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The Harper’s Bazaar UK Women of the Year ceremony returned to Claridge’s in London on Thursday 5 November, handing out eleven honours to figures from film, television, theatre, fashion, art and sport. The evening mixed Hollywood glamour with British comic timing, and the speeches had as much impact as the gowns.

The Women of the Year winners at a glance

Glenn Close took the headline Icon Award, presented by Harper’s Bazaar UK editor-in-chief Lydia Slater. It recognised a five-decade career spent playing complex, challenging women. Mikey Madison was named Film Actress of the Year for her Oscar-winning role in Anora and her portrayal of a real-life whistleblower in The Social Reckoning. Cate Blanchett won Theatre Actress, presented by Elizabeth Debicki, for her dual-role performance in the National Theatre’s Electra/Persona.

Claudia Winkleman collected Television Icon, days after the final of The Celebrity Traitors aired. Bella Maclean won Breakthrough, and Amelia Dimoldenberg, host of Chicken Shop Date, received the Innovator Award. Sarah Burton of Givenchy won Designer, and Sam Taylor-Johnson was named Artist of the Year. Stephanie Cavalli won Model of the Year after a year in which she became a symbol of age inclusivity in fashion.

Sprinter Dina Asher-Smith received the Sporting Inspiration Award for her record-breaking run at the European Championships. National Theatre leaders Indhu Rubasingham and Kate Varah shared the Change-Maker Award for championing new voices and broadening access to British theatre.

Laughter, tears and a tribute to Jilly Cooper

The ceremony’s most affecting moment came from Maclean. Her Rivals co-star Alex Hassell presented her award with affectionate teasing, and she responded with a tearful tribute to the late Dame Jilly Cooper, the author of the source novel. She thanked Cooper for a role that launched her career and a character that made her reflect on how she wants to show up in the world.

Winkleman’s win was the comic high point. Her friend, the author Emma Freud, delivered a mock-insulting introduction about her fringe and her wardrobe. Winkleman then joked that she had become so absorbed in filming that she briefly forgot she had a child at home. “He’ll never see this,” she added, deadpan.

Asher-Smith struck a more serious note. She spoke about the many sides of female athletes, who she said are too often seen as little more than smaller versions of male competitors.

What the guests wore

Accounts of the red carpet differ on some details. The Standard described Blanchett in a constellation-print Mary Katrantzou gown, while the Daily Mail called her dress blue with an intricately painted, artwork-style skirt. Both agree it was among the night’s showstoppers. The Standard put Madison in a strapless Dior gown, whereas the Mail described a pale grey dress.

Isla Fisher was another standout, though outlets described her look differently: lace cap sleeves, short sleeves and fringed sleeves all appear in the coverage. Cat Deeley wore a bell-sleeved, 1970s-inspired dress with a chain-link belt. Holly Willoughby wore an Alexander McQueen blazer mini dress, and Winkleman chose a tailored black blazer and boots. Other guests included Lesley Manville, Gugu Mbatha-Raw, Annabelle Wallis, Letitia Wright and Taylor Russell.

A sister event to the US Icons night

The UK ceremony is separate from Harper’s Bazaar’s US Icons event, whose honourees this year included Céline Dion and Charlotte Rampling. The British event was held in partnership with The Platinum Card by American Express for a third consecutive year. According to the Mirror, it is one year short of its 20th anniversary, which suggests a milestone edition in 2027. Slater said the awards have “a rich heritage of recognising the inspirational women whose achievements are shaping contemporary culture.”

This year’s Women of the Year list favoured performers, but the Change-Maker and Sporting Inspiration awards, along with the Model and Designer honours, widened its scope beyond the screen.

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Balenciaga has named London designer Martine Rose as its new creative director, ending weeks of rumor and giving the house its first woman in the top creative job in 109 years. She starts on November 16, one day short of two weeks after the departure of Pierpaolo Piccioli was announced. Piccioli’s exit came just a day before Rose’s confirmation, and the speed of the handover suggests the house had a successor lined up well in advance.

