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Luigi & Iango “Christine [Centenera] spoiled us with a selection of clothing that was modern, powerful and sexy,” say Swiss-Italian photography duo Luigi Murenu and Iango Henzi, who captured Hailey Bieber for our cover shoot. “Hailey has the distinction of being a very intelligent and instinctive woman,” they add, noting her ability to improvise. “It was remarkable how she interpreted the Alaïa look – she brought the garment to life with grace and simplicity.” The pair applies a similar balance to their own collaboration. “We have a very organised approach beforehand and a very spontaneous one on set. Having complementary personalities, we are constantly challenging each other.” Mary Phillips For her third cover of Vogue Australia, Hailey Bieber's natural beauty took centre stage, with her long-time friend, make-up artist Mary…

Soon after visiting Australia for the debut of Vogue’s Forces of Fashion – a global conversation series showcasing the most influential voices defining fashion and culture – Hailey Bieber was announced as Vogue Australia's March cover star. Styled by longtime friend and editor-in-chief Christine Centenera, Bieber was captured in Los Angeles by Swiss-Italian photography duo Luigi Murenu and Iango Henzi. Vogue Australia's acting fashion director Harriet Crawford flew from Sydney to assist. “Christine had fresh in her mind what the looks of the season were,” she says, adding that she selected “the best brands worthy of one of the biggest celebrities of our time”. Bieber proved the ultimate professional on set, her ability to nail each shot “almost second nature”. “She knows how to move towards the light and angle…

When Valentino (Mr Valentino to you and me) puts on a show, he leaves nothing to chance. Not from him the slightest hint of an easygoing belief that “it will be all right on the night”. Valentino's shows are never all right on the night. They are perfect. This is because Mr Valentino believes that practice makes perfect. And so it is that for his haute couture shows in Paris: he demands that a full-sized catwalk be constructed at the Grand Hotel for the show itself, and that a half-sized catwalk be built at the Ritz Hotel for rehearsals. At the Ritz, for the three days running up to the show, models (no matter how super) must practise. They must subject their perfect, selves to a full hair rehearsal, a…

BODICE OF WORK Shifting the dial on overly masculine suiting as a style punctuation point, the corset claims its place as the female-centric power piece. Less about historical references and more a sculptural centrepiece, its structure adds visual strength. DEEP CUTS Fashion's fixation on a single area of the body moves with the times as much as hemlines. Consider the seduction of skin showing from décolletage to navel as the as the next hot zone, as seen in slinky liquid gowns and unbuttoned shirting for night. AIR AND GRACES Every spring/summer season has its hero dress. Meet the airy, frothy maximalist's dream with a romanticism rendered in watercolour hues, sheer fabrics and tier on tier on tier of layers. The more volume and drama the better. Scan the QR code…

Across the spring/summer ’26 collections, there was an overtone of choice: different looks offering distinct identities. Meet the women of the new season. Outside the chatter at the spring/summer ’26 shows, brought on by the large number of designer debuts, the only constant was change. It was ever thus in fashion. Subject to macro forces that shift moods, the season felt less like one single new tone and more like a scattering of small resets. New creative leads at major houses didn't unite over a single big shift; instead, glimmers of bright ideas cropped up everywhere - from independent to larger labels. The collections that got us thinking and feeling were those that recognised our real lives, desires, rhythms and inclinations, and presented different ways to live them out. From…

Since his first runway show at Australian fashion week in 2009, Dion Lee's designs have balanced formality with an architectural futurism uniquely his own. Last November, the designer, who was raised on the New South Wales coast, announced he was returning to fashion with new label Haelo. The news comes a year after the closure of his eponymous label. “After producing four collections a year for over 15 years, the ability to reflect and take stock was invaluable,” he says of the interim phase that preceded his return. He describes Haelo as “youthful, sensual and with a casual sophistication”. It has already been embraced enthusiastically by modern muses; Dua Lipa wore a black-and-grey lace trim slip dress from the first drop. Designing for musicians, from Rosalía to Kylie Minogue, has…

Fashion's sex obsession has never been a secret – the most recent show season is a case in point. On Dario Vitale's Versace runway, tank tops were slashed to flaunt toned, glistening flanks and flies unfastened to suggest … well, use your imagination. Draped silk dresses held together by single closures that could come undone with a flick. Over at Tom Ford, the straps of Haider Ackermann's slip dresses barely clung to wearers’ shoulders, while at Saint Laurent, Anthony Vaccarello's protagonists were leather mummies – 80s dominatrixes clad in pitch-black pencil skirts and bold-shouldered jackets. Hot stuff, granted. Contemporary pop culture's horniness coloured what filed down the runways – lip-biting invocations of 80s glamour, dominance and sleaze that still feed so many fantasies to this day. But dazzling as these…

In fashion, heritage often becomes a launch pad for experimentation. That's especially true of Gucci, a house that started as a luggage-maker in Florence just over a century ago and now stands for remarkable re-invention, Italian craftsmanship and an envelope-pushing resolve that has changed fashion indelibly. The arrival of new creative director, Demna, who reshaped Balenciaga during his decade-long stewardship, promises more in this vein. But his first collection for spring/summer ’26 – shown as short film The Tiger, rather than a runway show – drew on Gucci's 105-year history, revealing nuanced revivals of its archetypes. Consider the GG monogram – one of the most recognisable motifs in fashion for the past half-century – now covering Demna's new thigh-high boots. Outwardly recognisable, they precede a more discreet homage: collectors will…

JASON CLARK Jason Clark's work has evolved from lysergic-patterned eveningwear to surrealist, sculptural outerwear and tailoring, united by his resourcefulness and desire to push conversations forward through clothing. “I don't believe a good collection needs to cost a million euros to produce, but I do believe it needs to be honest,” says the Paris-based Australian. “I don't create to read praise; any art or design should stir the pot a little.” Clark, 32, recalls an early interest in fashion growing up on the New South Wales South Coast, with Dior's spring/summer ’04 haute couture collection being a highlight. In a fortuitous twist, he now works on Dior's design team, helping to create ready-to-wear and haute couture under Jonathan Anderson. “I've always gravitated towards a classically couture archetype, something aspirational and…