There is a very particular moment when you realise you have been told how to be yourself by approximately 4,000 people you have never met, usually somewhere between TikTok, Instagram and a badly lit bathroom mirror. Find your aesthetic. Build a capsule wardrobe. Discover your personal style. Dress for your body. Find your colours. Know your style archetype.
Gucci describes Primavera as being about rebirth, renaissance and the transformative power of falling in love. And that could very easily have become unbearable. Fashion campaigns have a long and occasionally embarrassing history of trying to explain LOVE to us in capital letters.
Youssef Nabil has always made images that seem to have arrived from a film we have half-forgotten: glamorous, bruised, a little untimely. In To Dream Again at the Musée d’Orsay, that feeling becomes almost architectural. His hand-coloured photographs and videos are installed amid the museum’s Orientalist galleries—spaces already dense with projections of elsewhere, with Europe’s fantasies of the Arab world—and the encounter is as seductive as it is uneasy.
Okay, so here’s the thing—I didn’t expect The Tiger to rattle me the way it did. I thought it would just be another stylish Gucci short, you know, something I’d watch while scrolling and pretending I wasn’t actually invested. But then Demi Moore walked in with that slow
I find myself writing this only days after returning from Milan, where the air—still weighted with the residue of late-summer humidity and the faint, persistent tremor of industry anticipation—felt almost eerily aligned with the release of Lord Piana’s latest campaign. It is a campaign that, for reasons both aesthetic and personal, has already been described by several contributing editors as “a soft revolution,” the sort of work that slips in quietly but lingers long after the typical commercial cycle has moved on.
There’s a kind of poetry in the way we’ve all collectively decided that small bags are, frankly, over. Too delicate. Too curated. Too “I only carry my keys and confidence.” This season, the pendulum has swung hard in the opposite direction—toward the Maxi Bag, that unapologetically oversized emblem of chaos and chic practicality.
Oh, fashion. This world where trends change faster than you can blink, where one minute it’s oversized everything, and the next it’s “wait, never mind, we’re back to sleek and tailored.” And in this whirlwind? There are a few rare souls who somehow manage to capture something deeper—something timeless.
Haider Ackermann’s buzz-worthy appointment as creative director of Tom Ford earlier this month may have made the interim, studio-produced collection at Milan feel a little less exciting, but its steady climb in the Vogue Runway rankings shows that the Tom Ford name still holds weight, even without a big-name designer steering the ship.
I still remember the first time I laid eyes on A. It was at a swanky fashion event in Milan, and she sauntered down the runway drawing everyone’s attention like a moth to a flame. She effortlessly owned the catwalk and let me tell you, it wasn’t just the designer clothes that had us all mesmerised; it was A. herself.
Claudia Maria Schiffer, the German model and actress, has left an indelible mark on the world of fashion. Born on August 25, 1970, in Rheinberg, Germany, she emerged as one of the most successful models of the 1990s, achieving supermodel status that transcended mere beauty. Her journey from a small town to international stardom is nothing short of captivating.
