The clothes may be the point of Paris Fashion Week, but this season, as ever, the audience gave the runway a run for its money. As the Spring/Summer 2027 shows swept through the French capital this week, the city’s biggest ateliers didn’t just unveil new collections — they staged a parade of celebrity spectacle so dense that critics could be forgiven for watching the seats as closely as the catwalk.

Paris marks the final stop on fashion’s quarterly world tour, following New York, London and Milan, and by the time the Sprinter vans start shuttling A-listers from the Hôtel Costes to their next fitting, exhaustion has set in for even the most seasoned observers. British Vogue critic Luke Leitch put it bluntly in his review of Fendi’s mirrored-box presentation, admitting he “looked rough, as usual by this point in the season” next to his “soignée” colleagues. Celebrities, by contrast, arrive with glam squads, custom fittings and a level of polish built for exactly this kind of scrutiny.

The week opened with Julie Kegels, last year’s LVMH Prize winner, and closed its first act with the theatrical, tinsel-loving house Matières Fécales — where Rihanna made a characteristically late entrance in a gold tinsel two-piece that instantly became one of the week’s most talked-about arrivals. Jennifer Lawrence, Tate McRae, Kendall Jenner (with Jacob Elordi in tow), Katie Holmes, Alexa Chung and Gabbriette rounded out an opening night that felt more like a red carpet than a trade show.

But it was Jonathan Anderson’s Christian Dior presentation on Tuesday that assembled perhaps the season’s most star-studded front row: Rosalía, Jennifer Lawrence, Anya Taylor-Joy, Cynthia Erivo, Greta Lee, Eileen Gu, Mia Goth, Ejae and Karlie Kloss all turned out to watch. For a designer still settling into one of fashion’s most scrutinized creative director roles, the turnout doubled as a vote of confidence from Hollywood and the music industry alike.

If Dior brought star wattage, Saint Laurent brought sheer volume. The house’s show turned into something closer to a family reunion of fashion’s most photographed faces, with Zoë Kravitz, Hailey Bieber and Adèle Exarchopoulos seated together, while Kate Moss, Rosie Huntington-Whiteley, Zoe Saldaña, Post Malone, Rami Malek, Eddie Redmayne and a run of supermodel veterans — Amber Valletta, Georgia May Jagger, Jerry Hall — filled out the rows around them. Even cinema royalty showed up: Catherine Deneuve and Francis Ford Coppola were both spotted taking in the collection, a reminder that Saint Laurent’s pull extends well beyond the usual influencer circuit.

Stella McCartney, meanwhile, leaned into legacy and lineage. Jennifer Lopez, Elizabeth Debicki, Miranda Kerr, Lauryn Hill, Kelsea Ballerini and Natalia Bryant — daughter of Kobe and Vanessa Bryant — sat together, alongside a run of era-spanning supermodels including Toni Garrn and Taylor Hill, suggesting a house intent on bridging generations of famous fans rather than chasing the newest name in the group chat.

Elsewhere, the week’s smaller and more subversive labels drew their own devoted crowds. Acne Studios pulled in King Princess, Amelia Dimoldenberg and Peggy Gou, while Balmain’s front row leaned into internet-native stardom with Chloe Cherry and stylist-turned-tastemaker Law Roach. Courrèges, never short on downtown cool, seated Ziwe alongside actors Julia Davis and Ellis Howard.

What’s striking about this season’s front rows isn’t just who showed up, but what their presence signals about where fashion’s cultural gravity now sits. Musicians like Rosalía and Post Malone rubbing shoulders with New Wave film stars, k-pop and Mandopop crossover figures such as Ejae and Rosé, and legacy supermodels like Kate Moss and Carla Bruni all in the same room underscores how porous the boundaries between music, film, sport and fashion have become. Olympic skier Eileen Gu at Dior, tennis-adjacent style icons, and a growing contingent of internet personalities like Dimoldenberg all point to a front row that has expanded well past the traditional editor-and-actress formula of decades past.

There’s also a generational handoff on display. Alongside icons like Donatella Versace, Catherine Deneuve and Jerry Hall are their spiritual heirs — Lila Moss carrying her mother Kate’s legacy, Iris Law following her father Jude into the fashion spotlight, and Rocco Ritchie representing another famous lineage entirely. Fashion houses appear increasingly deliberate about seating these pairings together, turning the front row itself into a kind of casting statement about continuity and cultural inheritance.

The season isn’t over yet. Chloé, Balenciaga, Schiaparelli, Loewe, Givenchy, Victoria Beckham, Vivienne Westwood, Miu Miu, Valentino, Mugler, Jean Paul Gaultier and Chanel all have shows still to come before Paris Fashion Week closes with Louis Vuitton on October 6 — a finale expected to draw its own wave of star power, with LVMH ambassador Lisa among those rumored to attend. If the week’s first half is any indication, the closing stretch promises just as much spectacle off the runway as on it.

