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

This was one of my favorite purchases from the Nordstrom Annual Sale this summer, and now it’s available at an even steeper markdown. This short-sleeved sweater is super soft, not too warm, and the perfect length for a long-torsoed person who struggles to find non-cropped sweater options.

I bought the cocoa color this summer, and at this price I will probably add both the navy and black to my collection. 

The sweater is $19.60 at Nordstrom, marked down from $49, and comes in sizes XXS-XL. I would say that it runs a bit large, so if you’re in between sizes, size down.

Sales of note for 9/11:

Jennifer Lopez has landed in Milan, and she wasted no time embracing Italian fashion and glamour with longtime favorite Dolce & Gabbana.

The superstar touched down in Italy for Milan Fashion Week and kicked off her fashionable stay with a major moment at Vogue World: Milano, held inside the iconic Galleria Vittorio Emanuele II. Lopez arrived alongside designers Domenico Dolce and Stefano Gabbana before later taking to the Vogue World runway herself.

For the occasion, J.Lo embodied classic Italian glamour in a dramatic black Dolce & Gabbana tea-length gown featuring a voluminous tulle skirt and intricate lace and beaded embellishments. She accessorized the look with sheer black opera gloves, patent slingback pumps, and spectacular Dolce & Gabbana Alta Gioielleria jewels, including a statement necklace centered around an extraordinary Paraíba tourmaline.

With her voluminous waves and signature glow, Lopez channeled the unapologetic femininity and sensuality that have long defined both her personal style and the Dolce & Gabbana woman.

But one Dolce moment was hardly enough.

The following day, Jenny from the Block traded black-tie glamour for a walk on the wild side, hitting the streets of Milan in head-to-toe Dolce & Gabbana leopard.

Styled by her longtime collaborators Rob Zangardi and Mariel Haenn, Lopez stepped out in a cropped leopard-print trench paired with coordinating bottoms and matching leopard footwear. Oversized sunglasses and gold accessories amplified the look, proving once again that when it comes to J.Lo, more is often more.

Animal print has long been part of the Dolce & Gabbana vocabulary, making the ensemble a natural marriage between the Italian house’s maximalist aesthetic and Lopez’s own fearless approach to fashion. Leopard may be a statement for some, but on J.Lo, it might as well be a neutral.

Her Milan wardrobe also continues a longstanding relationship between the superstar and Dolce & Gabbana. From glamorous red carpets and front-row appearances to the house’s Alta Moda celebrations, Lopez has repeatedly turned to Domenico Dolce and Stefano Gabbana when the occasion calls for unabashed glamour, sex appeal, and a little Italian drama.

And Milan Fashion Week is only getting started.

From twirling through Vogue World in black tulle to prowling the Milan streets in full leopard, J.Lo has already made one thing clear: she didn’t come to Italy to play it safe.

What do you think of her latest Dolce & Gabbana looks?

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When it comes to healthy hair, Bask & Lather is going straight to the source: the scalp.

The beloved hair-care brand has expanded its scalp-first philosophy with the award-winning Bask & Lather Scalp Therapy System, a four-step regimen designed to prep, cleanse, condition and moisturize the scalp and hair as one complete routine.

And what makes the system particularly interesting is its approach. Instead of treating scalp care as an occasional add-on—a little oil when your scalp feels dry or a clarifying treatment when buildup becomes noticeable—Bask & Lather has built scalp care into every stage of wash day.

The philosophy is simple: scalp first, hair follows.

So, What Makes the Award-Winning Scalp Therapy System Special?

The scalp is skin, yet it’s often treated very differently from the skin on our faces. We cleanse, exfoliate, moisturize and carefully select ingredients for our complexions, while the scalp can easily become an afterthought.

Bask & Lather’s award-winning Scalp Therapy System takes a more comprehensive approach.

The complete regimen consists of a Scalp Soothing Pre-Shampoo, Scalp Balancing Shampoo, Scalp Restoring Conditioner and Scalp Moisturizing Leave-In Treatment. Each product has a specific role, but they’re formulated to work sequentially—loosening buildup before cleansing, cleansing without unnecessarily stripping moisture, restoring hydration and then helping maintain that moisture after wash day.

