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Max Papendieck For Australian-born, New York-based photographer Max Papendieck, capturing Australian actor Rose Byrne in Brooklyn felt “like catching up with an old friend rather than meeting someone for the first time”. By the time the shoot for ‘Driving force’ (page 84) had wrapped, Papendieck says that feeling had only deepened. “Shooting in the rain from a convertible, driving alongside the prop car across the Brooklyn Bridge, was definitely a challenge,” he says, “but we stuck with it and got the shot.” Lynsey Alexander “Insanely professional” and “super fun” is how Scottish make-up artist Lynsey Alexander describes cover star Kylie Minogue, whom she collaborated with on set in Surrey, south-west of London. “She was exactly what I could have hoped for after growing up watching her on the screen,” Alexander…

For the September issue of Vogue Australia, the singular Kylie Minogue is captured in a pastoral setting in Surrey, England. Styled by editor-in-chief Christine Centenera and photographed by fellow Australian Lachlan Bailey, the shoot conveys a sense of intimacy, its soft natural light lending the images a quiet serenity. Acting fashion director Harriet Crawford was in Paris – just two and a half hours away by Eurostar – when she was tasked with scouring vintage stores in London for hats and T-shirts for the shoot. “Talent will get more excited about certain looks,” Crawford says. “Those are the ones we gravitate towards because when they like the look, they give more to the camera.” For the singer, a Conner Ives T-shirt layered underneath one of the brand’s coats was a…

LACED WITH COLOUR The enduring appeal of lace lies in its airiness and decorous charm. When rendered in a sumptuous hue, as in Saint Laurent’s mini-dress in sticky toffee, it amps up the seduction. THE NEW CLASSIC A sense of freshness can come from existing archetypes, ingeniously reinvented. The Chanel suit - a building block of the modern wardrobe, revived in colour and texture by Matthieu Blazy - is fashion’s most coveted. Scan the QR code to shop Vogue’s edit. THE CRAFT Bags with painstaking handwork have struck a chord, offering a much-needed counterpoint to the growth of automation. Fendi’s re-edition beaded Baguette, mirroring the proportions of the original 1997 bag, is an enduring staple with a 2026 attitude. ARM CANDY Winking coloured gemstones, like the sapphires and garnets on…

It is a difficult time to design. A cluttered internet culture means taste changes at pace, big unifying movements have less space and fewer chances to take hold, and aesthetic sensibility is as splintered as ever. That’s without mentioning the unpredictable state of a world in which competing priorities and a changing climate play havoc with all parts of life, including our wardrobes. As a result, trends – those sweeping visual cues that once defined how we would dress for the six months until the next ready-to-wear season – are not what they used to be. Rather than presenting a unified season, autumn/winter ’26/’27 collections comprised myriad solutions for dressing in this moment. Through lines came from ideas, some of which appeared repeatedly, each indulging feelings and impulses in response…

DELICATE HOLD Florals, the daintiest of inspirations, call for a suitably matching design. Louis Vuitton and Chanel’s prettily proportioned top-handles make for small minaudière-style pieces that allow their unfurling 3D florals to come to life. NATURAL CHARM Foliage, fronds and a palette found in nature make for the most winning – and feminine – of fripperies. As Alaïa, Valentino and Fendi demonstrate, they’re motifs worthy of painstaking beading, embroidery and, in Alaïa’s case, PVC-enshrined forms.…

Pop stars are no strangers to capital-F fashion, but there’s a shift happening: just ask Addison Rae. At this year’s Coachella, the 25-year-old pop phenomenon sang in a frothy tulle dress by the New York-based label Miss Claire Sullivan, whose gowns embody an exaggerated high-femme glamour that’s become her signature. It was visually captivating, but the lore runs deep. A year earlier, Sullivan had produced a pink polka-dot catsuit for Rae, who was one of her first celebrity clients. Her brand was subsequently worn by Lady Gaga and Rihanna, and earlier this year Sullivan was nominated for the CFDA/Vogue Fashion Fund. Rae, for her part, is used to being dressed by major fashion houses, including Saint Laurent, Versace and Alaïa. But the work of new, independent labels like Sullivan’s or…

In the garden of Villa Borghese, Leila George is rolling around on the grass in a passionate make-out session with the Italian actor Pietro Castellitto. It could be any July day in Rome, but this isn’t just a fling. It’s the opening scene of a short film that leads into Maria Grazia Chiuri’s first haute couture show for Fendi, presented in the Galleria Nazionale on the edge of the gardens. Before becoming a couturier at Valentino and Dior, the Roman designer cut her teeth in the house’s accessories department in the 1990s, working under the formidable Fendi sisters and Karl Lagerfeld. During her nine-year tenure at Dior, Chiuri waxed as lyrical about Fendi as she did about her beloved Rome. So, for her first haute couture show since becoming chief…

Sabrina Teitelbaum makes music that galvanises, so it follows that her reflections on her own trajectory are equally encouraging. “The doubt was quieter,” she says of making her third album in as many years under performing name Blondshell. “Making a first album is crazy because you’ve never done it before, but making a second album is harder because you’ve only done it once: you don’t totally remember how you did it and have no proof you can do it again,” she says. “So this time I felt less pressure and was more able to be present for the whole thing.” That presence is keenly felt on Violins, out September 25, from an artist whose MO is casting intimate atmosphere through her distorted alt-rock and hazy 90s-tinged grunge. That’s not to…

It is midnight, the world is emerging from the pandemic, and Phoebe Pendergast is taking one of her biggest career steps overseas, albeit remotely on by-then ubiquitous and maligned Zoom. Dialling into a selection panel, she joins the many wanting to tread the path worn by Phoebe Philo, Stella McCartney, John Galliano and the late Lee Alexander McQueen, who each studied fashion at London’s Central Saint Martins. “There’s definitely so much adrenaline,” she says, remembering how the remote call felt like an extra hurdle to overcome to present well. “You feel like the connection isn’t 100 per cent.” It didn’t matter. “They offered me the position during the interview – usually you’re told you’ll find out weeks later.” That was almost five years ago. Today, in East London, she is…