Paris Fashion Week: Études Studio and the Urbane Fashion Architecture of Now

On another roiling day in Paris' summer heat, Aurélien Arbet and Jérémie Egry presented their new SS27 collection at the Palais de Tokyo.

Études Studio opened Paris Fashion Week with a collection that refined its ongoing dialogue between contemporary art, urban codes and menswear construction, led by Aurélien Arbet and Jérémie Egry. The season sharpened the brand’s visual language of fragmentation, utility and architectural thinking, presenting an engaging evolution of its design vocabulary. Story by Jeanne-Marie Cilento

Strong contrasts and sleek design

were a feature of the collection.

AT the Palais de Tokyo, Études Studio, on the first day of Paris Fashion Week during a searingly hot afternoon, launched a collection that felt precisely calibrated to its architectural surroundings. Presented in the colossal building’s Galerie Basse, the show unfolded in a cavernous, raw concrete space that might not have been cooler than outside but heightened attention to material, proportion and construction, allowing the clothes to operate within a stripped-back, almost forensic clarity.

For Spring/Summer 2027, Aurélien Arbet and Jérémie Egry, extended their ongoing dialogue between contemporary art, urban space and menswear, drawing conceptual grounding from the work of Gordon Matta-Clark. 

Rather than treating his practice as visual reference, the designers translated its structural logic into clothing, thinking through interruption, absence and altered form as principles of construction rather than decoration.

That sense of disruption ran throughout the collection, called Short Term Eternity. Garments were built around controlled breaks in silhouette: circular cut-outs, shifted planes and void-like interventions that appeared carved into the fabric rather than applied onto it. Elsewhere, references to urban fragmentation surfaced through photographic treatments embedded into textiles, dissolving distinctions between image, surface and structure.

Knits emerged as one of the collection’s strongest components, exploring tension between opacity and openness 

Creamy, sandy neutrals and knits were

standouts for Spring/Summer 2027.

Despite its conceptual clarity, the collection remained anchored in pragmatic wearability. Tailoring was softened and slightly elongated, moving between precision and ease. Lightweight coats, layered shirting and relaxed separates were rendered in sand-hued neutrals and muted industrial tones, creating a restrained palette that reinforced the architectural mood without overwhelming it.

Menswear remained central, while womenswear appeared as a deliberate extension of the same design language. A satin bomber with removable sleeves introduced modular construction, while fluid leather trousers and softened outerwear added movement and contrast. 

Bermudas with sharper front detailing brought a more defined summer register, though the overall attitude remained urban rather than seasonal.

Knits emerged as one of the collection’s strongest components, exploring tension between opacity and openness through varied structures and densities. Across the collection, Études Studio’s continued evolution of accessories, particularly leather goods, reinforced a coherent system of dressing, where utility and refinement coexist without contradiction.

References to urban fragmentation surfaced through photographic treatments embedded into textiles, dissolving distinctions between image, surface and structure.

Circular motifs were a 

strong theme of the designs.

Rather than relying on overt narrative, Arbet and Egry built the collection through repetition and refinement of established codes: utility references, adapted workwear structures and treated denim, all pushed forward with greater control and restraint. The result was not a departure, but a consolidation of language, one that felt increasingly precise in its articulation.

Set against David Douard’s shifting installation of vertical screens, the presentation extended these ideas into space. Movement through the show became fragmented and partial, as models passed through alternating layers of visibility and obstruction, echoing the collection’s central concern with interruption and reconfiguration.

Études Studio offered a more measured proposition for this new season's collection: a disciplined study by Aurélien Arbet and Jérémie Egry of how clothing can register quotidian transformation yet still have an interesting, intellectual heft behind the seams.  

See the Études Studio collection for Spring/Summer 2027 at Paris Fashion Week 

Review: Cartier, ‘the Jeweller of Kings’, has Come to the National Gallery of Victoria in a Dazzling New Exhibition

Cartier's legendary 'Tutti Frutti' necklace, a riot of carved emeralds, rubies and sapphires, that captured the French house's bold interwar imagination in 1936  and a new modern elegance. Cartier Collection. Photograph: Vincet Wulveryck. Cover picture of Hermes AW26 by Max Farago,

By Sasha Grishin

Harper's Bazaar editor and Parisian

socialite, Daisy Fellowes, wearing

the 'Tutti Frutti' Hindou necklace

in its original form, in 1937.

