When celebrating another year around the sun, a statement-making birthday dress is always a good idea. That was clearly an ethos for Emily Ratajkowski, who just celebrated her 35th birthday in bombshell-worthy style—with plenty of cutouts, to boot.

As shared on Instagram, Ratajkowski gathered friends for a birthday soirée that took over Ha’s Snack Bar on the Lower East Side. For the occasion, she slipped on a short-sleeved red bodycon minidress with a large, dynamic front cutout. The piece’s standout detail featured a large, torn panel that was interwoven with thin strips of fabric to create a spiderwebbed effect. Ratajkowski completed her look with sparkling square diamond stud earrings, a gleaming Paco Rabanne chainmail shoulder bag, and a pair of leopard-printed Paris Texas mules.

Guests, including Alex Consani, Irina Shayk, and Ziwe, enjoyed a red cube-shaped cake accented by monochrome red anthuriums. Fittingly, the dessert perfectly matched Ratajkowski’s bold birthday dress.

Naturally, plenty of Ratajkowski’s friends and colleagues flooded her post’s comments to share birthday wishes, including Shayk, Marc Jacobs, Ronnie Hart, Quenlin Blackwell, Eiza González, and Karlie Kloss. “We loved to celebrate u last night my queen,” Shayk shared, seconded by Chantel Jeffries deeming Ratajkowski a “Gemini queen.”

The occasion marked Ratajkowski’s latest free-spirited birthday celebration. Last year, the model and author’s “cake”-themed party found her in a patchwork printed Jean Paul Gaultier set from the ‘90s, complete with a cheeky birthday cake shaped liker her own derriere. The year prior, she simply shared a photo dump while posing in a colorful printed bikini to ring in her 33rd year.

Where birthdays are concerned, it seems there isn’t just one way for Ratajkowski to celebrate. However, she always does so with plenty of sleek style.

Drag queens are an undersung staple of the film world, from To Wong Foo, Thanks for Everything! Julie Newmar, to The Birdcage and Kinky Boots. But beyond the occasional cameo, those movies aren't led by actual queens. Meanwhile, there's a whole ecosystem of rough-hewn, gnarly films sustained by drag performers that seldom get the same attention. Without the resources or platform of a studio release, films like Die, Mommie, Die! and Hurricane Bianca capture an irrepressible spirit. In their DIY aesthetics, unfiltered scripts, and immediacy, these films come from an unabashedly queer approach to art-making: debauched, whimsical, and entirely of itself.

In honor of the release of RuPaul’s Stop! That! Train!, which stars modern drag icons like Ginger Minj, Jujubee, Brooke Lynn Hytes, Latrice Royale, Marty Lauter, and Symone, here are some of the fiercest, most sickening drag movies you haven’t seen (but should):

Die, Mommie, Die! (2003, Mark Rucker)

Drag legend Charles Busch already had dozens of plays and the cult classic Psycho Beach Party under his belt by the time he made Die, Mommie, Die!, an affectionate pastiche of midcentury Hollywood melodramas like Hush… Hush, Sweet Charlotte and Mildred Pierce. Busch helped innovate a style of drag that not only sends up leading ladies of the studio era, but plucks their affectations—Crawford’s iciness, Dietrich’s eroticism, Garbo’s cosmopolitanism—and recasts them as power, dropping them into an uncanny present.

What Really Happened to Baby Jane (1963, GGRC)

Only a few months after the release of Robert Aldrich’s Gothic camp classic Whatever Happened to Baby Jane?, the scrappy members of the Gay Girls Riding Club cobbled together their own take on the material, an impressive and fairly faithful adaptation. Minus a big budget, Bette and Joan, and sound, What Really Happened to Baby Jane? lays bare the comic absurdity of Aldrich’s original film. The GGRC, with little more than a camera and friends committed to the bit, made loving tributes and satires of their favorite movies, including an All About Eve parody called All About Alice, and cultivated a community of fans in and around the Los Angeles gay bar scene.

Girls Will Be Girls (2003, Richard Day)

Drag performers’ interest in movies about fame, celebrity, and Hollywood reflects both a sincere love of films like Sunset Boulevard and Valley of the Dolls and drag's instinct for exposing the artificiality of persona-crafting. In Girls Will Be Girls, the battle for stardom plays out in frozen dinner commercials, bitchy remarks shot off like shotgun shells by drag icons Evie Harris, Varla Jean Merman, and Coco Peru. Writer/director Richard Day’s script is clever, and the trio of queens’ chemistry makes their shared history on the drag scene clear.

Hurricane Bianca (2016, Matt Kugelman)

Before Roy Haylock went on to win the sixth season of RuPaul’s Drag Race, he met filmmaker Matt Kugelman, and the two began crowdfunding a movie about a teacher who gets outed and fired by their school, only to return in drag, with a vengeance. Bianca Del Rio’s trademark shadiness and acidic, scorched-earth humor are on display; the queen’s sharp tongue proves an amusingly bracing educational style. The film also features Alan Cumming and Rachel Dratch in supporting roles, with cameos from fellow Drag Race alumna Willam and Shangela, Alyssa Edwards, Joslyn Fox, and, naturally, RuPaul himself.

Malice in Wonderland: The Dolls Movie (2010, Russell Maynor)

An unholy cocktail of Alice in Wonderland, Mary Poppins, The Wizard of Oz, and Mommie Dearest, this derangement of a film is a terrific example of a certain kind of drag ethos: too much, totally bizarre, thrillingly unhinged, all in the name of subversion and a middle finger to good taste. Led by the Albuquerque drag troupe The Dolls, Malice in Wonderland finds young Alice saddled with Joan Crawford as a monstrous new nanny. Many pills and potions later, Alice encounters the White Rabbit rapping “White Chocolate,” eroticized munchkins and identical twins, and, naturally, wire hangers. The juxtaposition of the low-grade green-screen work, the vibrant picturebook backdrops, and The Dolls’ filthy humor provides a dizzyingly strange and amusing trip down the rabbit hole.

Starrbooty (2007, Mike Ruiz)

By the late 1980s, the blaxploitation genre, which had seen the rise of Pam Grier in films like Coffy (1973) and Cleopatra Jones (1973) and had helped Isaac Hayes win an Academy Award for Shaft (1971), had largely petered out. RuPaul Charles, then a queen not yet crowned, made a cheapo trilogy in homage, titled RuPaul Is: Starbooty! Those films are lost to time, but RuPaul revived his karate-fighting, gun-toting persona in 2007 with Starrbooty, filmed on the streets of New York and featuring Candis Cayne, club kid Lahoma Van Zandt, and drag icon Lady Bunny.

Slay (2024, Jem Garrard)

In the vampire comedy Slay, Trinity the Tuck, Heidi N Closet, Crystal Method, and Cara Melle go head-to-head with hot bloodsuckers terrorizing a local biker bar, The Bold Buck. This delightful drag makeover of From Dusk Till Dawn, written and directed by Jem Garrard, lets the queens revel in comic action-horror while conveying the strange experience of being an artist on the road, never certain of the destination but hoping to make a buck anyway.

Death Drop Gorgeous (2020, Michael J. Ahern, Christopher Dalpe, and Brandon Perras-Sanchez)

In lurid pink and purple, Death Drop Gorgeous gives drag queens their own Mario Bava nightmare. Here, the killer sports a black latex glove with razor-sharp claws, a black body suit, and a round silver face plate, knocking off young queers in Providence one by one. As aging drag queen and bartender Gloria Hole (Michael McAdam) grinds through endless nights and unbearable patrons, the killer sends shockwaves through the community—raising the darker fear that Gloria might be behind the murders herself. Death Drop Gorgeous also sneaks in keen observations about perceived expiration dates in nightlife.

Lypsinka: Toxic Femininity (2024, Chloë Sevigny)

Directed by Chloë Sevigny in mimicked VHS aesthetics, this short follows John Epperson, who has been performing as his alter ego Lypsinka since the 1980s. A regular at Lower Manhattan's Pyramid Club who appeared on Joan Rivers, Epperson’s Lypsinka merged camp excess with uncanny precision of timing and gesture. Sevigny’s film is an undersung study of female celebrity and diva worship across the decades.

Head-to-toe leather isn’t most people’s first option for summer dressing. Then again, most people aren’t Jodie Comer. The former Killing Eve star went full spy mode in a streamlined, Matrix-esque Burberry coat dress—complete with a twist that was surprisingly warm weather-friendly.

This morning, Comer strolled through a sunny Hudson Square in New York City, wearing a slick black leather coat styled as a dress. A V-shaped neckline cinched by a belt, biker-style shoulder tabs, and rolled-up sleeves added to the look’s nonchalantly cool nature. Comer kept her accessories streamlined, wearing the sleek style with narrow black sunglasses, diamond stud earrings, and a smooth black leather version of Alaïa’s Le Teckel shoulder bag.

When it came to footwear, however, Comer gave her all-black ensemble a summer-ready twist with an equally sleek pair of leather thong sandals. Of course, these weren’t your average flip-flops. Her footwear included a stiletto-heeled silhouette with wrapped ankle straps, complete with T-shaped thong straps on each toe. Indeed, this summer is already shaping up to be defined by the thong sandal. They’ve also found fans in Katie Holmes, Hailey Bieber, Zoë Kravitz, and Kendall Jenner. The shoe picked up steam across spring 2026’s runways.

Comer is out busy promoting her role in The Death of Robin Hood, A24’s upcoming gritty reimagining of everyone’s favorite “rob from the rich to give to the poor” thief. She plays a mysterious woman who cares for an aged Robin Hood (played by Hugh Jackman) as he comes to regret his life of crime. It’s not exactly your typical summer blockbuster, so it’s only fitting Comer’s outfit isn’t out in your typical summer dress either.

A swanky Chanel party in New York City might be the last place you’d expect to see the Knicks game displayed on giant television screens. But on Monday, June 8, the 19th annual Tribeca Festival Artists Dinner happened to take place on the same evening the NBA team was playing Game 3 in the championship series. Since their historic winning streak has united New Yorkers in ways unprecedented, the French label decided to lean all the way into Knicks mania .

Ayo Edebiri, Alex Consani, Teyana Taylor, Keke Palmer, Sarah Pidgeon, Tribeca Festival founders Robert De Niro and Jane Rosenthal, Paloma Elsesser, and many more stars attended the event, which celebrates artists who have donated original works to the winning filmmakers at the festival (participants like Carrie Mae Weems and Hank Willis Thomas were also in attendance). It was a glorious mix of worlds: amid all the fresh-off-the-runway fashion and candlelit clusters of pink peonies lining the tables at the Tribeca Grill were orange and blue (instead of classic black and white) cookies that waiters passed around on silver trays. The napkins were embroidered with orange and blue double C’s, and Knicks caps were also on offer.

“I’m quite disappointed they didn’t ask me to be on the team this year,” Consani said to W, noting to New York Knicks coach Mike Brown that she is available and “six-foot-four, right now. But I’m a fan, I’ve definitely watched games on set.”

Those TVs, by the way, weren’t just for showing the match—Leonardo DiCaprio, Bradley Cooper, Spike Lee, and more sent video messages to Jane Rosenthal, congratulating her on 25 years of heading up the Tribeca Festival. “Jane and I have worked together closely for 37 years,” De Niro said in a speech during the meal. “We tease that she’s my work wife, except there’s no messy prenup.”

Sofia Coppola, Grace Gummer, Christy Turlington, and Cole Escola circled the room in Matthieu Blazy’s coveted takes on the house’s tweed skirt suits and little black dresses. Molly Gordon wore an oversized leather Knicks jacket to show her team spirit while Palmer arrived in a playful beaded dog-print set from Blazy’s debut Métiers d'art collection featuring the face of his own dog in the mix. “Who doesn’t love dogs?” Palmer asked gleefully.

For her part, Teyana Taylor actually had tickets to the game and jetted straight to Madison Square Garden after a quick bite at the dinner party. Her fellow Harlem native, A$AP Rocky, recently told reporters he wasn’t just a Knicks fan, he himself was a Knick. Did Taylor agree? “Yes! When you’re a New Yorker, how we speak about us being New Yorkers, it’s always gonna be cocky. And we don’t regret it!”

Of course, it wouldn’t be a party without some Polaroids. Here, an exclusive set by photographer Emma Beiles Howie.

By now, it’s clear that Teyana Taylor has become one of Matthieu Blazy’s top muses during his tenure at Chanel. She’s frequently worn fresh Chanel straight from the run, often eyeing it first directly from her seat in the front row. Given the brand’s longtime partnership with the Tribeca Film Festival, it should come as no surprise that Taylor took the chance to play with Chanel house codes at two different events during the occasion.

On Sunday, Taylor arrived for a panel as part of Chanel’s “Through Her Lens” initiative in a dapper take on tweed suiting. Her ensemble prominently featured a heavily embroidered collarless jacket from the brand’s spring 2026 collection, covered in thin and wide stripes. Its varying shades of black, white, red, and gold created a geometric texture that nodded to the label’s signature fabric. Her look was complete with a pair of wide-cut, deep brown trousers from Chanel’s metiers d’Art 2026 collection. A gold-toned Chanel pearl station necklace was styled as a wallet chain. Maroon and white cap-toed pumps—a new take on the brand’s capped heels under Blazy—and a red New York Yankees baseball cap completed her look with pops of coordinating colors.

The next evening provided another opportunity for Taylor to flex her fashion prowess at Chanel’s Tribeca Artists Dinner among Chanel-clad guests including Katie Holmes, Whoopi Goldberg, and Keke Palmer. On this occasion, she nonchalantly appeared in a sheer, pale blue tweed and silk jacket and matching knee-length skirt with lacy trim. Each piece included dark maroon embroidery in thin, open plaid patterns, complemented by marled trim and twists of fabric that nodded yet again to Chanel’s signature tweeds.

Like it was shown on Chanel’s fall 2026 runway, Taylor wore the set over a sweeping pale pink lace shirt embellished with small, clear sequins. Her attire was complete with an oversized white, red, and pink tweed collared jacket with four pockets cinched by swirling silver buttons. The piece was further elevated by a tufted collar, cuffs, and trim woven with gleaming black beads for added texture. In addition to her same maroon and white pumps from Sunday, Taylor accentuated her look with a maroon leather top-handled Chanel handbag, strings of gleaming white pearls, and exaggerated sunglasses with pearly frames. The overall effect brought a dynamic, ornate take on Chanel’s core tweed suiting, which perfectly aligned with Taylor’s own texture-forward approach to dressing.

With her two Chanel looks, Taylor showed there’s more than one way to wear Chanel’s ladylike tweed suiting—and that the texture is richly open for interpretation. Given Blazy’s extensively colorful Chanel collections so far, including his three upcoming runway shows this year, Taylor’s sure to be seen in more of his eye-catching suiting sooner than anyone thinks—most likely, of course, in the front row.

On the evening of June 4, Tilda Swinton stood barefoot on a stage inside the Guggenheim Bilbao in complete silence for nearly 35 minutes. Wordlessly, she tried on various muslin garments handed to her by assistants nearby—then she’d strike a pose, her elegant and long limbs making shapes against the angular Spanish museum. It was all part of a performance artwork she’d created with fashion historian Olivier Saillard called “House of Gestures,” inspired, in part, by the champagne brand Dom Pérignon. The work was unveiled during the label’s yearly Révélations event—a celebration of the arts staged in far-flung locales. For 2026, the location was Bilbao: the coastal town, which became home to the Frank Gehry-designed museum in 1997, has a rich gastronomic history and a robust permanent collection at the Guggenheim, where visitors around the world come to see artworks by Jean-Michel Basquiat, Jenny Holzer, Richard Serra, and many more.

Thursday night not only marked Swinton’s debut, it was also the celebration for the official launch of four new vintages, a variety of champagne that takes about 20 years to develop. Notably, the Vintage 2018 is chef de cave (“cellar master”) Vincent Chaperon’s first vintage since he started working at Dom Pérignon eight years ago. Of course, Chaperon was on hand in Bilbao to celebrate, as was Solange Knowles, Alexa Chung, and Heated Rivalry actor François Arnaud. They were in the audience watching Swinton’s piece, and attended the subsequent dinner, when the main hall in the Guggenheim was transformed into the chicest spot in the Basque Country (each course was, naturally, paired with one of the new vintages). Knowles and Swinton sat next to each other at the table, which snaked around in loops.

“She’s a renaissance person,” Chaperon told W of tapping Swinton to participate in Révélations—it was actually her second time doing so, having performed a poem at the 2025 event held in London. This time around, “the base of our discussion really appeared in the performance: this notion of place,” Chaperon explained. “The body of Tilda has always been a place—all of her art is based on her body. We thought there was a connection between what she’s doing and the vintages, which are [an example of] permanent reinvention.”

The actor even visited the company’s vineyard and abbey in Épernay, France, in 2025—a fantastic year, climatically speaking, said Chaperon. There were “perfect conditions of sun, exposure, and temperature,” which is key for the next batch of vintages that’ll be released in the next eight-or-so years. Each season influences what will happen to future grapes. “This is the unique situation which we are in—present is past, but it is future at the same time,” he added.

Looking to make a style statement this summer? Start with sunglasses. Often regarded as an afterthought accessory—a piece that inspires less fanfare (and frenzy) than big-ticket bags or shoes—eyewear is actually a potent styling tool. The right sunglasses can level up your look. Extra-large shades might bring drama or mystery, while classic Wayfarers offer a timeless sense of cool. The spring 2026 runways delivered plenty of fresh inspiration, introducing a wave of exciting new sunglasses trends, plus endless possibilities for your summer style persona. At brands like Celine, Khaite, Prada, and Loewe, shades arguably stole the spotlight. Ahead, discover the five sunglasses trends we’re most excited to wear this summer.

Oversize Wrap

Just in time for the 2026 World Cup, channel your inner early aughts WAG in a sunglass style that offers full coverage. Hide from (while simultaneously attracting) the paparazzi in this considerable shape, which is marked by a curved front that cradles the face.

The Atlas D-frame acetate sunglasses

Thistles -

+ The Shining round-frame acetate sunglasses

Jacques Marie Mage -

Oval cat-eye acetate sunglasses

Gucci -

Runway Wrap Sunglasses

Tory Burch -

x Oliver Peoples 1967C

Khaite -

The Aela

Jimmy Fairly Paris -

The Tint

At Celine, Bottega Veneta, and Chloé, tinted lenses appeared in an assortment of sizes and colors. Ranging in mood from cinematic to retro to bohemian, this non-traditional lens will add a dose of colorful chic to your day.

Aviator-style acetate sunglasses

Bottega Veneta -

Eclipse round-frame tortoiseshell acetate sunglasses

Matteau -

Round-frame acetate sunglasses

Prada -

Groupie

Bonnie Clyde -

Chloé Wavy Sunglasses

Chloé -

The Funk Daddy

Crap Eyewear -

The Athletic

Even if, like me, you can’t run a mile to save your life, you can borrow the agile cool of an athlete with a pair of sporty shades. Bold colors, silver frames, and game-ready shapes will up the energy of any outfit.

Rounded-frame acetate sunglasses

Miu Miu -

Rim MG22

Gentle Monster -

Momoka Pacer Veridian, D+ Onyx Mirror Designed in California

District Vision -

Tommy Sunglasses

Bru Eyewear -

Eye Jacket™ Redux

Oakley -

Brady Sunglasses

Tom Ford -

The Wired It Girl

Wire rims are nothing new in the eyewear realm, but they feel fresh in the hands of designers like Miuccia Prada and Michael Rider.

1984C

Oliver Peoples -

Rectangle Frame Sunglasses

Jacquemus -

Prada Eyewear Collection sunglasses

Prada -

Jet-02 round-frame gold-tone and tortoiseshell acetate sunglasses

Tom Ford -

SL 866 square-frame metal sunglasses

Saint Laurent Eyewear -

Calisto Photochromic Sunglasses

Akoni -

The Flat-Top Aviator

This look marries sporty ease and oversize glamour. Seen at Loewe, Khaite, and Burberry, this shape feels new and directional for 2026.

Aviator-style acetate sunglasses

Celine -

Aviator-style gold-tone and tortoiseshell acetate sunglasses

Loewe Eyewear -

Tony

Chimi -

Telluride Sunglasses

Illesteva -

Val Sunglasses

Elisa Johnson -

Oversized aviator sunglasses

J.Crew -

As Kaia Gerber’s proven on multiple occasions, sleekly minimalist fashion can fit a wide array of dress codes and events. Her latest, courtesy of Alaïa, added a sharp edge to her darker style streak, bringing it an additional dimension.

In Paris, Gerber stepped out for the Snap Inc-sponsored luanch of artist JR’s takeover of the Pont Neuf bridge, stepped out in an ensemble featuring a draped brown jersey skirt and strapless black leather bodice. The piece’s bustier-style top included a row of small, paneled cutouts down its center, bringing the design a sultry touch.

For an effortless complement, Gerber’s sleek attire was paired with a tousled hairstyle and french-tipped pedicure. Her look was complete with a muted rose-pink lip color—an evergreen shade that’s grown popular through recent launches by Charlotte Tilbury, Hourglass Cosmetics, bareMinerals, Bobbi Brown, and more.

Gerber finished her ensemble by slipping on a pair of black leather open-toed mules. The style added a streamlined, barely-there base for her outfit from their stiletto heels and thin, subtly curved straps. While matching her outfit’s darker tones, the style was also one that Gerber’s worn before. Earlier this spring, the star stepped out in a similar pair of heels while promoting her upcoming role in FX’s The Shards during the Disney Upfronts in New York City, as well.

With its mixed textures and nonchalantly slick cutouts, Gerber’s Alaïa look brought a new addition to her recent fashion repertoire. This year, she’s embraced a darker neutral color palette across an assortment of lacy dresses and crop top sets on the red carpet, hailing from labels including Givenchy and Jacquemus. While off-duty, hints of classic white and blue denim have still shown that Gerber can embrace her carefree California roots, as well—an aesthetic that’s also signature to her supermodel mom Cindy Crawford. As The Shards premiere approaches this fall, Gerber’s sure to have plenty of darkly chic looks in store for the red carpet. How and if they add to her current range, however, remains to be seen.

The hoopla surrounding the Formula One Grand Prix of Monaco is one of the flashiest celebrations across the globe, and yet for this edition, all eyes were on Kim Kardashian. The star was in town to support boyfriend Lewis Hamilton as he led the event’s Ferrari team, makring the most public milestone in their relationship yet. Through multiple looks, Kardashian also took the opportunity to flex her longtime friendship with Gucci creative director Demna, as well.

On Sunday, Kardashian arrived to the Circuit de Monaco with sister Khloe Kardashian. Her racing day attire encompassed a stretchy, one-shouldered cream Gucci dress, complete with a sleek open-backed silhouette. Kardashian paired the piece with gleaming purple shield sunglasses, as well as a set of the brand’s black horsebit pumps—which provided a formal finish for the sporting event.

Meanwhile, Khloe coordinated with her sister in a silky ivory slip-style dress, complete with large dark sunglasses and PVC-strapped sandals.

Later that night, Kardashian took another spin in a sleek Gucci number. While boarding a boat after dark, the star sparkled in a glittering black gown with a sleek open back. The piece—as worn by Kate Moss to close the “Gucci Primavera” runway show earlier this year—featured a sultry thong cutout embellished with a crystal-set “GG” logo hardware. The cheeky accent was originally designed by Tom Ford for Gucci in the early 2000’s, and has since become one of the brand’s top signatures—in fact, Hailey Bieber also wore a backless Gucci dress with a similarly bejeweled thong last fall, as well.

The outings weren’t Kardashian’s only Gucci-clad appearances of the weekend, however. On Saturday, her and Khloe both stepped out to visit Ferrari’s team pit during the race’s qualifying session. On this occasion, Kardashian wore a black Gucci floral lace bodysuit, dark sunglasses, and her aforementioned pointed-toe pumps. Her ensemble was given a fittingly casual finish with wide-legged blue Gucci jeans accented by silver horsebit hardware on each pocket.

That evening, Kardashian stepped out on a boat in an all-black outfit, also by Gucci. This look consisted of a smooth leather jacket and matching pants, a set from the brand’s new “Generation Gucci” spring campaign. Her dark ensemble was complete with another pair of the brand’s oversized sunglasses, glossy black pointed-toe pumps, and its Gucci Lunetta bag—a small, zipped leather shoulder bag accented by the label’s signature green and red stripe.

Kardashian’s outings in Gucci cemented her longtime allegiance to Demna, who she frequently supported during his previous tenure at Balenciaga. It appears Kardashian has followed Demna to Gucci, which he now leads as the label’s artistic director. Most recently, she sat in the front row for his “GucciCore” cruise 2027 runway show in Times Square alongside Mariah Carey and Lindsay Lohan. The star also made headlines in a glittering gold bodycon gown and soaring platform heels from his “Gucci Primavera” collection earlier this year at Vanity Fair’s Oscars afterparty.

However, most of the world was likely more attuned to Kardashian’s newest relationship. Rumors that she’s been seeing Hamilton have echoed across the gossip-sphere for months now, which Kardashian has fueled by quietly including Hamilton in some of her Instagram photo dumps. This weekend appeared to confirm that the duo is indeed quite serious. “It's amazing to have her come this weekend and have the support,” Hamilton said in his post-race press conference. "It's amazing to have good people around you and good people supporting you, and she does that for me every day."

For Aubrey Plaza and boyfriend Christopher Abbott, nominated for his role in Broadway’s hit revival of Arthur Miller’s Death of a Salesman, this year’s Tony Awards was an opportune time to make their couples debut. The moment comes just weeks after the pair announced they were expecting their first child. Given the occasion, the duo did so in style—with Plaza also continuing her chic maternity fashion streak.

At the Tonys, Plaza arrived at Radio City Music Hall in a black dress from Chanel’s Coco Beach capsule collection. Her minimalist design featured a sleeveless silhouette with thin white straps, each accented with small metal hardware shaped in the brand’s gleaming “double C” logo. Thin white stripes were printed across the smooth, silky fabric, creating a geometric statement—much like similar styles crafted by Matthieu Blazy for the house’s cruise 2026 and Metiers d’Art 2026 collections.

Plaza accessorized with equally minimalist pieces. Her look was complete with low-heeled black leather sandals, with a dash of sparkle from a diamond-covered Effy Jewelry ring and pointed hoop earrings. A deep red manicure brought her attire a subtle hint of color, further adding to its classic nature.

Abbott was sharply suited in a custom Thom Browne ensemble, featuring a black velvet tuxedo jacket with grosgrain trim and pleated kid mohair trousers. Smooth black leather Chelsea boots completed his look, which was given a dapper touch from a white oxford satin-weave shirt and black neck tie.

Together, Plaza and Abbott made a strong case for coordinating couples’ style on the red carpet. With their ensembles’ smooth textures and stark palettes, the pair effortlessly complemented one another without matching too intentionally.

Plaza announced her pregnancy with Abbott earlier this spring. The pair were first romantically seen together at Death of a Salesman’s opening night in April, with the Tony’s marking their first red carpet outing as a couple. Though Abbott did not take home the trophy for his category, Death of a Salesman swept the Tony’s with six wins—including Best Performance by an Acreess in a Featured Role in a Play for Laurie Metcalf, as well as Best Revival of a Play. Additional honors went to The Lost Boys, Ragtime, Schmigadoon!, and Cats: The Jellicle Ball, among other productions.

Over in Europe, Chanel stores were mobbed this week as Matthieu Blazy fans lined up to get their hands on the designer’s first Métiers d’Art collection. But at the Greenwich Hotel Courtyard in New York, a much more subdued, yet equally Chanel-clad, group gathered. On Friday, June 5, Chanel hosted its annual lunch in celebration of Through Her Lens: The Tribeca Chanel Women’s Filmmaker Program. There, the brand and Tribeca Film Festival toasted eleven years of an initiative that highlights and connects bold, visionary female filmmakers.

The guest list was a cross-generational mix of stars from film, television, art, and music with Katie Holmes, Meg Ryan, Jodie Foster, Myha’la, Bethann Hardison, and filmmakers Patty Jenkins and Mira Nair (aka the First Mother of New York) all in attendance. Ryan, in a tonal cream look featuring oversized pants, found some much-coveted shade in the restaurant’s courtyard where she chatted with Foster (casual in a Chanel Charvet shirt) and nibbled on passed hors d'oeuvres. Meanwhile, Francesca Scorsese, who arrived fashionably late, took a moment to connect with Tommy Dorfman.

Guests beat the 90-degree weather with glasses of rosé in hand and caprese salads, and after everyone had a chance to mingle, the Tribeca Festival’s co-founder and CEO, Jane Rosenthal, hushed the crowd to say a few words and make a big announcement. Jean-Michel, the documentary, by Quinn Whitney Wilson had been bought by Netflix. The room erupted in applause as Wilson broke into a celebratory dance, drawing cheers from the crowd. It was the kind of moment that epitomized the reason for the afternoon, as Rosenthal explained. “The goal [of Through Her Lens] was to create something unique and needed,” she said. “A space where women filmmakers could tell their stories on their own terms with access to mentorship, resources, funding, and a community that believes in them.” She continued, emphasizing the importance of “women who take risks, who are not waiting for permission, who are making work that is bold, complicated, funny, painful, messy, and true.” By the end of lunch, that mission felt less like a talking point than a shared feeling—one worth dancing about.

Dressing for vacation often means mixing casual, relaxed comfort with just the right note of fantasy. Take Irina Shayk for example. For a recent trip to Spain, Shayk continued her always-daring ways with a cheeky mix of athletic and sexy pieces that were uniquely her own.

As shared on Instagram, Shayk posed for photos in a wispy transparent midi dress covered in silver zebra stripes. She strategically wore it sandwiched between a white bodysuit and an oversized gray blazer. Most comfortable, however, were her sneakers—a chunky, “dad”-style pair of New Balance 530’s with thick rubber soles and mesh paneling. While the lace-up pair’s metallic silver trim matched her contrastingly sheer dress, it delivered a relaxed, devil-may-care feel to Shayk’s look—especially when paired with white Nike tube socks. She’s on vacation, after all.

Naturally, Shayk’s ensemble was finished with an assortment of on-trend accessories. The model matched her outfit’s cool white palette to a white Hermès Birkin bag with palladium hardware, as well as a dangling sculptural pendant necklace. Large, gleaming silver hoop earrings completed her look with a dash of heavy metal.

Of course, this was just one of the looks in Shayk’s vacation repertoire. The star’s post also found her roaming across stone streets in a white minidress and lemon-yellow mesh Alaïa flats. Meanwhile, she slipped on a lacy black minidress and silky pants with crystal-trimmed, thong-strapped heels and a simple gold cross pendant necklace for a night out. But even supermodels rewear pieces from their suitcase on vacation, which Shayk proved while lacing into her chunky “dad” sneakers with a black jumpsuit at the gym.

Given her edgy, statement-making aesthetic, Shayk’s vacation wardrobe affirmed that personal style doesn’t have to be an afterthought when packing for travel. In fact, it can still be central to your off-duty wardrobe. The star’s held a longtime love of sheer pieces, from sweeping vintage dresses to transparent minis and underwear-baring ensembles. Adding her penchant for eye-catching chunky sneakers, it wasn’t a surprise that either piece made it into her suitcase for a sun-drenched trip abroad.

Eight times a week, while Nathan Lane finishes one of the most demanding performances on Broadway—as Willy Loman in Death of a Salesman—Christopher Abbott and Ben Ahlers are backstage at the Winter Garden Theatre, watching the Knicks every chance they get.

