Eleonora de Gray CEO Runway Magazine

14/10/2026

06/10/2026

Spring Summer 2027 “The Flight of the Swallows”. Story by Editor-in-Chief of https://runwaymagazines.com/chanel-spring-summer-2027/

The Exquisite Co**se Under the Glass Nave
Under the restored glass barrel-vault of the Grand Palais, a flock of illuminated wooden swallows soared against the dark Parisian evening, circling a colossal glowing moon suspended high above the runway. It was not a setting designed for polite nostalgia. For Spring Summer 2027, staged La Conversation – Part Three – Different Faces of the Same Coin, confronting the myth of Gabrielle Chanel not as a static museum archive, but as an ever-shifting psychological continuum.

Invoking the French surrealist game of the cadavre exquis, where one hand draws a fragment that another blindly completes, Blazy approached Chanel as an assembly of multiple selves. The premise was articulated with clinical intellectual clarity: Gabrielle was never a single monolith. By opening the presentation with Gabrielle Chanel’s personal 2.55 handbag brought directly from the Patrimoine archives, carried by Dyanira Hurbuscher, Blazy linked the beginning of the myth to its latest incarnation.

The Translucent Clouds of Daybreak and Nightfall
The formal climax arrived when tailoring yielded completely to weightless flou. Blazy developed layered silk mousselines printed to mimic the time-lapse of sky formations, charting the transition between morning mist and nocturnal velvet.

Matthieu Blazy understands that honoring Chanel does not mean embalming its founder in pearls and gold chains. By unraveling the suit down to its knitwear origins and allowing it to take flight as smocked tweed and weightless organza, he accomplished what Gabrielle herself fought for: setting the body free to move, to breathe, and to fly like a bird.

02/10/2026

Spring Summer 2027 “Ode to the Celestial Kitchen Garden, or Going Clear”. Story by Editor-in-Chief of : https://runwaymagazines.com/schiaparelli-spring-summer-2027/

Barbra’s Ghost and the Place Vendôme Drapery
is never one to pass up an opportunity for breathtaking self-importance. His press notes read like an audition for an avant-garde theater grant: dragging Barbra Streisand’s 1962 opening night at the Bon Soir into a ready-to-wear review requires a degree of theatrical pretension that borders on high comedy. Calling his manifesto “Going Clear”—as though stepping away from the industry’s desperate thirst for approval while orchestrating a lavish Parisian spectacle—is rich, coming from a house whose business model revolves around internet-breaking viral bait. Yet beneath the pompous prose lies a genuine shock: Roseberry actually restrained himself. Putting aside the grotesque anatomical hardware and gilded chest plates, he took a quiet stroll through Elsa Schiaparelli’s 1940s archives, and what he brought back is surprisingly charming.

Rather than bolting models into golden breastplates, the designer turned his gaze to the ruffled curtains that lined the windows of the historic Place Vendôme salon. Reconnecting with Elsa’s wartime and postwar haute couture from 1941 to 1947 brings an unexpected warmth to the runway. The aggressive surrealist bravado gives way to soft lines, anchored in signature Schiap black, bone, and butter, splashed with disciplined pops of kingfisher blue, moss green, and salmon pink.

By setting aside the bombastic theater and listening to the gentler, witty nuances of Elsa’s wartime legacy, Daniel Roseberry delivers a collection with real intellectual staying power. He “WENT CLEAR”. Who would have guessed that turning down the volume and tending to an antique vegetable garden would produce his most compelling work

01/10/2026

{form} Zara by John Galliano – The High Street’s Grand Coup Vol. 1. Story by Editor-in-Chief of . Photo Courtesy: Zara.
Original Photography: Steven Meisel for Zara. Discover all Campaign Credits Here: https://runwaymagazines.com/reform-zara-by-john-galliano/

Editorial Note: Unofficial creative interpretation created purely out of artistic love and editorial celebration.
While Avenue Montaigne remains tragically trapped in its own academic fog—attempting to convince the luxury world that a slouchy knit and a radioactive salad sprig qualify as high couture—the real seismic shift just occurred in A Coruña.

has officially unveiled Re{form} Zara Vol. 1, a two-year creative partnership authored by none other than couturier . The premise reads like a dare to the old luxury guard: an exchange between the dressmaker’s hand and the vast memory of a global retail titan. Galliano has entered the Zara archives, taking archetypal, everyday garments, deconstructing their utilitarian anatomy, and rebuilding them using the rigorous architectural vocabulary native to haute couture.

To document this collision, Zara called upon fashion’s undisputed high priest of image-making, Steven Meisel. And because we at RUNWAY MAGAZINE cannot resist true theatrical audacity, we took Meisel’s imagery on a ride through our own visual kaleidoscope: transporting Galliano’s reformed vagabonds into a fantastical world of steampunk airships, clockwork steam engines, gothic turrets, and cloud-swept carriages. It is a celebration done purely for the love of the craft—an editorial nod to what happens when authentic narrative returns to clothes.

The Verdict: The Pirate Takes the Crown
Let us speak plainly: this fight was over before the first bell rang. ZARA