Photograph: Cecil Beaton

Founded in Paris 179 years ago, Cartier has fostered a legendary reputation as the creator of luxury goods for royalty, the aristocracy, film stars, and the generally wealthy. The English king Edward VII famously referred to Cartier as “the jeweller of kings and the king of jewellers”.

The glittering magnificence of the Cartier style through the ages has been brought together in a major exhibition by London’s Victoria and Albert Museum, now being presented at the National Gallery of Victoria.

An Instant Hit 

Curated over almost a decade by the Victoria and Albert Museum’s Helen Molesworth, the Cartier show opened in London last year for a seven-month season and promptly sold out.

With almost 350 items on display, it was celebrated by many as one of the best shows of 2025. However, one criticism was the exhibition was too cramped, and the inevitable small scale of most of the objects resulted in a crowd crush within darkened spaces.

King Edward VII famously referred to Cartier as “the jeweller of kings and the king of jewellers”

Director of the Cartier Collection, 

Pascale Lepeu, at the new exhibition

Melbourne, at the NGV International.

The NGV iteration of the exhibition, with almost 400 items, presents a number of alterations to the checklist of exhibits, such as the inclusion of necklaces and bodice ornaments owned by Australian opera singer Dame Nellie Melba. Melba was an early client of the brand, with Pierre Cartier among her fans.

More significantly, the NGV has collaborated with internationally renowned designers to reimagine the exhibition, following in a tradition it has established for itself over several years.

The gallery has collaborated with Studio Sabine Marcelis and CLOUD, two multidisciplinary design practices based in Rotterdam, in The Netherlands.

Marcelis evokes the Cartier colour palette in her design, while CLOUD has built on the Cartier geometric forms to create light-filled architectural structures that are involved in a creative dialogue with the jewellery.

It was Alfred’s three sons who made Cartier into a powerhouse of fashion design, with offices in Paris, London, New York and St Petersburg

Alfred Cartier (second from right) with his three sons

Pierre, Louis and Jacques, 1922. Cartier Collection

Photograph: Vincent Wulveryck.

A Thumbnail Sketch of the Cartier Style

The thumbnail sketch of the development of the Cartier style is mandatory for understanding the exhibition. 

Louis-François Cartier founded the firm in Paris in 1847, and in 1874 passed it to his son Alfred. 

It was Alfred’s three sons – Louis, Pierre and Jacques – who internationalised the brand and made it into a powerhouse of fashion design, with offices in Paris, London, New York and St Petersburg.

Louis embraced orientalist Art Deco designs and colourful “Tutti Frutti” jewel combinations. 

He also pioneered wristwatch designs and exploited platinum as a structural base for elaborate diamond and gemstone settings in the jewellery.

Cartier continues to resonate with its audiences by tapping into ancient cultures and traditions, making them modern and relevant

Splendid Cartier Paris necklace from 1947.

Cartier Collection. Photograph: Nils Hermann.

Pierre extended operations to New York, while Jacques developed operations in New Bond Street in London.

It is difficult to define the Cartier design, yet relatively simple to recognise it when you encounter it.

Writing in the NGV Cartier catalogue, Vivienne Becker, a prolific London-based jewellery historian, arrives at a convincing characterisation. She writes that the style:

is underpinned by culture, by an ever-evolving quest to infuse jewellery design with originality, artistic integrity and cultural richness.

As one makes their way around the exhibition, there is constant encounter with styles from the past – including Egyptian, Chinese, Japanese, Iranian and Islamic elements – informing the use of diamonds and other precious materials. 

The tiaras have been worn by celebrities, from Clementine Churchill at the coronation of Queen Elizabeth II to the singer Rihanna

A scintillating tiara, made by Cartier 

Londonin 1937. Cartier Collection.

Photograph: Vincent Wulveryck

A Who's-Who List of Clients

Cartier also has its repertoire of signature motifs, such as the iconic Panthère, which may appear as a panther clip brooch, or snakes and crocodiles that can take the forms of necklaces and bracelets.

As jewellers and watchmakers, Cartier was known as the “watchmaker of shapes” – exploiting squares, rectangles and octagons, rather than the traditional circle.

While celebrating a supreme elegance, most of the items on display have the power to surprise, such as a spectacular scarab brooch, or a 1933 brooch with a giant floating amethyst set against sapphires, diamonds and platinum.