Fashion week call times do not leave room for a bloated midsection under a fitted silhouette, and that discomfort is exactly what a small women’s wellness brand called ellēkay built its entire business around. The brand makes one product, sells it directly to customers online, and has become the kind of under the radar recommendation that circulates in group chats before it ever hits a beauty editor’s desk.

ellēkay is a direct to consumer women’s wellness brand that operates online nationally, and its formula is built around a two capsule daily dose taken with water after the largest meal of the day. The capsule itself, Morning Skinny, is not a powder or a shaker bottle situation. It is a straightforward, take it and move on part of a morning routine, which is precisely why it has found an audience among women who already have too many steps in their skincare regimen and no patience for a supplement that adds more.

ellēkay was not built as a sprawling wellness catalog. It is a single product company, and everything the brand does, from formulation to customer service, is in service of that one capsule. That kind of focus is rare in a supplement aisle crowded with brands trying to be everything to everyone, launching a new powder or gummy every season and diluting attention across a dozen products instead of perfecting one.

For anyone who spends a lot of time thinking about what goes on the body, whether that is a foundation formula or a fabric blend, it is worth applying the same scrutiny to what goes into it. Bloating is one of those quiet, unglamorous problems that rarely comes up in a styling conversation but shapes how clothes actually sit, how a woman feels standing in front of a mirror before an event, and how confident she is in a bodycon dress or a tailored trouser by the end of a long day of meetings, fittings, or travel.

What Is Actually Inside the Capsule?

The formula combines a probiotic strain called Akkermansia with a blend of nine digestive enzymes and four herbal extracts, all packed into a single capsule rather than split across separate products. The idea is to address bloating and general digestive comfort from a few angles at once instead of relying on one ingredient to do all the work. For a reader used to scanning ingredient lists on serums and knowing what retinol or niacinamide are supposed to do, this is a similar exercise, just applied to the inside of the body instead of the outside.

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Here is how the three ingredient categories break down:

Ingredient Category	What It Is	Role in the Formula
Probiotic strain	Akkermansia	Supports gut microbiome balance
Digestive enzyme blend	Nine enzymes	Helps break down food after eating
Herbal extract blend	Four botanicals	Supports overall digestive wellness

When Is the Best Time to Take It?

The instructions are simple: two capsules with water, after the largest meal of the day, not before. That timing detail matters because it is built around how the digestive enzymes and herbal extracts are meant to work, supporting the body through the heaviest part of a day’s eating rather than trying to preempt it. It also means there is no elaborate ritual involved, no shaking, no mixing, no measuring scoops. You eat dinner, or whatever your biggest meal happens to be, and then you take the capsules.

“Women are already managing a lot in their routines, so we designed this to be something you do once and move on from, not another five step process,” said Lauren, wellness lead at ellēkay. “The capsule format was a deliberate choice. We wanted something that fit into a life that is already full, not one more thing competing for attention.”

Is It Meant for Occasional Use or an Everyday Habit?

It is built for daily use, which is part of why ellēkay offers the product both as a one time purchase and through a recurring Recharge subscription. For a lot of women, digestive comfort is not a one off event tied to a single big dinner or a flight; it is a running background concern that shows up daily, which is the reasoning behind a routine that repeats rather than a supplement reached for occasionally and then forgotten. The subscription option exists for exactly that kind of consistency, so restocking is not something a customer has to remember to do manually every few weeks.

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That rhythm matters for a reader who travels for work, sits through back to back fittings, or moves through several time zones in a single month. Digestive comfort tends to unravel exactly when a routine gets disrupted, whether that disruption is a flight, a new city’s food, or a stretch of long days with irregular meals. Building a habit around ellēkay ahead of that kind of disruption, rather than reaching for something only once discomfort has already set in, is closer to how the brand intends the capsule to be used.

What stands out in conversations with the ellēkay team is how much emphasis is placed on the capsule format itself, not just the ingredients. There is a real difference, from a user experience standpoint, between something you have to prepare and something you simply take. A powder requires a kitchen counter, a glass, a spoon, and a few minutes of stirring. A capsule requires water and about ten seconds. For anyone getting ready in a shared bathroom before a call time, or packing for a trip where counter space and time are both limited, that difference is not trivial.

There is also something to be said for how ellēkay has resisted the urge to expand into a full supplement line the way so many wellness brands do once they gain traction. Instead of ten products with overlapping claims, there is one capsule, one clear use case, and one instruction: two capsules, with water, after the biggest meal of the day. That kind of restraint reads less like a limitation and more like a point of view, one that treats a customer’s morning as something to simplify rather than complicate further.

For women building routines around how they want to feel as much as how they want to look, a gut wellness capsule that asks for ten seconds and a glass of water is an easy thing to fold into a schedule that already has enough steps. ellēkay’s approach, built around a single product and Lauren’s insistence on keeping the process simple, is a reminder that wellness additions do not need to be complicated to be worth paying attention to. Sometimes the routine that sticks is the one that asks the least of you, and for a growing number of women, that routine now includes ellēkay.

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_Ellekay Team, Women’s Wellness Experts_

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For years, the beauty conversation around ageing skin has centred almost entirely on the face — serums, retinols, in-office treatments, all deployed in the name of a dewy complexion. But a quieter shift is underway, and it’s happening from the neck down. Dermatologists and style-watchers alike are pointing to body lotion as the unlikely new frontier of a polished, put-together look, arguing that the texture of skin on arms, legs and décolletage says as much about personal style as the clothes draped over it.

It makes sense, in a way. As hemlines shorten again and sheer fabrics return to the runways, more skin is on display than in recent seasons of long sleeves and covered-up layering. That visibility has pushed body care out of the utilitarian “apply after shower” category and into something closer to a style ritual — one that dermatologists say deserves the same intention as a skincare routine for the face.

“When used consistently, anti-ageing lotions can improve the skin’s appearance by reducing fine lines, wrinkles, and age spots,” says board-certified dermatologist Pearl Rimtepathip. “Body moisturisers can also improve skin tone, texture, and hydration, which helps with the overall appearance of the skin. I like to think of anti-ageing body lotions as a key tool for skin maintenance.” In other words: the smoothness of an elbow or the firmness of a forearm is no longer an afterthought, it’s part of the outfit.

The formulas driving this shift read less like drugstore basics and more like face-serum science shrunk down for larger canvases. Brands are leaning on resveratrol, squalane and hyaluronic acid to target what dermatologists have taken to calling “inflammaging” — low-grade inflammation linked to visible signs of age. Others are borrowing patented technologies once reserved for high-end facial treatments, using peptide and amino-acid complexes to support cell renewal across the whole body, or combining botanical extracts with caffeine and horse chestnut to address puffiness and encourage what’s marketed as lymphatic drainage — a concept that has migrated from wellness clinics into mainstream beauty aisles.

Texture-specific concerns are getting their own dedicated fixes too. Crepey, thinning skin on the upper arms and chest — a common complaint as collagen production slows with age — is now addressed by firming lotions built around ingredients designed to support collagen and elastin. “This one’s excellent for helping with that thin, crepey skin we see on the arms and chest,” notes Manhattan dermatologist Michelle Henry of one such formula. “It supports collagen and elastin production and makes a real difference if you use it consistently.” Meanwhile, ceramide-rich creams — many popularised through the Korean skincare pipeline — are being recommended for sensitive or barrier-compromised skin, particularly for those dealing with dryness worsened by hard water or seasonal changes.

What ties all of this together is a broader cultural reframing of what “getting dressed” actually includes. Stylists have long argued that confidence is the most important accessory in any outfit, and dermatologists are now making a similar case for skin: that comfort in one’s own texture, tone and hydration levels changes how clothing sits, how sleeves are rolled, how much skin a person is willing to show. A well-moisturised arm reads differently under a cropped sleeve than a dry one; a firmer décolletage changes how a plunging neckline is worn.

None of this means every mature-skin lotion is interchangeable, dermatologists caution. Formulas vary widely by price point, texture and intended concern — some are richer and better suited to very dry skin, others are lightweight enough for daily wear under clothing, and a few are positioned as luxury treatments meant to be massaged in slowly, almost ceremonially, rather than slapped on in a rush before leaving the house. As with any skincare category, the “best” product is the one matched to an individual’s specific skin concern rather than whichever has the flashiest marketing claims.

Still, the underlying message from the beauty and fashion world this season is consistent: style no longer stops at the hemline. As more skin becomes part of the season’s silhouette, the products meant to care for it are being treated with the same scrutiny — and enthusiasm — once reserved strictly for what goes on the face.

Outfit Details: Bode Shirt, Alex Mill Sweater, Redone Skirt, Margaux Flats, Vanessa Bruno Bag, Saint Laurent Sunglasses

September was booked and busy, with events and two big photo shoots in Charleston, a weekend at Blackberry Mountain, a home install, and a whirlwind of outfit changes at New York Fashion Week before finishing the month in Paris. My outfits spanned just as many moods, from the last late-summer looks snuck in at home to pieces worn with the designers whose runway shows I attended.

Fall dressing has started to take over, even as I wait for Charleston to cool down. It’s been so much fun to dress with bold intention during some of the busiest weeks on the fashion calendar, all pointing toward October in Daily Looks.

 

Outfit Details: Boden Sweater & Jeans, Chan Luu Scarf (old, similar here), Etro Belt, Loeffler Randall Heels, Vanessa Bruno Bag | Chan Luu Top (old, similar here and here) & Similar Scarf, Reformation Pants, Jimmy Choo Bag, Saint Laurent Sunglasses, Vibi Venezia Flats

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Outfit Details: La DoubleJ Top, Reformation Shorts, Gabriela Hearts Sandals (here in black), Vanessa Bruno Bag, Sherman Field Necklace | Alemais Top, Mother Jeans, Loeffler Randall Heels, Irene Neuwirth Earrings (similar, less expensive here)

 

Outfit Details: Celine Jacket (last seen here, similar here), Le Bop Sweater (more colors here, similar here), Perfect White Tee Pants, Margaux Flats, Valentino Bag (sold out, similar here) | Hill House Vest & Pants, Chanel Bag (similar here), Roger Vivier Heels

 

Outfit Details: Libertine Coat, Eterne Tank, Agolde Jeans, Prada Pumps (similar here and here), Saint Laurent Sunglasses, Chanel Bag | One/Of Dress (more colors here), Dior Heels, Chanel Bag (similar here)

 

Outfit Details: Bode Shirt, Alex Mill Sweater, Redone Skirt, Margaux Flats, Vanessa Bruno Bag, Saint Laurent Sunglasses | TWP Top, Pants & Belt, Paige Clogs, Vanessa Bruno Bag, Saint Laurent Sunglasses

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Outfit Details: Kallmeyer Top, Adam Lippes Skirt, Dior Heels, Chanel Bag, Sherman Field Earrings (similar here), Dior Sunglasses | Tory Burch Bodysuit, Skirt, Belt, Heels & Bag, Sherman Field Necklace

 

Outfit Details: Liberowe Dress (worn as jacket), Saint Laurent Tank (old, similar here, less expensive here), Alemais Pants, Dior Heels, Chanel Bag, Dior Sunglasses | One/Of Jacket, Perfect White Tee Tshirt, Michael Kors Skirt (old, similar here), Roger Vivier Heels (more sizes here), Sherman Field Necklace

 

Outfit Details: Altuzarra Top, Pants, Belt & Bag, Dior Sunglasses | Chanel Sweater, Maria McManus Shirt, Veronica Beard Skirt & Bag, By Far Boots

 

Outfit Details: Conner Ives Top (sold oout, similar here), Anna Sui Skirt, Chanel Bag, L’Agence Belt (last seen here), Jimmy Choo Pumps, Dior Sunglasses | Valentino Jacket (last seen here, similar here), Alessandra Rich Dress, Roger Vivier Heels, Sherman Field Necklace

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Outfit Details: Guest In Residence Cardigan, Perfect White Tee Tshirt, Ossou Jeans, Margaux Flats | Chanel Jacket, La Veste Shirt, Ossou Jeans, Margaux Flats, Vanessa Bruno Bag

 

Outfit Details: Ossou Jacket, Anna Suit Tank, Destree Pants, Celine Flats, Chanel Bag | Harris Tapper Jacket (pants seen here), Suzie Kondi Shirt (last seen here), Ulla Johnson Shorts (last seen here), By Far Boots (last seen here), Chanel Bag

 

Outfit Details: Carolina Herrera Top, Skirt & Bag (similar here), Sauer Necklace (last seen here), Prada Pumps (old, similar here & here), Sherman Fields Earrings | Chanel Sweater (last seen here), The Tiny Big Sister Jeans, Alaia Flats (old, similar here), Chanel Bag

 

Outfit Details: Hunter Bell Dress (skirt version here), Toteme Heels (old, similar here), Chanel Bag | Malene Birger Top, Sea Jeans, Madewell Flats, Alaia Bag (similar here)

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Outfit Details: Alemais Shirt (old, similar here & here), Flore Flore Tank, Kallmeyer Short, Hermes Mules (old, last seen here), Parker Thatch Bag | Attersee Tank (old, similar here and here), Pucci Skirt (old, similar here), Dries Van Noten Heels, Prada Bag (more colors available, last seen here), Sauer Necklace (last seen here)

 

Outfit Details: Alemais Dress, Saint Laurent Heels (old, similar here), Valentino Clutch (old, similar here) | Call It By Your Name Shirt (more colors here), TWP Tank, High Sport Pants (similar here and here), Chanel Flats (similar here, less expensive here)

 

Outfit Details: Valentino Shirt (last seen here), DL1961 Jeans | Couper Dress (more sizes here)

 

Outfit Details: Isabel Marant Sweater, Perfect White Tee, Frame Jeans, Gucci Slides (old, similar here, less expensive here) | Chanel Jacket (last seen here), Agolde Tee, Frame Jeans, Manolo Blahnik Flats, Chanel Bag & Belt, Dior Sunglasses

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As autumn settles in and wardrobes shift toward wool, wax jackets and anything the colour of a good Bordeaux, an unlikely trend is quietly asserting itself in the gaps between sweaters and coat collars: lace. Not the bridal, curtain-like lace of a bygone era, nor the full-throttle lingerie-as-outerwear look that occasionally storms the red carpet, but something far more restrained — a flicker of it, glimpsed at a hemline, peeking from beneath a jumper, or edging the strap of a camisole tucked under a blazer.

