Saturday, 12 September 2026

From Heeled Loafers to Square Toes and Lace-Up Courts, Consider This Your Guide to Autumn/Winter’s Defining Shoe Trends

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I walked outside this morning wearing a pair of very naked sandals, a thin spaghetti of rubber forming a “T” over my foot. I knew this was it, you see: the end of sandals and the start of more autumnal, more appropriate footwear. I wanted to go out on a high. And, having achieved my goal of walking to and from a coffee shop without my bare skin getting rained on, I’m ready to embrace the shoe-themed delights of Autumn/Winter 2026. There’s plenty to make you forget the ease of slipping on flip-flops, from the new leather finish (that once made a shoe-obsessed main character squeal on TV!) to the hottest shape for your toe. If you’re feeling a little lost or uninspired when transitioning away from summer outfits, these five Autumn/Winter shoe trends will give last autumn’s outfits an injection of new-season energy. Bookmark them now.

Lace-Up Details

Prada

Prada AW26 (Image credit: Launchmetrics)

Prada knows how to create a cult shoe. For AW26, lace-up court shoes with contrasting laces in purple and bottle green are at the top of every fashion insider’s wishlist. At Marni, Meryl Rogge made us fall in love with the brand all over again, notably with the lace-up kitten heels, which are as statement-making as they are practical. Jimmy Choo introduced the Scarlett pumps a few seasons ago, but has added lace and tweed to this season’s offering.

Square Toes

Miu Miu

Miu Miu AW26 (Image credit: Launchmetrics)

It might not possess the knife-sharpness of a point, but a square toe still has plenty of edge. At Miu Miu, a square-toed, block-heeled pump heralded the shoe shape of the season. From sandals to loafers and classic court shoes you can wear to work, add a pair to your existing outfits for instant kudos.

Ruched Details

Gucci

(Image credit: Launchmetrics)

The ruched loafer surely needs no introduction, thanks to the likes of The Row and Saint Laurent. It’s a style that remains on top for AW26—but a more elegant take, seen at Gucci, is particularly worthy of note. Ruching (or scrunching) has found its way onto heeled courts, slingbacks and ballet flats alike, creating a glove-like silhouette.

Patent

Chanel AW26

Chanel AW26 (Image credit: Getty Images)

Is there anything more delicious in the world of shoes than patent leather? Carrie Bradshaw very nearly lost her mind—at Vogue!—over a pair of patent-leather Manolo Blahnik Mary-Janes, after all. For AW26, glossed-leather mules appeared at Chanel—a sure-fire way to reinterpret the brand's famous toe cap for the next generation. Elsewhere you can find patent ballet pumps, which will quite literally put a shine on whatever you're wearing, court heels and the lesser-spotted T-bar—enjoy!

Heeled Loafers

Hermes

Hermès AW26 (Image credit: Launchmetrics)

A heeled loafer might be the most perfect shoe ever created because it gives height but, crucially, doesn't sacrifice on comfort. Hermès even managed to make it a tantalising proposition for AW26, elongating the vamp but lowering the silhouette from mid-foot to heel to flash triangles of skin that suited very sheer tights.



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Friday, 11 September 2026

“There’s an expectation that an African designer somehow has to create pieces that ‘look African’”: Eva Omaghomi on Bringing African Design Talent to Harrods

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Eva Omaghomi's Instagram bio reads "cultural architect". It's a job description which does justice to an impressive (and ever-expanding) CV, one that includes a stint of 17 years in the Royal Household (Omaghomi's title was director of community engagement for the household of King Charles III and the Queen Consort, and she now serves as an official advisor), as well as founding her own consultancy business, Forster Jones & Associates. Just as important is her latest venture, Brand63Africa, a social enterprise that spotlights the immense breadth of design talent coming out of Africa and its diaspora. Here, Omaghomi speaks to Marie Claire for our latest Women Who Win about what inspired Brand63Africa (hint: the seed was planted on the occasion of the King's Coronation) and why she will always believe in putting community over competition.

Brand63Africa

(Image credit: Silvia Olsen)

Brand63Africa really began with something very unusual. Ahead of the King's Coronation, I wanted to wear something that reflected my African heritage and felt authentic to who I am. I knew there were extraordinary designers creating beautiful clothes across Africa and the diaspora, but I found it surprisingly difficult to actually buy from them in the UK. I persuaded Nelly from the brand Duaba Serwa in Ghana to make something for me. It arrived a few days before the Coronation in a DHL bag and it was wonderful. I wore a Gele (headwrap) and jewellery from Nigeria, an Aspinal bag and put on some Manolo Blahniks and the outfit was perfect; African and European luxury blended beautifully together.

Brand63Africa

Abiola Olusola (Image credit: Silvia Olsen)

I love fashion and discovering new designers, and I started asking why, with so much incredible creative talent coming out of Africa, it wasn't easier for consumers, like me, to access these brands. I began researching and speaking to designers and people within the industry, and it became clear that talent and creativity weren't the problem. What was often missing was access—to international retailers, industry expertise, mentorship, investment and the networks that can help turn an extraordinary creative business into a sustainable global one. I've spent much of my career bringing people together and opening doors, so I started thinking about what I could do to help change that and Brand63Africa grew from there.

It was important to me that it was established as a social enterprise because I never wanted to create something that generated a moment of attention and then disappeared. I'm always thinking about longevity and legacy: what happens after the showcase, after the first retail opportunity? If they need it, how do we help these designers build businesses that are still thriving in five, ten or twenty years? We launched at London Fashion Week and now, just months later, our first designer cohort is launching at Harrods. It's incredibly exciting, but I still feel as though we're at the beginning of what Brand63Africa can become.

Our five designers are incredibly different, each with their own distinctive creative identity, demonstrating that African fashion cannot be defined by a single aesthetic or point of view.

Eva Omaghomi

Eva Omaghomi

(Image credit: Silvia Olsen)

We wanted the cohort to showcase the breadth and diversity of design talent coming from Africa and its diaspora. Our five designers are incredibly different, each with their own distinctive creative identity, demonstrating that African fashion cannot be defined by a single aesthetic or point of view.

Our curator and creative committee of fashion experts were looking for beautiful design—a strong creative identity, exceptional quality and craftsmanship, and a designer who really knows who they are. But we looked beyond the clothes. Sustainable, responsible production and social impact were important considerations too. Many of our designers work closely with local artisans and communities, preserve specialist skills or create employment through their businesses. We wanted to understand not only what they were making, but how they were making it and the impact their businesses could have.

We were also looking for ambition and the potential to grow internationally. Brand63Africa isn't simply about celebrating creativity; it's about helping designers build sustainable, long-term businesses.

I want someone to discover one of them and simply think: "That's beautiful. I want to wear it." That's when perceptions really start to change.

Eva Omaghomi

I wouldn't say that African designers are here to fill something that was "missing" creatively from the UK market. I think they're bringing another incredibly rich and exciting perspective to it. That's why the partnership with Harrods is so important. These designers are being presented within one of the world's most prestigious luxury retail environments and considered alongside internationally renowned luxury brands. I want someone to discover one of them and simply think: "That's beautiful. I want to wear it." That's when perceptions really start to change.

Brand63Africa

The Cloth (Image credit: Silvia Olsen)

[There's an] expectation that an African designer somehow has to create pieces that "look African" based on a very limited view and construct of Africa. Africa isn't one aesthetic, one culture or one story. Heritage can be incredibly powerful when it's authentic to the designer, but it shouldn't become something they feel obliged to perform for an international audience. Our designers draw on their backgrounds in completely different ways. For some it might be a traditional technique, for another a textile, silhouette, memory or way of working. For others it may be much more subtle. I want them to have the freedom to decide what their heritage means within their own creative language. The designer has to remain at the centre of their own story. Global success shouldn't require them to dilute where they come from, but equally their heritage shouldn't become the only thing the industry sees when it looks at their work.

I need to find ways to celebrate success more. I tend to look to the next achievement, which is not the healthiest approach. Sometimes it's great to bask in the moment. When my family say they're proud, that never gets old.

Launching my consultancy, Forster Jones & Associates, and seeing it thrive has made me incredibly proud. It's tough to decide to bet on yourself, especially after 17 years in the Royal Household, but it was worth it. Launching Brand63Africa at London Fashion Week was also very emotional because suddenly something that had existed as an idea became real.

Seeing the designers launch at Harrods is another extraordinary moment. To go from recognising how difficult it could be for consumers to discover and access exceptional African design, to seeing our inaugural cohort presented within one of the world’s most recognised luxury retailers feels incredibly special. I think what makes me proudest is seeing what it means to the designers. This was never about me.

If I'm working, I give it everything, but when I'm with the people I love, I try to genuinely be with them rather than mentally remaining in the next meeting or email.

Eva Omaghomi

When you're building something you care deeply about, there are inevitably periods when work takes over. What I've learnt is the importance of being present wherever I am. If I'm working, I give it everything, but when I'm with the people I love, I try to genuinely be with them rather than mentally remaining in the next meeting or email. It's a daily challenge. I also listen to my body. It has a great way of giving you small hints to rest or step away or pray or exercise. I try to listen quickly.

Brand63Africa

Abiola Olusola (Image credit: Silvia Olsen)

I go where you’re celebrated not tolerated. As a black woman founder, it’s important to prioritise your joy and mental health because building isn’t easy. Lean on your community and allies, mind your business and value yourself.

Talent is everywhere, opportunity isn't. Whether we're talking about fashion, business or any other industry, access to the right room, introduction, investment or a mentor can completely alter someone's trajectory. I've benefited throughout my career from extraordinary relationships and from people who have opened doors. I think there's a responsibility, once you find yourself in those rooms, to hold the door open for somebody else.

I'm a great believer in community over competition. Supporting somebody else's success doesn't diminish your own. If we stop thinking only about how I succeed and start thinking about how we create an environment in which more people can succeed, the impact becomes much bigger than any individual achievement. That's how you can create lasting change.

My favourite shop has to be Harrods, of course! And you can shop Brand63Africa on the 5th floor from [now] to 27 October. I’m excited about the upcoming 1-54 African Art Fair and really loved The Music is Black: A British Story exhibition at the new V&A East Museum. Restaurants I love are Gaia in Mayfair and Chishuru and my favourite place for coffee or breakfast is Kensington Roof Gardens.

Visit Brand63Africa at Harrods, 5th Floor, until the 27th of October.



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I've Discovered the Luxury Milan Hideaway That’s Perfect for Shopping, Sightseeing and Feeling Like You've Been Gone a Week in Just Two Days

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My husband and I both have very busy jobs, which means carving out alone time throughout the year can be a challenge. Whilst we may not have time (or childcare) for regular nights out together, what I’ve come to realise is that quality matters far more than quantity. Instead of trying to squeeze in rushed dinners after work, when we’re both tired, or racing home to relieve our babysitter of her duties, we prioritise special moments together, however brief they may be. Enter Portrait Milano, one of Milan’s most luxurious hotels, arguably with an unbeatable location right in the heart of the city.

Part of the Lungarno Collection, the luxury hotel chain owned by the Ferragamo family, Portrait Milano is the perfect bolthole for a short city break or a special weekend away. If you’re looking for a hotel that feels as much like a destination as a place to sleep, Portrait Milano is hard to beat. Set within a beautifully restored 16th-century former archbishop’s seminary, and just a stone’s throw from Via Montenapoleone, Milan’s most iconic shopping street, it was the perfect base for our two-night stay, mixing design, culture and, of course, some shopping.

The Vibe

Portrait Milano

(Image credit: Portrait Milano )

With its impressive courtyard, retro-inspired interiors and incredible service, Portrait Milano manages to feel both grand and surprisingly relaxed at the same time.

When you walk through the historic loggia and you arrive in the Piazza del Quadrilatero, with the impressive architecture and scale of the former seminary, rather than feeling imposing, the hotel has been designed to feel like an impossibly elegant Milanese home, with lots of areas to eat, drink and relax.

The interiors, by designer Michele Bönan, channel mid-century Milan with walnut, brass, rich red velvet and plenty of Italian craftsmanship. There are subtle references to the Ferragamo family heritage throughout, but nothing feels overly branded. Instead, the atmosphere is quietly glamorous and unmistakably Italian.

The Rooms

Portrait Milano

(Image credit: @lilyrussobah)

There are 73 rooms and suites - think warm lacquered woods, marble bathrooms, beautifully rich furnishings and cinematic lighting rather than the stark minimalism you sometimes find in modern five-star hotels. Bathrooms have ample surface space, several mirrors and ample wardrobe space.

The details are particularly good: handcrafted leather handles, Carrara marble, rich fabrics and beautifully crafted large wooden wardrobes. Guests can choose from seven different pillow types and rooms overlook the internal gardens and courtyard, which is a welcomed break from the heat and the busy energy of the city.

The Location

Portrait Milano

(Image credit: Portrait Milano )

This is where Portrait Milano is unbeatable. Set on Corso Venezia, it sits right in the Quadrilatero della Moda, Milan’s legendary fashion district, with the city’s best shopping, restaurants and cultural sights on its doorstep. We were only in Milan for 3 days which meant having everything within walking distance was a real bonus.

The hotel’s own courtyard is also part of the experience. Piazza del Quadrilatero has become a destination in its own right, with regular art installations or fashion events for brands including Moncler, Max Mara and Ferragamo. If you’re feeling lazy you can spend an afternoon shopping, stop for lunch and an aperitivo, then head to the spa with barely any need to venture beyond the hotel’s walls.

The Facilities

Portrait Milano

(Image credit: @lilyrussobah)

For somewhere so centrally located, Portrait Milano offers an impressive amount of reasons to stay in. Set in the basement, the hotel features a relaxing swimming pool and longevity spa which was perfect after a morning of sightseeing in the heat. I tried the Cryosuite and Dry Float Therapy, a treatment that is used to improve circulation and relieve muscle and joint pain. The treatment allows the body and mind to regain energy, strengthen the immune system, stimulate new collagen growth and improve skin elasticity - perfect after a long-haul flight or busy working week.

For food and drink, 10_11 is the hotel's all-day Italian restaurant, while the Beefbar Milano is a more glamorous dinner option. The hotel also has Rumore, a retro-inspired cocktail bar, that is open to the public and is a popular destination after dark.

And then there’s the service. Staff are polished without being stiff, with a warm, personal approach that makes the hotel feel considerably more relaxed than its grand surroundings might suggest. The concierge can also help arrange everything from restaurant reservations to cultural experiences around the city should you wish.

The Verdict

Portrait Milano is a hotel that understands exactly what makes Milan special: impeccable design, incredible architecture, the very best fashion brands on your doorstep and delicious food. It’s undeniably expensive, but unlike some ultra-luxury hotels, it feels like you are absolutely getting your moneys worth, and for a short 2 night stay it feels like its worth every penny.

It won’t be the right choice if you’re looking for a small, intimate boutique hotel or somewhere removed from the city buzz. But if shopping, design and eating well are high on the agenda, Portrait Milano is the ultimate destination.

Marie Claire verdict: A seriously chic Milanese escape that turns a historic landmark into one of the city’s most desirable places to stay – book a room overlooking the garden for a more relaxing view.

Book via lungarnocollection.com.



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The 10 Autumn/Winter Fashion Trends Worth Your Attention, According to a Fashion Director

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After a summer of heatwave after heatwave, it feels like we’re not just ready for Autumn/Winter 26—we’ve earned it. Of course, ironically, Marie Claire’s editors first saw these collections in February, dreaming of warmer temperatures and yet beadily eyeing the coats, boots, trends and styling tricks unfolding in the fashion capitals of New York, London, Milan and Paris.

It was a season of two halves in some ways, with a lot of “maxxing” in terms of fabrics (velvet!) and colours (red!), but also plenty of polish that spoke to a wardrobe that rises above anything flash in the pan. Instead, the goal is discernment—and having the confidence to dress like yourself for yourself. Whether you’re feeling drawn for the first time in ages to a classic print, or want to switch up your waistline or tailoring or silhouette (or all three!), keep reading as we visit some of the key moments of this season.

Hot Sauce

Red

(Image credit: Future/Launchmetrics)

If you think red isn’t your colour, prepare to be convinced otherwise as designers double down on the colour this season. It was everywhere for AW26, largely chilli-hot but with a few shakes of slightly darker Ketchup. In his last collection for Alaïa, Pieter Mulier designed a long-sleeved column dress that draped its wearer, Mariacarla Boscono, in the primary colour from clavicle to ankle. At Bottega Veneta, the catwalk was a plush vermillion carpet, which provided the perfect surface for one particular dress—a mohair number that resembled fiery strands of saffron. Gucci, meanwhile, created an outfit for the 2026 “femme fatale”, a polo shirt paired with very tight pants, both in hot-sauce red. A dollop might not be enough this season. Instead, dare to wear a red dress, trousers or pair of knee-high boots. Trust us, you’ll raise the temperature of every outfit.

Polished Folk

Folk

(Image credit: Future/Launchmetrics)

Folk-singer-turned-glamazon seemed to be the mood at many houses, offering a new wardrobe for the bohemian soul. At Dior, this included a dressing-gown style coat, louche in proportion with a rug-like pattern and pile, worn over a white shirt, indigo jeans and flat suede boots, as well as a pair of balloon pants whose surface was made of individual flowerheads. The polished folk theme continued at Givenchy, where a black gown was stitched with poppies but also given a metre-long fringe of loose threads. Finally, Gucci presented not the ingénue but the doyenne version of folk, where a floral knee-length skirt was given the “sciura” treatment with a faux-fur coat, monogrammed tights, horsebit mules and bug-eyed sunglasses.

Spotted

Leopard Print

(Image credit: Future/Launchmetrics)

Just like a leopard can’t change its spots, the print will always be a commanding presence on the catwalk. When Meryll Rogge made her debut at Marni, she lent into the brand’s wearable eclecticism; clashing prints, colours and textures in one look that was topped with a single-breasted, just-above-knee-length, leopard-print coat that immediately went on many an editor’s wish list (ditto the leopard pencil skirt paired with snowy tights at Jil Sander). At the more fantastical end, meanwhile, was Givenchy, who combined the classic spot with corsetry to brilliant effect (psst: Sandra Bullock has already worn it).

Mod(ern) Suits

Suiting

(Image credit: Future/Launchmetrics)

Retro suiting was given a modern flavour at Acne Studios, Celine and Louis Vuitton, with details such as split-hem (and skin-tight) trousers, kick flares that swung above the ankles and blown-up buttons. Fresh takes on tried-and-tested silhouettes were also spotted at Prada (whose trouser suit was androgynous in cut) and Proenza Schouler (whose blazer was cinch-waisted and fastened with two single buttons). Last but not least Emilia Wickstead. The label might be known for swoon-worthy dresses, not to mention bridalwear, but one of the collection’s most thrilling looks was nothing more, nothing less than a trouser suit, with perfectly cool proportions that made us yearn for back-to-school September.

Drop It

Waistlines

(Image credit: Future/Launchmetrics)

The waistline on many catwalks wasn’t in the usual spot but several centrimetres—or maybe even inches—south. That’s right, the drop waist hasn’t been this popular since the early 20th century. Lanvin presented a new-gen flapper dress—a delicately beaded sheath that one could quite easily pair with jeans in 2026 (a year after the centenary of The Great Gatsby). At Marni and Chanel, meanwhile, a belt fastened around the hips gave an extra point of interest to looks that could easily be workwear (Chanel’s drop-waisted skirt feels like a particularly fresh take on the pleated office midi). It might not be as classically “flattering” as the hourglass, but why not throw your waistline a curveball this season?

Countryfile

Heritage

(Image credit: Future/Launchmetrics)

The kind of coat you can wear in the city, sure, but more importantly in the countryside—on morning trudges, afternoon walks and any ramble in between—got an impressive showing on the catwalks, with many designers bringing their customers to pastures new (or as yet unexplored). The Burberry trench coat, for example, was "Countryfile-d", with a heavy wool check in burgundy, plum and black, not to mention leather epaulettes, wrist straps and a waist belt. Chloé’s boho-goddess will be trading diaphanous chiffon layers for a more practical alternative in autumn—a plaid cape that wouldn’t look out of place on a moor. Argyle appeared at Khaite, houndstooth at Dior, tartan at Acne Studios, Fair Isle at Marni. In short—and not forgetting a gorgeous duffle at Dries Van Noten—clothes made to be worn in a green and pleasant land are what’s in season.

Layer Up

Layering

(Image credit: Future/Launchmetrics)

There was a pile-it-on approach to AW26, with outfit configurations that weren’t one-dimensional but multilayered. Prada delivered one of the best “aha!” moments of recent seasons when it sent out the same models only to have them walk again with an item of clothing removed to expose what had been lying underneath the whole time. We know that genius lies in the styling, which made this collection a breath of fresh air, not to mention evidence that you can layer your way to a great wardrobe. Elsewhere at Erdem, sequinned bralets were fitted over sheer turtlenecks. Lanvin posited a solution to autumn workwear, providing sophisticated coverage in the form of a tomato polo neck layered under a grey shirt, finishing the look with long suede gloves that disappeared up the sleeves. A different version of more is more that we can get on board with.

Very Demure

Skirt suit

(Image credit: Future/Launchmetrics)

After a “hot girl summer” in the UK—no seriously, it’s expected to be declared as the hottest since records began in 1884, according to the BBC—September is already embracing the kind of hemlines, not to mention waist-cinched silhouettes, that are suited to cooler temperatures (thank goodness!). Is it the advent of “sensible woman autumn”? Or is it part of the return to a ladylike form of dress that we saw at labels such as Chanel, Dior and Gucci, all of which sent out their version of a two-piece that doesn’t get as much air-time in office wardrobes as it should: the skirt suit. It was new-gen tweed at Chanel; single-breasted ‘90s at Gucci, but both skirts, incidentally, hit the centre line of the knee cap, meaning that a heel is almost mandatory (and the hyper-feminine, boss-lady appeal is in-built).

Soft Power

Velvet

(Image credit: Future/Launchmetrics)

This season was plush for want of a better word—and nothing encapsulates those five letters more than velvet, a fabric whose hand-feel is fabulousness personified. The colour palette added richness—gemstone shades like citrine (Alaïa) and garnet (Balenciaga). Having said that, the most elegant way to wear velvet might be in black or and midnight blue (shoutout to Conner Ives, whose collection included a velvet gown in an inky shade). Calvin Klein’s black velvet trouser suit played with proportions—wide shoulders and straight-up-and-down pants—to thoroughly modernise the fabric. The velvet sofa might have been and gone but the suit still has legs.

Checked In

Check

(Image credit: Future/Launchmetrics)

The check print has a rigid formation but, trust us, there’s nothing square about its appearance for Autumn/Winter 26. Tolu Coker’s checked skirt suit—sculpted and cropped—was an excellent case in point. Loewe’s yellow-and-red shift dress had the naughty but nice flavour of Cher Horowitz. Chanel took a maximalist approach, updating its tweed jacket with a grid pattern made of a luminous weave in shades of black, yellow, pink and red. It shouldn’t have worked on paper but it couldn’t have been more successful, proving that, when it comes to checks, there’s no need to think too closely about balances.



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