For spring 2026, the Chloé gir lis feeling movie screens and silhouettes pulled from the early ‘80s as a springboard, the high-gloss seduction of Hollywood noir and the stripped-down realism of feminist indie film.

Creative director Chemena Kamali fluctuates between fantasy and vérité. It feels something like De Palma’s femme fatale wandering into Bette Gordon’s grainy Variety caught mid-reframe – these aren’t objects of desire, but authors of it. Sleek silhouettes – starring grey suiting with oversized assertive shoulders (a nod to the house’s Lagerfeld era) – are cinched into feminine proportions and pulled at the waist into a peplum. Blazers, bombers and faux shearling peacoats are styled boxy or shrugged off the shoulder, often layered over sheer slips and gauzy shirting. The clothes swing between sculpted and undone – high-waisted, cropped, or slashed just so – with that off-kilter polish Kamali often showcases.

The wintry palette is saturated with hot reds, cobalt and black to punctuate the assortment, while exuberant prints nod to the overstimulated styling of ‘80s screen sirens. Beauty remains unfussed: makeup is minimal, hair left artfully tousled – an undone elegance that suggests not effortlessness, but agency.

Johnny Dufort’s lookbook imagery – starring Lily McInerny, Stella Hanan and a cast of chameleonic muses (the Chloé Paddington included) – toys with angles and storied silver screen atmospheres like a sort of controlled voyeurism. It’s a nostalgic characterisation of the Chloé archetype, clad in gender contradictions and a heroine of her own making. Like any great film, this season Kamali leaves us wanting both to be the leading lady and to watch it all over again.

Photography by Johnny Dufort.

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