Pieter Mulier won’t make his official runway debut at Versace until next year, but Nicole Kidman offered a first glimpse of his vision for the house at the Practical Magic 2 premiere in Los Angeles. The actor arrived in a black Atelier Versace gown rendered entirely in hand-intarsia lace—a look that felt appropriately witchy for the occasion and, perhaps more significantly, like a prologue to a new chapter in Versace history.

The black lace layered over a nude-hued base created a chic, sheer illusion, while the asymmetrical skirt highlighted both her leg and her coordinating lace stiletto pumps. The effect was sultry without being overt—a compelling preview of how Mulier might interpret the signature sensuality that has long been central to the Versace vocabulary.

The Belgian designer spent five years at Alaïa, where his technically precise, body-conscious designs produced multiple memorable fashion moments for Zendaya, Rihanna, and Hailey Bieber, among other red-carpet favorites. That experience should serve him well at Versace, a house with Hollywood glamour woven into its history. From Elizabeth Hurley’s safety-pin dress and Jennifer Lopez’s jungle gown to numerous Met Gala stunners and an entire chapter of Lady Gaga’s famed fashion mythology, few labels have been as closely intertwined with high-impact celebrity style.

Fittingly, Mulier, who was appointed as Versace’s chief creative officer in February, will make his runway debut next year reportedly with the return of Atelier Versace—the first time it's been on the Paris haute couture calendar in more than a decade. His ready-to-wear debut is expected to follow in February. Although Kidman’s gown is Mulier’s first public statement for the house, it already suggests he understands one of Versace’s most enduring strengths: sometimes a single red carpet dress can make as much noise as an entire runway.

While last year’s Venice International Film Festival was a starry affair, the 83rd edition is lighter on blockbusters and studio tentpoles. Bigger names like Robert Pattinson, Penélope Cruz, Javier Bardem and the Mara sisters (on-screen together for the first time) do make an appearance, but this year’s fare leans into a lineup of respected auteurs. Werner Herzog, Martin McDonagh, Florian Zeller, Paul Schrader, and Lee Chang-dong all have new work on the Lido, and the festival is stacked with offbeat dramas that examine the pressing issues of our era. Maggie Gyllenhaal will preside over the jury, with Ellen Burstyn and George Clooney receiving lifetime-achievement Golden Lions and Luca Guadagnino picking up the festival’s Glory to the Filmmaker award before screening a seven-hour documentary. The selection has already drawn criticism for its gender imbalance, with May el-Toukhy’s Woman Unknown the lone competition title directed by a woman. Below, the films we're most eager to see:

Primetime (Lance Oppenheim)

No modern movie star is better at picking interesting roles than Robert Pattinson, and his latest is a true swerve: the actor will portray Chris Hansen in 2006, the year To Catch a Predator graduated from a niche Dateline NBC segment into a pop-culture phenomenon and national sensation. Oppenheim, the documentarian behind Some Kind of Heaven and HBO’s Ren Faire, makes his narrative debut with the A24 film, which will be released in theaters on September 25 and whose cast includes Merritt Wever, Skyler Gisondo, Phoebe Bridgers, and Bokeem Woodbine (former NBCUniversal chief Jeff Zucker makes an appearance as himself). Hansen has weighed in on the film, calling Pattinson’s (already viral) performance “overly dramatic” but admitting his wife and kids think he does a “pretty good imitation.” The host has also purchased preshow advertising on every screen showing the film, directing audiences to his new streaming network dedicated to To Catch a Predator-style investigations.

Musk (Alex Gibney)

Director Alex Gibney, who won an Oscar for best documentary in 2008 for Taxi to the Dark Side, will premiere his controversial and buzzy film Musk at Venice this year. For four years, Gibney has been working on the documentary, which runs nearly four hours and follows the tech oligarch from his upbringing in South Africa to becoming the world’s first trillionaire. The film includes Musk’s work with era-defining companies including PayPal, Twitter, SpaceX, and Tesla, as well as his involvement with Trump’s 2024 presidential campaign and the federal government with DOGE. Musk has already criticized the film, which arrives in theaters this October, writing on X, “It’s a hit piece.” Musk isn’t Gibney’s first foray into chronicling the lives of the rich and infamous: he’s also chronicled figures like the main players of the Enron scandal, Julian Assange, and Elizabeth Holmes in past documentaries.

Ink (Danny Boyle)

Last year, everyone was talking about Danny Boyle thanks to 28 Years Later, his two-decades-in-the-making follow-up to his cult classic horror film 28 Days Later. This year, it’ll be due to Ink, the British director’s adaptation of James Graham’s Tony-nominated play about Rupert Murdoch’s 1969 purchase of The Sun. The film, which opens Venice and will be distributed by Netflix, stars Guy Pearce as Murdoch and Jack O’Connell as Larry Lamb, the editor Murdoch hired to turn the then-failing Sun into Britain’s best-selling tabloid (Claire Foy rounds out the cast). Although journalism has served as a fruitful topic throughout cinematic history, Boyle’s vision for Ink had its doubters. “People couldn’t understand why I wanted to do it,” he recently told Vanity Fair. But, he says, Murdoch and Lamb’s transformation of The Sun “had more of an impact on our world than the men landing on the moon.”

Bucking Fastard (Werner Herzog)

Iconic documentarian Werner Herzog returns to Venice following last year’s Ghost Elephants with his first narrative feature in seven years. Bucking Fastard casts real-life sisters Kate and Rooney Mara, on-screen together for the first time, as Jean and Joan Holbrooke, twins so inseparable that they speak in unison and love the same man. The film is loosely based on real-life identical twin sisters Freda and Greta Chaplin, who became infamous in 1980s Britain after a man they were both involved with (played in the film by Orlando Bloom) had a restraining order put against them. Herzog has said the film completes an operatic triptych with Fitzcarraldo (1982) and Grizzly Man (2005).

Bunker (Florian Zeller)

French director Florian Zeller, who won an Academy Award for his 2020 film adaptation of his critically acclaimed play The Father, wrote his third feature specifically for Penélope Cruz and Javier Bardem. Bunker tells the story of a couple whose 17-year marriage begins to unravel when the architect husband (Bardem) accepts a morally ambiguous project to design a bunker for a billionaire. Per Deadline, Zeller said of the film: “I wanted to tell the story of a marriage and was deeply compelled to work with a real-life couple. This film will push the boundaries of narrative and emotional truth, blurring the lines between reality and fiction in a way that feels thrilling and deeply human.” Cruz and Bardem, who have themselves been married for 16 years, have worked together on-screen many times over the past few decades, including in films like Vicky Cristina Barcelona and Everybody Knows.

Ga-neung-han sa-rang (Possible Love) (Lee Chang-dong)

Eight years after wooing audiences and critics alike with 2018’s Burning (and winning the Silver Lion for Best Director at Venice for 2002’s Oasis), Lee Chang-dong returns with a relationship drama starring four of South Korea’s biggest names: Jeon Do-yeon, who won Best Actress at Cannes for Lee’s Secret Sunshine, Sul Kyung-gu, the star of his Peppermint Candy and Oasis, Zo In-sung, and Parasite’s Cho Yeo-jeong. Lee spent more than a decade developing Possible Love, which tells the story of two couples becoming increasingly intertwined as one makes a documentary about the other. Loosely inspired by Kieślowski's Dekalog, the film is already Korea's Oscar submission, with Netflix reportedly eyeing a Best Picture campaign alongside the international feature race.

Wild Horse Nine (Martin McDonagh)

Martin McDonagh has spun Venice premieres into awards gold twice in the last decade, with 2022’s The Banshees of Inisherin and 2017’s Three Billboards Outside Ebbing, Missouri. That makes his newest black comedy, Wild Horse Nine, one of the buzzier entries into competition this year. The film stars John Malkovich and Sam Rockwell as CIA agents Chris and Lee, dispatched from Santiago to Easter Island by their bureau chief (Steve Buscemi) in the weeks before the 1973 Chilean coup. Tom Waits and Parker Posey round out the starry cast.

The Basics of Philosophy (Paul Schrader)

Paul Schrader’s latest addition to his “man in a room” lineage makes its solitary figure a repressed philosophy professor. In The Basics of Philosophy, Jack Huston plays John Jorissen, who is teaching at a small Midwestern liberal arts college and writing a book on Spinoza when his estranged father dies. A mysterious young man appears at the funeral and forces the professor to contemplate a past regret. Martin Scorsese is an executive producer on the project, continuing a legendary partnership that dates back to Taxi Driver and Raging Bull, and earning The Basics of Philosophy high expectations at Venice.

Union Town (Barbara Kopple)

Iconic documentarian Barbara Kopple calls Union Town the third film in a triptych that began with 1976’s Harlan County, USA and 1990’s American Dream, both of which won her Oscars and were recently restored and rereleased by Janus. Filmed over three years, Union Town follows workers of New York’s delivery gig economy, weaving together organizing fights at UPS and Amazon with the largely immigrant-based workforce of bike couriers whose working hours are controlled by apps.

Joie de Vivre (Luca Guadagnino)

Luca Guadagnino is a friend of Venice, premiering films like Suspiria, Bones and All, Queer, and last year’s Julia Roberts-starring After the Hunt at the festival. This year, he’s showing a seven-hour documentary about Bernardo Bertolucci the same evening he’ll receive the Cartier Glory to the Filmmaker award. Joie de Vivre is actually Guadagnino’s second work about the Italian director, after his 2013 essay film which brought together Bertolucci’s own interviews. This time, the Challengers director draws together Bertolucci’s films with interviewers from fellow directors, critics, and friends.

Flesh Impact (Maggie Gyllenhaal)

The festival’s jury president also brings a 17-minute short, Flesh Impact, timed to the centenary of Marilyn Monroe’s birth and made with her estate’s blessing (and presented by Genesis). Ellen Burstyn—who will receive the Golden Lion lifetime-achievement award and traveled in similar circles as Monroe before her death—plays a mysterious older woman auditioning for a play at a New York theater. As she describes her career, it becomes clear who she is, and who she might have become had she lived. Dakota Johnson, whom Gyllenhaal directed in The Lost Daughter, plays Monroe at the height of her fame.

Flat irons have long held a fraught reputation in the world of hair. For years, the pursuit of impossibly sleek strands has meant a familiar and dastardly combination of high heat, far too many passes, and the occasional smell of something that definitely should not be burning. The tools themselves haven’t changed all that much: two hot plates and a clamp (and the hope that you can get your hair straight without sacrificing the curls you’ll want back later).

So when Pattern—the Tracee Ellis Ross-founded hair brand known for creating products with curls, coils, and tight textures in mind—introduced a flat iron that vibrates, we had questions. What exactly is a vibrating flat iron supposed to do? The answer is, essentially, cause less friction. This product uses ceramic-coated plates and up to 12,000 vibrations per minute to help strands glide through the tool more smoothly; that means fewer passes and less pulling, and therefore, less damage, in the process, according to the brand. There are also customizable heat settings up to 450°F.

Does the vibration make straightening faster? Gentler? Noticeably smoother? And most importantly, does it deliver the kind of finish that makes you forget how much work went into getting there? Below, four W editors find out—and share their honest opinions.

Claire Valentine McCartney, Culture Editor

What’s your hair like? Do you have experience with heat tools?

I have somewhere between 2A and 2B hair. It’s naturally red, and if I do nothing to it, it tends toward frizzy, coarse waves. I used to have a curl routine down pat in college, but I’m also very familiar with heat styling. Before getting the Pattern flat iron, I’d been using the same industrial-size straightener I begged my mom to buy me at the mall in 2005. At 450 degrees, it reliably fried my hair into a silky curtain, but after 20 years, it’s understandably been giving out on me. Otherwise, I usually use one of those ceramic air styling bristle brushes that are so popular now.

How do you typically style your hair?

If I’m going to an event or work, I’ll usually use an air styler. I’ll start with something like Moroccan Oil or Crown Affair’s Radiance Oil on damp hair, and follow up with a heat protectant spray from Amika or Oribe before blowing my hair out with the T3 air styler. I’ve tried so many anti-frizz, anti-humidity products over the years (and I may have gotten a Brazilian blowout or two), but these days I try to avoid anything with super harsh chemicals.

What did you think of the Pattern flat iron?

I liked the iron’s brown color and the clamps on the end to protect your fingers (thinking of all the times I’ve been singed by my old iron…). It was so light that it did make me wonder if it would even work, but it heated up extremely quickly and worked beautifully on my already dry hair. The vibrating took me a minute to get used to, but I loved how smoothly the iron ran down my strands without pulling on them—another upgrade from my old tool. I guess the beauty industry has indeed evolved since the early 2000s!

Would you use this flat iron again?

I definitely would. For times when I want a super sleek look, I’ll quickly run this over my already blown-out hair.

PATTERN Vibrating Flat Iron

PATTERN -

Ashley Peña, Senior Designer

What’s your hair usually like?

I have dark brown, long hair with 3A/3B curls. I don’t add heat to my hair now because I used to fry it with tools throughout middle and high school. Once I figured out how to properly treat my curls, I started keeping them in a natural state. But I do love a good blowout. I get one about five times a year and touch up with a flat iron throughout the week if I need to.

What products do you use for your hair?

I mostly wear my curls out, or I’ll add a claw clip if I want an updo. I don’t usually go for slicked-back hairstyles because I once read that low-impact hairstyles are better for hair health (I’m scared of a receding hairline!). I typically use a gloss mask during my wash routine and a heat protectant product to minimize any damage. After straightening, I use an anti-frizz oil to smooth and add shine. I’m getting married soon, and I’m hoping to style my hair in soft waves for the big day—so this is the perfect time to try out the flat iron.

What were your first impressions of the Pattern flat iron?

I liked that it felt lighter than my old flat iron, since my arms usually get tired after two hours of doing my own hair. I opted for a heat protectant spray before straightening, spraying each piece before running the flat iron through my hair with a comb to make sure I got every strand. Because I did my hair in small sections, I only had to run the iron through each piece once. I noticed my hair had a nice shine even after straightening. I was happy with the results when I finished—but not too long after, my hair began to frizz up. I think because my hair is so curly I need to do a better job blowdrying it first. Next time, I’ll also use a higher heat setting.

