Runway Magazine

12/01/2026

Golden Globes 2026: Best Dressed — Sunlight and Shadow. Story by RUNWAY MAGAZINE: https://runwaymagazines.com/golden-globes-2026-best-dressed-sunlight-and-shadow/

The Golden Globes 2026 delivered what they usually do best: a collision of cinema, fashion strategy, and carefully calculated visibility. While the awards confirmed familiar names — Emma Stone taking Best Actress, with Ariana Grande recognized in the Supporting Actress category — the red carpet told a more nuanced story. This year, style divided cleanly into two directions: sunlit restraint and controlled darkness.
RUNWAY’s Best Dressed selections reflect that balance precisely.

Jenna Ortega in Dilara Findikoglu — Dramatic Precision
Emma Stone in Louis Vuitton — Modern Sunlight
Elle Fanning in Gucci — Romantic Clarity
Ariana Grande in Vivienne Westwood — Controlled Drama

Two looks embraced light. Two embraced shadow. None chased spectacle.
This year’s red carpet drew a clear line between performance and presence. The most memorable looks didn’t chase attention — they held it. Each of our chosen four represented a distinct point of view, grounded in construction and intent. Whether through the sharp romance of Dilara Findikoglu or the quiet discipline of Louis Vuitton, these were not dresses made to dazzle. They were made to define.

10/01/2026

07/01/2026

03/12/2025

Pietro Beccari – LVMH Fashion Group New CEO. Story by Eleonora de Gray, Editor-in-Chief of RUNWAY MAGAZINE: https://runwaymagazines.com/pietro-beccari-lvmh-fashion-group-new-ceo/

LVMH has announced, with the calm confidence of a system speaking to itself, that Pietro Beccari—currently CEO of Louis Vuitton—will now preside over the entire LVMH Fashion Group, while naturally keeping control of the maison that already dominates the group’s symbolic, financial, and narrative center of gravity. A strategic reorganization, we are told. One might also call it an exercise in concentration.

There is also the quieter issue of selective representation. Beccari’s strategies have often leaned toward prioritizing specific cultural or demographic narratives—not as inclusion in the broader human sense, but as targeted market exploitation. “Audience focus,” in corporate language. One could also use the term segmented favoritism: visibility granted strategically, unevenly, and always convertible into short-term attention. This is not diversity as dialogue; it is diversity as deployment.

LVMH frames this appointment as a move to “strengthen strategic coherence” during a global luxury slowdown and a moment of creative recomposition. Coherence, however, is not neutrality. It is a value choice. And in that choice lies risk.

Pietro Beccari’s method operates differently: speed, saturation, narrative override, and the confident assumption that desirability can always be manufactured faster than meaning.
History will decide whether this appointment marks a strategic evolution—or the moment when fashion leadership falls to dust. Either way, LVMH has made its choice very clear.

The only uncertainty left is whether the houses now under Beccari’s supervision are meant to express themselves—or simply to perform with crocodiles on.

03/12/2025

Chanel Métiers d’Art 2026 New York. Story by Eleonora de Gray, Editor-in-Chief of RUNWAY MAGAZINE: https://runwaymagazines.com/chanel-metiers-dart-2026-new-york/

This year, Chanel’s Métiers d’Art 2026 took place in New York. Matthieu Blazy, new creative director, chose the subway.

Lumpy sweaters. Jeans. Flannel shirts with chains. “Illusion chinos”... Coco Chanel once said that when women on the streets wear her clothes, it means she has succeeded. But what she didn’t mean was that the collection should start there. She didn’t fight corsets and reinvent elegance so that one day, a Creative Director would bring back the lumberjack shirts.

A “joyful cavalcade of personalities” was promised — showgirls, working girls, socialites. Yet despite all the costume changes, there was no identity. Nothing that felt grounded in Chanel’s language. Just fragments of pop references stitched together with expensive thread. Masterpieces made to feel “mundane”. And in French it doesn’t mean “wordly” or “international”. It means… well… late night, a girl with the plums on the street waiting for… you know what I mean?

Matthieu Blazy, new creative director, seems to have taken Chanel’s historical flirtation with democracy literally — and flattened it. There’s a difference between “accessibility” and “anonymity.” Chanel used to unveil magic — silk threads that whispered stories, buttons that held decades of design philosophy. This season, we stepped into the subway, only to find ourselves exiting at Fast Fashion Junction at a very high price.

So here we are. New York got its Chanel moment. But instead of a skyscraper, it was staged underground. And instead of Coco’s world of elegance and reinvention, we got… well… none-identified streetwear for the downtown commuter, who’s still learning what it means “elegance” by mixing plums, ugly Christmas sweaters or “I love NYC” t-shirts to work.
Next time, let’s take the express train — back to craftsmanship with purpose.

30/11/2025

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