More days than not, from April to August, the two actors have been playing Biff and Happy Loman in Joe Mantello’s nine-time Tony-nominated revival of Arthur Miller’s classic American tragedy. It’s a two-hour-and-50-minute production that relies heavily on the emotional weight of its leading quartet (Laurie Metcalf plays the Loman matriarch, Linda). To get through the demanding experience, Abbott and Ahlers have found an outlet in their shared love of the New York basketball team.

“We both realized that we were pretty hardcore Knicks fans,” 29-year-old Ahlers, best known for his fan-favorite role on HBO’s The Gilded Age, told W in a joint conversation with Abbott ahead of the Tony awards. “We found that to be an easy justification to go run lines. We would just pop over to Chris’s apartment and watch the Knicks on TV, eat Chinese food, and work on the script. Now there’s a shorthand and a shared language, which we were able to take into the rehearsal room.”

The classic play was first staged in 1949, a few blocks away from the Winter Garden at the now-demolished Morosco Theater under Elia Kazan’s direction. The 2026 revival has been a critical and commercial hit, earning nine Tony nominations, including Best Revival of a Play and Best Direction. This version of Salesman is faithful to the original text, but adds in a few elements of magical realism, like the 1964 red Chevy that looms on the sparse stage for the entire play, foreshadowing Willy’s eventual death (set designer Chloe Lamford has also been nominated).

Salesman marks Ahlers’s first time on Broadway, while 40-year-old Abbott made his Broadway debut in 2011’s The House of Blue Leaves, a year before Lena Dunham’s Girls hit the air, making him a cult-favorite heartthrob for his role as Marnie’s devoted boyfriend, Charlie. (In the fall, Abbott will portray another archetypal brother of American literature as Adam Trask in Netflix’s East of Eden adaptation opposite Florence Pugh.)

“Ben’s done plays before, but never for as long a run as this one,” Abbott told W. “This will be the longest run I’ll have done, [too].” Abbott’s advice to Ahlers was to keep in mind what happens off-stage as much as on: “We have to show up and do our job, but just remember that what you’re going to take home when this is said and done is the memories of the in-between.”

Those memories will include, at the time of the interview, at least seven Knicks home games and the ferociously tight bond that both actors formed with their on-stage parents, Lane and Metcalf. As brothers Biff and Happy, Abbott and Ahlers embody the dreams and disappointments of their tormented father. Abbott, who has earned his first Tony nomination for Best Featured Actor for his role as prodigal son Biff, plays the role with a tender edge. The entitled former football star is a difficult character to make sympathetic, but Abbott does it masterfully. As the reckless and selfish but charming Happy, Ahlers adds a comedic spark to the emotionally heavy work.

“When the themes are quite heavy and dark like this one, the play can really weigh on me and my nervous system,” Ahlers said. “It’s a quick slip to an isolated depression, and all of us are pretty consciously working to keep that ball up of our own levity and joy. Whether it’s our little Loman family reunion at the beginning of the show, or the Knicks playing at intermission, it allows us to create a balance and not let the play take over the psyche.”

For both actors, the overwhelming response to the show feels like an encouraging sign of the public’s continued hunger for the arts, even when conventional wisdom suggests otherwise. “It’s reassuring that in 2026 people are still grabbing onto a play like this, which could be considered somewhat dated and is, at times, a melodrama,” Abbott said. “I can totally understand people just wanting to be ‘entertained’ and have a distraction of an experience right now. I give audiences a lot of credit for allowing themselves to be moved here.”

Indeed, by the final scenes of the packed evening I attended, the thick tension in the theater was cut only by a chorus of sniffles. “We’re told that people have such bad attention spans, but audiences are far more willing to meet you where you’re at if you treat them with respect,” Ahlers added.

And while they work on that, they’ll have the emotional support of the Knicks, now playing in the finals for the first time in 27 years. Abbott and Ahlers are hoping to attend Game 3 on Monday—it’s their one night a week off, after all.

Over the years, Lily Allen’s always been game for a fashion risk—whether that’s wearing lingerie as eveningwear or sculptural leather onstage for her current “West End Girl” tour. While in London, the star took a respite from globe-trotting at the UK launch party for Marc Jacobs Beauty, hosted alongside Katie Grand’s Perfect magazine. Naturally, she did so with a cheeky twist on nighttime dressing—and a nod to her own viral music, as well.

During the event at Decimo inside The Standard London, Allen posed in a light blue crop top of a sweater. Her Scallop Daisy style, hailing from Jacobs’ namesake line, featured a cropped, rounded hemline that nodded to the springtime flower that’s been a longtime source of inspiration for the designer. While initially appearing most appropriate for daytime wear, she gave the whimsical piece a sophisticated edge with a smooth black silk miniskirt, tights, and a gleaming gold wristwatch. Her look was complete with a pair of exaggerated Mary Jane heels from Jacobs’ doll-inspired 2025 collections, featuring buckled front straps, thick heels, and bubbly rounded toes in a playful nod to both preppy style and DIY pieces made for paper dolls.

Allen finished the look with accessories that nodded to her own career, as well. A longtime face and muse for Chanel, her ensemble earned a dash of sparkle from a swinging pair of floral crystal drop earrings from the French label. She also carried a soft white leather version of the brand’s signature quilted flap bag, which held a particularly special meaning. After West End Girl’s fall release, Allen’s song “4chan stan” referenced ex-husband David Harbour buying a woman a handbag at Bergdorf Goodman—which she furthered by printing a receipt for the piece on a bedsheet that became part of her tour’s production set.

In a cheeky twist, Allen later shopped in Bergdorf’s with Harper’s Bazaar editor Lynette Nylander, which both documented on Instagram—including Allen’s purchase of the aforementioned white bag. Indeed, as a regular part of her handbag rotation and latest London outing, the star’s Chanel style has certainly made the case for maximizing a piece’s cost per wear.

Marc Jacobs has also been on a hot streak as of late, thanks to the viral relaunch of his Marc Jacobs Beauty line in partnership with Coty. Several heor pieces from the new collection have already sold out in multiple shades. It’s a victory lap for Jacobs after his original beloved beauty collection closed in 2021. On the fashion front, he’s continued to garner acclaim with off-calendar runway shows in New York City, most frequently referencing ‘60s dressing and the exaggerated, playful proportions of dolls in a dollhouse.

“It’s not super intentional, but I think that’s somehow how I see my position in fashion,” Jacobs shared of his inspirations on the beauty podcast Fat Mascara this week. “It’s like I’m playing with dolls. I’m figuring out the clothes, and the makeup, and the hair. There’s that kind of spirit and that form of creativity that makes it. I’m not doing this for me—I’m doing this on, or for, someone else.”

If you live in New York City (or a surrounding suburb), you know the current Knicks fever is inescapable. For the first time since 1999, the Knicks are in the NBA Finals (which they haven’t won since 1973). It’s safe to say the city is ecstatic. Usually chilly New Yorkers are beaming with pride for their team, shouting out “Let’s go Knicks” and “Knicks in four” with the same verve they normally save for cussing out a wayward cabby. It’s impossible not to get sucked up in the excitement, irregardless of whether you can tell tell a lay-up from a free throw.

Perhaps you somehow managed to get floor seats at Madison Square Garden. More likely, you’re watching the games at your local bar, or you simply want to support New York’s team out in the wild. No matter what, you need to do so in style, which doesn’t always mean decking yourself out in Knicks-branded merch. There are some more fashion-minded Knicks pieces on the market at the moment, but the team’s distinct colors mean you can also just wear orange and blue in support (and rewear once the series is over). Below, shop the pieces that will make you look like a true fan (even if you just learned of Jalen Brunson’s existence last month).

New York or Nowhere Knicks Rafters Sweater

Shopbop -

Mini Amazona 180 Bag

Loewe -

Kith & Avirez New York Knicks Patrick Ewing Legend Jacket

Kith -

Corridor New York New York Cap

Revolve -

Miu Miu Zip-Up Logo-Detail Bomber Jacket

Farfetch -

New York Cashmere Sweater

Nüülee -

Sophie Buhai Everyday Earrings

Ssense -

New York Knicks Mitchell & Ness Cream Concrete Apple T-Shirt

The NBA Store -

Loafer Bag

JW Anderson -

Khaite Kinga Mid-Rise Straight-Leg Shorts

Net-A-Porter -

Toteme Croc-Effect Leather Sandals

Net-A-Porter -

The Sports Oxford in Poplin - Knicks

Dannijopro -

Grosgrain Headband

Lanvin -

Vince Satin High-Rise Pants

Saks Fifth Ave -

Guest in Residence Layered Cotton-Cashmere T-Shirt

Saks Fifth Ave -

Adidas by Wales Bonner Karintha Lo Satin Sneaker

FWRD -

During her ongoing press tour for Steven Spielberg’s Disclosure Day, Emily Blunt has embraced an array of enchantingly structural designs by Alaïa, Stella McCartney, and more. Her latest romantic look, which also embraces medieval references and luxe glamour, continues to show she’ll always keep you guessing when it comes to fashion.

On the red carpet for the sci-fi film’s official United Kingdom premiere, Blunt fittingly arrived to Rose Court in a blooming Erdem ensemble. From the designer’s fall 2026 collection, her look featured a pale pink crushed silk midi skirt covered in a shadowy black and red rose print. However, its greatest statement came from a structured, heathered white top with a high neckline and flat shoulders, instantly bringing to mind the silhouette of knightly armor. The raw-hemmed piece was geometrically adorned with thin stitching and an assortment of swirling pink, coral, and silver-toned floral crystals, creating an ornamental finish.

Stylist Jessica Paster finished Blunt’s garden-worthy outfit with Mikimoto jewelry—a gleaming gold bangle, huggie earrings, and cocktail ring, each set with small diamonds and adorned with a single white pearl. The actor’s ensemble was complete with sheer tights and a set of pale brown satin sandals, simply finishing her look while allowing its adornments and soft jewel hues to serve as a focal point.

Blunt’s look originally walked the runway as part of Erdem’s fall 2026 show in the Tate Britain in London, which also marked the twentieth anniversary of Erdem Moralioğlu’s namesake label. Taking inspirations from both British artists from the 1800’s and 1900’s, as well as the UK’s ‘90s rave culture, the collection showed a darker side of his sophisticated eveningwear and outerwear—complete, of course, with a rich color palette, smatterings of jewels, and his signature garden’s worth of floral prints.

There aren’t many Birkin bags or Hermès scarves to be spotted on this barren stretch of Jefferson Boulevard in South Los Angeles, where a plumbing supply shop and a liquor store dominate the cityscape. But inside the bright, paint-splotched studio of artist Calida Rawles, Nadège Vanhée, the artistic director of women’s ready-to-wear at Hermès, seems very much at home. It’s Vanhée’s first visit to the workshop of the L.A.-based Rawles, who is best known for her paintings of Black figures submerged in water. As Rawles discusses a couple of her recent works and half-finished canvases, Vanhée listens intently, occasionally voicing her own musings about time and space, stillness and movement. She’s fascinated by some fragments of window screens that Rawles has been threading with dried bits of acrylic paint. On a worktable are a few small paintings with abstract inkblot-like forms that spark Vanhée’s observations about Rorschach tests—and about women’s belt buckles. As the visit winds down, Vanhée tells Rawles about the 19th-century avant-garde painter Paul Sérusier and some other must-sees at the Musée d’Orsay. Then she discreetly steps aside with an Hermès colleague, using her phone to select three makeup products: eye pencils in shades of blue and green that she wants to send Rawles as a gift. “The colors go very well with the work,” Vanhée says, smiling.

At Hermès, Vanhée has spent 12 years looking for imaginative ways to explore the confluence of style and substance. But in a fashion world brimming with big personalities and chronic over-posters, she has managed to maintain a certain aura of mystery. To those who don’t know her, Vanhée’s Gallic air of cool self-possession (picture a 40-something Isabelle Huppert with a Bolide bag) can seem either enigmatic or intimidating, depending on the observer’s level of insecurity. Still, her background in the art world, along with her obvious zeal for the thrills of the creative process, reveals a lot about what drives her. It also helps explain her attraction to Los Angeles, where she landed in March to soak up the cultural scene in preparation for the major Hermès runway show that happened on June 4.

“Nadège is an artist herself,” Rawles tells me later. “You can see it in how she looks at details, how she understands the work, how her eyes light up at certain things.”

Indeed, when Vanhée and I sit down for drinks at the Hotel Bel-Air after the studio visit, she immediately admits to some nostalgia for her days as a student at the Royal Academy of Fine Arts, in Antwerp. “I always get excited when I see the workshop of a sculptor or a painter, where it’s almost as if the cerebral becomes physical,” she says. Raised in a small town in France’s provincial far north, she enrolled at the prestigious art and fashion school in the late 1990s, more than a decade after it had gained fame as the launching pad of designers like Dries Van Noten, Martin Margiela, and Ann Demeulemeester. When she applied, in her early 20s, Vanhée hadn’t yet learned to properly draw. “I don’t want to sound vain, but I’m almost sure they accepted me because of the way I looked at the interview,” she says. “I wore this chartreuse leather jacket that wasn’t finished—it was a half-prototype, maybe from a Claude Montana sample sale. It was so beautiful.” Tasked with drawing a classical bust for the designer Walter Van Beirendonck and the admissions committee, Vanhée got around her lack of drafting skills by trying a bold gambit: “I thought, You know what? I’m going to ditch the pen.” She used collage to craft her own version of the bust using scissors, Post-its, and cutouts from magazine pages.

That instinctive knack for reimagining the classics has come in very handy for Vanhée at Hermès. The family-owned luxury brand has had a remarkably successful run in recent years and is currently one of the world’s most valuable companies, worth around $200 billion. At a moment when concerns are growing everywhere about society’s overreliance on technology, it’s no surprise that customers are drawn to a house that was founded in 1837 and remains committed to meticulous craftsmanship and the finest materials. Every Hermès bag is still hand-stitched by an individual artisan in the company’s atelier on the outskirts of Paris; Vanhée’s clothing designs put a contemporary spin on the supplest leathers and silkiest silks, always with garments that beg to be touched. “The hand connects us, you know?” Vanhée says. “I touch your hand, you touch my hand, we connect. But the hand is also able to write with a pen, so it’s such an important part of our human identity.” When she first got to Hermès, she recalls, “I think we were celebrating craftsmanship as an idea about heritage. And today it’s almost a contemporary position. You anchor yourself to the work by hand.”

Anyone who spends more than a few minutes with Vanhée will notice her tendency to frame her thoughts in conceptual dualities. Whether she’s discussing a Talking Heads album cover or her design philosophy, she gravitates to themes such as function versus fantasy, or exposure versus concealment. And when it comes to intriguing contrasts, few cities can compete with Los Angeles, where great beauty and unabashed tackiness are engaged in a perpetual tug-of-war.

Vanhée chose the city for what Hermès is calling chapter two of its fall 2026 collection. The first chapter debuted during Fashion Week at the Paris headquarters of the Republican Guard, which Vanhée transformed into a moody, mossy landscape. (Unlike most major houses, Hermès doesn’t do resort collections, but this is its third annual big-deal road show, following one in Shanghai last year and another in New York in 2024.) For the L.A. iteration, Vanhée opted to go cinematic and colorful, in a distinctly Hermès kind of way. Inspired by the grace of a dancer who rigorously refines her performance through gestures that she perfects over time, Vanhée says, the collection explores “the quiet tension between discipline and ease.” Jumpsuits in soft pastels (a nod to ballet slippers) alternate with sleek dresses in bold red and green shades that evoke glamour-puss lipstick or vintage Cadillac convertibles. Black leather silhouettes with elaborate marquetry allude to Hollywood’s darker, more mysterious side.

“L.A. is the land of creativity, but it’s also the land of forging your identity,” she says. “You come here to look for who you are.” A major influence from the archive is a foulard by Caty Latham, who spent decades creating scarves at Hermès. The foulard itself is an assemblage of 20 of Latham’s previous designs, which Vanhée sees as a symbol for the sprawl of L.A., with “all these different neighborhoods connected together.”

Vanhée’s attitude about Californians who go to restaurants in sweatpants or leisurewear is notably unjudgy; she seems determined not to be the sort of Frenchwoman who sneers at a tourist’s ill-chosen outfit from her seat on a café terrace. “I don’t have this pattern where I see good taste or bad taste,” she says. “I like to see people’s individual sensibilities through their clothes. There’s never something wrong with what they wear. It’s almost like, Why did they do this? What is the motive behind it? What happened?”

She is especially struck by the way L.A. women can easily shift back and forth between an awards gala and a morning hike along the coast. “They have this ultraglamorous face that they can put on, and then they can turn into this very natural girl,” she says. Lauren Hutton is one of Vanhée’s enduring favorites. “And definitely Anjelica Huston. She has this double thing.” It’s a particularly American dichotomy, similar to one that Vanhée already explored at The Row, where she was design director from 2011 to 2014, working under Mary-Kate and Ashley Olsen in New York. “With Mary-Kate and Ashley, we were always converging on this combination of sophistication and ease,” she says. “It was something that I was naturally inclined to do.”

During Vanhée’s whirlwind swing through L.A. in March, her focus was not on celebrities or Hollywood power brokers but on local artists and creatives. In addition to Rawles’s studio, she visited the Venice space of video artist Doug Aitken; the downtown gallery Vielmetter (where painter Whitney Bedford, an old friend, is on the roster); and the Charles & Ray Eames Foundation, the midcentury mecca in the Pacific Palisades that narrowly escaped destruction during last year’s catastrophic wildfires. “L.A. celebrates individuality, but at the same time I really felt this sense of collective responsibility,” she says. “I think the fires really struck something.” After witnessing how dozens of designers, architects, and artists not only made big contributions to relief organizations but also personally stepped up to replace lost furniture and help rebuild homes, Vanhée rethought some of her own priorities. She says that when she got back to Paris, where she lives near Pigalle, “it gave me an idea of, What if I can connect with people in a different way? What if I can be more supportive in different fields?”

Last year, Hermès announced that it is putting Vanhée in charge of its most ambitious venture in years: a new haute couture atelier. She speaks carefully about the project, since it’s “still embryonic.” Right now, she says, “we are busy with logistics, because if we do couture we have to do it according to the rules.” The Fédération de la Haute Couture et de la Mode has strict codes regulating such things as the amount of space in a workshop, the number of artisans, and the tools and materials that can be used. For a brand that already outranks most of its rivals when it comes to craftsmanship and exclusivity, couture will likely deepen Hermès’s commitment to artisanal know-how while luring in an even more rarefied clientele. “The idea is to have the ultimate gesture of handmaking,” Vanhée says. “Each piece is going to be one of a kind and belong to one person.”

Even in her new role as a couturier, however, Vanhée is unlikely to abandon her conviction that great style can be expressed in unexpected, sometimes humble ways. She recalls a favorite L.A. moment during her trip, when the city’s laid-back spirit was working its charms. One morning, she had just sat down for breakfast at the counter in the famed Fountain Coffee Room—the restaurant on the lower level of the Beverly Hills Hotel—when she realized she’d forgotten her glasses. She started squinting her way through the pancake options on the menu, until the server did something surprising. “She lent me her glasses!” Vanhée says incredulously. “I thought that was really chic.”

Hair by Anthony Turner at Jolly Collective; makeup by Lynsey Alexander at Jolly Collective; manicure by Hanaé Goumri at Walter Schupfer Management. Model: Kristen McMenamy at the Lions Management. Casting by Ashley Brokaw. Set design by Alexander Bock at Streeters.

Produced by Brachfeld; Executive Producer: Clément Camaret; Production Coordinator: Liliana Della Porta; Lighting Director: Antoni Ciufo; Photo Assistants: Thomas Vincent, Yves Mourtada; Digital Technician: Aurentin Girard at Imagin Productions; Retouching: Imagin Productions; Fashion Assistant: Elfé Baroso-Bertrand; Production Assistants: Fanny Carpentier, Gwenaëlle Michau, Rose Bernard; Hair Assistant: John Allan; Makeup Assistant: Fernanda Paz.

Twenty-twenty-six is a big year for those who like their art with a side of pop culture. Many of the world’s major museums and galleries are banking on big names for their first shows. Take Ghosts by Eliza Douglas at Gagosian, which celebrates the artist’s first solo New York exhibition with a body of work that nods to the iconography of advertising. In London, Tate Modern showcases stunning Tracey Emin work that And Just Like That... fans might recognize, while the V&A is going all in on Schiaparelli. Finally, the National Gallery of Iceland is celebrating Björk’s upcoming album with a three-work installation from the artist (plus an accompanying show from her frequent collaborator). Whether you’re fashion, music, or TV-minded, there’s something for you—and we’re still less than halfway through the ever-growing art calendar. More will come both in the U.S. and abroad, so if you’re planning some cultural stops for your next trip or just looking to see what’s on view in your neighborhood, consider this your all-encompassing guide to the can’t-miss art shows of the year.

Mickalene Thomas at the Shepherd

After two decades spent developing a highly influential, distinctive artistic practice centered on the depiction of Black womanhood, Mickalene Thomas has, for the first time, turned her creative eye toward Black masculinity. An entirely new body of work, Beneath the Moonlight, will be on display at the Shepherd in Detroit from June 6 through August 23, 2026, presented by Library Street Collective. The exhibition includes large-scale paintings, collages, and photography, as well as Thomas’s trademark staged settings. “The representation of masculinity spoke to me more, and using the Black male body as a vehicle, as a conduit to express those ideas that are resonant and paralleled to my concepts that I’m already working within with the female body,” Thomas said in a release. She worked with models beyond the gender binary to create her works, exploring themes of representation, stereotypes, and self-agency. She was inspired, in part, by the work of photographers like Quil Lemons and John Edmonds, who represent a new generation of artists grappling with themes of identity. To accompany the show, a catalog featuring original essays and interviews, designed by artist Bob Faust, will also be available for visitors to read. Beneath the Moonlight follows Thomas’s first major touring solo exhibition, All About Love, which debuted at The Broad in 2024.

Eliza Douglas at Gagosian

Ghosts is filled with firsts. It is Eliza Douglas’s first solo exhibition in New York, her first at Gagosian, and the first in a new program at the gallery consisting of solo presentations by different artists curated by Francesco Bonami. “The unique and historic character of the Park Avenue and 75th Street location is an ideal space for a laboratory of fresh perspectives that will complement the gallery’s existing programming,” Bonami says of the series, which kicks off on May 12 with a display of Douglas’s “meta-paintings.”

The works in Ghosts borrow from the iconographies of advertising and popular culture, blending them with gestural abstraction. Through this practice, Douglas emphasizes art’s status as a consumable good. Those familiar with the artist’s work may recognize some of the pieces in Ghosts because they are reworkings of paintings she exhibited over the past decade at her gallery, Air de Paris. In this new show, she combines the existing compositions with selfies taken by her aunt, Leslie Kean, an investigative journalist who has long been reporting on UFOs and “otherworldly phenomena.” Douglas also pulls from a 2022 group exhibition at Gagosian London titled Haunted Realism, which explored the idea that the past continually haunts the present. Douglas has always toyed with the idea of hijacking, but Ghosts marks the first time she has incorporated such a practice into her production. The use of an existing body of work acknowledges the constant repackaging of cultural products. As theorist Mark Fisher says, “Those who can’t remember the past are condemned to have it resold to them forever.”

Ghosts is on view at Gagosian Park and 75th location through July 31.

Ad Hoc at Studio2M

Studio2M has opened in SoHo as a workshop and exhibition space—and for its inaugural exhibition, founder Abby Caulkins has asked French artist Marie Hazard and Portuguese designer Constança Entrudo to collaborate on a body of work. The result is Ad Hoc, an exhibition that provokes a dialogue between art and fashion while deconstructing the usual hierarchies found within both disciplines. Hazard provides tactile compositions with poetic narrative qualities and installations combining weaving, beading, and crochet. Similarly, Entrudo uses digitally layered textiles to explore the ideas of weaving as a language and the intersection of craft and technology. Together, they push the limits of traditional weaving practices, blurring the boundaries between fashion show and performance, and taking into consideration the connections between fabric, space, and the body.

Ad Hoc will be on view at Studio2M from May 7 to June 13.

Dancing the Revolution: From Dancehall to Reggaetón

Intrinsically tied with music and sound, dance and movement have always played an integral role in spaces of collective organizing for liberation across the globe. On view at MCA Chicago through September 20, 2026, Dancing the Revolution: From Dancehall to Reggaetón underscores the histories and lasting impact of dancehall and reggaetón across visual, political, and spiritual registers. The major exhibition looks at how these musical genres have expanded beyond their “grassroots origins” and now serve as major shapers of culture on a global scale.

Spanning painting, sound sculpture, installation, photography, and video, Dancing the Revolution features the work of over forty contemporary artists, including Isaac Julien, Edra Soto, and Alberta Whittle, to name a few. The works in the show meditate on the revolutionary power of dance, particularly within the realms of dancehall and reggaetón, and how the practice functions not only as a source of joy but also of resistance. From sexual liberation to political protest, Dancing the Revolution positions dance and music as pillars of Black Atlantic history and culture, in the Caribbean and beyond. —Daria Simone Harper

Hidden Treasures, 250 Years of Franco-American Luxury Stories at The Shed

Comité Colbert presents “the most exclusive exhibition on French luxury held in New York,” at The Shed from May 26 to 31. Hidden Treasures, 250 Years of Franco-American Luxury Stories brings together over 65 French luxury maisons and cultural institutions, along with their never-before-seen American archives. Together, these pieces illustrate two-and-a-half centuries of friendship between France and the United States, and the role luxury has played in that relationship.

Each luxury brand is represented by one singular artifact, and together, a story is told about two countries and their cultural dialogue. Hidden Treasures explores the diplomacy, identity, and popular culture shared across the Atlantic. Jewelry, hotels, fragrance, liquor, and more are all represented in the exhibition, which attempts to portray the universal language of beauty. Christofle tableware from the Normandie collection and a Louis Vuitton trunk represent the luxury of cross-Atlantic travel. A 1933 gown designed by Cristóbal Balenciaga and worn by American socialite Mona von Bismarck exemplifies the influence of French couture on American style. Pieces from Berluti, Hermès, Chanel, and more luxury brands add to the narrative. A Celine scarf printed with U.S. Mail iconography and a Christian Louboutin heel inspired by Cinderella’s glass slipper, meanwhile, proves that inspiration flows both ways.

Emmanuel Boos at Raisonné

French ceramist Emmanuel Boos is bringing his glazed porcelain practice to NYC with his first solo show in the United States. A “glaze consultant” for Hermès and the recipient of the “Special Mention” award at the 2024 Loewe Foundation Craft Prize, Boos has long boasted a transatlantic career. But this show, Noir C’est Noir, takes border-jumping to a new level. From April 9, Raisonné will host over 70 of Boos’s unique works, including coffee tables, side tables, stools, vases, and other objects. Together, these pieces illustrate Boos’s distinct style and exploration of fragile beauty and humorous practicality.

Boos’s porcelain practice allows him to embrace imperfection and welcome the unexpected, which he calls “happy accidents.” Also important to the process is Boos’s arrangement of his work within a space. There’s a modular aspect to this practice, with pieces grouped into various unfixed cohorts. This provides a reflection of the artist’s own nomadic life, and his closely held belief that meaning always exceeds function. “My practice of glaze does not aim for mastery nor domination,” the artist said in a statement. “I wish to slip into the glaze and develop a friendly relationship with chaos and eventually trust chance. It is emotion, sensuality, poetry.”

Dean Majd at the Camera Club of New York

In his debut solo show, Hard Feelings, Palestinian-American photographer Dean Majd chronicles a decade of brotherhood, grief, gore, and glory. As a young boy, the Queens, New York-born artist was often left alone, with only a camera in his hand to document his loved ones. But the sudden passing of a childhood friend in 2015 thrust him back into the nocturnal and hypermasculine graffiti and skate scenes, where the odyssey of Hard Feelings begins.

Driven by devastating loss and a desire to record truth, Majd captures deeply intimate portraits, demanding reflection and healing. In early imagery like geri on the hellgate bridge or bohemian rhapsody, risk and bliss alike appear in ritual and full force, from a young man undergoing a rite of passage, to friends sharing a hotel tub. The trust between Majd and his community is palpable, offering his sitters and viewers the opportunity to confront self-destruction head on. Brutality and tenderness unfolds as Majd’s community allows him to lens aftermaths of self-harm, abuse, and death. As both participant and observer, the artist’s visual language is unflinching and profoundly empathetic. Notably, Hard Feelings begins and ends with celebrations of life. —Ayesha Le Breton

Jonas Wood at Gagosian

The worlds of sporting and art combine in a series of works on display now at Gagosian’s Beverly Hills gallery. Over the past two decades, American artist Jonas Wood has turned prominent tennis matches into works of art, depicting these on-court battles in oil and acrylic paintings. The works are uniform in their vantage point, with each placing the viewer behind the baseline. Players and officials are nowhere to be seen, while spectators make an infrequent appearance in the form of abstract brushstrokes or dots.

Wood’s paintings blur the line between abstraction and Pop Art. A painted wood pattern surrounds Wimbledon with Wood Grain (2025), while the dotted audience of Mexican Open (2025) places the court in a star-filled galaxy. Homages to Roy Lichtenstein come in the form of works like Paris Olympics with Crying Girl (2025) and Dubai with Nude with Blue Hair (2026), where the late artist’s iconic Crying Girl (1963) and Nude with Blue Hair (1994) frame the courts. There is a standard followed with each painting: saturated colors, similar dimensions, and repeated elements. This uniformity allows the differences to come alive, making you ponder—and rethink—each piece.

Lorna Simpson at Punta della Dogana

Since her first solo show in New York in 1986, Lorna Simpson has explored concepts of race, gender, identity, and subjectivity, archiving Black lives and experiences in vivid, boundary-breaking form. She changed the language of photography, turning the media on itself as she framed Black women with their faces just out of view, text collaged on the images that hinted at and asked the viewer to question how the women were seen. In the decades since, Simpson brought her renowned conceptual experimentation to collage, film, sculpture, and—beginning at the 2015 Venice Biennale—painting. Now, the legendary artist is opening her first major European exhibition at Pinault Collection’s Punta della Dogana in partnership with the Metropolitan Museum of Art. Third Person, running March 29 through November 22 at the Venice museum, features over 50 of Simpson’s paintings, spanning 20 years. There’s a special focus on the aforementioned large-scale works from Okwui Enwezor’s Biennale, never-before-seen offerings from Simpson’s personal archive, and new paintings made especially for this exhibition. —Ashley Simpson

Jessi Reaves at Arts and Letters

Ever since Arts and Letters NYC got a curatorial team (including Jenny Jaskey and curator Kristin Poor) two years ago, the uptown establishment has been increasingly showing up on downtown feeds. Rotated on the half year, a new suite of exhibitions has recently taken over Arts and Letters’s enviable rooms, including a mutation of Jessi Reaves’s first institutional solo show, which opened at the Walker Art Center earlier this year, and now has been reconstituted in a new configuration for Arts and Letters.

Cushions for tetris-like banquets welcome visitors into Art and Letters’s right wing; sitting atop these hand-painted perches, as you are encouraged to do, one can pivot in place and survey the show’s topography—namely, an archipelago of free-standing sculptures populated by a flock of reusable water bottles. Each water bottle bears a different paper cut-out of a bird, and these flightless creatures are like everything in Reaves’s world—a recombination. Reaves first made a name for herself in sculpture by dressing down modernist icons, Marcel Breuer seats and Le Corbusier lounges—until only their vulnerable essentials were left. Now more than a decade in, her attentions have turned elsewhere: to the empty promises of pure function and the transformative powers of accumulation. Here, a Nalgene bottle becomes a paper crane, a WPA mural becomes a bench, an art show in one city is something else entirely in a different location. By the time you’ve sat down, you’ve forgotten there is a painting underneath you. —Kat Herriman

Carol Bove at the Guggenheim

For the next several months, tea will be served in the rotunda of the Solomon R. Guggenheim Museum. The occasion? Artist Carol Bove’s monumental new survey, which has taken on the Frank Lloyd Wright masterpiece as a co-conspirator rather than an obstacle. Bove—whose work has long explored the juxtaposition of geometries, both found and made—draws out the patterns and repetitions embedded in the architect’s design. In doing so, she reveals that the museum’s famous circle is in fact composed of countless rings and discs, to which she adds several of her own in metal, fabric, and paint.