It’s a curious idea on paper. Lace has always carried a double identity: the fabric of weddings and the fabric of boudoirs, equally at home on an altar or under a coat you’re not supposed to take off in public. That tension between innocence and intimacy is precisely what makes it such a compelling addition to an autumn look right now. Worn on its own, lace can tip into costume — either too romantic or too racy. But layered, half-hidden, contrasted against something sturdier, it becomes something else entirely: a hint rather than a statement.

This season’s runways have leaned into exactly that kind of restraint. At Miu Miu, gauzy camisoles and scalloped underlayers surfaced beneath tailored coats and prim skirts, turning what could have been overtly sexy into something almost administrative — lace as a secret rather than a declaration. Saint Laurent balanced barely-there lace skirts with dramatically plush faux-fur outerwear, letting texture do the work of taming exposure. Khaite, meanwhile, spliced lace panels into leather jackets and trousers, proving that the fabric reads as fashion rather than underwear the moment it’s paired with something a little tougher.

The common thread across all of these approaches is contrast. Lace next to more lace slides quickly into lingerie territory; lace against leather, wool or fur becomes an outfit with an edge. It’s the difference between an ensemble that looks unfinished and one that looks deliberately, knowingly undone — a few centimetres of delicacy peeking out from beneath armour.

There’s also something to be said for why this particular trick works so well in a professional or social context, not just a romantic one. Lace inevitably conjures skin, softness, vulnerability — qualities that can feel entirely out of place in a boardroom, yet oddly humanising when deployed with subtlety. A lace-trimmed cardigan or a camisole glimpsed beneath a structured jacket doesn’t scream seduction so much as it whispers personality. It suggests there’s a person underneath the professional exterior, which, in an era of increasingly buttoned-up workwear, can feel like a small act of rebellion.

Stylists have long understood this instinctively. Alexa Chung, often cited as a reference point for off-duty polish, has built entire looks around the idea of a cardigan buttoned to the throat with just a whisper of lace sneaking out beneath — proof that the trick isn’t about showing more, but about showing exactly the right amount.

The appeal, too, is seasonal logic. In high summer, when bare skin is already on full display, lace can feel redundant or overly suggestive — there’s nowhere left for the “reveal” to land. But in the shoulder season, when jumpers and jackets are creeping back into rotation, a sliver of lace at the neckline or hem provides exactly the kind of textural surprise that makes an outfit memorable rather than merely warm.

None of this requires an overhaul of the wardrobe. A lace-edged tank worn under a plain sweater. A slip skirt with a scalloped hem beneath a chunky knit. A bra strap that “accidentally” catches the light at a deep V-neck. These are small interventions, not costume changes — proof that a single unexpected texture, deployed sparingly, can do more for an autumn look than another layer of cashmere ever could.

Knitwear will have its turn, as it always does, once the weather turns properly bitter and buttons stay firmly done up. But for the next few weeks — while there’s still a sliver of warmth left in the air and a reason to leave something artfully unbuttoned — lace deserves its moment in the spotlight, however brief and however lightly worn.

The Princess of Wales debuted several new pieces for a visit to West Sussex today.

West Sussex is about 90 minutes south of London, and the Princess was there to learn about and celebrate West Sussex Minibus, a volunteer-led community transport organization. In the photos above and immediately below, you see the Princess with 94-year-old Stella Drewett. We learn details via this Rebecca English story for The Daily Mail.

She waited politely outside before being invited in by Mrs Drewett, who insisted on getting herself outside telling her: ‘I like to do these things myself.’

‘I bet you do!’ the princess said. ‘I’ll follow you.’

The royal then helped her up the steps onto the bus and told her she was coming to the lunch club ‘because I want to see what it’s all about’.

Catherine took a place next to her and joked about always forgetting her handbag. ‘Everyone always runs after me [shouting] ‘you forgot your handbag’.’

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Encouraging her to put her seatbelt on, the princess added: ‘I have to remind my children to put their seatbelts on too.’

The Sussex Express reports the bus service “acts as a vital lifeline for people who cannot easily access public transport due to isolation, mobility challenges or financial barriers.” Here is a quick video from Rebecca English of The Daily Mail as the driver and Princess arrived to pick up Ms. Drewett.

The Princess of Wales has surprised elderly travellers in Sussex as she joined a volunteer-run community transport association.
She is in Pulborough with the West Sussex Minibus, a vital lifeline for people who cannot easily access public transport due to isolation, mobility… pic.twitter.com/yZAEFWgL74

— Rebecca English (@RE_DailyMail) September 30, 2026

The Princess helped the former school cook onto the minibus, joining others headed to Pulborough Town Hall.

We learn more from The Telegraph’s story by Hannah Furness. 

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The Princess put a reassuring hand on Mrs Drewett’s arm as she manoeuvred her walking frame along the garden path and told her: “Well done.” She then stood behind Mrs Drewett as she climbed on board the minibus, putting her hands against her back as a precaution.

When the Princess asked about her trips out for lunch, the 94-year-old quipped that they meant “one day of not cooking”.

We return to The Telegraph piece. 

Mrs Drewett was told of her VIP guest shortly beforehand and said: “I couldn’t quite believe it. I am quite a new member.

“It’s a great service. I used to drive myself until I decided to spare the other road users. Everyone said to me: ‘But what are you going to do now?’

“But they take me to the supermarket once a week and we go down to the village hall for the lunch club. It’s a very valuable service. It’s wonderful.”

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This year the Minibus Service celebrates fifty years of service. The Sussex Express offers background.

Established in response to the decline of rural public transport, the organisation has grown from a single volunteer-led minibus service into a community transport network operating from eight village hubs, supported by 284 volunteers and a fleet of 11 minibuses. Its fleet travels approximately 60,000 miles each year, providing around 13,000 passenger journeys.

Below, the Princess exits the minibus at Pulborough Town Hall.

She joined those who arrived on the bus and others for their weekly lunch.

The weekly lunch is marking its 60th anniversary in the community. 

Below, the Princess and 74-year-old Lynda Jones. We go back to The Daily Mail story and the Princess’s conversation about doing the dishes.

She told her: ‘I love washing up. I really do.’ ‘Oh good, a volunteer,’ joked another guest.

Asked whether her husband helped, Catherine said: ‘He does the drying. We are a good double act. And we get the children involved.’

Examining the food on the table, the princess noted there was a bowl of crisps. ‘I bet you never eat crisps,’ Lynda teased her.

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‘I do. I love salted,’ Catherine said, and took one to prove her point, gently nibbling on it as they chatted.

The Barnet Borough Times gives us details on the lunch in this article. 

The Princess of Wales made new friends when she sat down with an elderly lunch group and asked them to pass the crisps.

Kate met diners during their Wednesday lunch in a village hall, where regular Lynda Jones handed over the snack after telling Kate the event “makes a lot of difference if you’ve lost your partner”.

We return to the Barnet Borough Times piece. 

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Chatting at the table, Kate said: “What a lovely way to make friends” as around 50 people in Pulborough village hall enjoyed red pepper and sweet potato soup with hunks of bread, cheese and crisps on the side.

Mrs Jones said: “She asked for some crisps, and I let her (have some). She said she liked it, they were ready salted, crinkle cut.”

“Kate was a natural.”

It looked like these two had a rollicking good time. 

After lunch, the Princess greeted some of the people gathered outside the village hall. 

A Getty Images video of the Princess greeting well-wishers. 

Catherine, Princess of Wales, visits the volunteer-lead West Sussex Minibus service in Pulborough, England.#GettyVideo 🎥 Justin Goff 👉 https://t.co/sbu9MpcDpJ pic.twitter.com/PqwvuDxsTs

— Getty Images Entertainment (@GettyVIP) September 30, 2026

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Here you see the Princess with one-year-old Albie Botley-Greenslade.

A brief video of the Princess with Albie and his family.

The Princess of Wales meeting families in Pulborough during her visit today. pic.twitter.com/SkyEchBsUZ

— Anna (@tokkianami) September 30, 2026

The Daily Mail offers details.

She also stopped to speak to Thea Botley, 25, with her sons Alfie, one, and Arthur three.

Catherine immediately hunkered down on her heels to say hello and helped Albie jump off the kerb, holding his hands.

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‘What’s your name? Hi. Hi Albie. Look at your cool boots. Jump? Well done. One more? Well done.’

‘Sorry I’ve started something,’ she laughed as Albie continued to jump as she walked off.

Thea said afterwards: ‘I’m so surprised he warmed to her and held hands as he can be shy with strangers. She was amazing.’

She even joined a FaceTime call and waved to Amanda Ridley’s mother, who is under the weather. We go back to Rebecca English’s Daily Mail story one last time. 

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The princess smiled broadly and waved. ‘Hello! What are your names? Oh no, I’m sorry you are not feeling well. Poor you. Have you got someone looking after you?’

She also said hello to her daughter Paloma, five, who was also unwell. ‘Are you missing school today?’ she asked her sympathetically, running her head. ‘I hope you get better soon. Have lots of sleep.’

Ms Ridley told her: ‘Thank you so much.’

She said afterwards: ‘I really admire her and the way she has conducted herself given what she has been through. We are very lucky to have her. ‘

Here is a video via Rebecca English. 

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Word had spread in the tiny village of Pulborough that the princess was there this morning and a small group of locals stood outside the village hall as she left. The Princess of Wales shook every hand, FaceTimed a poorly mother, helped a toddler to jump and cooed over a dog! pic.twitter.com/nQoMKukFTS

— Rebecca English (@RE_DailyMail) September 30, 2026

In this image, you see the Princess petting a cocker spaniel as she chats with a youngster.

Now, here’s what Kate wore.

Some will remember the Jigsaw MaxiCity Wool Coat (currently available in navy and khaki), first noted in September 2025. It is 100% wool with a recycled nylon lining, and design elements include notched wide lapels, flap pockets, and a center back vent.

The Princess debuted a new blouse by Reiss, the British brand’s ‘Kathlyn’ Matte-Silk Tie-Neck Blouse ($400) in grey. As the name suggests, it is 100% silk with a tie-neck, concealed front buttons, and studs at the cuffs instead of buttons. 

The Princess’s trousers are also new to us. Middleton Maven suggests the Bacall Doeskin Wool Trousers in grey melange ($348) by Polo Ralph Lauren. The high-rise style is menswear-inspired, with a wide leg, pleats, side-seam and back pockets, belt loops, cuffs, and a front zipper.

The Princess carried a new Smythson handbag today: the label’s Red Leather Day Cross-Body Bag (£695, currently out of stock) in calfskin leather. It measures roughly 7.5″ x 10″ and comes with both a top handle and a detachable, adjustable shoulder strap.

Today’s ensemble included a new Victoria Beckham belt: the Portofino Mirror Belt in Dark Burgundy ($390). The belt is done in shiny calf leather with a gold-tone buckle. It is also offered at a discount in limited sizes at Cettire ($272) and from $263 to $350 at Farfetch.

A big thank you to Middleton Maven for quickly identifying the blouse, belt, and trousers today!

We saw the return of the Gianvito Rossi 85 Pumps ($850), first noted at the Windsor Castle tea for Three Peaks Challenge participants.

The Princess repeated her Kiki McDonough Classic Gold and Diamond Hoops (£1000, about $1325 at today’s exchange rates) with her Annoushka Baroque Pearl Drops ($625) in 18k gold.

Here is one more photo of the Princess today. 

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This post may contain affiliate links and Corporette® may earn commissions for purchases made through links in this post. As an Amazon Associate, I earn from qualifying purchases.

Our daily workwear reports suggest one piece of work-appropriate attire in a range of prices.

I received this Anthropologie cardigan in my most recent Nuuly and I think it may have to become part of my permanent wardrobe. The cashmere is SO soft and even though it came from a clothing rental company, it doesn’t look like it’s pilling, which is a good sign.

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I’m a long-waisted gal, and this hits me right at the top of my hip, so I’ve been wearing it with high-waisted pants and skirts. The chocolate brown color is perfect for fall, but I may have to grab one of the striped colorways just for fun. 

The sweater is $158 at Anthropologie and comes in sizes XS-XL, XXSP-XLP, and 1X-3X. There are 22 colorways available, but the petite and plus ranges are more limited.

Psst – we’ve rounded up clothing rental services in the past. What are your favorites right now?

Psstx2 – Based on the comments I remembered that we rounded up ways to tell if a cardigan is frumpy! – Kat

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Sales of note for 9/25:

• Boden – Up to 50% off sale + extra 15% off (I’m trying to figure out which color(s) of this sweater I should order…)
• Ann Taylor – 25% off the weekend collection and extra 50% off sale section
• Anthropologie – Extra 50% off sale!
• Athleta – Lots marked down to 40% off; with an Athleta card you get an extra 20% off.
• AYR – Archive sale, up to 60% off
• CVS – Epic beauty sale
• J.Crew – Fall styles start at $39
• J.Crew Factory – 40% off new arrivals, extra 20% off orders $125+
• Nordstrom – over 9800 new markdowns
• M.M.LaFleur – Labor Day Sale Event, save sitewide! (Try code CORPORETTE15 for 15% off on other items)
• Nordstrom Rack – Extra 40% off select clearance
• Talbots – 40% off one item, 30% off everything else
• Theory – End of season sale is on!

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Article by: Fashanista

There is a particular kind of British fashion figure who never quite retires, who simply keeps turning up at the right shows in the right decades, quietly reshaping what “cool” means for a new generation while everyone else assumes she’s tending roses in Shropshire. Celia Birtwell, 85, is exactly that figure. And this autumn she is having, improbably, one of the biggest moments of her career.

A new exhibition, Ossie Clark + Celia Birtwell, opens at London’s Fashion and Textile Museum, revisiting the partnership that made her and her late former husband the defining design duo of Britain’s psychedelic late 1960s and early 1970s. At the same time, Birtwell has just co-designed Burberry’s entire London Fashion Week collection with creative director Daniel Lee — a collaboration she mentioned to a journalist almost as an afterthought, tucked between talk of her grandchildren and her ongoing battle with fine hair and unforgiving hot rollers.

That mismatch between how Birtwell describes her own life and what she is actually still doing is, in a way, the whole story. She has never traded on the mythology of her past the way the fashion industry might expect her to. Yet that mythology is extraordinary, and it is worth remembering exactly why.

In the years between Mary Quant’s miniskirt and the arrival of punk, Birtwell and Clark were London’s most fashionable couple, full stop. She drew the botanical, dreamlike prints — chiffon patterned with loose, romantic doodles that somehow captured the entire loosening of manners and morals happening around them. He cut those fabrics into bias-cut dresses that blended old Hollywood glamour with rock’n’roll recklessness. Together they ran Quorum, the Chelsea boutique where Talitha Getty, Marianne Faithfull and Anita Pallenberg came to shop and to be seen. Two Beatles, Cecil Beaton and Brigitte Bardot once sat in the audience at one of Clark’s shows. He later designed stage costumes for Mick Jagger and toured with the Rolling Stones. David Hockney’s 1970-71 portrait of the couple, Mr and Mrs Clark and Percy — painted while Birtwell was pregnant with their second child — didn’t just capture a marriage; it canonised an era.

The romance behind the clothes was, by Birtwell’s own account, a mixed blessing. She met Clark as an art student in Manchester, introduced by a friend eager to show her “a really mad boy.” He was, in her recollection, dazzling in those early years — turning up from Portobello Road with vases and fabric scraps he thought she’d love, bringing home a new record every week. “The first two or three years were very nice,” she says now, with the understatement of someone who has had five decades to make peace with what came after. Clark left her at home, pregnant, the day after their wedding to honeymoon alone in Barbados. He was openly bisexual, prodigiously gifted, and, in Birtwell’s words, ultimately more interested in partying than in almost anything else. Fame only accelerated that. The marriage ended in 1974, and Clark’s later years brought addiction, bankruptcy and, eventually, his murder at 54 by a former boyfriend.

It would be easy for an exhibition built around that history to lean into tragedy, or into nostalgia for its own sake. But what makes this particular fashion moment interesting is how directly the past is being folded into the present rather than simply displayed behind glass. Birtwell isn’t just the subject of a retrospective; she’s an active collaborator on a major luxury house’s current collection. That is a genuinely unusual position for a designer whose signature prints are more than half a century old, and it says something about where fashion is looking right now.

The industry has spent the past several seasons in a prolonged flirtation with 1970s bohemia — sheer fabrics, romantic floral prints, loose bias cuts, a general softness in silhouette that owes an obvious debt to exactly the aesthetic Birtwell and Clark pioneered. Daniel Lee’s decision to bring her in directly, rather than simply gesturing at the era through a moodboard, is a tacit acknowledgment that the real thing still has more to say than any pastiche of it. There’s a lesson there for an industry often accused of recycling its own history without crediting the originators: sometimes the originator is still very much alive, still has ideas, and would rather be asked than referenced.

For Birtwell, the renewed attention seems to sit lightly. She talks about Pattie Boyd’s figure and Ossie’s talent with the same warmth she brings to complaints about Carmen rollers scorching her hair. That ease is its own kind of style — a refusal to perform either grief or triumph on demand, even while both are clearly present. She has, by all accounts, spoken with real sorrow elsewhere about losing David Hockney, her friend and one-time chronicler, whose portrait of her and Clark remains perhaps the single image most responsible for keeping their story alive in the public imagination.

What the Fashion and Textile Museum show and the Burberry collaboration together suggest is that Birtwell’s real legacy was never just the prints, or even the marriage that generated so much period gossip. It’s a way of working — instinctive, unhurried, personal — that the current fashion cycle, for all its algorithms and trend forecasting, still can’t quite manufacture on its own. Sixty years on, that apparently remains in short supply, and increasingly valuable.

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At Torishéju, the room felt like an opera awaiting its first note. Chandeliers flickered above red velvet and gold-trimmed chairs, while a circle of sand cut through the grandeur. Classical music played beneath whispered conversations in French and English.

Torishéju Dumi met that ghostly setting with clothes that were anything but shy. Miniskirts showed their pockets; dresses bared the back. Leopard print paired with pinstripes, jackets bristled with nail-like embellishments, and a strapless dress revealed the unmistakable shape of unbuttoned trousers from behind. A red-and-white striped dress finished with an oversized bow brought a flash of playfulness.

Lace, tulle, checks and sharp tailoring moved between hourglass minis and sweeping lengths. Double-brimmed hats, scarf-draped headwear and sheer knee socks added to the collection’s delicious unease. The towering heels proved precarious when one model fell, but the clothes left a clear impression: seductive, strange and entirely Torishéju.

Following the show, Fashion Bomb Daily caught up with Edward Buchanan, who in 1995 became Bottega Veneta’s first design director at just 26 years old, straight out of Parsons School of Design. Buchanan built the foundation for the house’s ready-to-wear line and led its first-ever runway show, work that went largely uncredited for decades until Bottega Veneta honored him in its 50th anniversary campaign. Today he runs the knitwear label Sansovino 6, serves as Fashion Director at Perfect Magazine Milan, and is preparing to launch The Situation, a creative space in Milan supporting emerging design talent.

Buchanan shared his thoughts on Torishéju Dumi’s collection and gave us a first look at what’s coming next with The Situation.

https://youtube.com/shorts/nf5-d4yVWl8?is=4uptdq00xyqj1pRpWhat do you think?Photo credit: It’s Bruno Again

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