Coco Gauff Is The Perfect Miu Miu Girl, and other stuff
This Week In Fashion
We’re on the heels of Men’s Fashion Week and there’s already some deliciousness we must discuss from two very different brands! Also, I was thinking about Coco Gauff and her Miu Miu x New Balance wardrobe, so I wanted to include a little bit on why I think she’s the perfect Miu Miu girl!
Anyway, let’s get into it.
![Coco Gauff Partners with New Balance x Miu Miu [PHOTOS]](https://substackcdn.com/image/fetch/$s_!JBBp!,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F344920aa-edc3-4a79-8242-ebb69c7b3a0f_2000x1085.jpeg "Coco Gauff Partners with New Balance x Miu Miu [PHOTOS]")
Coco Gauff just won The French Open and she wore Miu Miu x New Balance, of course, so lets talk about why she’s the perfect Miu Miu girl.
Miuccia Prada always challenges ideas of luxury and the bourgeois. She does this both at Miu Miu and Prada but in slightly different ways, with Miu Miu really honing in on femininity. There she takes the codes of upper class femininity like pleated skirts, pearls, and cardigans and recontextualizes them through the lens of irony, rebellion, and hyper awareness.
For centuries, the rich, white elite have been considered the arbiters of taste, however, over time we have seen that trickle down become more trickle up and trickle across. Subcultures, minorities, and Black women in particular have become (always been) the true taste makers— a fact that I think Miu Miu increasingly acknowledges through casting and campaign choices.
Tennis is a sport steeped in bourgeois tradition— whites only dress codes, country clubs, a history of racism and exclusion— but that is no longer the case. Some of the greatest tennis players of all time are Black women, and they continue to show their excellence on the court. Most recently with Coco rightfully winning the French Open, no matter what petty (racist) bullshit her opponent spews. That her opponent belittled her victory only further proves how threatening her presence is to outdated systems of hierarchy, because I think we can all agree that her victory wasn’t questioned due to her skill, but because she disrupts an archetype. She wins without assimilation. She wins not just against opponents, but systems. She exists in full, and that, within the world of elite tennis, is a quiet revolution.
This is precisely what Miu Miu always plays with. What happens when girls refuse the role they’re given? Coco doesn’t borrow from these elitist circles, nor does she subdue herself to match the image they have projected onto her. Instead, she redefines it all. In Fetish: Fashion, Sex, and Power, Valerie Steele notes that fashion has always been a field where women contest their image, using it both as weapon and shield. Coco is not the tennis prodigy that the tennis club envisioned, but she is the one that the sport needed, and when she wins its not just the trophy she claims, it’s the narrative. That is what makes her the perfect Miu Miu girl.
“So all this is our homage to Kensington Market. Lots of people started there– it was a serious part of the London subcultural scene: a place to meet, a place to find fashion, to sort of discover who you are. And now we want that sort of madness and intensity of people meeting all these independent designers again. London needs it!” said Martine Rose about her Spring 2026 Menswear collection. Not only did the show’s take on market traders highlight the impact subcultures have on culture at large– as Rose is wont to do– but it also felt like an effortless parallel and subversion of traders in finance. It was a fantastic thought exercise on those who think they control the economy versus those who actually fuel it.
There’s obviously a never ending conversation that is had around all of the white men that currently hold a seat as creative director within the fashion industry. Although the extent to which that conversation is had is often kept very one-dimensional, it is not a conversation that shouldn’t be had at all. What a designer and brand like Martine Rose shows us is that things can be compelling and interesting and new and subversive if you let more people have a point of view. We wonder why a lot of the same things are pushed out of luxury houses season after season, but when the people in charge all have similar lived experiences, what else do you expect?
Spring 2026 taps into that sexiness that you just can’t explain. It embraces awkwardness and imperfection instead of presenting sexy as uncanny, polished perfection. There’s a practicality to the sexiness that feels like a fantasy fully lived. With her usual office wear and utilitarian elements, Rose slimmed down the silhouette this season saying, “we’ve created this sort of suction and tightness in strange places, which is really exciting.” Very exciting, if you ask me. It’s shapewear that emphasizes your shape instead of forcibly changing it. Then there were the sprinklings of kink, with leathers, lace, boxer shorts, and adult magazines all doused in 70s and 80s deliciousness. In Uses of the Erotic, Audre Lorde argues that the erotic is not just sexual but political: a source of power rooted in feeling and personal truth. Rose’s approach doesn’t exploit sex appeal for commercialism– it weaponizes it against aesthetic homogeneity and uses it to make a declaration.
The spirit of the show felt very collaborative and open ended, emphasizing the importance of community and rejection of rigid stereotypes. There was a tension that existed within the collection that echoed this idea of a market, where stable livelihood intersects with risk, discovery, and self-expression under a single canopy. Rose has created a liminal zone where identity is fluid and the usual “rules” we have to follow are suspended.
Zegna’s Spring 2026 Menswear collection really delivered this season, and styling by Julie Ragolia made it all the better. This season, Alessandro Sartori looked to the sun-drenched legacy of Italian masculinity– Gianni Agnelli in the 1960s and ‘70s– as a starting point. The show also took place in Dubai, where the brand has a large and diverse clientele, so one can’t help but feel like that was also taken into consideration here. The collection was called Oasis: a place that vision builds, and the clothing was meant to “carry the memory of sun, movement, and individuality.”
