The best street style from the haute couture fall/winter 2026 shows
The first day set a remarkable precedent for the week, opening with Daniel Roseberry's Schiaparelli, which returned to the roots of the surrealist house with a bold, monochromatic spectacle titled 'Back to the Future'. The collection embraced fluid silhouettes and dramatic tailoring, leaning heavily into visual theatrics and archival homage. Meanwhile, Iris van Herpen, with her iconic sculptural and innovative design approach, dazzled the audience with a groundbreaking 'living dress' woven from 125 million bioluminescent algae. Captured in electric-blue hues that responded to movement and environmental stimuli, the garment acted as a self-sustaining ecosystem that illuminated the runway. Chanel ambassadors and fashion insiders were among celebrity sightings, contributing to the glamorous and exhilarating atmosphere.
With day one leaving its mark, all eyes now turn to the Chanel's final haute couture show before newly appointed artistic director, Matthieu Blazy takes the reins—as well as Glenn Martens' highly anticipated debut for Maison Margiela.
Beyond the runway, the streets came alive with the true spirit of Haute Couture Week as attendees brought their sartorial A-game to the sidewalks of Paris. In contrast to the theatrics on the runway, many opted for refined ensembles that exuded quiet confidence—think tailored blazers, crisp shirting and monochromatic palettes elevated by offbeat textures, statement accessories and pattern mixing.
On the other end of the spectrum were the head-turners—celebrities and style icons who adopted couture-level drama in their street style. Never one to shy away from the spotlight, Cardi B arrived in a custom black velvet column dress from Schiaparelli's spring 2024 couture collection, reimagined for dramatic impact with long pearl fringe cascading from a sculptural neckline. Others followed suit, favouring exaggerated silhouettes and unexpected touches that commanded attention with every step.
Below, scroll through some of the best street styles from the haute couture fall/winter 2026 shows, as photographed by Phil Oh.
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CNA
10 hours ago
- CNA
Food stylist and influencer Sunny Han's house is inspired by holidays in the Italian countryside
One of the best tiramisus I had in my life was not in a restaurant. It was whilst perched on a high stool at Sunny Han's kitchen island. The tiramisu was so good that the next time I met up with another guest who was at that same dinner, we started our conversation dissecting what made Han's version of the Italian dessert just right. I had looked forward to that meal, as Han is a famous culinary virtuoso who documents her cooking on Instagram with sprezzatura aplenty. She diligently makes everything from scratch – risotto alla Milanese, tteokguk, soya sauce chicken rice, to name a few – spending hours in her kitchen with nary a hair out of place and ears adorned with vintage earrings – Chanel, no less. Han's impeccable style and gastronomic preoccupation is traced to a lineage of connoisseurs. Her grandmother was married to South Korea's first naval admiral and hosted many dignitaries, including President Park Chung Hee. Han's mother cooked in South Korea's first bistro before opening the country's first international interior design store. 'She would go to the Maison & Objet Paris fair twice a year to shop, and I would follow her when I was 10 to 15 years old,' shared Han, who studied hospitality management at Cornell University, New York, followed by two years at the Culinary Institute of America in Napa Valley, California. A meal by the seasoned host is always a thorough affair. Han recapped a recent Easter meal featuring a five-hour, slow-roasted leg of lamb 'cut very thin, soaked in its own pan drippings and served in a variety of condiments and sauces, including silky tahini sauce.' This was matched with a spring tablescape of a green-outlined, yellow vintage jacquard French linen tablecloth, emerald-green Marie Daage dinner plates Han hand-painted and parrot tulips arranged in a Japanese flower frog. 'I wore a vintage pink gingham Chanel shirt – a classic Easter colour and pattern to suit the occasion,' detailed Han. An aesthete through and through, she also puts her perceptive design sense to good use as creative director of Singapore's largest high-end co-work operator, The Work Project (TWP), which was founded by her husband Junny Lee. Both of them hail from South Korea but carved a life in Singapore running their business that has expanded to include locations in Hong Kong, Melbourne, Brisbane, Sydney and soon, London. The couple made a great pair of hosts during the dinner they invited me to – Lee, with his candidness and humour, and Han with her elegant meal of handmade pasta and beef. The setting was equal part homely and aesthetic, with candlelight saturating the room with atmosphere. The pair moved into this Bukit Timah detached house two years ago from their apartment in town for more space as well as a different pace of family life with two young boys. They were drawn to the site for the leafy park across the street with 'a handsome, grand-looking tree.' Han elaborated: 'We love living in this quiet and intimate neighbourhood. The park is such a versatile place for us, where the kids can play in the mornings and afternoons, where we do picnics, and where we can have a glass of wine as an aperitivo before dinner.' The Italian-inflected house was steered by their love for the country. 'We do a three-week-long summer trip to Tuscany, and some shorter trips over the year to other parts of Italy,' said Lee. These are dreamy days, of Han in her element, wandering into markets to buy fresh produce to whip up Italian dishes as the children play in fields against ombre sunsets. "I like to cook various cuisines – Japanese, Korean, Vietnamese, French, Italian and more. However, if i were to choose one, it is Italian cooking that mesmerises me. I roll different shapes of pasta with different sauces based on what is available in the season. All the inspiration comes from the travels. Italian cooking looks simple but it can actually be very technical in order to do it correctly," said Han. Diego Molina and Maria Arango of ArMo Design Studio, formerly from ONG&ONG (the house's architect of record), helped design their dream house. Matthew Shang Design Office (MSDO), known for creating narrative-led dining destinations like Revolver and Atlas Bar, designed the interiors. Shang had also designed the couple's previous home as well as some TWP Singapore locations so this partnership was seamless. While neoclassical Italian villas provided the precedent, the house's expressions are contemporary. 'We incorporated materials like natural stone, timber and [red travertine tiles inspired by] terracotta that age gracefully and resonate with the Italian countryside inspiration. Architectural features such as arches and pergolas not only provide structural rhythm, but also pay homage to classical design principles,' explained Molina. In the entrance vestibule, a statement staircase finished in smooth stucco curls gracefully to one side like a side-swept skirt, carving a void for Han to welcome guests with seasonal floral displays – for example, large bursts of yellow mimosa in spring and branches of autumn leaves in fall, accessories by pumpkins. The other parts of the home embody a similar tempered elegance, with marble floors, walls of marmorino stucco (a material used in Venetian palaces of yore), spaces conceived as rooms from one to another, arched doorways of oak, and sun-tipped lemon and olive trees outside the windows. Symmetry, colour and proportion are carefully considered with features like teal- and artichoke-coloured silk panels, and dark green Verdi Alpi marble portals flanking a faux red travertine hearth in the living room. 'It is always difficult to do a 'fake' fireplace in the tropics but here, the marble accents and scale make it a wonderful focal point,' said Shang. Han also contributed vintage Murano glass Venetian sconces bought in an online auction. 'I have been adding small furniture and decor items everywhere in the house since we moved in. I think adding stories and layers to every corner of the house as you live in it is the real beauty of home decorating,' she said. Many special pieces came from the couple's travels. 'While the house was being built, I was pregnant with my second son, and we went on a long trip to Tuscany as a babymoon. We met so many local artisans in different parts of Tuscany, hand-making all sorts of things – from ceramic floor tiles to brass door handles and hand-carved wood appliques,' said Han. An artisan in Florence made one of these appliques – a vanilla-coloured piece now attached to her custom cooker hood as a centrepiece in the kitchen. This space sees constant addition not just of decor, but also of cooking apparatuses, other culinary paraphernalia and 'kitchen stories'. 'The kitchen is very much the heart of the home – not just in function, but in how it brings the family together,' Arango commented. The large island often sees family and friends gather around to chat with Han as she preps and cooks. The professional-grade kitchen incorporates a red La Cornue stove and everything that Han had always wanted in her workspace, including a rotisserie that works its magic every week for a regular Sunday roast. Events in this room segue into those in the backyard through large doors that are kept open in the late afternoons. 'The children truly love every part of the house. Yet, it is definitely the kitchen that they enjoy the most. Since our pool is connected to the kitchen, it has become a ritual [for them] to swim before mealtimes, and watch me cook and prepare meals. By appreciating these daily rituals and slow lifestyle, the children have gradually made the home their own,' Han reflected. Arango observed that this connection between the inside and outside spaces 'reinforces the open, relaxed spirit of the home, where boundaries between living, cooking and leisure are gently dissolved.' She and Molina had shifted the original driveway here to another side of the plot to allow for a bigger pool that they clad in the same red travertine as the kitchen floor in the style of Mediterranean kitchens. I asked Lee if he cooks and he chuckled: 'I used to quite a lot but my skills have been rendered useless. On the odd weekend, Sunny will let me do the poolside barbecue. But my job is to play with the boys, and get them really hungry and tired.' View this post on Instagram A post shared by Sunny Han (@sunnyskitchen) The rustic kitchen is presided over by two grand conical Wastberg lamps that appear like abstracted upside-down chefs hats. Walls of oak storage include glass-fronted cabinets showcasing Han's collection of plates and crockery. 'These displays add a personal and lived-in character to the kitchen, making it not only a functional workspace but also a space that tells a story – one that is always evolving with the seasons, meals and memories made there,' said Arango. The dedication of Han's hosting is found in a 'party closet', accessed by a butler's corridor. Here, Han keeps her heirloom silverware (some have been used by past South Korean presidents), serve ware, piles of neatly folded linen, et cetera that take their turn to be admired at gatherings. 'I like to buy vintage and objects that looks used. A lot of them were inherited from my grandmother,' said Han. There are also vintage espresso cups belonging to her mother. Guests close enough for a tour upstairs often marvel at the peach-coloured walls tracing the round void of the stair core on the second storey. The shade was chosen to match the terracotta downstairs. 'Since it's the kids' area, I wanted it to be more vibrant, yet still in keeping with the Italian language. It was really hard to arrive at that colour,' said Han. The library and doors to bedrooms encircle this void. One of the doors leads to the couple's suite in the attic that has a dedicated bar area.. 'We spend a lot of time here in the evenings,' said Lee. For the space, Shang was inspired by Italian architect Piero Portaluppi's classic Milanese modernist interiors. Rather than downplay the quirk of the slanted ceiling, he celebrated it with rich polished green stucco plaster. I asked the couple what a normal day is like in this home after the children have returned from school. 'We have the kids at the playground, then have dinner, and then reading time in the library. Then they will go off and get ready for bed. Usually, I will do a little more work at home, a bit of reading, listening to music, then a nightcap and go to sleep early before 11pm,' narrated Lee. Han mused: 'We sound like old people.' Clearly, family life is given serious attention. But so too is fun with friends – such is the couple's joie de vivre attitude to life. 'When we entertain friends, we invite them to the living room first with a glass of champagne to start before dinner. Then we all move to the kitchen where I cook and entertain simultaneously,' shared Han. 'Afterwards, we continue to the upstairs bar with a digestif or two. It always ends up in a small house party with endless songs and drinks through the night.'
Straits Times
20 hours ago
- Straits Times
Designer Iris van Herpen's Paris Haute Couture Week algae dress is actually alive
Belgian model Stella Maxwell presents the algae dress for Iris van Herpen during the Women's Haute-Couture Fall/Winter 2025-26 collection show in Paris on July 7. PARIS – Couture, the oldest and most elite of the fashion arts, the pieces made by hand for the very few, can sometimes seem like a fossil preserved in an amber corset. Which is why Dutch fashion designer Iris van Herpen's work, both futuristic and deliberately kinetic, has always been so mesmerising: skirts that jounce like jellyfish, extrusions that tremble like palm fronds, and sleeves (or sleeve-like appendages) that flutter like butterfly wings. Even by her standards, however, the second look in the couture collection she showed in Paris on July 7 as part of Haute Couture Week was something else. It was actually alive. Made of 125 million bioluminescent algae known as Pyrocystis lunula that glow in response to movement (think the luminescent plankton that can make the ocean seem lit from within), the dress-and-leggings combination was grown in a gelatin-like substance that was then moulded into one of van Herpen's signature sci-fi anatomical lattice frocks. Wearing it, the model resembled a very regal, otherworldly crustacean. It had an aquatic tint and a squishy, jellylike veneer. And though it didn't exactly radiate megawatt beams when the model walked, it did emanate a soft blue haze. According to van Herpen, the look feels sort of visceral when worn. And for anyone wondering, it was not smelly. More of an experiment than an actual for-sale item, the outfit was, 41-year-old van Herpen said backstage, 'the next step in not being inspired by nature, but collaborating with nature'. Top stories Swipe. Select. Stay informed. Singapore ST will have Govt's 'full confidence and support' in its mission to stay relevant: PM Wong Singapore ST will aim to become an indispensable partner to S'pore's communities: Editor Jaime Ho Singapore Heartbeats & Headlines: ST's 180-year legacy comes to life in immersive exhibition Singapore Trusted news, smarter experience with new Straits Times website and app Singapore Man who killed 5-year-old daughter gets life sentence after he appeals against 35-year jail term Singapore Judge declines to void alleged sham marriage in S'pore, says it is for Parliament to decide Business OCBC CEO Helen Wong to retire on Dec 31; Tan Teck Long named successor Singapore More than 14,300 people checked during 7-week-long anti-crime ops Designer Iris van Herpen appears at the end of her Haute Couture Fall/Winter 2025-2026 collection show in Paris on July 7. PHOTO: REUTERS In other words, forget floral prints, or rose embroideries. Think biological symbiosis. The look was created in conjunction with Chris Bellamy, a biodesigner who began working on the project with van Herpen about five months ago. The algae were nurtured in seawater baths and then placed in a protective membrane (the one that became the dress), which has its own 'house' – a kind of free-standing immersion tank – with specially monitored conditions, including humidity, temperature and light. When it was not being worn, the dress was returned to its natural habitat – though even in the unnatural environment of a fashion show, the algae held their own (colour). Still, how long they will ultimately live, and what will happen to the outfit once they expire, is not exactly clear. 'No one knows!' van Herpen chortled. 'That's the beauty of it. It's very much like a human being in that sense. It needs eight hours of sleep, it needs sunlight, it needs not too much stress.' The point of the living dress, she said, as with the rest of her collection, was to force a rethink of our relationship with the ocean – a theme that has been part of her work since 2017, when she immersed musicians in tanks of water for a show. To that end, this season's show opened with a performance involving lasers that danced across a gown made of what the show notes called Japanese 'air fabric'. A performer exhibits during the presentation of creation for Iris Van Herpen during the Women's Haute-Couture Fall/Winter 2025-26 collection show in Paris on July 7. PHOTO: AFP One look that resembled a translucent ivory Slinky trailing around the body was made of Brewed Protein, a fiber from fermented plant-based materials by the Japanese biotech company Spiber; another was formed from resin-coated silk, which resembled a wave caught in mid-froth. A model presents a creation for Iris Van Herpen during the Women's Haute-Couture Fall/Winter 2025-26 collection show in Paris on July 7. PHOTO: AFP As much as anything, however, her work, and especially the living dress, actually prompts a rethinking of our relationship with our wardrobes, and the way clothes need care in order to last. Not to mention a rethinking of the essence of couture. As the laboratory of fashion, couture is defined by experimentation and the sort of pie-in-the-sky imagination that is only possible when price and time have no limit. That's how you got a ruby crystal heart necklace that actually throbbed worn over a backward dress at Schiaparelli, the gown's torso – complete with breast plate – layered over the spine. It's how the team at Chanel, creating its final collection before the first show of new designer Matthieu Blazy, dreamed up the shaggy boucle 'skins' that resembled bison pelts but were actually made from tulle and feathers, worn over the shoulders of their barbarian bourgeoisie (the best things in an otherwise lacklustre show). Too often, however, couture seems as if it is preserving the know-how of the past – its embroideries, brocades and fairy tales – rather than trying to invent what's next. Van Herpen's work challenged all of that, simply by asking: What if a garment was not only constructed, but cultivated? NYTIMES
Vogue Singapore
3 days ago
- Vogue Singapore
Vogue's best looks from the Chanel haute couture fall/winter 2026 show
An expanse of white carpet, mirrored walls, and beige banquettes strewn with quilted cushions: The enveloping mise-en-scène at Chanel suggested a simulacrum of what the house's haute couture clients experience behind closed doors at the Rue Cambon. We were in the Grand Palais, sure enough, but this hushed, draped so-called salon had been conjured into existence on an upper floor, the sense of the ritual of privacy and exclusivity underlined by the fact that so few had been invited. The distinction between haute couture and ready-to-wear is sacred at Chanel, and the ambience around this collection was designed to assure the class of women who order at the house that the timeless values prevail. The in-house team—we are still waiting for the debut of Matthieu Blazy in October—had worked up a wintry theme, partly inspired (according to the house notes) by Coco Chanel's love of the Scottish highlands. That information accounted for the chunky treatments of winter-white and beige tweeds, the vague layered allusions to grouse-moor hunting jackets, and the grounding of walking boots throughout. It was less a cohesive storytelling collection, though, than a series of demonstrations of what Chanel's textile and embroidery ateliers can do. Fluffy feather-and-tulle-embroidered capes imitated shearling, a full-length coat evoked a shaggy fur, and a swansdown flurry of snow rested on the shoulders of a narrow black tweed coat. Chanel's clientele come to the house for light evening fantasias. These were glimpsed among the white chiffon blouses, shredded-tulle maxiskirts, and underlayers of white guipure lace. In the haute couture salon, one imagines, customers are free to range across the options, picking, choosing, and reconfiguring these looks according to taste. What it lacked, without the leadership of a sole designer, was a point of view strong enough to make women—and not only couture clients—want to change their whole outlook on the way they would like to dress. Nobody expects an in-house team to do that. But with Blazy waiting in the wings—having been given a good long time by Chanel to muster his ideas—the anticipation of a soon-coming revolution of that order couldn't be higher. Courtesy of Chanel 1 / 12 Look 1 Courtesy of Chanel 2 / 12 Look 6 Courtesy of Chanel 3 / 12 Look 9 Courtesy of Chanel 4 / 12 Look 12 Courtesy of Chanel 5 / 12 Look 21 Courtesy of Chanel 6 / 12 Look 23 Courtesy of Chanel 7 / 12 Look 25 Courtesy of Chanel 8 / 12 Look 31 Courtesy of Chanel 9 / 12 Look 37 Courtesy of Chanel 10 / 12 Look 38 Courtesy of Chanel 11 / 12 Look 44 Courtesy of Chanel 12 / 12 Look 46
