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.

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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.

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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.

The room was lined with mirrors, the runway reflected every step, and the music came with a bass line you could feel. For Roberto Cavalli’s Spring 2027 show in Milan, Fausto Puglisi made the case for the fashion show as a full sensory experience. Before the clothes came into focus, the mood was already set: this was a night out.

Titled House of Prints, the 45-look collection drew inspiration from Los Angeles and explored the pleasure of dressing to be seen. Its language was unmistakably Cavalli, but Puglisi kept changing the volume. Leopard appeared beside red and pink florals, then resurfaced in a slip dress whose mixed motifs spilled into fluttering, asymmetric ruffles. A red floral mini came finished with a tousled, fringed hem, while a long, golden gown offered a more languid kind of glamour.

Some of the sharpest contrasts came in the shorter looks. A lace-up animal-print bodysuit met a shimmering micro skirt; elsewhere, a red textured top was paired with a skirt printed in the fiery colors of a big cat. One flowing orange gown placed a leopard’s face across the body, turning the house’s familiar animal motif into the collection’s most arresting image. Platform heels added another jolt of color and height.

The clothes embraced a little chaos, yet the point was clear. Puglisi treated the body as something to celebrate, with pieces made for parties, escapism, and joy. The prints competed, the hemlines moved, and the silhouettes invited attention without asking for permission.

Cardi B, Naomi Osaka, and Olandria watched from the front row.

Around them, the mirrors multiplied the models and the spectacle, making every look seem to linger after it passed. At Cavalli, more was more—and for Spring 2027, that felt like the whole reason to get dressed.

From the Front Row

Cardi B:

Olandria:

Photos: courtesy

The Princess of Wales wore separates today for an engagement marking Addiction Awareness Week in Southend, roughly 45 minutes from London.

She was there in her role as patron of the Forward Trust, an organization supporting people in recovery from “…addiction or leaving behind crime, helping them move on in life with family, friends, jobs, homes, and a sense of belonging. In the photo above, she is seen with Mike Trace, CEO of the Forward Trust. This year’s theme for Addiction Awareness Week is “The Big Addiction Conversation,” noting that “too many conversations about addiction never happen because of stigma, fear, and misunderstanding.”

The Princess was in Southend to see the Trust’s initiative called “Forward Growing.” The program offers gardening classes and promotes the idea that time in nature can aid recovery.

Simon Perry’s People story offers background on the Princess’s work in this area. 

Princess Kate became a patron of Forward Trust in 2021, after the organization merged with Action on Addiction, which Kate had backed for much of her public life.

Supporting people and families affected by addiction has been a cornerstone of Kate’s work since almost the beginning of her royal life. Less than a year after her 2011 marriage to Prince William, she chose addiction charity Action on Addiction as one of her first four royal patronages in January 2012.

Her work in the area has also helped shape her broader focus on mental health and the early years, particularly her emphasis on how experiences and relationships early in life can have a lasting impact on wellbeing.

Forward Growing offers weekly gardening sessions at a local cricket ground that also has a nature trail. 

The Princess heard about another feature at the site from Dr. Liam King, the assistant manager, per this Telegraph story. 

Pointing to a sign that said “beehive”, the Princess, a keen beekeeper, asked whether they had hives.

Dr King explained that you can enter and experience what it is like to be a bee. “It’s mostly for kids but you’re welcome to have a look,” he told her.

“It sounds right up my street,” she laughed.

Dr King told her he had studied ecology and farming “buffer zones” to help combat climate change, prompting her to respond: “I should have my husband here. He knows more about that.”

The Princess spent time meeting people using the program.

She also helped pot some plants.

The Daily Mail reports, “The scheme, which was launched in spring, is building towards the creation of a dedicated gardening area within the park. Vegetables from the area go back towards the Forward Trust site in Southend where recovering addicts learn how to prepare and cook the produce.”

And from The Telegraph’s coverage. 

The Princess of Wales turned down the offer of gloves to get her hands dirty during a gardening session at an addiction charity.

She helped to pot plants at Garon Park in Southend, Essex, where she sought to highlight the importance of engaging with the natural world and spending time outdoors.

When asked whether she did much gardening at home, she replied: “A little bit.”

The Princess heard personal stories from some program participants.

This Daily Mirror piece has details. 

Steph Sampson, 45, told the princess that her daughter Mia, 21, had written her a five-page letter begging her to stop drinking which she read in rehab.

Sampson has now been sober for six-and-a-half months and told Kate she got ‘goosebumps’ when her daughter told her how proud she was in a birthday card in August.

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Sampson said: “Being in rehab and learning that it was an illness was a massive turning point. I could explain that to my children and my mum.” Kate told her: “It’s such a powerful message for others. Well done. It’s a shame your family isn’t here. They must be super proud.

