Admire a breathtaking revival of classical form and modern empowerment – watch the Christian Dior Fall/Winter 2026/27 Haute Couture showcase now on FashionTV!

Under the roof of a leafy hothouse constructed in the historic gardens of the Musee Rodin, Jonathan Anderson delivered his highly anticipated sophomore haute couture collection for Christian Dior on July 6, 2026. Stepping firmly into the spotlight following Maria Grazia Chiuri’s historic tenure, Anderson has established a radical new creative direction for the house – one that directly treats the discipline of haute couture as an artistic laboratory.

For the fall/winter 2026/27 season, Anderson staged an ambitious, visceral dialogue between fine art and fashion, taking the pioneering, fluid sculptures of American feminist artist Lynda Benglis as his ultimate creative catalyst. The runway, finished in a sleek, reflective black lacquer, was surrounded by dense green foliage, ferns, and exotic plantings meant to evoke Benglis’s personal gardens in New Mexico and India.

This natural, slightly untamed setting served as the perfect framework for a collection centered around the concept of “material in motion.” The ultimate litmus test for any designer entering the gates of 30 Avenue Montaigne is the reinvention of the iconic 1947 Bar Suit. Anderson’s brilliant solution was essentially to melt it down – stripping away the rigid internal padding and stiff corseting of old, and replacing them with sensuously draped, bias-cut shapes, fluid silk pajama-style sets, and featherweight knitted jackets that gave the female form absolute freedom of movement.

The 66 looks beautifully mirrored Benglis’s famous practice of converting two-dimensional materials into voluptuous, three-dimensional forms. Anderson toyed masterfully with the illusion of rigor and the poetry of fluid drapery. In a direct nod to the artist’s legendary use of chicken wire to mold heavy, poured materials, the Dior ateliers produced voluminous, jaw-dropping skirts constructed from silver metallic netting and crushed-foil-pleated silks that danced under the studio lights like liquid metal.

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Cannes 2013 Day 2 Red Carpet ft. Emma Watson, Fan Bingbing, Sonam Kapoor

http://www.FashionTv.com/videos CANNES – The second day of the 66th Cannes Film Festival means loads of international stars doing red carpet appearances at the Palais des Festivals and a photo of the entire cast from “The Bling Ring” starring Emma Watson written and produced by Sofia Coppola, Israel Broussard and more. Other movies premiered that day include: Jeune et Jolie, Fruitvale Station, and Heli.

Appearances: Clementine Celarie, Elena Lenina, Hofit Golan, Mohammed Al Turki, Marilou Berry, Ines de la Fressange, Aimee Mullins, Stephane Rousseau, Reem Kherici, Hayley Roberts, David Hasselhoff, Laury Thilleman, Delphine Wespiser, Sonia Rolland, Zoe Felix, Virginie Ledoyen, Josephine Jobert, Sofia Coppola, Israel Broussard, Fantin Ravat, Marine Vactha, Francois Ozon, Geraldine Pailhas, Frederic Pierrort, Melonie Diaz, Ahna O’Reilly, Octavia Spencer, Michael B. Jordan, Ryan Coogle, Armando Espitia, Andrea Vergara, Amat Escalante

Fan Bingbing wearing Elie Saab Couture

Sonam Kapoor wearing Dolce & Gabbana

Freida Pinto wearing Sanchita

Ludivine Sagnier wearing Louis Vuitton

Zhang Ziyi wearing Carolina Herrera

Emma Watson in Chanel

Claire Julien wearing Emilio Pucci

Taissa Farmiga wearing Valentino

Katie Chang wearing Christian Dior
Vidya Balan wearing Sabyasachi sari

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Discover a moonlit kingdom of absolute power and midnight romance, watching the complete Zuhair Murad fall/winter 2026-27 haute couture show now on FashionTV!

Staged within the majestic, soaring arches of the historic College des Bernardins on July 8, 2026, Lebanese master couturier Zuhair Murad presented one of the most spellbinding highlights of Paris Haute Couture Week.

Titled “Love and Dominion,” the F/W 2026-27 collection leaned heavily into a dark, cinematic romanticism, drawing immediate comparisons across the fashion editorial landscape to a high-fantasy winter wonderland. Front-row muse Jennifer Lopez, alongside a star-studded audience of international fashion editors, watched Murad’s seasonal heroine walk a dark runway.

The collection masterfully balanced a fierce duality: a sovereign woman who is at once a tender fairy and an untouchable, protective sorceress, commanding her own magic as the world fractures around her. The runway was defined by an exquisite tension between heavy, defensive structure and absolute, weightless fluidity.

Murad weaponized rich duchesse satin, structured crepe, deep velvets, and radzimir to mold commanding, architectural silhouettes – from cinched corseted columns to expansive, high-drama ball gowns. These heavily sculpted forms were softened seamlessly by sweeping capes that billowed like a gathering storm and layered veils of sheer silk chiffon and tulle.

The color story heavily favored the mystery of a nocturnal winter forest, dominated by profound black, deep fir green, and saturated, rich wine tones, which were beautifully contrasted by unexpected flashes of light, pale pinks, and antique silver.

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Explore the breathtaking convergence of ancient sculpture and living fashion, watching the complete Aelis Couture F/W 2026–27 show on FashionTV!

Opening the final day of Paris Haute Couture Week on July 9, 2026, designer Sofia Crociani presented her most daring and intellectually profound collection yet for Aelis Couture. The F/W 2026-27 presentation went far beyond surface-level runway glamour, serving as a powerful manifesto on consumption, nature, and raw human identity.

Crociani, a veteran designer who honed her craft styling under John Galliano at Dior and working alongside Karl Lagerfeld, positioned her independent house at the cutting edge of “Art-to-Wear” couture, proving that radical environmental activism and elite, handmade luxury can seamlessly coexist.

The collection, while retaining the house’s signature ethereal lightness, introduced an unexpected, dark theatrical edge. The visual journey opened with a showstopping cape crafted from archival egret feathers – a poignant nod to the early 20th-century plume trade that hunted the birds to the brink of extinction. The color palette evolved dramatically, like a melting iceberg, shifting from icy blues and translucent whites to deep petrol blacks and dusty porcelain pinks.

Crociani’s legendary fluid drapery was subverted by striking, brutalist elements born from a collaboration with sculptor Arnaud Briand and the Grand Palais’ Atelier de Moulage. Together, they recreated the draped togas of Roman commanders, casting the pleats in plaster and black pigment to resemble concrete. This structural fragment rested heavily on the shoulder of a lead-gray duchesse satin gown lined in organic hemp, fastened with a historic Roman fibula clasp.

The most provocative and widely discussed boundary-pushing element of the season was Crociani’s poetic exploration of living matter, specifically keratin. Challenging the traditional hierarchy of luxury textiles, the atelier introduced ethically sourced human hair into the garments.

Models walked the runway in delicate, antique-pink silk tulle gowns, each embroidered with long strands of hair meticulously sewn into micro-pleats by artisan Silvia Barcucci.

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Katie Fogarty , despite of her young age is an established runway model.

Music Info:
Performer: Donna Summer
Title: This Time I Know its for Real

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