That distinction matters particularly for women who regularly wear braids, wigs, slick-backs and other protective or product-heavy styles. Gels, edge controls, oils and styling creams can accumulate on the scalp, while repeated manipulation and detangling can contribute to breakage.

Instead of waiting for dryness, itching or buildup to become noticeable, the Scalp Therapy System makes scalp maintenance part of the routine.

Step One: Prep Before You Shampoo

One of the most distinctive products in the collection is the Scalp Soothing Pre-Shampoo, a moisturizing jelly applied before cleansing.

Formulated with aloe vera, mint and slippery elm, the treatment is designed to soften and loosen buildup while providing enough slip to make detangling easier before shampoo ever touches the hair. Bask & Lather recommends leaving it on for 10 to 30 minutes for additional hydration and easier detangling.

It’s a thoughtful first step because wash-day breakage doesn’t only happen after shampooing. Manipulating dry, tangled hair before cleansing can also create unnecessary stress.

Slippery elm helps provide the “slip” that makes strands easier to separate, while aloe adds hydration and mint creates the refreshing sensation often associated with scalp-care products.

Step Two: Cleanse Without Stripping

Next comes the Scalp Balancing Shampoo, which goes beyond simply removing dirt and product.

Its ingredient list includes willow bark extract, aloe vera, niacinamide, mint, eucalyptus, rosemary, biotin, hydrolyzed rice protein, castor oil and coffee seed extract, among other ingredients.

The cleansing base is designed to remove buildup and impurities while maintaining moisture rather than leaving the scalp and hair feeling stripped.

Niacinamide is particularly noteworthy. An ingredient many consumers already recognize from their skincare routines, it reinforces the collection’s idea that scalp care deserves the same level of attention we give facial skincare.

Step Three: Put Moisture Back In

After cleansing, the Scalp Restoring Conditioner focuses on hydration, softness and manageability.

Here, the ingredient story gets richer. The formula combines niacinamide, aloe vera and mint with babassu oil, castor oil, avocado oil, murumuru butter, rosemary oil, biotin, hydrolyzed wheat protein and silk amino acids.

Babassu oil helps give the formula its nourishing quality, while the combination of conditioning agents, oils and proteins is designed to soften hair and make detangling easier.

For textured hair in particular, manageability isn’t simply cosmetic. The easier hair is to detangle, the less pulling and manipulation it may require. Bask & Lather specifically positions the conditioner as helping reduce breakage during detangling while restoring moisture to both the scalp and hair.

Step Four: Don’t Let the Moisture Stop at Wash Day

The routine finishes with the Scalp Moisturizing Leave-In Treatment.

Its formula includes agave extract, babassu oil, aloe vera, avocado oil, sunflower seed oil, murumuru butter, rosemary, eucalyptus, mint, slippery elm, panthenol and hydrolyzed rice protein.

The leave-in is designed to maintain hydration after the rinse-out portion of wash day is complete. It can be incorporated into natural and curly styling routines as well as used before blow-drying for silk presses.

It’s that continuity that helps distinguish the award-winning collection: scalp care isn’t confined to one bottle.

The “Skinification” of Hair Care

Perhaps the most compelling part of Bask & Lather’s approach is that the brand is tapping into the growing intersection between skincare and hair care.

Think about a sophisticated skincare regimen: you prep, cleanse, treat and moisturize. The Scalp Therapy System applies a similar logic above the neck.

Rather than positioning one miracle product as the answer to every hair concern, Bask & Lather has created a routine in which each step prepares for the next.

The result is an award-winning collection that approaches scalp health as a complete regimen rather than an afterthought.

A Scalp-First Philosophy That Goes Back to the Brand’s Roots

The focus on scalp health isn’t new territory for Bask & Lather.