Would you use this product again?

I would. I’m already packing it for my wedding weekend.

Maxine Wally, Senior Digital Editor

What’s your hair like?

I have long, thick, wavy hair that I’m currently considering chopping into a bob for fall.

Do you typically use heat tools in your usual hair routine?

I don’t. I usually air-dry my hair, and I’ve been freaked out about flat irons since I watched my sister break off every strand on her head while straightening her bangs in the 2000s.

How do you typically style your hair?

I have four or five hairstyles that I keep in rotation for every event in my life: going out? Maybe I’ll do the high bun. Going to work? That calls for a midhead bun or a chignon at the nape of my neck. Happy hour oysters with the squad? I’ll probably wear my hair down, which requires either IGK’s Deep Repair air-dry styling serum, or my desert-island product, Shu Uemura’s Essence Absolue protective hair oil. You want to talk about liquid gold…

What did you think of the Pattern flat iron?

I love the size of it; it’s so sleek and small. I imagine it would be easy to travel with, which dashes any associations I have between my sister and her enormous purple straightening iron from high school. I loved how fast it heated up as well—it was hot enough to use in less than 30 seconds. The whole experience was so quick: I’d run the iron over a section of my hair one time and it was beautifully straight and shiny. I was honestly shocked by the results from this little machine. My hair looked sleek and less helmet-like, and was incredibly manageable after using Pattern’s Detox Shampoo and Blowout Primer. And the flat iron is really easy to use, which is helpful for me.

Would you use this flat iron again?

I definitely would. My hair tends to get really frizzy, especially during the summer months. As we transition into a cooler fall, I can absolutely see myself running this through my hair 15 minutes before I’m supposed to be out the door—and that’ll be ample time for me to achieve a polished look.

Che Baez, Visuals Editor

What’s your hair like? Do you have experience with heat tools?

I have brown 3A-3C curls on my head (and some 4A curls closer to my roots and nape of the neck). My hair is pretty long at the moment, especially when you factor in shrinkage. I (unfortunately) used to fry my hair, straightening it almost every single day from ages 13-21. I stopped using heat tools regularly, except for the occasional blow dryer with a diffuser attachment, in 2019. I would say I’m a little scarred, and only straighten my hair once in a blue moon.

How do you typically style your hair?

I wear my hair curly, so I wash my hair 2-3 times a week, and style it after I have a wash day. I’ll refresh my hair every day with water and a leave-in conditioner, and sometimes a gel will make an appearance. I truly let my hair do whatever it wants—I’ve come a long way!

What did you think of this product?

My first impression of the Pattern flat iron was: wow, this is nice. It’s the perfect size, very lightweight, and I appreciated the window for viewing the heat temperature, and the silicone pads so you can touch the ends of the flat iron. I’ve never experienced those features on another heat tool.

My second impression: this thing heats up to 450 degrees at the speed of light. Gone are the days of waiting for a heat tool to get to your preferred temperature. I used Pattern’s Detox Shampoo during my wash day, which made my scalp feel fresh, and the Blowout Primer ensured I had no snagging during the process of straightening my hair. Each section of my hair was easily straightened with one or two passes of this perfect tool. I know it’s typically advised to stay a couple of inches from the roots while straightening, but I like to get pretty close to my scalp (don’t tell my mother). I noticed it was a lot easier to do that since the flat iron is small, and the silicone finger pads allow me to be nimble.

Would you use this flat iron again?

This flat iron cured my heat tool PTSD. You might see me with what looks like a 30-inch bussdown soon, but it’s just my natural hair.

The summer of sports continues, and now it’s tennis’s turn to shine. The US Open has officially begun, bringing fans of both the game and Honey Deuces to Queens, where they will root on the best of the best.

Like every other sporting event these days, the US Open has become a magnet for celebrities. In past years, Kendall Jenner, Lindsay Lohan, Zendaya, Bella Hadid, Taylor Swift, and more big names have been spotted in the stands, and 2026 is already proving to be no different. The tennis tournament presents the perfect opportunity to enjoy the last days of summer while sipping champagne and taking in some world-class competition. Plus, it’s another venue to show off a great look. Keep checking back here to see all of the best celebrity fashion at the 2026 US Open.

Tate McRae

In an Adidas top and sneakers with a Gucci bag at day one on August 30.

Emma Roberts

In Ferragamo at day one on August 30.

Orlando Bloom

At day one on August 30.

Paul Anthony Kelly

At day one on August 30.

Lindsey Vonn

With a Verafied bag at day one on August 30.

Kaia Gerber

In Yana Matkivski with Paris Texas heels, Cartier jewelry, and a Fendi bag at the "Roger Federer: An Icon Returns To New York" US Open Exhibition Match on August 25.

Homer Gere

At the "Roger Federer: An Icon Returns To New York" US Open Exhibition Match on August 25.

Tory Burch

At the "Roger Federer: An Icon Returns To New York" US Open Exhibition Match on August 25.

Huma Abedin

At the "Roger Federer: An Icon Returns To New York" US Open Exhibition Match on August 25.

Vera Wang

At the "Roger Federer: An Icon Returns To New York" US Open Exhibition Match on August 25.

Gayle King

In Yigal Azrouël with a Balenciaga bag at the "Roger Federer: An Icon Returns To New York" US Open Exhibition Match on August 25.

Rihanna can make absolutely anything look good, even a pair of sweatpants. And in case you had any doubt, just check out what the singer wore while in Paris over the weekend, when she elevated the loungewear staple for a night out.

On Sunday, Rihanna was seen en route to César Restaurant in Paris alongside her friend and makeup artist, Hector Espinal. The evening called for something comfortable, yet still cute, and Rihanna had just the outfit. She wore a pair of grey cotton trousers from The Attico with white reflective piping down the front. On top, she kept it similarly causal with a dark grey tee. It was the accoutrements that really made this ensemble dinner date appropriate, however. Rihanna topped the base layer with a silk Saint Laurent trench, threw on a pair of silver Gucci heels, and grabbed her black Dior Toujours hobo bag to complete the look.

It seems Rihanna has been prioritizing comfort lately, though never at the sacrifice of style, of course. It makes sense that the mom of three wants to wear something that she can move around in, but she manages to maintain her sense of personal style no matter what. Earlier this month, Rihanna wore a similarly laidback look when taking her two sons to the dentist. She paired a sea foam green rugby shirt from Connor Ives and silk Ulla Johnson pants with a jogger-like silhouette. The fabric and lace trimming of the bottoms elevated the piece, as did a pair of Amina Muaddi sandals and a vintage orange crocodile Fendi bag.

A few days prior, Rihanna carried the same Fendi when out in NYC. That time, she wore a full velvet tracksuit, courtesy of Chloé. Clearly, Rihanna is very happy in the loungewear space, and as the temperature continues to drop, don’t be surprised if you start seeing her pair more and more heels and designer bags with cozy ensembles.

Shop Rihanna’s laidback style:

We may receive a portion of sales if you purchase a product through a link in this article.

Melange Grey Joggers

The Attico -

Trench Coat

Saint Laurent -

Gucci 55mm Textured Metallic Pumps

Bergdorf Goodman -

Toujours Hobo Bag

Dior -

Chappell Roan’s love of cosplay continued at the Daisy Chain Fields this past weekend, where the singer took the stage in a look straight from The Fifth Element. Roan dressed up as one of the 1997 sci-fi film’s Fhloston Paradise space shuttle flight attendants, complete with their signature bob. “Really lived out my Fifth Element fantasy,” the singer wrote on Instagram.

The ensemble, created by Michael Schmidt Studios and styled by Genesis Webb, was pretty true to the original designed created by Jean Paul Gaultier for the film. Roan wore a purple bustier top with a cutout below the bust and a collared bolero on top. Cuffs on the bolero and a fold over detail at the waist of the matching mini skirt were the largest departures from the original design. Roan topped the look with a movie-accurate hat featuring attached wings, which she wore over a short red bob. While the Fhloston Paradise flight attendants have white hair, Roan was not willing to sacrifice her signature color.

The singer donned this futuristic look to perform at the first annual Daisy Chain Fields. The festival, organized by Olivia Rodrigo, raised over $20 million, which will be distributed to 10 women- and girl-focused non-profit organizations. Alongside Roan and Rodrigo, Doechii, Mitski, and Bikini Kill took the stage during the day-long event, as did Sarah McLachlan, Stevie Nicks, and surprise guest Alanis Morissette.

Roan expressed her thanks to Daisy Chain and Rodrigo on Instagram, adding that Rodrigo is “so inspiring in so many ways.”

“We need artists like [you] who use their platform for good and are such a light in the world,” she continued. “Thank you for being you and supporting artists like me, [you] have changed my life in so many ways.”

The singer, who closed out her Visions of Damsels & Other Dangerous Things Tour in March, expressed her pleasure in getting on stage at Daisy Chain Fields after months away. “I didn’t realize how much I missed it,” she said. She will return to performing once again in October for her two-day event The Super Graphic Spectacular, a fundraiser for her non-profit, The Midwest Princess Project. Considering Roan has become known for her elaborate costumes that have transformed her into a medieval clown, the Statue of Liberty, and a taxi cab in the past, we can probably expect more cosplay coming to the stage in the fall.

The 2027 Costume Institute exhibition and Met Gala theme, originally set to honor John Galliano, will not move forward. On Monday, the designer took to Instagram to announce his decision to pull out of the event in light of backlash surrounding his involvement.

“After much reflection and discussion with all those involved, I have decided, with great sadness, that it is best for the exhibition not to take place at this time,” the 65-year-old wrote.

The plan to honor Galliano was initially revealed in July. Titled “John Galliano: Horizons,” the Met Gala and accompanying exhibition was supposed to examine the designer’s trajectory, from his 1984 graduation show at Central Saint Martins in London through his collections at the helm of Givenchy, Christian Dior, his eponymous brand, and Maison Margiela. The museum also promised to address Galliano’s controversial past, specifically, numerous incidents throughout 2011 when the designer went on both antisemitic and anti-Asian tirades in Paris. One of the occurrences, in which Galliano yelled “I love Hitler,” was caught on camera. It was after the video surfaced that Dior fired him. Six months later, he was convicted of hate crimes by a French court.

The New York Times also cited more recent allegations of antisemitism in 2019. According to entrepreneur and philanthropist Julie Macklowe, Galliano harassed her friend Sabine Cimber Goldberg when the designer heard Goldberg speaking Hebrew at a spa in Italy. Galliano has denied these claims. Many also pointed out that the first Monday in May next year lands on Yom HaShoah, or Holocaust and Heroism Remembrance Day. There was discussion that the Met would move the event as a result.

Controversy has been brewing since the announcement. The focus on Galliano would have made him only the third living designer to get a solo retrospective at the Costume Institute, following Yves Saint Laurent in 1983 and Rei Kawakubo in 2017. Many felt it was inappropriate. According to the Times, the situation escalated in recent days, with major museum donors threatening to rescind gifts and local and political leaders speaking out in opposition. Julie Menin, the speaker of the City Council, called the show “a gut punch to the Jewish community in our city, who are already reeling.” Brad Lander, a Democratic congressional candidate from Brooklyn, called it “a bad mistake.”

“This seems very straightforward to me,” Lander said on Sunday, according to the Times. “They should cancel the show and change the Met Gala honoree.”

Back in July, the museum’s director and CEO, Max Hollein, emphasized that “the Met has no tolerance for antisemitism, racism or prejudice of any kind.” He ensured that those planning the exhibition were “in close consultation with Jewish leaders and other stakeholders” and taking the concerns of the public “very seriously.” Anna Wintour and the curator of the Costume Institute Andrew Bolton even organized a meeting between Galliano and Jewish leaders. Wintour reportedly invited Angela W. Buchdahl, the senior rabbi of Central Synagogue, to join the Gala’s host committee, though she declined.

According to the Times, there was a plan for the key members of the Met’s board of trustees to meet on Monday morning to talk through the exhibition and backlash, as well as a planned Zoom for the afternoon with museum leadership. Now, though, there is no longer an exhibition to discuss. Galliano wrote in his statement, “I do not want the debate surrounding me to place The Met in a difficult position or to distract from the remarkable work of the Costume Institute. I also recognize and respect that an exhibition honoring my work would be painful for some.”

He continued, “I remain fully accountable for the pain caused by my words in the past, particularly the hurt I caused to the Jewish and Asian communities, and I remain deeply sorry for it. I understand that meaningful atonement is not achieved through an exhibition, institutional recognition, or a single public gesture. It is a continuing responsibility, demonstrated through listening, learning and one’s conduct over time.”

Hollein provided his support to Galliano on Monday, saying, “Following thoughtful discussion with John Galliano and many stakeholders I agree with John’s decision that this is not the right time for this exhibition.”

Wintour, a longtime champion of Galliano, who is paramount in selecting the Gala’s theme every year, said, “John’s decision to ask the Museum to postpone the exhibition devoted to his work is very courageous and a measure of the man he is.” She called it “the right decision.” She then continued to extol the designer’s virtues, citing many of his career achievements and calling him “the greatest” and “the premier couturier of his generation.”

The new theme for the 2027 Met Gala and Costume exhibition will be announced at a later date.

Question: Why did the tick-fearing New Yorkers cross the country lawn? Answer: To get to the Jean Prouvé cabin on the other side.

As sunset began falling on Yann Nury’s home in Pound Ridge, New York, the French chef and his wife, Grace Douglas, led guests on an adventure. Trailing the couple across the sprawling lawn, past the apple and cherry orchards, the group was greeted by a miraculous sight. While at first their attention landed on the generous caviar service arrayed on vintage silver, a magnum of Pol Roger champagne at the ready, their eyes soon turned to something that even this well-traveled crowd had never seen: a maison démontable by Atéliers Jean Prouvé—one of just 130 movable pavilions made in France in the mid-1940s. The humble yet pedigreed prefabricated cabin—which will eventually travel the country to host Nury’s unparalleled nomadic dining ­ experiences—is the perfect expression of his entertaining style: a creative combination of impeccable ease and­ exceptional ingredients.

