Twigs wore a black embellished cut‑out top with leather trousers, a gold snake belt, and high‑heeled boots at the Schiaparelli Spring/Summer 2026 Paris show.
On October 2, 2025, Twigs attended the Schiaparelli Womenswear Spring/Summer 2026 show during Paris Fashion Week, arriving in a look that blurred the line between performance art and front‑row fashion. She wore a black high‑fashion top with a deep, ornate cut‑out design down the front, embellished with silver crystal detailing that caught the light with every step. The structured shoulders and glossy finish of the fabric emphasized Schiaparelli’s sculptural codes. She paired the top with high‑waisted black leather trousers, cinched by a dramatic gold snake belt that coiled around her waist like living jewelry. Black high‑heeled boots extended the silhouette, while oversized dark sunglasses and large earrings added further theatricality. Her hair, styled into sculptural upward extensions, reinforced the avant‑garde energy of the ensemble.
This appearance situates Twigs within the broader tradition of Schiaparelli’s surrealist heritage, where clothing is never just clothing but a provocation. The snake belt, in particular, recalls the house’s history of transforming accessories into symbolic objects — jewelry as myth, ornament as narrative. In the current cultural climate, where fashion weeks double as stages for viral imagery, Twigs’ look resonates as both homage and disruption. It channels the brand’s surrealist DNA while aligning with her own reputation for experimental artistry. The crowd of onlookers, phones raised, underscores how front‑row fashion has become a public performance in itself, designed as much for the street runway as for the catwalk.
Barbara Palvin wore a belted black leather jacket with sheer tights and pointed pumps for a New York street style outing in October 2025.
Barbara Palvin was photographed out in New York on October 14, 2025, offering a sophisticated demonstration of contemporary model-off-duty panache. The look is an exercise in sartorial power: a belted, oversized black leather jacket with a sharply structured silhouette, broad lapels, and zippered pockets anchors her appearance. The jacket, cut to mini-dress length, signals a purposeful embrace of the “pantsless” trend sweeping through celebrity street style. Beneath, a micro-hint of lace-trimmed shorts peeks out, providing a tactile, almost provocative contrast to the jacket’s industrial finish. Black sheer tights extend her silhouette, while pointed black ankle-strap pumps lend a note of classic refinement. Accessories are pragmatic — a neutral taupe suede tote bag with visible personal effects and a pair of dark sunglasses, briefly raised to reveal a cool, composed expression and softly styled, loose hair. For this feature, the internal reference to celebrity street style is fitting, as Palvin’s ensemble distills the elevated ease that defines the best examples of this genre.
As the return of the Victoria’s Secret Fashion Show frames the October fashion calendar — and with Palvin slated to walk its storied runway again — this look has extra resonance. The oversized leather jacket is not just an aesthetic decision but a flex of urban armor, channeling a lineage from 1980s power dressing to today’s gender-blurring confidence. In an era where boundaries between public and private are porous, Palvin’s attitude reads like a fashion dissertation on the art of controlled reveal: more assertion than seduction, more statement than spectacle. Her styling typifies a new wave of everyday chic, where the lines between professional glamour and day-to-day pragmatism are pleasingly unstable.
This is a street style power play that deftly skirts the line between exhibition and restraint. The jacket’s voluminous cut lends architectural impact, its glossy finish absorbing and refracting light, while the nipped-in waist provides the only note of classical femininity. The absence of visible pants is both deliberate and on-trend, yet Palvin’s assured stance prevents the look from feeling costume-like. If there’s a critique to be made, it’s the risk of imbalance: the dominant jacket nearly overwhelms her frame and borders on swallowing the softer gestures of lace and sheer hosiery. Still, this deliberate proportion play is precisely what signals the outfit’s contemporary intent. In a season defined by revived maximalism and urban utilitarianism, Palvin’s take — complete with an unstudied mix of posh and pragmatic — lands as a study in calculated defiance and smart, aspirational edge. The truth of the look is not just in what’s revealed but in what’s withheld: authority and approachability, fused into one striking, quietly audacious urban uniform.
Naomi Watts wore a Mugler custom pinstripe suit with Yvonne Leon diamond rings and Marie Lichtenberg earrings at Paris Fashion Week Spring/Summer 2026.
On October 2, 2025, Naomi Watts attended the Mugler Womenswear Spring/Summer 2026 show during Paris Fashion Week in Paris, France. She arrived in a Mugler custom suit rendered in dark pinstripes, consisting of a sharply tailored blazer layered over a collared shirt and paired with a matching long skirt. The ensemble was completed with Mugler Black Satin Fang Pumps with Strap, a footwear choice that reinforced the house’s reputation for sculptural footwear design. Watts accessorized with Marie Lichtenberg NYC Diamond White Earrings and a suite of Yvonne Leon jewelry, including the Bague Gousset Diamants or Blanc, Chevaliere Berlingot or Blanc, and Bague Maxi Berlingot or Blanc. A structured black handbag, dark sunglasses, and a light scarf at the neckline added polish to the look, while her short blonde hair and red lipstick emphasized the clean geometry of the silhouette.
This appearance situates Watts within Mugler’s enduring dialogue between power dressing and theatricality. The pinstripe suit, historically associated with corporate authority, is reimagined here as a front-row statement — a reminder that tailoring can be as commanding as couture. The jewelry, particularly the bold Yvonne Leon rings, introduces a layer of ornamentation that contrasts with the severity of the suit, while the Marie Lichtenberg earrings add a note of refinement. In the broader cultural context, Watts’ look reflects the current appetite for “executive glamour,” where traditional business attire is elevated into a stage for self-expression.
This ensemble succeeds by balancing discipline and flourish. The pinstripe suit asserts authority through its structure, while the jewelry and accessories prevent the look from veering into austerity. The Mugler Fang Pumps, with their sharp satin finish, anchor the outfit in the brand’s DNA of provocation. If there is a critique, it is that the look leans heavily on Mugler’s established vocabulary of power tailoring without offering a radical departure. Yet this restraint is also its strength: Watts embodies the brand’s heritage while reminding the audience that presence can be achieved through proportion and polish rather than spectacle.
The sharp insight here is that Watts’ appearance demonstrates how front-row fashion has become a form of sartorial authorship: the suit is not just clothing but a declaration of authority, reframed for the cultural stage of Paris Fashion Week. It is a refined presentation, one that situates her as both participant and commentator in Mugler’s ongoing exploration of power and identity.