As you ascend the building’s signature spiral, you travel in reverse chronology through Bove’s career. You might notice you are also moving from dark to light; Bove has applied a black-to-white ombré that unfurls floor by floor. It is a minimal intervention with maximum impact. It all comes into focus the higher you climb—Bove has consistently, and gently, adjusted the essential forms we think we know so well. By doing so, she renews them, revealing truths that were hidden in plain sight. The most glaring and delightful example? A diamond-shaped cut Bove has made in a false wall, which reveals a Joan Miró work that hasn’t been seen for decades.

It is an exhibition that insists you slow down and unwind time. It warms you up for the act of steeping by creating the conditions conducive for it: ample seating and something to sip. —K.H.

Beginnings: The Story of Creation in the Middle Ages at The Getty Center

The Biblical narrative of creation is explored in a modern context in Beginnings: The Story of Creation in the Middle Ages. Paintings by American artist Harmonia Rosales are shown in dialogue with transcripts from the Getty’s collection, situating her work within the world of visual storytelling and placing her paintings in direct conversation with medieval representations of creation. Rosales has long been known to draw on artistic methods from the Renaissance and Baroque periods, combining them with African diasporic histories. She continues this practice with Beginnings by contributing a contemporary perspective shaped by West African spiritual traditions, adding to the ongoing conversation around creation. In addition to previous work, including Portrait of Eve (2021), Beginnings will feature a new piece, created in response to the significant illuminated manuscript, Stammheim Missal.

Beginnings: The Story of Creation in the Middle Ages is on view at the Getty Center in Los Angeles from January 27 to April 19.

Leonard Baby at Half Gallery

Leonard Baby’s new show may have a quirky title, but don’t be fooled. Resting Babyface features work from the New York-based artist, which he created during a period of profound sadness. As a result, the paintings on display encapsulate the essence of vulnerability and the complexities of personal experience. This is nothing new for Baby, who often draws on his past and emotions in his work, transforming trauma into acts of resilience and self-acceptance. In Resting Babyface, Baby turns the focus to two very vulnerable settings: the bedroom and a therapist’s office. With this new set of work, Baby explores themes of aftermath and introspection, using the paintings as personal confessionals meant to leave viewers in a state of discomfort and ambiguity.

Resting Babyface is on view at Villa Carlotta in Los Angeles from February 26 to March 11.

Say It Loud: AAMARP, 1977 to Now at ICA Boston

This February, the ICA Boston turns its attention to an artist-led institution that has shaped the fabric of New England’s art community since 1977. Founded by Dana C. Chandler Jr., the African American Master Artists-in-Residence Program (AAMARP) is one of the longest-running Black artist residency programs. Therefore, its story resonates not just on a local level but a national and international one. AAMARP’s influence can be felt far beyond Boston through its alumni network of artists, educators, and organizers. Conceived originally as a Black artist-led exhibition space, AAMARP evolved into a living ecosystem: part studio collective, part political area, and part cultural refuge, where new modes of working could take root even as institutional support shifted around it.

As the first exhibition devoted to AAMARP’s far-reaching legacy, it was essential for Mannion Family Curator Jeffrey De Blois to spend lots of time with members past and present. Developed in close dialogue with the founder Chandler before his passing in 2025, the show arrives less like a retrospective and more as a constellation of practices whose collective energy points outward. At the exhibition, the story of AAMARP’s community-driven approach is told through the work of five decades of participants. There are some folks you know. The rest are discoveries. Rather than closing a chapter, the exhibition feels like an opening gesture. —K.H.

Ming Smith: Jazz Requiem–Notations in Blue at the Portland Museum of Art

This new exhibition from photographer Ming Smith traces an artistic journey shaped by movement, experimentation, and freedom. The Detroit-born artist came of age at a time when Europe offered Black artists greater opportunity and receptivity. Smith’s travels abroad, specifically in the 1970s in Paris, proved formative; there, she encountered the evocative work of photographers like Brassaï and Henri Cartier-Bresson while developing a visual language of her own. This exhibition reflects on how those early experiences continue to inform Smith’s practice, highlighting photographs—many of which have been printed for the first time—that capture fleeting moments infused with rhythm, intuition, and motion. Smith’s work resists photography’s long-standing impulse to define, document, or objectify Black subjects. Rooted in the core principles of the Black Arts Movement, her photographs expand the medium beyond realism, often confronting and subverting the gaze itself. Her signature use of blur and abstraction is both poetic and political, mimicking the improvisational spirit of jazz while responding to the ways Black Americans are rendered simultaneously invisible and hypervisible. A pioneer for Black women in photography, Smith’s legacy lies in her innovation, her fearless experimentation, and her unwavering commitment to capturing the depth and richness of Black life. —Che Baez

Ming Smith: Jazz Requiem–Notations in Blue is on view at the Portland Museum of Art in Portland, Maine from February 6th to June 7th 2026.

Max Jahn at Gratin

For the German artist Max Jahn, frames are just as important as the imagery inside of them. As part of his practice, Jahn painstakingly chooses each border for his painted works from his father’s antique shop. They are personal to him—as personal as the colorful portraits he creates, which will be on view in the new show, Time Spent Looking. The exhibition features both portraiture (like Self With Fan, a painting in which Jahn is depicted coyly holding a floral accordion fan to his face) and still life. Jahn paints what he knows; his subjects often come from within his social circle. His relationships with them—and by extension, his depictions of them—are shaped by time and prolonged observation. He paints his sitters for an hour at a time over the course of a week, in varying lights for each session. But his work in self-portraiture arguably features his most familiar subject of all.

Hailing from Berlin and growing up in the aftermath of German reunification in the ’90s, Jahn was raised with the ghosts of a different era. He spent time at his father’s antique store on Motzstrasse, in the heart of the Schöneberg neighborhood, where painters and poets ruled before the Second World War. Otto Dix, the Dutch Masters he studied at school, Balthus, and more combine to create Jahn’s own signature style, now on display in his first solo show in New York.

Time Spent Looking runs from January 29 to Match 2026 at Gratin New York.

Samora Pinderhughes at MoMA

Multidisciplinary artist and composer Samora Pinderhughes centers his work on one urgent question: “What if we built a world around healing rather than punishment?” In Call and Response, a new exhibition at MoMA on view through February 15, 2026, Pinderhughes beckons audiences to ponder this inquiry alongside him. The show comprises two core components including a two-channel film created with Christian Padron, REAL TALK, which examines the impact of absence on families whose loved ones are incarcerated. It also features a series of performances and programming developed in collaboration with community organizations in New York City.

With Call and Response, Pinderhughes considers how narratives of criminalization are applied to groups of people to justify violence against them. “As a country, we’re willing to allow basically anything to happen if there’s this illusion that it will protect us from [who]ever is deemed criminal,” the artist said. The show is part of his stint as the 2025 Adobe Creative Resident at MoMA, and builds upon his work as a creator of The Healing Project, a community arts organization founded in the spirit of prison abolition. It also underscores Pinderhughes’s commitment to unearthing how art, particularly collective sonic practices, might contribute to collective healing and liberation. —D.H.

Sterling Ruby at Sprüth Magers New York

Sterling Ruby is an artist who, over the years, has become larger than life, a boldfaced name in both the art and fashion worlds. His work, moving across sculpture, textile, ceramics and video, explores themes of violence and the impacts of social norms while remaining autobiographical. His fashion line, S.R. Studio L.A.C.A., echoes his love of craft and feels very much due after years of lending inspiration for designers like his close friend Raf Simons. On January 30, the Los Angeles-based multihyphenate will present his first solo show in several years, running until March 28. Ruby’s new work, titled Atropa for the nightshade herb known for its deadly quality, is inspired by the duality of the deeply poisonous yet medicinal plant and the mythology that surrounds it. The Greeks associated the genus with the cutter of the thread of life. Ruby uses it as a launch pad for stirring watercolor collages, bronze flowers, and graphite pen-and-ink studies that switch between decay and vibrant bloom. As in all of Ruby’s work, material exploration is at the heart of the show. So are themes of mortality. An as usual, the exhibition is not to be missed. —A.S.

Catherine Opie at the National Portrait Gallery London

The American photographer Catherine Opie broke into art-world fame with portraiture of her early ’90s queer family, often friends from the Los Angeles S/M scene captured in the style of Baroque paintings. Early self-portraits, Self-Portrait/Cutting and Self-Potrait/Pervert display incredible tenderness, giving viewers the opportunity to lay down assumptions and connect with Opie’s community with equal depth. Over three decades later, the seminal artist will present the first major museum exhibition of her work in the U.K. at The National Portrait Gallery, from March 5 to May 31. Catherine Opie: To Be Seen will explore intimacy, home, and family—the personal and the political—through the photographer’s images of these communities, surfers, high school footballers, and more. Opie is directly involved in the curation of the show, which will speak in dialogue with the permanent collection of the museum. —A.S.

Marguerite Humeau at White Cube Gallery

The French multidisciplinary artist Marguerite Humeau is known for reimagining and creating extinct worlds. One extensive land art project saw mystics and scientists lending expertise as Humeau brought to life 84 sculptures that could survive the climate apocalypse on land deemed unfarmable. Another gave Cleopatra a reborn voice as she sang in the nine extinct languages she was recorded to know. Now, Humeau will open a solo show for the first time at White Cube’s New York gallery. Open from January 16 to February 21, the exhibition blends stalactite-like and bat-shaped sculptures with works on paper, all inspired by a trip to a bat cave in West Papua. As in the case of previous work, the cave is not just a cave, but rather a metaphor for the unknown and the unnamable. Pastel drawings mimic prehistoric cave drawings. Stalagmite and stalactite sculptures help us navigate our precarious environment. The pieces reference John Koenig’s The Dictionary of Obscure Sorrows (2021): can Humeau’s sculptures give emotion to words we have yet to invent? Her new work certainly makes us feel. —A.S.

Björk at the National Gallery of Iceland

The public will experience a different side of the perennial musical enigma Björk when she returns to her native Iceland to stage a new art exhibition at the country’s National Gallery. Echolalia, as the show is called, is comprised of three immersive installations, the first of which will provide the public with a peek into the artist’s upcoming album. The two other works, Ancestress and Sorrowful Soil, both honor Björk’s mother, environmental activist Hildur Rúna Hauksdóttir, who passed away in 2018. While these pieces were originally released with Björk’s 2022 album, Fossora, their presentation at the museum will allow for a more theatrical experience. Ancestress, specifically, features a film set in a remote valley in Iceland where a ritualistic procession is taking place. Björk and her son, Sindri Eldon, star—with contributions from filmmaker Andrew Thomas Huang and James Merry, Björk’s co–creative director and the designer of the masks and ritual objects worn in the video.

Those especially interested in Merry’s work will have the opportunity to stop by his show, Metamorphlings, running simultaneously with Echolalia at the National Gallery. The first museum retrospective of Merry’s work, Metamorphlings features 80 pieces offering a look into his artistic output over the last decade. Heavily focused on the mask, the exhibition showcases Merry’s craftsmanship while exploring the piece as a catalyst for performance and transformation. Using embroidery, metalwork, 3-D printing, and jewelry, Merry has created masks for Tilda Swinton and Iris Van Herpen; they will be on display together for the first time.

Echolalia runs from May 30 to September 19, 2026, while Metamorphlings runs from May 30 to October 3, 2026.

Schiaparelli: Fashion Becomes Art at the Victoria and Albert Museum

The V&A is staging a century-spanning exhibition on Schiaparelli, marking the first time the fashion house will be the sole subject of a museum show in the U.K. Opening March 28, Schiaparelli: Fashion Becomes Art will trace the brand from its birth in the 1920s to the present day, exploring Elsa Schiaparelli, the woman, as well as her role as an innovator and key figure in interwar fashion. The exhibition will follow Schiaparelli around the world, from Paris to New York and London, with a focus on the latter—specifically, Schiaparelli’s British clients and the founder’s relationship with the city.

Over 200 objects will make up the exhibition, including archival garments, accessories, jewelry, paintings, photographs, sculpture, furniture, and perfumes. Some of Schiaparelli’s most unique designs—including the “Tears” dress and the famous upside-down shoe hat—will be on display, placed alongside art by her contemporaries like Pablo Picasso and Man Ray. The V&A worked with Schiaparelli and the fashion house’s current creative director, Daniel Roseberry, whose designs will also be featured.

Schiaparelli: Fashion Becomes Art will run through November 8, 2026.

Tracey Emin at Tate Modern

Those who sit in small Venn diagram of And Just Like That... viewers and fine art lovers were likely horrified to see Tracey Emin’s seminal work imitated, and then tossed aside in the Sex and the City reboot’s final season. Luckily, Tate Modern is stepping in to provide Dame Emin with deserved credit, by mounting an expansive exhibition tracing four decades of the artist’s work—showcasing her most influential pieces alongside those that have never been exhibited until now. Through painting, video, textiles, neons, writing, sculpture, and installation, Emin has long challenged society’s view of the female body, as well as the line between public and personal. She did this most notably with her 1998 piece, My Bed, using the conversation that sparked around this controversial piece to further challenge the definition of art at the turn of the 21st century. At Tate Modern, My Bed and more work will be on display in a celebration of Emin’s raw and personal approach to artistic expression.

Tracey Emin runs at Tate Modern from February 27 to August 31, 2026.

Dan Flavin at David Zwirner

Dan Flavin’s grids take center stage for the first time at David Zwirner New York, in a new exhibition that explores the matrix-like vertical artist’s body of work, which first gained prominence in the mid 1970s. Like much of Flavin’s fluorescent lamp-based pieces, the grids simultaneously highlight and redefine every space in which they’re installed. This latest exhibition features Flavin’s first two grids: untitled (for Mary Ann and Hal with fondest regards) 1 and 2. Both created in 1976, they will be installed at Zwirner identically to their debut at the Otis Art Institute Gallery, Los Angeles, where they sat kitty-corner to one another in a single room. Other pieces, including four-foot creations like untitled (for you, Leo, in long respect and affection) 3 and 4, illustrate Flavin’s exploration of scale within the format. They are contrasted by untitled (in honor of Leo at the 30th anniversary of his gallery), which spans 24 feet. Flavin’s dedications within the work provide a second narrative to the exhibition, one that follows the many people who helped support the artist’s career. Former gallery director of the Otis Art Institute Gallery, Hal Glicksman (and his wife Mary Ann), plus his longtime New York dealer Leo Castelli are just some of the figures represented through this set of work.

Dan Flavin’s Grids will run from January 15 to February 21, 2026, at David Zwirner New York.

Gloria Klein at Anat Ebgi

Gloria Klein, a contemporary artist known for her bold, expressive work, is championed in a new lively exhibition of paintings, and her first solo show, at Anat Ebgi in New York. Featuring works from the late 1980s and early ’90s, the exhibition immerses viewers in Klein’s hypnotic, repeated diagonal hatch marks that stack and shimmer across the canvas. While her work nods to Minimalism and Conceptual art, it is joyfully rooted in the Pattern & Decoration movement and the feminist embrace of so-called “women’s work,” transforming repetition, ornament, and labor into something bold and eye-catching. Klein’s stitch-like marks echo the crowded streets of New York, visual noise, and the early digital pulses of the 1980s. Visually addictive and intellectually playful, Crisis Management is an irresistible invitation to step into Klein’s radiant world, and the feminist spirit that animates it, up close.

Gloria Klein: Crisis Management is on view at Anat Ebgi through February 28, 2026.

Prada Mode has taken up residence in New York City, where the Italian fahion house has opened an immersive exhibition at the legendary Hotel Chelsea. Open to the public June 5-7, the show is titled Satellites II; a retro mood pervades the space, where you’ll find rooms retrofitted in curtains of silver fabric or dizzying cloud prints; or a monumental, light-up UFO command center. Prada-branded vending machines—stocked full of mystery gifts like limited-edition cassette tapes—are also in the building.

Each of the vignettes in Satellites II was designed by the Danish film director Nicolas Winding Refn and Japanese game creator Hideo Kojima, who first presented their joint work at Prada Tokyo Aoyama last summer. The duo became friends 16 years ago, when Kojima started collaborating with Refn, after being mutual fans for decades. Despite not speaking the same language, they’ve become iconic collaborators who communicate through visuals and emojis. “We’ll never actually communicate with words,” said Refn during a press conference and sneak peek of the exhibition. “So, the idea of taking our conversation and recreating it in as many languages as possible was a way to deconstruct how we talk—because it’s really all about purity of emotions.”

At the heart of the show’s theme is the idea of imaginative positivity, plus a sense of hopefulness for the future (with a space age twist). Take, for example, the silver-themed thread and TV screen motifs (featuring Refn and Kojima’s talking heads) which can be found on all floors of the hotel. “The screen becomes the mirror of our society, but also becomes the mirrors of what we romanticize, what we want to see, what we fear, what we love, what we hate,” Refn said.

Beyond the visual art installations, Prada Mode has also launched a live-broadcast channel online, which streams the mini concerts, workshops, performances, and panels that take place during the two-day invite-only preview. Think: a performance by provocateur and New York icon Lydia Lunch, a talk with Grandmaster Flash or Amanda Gorman, and a concert by Sophie Thatcher.

When Prada Mode opens to the public on June 5, “the Satellites invade Manhattan,” according to Refn. There will be a slate of events, like an anime festival screening at Angelika Film Center curated by Refn and Kojima, plus visual installations at Prada’s Broadway Epicenter and Katz’s Delicatessen in the Lower East Side. “For me, New York is art, music, everything,” Kojima said. “When I want to challenge myself, I think: I should go to New York. It’s almost like a different universe or a different planet. The next installation should be in outer space.”

For summer 2026, sport meets style in Ralph Lauren's striking dresses, sculptural jewelry, and menswear-inspired tailoring.

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Stylistically, Maya Hawke likes to bounce around. From geek-chic clashing prints to '30s glamour, androgynous punk, and uptown sophistication, her style repertoire knows no bounds. At her latest appearance in New York City, the actor also proved she can just as easily step into the layered, '60s-inspired look recently favored by Prada, her go-to design house.

At the opening night of the brand’s Prada Mode pop-up at the Hotel Chelsea, Hawke stepped out in a light blue shirtdress that wouldn’t have looked out of place 60 years ago. Her knee-length style included a collared silhouette with a bow-tied waist, layered under a matching 3/4-sleeved coat that, in true Prada fashion, was covered in a pale yellow and white floral print. Naturally, she carried a coordinating Prada bag, as well: a small white version of the label’s signature Galleria tote.

While Hawke’s '60s look embraced lighter hues, her footwear grounded her ensemble with an unexpectedly hard edge. The Stranger Things star’s outfit was finished with a low-heeled pair of black pumps from Prada’s fall 2026 collection, cinched with cobalt blue straps atop each of its pointed toes.

That same concept echoes across the event’s guests. While Shailene Woodley and Sophia Lillis opted for summery all-white looks, Molly Gordon and Ella Mendelsohn embraced darker ‘90s-inspired palettes of black and inky blue. With attire spanning casual denim, quirky ‘60s geometric prints, subtle neutral knits, and shimmering party-girl sequins, attendees like Myha’la, AnnaSophia Robb, Allison Williams, and Hunter Schafer also showed a full spectrum of what “Prada” dressing looks like now. While common threads were certainly apparent through colors and accessories, no guest dressed in exactly the same codes or silhouettes—proving the brand’s multi-faceted nature, which Hawke’s embodied wholeheartedly on and off the red carpet.

Now, we’re just waiting to see what Prada look Hawke wears next. Perhaps fall’s enchanting crystal-beaded pumps or feather-covered boots will prove a perfect complement for her next style statement.

On a warm Wednesday afternoon in May, Naomi Scott and I settle into the cushioned-banquette corner of a dim wine bar in New York. Scenes of the city unfold outside the window behind the actor and musician, who’s just turned 33, and is about to enter an exciting new chapter in her artistic career. Her sublime debut album, F.I.G, came out in March, and she’s embarking on her first headlining tour, starting at The Roxy Theatre in Los Angeles on June 10. “The people the album is reaching feel at home with me. It feels so good,” she tells me. Her relaxed sense of confidence extends to her look for the day: a striped rugby shirt with layered sleeves, dark jeans, sneakers, and small gold hoops that catch the light cast on our table from an electric lamp. Her wavy, pastel-pink bob bounces as she laughs and says it could use a little touch-up.

F.I.G is a long-awaited arrival from Scott, whose public profile has largely been shaped by films like Lemonade Mouth, Aladdin, Charlie’s Angels, and Smile 2. The title stands for “Fall Into Grace,” a nod to Scott’s middle name, but it also captures where she’s found herself creatively right now. Across 11 tracks, she explores longing, uncertainty, desire, and self-discovery through vignettes that blur the line between memory and fantasy.

“Putting out a body of work where I am now is great, because I know what my intention is,” Scott says. “The visuals and everything have come from me and my small team of people—it’s exactly what I want. I’m making music for myself.”

Raised in London by parents who were pastors, Scott grew up singing in church and listening to gospel music from artists like Mary Mary and Kirk Franklin. Her musical diet also consisted of Prince, Janet Jackson, Kate Bush, Kelly Clarkson, and Peter Gabriel. “I need a more soulful melody,” she says.

While working on F.I.G, she enjoyed the freedom to express and truly own her sound. “There wasn’t some A&R guy saying, ‘Maybe you should work with this old dude,’” she says. “I was very much following who I thought was cool.”

One of those people was Norwegian producer Peder Losnegård, professionally known as Lido. Scott reached out cold, sending him a Dropbox folder full of demos. “Most people I work with come up with the idea and write the song in the studio the same day,” Lido tells me on a Zoom call. “It was refreshing to get the skeleton of so many amazing songs before we’d even met. I could see what this could turn into from the very beginning. It’s lush and emotional.”

The pair bonded over gospel tracks and ’80s and ’90s tunes. “One of the first conversations we had was about the music that was on her dad’s Windows Media Player,” Lido says. “That became a North Star throughout the whole thing. Does it fit in that playlist and that world?”

Their shared vision led to a record that feels both nostalgic and contemporary. Distinctly different from Scott’s weighty Smile 2: The Skye Riley EP project, F.I.G drifts on airy yet deeply textured production. “We wanted it to feel nostalgic, but not too derivative,” Scott says.

Lyrically, the album embraces ambiguity and unresolved feelings that linger. On “Bliss,” Scott laments a love with unfulfilled potential; “Rhythm,” a duet with Johnny Yukon, pulses with cautious attraction; and other tracks like “Losing You” and “Gracie” tap into themes of self-assurance.

F.I.G’s pared-back visuals are “so DIY,” as Scott puts it. In her new music video for “Call For Me,” she rehearses while dancing in a black veil, Adidas capri track pants, and a red sports bra. Her movements shift from slow and seductive to frenzied and unrestrained. Much like the album, the video allows feelings, not explanations, to take center stage.

I ask what three years of making the album protected creatively, especially in a world that rewards speed and visibility. It’s all about trust, she says. “We all have our own taste. And I have the confidence to know that if I think something is good, ultimately the real ones will get it.”

Throughout our conversation, Scott is animated and effusive. She tells me to listen to Fabiana Palladino and Tora-i, among others. Her husband, Jordan Spence, eventually swings by with a bag of fast food and nudges a box of waffle fries my way; Scott insists that I “take some chips.” Before we know it, nearly two hours have passed, and any semblance of formality has been shed.

Scott hopes that kind of familial spirit will carry into her tour. The production won’t be elaborate, she says, describing it as a “girl in process” show. But one thing is for sure: “I want people to dance,” she says. “I want people to let go.”

With her latest outing, it’s clear Olivia Rodrigo has the London look down. The singer’s ongoing streak promoting her third album you seem pretty sad for a girl so in love has taken her to the United Kingdom, where she’s continued her penchant for girly, whimsical dressing. This time, however, she added a big dash of mod with a print that’s both a British fashion staple and one of spring’s biggest trends.

This morning, Rodrigo strolled through London in a black short-sleeved Rudi Gergenreich dress covered in white polka dots originally from 1971. The vintage collared piece was cheekily layered beneath a cropped lime green sweater vest, which was actually part of the dress. The singer’s look was complete with a smooth black leather Coach shoulder bag, dark Ray-Ban sunglasses, and tall white over-the-knee socks. Her outfit was given a preppy finish from smooth black leather slingback pumps, accentuated by short block heels and narrow rounded toes.

With her especially literal reference point, Rodrigo’s outfit particularly called back to the short-cut shapes and geometric details of “mod” fashion. Gergenreich was a top designer of this particular style era, which was popularized at the time by stars like Twiggy and Peggy Moffitt—making her look even more aligned with the decade’s rule-breaking, futuristic look. This year, the pattern’s also popped up in new collections by Altuzarra, Carolina Herrera, Fiorucci, Self-Portrait, and Khaite, affirming its longtime fashion appeal.

Given her latest nods to preppy, schoolgirl-adjacent fashion, Rodrigo’s polka-dotted dress was also in sync with her own recent personal style shift. While upholding her youthful streak, Rodrigo’s latest album cycle has seen her embrace feminine ensembles with soft colors and vintage inspirations. Bow-topped, feathered, and babydoll-style dresses have all been key to her rotation, hailing from labels including Vivienne Westwood, Nina Ricci, Anna Sui, Betsey Johnson, and Saint Laurent.

Rodrigo’s ensemble also channeled Britain’s longtime love of a good old polka dot print. Princess Diana famously wore polka dot dresses and gowns and the pattern later appeared in the wardrobes of Victoria Beckham, Kate Moss, and Sienna Miller in the early 2000s. Most recently, it’s also been core to Lily Allen’s subversive looks tied to her post-divorce album West End Girl, and worn just this week for Cancer Research UK’s 125th anniversary by Kate Middleton—who’s frequently donned the print for a range of occasions.

Rodrigo’s dotty ensemble marks the latest instance of polka dots making a statement abroad, while also affirming her frequent penchant for vintage. It’s anyone’s guess which decades she’ll pull from next—whether in London or elsewhere.

A Prada girls like to have fun, but you know she’s not going to do it with out a little bit of quixotic quirk. A sparkling mini dress with knee-high boots is a text book party girl outfit, but Hunter Schafer’s all-Prada take was ever so delightfully skewed. Fresh off of Euphoria’s unsettling third season finale, the actor stepped out in some of the most discussed items from the brand’s fall 2026 collection for the launch of Prada Mode—a new members’ club-style installation at the Hotel Chelsea in New York City.

While leaving the Hotel last night, Schafer made a sparkling exit in a yellow pair of knee-high satin boots with glistening, lemon-yellow floral beadwork. She paired it with a shimmering shift dress covered in peridot green sequins. Her glitzy, disco-worthy number was given added flair from a rounded neckline embellished with gleaming chartreuse crystals, creating a similar built-in jewelry element we’ve also seen on Selena Gomez. A matching yellow silk pouch bag completed her look, creating a smooth pairing with her dress while coordinating with the label’s statement-making boots.

Already marked as one of next season’s definining ‘it’ shoes, her boots—also shown in white and pale blue feathered iterations on the runway—were yet another symbol of Miuccia Prada’s signature combination of elegance and quirkiness. A similar eclecticism was seen in numerous guests’ ensembles, including Myha’la, AnnaSophia Robb, and Nina Dobrev, during the Prada Mode soirée—which included a gift dispensary machine and a robotic, futuristic art installation by Nicolas Winding Refn and Hideo Kojima. However, where shoes were concerned, Schafer’s boots were the clear standout of the night.

Marisa Berenson has never needed to wrangle party invitations. The granddaughter of legendary designer Elsa Schiaparelli, she was all of 16 years old when Vogue editor Diana Vreeland laid eyes on her at a debutante party in New York and decided Berenson needed to start modeling. Shortly after, she was on a plane headed to Paris for a David Bailey shoot that ran in Vogue's September issue. Ever since, Berenson's life has been filled with beautiful people and places. Her "many lifetimes on this planet" include everything from acting—in movies like Cabaret and Barry Lyndon—to a 1973 Newsweek cover that anointed her “The Queen of the Scene.” There’s an Alice in Wonderland-like quality to the way she tumbled into close friendships with Andy Warhol and Karl Lagerfeld and navigated the Studio 54 set. “Things just happened naturally,” she says. “It was all organic.” Occasionally, the 79-year-old will still pop up on runways, walking for Dior, Thom Browne, and Tom Ford. Now, she spends most of her time in Marrakesh, where she practices yoga and meditates daily. Her poolside, bohemian glamour is coming to Zara thanks to her new apparel and homeware collaboration with the brand, which hits stores June 5. "Endless Summer” takes inspiration from memories of vacationing in Capri and Saint-Tropez, breezing into nightclubs in strappy sandals, diaphanous dresses, and colorful caftans. "It's more of a mood than anything,” says Berenson. “It’s about happy glamour, and feeling free. Every woman deserves that.”

“I was very existential as a child, and I wasn't a particularly happy child,” says Berenson. Born in New York but raised around Europe, her upbringing was strict and her family followed the conventions common to high society, such as sending daughters to finishing schools. Her grandmother, Elsa Schiaparelli (middle, left), retired from fashion before Berenson was born. “She never talked about her fashion house.” Meanwhile, her mother, Gogo (front, left), was a prominent socialite. In the photo above, “I was sixteen and this was my first Christmas in New York. My father was ill and he came out of the hospital to spend Christmas with us.” Berenson was close with her sister, Berry (back), who tragically died on 9/11 as a passenger on one of the planes that crashed into the Twin Towers.

“Modeling was always like acting, except you don’t have the dialogue,” says Berenson, who modeled for most of the 1960s. “When I made my first movie, Death in Venice [in 1971], with [Luchino] Visconti, he said to me, ‘You have this freedom, and you have this relationship with the camera that is like a seduction.’” In front of a camera, “something comes alive and I transform into whoever I want to be.” Above, Berenson poses for Bert Stern in a bias cut dress for the January 1966 issue of Vogue, edited by Diana Vreeland.

“We had an intimacy, Andy [Warhol] and I,” says Berenson, who was a fixture at his Factory in 1970s Manhattan. “I really loved him. He was a man of few words, but we so understood each other. We would stand on the outside, looking in, and he would just say, ‘Oh, isn’t this beautiful? Isn’t she glamorous? And isn’t he something?’” Above, they are pictured attending the Costume Institute Gala at the Metropolitan Museum of Art—better-known now as the Met Gala—in 1975.

Of all the haunts that Berenson misses, Jimmy’s, the legendary Paris nightclub, might top the list. “What fun we had,” says Berenson. “God, so much fun. We had so much freedom in those days.” Above, she’s pictured at the club in 1971 with Florence Ginda (center), a close friend from boarding school, and the English man Ginda was dating at the time. The outfit? “I always mix everything together,” she says. “I never think of what I'm going to wear. It always comes together naturally.”

In the 1970s, Paloma Picasso, Loulou de la Falaise, and Berenson all served as muses for Yves Saint Laurent. His 1971 collection was inspired by Picasso, who often dressed in her mother’s vintage clothing and quirky flea market finds. The French press was very critical of the show (which was nicknamed the “Scandal” collection), but Berenson says she always “had a blast” in the designer’s orbit. “Yves was the one who kind of baptized me as the It Girl of the ’70s,” she says. “Yves was incredibly sensitive and fragile, yet incredibly strong and powerful. I loved him, and the fact that I loved him was part of the reason that I always wanted to wear all his clothes.”

