austin post x matt mccormick | the studio series collection

Emily Cooper has officially traded her croissants for carbonara and Fendi is making sure her Roman holiday looks the part. To mark the arrival of Season 5 of ‘Emily in Paris’ on Netflix today, the Roman house has dropped a special capsule collection that essentially captures Emily’s pivot from Parisian chic to Italian maximalism. 

If you thought Emily’s wardrobe was already dialled up to eleven, wait until you see her navigating Rome with a mint-green tapestry Baguette in tow. It is the ultimate main character accessory, and while her postcode has changed, that “It’s not a bag, it’s a Baguette” energy remains entirely undefeated. This is the fashion crossover for a show that half the internet claims to hate-watch while secretly scouring the frames for outfit inspiration.

The collection focuses on three of Fendi’s most sacred and iconic shapes, specifically two Baguettes and one Peekaboo bag, all reinterpreted through the House’s codes. The standout feature is a tapestry-effect fabric that introduces the Fendi Dots motif, a clever hybrid of the iconic FF logo and Art Deco polka dots. The colour palette is delightfully clashing, featuring colour-block combinations like a soft brown paired with candy pink or a sophisticated dove grey offset by a punchy mint green. Each piece comes with a dedicated tag to prove you were part of the Season 5 hype.

What makes this drop feel particularly meta is that Lily Collins actually wears the collection throughout the new season. Viewers will spot Emily navigating her new Roman adventures while carrying the Baguette through the Fendi headquarters at the Palazzo della Civiltà Italiana and the flagship store at Palazzo Fendi.

It is a full-circle moment for a bag that became a cultural phenomenon in the late 90s. As the internet says, the Roman Empire is no longer just a meme; for Emily Cooper, it’s a lifestyle.

The capsule is available in a very limited release at selected Fendi boutiques and online from today, coinciding exactly with the binge-watch release of the new episodes.

photography. courtesy of Fendi, Michael Stewart
words. Gennaro Costanzo

When Jonathan Anderson made his debut at Dior earlier this year, his mission to dismantle a heritage house that has religiously guarded its codes was never clearer. For Pre-Autumn 2026, the British Designer of the Year deepens this recoding, pivoting from the conceptual armour of his first outing toward a wardrobe built for an expansive cast of characters. By taking the Maison’s sacred, often rigid motifs and quite literally crushing them with a sense of normality, Anderson has arrived at a decisive silhouette that feels remarkably alive.

The focal point remains the Bar jacket, but it has been stripped of its mid-century rigidity. Anderson isn’t interested in the waist-nipping ghost of 1947. Instead, he treats the Bar jacket as a shape-shifter: sometimes shrunken and soft, other times dramatically enlarged into an enveloping coat that carries the weight of a security blanket.

There’s a clever interplay between the Dior we’ve grown accustomed to and Anderson’s more relaxed vision, most notably in the wide silk denim trousers. Cut with the volume of a pleated skirt but rendered in ultra-lightweight silk denim, they possess a liquid-like drape that makes a utilitarian staple feel like pure couture.

The ‘sideways explosions’ on the sculptural gowns provide the collection’s most ‘Anderson’ moments. Architectural silhouettes appear serene from one angle before erupting into unexpected volumes at the hip or shoulder. It’s a virtuoso display of the Dior atelier’s prowess, filtered through a chromatic sensibility of muted, tonal greys and navies. Even the 1948-inspired deconstructed Arizona trapeze coats, secured with elongated hat pins, feel like a rebellion against traditional luxury.

Accessories are where the idea of ‘character dressing’ truly takes hold. The new Dior Cigale, with its bow-front and sculpted, curved opening that leaves the interior partially exposed, is already the season’s most talked-about It bag. It’s joined by the slouchy Dior Crunchy and the structured Dior Médaillon, offering a range of attitudes for the wearer to inhabit. 

Whether paired with sensible loafers or open-toed pumps, the collection proposes style as a swift, personal discourse. By mixing these high-couture elements with such everyday pieces, Anderson is proving that Dior can be a highly versatile, slightly rebellious language for the modern woman.

photography. courtesy of Peter Joseph Smith
words. Gennaro Costanzo

Casablanca has always had a soft spot for escapism, but for Resort 2026, the fantasy feels a little closer to home. This season, Charaf Tajer turns his gaze to Los Angeles, a city that has long hovered in the brand’s orbit and now feels especially personal following the opening of their first US flagship on Santa Monica Boulevard. 

Photographed by Corentin Leroux, the campaign leans into a much moodier, more intimate side of LA than we’re used to seeing. Using the legendary Sheats-Goldstein Residence as a playground, the John Lautner-designed landmark provides a properly cinematic backdrop, with its sharp modernist lines and dramatic views softened by a very un-Californian bout of rain. The whole atmosphere reminds of a high-end 70s penthouse scene, just without any of the tacky interiors or questionable carpet choices.

British model and actress Iris Law leads the cast, drifting through the house as if caught mid-moment. Law feels like a natural Casablanca muse, embodying a kind of undone nonchalance as she lounges on sofas, snacks in the kitchen and gazes out over the Beverly Hills valley.

The clothes follow suit with a palette of pastels offset by deeper hits of oxblood and royal navy, giving the whole collection a soft but grounded feel. Tailoring and preppy silhouettes are sharpened with monogram trims and bold side stripes, continuing the brand’s long-standing dialogue between sportswear and elegance. It’s a formula Tajer has been perfecting since his early collections, but here it feels more relaxed. Elsewhere, silk shirts carry ombré gradients and surreal orchid motifs – the dreamlike prints that have become a brand signature – recalling earlier seasons where tennis courts and Mediterranean fantasies merged into one.

Knitwear has been refreshed with textured waffle knits and mohair blends, while the denim arrives in pink, psychedelic green and a reverse-colour black monogram that feels playful without tipping into novelty. Footwear grounds the look, with the Del Mar and Stade sneakers returning as familiar anchors for Casablanca’s growing lifestyle universe.

There is a real sense of continuity here. Like previous collections that looked to Monaco or Athens, Resort 2026 captures a location through mood rather than the usual postcard imagery. This time, LA is quieter, more introspective and perhaps more real.

The Casablanca Resort 2026 collection is available now online and at selected fashion retailers worldwide.

photography. courtesy of Corentin Leroux
words. Gennaro Costanzo