And a final note about the organization comes from this Daily Mail piece. 

Lisa Bryer, the filmmaker behind The Last King of Scotland and trustee of Forward Trust, said that she had been clean and sober for 44 years after her well-documented battle with heroin.

She met the princess and said afterwards: ‘We are so lucky to have the princess as our patron. She’s incredible.’

Speaking about the schemes run through the Forward Trust, she said: ‘It works. It’s extraordinary but it’s building the structure and taking away the stigma of addiction.’

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Now, for our look at what Kate wore today.

We begin with her Max Mara blazer, the brand’s Wool-Cotton Jacquard Jersey Checked Blazer ($1442 originally, on sale in limited sizes for $797), a double-breasted style with a slim fit, welted front pockets, a center-back vent, and horn buttons. It is crafted from 70% virgin wool and 30% cotton in a Prince of Wales check pattern. The jacket was first noted during a June engagement with Prince George at RAF Coningsby.

The Princess brought back her Joseph ‘Coleman’ Stretch Trousers ($485 at Joseph), a slim-fit design in cotton-blend gabardine and a brand staple. The style is also available at Selfridges. 

The Princess appeared to wear her brown leather Emilia Wickstead belt accented with gold-tone hardware. 

And we saw the return of her Boden ‘Nya’ Penny Loafers ($190) in the oxblood colorway. That color is no longer available, but Boden offers several other colors and finishes at 15% off with promo code RMNV.

The Princess repeated her Cartier Trinity Earrings ($3850) and brought back her Laura Lombardi Portrait Necklace ($192), a chain-link design in 14K gold-plated brass.

Here is one more photo from today’s engagement. 

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A quick retail note today: Monica Vinader is offering up to 25% off everything online this week. That means the Nura Pearl Pendant and Necklace are $160 instead of $200 for both pieces, or you can buy each individually at $80. And the Princess’s Siren Green Onyx Earrings are now $160 instead of $200.

The sale is online only. 

1. The Roll Neck Balloon Sleeve Sweater in Sage/Brown

The sweater does all the work here. The Roll Neck Balloon Sleeve Sweater has bold sage and brown stripes, dropped shoulders and exaggerated balloon sleeves that you can push up and let slouch. Pair it with the Straight Leg Jean in a classic blue wash, oversized wrap sunglasses and a big taupe leather tote. The stripes are loud, so keep everything else quiet.

2. The Collar Coatigan in Burgundy

This is the piece of the season. The Collar Coatigan is a long, open-front sweater coat with a structured collar. It’s warm enough to be your jacket through October. Wear it over a simple white tee with the Straight Leg Jean, and tie the Boxy Boyfriend Overshirt around your waist. Burgundy and plaid together is peak fall. A bag in the same wine shade helps too.

3. The Boxy Boyfriend Overshirt

Throw the Cinched Sleeve Boxy Blazer over the Boxy Boyfriend Overshirt as a layering piece. Finish with the Boyfriend Straight Jean, a vintage belt buckle, big sunnies, and a classic black flat. The square shoulder keeps it sharp, and the flannel keeps it from feeling like work.

4. The Sheer Organza Boyfriend Shirt

Black on black works when the textures are different. The Sheer Organza Boyfriend Shirt has a relaxed boyfriend fit and just enough sheen. Tuck it loosely into the High Rise Straight Leg Jean in black, which sits above the waist and falls straight to the floor. Add a western belt with a colored detail, slim black sunglasses and brown square-toe boots. It’s long, a little severe, and very New York.

5. The V Neck Layered Sweater in Heather Grey

It looks like two pieces but it’s one. The V Neck Layered Sweater has a deep V with a crew neck layer sewn in, so you get the prep-school layered look without the extra bulk. Style it oversized with the Baggy Cuff Jean, a claw clip and a slouchy suede shoulder bag. Clean, cozy, and it takes about four seconds.

Fall 2026 is built on the clothes you actually reach for once it gets cold: heavy cotton knits, a great straight-leg jean, plaid flannel and one very good blazer. Every piece is meant to be layered, mixed and worn until it feels like it’s always been yours. Here are five ways we’re wearing it now.

Shop Fall 2026 Collection →

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Whaaaaat a gorgeous bag from Tom Ford! I love the deep emerald green color… I always say a green bag is incredibly versatile, and this is a great color for it. Wear it with black, navy, white, pastels, other jewel tones… True, you may not want to wear it with a lot of red, but sometimes “strawberries” or “Christmas” might just be the vibe you’re going for.

The python-embossed bag is $3,590 at Nordstrom and Farfetch.

Sales of note for 9/11: