From Paris to New York, Designers Are Embracing the Opera House Trend—Here’s How I’m Styling It for Spring

After wrapping up fashion month and reflecting on the latest designer collections, I've identified five unique trends ranging from cummerbunds to shawls. These opulent styles epitomize what I call "Opera House Fall"—a moody aesthetic defined by drama, richness, and a sense of occasion.

With that said, I’m not waiting until autumn to embrace these looks. In fact, I’ve already incorporated them into my wardrobe for the current season. I'm indulging in something of an Opera House Spring of my own, and I’d suggest you do the same.

The Cummerbund

Cummerbunds will live on for Fall 2026. I’ve noticed them across several runways and re-sees throughout this past fashion month circuit.

Notably, Conner Ives showcased a low-waist sash, very much in the spirit of a cummerbund. He styled the relaxed look with a range of pieces from polo shirts to long-sleeve crewnecks, and even undone tuxedos.

At Kallmeyer, I was drawn to the long asymmetrical tops; the illusion of a cummerbund sash subtly highlights the lower waist, drawing the eye downward in an elegant, sculptural way.

I also found myself styling the Maria McManus opera scarf—a piece I've been dreaming about since last season's show—as a waist sash over Aflalo pants and a long-sleeve Kye Intimates top. I paired this with Essen flats, which became my most worn shoe of the trip, and the Le Sundial onyx necklace.

For a more relaxed evening look, I styled Andrea Ricci’s cummerbund over a By Malene Birger silk skirt and a Saint Art crewneck knit.

More traditional interpretations also appeared on the runways. At The Row, the cummerbund was rendered in a perfectly tailored way—a slimmer, more feminine version styled with a crisp high-collar shirt.

At Róhe, cummerbund trousers were paired with a contrasting silk high-neck top, balancing structure with softness. I also loved the styling at Polo Ralph Lauren—a black-and-white cummerbund worn with an undone suit and a shimmering brooch.

Meanwhile, Tove’s Fall 2026 collection offered an ultra-buttery cream set featuring a fluid shawl that subtly echoed a waist sash.

The looks that resonate most with me tend to carry a hint of formality, a touch of black-tie dressing, and an operatic dose of drama.

In the current market, cummerbunds are still most commonly integrated into trousers. However, given how frequently they surfaced this season, I suspect we’ll be seeing many more standalone interpretations soon.

Beaded Embellishments

A strong theme throughout this season has been the importance of handmade craft. It surfaced in nearly every conversation during showroom appointments, store visits, and re-sees. More than ever, I find myself drawn to the details, textiles, techniques, and the overall process behind a piece.

One accessory trend I’m seeing rise across both couture and ready-to-wear is beading.

Le Sundial, who has incorporated beading since her first collection, introduced new sizes and textures this season, including mother-of-pearl disc shells, delicate seed beads, and jade.

The latest collection by Colleen Allen, the 2026 LVMH Prize semi-finalist, featured an embroidered tulle evening piece decorated with an embellished corset and finished with a scalloped neckline.

As someone who gravitates naturally toward vintage styles—seen above wearing a beaded feather boa—I’m especially excited to see this level of craftsmanship appearing more prominently.

At The Row, feathers, embroidery, and beading appeared across a sea of classic silhouettes and refined fabrics. And elsewhere, Lanvin’s embellished drop-waist slip dress, reminiscent of the 1920s, felt transporting. I also loved how the house used beading in smaller ways as delicate details.

And of course, I can’t forget Chanel’s embroidery and beading, which felt particularly whimsical this season. One look resembled a bouquet of flowers caught in the wind, scattered across black silk and paired with a pomegranate-shaped handbag. When I visited the Chanel store afterward, the beaded earrings had already sold out.

While I often turn to vintage when searching for craftsmanship like this, I’m encouraged to see more of these techniques appearing in contemporary collections, reinforcing the continued value of handmade pieces and the artisans who bring them to life.

Shawls & Capes

Back for another season, I’m pleased to see the shawls and capes once again. As I’ve written before, this silhouette feels especially close to home for me. Perhaps that’s why I’m always delighted to see it return to runways and showrooms.

At Ralph Lauren and Kallmeyer, shawls were affixed over the shoulder with brooches—a styling hack that I often use for myself. Seen above, I’m cocooned in a velvet burnout shawl paired with a Métier clutch.

Meanwhile, at Celine and Issey Miyake, shawls were draped across jackets, creating a soft, poncho-like effect. It reminded me of the Maria McManus jacket below.

I also love seeing vintage references emerge in modern collections. At The Row, the cape silhouettes immediately brought to mind archival pieces. While in Paris, I visited the brand’s frequent collaborator and vintage sourcer, Preclothed. It’s an extraordinary shop I recommend visiting next time you’re in the city. One breathtaking cape there reminded me so strongly of the piece seen in The Row’s show.

Dagmar also has a beautiful suiting interpretation coming for fall, their trench cape rendered in dark tailoring. Pictured above, you’ll see me wearing it at their showroom. I’ve already begun styling this gorgeous layer into my own wardrobe.

I also had the pleasure of visiting La Collection, whose approach begins with fabric first. As someone who began my career working with textiles, I’m always drawn to pieces where the texture and fabrication lead the design. For me, that is often what separates the good from the truly great.

Velvet

The romantic in me is especially excited about the amount of velvet appearing for fall. I already consider it a staple in my own wardrobe but the new silhouettes, colors, and accessories this season are making velvet feel particularly focal again.

At Dior, I was captivated by a velvet shawl-collar smoking coat that felt like a beautiful collision of eras. It reminded me of something drawn from my grandparents’ generation—vintage in spirit, but sharpened through modern tailoring.

Velvet tailoring also appeared at both Khaite and Calvin Klein, in the form of sharply-cut suits. I have a feeling we’ll be seeing much more of this come fall.

Colleen Allen—something of a velvet connoisseur—showed a cocooning scarf dress crafted from metallic velvet, later seen on actress Britt Lower at the Actors Awards. Allen also debuted a personal favorite of mine: the Bustle Bag, shown below in a striking persimmon hue. The piece cleverly transforms from a handbag into a waist bustle through silk straps. At her New York preview, I wore one over Allen’s black velvet house coat and immediately began dreaming of preorders.

During my own trip to Paris, I wore a vintage silk-velvet cloak trimmed with tassels to the Moulin Rouge to celebrate Pirrie Wright’s opera capsule collaboration with Giaborghini. I completed the look with silk and feather shoes for a theatrical appeal.

Conner Ives and Lanvin also embraced the fluidity of draped velvet. I loved the deep, almost-black teal Conner used; these rich tones feel almost regal when paired with silk or contrasting tones, like Lanvin’s asymmetrical velvet draping over buttery silk trousers.

If this season is any indication, velvet will likely stretch beyond fall’s traditional boundaries. We even experienced an unexpected warm spell during my stay in Paris, and I still found myself styling a long Ralph Lauren Collection velvet burnout vest throughout the day—proof that the fabric can feel just as compelling outside the colder months.

Creatures

An honorable mention this season: the whimsical presence of creatures. As I’ve shared in past articles, I’ve had my eye on the consistent presence of delightful creatures within the realm of fashion. This season, more animals are appearing across runways, showrooms, and store floors.

During my stay, I wore a Dagmar trench embellished with a jade and diamond turtle pin and a Lucy Delius crescent moon brooch.

On the runway, Dior’s turtle handbag truly stole my heart, while Chanel returned with delicate dragonfly pins. Schiaparelli, a house long synonymous with surrealism, showed cat and bird shoes alongside a peacock handbag that stopped me in my tracks during the re-see.

Displayed above, you’ll see a few creatures I recently encountered at past exhibits in Rome and at Sotheby’s: the articulated Cartier tiger clip brooch commissioned by Barbara Hutton in the 1950s, a Lacloche Frères pig coin purse created around 1905, and a 1960s David Webb Pisces brooch.

The renewed presence of animal jewelry and accessories feels connected to a broader shift toward symbolic dressing. Creatures—turtles, birds, dragonflies—often function as small talismans, carrying meaning, protection, or transformation. In a moment when fashion is rediscovering ornament and storytelling, these details feel especially resonant.