American in Paris showcases new simplicity with stretch cocktail frocks, but there’s still plenty of gold-foiled nipples and peekaboo fabrics to wow the frow

In a world of mega brands, the house of Schiaparelli is small but perfectly formed. There are only 10 points of sale worldwide where Schiaparelli clothes can be bought. The size of the business has risen from $6m in 2020 to around $100m today, but Schiaparelli is still small fry compared with other names on the Paris catwalks.

However, the Schiaparelli name punches above its weight. An exhibition at London’s V&A museum this year made a strong case for its founder, Elsa Schiaparelli, who collaborated with Salvador Dali and Jean Cocteau, as a creative force in the surrealism movement of the 1930s.

Italian designer imbues collection with signature flourishes and style rooted in the craft of the couture atelier

It was “the most personal show I have done here”, the designer Pierpaolo Piccioli said after his Balenciaga presentation at Paris fashion week on Thursday.

Piccioli, who always wears a coral necklace, placed a monumental sculpture of undersea coral crafted from fabric in the middle of the catwalk. Like Cristóbal Balenciaga, Piccioli is both a maximalist and a minimalist. He likes boldness but not fuss, each look one audacious idea executed cleanly. A floor-length ivory cape fastened with a simple gold clasp. A black suit with one bold slash of tangerine at the jacket hem. A gown covered from neck to ankle in bubbles of organza.

Designer showcases wool alternatives and ocean-inspired clothes and says ‘kindness requires real work’

Stella McCartney has been talking about animal rights at fashion week for 30 years. She is usually a lone voice, but the issue is back in the headlines this season. Outcry over the physical restraining of a Peta protester at a catwalk show by Steven Kolb, the president of New York fashion week’s governing body, has put cruelty in wool production – previously considered niche compared to the hot button topic of fur – on the news agenda.

“There is no wool on the runway this season, and I’m proud of that,” McCartney said after her show. She has been working on wool alternatives, including Brewed Protein, a fermented alternative to cashmere and wool developed in collaboration with the Japanese biotech firm Spiber, which was first used in her collections a year ago.

Designer’s latest work takes bold steps away from the fashion house’s brand, creating a show that felt like an event

“I want to land on a vibe.” This was how Dior designer Jonathan Anderson, one year into what is arguably the biggest job in fashion, summed up his assignment before his latest show. Expounding on chiffon and buttons with the intensity of a barrister delivering a closing speech in the high court, ruffling his hair as if his mind might at any moment explode with ideas, Anderson brings more brainpower to the pursuit of the vibe than the superficial phrasing suggests.

The vibe is coming in to land. This Dior show felt like an event, which is the bar Christian Dior set for his successors back in 1947, when his New Look silhouette made front pages all over the world. Overnight, trees had emerged out of the circular pond in the Tuileries Garden in Paris, and – thanks to the deep pockets of owners LVMH – a magical mist conjured to swirl around them, lending a cinematic grandeur to the slender catwalk spanning the water. (The trees will be replanted elsewhere in the gardens, after the show.)

They dressed – and partied with – the innermost in-crowd. As a swirling new show celebrates their fashion creations, Birtwell recalls her happy days with Clark and her sorrow at the loss of David Hockney

In the mythical age of bohemia, the psychedelic decade between Mary Quant’s cheerful miniskirts and the first snarls of punk, Celia Birtwell and Ossie Clark were London’s most fashionable couple. Birtwell created the fabrics: daydreamy, botanical doodles that captured the idealism and looseness of the times in wisps of chiffon. Clark magicked these into sensual bias-cut dresses with a freewheeling grandeur that was part Hollywood glamour, part rock’n’roll anarchy.

More than just designers, they were a whole vibe. They dressed – and partied with – the innermost of the in-crowd. Talitha Getty, Marianne Faithfull and Anita Pallenberg hung out at Quorum, their Chelsea boutique. At a catwalk show in 1970, there were two Beatles, Cecil Beaton and Brigitte Bardot in the audience – and, after Clark began making stage clothes for Mick Jagger, he accompanied the Rolling Stones on tour. David Hockney’s portrait of the couple in their pomp – Mr and Mrs Clark and Percy, painted two years into their marriage, when Birtwell was pregnant with their second child – sealed their place in the mythology of the period.

Chore jackets and loose-fit trousers nod to ‘nonconformist glamour’ of Amelia Earhart and other pioneers

The Max Mara catwalk at Milan fashion week had well-cut coats, sturdy block-heeled boots, crisp white shirts and capacious suede handbags. What it quite deliberately did not have was shock value. “I hope everyone watching this show can recognise something of themselves in what they see,” said Ian Griffiths, the British designer who has been at this Italian house since 1987. “I think that’s really important. Without being critical of other brands or designers, so much of fashion alienates people and makes them feel that they aren’t good enough or thin enough or young enough to wear what’s being represented.”