A homecoming, not a debut

Rose’s return to Balenciaga is not her first time inside the building. When Demna took over the label in 2015, he hired her as a menswear consultant. She stayed until 2018 and, by several accounts, helped shape the oversized tailoring, boxy cuts, and exaggerated proportions that defined the brand’s early streetwear-inflected identity. Vogue’s Sarah Mower, who observed the pair at work, describes Demna as a long-distance admirer who found Rose’s early presentations online. This time Rose is running the whole operation rather than advising on one part of it.

It is also the first time she has led a major fashion house. That is striking given her influence. Rose launched her own label in 2007, after a short-lived T-shirt line called LMNOP in 2002, and built it through London’s Fashion East incubator. Since then she has worked with Nike, Clarks, Supreme, Stüssy, and Tommy Hilfiger, and her clothes have been worn by Kendrick Lamar, Timothée Chalamet, and Rihanna.

Why the choice resonates

Coverage of the announcement is unusually warm. Harper’s Bazaar calls it a welcome break from the same few names that tend to circulate for big creative director jobs. Vogue says the wait for a designer of Rose’s standing to be given a luxury platform has gone on “far, far too long.” Her work is rooted in what she has called an “observational” approach: watching how people really dress, then stretching, shrinking, or twisting garments until the familiar looks new. Her references include rave, football casuals, reggae, queer culture, and the Jamaican-British household she grew up in.

Her fans argue that some of her once-odd silhouettes later became ordinary. Rose herself has recalled that people reacted badly to her oversized shapes in 2013, only for those proportions to spread across menswear.

Both Harper’s and Vogue also place the news in a wider context. Most big luxury houses are led by white men, and Rose’s appointment, like the excitement around Grace Wales Bonner at Hermès, is read as recognition for women of color whose work has shaped fashion without always earning credit.

The job ahead

Rose inherits a house still searching for its footing. Cristóbal Balenciaga founded it in 1917 in San Sebastián and was celebrated for sculptural volume and silhouette. Demna left in 2025 for Gucci. Piccioli arrived that year with a brief to honor the house’s sculptural elegance without losing the streetwear fans Demna had cultivated. His tenure is reported as either 16 months or three seasons, depending on the outlet, but all agree it was short.

The obvious question is whether a designer known mainly for menswear can handle womenswear and accessories, which are central to a house of this size. Mower points to Rose’s long-standing interest in gender play, and in “a woman in men’s clothes, a man in women’s clothes,” as a sign she can. Nothing in the coverage settles it, and the house has not said when her first collection will appear.

In a statement, Rose called the role “a true privilege” and promised to honor the house’s legacy while creating “the next chapter.” Kering CEO Luca de Meo said she brings a “fresh, fearless and deeply contemporary vision” and a connection to a new generation. For a brand that has wobbled between its couture roots and its street-style fame, the bet is that its next Balenciaga creative director understands both.

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The Piccioli Balenciaga exit is now official. Kering announced on Thursday that Pierpaolo Piccioli is stepping down as creative director of the house, ending a tenure of roughly 16 months counted from his July 2025 start date. A successor, the company said, will be named “shortly.”

The departure brings to an end one of the most closely watched appointments of the last fashion reshuffle. Piccioli arrived after a quarter-century at Valentino, and he took over a house that his predecessor, Demna, had spent a decade turning into a streetwear-adjacent giant. Measured against that history, three or so seasons was never much time to prove a new vision.

What the announcement says

The statements from Kering and Balenciaga were warm. Kering CEO Luca de Meo called Piccioli “an exceptional couturier and creative talent” and said the group wants to build on Balenciaga’s “avant-garde spirit.” Balenciaga CEO Gianfranco Gianangeli credited him with reaffirming the house’s couture origins through his approach to craftsmanship and construction. Neither statement gave a reason for the split. Piccioli himself offered no comment, according to British GQ.

The news did not land out of nowhere. Rumours about his future began circulating on social media in September, and Kering’s chief financial officer declined to comment on them when asked during the group’s third-quarter update, British Vogue reported.

A mixed creative report card

Piccioli was named in May 2025 and began that July, after Demna’s final couture show. His first ready-to-wear collection, shown in Paris last October, reworked Cristóbal Balenciaga’s sack dress. It paired bright gowns and sculptural skirts with leather jackets, chinos and T-shirts, a deliberate attempt to nod to both the founder and the streetwear audience Demna cultivated. Meghan Markle attended in a custom ivory look, and the reception was described as measured praise.