In the 21 years since the classically trained chef moved to New York from Paris to intern at Daniel Boulud’s catering company, he has become the luxury world’s private chef and caterer of choice, traveling the globe with his team to produce hundreds of dinners a year, be it a feast at the Desert Botanical Garden in Arizona for Hermès (the brief: 15 courses, no utensils, with each component of the meal integrated into the decor); a meal for 450 guests of Cartier at the Conciergerie in Paris, with all of the sterling silverware sourced from Nury’s collection; or a dinner under the Saturn V rocket at NASA, in partnership with Omega watches.

In 2023, Nury combined his lifelong love of hyperspecific design with his métier of crafting to open La Résidence. Set in a 3,000-square-foot loft overlooking New York’s SoHo, the atelier—a kind of word-of-mouth culinary social club—hosts invitation-only meals for in-the-know guests. There, those who are as passionate about food and l’art de la table as they are about design will be rewarded by such treasures as a colorful cabinet made by Prouvé and Charlotte Perriand for Air France employees in the Republic of Congo in 1952; a suite of antique copper cookware that extends to more than 100 pieces; and rare vintage tableware and glasses that Nury and Douglas began collecting decades ago. Connoisseurs of contemporary furniture will take note of the bottle green mohair sofa designed by Nury’s collaborator on the project, the celebrated French architect Charles Zana, who envisioned the loft as “a living space for gastronomy.”

Zana and Nury were introduced in 2019, when the architect was looking for a chef to help him celebrate his appointment as Chevalier dans l’Ordre des Arts et des Lettres, one of France’s highest honors. The meal was pushed back two years, “but we started to talk about the New York kitchen, and now we’ve created seven meals together and designed two projects. Plus, I cooked for his wedding in Saint-Paul-de-Vence,” said Nury with a smile, recalling the Provençal feast he served in the sculpture garden of the Fondation Maeght for Zana’s wedding to Parisian jewelry designer Daphné Lignel. Zana also helped Nury and Douglas with the renovation of their Pound Ridge home, which was built for the daughter of one of the town’s founders in the 1780s.

“The house was a dream project, 10 years in the making—a dream to continue blending our passion for entertainment, cooking, and hospitality,” said Nury. “There are five different locations to cook, with different mediums. But it’s also a creative haven.”

The design process began five years ago with Zana’s sketch on a paper tablecloth. He envisioned creating a double-height center staircase inspired by 18th-century French designs; shrinking the kids’ rooms to make space for a shared play area; and, most importantly, transforming an adjacent barn, with its original beams and chestnut ceiling boards, into the kitchen and dining room. “My sons love cooking too, so we wanted to use the biggest room,” Nury explained. “People always say the kitchen is the heart of the home,” Douglas added. “I think Yann’s heart is the kitchen. It’s where he shows his love and where he goes to relax.”

The soaring room, which easily absorbs the largest Noguchi pendant lamp, is a culinary wonderland, from the dramatic island and back wall carved from Italian limestone to the professional French stove, which requires three-star skills. Several sets of pocket doors close to conceal stations, including a coffee zone and the pantry, with its many kinds of flour. The thoroughly considered layout was also designed to showcase the couple’s culinary treasures, such as the antique copper pots that they’ve been hand-carrying, one by one, from France for the past 15 years. “There’s a purpose to this collection,” Nury said of the pieces, all of which are regularly incorporated into both professional and personal meals. “It’s things we can use.”

The rest of the home also balances history and modernity, provenance and practicality. Humble three-legged stools from the midcentury French woodworkers’ collective Les Artisans de Marolles coexist with patinated bronze Rick Owens side tables and a plywood–and–petrified antler chair that, while contemporary, “really spoke to us because of the craftsmanship,” Nury said. The room’s original stone fireplace is softened by a white bouclé Pierre Paulin Alpha sofa and chairs—the same model that was commissioned by President Georges Pompidou and his wife, Claude, for the private apartments of the Élysée Palace in 1972. Nury bought the set because it represented a tipping point in modern furniture. “The fact that Pompidou accepted to bring design into L’Élysée and embrace those creators, for me, was very important. As a collector of design, I think that is really what changed everything.”

Similar stories can be shared throughout the home. There’s the picture frame the couple ­ carried back from their favorite antique-frame dealer at the flea market in Paris, finding the painting to go in it years later, and the antique Russian silver incense thurible they found in London, which Douglas designated as a planter. “It wasn’t like, ‘Oh, let’s build a house and do a mood board and buy everything,’” Nury said of their project. “First of all, we couldn’t. And second, the pressure of being forced to do all of this at once was just…what about falling in love with things? That was a big part of the process, and why Charles was also really infatuated with this.”

Seated down the hill in the Prouvé cabin—a bucket list acquisition that took Nury years to obtain—Zana was in conversation with Alison Cayne, the creator of the soon-to-launch fragrance line Choulie, who was telling him that the sinuous upholstered bed he designed was onher dream list when she was furnishing her weekend home a few miles away. Nearby, as polished silver goblets of champagne were passed around, cooks were baking rustic buckwheat sourdough flatbreads in the embers of a grill’s fire and brushing them with citrus butter, to accompany the caviar in lieu of blini. “Take a lot and spread it on,” Nury urged art adviser Leslie Fritz, whose home could be made out through the trees. Nury slipped into French, miming slathering a ­ generous amount of jam on toast: “Il faut le tartiner!”

Guests’ children took turns on the steel beam swings before heading off to play hide-and-seek in the orchard. As the sun dipped just below the treeline, Object & Thing founder Abby Bangser and her husband, Matt Bangser, of Art Intelligence Global—followed by beauty entrepreneur Tata Harper; artists Nicole Wittenberg, Megan Marrin, and Federico de Francesco; director of Frieze Americas Christine Messineo and her husband, film producer Matthew Shattuck; Mario Apollon Mowatt of Van Cleef & Arpels; and others—made their way back toward the kitchen, where a sumptuous summer feast awaited.

Just outside the kitchen’s glass doors, Nury was inaugurating his sizable custom grill, housed in a wide, waxed concrete–finished chimney. Trays of Montauk clams simmered in vin jaune broth with celery from the garden; bottles of chilled Bandol Domaine Tempier rosé awaited nearby. Once the flames had subsided, the chef slowly roasted beef tenderloin and the season’s first tomatoes until both were impossibly tender, a nod to Nury’s childhood in the South of France. (His American touch? They were served with ramp jus.)

At the kitchen island, guests and neighbors, such as ceramicist Re Jin Lee, helped themselves to the rosy beef, as well as to cauliflower gratin with verveine from the garden and roasted potatoes with thyme blossoms. Nearby, Douglas had transformed the family’s candlelit dinner table into a tableau fit for the film The Taste of Things: ripe cantaloupe draped with jamón Ibérico cut paper-thin on a vintage Berkel slicer, trays of plump figs with buckwheat honey, and silver cake stands of varying heights bearing painterly tomato tarts. Accompanying the homemade breads—including a brioche spiked with Timut peppercorns and thyme blossoms, baked in vintage copper soufflé molds—was the talk of the table: a basket bearing five pounds of beurre d’Isigny from France. “Yann first sent it to me as a joke when he was out of town,” said Douglas. “Who needs flowers when you have butter?”

As for the evening’s menu, “it started by how to utilize the spaces,” explained Nury, his arm sweeping from the kitchen to the grill area to the cabin down the hill. “And then things that I was very excited to share with the people coming tonight. I wanted to keep the evening simple and really make everything shine. My favorite way to cook is focusing on the ingredients: I finalize the menu at the farmers market.”

Douglas summed up her husband’s genius: “When I met Yann, his excitement for life and people was infectious. It still is, and I think it’s what makes him so good at entertaining and hosting. It’s also what we have in common: We love to share everything we love in life with others.”

While the caviar and champagne, and the tenderloin and its accompanying red Burgundy, were indulgently celebratory, the evening’s most generous flex was the enormous vintage silver berry bowl from Tiffany overflowing with Harry’s Berries, the sought-after California strawberries that are so perfect, Hermès served them to guests at its recent presentation in Los Angeles. “They are Grace’s secret weapon for dinner parties,” said Nury. Toward the end of the meal, guests scooped a spoonful onto their plates, alongside a cloud of whipped crème fraîche, returning shortly thereafter for more. Once the couple’s sons, Alexander, 14, and Grayson, 9, told the kids about them, the bounty quickly disappeared. As the candles flickered low, signaling the end of a memorable evening, only a single berry remained.

Hair and makeup for Grace Douglas by Ginger Leigh Ryan for Bumble and Bumble.

Watch as the stars of our annual TV portfolio—Chase Infiniti, Grace Gummer, Sarah Pidgeon, Rachel Sennott, Rhea Seehorn, Jason Bateman, Katherine LaNasa, Lox Pratt, Sadie Soverall, and True Whitaker read what Rizzo’s Fortune Teller has in store for them.

It’s the year of Jennie. After a summer of headlining festivals across the globe including New York’s Gov Ball, inspiring a celeb-loved lip-sync trend with her hit Tame Impala collab, “Dracula (Remix),” and dropping a six-track EP just today, Jennie’s got another project up her sleeve. On August 28 in Los Angeles, Jennie revealed a fall collection with Adidas Originals co-designed by the Blackpink star herself. Its centerpiece? A slip-on ballet sneaker that puts a Jennie-like remix on the brand’s classic striped kicks.

While the award-winning South Korean artist has fronted many a campaign and retained global ambassador status for brands like Chanel and Adidas—with whom she’s partnered since 2018—the collaboration marks Jennie’s first time lending her creative touch to a fashion line. If you want to dress like Jennie, now’s your chance.

For the launch, Adidas transformed its Melrose store into a futuristic playground, gathering the likes of Love Island’s Melanie Moreno, Olympic champion and viral knitter Tom Daley, and designer Jeremy Scott, who gave Jennie kudos for her dedication to bringing her ballet-inspired vision—a year in the making—to life.

Moon crater art installations, galactic wallpaper, and projections of Jennie moving through a lunar-like landscape served as the backdrop of the dreamy pieces on display. And to top the night off, the star sat down for a quick Q&A at the store’s white draped courtyard– but only after she chatted with W to talk designing ballet sneakers, her most prized fashion possessions, and her new EP Fallen Angel.

What was your vision for this collection?

I wanted to combine the elegance of ballet with dreamlike, limitless freedom of space to balance the softness and strength.

Adidas Jennie Superstar SQ Ballet Shoes

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The Superstar SQ Ballet shoe remixes the classic Adidas Superstar. How did you balance these two very different silhouettes?

I kept the original Superstar structure and then added the square toe and the ribbon details to bring in the softness of the ballet-inspired moment.

How would you style them from day to night?

During the day, you can easily style them with any track pants or jeans or denim, and at night something maybe more sheer or fitted.

What’s the most prized possession in your closet?

I’d say all of my vintage jeans.

How are you feeling about the release of your EP Fallen Angel? What can the fans expect?

My heart is beating so fast. I’m very nervous. It’s a very personal album to me. I think it holds a lot of emotions that I felt in my life. I can’t wait for everyone to get a piece of me.

If the thought of strapping on a pair of heels sounds more like a torture ritual, but the ballet flats in your closet are begging for a break, Hailey Bieber has the solution for you. The model stepped out in a pair of shoes on Wednesday that every flat enthusiast needs in their closet this fall.

On August 26, Bieber was seen out in Los Angeles, where she was photographed in a causal but stylish outfit. The 29-year-old wore a baby blue long-sleeved v-neck with a pair of slightly cropped trousers. A Kelly green Chanel shoulder bag added a pop of color while a pair of mules grounded her.

Now, at first glance, these shoes look like they have the form of a pair of hotel slippers, but closer inspection reveals them to be the Penelope mules from The Row. In practice, these low-effort shoes add an air of coolness to a look, especially an already laid-back one like Bieber’s tee and pants. They’re chic, but simple, and most importantly, they’re comfortable. For those who are tired of turning to ballet flats for every casual afternoon stroll or last-minute dinner, these mules provide a similarly low-effort alternative, with an added unexpected nature.

Bieber isn’t the first to champion the style. Jennifer Lawrence was spotted wearing a very similar pair last spring while strolling around New York, proving their utility. Even better, at just about $12, Lawrence’s pair carries a much more reasonable price tag. Now, thanks to Bieber’s seal of approval, though, they’re sure to be everywhere very soon. If we know Bieber, we know she’s able to start a trend with just one outing.

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The Row Penelope Mule

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Herbert Levine Homebody Mules

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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.

Givenchy

Sarah Burton invited Givenchy’s extended “family” to star in the brand’s winter 2026 campaign. Eva Herzigova, Kaia Gerber, and the French writer and former lawyer Constance Debré represent the array of identities, ages, and sense of femininity that inspires Burton and illuminates the new world of Givenchy.

Givenchy

The models pose for Juergen Teller’s camera, showing off Burton’s latest designs before a landscape of steely granite in Croatia. The images are unflinching as each woman impresses an unsparing sense of her selfhood upon the imagery.

Givenchy

“There’s a directness about the women in the campaign which speaks to their personality and strength,” Burton said in a statement. “I wanted it to be purely about that—everything I design at Givenchy centers on seeing and celebrating the reality and the brilliance of all kinds of women.”

GapStudio

For fall 2026, GapStudio and Zac Posen are looking to the pieces that have long defined both the brand and classic American style. The new, 20-piece wardrobe collection, designed by Posen, reconsiders familiar forms through sculptural silhouettes and shifts in scale, bringing new perspective to enduring wardrobe archetypes.

GapStudio

Of course, denim acts as the foundation of the collection. Khaki, utilitywear, shirting, T-shirts, and workwear round out the offerings. They are shown off in the campaign, which stars Esther McGregor and Alton Mason. Depicted in a stripped-back setting, the imagery pulls the focus to the clothing, both its details and attitude.