In 1974, the Met Gala “wasn't people dressed up for a fantasy," says Berenson. “In the old days it was just a fabulous event where everybody was beautifully dressed and you discovered great exhibits and met all the interesting people in New York." She attended that year’s gala with Berry (left) and Berry's husband, the actor Anthony Perkins (center).

Above, Berenson is pictured with Diana Vreeland at Metropolitan Museum of Art in 1975. The Vogue editor’s fondness for Berenson plunged her into a world where things moved faster and looser than they did at boarding school. Vreeland, who was friendly with Berenson’s grandmother, took the young model under her wing. “She said, ‘Marisa, through life you will need discipline in everything you do,’” recalls Berenson. “It’s the best advice, and I put it to everything. I came to consider her my godmother. She was my protector.”

Berenson put on a Madame Grès halter dress for the Los Angeles premiere of Barry Lyndon (1975). In Stanley Kubrick’s Academy Award-winning film, she dazzled as Lady Lyndon. She celebrated its opening with, from right, David Geffen, actress Marlo Thomas, and Barry Diller, who would go on to marry “my best friend, Diane von Furstenberg.”

In 1978, the Muppets invited Berenson to come on their show as a guest host. The running joke was that Miss Piggy wanted to be just like the gorgeous actress. “I had a wonderful relationship with Miss Piggy,” says Berenson. “If you have a chance to watch it with any children in your life, you should. My granddaughter is eight years old, and she loves it so much.”

In 1976, Berenson married her first husband, rivet manufacturer James Randall. “This is a picture that Warhol took in my bathroom, with my curlers on, as I was getting ready to get married in my house in Beverly Hills.” She’s pictured with one of her bridesmaids, Florence. “It was so wonderfully chaotic. Valentino was in the bathroom ironing my dress and I remember Liza Minnelli down on the floor, helping me get into my shoes.” Berenson and Randall welcomed their daughter, Starlite, the following year.

“At Studio 54, I was always having a great time.” Above, she’s pictured at the club in 1977, wearing a ruby and diamond pendant that Randall gave her. Around the time she was becoming a fixture of the jet set, Berenson traveled to India to study yoga and meditation. She ran into the Beatles at her ashram, and hung out with them at night while they played music. The lessons from that trip stuck. "I was always attracted to the light and the positive," she says. “I didn't want to go into the drug scene or the dark scene, because that's not who I am, and it scared me." Her drink of choice: “orange juice.”

For Berenson’s 34th birthday party, in February 1981, she, naturally, wore a dress with a heart-shaped bodice. “Valentine’s Day is my favorite day of the year, because it's the day of love, and I'm a romantic,” says Berenson, whose own Valentines have included the surfer-photographer-sugar heir Arnaud de Rosnay, the actor Sam Shepard, and the French scion David de Rothschild.

"Brilliant" is the word Berenson uses to describe Karl Lagerfeld, the longtime creative director of Chanel. “You could talk to him on any subject, because he had read every book,” she says. “He knew everything about everything.” He was also wickedly funny. “He always had such witty comments; there was side commentary to everything. In French, the word we have for that quality is dérision. It’s not the same thing in English — it’s more playful.” Above, Berenson (center) is pictured with the actress Lina Gray (left) and Lagerfeld after his Chanel runway show in March 1984.

In 1984, Berenson brought her daughter, Starlite, to a party at the nightclub Limelight that celebrated the publication of her book, Dressing Up, written for women who wanted to get ahead in the cutthroat work world of the early ’80s while still staying stylish. “At the time, women were thinking they had to look masculine and serious and be taken seriously, and so the fashion was quite meh,” says Berenson. Starlite is now a licensed therapist and mother to an eight year old girl who calls her glamorous grandmother “Misi Moo.”

Sins, a 1986 television adaptation of Judith Gould’s juicy novel about the 1980s jet set, only lasted one season but it made quite a splash. “I was in it with Lauren Hutton (third from right) and Ariel Don Boll (far right). We put on our shoulder pads and traveled to the most glamorous places. We filmed in Paris, Venice and Rome.” Berenson’s character, Luba Tcherina, was a high-ranking publishing executive whose mentor-turned-nemesis, Helene Junot, was played by Joan Collins (second from right). “Joan’s a fantastic woman. I love her. We had the best time.”

Above, Berenson is pictured with her late friend Iris Apfel, the interior designer and fashion icon, at a 2017 luncheon. “She was afraid of nothing, and she was a living work of art,” says Berenson. Her bold style served as a reminder to Berenson that fashion can be as expressive as a poem or oil painting. “When I look at Iris, and see how inventive and imaginative and daring she is willing to be, I feel free.”

Berenson was in no rush to capitalize on the collaboration craze, but when Zara approached her, it felt right. “I wanted to create moments and feelings, and the team was fantastic, because they were so open to creativity.” The 45-piece capsule collection, which includes everything from bikinis to sleep masks, “is the first real collaboration I’ve ever done,” says Berenson with a laugh. When brainstorming the collection, there was no question that caftans would be front and center. "You slip them on and you can go to the beach or go out at night,” she says. “They’re the ultimate in summery, luxurious ease."

Role Model’s new era is taking things back in time. The retro-tinged new music video for “High Hopes 3000,” the first single off his forthcoming third studio album, Chuck Timely and the Hourglass, arriving August 7, sees the singer leaning into the titular character—a jean-jacket-wearing slacker mechanic who’d rather be rollerskating around town than dealing with his curmudgeonly boss.

So who is Chuck Timely, exactly? It’s a question fans have been asking since Role Model, aka 29-year-old musician Tucker Pillsbury, launched a mysterious Instagram account this spring featuring shots of himself as the character popping up in the background of important moments in pop music history. In one black-and-white picture, he’s hanging with Paul McCartney and John Lennon during the Abbey Road recording sessions. In another, he’s mugging with Britney Spears and an old Mac computer in the ’90s.

When asked to explain Chuck’s identity, Role Model plays it coy. “Oh, he’s a legend,” he tells W of the character. “From the stories I’ve heard, he’s been around through all the eras and seems to grab little pieces from each along the way. He’s been around forever. He’s in the ‘High Hopes 3000’ video, and he’ll be on stage every night.”

The “High Hopes” video, shot in the quaint Hudson Valley town of Piermont, New York, is the first introduction to Role Model’s next chapter. His sophomore album, 2024’s Kansas Anymore, included the career-defining track “Sally, When the Wine Runs Out,” which quickly became both a fan favorite and a cultural juggernaut. An A-list array of “Sallys,” including Natalie Portman, Olivia Rodrigo, Kate Hudson—and, during his October 2025 SNL performance, Charli xcx—have jumped onstage during his sold-out tour stops to play the titular character.

“‘Sally’ taught me a lot,” Role Model says of that song. “The whole album did, but with ‘Sally’ I felt like I found a really great world for my voice. I pulled inspiration from a lot of my favorites for that song, and it’s cool that it resonated in such a pop way. Made me really excited to go and do it with some more knowledge and style.”

A similar feel-good, sing-along, all-American rock vibe permeates “High Hopes,” which Role Model performs in the video with a charming, devilish grin, cigarette dangling in hand. The video moodboard included “a weird mix of Footloose and Punch-Drunk Love,” he says. “With some grease on it. For the song itself, it was a little bit of everything. I wanted the keys from some of my favorite Hall & Oates and Doobie Brothers songs blended with some Georgia Satellites. Basically, if you put a cowboy on a yacht, but float it down a dirty little river in Pennsylvania.”

While the Chuck Timely Instagram is filled with images of old cassette tapes, Role Model clarifies: “I’m not old enough to be a cassette kid. My mom put me on to great music at a young age, but I was stealing music on my iPod.”

It’s possible Chuck Timely will travel beyond the analog era anyway. “The common thread throughout was this idea of time and my relationship with it,” he says. “I felt the pressure of it in a lot of ways, but I won’t get too specific yet.”

Until then, audiences can sit with “High Hopes 3000,” whose lyrics capture the specific, good-natured flavor of yearning Pillsbury has been known for since he first adopted the cheeky Role Model moniker in early 2017. He’s enjoying the opportunity to play a whole new character with Chuck.

“It makes it really fun for me to separate myself from it,” he says of performing under different names. “Like, I write the music and open myself up to the world and spend so much time hyper-focused on myself and how I feel, or how I see the world. So it's nice to be able to hide behind something afterward and have fun.”

During her international press tour for Masters of the Universe, Camila Mendes has proven that consistency is key. Across cities from Los Angeles to Berlin, the actor has continuously worn an array of smooth, silky dresses elevated by simple details like slits, deep necklines, and the occasional print or sheer texture. That formula has continued in New York City, with her latest outing bringing the look a sophisticated daytime spin.

While stepping out this morning, Mendes wore a cream silk blouse with gathered short sleeves and a sultry keyhole neckline, cinched at the bodice by covered buttons. A flowing, scarf-style sash added a finishin touch. Her outfit was complete with a smooth, fluttering knee-length ivory skirt, creating a monochrome look that appeared straight from the early 2000s.

Similarly to Mendes’ recent ensembles, stylist Molly Dickson finished her look with gleaming metallic accessories. The actor’s attire was given a dynamic touch from two rounded, gold-toned lucite bangles from Alexis Bittar, worn on each wrist in an apparent nod to the golden cuffs seen on Masters character Teela—whom Mendes portrays onscreen. Her ensemble was complete with thin huggie earrings and low-heeled gold slip-on mules. Similarly shining hardware clasped a brown suede DeMellier London shoulder bag swinging by her side, bringing the actor’s ensemble a minimally gilded finish.

Mendes’ latest ensemble continued the same vibes as her previous Masters outings, with a notable difference in its tonal separates and nostalgic silhouette. Indeed, though the actor’s worn gowns in similar materials by Donna Karan New York, Anna October, and more, she’s rarely been seen off the red carpet. This daytime ensemble proved that her outfit formula can be carried just as easily from night into day—and remain elevated with some action hero-worthy accessorizing.

Mango x Eckhaus Latta

The international retailers continue their quest to make designer brands more accessible, and now, it’s time for Mango and Eckhaus Latta to team up. The two labels have released a summer collection that marries Eckhaus’s experimental nature with Mango’s universality, bringing the cult favorite New York brand to the masses. Denim shines with foil finishes while sheer fabric pops up in dresses, tops, and skirts. Paillettes dangle from the detachable belt of a diaphanous shirt, and braided leather is woven into totes and handbags. Eckhaus Latta’s ethos is absolutely there, guided by the hand of Mango, and the result is a wardrobe that will keep you cool (in both senses of the term) all summer long. Mango x Eckhaus Latta is available now on mango.com.

Eckhaus Latta x Mango Semi-Sheer Shirt With Beaded Belt

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Eckhaus Latta x Mango Straight Foil Jeans

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Eckhaus Latta x Mango Handmade Woven Leather Handbag

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Bad Bunny and Zara Present Benito Antonio

The budding relationship between Bad Bunny and Zara has finally reached its peak. After wearing custom looks by the retailer to both the Super Bowl and the Met Gala this year, Bad Bunny has switched from customer to designer, creating a 150-piece capsule with the brand. Inspired by Bad Bunny’s identity, the collection is named after the Puerto Rican performer, who was born Benito Antonio Martínez Ocasio. Ocasio worked with his longtime creative director, Janthony Oliveras, on clothes that fit distinctly within the musician’s point of view. Graphic tees in an array of colors, patchwork boxer shorts, zip-up hoodies, and baseball caps comprise the majority of the collection, which is just begging to be worn throughout summer. A double-breasted blazer and an array of more casual button-downs will make going into the office this July a little more bearable. Benito Antonio is comprised of everyday essentials, but with details that make it unique. Patterns clash, pinks shine bright, and the slogan, “The only thing more powerful than hate is love,” which he declared during his historic Grammy win, encapsulates the joy in these clothes. Benito Antonio is available now at zara.com and in select Zara stores worldwide.

DTMF Patch Plaid Shirt

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"Amor" Text Cropped T-Shirt

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Patchwork Swim Trunks

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Tiffany & Co.’s Sixteen Stone Solitaire Diamond Ring

When Raye wrote the lyrics, “I would like a diamond ring on my wedding finger,” we can only imagine she had Tiffany & Co.’s Sixteen Stone Solitaire Diamond Ring in mind. The piece is the newest expression of Tiffany’s storied Sixteen Stone collection, continuing an evolution started by Jean Schlumberger in 1959. The classic X motif is featured throughout the ring, creating the illusion of diamonds held together by metal threads. In the center sits a solitaire stone, available in 2 to 2.99 carat sizes, and set with a basket of X-shaped prongs. Crafted in platinum and 18k yellow gold, the design is perfect for everyday wear or saved for special occasions.

Louis Vuitton Nicolas Ghesquière Soho Pop-Up

Louis Vuitton is paying homage to its beloved artistic director, Nicolas Ghesquière, with a pop-up-store-slash-exhibition in New York City dedicated to him. Located in Soho, the space features a curated retrospective of Ghesquière’s iconic ready-to-wear looks from throughout the years, all available for purchase. In addition, a separate gallery spotlights various styles of Ghesquière’s Petite Malle, originally introduced in the fall/winter 2014 show. The mini-exhibition aspect is emphasized by large screens in the center of the main space that project archival footage from runway shows of the collections on view, ranging from spring/summer 2019 to fall/winter 2025. It is truly a celebration of Ghesquière’s Louis Vuitton, and it’s open to the public from now through early June.

Isabel Marant x Havaianas

Your summer footwear solution is here. Isabel Marant and Havaianas have come together as brands from distinct cultural universes to create a limited-edition capsule of two flip-flop styles. First, there’s a reinterpretation of Havaianas’s classic design, now finished in red and tan tie-dye. Those who want something a bit bolder will gravitate toward the all-new Havaianas Puffed, a bold flip-flop that emphasizes volume and comfort alongside style. Black and white designs are finished off with puffer-like straps, studded with metal embellishment for additional edge. Though flip-flops, these shoes will undoubtedly fit in just as well on the city streets as on the beach, allowing for a relaxed, yet elevated addition to your summer wardrobe. Havaianas x Isabel Marant launches on Friday, May 22, at select Havaianas and Isabel Marant stores around the world as well as on both isabelmarant.com and havaianas.com.

Balenciaga x Manolo Blahnik

The heels featured in Balenciaga’s fall 2026 collection—a brainchild between the fashion house and Manolo Blahnik—can finally be yours. Three styles make up the capsule collection, inspired by pieces from the Manolo archives and chosen by Pierpaolo Piccioli. The silk-satin shoes are offered in both slingbacks and mules at 105mm and 55mm. The designs are all rendered in black with injections of butter yellow, emerald, and violet, hues that feel both quintessentially Balenciaga and Manolo Blahnik. A hand-embroidered, asymmetric crystal leaf ornament tops every pair, and negates the need for additional jewelry. “This collaboration came to life for very personal reasons,” Piccioli said in a statement, adding matter-of-factly: “I simply like Manolo. That’s it.” The collaboration is available online now at balenciaga.com and in select stores.

Balenciaga x Manolo Blahnik Mule in Grass

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Balenciaga x Manolo Blahnik Slingback in Lime

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Balenciaga x Manolo Blahnik Slingback in Violet

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Louis Vuitton’s Color Blossom Watch

Louis Vuitton is continuing its expansion of the Color Blossom collection, officially adding timepieces to the fine jewelry line. The new watches capture the design signature and colorful expression of the house’s iconic monogram flower, placing the sun-shaped emblem at the center of the design. The pieces are offered in four versions, including one that boasts a mother-of-pearl dial, steel case, and light beige strap. Other varietals add color in the form of pink gold and yellow gold cases, amazonite dials, and the most glamorous option set with nearly a carat of diamonds. All offer an elegant, refined look, allowing the piece to sit at the crossroads of jewelry and watches.

“We wished to reinterpret an iconic jewelry collection, presenting a women’s timepiece with a jewelry spirit,” said artistic director at La Fabrique du Temps Louis Vuitton, Matthieu Hegi. “With the mother-of-pearl or hardstone dials, or a diamond-set case, there is also an inherently precious essence, which perfectly reflects the Color Blossom collection.”

Audemars Piguet x Swatch Royal Pop Watch

Watch purists, look away. As more and more fashion brands continue to dip their toes in high/low collaborations, it only makes sense for the watch industry to follow suit. And based on the excitement and lines forming outside the Swatch store almost a week ahead of the release, the market is absolutely there for the new Audemars Piguet x Swatch Royal Pop Watch.

Fine watchmaker Audemars Piguet has teamed with Swatch on the Royal Pop, a new collection that combines AP’s iconic Royal Oak design with the modern and colorful Swatch Pop watch. The Royal Pop is a pocket watch, produced in eight eye-catching colors. The piece features design elements of the Royal Oak: an octagon shape and bezel with eight screws. The front of the watch is pretty sleek, but a flip over reveals an explosive back with the “Royal Pop” logo emblazoned in large letters. Three calfskin lanyards of varying length and a small removable strap allow the piece to be worn around your neck, on your wrist, in your pocket, or attached to your bag as another charm next to your decaying Labubu. Basically, however you dream of styling this piece, you can achieve it. That is, if you can get your hands on it. The Royal Pop will be available on May 16 in selected Swatch stores. Likely, they’ll be sold out not long after.

Jacques Marie Mage by Haider Ackermann

Jacques Marie Mage’s commitment to artisanal precision meets Haider Ackermann’s singular vision to bring us a special collection of limited-edition eyewear. The three frames represent Ackermann’s fashion instinct, as well as the polish and sophistication for which he is known. Simple yet resonant, the pieces are made for standing out in the best way possible. Titanium and acetate options offer sleek accessorizing, while leather-wrapped versions of two of the designs add sumptuous texture. “We have a mutual passion for what we do, and a mutual appreciation for a non-compromising approach to design,” JMM founder and creative director Jérôme Mage said about himself and the Tom Ford designer. “We really bonded over that commonality, the idea that design is a presence in every part and phase of your life.” The collection is available now at JMM Galleries, jacquesmariemage.com, and select retailers worldwide.

JMM by Haider Ackermann Balthazar in Topaz

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JMM by Haider Ackermann Gaspard in Argent

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JMM by Haider Ackermann Melchoir Leather Wrapped in Cuir

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Givenchy’s Voyou Bucket Bag

There’s a new It bag on the horizon. Givenchy has released the Voyou bucket bag, which takes its name from French slang for a mischief-maker. The Voyou is chic yet practical, with biker-inspired finishes on a leather drawstring bag perfect for daily use. The piece is crafted in calf leather with a fine grain and glossy finish. A top handle as well as adjustable, over-the-shoulder and crossbody straps allow for versatility of wear, while a generous central compartment invites the wearer to toss in all their daily needs. With a pull of the drawstring, the bag’s shape transforms, creating a unique triangular silhouette that fits comfortably on the arm. The Voyou is offered in ivory, light pink, chocolate, or black leather with gold-finish hardware, and in cobalt blue leather with silver-finish hardware. It is available now in-store and online at givenchy.com.

Small Voyou Bucket Bag

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Small Voyou Bucket Bag

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Small Voyou Bucket bag

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Gap x Victoria Beckham

If you don’t consider yourself “Rock Royalty” enough for H&M x Stella McCartney and the Old Navy x Christopher John Rogers collab is a bit too bright for you, you’re in luck. These days, there’s a high-low designer collaboration for everyone, with Gap x Victoria Beckham rounding out the trio currently on the market. Posh is all set to release a 38-piece collection with Gap, the first of a multi-season partnership between the international retailer and British designer.

“To me, Gap is an all-American icon—a brand that has always created timeless pieces for everybody’s wardrobe, with a sharp attention to detail,” Beckham said in a statement. Timeless is definitely a keyword when describing the resulting collaboration. For this first foray, Beckham focused on the building blocks of a wardrobe: denim, khaki, tees, shirting, and fleeces. The designer makes her mark on the pieces with her signature subtly stitched in red, while classic Gap logo hoodies and tees boast the addition of her name. There is a clear vintage influence thanks to the inclusion of Gap silhouettes from the ’80s and ’90s and utilitarian themes round out the offerings. The Gap x Victoria Beckham collection launches April 24 on Gap.com and in select Gap stores globally.

Burberry x Hunza G

Burberry is doubling down on summer, following up its recent High Summer collection by collaborating with one of the biggest brands in swimwear: Hunza G. Launching just in time for beach weather, Burberry x Hunza G combines the latter’s signature silhouettes and Original Crinkle ultra-stretch fabric with iconic Burberry colors and patterns (yes, including the check). Hunza G’s Faye, Tyler, Domino, and Devyn styles are reimagined in a heritage-inspired color palette of black, white, metallic cocoa, and red. Each piece comes with a matching scrunchie to complete the look. Burberry x Hunza G is available now on burberry.com and hunzag.com, as well as in select stores worldwide.

Faye Swimsuit

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Tyler Bikini

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Devyn Swim Skirt/Tube Top

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Alexandra Leclerc x Frame

Those who devoured every piece of content from Alexandra Leclerc’s wedding to Ferrari driver Charles Leclerc are in luck. Just in time for the Miami Grand Prix, Frame has released a new collaboration with the influencer and art curator. The 21-piece collection is inspired by the glamour of Monaco and designed as a complete wardrobe of European summer essentials. A new denim silhouette, The Leo, offers a relaxed, low-slung fit, while a leather option allows for a slightly more elevated look. The season’s hottest pattern, gingham, is represented in capris and a matching top, while a floral silk scarf makes for the perfect accessory. “This collection is really a reflection of my everyday life and wardrobe: what I wear, where I go, and how I move through Monaco,” Leclerc said in a statement. “It felt natural to bring Frame into that world and capture the city and collection through a personal, lived-in perspective.” The capsule collection will be available on May 1 in Frame stores, at frame-store.com, and at select retailers globally.

Giorgio Armani’s Armani/Archivio

Giorgio Armani has launched the second iteration of Armani/Archivio, a project designed to preserve and enhance the brand’s heritage and legacy. The interactive platform was created in 2025 to mark the brand’s 50th anniversary and to collect and organize Armani’s archives in a publicly accessible online library. At this point, it has over 200 collections listed, featuring over 5,500 runway looks and more than 30,200 individual items. Now, Armani is taking findings from that archive and turning a handful of the best designs into reeditions. Thirteen men’s and women’s looks from Armani collections between 1979 and 1994 have been reproduced for sale. This first capsule focuses on the jacket and the many iterations on the outerwear designed by Armani in those fifteen years, with pieces specifically selected for their enduring relevance. The Armani/Archivio collection will be available on armani.com in early May as well as in select Giorgio Armani boutiques.

Zadig & Voltaire Jack Mini

Zadig & Voltaire’s best-selling Jack bag is shrinking down. The Jack Mini reimagines the brand’s signature silhouette in a scaled-down format perfect for everyday wear. Crafted in leather and featuring an adjustable handle and strap, the Jack Mini offers versatility, allowing you to carry it by hand, over the shoulder, or crossbody. The Jack Mini is available in three color and fabric variations. The brown suede offers a more classic look, while the hot-pink patent leather option is for those looking to make a statement. The last offering in black patent leather, meanwhile, transitions seamlessly from day to night. The Jack Mini is available now on zadig-et-voltaire.com and at Zadig & Voltaire flagship stores.

Jack Mini Suede Bag in Wood

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Jack Mini Vintage Patent Bag in Podium

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Jack Mini Vintage Patent Bag In Black

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Tiffany & Co. Blue Book 2026: Hidden Garden

Monarch butterflies mid-flight, budding florals, bejeweled birds—the latest installment of Tiffany & Co.’s Blue Book high jewelry collection, titled Hidden Garden, captures the natural world in its most resplendent form. Designed by Chief Artistic Officer Nathalie Verdeille in collaboration with the Tiffany Design Studio, the offering draws inspiration from spring renewal and rebirth and builds on the legacy of legendary designer Jean Schlumberger and his famed Bird on a Rock. Themes of growth run throughout, expressed in hand-shaped gold vines, platinum leaves, and striking geometric compositions. As one of the house’s most storied traditions, the Blue Book continues to evolve—balancing heritage with modern innovation for a new generation of collectors.

Old Navy x Christopher John Rogers

Old Navy is continuing its championing of American designers with another collaboration—and this time, it’s all about color. What else should one expect when Christopher John Rogers is in the mix? The designer lent his expert eye for bright hues to the classic retailer for a collection of ready-to-wear and accessories, including bags and scarves. Rogers’s signature patterns and saturated colors appear throughout the collection: in a knit skirt set, cotton maxi shirt dress, and easy-to-wear denim. The playfulness that Rogers brings to his own work is also at play in the collaboration, and numerous matching sets offer the ability to mix and match with abandon.

“Old Navy has always represented an optimistic vision of American style—something joyful, expressive, and open to everyone,” Rogers says in a statement. “With this collection, we wanted to bring our love of color, shape, and statement dressing into a space where more people can experience it and make it their own.” Old Navy x Christopher John Rogers is available to shop now at oldnavy.com and in select Old Navy stores nationwide.

Old Navy x Christopher John Rogers Long-Sleeve Back Keyhole Sweater

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Old Navy x Christopher John Rogers Mid-Rise Baggy Wide-Leg Jeans

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Old Navy x Christopher John Rogers Mock-Neck Bomber Jacket

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H&M x Stella McCartney

The high-low collaborations continue with a new partnership between H&M and Stella McCartney. Over twenty years after first working together, the two brands are joining forces again, and that history will come into play with these new and reinvented styles. Archival inspirations meet current signatures, including oversize shirting, sharp tailoring, and bejeweled prints and slogan tops. “I see this collection as a journey through my fashion history,” McCartney says. “It is a true mix of current classics and some of my old favorites that showcase my foray into fashion and the development of my signatures. It’s playful, strong, sparkling, joyful, refined.” Mesh dresses are perfect nighttime looks, while sleek sets were made for the office. And, of course, bags are on offer too, specifically six styles ranging from large totes to more compact clutches. The Falabella chain detail, a classic for Stella McCartney, pops up throughout the collection, decorating bags, loafers, and jewelry, while McCartney’s famous “Rock Royalty” shirt returns once again. Get it all for yourself beginning on May 7.

Alaïa Denim

There are many changes underway at Alaïa. With Pieter Mulier’s departure from the brand, a new creative director will soon step in to fill the space. But in the meantime, Alaïa is hardly twiddling its thumbs. Instead, the brand is branching into a new lane, denim, with a line of jeans designed to sculpt and define women’s lower half.

To be clear, denim is hardly a new fabric for Alaïa, which has been showing jeans for decades. But now, Alaïa Denim will stand on its own as the brand becomes a go-to for the wardrobe staple. The styles were developed over the course of a year, and as a result, each piece is refined and exact. The brand will offer six shapes: Bootcut, Palazzo, Fit and Flare, Round, Skinny, and Straight. Each style comes in a different wash, with the Bootcut rendered in a deep-sea blue and the Fit-and-Flare offering a more sand-washed option. The denim itself was made in Japan, where it was rope-dyed and treated to perfection, just like one would a second skin. Alaïa Denim is available now on maison-alaia.com and across the brand’s retail network.

Round Denim Jeans

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Straight Denim Jeans

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Palazzo Denim Jeans

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Vatísmo by Willy Chavarria for Zara

While we must wait until September to see what John Galliano has in store for Zara, Willy Chavarria’s collection for the global retailer will be available much sooner. Vatísmo allows Chavarria’s creative perspective to reach a new, worldwide platform, without diluting the designer’s vision. The collection highlights Chavarria’s signature style, including his precise tailoring and strong silhouettes. Rendered in Italian fabrics, leather, cupro, denim, knits, and jerseys, the line references American workwear and Chavarria’s own Chicano cultural identity. The name of the collection is a colloquial term used in the Chicano community to refer to friends, partners, homies, and loved ones. With his collection, Chavarria is extending the boundaries of his community to include the masses. Vatísmo features ready-to-wear, jewelry, and accessories, and will be available in select Zara stores and online at zara.com beginning on March 26.

John Hardy’s Icon Stud Collection

John Hardy zeroes in on its signature codes with the launch of Icon Stud, a sharp modernist collection that pairs architectural pyramid studs with the brand’s Balinese handwoven chain. Designed under Reed Krakoff, the line marks the second chapter of the house’s creative partnership with Billie Eilish and Finneas O’Connell; their influence is felt in a balance of edge and delicacy. Spanning earrings, necklaces, bracelets, and rings in silver, gold, and diamond pavé, the pieces are designed for daily wear with impact. As John Hardy celebrates 50 years, Icon Stud signals a sleeker, more directional evolution for the heritage brand. Shop the collection now at John Hardy boutiques and johnhardy.com.

Stetson & THE GREAT.

Fashion’s Western fixation continues, and if The Great’s latest collaboration is an indication, the trend isn’t slowing down anytime soon. The clothing brand has partnered with Stetson for a 25-piece collection that combines The Great’s classic Americana style with Stetson’s 160-year-old Western heritage.

Faded blues, calming neutrals, and gently worn reds make up the color palette for the collection. Floral embroidery and vintage-influenced prints appear on a wardrobe that impressively remains modern in spite of its classic Western details.

Ranging in price from $45 to $625, offerings include embroidered chambray tops and matching skirts to be topped with cozy belted cardigans. Of course, there are hats featuring Stetson’s signature craftsmanship, along with belts, bags, and a variety of cowboy boots. Stetson & The Great is available online now at www.stetson.com and www.thisisthegreat.com, as well as The Great’s retail locations and select stockists.

Stetson & THE GREAT. Tooled Waist Belt

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Stetson & The Great The Boxy Crew

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Stetson & The Great Gus 6X Cowboy Hat

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Thom Browne x Asics

It seems like these days, every luxury brand is dipping its toes into the sneaker market—and now, Thom Browne is the latest designer to tap into his sporty side. Browne has partnered with Asics on a new shoe that reinterprets the Gel-Kayano 14 using luxury materials and finishes. Performance merges with Thom Browne’s signature tailoring to create a style that fits squarely into both brands’ codes. Red, white, and blue lace catchers incorporate his favorite patriotic colorway, while nodding to the designer’s past as a varsity swimmer and runner. Leather and suede heighten the design, while piping accents reference Browne’s tailoring prowess. The sneaker represents the perfect blend of both brands, combining the divergent styles to create a detail-driven, yet still wearable shoe. The Thom Browne x Asics Gel-Kayano 14 sneakers come in three colorways: black, gray, and white. The former two are available now at Thom Browne retail locations, on www.thombrowne.com, and in select retailers globally. Launch details for the white version will follow.

Gel-Kayano 14 Sneakers

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Gel-Kayano 14 Sneakers

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J. Crew’s Rollneck Sweater

Just in time for New York Fashion Week, J. Crew has tapped five emerging American designers to reinterpret the brand’s signature rollneck sweater. Bucci NYC, Collina Strada, Eckhaus Latta, Patrick Taylor, and Tanner Fletcher were all invited to bring the 40-year-old staple into their aesthetic universe. Each designer lent their own points of view to the project, resulting in five very different takes on the sweater. Hillary Taymour of Collina Strada—a brand known for its use of color and texture—incorporated both into her version, presenting a pink-and-green striped top with feminine lace. Tanner Fletcher designers, Tanner Richie and Fletcher Kasell, opted to go in a more retro direction and paid homage to J. Crew’s nautical roots with a whimsical, sailor-inspired flap-tie. Those looking to show a bit of skin while staying warm will no doubt gravitate toward Mishka Ivanovic’s design for Buci NYC, which features a low back that adds a touch of unexpected sex appeal. The five iterations mean there’s something for everyone in this collection, and you can shop it now on jcrew.com or in the store’s immersive pop-up experience on 75 Spring Street.

The Rollneck™ by Collina Strada

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The Rollneck™ by Tanner Fletcher

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The Rollneck™ by Buci

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Gap x Harlem Fashion Row

Gap has partnered with five designers of color through Harlem’s Fashion Row (HFR) on a 20-piece capsule collection reimagining iconic Gap denim into statement silhouettes and archive-inspired essentials. Daveed Baptiste of Daveed Baptiste, LaTouché of LaTouché, Igdaliah Pickering of Igdalyah, Waina Chancy of Atelier Ndigo, and Nicole Benefield of Nicole Benefield Portfolio were all tapped to create four pieces that reimagine denim through their respective lenses. Baptiste, a Brooklyn-based Haitian-American artist, was inspired by ocean waves, Caribbean shores, and blue sunsets, while Benefield looked to redefine the modern uniform by incorporating menswear-inspired utilitarian themes. Together, the individual capsules showcase the versatility of denim and the depth of Gap’s archives. The Gap × Harlem’s Fashion Row collection is available to shop now at gap.com and in select Gap store locations.

Gap X HFR Embroidered Baggy Jeans by Daveed Baptiste

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Gap X HFR Stitched Denim Bomber Jacket by LaTouché

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Gap X HFR Denim Oversized Vest by Nicole Benefield Portfolio

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Jimmy Choo x Noir Kei Ninomiya

They say opposites attract, which was very much the case for the collaboration between Jimmy Choo and Noir Kei Ninomiya. Originally presented as part of Noir Kei Ninomiya’s spring 2026 show during Paris Fashion Week last fall, the collection merges the modern femininity and craftsmanship of Jimmy Choo with Kei Ninomiya’s avant-garde innovation. Inspired by the Noir Kei Ninomiya spring 2026 theme of “pure and playful,” the collaboration consists of four shoes, three harnesses, and a bag. Feminine and masculine converge in the form of the Maxi Loafer, which combines a classic men’s loafer with a delicate Jimmy Choo drop heel. For those seeking a simpler style, there’s the Star Shoe, a simple Oxford decorated with studded stars. The harnesses, similarly, are adorned with crystals and steel studs, as is the nappa leather backpack.

“I have always been fascinated by the design of the Comme des Garçons universe—an incredible and rich commitment to creativity without borders or boundaries, so to collaborate with Kei is the realization of a decades-long dream,” says Jimmy Choo creative director Sandra Choi. “Expanding Jimmy Choo beyond traditional concepts of luxury, this collection melds together both of our distinct aesthetics in a celebration of the power of pure imagination.” The Jimmy Choo x Noir Kei Ninomiya is available now on jimmychoo.com, through select retailers, and at Jimmy Choo and Dover Street Market boutiques.

Jimmy Choo Noir Kei Ninomiya Maxi Loafer

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Jimmy Choo Noir Kei Ninomiya Single Star Harness

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Jimmy Choo Noir Kei Ninomiya Star Shoe

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Bulgari Icons Minaudière Collection

Bulgari’s creative director of leather goods and accessories, Mary Katrantzou, introduces a new line of objets d’art, inspired by over 140 years of the high jewelry brand’s expertise and savoir-faire of jewelry-making. The collection reimagines five of Bulgari’s timeless symbols, including the Serpenti, transforming them into functional accessories. Each one is created from precious enamel, pavé settings, and various inlays of semiprecious color stones. The pieces are suspended from a delicate chain and offered in two sizes—the minaudière and the miniature vanity—making them functional, as well as beautiful.

In honor of the launch, Bulgari tapped photographer Ethan James Green to capture five women with their minaudières. Each person embodies the collection and its representation of strength, transformation, wisdom, allure, and identity. Models, actors, and more, these women are creators of culture. With this new collection, Katrantzou hopes to allow everyone to “carry culture” around with them, too. The Icons Minaudière Collection is available at 11 Bulgari boutiques worldwide.

Givenchy by Sarah Burton’s Snatch Bag

We’ve had the opportunity to sit with Sarah Burton’s Givenchy for almost a year now, through two collections and a lot of red carpet dressing, which makes it the perfect time for the designer to release her first official purse with the brand, the Snatch Bag.

Described as “a study in intimacy,” the bag complements Burton’s designs for Givenchy, with sculptural curves that mimic the shape of a woman’s body, specifically one adorned in a cinched jacket that shows off the waist, or a bra that curves downward to display décolletage. Crafted in supple, calf-grain leather, the bag features short handles that enable over-the-shoulder wear, as well as strips of leather that extend from the top. The bag is available in three sizes—including a small version that can be worn across the body—and in various colorways, both classics like black and dark brown and more eccentric options like baby pink and red. The hardware is also available in both gold and silver, making the piece customizable. The Snatch Bag will be available soon on givenchy.com and in Givenchy stores.

Moncler x Rick Owens

Moncler is sealing its latest collaboration with a kiss. Or rather, multiple kisses. The outerwear brand is celebrating its first collaboration with Rick Owens with a campaign shot by Juergen Teller. In the set of six images, Owens, Teller, and their respective wives and creative partners, Michèle Lamy and Dovile Drizyte, trade smooches while dressed head-to-toe in the collection.

While Moncler is known mostly for its winterwear, this collaboration offers more lightweight, warm-weather options. The looks are inspired by Berlin’s brutalist architecture, as well as the city’s natural spaces, where those hulking buildings meet bucolic greenery. (Owens calls it “brucolic.”) Each garment, therefore, can take the wearer from the city streets straight to the great outdoors. An adjustable jersey skirt and nappa leather bomber may lean more toward a more cosmopolitan air, while Trailgrip Megalace sneakers and a cropped, funnel-neck down jacket are begging to be taken on a hike. With a refined color palette of black, dark dust, vintage olive, and bold carnelian red, these pieces can be worn anywhere and feel completely at home. The collection is available now on moncler.com, rickowens.eu, and in selected Moncler stores, Rick Owens flagship stores, and select retailers.

Moncler + Rick Owens Geocamo Nappa Leather Bomber Jacket

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Moncler + Rick Owens Cotton Adjustable Skirt

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Moncler + Rick Owens Cropped Down Jacket

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Moncler + Rick Owens Trailgrip Megalace Leather Sneakers

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Since her breakout turn as Carolyn Bessette-Kennedy in FX’s Love Story, Sarah Pidgeon has been leaning into a minimalist look adjacent to the fashionable figure’s own iconic wardrobe. However, in recent weeks, that stark aesthetic has incorporated more unique and subtly artisanal details on the red carpet—particularly as Love Story petitions for Emmy Awards consideration. At a FYC screening event for the show, Pidgeon took a more referential approach to CBK’s minimalism while embracing one of her all-time favorite designers: Yohji Yamamoto.

For the aforementioned Love Story screening, Pidgeon stepped out in a lightweight black Yamamoto dress. However, this was far from your average LBD. Her flowing piece featured a squared neckline with one long, ruffled sleeve gathered at the sides. Meanwhile, the other featured a flounced, off-the-shoulder shape with a long slit, creating an asymmetrical appearance.

To further the piece’s minimalism, Pidgeon’s look was only worn with a dark pedicure and thin black slingback sandals, drawing further focus to the dress’s textures and technique. A wavy, undone hairstyle—much like her hair as Bessette-Kennedy on Love Story, which has been a frequent topic of discussion since the shoe premiered—further enhanced her nod to the late style icon.

Decades ago, Bessette-Kennedy frequently wore Yamamoto’s pieces for their structural forms and subtly simple silhouettes. One of her most iconic was from a Whitney benefit event, featuring a white shirt from the Japanese designer’s menswear collection tucked into a black skirt from his women’s line. Other styles, including a ruffled opera coat and structural suiting, similarly struck a chord between classic elegance and avant-garde flair. Yamamoto’s designs both continued Bessette-Kennedy’s own intricate minimalism while progressing her look during her marriage to John F. Kennedy Jr. from 1996 to 1999, where she was documented nearly exclusively wearing his pieces.

With her own Yamamoto ensemble, Pidgeon took an approach to method dressing as Bessette-Kennedy that was more referential than literal. By nodding to the late figure’s style and the beloved designer that was a constant in her wardrobe, the actor’s approach was formally appropriate while showing a take on Bessette-Kennedy’s look that we haven’t seen before. Plus, given Yamamoto’s artisanal techniques and commitment to form, this is one CBK-inspired look the West Village girls can’t replicate overnight.

After a fashion month marked by an unprecedented wave of designer debuts, the resort and spring 2026 campaigns have landed, delivering a jolt of new energy as the world’s biggest houses unveil the visuals that will shape their next chapters. The aesthetic reset began early, with Jack McCollough and Lazaro Hernandez’s fresh-faced first teaser for Loewe, lensed by Talia Chetrit, introducing an intimate point of view. Sarah Burton’s sophomore “Portrait Series” followed, featuring legendary punk musician and artist Paul Simonon alongside longtime friend of the house, Rooney Mara, in a suite of striking, spare photos that spotlight personality over polish. At Celine, Michael Rider launched a full-on charm offensive with “Infinite Possibilities,” a joyful array of images and video celebrating the house’s Charms collection in a deliberately maximal, more-is-more spirit. Ahead, all of the must-see campaigns setting the tone for 2026.

Gucci

The Gucci summer campaign is all about spontaneity. Playing out across Monte Carlo, plans and outfits change at the rate of the tides. A printed pussy-bow blouse is swapped for black mini shorts and a low-cut top as the cast moves from day to night.

Gucci

Consistency comes from Gucci Flora, which is featured throughout the images. On its 60th birthday, we see the print on pleated skirts, the Venice handbag, and tucked under an arm on the Gossip bag. It’s right at home in Monte Carlo, just like Princess Grace of Monaco was when she initially inspired it back in 1966.

Jacquemus

Mother’s Day may have passed, but it’s never too late to celebrate mom. Jacquemus knows that—so the French brand tapped Pamela Anderson to star in its latest campaign, alongside her sons, Brandon Thomas Lee and Dylan Jagger Lee.

Jacquemus

The campaign is comprised of videos, which take on an almost voyeuristic feel. We observe Anderson and her sons as they spend a day in their lives: wrestling with the coffee machine, fighting over the radio, unwinding on the couch. Always adjacent to the trio is Jacquemus’s Le Valérie bag, fittingly named for creative director Simon Porte Jacquemus’s mother.

Giorgio Armani

The Giorgio Armani Mare 2026 campaign is set at the Villa Cimbrone in Ravello, a resort town perched above Italy’s Amalfi Coast. Known for its centuries-old charm and artistic and intellectual history, it acts as the perfect choice for this collection, one defined by summer elegance.

Giorgio Armani

The images, shot by Francisco Canton, tell the story of a summer holiday where relaxation is the main priority. The result is a refined and intimate tale, clothed in fluid silhouettes and weightless fabrics that represent Giorgio Armani’s effortless style.

Chloé

Apple Martin is a modern-day Venus in the latest Chloé campaign—although this time, she’s depicted through the lens of David Sims as opposed to Sandro Botticelli’s paintbrush. The recent college grad (and daughter of Gwyneth Paltrow and Chris Martin) is the face of the second chapter of Chloé à la Plage. She lounges in front of a giant shell in just one of a series of images that celebrate the poetry and wardrobe of summer.

Chloé

Clad in muted florals and eyelet lace, Martin embodies the natural and free-spirited allure of the collection. She cradles shells and places flowers in her hair, emitting a luminescence that now feels quintessential to Chemena Kamali’s Chloé.

Alaïa

Minimalism is the driving force in Alaïa’s summer/fall 2026 campaign. Shot by Tyrone Lebon at the photographer’s London gallery, the images place Hailey Bieber in a near-monochrome space. She is presented there without artifice.

Alaïa

The simplicity allows the clothes to shine. An architectural suede wrap top encircles Bieber’s torso while a skirt of sculpted layers pleads for a swing of the hips. The images are sensual and powerful, and altogether, quintessentially Alaïa.

Moncler Grenoble

Moncler Grenoble heads to the Tucson, Arizona desert for its latest campaign, tapping Olympic freestyle skier Gus Kenworthy and British model and fashion-world favorite Mia Regan, among others, as its cast. Kenworthy, known both for his medal-winning ski career and outspoken LGBTQ+ advocacy, brings a seasoned outdoorsman energy to the cinematic images, while Regan (below) adds her signature cool-girl ease.

Moncler Grenoble

Regan, who loves hiking, trades London street style for Moncler’s elevated technical sportswear engineered for outdoor adventures.

Versace

You’re going to be obsessed with Versace’s new campaign, Versace Obsessed. Shot by Steven Meisel, the images unfold in a series of vignettes set in various bedrooms. The past meets the present as iconic supermodels and Meisel-shot advertisements are represented on the room’s walls. Meanwhile, new talent sits in the foreground, outfitted in the La Vacanza collection.

Versace

The conversation between the old and new illustrates the enduring legacy of Versace, as well as its bright future. It’s a fitting choice for La Vacanza, a collection that pulls from the house’s immense archives for inspiration. In these clothes lie the unmistakable marks of Versace, reimagined through a modern lens.

Prada

Instinctive collisions of attitude are at the center of Prada’s Days of Summer 2026 collection. Bella Hadid, Damson Idris, Louis Partridge, and Liu Wen lay on the pristine sand of an oasis. But all is not as it seems, and the chaos of the city sneaks in—it is inescapable.

Prada

The juxtaposition continues in the wardrobe. Tailored trousers gather sand, while elegant heels are tossed haphazardly aside. There is no room for preciousness here. These clothes were meant to be enjoyed and worn, however one pleases.

Calvin Klein

Calvin Klein is pulling back the curtains on the backstage chaos of a runway show. The brand’s spring 2026 campaign, shot by Juergen Teller, captures the energy and motion of a fashion week presentation.

Calvin Klein

Some of the photos are static, depicting a model who looks like they’re in a rare moment of quiet right before hitting the catwalk. Others display motion; models in the midst of the presentation. Their heads are out of frame, allowing the eye to focus on the collection's refined minimalism and bold colors. 

Nonfiction

Nonfiction debuts two new chypre eau de parfums to celebrate the start of spring: Dew & Light and Tears in Rain. Created in collaboration with perfumer Yann Vasnier, the scents evoke the clarity of early morning air and a forest after rainfall, respectively.

Nonfiction

For the corresponding campaign, Nonfiction enlisted New York–based creative duo Commission, Jin Kay and Dylan Cao, for their first art direction project outside of their own brand. In the images, scents are paired with fresh faces from New York, a new territory for Nonfiction, which opened a store in the city—its first outside of Asia—last month.

The brand’s founder, Haeyoung Cha, said the campaign aims to explore “the contrasting moods” of the two different fragrances, adding that this project “introduces a bolder, more evocative approach to scent storytelling.”

“Commission has always lived in the space between restraint, desire, and longing, and that’s exactly the energy we brought to Nonfiction,” Kay and Cao said in a statement. “We wanted the campaign to feel like a moment you can’t quite place but can’t forget, almost like the feeling of a memory that hasn’t fully surfaced yet.”

Gucci

Demna continues his exploration of the characters that reside within his Gucci universe. Generation Gucci focuses on a collective of individuals who, together, embody the new generation of the house.

Gucci

Eighty-four images make up the campaign, each photo showing off one look. Elements from Gucci’s history are combined to create a new outlook for the brand. Equestrian prints reference archival scarves and the Jack 1961 is reimagined. There is a reverence for the past combined with a determination to push forward.

Marc Jacobs

Marc Jacobs has enlisted Rachel Sennott to both write and star in its latest campaign. Titled “The Scene,” the project merges fashion, film, and entertainment to debut Marc Jacobs’s newest accessory: The Scene Bag.

Marc Jacobs

Sennott is joined by an all-star cast of Francesca Scorsese, True Whitaker, and Sandra Bernhard. The famous faces make cameos throughout the video as Sennott races around NYC in an attempt to secure an invite to the Met Gala at any cost.

“This campaign is about all the chaotic, ridiculous, and funny moments that make you feel seen or completely invisible,” Sennott says. “I wanted to capture that energy through storytelling that feels true to how we live now. The collection reflects that same spirit with pieces that move with you and let you show up however you want.”

Chanel

Nicole Kidman, Lily-Rose Depp, Pedro Pascal, and Ayo Edebiri make up the A-list cast of models who stepped in front of Craig McDean’s camera for Chanel’s latest eyewear campaign.

Chanel

Each star dons a pair of eyeglasses and sunglasses. Kidman cheekily peeks over her shades, while the prescription frames lend the actor a sense of wisdom. Similarly, Edebiri is every bit the Hollywood star in her retro sunglasses; the square lenses lend a demure look.

Chanel

A closer inspection of the new offerings reveals the stars’ dedication to Chanel house codes. Rose-Depp’s glasses feature a bold, two-toned arm, decorated with a rhinestone double C. Pascal’s, meanwhile, display the word “Chanel,” so there is no question of the brand he is sporting.

Saint Laurent

Justin Bieber was the star of the show at Coachella last weekend, but now it’s time to let Hailey take center stage. The model is the face of Saint Laurent’s new campaign, “Tangerine Temptation”—and there’s not an oversize hoodie in sight.

Saint Laurent

Bieber stands out in the shots by Nadia Lee Cohen. She is the queen of this Los Angeles home. Dressed in Anthony Vaccarello’s latest, Bieber takes us on a bit of a house tour.

Saint Laurent

She shows off her sun-kissed backyard and pool, but really, all eyes are on her color-blocked, asymmetric bathing suit. And who is looking at the sorry state of the yard when Bieber is standing on it in a gorgeous, rust-hued trench?

Moncler

Moncler doesn’t necessarily come to mind when one thinks of summer, but the brand is working to change that. Welcome Puffy Summer, a new collection that offers lighter takes on the brand’s signature puffers, perfect for seasonal weather shifts.

Moncler

Actor Jamie Dornan stars in the Puffy Summer campaign, showing off the collection’s system of lightweight layers and eye-catching colors.

“There’s something really interesting about taking what Moncler’s known for and shifting it into summer,” Dornan says in a statement. “You still get that sense of warmth and puffiness, just in a lighter, more relaxed way. The whole campaign has this real sense of joy and playfulness.”

Loewe

Loewe’s collaboration with Paula’s Ibiza returns, once again celebrating the vibrancy of summer with easy and playful pieces that highlight the craft of basketry and crochet.

Loewe

Images shot by Jack Pierson illustrate the versatility of the collection, placing it both on the beach and in the city. There is an emphasis on the natural world and its influence on the collection, but also the unstaged seduction of a summer spent in town.

Gucci

The “Art of Silk” is back as ten more archival Gucci scarves get a contemporary makeover. The character of the originals remains, while they’re simultaneously introduced to a more modern world.

Gucci

Designs including Your Majesty, Double Trouble, Morso D’Oro, and two exclusive Flora looks created for the opening of LACMA’s new David Geffen Galleries are introduced (or reintroduced) with the project. Together, they represent some of Gucci’s most emblematic motifs.

Gucci

Alongside the project comes a campaign. This time, a variety of characters show off their scarves and the many ways they can be implemented into an outfit. It highlights the immense versatility of the classic piece.

Burberry

Simone Ashley and Tom Blyth take to the water for Burberry’s High Summer Campaign. The actors splash about in their finest checked swimwear while enjoying a day basking in the summer sun.

Burberry

The classic Burberry motifs are at play, with the check covering everything from swim trunks and bucket hats to beach-friendly totes and slides. Ashley and Blyth lounge in their respective ensembles, beckoning us to join them for a dip.

Miu Miu

The spotlight is on Miu Miu’s leather goods in a new campaign for the brand—though Gigi Hadid is not to be ignored. The model stars in images shot by Steven Meisel, and she is a lone figure in a primary-color world.

Miu Miu

Hadid sits in a quintessential bourgeois apartment, flanked by doors loosely painted green, blue, and red. This conventional environment is transformed with the use of color, which is reflected in Hadid’s accessories. The Arcadie and Wander bags from the Italian brand are never far from the model. Also rendered in bright hues, they’re the perfect representation of Miu Miu’s technique and craft.

Gucci

They say you can tell a lot about a person from their shoes, but really, it’s one’s bag that provides a true peek into their psyche. Someone who carries around a petite top-handle is very different from the gal who always has a stuffed tote on hand. In Gucci’s latest campaign, the brand explores this relationship between a person and their bag, considering the accessory as more than just an object, but a form of personal representation.

Gucci

“Beauty and the Bag” stars Kate Moss and Emily Ratajkowski, with each woman toting their respective purse. Moss gets the Borsetto, in its range of colors and sizes, while Ratajkowski tosses the Giglio over her shoulder.

Gucci

In the images—captured by Mert and Marcus—the bag is not an afterthought, something you grab on your way out the door, but a choice as important as any.

Chanel

Kylie Minogue fans, rejoice. Thanks to Chanel, the Australian pop star has reunited with French director Michel Gondry for the first time since 2002, when the pair worked on Minogue’s “Come Into My World” music video. And this time, fellow Aussie, Margot Robbie, is joining in on the fun.

Chanel

It’s all in the name of the Chanel 25 bag, which has proven to be a fan favorite since its launch last year. Now, Chanel is focusing on the mini version of the purse and its many colorways and materials.

Chanel

In the video, directed by Gondry and set to “Come Into My World,” multiple versions of Robbie bop around a Parisian neighborhood, each one toting their own Chanel 25 mini. Minogue makes a cameo in the video, which mimics the cloning effect of the original, featuring multiple Robbies, each holding their own Chanel 25.

Prada

Prada’s spring 2026 campaign takes a surreal turn with I, I, I, I am… Prada., a second chapter that enlists artist Jordan Wolfson to reimagine the house’s latest collection through his uncanny lens. Featuring a cast that includes Carey Mulligan, Damson Idris, Hunter Schafer, and Nicholas Hoult, the project introduces digitally rendered, dreamlike figures that hover between companion and alter ego—blurring the line between subject and projection.

Prada

Wolfson, a New York–born artist who rose to prominence in the 2010s, is known for his unsettling work across video, animatronics, and virtual reality, often probing the darker edges of technology, violence, and pop culture. His controversial VR piece Real Violence, shown at the 2017 Whitney Biennial, cemented his reputation as one of the art world’s most provocative voices but with Prada he gets a bit more playful.

Prada

In a series of spare vignettes, the campaign’s stars repeat an almost bird-like call of “I, I, I, I am...” alongside Wolfson’s human-meet-avian creatures. Watch the full video below.

Prada

Tiffany & Co.

Natalie Portman is the latest star to take on the role of a Tiffany & Co. global house ambassador, and the brand is celebrating the occasion with a new campaign featuring the Academy Award-winning actor.

Tiffany & Co.

Gordon von Steiner captured Portman at Tiffany’s Fifth Avenue flagship, The Landmark. The images are simple, but alluring, with an inconspicuous black wardrobe keeping the attention on Portman and the jewels adorning her.

Tiffany & Co.

Manhattan can be seen in the distance, but up close, there is Portman, showing off pieces from the Knot by Tiffany collection as she rests her hand elegantly on her shoulder.

Prada Re-Nylon

Prada continues to merge sustainability with storytelling in its latest Re-Nylon campaign, starring Benedict Cumberbatch and Letitia Wright. Set against coastal landscapes from Hawaii to Japan, the actors appear in a series of images and accompanying documentary films produced with National Geographic CreativeWorks, highlighting the brand’s Sea Beyond initiative.

Prada Re-Nylon

Launched in 2019, Prada Re-Nylon reimagines the house’s signature fabric using regenerated materials sourced from ocean plastics and textile waste, underscoring a broader shift toward circular design. A portion of proceeds supports ocean education programs in partnership with UNESCO, reinforcing Prada’s ongoing commitment to environmental responsibility and cultural impact.

Prada Re-Nylon

Rimowa

A new series from Rimowa highlights voices of the culture, giving them space to share personal stories while exploring the dedication and resilience required to master one’s craft. To kick off this new initiative, the luxury luggage brand has tapped Michelle Yeoh to star in episode one. There, we follow the Academy Award-winning actress as she receives the Honorary Golden Bear award at the 76th Berlin International Film Festival.

Rimowa

In addition to tagging along for this milestone moment, Rimowa has designed a bespoke case to house the Golden Bear. The meticulously crafted piece represents Rimowa’s dedication to craftsmanship as well as its celebration of extraordinary achievements.

Boss

Bosses take centerstage in Boss’s spring/summer 2026 campaign, and the brand’s newest ambassador, actor Meghann Fahy, is leading the pack.

Boss

Fahy—along with her campaign co-stars—embodies what it means to “Be the Next.” There are those who follow and those who inspire, lead, and light the way for others. The Boss campaign stars fall into the latter category. In their tailored vests and cropped trench coats, they’re ready to break through and turn their self-belief into strength.

Burberry

How does one celebrate an icon like the Burberry trench? With the help of other icons, of course. In honor of the brand’s 170th anniversary—and Thomas Burberry’s invention of the weatherproof fabric gabardine in 1879—Daniel Lee has gathered icons of film, music, sport, and fashion to don iterations of the classic design.

Burberry

Twenty-three global stars were selected, including Kendall Jenner, Jack Draper, Matthew Macfadyen, Kate Moss, Kid Cudi, and Teyana Taylor. The result is a cast that extends across generations and talent, with each person bringing a different perspective to the coat.

Burberry

Despite the large cast, there is a consistency among the photos, which were all shot by Tim Walker. Each star is depicted in black and white. And, of course, each wears the trench—but the little details (a pop of Taylor’s collar, the styling of Moss in sheer black tights and black leather pumps) show the versatility of the garment.

Moncler

The Eternal City of Rome acts as a backdrop for Moncler’s spring 2026 campaign. Steeped in history, yet still situated on the cutting edge of creativity, the city perfectly represents the timeless sophistication of Moncler.

Moncler

Italian actors Celeste Dalla Porta and Francesco Scianna star in the campaign, moving through the city with an understated elegance that cannot be taught.

Chanel

Chanel has updated its unisex sports watch, the J12. Along with unveiling a new signature style for the beloved classic, the brand has tapped two new faces for the accessory in Gisele Bündchen and Clément Chabernaud.

Chanel

The J12 was first inspired by water and the element’s soothing and peaceful nature, combined with its capability for unlimited strength. In the new campaign, Bündchen highlights these features, navigating a sailboat through rough waters, while listening to the ocean and reflecting as she goes. She is at home in the South of France, gaining power from the water as she dives into the waves.

Coach

“Explore Your Story,” Coach’s spring campaign, is all about storytelling, and the communities that form around books and reading. The brand tapped six Gen Z icons and asked them to choose a book, turning each one into a mini charm to wear on their Tabby bags. Elle Fanning went with Sense & Sensibility by Jane Austen, while Storm Reid opted for I Know Why the Caged Bird Sings by Maya Angelou.

Coach

Fanning and Reid, along with the other global brand ambassadors, show off their choices in the spring campaign. Fanning enjoys some peaceful time in a wood-lined library, Sense & Sensibility in hand and the matching charm swinging off her bag. Reid, meanwhile, does her reading in the park, finding a nice patch of grass to engross herself in Angelou.

Acne Studios

Nadia Lee Cohen shot Robyn for Acne Studios’s spring 2026 campaign, turning the singer into a modern James Dean. Robyn is dressed in a cotton uniform shirt and high-waist slacks as she stares down the camera like she’s looking to fight it. Just like her upcoming album, Sexistential, the images capture the sensual experience of being alive.

Acne Studios

“I’ve always felt that when I wore long hair and dresses, it was like I was in drag—which of course can be both empowering and fun,” Robyn says in a statement about the campaign. “And this felt like another kind of drag. It was extremely satisfying to play around with—a way to project vulnerability and toughness at the same time, which is kind of my whole thing.”

Jimmy Choo

Bride-to-be Gabriette is sharing her “Rules of Engagement” with Jimmy Choo. “Your ring should bling,” she says in the video that accompanies the campaign. “And if it doesn’t, upgrade.”

Jimmy Choo

Dressed in Jimmy Choo’s 2026 bridal collection, as well as house signatures, Gabriette shares her requirements. “One pair of shoes is never enough.” She suggests at least four. Also, “Bags don’t have to be functional, just fun.”

Jimmy Choo

She ends her slate of advice with a reminder. “This is about love,” she says. “And looking hot...but mainly about love.”

Calvin Klein

BTS is back, which means we’ll see the K-pop group and its members everywhere soon enough—especially in the world of fashion. It’s no surprise, then, that Calvin Klein nabbed Jung Kook to front its spring 2026 denim campaign.

Calvin Klein

Jung Kook’s Mert Alas-shot campaign plays out in a series of settings. We see the boyband singer soak up inspiration in a record store, enjoy a seaside view from a glass-walled home, and vamp it up in studio. Together, Jung Kook and Alas take us on a denim journey, guided by their points of view and anchored by timeless CK denim.

Alaïa

Just like Pieter Mulier’s winter spring 2026 collection for Alaïa, the corresponding campaign, shot by Steven Meisel, is minimal, but still powerful. There is purity in the setting of the shots, allowing for the garments to hold the center of the image. The photos evoke a sense of nostalgia, but more significant is likely their ability to last.

Givenchy by Sarah Burton

Annie Leibovitz steps out from behind the camera to star in Sarah Burton’s latest campaign for Givenchy, joined by Kaia Gerber, artist Isabelle Albuquerque, and an array of models.

Givenchy by Sarah Burton

Collier Schorr is Burton’s chosen photographer once more, capturing images of women who represent the designer’s Givenchy. The shots are fairly simple, set in studio, and present these people as relaxed and comfortable in their garments. It’s a celebration of the clothing, of course, but also women’s joy.

Givenchy by Sarah Burton

The choice to include Leibovitz in the group blurs the lines of traditional roles. Who is the photographer? The muse? The model? Burton proves one can be all of these things and more.

Celine

This might be Celine’s summer 2026 campaign, but in many ways, it feels timeless. Perhaps that’s thanks to the freshness of Zoë Ghertner’s photography, or the bold pops of primary colors that break up the otherwise simple palette.

Celine

Despite the lack of a distinct setting, the campaign manages to still invoke feelings of summer. Chalk it up to the clothing: draped dresses, silk scarves, and poplin tops that feel light and easy. Wear them on a warm day without sacrificing style.

Balenciaga

Balenciaga’s Heart and Body campaign is all about the creation of a new community—a fitting theme, considering the recent arrival of Pierpaolo Piccioli as the label’s creative director. With new brand ambassadors and friends of the house entering the fold, Piccioli is creating a clan centered around his Balenciaga.

Balenciaga

New brand ambassadors Harris Dickinson and Winona Ryder, plus friend of the house Hudson Williams star in David Sims’s images, which were shot against a white background, allowing the individuals and clothing to speak for themselves.

Balenciaga

“I chose individuals, not characters,” Piccioli says in a statement. “Human beings with distinct stories, faces marked by experience, vulnerability, and nuance. I was not looking for constructed personas, but for real presence. At the center of summer 2026 is the creation of a new community—different, yet connected by shared values: respect, sensitivity, strength, freedom. Not sameness, but resonance.”

McQueen

The worlds of music and fashion converge in McQueen’s spring 2026 campaign, which highlights the intensity and the innate fire within women.

McQueen

Harley Weir’s images are dramatic, glowing orange with heat. The sun peeks through some shots, adding a sense of optimism—but a bare, twisted tree with gnarled branches haunts almost every image.

McQueen

In front of this seemingly portentous tree, musicians Caroline Polachek, Celeste, and Amy Taylor and models Alex Consani and Sora Choi vamp for the camera. They stare down the lens, adding to the overall ominous effect.

