RIhanna and A$AP Rocky Coordinate Funky Collegiate Looks for Dior's Paris Show
The royal couple of Paris Fashion Week has arrived.
Rihanna and A$AP Rocky made their entrance at the Dior Homme Spring/Summer 2026 this morning in coordinating funky, patterned looks.
Rihanna once again proved she is the master of maternity style in a crisp white button-up layered under a pastel-green vest that was cinched with a single button—her growing baby bump creating the sweetest shrunken silhouette.
She added another layer to the top via a black flower-embroidered cape with a silky blue and orange pattern on the inside, and finished the look with baggy gray pants and alien-esque shades with yellow-tinted lenses. Of course, it wouldn't be a Rihanna look without layers of jewelry, and this time, the Fenty Beauty founder added on strings of chunky pearl necklaces.
Rocky went more cool and collegiate with his fit, though still coordinating his color scheme with Rihanna's. The rapper wore a sky-blue button-up shirt accessorized with a neon-green, blue, and red tie, and styled with classic blue jeans. He also carried a furry little beige purse seemingly made up of bunches of tassels.
The couple, who is expecting their third child together, joined a starry list of VIPs at the fashion house's runway show. Sabrina Carpenter arrived in her own version of Dior's New Look, Donatella Versace was classic in a black dress and sky-high platforms, and Pharrell went casual in a sweatshirt, shorts, and a baseball cap.
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Business of Fashion
2 hours ago
- Business of Fashion
Jonathan Anderson's Grunge Aristocracy at Dior
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Reflect for a moment on the logistics involved in transporting monstrously valuable works of art to a tent packed with an unruly, heatstruck audience for one hour on a Friday afternoon in Paris and you'll maybe garner some notion of the political and financial power that a fashion conglomerate like LVMH, which owns Dior, now wields. Ah yes, the present. Dior Menswear Spring/Summer 2026. (Spotlight/ And the future? Well, for that single stretch of showtime, it rested in Anderson's hands. He's been cast as Dior's saviour in a challenging market — and is the first to oversee women's, men's and haute couture collections since Monsieur Dior himself first experimented with menswear. Unsurprisingly, Anderson has been soft-pedalling expectations. 'You have to, because no one gives anyone any time anymore,' he conceded at a preview earlier this week. In another exchange, he said, 'My idea is to be slightly optimistic, it's not going to happen overnight. We have to be realistic today.' But his attempt at lowering the temperature was clearly unsuccessful. His audience was littered with pop stars, movie stars and a full platoon of fashion peers, many of whom were on their feet at show's end. Dior Menswear Spring/Summer 2026. (Spotlight/ Anderson was insistent that Dior was something alien to him. 'It's not a character that I know.' But that's what seduced him. 'It's like buying a chateau in the South of France that you saw on a website, a very British thing to do. It's beautiful, but it needs so much renovation. You have to start somewhere, and as you go, you realise, 'Wow! It's amazing what they did in the 18th century with door handles,' and then you find the next thing and the next thing.' And those 'next things' were the years of input from all the designers who have worked for Dior over the decades. 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The cargo shorts were panniered with the extravagant folds of the Delft dress from 1948, originally carved from 15 metres of duchesse satin, duplicated for today in undyed denim. The jacket featured the classic Bar silhouette, cut here from Donegal tweed. The model sported a formal stock tie. 'An English stock,' Anderson explained, 'the French is looser. I like the idea of something that makes you lift your head up. There's an etherealness to the formality.' The shoes were based on the sandals he wore to school in the summer. In other words, a weird but winning fusion which spanned the decades between the Frenchman and the Irishman. Dior Menswear Spring/Summer 2026. (Spotlight/ 'For me, it's about a quiet radicalism,' Anderson said. 'For the customer, this is already going to be something that is pretty wild, but in my head, it's normal.' Why is it easy for me to imagine Christian Dior saying something similar 75 years ago? And if my proposed compatibility still seems like a bridge too far, there's their shared obsession with the 18th century. 'I got the guy who's been sourcing things for me for years to find me the best 18th century menswear, and then we meticulously recreated it. There was no point in changing the fit. When I saw it, I thought, 'That's Dior. Let's just put it up there as a thing.'' Like his own version of Martin Margiela's 'Replications' which he loved so much when he was starting out in fashion. Rebecca Mead's profile in the New Yorker earlier this year quoted Anderson saying this: 'Authenticity is invaluable. Originality is nonexistent. Steal, adapt, borrow. It doesn't matter where one takes things from. It's where one takes them to.' So Anderson showed his delicately toned, edibly alluring duplication of the jacket and waistcoat from an aristocrat's summer day look for the court of Louis XV with a dress shirt, black jeans and unlaced Dior trainers. Dior Menswear Spring/Summer 2026. (Spotlight/ Like that first look, it was a provocative encapsulation of the idea of personal style, or how you put things together to express yourself. A midnight blue velvet tail coat over chambray jeans, for instance. Or a delicately frogged white shirt over white jeans. Artistry and calculated artlessness, all of it set to a sensational Frederic Sanchez soundtrack that swung from Springsteen to Little Simz. Velvet, denim, sandals and a stock tie – 'I would love to be able to wear that,' Anderson said. 'Every time I've done a menswear show, I've always wanted to be able to do something I would love to be able to pull off. For me this is a fantasy, because it has to be. I find each person in the show equally attractive because I think they embody the 'thing.' I believe it, and if I believe it, then I want to dress like it.' 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Yahoo
3 hours ago
- Yahoo
Rihanna Puts a Chic Twist on Menswear in a Pistachio-Green Maternity Look at the Dior Show
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Hypebeast
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- Hypebeast
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Summary Bodehas revealed itsSpring 2026collection duringParis Fashion Weekin an intimate gathering at the theatre. This collection was created as a tribute to the great American composer Morris 'Moose' Charlap. As guests entered the theatre, they were struck with a unique show format that saw the entirety of the upcoming collection shown on miniature puppets. The dolls, wearing Bode's newest collection, were seen in two lines as audiences are able to get up close and personal to view the details of the collection. 'Moose' Charlap was best known for his score to Broadway'sPeter Panand while he died at a young age of 45, his legacy lives on in his scores and his family, including his son Bill Charlap, who is a two-time Grammy nominated musician and one of the most premier jazz pianists of his generations. Emily Adams Bode Aujla brought guests together to share some of Moose's most iconic works. Taking a moment to address the group, Bode Aujla spoke to the crowd ahead of a performance by Bill Charlap in honor of his father. The designer recalled the moment she was mesmerized by Moose'sPeter Panscore and moment when Bill and her sat in her Conneticut home recounting memories of 'Moose.' The theater had four mini modules that depicted the four most important stages of Moose's life. One was set in Central Park, a place he spent a lot of his time before and after Broadway shows with his wife and another at his boyhood camp, where he received the nickname 'Moose.' Unlike a typical Paris Fashion Week show, Emily Adams Bode Aujla present the collection by sharing her inspiration. Billy performed three songs in honor of his father, explaining to the crowd the meaning behind 'Some Summer Day' fromAlice Through the Looking Glass, 'I Won't Grow Up' fromPeter Panand 'Please Let Me Die in Paris' fromThe Expressionist. The collection has been titled 'The Expressionist' after Moose's last, unfinished musical written with lyricist Eddie Lawrence, the designer describes the collection as a visual songbook of a life in music. Bode brings to life Moose Charlap's vibrant world informed by music, giving it a visual representation in the form of fashion.