The company itself grew out of a deeply personal experience. According to the brand, founder and CEO Shaina Rainford’s younger sister lost her hair after a scalp condition was initially misdiagnosed as dandruff. Their mother subsequently developed natural formulas for her scalp and hair, which became the foundation for Bask & Lather’s Scalp Stimulator and Hair Elixir.

That history makes the award-winning Scalp Therapy System feel less like an excursion into a trending category and more like an expansion of the philosophy that has been embedded in Bask & Lather from the beginning.

The original question was how to create an environment where compromised hair could thrive. Today, that idea has evolved into an entire regimen.

The Bottom Line

The beauty of Bask & Lather’s award-winning Scalp Therapy System is that it makes the scalp the main character.

From aloe vera and slippery elm in the pre-shampoo to niacinamide in the cleansing and conditioning steps and babassu, agave and nourishing oils throughout the regimen, every stage is designed around creating a cleaner, hydrated and more balanced foundation for healthier-looking hair.

For anyone accustomed to spending considerable time—and money—on what happens from the roots down, Bask & Lather offers a reminder that perhaps the most important part of the hair-care routine is the part we can’t style.

Because great hair doesn’t simply start with the strands.

It starts at the scalp.

Art and Artist-Inspired Collections Owned the Runways at Simone Rocha, Erdem, McQueen, Emilia Wickstead and Roksanda.

SIMONE ROCHA, ERDEM, MCQUEEN, EMILIA WICKSTEAD, ROKSANDA and HARRIS REED

At Harris Reed

Image Credit London Fashion Week and WWD

London Fashion Week Spring/Summer 2027 was a proper mix of the fresh and the seasoned, with experimentation high on the agenda. LFW stayed true to its reputation as a platform for nurturing new talent while at the same time celebrating the talents of the stalwarts in their stables.

It was also a week full of surprises.

First and foremost, welcome home Alexander McQueen! A watershed moment came with the ‘homecoming’ of one of their most valued brands, McQueen, who, after 25 years of gracing Paris catwalks, returned to London.

Another surprise was Christopher Kane’s debut for Mulberry: it marked Mulberry’s first runway appearance in 6 years.

Irish legend Simone Rocha delivered a somewhat ‘revealing’ collection at the Old Bailey, inspired by the (unlikely) discovery of a… Caravaggio, yes Caravaggio, painting in Dublin!

Erdem – usually very precious about their signature female silhouette, surprised us with an interesting and deliberate tension between the masculine and the feminine. Male models sported ballgowns, to great effect.

Quintessential Brit brand Burberry closed the week with Daniel Lee’s celebration of British eccentricity, featuring a collaboration with beloved and legendary Brit textile designer Celia Birtwell – and there was a surprise runway debut from rapper Central Cee.

As for trends, romance was a definite thread that ran through many collections. We saw underwear posing very convincingly as outerwear at Simone Rocha and Erdem. 

There were elaborate embellishments galore – from 3-D floral appliqués at Burberry to rhinestone-encrusted suiting at Erdem and McQueen.

There was a definitive explosion of voluminous, frothy tulle in many collections. Party-time!

Tactile texture stole the show, with ensembles begging to be touched and stroked.

Colourwise, in line with the theme of romance, which colour but pink would be the star of the show? Very Barbie indeed!

Join us for a little journey through some of the most memorable shows of the week.

SIMONE ROCHA

One of the greatest fashion storytellers of our time, Simone Rocha, created her S/S 2027 collection on the rediscovery of Caravaggio’s long-lost painting, The Taking of Christ in 1990. This significant artwork had been hanging (misattributed!) in the dining room of a Jesuit house in Dublin for over 5 decades – a proper miracle of art history!

Rocha created looks around this ‘miracle, this unlikely rediscovery of the painting. Silk organza slip dresses literally looked like they could fall off the body as if by some divine miracle.