Trousers were pleated and roomy, skirts long enough to be elegant but not long enough to trip you up. In shades of sand and chalk, grey and black, every piece was designed to work with everything else, and to blend into an existing wardrobe. The styling gestures – a popped collar here, a knotted belt there – stopped short of gimmick. The models could have walked off the runway and on to the Milan street – which, Griffiths said backstage, was the point. “The catwalk show is only the prelude to what to me is the real presentation, which is when I see women walking down the street in my clothes.”

The push to buy lasting, sustainable clothes is a good thing, but every wardrobe need a bit of mischief

I do hope you are wearing your zebra stripe trousers today. Anyone who is anyone is wearing zebra stripes this month, you know. If you haven’t yet got with the programme, I suggest you nip to the shops and snap some up before they are all gone. It would be mortifying to be the last one without a pair. Hurry!

Only teasing. Fashion doesn’t work like that any more. The days when people like me bullied everyone else into wearing banana yellow one season and puffball sleeves the next are over. Looking trendy is over. Timeless chic is the only show in town. Peacocking has been phased out in favour of understatement and personal style.

Milan show full of diaphanous dresses and visible bras celebrates ‘incredible feminist’ of the 1970s, Raffaella Carrà

Maria Grazia Chiuri has been having more fun with clothes since she decamped from Paris back to her native Rome to work at Fendi. “I have less of a uniform these days. I think it is because being back here makes me feel young again. I’m not sure my daughter appreciates [this attitude]! But I don’t care,” she said at a preview before her Milan fashion week show.

Not that Chiuri doesn’t approach her work as a designer seriously. She described her second ready-to-wear season at Fendi not as a show, or a collection, but as “the second part of the project I am working on for them”.

Combination of Miuccia Prada with Belgian designer Raf Simons once again spins gold for fashion house

Miuccia Prada’s style formula is simple: begin with a great skirt. Her personal uniform is a knee-length skirt, A-line or pleated, most often with a plain sweater and kitten heels.

The Prada collection that opened Milan fashion week made a compelling case for her favourite outfit, with a skirt the star of every one of the 63 looks – no dresses, no trousers. It won the room over, so expect to see the personality skirt on a high street near you soon.

Textile designer brings florals, vines and smiley doodles to brand’s luxury checks for one-off paired collection

Burberry and Celia Birtwell are both national treasures of sorts. One is Britain’s grandest luxury name, the other the textile designer who dressed bohemian 1960s London in her prints and has a place in art history as David Hockney’s favourite muse.

Burberry’s designer, Daniel Lee, has always loved Birtwell’s prints. When the two met this spring, he fell for “her energy, and her zest for life”, and a one-off Burberry meets Birtwell collection that closed London fashion week was born.

Brand returns to its physical and unconventional roots as it battles undergoes stark restructuring

Back when a young Lee McQueen was showing at London fashion week, there was Dante, the show in a Hawksmoor church with a skeleton in the front row and a blaring soundtrack of organ music and gunfire. And there was Voss, where models were trapped inside a giant mirrored box set up as a psychiatric ward.

Twenty-five years later, the Alexander McQueen brand returned from the Paris schedule to a creepily beautiful subterranean 17th century London chapel, with steel harnesses, bulky ankle strapped heels that looked like electronic monitoring tags, and a chain mail dress of tiny silver skulls.

Appointment of Kane as creative director signals the return of serious style ambition for former It-bag brand

With spicy leather mini-dresses and shoes with miniature axes for heels, two beloved British names made a swaggering joint comeback at London fashion week.

Fifteen years ago, Christopher Kane and Mulberry were two of the biggest shows on the line-up. Kane was the brilliant young designer who could find fashion in the most unlikely places: rubberised lace minis were inspired by “Princess Margaret on acid”; while illustrations from the 1972 classic The Joy of Sex appeared on slinky slip dresses. Mulberry was London’s home-grown It-bag brand: anyone who was anyone had a Bayswater or an Alexa.

Georgia O’Keeffe inspires the latest Calvin Klein while Michael Kors feels indebted to Alexander Calder

Calvin Klein has taken a highbrow turn in the two years since Veronica Leoni took charge. The Italian designer, a philosophy graduate who was schooled in the chic design studios of Jil Sander and Celine, has shifted away from jeans, boxer shorts and logos, stripping the brand to its minimalist bones: slip dresses and simple coats, slim skirts and crisp T-shirts.

Leoni called this the “discipline of removal”. Her muse this season was Georgia O’Keeffe, an artist who the brand’s namesake founder admired. Klein bought O’Keeffe’s painting Summer Days in 1983 for $1m, subsequently donating it to the Whitney Museum. A checked pattern taken from O’Keeffe’s distinctive capsule wardrobe of utilitarian chic appeared on this catwalk as a wrap coat, hardware-free with a fabric belt and no buttons.

Preppy is back in the zeitgeist, says designer, blending sportswear codes and collegiate chic at New York show

Tommy Hilfiger’s front row was a slam dunk. The Knicks are the kings of New York right now, so scoring Josh Hart, Karl-Anthony Towns and Miles McBride, three of the team’s stars, for the guest list of his New York catwalk show was a victory. Travis Kelce, who is co-designing another upcoming collection with Hilfiger and had been rumoured to attend this event with his new bride, was a no show, but you can’t win them all.

Tommy Hilfiger is all about sport. The design vocabulary of oversized jerseys, team stripes, rugby shirts and letterman jackets draws heavily on the visual language of the stadium. Kelce, whose NFL tunnel walks have become a catwalk of their own, is the latest in a line of sporting ambassadors that includes Thierry Henry, Rafael Nadal and Lewis Hamilton. Hilfiger has long stood for a certain glossy stars-and-stripes Americana – its graphic red, white and blue logo is a riff on the flag – but American identity is delicate cultural territory right now. Sport, which unites audiences across all backgrounds and political allegiances, gives the brand a wholesome place to congregate. “People really like him,” Hilfiger said backstage, explaining why he chose to collaborate with Kelce. “He’s really humble, down to earth, sweet, fun, and funny. And a superstar athlete.”

Designer mixes burnt-out velvet and shredded denim with a mythology that keeps getting more profitable

The opening show of fashion’s month of catwalks was not on the official schedule, but Viola Davis and Cynthia Erivo were snuggled on to celebrity-packed benches in a cathedral-sized marble hall where tapestry-hung walls and a gilded coffered ceiling framed a view over lower Manhattan.

Ralph Lauren, 86, took his bow at the end of this women’s wear show casually dressed in a varsity jacket spelling out New York. In an industry obsessed with youth and novelty, Lauren is more relevant than ever in his ninth decade.

I’ve always cinched my outfits at the waist, but shifting to a looser silhouette has helped me keep my cool in more ways than one

This was the summer of the Great Untuck. The long hot summer of 2026 finally taught me to do what fashion has been nagging me about for years, which is to quit tucking in my shirts and T-shirts. To stop assuming that the top half of an outfit must be neatly cinched by the waistband of the skirt or trousers.

It wasn’t a style epiphany, to be fair. It was just too hot to do anything else. An extended run of hot weather at home changes how you dress. In the old-school type of British heatwave, which lasted about half a week, I was too giddy with excitement at not having to wear a cardigan to think more strategically. But this summer was different. And eventually I discovered what hot-climate cultures have always known, which is that loose, generously sized clothing that maximises sun protection while minimising skin contact is way more pleasant to wear in the heat than anything short and tight.

September is the most fun time of year to shop, but it can also be dangerously seductive. Keep your wits about you with these tips

I used to love back-to-school shopping when my children were little. The miniature highlighter pens, the name labels, those pop-out pencil cases from Smiggle, even the intergenerational wrangling over when the price of a water bottle becomes unreasonable. I love the ceremony of new beginnings. The curtain-raising drama of it all.

Luckily for me, you don’t have to grow out of back-to-school shopping even though your children do, because in fashion September is considered the start of the new year. This is eminently sensible, because this time of year is a much better moment for a restart than January. The actual new year is dark and bleak and makes resolutions and projects feel intimidating rather than exciting. But right now, the evenings are still light, and while I’ve still got a bit of a tan pretty much anything feels possible.

Got that new term feeling? Embrace the September reset with tailored blazers, hints of cashmere and a surprisingly excellent tee

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Nobody has handed me a timetable in decades, but I still love that new-term energy, and this edit leans right into it. A blazer that is properly tailored, rather than assembled from buttons and hope. Closed-toe shoes to ensure a proper soft landing after months of sandals. A T-shirt from a brand I was fully prepared to be sniffy about, until it made me eat my words. And a packing solution, because the only sane way to deal with the end of summer is to plan a holiday, obviously.

There’s also a genius lip colour for lip balm addicts like me, a bag doing a very convincing impression of something 10 times its price, and one long-sold-out cardigan that was worth every month of the wait.

Jess Cartner-Morley has been the Guardian’s fashion editor since 2000 and will be joining us at 3pm BST to answer your questions about her career on the front row

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What’s changed in the industry since 2000, have there been any catwalk disasters, and can you really consume fashion ethically?

As Jess gears up for another round of fashion weeks beginning in New York next month, ask her anything about her years covering fashion.

In 1926, Henry Ford gave his employees both Saturdays and Sundays off – and the two-day chunk of time to party, pray or simply do nothing was born. Now it’s changed beyond recognition

For 11 years, from 1929 to 1940, the Soviet Union did not have weekends. Instead, to increase productivity citizens were allocated a day off in every seven at random. With 80% of the population at work on any given day, factories never had to power down.

A letter from a disgruntled worker to Pravda newspaper, published soon after the implementation of this new working calendar, outlined the problems: “What is there for us to do at home if our wives are in the factory, our children at school, and nobody can visit us?” the letter-writer asked. “It is no holiday if you have to have it alone.” Parents found themselves at home while their children were at school, or with kids unsupervised while they were on shift. With no shared day off, extended family gatherings became impossible. The workforce became demoralised and listless, the projected spike in productivity never materialised, and the policy was first modified, then abandoned altogether.