Ferragamo

Ferragamo’s spring 2026 collection is viewed through the eyes of award-winning director Antoneta Alamat Kusijanović. Inspired by the house’s cinematic heritage, Maximilian Davis tapped Kusijanović to tell the story of both the Ferragamo brand and family, while simultaneously showing off his latest collection.

Ferragamo

Each person presents a different perspective of the same collection, allowing further insight into both Davis’ Ferragamo and the legacy of the label.

Ferragamo

“When I’m creating a collection, I am always designing for a family of people,” Davis says. “The brand has always been built on the idea of family.”

Loewe

Jack McCollough and Lazaro Hernandez present their first campaign for Loewe, an energetic and colorful set of images shot by Talia Chetrit.

Loewe

The spring 2026 campaign stars a number of up-and-coming actors, including Isla Johnston, True Whitaker, and Talia Ryder. They don the graphic creations of McCollough and Hernandez’s Loewe, invoking a feeling of strength and whimsy.

Loewe

“We’re building a visual language that feels personal: confident, playful, sun-drenched, optimistic,” the two creative directors explain. “It articulates an energy we recognize as intrinsic to Loewe—joy, sensuality, and a modernity that feels instinctive rather than imposed.”

7 For All Mankind

Chloë Sevigny kicks off her tenure as 7 For All Mankind’s newest ambassador with a campaign. The actress showcases the brand’s spring 2026 offerings in a sunlit home, where photographer Brianna Capozzi’s lens captures Sevigny in her best denim.

7 For All Mankind

Sevigny lounges on a pristine white rug in an animal print coat. Elsewhere, she shows off her legs in a variety of miniskirts and shorts. Classic jeans are on display in the form of straight-leg and distressed styles, while more unexpected pieces—including a two-toned, collarless jacket—illustrate 7 For All Mankind’s range.

DKNY

For spring 2026, DKNY is expanding its ongoing exploration of fame as an art form. Fittingly, the brand has once again tapped one of the most famous faces of the moment, Hailey Bieber, to front the campaign.

DKNY

Inspired by the art scene in 1960s downtown New York, the campaign finds Bieber in an artist’s loft effortlessly dressed in canvas coats, pinstripe blazers, and tailored pants. In some shots, she forgoes a top—in others, pants. But almost always present is a monotone New York Yankees hat created in collaboration with the team and DKNY.

Dior

Yes, we are all focused on Jonathan Anderson’s Dior at the moment, but what about Victoire de Castellane’s Dior Joaillerie? The Parisian has been creating masterpieces as the artistic director of Dior jewelry since 1998, and she returns once again with another collection, this time defined by simplicity and grace.

Dior

The latest collection was inspired by 18th-century France, a time dear to the house of Dior. Chains filled with mother-of-pearl medallions and double-layered earrings provide personal touches to each outfit. Dior ambassador Mia Goth, for example, layers up three necklaces of varying lengths, while Ever Anderson dons a bib of pendants. The pieces, with their pops of color and star motifs, are both whimsical and classic, perfect for the narrative of Anderson’s Dior.

Jil Sander

Simone Bellotti follows up his debut collection for Jil Sander with its corresponding campaign, which asks the question, “Is it possible to take away while adding a personal signature?”

Jil Sander

The photos act as a study of opposites—protection and exposure, strength and vulnerability. Set against stark blue and white backdrops in studio, there is a sense of intimacy, but also distance. We are invited in—to a point.

Jil Sander

“A curiosity for the body is what I am after,” says Bellotti in a statement. “Posture and gesture as ways of communicating, clothes that invite to get close, that hide and reveal. Rationality and feelings.”

Chloé

The Chloé summer 2026 campaign follows the path of the sun. The shifting light and mood of the day act as the backdrop for the Sam Rock-shot images, a journey that embarks amid the first glow of sunrise and ends in the golden warmth of the sunset.

Chloé

The images feel inherently Chloé: feminine, light, carefree. The models stroll the beach in their ruffled skirts and draped dresses, the hem of trench coats dragging along the sand. They maneuver the boardwalk in heels and floral dresses and accessorize with oversized earrings and nothing else. One wants to join the group just as much as they want to sit back and observe. There is a sense of spontaneity that should not be disturbed.

Chloé

“I wanted to capture the rhythm of a summer day, the changing light, the warmth of the sun, and the feeling of slipping into a natural flow,” says Chloé creative director, Chemena Kamali. “A day in nature where every sense sharpens revealing a radiance and spontaneity that have always been at the heart of Chloé.”

Louis Vuitton

The French luxury house continues its yearlong celebration of the iconic Monogram with a new campaign. Shot by Glen Luchford and directed by Roman Coppola, the ads feature LV ambassadors and friends of the house Zendaya, Catherine Deneuve, Liu Yifei, and Hoyeon. The group pays tribute to 130 years of fine craftsmanship, style, and innovation. First up, Zendaya brings back the Speedy bag, a 1930s creation that received its Monogram stamp in 1959.

Tory Burch

Free yourself of winter’s chill and bask in the warm Antiguan sun with models Alex Consani, Hejia Li, and Awar Odhiang. The trio enjoys the comfort of Tory Burch’s vacation home while dressed in the designer’s newest offerings for the brand.

Tory Burch

American sportswear gets a romantic remix in the form of shredded silk and sheer polos decorated with beads. Ribbed halter-neck tops are paired with low-rise pleated skirts or trousers for comfort, and accessories are piled on for maximum effect.

Tory Burch

While the sun sets on Burch’s dreamy property, the wrinkled lamé of a button-down catches the light and wrap-around sunglasses protect the models’ eyes. Tomorrow, they will wake up, put on their sequin-adorned low pumps, grab their Romy bucket bag, and do it all again.

Giorgio Armani

The spring 2026 Giorgio Armani campaign invites viewers into the late designer’s Milan home, which is still inhabited by his right-hand man and business partner, Leo Dell’Orco. The images, taken by Oliver Pearch at the Via Borgonuovo residence, celebrate a return to brand origins and evoke a sense of continuity in the spirit of the designer’s legacy. Vittoria Ceretti and Clément Chabernaud star in the photos, which take place throughout the abode, both indoors and among the manicured gardens. The models showcase the brand’s newest offerings while surrounded by Armani’s personal objects, his favorite works of art, and his furniture—the pieces that inspired him every day. Portraits of Armani by Andy Warhol and Francesco Clemente act as backdrops for the models. The resulting images can be seen as a metaphor. While the Armani brand pushes forward, it will never forget its legacy, and the man who started it all.

Burberry

Burberry’s summer 2026 campaign is all about the relationship between fashion and music. The images celebrate the spirit of live performance and music’s ability to transform and inspire all who come in contact with it.

Burberry

The photos evoke the energy of the U.K. music scene. The models—including the legend herself, Twiggy—could easily be concertgoers, stage managers, or artists ready to hit the stage.

Burberry

“Music pushes boundaries, blurs lines, and defines the codes of fashion,” says Burberry’s creative director Daniel Lee. “It is about self-expression, originality, and belonging.”

Proenza Schouler

Proenza Schouler has revealed its first campaign under new creative director Rachel Scott. While Scott doesn’t make her debut until later in February during the New York Fashion Week fall 2026 season, the designer consulted on the brand’s spring 2026 collection and spearheaded its subsequent campaign.

Proenza Schouler

Proenza Schouler is now a woman’s world, thanks to Scott. That fact is made clear in the campaign, which was actualized by a team of women. We enter model Caitlin Soetendal’s world as she laughs and broods, lounges and contemplates. There are contradictions in her demeanor, but that makes her portrayal of womanhood all the more realistic.

Versace

Why have one photographer when you can have three? For its spring/summer 2026 campaign, Versace enlisted three creatives to capture Dario Vitale’s first and only collection for the brand.

Versace

Tania Franco Klein, Frank Lebon, and Steven Meisel all shared their take on Vitale’s work, with Meisel opting for arguably the most confrontational, literally laying out the clothes for the viewers’ pleasure. There’s a sensuality to the images—which features models strewn on top of each other on the floor—that is native to Versace.

Versace

Lebon’s depiction is more cinematic. The images feel like stills from a movie, a moment captured in time. Finally, Klein adds some mystery to the campaign, eschewing faces altogether, focusing instead on color, texture, and feeling.

Re/Done

Kaia Gerber has officially joined Re/Done as an investor and creative partner in a role where she will work closely with the leadership and design teams across the denim brand in shaping its strategy, collection development, and storytelling. Her first task under the new job was the creation of the brand’s spring 2026 campaign, starring Gerber alongside model Secret Snow.

Re/Done

Gerber has long been a fan of Re/Done, making the appointment a natural fit. “The brand represents a lifestyle rooted in authenticity, individuality, and timeless style,” she said in a statement. “I’ve loved being part of its journey.”

Re/Done

For the campaign starring Snow, Gerber actually did the casting. “I’m excited to help shape what comes next—creating products and stories that feel personal, intentional, and deeply connected to today’s generation,” Gerber added.

Miu Miu

Miu Miu’s spring 2026 campaign takes place indoors, but nature still remains an integral part of every image. Shot throughout the day, from dawn until dusk, the photographs show moody shadows, or else a room awash with orange light.

Miu Miu

Singer and songwriter Olivia Rodrigo stars in the campaign shot by Jamie Hawkesworth. And like the setting, which toes a line between the indoor and outdoor, the wardrobe represents an aesthetic that straddles industrial and feminine. A crocheted apron tops an oversize, wool quarter-zip, while a sturdy leather coat is layered over a sweater embroidered with jewels.

Miu Miu

Rodrigo and the rest of the cast stoically stare down the camera in some shots, while letting emotion reign in others. The result is a set of images encompassing a space somewhere between the wild and civil—and frivolity and functionality.

Tiffany & Co.

Love is in the air at Tiffany & Co. this Valentine’s Day, specifically between house ambassador Adria Arjona and her adoring (faux) husband. The actress stars in Tiffany’s V-day short film, playing a wife getting showered in compliments (and diamonds) by her partner.

Tiffany & Co.

In the film, Arjona wears a HardWear by Tiffany graduated necklace and matching earrings and bracelet, as well as a Tiffany Setting engagement ring. The classic, wearable pieces play into the narrative of the campaign—sometimes, the greatest love stories are often the ones we live every day.

Gucci

Gucci’s “The Gathering” celebrates chosen family and modern relationships. The images, shot around a shared table, feature those from different generations coming together to both exchange stories and create new memories.

Gucci

Dressed in looks from the La Famiglia collection, various characters are represented, but there’s a connective through-line between all of them, especially when they come together in a shared, meaningful moment.

Calvin Klein

Forget about “My Calvins,” it’s time to share your favorite underwear—so Calvin Klein is upgrading its iconic campaign to “Our Calvins,” asking, “Who in your life do you share your Calvins with?”

Calvin Klein

And is there a more perfect opportunity to launch this new campaign than ahead of Valentine’s Day? The brand’s V-day collection takes center stage in the Our Calvins campaign, modeled by Tell Me Lies stars (and real-life couple) Grace Van Patten and Jackson White.

Calvin Klein

Images shot by Zora Sicher provide an inside look into Van Patten and White’s love, with an emphasis on those quiet, casual moments at home, when all you need is your coziest underwear and your favorite person by your side.

Self-Portrait

Apple Martin returns as the face of another Self-Portrait campaign, this time starring in images that are unquestionably rawer than anything we’ve seen from the brand in recent years.

Self-Portrait

While Self-Portrait is known for its feminine designs with a tilt toward sparkle and sequins, the dresses Martin models are minimal. She’s pictured in the water in upstate New York, dressed in soft laces and airy chiffons, all white and beige. It represents an evolution for the brand, but also for young Martin.

Bottega Veneta

Bottega Veneta’s summer 2026 campaign is set among the streets and landmarks of Venice, Italy. The images both honor the house’s roots in the northeastern Italian city, and introduce a new chapter under creative director Louise Trotter.

Bottega Veneta

Eye-catching details and luscious textures found in the various palazzos, gardens, and shops are mirrored in Trotter’s debut collection. The clothing is in conversation with these structures, as well as the art and culture housed in each one.

Loro Piana

Loro Piana’s spring 2026 collection is on display in the brand’s latest campaign—and so is Saint-Paul-de-Vence, a village in the heart of Provence, France, where photographer Mario Sorrenti captured models parading around the town’s landmarks.

Loro Piana

The Colombe d’Or and the Fondation Maeght act as backdrops, as models play cards by the hotel’s pool and take a break against the red brick of the museum. These establishments have long represented gathering places for friends, family, and artists, and in this campaign, they still hold that role.

Loro Piana

The collection feels at home among the art, against a Marc Chagall fresco or the Joan Miró Labyrinth fountain. Vibrant hues and sophisticated patterns adorn the models, who complement the environment (and the Alberto Giacometti sculptures).

Dolce & Gabbana

Many consider Madonna to be “the one”—the number-one pop diva, cultural icon, performer, and so much more. So it’s only fitting for Dolce & Gabbana to tap her to star in its new monumental campaign celebrating 20 years of The One perfume. In the images, the singer (who has a long history of working with D&G) lays atop Cuban actor Alberto Guerra on a bed with satin sheets. The shots, as well as a corresponding short film, are a celebration of tradition and reinvention, as the campaign coincides with the launch of new takes on the classic fragrance.

Gucci

Gucci’s La Famiglia is back. After unveiling an array of well-dressed personalities for his first collection for the brand in September, Demna is returning to these opulent tropes for the Gucci: La Famiglia campaign.

Gucci

Images captured by Catherine Opie depict the cast of characters residing in the House of Gucci, plus the brand’s history and many eras, in preparation for Demna’s future collection to be revealed at Milan Fashion Week in February.

Gucci

Those who have been following Demna’s Gucci will recognize the group. Once again, there stands “Incazzata” in her ’60s-style coat and silk scarf-wrapped head. “The V.I.C.,” meanwhile (or Very Important Client) is logo’d-up, head-to-toe in the house’s double-G monogram. Each character is distinct, with a unique style and persona, but together, they embody the legacy of a brand entering a new era.

Saint Laurent

Over 20 years after its debut in the Saint Laurent spring 2002 collection, the Mombasa bag is back, this time in three sizes. Bella Hadid, who has been seen carrying the original in the past, is leading the campaign, introducing an updated version of the iconic accessory.

Saint Laurent

The new iteration includes all the elements we love about the original—the natural slouch, which allows for an effortless look, plus the perfectly designed leather shoulder strap for easy carrying. It already has Bella’s approval, and will no doubt show up on the shoulders of other It girls very soon.

Prada

While much of the world is being inundated with AI advertisements and digitally enhanced images, Prada is looking in a different direction. For the brand’s spring 2026 campaign, Miuccia Prada and Raf Simons have tasked American artist Anne Collier to execute a portfolio of images that challenges the idea of the usual fashion campaign in the digital age.

Prada

Collier’s work jumps off the screen, showing qualities of a physical object. Disembodied hands hold up the images, shot by Oliver Hadlee Pearch, allowing for a new perspective. Sometimes bare, sometimes donning silk gloves, the hands allow the photos to exist on a new plane, while simultaneously creating a story. Who is this person admiring the photos?

Prada

While the handler remains anonymous, the models they’re admiring are anything but unknown. Hunter Schafer, Nicholas Hoult, Carey Mulligan, and Damson Idris, among others, pose for the camera—and the viewer’s pleasure.

Dior

Jonathan Anderson debuted his vision for Dior over the course of two shows last year, dividing each collection into men’s and women’s. But for the spring 2026 campaign, the complete world of Anderson’s Dior is finally coming together.

Dior

In the David Sims-shot images, Anderson’s Dior walks the line between reality and performance. There is a pomp to the clothes and their compositions: sweaters flare out into capes, and lace dresses explode backward into gravity-defying bows. The models lounge, dance, and vamp it up just so.

Dior

Greta Lee leads the charge, followed by actors Louis Garrel and Paul Kircher, models Laura Kaiser and Saar Mansvelt, and footballer Kylian Mbappé. After walking in the Dior women’s show in October, Nicole Kidman’s daughter, Sunday Rose, also returns in the ads. The people morph into new characters in their Dior digs; they’re simultaneously themselves, but also a heightened, newer version.

Saint Laurent

Charli xcx dons two anoraks in the new campaign for Saint Laurent’s spring 2026 collection. And if the outerwear looks familiar to you, it’s because the singer has actually worn one of the pieces before.

Saint Laurent

Back in September, Charli attended Anthony Vaccarello’s show in Paris wearing the same red jacket and lace shorts from the campaign. She matched Hailey Bieber, Zoë Kravitz, and Rosé in the front row. Now, though, Charli is showing off the pieces solo, in a campaign shot by Glen Luchford.

Celine

Charms continue their complete takeover of the fashion world—and now, the customizable accessory is getting a starring role in a Celine campaign.

Celine

Originally presented on the runway, the Celine charms allow for a unique form of personal expression, with pieces to be worn however the owner desires—on bracelets or necklaces, as brooches, or dangling off a bag, of course.

Celine

There are infinite possibilities when it comes to the Celine charms, especially with new designs being introduced each season.

Givenchy by Sarah Burton

“My friends are often my muses, and my muses often become my friends,” says Givenchy creative director Sarah Burton. The relationships she describes are on display in Givenchy’s latest campaign, Friends and Muses.

Givenchy by Sarah Burton

The second portrait series created for the brand stars actor Rooney Mara and punk icon and artist Paul Simonon. The images, shot by Collier Schorr, are simple, yet striking—highlighting an intimacy enjoyed only by close comrades.

Loewe

Jack McCollough and Lazaro Hernandez teased their first collection with Loewe about a week before its debut, featuring a campaign starring Sorry, Baby director Eva Victor and actor Isla Johnston.

Loewe

The images acted “as an opening gesture, the outset of a new dialogue,” McCollough and Hernandez said. With these photos, shot by Talia Chetrit, the designers set a tone, one defined by “vibrancy and tactility rooted in craft.”

Sophia Loeb’s atelier is remarkably clean for an artist whose hyper-contemporary impressionism and thick, impasto layers have been her calling card since she started making headlines three years ago. Hardly any visible splatter on the wood floors or the brick walls is pretty impressive for someone who’s been at it seven days a week since November, making work for her latest show, which opens at Pippy Houldsworth Gallery in London June 5 (on view through July 4). “I tell my assistant to be a neat freak,” says the Brazilian artist. “I would be a disaster without her. It helps me create when everything is in place. If everything is a bowl of paint, you don’t see the idea.”

The two-story, three-bedroom house, in a residential area near Ibirapuera—São Paulo’s “Central Park”—has been her workspace since moving back to her home country last fall. “I started living full-time with my parents again because I wanted to reconnect with my family,” she says. “I found this cute, old house, in the best area, and it’s only an eight-minute drive every day. The whole thing is my studio.” She paints on the bottom level, and finished pieces go upstairs; it’s a big contrast to London, where Loeb had just a small room, which she shared with other artists. “The upgrade is a huge deal for me,” she continues. “I feel serenity entering the space because of the neighborhood. I even hear birds when I’m inside.” Every week or so, her parents drop by to see her canvases. During lockdown she lived with them for eighteen months, but had to paint in her childhood bedroom. “Then I switched to the living room, and my parents were going crazy with me,” she says. The smell was awful and everything was terribly messy, though Loeb considered Covid her most productive period, until now.

While prepping this show, “O Manifesto Da Luz Antes Do Amanhecer (The Manifesto of Light Before Dawn),” the 29-year-old became fixated on rituals. “I started going to the same spot for lunch, and eating this Brazilian dish, rice, beans, meat, and farofa every single day,” Loeb says. “I sort of obsess on specific things that enter my realm of creativity and that is part of producing the work.” Another example: she blasted Kate Bush and the Cats soundtrack on her phone, without headphones or speakers, “nonstop, on repeat, for the last six months, the whole day, while painting…I have no idea why Cats.” Her theory: as a little girl, she dressed up as a feline and danced around, watching the musical on TV. Perhaps being back in Brazil triggered the connection. She’s also made a point of keeping her creative process private. “I don’t receive people. None of my friends have even been to my Brazilian studio. I was a hermit for six months,” she says. “As I grow, the more workaholic and obsessive I become. I use everything I feel to create.”

For as long as she can remember, Loeb wanted to be an artist. Visiting a contemporary art fair during a family trip to Paris when she was around 12 sealed the deal. “There were so many artists, I thought, My god, this is incredible. It’s possible. This exists. And then I decided to pursue art and never tried anything else.” At 18, she left Brazil for the U.K. to do a foundational year at Camberwell College of Arts, then moved to Goldsmiths University. “It was very hard at the beginning because I didn’t feel understood,” she says. “Only 20 percent of the people wanted to be artists, and the rest were a bit lost or wanted to be curators.” By contrast, her time as a graduate student at the Royal College of Art was “emotionally exhausting, because we were all our work.”

Loeb has described her intense landscapes as scenes from a prehistoric past or a post-human future. “But I feel like what I paint does exist somewhere,” she clarifies. “I don’t know where it is and I’m trying to show it to people.” Though abstract, her brushstrokes trace leaf-like forms and flowers complemented with pyrotechnics of bold color. Her current show—seven paintings in all (each takes about a month to complete)—has color combinations that “weren’t part of my palette before, like pink and blue,” she says. Some prominently feature an iridescent pearl hue, with the lingering, luminous atmosphere of a greenhouse or a misty London morning. “There’s a lot of fog in this show,” she adds. “I think mist has this surreal effect. Nobody thinks of fog in Brazil.”

Operating with palette knives and her hands, rotating canvases on the floor as she goes, Loeb’s paintings are entirely intuitive, relaying how “the place evolves as it’s being revealed to me.” She draws strong inspiration from the cosmos, following feeds about space on Instagram. “How a new planet was formed or how a star behaves, these things are so connected to my work and guide my life,” she says. “The light we see existed long before we perceived it. My work existed too, before I made it—it was meant to exist.”

Every summer, millions of travelers flock to coastal Italy, Greece, and France for a little soleil. Yet just south of Sicily, the archipelago nation of Malta is emerging as the Mediterranean’s sunniest secret, an off-the-radar riviera hiding in plain sight.

Malta offers an alternative Mediterranean escape—an island brushed by history, blessed with sun-scorched coasts and yacht-speckled coves. Restored palazzos, a burgeoning fine-dining scene, and design-forward hospitality is reshaping Malta’s luxury identity, positioning it as a more nuanced and perennial Mediterranean alternative to Ibiza or Santorini.

Positioned between Sicily and Tunisia, Malta bears the imprints of Italians, Arabs, the British, and the Knights of St. John. Six decades into its independence, Malta is reshaping its national identity. With more than 340 days of sunshine annually, a new wave of boutique hotels, new direct flights from New York on Delta, and a buzzy contemporary art scene, Malta is fortifying its reputation as a year-round getaway for sun-seeking design lovers.

Where to See Art

While Malta is renowned for its baroque grandeur, its contemporary art scene is rapidly gaining attention. “Whenever I am in international arts fairs, I meet people who tell me I’m the first contemporary artist they know from Malta,” says artist Matthew Attard, who represented Malta at the 2024 Venice Biennale. “I never particularly like that because I am coming from a place where there is so much contemporary stuff happening,”

Both Attard and interior designer and gallerist Francis Sultana recommend the Malta International Contemporary Art Space (MICAS). “The museum should be on everybody’s list to go and visit. Next year, it is planning an outdoor sculpture garden as part of the campus, then will launch a design and architecture annex,” Sultana says. The cavernous art museum is superimposed onto a 17th-century fortified wall, a fitting metaphor for the island’s dialogue between past and present. The museum recently opened an impressive exhibition of large-scale paintings by American artist Reggie Burrows Hodges.

Other notable contemporary art spaces include Valletta Contemporary, Axis Gallery, and Spazju Kreattiv. The Malta Biennale, now in its second edition, surveys the current pulse of Maltese and international contemporary art.

Where to Shop

When it comes to fashion, Charles & Ron remains Malta’s most internationally recognized house. With several boutiques on the island and fashion shows at London Fashion Week, the label has cultivated a reputation for bold Mediterranean glamour.

“Malta’s creative scene has evolved greatly,” says Ron van Maarschalkerweerd, co-founder of Charles & Ron. “I remember in our early days, we were one of the first to operate as a design brand. There weren't many before us, and we were also one of the first to take inspiration from the island. Now there’s a great sense of pride, and people are happy to invest in local products and local design.”

Up-and-coming fashion designer Luke Azzopardi is another standout designer. His atelier specializes in theatrical, opulent couture, crafted from ethically sourced, high-quality fabrics. Azzopardi will be showing in Paris for the first time this year during Haute Couture Week.

For design objets, the discerning eye can turn to Seffarrugia in Rabat for elegant silk accessories, Villa Bologna Pottery in Attard for timeless ceramics, and Camilleri Paris Mode in Rabat for home goods with panache. A newcomer to the design scene recommended by both van Maarschalkerweerd and Sultana is Hollywood, a Valletta boutique that curates locally made crafts, jewelry, artwork, and provisions.

Where to Eat

Maltese cuisine reflects its Mediterranean-North African geography and heritage. Signature dishes include a rustic rabbit stew called stuffat tal-fenek, flaky pastizzi, and date-filled imqaret. More recently, the dining landscape has evolved from humble village trattorias to Dubai-esque rooftop restaurants and Michelin-star fine dining.

“Fine dining is actually having its heyday here. It’s really picking up,” says Keith Abela, a Maltese chef and head of sustainability at two-Michelin-starred restaurant ION Harbour. “Local ingredients are also having their heyday at the moment, which is nice to see because we as a country were controlled by so many people. I think we never liked our own stuff. Now Maltese food is getting recognized.”

For traditional Maltese cuisine, visit Legligin in Valletta or Tal-Petut in Birgu, both serving Maltese wines and locally sourced, farm-fresh ingredients like sheep cheese and rabbit. In Gozo, Maldonado is another popular option recommended by Sultana and Azzopardi.

When it comes to fine dining, Malta has plenty of tasting menus and Michelin-recommended spots. Noni, Le GV, and ION Harbour by Simon Rogan are lauded by Abela for their sustainable food practices. Later this year, Iniala Valletta will debut two new restaurants: Anaalā by Ian Kittichai and SiR by Simon Rogan.

For Mediterranean classics, Casa Bonavita Restaurant is a favorite. Served on elegant Villa Bologna ceramics, the menu caters familiar fare that guests crave on a Mediterranean isle, like fried zucchini chips, panzanella, roasted seabass, and rack of lamb.

For evening cocktails, Azzopardi recommends The Club Bar at the Phoenicia Malta, where he curated a capsule cocktail collection, barmen’s attire, and fashionable wall photography.

Where to Stay

Drawing the creative class to Malta is a wave of new and renovated boutique hotels. Six Senses Comino is expected to attract wellness devotees to the rugged island of Comino. Designer-favorite Iniala Valletta is expanding this year with new cosmopolitan palazzos and suites. Stilla is a new set of design-forward guesthouses within Malta’s Three Cities.

The Phoenicia Malta, the grande dame of Maltese hospitality, is a legendary hotel in the leafy neighborhood of Floriana. A member of The Leading Hotels of the World, the Phoenicia will give you a regal stay that draws from its provenance without feeling staid. The hotel has hosted royals, celebrities, and dignitaries throughout history, including repeat guest Queen Elizabeth II. Having recently completed an extensive refurbishment, guest rooms blend modern designs and local touches like luminous Mdina Glass art. Outside, lush gardens flourish with melliferous fig and citrus trees, grape vines, and lilies, while the dramatic pool commands attention against historic ramparts. The Phoenicia remains a magnet for Malta’s cultural scene, hosting Malta Fashion Week soirées, book launches, and artists-in-residence exhibitions.

Set within a centuries-old mansion in the quiet and elegant town of Attard, Casa Bonavita feels less like a hotel and more like the home of an impossibly chic, well-traveled relative. This 17-key boutique hotel is a costume chest of eccentric design: patterned tiles, frescoed ceilings, de Gournay hand-painted walls, woven rattan chairs, Maltese craft, and playful rococo touches. The environs call for languid summer caftans and rakish dinner parties that stretch long into the night. Its gardens are equally enchanting: guests can play lord of the manor while swimming in the foliage-bordered pools or hiding among frangipanis, bougainvillea, and orange blossom. Casa Bonavita is poised to become a beloved hideaway for insiders.

Another newcomer is Romègas, housed in a meticulously restored 16th-century palazzo. The hotel is a love letter to Malta’s capital city of Valletta, preserving the building’s architectural fabric while infusing equal parts flamboyance and historicity. Artworks by Paul Scerri, Matthew Attard, and Wioletta Kulewska Akyel are showcased throughout the hotel’s interiors, complementing jewel-tone accents in emerald greens, soft blushes, and soothing purples. Many rooms feature Malta’s signature galleria balconies, perfect for observing scenic streets below. A swanky rooftop pool and panoramic views lend Romègas a contemporary edge, and the forthcoming spa and restaurant Caviar & Bull both promise to further elevate. After all, where else can one savor caviar inside a 500-year old palazzo?

When to Visit

The beauty of Malta is that it’s a true year-round, sunny destination. Summer is the busiest season, and new for 2026 are Delta’s direct flights between Malta and New York. High-end cruising is also exceedingly popular, with The Ritz-Carlton Yacht Collection and Four Seasons Yachts embarking on maiden voyages to Malta this year.

Even in Malta’s winter months, Mediterranean climates and warmer ocean temperatures remain enticing. “Malta is a good place to visit year-round if you like the heat. In winter, it’s fantastic to go for a swim, as the sea doesn’t get too cold,” says Abela. Visitors can explore the streets of Valletta, sail to Gozo and Comino, and enjoy celebratory festivals any month. Though what distinguishes Malta is not simply its climate, but its growing community of artists, chefs, designers, and hoteliers shaping a vibrant and distinctly Maltese identity.

Wearing an all-white look presents a unique challenge. How can one wear the light hue without inviting wedding dress comparisons? As Emily Blunt proved, the answer lies in construction and texture with a helping hand from Alaïa.

At the Paris premiere of Steven Spielberg’s Disclosure Day, Blunt shone in an all-white Alaïa outfit. Initially appearing to be a peplum-style dress, her custom ensemble—inspired by the brand’s fall 2026 collection, its last by Pieter Mulier—was actually a halter-neck bodysuit layered beneath a tiered skirt. With its exaggerated waistline and gathered ruffled sides, the actor’s skirt created a pointed silhouette that also furthered its optical illusion. Her stark attire was glamorously paired with a rounded gold cocktail ring and orb-shaped earrings from Marco Bicego, each covered in diamonds for a dazzling finish.

Blunt’s look was complete with an equally revamped shoe style: a pair of white almond-toed pumps crafted from sheer mesh. The ankle-strapped set added an unexpected textural base to her attire, while remaining surprisingly practical for warmer weather. Indeed, this summer’s faced a resurgence of see-through shoes with clear jellied, mesh, and PVC detailing that bare the foot, as seen in new styles by Tory Burch, Britt Netta, Jimmy Choo, and Saint Laurent—plus, of course, Valentino’s viral PVC-paneled stilettos. Blunt’s transparent heels complemented her dress’s neutral color while continuing its architectural themes—and, through a high-fashion method, showed a new way to style summer whites.

In summer months, all-white dressing is always an east way to look put-together while deflecting the sun’s rays. Though Blunt’s attire was too avant-garde for the Hamptons or Martha’s Vineyard, her look certainly brought a texture-forward approach to wearing whites on the red carpet. The same practice has been utilized by Dua Lipa, Tilda Swinton, and Zendaya this year, affirming its high-fashion appeal. Plus, with summer just beginning, this certainly isn’t the last instance we’ll see stars in all-white—whether on or off the red carpet.