His second show, in March, drew a more mixed response. Vogue Runway’s Sarah Mower said his famous colour sense and sense of joy had not shown up in a darker collection. His couture debut in July put the atelier front and centre, and Mower noted his mastery of colour was evident there. Reviewing his spring/summer 2027 show in October, she observed that he was having to work out, in real time, where he stood between Cristóbal’s couture legacy and Demna’s satirical street-style legacy. Harper’s Bazaar described that spring 2027 lineup as elevated, voluminous takes on familiar pieces like a T-shirt and jeans.

Celebrities embraced the work. Ariana Grande, Rosalía and Demi Moore all wore his designs on red carpets, and Tessa Thompson was among his fans.

The business backdrop to the Piccioli Balenciaga exit

The commercial picture is harder to read. Kering does not break out sales for individual brands apart from Gucci, so the figures here are estimates. Morgan Stanley put Balenciaga’s 2025 sales at €1.47 billion, down from €1.65 billion a year earlier. Under Demna, the house had grown from about €360 million in 2015.

Kering’s own commentary tracked a cooling. The first quarter of 2026 showed growth, driven by leather goods. The second quarter was called “more challenging,” and the third was described as challenging too. CFO Armelle Poulou said leather goods were performing very well, citing the City and Rodeo bags and the newly launched Hourglass Avenue, while ready-to-wear and shoes were suffering and needed new lines and products.

That matters because de Meo, who became Kering CEO about two months after Piccioli’s appointment, has set ambitious targets. At the group’s April 2026 Capital Markets Day, he said Balenciaga understands “the vibes of the new generation,” and goals include doubling women’s ready-to-wear, accelerating leather goods and doubling business in the Americas, all by 2030. None of the sources link Piccioli’s departure directly to these numbers, but the timing makes the strategic questions hard to ignore.

Kering’s growing list of vacancies

Balenciaga is not Kering’s only open seat. Saint Laurent and McQueen have yet to name creative directors following the exits of Anthony Vaccarello and Seán McGirr. Demna, meanwhile, has moved on to Gucci, where his high-profile debut included a New York show earlier this year.

Harper’s Bazaar framed Piccioli’s brief tenure as symptomatic of an industry in which creative-director shake-ups have become routine, and in which the pressure to deliver an identity almost instantly is intense. Whether his successor gets more runway, literally and figuratively, may depend on how Kering answers a question this exit leaves open: whether Balenciaga should lean into its couture heritage or its more provocative, youth-driven recent past. Piccioli’s next move has not been announced.

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Fashion has a problem with the word brown. This season’s most talked-about colour is being sold as espresso, chestnut, cacao, ganache, truffle, mocha, caramel and hazelnut, and almost no one wants to use the plain name. Yet according to Guardian fashion columnist Jess Cartner-Morley, deep, glossy chocolate brown is probably the chicest thing you can wear right now.

From wheelie bins to the catwalk

The rebrand is needed because brown has never had glamour on its side. Red suggests passion, black suggests chic, pink romance and blue serenity. Brown, Cartner-Morley jokes, is the colour of wheelie bins. Its history explains the stigma. Brown dyes and raw brown cloth were cheap, practical and good at hiding dirt, so the shade became associated with poverty. The urban poor of ancient Rome were known as pullati, literally “those dressed in brown”, and medieval English sumptuary laws confined peasants to russet, a coarse reddish-brown fabric.

Traces of that attitude linger, she suggests, in the way brown still feels grounded and real. It had an earlier fashion moment in the 1970s, when it seemed earthy and authentic after the theatrical 1960s. Today it tends to turn up at the more alternative labels rather than the razzle-dazzle ones. There is little of it at Versace, but brown and green is very Marni, and Prada has long loved it as part of its “ugly chic” vocabulary, precisely because it is not an obviously pretty colour.

Why chocolate brown, and why now?