Tom Ford

The Tom Ford autumn/winter 2026 campaign presents a study in characters. Individuals of every age and walk of life are depicted in glaring light against a clinical, white background. There is no hiding.

Tom Ford

“I wanted the images to be pure and direct, stark but trembling with human substance, therefore it’s just the camera and the subject, no theatrics or props needed,” creative director Haider Ackermann said. “What these personas wear is who they are. There is a sense of presence and awareness in such characters, caught either alone or in groups, highlighting the respective individualities. What they have in common is the fact that they all flirted with debauchery, but now they stand straight. They are here, unfiltered and defiant. Come closer, and see.”

Celine

Celine winter 2026 is for the routine. It’s for the woman on the go, who sometimes needs a moment to herself. This is made clear in the collection’s campaign, which shows both sides of a day: when you spend the morning running through the city streets and the afternoon trying to recover from all the action.

Celine

A black turtleneck and a pair of jeans are accessorized with a simple belt, while an all-black ensemble is topped with a geometric hat. These are clothes for real women to wear, and to do so every day.

Gucci

Allow Kate Moss to serenade you in the new Gucci Primavera campaign. Well, technically, she’s giving her best lip-sync. But that doesn’t make the Johan Renck-directed video any less alluring. Moss shimmies in a sparkling black dress with a high neck and open back as she mouths the words to Chris Isaak’s “Wicked Game.” Around her, Gucci-clad strangers awaken, pair off, and fall in love on the dance floor as Moss stands in the center, leading it all from the mic.

Gucci

In addition to the video, there’s a campaign photographed by Michal Chelbin. featuring Tom Brady, Alex Consani, Shawn Mendes, and Rico Nasty posing for portraits in the spirit of modern Renaissance imagery.

Gucci

The models represent the cross-section of individuals who personify creative director Demna’s vision for Gucci. They don clothes from the designer’s debut show for the house, displaying a new vocabulary of silhouettes and textures that embody the contemporary expression of Gucci’s identity.

Giorgio Armani

Giorgio Armani is using its fall/winter 2026/2027 campaign to declare its identity and reaffirm the strength and relevance of the Armani codes. It’s an appropriate time to do so, since the images feature the first collection designed under Silvana Armani and Leo Dell’Orco, ushering in a new era for the brand.

Giorgio Armani

The campaign, shot by Oliver Hadlee Pearch, is set against a neutral background, evoking a timelessness seen within the clothing. Christy Turlington’s presence has the same effect. She walked Armani shows in the ’90s, and here she is, decades later, still embodying the essence of the brand.

Giorgio Armani

Turlington’s effortlessness and authenticity are felt within the photographs as she stares down the camera with a look of confidence, grace, and sincerity. Dressed in Armani, she conveys the power of a distinct and recognizable identity.

7 For All Mankind

7 For All Mankind’s fall/winter 2026 campaign captures Chloë Sevigny in motion. The actor is photographed by Marili Andre as she shifts from faux interiors to artificial city streets. Everything is blurry—her hair as she tosses it around, the lights that surround her—representing fleeting moments that make one feel spontaneous and alive.

7 For All Mankind

Titled “In the City, Off Duty,” the campaign celebrates an instinctive approach to dressing. It’s all about feeling like yourself in your clothing—confidence without too much effort.

Loewe

Loewe is reaching new heights, literally. The brand’s fall/winter 2026 campaign was shot on top of the highest mountain in the Alps, Mont Blanc. There, Julia Garner—alongside Lil Yachty and artist Cosima von Bonin—braved the unpredictable elements to show off Jack McCollough and Lazaro Hernandez’s latest designs.

Loewe

The collection’s bold colors are especially striking against the stark white surroundings. Bright yellow knits and shocking orange pants feel even more graphic amid the windswept expanse.

Loewe

Athletic poses emphasize the sportswear codes in the collection. Garner lunges across the frame while Lil Yachty adopts a strong stance with his Storm boots firmly planted in the snow.

Alaïa

Teyana Taylor was an obvious choice for the Alaïa summer/fall 2026 campaign. Her background in dance and movement lends itself perfectly to the brand’s designs. Second-skin, knit dresses stretch and expand as Taylor moves across David Sims’s frame in pared back, powerful images.

Alaïa

“As someone who’s loved Alaïa for a long time, being part of this campaign felt really special,” Taylor said. “The collection pulled me in right away. It’s bold, it’s feminine, but there’s a strength to it that I connect with. I’ve always loved fashion that lets a woman own who she is without having to say too much.”

Saint Laurent

Saint Laurent is easing the yearning for Heated Rivalry season two: Connor Storrie has temporarily given up his hockey pads for suits fas the star of Saint Laurent’s fall/winter 2026 campaign. Photographer Talia Chetrit captured Storrie in a sleek modern home that’s decidedly not the cottage.

Saint Laurent

Saint Laurent

Rosé stars alongside Storrie in the campaign, with Liu Wen rounding out the trio. The three flaunt their looks in the minimalist environment that spotlights the rich colors and fabrics of Anthony Vaccarello’s latest designs.

Proenza Schouler

Designer Rachel Scott’s first Proenza Schouler campaign is marked by a consideration of color, precision, and craft. It’s a presentation of the new Proenza woman, one shaped by thought, intuition, and contradiction.

Proenza Schouler

While, at first glance, Scott’s woman is put-together and precise, the campaign rejects the idea that perfection equals constraint. There remains a mysterious and capricious nature, illustrated in the lightly rumpled dresses and slightly irregular draping. These choices suggest a woman in motion, with a purpose.

Gap

Gap tapped two rising talents to star in its fall 2026 campaign. Malcolm Todd represents the world of music, while Obsession breakout Inde Navarrette provided the Hollywood perspective in another fun-filled ad for the brand.

Gap

In the campaign, titled “Denim on Your Own,” Todd and Navarrette dance around set to Todd’s cover of Robyn’s song “Dancing on My Own.” They roll around the floor and mimic each other’s moves in an ever-changing array of Gap denim.

Gap

“I’ve always been drawn to making things my own—whether that’s through music, style, or the way I express myself,” Todd said in a press release. “Being able to reinterpret an iconic song like ‘Dancing on My Own’ and bring my own perspective to it was such a special experience.” For her part, Navarrette added, “From the moment we started filming the Gap campaign, it felt like we were able to bring our own energy and personalities to the campaign. There was so much freedom to move, experiment and express ourselves.”

Guess

Irish television personality and model Maura Higgins is trading in Traitors for roadsters, posing alongside a vintage car for Guess’s latest campaign. The sleek ride is the perfect accompaniment for the Guess Allegra bag, which emphasizes form, feel, and function with sculpted lines and a striking presence.

Guess

Higgins, who rose to fame on Love Island UK, shows off two of the accessory’s colorways in the pared-back shoot. The bag’s “form” comes through in its dramatic winged silhouette and precise pleating; its “feel” in the soft faux suede; and its “function” in a versatile design that Higgins demonstrates can be worn with ease.

Ferragamo

Shoes are the true stars of Ferragamo’s fall 2026 campaign. A set of surreal yet still glamorous images portrays Ferragamo’s historic language and showcases footwear as a timeless object of dreamlike desire.

Ferragamo

Anok Yai sits on a throne of heels, a 1994 Willie Cole sculpture that plays perfectly into the campaign’s theme. “Willie takes everyday objects—objects that you feel connected to, that you can relate to—and distorts them,” says Ferragamo creative director Maximilian Davis. “The chair feels very surreal, but immediate—and, with my recent collections referencing Surrealism and Dadaism, the collaboration felt right.”

Ferragamo

Elsewhere, Vittoria Ceretti is surrounded by the accessory. It is a modern image that pays homage to Ferragamo’s past, specifically the 1950s, when Salvatore Ferragamo was an innovator in the space.

Ferragamo

“So many things make a Ferragamo shoe an object of desire: the construction; the wearability; the innovation of the design,” says Davis. “And since I’ve been at the house, it’s been about refining the details to make them feel more sharp, more graphic; to take those core codes of craft and construction and translate them for today.”

Versace

The Dario Vitale era of Versace has officially ended. Versace Obsessed, Chapter II is the final campaign to feature Vitale’s designs. Photographed by Steven Meisel, the images are laid out in a series of cinematic vignettes, capturing the strength of Versace’s legacy and its ability to bridge the past, present, and future.

Versace

Models dressed in the fall/winter 2026 collection are shot from above. Around them lay artifacts from Versace’s past, specifically archival images from the ’90s and ’00s, also shot by Meisel.

McQueen

Tension is building within the McQueen fall 2026 campaign. There’s a psychological conflict between interiority and exteriority here, alluding to the meticulously crafted facade we all work so hard to maintain—and the visceral, emotional reality that lies beneath.

McQueen

Photographer Glen Luchford captures this dichotomy in the images. He depicts the slow slip of the fourth wall and the deep impulses that emerge through the confronting gaze of Karen Elson, Paloma Elsesser, Jacqui Hooper, and Ju Xiao Wen.

McQueen

The clothes, meanwhile, bear their own kind of material tension: when precision tailoring meets the fluidity of silk georgette. The ads are an exploration of depth, darkness, and beauty, constructed by creative director Seán McGirr and cast in a noir light.

Jimmy Choo

The Jimmy Choo autumn 2026 campaign is all about the joy of dressing up. Model Africa Garcia is captured inside Palazzo Gallarati Scotti as she explores the brand’s latest offerings. Each shoe and bag unleashes a new side of Garcia, from a businesswoman in full control to a more demure ingenue.

Jimmy Choo

From painstaking embellishment to pure form, the expansion of the collection is on full display. Femininity is at the core of every design, but how it manifests varies by shoe.

Miu Miu

Femininity is flipped on its head in Miu Miu’s fall 2026 campaign. Clothing is armor as much as it is adornment. Distressed leather and wool cling to the body while babydoll dresses provide a soft contrast, especially when paired with studded leather bags.

Miu Miu

Hailey Bieber and Xiao Wen Ju are captured by Zoë Ghertner in what looks to be an abandoned parking lot at night. Street lights shine behind the models, reflecting off nylon pants and coats. There is a sense that these women should not be here, but they claim ownership of the space in their assurance of expression and dress.

Chloé

Chloé’s winter 2026 campaign presents a whimsical, otherworldly landscape where color remains beautifully saturated and hair perfectly crimped. Inez Van Lamsweerde and Vinoodh Matadin shot the images, which present creative director Chemena Kamali’s latest collection in a folkloric setting, among cliffs blooming with flowers.

Chloé

“For this campaign, I wanted to express devotion through women, the vastness of open landscapes, and craftsmanship,” Kamali said. “Nature brings us back to instinct, freedom, and connection. In that openness, femininity unfolds with untamed strength and togetherness.“

Prada

Routine life is what’s on display in Prada’s fall 2026 campaign. A film by director Barry Jenkins embraces the little moments throughout a single day—those instants when you can stop and admire the way the sun shines through the window or take a second with yourself in the mirror. It’s all about the extraordinary within the ordinary.

Prada

Actors Hunter Schafer, Troye Sivan, Chen Haoyu, and Kelvin Harrison Jr. star in Jenkins’s short film and the accompanying images. They perform along with the clothing, which is a character in itself. Bags are an extension of the body, and coats an expression of mood. Even the most mundane acts can be made significant when handled with purpose and care. Watch the full video below.

Prada

Loro Piana

Houston (or more specifically, John and Dominique de Menil, who helped shape the cultural landscape of the Texas city) was the inspiration for Loro Piana’s fall 2026 campaign. “Working on this campaign for Loro Piana within the extraordinary de Menil landscape was truly inspiring,” says photographer Mario Sorrenti. “The synergy between the collection’s refined elegance and the timeless, art-filled environments created by John and Dominique de Menil was profound. It allowed us to capture a natural, unforced beauty, a quiet dialogue between the clothing and these spaces, that felt both intimate and expansive.”

Loro Piana

The story begins at the de Menils’s former residence, where interiors by couturier Charles James provide a rich backdrop for Loro Piana’s new range of garments. From there, a trip to the Menil Collection, designed in 1987 by Renzo Piano. The campaign explores the various galleries of the building, where art, architecture, and community intersect.

Loro Piana

And finally, a stop at the Rothko Chapel, which houses fourteen canvases by Mark Rothko, creating an immersive expanse within which to indulge. Here, the collection does not compete with the art for attention, but moves in dialogue with it, complementing each other in both color and form.

Burberry

Apple Martin is not the only model in her family. Her younger brother and fellow offspring of Gwyneth Paltrow and Chris Martin, Moses Martin, has officially entered the world of fashion with a starring role in Burberry’s latest campaign.

Burberry

The 20-year-old is part of creative director Daniel Lee’s “Escape to the Countryside” campaign, which sees friends embarking on a summer road trip. “A road trip is a very British thing to do,” Lee says. “Getting into your car, heading out to the countryside, and seeing where the day takes you. That idea of exploration has always been part of Burberry. Listening to music on a long drive becomes part of the memories you make along the way.”

Burberry

The images, shot by Chris Rhodes, follow the group on a beautiful summer day as they swap the city for the winding roads and rolling hills of the countryside. They make stops along the journey, taking in the sights in their autumn 2026 duds, and end their trip at a classic English manor, Deene Park in Northamptonshire.

Tiffany & Co.

Tiffany & Co.’s latest campaign is all about love in its many forms. Not only romantic love, but also those deep personal relationships between family, chosen communities, and with oneself. At the center of this love is Tiffany’s new Sixteen Stone solitaire diamond ring.

Tiffany & Co.

In the short film “Love & Celebration,” Academy Award-winning actor Mikey Madison turns the age-old refrain, “he loves me, he loves me not,” into a ritual of quiet affirmation. With the ring—inspired by Jean Schlumberger’s 1959 design—on her finger, she concludes, “I love me.”

Fendi

In season three, episode 17 of Sex and the City, Carrie Bradshaw takes a wrong turn during a shopping trip in SoHo and finds herself at the whim of a mugger. While pointing a gun at her, he demands she hand over her bag. “It’s a Baguette,” she corrects as she reluctantly gives him her purple paillette-covered purse. It was a scene that would start a movement and launch the Fendi Baguette into It bag status. Over a quarter of a century, the Baguette is still as popular as ever, and Sarah Jessica Parker is still a fan.