A highlight of the exhibition is the display of more than 20 stunning tiaras. These are symbols of royalty and glamour, with connotations of celestial halos, laurel wreaths and garlands.

These tiaras have been worn by a who’s who of celebrities. For instance, one scroll tiara (1902) was worn by Clementine Churchill at the coronation of Queen Elizabeth II in 1953, and again in 2016 by the singer Rihanna, on the cover of W magazine.

Household names who have worn the Cartier jewellery in this exhibition include Elizabeth Taylor, Grace Kelly and Dame Nellie Melba

Wallis Simpson, the Duchess of Windsor,

in Cartier jewels, 1939. Conde Nast

Photograph: Cecil Beaton Archive

There is also the Sun tiara of 1907, with a 32-carat cognac-yellow diamond at its core, and the Art Deco diamond and platinum Halo tiara of 1934, which was inspired by ancient Egypt and owned by Begum Aga Khan III.

Household names who have worn the Cartier jewellery present in this exhibition include Elizabeth Taylor, Grace Kelly, Rihanna, Princess Margaret, The Duchess of Windsor, Dame Nellie Melba, the Maharaja of Patiala, Begum Aga Khan III and American heiress Barbara Hutton. These will prove a selfie magnet for many visitors.

While this is not the first major Cartier exhibition in Australia (there was a big show in Canberra in 2018), it is the largest, containing almost 300 items never previously seen in Australia. It is also the most innovative in its display.

Cartier continues to resonate with its audiences by going beyond mere displays of ostentatious wealth; it taps into ancient cultures and traditions, making them modern and relevant to contemporary audiences.

Cartier is showing at the National Gallery of Victoria from June 12 to October 4.

Sasha Grishin, Adjunct Professor of Art History, Australian National University

Catwalk: The Art of the Fashion Show Reveals a Spectacular 125 Years of Runway History

The life-size, 35-metre-tall rocket ship at Karl Lagerfeld's Chanel show that formed the backdrop to the Autumn/Winter 2017collection at the Grand Palais in Paris. 

By Mal James

Fashion shows can often feel exclusive, reserved for the very rich, the very famous or the very well-connected. This perception has been aided by depictions of the catwalk in film and TV, think The Devil Wears Prada, Zoolander, Absolutely Fabulous, which simply confirm the widely held view of fashion as synonymous with artifice and superficiality.

Yet, while the catwalk is undoubtedly a stage for pomp and social peacocking, it is also a serious business. It can make or break a collection’s success, and launch designers and models into the fashion stratosphere. Catwalk: The Art of the Fashion Show at the V&A in Dundee unveils this reality, offering an access-all-areas glimpse into the intricate world of fashion, revealing great complexity beyond the perceived superficiality.

This exhibition is superbly co-curated by the museum’s Kirsty Hassard and Svetlana Panova, along with Jochen Eisenbrand and Katharina Krawcyzck of the Vitra Design Museum in Germany, where the show originated. It chronicles fashion’s 125-year catwalk journey, exploring its rich history and enduring cultural significance.

It was an Englishman, Charles Frederick Worth, who pioneered the catwalk in mid 19th-century Paris, where he revolutionised fashion presentations by using live models instead of static mannequins. Runway shows allowed models to showcase complete outfits and provided wealthy clients with a more immersive view of Worth’s designs.

By the early 1900s, these fashion parades held in Parisian ballrooms started to evolve into more theatrical events. This trend continued into the 1920s, when shows grew increasingly spectacular and decadent, with Gabrielle Chanel famously presenting models descending the mirrored staircase in her iconic atelier at 31 rue Cambon, Paris.

Fashion and history

On loan from the Balenciaga archive, and seen for the first time in the UK, there is an exquisite array of outfits presented on miniature wire mannequins. This display describes how, in 1945, as Paris emerged from Nazi occupation, the city faced a shortage of materials, making conventional fashion shows impossible. Titled “théâtre de la mode”, this ingenious solution presented haute couture at micro scale to buyers, press and clients, allowing Paris to reclaim its status as the fashion capital of the world.

The exhibition shows how post second world war, catwalk shows expanded in scale, ambition and location, with designers keen to make a lasting impression. André Courrèges and Paco Rabanne were pioneers in the 1960s, while from the 1980s onwards, Thierry Mugler and Jean Paul Gaultier helped to modernise presentations, connecting them with pop culture and mass audiences.