Jack McCollough and Lazaro Hernandez’s spring 2026 debut for Loewe last September was just the start of a milestone year for the brand. Their arrival coincided with the 50th anniversary of the Amazona, the house’s first named handbag, while 2026 marks Loewe’s 180th anniversary. To kick off the festivities, the designers returned the ur-work bag to the runway, reshaped for looser, hybrid work lifestyles. One of several reinterpretations over time, the Amazona 180 is the most radical. Suspended from a single toron top handle, the missing counterpart seemingly lost to the era of daily commuting, the rectangular bag is crafted in calfskin with a subtle sheen and an exceptionally supple hand that gives it a lived-in patina. It is designed to be worn open, its zip-top collapsing into a slouched silhouette, revealing a new logo pared down from four interlocking Ls to two. For McCollough and Hernandez, this balance of reverence and irreverence defines their vision for Loewe.

As the world’s second-oldest luxury fashion house, preceded only by Hermès, Loewe has a long history of playful experimentation. In 1846, a collective of leather artisans formed a small workshop on Calle del Lobo (now Calle de Echegaray) in Madrid’s Barrio de las Letras. They created leather vanity kits and travel cases, as well as more whimsical commissioned objects, such as a tooth fairy box topped with a silver mouse. In 1872, German businessman Enrique Loewe Roessberg joined forces with the collective under the name E. Loewe, combining his technical precision with the artisans’ creativity and inimitable leatherworking skills. The house became an official supplier to the Spanish crown in 1905, and by the 1950s it attracted a different kind of royalty. Rita Hayworth, Marlene Dietrich, and Sophia Loren were among the Hollywood stars who visited Loewe’s Gran Vía flagship while filming in Spain. Ava Gardner acquired a chocolate-brown crocodile handbag there, said to have been a gift from Ernest Hemingway.

Mini Amazona 180 Bag

Loewe -

In the 1970s, Loewe began collaborating with a new generation of designers, including Karl Lagerfeld and Giorgio Armani. Designed by Dario Rossi and named for the warrior women of Greek mythology, the Amazona was introduced in 1975. Crafted in gold suede, it arrived amid a global shift as more women entered the workforce, and was conceived as a softened briefcase without a rigid base, allowing it to slouch naturally. Reinforced leather handles and protective corner detailing added durability, while the Vincent Vela-designed Anagram and mini-padlock with key anchored its visual identity. A commercial success long before the era of the It bag, the Amazona quickly became a brand signature. In the 21st century, the Amazona has reappeared in a number of seasonal collections, including Stuart Vevers’s pristine white version for resort 2009 and Jonathan Anderson’s smaller square iteration for fall 2021, and has been carried by the likes of Kate Moss and Madonna.

The Amazona 180 anchors a special anniversary capsule collection and campaign featuring a lion motif by the artist David Shrigley, the artist known for his humorous, deliberately naïve drawings of animals. The featured creature is a nod to the house name: Loewe is the umlaut-free spelling of the German word for lion, löwe, reimagined here as something closer to the loveably neurotic feline from The Wizard of Oz than a heraldic emblem. Sweet muzzles peek from the interior in place of the logo, while rounded leather ears emerge from the base of the handle. Elsewhere, Shrigley’s character appears in beaded embroidery and leather intarsia across Loewe icons, including the Flamenco pouch with its gathered pleats (launched in the 1980s), the tetradecahedron Puzzle bag (2015), the modular Hammock Flip bag (2025), and the Cala sling bag introduced as part of the Paula’s Ibiza collection in April, extending the motif across the house’s archive in a playful register. Shop the collection at loewe.com and in Loewe stores now.

Medium Lion Amazona 180 Bag

Loewe -

Top image, left, clockwise from top: Courtesy of Loewe (2); Getty Images; Courtesy of Loewe (2).

Euphoria’s third and final season has officially come to a close. The finale, which aired on HBO Sunday night, brought the series’ unforgettable characters and crime-racked world to a rollicking end only Sam Levinson could create. Season three has been quite a ride—between the surprise deaths, biblical references, unexpected character arcs, and dubious fetish portrayals, this round of the controversial show has produced more questions for loyal fans than it has answered.

But one aspect has remained steadfast—the beauty direction. Ending Euphoria, which first premiered in 2019, meant the makeup, hair, and skincare had to be the clearest and most powerful vehicle for storytelling.

In the first two seasons of the hit show, the characters’ aimlessness, grief, experimentation, angst, and yearning were displayed directly on their faces: glitter tears, electric eyeliner, and rhinestones galore made Euphoria beauty a mainstay (and a source of inspiration for other makeup artists). This season, meanwhile, the looks—while nowhere near dull in comparison—are precise, dark, intense, and dramatic, leaving much of the glitz behind. Head makeup artist and lead makeup designer for the show, Donni Davy, refers to the style as “feral glam”—the best way to sum up the season’s mood as characters claw their ways out of their adolescence and into an even more unforgiving world. “I understood immediately upon reading [the scripts] that this season was not going to be about whimsical self-expression or finding different versions of themselves,” Davy tells W. “The motive is not self-discovery, it’s not dreamy, it’s not like anything we’ve done before.” With high aspirations and higher stakes, the only elements at the center of the characters’ minds are money, success, and fame. They will use any means necessary to arrive at those goals, including how they choose to paint their faces.

Sex work is a central theme of the final season—played out in the storylines of Silver Slipper dancers, Cassie’s OnlyFans career pursuits, and high-end escorts like Jules. As such, Davy explains that the male gaze drives the aesthetics of Cassie (Sydney Sweeney), Jules (Hunter Schafer), and Maddy (Alexa Demie). Any sense of creative expression and innocence is long gone—now, there is an aggressive sense of hustle within these characters that’s reflected in their glam.

“It’s not all about money,” Davy clarifies. “It’s also about notoriety, recognition, and survival. And all of those things are so tied together now, in modern times. Cassie wants fame, Maddy wants status and also definitely money, and Jules wants this elevated life.” Lexi sports a full beat to work, particularly with a bold red lip as she steps into an exciting industry, attempting to prove her worth as a writer. Davy refers to Maddy’s makeup as a “grown-up, professional version of herself: striking, old Hollywood, and classic with almost no color.” Cassie is striving for straight-up sex appeal, while Jules is stifled by her own escort work and therefore takes on a “vacant” look.

Cassie’s attempts to capture male attention and a life of fame at any cost reveals a clear political affiliation, Davy says. “I thought, ‘oh my god, she’s a Republican,’” the makeup artist says. “I didn’t lean into that part too much, because it’s boring.” Instead, she drew inspiration from an issue of Hustler Magazine given to her by Levinson. Davy crafted looks for Cassie that were hypersexual (think: ultra juicy lip gloss and shimmery eyes). When it came to Jules, it was clear to Davy that the character was wrestling with her choices; as a result, her beauty routines displayed a level of moody discretion. She’s feminine and sexy, but “not in the traditional TV way, with the super smoky eye and red lip,” Davy explains.

Across all the show’s characters, Davy believes Jules takes the greatest departure from her first-season self, and therefore so does her glam. But the difference in the whimsical, sparkling looks from previous seasons lies in this round’s dark materials. “Everyone in the beginning was like, ‘What happened to the glitter?’” Davy says of the concluding Euphoria season’s makeup. “There is still glitter! Kitty (Anna Van Patten) and Magick (Rosalía) have rhinestones.” There is, of course, also a heavy dose of special effects for all those gory bits.

Some fathers teach you how to ride a bicycle, others teach you how to pick yourself up when life throws you off of one. Both scenarios deserve to be celebrated. Father’s Day, which falls on June 21 this year, feels like a seminal moment to love the ones who have guided you—or even the ones who taught you caution and resilience in quieter ways; the fathers who have loved deeply and helped shape your children into exceptional human beings. We know and often say that appreciation comes in many forms, but sometimes luxury, usefulness, or simple thoughtfulness can speak volumes. Below are our some of our preferred gift ideas to make the dad in your life feel loved, happy, and genuinely appreciated (at every price range).

Bottega Veneta Backgammon

If your dad seems to already own everything—including strong opinions, excellent luggage, and at least one jacket from the ’80s that he refuses to replace—this backgammon set should be your go-to. While the game is enjoying a current comeback moment, Bottega Veneta has created the gold standard: rich olive, cream, and brown tones, finely crafted wooden cups, ceramic pieces made from Venetian clay, and a supple calf leather case that feels more heirloom than hobby.

Clive Christian Crown Collection Matsukita Fragrance

For the cultured father who appreciates a touch of history with his gifts, this is a fragrance steeped in olfactory heritage. Gorgeous woody notes fuse with yerba mate tea, pink pepper, and bergamot. The result is one of this perfumery’s most refined scents, favored by discerning noses since 1892.

Rolex Datejust 41 Watch

A new relaunch from Rolex sees the Datejust reimagined in the luxury watch brand’s signature green—only this time, it’s rendered in ombré form, with a brighter center that feels more dramatic, encased with a fluted bezel. The whole presentation unfolds into this handsome gradient effect toward the edge of the face that’s really cool. We predict that dad or your boyfriend will definitely drool over this fabulous gift.

Connolly Navy Cashmere Robe de Chambre

This is an indulgent robe that gets everything right. Cut from beautifully soft Scottish cashmere—from the brand beloved by those with an affinity for understated luxury on both sides of the Atlantic—this gift has a relaxed-luxe feel with a clean, ribbed finish that keeps it modern.

Giobagnara Leather Rummikub Set

Seriously, who doesn’t love a great game of Rummikub? Here is a lasting gift, designed for slow evenings, a few drinks, and time well spent with family and friends. Crafted with every detail in mind—in Italy, of course—the set is beautifully finished with calf leather in four different tones.

Leica Q3 Camera

If he’s recently retired and looking for a new hobby, then look no more. This will capture the finest moments in his life—the Leica Q3 camera takes beautiful, crisp, and vibrant shots with a compact, easy-to-use design. Added bonus: the camera has an all-in-one setup and autofocus, making it easy to use without the need for extra lenses or complicated gear.

Bang & Olufsen Advanced ANC Earbuds

If long flights, music, and in-transit films are part of his rhythm, he will love this gift. Encased in brushed aluminum, these earbuds offer superb noise cancellation and the pinnacle of clear call quality (everything from conversations to playlists will feel uninterrupted and precise).

Moet & Chandon Ice Imperial by Pharrell Williams

Leave it to ultimate cool dad Pharrell Williams to give champagne a très chic summer spin. The Louis Vuitton men’s creative director has reimagined Moët & Chandon Ice Impérial with a stripped-back limited edition new bottle crafted especially for pouring glasses of the warm-weather drink known in France as “La Piscine”—champagne served over ice.

Chanel Comète Eau de Parfum

Here’s a unique scent to up his handsome fashion game with each spritz. This fragrance is infused with cherry blossom and iris. It’s charming, grounded, and a perfect scent fit for what dads should always feel like.

Cartier Trinity Cufflinks

A wise choice for the father of your children, this is something classic enough to outlast his current streetwear obsession (sometimes he still thinks he’s 16) and enhance his wardrobe for life. The three-tone gold works with any watch or shirt detail, making it easy to wear now. It’s the kind of piece that will still feel relevant when it’s eventually passed down to your babies.

Lorenzi Milano Zebu Horn Barbecue Utensils (Set of 6)

A major gift for the discerning dad who suddenly becomes a chef the moment he steps behind the grill (and who is never happier than when he’s feeding the people he loves). Equally rugged and refined, this set comes tucked inside a handsome, foldable calfskin leather case and includes six essential tools for mastering the fire: a long spatula, carving knife, fork, brush, and tongs, all forged in stainless steel with polished Zebu horn handles.

L'Atelier du Vin Le Plateau Wine Tool Case

Artfully designed but also practical—just the way your dad likes everything. This clever wine set lets you skip the endless trips to the kitchen or bar, putting everything you need for entertaining right at the coffee table so he can sit and chat with his friends. Crafted from beautiful cherrywood, it comes fully loaded with high-quality essentials, like handmade leather coasters, a chromed metal foil cutter for clean capsule removal, and a pourer leaf for smooth, drip-free helpings.

Loewe Medium Pistachio Candle

We’re obsessed with this tasteful, composed, gourmand candle that will enhance the aroma of dad’s favorite room.

Hermès "Chaine d'Ancre" MagSafe Card Holder for Phone

If his phone is rarely out of hand (or ear), this stylish Hermès MagSafe card holder has a nice flair to it—for the busy and stylish dude in your life.

Prada Re-Nylon and Saffiano golf bag

If he lives his best life on the golf course and insists on doing it in stye, this is a fab upgrade from the usual offering. Prada’s golf bag is crafted in durable Re-Nylon with Saffiano leather detailing—built to last and designed to keep him cooler than the rest of the tee sheet.

Santa Maria Novella The Selection Gift Box

Beautifully presented in Santa Maria Novella’s signature box and ribbon (saving you at least one task before enduring Father’s Day brunch) the set includes the richly scented Tobacco Toscano Cologne, the label’s Crema de Mani lemon hand cream, and a tube of the coveted moisturizing Before & After Shave Cream.

Roe Caviar Personalized Indulge Box

For the foodie dad who loves a truly savory bite, this experience can create a beautiful moment for him to indulge in something exceptional, crafted with the finest fine-grain salt to elevate the rich, buttery flavor of the roe. This gift comes with two mother-of-pearl spoons make it feel extra special—and adding his initials to the box is always a thoughtful and personal touch.

Dior Escale Cocktail Glasses (Set of Four)

Your dad will have no trouble showing these off to friends and guests, casually mentioning his very thoughtful daughter gifted them. The set of four is made of crystalline glass with beautifully smoky hues—a perfect fit for his evenings of lively conversation and plenty of toasts.

Le Labo Santal 33 Hand Soap and Hand Lotion

After persistent pleas from Santal 33 devotees, Le Labo has delivered a gorgeous scent that’s wonderfully foolproof in the gift department. The brand’s new hand soap and lotion set brings a subtle touch of everyday grooming luxury to his bathroom counter.

Loro Piana André Shirt in Linen

We searched high and low and can declare this the absolute finest men’s linen shirt in existence (it’ll forever be a wardrobe staple for the father of your children). The feel of the material is exceptional, with a cut that sits just right on the shoulders. Mother-of-pearl buttons, the signature mouche, and softly rounded cuffs keep this look polished, not flashy. It comes in a crisp, timeless white as well as a few understated colors.

Louis Vuitton Andrews Golf Kit

For the guy who’s happiest on the course, this sleek (and useful) kit carries three golf balls and four tees, and clips neatly to a belt loop or golf bag.

Dior Sauvage Eau Forte Parfum

Composed by one of the most esteemed noses in modern perfumery, Francis Kurkdjian, this is a fresher, more spiced reinterpretation of a modern classic. Built on unbleached lavender, musk, and woods, it will easily delight your father.

Gucci Knit Cotton Sweater With Web Intarsia

We’re quite taken with this timeless navy crewneck—and candidly, we fully intend to borrow it ourselves. It’s one of the most enduring Gucci men’s pieces to lend him a sense of cutting-edge taste.

Brunello Cucinelli Silk and Linen Scarf With Stripes

The dad in your life deserves one fashion item that makes him look like James Bond—that is, significantly more pulled together than the rest of us. This silk-and-linen scarf pairs easily with jeans, is a great staple for travel, and ensures a chic insurance policy against looking rumpled.

Baccarat Harmonie Set of Bar Accessories

For the dad who proudly loves prepping his own martinis, give him something he will enjoy for years to come. Beautifully encased in Baccarat’s signature red box, this elegant bar set with the signature vertical lines is both timeless and utilitarian. The set includes: a shaker, mixing glass, strainer, double jigger, and bar spoon.

Saint Laurent Lighter Holder in Brass

This is pure 1970s-inspired chic: so sculptural, minimal, and cinematic, echoing for us the effortlessly cool moments of Alain Delon lighting up on screen. This lighter holder is an ideal gift for the dapper husband or dad who enjoys cigars or cigarettes with a certain level of panache.

James Perse Men's Suede Shearling Lined Loafer

No matter the kind of dad or husband, this is the pair they will reach for at the end of the day; soft, easy, and genuinely comfortable with solid foot support.

Gucci Card Case With Logo

For the father who is slowly accepting that the world no longer runs on folded cash and “just in case” receipts, this sleek essential signals he’s evolving with the times (even if he still prints his e-mails).

Tumi x McLaren Velocity Backpack

An essential for the dad who’s always on the move, this lightweight design is a pleasure to carry and intelligently built, with features like magnetic zipper pulls, a built-in USB port, and a padded tablet pocket. Practical, refined, and crafted with Tumi quality, he’ll think of you each time he uses it.

Dolce & Gabbana Light Blue Eau De Parfum

You can’t go wrong gifting him this scent, because each inhale is so incredibly pleasing—especially the gorgeous fusion of citrus notes and the cocooning, creamy base.

Brunello Cucinelli Mr. Brunello Sunglasses

We keep coming back to these because they are chic and will flatter virtually every face shape. They carry serious sophistication vibes that instantly elevate even his white T-shirt and jeans.

Hermès Paddock Solo Charger

Here’s a modern trinket that carries an understated, Parisian kind of taste for an everyday price point. More than anything else, this phone charger, disguised as a minimalist objet, will look look super chic next to his bed or on his office desk.

Orlebar Brown Men's Striped Boxer

Dad can wear these classic swim trunks all summer long—fishing, boating, and holding court without embarrassing you in a Speedo. A timeless staple, they pair perfectly with a crisp white T-shirt for that effortlessly put-together, by-the-sea look.

Truefitt & Hill Edwardian Collection Shaving Brush & Razor Set

While some gifts are used once, this beautiful shaving set will become part of dad’s daily ritual. Impeccably made in the U.K., this is a timeless luxury (that comes in four different colors).

Taschen “Ultimate Collector Watches” Book

For the dad who can identify a watch from across the room (and will absolutely tell you and everyone around you about it). This is an artfully bound, boxed set that opens into two volumes tracing the most formidable moments in watchmaking history.

Bvlgari Man Wood Essence Eau de Parfum

Intense and handsomely aromatic, the magnetic notes of Sichuan pepper, cypress, and cashmere wood create a fabulous scent dad will be sure to love all year long.

Paul Smith Tri-Color 'Signature Stripe' Socks Three Pack

I mean, why not? This is a playful but still polished gift for the father who is equally at home donning weekend casual and sharp tailoring. We love the fun Paul Smith-signature stripes.

Diptyque 34 Boulevard Saint Germain Car Diffuser and Insert

A cool Father’s Day upgrade for the dad who takes pride in every drive. This diffuser scent brings a subtle touch of luxury to his commute.

Hypervibe G10 Mini V2 Vibrating Plate

The health of the man you love is a priority. We adore this particular model for Father’s Day because it goes far beyond the watered-down vibration plates currently crowding the wellness market. Hypervibe delivers the proper level of G-force needed to stimulate muscles, improve circulation, and support recovery in a noticeable way.

Audemars Piguet x Swatch Blaue Acht Pocket Watch

What else can we call this but a compelling gift for a father who sees watches less as instruments and more as objects of visual language? The Audemars Piguet × Swatch collaboration lives in gesture as much as function, worn around the neck as a considered statement rather than confined to the wrist. Full of color and movement, it feels grounded in the substance and gravity of AP.

Aman Purifying Auric Cleanse Bath Salts

Because after years of assembling bikes, fixing Wi-Fi, and pretending your teenage phases were “just a stage,” your father has earned a proper soak. The blend here contains healing Himalayan salts, magnesium chloride, palo santo, chamomile, lavender, and citrus notes, helping to ease stiff joints, boost circulation, and clear the mental cobwebs that tend to collect while parenting.

Salt & Stone Body Care Ritual Set

Easy and cool, this clean-ingredient lineup was tailor-made for the no-fuss dad who has an affinity for standout scents.

Smythson of Bond Street Large Rectangular Trinket Tray in Panama

This is a small luxury gift with lasting charm: monogram his initials for a leather tray that brings styled order to his desk.

Cuyana Tech Carryall

If your dad carries the office with him, this beautifully crafted carryall keeps his laptop, chargers, and travel essentials impeccably organized.

Acqua di Parma Buongiorno La Collezione Fragrance Discovery Set

This curated set of five distinct yet truly harmonious scents invites him to choose his fragrance with intention year-round.

Nossara Waffle Towel Set

A cult favorite among those who know their fine linens, this waffle towel set crafted in Imabari, Japan is exceptionally absorbent, yet light and comfortable. It’s the best-made towel we’ve come across in recent past, and we’ve gifted it often; many have appreciated the set, which comes with bath, hand, and face towels.

The Maker Coaster Set

From the acclaimed Maker Hotel in the Hudson Valley, these richly hued, upcycled leather coasters bring a tailored touch of old-world charm to dad’s bar cart, desk, or den.

Weekender Inflatable Stand Up Paddle Board

Whether he is out East or by the Pacific, this paddle board is a great gift for the man who loves the outdoors and can’t get enough time on the water.

Remedy Place NAD+ Smart Pen

You send him posts about salt intake, cholesterol, and curbing his sugar because his health is always at the forefront of your mind. This Father’s Day, give him something designed to support his energy, sleep quality, and cognitive function: the NAD+ Smart Pen. Convenient, effective, and easy to use, each pen contains up to twenty 50mg doses, or ten 100mg doses.

Cozy Earth Bamboo Stretch-Knit Sleep Mask

Here’s a small gesture with outsize impact: a bamboo stretch sleep mask that’s supremely comfortable, breathable, and an indulgence he’d never justify on his own (but we know he will thank you with each night of restful sleep).

Primally Pure Old-Fashioned Beard Oil

This will keep dad’s beard beautifully soft. It’s a fab grooming gift that boasts a clean, non-toxic formula and delicate scents like essential oils of vetiver, orange, and bergamot.

Who loves a statement outfit more than Jennifer Lopez? It’s impossible to say. For the woman who put Versace’s plunging jungle-print dress on the map, sky-high heels and rare Hermès bags are truly everyday staples. However, on occasion, the multi-hyphenate will switch up her love of bold glamour for a more subtle, minimalist look—like she just did with a recent outfit change in New York City.

Lopez was seen this afternoon in a collarless black cashmere coat from Auter, the chic outerwear label founded by her longtime stylist Rob Zangardi. Her neutral style featured batwing sleeves for an elegantly draped silhouette, which she opted to belt for an even starker appearance. Always one for coordination, Lopez paired the piece with a set of glossy Hardot pumps cinched with gleaming metal bar accents, as well as a soft black leather Balmain Sphynx bag clasped by a gold-topped belt.

The star’s ensemble was given a luxe touch with a vintage gold David Webb collar necklace, black enamel ring, and swirling emerald-accented clip-on earrings, each set with sparkling diamonds and sourced from The Back Vault. Matching gold Katkim and Isabel Delgado cuff bracelets, as well as angular black Dolce & Gabbana sunglasses, cleanly finished her look.

The “quiet luxury”-coded attire was a clean break from Lopez’s typically vibrant tastes, but showed her ability to veer against type when getting dressed. However, this wasn’t a full aesthetic overhaul—rather, her latest monochrome ensemble of the day. Earlier this morning, the star first stepped out in a deep ruby-hued snakeskin coat, crocodile-embossed boots, and a similarly textured Birkin bag—naturally, paired with matching sunglasses.

Recently, Lopez has given her extravagant tastes a corporate touch with outfits incorporating work-friendly separates, knits, and plenty of blazers and suiting. Of course, it’s all in tandem with the corporate undertones of her new Netflix film Office Romance. Workwear’s a natural fit for the multitasking star, however, as she both produced and acted in the project through a landmark Netflix partnership with her company Nuyorican Productions. With the film slated for a June 5 release, it’s anyone’s guess how many corporate-coded looks Lopez will wear in the next 48 hours—but knowing the star’s hardworking nature, she’s certainly up for the challenge.

In 1963, Piaget created a series of gold jewelry watches with dials crafted in ornamental stone. At the time, their introduction of new materials like lapis lazuli, malachite, and turquoise was an audacious move. Most watchmakers, hoping to democratize and broaden their customer base, were using functional steel. Piaget adopted a different approach: embracing the unique. Powered by the brand’s signature ultra-thin movements, these richly hued dials transformed the watch from a utility piece into wearable art.

By the time Piaget unveiled its groundbreaking 21st Century collection in 1969, the house had become synonymous with bold color and a glamorous new vision of luxury, anticipating the dramatic cultural shifts that would define the next decade.

Yves Piaget and his dazzling international circle were at the center of the Maison’s fresh direction. In a jet-set world of cocktail parties and Riviera glitz, Piaget’s colorful jewelry spoke to the it-crowd’s appetite for creative freedom and nonchalant glamour. The ornamental materials of each piece, primal and untouched, felt in tune with the futuristic optimism and earthiness of the 1970s. Piaget’s jewelry watches, sautoirs, and cuffs became emblems of a new kind of eccentric sophistication.

Today, that colorful legacy persists throughout Piaget’s collections. Recent creations, like a blue quartz Sixtie watch, or a sculptural Swinging Pebbles necklace carved from tiger’s eye and verdite, demonstrate Piaget’s kaleidoscopic creative language. Through opal-set high jewelry cuffs, richly marbled stone dials, and a candy-colored cocktail collection of jewels inspired by the Maison’s exuberant customers, Piaget continues to champion the art of color with daring imagination.

High Jewelry Cuff Watch

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Swinging Sautoir

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Polo79

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Andy Warhol Watch

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Sixtie Watch

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Sixtie High Jewelry Cuff Watch

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Swinging Pebble Sautoir

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Cocktail Ring

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Cocktail Ring

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High Jewelry Necklace

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Chloé Sevigny got “quite emotional” walking through the Genesis House in Manhattan’s Meatpacking District on Monday night. There, in honor of what would have been Marilyn Monroe’s 100th birthday, the space transformed with the immersive installation, “Manifesting Marilyn: The Making of an Icon.”

“We had her for too brief a time,” Sevigny says of Monroe, though “Manifesting Marilyn” is attempting to remedy that fact. A display of faux newspaper headlines continues her curtailed timeline, while a library of books from Monroe’s personal collection and snippets from her final interview with Richard Meryman for Life expand on her established persona. “There were so many variations of her,” Sevigny tells W. “She must have been so much more complicated than we know.”

Sevigny, an admirer of Old Hollywood, was the perfect attendee for the event. In many ways, there are parallels between Monroe and Sevigny. The obvious, of course: They’re both blonde actors, oft referred to as It girls, at times wrung out by the hands of the Hollywood machine. Sevigny plays further into these comparisons with her outfit for the exhibition’s opening reception. Her form-fitting Claire Sullivan dress evokes Monroe with its color—though a subway grate’s wind gust would hardly ruffle the layers of lace that sit on the design’s hem and shoulder.

Sevigny believes both she and Monroe were similarly “pigeonholed,” a phenomenon faced by many actresses. “People in Hollywood see us in a certain light and it’s very hard to get out of that,” she says. At 51, Sevigny is still trying to break past her indie actress persona, just as “Manifesting Marilyn” is attempting to broaden the story of the blonde bombshell. Below, Sevigny discusses Monroe further, shares her favorite movie from the actor, and contemplates her continued legacy.

What does Marilyn mean to you?

I think about her often. She’s so misunderstood and maligned. People project all this stuff onto her as a bombshell, but she was a real thinker and she respected the craft.

What was so special about her?

You don’t get as far as she did in Hollywood based on looks alone. There were so many beautiful women, especially at that time, in the business. But she had to have something special, some spark beyond the ditzy thing. She was a go-getter. And I’m sure there was a connection, too, when she met people. She must have been personable. She must have been impactful beyond her figure.

How can you relate to Marilyn as a fellow actor?

I recently watched Mariska Hargitay’s documentary about her mom, Jayne Mansfield, who was also so misunderstood. I can relate to it, even being an actress in the ’90s. There was this chokehold. Now, post-Me Too, all the new girls coming up can’t even imagine what it was like for us. It was such a different climate. And by that same reasoning, I can’t imagine what it was like for Marilyn.

Does she inspire your style at all?

Just the way she moved and wore clothes and smiled and carried herself is such an inspiration.

What about your look for tonight? You see white, and you do think of Marilyn in The Seven Year Itch.

I just wanted to wear something fun and flirty from an independent New York designer. I do think about the color white in association with Marilyn because of her white hair and the white dress.

Do you have a favorite Marilyn film?

I love The Misfits and Gentlemen Prefer Blondes.

Why do you think this obsession with Marilyn has continued? Why are we celebrating her 100th birthday when she has been gone for over 60 years?

She is a mystery to a certain extent. People are intrigued by her beauty and her transformation story. How does Norma Jean have the wherewithal to become Marilyn Monroe, from ginger-blonde to platinum, from farm girl to glamour girl? That takes strength, courage, and determination. I also think people are taken by her ingenuity and stamina.

What can we learn from her story?

It was a tragedy. You need to surround yourself with community and people who believe in you and encourage you, people you can feel safe around and express your fears and desires around.

Both you and Marilyn have been considered It girls. Do you think you two would have been friends?

I would hope so. My friends all know me as quite funny—although I don’t have that reputation in Hollywood. But I think we would have had a laugh.

The last time a museum tried to capture the fantastical world of Icelandic artist Björk, it fell flat. Art critic Roberta Smith called MoMa’s 2015 retrospective “scant, cramped,” and “reek[ing] of ambivalence” all while “jammed into a tacky little two-story pavilion.” Frieze’s critic wrote that the show was impressive in just how “vapid [it made] a genuinely interesting artist.” The prevailing sentiment was that art institutions may lack the formal language to meaningfully explore and engage with pop music.

Now, over a decade later, Björk has released two new challenging, deeply intimate albums; toured the ambitious concert series Cornucopia; invited fans into an immersive VR album exhibition at Somerset House, London; and collaborated with Rosalía on Lux’s operatic ode to all-consuming love, “Berghain.” Her oeuvre has only gotten richer and more high-concept with time, expanding the boundaries of pop as she experiments with technology and sound. This week, a major museum has, at last, found the courage to take on the artist’s magical, delicately layered imaginings once again.

From May 31 to September 20, the National Gallery of Iceland in Reykjavik presents “Echolalia” and “Metamorphlings,” two interwoven shows exploring Björk’s work and that of her friend, longtime collaborator, and co-creative director James Merry. The exhibitions take over the entire museum and feature a new, monumental piece speaking to Björk’s next creative chapter; immersive, theatrical representations of the songs Ancestress and Sorrowful Soil; and over 80 incredible masks by Merry, many of which he made with and for Björk.

“Both Björk and James are interested in nature and are profoundly inspired by the natural world, in particular Iceland,” says chief curator Pari Stave. “But they’re also interested in technology. They’re interested in new forms of making things, whether it’s recording sound or creating images or sculpting masks. They’re interested in material and method. These works are resonant with meaning.”

Björk and Merry began working together in 2009 when Björk brought him into her team to help with research for Biophilia. “She will have quite specific references, color palettes, textures, etc. for each song,” Merry says. “So I will usually try and tap into those and mix them with the forms I am experimenting with at the time, until it grows into a new physical headpiece.” He’s created masks like the curving red latex piece looking almost like a stingray that Björk wears on her Vulnicura album cover and the metallic, organic gems models wore for friend Iris van Herpen’s “Earthrise” couture collection. The latter were inspired by “three of my visual obsessions at the time: the structure of baleen (whale teeth), the delicate forms of the Icelandic tungljurt plant, and the anatomical lines of the zygoma or cheekbone,” Merry adds.

Both Merry and Björk draw deeply from nature, and this love comes out in the show. For instance, the installation for “Sorrowful Soil”—a song off Björk’s 2022 album Fossora that eulogizes her mother—brings the visitor into a room showing the singer performing on blackened lava fields as the Icelandic volcano Fagradalsfjall erupts around her. Thirty speakers surround the visitor, each transmitting a single voice from the Hamrahlíð choir. “When you’re in the center of the space, you hear the full score, and as you walk around the room, you can hear the individual voices,” Stave says.

Björk’s new piece is called “Nerve Bloom.” “I did it with Natalia Kleszczewska and Natalie Liu,” Björk writes. “My role in it was a creative director, bringing in the singer-songwriter tradition, where emotionally precise things happen inside the structure of a song. I guided color palettes, textures, and the environments the music happens in.... Everything I do comes from a sonic point of view.”

Merry also made new works for the shows. “I’ve always fixated on the mercurial, changing aspects of nature... like mutation, transformation, and the ‘in-between’ stages of metamorphosis,” he says. “Recently, that has led me back to archaeology, specifically the Iron Age in Europe and a period called ‘La Tene,’ where the hybrid forms and concentration on the face (rather than the body) really resonates with me. I already have a few new masks in the pipeline for this group.”

The museum hopes the shows will highlight a new side of Iceland to visitors—and give locals something worth returning to. A highlight will be on August 12, when Björk will host Echolalia, a one-day solar eclipse rave that will culminate as the moon covers the sun to bring Iceland into total darkness. Björk will DJ, and she has invited Arca, Ronja, and others to perform. “On the face of it—if you didn’t know more about the origins of these works—you might think this is about costume and theatricality,” says Stave. “In fact, in both cases, the works are so much deeper.”

As the international Master of The Universe press tour wraps up, it’s clear Camila Mendes had her red carpet outfits down to a science. Or perhaps a religion. From Los Angeles to Berlin, the star steadily rotated single-toned, subtly constructed looks with gleaming metallic accents and just the right hint of “goddess.” That formula continued with her latest neutral ensemble, elevated with a vintage touch by Donna Karan New York.

For the fantasy film’s last screening in New York City, Mendes stepped out in a smooth, chocolate-brown silk dress from Karan’s fall 2004 collection. The dynamic, yet simple style featured a sleeveless bodice with a plunging neckline, clasped by a sculptural piece of gleaming gold metal. A soaring thigh-high slit and effortlessly draped train brought the style a breezy, sultry finish.

Similarly to Mendes’ previous stops on the press tour, stylist Molly Dickson kept her accessories minimal to allow the garment’s colors and silhouette to take center stage. On this occasion, the star’s Karan dress was coordinated with a pair of metallic gold open-toed sandals with subtle crossed toe straps. Several matching rings and thick, rounded earrings added a soft shine that matched her outfit’s metallic accents while perfectly complementing its artisanal hardware.

During the film’s various events, Dickson’s outfitted the actor in dresses and separates with subtle draping, body-conscious silhouettes, and single-toned colors from labels including Cong Tri, Elisabetta Franchi, and Anna October. Mendes’ outing in archival Karan followed a trip down the red carpet in vintage Roberto Cavalli leopard-print dress for its Berlin premiere. However, she isn’t the only star with a go-to outfit formula. Mendes’ co-star Nicholas Galitzine has consistently worn dark, double-breasted suits for each of the movie’s events, as well. After all, why fix what already works?

Though Masters of the Universe’s red carpets have officially wrapped, its cast is expected to step out for social media-based interviews and late night talk show appearances before the film’s June 5 release. It’s likely Mendes and Galitzine will both turn to their tried-and-true outfit formulas for the remainder of their press stops—but, as Mendes’ vintage looks have proven, there’s always room for a subtle surprise.

Playing Leonardo DiCaprio’s teenage daughter in One Battle After Another brought Chase Infiniti to stardom, but last night at the Gotham Television Awards she not only picked up her first major award for a lead role but also entered her leading lady era on the red carpet.

On the red carpet, Infiniti—who won the evening’s Outstanding Lead Performance in a Drama Series trophy for her performance in Hulu’s The Testaments—posed in a light pink Louis Vuitton dress. Her custom style featured a sleeveless silhouette with a smoothly draped train, complemented by a boa crafted from tufts of fabric in the same hue. Stylist duo Wayman Bannerman and Micah McDonald finished her look with a gleaming gold Mejuri collar necklace, featuring a deep green rectangular stone and sparkling diamonds for a dash of geometric sparkle.

The dress’s classic silhouette and updated take on the boar instantly brought to mind old Hollywood glamour, while also continuing Infiniti’s streak as something of a style shape shifter. From mirrored corsetry to three-dimensional florals, the actor’s become known for making elegant, architectural style statements on the red carpet—a rare “chameleon” effect that’s only been seen in stars like Zendaya, Rihanna, and Teyana Taylor.

Infiniti’s pretty pink moment was her latest fashionable outing in recent months. During a busy awards season promoting Paul Thomas Anderson’s One Battle After Another, Infiniti cemented her status as an artisanal red carpet dresser with architectural and sweeping dresses by Vuitton, Rabanne, and Oscar de la Renta. At this year’s Met Gala, her fashion ties were affirmed with a primary-hued Thom Browne gown embellished with over a million sequins, heralded online as one of the event’s best looks. As summer begins—alongside the possiblity of an Emmy Awards nomination—there’s sure to be more fashionable moments on the horizon for the young star.

There is absolutely no reason for a walk of shame—that hungover, postcoital strut home—not to be chic. In fact, the art of looking effortlessly stylish while feeling sexually spent has a long and prestigious lineage. It was perfected many decades ago by the old-school Hollywood divas. Look at the buxom Elizabeth Taylor, who played the flirtatious girl-about-town Gloria Wandrous in the 1960 movie Butterfield 8. She wakes up picture-perfect in her paramour’s expansive apartment, her shimmering blue eyeshadow still sprinkled onto her lids. She lazily searches for a cigarette, beelines to the sink to brush and gargle with scotch, then finally leaves her one-night stand, deftly throwing the fattest fur in Manhattan over her slinky slipdress.

On the latest runways, it looked as though designers were obsessed with outfits that could go from dinner to boudoir to morning sidewalks without missing a beat. A sultry vixen at Valentino wore lingerie under a long, slender shearling coat. Saint Laurent paired an engulfing fur with tights as pants. There were clubbing-till-dawn denim microminis at Prada and a tiny black censor bar as a top at Courrèges. And don’t forget Chanel: A long, luscious red wine leather coat covered a beaded fishnet dress. The look is on TV too. Ryan Murphy’s Love Story took creative liberties to explain the lore behind Carolyn Bessette Kennedy’s famous outfit of an askew white men’s dress shirt tucked into a high-waist black skirt. In the Hulu-verse, she had slept over at John F. Kennedy Jr.’s TriBeCa loft and needed something to wear to work the next day.

The reality of most walks of shame is hardly as glamorous. They usually involve crusted eyes, coagulated foundation caked into the cracks of a dehydrated forehead, and the steamy emanation of vodka from every pore. Some even suggest that this once-ubiquitous rite of passage is becoming increasingly rare: Gen Z is reportedly having less sex than their predecessors, and according to a recent survey, 48 percent of them are virgins. All the while, apps have sterilized dating. These days, getting to know someone is like interviewing them for a life insurance policy. Plus, no one is guzzling martinis anymore; they measure out peptides or gulp down mounds of probiotics.

Perhaps that is why the catwalk version of hobbling in heels after a night of under-the-influence, raucous lovemaking has never felt so good. Why wouldn’t we want to look as if we’ve just emerged from under a lover’s covers instead of waking up in sweatpants after a night of swiping on our phones alone in bed? According to sex and dating writer Karley Sciortino, the walk-of-shame aesthetic is yet another form of generational nostalgia. The look is “romanticizing and being jealous of a period of time that was just inherently more spontaneous and messy,” she explains. Sciortino knows of what she speaks: In the heyday of mid-aughts indie sleaze, she was a bombshell carousing around downtown Manhattan and Williamsburg. “When I was in my 20s, I had never heard of a skincare routine, and I was using Sharpies as eyeliner,” she says. “We would go out, get drunk, and not be documenting anything.”

Maybe that’s it—we want sexual freedom! No, not in the sense of Gloria Steinem second-wave feminism, but in an emancipation from cameras and social media chronicling every kiss, fall, and mistake kind of way. Looking as if you’ve been caught proudly slinking home at sunrise is, at least, slouching toward that freedom. It’s channeling Madonna in the David Fincher–directed “Bad Girl” music video from 1993. In it, she plays a publishing executive who has a just-in-case nipped-waist Alaïa jacket, fresh in a dry cleaning bag, hanging in her office closet for those mornings after. A look like that “transforms what should be, in theory, ‘shameful’ into something that’s playful,” says Sciortino. “There’s a ‘fuck you’ to it that is powerful and attractive.” Fuck you? Hey, at least someone is getting some, even if it’s only clothes-deep.

Top image, left, clockwise from top: Courtesy of Isabel Marant; Courtesy of Chanel; Courtesy of Gucci; Courtesy of Dolce & Gabbana; Courtesy of 7 For All Mankind; Courtesy of Saint Laurent; Courtesy of Valentino; Courtesy of Tom Ford. Center: George Rinhart/Corbis via Getty Images.

Out promoting her new true-crime Broadway production The Fear of 13, Tessa Thompson put a pattern clashing (and sustainable) spin on summer florals. Her effortlessly draped Giovanna Flores dress made a significant statement from its combination of paneled patterns, which ranged from pale pink dots to purple squares, swirling blue and green stems, and a blooming marigold flower print. The mixed prints were spliced by two panels of wine-red silk, creating an elegant and eclectic finish—which was also significantly sustainable, as each part of Thompson’s dress was made with upcycled fabrics.

That eco-friendly technique is core to Flores and her label, as the slow-fashion designer’s pieces—many featuring a similar patchwork technique—are all crafted with deadstock and recycled textiles. This year, her designs have also been worn by red carpet risk-takers Greta Lee and Ayo Edebiri, cementing her label’s position as an artisanal one to watch.

Thompson’s look was framed with simple, coordinated accessories, allowing the dress’s patterns, soft textures, and flowing shape to take center stage. Low-heeled cream pumps brought a sophisticated base to the piece, which were matched by a slouchy shoulder bag to bring out the dress’s hints of white. Dark, rectangular sunglasses and thin layered rings finished Thompson’s ensemble with a nonchalant edge.

Mixed patterns are also poised to be a bold summer trend. The technique was notably seen in Julian Klausner’s first collections for Dries Van Noten, where swirling floral and geometric-printed separates clashed across breezy layers —and made an impact in a series of breezy sarongs. Patchwork patterns have also appeared in new designs by Diane Von Furstenberg, Simone Rocha, Nomia, Vaillant, and Rabanne, making the technique a standout as summer begins. With Thompson’s streak of unique and unexpected fashion statements, there’s no predicting when she’ll mix patterns next—but if she does, it will surely be a stylish surprise.

We are almost halfway through 2026—oh, how time flies. And as the seasons change, so do we. The cosmos is closing out a phase of exploration and ideation, urging the stars to help us make the most of our time and energy. The shift from spring to summer means the stars encourage us to think about what seeds we’ve planted and how we plan to grow a bountiful harvest.

All month long, your mind will be fixated on what you need to feel fulfilled. The movement of the planets this month reveals a path back to the heart’s center, and puts a spotlight on what’s necessary to keep your mind at ease and your emotions regulated. Are the flames of your creativity being stoked? Is the work you do evolving into more than just a paycheck? Are the people you surround yourself with draining or invigorating your spirit? Aside from a pesky Mercury retrograde at the end of the month, June promises clear skies, green grass, and the chance to return to yourself.

Here’s what to expect:

On June 1, Mercury enters Cancer. The mind becomes like a crab while Mercury is in Cancer—hard shelled with a soft interior. The claws could come out while you navigate conflict, but behind the sharp pincers is a desire to be seen, heard, and validated in your emotions. There is plenty to learn from these next few weeks about how to blend the head and the heart, especially because on June 29, Mercury stations retrograde in Cancer. That means we will have over two months of the planet of communication, tools, and technology in the sign of home, family, and emotions. What better time than now to dust off your favorite journal and reflect on the ways you can speak clearly about matters of the heart?

On June 13, Venus enters Leo. Your heart will be set ablaze with the planet of passion and creativity in the fierceness of Leo’s domain. Relationships become celebratory. Those who are pack of the pack are given their time to shine, and if someone has an issue with that, they’re existing in the selfish shadow of Leo. Our creative pursuits become a raw expression of childlike joy. Carve out time to indulge and play like a child who isn’t worried about bills to pay, it’ll be healing. And finally, because Venus rules our wallets, err on the side of caution if you’re looking to splurge. Treat yourself, within reason!

On June 14, there’s a new moon in Gemini. The gist of this new moon is making the ideas material. No longer will you talk endlessly about your Nobel prize-winning ideas—no, ma’am, you’re going to make sure you act on them. The beauty is that curiosity won’t kill the cat under this new moon. You have complete permission to explore these ideas, and the freedom to make adjustments as they materialize. This is your last chance to try before you buy—commit to a goal for the next six months. What will you allow yourself to explore?

On June 21, Cancer season arrives. This is a time to reflect on our home lives, family relations, and emotional core. Will the next four weeks be more sensitive? Sure. Will you have moments where the pinchers come out because your softness was taken for weakness? Absolutely. You will also find these weeks are the most important for helping you stand more confidently in what you need to keep your emotions regulated. Today also marks the summer solstice, one of the four major astrological shifts of the year. The sun is in the sky longer than any other day of the year, which symbolizes the light that exists within all of us. Although the days are getting shorter, today is a celebration of everything that makes us whole.

On June 28, Mars enters Gemini. These next two months may feel like the universe is holding a laser pointer and you are a scruffy little kitten doing your best to keep up with all the ways it is darting across the wall. Mars, the planet of action, aggression, and motivation, finds inspiration in every shiny new thing during its tenure in Gemini. Whip out the schedule, prep the task reminders, set timers, and have a to-do list, because you might find yourself sailing into uncharted waters. This is a great time to try new ways of working, just don’t fly off the handle.

On June 29, there’s a full moon in Capricorn. This one might feel like a doozy, because it is also the beginning of Mercury retrograde. Full moons are the culmination points of the lunar cycle, so awareness, energy, and emotions are all heightened. The Capricorn influence over this full moon will feel like a stern but rewarding professor who wants you to succeed. Expect to see more clearly the beauty mark you wish to leave on the face of this world, and what pores need a deep cleansing in order for that beauty mark to be the focus.

On June 30, Jupiter enters Leo. This is the last major planetary shift of the year, and Jupiter is here to heat things up. Jupiter, the planet of good fortune, optimism, and expansion, is the last link to a revolutionary summer of change and empowerment. Jupiter has spent the past year in Cancer, which grew our hearts immensely. Our understanding of what it takes to make a house a home—both IRL and in our souls—is much clearer now. So what will you do about it? Jupiter in Leo takes us from steam engine to solar power. This next year will renew our energy, and fuel our desire to bring joy to the world. Expect the next year to highlight a chapter in your life where you’ll be celebrating individuality, not using it to separate yourself from others.

The next month will influence everyone a bit differently, depending on your rising sign. Below are you monthly rising-sign readings—take what resonates and use that as your reflective guide all month long!

Aries

The majority of the month has you living in the material world, focusing on how you can build secure spaces to not just survive but thrive. All your resources should tie back to your non-negotiables—if not, why are you wasting your precious time and energy? As the month progresses, you might notice your emotions are on the fritz; you could be feeling a bit of frustration at home and with family. Again, this is a reminder to do your part in creating safe spaces. Be honest, but don’t let your needs lead to burned bridges.

Taurus

Taurus, your month is split between finding joy in the everyday and reconnecting with your heart’s center. June will feel buzzy for a while, taking you around town and pulled to new spaces that have a familiar sense of comfort. This will make it easier for you to identify and communicate your needs. As the month moves along, you’ll notice that you’re spending more time at home, and with your inner child. Put in the effort to find spaces for that younger self to play and keep the fire in your heart burning bright.

Gemini

Gemini season is still in full swing during June, which means you can still exist in your love-thyself, main-character energy. That said, you should keep a close eye on your finances this month. The upcoming Mercury retrograde could reveal some frivolousness or a need to revise your approach to financial planning. There could also be a wave of emotions that have you questioning yourself. Rather than beating yourself up, ask yourself, “If I’m to celebrate me, why should I put my energy into things I don’t value or bring me down?”

Cancer

Summer is upon us, which means it is your time to shine! Are you ready to emerge from your cocoon? Are you feeling the itch to reintroduce yourself? June marks a month of releasing anything that keeps you from being you. These next few weeks are your permission slip to to step into the spotlight. Start that personal blog. Get the new wardrobe. Take yourself out on a spa day. Trust and believe, you’ll be grateful if you do—because if you don’t, Mercury retrograde at the end of the month will force your hand to prioritize number one, whether you like it or not.

Leo

June is the last phase of a slow burn building up to a new era of you. You’re shedding the last bit of fear that’s putting a barrier between you and the person you want to become. Your social circles will reveal many answers as to why you might still be reserved. Are you in spaces where you are performing 24/7, or can you be your authentic self, stress-free? Toward the end of the month, you’ll have more conclusive answers on what you need to let go, so you can make space for yourself to grow. Celebrate the good times, but look ahead to a new experience that will teach you so much about who you are.

Virgo

Virgo, June is a reminder that when you work hard, all your wildest dreams can come true. All month long, you’ll continue striving toward those big, lofty goals you’ve set for yourself and finding support within a perfectly curated social circle. You can expect to feel a sense of achievement if you've been sticking to a routine that helps you progress a little bit every day. That said, you are your own worst critic, and you are the only one who whether or not things went to plan. So if you need to reassess your direct, or take a short vacation, don't view it as a failure but just a side quest on this long journey we call life.

Libra

June is going to feel a bit like a work hard, play hard kind of month. You'll feel a rush of excitement earlier in the month as new business projects and opportunities to learn fall into your lap. While you could easily go off to the races with these new endeavors, you might want to consider the big picture and whether or not jumping ship is just a fleeting emotion or something that will course correct some past mishaps. Don't make any big decisions just yet, let this month be a continued exploration of where you want to end up. That way you can still enjoy the summer sun and rooftop festivities with your favorite people, stress free.

Scorpio

June is a month of reconnection. Reconnection to yourself, and your people. There might be some tension, but your task is to get deep, find common ground, and do your part to create a path to resolution. Be patient with yourself and others, the only way to uncover the answers to any issues you might have is to acknowledge the root of the problem. Doing so will help you realize what's still stuck deep in your heart that is preventing you from a full phoenix from the ashes level transformation. As the month progresses, be careful not to run away from any conflict. You can take a step back, but don't bury anything under the rug.

Sagittarius

The question you need to answer this June is who do you want to spend the rest of the summer with? Are there any relationships that feel like they need a bit more nurturing at the moment? Is there a special someone who's caught your eye and putting butterflies in your stomach? The month wants you to share your authentic self, but don't let your free & open nature cause you to flit from one surface level connection to the next. Focus on building lasting connections that allow you to transform the way you hold space for others.

Capricorn

Capricorn, this month could be the month where you realize what you need from your more intimate connections. Focus on your one on one relationships, the ones that uplift you and make you feel like the weight of the world doesn't rest solely on your shoulders. The lesson this month is learning to communicate your needs to those you rely on. It's easy to fly solo, but don't let fear of vulnerability stop you from asking for a helping hand. Don't bottle up any emotions that could help you create a stronger bond with your loved ones, business partners, and friends. The bravest thing you can do this month is be honest about what you need.

Aquarius

June is sure to be a wild ride, Aquarius. The majority of the month will be filled with passionate love affairs, endless hours of hobbies, and a wave of joy to wash away your worries. What excites you to your core? And why would you limit yourself from indulging in that excitement? Sure, moderation is key, but there will be plenty of lessons for you to learn how to find the perfect balance of work and play. So let yourself play, and during your down time make sure you follow up with that to-do list so you don't fall behind on all the summer bucket list plans.

Pisces

Pisces, June is going to heal that inner child, if you take the time to walk hand in hand with them. You might feel a bit of apprehension toward the end of the month, so use the first chunk of June to start building those habits that will support your younger self. This means slowing down, just a bit, to listen to what your body is asking of you. What do you need to feel safe enough to create, to play, to explore? Does it mean you have to refresh your home to make it more like a sanctuary to revive your spirit after a long day? Try new ways to tend to your emotions, and let that inspire you to create a life that your younger self would be so excited to know they're living.

The fashion calendar can be a confounding thing. Just when the weather warms up and the public starts shedding layers, unearthing long-abandoned sundresses—brands begin releasing their fall collections. Your current mind-set might be focused on how to style thong sandals, or which pair of shorts will be your go-to this year. But right on schedule, the fall 2026 campaigns are already rolling out right now. Of course, you have the option of admiring the laissez-faire French attitudes of Celine’s offerings to come, or perhaps daydreaming about the drama of Balenciaga’s Celine Song-directed world. Remember those pieces that call out to you, but keep them in the back of your mind—save the front for open-toe shoes and floppy, sun-protecting hats. Feel free to peruse the looks that will be everywhere next season, or check back here when you’re mentally ready to dive into some seriously chic fall fashion.

Loewe

Loewe is celebrating its 180th anniversary with a campaign honoring almost two centuries of leather craftsmanship—and a playful spirit. Brand ambassador Julia Garner stars alongside Sissy Spacek and artist Kara Walker in the Talia Chetrit-shot images, showcasing an array of iconic Loewe handbags from across the decades.

Loewe

From the Flamenco clutch (launched in the ’80s) to the Puzzle bag of 2015, the campaign highlights the enduring impact of these accessories. Also on display is the Amazona 180, which was introduced in 1975 and recently reimagined by creative directors Jack McCollough and Lazaro Hernandez for their debut collection at the house. The selection proves Loewe’s affinity for the past, as well as its ability to adapt to the present and lead the future.

Balenciaga

Celine Song lent her directorial talent to Balenciaga for A New York Minute, the brand’s theatrical fall 2026 campaign, starring Love Story actor Sarah Pidgeon.

Balenciaga

The campaign, which takes the form of three one-minute films, finds Pidgeon during a day in Manhattan as the actor engages in mundane tasks. She retrieves her dry cleaning, crosses a busy street, and takes a cab home. These are simple actions every New Yorker makes daily, but zoom out, and you will find it’s all movie magic.

Balenciaga

Song’s videos act as an exploration of movie-making and city life. Of course, they’re also a meditation on Pierpaolo Piccioli’s latest offerings for the brand. Each scene finds Pidgeon in a different Balenciaga look, always with one of the brand’s classic bags in hand. It proves that Piccioli’s Balenciaga can be utilized in everyday life, but there is an added sense of drama to this wardrobe, even if you might not notice it at first.

Celine

Celine invites you to a day at the beach in celebration of its fall 2026 campaign. The sun hides behind clouds, but the warmth comes from those around you. A group lounges on the sand and rocks and blocks each other from the whipping wind. They layer up in tailored coats with oversize shoulders and collegiate sweatshirts, protecting their belongings in patterned totes.

Celine

Accessories are key. Beaded necklaces layer atop a short-sleeve knit and sunglasses cover almost every set of eyes. Color comes in the form of nautical stripes and green accents on a silk scarf. Red flannel provides a sense of nonchalance, as does the wind-blown hair and the up-close nature of Zoë Ghertner’s imagery.

Burberry

Burberry is getting in the football spirit ahead of the 2026 FIFA World Cup this summer. The brand has released its autumn 2026 campaign, “A Good Sport,” celebrating the energy of the sport’s fandom.

Burberry

Jason Sudeikis, who has become especially familiar with footy thanks to his work on Ted Lasso, stars in the campaign alongside actors Jodie Turner-Smith, Lucy Punch, and Stephen Graham. Also featured are Romeo Beckham, models Rosie Huntington-Whiteley and Neelam Gill, as well as football stars Eberechi Eze, Leah Williamson, Naomi Girma, and Son Heung-min. 

Burberry

“Burberry has connected football fans across generations for decades,” says the brand’s chief creative officer, Daniel Lee. “It’s only right that we celebrate that this summer....There’s a certain attitude to being a good sport that is very British and very Burberry.”

Ever since Dua Lipa confirmed her engagement to Callum Turner last year, there has been one question repeatedly playing on our minds: What will the pop star wear to her nuptials? Lipa is known for turning out looks, whether it’s on stage, for the red carpet, or even just for an Instagram post. So we knew her wedding ensembles would be well-thought-out and noteworthy. Now we finally have (at least partial) clarity, and while it wasn’t exactly what we expected, her choice does place her among an impressive list of brides. It may also have an effect on future brides for years to come.

Lipa said “I do” over the weekend in an ivory set featuring a tailored blazer with gold bijoux buttons and a matching asymmetric skirt custom designed by Schiaparelli’s creative director Daniel Roseberry. What many thought was the hip padding providing structure to the jacket peeking out of Lipa’s hem was actually a sculpted blush bustier trimmed in white lace layered underneath. A Bulgari serpent necklace, white gloves, Louboutin heels, and a custom Stephen Jones hat lined in gold completed the bridal ensemble.It was a gorgeous, sophisticated choice from Lipa, complemented nicely by her now-husband’s blue Ferragamo suit.

Those who know their bridal fashion history took one look at Lipa’s tailored ensemble and immediately saw connections to Bianca Jagger’s own wedding outfit. In 1971, the activist and actress wed Mick Jagger in Saint-Tropez wearing a similar suit. Bianca’s ensemble was courtesy of Yves Saint Laurent and featured the designer’s famous Le Smoking jacket as well as a matching skirt. Like Lipa, Bianca topped things off with a wide-brimmed hat.

In the 55 years since the Jagger wedding, Bianca’s suit has been canonized and copied many times. At the Met Gala last year, Zendaya, Anna Sawai, and Kerry Washington all referenced the ensemble (and Bianca’s general affinity for white suiting). Since then, many a bride has embodied the effortless ease of a wedding suit or similarly rebellious pants. Amal Clooney wore a tailored two-piece Stella McCartney set to her civil ceremony with George in 2014, and Solange Knowles donned a caped Stéphane Rolland jumpsuit to her wedding in 2021. Just last year, Kim Cattrall married audio engineer Russell Thomas just a few miles down the road from Lipa at the Chelsea Old Town Hall in a Dior suit styled by Sex and the City costume designer Patricia Field.

Lipa’s own nuptial on Sunday, May 31, at Old Marylebone Town Hall in London were likely just the civil ceremony. The pair is reportedly still hosting a more extravagant affair in Sicily in the near future. The moment looked straight out of a rom-com, aided by both parties’ high fashion ensembles.

Unlike many stars of her caliber, Lipa isn’t beholden to one fashion house. While we can expect Zendaya to wear Louis Vuitton to her own upcoming nuptials, Lipa’s choice of designer was anyone’s guess. The singer has great relationships with multiple brands. She has been known to be partial to Jacquemus (and attended Simon’s own wedding a few years back), and has recently been spotted out in Kim Shui, Chloé, Gucci, and Balmain. She attended the Chanel spring 2026 haute couture show last year, and was perhaps scouting looks for the wedding’s Sicilian portion from the front row. But for the event on Sunday, it was Roseberry and Schiaparelli who won out.

That also means her choice of bridal suiting was likely very intentional. It could very well have quite the impact on the upcoming crop of brides. The singer is an undoubted fashion influence, so don’t be surprised if you see more and more women ditching ballgowns for suits and veils for floppy hats. Of course, we probably have many more bridal looks incoming from Lipa (possibly some more traditional ones as well), especially if this Italian wedding is to be as elaborate as the tabloids predict. If this first outfit is any indication, we are in for quite a sartorial treat.

Summer inches ever closer, but Iris Law proves it’s not time to put your cardigans in storage just yet. As she shared in a recent mix of her street style outfits posted to Instagram, a light cardigan is the perfect way to add some sweet knitwear with a dash of Y2K whimsy to your summer wardrobe.

Law posed in a light yellow knit cardigan covered in a print of pink and white butterflies. The piece’s accents included a coordinating beaded floral motif, as well as delicate lace trim and small, gleaming metal buttons. A pair of pale blue leggings, which smoothly matched her light blue manicure.

This wasn’t Law’s only cardigan-based ensemble. While in Europe, she also snapped a photo in a monochrome outfit with a dark purple cardigan. The thin style was buttoned over her shoulders, akin to a shawl, which smoothly matched her stretchy knit skirt and a light purple top with cream lace trim. This coordinated ensemble was complemented by a reptile-embossed cream shoulder bag, as well as a thin crystal bracelet and pink hair barrette.

There’s no limit to how a thin-knit cardigan can be worn this season. Compared to its thicker winter counterparts, the soft staple’s been interpreted in a vast range of fabrications and textures, often in button-up silhouettes reminiscent of the ‘90s (or even Desperate Housewives’ Bree Van de Kamp, a recently resurged source of digital style inspiration). This season, lightweight cardigans in sheer, crocheted, and open-knit fabrications have been cast in a wide array of hues—plus patterns ranging from colorful stripes to sequined florals—by labels from Staud to Dôen, Extreme Cashmere, Oscar de la Renta, Guest In Residence, and more. With the piece also co-signed by Elle Fanning, Dakota Johnson, Anya Taylor-Joy, Katie Holmes, and more, Law’s looks are clearly kickstarting of a knitwear-filled summer. Plus, with her own love of whimsial knits, this is surely the model’s first outing of many in the delicate staple style.

When it comes to street style, Rihanna’s streak is unmatched. A jaw-dropping assortment of it bags and shoes, plus no shortage of statement jewels, has made the star one to watch off the red carpet over the years. Naturally, even her most under-the-radar outfits still deliver lessons in nonchalant dressing—complete with a hotly-desired accessory or two—as seen in her latest ensemble.

While strolling through New York City, Rihanna wore a white zip-up sweatshirt with trendy wide-leg blue jeans. Her relaxed set was layered beneath a swishing Burberry trench coat, accentuated by a thin gold collar clasp and double-breasted tortoiseshell buttons. Two gleaming gold chain necklaces, a sparkling cocktail ring, and oversized black Tom Ford sunglasses finished her discreet outfit.

However, though it was surprisingly simple, Rihanna’s off-duty look was elevated by two luxe and sporty accessories. The first was Miu Miu’s navy and burgundy Drill baseball cap, a soft cotton style embroidered with the brand’s signature rounded lettering. With its soft shape and single-toned colors, the otherwise basic piece was given a luxe touch from Miu Miu’s logo—a theme that’s grown in recent years from viral pieces like the label’s track jackets, rugby shirts, and woven cord keychains.

Rihanna finished her ensemble with a pair of Nike and Jacquemus’ brown Moon sneakers, a retro lace-up style with a ballerina flat-inspired silhouette, smooth nylon paneling, and waffled rubber soles. The star’s whimsically athletic shoes added a comfortable, casual base for her ensemble, while also cementing her affinity for hotly desired accessories. After all, these particular sneakers went viral from a steamy Nicholas Alexander Chavez-fronted campaign when launching last September, and are only currently available on a waitlist basis.

As her latest outfit proves, even the most basic ensemble is no match for Rihanna’s keen eye for accessories. That streak’s been building momentum this year, with her envy-inducing bag and shoe collection elevating otherwise plain outfits like a white T-shirt and jeans, a classic blazer and trousers, and off-duty leggings with a leather jacket. With summer on the horizon, there’s certainly more stylish lessons to be learned from Rihanna’s consistently eye-catching street style in the future.