On December 4, inside the 18th-century Old Library at Trinity College Dublin, Jonathan Anderson will do something no Dior designer has ever done before: show a collection in Ireland. The Pre-Fall 2027 presentation, staged in the Long Room that houses the Book of Kells and centuries of Irish scholarship, is the French house’s first runway in the country, and it doubles as a homecoming for the Northern Irish designer who once sold clothes on a shop floor in this very city. It is the kind of full-circle moment fashion rarely gets to script so cleanly, and this week it anchors a run of news that stretched from a Beijing courtyard to a Regent Street corner.
Anderson’s Dublin chapter began at Brown Thomas, the department store where he took his first fashion job after abandoning an early plan to act, having briefly attended Juilliard in New York. Now, as the first designer since Christian Dior himself to oversee womenswear, menswear, and haute couture at the house, he returns with more than sixty silhouettes and a great deal of feeling. “Showing at Trinity College Dublin is a dream come true,” he said. “I began my career in Dublin, so returning here feels deeply personal.” The choice of venue carries its own literary echo. Dublin-born Carmel Snow, the Harper’s Bazaar editor who christened Dior’s 1947 debut the “New Look,” appears on the show invitation beside a four-leaf clover, a motif Anderson has leaned on throughout his tenure. The Old Library, currently raising funds for its first major restoration in more than three hundred years, will host the show just before that work begins.
If Dublin is the week’s poetry, London is its commerce. Kim Kardashian‘s SKIMS opened its first UK standalone flagship on Regent Street, a 12,000-square-foot corner site at the former Ted Baker address that now stands as the brand’s largest retail space in Europe. Design firm Rafael de Cárdenas Ltd. shaped the interior with organic curves and tactile surfaces, and a sculpture by Vanessa Beecroft greets shoppers at the entrance. The store carries the label’s fullest European lineup yet, from core shapewear and loungewear to menswear, accessories, and the newly debuted NikeSKIMS line. It marks a decisive turn for a company that reached British customers largely through e-commerce, pop-ups, and concessions at Harrods and Selfridges, and it slots the digitally native brand beside Apple, Burberry, and Mulberry on one of the world’s most trafficked shopping corridors.
Elsewhere, Miu Miu released its Fall/Winter 2026 campaign starring Hailey Bieber and Xiao Wen Ju, shot by Zoe Ghertner and directed by Renell Medrano against an industrial, nocturnal backdrop washed in ambient blue. Miuccia Prada‘s collection played fluidity against weight, pairing embroidered tulle, poplin, and double cashmere with shearling-lined outerwear and vintage opera coats, and it reintroduced the early-2000s Bubble shoe alongside the soft-leather Vivant, Rendez-vous, and Arcadie bags.
The rest of the week filled in the industry’s wider picture. Studio Nicholson opened a 158-square-meter flagship in Beijing’s Taikoo Li Sanlitun, where founder Nick Wakeman built a “gallery-meets-residential” concept around black slate flooring, a four-meter travertine table, and Pierre Jeanneret seating. Gentle Monster unveiled the second frame in its intelligent eyewear series with Google and Samsung, a minimalist square optical style powered by Google Gemini, fronted by Anok Yai and Alex Consani, offering hands-free capture, translation, and navigation across nine hours of battery. And PUMA joined James Whitner’s The Whitaker Group to launch CODA, a multi-season storytelling platform named for a musical closing passage, conceived as an incubator for creators reinterpreting street culture. Taken together, the week read like the industry itself: one part heritage, one part hardware, and always looking for the next room to walk into.