The edible vocabulary is probably no accident. When Pantone named Mocha Mousse its colour of 2025, it tied brown’s popularity to the “food-ification” of culture, the idea that coffee and chocolate are small, affordable comforts in anxious times. Food has become lifestyle content, and the bakery something close to a cultural institution, with younger consumers queuing for particular croissants and debating online where the best ones are made.

Cartner-Morley admits that colour trends rarely have one tidy origin story, but they do capture a mood. Chocolate brown is cosier than jolly, luxurious rather than flashy, nostalgic without being sugary. It is also emphatically analogue: a smartphone is never brown, while leather, wood, coffee, earth and suede all are. In her reading, it is the colour of real life offline, which may be why it is having an aspirational moment.

How to wear brown this autumn

Her simplest advice is to substitute it wherever you would normally reach for black. Boots, handbags, trousers and coats are categories where black feels like a no-brainer, but swapping in chocolate brown makes the same outfit look more considered. Her examples include chocolate leather boots with jeans and a navy jumper, or a dark-brown handbag with a grey coat.

There are practical arguments too. Brown, she says, is less draining against many skin tones than grey, and less corporate than navy. It pairs well with black and with colour, and is “terrific” with pale blue, butter yellow, pale pink or burgundy. Mixing different browns, such as conker with caramel and espresso, also works.

The takeaway is that the trend does not demand a new wardrobe, just a rethink of the black default. A colour long linked with thrift and practicality has become, for now, the quiet signal of an outfit that looks chosen rather than reflexive.

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The Burberry Christmas campaign for 2026 turns a stately English country house into a dance floor, with Pierce Brosnan and Fiona Shaw cast as the reluctant and the enthusiastic halves of a hosting couple. The short film, “Wrapped in Burberry: Celebrating 170 Years”, marks the British label’s anniversary with a party that plays as much like a comic domestic sketch as a fashion advert.

A house party at Longleat

The film is set at Longleat House, the historic Wiltshire estate. It opens with Shaw welcoming guests while Brosnan, the former James Bond actor, retreats to a living room with a newspaper, plainly hoping the evening stays quiet. It does not. Presents are passed around, children race along carpeted hallways and a disco ball is hoisted into place.

The guest list is deliberately international. Model Cara Delevingne, actor Gabrielle Union and her husband, retired basketball player Dwyane Wade, are joined by Brosnan’s son Dylan, “Bridgerton” actor Nico Parker, “Pachinko” actress Kim Min-ha and Chinese actor Wu Lei. Emma Thynn, Marchioness of Bath, makes a cameo. Variety reports that the festivities take in countryside walks, party games, gift swaps and golf buggy races. Union and Wade are shown playing golf in matching Burberry, and Shaw is seen driving around the grounds in a buggy.

Brosnan gives in, and Korine takes the helm

The film’s central joke is Brosnan’s gradual surrender. Annoyed at first by the music and dancing, he joins in and ends up on the dance floor with Delevingne. The soundtrack is Sylvester and Patrick Cowley’s 1982 disco track “Do You Wanna Funk?”. A firework display closes the night, and the final shot shows Shaw waking on a sofa after the party.

The director is Harmony Korine, best known for “Spring Breakers” and “Gummo”. It is his second fashion commission in quick succession: Variety notes that Gucci recently released a holiday campaign he also directed, starring Mariah Carey. Pairing an indie provocateur with heritage luxury brands appears to be becoming a seasonal habit.

Burberry’s chief creative officer, Daniel Lee, summed up the brief in simple terms. “We wanted to celebrate 170 years of Burberry with a proper party,” he said, adding: “Family, friends, great gifts and everyone dressed up.”

What the Burberry Christmas campaign is selling

Behind the humour sits a product push. The holiday collection is built around cashmere, including new versions of the Kensington trench coat in ivory, black, navy, camel and bouquet pink. It also includes cashmere capes with shearling collars, embroidered sweaters, velvet vanity cases and check bouclé handbags. The Scottish-made House Check scarves come in more than 40 colourways. There are children’s versions of the label’s outerwear and even dog accessories, such as check sweaters and bandanas.

Prices listed by Variety show the aspirational end of the range: a Kensington Heritage Trench Coat at $2,850 and a check cashmere scarf at $675, with smaller gifts such as a $280 check wool stocking.