The designer tried to find “the most beautiful thing in the most unobvious place”, according to the collection notes. The usual Rocha vocabulary of protective layers of tulle and frills looked stripped back this time. Transparent dresses reveal blood red underwear and black and red plaid knickers. Black leather jackets with cut-out rose-embellished collars were worn straight onto the skin. Lingerie-inspired silhouettes were mixed with everyday, utilitarian garments like bomber jackets, anoraks and parkas. Her trademark roses – red and white – were present throughout, but they appeared as oversized, sculptural embellishments smothering the face or a plunging neckline.

Rocha’s usual romanticism and femininity looked somewhat different in this collection, which felt rather raw and above all, most definitely thought-provoking. As ever, this Rocha collection leaves one in awe. The complexity of the elements, inferences and historic references will linger long after the stunning pieces have left the room.

At Simone Rocha

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ERDEM

Watch Erdem’s Show here: 

Erdem Moralioglu is known for his inimitable reinterpreting and reworking of fashion from the past – the 1920s, 1930s and 1950s especially. We’ve come to adore his signature vintage tulle ballgowns with their shapely silhouettes, typically in soft greys, sage greens and ballet pinks, embossed with diamante rhinestones from over the past 20 years.

This season the spotlight fell squarely on the 1920s and ‘30s, and specifically a character called Barbette, a male trapeze artist at the Moulin Rouge who ended up dressing up as a woman for the show to replace a female co-star who died.

It’s here that the genius of Erdem really shines through: this collection is, just like a trapeze artist, suspended somewhere between masculinity and femininity. Allegedly, when Barbette took off his wig after performances, his popularity was even greater! It’s this duality, this androgyny, that Erdem captured superbly in his S/S 2027 collection.

The most girlie pieces – like bras and knickers, were layered with pieces that were uber- masculine. These combinations were anything but genderless – they showed how the same person can effortlessly combine something super feminine together with a totally masculine piece. Case in point: heavy tweed jackets and canvas parkas were paired with rhinestone-embossed knickers, ballgowns were anchored in sturdy men’s shoes.

And it all looked like a match made in heaven.

At Erdem

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MCQUEEN

Watch McQueen’s Show here: 

McQueen returned to London Fashion Week after an absence of 25 years of showing in Paris, and creative director Seán McGirr staged a homecoming of epic proportions.

McGirr juxtaposed the sacred and the sub-cultural in this S/S 2027 collection, and the effect was, well, pretty dramatic. Piero della Francesca’s The Baptism of Christ was the artwork that inspired the designer as a student, and it was to this divine backdrop that he pinned the other end of his inspiration: the crazy energy of the contemporary London’s rave scene! A greater contrast is indeed hard to imagine.

The result of this duality was a dark, gothic romanticism, as seen in the demonically energised ‘horned’ hairstyles of the models, the sculptural angel’s wing tailoring, the recycled silver body harness and the acid floral prints. There was a dress made of interlinked hand-embroidered silver metal skulls that stood out amongst all the other fantastical creations. There was plenty perforated leather, mesh, metallic leaves, S&M leather chokers and other elements that reminded one perhaps of the ‘darker’ side of things.

Angel or devil? Who knows, but one thing is for sure, the clothes were pure McQueen, and no doubt Alexander will be grinning from above.

At McQueen

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ROKSANDA

Roksanda Ilincic showed her S/S 2027 collection on the roof garden of the brutalist National Theatre building, a brilliant backdrop for her artfully shaded, voluminous and sculptural pieces.

A woman who faithfully designs for women, started her process for S/S 2027 by looking at a woman artist’s work, and this time it was Swiss-American fibre artist Françoise Grossen with her signature mammoth knotted-rope creations. Grossen’s braiding techniques were translated into ensembles where ropes and threads cinched the backs of garments together, and where threads dangled and trailed from giant clutch bags.

Colours of choice this time were the whole family of reds, oranges and pinks – vibrant and energetic! The designer’s signature sculptural gowns also made way for more practical daywear: shirt dresses, safari jackets, lounge pants and easy-to-wear jackets and coats worked a treat within the collection. The accessories, in particular looked beyond sculptural. Giant clutch bags came with floor-sweeping, tactile fringing.