Fendi

It’s not surprising, then, that Maria Grazia Chiuri featured Baguettes in her inaugural collection for Fendi and tapped Parker to lead the accessory’s latest campaign, “It’s Not a Bag, it’s a Baguette.”

Fendi

Parker is joined by Sophie Thatcher, Jessica Alba, Emma D’Arcy, Iris Law and more stars in the images, shot by Bibi Borthwick. Each photo showcases a different iteration of the Baguette, demonstrating the purse’s immense variety. A corresponding video set to Addison Rae’s “Fame Is a Gun” drives this point home as each campaign star declares their connection to the Baguette, stating, “It’s history,” “It’s controlled chaos,” and “It’s my attitude.”

Coach

Coach is introducing its latest project, &Coach, a content series co-created with Gen Z communities, creators, and cultural voices. In its first iteration, &Coach introduces a new model for luxury storytelling. The American brand tapped Charli XCX, Malala Yousafzai, PinkPantheress, and more unique voices to share their perspective through social-first content.

Coach

Of course, across every story, there’s a Coach bag—a companion to amplify your confidence. The bag joins Pink on stage, or completes Charli’s outfit as she’s getting ready. It’s a conduit for community as much as an accessory.

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.”

Celine Dion was spotted in Paris on Friday morning, and the 58-year-old lovingly greeted fans ahead of the start of her five-week residency in the city.

The French Canadian singer wore an unsurprisingly chic ensemble for the outing, her first meaningful one in about eighteen months. She looked healthy and happy while walking around in the Parisian fall uniform of black boots and a trench, though Dion’s take was anything but classic. Dressed head-to-toe in pieces from Alaïa’s upcoming winter/spring 2027 collection, Dion waved to fans in a wrap trench with extra fabric on the sides that folded in on itself to create swinging pickups. Her suede boots, meanwhile, boasted cutouts, making for a graphic effect as the leather extended up the center of her feet before covering her ankles and calves. Finally, oversized sunglasses covered up her face, though her immense emotions were still very much on display.

In just a few weeks, Dion will meet fans again at Plenitude Arena. The largest indoor arena in Europe will host Dion from September 12 through October 17 as she sings to 45,000 people a night. The residency is the beginning of Dion’s return, a journey that began in 2022 when the singer was diagnosed with the rare autoimmune neurological disorder stiff-person syndrome. Dion documented a bit of her recovery in the 2024 documentary I Am: Celine Dion, explaining the pain she has faced due to the disorder, including the inability to walk without first taking a Valium.

Recently, Dion spoke to Harper’s Bazaar about her return to the stage, which will mark her first time performing since the Paris Olympics Opening Ceremony. She has been doing 90-minute Pilates sessions three times a week as well as taking ballet classes. Following the final date in October, Dion will get a bit of a break before returning for ten more shows in May 2027.

“I am ready and I’m a bit uptight of course because it’s been a long time,” she said to French broadcaster BFMTV on Friday morning. But when asked to provide a sneak peek and reveal what song will open her concert and truly welcome fans back into her world, she was not so willing to spill. “I can't say. It's a big secret.”

There’s no camping necessary at Helsinki’s Flow Festival. The three-day event is held on the grounds of a decommissioned power plant in the middle of the city’s booming Sörnäinen neighborhood. That means you can take the tram or the metro to the festival, catch main stage acts like Zara Larsson and Turnstile from a seat in the VIP section housed in a decommissioned gasometer, stop in for a taste of rave magic with DJs like Honey Dijon on a dance floor in the shadow of a smokestack, and then head home to do it all over again the next day.

That also means the crowd, many local to Helsinki, often use the event as an excuse to let their innate fashion sense run wild. The country takes great pride in its art and design heritage—having given the world Marimekko’s joyous textiles, instantly recognizable Artek furniture, Arabia ceramics, Tom of Finland’s still-stirring erotica, and Tove Jansson’s beloved Moomin character, to name just a few contributions—which informs the local fashion sense.

“It's surprisingly brave. It's kind of clean, but with a bit of experimental elements,” says Milla, a young artist and Flow attendee of the city’s day-to-day fashion. Although she says many tend to keep their color schemes muted in regular life, a festival is a chance to amp it up. “In Finland, we think that at a festival, you are more free to express yourself.”

“I feel like nobody’s holding back at any kind of festival,” adds her friend Weke, a chef.

Americans, especially those glued to their TikTok FYPs, may be tempted to lump Helsinki in with the “Scandi girl” aesthetic, but Finland (which may be Nordic, but isn’t one of the three Scandinavian countries) sees its style a something distinct.

“You think about Stockholm, for example, it's much more homogeneous. It's very safe,” says Elina Siira, the creator of socially minded jewelry label Aida. “Here in Helsinki, people really want to experiment. Some uniqueness is much more appreciated.”

Siira also sees shades of Berlin in the city’s style. “Helsinki has a very high level of club culture. The style is affected by the cultural communities.”

Flow Festival is now a three-day affair with eight distinct stages and a program that not only includes a wide array of music (this year the lineup included everyone from Nick Cave to Cabaret Voltaire, and Rochelle Jordan to The Congos) but panel discussions, art installations, and, this year, an avant-garde fashion show put on by MASTERMINTTU. Still, it grew out of humble beginning from Helsinki’s own cultural communities.

“When Flow was founded in 2004, it was a small club event,” says the festival’s CEO Katariina Uusitupa. “The founders wanted to create an event that they wanted to participate in. So the values and what Flow feels like derives from those early times. They've been always interested in fashion and design.”

She also adds another more practical reason for Flow’s elevated festival style. “Most of the ground surface is asphalt. You can wear high heels if you want to, for example. Then when it rains, there's no mud.”

Perhaps what stood out most about the Finn’s festival style, was that while it may be expressive, it doesn’t feel performative. We only witnessed a single TikTok video being overtly made all weekend. And the style wasn’t limited to just the young.

“What I think that is cute at Flow, is that everybody can come there and they can express themselves,” says Siira. “Even though, yes, there are trendy and hot people, everybody can show their style the way they want.”

For many, thoughts of espresso brunette, deep chocolate, and rich auburn hair start to materialize the second fall temperatures roll around. But this year’s looks prove you don’t necessarily need to go dramatically darker for autumn. In fact, some of the chicest seasonal shifts are much more subtle. Case in point: honey-latte hair. Think of it less as a complete color overhaul and more about adding richness and definition to a shade that may have gotten lighter over the summer months. Below, W tapped hair colorists to learn how to get the honey-latte hair color, for whom it works best, and why it’s shaping up to be one of fall’s chicest shades.

What is honey-latte hair?

According to celebrity colorist and Paul Mitchell global color artist Matt Rez, honey-latte hair is a dimensional, neutral-warm blonde that combines creamy beige tones with strands of golden honey and soft caramel. “I would tell your stylist you want a lived-in blonde that feels warm and luminous, isn’t yellow or brassy, and has a slightly deeper base with seamless brightness through the mids and ends,” he says. The beauty of this shade is that it lets you hold onto that sun-kissed, summer glow while introducing the richer, creamier tones we naturally gravitate toward during fall.

Honey-latte hair lives in the same family as honey blonde, caramel blonde, and bronde, but the difference comes down to the balance of tones. Think of honey blonde as more uniformly golden; caramel blonde as a way to introduce deeper, richer tones; and bronde as having a stronger brunette presence. Honey latte borrows a little from each, combining the radiance of blonde with the richness of caramel and depth of bronde, then balancing it all with a creamy beige finish that feels modern, says Rez.

How to achieve the look

Achieving honey latte hair is all about harmony between lighter pieces, deeper accents, and muted gold tones. Rather than one solid shade, Rez recommends asking your stylist for “strategically placed highlights to create brightness, lowlights or a deeper base for contrast, and midlights to connect those tones so there are no harsh transitions.” This mix of varying tones gives the color its signature latte-like effect.

Hair texture can also play a role in how honey-latte color reads. Rez considers where the hair naturally bends, separates, and reflects light to determine where the highlighted pieces will have the most impact. “On straight hair, every placement is visible, so the blend needs to be especially seamless and refined,” says Rez. “Wavy hair naturally reveals dimension, while curls and coils often need slightly bolder, more intentional pieces so the color doesn’t disappear within the pattern.” In other words, there’s no one-size-fits-all approach to placement.

Haircuts that complement honey latte hair

Holland Hager, a colorist at Flore Los Angeles, is a big fan of pairing the shade with a layered haircut, because “the flow of the cut brings out every caramel and blonde tone, creating even more depth and softness,” she says. You’ll also want to consider placement as it relates to your specific cut. For instance, with layers or curtain bangs, Rez says to add lightness around the face and through the movement of the cut. “On a bob, carefully placed ribbons can make the shape look fuller and more sculpted,” he says. And for those with longer hair, you’ll have more space to create a gradual, melted transition from the deeper root to brighter ends.

How to maintain honey latte hair

Like most multitonal blondes, honey-latte hair requires some upkeep to keep it looking vibrant. “I recommend a gloss every six weeks to keep the color fresh, shiny, and vibrant,” says Hager. Because the shade relies on a strategic mix of beige, gold, and caramel tones, this can help revive the color as it begins to fade while restoring that health-looking luster between larger color appointments. If you’re seeking an at-home treatment, go for the Kristen Ess High Gloss Longwear Shine Treatment, which provides a reflective shine for up to four weeks.

Kristin Ess High Gloss Longwear Shine Treatments

Also, use a gentle, color-safe shampoo and conditioner that will protect the tone without stripping the hair, like the Amika The Protector Color Protect + Strengthen Shampoo and Conditioner. The duo is made with a color longevity complex that preserves vibrancy, plus black currant extract to defend against the oxidative stress that can cause color to shift.

Amika The Protector Shampoo

Finally, minimize heat exposure, as high temperatures can cause color to fade more quickly. When you do heat style, always use a heat protector (the Paul Mitchell Hot Off The Press Heat Protectant Spray is a solid option) to create a barrier between your strands and hot tools.

Paul Mitchell Hot Off the Press Heat Protectant

The term “couples style” gets thrown around a bit too loosely, but George and Amal Clooney definitely embraced the label for an end of summer date on Lake Como. The couple— who have a home on the northern Italian lake—have been bouncing around from one villa to the next over the past few weeks, and were recently spotted heading out in matching looks.

On August 20, the Clooneys were photographed disembarking a boat at the Villa Passalacqua, a historic 18th-century estate. The pair was surrounded by friends as they made their way across the dock up to the venue. The reason for their appearance is not known, but it seems to have been some formal event. Amal arrived in a simple and chic white slip dress, an armful of bangles, and stilettos. When she got to the dock, she was handed a small bouquet of white flowers, making the 48-year-old look almost like a bride walking down the aisle.

George coordinated with his wife, sticking by her side in a similarly understated but stylish outfit. He wore an off-white short-sleeved top with a pair of pants in the same hue, finishing off his ensemble with suede loafers.

This is actually the second time the Clooneys have visited Villa Passalacqua this month. On the 10th, they held a fundraising dinner for the Clooney Foundation for Justice at the venue. For that event, Amal wore a black John Galliano fall 2004/2005 slip dress featuring flowers and a yellow velvet bow embroidered up the front. She accessorized the dress with a beaded red bag. George, meanwhile, wore another very summer-appropriate outfit, this time a gray suit and the same loafers. It seems George is making the most of his summer wardrobe while he can.

If you’ve been feeling like something big is coming, and all your pent-up energy from the past couple of weeks needs to be released, prepare for the Pisces lunar eclipse on August 28. All month long, the impact of the eclipses has been leading to this moment, when we’ll be forced to ask ourselves what has run its course, what changes should be made, and how can we realign with our higher self. The end of eclipse season is approaching, so what are you ready to release to make space for something new?

The lunar eclipse is essentially a supercharged full moon. Similar to a standard full moon, you can expect a series of a ha moments, hard truths, and reality checks that ask you to make a decision one way or another. Some sort of conflict or tension is coming to a head, and through this peak intensity you’ll be able to better understand what path will lead you to resolution.

However, remember that the energy here is supercharged. While you might normally be able to do a cleansing ritual, make a game plan, and move at your own pace during a regular full moon, an eclipse throws caution to the wind and forces you to accept the harsh reality of what you are experiencing. Don’t stress, you still have free will and the ability to control your reactions. Just remember that a lunar eclipse takes whatever has been sitting in your subconscious and forces it to the surface so you can no longer evade it.

During a lunar eclipse, you might get passed up for a promotion that you didn’t really want but still applied for, or you could get into a disagreement with a “friend” you’ve been hanging around with as a form of convenience. This is how the universe forces our hand during a lunar eclipse. This is a moment to trust your intuition and those subconscious nudges to stay on track.

The August 28 lunar eclipse is in Pisces, which makes the need to trust in the unknown even more necessary. Pisces lunations bring on spiritual awakenings and a heightened sensitivity. There might not be a dry eye in the room by the time the eclipse hits its peak, but a good cry could be exactly what you need to realize you’ve been holding on too tight; it’s time to let go.

Pisces’ ultimate lesson is surrender—letting go of control and a need for specificity. At the moment, the sun is in Virgo, so all we can think about is controlling the narrative and following a regimen. Our mission is to find acceptance within the unknown, to learn how to roll with the punches rather than forcing our way down a rigid path. Understand what needs to happen for closure to occur. Pisces is the last sign of the zodiac, so whether we are ready for it or not, this is the end of a cycle.

If the eclipses weren’t intense enough, there is also some pretty tense energy happening between planets. Mercury, the planet of communication and mental energy, is right next to the sun in Virgo, opposite the moon in Pisces, which creates an aversion toward listening to your intuition. Additionally, Uranus, the planet of rebellion, in Gemini, the sign of adaptability, is squaring the sun, moon, and Mercury—amplifying the desire for change and making what is known as a T-square. T-squares are the most difficult aspects to navigate in astrology, because you are dealing with three-plus celestial bodies all in disharmony. In this moment, there might be an urge to take a hard left, just for the sake of it. You could be faced with the realization that your methodical approach to things is holding you back, and you need a new plan. And the advice is the same regardless of what you’re feeling—hold your horses. While a sudden shift might seem like the best option, these hasty urges could very well be reactive.