The casting is the film’s real strategy. Brosnan and Shaw are British screen veterans, Delevingne is a long-standing fashion figure, and Union, Wade, Parker, Kim and Wu widen the reach to American and Asian audiences. The message is that a 170-year-old British house wants to feel like a warm, slightly chaotic family gathering as well as a luxury label.

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File photo: Burberry, Albion Street, Castleford, West Yorkshire (24th February 2024) 001.jpg by Mtaylor848, CC BY-SA 4.0, via Wikimedia Commons.

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The 2026 CFDA Fashion Awards turned the American Museum of Natural History into a runway on Monday night, and the red carpet produced clear favorites, a few polarizing choices and some pointed debate about what an awards-night outfit should be. Across the coverage, a pattern emerged: the looks that landed best paired a strong silhouette with a real designer relationship behind it.

A Night Built Around American Designers

Unlike most entertainment-industry ceremonies, the CFDA Fashion Awards put designers at the center and treat celebrities as the vehicle for their work. This year’s dinner took place beneath the museum’s 94-foot blue whale model and was hosted by Keke Palmer. Presenters included Demi Moore, Naomi Osaka, Lupita Nyong’o, Matt Damon and Cole Escola.

Ralph Lauren won American Menswear Designer of the Year for the third time. Rachel Scott of Diotima took American Womenswear Designer of the Year for the second time. Ana Khouri was named American Accessory Designer of the Year, and Colleen Allen won Emerging Designer of the Year over a field that included Zane Li of Lii and Emily Dawn Long.

Several honorees were celebrated beyond the competitive categories. Anthony Vaccarello, who recently announced he is leaving Saint Laurent after a decade as creative director, received the International Designer of the Year award. Tory Burch took the Positive Change Award, and Gap Inc., under Zac Posen, won the Innovation Award. Photographers Inez van Lamsweerde and Vinoodh Matadin received the Geoffrey Beene Lifetime Achievement Award, and architect Peter Marino was named Fashion Icon.

The Looks That Won the Carpet

Palmer, the host, drew some of the loudest praise in a vintage Bob Mackie gold halter gown. Business Insider reported that Mackie, who died in September, made the dress in 1975 for Raquel Welch, and said it fit Palmer as if it had been designed for her.

Allison Janney’s hot-pink Christian Siriano look, with its dramatic sleeves and shoulder pads, was a favorite for both WWD and Business Insider. WWD said it came from Siriano’s spring 2027 collection. Janney called him “the most talented designer” and said they have fun together. Siriano also dressed Chloe Bailey in a sheer black design with tulle ruffles and tan feather trim, which Business Insider likened to something off a runway.

Designer-muse chemistry came through most clearly in two pairings. Rachel Scott dressed Indya Moore in a voluminous, textured Diotima dress adapted from her spring 2027 collection, which she described as being about a woman who existed across time in the Caribbean. Moore said they felt “like a sunflower.” Awkwafina wore a black column dress with an embellished neckline by Jason Wu, whom she said she had befriended only weeks earlier. Wu said the goal was to “go chic.”

Pamela Anderson, in a black Carolina Herrera halter gown with feather fringe at the neckline, earned notices from WWD, Harper’s Bazaar and Business Insider alike. Business Insider praised her styling of embellished heels, a satin clutch and red lipstick. Matt Damon led the menswear contingent in a double-breasted, shawl-lapel Ralph Lauren tuxedo over a black turtleneck, saying he has always loved the brand. Travis Scott, in a black satin double-breasted suit with a leather top underneath, was another menswear pick.

Saint Laurent, Coach and Gap Show Up in Force

Brand loyalty was visible across the room. With Vaccarello honored, Hailey Bieber, Zoë Kravitz and Rosé all wore Saint Laurent. Elle Fanning and PinkPantheress wore Coach. Demi Moore and Lupita Nyong’o wore GapStudio by Zac Posen, in step with the Innovation Award for Gap Inc. Gracie Abrams wore a design by newly crowned emerging designer Colleen Allen, and Rose Byrne and Becky G joined Anderson in Carolina Herrera. Tinashe, Megan Thee Stallion and Ashley Graham wore Christopher John Rogers, Kim Shui and Esque/By respectively.

Not Everyone Was Convinced

Business Insider was the one outlet to name misses, and its criticisms were mostly about ambition rather than execution. Emily Ratajkowski’s black sweater, bright orange low-rise skirt and pointed boots looked, in its view, more like a fall outing than an awards look. Ashley Graham’s tailored black-and-white set, with a deconstructed shirt turned into a strapless top, was praised for its fit and originality but judged forgettable. Shaboozey’s Ralph Lauren outfit of cream blazer, distressed jeans, bolo tie and statement belt buckle was called too close to what he wears every day for a fashion-focused event.

Those verdicts are one critic’s opinion, and WWD and Harper’s Bazaar offered no such rankings. They do point to a theme, though. At the CFDA Fashion Awards, where the crowd is trained to notice craft, the looks that stood out were the ones with a clear idea or a real story behind them, whether that was a 1975 gown or a friendship that began two weeks earlier.

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The Rebecca Minkoff capsule collection with model and reality TV personality Grace Ann Nader went on sale this week. It is a tight, three-item drop that grew out of a friendship sparked at last year’s CFDA Awards, and its prices run from $239 to $398.

How the Rebecca Minkoff capsule collection began

According to both The Hollywood Reporter and WWD, the project took shape after Minkoff brought Nader as her guest to the 2025 CFDA Awards at New York’s American Museum of Natural History. The evening, which honored names such as Ralph Lauren, Thom Browne and Donatella Versace, left Minkoff with more than a night out. She and Nader grew closer, and that friendship eventually became a product line.

WWD adds a notable detail about motivation: the collaboration is meant to help Nader widen her role in fashion beyond modeling, with the aim of getting more involved in the creative and design process. The brand describes the result as a blend of Minkoff’s “downtown-cool” sensibility and Nader’s “free-spirited” aesthetic.

What’s in the drop

The lineup covers outerwear, footwear and an accessory:

The Grace Ann cropped jacket ($248) is a black, bomber-inspired piece with a contrasting brown faux-fur collar, a button closure and a relaxed shape.

The Carson boot ($239) comes in black suede with ruching and beaded accents. WWD notes a pointed toe and stiletto heel.

The “Holland” Nolita hobo ($398) is a slouchy genuine-suede bag with stud detailing, antique silver hardware and a metal handle. It is named for Nader’s mother. WWD reports a detachable strap plus interior and exterior slip pockets.

A limited run with a door left open

The line is positioned as a limited drop, though both outlets note it leaves room for future collaborations. It is sold through Rebecca Minkoff. The Hollywood Reporter dated its coverage to launch day, November 2, while WWD described the release as launching Monday.

For the brand, the timing fits a broader expansion. WWD notes that Rebecca Minkoff’s business, acquired by Sunrise Brands in 2022, signed multiple licensing deals last year across handbags, footwear, loungewear, sleepwear and jewelry. A 15-piece apparel line, RM Studio x Rebecca Minkoff for QVC, was also announced. Against that backdrop, a small celebrity-linked capsule works as a lower-stakes way to generate buzz.

Who is Grace Ann Nader?

Nader is represented by Ford Models and WME. She appears alongside her sisters Brooks, Mary Holland and Sarah Jane in the Hulu reality series “Love Thy Nader.” Filming has wrapped on the second season, which is slated to premiere in early 2027, specifically the first quarter according to WWD. A Louisiana native, she graduated from the University of Georgia and earned a master’s in public health from New York University. WWD adds that she is passionate about philanthropy.

Whether this first Rebecca Minkoff capsule collection turns into a recurring partnership will likely depend on how quickly the three pieces move. Neither outlet reported sales figures or stock levels, so for now the “limited” label is the only signal of scarcity. With the show’s new season on the horizon, the timing gives Nader a built-in audience for any follow-up.

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The clocks have gone back, the mornings are cold and the evenings arrive early, so it is no surprise that fashion ambition tends to shrivel. Jess Cartner-Morley’s latest November style essentials, published by the Guardian on 1 November, push back against that. Her argument is that clothes in winter are about more than staying warm enough to function. They are about, as she puts it, staying “alive alive”.

A November style essentials edit built around fun

The edit is notable for its range of prices. At the bottom end is a £16 wool-touch, semi-sheer henley from M&S, which she says looks far pricier than it is. She calls the henley a quietly classy shape, the kind a film character wears to signal a good soul. In her view, a superfine rib and delicate buttons give it an old-fashioned sensuality.

At the top end is the Polène Cyme mini handbag at £390. She notes that new Polène bags draw queues outside the brand’s Paris stores, and suggests a visit to its Regent Street shop in London to see why.

Knits, skirts and a very 2026 bird

The most talked-about pick is probably the Reformation Iris knit at £98. Cartner-Morley describes it, cheerfully, as a “slutty jumper”, and means it as a compliment. Her more polite phrasing is a going-out top you will not freeze in. She would choose the cherry blossom pink, though the knit comes in several other colours.

Skirts get a firm endorsement. Citing Miuccia Prada, she declares them “so back”. Her choice is an £80 M&S silk-blend midi with an asymmetric hem and a lace insert. She first saw it in the summer, worn by M&S womenswear head Lisa Illis in the showroom before it went on sale, and says she has been “stalking” it since. Now that it has arrived, she confirms it lives up to the wait.

The seasonal wildcard is a £20 glass pigeon decoration from Fortnum & Mason. “Forget robins and turtledoves,” she writes, declaring pigeons “the spirit animal of 2026”.

Everyday elegance and a bit of sparkle

For comfort, she points to a gathered-back sweatshirt from The White Company, from £80 and also sold at Selfridges. The brand’s “everyday elegance” strapline, she says, is a policy anyone can support. She credits the label’s relatively new clothing director, Sheila McKain, formerly of Jaeger and Donna Karan, with strong womenswear. She likes the drawstring waist, which avoids the usual sweatshirt hem sitting at the hip, and the gathering that lifts it above the ordinary.

The final item in the available text is a gold-plated Deco necklace set with lapis and blue sapphire, from £155 at Edge of Ember and John Lewis. She says necklaces are having another moment, though many pendants strike her as “babyish” or cutesy. This one, which also comes in greens, does not.

The edit also promises ballet pumps with “exactly the right amount of grownup elegance” and a two-in-one coat. The available text cuts off before those details, so they are not covered here. Even so, the November style essentials make a clear case: the dull months are a good time to dress with a little more spirit. As the piece notes, Guardian journalism is independent, but it may earn a commission on purchases made through its affiliate links.

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The best Zendaya Halloween costume this year was not a ghoul, a witch or a movie villain. It was a piece of red-carpet history: the yellow Lanvin bikini-top-and-trousers set that Halle Berry wore to the New York City premiere of X-Men in July 2000.

Zendaya and her longtime stylist Law Roach shared the tribute on Instagram, and Harper’s Bazaar reported on it on October 31, 2026. For a duo known for turning press tours into extended fashion arguments, it was a fitting way to mark the holiday.

Why This Zendaya Halloween Costume Fits Her Method Dressing

Zendaya and Roach have built a reputation on treating clothes as storytelling. Harper’s Bazaar points to their recent run of references: tennis motifs for Challengers, archival spiderweb gowns for Spider-Man: Brand New Day, and bridal whites for The Drama. Each campaign had a clear visual thesis, and the Halloween look follows the same logic on a smaller, more playful scale.

The difference is the occasion. Most people approach Halloween with thrifted finds, hand-sewn projects or pieces already in their closets. Zendaya and Roach instead used their industry connections to track down the real garment, which keeps the homage as faithful as possible.

The Original Halle Berry Look

Berry’s 2000 outfit came from Lanvin’s Fall 2000 collection. It paired a yellow patterned bikini top with matching low-rise trousers that had extra-long legs, and she layered a semi-sheer brown button-down over it and added a long crystal waist chain. More than two decades later, it remains one of the most recognizable looks of the era, a shorthand for Y2K red-carpet style.

What Zendaya Kept and What She Changed

The Zendaya Halloween costume stayed close to the source. She wore the geometric yellow set with sunglasses and diamond earrings, as Berry did. She skipped the brown shirt and the crystal chain, which let the set itself stand out. Her tousled pixie cut added to the resemblance, and she finished with simple pointed-toe nude heels and red nails.