Ilincic did more than just design and collaborate this season – she also physically hand-painted the gorgeous huge silk scarves that were then draped around models. Says the designer of these, “I wanted to make them into pieces that become dresses-slash-tunics. So you can kind of wear them in a different ways.” These painterly artworks also adorned some of her stunning ballgowns.

It was most befitting that statuesque Brit model Erin O’Connor closed a show that clearly had maximum impact. There was no dressing down at Roksanda’s, that’s for sure.

At Roksanda

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EMILIA WICKSTEAD

Emilia Wickstead homed in on the 1940s American Abstract Expressionist artist Lenore “Lee” Krasner (artist Jackson Pollock’s wife) as her key inspiration for a collection that she chose to make a film of, rather than show on the runway.

The interplay between the shades of the various pastel-coloured rooms in which the film was shot (inside the designer’s Sloane St store) and the actual clothes made for a very interesting dialogue. As the film moves from room to room, changing from dull green to bright yellow, from lavender to sky blue, the colour of the clothes also got a fascinating new interpretation. The stripy fabrics of the shirts and gowns, in particular, looked very ‘1940s seaside chic’ against these backdrops.

There was no doubt that artist Leonore Krasner was the key inspiration for this endearing collection: the thread runs right through the collection. The floral patterning (Krasner loved nature), the fit and flare silhouettes of the dresses together with the interesting necklines were all very classic Emilia Wickstead, but with a definite nod to Krasner. What was new was the slightly frayed chiffon trims to give that rather ‘undone’ feel to it – apparently Krasner always liked things a little ‘unravelled. The yellow, pink and beige cotton tweed that was used to weave the dresses, skirts and pants echoed Krasner’s painting ‘Prophesy’ (1956). Krasner also liked to have a hand in styling and reinventing her own clothes – again, there was a recognition of this in the long dresses with bibs that can be folded up or down, or styled n an asymmetric fashion. Some of the dresses even had pockets “for paint brushes!”.

A fun new development for Emilia Wickstead’s many followers to marvel over is her use of feathers: a boucle tweed minidress, for example, came with a bold, removable band of feathers. This versatility and playfulness will most certainly attract the attention of many younger fans. What fun one can have with these!

At Emilia Wickstead

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HARRIS REED

There was high drama at Harris Reed – or perhaps, ‘period’ drama would be a more apt description. The drama queen vibes were very Queen Elizabeth 1 and Queen Victoria – even Marie-Antoinette. These uber-sculptural pieces were nothing but wearable art. Piece after piece made one gasp for air.

A rather ‘modest’ jacket and skirt ensemble opened proceedings – the jacket’s leg of mutton sleeves so exaggerated they brushed against the model’s ears. Then came ballgowns with corseted bodices and sculptural ‘wings’ – some as wispy as a dragonfly’s wings, others like angels’ wings.

Sheer and exquisite fishtail skirts followed. A sculptural dress with an ‘ectomorph’ corset followed. Some pieces resembled moulded classic Greek statues – all jaw-droppingly stunning.

The monochrome palette – ranging from virginal white to ivory and beige – suited this theatrical offering down to the ground, as colour may have distracted from all this beauty. Instead the texture of the jacquard, satin, embroidery and lace did what was needed to perfect these fabulous chiseled silhouettes.

At Harris Reed

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Outfit Details: Zimmermann Dress, Sherman Field Necklaces, Prada Bag, Jude Sandals

Every so often you come across a piece that stops you the moment you see it. It isn’t about newness. It’s that the thing looks like nothing else out there, with a point of view specific enough to read almost as a work of art. This Zimmermann dress is exactly that for me: striking, instantly joyful, the kind of piece you want to put on and go somewhere in. That’s what brings this edit together, designs that have enough character to feel like a distinctive moment now, then bring that same joy every time you pull them out again.

There is a richness running through everything here, from layered print and hand-finished texture to jewelry and accessories that look as though they could have been collected over years. These are the finds that give a wardrobe depth, the ones you reach for when you want an outfit to feel memorable, then keep because they continue to make sense in entirely new settings.