Jess Cartner-Morley

Fashion editor Jess Cartner-Morley answers readers’ questions on personal style, accessories, comfortable footwear, menswear, inclusive sizing and the future of high-street shopping. She argues that fashion weeks remain influential as meeting points for designers, celebrities, models and influencers, while trends are now less centrally dictated. On sustainability, she says fashion’s overproduction problem requires structural change through legislation and political will, while encouraging people to value and reuse existing clothes. She praises Andy Burnham’s authentic, British-focused style, recommends trusting one’s reflection when choosing jewellery, and offers practical outfit formulas for women and men.

The modern two-day weekend emerged largely through Henry Ford’s 1926 decision to give factory workers Saturdays and Sundays off, building on earlier labor and religious campaigns. Historical experiments that separated workers’ days off, including the Soviet Union’s randomized schedule, failed because leisure depends on shared time. The article argues that hybrid work has blurred the boundaries of the weekend: Fridays increasingly function as unofficial half-days for remote workers, while weekend emails and constant smartphone contact encroach on Saturdays and Sundays. Four-day-week trials have reported higher revenue and lower staff turnover, but the model remains politically contested, particularly in Britain. As work patterns become more unequal between flexible “time owners” and clock-bound “time slaves,” the weekend risks becoming less of a shared social institution, even though its rituals and cultural importance endure.

Maria Grazia Chiuri marked her debut haute couture show for Fendi in Rome with a collection shaped by kimono-inspired silhouettes and free-flowing drapery while highlighting Italy’s reluctance to treat fashion as a cultural art form. The show was paired with two exhibitions spotlighting Fendi’s couture and Karl Lagerfeld’s early work. Chiuri emphasized the need for museum recognition of fashion and embraced Rome’s heritage in designs that included capes, lace, and upcycled fur. The collection also underscored the brand’s roots in fur and Chiuri’s mandate to expand Fendi, drawing on her record of driving major revenue growth at Dior.

Chanel’s autumn/winter 2026–27 couture show used fairytale themes, incorporating whimsical details such as hand‑painted linings, narrative buttons and fantasy accessories. Creative director Matthieu Blazy emphasized Coco Chanel’s rags‑to‑riches story and highlighted the importance of everyday wear. The collection showcased sheer layers, fluid silhouettes and pastel colors that echoed trends seen at Dior. Chanel’s rising popularity under Blazy was noted, with strong demand for the new ‘25’ bag. President Bruno Pavlovsky praised the show and reaffirmed that Chanel will remain focused exclusively on women’s fashion.

Jonathan Anderson’s Dior haute couture collection in Paris draws inspiration from sculptor Lynda Benglis, combining sculptural silhouettes, inventive textiles and offbeat glamour. His approach continues Dior’s tradition of highlighting female artists while injecting a fresh creative energy into the house. Highlights included molten metallic skirts, sculptural jackets and a dramatic wedding gown finale, showcased before a celebrity-filled front row. The collection reinforces Anderson’s evolving vision for Dior, balancing artistic experimentation with couture spectacle.

Spots have overtaken stripes as fashion embraces a shift from minimalism to playful individuality, with polka dots gaining cultural relevance across catwalks, celebrity looks and digital trends. Historically linked to femininity and artistic expression, dots now offer versatility ranging from refined to avant-garde, aligning with a broader move away from authority-driven dressing toward personal expression. Stripes, long associated with order and establishment style, give way as cuteness, charm and spontaneity become aspirational aesthetics.