The emergence of the “supermodels” in the late 1980s and 1990s helped to turn catwalks into cultural phenomena. Groundbreaking shows, such as Versace’s spring/summer 1991, where models who were stars in their own right walked to George Michael’s Freedom, highlighted a dynamic synergy between fashion and pop culture.

By the late 20th century, designers including Alexander McQueen were creating unforgettable fashion moments, such as the No. 13 collection (spring/summer 1999), where model Shalom Harlow wore a white dress that was sprayed by two robots.

Notably, the exhibit dedicated to Hussein Chalayan showcases his contribution towards the transformation of fashion shows into more artistic and cerebral experiences. His 2000 After Words collection, featuring wearable furniture, challenged traditional norms and paved the way for more artistic presentations.

Spectacle, innovation, commerce

There is plenty of fashion spectacle throughout, the exhibition excelling with a curated selection of iconic pieces from the likes of Viktor & Rolf, Maison Martin Margiela, Vivienne Westwood, Loewe, Chanel, Prada, Louis Vuitton, Yohji Yamamoto and Iris van Herpen – the range is dazzling.

I was captivated by the voluminous but solemn blue Balenciaga velvet dress from the spring/summer 2020 collection by Georgian designer Demna Gvasalia. Evoking a Victorian silhouette, yet with no decoration and a tailored bodice, it reflects fashion’s historical roots in contrast with unfussy modern design.

The powerful silhouette and electric blue tone bring a seriousness to an otherwise radical or performative aesthetic. Positioned in the exhibition, it reminds us how modernity is always tethered to historical influences.

The exhibition showcases how catwalks have become crucial for brand marketing, merging art, commerce and entertainment, while engaging global audiences through digital channels. It includes invitations and artwork from key designers, along with miniature models of Chanel’s 2014 Supermarket and 2017 Space Rocket shows, offering insights into the intricate yet monumental scale of catwalk productions.

The curators have seamlessly integrated Scotland’s contribution to catwalk history too, charting the influence of fabrics like tweed and tartan, and featuring photographs from Glasgow’s Empire Exhibition in 1938, possibly Scotland’s earliest fashion show. There are also fascinating images from Dior’s inaugural Scottish shows in 1955 in Glasgow and at Gleneagles, echoed almost 70 years later with a 2024 Dior show (under designer Maria Grazia Chuiri) where models walked the exquisite topiaried gardens of Drummond Castle in Perthshire.

The exhibition includes the coveted label Le Kilt, featuring an outfit from the 2024 show, created in collaboration with Dior, further highlighting the the fashion house’s Scotland connection. Prominent Scottish designers are also featured, such as Christopher Kane, Charles Jeffrey and the poignant inclusion of an outfit by the late Pam Hogg who died last November.

The exhibition highlights how catwalks can mirror societal changes and evolving beauty standards. I was thrilled to see the inclusion of Rick Owens’ Spring/Summer 2016 presentation, where a 40-strong group of female “steppers” stomped down the runway in poses and expressions that defied typical beauty expectations.

The show caters to diverse audiences and ages, featuring dynamic catwalk and backstage photography by British photographer Robert Fairer, who has captured the energy and spirit of the fashion industry since the early 1990s. Engaging and interactive exhibits also let audiences in on the inner workings of fashion shows, including hairstyling and make-up.

Fun selfie opportunities allow visitors to engage with fashion’s more flamboyant side which make you feel like part of the exhibition, rather than merely an observer. This excellent V&A show truly challenges and expands our perception of the catwalk, leading audiences towards a lasting and deeper respect for the art of fashion and its important and enduring influence.

The Catwalk: The Art of the Fashion Show is now on at the V&A Dundee until January 2027.

Mal James, Personal Chair of Fashion Design, University of Edinburgh, Edinburgh College of Art, University of Edinburgh

Milan Fashion Week: Garcias Takes the Scenic Route to the Spring/Summer 2027 Runway

Nicolas Martin Garcia's debut runway show in Milan. The Colombian designer worked at Dolce& Gabbana and Roberto Cavalli before starting his own label. Cover picture and all photographs by Andrea Heinsohn for DAM

In an industry constantly searching for new perspectives, one of the most engaging debuts of Milan Fashion Week came from a designer whose story spans continents, cultures and generations. With Latin Dreamers, Nicolas Martin Garcia transformed his Spring/Summer 2027 runway into a vivid exploration of migration, identity and aspiration, blending Colombian spirit with Italian craftsmanship in a collection that was both personal and resonant.  Story Jeanne-Marie Cilento. Photography by Andrea Heinsohn

Vivid colour and relaxed ease were signatures

of the new Garcias SS27 collection in Milan.

