Miranda Kerr's back, and Paris is dressing like the sea

Jonathan Anderson sent 65 looks across a runway built over a reflecting pond in the Jardin des Tuileries for his second Dior womenswear collection, and the message was dishevelment as discipline. Bras showed beneath open jackets, shirts were buttoned unevenly, soft slumped peplums replaced sculpted shapes, and sheer chiffon floated over structured skirts throughout.

Archive fluency was the flex: a strapless pink pleated tulle take on the house's 1952 La Cigale dress, Murano glass buttons, faux fur tucked under lapels. Reviewers praised the craft while noting Anderson's signatures — the ballooning chiffon mini, the see-through tailoring, the single dangling earring — are becoming recognizable before the first model appears.

The front row did as much work as the runway. Rihanna went gothic in an all-black thigh-high slit dress under a textured wrap; Jennifer Lawrence went romantic in a baby-blue silk brocade slip from Cruise 2027 with a mini Lady Dior; Anya Taylor-Joy went office-siren in a sheer poncho-style lace top over a black pencil skirt. Three distinct reads on the same sheer codes — and Rosalía was already wearing Anderson's airy romantic silhouette out of the Tuileries.

Julian Klausner made his case for glamour as an everyday practice at Dries Van Noten, imagining a Hollywood actress leaving the studio after a long day — still in all her sparkle, heading home or out for drinks. The opening look set the tone: a khaki utilitarian coat with sleeves rolled up, glamour worn casually.

The signatures were unabashedly decorative. Leopard print on sleeveless tops, bubble-hem skirts and sheer-overlay coats; layered colorful beaded necklaces and jeweled brooches shaped like birds, flowers and stars pinned to collars and waistlines; Technicolor prints lifted from vintage movie posters — complete with bold credits lettering — airbrushed across silky dresses, belted satin coats and pencil skirts.

Footwear stayed practical — glitter pumps, color-blocked peep toes, a new block-heeled moccasin — while the palette ran hot: fuchsia, lime, lilac, cobalt. It is maximalism with manners, and a reminder that the house's print mastery remains one of the strongest commercial engines in Paris.

Drew Henry's debut at Courrèges arrived with the season's most disarming backstory: the South African designer — ex-Phoebe Philo at Céline, JW Anderson, Burberry under Daniel Lee — dug into the archive before André Courrèges' landmark 1964 Space Age collection and found color where predecessor Nicolas Di Felice had enforced monochrome. The first clue sat on a corner table of the all-white Palais de Tokyo showroom: a pumpkin-colored squashed cloche hat by Jean Barthet, so shapeless it looked sat on. It didn't make the final lineup, but its spirit did.

The collection read as joyful disruption: ribbed knits, vinyl jackets and the house A-line dress flipped backward and made unisex; lean jackets zhuzhed with raw edges, metallic logos and thick belts riding high; baggy pants in zesty colors; cartoony floral bra tops, cage jumpsuits dotted with tufty flowers, hot pants with a cutout; boys in trapeze mini dresses. 'I found it disruptive to be positive,' Henry said — in a tough moment everywhere, he needed joy, and decided that was very Courrèges.

Verdicts split honestly: a confident, ballsy opening sketch with strong individual moments, but not yet a fully resolved statement or a clear hierarchy of ideas. For a house that Di Felice made relevant again, the question now is which of Henry's many ideas becomes the new code.

Stella McCartney turned her Spring 2027 show at the British ambassador's garden residence into an ocean dispatch — literally: the season opened with a voiceover from marine biologist Sylvia Earle, guests were ferried 'beneath the blue,' and the soundtrack floated PJ Harvey's 'Down by the Water.' The Stella Times companion piece even ran the designer in conversation with a whale.

The clothes wore the message lightly. Mermaid-esque archival silhouettes revived: gathered bodysuits, puffy peplum tops, Orca sweaters, ruffled bandeaus in recycled polyester and Living Ink's Algae Black pigment, plus transparent handbags with visible sea creatures and zero wool on the runway (Spiber's Brewed Protein stood in). Desirability first, sustainability woven through — 'All the major luxury groups have good intentions,' she said backstage. 'We need the big players to help scale it up.'

And then the finale delivered the day's biggest moment anywhere in fashion: Miranda Kerr, closing in a seafoam green cutout gown — her first catwalk appearance since June 2017 — with Karlie Kloss in a white satin slip dress and Amber Valletta just behind, Jennifer Lopez front row. The Impression scored the collection 8.4; the internet scored it Kerr, Kerr, Kerr.

The Impression's day-2 gallery caught the week finding its stride: the polish is high but the attitude is personal — the season's 'messier,' less coordinated styling idea playing out in real time on the pavement between shows.

The Instagram record fills in the texture: sheer crochet and cutouts after dark, fur stoles thrown over satin, quilted bags in pastel, fuzzy knits against tailoring. Day 3 turned rainy — the official PFW carousel shot by Claire Guillon is all wet pavement and umbrellas — which means the sidewalk story is still developing. The day-3 gallery lands this morning.