At the Tom Ford SS26 show in Paris, Rita Ora chose a black dress that did what so many front-row looks don’t. It kept things measured. High neckline, clean lines, and a fit that spoke for itself.

The dress was shaped neatly at the waist and kept close through the hips, showing tailoring that worked quietly but effectively. She kept her styling concise: dark sunglasses, a compact clutch, and a set of bracelets adding texture without distraction. A pair of heels in a soft burgundy tone broke the all-black look just enough to hold interest.

Rita Ora – Instagram

Her hair, left loose, balanced the sharp lines of the outfit, while natural makeup kept the focus on her overall presentation. The result felt assured and contemporary, proof that a front-row look can hold its ground without overstatement.

Inside the venue, under Haider Ackermann’s creative direction, Tom Ford’s Spring/Summer 2026 collection explored restraint as allure, and Rita fit easily into that atmosphere. Standing beside Kate Moss before the show, she offered a reminder that style presence often comes from knowing when to stop, not when to add more.

Rita Ora – Instagram

For readers thinking ahead to winter wardrobes, her appearance offers a clear takeaway: prioritise fit over flash. Choose structure over trend. Let accessories serve a function rather than decoration. And when dressing in one tone, use texture or shape to keep it interesting.

There’s a lesson in Rita Ora’s Tom Ford moment. Confidence doesn’t always need styling tricks. It comes through when every detail feels thought through. That’s the kind of dressing that lasts longer than a front-row photo.

Victoria Beckham presented her Spring/Summer 2026 collection at Val-de‑Grâce, the 17th-century Parisian abbey, for Paris Fashion Week. From the first look, it was clear this was a collection built for real life: smart, wearable, and precise, with each piece performing its role naturally.

victoria Beckham – Instagram

Youthful touches appeared throughout, including slip dresses, low-waisted trousers, and cropped jackets, but nothing felt costume-like. Jackets lost their lapels or cropped slightly, and leather looked soft and lived-in, giving structure without stiffness. The collection struck a balance between comfort and control, keeping it modern and ready-to-wear.

Colours stayed simple: bone, clay, faded rose, and muted metallics. Satin and sheer panels appeared sparingly, giving the outfits interest without overcomplicating the look. Fabrics hung naturally, proving these were clothes designed for streets as much as for the runway.

victoria Beckham – Instagram

Victoria’s husband, David Beckham, along with family, editors, and long-time supporters, were present, but all attention stayed on the garments. The abbey’s muted light and stone walls highlighted the details clearly, letting the work speak for itself.

SS26 focuses on refining what works. Youthful touches paired with clean lines, subtle twists, and a consistent overall look. Every design felt deliberate and carefully considered, demonstrating Beckham’s ability to create modern, wearable fashion without unnecessary theatrics.

When the show ended, the response was immediate: a mix of nods, applause, and quiet admiration from the audience. SS26 confirmed that Victoria Beckham makes an impact through precision and thoughtful design rather than performance, letting her clothes speak for themselves.

Jonathan Anderson made his big Dior debut on 1 October at the Jardin des Tuileries, with one of the most anticipated shows of Paris Fashion Week. The venue buzzed before the first model walked, as the industry waited to see how the Loewe designer would tackle Dior’s heavy history.

Photo: @britishvogue-Instagram

He wasted no time making an impact. Models appeared in pointed heels topped with floppy bow-like “bunny ears,” a quirky detail that immediately had the audience talking. Then came lace bubble dresses with ballooned hems, playful and exaggerated in a way that tested Dior’s couture heritage. Anderson didn’t leave the tailoring untouched either: cropped Bar jackets, inflated skirts and sculpted coats with loop fastenings pushed Dior’s signature shapes into unfamiliar territory.

Photo: @britishvogue-Instagram

Headwear added to the sense of disruption. Some looks were finished with angular hats, others with cornette-style headpieces, pulling the collection toward costume without tipping fully into it. Sequins and metallic thread were used carefully, offering flashes of light rather than overwhelming shine. The overall effect was precise in its construction yet mischievous in tone. It was a clear sign that Anderson wanted to shake off Dior’s reputation for restraint.

Photo: @britishvogue-Instagram

The response in the room was engaged but not instant adoration. The finale earned steady applause, though the feeling was that the audience was still processing what they had seen. That uncertainty carried into the early reviews, with some critics praising the energy of the debut while others wondered how it might sit with Dior’s more traditional clientele.

Photo: @britishvogue-Instagram

For UK fashion watchers, there’s added interest. Anderson has already shown at Loewe that he can keep stores busy while delivering designs that push conversations forward. Bringing that approach to Dior raises the stakes, as he now has to balance one of fashion’s most recognisable names with his taste for experimentation.

What mattered most in Paris was the intent. Anderson treated Dior’s past as material to cut up and rework rather than something to repeat. His debut did not settle the question of what Dior will look like under his leadership, but it made sure the house is back in active debate.