MILAN Fashion Week gained a new voice as Colombian-born designer Nicolas Martin Garcia unveiled the first runway presentation for his three-year-old brand. The occasion carried historical significance, with Garcia becoming the first Colombian designer to present a runway show on the official Milan Fashion Week schedule. 

Rich in emotion, cultural pride and visual impact, the collection signals the arrival of a distinctive new voice on the international menswear stage. Yet despite the milestone, the evening never felt focused on personal achievement alone. Instead, it became a broader celebration of the communities, families and cultural traditions that have shaped his life and continue to inspire his work.

For Garcia, the Milan Fashion Week debut for Spring/Summer 2027 was the culmination of a journey that began thousands of kilometres away in Bogotá. Born in Colombia and raised in Italy from the age of four, the designer has spent much of his life navigating two cultures, two identities and two creative traditions. 

After graduating from Rome's Accademia Costume & Moda and honing his craft within the design studios of Dolce & Gabbana and Roberto Cavalli, Garcia stepped onto Milan's official runway calendar with Garcias, a label that draws directly from his personal story. The result was Latin Dreamers, a collection that was inspired by themes of migration, heritage and ambition, making it one of the more fervent shows of the season.

For Garcia, his Milan Fashion Week debut was the culmination of a journey that began thousands of kilometres away in Bogotá

Nicolas Martin Garcia wanted to created a sense 

of Latin neighborhood as part of the runway show. 

The venue was transformed into a vivid recreation of a Latin neighbourhood, immersing guests in an environment that reflected the everyday realities and cultural richness of migrant communities. References to local businesses, gathering places and family life created an atmosphere that felt authentic rather than theatrical. It was a setting designed not simply to frame the clothes but to communicate the experiences behind them.

Those experiences have long informed Garcia's creative vision. Having built his career within some of Italy's most influential luxury houses, including the extended periods working in design at Dolce & Gabbana and Roberto Cavalli, he has developed a sophisticated understanding of craftsmanship, tailoring and luxury construction. Yet Garcias represents something more personal: an exploration of the cultural dialogue between his Colombian heritage and Italian upbringing.

That narrative was woven throughout the collection. Structured tailoring sat alongside fluid silhouettes, while richly embellished surfaces contrasted with moments of restraint. Colour played an important role, balancing vibrant Latin influences against the refinement associated with Italian luxury. The result was a collection that felt contemporary and confident, expressing what Garcia has previously described as a fusion of Latin exuberance and European sophistication.

The collection celebrated the determination of those who leave home in pursuit of opportunity while carrying their traditions, memories and sense of identity with them

The designer wanted to celebrate the dreams and 

identity people searching for new opportunities. 

Rather than looking backwards with nostalgia, Latin Dreamers presented heritage as a living force that continues to evolve across generations and borders. The collection celebrated the determination of those who leave home in pursuit of opportunity while carrying their traditions, memories and sense of identity with them.

In his show notes, Garcia described the presentation as "a celebration of identity, migration, resilience, and the dreams carried by millions of people who leave their homes in search of new opportunities while remaining deeply connected to their roots." It was a sentiment that ran throughout the evening and gave emotional weight to the collection beyond its visual impact.

That sense of gratitude extended beyond the runway itself. Garcia dedicated the achievement to the many individuals who have supported the growth of the brand, paying particular tribute to his mother, whose sacrifices and encouragement he credited as the foundation of his success. He also acknowledged the role played by the Afro Fashion Association and its founder Michelle Francine Ngonmo in helping create opportunities for emerging voices within the industry.

As Milan continues to seek fresh perspectives capable of enriching its menswear landscape, Garcias arrives with a distinctive point of view and a compelling personal narrative. The debut demonstrated not only a clear aesthetic vision but also an understanding that fashion can serve as a platform for representation, storytelling and cultural dialogue.

For Garcia, the show represented the fulfilment of a dream years in the making. For Milan, it introduced a designer whose experience spans Bogotá, Rome and the world's luxury fashion capitals, yet whose message remains rooted in community, identity and possibility. As his closing declaration stated: "Si lo crees lo creas" — if you believe it, you create it.

See more highlights from the Garcias Spring/Summer 2027 show in Milan below: