Museum.
  • The 2023 return, Creating Infinity, was significant enough that LVMH factored it into the group’s first-quarter results.

Marc Jacobs Waited Six Years

The origin story explains why it worked. Jacobs, artistic director at Louis Vuitton from 1997 to 2014, first visited her studio in Japan in 2006.

He had admired the work for years before that, and six more years passed before the collaboration actually appeared.

His stated entry point was structural rather than visual. He named obsession and seriality as the starting point — the repetition underneath the dots rather than the dots themselves.

His language about her was unusually direct for a press release. “The obsessive character and the innocence of her artwork touch me,” he said, adding that she succeeds in sharing her vision of the world.

He was equally blunt about what it was. Jacobs described the project as a monumental marriage between art and commerce, which is a considerably more honest framing than most houses offer.

Louis Vuitton also sponsored her 2012 Whitney retrospective. Consequently, the collection arrived as part of a cultural moment rather than alongside one.

The 2023 Return Was Bigger

Ghesquière teased it first. Dotted pieces appeared on the Cruise 2023 runway at the Salk Institute in San Diego in May 2022, a decade after the original.

Fashionista reported the reunion when the collection reached stores that January. The house said the relationship had never ended and had evolved through ongoing conversations.

The retail execution was unprecedented in scale. Storefronts in Paris, London, New York and Tokyo were physically transformed, with sculptural installations placed outside flagship stores worldwide.

Paris took it furthest. A vast sculpture in her likeness was erected between the Louis Vuitton headquarters and La Samaritaine in March 2023.

Nicolas Ghesquière Kusama pairings also made sense aesthetically. His work leans toward the space-age and the utopian, which sits naturally alongside her infinite fields.

Every dot was signed off by the artist herself. According to the house, each brushstroke was replicated in exact detail from her own hand.

Why It Worked When Others Have Not

Louis Vuitton has commissioned many artists. Takashi Murakami, Richard Prince, Sol LeWitt, and Jeff Koons all preceded or followed her.

Hers is the one people remember. The reason is that her visual language was already total before fashion arrived.

Most fashion-art collaborations apply artwork to a product. Kusama’s dots were never artworks in that sense — they were a system she had applied to canvases, rooms, pumpkins, boats and her own body since the 1950s.

A handbag was simply the next surface. Therefore nothing had to be adapted, and nothing looked borrowed.

The commercial proof is unambiguous. LVMH considered the 2023 collection material enough to appear in its Q1 financial reporting, which almost no artist collaboration achieves.

It also arrived at exactly the right cultural moment — the same argument the industry has been having ever since, and one the Met Gala took as its 2026 theme.

The Life Behind the Dots

She was born in Matsumoto City on March 22, 1929. The hallucinations began in childhood — fields of dots, flowers multiplying without end — and the painting began as a way to survive them.

She left for New York in 1957. There, she built a reputation for infinity net paintings, soft sculpture, body-painting happenings, and protests against the Vietnam War.

Recognition did not follow the work. She returned to Japan in the early 1970s and admitted herself to a psychiatric facility, where she chose to live for the rest of her life.

She kept working the entire time. Her studio sat across the street, and she walked to it almost every day for five decades.

The reappraisal came late. A 1989 retrospective in New York restarted everything, and by 2017 she had her own museum in Tokyo.

She never stopped. Her foundation’s statement said she continued painting until her final days, never setting down her brush.

What She Leaves Behind

The scale of the influence is hard to overstate. CNN reported that her Infinity Mirror Rooms drew millions of gallery visitors and her work generated enormous auction revenue.

Fashion carries her fingerprints beyond Louis Vuitton. Lancôme lipsticks and countless licensed objects have used her motifs, and every artist-and-luxury partnership now operates in a market she proved existed.

Her Yayoi Kusama polka dots also changed how houses think about heritage. A monogram, it turned out, could be completely overwritten and come back stronger — a lesson houses built on unchangeable codes, including Chanel, have been absorbing ever since.

She once said Louis Vuitton understood and appreciated the nature of her art. That was in 2012, and both collections suggest she was right. Follow the designers and moments that shape fashion with our fashion designers coverage at Runway Magazine.

Teyana Taylor Fronted Alaïa’s Final Pieter Mulier Campaign

By
Runway Magazine Editorial Team
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Teyana Taylor in a white Alaïa jersey gown with anatomical cut-outs in a black-and-white campaign image
Teyana Taylor wears an Alaïa jersey gown with anatomical cut-outs in the Summer Fall 2026 campaign, photographed by David Sims.

The images are the easy part — black and white, a dancer, a house that has always built clothes around the body. The harder question sits underneath them. Alaïa has just released a campaign for a collection designed by someone who no longer works there.

Teyana Taylor fronts the Alaïa Summer Fall 2026 campaign, titled “The Essence of a Silhouette.” David Sims photographed and directed it in Paris, entirely in black and white. Aleksandra Woroniecka led creative direction and styling. It is the final campaign built around Pieter Mulier’s designs before his move to Versace.

What Is the Teyana Taylor Alaïa Campaign?

A study of one silhouette, stripped of everything else. No sets, no location, no colour — just a body, a garment and a black-and-white frame.

The clothes are all house signatures. A white jersey gown opens the series with a high neck, long sleeves and dramatic curved cut-outs carved at the hips.

Second-skin knit dresses follow. Additionally, a fitted metallic mini covered in metal embellishment lets the surface of the dress carry the frame entirely.

Accessories get one moment. The Alaïa Le Teckel bag appears alongside a sculpted black mini, and a long black knit dress is worn with sheer pumps.

Rio Sreedharan styled the wet-look bob and Yadim Carranza did the makeup. Consequently, nothing in the grooming softens the photography — both are as stark as the lighting.

Why a Dancer Was the Right Casting

This is not a decorative choice. Alaïa’s clothes have always required something specific from the person wearing them.

Anatomical cut-outs and second-skin knits only resolve in motion. A garment cut to trace the body reads as flat on a static pose and as architecture on someone who understands where their weight sits.

Taylor has that training. She built a career on dance and performance before acting, and Sims uses it — she twists, balances and holds positions rather than simply standing.

The house has done this before, deliberately. Azzedine Alaïa legacy casting ran through Grace Jones and Tina Turner, performers whose presence was physical rather than photographic.

Her own account matches. “It’s bold, it’s feminine, but there’s a strength to it that I really connect with,” she said, as WWD reported.

The relationship also predates this. She wore the house to Variety’s Creative Impact Awards and to the New York screening of Straw earlier this year, so the campaign reads as escalation rather than introduction.

This Is Mulier’s Goodbye

The timing gives the campaign an unusual weight. Summer/Fall 2026 is the last collection Mulier designed for Alaïa before leaving to lead Versace in Milan.