Phrases like old money and quiet luxury are very often thrown around, and while there was something nostalgically masculine and polished about this collection, it was also very romantic and emotional. It felt like wealth made to last and adapt– wealth that doesn’t look singular. Instead of a revival, it felt like a reconfiguration. According to Vogue, the collection was filled with washable leathers, light silk suiting, and yarn blended with recyclable paper cellulose and linen, dismantling rigid codes of luxury and reimagining them for a world in motion. If traditional luxury is about the illusion of static wealth– things that don’t change– Zegna’s materials tell a different story, one of adaptation, circulation, and ephemerality.
Spring 2026 feels like it focuses on wealth as environment instead of possession. Silhouettes recall traditional tailoring, but fabrics dissolve their sharpness. Looking back at someone like Agnelli for inspiration reveals the transience of power instead of trying to replicate it– it shows how masculinity does not have to be an armor but can instead be breathable. The garments feel lived-in, unprecious, as if passed through generations– not in decay, but in gentle transformation. There’s a focus on subtle gestures that create emotional texture– literally and figuratively– in the way that a draped collar sighs or a wrinkled silk remembers. In Oasis, Sartori doesn’t just dress the body, he clothes memory itself like heat in fabric long after the sun has set.
- Teyana Taylor for GQ Hype; I’ve always thought Teyana was so stupidly cool. This editorial is also stupidly cool. Styled by Ronnie Hart.
- Dua Lipa for British Vogue; Cute! Cheeky! I’ve said this before, but Dua Lipa is truly the North Star for Instagram fashion girlies. She is what they all think they look like. Styled by Camilla Nickerson.
- Sabrina Carpenter for Rolling Stone; I don’t hate this editorial. I actually love it, but for me its really less about Sabrina and more about David LaChapelle, and this is so him doing him, you know? There’s also a lot of smart fashion pulls here and I’m not mad at it at all. However, do I have many thoughts on the album cover? Yes! But that’s not what we’re here for today and none of you are normal about it<3 Styled by Jared Ellner.
- Mark Guiducci has been appointed as the new global editorial director of Vanity Fair! Nice!
- RIP Sly Stone, I think of your gold wedding look regularly.
- Jeremy Allen White is the new face of Louis Vuitton. Sure.
- I audibly yelled, “HELL YEAH!” when I saw Christopher Walken for Saint Laurent.
- Marc Jacobs Heaven payed homage to Thirteen with clothes that do not look like they would exist in that movie at all. Maybe I’m being annoying about it because I love that movie, but I also just hate reference for the sake of reference, so.
- Beyoncé in Robert Wun was crazy and brilliant and stunning.
- Sabrina wore custom Loewe at Primavera and I wonder where this falls in the Jonathan Anderson to Proenza boys transition, because it feels very Jonathan. Anyway, it’s cute, and I like that she wore a Spanish brand in Spain.
- Jordan always gets it. Here he’s wearing a look from the last collection that Alexander McQueen had a hand in making. There’s something very phantom like about this that is hauntingly beautiful. It’s also quite theatrical and it is the Tony Awards so! Love.
- Cynthia served look, after look, after look! She started with this Schiaparelli look on the red carpet, which looks quite simple and refined when compared to the looks we usually get from her, but then you see the back and how it almost looks like a shell, and then you’re like ah! there it is.
I died for this Marni dress. I’ve loved seeing this evolution of sticker styles from Marni season after season and this little gothic rose moment is one of my favorites.
Then she gave us chic, sequin wad of bubble gum and I also died! So cute and fun, and even a little bit Glinda, dare I say!
I almost forgot about the Valentino and it actually reached out through the screen and slapped me because how could I? Although this is obviously longer on her than on the runway, I still think it works. The way it pools in a perfect circle around her is kind of sickening.
Although there was more, this is the last look of Cynthia’s I’ll include, because I think the Annie homage was sweet and I just really enjoy the shimmer of this red, as well as those bell shaped cuffs.
- Tony winner Cole Escola giving me everything I could want and more in Bernadette Peters drag. You know the girls at Wiederhoeft are always going to CUT a waist, but I also like that the brand is quite campy and theatrical, which feels fitting of the Tony Awards. I will say, although I do think the bow detail in the center is sweet, it doesn’t work for me down the skirt as much as it does on the bodice. Also! obsessed with the chest chair.
- I had to include this because we need all the proof that we can get when it comes to Christian Siriano being capable of making beautiful things.
- So scrumptious. I love that the skirt looks as if a strapless babydoll dress has slid straight off of her body. It kind of feels like Schiaparelli does lumps and bumps and I’m here for it.
- Most concerning thing I’ve seen Prada do in a long time. Did we forget we had to make this?
- This is so cool! I love the Eastern meets Western take on suiting here.
- Another perfect Miu Miu girl! Remember when we used to see this outfit everywhere? I don’t think we’ve ever seen her in red though. Kind of love the boho, school girl of it all, especially the heels with the flower on the toe.
- Laws newest muse has kind of been taking it recently. This Loewe dress is so stunning. It’s simple, but the draping is so effortless and I love how its offset by this sharp neckline— so pointed that it looks like a halter. I will say, I think an open toe shoe would have been better, but I’m not offended by the pump.
So that was this week! I saw Materialists yesterday and it was no Past Lives, I’ll say that. I didn’t hate it and I appreciate what it was trying to do, but I think it fell kind of short of doing so. Anyway, hmu Harry.
TTYL!!!
xx