Cindy Sherman will present a new body of photographic work at Hauser & Wirth's Savile Row gallery in London, on view from 13 October through 23 December 2026. Titled Fabric Matrons, the series continues the artist's half-century practice of using herself as her own model, but turns that method toward a subject she has long sidestepped: her own ageing. The starting point was a free magazine from a high-end Hamptons shop, its pages filled with heavily retouched pictures of a model of Sherman's own generation, dripping in jewellery. Lengthy swathes of cloth do the heavy lifting across the series, serving as garments and backdrops at once, so Sherman's invented characters seem to melt into their surroundings. Made at Chanel's invitation, several works fold in fabrics, jewellery and archival elements from the fashion house, including tweeds threaded with leather, gold and sequins. She first wore archival fashion in her Ominous Landscapes series of 2010 to 2012; here the styling is more theatrical, borrowing editorial photography's vocabulary only to knock its gloss off with deliberate artifice. Sherman works without a script. Fabric and wigs come first, tried in combinations until a personality surfaces, with make-up finishing the character. The cast includes a muse wrapped in cloth resolving into a floor-length red dress, a matron in tweed and tights against yellow drapery, and a figure whose peasant-style dress clashes with a pearl-embellished bag. Props appear rarely: one reclining figure lies beside a glossy magazine, standing in for ideals of youthful beauty, and a book on physiognomy, which reads the face's lines as worth studying rather than erasing. The throughline is visibility and who controls it. Some figures wear gloves that make skin look artificially flawless; others blur into the background, and make-up swings between airbrushed smoothness and an open display of wrinkles. Working close to the camera, Sherman says she found witnessing her own ageing startling. The series sits inside a double standard she names directly: women are measured against youth and beauty far more harshly than men, and the pressure to maintain a public image never lifts.