His review reflected that. Miles Socha wrote in WWD that the collection stripped back the theatrics to a pure expression of the house’s essence, leaving a clean slate for whoever follows — and that this show was about the work rather than the image.

Read against that, the campaign makes complete sense. Black and white, no set, no narrative. A designer’s final statement about a house he spent five years defining.

Sims was the right hand for it too. He is a recurring Alaïa collaborator, returning after Steven Meisel shot the winter-spring campaign.

The House Now Has to Wait

Alaïa has no creative director. That is the fact shaping everything about how this campaign was made and how it will be read.

The stakes are considerable. Mulier joined in 2021, and the house has more than doubled since — from five standalone stores to twenty, with parent company Richemont naming it a notable growth driver.

That growth complicates the succession. An appointment now inherits a functioning business rather than a rescue project, which narrows the field of designers who could take it without disrupting momentum.

Meanwhile, the commercial calendar does not pause. THR noted the campaign arrives as the house moves into the autumn selling season with Mulier’s final designs on the floor.

Fashion has spent two years in near-permanent transition, from Moschino’s creative reshuffle onward. Alaïa is unusual only in how well it performed before the vacancy opened.

What Comes Next

The appointment is the story to watch. Whoever takes Alaïa inherits a defined silhouette, a doubled store network and a clear identity — which is an advantage and a constraint at once.

Taylor’s own year continues regardless. She was Oscar-nominated for One Battle After Another, Paul Thomas Anderson’s Best Picture winner, and she released the album and short film Escape Room through her company The Aunties.

Watch her red-carpet run through awards season. Two Alaïa appearances preceded this campaign, and a third would suggest the relationship survives the change of designer — as the house’s Cannes moment this year already hinted. Follow the houses and appointments shaping the season with our fashion designers coverage at Runway Magazine.

Kai Cenat Is Taking Vivet From the Front Row to the Runway

By
Runway Magazine Editorial Team
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Kai Cenat holding fabric samples and a design journal in a studio for his brand Vivet
Kai Cenat with fabric samples and his design journal, the working method behind his fashion brand Vivet.

He walked into Louis Vuitton’s Paris show holding a notebook. Critics called it performative. Nine months off-stream and a trip to Italian textile mills later, the notebook looks less like a prop.

Kai Cenat announced Vivet on December 6, 2025, then stepped away from streaming for roughly nine months to design its first collection. The name is Latin, meaning roughly that he, she or it will live forever. Stylist Law Roach has mentored the project, which has taken Cenat to Italian textile mills.

What Is Kai Cenat’s Vivet?

A clothing label, announced through a 23-minute film rather than a product drop. He posted it to his secondary YouTube channel under the title “I Quit.”

The title alarmed his audience deliberately. What followed was not a retirement but a redirection, including a filmed conversation with his mother about whether he could actually do this.

The aesthetic has emerged slowly. First looks showed a white long-sleeve shirt covered in bold black tribal and floral graphics, alongside a hand-painted custom hat.

The identity leans gothic. A clean serif wordmark sits above a pointed, ornate cross symbol, which places the brand closer to underground streetwear than to celebrity merchandise.

Notably, he has not rushed it. The Kai Cenat fashion brand has been in development for roughly nine months without a public sale.

He Did the Research in Paris

January was the turning point. Cenat attended the Louis Vuitton and 424 shows during Paris Fashion Week Men’s, carrying the Vivet journal into both.

The connections were real. He spent time with Pharrell Williams and with Guillermo Andrade 424 founded, and he documented the conversations rather than hiding them.

Criticism followed immediately. Commentators read the notebook as a prop and the appearances as performance.

His answer was direct. “I’m grateful for who I’ve met and what I’m continuously learning,” he said, adding that he felt obliged to share the process.

That transparency is the strategy. The Vivet journal has been posted page by page on the brand’s Instagram — leather swatches, handwritten notes, Polaroids from a sewing shop — and select orders are meant to include a printed copy.

Meanwhile, the manufacturing side went quiet and serious. Roach’s involvement took the project to Italy, which is not where merch gets made.

The Runway Question

A first runway appearance has been reported for September 12, during New York Fashion Week. Treat that as reported rather than confirmed until the brand or the calendar says so.

Here is why the distinction matters. New York Fashion Week September 2026 runs from the 10th to the 15th, and the CFDA’s Official Schedule carries roughly 70 shows — opening with Henry Zankov at Diane von Furstenberg and closing with Thom Browne.

Vivet does not currently appear on that preliminary schedule. However, the official calendar is not the only one operating that week.

Independent producers run ticketed shows across the same dates at venues including the Edison Ballroom and Gotham Hall. Consequently, a September 12 show could sit on either track, and how the New York schedule is actually built and sequenced explains why that is a meaningful difference rather than a technicality.

Either route is a legitimate debut. Still, the official calendar carries industry access that an independent show does not, and anyone reporting this should say which one it is.

Why This Is Not Influencer Merch

The category distinction is the whole argument. A streamer turned designer usually means a logo on a blank, sold on a drop cycle, with no design labour behind it.

Vivet has been built the other way round. Nine months of development preceded any sale, at direct cost to an audience business that runs on daily presence.

The financial logic underlines it. Cenat broke subscriber records in 2025, so stepping back from streaming carried a genuine price rather than a symbolic one.

The reception has been mixed, which is arguably a good sign. The first pieces drew real criticism online, and a brand that only ever receives praise from a fanbase is not being judged as fashion.

Emerging labels are assessed on collection coherence, manufacturing quality and whether a second season improves on the first. That is the standard London’s emerging designers are held to, and it is the one Vivet has asked for.

What Comes Next

September is the test. Whether Vivet Collection 1 shows on the official calendar, an independent one, or not at all this season, the collection has to exist as clothes rather than as a story about clothes.

Watch the manufacturing tell. Italian production and finished sampling are visible in a garment within seconds, and buyers will look there before they look at the graphics.

The longer question is the second collection. Debuts ride goodwill; the follow-up is where labels are actually made or lost. Follow the designers and labels shaping the season with our fashion designers coverage at Runway Magazine.

Emma Chamberlain Fronted J.Crew’s Tiny Rollneck Launch

By
Runway Magazine Editorial Team
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Emma Chamberlain in a cropped J.Crew Tiny Rollneck sweater against a candy-coloured backdrop
Emma Chamberlain models the J.Crew Tiny Rollneck, launched August 26, 2026, in a campaign shot and directed by Ian Markell.

A sweater from 1988 has spent the last year being reissued, remixed and put on Carolyn Bessette-Kennedy in a film. This morning J.Crew did the one thing it had not tried yet. It made it smaller.

Emma Chamberlain fronts J.Crew’s Tiny Rollneck, which launched on August 26, 2026, at 8 a.m. ET. The sweater is a shrunken, fitted and slightly cropped version of the Rollneck the brand has sold since 1988. It comes in six solid colours and two stripes, priced from $98 to $118.

What Is the J.Crew Tiny Rollneck?

The same sweater, at different proportions. Nothing about the reference has changed — only the fit.

The original arrived in the 1988 catalogue with heavyweight cotton knit, raglan sleeves and a loosely curled neckline. It has been in continuous production ever since.

The new version sits closer to the body and stops slightly shorter. Consequently, it reads as a fitted knit rather than the roomy layering piece the Rollneck has been for nearly four decades.

Six solid colours launched today: black, mazie blue, navy, cubeb berry, ivory and lilac. Two stripes complete the run — a navy-and-lilac rugby and a vintage red.

Some coverage also describes a quarter-zip on the new silhouette, which would be a genuine construction change rather than a fit adjustment.

Select styles are in J.Crew stores nationwide. Meanwhile, the full collection is online only.

The Campaign Is Built on Early-Internet Nostalgia

Ian Markell shot and directed it, and the visual language is unusually specific. Chamberlain appears inside a candy-coloured, retro-futuristic world drawn from the early-2000s internet.

The clearest reference is video-game character-selection screens. Each colourway functions as a different character, which is a neat way to sell eight versions of one product without eight separate shoots.

That choice is precise rather than decorative. Anyone who was online between 2001 and 2006 recognises the aesthetic instantly, and that audience is now in its late twenties with disposable income.

Jared Ellner styled it. Chamberlain’s longtime collaborator worked alongside Olympia Gayot, J.Crew’s creative director, to show the silhouette across different registers.

Gayot framed the intent bluntly. “Our icons should have range,” she said, describing the result as the Rollneck with attitude.

Chamberlain enjoyed it. “It was like playing dress up all day,” she said of the shoot.

J.Crew Has Been Working This Sweater for Three Seasons

The Tiny Rollneck is not a one-off. It is the third act in a deliberate campaign sequence.

Autumn 2025 brought The New Rollneck Generation. That campaign cast Benito Skinner, Molly Gordon, Maggie Rogers, Dominic Sessa, Lukita Maxwell, Rome Flynn and Taylour Paige-Angulo in new and archival-inspired versions.

Spring 2026 escalated further. Rollneck Remix invited five New York designers — Collina Strada, Eckhaus Latta and Tanner Fletcher among them — to reinterpret the style during New York Fashion Week, the first time outside designers had touched it.

Then came an unplanned assist. Marie Claire noted that the sweater appeared on Sarah Pidgeon as Carolyn Bessette-Kennedy in Love Story in March.

That is three commercial campaigns and one cultural moment in twelve months. Notably, none of them changed the product — they changed who was wearing it and how.

Preppy fashion 2026 has been building all year, and J.Crew is the brand best positioned to collect on it.

Why Chamberlain Was the Right Casting

She is not a conventional brand ambassador, which is the point. At 25, she built her audience on YouTube rather than through fashion, then moved into the front row on her own terms.

Her taste is documented and specific. She told The Cut that navy and white give her a Maine summer feeling, and described pairing either with classic denim and a flip-flop.

That is exactly the register J.Crew sells. Emma Chamberlain style has always leaned toward the unfussy American wardrobe rather than logo-driven luxury.

Variety reported the launch as a Gen Z-sized makeover of an eighties staple, which is a fair summary of the commercial logic.

Her styling in the campaign also does real work. The Tiny Rollneck appears with a pleated midi skirt and Mary Janes in one look and with bloomers in another, which demonstrates range without needing a second product.

The nineties and early-2000s revival underneath all of this is now several years deep, running from the return of 90s activewear through to knitwear.

What Comes Next

Sell-through decides everything. A $98 entry price on a launch-day drop with a Gen Z campaign is built to move fast, and J.Crew will know by the weekend.

Watch the stripes first. Rugby and vintage-red striped knits are the pieces most likely to sell out, because pattern always outruns solids on a debut.

The wider question is how far the archive stretches. J.Crew has now reissued, remixed and shrunk the same sweater in twelve months, and each round has worked — largely because the product travels through social feeds faster than through stores, the same route now driving what women actually buy online. Follow the launches and looks defining the season with our celebrity style coverage at Runway Magazine.

Victoria’s Secret Fashion Show 2026: Everything We Know

By
Runway Magazine Editorial Team
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A lingerie runway lit in pink with feathered wings ahead of the 2026 show in Los Angeles
The Victoria's Secret Fashion Show 2026 streams live from Los Angeles on Sunday, October 18 at 4:30 p.m. PT.

Twenty years ago, the show played the Kodak Theatre. It has spent the last two years in Brooklyn warehouses. Now it is going back to Los Angeles because New York ran out of room.

The Victoria’s Secret Fashion Show 2026 takes place on Sunday, October 18, streaming live from Los Angeles at 4:30 p.m. PT and 7:30 p.m. ET. It airs on YouTube, TikTok, and Instagram. Adam Selman returns as executive creative director, and fans can win tickets to attend in person for the first time.

When Is the Victoria’s Secret Fashion Show 2026?

Sunday, October 18, 2026. The brand confirmed the date of the Victoria’s Secret Fashion Show for August 25, along with the streaming partnership.

The start time is 4:30 p.m. Pacific, which is 7:30 p.m. Eastern for UK viewers, and it lands at 12:30 a.m. on Monday, October 19.

The day of the week has changed. Both the 2024 and 2025 editions ran on Wednesday, October 15, so a Sunday slot is a deliberate shift toward weekend viewing.

Notably, the venue has not been announced. Los Angeles is confirmed; the specific location is not.

Key Takeaways

  • The show streams live from Los Angeles on Sunday, October 18, 2026, at 4:30 p.m. PT and 7:30 p.m. ET.
  • Gigi Hadid, Alex Consani, Paloma Elsesser and Abby Champion are the first four models confirmed to walk.
  • Fans can win tickets for the first time, with new entry routes announced every Thursday on the brand’s social channels.

How to Watch the Victoria’s Secret Fashion Show

It streams for free on three platforms. YouTube carries the full show under a new partnership, with simultaneous streams on TikTok and Instagram.

That is a meaningful change from the television era. Between 1995 and 2018, the show aired on CBS, and viewership peaked around 10 million before the broadcast ended.

Streaming removes the geographic barrier entirely. Consequently, the question of how to watch the Victoria’s Secret Fashion Show now has a single answer in every market, rather than a different broadcaster in each one.

Fashionista confirmed the arrangement, including the Los Angeles location and the global YouTube stream.

Expect the replay to remain available afterward. Both recent editions have stayed online, which is why the show now functions as a permanent asset rather than a one-night broadcast.

Why the Show Moved to Los Angeles

The answer is logistics, not symbolism. Selman told People that he wanted this year’s production to be bigger and bolder than the last, and that no New York venue could accommodate what the team had planned.

That is a straightforward scale problem. The 2024 show ran at Duggal Greenhouse and the 2025 edition at Steiner Studios, both Brooklyn spaces with fixed footprints.

Los Angeles is not new territory, though. The show was staged at the Kodak Theatre in both 2006 and 2007, with Justin Timberlake and later will. i.am, Seal, and the Spice Girls performing.

The city also brings its own advantage. Talent density in Los Angeles is higher for a Sunday evening event, which matters for a front row that now drives as much coverage as the runway.

Who Is Walking in the Victoria’s Secret Fashion Show 2026?

Four names are confirmed so far. Gigi Hadid, Alex Consani, Paloma Elsesser, and Abby Champion have all been announced, and the brand has said it will keep adding more.

Gigi Hadid’s history with Victoria’s Secret is now substantial. This will be her fifth appearance, and Marie Claire noted that she walked twice in 2025 — first in a pink camisole, then in wings standing almost six feet tall.

Consani’s inclusion signals the casting direction. Her rise as a Gen Z supermodel has run in parallel with the show’s relaunch, and she has become one of its recurring faces.

Elsesser and Champion complete the confirmed list. Both walked in 2025.

Victoria’s Secret’s 2026 model announcements will continue through the autumn. Based on last year, the final cast will likely include returning Angels alongside working runway models — 2025 brought Anok Yai, Candice Swanepoel, Adriana Lima, Alessandra Ambrosio, Stella Maxwell, Lily Aldridge and Barbara Palvin, plus Bella Hadid closing in 50-pound floral wings.

The brand has also cast beyond fashion recently. Angel Reese, Suni Lee and Barbie Ferreira all appeared last year, so expect at least one name from outside the industry — the same widening visible across this year’s rising model class.

Adam Selman’s Direction

Selman is the reason the show reads differently now. He joined as executive creative director in 2025, the first designer ever to lead creative at the brand.

His background explains the tone. He served as chief design officer at Savage X Fenty, and before that he designed Rihanna’s Victoria’s Secret performance looks — famously building one costume in two hours before the 2012 show.

He also began his career under Zaldy Goco, who created the original Victoria’s Secret wings. That lineage is unusually direct.

His 2025 show ran on a day-to-night structure, opening in morning wear and closing at black tie. Adam Selman’s Victoria’s Secret productions have deliberately leaned into spectacle, treating fantasy as something to be framed rather than avoided.

The 2026 brief appears to escalate that. A larger venue and a Sunday slot both point toward a longer, more theatrical production than the hour-long 2025 edition.

How to Get Victoria’s Secret Fashion Show Tickets

This is genuinely new. For the first time, the brand is giving members of the public routes into the audience.

New mechanics are announced every Thursday on the brand’s social channels. Each week brings a different way to enter, rather than a single ballot.

There is no public sale. Therefore, Victoria’s Secret Fashion Show tickets cannot be bought, only won, and anything listed for resale should be treated with suspicion.

The strategic logic is clear enough. An audience of invited industry guests generates trade coverage; an audience containing actual customers generates social content, and social content is what the show now runs on.

What About the Performers?

Nothing has been confirmed. No Victoria’s Secret Fashion Show performers have been announced for 2026 as of today.

The 2025 lineup sets the expectation. Missy Elliott, Madison Beer, TWICE, and Karol G all performed, spanning hip-hop, pop, K-pop, and reggaetón.

That spread is deliberate. Each act brings a distinct regional audience to a stream that is now, by default, global.

Announcements typically arrive four to six weeks out. Consequently, expect names from mid-September onward.

Angels Among Us

A docuseries accompanies the show this year. Angels Among Us follows the road to the runway, and the brand has framed it as a companion rather than a recap.

There is precedent. A documentary about the 2025 show, released in January, takes viewers behind the scenes with Selman and the models.

The format serves a purpose beyond content. A docuseries extends a one-night event over weeks, which is how the show sustains attention from October through the following autumn.

Frequently Asked Questions

What time is the Victoria’s Secret Fashion Show 2026?

The show begins at 4:30 p.m. Pacific Time on Sunday, October 18, 2026, which is 7:30 p.m. Eastern Time. UK viewers will see it at 12:30 a.m. on Monday, October 19. It streams live rather than airing on a delay.

Where is the Victoria’s Secret Fashion Show 2026 being held?

The show takes place in Los Angeles. The specific venue has not yet been announced. Adam Selman has said the production outgrew the New York spaces used in 2024 and 2025, which is why the brand moved cities for the first time since the show returned.

Can you buy tickets to the Victoria’s Secret Fashion Show?

No. Tickets are not sold to the public. For the first time, Victoria’s Secret is running weekly giveaways, with new ways to enter announced each Thursday across its social media channels. Any listing offering paid entry should be treated as unofficial.

What Comes Next

Casting news arrives first. The brand has said it will announce models continuously, and each confirmation reshapes expectations for the final lineup.

Performers follow in September. Please confirm the venue alongside them, as production teams need lead time on a space this size.

Watch the Thursday cadence in the meantime. Eight weeks of weekly ticket announcements constitute a sustained-attention campaign, and they tell you exactly how much this show now matters to the business. Follow the shows and collections that define the season with our fashion week coverage at Runway Magazine.

Harry Styles Fronted W Magazine in Custom Miu Miu and Chanel

By
Runway Magazine Editorial Team
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Harry Styles in a custom Miu Miu jacket and trousers against an orange studio backdrop
Harry Styles wears a custom Miu Miu jacket and trousers for W Magazine's Volume 4 Fashion Issue, photographed by David Sims.

Six houses, thirty pages, one stylist. The editorial landed yesterday; the first of thirty nights at Madison Square Garden opens tonight. Very little about that sequence is accidental.

Harry Styles covers W Magazine’s Volume 4 Fashion Issue, published online on August 25, 2026. David Sims photographed the 30-page portfolio, and Harry Lambert styled it. The looks include custom Miu Miu, a Chanel chainmail jacket, Dior tailoring, custom Saint Laurent, and suits by Hermès and Burberry.

What Does Harry Styles Wear in W Magazine?

The cover sets the register immediately. He appears against a vivid orange studio backdrop in a custom Miu Miu jacket and trousers, with his own jewelry and the stylist’s belt.

Inside, the range widens considerably. A Chanel chainmail jacket is worn over jeans, while a Dior suit appears with nothing but a cross pendant beneath it.

Saint Laurent by Anthony Vaccarello supplied a custom sparkling top with furry cuffs, plus custom trousers and belt. Additionally, leather trousers are paired with a scoop-neck top finished with a bow.

Tailoring closes it out. Sharply cut suits from Hermès and Burberry anchor the more formal end of the portfolio.

Fashionista confirmed the credits, noting the custom Miu Miu on the cover alongside Styles’s own pieces. Julio Torres conducted the interview, and Sara Moonves edits the title.

Harry Lambert’s Mix Is the Real Story

Six houses in one portfolio is unusual, and the selection is not random. Lambert has worked with Styles for a decade, and the mix’s logic is consistent.

Three of the six are houses Styles has genuine history with. He wore an oversized black bouclé Chanel suit and Chanel ballet flats from the house’s Métiers d’Art collection to the Brit Awards earlier this year.

That was his first red carpet in three years. Notably, he chose flats over anything with a heel, extending the balletcore silhouette that has reshaped menswear in 2026 almost without comment.

He then wore a sparkling Dior blazer without a shirt to the Grammys on February 1, his 32nd birthday.

The pattern is legible throughout. Lambert pairs the softest available register — chainmail, sequins, bows, furry cuffs — with hard tailoring, so neither element reads as costume. It is the same tension Chanel itself has built on for a century.

The Underwear Is an Album Reference

One detail is doing more work than any garment. The custom Calvin Klein Collection underwear on the cover carries “Disco” on the waistband.

That is not styling. His fourth solo album is titled Kiss All the Time. Disco, Occasionally.

Consequently, a product placement becomes part of the album marketing, embedded in the single most reproduced image from the shoot. Every crop of that cover carries the record’s title.

It also solves a problem magazines rarely solve well. A cover has to sell an issue and an artist has to sell a tour, and this frame does both without a word of copy.

David Sims shot it as a clean studio portrait. Because the background is a flat orange field, nothing competes with the clothes or the waistband.

The Timing Is Not a Coincidence

Tonight is the first show. Billboard confirmed the residency opens August 26 and runs through Halloween, in support of the same album.

The scale is genuinely unusual. Styles will play Madison Square Garden every Wednesday, Friday and Saturday until October 31 — thirty shows, his only United States dates of the year.

Jamie xx supports all thirty nights. Two “Harry-ween” shows close the run on October 30 and 31.

He has form at the venue. He played fifteen consecutive nights there in 2022 during Love On Tour, the highest-grossing single engagement in the arena’s history, and this residency takes his solo total to 52 shows.

The wider Together Together tour is built the same way. It opened in Amsterdam in May, spent six nights at Wembley, and visits only seven cities across roughly 67 shows before ending in Sydney in December.

Meanwhile, the issue itself does not reach newsstands until September 8. In practice, the digital release was timed to the residency rather than to the print schedule.

What Comes Next

Ten weeks of New York appearances begin tonight. Historically, a Styles residency generates a distinct look every few shows, and Lambert has thirty opportunities.

Watch the houses in this portfolio specifically. Editorial credits frequently predict stagewear, and Chanel, Dior and Saint Laurent have all dressed him publicly within the past twelve months.

The Harry-ween shows are the ones to circle. Two costume nights at the end of October, in the middle of a fashion cycle he is already leading, are where the genuinely strange choices tend to arrive. Follow the looks that define the season with our celebrity style coverage at Runway Magazine.

Tate McRae Fronted Calvin Klein’s Feel the Fit Denim Campaign

By
Runway Magazine Editorial Team
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Tate McRae in high-rise loose Calvin Klein jeans mid-dance for the Feel the Fit campaign
Tate McRae wears the High Rise Loose Jean in Calvin Klein's Fall 2026 Feel the Fit campaign, photographed by Carlijn Jacobs.

The teaser withheld her face entirely. Fans identified her from her voice alone, within hours. That is a useful measure of how much recognition a 23-year-old now brings to a denim campaign.

Tate McRae fronts Calvin Klein’s Fall 2026 Feel the Fit denim campaign, announced on August 25, 2026. Carlijn Jacobs directed and photographed it, setting McRae’s choreography to Deee-Lite’s 1990 track “Groove Is in the Heart.” It is the first chapter of a month-long rollout featuring further global talent.

What Is the Tate McRae Calvin Klein Campaign?

The opening chapter of a staged release, not a standalone advertisement. Calvin Klein has confirmed further global talent will follow across the coming month.

McRae carries the first installment alone. WWD reported the launch, describing the Canadian singer, songwriter and former competitive dancer bringing movement and attitude to the house’s denim.

Her own framing is straightforward. “I’ve always been a fan of Calvin Klein jeans,” she said, adding that the campaign is about the moment a favorite pair clicks.

Three fits anchor it commercially. The Low Rise Baggy Jean and the High Rise Loose Jean arrive as new options, while the 90s Straight Jean returns to the range.

Signature construction stays intact. Notably, the back-pocket topstitching that identifies Calvin Klein Fall 2026 denim at a glance is unchanged.

The Choreography Is the Product Demo

This is the smartest decision in the campaign. Jacobs built the whole thing around motion rather than static poses.

Sergio Reis’s choreography drives it. McRae dances through deliberately ordinary settings — hallways, plain rooms — and transforms each one through movement.

That format solves a genuine problem. A still photograph cannot show how a pair of jeans sits when someone actually moves, and fit is the entire proposition here.

Dance also plays to her background. She trained as a competitive dancer before her music career, so the movement reads as competence rather than direction.

The brand then extended it socially. Calvin Klein has invited creators to recreate her routine, which converts a campaign into a participatory format at no additional media cost.

That is a meaningful shift in how houses cast. Performers who can move are now worth more than models who photograph well, and the debate over AI-generated campaign imagery has only sharpened that advantage.

Calvin Klein Is Mining Its Own 1990s Archive.

The soundtrack gives the strategy away. Deee-Lite released “Groove Is in the Heart” in 1990, and the choice is not nostalgic decoration.

Calvin Klein built its cultural position in that decade. Its denim-and-underwear imagery defined a specific visual language — spare settings, direct gaze, minimal styling, maximum body.

McRae named the reference herself. She has cited Kate Moss’s 1993 Obsession campaign, photographed by Mario Sorrenti, as a personal touchstone.

That citation matters. It reframes the casting as a continuation of a lineage rather than a celebrity pairing, which is a considerably stronger commercial argument.

The nineties revival has been running across fashion for three years, from denim silhouettes to the return of 90s activewear. Calvin Klein has an advantage almost no one else has, though — it owns the original archive rather than borrowing from it.

Why McRae, and Why Now

Her year explains the timing. Billboard reported the announcement on Tuesday, noting the High Rise Loose Jeans and the hallway routine that calls back to the brand’s signature nineties looks.

The numbers behind her are substantial. She earned her first Grammy nomination for “Just Keep Watching,” from the F1: The Movie soundtrack, and her So Close to What World Tour grossed a reported $111 million.

This is also her first major fashion campaign. Consequently, Calvin Klein gets a genuine debut rather than a name already worn thin across competing houses.

She had signaled the fit publicly first. Fans had been speculating about a partnership for weeks based on her wearing the brand’s pieces, which meant the reveal landed into existing anticipation.

Her enthusiasm was on record too. “I’ve been dreaming of this for a long time,” she said in a behind-the-scenes clip.

What Comes Next

More chapters arrive across the next month. Calvin Klein has said that additional global talent will follow, and the format suggests each will bring their own discipline to the same three fits.

Watch the creator response first. Whether the routine is actually recreated at scale determines whether Tate McRae dance content becomes the campaign’s primary distribution.

The denim range is the commercial test. Low-rise baggy and high-rise loose sit on opposite sides of the current silhouette argument, and Calvin Klein has hedged by offering both. Follow the campaigns and houses shaping the season with our fashion designers’ coverage at Runway Magazine.

Current Calvin Klein campaigns are renewing attention around the house, while RUNWAY’s Calvin Klein love story looks at the founder’s relationship with Kevin Baker beyond the brand imagery.

Dolly Parton Made Fashion a Lifelong Act of Defiance

By
Runway Magazine Editorial Team
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A rhinestone-covered white stage gown and platinum wig on display in a costume archive
A rhinestone-covered stage gown and platinum wig displayed in a costume archive, the defining elements of a seven-decade look.

Almost everyone who mattered told her to stop. Her father, her managers, Nashville itself. Yet she kept the wigs, the rhinestones and the heels for sixty years. Ultimately, every one of those people was wrong.

Dolly Parton fashion was a constructed identity, not a costume. Throughout seven decades, she kept the same elements. Platinum wigs, rhinestones, sky-high heels, bold makeup and figure-conscious silhouettes. She documented the entire archive in her 2023 book Behind the Seams. Parton died in Nashville on August 25, 2026, aged 80.

What Defined Dolly Parton’s Fashion?

Consistency, above everything. Most performers reinvent themselves every few years. Instead, she did the opposite, and that refusal became the signature.

The components never really changed. Bleach-blonde hair, worn high. Rhinestones, in quantity. Additionally, a defined waist, a strong heel and a full face of makeup.

Her creative director understood the logic precisely. Steve Summers worked with her for decades. He told Vogue that “she doesn’t follow fashion trends at all,” and that her style had barely shifted.

That is unusual enough to be a strategy. Because the silhouette stayed fixed, it became legible in outline. Indeed, it was recognizable in a photograph, a cartoon or a drag tribute.

She also had a philosophy for it. “Less is less. More is more,” she once said, correcting the received wisdom directly.

Key Takeaways

  • Parton died peacefully in Nashville on August 25, 2026, aged 80, after a brief battle with cancer.
  • Her 2023 book documented six decades of clothing across 450 photographs from a private archive.
  • Sevier County declared August 26 a day of mourning, and the Empire State Building lit pink in tribute.

The Look Started With a Woman in Sevierville

The origin story is the best in fashion. Moreover, Parton told it for fifty years without flinching. She built her image on a woman her hometown despised.

The description never varied. Bright red lipstick, long red fingernails, short skirts and low-cut tops. Also, high heels with small floating plastic goldfish set into them.

Her verdict, given to The Guardian, was simple. “And I just thought she was beautiful,” she said.

The town disagreed loudly. When people called the woman “trash,” her response was consistent across decades of interviews. That, she said, was what she intended to become.

She started early and improvised. Her father forbade lipstick, and there was no money for cosmetics. Therefore she painted her mouth with Mercurochrome, a red antiseptic, because he could not rub it off.

Other influences followed. She credited the Frederick’s of Hollywood catalog. Meanwhile, her mother’s Coat of Many Colors, sewn from feed sacks, remains the most famous garment she ever wore.

She Had to Fight for It

None of it was permitted easily. Arriving in Nashville in 1964, she was told repeatedly to tone it down.

Her own account is blunt. “But believe it or not, I had to fight for that look,” she wrote.

The pressure came from every direction. Her father, her managers, and industry figures who believed the styling would cost her credibility. Still, she refused all of it.

The gamble worked because the persona was honest. Her term for it was Backwoods Barbie, a country girl’s idea of glamour. She then wrote a song by that name to explain the point.

She also disarmed the criticism by getting there first. “It costs a lot of money to look this cheap,” she said. Consequently, the line has outlived nearly everyone who used the word cheap seriously.

That is the genuinely radical part. Dolly Parton style was working-class glamour presented without apology or upgrade. Notably, it arrived in an industry that rewards neither.

The People Who Built It With Her

The look was never a solo act. Furthermore, she was scrupulous about crediting it. The book reads in part like an acknowledgments page.

Judy Ogle is the reason any of it survives. Her lifelong best friend and assistant preserved and cataloged the clothing early on. That is, decades before anyone treated it as an archive.

Summers shaped the later decades as creative director. Alongside him, Bob Mackie, Ann Roth and a long roster of tailors, wigmakers and makeup artists all appear in the record.

Her niece Rebecca Seaver curated the book. She selected from thousands of pieces spanning six decades. Music journalist Holly George-Warren co-wrote it.

The scale is the point. Six hundred pages of institutional memory around one wardrobe is not vanity. Rather, it is the same instinct that built a theme park and a library program, applied to clothes.

An accompanying exhibition also ran at Lipscomb University in Nashville in late 2023.

Why Maximalism Was the Point

Her Dolly Parton rhinestones were never decoration. They were an argument.

Country music fashion has always used sequins and embroidery, from Nudie suits onward. However, Parton took that vocabulary and refused to let anyone frame it as a joke.

The venues barely mattered. Porter Wagoner’s variety show in 1967, the Playboy cover in 1978, Studio 54, 9 to 5, Rhinestone. Even stadium stages into her eighties carried the same silhouette.

Hundreds of Dolly Parton wigs followed her through those years, and she stayed blonde in every one. Because a hotel fire was always possible, she also wore makeup to bed.

Red acrylic nails became percussion on “9 to 5.” Meanwhile, she joked that her hair was a fire hazard. Arguably, that is what confidence sounds like after sixty years.

Increasingly, contemporary fashion has rediscovered all of this, as the new maximalism reshaping 2026 makes clear. She never left.

What She Leaves Behind

The tributes have moved faster than usual. CNN Style traced the looks within hours. Similarly, Rolling Stone’s obituary placed the Backwoods Barbie image alongside the songwriting rather than beneath it.

Her family put it best in their statement. They called it “a rhinestone life that shone bright enough for the world to see.”

The archive endures, and it is substantial. Thousands of garments, cataloged and preserved by people who understood their value while she was still wearing them.

Ultimately, the Dolly Parton fashion legacy runs through everyone who built a public self out of clothing rather than inheriting one. That includes Rihanna’s evolution from Barbados to billionaire. Equally, it includes every performer who decided that being looked at was a choice.

Instead of flowers, her family has asked for donations to Dolly Parton’s Imagination Library. Follow the figures and moments that shaped how we dress with our celebrity style coverage at Runway Magazine.

JENNIE Debuted the adidas Superstar Square Ballet Sneaker

By
Runway Magazine Editorial Team
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The adidas Superstar Square Ballet in white and black with a squared shell toe and bow
The adidas Superstar Square Ballet from adidas Originals by JENNIE, releasing September 1, 2026 in two colourways at $150.

The shell toe has survived basketball courts, Run-DMC, and five decades of reissues largely unchanged. It has just been squared off, stripped of its laces and given a bow. That is not a colorway. That is surgery.

The adidas Superstar Square Ballet is JENNIE’s first designed shoe with adidas Originals. It squares off the Superstar’s shell toe, removes the laces in favor of an elastic midfoot strap, and adds a small bow at the vamp. Two colorways release September 1, 2026, in Korea at $150.

What Is the adidas Superstar Square Ballet?

A Superstar rebuilt around the vocabulary of a ballet flat. The lineage stays legible, yet almost every functional element has changed.

The rubber cupsole survives. So do the Three Stripes and the low-profile proportions that made the original recognizable at a distance.

Everything above the sole is different. There is no tongue and no lacing system; instead, an elastic band crosses the midfoot to hold the foot in place.

A decorative detail sits near the vamp. Leather laces appear there, but they serve no structural purpose whatsoever.

Two colorways have surfaced. One arrives in Off White with Core Black accents (style code LB3786), while the other inverts it, with Core Black accents in Off White (style code LB3787).

Pricing is set at $150 in the United States, with a UK listing at £110. Notably, both pairs release in women’s sizing only.

Why the Square Toe Is the Real Change

The toe box is where the design earns its name. adidas flattened and widened the shell into a squared form rather than rounding it.

That choice is more deliberate than it looks. Most adidas ballet-hybrid styles to date have used slim, rounded toes that read as flat and wear sneaker details.

A square box reads differently. It borrows directly from the blunt front of a pointe shoe, which the bow then confirms as the reference.

The branding restraint is equally notable. JENNIE’s name appears with the Trefoil on an internal label rather than anywhere on the exterior.

Consequently, the silhouette does all the talking. A square-toe shoe trend built on a fifty-seven-year-old basketball shoe needs no additional signature.

JENNIE Moved From Face to Co-Creator

The title change is the story behind the story. She joined adidas in early 2018 through a group deal with BLACKPINK, then spent years as a campaign presence.

Those campaigns accumulated. She appeared in “Change Is a Team Sport” in 2020, promoted the CLOT Gazelle Espadrille project with Edison Chen, and featured in the brand’s Spring 2026 Superstar campaign.

adidas teased the new project on August 17 under the banner adidas Originals by JENNIE. Putting a name on the label rather than in the credits is how sportswear brands signal genuine creative input.

Her commercial case is straightforward. Her debut solo album Ruby peaked at No. 7 on the Billboard 200 and was expanded to 21 tracks in March.

The group’s weight is larger still. BLACKPINK’s “JUMP” debuted at No. 1 on the Billboard Global 200, and the Deadline tour sold out multiple nights in Los Angeles and New York.

She is not alone in this either. Her bandmates hold their own footwear partnerships across Nike, Puma, and Salomon, which makes BLACKPINK arguably the most valuable sneaker-endorsement bloc in music.

Balletcore Has Outlasted Its Own Name

The aesthetic arrived in 2022 and refused to leave. What has changed is the construction, not the appetite.

Early balletcore meant literal ballet flats. Now it means hybridization, and the sneaker-flat crossover is where the category has actually settled — a shift visible across balletcore’s move from studios into wardrobes and on luxury runways, treating the ballerina as a full silhouette.

The wider logic is category collapse. Sneakers now borrow from loafers, outdoor footwear moves into cities, and technical fabrics turn into eveningwear.

A ballet sneaker trend built on basketball-shoe fits fits that pattern precisely. Furthermore, it lets adidas treat heritage as material rather than as a template it cannot touch.

The commercial upside is women’s footwear. adidas has prioritized that category hard, and a sneaker-flat hybrid designed by a global pop star is an efficient entry point.

What Comes Next

September 1 is the date. The full adidas Originals by JENNIE range reveals then, and the footwear is only part of it.

Apparel has been previewed already. Teasers show a light-blue track jacket, high-waisted micro shorts, corduroy Three Stripes tracksuits, and heel-less, toe-less dance socks.

Watch the resale market on release day. Two colorways, women’s sizing only, and a Korea-first rollout is a scarcity structure, whether intended or not. Follow the labels, launches, and product moments that matter with our fashion designers’ coverage at Runway Magazine.

Loewe Shot Its Fall 2026 Campaign on Top of Mont Blanc

By
Runway Magazine Editorial Team
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A Loewe Fall 2026 campaign figure in a bright parka and storm boots in Mont Blanc snow
Loewe's Fall 2026 campaign, photographed by Talia Chetrit at Pointe Helbronner in the Mont Blanc massif at 3,470 metres.

A luxury campaign usually wants you to see the clothes. In a good number of these images, you cannot see much of anything. That is not a failure of the shoot — it is the shoot.

The Loewe Fall 2026 campaign unfolds at Pointe Helbronner in the Mont Blanc massif, at elevations of up to 3,470 meters. Talia Chetrit photographed brand ambassadors Julia Garner and Lil Yachty alongside actors, models and artist Cosima von Bonin. Many frames show almost nothing but snow and mist.

Where Was the Loewe Fall 2026 Campaign Shot?

At a summit in the French Alps, reachable by cable car and very little else. The location sits within the Mont Blanc massif, and the cast worked at altitudes up to 3,470 meters.

The conditions did most of the art direction. WWD reported that a whiteout of snow and mist is the only thing visible across a significant portion of the imagery.

The cast is unusually broad—Garner and Lil Yachty lead, joined by actors Théodore Pellerin, Laïka Blanc-Francard and Beau Gadsdon.

Models Nyawurh Chuol, Carin Herven and Siegfried Blanche follow. Cosima von Bonin appears too, which matters because she is not just a face here.

Von Bonin designed the Fall 2026 show space in Paris and a seasonal capsule. Her work also spans special versions of house signatures, including the Loewe Amazona 180, the Puzzle, and the Flamenco.

Chetrit Inverted Her Own Loewe Campaign

The photographer choice is the wittiest part. Chetrit shot Loewe’s previous campaign in an opposite register.

That earlier work was hot and close. It leaned on sweat-dappled skin and split, dripping citrus, and it read as almost uncomfortably intimate.

This one is the exact negative. Bundled bodies replace bare skin, and frozen surfaces replace ripe fruit.

Consequently, the two campaigns function as a pair rather than a sequence: same eye, inverted climate, identical fascination with texture.

The obscuring is deliberate too. When a photographer hides the product, she is asking to be trusted on mood — and very few houses currently have the confidence to allow that.

The Clothes Were Built for This

The collection was not retrofitted to the location. Jack McCollough and Lazaro Hernandez have been building sportswear codes into Loewe since their debut, and Fall 2026 pushed further.

Storm boots, mittens, parkas and heavy coats all appear. Wraparound and visor-shaped sunglasses recur as a graphic device throughout the campaign.

Some pieces are stranger. Rubber-like kitten heels take their form from swim shoes, while shearling jeans arrive with a wide-wale corduroy effect.

Color is what survives the whiteout. Against blinding snow, the collection’s vivid blocks read at distance in a way they never would on a Paris pavement.

The leather craft is the deeper story. WWD’s review of the show recorded McCollough on their fused, feather-thin leather jackets: “it’s almost like the highest level of craft when you erase the hand itself.”

The designers framed the whole season around a philosophical question — whether fashion is a game played to win or to keep playing. An expedition campaign answers it fairly directly.

Why Extreme Locations Are Back

Luxury campaign locations have escalated sharply this year. Houses have moved from studios to deserts, subway platforms and now alpine summits.

The reason is scarcity. Anyone can produce a beautiful studio image, whereas almost nobody can put a cast at 3,470 meters and bring back usable film.

Cost is the barrier and the point. Mountain production involves permits, guides, cable-car logistics, a cold-weather crew, and a very narrow weather window — the kind of budget realities that shape fashion week production economics as well.

The payoff is attention. A campaign shot somewhere genuinely difficult travels through general news and travel audiences, not only fashion ones.

Loewe also has an anniversary to justify the spend. The house is celebrating 180 years, and the Amazona 180 name is a direct nod to that milestone.

What Comes Next

Paris Fashion Week returns in six weeks. McCollough and Hernandez will present their third Loewe collection, and expectations have risen considerably since March.

Watch the accessories first. Von Bonin’s capsule versions of the Puzzle and Flamenco are the pieces most likely to move, because a collaboration bag converts an art project into retail.

The campaign’s real test is retention. Fall deliveries are landing now, and a whiteout is a bold way to sell a parka. Follow the collections and shows that shape the season with our Paris Fashion Week coverage and attendee guide at Runway Magazine.

Cara Delevingne Returned to Topshop as Its Co-Designer

By
Runway Magazine Editorial Team
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Cara Delevingne in a cropped denim jacket and wide-leg jeans for Topshop on a London street
Cara Delevingne co-designed Topshop's 16-piece denim capsule, launched August 23, 2026 and available at Asos from August 25.

She first appeared in a Topshop campaign in 2010, standing behind Kate Moss. Sixteen years later, she has sixteen pieces with her name on the design credit. She is also, deliberately, absent from the photographs.

Cara Delevingne co-designed a 16-piece Topshop capsule that launched on August 23, 2026, and is now available on Asos.com. Prices run from £26 to £95 across UK sizes 6 to 18. The denim-led range covers jeans, skirts, dresses, jackets, tailoring and co-ords, and it is her first credited design role with the brand.

What Is in the Cara Delevingne Topshop Collection?

Denim, used as a base material rather than a category. That distinction shapes every piece in the range.

The hero is a pinstripe suit cut entirely in denim. A broad-shouldered blazer pairs with a wide-leg trouser in an overdyed pinstripe, which is the closest the capsule comes to formalwear.

A second statement runs turquoise. A funnel-neck jacket and matching jean form a head-to-toe co-ord in a genuinely loud wash.

WWD detailed the range, including a beige trenchcoat reinterpreted as a cropped light-brown jean jacket belted at the waist. Boxy jorts arrive with a curving pattern in light wash and chocolate brown.

The jeans cover both ends of the current silhouette debate. Slim high-waisted pairs sit alongside extra-baggy dark-wash barrel styles.

Layering pieces complete it. Ribbed vests, open-back tops, and long-sleeved tees are designed to be worn under and over denim rather than beside it.

From Campaign Face to Design Credit

The progression has been slow and deliberate. She first worked with the brand in 2010, appearing in the Kate Moss for Topshop campaign.

Last year she returned as a curator. That 30-piece edit was styling work, and it landed alongside the relaunch of Topshop.com as a standalone site.

This time the credit is different. The brand says it worked with her for more than a year on the capsule, and the range keeps its circular design criteria in mind.

She framed it personally. “Topshop has been part of my style story for as long as I can remember,” she told WWD.

Her denim credentials are also documented. She has previously said that denim is “a fantastic, enduring style statement” and central to how she dresses.

Notably, Cara Delevingne’s designer credits now run in parallel with her modeling. She is simultaneously fronting Rag & Bone’s Fall 2026 campaign, which follows her debut headline music tour.

She Is Not in the Campaign, and That Is the Point

Here is the detail almost every write-up has skipped. Delevingne does not appear in the campaign imagery at all.

Magnus Lecher shot it on the streets of London. Miah Linardi fronts it, with creative direction by Mairead Gleeson and styling by Holly Gorst.

That absence is a deliberate signal. A celebrity capsule usually leads with the celebrity’s face, because the face is the product.

Removing her forces attention onto the clothes instead. Please judge the launch as a design collaboration rather than an endorsement.

It is also a credibility play. Anyone can lead a campaign; stepping back from one means the work is elsewhere.

Topshop Needed This More Than She Did

The brand’s recent history has been turbulent. Arcadia Group collapsed into administration in 2020, and Asos acquired Topshop and Topman in 2021.

Ownership then changed again. Asos sold a 75 percent majority stake to Heartland — representing the Holch Povlsen family and Bestseller — for £135 million in September 2024, retaining 25 percent itself.

The Topshop comeback has been methodical since. A runway show in Trafalgar Square followed, alongside a capsule with British-Nigerian designer Tolu Coker.

British high street fashion has struggled to rebuild that kind of cultural weight, and Topshop’s denim history is its strongest asset. Michelle Wilson, the brand’s managing director, tied the collaboration directly to that denim DNA.

The price architecture supports the strategy. A £26-£95 Topshop denim capsule sits well below the designer collaborations that dominate coverage, yet it reaches the audience that actually shops trends.

What Comes Next

Today’s Asos listing is the real test. Topshop.com reaches loyalists; Asos reaches scale.

Watch the denim tailoring 2026 pieces specifically. The pinstripe suit is the item that determines whether this reads as a design collection or a merchandising exercise.

The longer question is whether the partnership extends. She has moved from face to curator to co-designer across three stages, and there is only one step left — a role with genuine creative authority, of the kind London’s emerging designers build careers on. Follow the labels and launches shaping the season with our fashion designers’ coverage at Runway Magazine.

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