The release point of this T-square falls under the domain of Sagittarius, which means we have to keep the big picture in mind before we take any action or make large-scale changes. Right now, you’ll find it particularly easy to nitpick. But think about what you are truly working toward. If the changes are deeply aligned with the big-picture goals, stunning! However, if they’re feeling more like a quick fix, you might want to take a pause, look up from the ground, and assess the scale of your current situation.

The good news is that, while Uranus in Gemini is ruffling feathers through this T-square, the other slow-moving, generational planets are in harmonious aspect to Uranus. Convenience culture has made society prone to expecting immediate gratification at our fingertips, but these slow-moving support systems remind us that change is happening on a larger scale. Generational planets move slowly, so you have permission to move slowly, too. While you will very likely experience dramatic shifts or realizations that push you toward new experiences, there is no expectation that the goal has to be fully realized at the same time. Again, Pisces is the end of a cycle, so you’re essentially closing one book to pick up another one.

Aries

This is an end of an era, Aries. The Pisces Lunar Eclipse is the final push for you to release whatever has been holding you back, and prepare you to step into a new version of yourself. You are currently learning to strike a balance between going through the motions and slowing down. Enjoy the stillness, because if you force your way through this eclipse you could very well crash out. A huge part in your journey right now is asking yourself: ���What do I need in order to find peace in the unknown?” Consider aligning with something bigger than yourself.

Taurus

Taurus, you've been focusing a lot on your passions recently, and doing what you want when you want. However, there are lessons to be learned about the way you interact with others through the Pisces lunar eclipse. You could even realize that all this time to yourself is because you’ve been feeling disconnected from your community. What are you willing to sacrifice in order to find a space where your passions truly intertwined with others’?

Gemini

Has the time spent at home sorting out what you need made you realize something about your dreams? Are you finding that you are ready to let go of one path in order to embark on another? The Pisces lunar eclipse is firing on all cylinders to help you find awareness for what career and legacy is going to be the most fulfilling to you. Is it time for a pivot, and time for you to become the master of something new? Or, do you need to clear distractions to help you focus on the dream you are already holding?

Cancer

The Pisces lunar eclipse comes at a time when you’re already going through many mental shifts. Your attention is being directed toward the things that provide service and practical value to your life and others. Now, the eclipse steps in to offer you a perspective shift that will help put some essential puzzle pieces in place. The minutia makes sense, and the big picture is clearer. While you might still need some time to uncover where you are going, now is your chance to reflect on what you believe and how those beliefs influenc your movements.

Leo

If you’ve been feeling caught up in your own desires, the Pisces lunar eclipse is going to make you more aware of how you can stay connected to the desires of others. Perhaps rather than looking at what you have and what others have as isolated experiences, you can start to see where the Venn diagram overlaps. They say sharing is caring—so what do you already share with those around you? The eclipse is an intense moment for release and transformation that will help you carve a path toward more intimate connections.

Virgo

Awareness of your relationships is coming to a head. Over the past few months, you’ve been thrust into experiences that have had you juggling a variety of connections. Which ones have stayed? Which have faded away? Are you giving too much to some? What are you still holding onto? The Pisces lunar eclipse is in your sister sign, which means you will find balance within yourself and your relationships. Pay close attention to the give and take right now, and be willing to let go of anyone not aligned.

Libra

Have you been losing track of your routine? Maybe you’ve been too caught up trying to make sense of the nonsensical. The Pisces lunar eclipse is an opportunity to reprioritize. A fog might feel like it is lifting, and with that clarity you’ll understand what is distracting you from what you need to be doing. A routine refresh is definitely in order, so consider what might be tainting your well-being. What might you do to start reframing and replacing those experiences with something that mirrors the version of yourself you want to be?

Scorpio

Have you been too involved in everyone else’s messes lately? Has a need to check in, connect with, and receive from others been taking up valuable me time? The Pisces lunar eclipse is revealing more of what you desire, and what sparks true joy in your life. Expect to spend a bit of time sifting through whether or not you are doing something for a short burst of enjoyment, or if it is truly adding value to your life. And if you feel like you need to step away from the masses for a bit, do so to reconnect with your own sense of joy.

Sagittarius

Has the work in the public sphere distracted you from when you need to do on an inner level? Do you need to offload a bit and spend more time resting and relaxing? The Pisces lunar eclipse will be a deeply emotional one for you, bringing up moments from your past and situations at home that need resolution. The biggest lesson from this eclipse is moving back to your heart space and entertaining the more sensitive side of yourself. What do you need to find peace and release the baggage you’re carrying?

Capricorn

The Pisces lunar eclipse is a communication culmination. You might feel like your mind is a bit of a leaky faucet, and as the eclipse edges closer and closer, the pipes are getting ready to burst. Are you trying to control a narrative too much—so much so that you are holding in the truth? Let go of the unnecessary ideas that might hold you back from speaking more authentically. Don’t get too caught up in asking, “What if—?” That will only keep you in a cycle of questioning without getting the answers you need.

Aquarius

What you value is a hot topic right now! You very well could be realizing, under the Pisces lunar eclipse, that you’re no longer aligned with something you thought to be a fundamental truth of your character. Or, you could be experiencing a desire to put some of your other values at the forefront. Either way, the eclipse will clear the clutter and make space for you to hold what you want and need to feel stable more dearly.

Pisces

This is your eclipse. You are the star of the show, and will experience the greatest transformation of self. You’ve been on this self-transformation journey for a while now, and each time another eclipse occurs in your sign, you get closer and closer to a fully realized you. What expectations of the self are you hoping to release? How can you make changes to your inner and outer persona without going 2007 Britney mode? What is yours, and what is something imposed upon you by another?

For the seasoned traveler, getting there is about more than going from point A to B. The most luxurious journeys begin well before arrival with a seamless airport experience, a seat designed with comfort in mind, and well-curated details that ease and delight throughout the flight.

KLM Royal Dutch Airlines caters to the stylish, seasoned traveler — those who see flying not simply as a means of getting there, but as an opportunity to settle in with a memorable meal, catch up on rest, find inspiration in an award-winning film, or indulge in an expertly curated skincare routine. The W reader knows that a trip tailored to their wants and needs makes all the difference, and KLM knows it, too. From the Crown Lounge at Amsterdam Airport Schiphol to the elegance of its World Business Class cabin, the airline brings a distinctly Dutch sensibility to every part of the trip. Here’s what to expect when flying KLM’s World Business Class.

Where the Journey Begins

At Amsterdam Airport Schiphol, KLM's two Crown Lounges set the tone before you've even left the ground — they’re the kind of spaces that make arriving early feel less like a chore and more like the point.

Designed as effortless, well-appointed spaces meant for settling in rather than simply passing time before a flight, the lounges offer dedicated workspaces with high-speed Wi-Fi, trained baristas ready to craft hot or cold drinks to order, showers, quiet areas, and sleep cabins. Dutch-inspired details abound, including a Heineken bar and an outdoor terrace overlooking the airfield — an especially appealing place to unwind before boarding.

Settle Into Your Own Space

KLM introduced World Business Class in 1994, and has continued to evolve the experience in the decades since. Today, the airline’s World Business Class seats transform into fully flat beds and offer direct aisle access, allowing passengers to spread out without having to navigate around neighbors.

On new aircrafts, sliding doors add even more privacy. The setup is well-suited for catching up on work, enjoying a standout meal, or getting a full night’s sleep before landing. Wireless charging and other contemporary conveniences are, of course, included as well.

Culture and Comfort Combined

For those who prefer to spend time in the air making progress on their watch list, KLM offers in-flight entertainment sure to please any film buff. Large, high-definition screens make it easy to pass the hours with a movie or show, while an expanded selection of entertainment gives passengers plenty to choose from.

KLM’s amenity kits are designed with ease and sustainability in mind, stocked with skincare from Dutch lifestyle brand Marie-Stella-Maris, known for its natural ingredients and social impact initiatives. Expect hydrating essentials like face mist and moisturizer, plus a lip balm that will actually survive cabin pressure.

Dine With a Dutch Point of View

When it comes to KLM’s food and beverage program, the airline brings its design heritage to the table, literally. World Business Class meals are served on bespoke tableware created by Dutch designer Marcel Wanders, whose collection pairs well with refined glassware and cutlery.

Constantly evolving menus emphasize fresh, seasonal ingredients and are developed in collaboration with leading chefs, incorporating both Dutch and international flavors. A carefully selected wine list and premium beverages round out the gastronomic experience. For something unexpected, try KLM’s signature blue mocktail, made with lemon, ginger, and spirulina.

The final, and perhaps most unforgettable, treat comes after the meal. On long-haul World Business Class flights, passengers receive one of KLM’s Delft Blue miniature houses, modeled after a real Dutch building. These collectible souvenirs have become a hot-ticket item for travelers in the know.

A Trip Worth Taking

Each element of the KLM experience — from the curated tableware and Delft Blue houses, to the transformative power of a comfortable bed in the sky — makes a long-haul flight feel considered and even, dare we say, fun. Don’t be surprised if you enjoy the journey just as much as the destination.

Adria Arjona is baring it all on the red carpet. Not only when it comes to her fashion, but also in regards to her relationship. The actor stepped out for the premiere of her new film, Onslaught, on August 26 in an exposing dress while packing on the PDA with her partner, Jason Momoa.

The 34-year-old wore a Calvin Klein fall/winter 2026 design on the red carpet. A fairly simple piece, the dress featured a black column skirt with a fold-over detail on the bodice that revealed a nude bra cup underneath for a risqué touch. Arjona finished off the ensemble with Tiffany & Co. jewelry.

The exposed bra look is nothing new. Stars have been skirting the line between lingerie and red carpet wear for years, if not decades. In fact, earlier this week, Michelle Monaghan wore a dress with a similarly bra-forward bodice to a premiere red carpet. But perhaps it is the peek-a-boo nature of Arjona’s design, which makes her take on the trend feel a little more suggestive. It almost seems like an accident, as if the top casually fell while she was posing for the cameras, only to reveal what lies underneath.

And Arjona’s bra was not the only thing on display on Wednesday night. So too was the actor’s relationship. Arjona brought along Momoa, whom she has been dating for about two years, and packed on the PDA for the cameras.

This coupling shouldn’t come as too much of a surprise. The pair is pretty open about their relationship, and they often support each other on their respective red carpets. Most recently, Arjona acted as Momoa’s arm candy while he was promoting Supergirl in London earlier this summer. This time, though, Arjona is the star. In the upcoming action slasher film, Onslaught, Arjona plays Celeste, an army sniper living in a trailer park and forced to protect her family from a super soldier who has escaped a secret military facility. Quite a heavy premise, so it’s no surprise Arjona has opted out of method dressing for this press tour thus far and instead embraced a popular trend.

Yayoi Kusama—the pioneering Japanese artist, famed for her polka dots, pumpkins, Infinity Mirror Rooms, and Obliteration Room—has died at 97. The Yayoi Kusama Museum and her gallery, David Zwirner, announced her death on August 26; Kusama died in Tokyo on August 14.

​Born in Matsumoto, Japan, Kusama moved to New York in the late 1950s and became a leading figure in the city’s avant-garde, working across painting, sculpture, performance, installation, literature, and poetry. Her work helped shape Pop and performance art, while her installations helped transform what we now call experiential art.

Kusama’s famous dots grew out of the hallucinations she experienced as a child. By the 1960s, she had turned them into an artistic philosophy she called "self-obliteration,” where covering a body, object, or room in repetitive patterns makes it dissolve into its surroundings and eventually, infinity. Early in her career, she staged the idea as a series of happenings around New York, painting dots onto nude participants in Central Park and, in 1969, in the sculpture garden of the Museum of Modern Art, an unsanctioned performance (Grand Orgy to Awaken the Dead) that landed her on the front page of the Daily News.

At the 1966 Venice Biennale, where she had not been invited to show, she set out 1,500 mirrored balls on the grass by the Italian pavilion, put up a sign reading "Your Narcissism for Sale," and sold them for $2 each until the Biennale shut her down.

The mirror became her signature material. Her first Infinity Mirror Room, Phalli's Field, opened in 1965 at the Castellane Gallery in New York, and the format eventually made her one of the world's most visited artists. When the Hirshhorn Museum's touring retrospective opened in 2017, it drew hours-long lines and became a social media sensation, ushering in the era of the art exhibit as a content-capture event. The Obliteration Room, first shown in 2002, turns visitors into artists, handing them sheets of colored dot stickers to gradually cover an all-white space until it disappears.

Kusama’s visual language also extended into fashion. She collaborated with Louis Vuitton in 2012 under Marc Jacobs, covering the house’s bags like the Speedy and the Neverfull in her dots. In 2023, she followed it up with "Creating Infinity," a massive collaboration that spread her signature motifs across more than 400 items, including bags, clothing, shoes, and accessories. To celebrate the launch, a giant inflatable Kusama perched on the roof of Vuitton’s Champs-Élysées flagship seemed to paint dots down the façade, while an animatronic version of the artist painted spots onto the glass of the Fifth Avenue store's window.

In 1977, Kusama voluntarily moved into a Tokyo psychiatric hospital, keeping a studio a short distance away where she worked almost daily for the rest of her life.

“My idea is to send the message of ‘love forever’ to all the people in the world through the polka dots, which are all about the universe and human beings and living things,” she told W while working on the magazine’s 2013 cover with George Clooney. “Your sex, being famous, being a star has nothing to do with it.”

Practical Magic 2 is all about nostalgia, so it only makes sense that the stars embrace ’90s references when promoting the film on the red carpet. During the European premiere for the witchy sequel, franchise newcomer Maisie Williams paid homage to original cast member Sandra Bullock, who plays Williams’s mom in the film. The 29-year-old dressed in a look modeled after one Bullock wore back in 1999.

Williams arrived at the Practical Magic 2 premiere on August 26 in a custom ensemble created by British designer Ellie Misner. The deep red dress featured a sleeveless, corseted top with a boatneck bodice and a satin skirt that knotted around her waist before ending in a train behind her.

The dress is a nod to a very ’90s two-piece Bullock wore to the premiere of Forces of Nature back in 1999 with a boatneck, midriff-bearing tee and similar satin wrap skirt. Despite the reference, Williams (and stylist Dino Bonačić) made sure the look felt otherwise current. Instead of completing it with a multilayered pink choker à la the original, Williams opted for a stunning rubellite Bulgari high jewelry necklace, which picked up the red color.

Now, it may seem odd that Williams opted to reference an outift from the opening of a rom-com co-starring Ben Affleck, as opposed to the original Practical Magic, which came out only a year prior. But given the blood-adjacent color scheme of the outfit, it feels like an appropriate choice for Williams and the film.

But Williams wasn’t done referencing Bullock. The next day, the young actor pulled out another look inspired by her costar. On Thursday, the film’s four stars (rounded out by Nicole Kidman, Joey King) returned for another photo op. This time, Williams snatched a dress right from her witch mom’s closet.

Williams attended a photocall for the sequel in a black dress Bullock wore two decades ago to the Infamous premiere. Featuring asymmetric straps and a gathered skirt, Williams once again made it her own with accessories, piling on brooches and necklaces, and finishing it off with a mini chain coin purse that hung off her hand on the red carpet.

With many more stops planned on the Practical Magic 2 press tour, we can expect Williams to pull out more Bullock references for the upcoming premieres. So while she’s shopping in her movie mommy’s closet, may we suggest Bullock’s white, tiered Oscar de la Renta from the 2004 Oscars or the raspberry ruched Alberta Ferretti she wore to the Met in 2007?

I entered the studio of Yayoi Kusama like Alice wandering into Wonderland. The generic concrete three-story building is located across the avenue from a private Tokyo mental hospital, in which this 83-year-old woman—who is widely thought to be Japan’s greatest living artist—has resided voluntarily for 35 years. For a few minutes I waited as the finishing touches of her maquillage were applied. And then the diminutive and self-aggrandizing Kusama appeared, made up outrageously in a vermilion wig and matching lipstick and dress, her expression frozen in an intense gaze that blended imperiousness with traces of confusion. Assistants watched anxiously. Solicitous of her frailty, they also feared her unpredictable “Off with their heads!”-like flashes of anger. They were well aware that she has fired her longtime secretary three times and, for good measure, once impulsively dismissed her primary art dealer. She is the Red Queen come to life.

On first glance, almost everything about Kusama is paradoxical. Her latest canvases in bold, colorful patterns, which she completes at a ferocious pace, retail in the mid–six figures at New York’s Gagosian Gallery and London’s Victoria Miro; one of her rare early paintings sold at auction in November 2008 for $5.79 million, a record at the time for a living woman artist. Yet she resides in a one-bedroom institutional apartment with little more than a bed, desk, refrigerator, bookshelf, and closet. In conversation, her mind jumps erratically along synaptic connections that follow the timeworn network of her phobias. Every morning, she carefully reads the newspaper and, when she gets to the book listings, underlines the titles of interesting new publications—especially on scientific subjects—which her staff orders, and she reads. Perhaps her core contradiction is that her mental illness, which she has described as obsessive-compulsive disorder, isolates her in a private prison yet also provides a way for her to find a place in the world. “By her obsession, she opens herself to others,” said Akira Tatehata, the president of the Kyoto City University of Arts and a curator and art critic who has been a key supporter of Kusama’s art. “If she was just arrogant and proud of her power, it would deny her communication. But because of her obsession, we want to understand her.”

Many artists long for recognition, but Kusama craves fame like a pop star does. When we spoke, she interrupted me periodically to tell me how famous she was or to ask if I thought she was more famous than some other artist (Andy Warhol, Joseph Cornell, Donald Judd) whose path she has crossed. In fact, she’s famous but not as famous as she should be. During her most fertile period, while she was living in New York in the sixties, she led the way with astonishing creativity—and in two directions simultaneously—as art moved from the established territory of Abstract Expressionism toward Minimalism and Pop. As demonstrated by a retrospective of her work that opens in July at the Whitney Museum in New York (following stops at Centre Pompidou in Paris and Tate Modern in London), Kusama—­notwithstanding her explanation that her work expresses her ­psychological obsessions—has always been an artist of her time and, usually, a step or two ahead of it.

When asked about her creative trajectory, Kusama wasn’t so helpful. For example, to my inquiry of why she had progressed from the black and white “Love Forever” drawings of 2004 to the brilliant unmixed blue, orange, and red pigments of “My Eternal Soul,” the series she has been working on since 2009, she replied: “I wanted to switch from monochrome work to color because I am talented.” Only gradually did I realize that she was answering my question truthfully—her narcissism is as innocent and all-encompassing as a child’s.

Kusama has been telling versions of her life story for so long that no one, not even she, can vouch for particular facts. She grew up in Matsumoto, a provincial city in the foothills of the Japanese Alps, in the grim years before and during World War II. Her mother’s prosperous family owned a large plant nursery there. When her father married, he took his in-laws’ last name because they had no male heirs. It was an unhappy union: Kusama’s father was an irrepressible womanizer, and his wife was thwarted and angry. The youngest of four children, Yayoi sought refuge in books and painting, but like other Japanese adolescents at the time, she was drafted into the war effort and worked long hours in a parachute factory. “I would get rid of the dust on the fabric and was cleaning the floor,” she recalled. “The factory was humid and dusty. That is why I got tuberculosis.” Perhaps so, although at other times she has said that her father contracted tuberculosis and she caught it from him, and, in still another variation, her pulmonary problems weren’t caused by tuberculosis at all.

That is a minor discrepancy when compared with one of the central mysteries of Kusama’s life: the genesis of her mental illness. She blames it on an irate mother who beat and ridiculed her youngest child in fury meant for her husband, whom Kusama described to me as a “very gentle” man. Her mother would enlist her to spy on him. “My father had so many girlfriends,” she told me. “Once, my mother and I went to the house of prostitutes to find my father, but he was not there.” In her 2002 autobiography, Infinity Net, which was published in English last year, Kusama relates that her first hallucinations occurred during the war. Human-faced violets began speaking to her, her voice became a dog’s bark, and floral patterns enveloped the room. Reproducing these visions as drawings or paintings soothed her. Although she now says that her trademark patterns of dots are a representation of her visions, she used to tell a different story. “Her mother was jealous, and her energy went to Kusama-san in domestic violence,” said Hidenori Ota, whose Ota Fine Arts gallery in Tokyo represents Kusama. “She would pinch her hard, and that would leave dots on her skin. Kusama-san told me twice that was the origin of the dots.”

It all becomes even murkier if you interpret the violence-soaked literature Kusama published after returning to Japan in 1975. Although it would be simplistic to read the fiction as pure autobiography, it is ­remarkable how vividly and how often her 14 short novels feature heroines who are victims of sexual abuse. In The Hustlers Grotto of Christopher Street, for instance, a young female Asian procurer of male prostitutes for gay clients is “full of hatred for men” because her father raped her in the bath when she was a little girl; the second protagonist, a young hustler, is penetrated forcibly by his client and suffers from disorienting visions. The main character of another tale, ­Woodstock Phallus Cutter, is a 10-year-old who is raped in the woods by her womanizing father.

Further confusing the issue of the cause and onset date of Kusama’s mental illness is her reported habit of revising art. “She added dots and nets to childhood paintings,” Ota said. “She repainted them after, but she doesn’t care. She says, ‘It’s my work. I’m not an art historian or scholar.’ ” Along with the desire to fit her art into the accepted narrative of her life story, Kusama is also eager to provide what buyers request. In the eighties, collectors would ask her if she had any net paintings from the late fifties or early sixties. She didn’t, but she nonetheless wanted­ to oblige. After experimenting with ways of adding texture to the ­acrylic medium she now uses, she produced paintings that resembled her ­early oil works and signed and dated them ’60 or ’61. Once her dealer ­discovered the subterfuge, he stopped the practice and notified the big auction houses. Kusama had probably done 30 to 40 such counterfeits; only 10 were tracked down. “We bought them back, the ones we found,” Ota said. “It was a difficult time to explain, so finally we called them ‘misdated’ paintings.”

Sales are important to Kusama not because she needs the money but as proof that the public appreciates her. She used to call Ota five or six times a day, but now, he told me, she rings him merely two or three times. “How are sales?” she asks him. “What do you do, Ota-san? Please stop working on other artists. You should concentrate on my work.” He has developed a strategy of dividing her payments into many checks. “Small amounts are okay—a hundred dollars, ten dollars,” he explained. “When I wire money, it is a sign that society needs her.”

Kusama’s new collaboration, with Louis Vuitton—to make handbags, dresses, bathing suits, sunglasses, and shoes with her signature designs—evidently delights her. It is another public affirmation of her worth. “The reason I collaborate with Louis Vuitton is that Louis ­Vuitton is number one in the world, and I am honored to work with them,” she told me enthusiastically. Although it’s hard to imagine, say, Jackson ­Pollock endorsing the reproduction of his work as luxury ­linens, Kusama didn’t hesitate to let her patterns become linings for purses. Of course, times have changed, but interestingly, Kusama hasn’t. “Her whole relation to product and merchandise has been consistent throughout her career,” said Frances Morris, head of collections for international art at Tate, who organized the traveling retrospective. “From very early on, she was marketing herself. When you think of the Vuitton collaboration, it is not so different from what she was doing in New York in the second half of the sixties. She published press releases. She set up a fashion house. She designed clothes.” Although Morris compares her to Warhol, who was doing similar things in the sixties, Kusama may owe her attitude more to the traditional Japanese view that there is no distinction between high art and popular art.

J apan, which kusama denigrates in her autobiography as “a corrupt and bogus fourth-rate country,” was obviously too small to contain her ambition. In her bourgeois environs, she had to struggle against expectations that she would become a pampered housewife. Despite her mother’s protests, Kusama studied painting, first in ­Matsumoto and then in Kyoto. Her talent was recognized immediately. So was her extraordinary fecundity. Three years after graduating from art school in Kyoto, she exhibited 200 works in a 1952 solo exhibition in Matsumoto. Seven months later, she showed 280 new works in a second show.

With the help of a relative who had lived in Seattle, Kusama left Japan in late 1957, first to attend a gallery opening of her work in Seattle and then, six months later, to reside in New York. Despite providing material assistance, Kusama’s parents temporarily disowned her. “I received money—enough to buy three houses at the time—and my mother said, ‘Never come back to my place,’ ” she said. “My mother was at that point trying hard to make me a wealthy bride, so that is why she was so upset.” For a young Japanese woman who spoke little English, relocating on her own to the States so soon after the war took enormous courage. “It was difficult in the years when I went to the United States,” Kusama said. “Today it is full of people coming from Japan on planes, but then it was only picture brides for GIs.”

In New York, Kusama’s networking skills proved to be remarkable. “Whenever I went to a party, I made a friend,” she said. She got to know Donald Judd, Frank Stella, Claes Oldenburg, and many others. Judd, who was then primarily an art critic, wrote an enthusiastic and perceptive piece on Kusama’s first show in New York, which took place in October 1959, little more than a year after her arrival. He was also the first to buy one of her enormous white proto-minimalist “infinity net” paintings, which Kusama began making in 1958. Preparing a canvas with a background of pale gray and then superimposing on it one small white arc after another, she ended up with a surface that pulsated with a lacelike proliferation. In her cold East 19th Street apartment, unable to afford much food other than rice, she would work 40 or 50 hours without taking a break. Painting the infinity nets produced in the artist a similar effect to the experience of the viewer, which Kusama once described as “a kind of dizzy, empty, hypnotic feeling.”

Starting in 1961, she made soft sculptures well in advance of ­Oldenburg. In these works, which she called “accumulations,” fabric stuffed in phallic shapes multiplied on furniture, spilled out of suitcases, or popped up out of shoes. She also produced clothing covered with dried macaroni and painted silver or gold; resembling fancy brocade, it commented in a witty Pop manner on both factory-made food and trend-mad fashion. Her decal pictures and wallpaper antedate ­Warhol’s comparable e­xercises in repetition. She constructed a room-size installation in December 1963, before the term “installation art” even ­existed; and one of her early mirrored pavilions, Kusama’s Peep Show, in which blinking white, green, red, and blue lightbulbs on the ceiling were reflected on the walls and floor, appeared in March 1966, months before Lucas ­Samaras introduced a similar one.

She and Judd lived on different floors of the same building. He helped her scavenge for raw materials and stuff fabric for her sculptures. “He was very influenced by her,” said the painter Malcolm Morley, who knew them both at the time. Kusama told me that she and Judd were so close that they would eat three meals a day together but that their relationship remained platonic because she regarded sex and sexual organs with horrified aversion. Within her chaste realm, her most ardent suitor was the middle-aged artist Joseph Cornell, who lived with his elderly mother in Queens. Cornell would call her every day and send her love letters. They sketched each other in the nude. Kusama showed me one of his portraits of her: In it, she resembles a Neolithic fertility goddess. That relationship, too, was unconsummated. “He hated sex,” she said. “That’s why we got along for such a long time.” Once, when they were kissing, his mother emptied a bucket of water on them. “But then she felt sorry and asked me to come again,” Kusama added.