The edits were small. Dropping the shirt and chain made the look cleaner and more direct, and it put the spotlight on the Lanvin pieces. The source does not say how Roach was involved in the costume beyond sourcing the set.

For a holiday that often rewards the loudest or funniest idea, this Zendaya Halloween costume won on precision. It showed an eye for archival fashion and a clear affection for a defining red-carpet moment from the year 2000.

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File photo: Zendaya-byPhilipRomano.jpg by PhilipRomano, CC BY-SA 4.0, via Wikimedia Commons.

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The 2026 WSJ Innovator Awards, now in their 16th year, filled the Museum of Modern Art on Thursday evening with pop stars, actors, writers and fashion designers. By most accounts, the biggest photo magnet in the room was a baseball team on stilts.

The Savannah Bananas, the exhibition baseball team known for its bright yellow uniforms, were this year’s sports honorees. They stood out in a crowd of suits and cocktail dresses, and WWD reported that one guest offered to snap a friend’s picture with the team while Hollywood names milled nearby.

Who Was Honored at the WSJ Innovator Awards

WSJ. Magazine recognized seven honorees across as many fields:

• Fashion: Matthieu Blazy, for his work at Chanel
• Music: Rosalía
• Comedy: Amy Poehler
• Literature: Marlon James
• Film: Martin McDonagh
• Technology: Demis Hassabis
• Sports: the Savannah Bananas

The format was familiar. A cocktail hour was followed by a seated dinner, where honorees were called to the stage one by one for introductions and acceptance speeches. Harper’s Bazaar noted that the evening came amid a run of black-tie events, including the Academy Museum Gala, the Golden Heart Awards and a new Airbnb.org gala held earlier in the week.

The Presenters and the Speeches

Several honorees were introduced by famous friends. Russell Wilson presented the Savannah Bananas, and before dinner he joked around with comedian Marcello Hernández while his wife, Ciara, posed for photos with Ashley Graham and Jordyn Woods. Lupita Nyong’o, in a black Brandon Maxwell gown, introduced James.

Blazy’s award was presented by Dua Lipa and A$AP Rocky, both Chanel ambassadors. Blazy took over as creative head of Chanel in December 2024, according to Harper’s Bazaar, and his arrival at the party reportedly turned plenty of fashion heads.

James, whose new novel The Disappearers is among the year’s most praised, gave the speech WWD singled out. He said the first time he read a book without pictures, at age 5, his “head exploded.” Words, he realized, could build a movie in the reader’s mind. “I write books so I can have more than one life,” he told the room, “and I write books that you can have more than one life as well.”

Poehler had been working the room barefoot before dinner and put her heels back on to go onstage, WWD reported. She began her remarks with a reflection on being present and aware of where your feet are.

Chanel Dominates the Red Carpet

If any label owned the evening’s wardrobe, it was Chanel. Harper’s Bazaar reported that Poehler, model Bhavitha Mandava, A$AP Rocky and Dua Lipa all wore Blazy’s designs. For an event honoring him, that was a fitting show of support.

Other looks drew attention too:

• Rosalía wore a black-and-white Schiaparelli set, an embellished, skin-baring top with a silky maxi skirt.
• Cara Delevingne wore Erdem.
• Jordyn Woods-Towns wore sculptural Christian Siriano.
• Emmy Rossum wore Hermès.
• Irina Shayk wore Issey Miyake.
• Ciara wore LaPointe.

The guest list also included Patti Smith, Seth Meyers, Gayle King, Jordan Roth, Adut Akech, Christian Louboutin, Christopher John Rogers, Jason Wu, Joseph Altuzarra, Reed Krakoff and Wes Gordon.

Why the Mix Works

The honoree list is part of the appeal. A novelist, a playwright-turned-filmmaker, a pop star, a comedian, an AI researcher, a Paris fashion house and a baseball team in yellow all share one room. The WSJ Innovator Awards reward a broad idea of innovation, and this year’s evening, from James’s account of reading to the sight of the Bananas on stilts among black-tie guests, showed how wide that idea can be.

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