Kusama routinely had herself photographed with her art. Often she appeared nude, in provocative poses. Other times she wore a kimono, the traditional garb she had shunned while living in Japan. Critics have interpreted her activity as a feminist critique, but with Kusama, there has always been that insatiable hunger for attention and fame. At the Venice Biennale in 1966, she stood in a kimono outside the Italian ­pavilion, amid an installation (which she called Narcissus Garden) of 1,500 mirrored ­plastic balls, selling them for 1,200 lira (about $2) apiece. It was a ­brilliant stroke of guerrilla art, and a successful one: The police ushered her off for having the audacity “to sell art like hot dogs or ice cream cones,” they said. Back in New York, she staged happenings in which she encouraged people to remove their clothing so she could paint their naked bodies. She presented some of these events as comments on the ­ossified and money-driven art world, others as protests against the Vietnam War. In 1968, she designed a “homosexual ­wedding dress,” which two men could wear at the same time, decades before gay marriage emerged as a real possibility. Many of her closest associates were gay men. “They never thought about having sex with me; that’s why I liked them,” she explained.

By the late sixties, she was despairing of her ability to earn a living as an artist and devoting more of her time to happenings and “orgies,” for which she charged admission. She lent her name to a sexually explicit magazine called Kusama Orgy and was listed in the credits as house geisha. She designed dresses with holes cut to expose breasts and buttocks. As word got back to Japan, her parents became more and more distressed. They stopped sending her money, which aggravated her financial woes. Early in 1973, emotionally drained and physically ill, she retreated to Japan. After brief stays at the Seiwa hospital in the Shinjuku neighborhood of Tokyo, she admitted herself in March 1977 and has remained there ever since. “The hospital bathes her, it feeds her, it gives her medications,” said Alexandra Munroe, senior curator of Asian art at the Guggenheim Museum in New York. “It’s her wife.”

In Japan, she was regarded as “the queen of scandal,” the critic Tatehata said, and not as a major artist. Yet she continued to ­create art, enlisting fellow hospital patients to assist her. The refurbishment of her reputation began with small exhibitions in Tokyo of the exquisite collages she made with magazine clippings that Cornell had given her. But her rediscovery on a larger stage dates from the pioneering 1989 exhibition in New York that was organized by ­Munroe at the short-lived Center for International Contemporary Arts. To prepare for the show, Munroe visited Kusama in Tokyo and went through an apartment she kept that was piled, floor to ceiling, with shoeboxes and suitcases decorated with polka dots and old-fashioned air-travel decals. In these containers were diner receipts, letters from dealers and artists, and every last shred of press coverage—all of it carefully preserved by Kusama as the record of her New York art career. When Munroe brought back Kusama’s archive of the sixties to the United States, she was stopped at customs in Seattle and accused of importing pornography. “I had to say, ‘No, this is art history!’ ” Munroe recalled.

Kusama represented Japan at the Venice Biennale in 1993 in an acclaimed exhibition curated by Tatehata. The renegade who hawked mirror balls a quarter of a century earlier had morphed into a doyenne of the international art scene. Her refound celebrity was cemented by an exhibition of her New York work, held in 1998 at the Museum of Modern Art and at the Los Angeles County Museum of Art. But even though she remained an active artist—indeed, a hyperactive artist—she was celebrated mainly for work she had done in the sixties. That disappointed her. At the Venice Biennale, about half the space was devoted to her New York production. “She asked me to show more of her contemporary work, but I denied it,” Tatehata said.

Maybe it is too early to assess Kusama’s more recent pieces. As always, her antennae are attuned to the zeitgeist. Around the time when artists like Damien Hirst and Takashi Murakami were setting up studios that resembled factories, and creating art that seemed like merchandise, Kusama established a studio of assistants to churn out dot paintings and net paintings. In Japan, where the Hello Kitty culture of cuteness (kawaii) is pervasive, her sculptures became less sinister and more jokey. Some of the recent installations look not like images of self-obliteration but rather a playground at McDonald’s. And the fiberglass-reinforced plastic sculptures that she began making in the early nineties—giant flowers and pumpkins—are downright kawaii. However, the mirrored pavilions of the past decade are as mesmerizingly beautiful as any in her career.

Tatehata argues that a few of the paintings in the colorful “My Eternal Soul” series now under way constitute “some of her best work.” “The early sixties was her most glorious period,” he said. “In the 1990s and the early 21st century, her studio looked like a factory. Now she paints and draws in her own hand. That is the reason she is having a second peak period—she does everything by herself.”

Unless she is too tired or ill, Kusama is driven each weekday around noon the short distance from the hospital to her studio. Upstairs are the offices, but the workspace is in the basement. On the afternoon I visited, she was clearly itching to get downstairs. When the time came, I followed. She was conveyed in a wheelchair. “I have pain in my knee, from painting all day long,” she explained. In the chilly, gloomy room below, lit by overhead fluorescents and any natural light that could penetrate the glazed-brick wall, a small stack of unfinished canvases was propped in a corner. Another group of completed ones leaned against the opposite wall. In the center of the room was a low folding table and on it, a canvas that an assistant had prepared with a ground of metallic silver. The picture lay flat, awaiting the artist’s touch. Seated in a battered desk chair that rolled on casters, Kusama could be spun around the table to reach any part of the painting. She was bundled up in a black and white overshirt on top of a floral-print dress, with a red blanket over that. She never hesitated as she daubed a scalloped border in red, advising the assistant: “Once I reach this point, can you bring me blue pigment?” She resumed in the new color without pausing.

“I never have a plan of what I am going to draw,” she said. She added two big red eyes in the center of the canvas. Although it looked like an exercise in surrealist automatism, her next words suggested otherwise.

“I will finish this painting tomorrow,” she said. “I think I have to quit now. The blue is beautiful. I will paint red and then black in the center.” She pointed to an unfinished painting in which green wavy lines undulated on a gold background. “I think I will work on that one tomorrow.” She seemed almost happy.

Photos: Yayoi Kusama celebrates the opening of her retrospective at the Whitney Museum

Watching models stomp down the fall runways in suits made me think of two famous workplace films: the comedy Working Girl (1988) and the drama Disclosure (1994). The movies’ leading ladies stand on two different rungs of the corporate ladder: Working Girl’s Tess McGill (played by Melanie Griffith) is an ambitious lapel-loving secretary at a financial firm while ­Disclosure’s Meredith Johnson (played by Demi Moore) is a venomous, horny boss whose blowout is utterly impervious to the elements. Both women favor sharp-shouldered skirt suits reminiscent of the “Executive Realness” segment from Paris Is Burning, the 1990 documentary about New York’s drag ballroom scene, in which contestants strut down the runway in sleek Wall Street ensembles. “In ballroom, you can be anything you want,” the legendary drag queen Dorian Corey says in the film. “I could be [an executive] because I can look like one.”

At Tom Ford, a slender pinstriped suit had louche slouch and swagger; at Givenchy, the pinstripes and oversize fit felt vaguely Dick Tracy. The fastening of a single-breasted Saint Laurent suit jacket tugged and pulled, cinching the naked waist underneath, almost begging for a hand to slip inside. At The Row, a suit was deconstructed with an upturned collarless vest. Issey Miyake’s swaggy jacket was fastened with a thin belt, a large, sweeping brown shawl thrown over the shoulder.

These suits didn’t feel like the girlboss ROYGBIV clunkers of the 2010s that skewed immature and try-hard. Today’s versions are mean and lean, even when the fabric is hulking; they exude a carnal, confident, and concise fierceness that feels more sexual than corporate. There is no cubicle cosplay, perhaps because these suits aren’t necessarily crafted for doling out commands in a conference room. Let’s be real: No one goes to work in a suit anymore. There are endless think pieces about traditional suit wearers, aka men, no longer wearing their dry-cleaned getups to work; and hell, we hardly see a heel higher than a severed pinkie finger in the office. These days, people debate the appropriateness of wearing a crop top to their job.

So why all the suits? I texted my former boss, the longtime fashion editor Sally Singer, because she wrote a piece about getting a bespoke suit by Ralph Lauren for Vogue’s September issue back in 2010. Her tune has changed about the natty three-piece ensemble that she posed in more than 15 years ago. “The return of suits to fashion, in the cap-F sense of the word, has very little to do with the office and conventional ideas of workwear,” she said. “This isn’t about strutting to the watercooler.”

Do watercoolers even exist anymore? Half of us type from home, digital nomads taking Teams calls during morning walks and going on Zoom from our beds. Singer considers suits to be a going-out look rather than Xerox attire. “They are now the surest investment pieces for evening—how to look glamorous and dressed without looking silly or out of touch,” she said. “You buy the suit and swap the blouse for a bra. Or you put the jacket over a slip dress. Or pair the trousers with something slinky. Go to any cocktail party, art opening, or chic dinner these days, and 85 percent of the ladies are in boxy black suits with great jewelry.” I can see where Singer is going with this. I have two Dolce & Gabbana (okay, one is D&G) suits that I bought (okay, I had a credit) from the RealReal. I initially purchased them because, when I was working full-time at a magazine, I had visions of transforming into Shalom Harlow in a Peter Lindbergh photograph from 1997 and getting a raise.

In reality, I barely wore these beautiful suits to the office (and I barely got a raise, to boot). Yet I’ve worn them out to fancy parties and celebrations, such as a wedding welcome dinner and a going-away fete.

Are there other women out there wearing suits for the hell of it? I buzzed Laura Reilly, the writer of the fashion Substack “Magasin,” who hasn’t inhaled unventilated office air since 2020. These days, Reilly sports suits to fashion events, where she takes a swig of champagne and skips off to the next thing. When I asked her about them, she rattled off her preferred brands: Kallmeyer, Brunello Cucinelli, and an Ann Taylor Loft iteration that she swears “genuinely could be Prada or Gucci.” Her suits tend to be gray, but her shirts add a pop of color—think a Caribbean blue ­ Rubirosa number. “The suits feel simple, and I think they look good on me.”

“Simple” is the keyword. A suit is laid out for you like a sartorial formula or a tried-and-true uniform. All you need to do is add a bit of that unabashed Disclosure sexiness or Working Girl drive. You can look like a genius while making the act of getting dressed absolutely brainless. How smart is that?

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Sandra Bullock made her film debut nearly 40 years ago with a minor role in the 1987 thriller Hangmen. In the following decades, she’s gone on to win an Academy Award, two Screen Actors Guild Awards, and a Golden Globe, among many others. Such accolades have, of course, made the actress a staple on the awards circuit, where she’s perfected the art of the red carpet dress. In 2010, when awarded Best Actress for her role in The Blind Side, she glimmered in a champagne Marchesa gown. Four years later, when nominated for Gravity, she chose a more subtle (but no less effective) strapless navy mermaid gown by Alexander McQueen.

Bullock has proven pants belong on the red carpet just as much as a pair of bare legs, and she is never afraid to try a bold color, whether iridescent purple or metallic green. Throughout all her highly publicized press tours—from Hustlers to The Proposal to, most recently, Practical Magic 2—she balances sex appeal with elegance, drama with simplicity. It’s no wonder her sartorial choices have earned her the reputation of America’s girl next door. Below, we’re taking a look back at the Oscar winner’s best red carpet moments, from 1994 to today.

2026: Practical Magic 2 Premiere

Bullock walked on the wild side with this structural leopard-print gown, courtesy of Givenchy by Sarah Burton.

2026: CinemaCon

While promoting Practical Magic 2, Bullock leaned into bra-first dressing with a menswear twist in Gabriela Hearst’s striking red pantsuit.

2022: The Lost City Premiere

Why choose between a tux and a gown when you can have both? Bullock hit the carpet in a Carolina Herrera suit with cropped pants and a jacket covered in pink, red, and purple fabric that cascaded into a dramatic train.

2021: The Unforgivable Premiere

Bullock added her own touch to this gold Stella McCartney spring 2022 sequin catsuit by topping it with a blazer for the red carpet premiere of her film.

2018: Birdbox Premiere

Although Bullock usually opts for a cleaner silhouette, she clearly had some fun picking out this red Martin Grant spring 2019 dress, featuring a halter neck and cutout on the bodice.

2018: Ocean’s 8 Premiere

Bullock loves to bring pants to the red carpet, and she proved the versatility of the silhouette in this sequin-covered Zuhair Murad pre-fall 2018 jumpsuit at the Ocean’s 8 premiere.

2018: Academy Awards

No, that’s not the human manifestation of an Oscar statue, that’s glowing Bullock in a sparkling Louis Vuitton dress at the 2018 Academy Awards.

2015: Our Brand Is Crisis Premiere

Not one to usually embrace a pattern, Bullock mixed things up at the premiere of Our Brand Is Crisis, attending in a feminine and flowy J. Mendel spring 2016 dress.

2015: Minions Premiere

Almost a decade before theme dressing became the norm on red carpets, Bullock attended the premiere of the first Minions movie in a simple and chic Roksanda dress and adorable Rupert Sanderson Minion heels.

2014: Academy Awards

The Best Actress nominee wore a classic award season dress, courtesy of Alexander McQueen.

2014: Screen Actors Guild Awards

At the SAG Awards, meanwhile, she donned an emerald-green Lanvin dress featuring a slit and bow detail at the waist.

2014: Critics’ Choice Awards

Clearly, Bullock was having a Lanvin moment in 2014, because she also wore the designer to the Critics’ Choice Awards that year.

2014: Golden Globe Awards

When it was time for the Golden Globes, she embraced color in a pink, black, and blue Prabal Gurung gown.

2013: Gravity London Premiere

Bullock showed off her legs in a lace Stella McCartney spring 2014 mini dress at the London Film Festival premiere of Gravity.

2013: The Heat Australia Premiere

Apparently, the beaches of Australia had Bullock embracing a more bohemian style, because she attended The Heat premiere in Sydney wearing a sequin-adorned Emilio Pucci mini tunic dress.

2013: The Heat New York Premiere

Bullock really brought the heat to the film’s New York premiere in a leather and lace Ermanno Scervino dress.

2013: Academy Awards

The actress sure knows how to pick out an Oscar gown, as made evident by the choice of this embellished Elie Saab spring 2013 couture dress.

2012: Academy Awards

In 2012, meanwhile, she went for a slightly different look, and wore this black-and-white Marchesa dress with a draped top and gold appliqués.

2011: Extremely Loud & Incredibly Close Premiere

Bullock opted for a sleek and sophisticated look with a satin Alexander McQueen jumpsuit at the premiere of her 2011 film.

2011: Academy Awards

The actress looked red-hot in Vera Wang at the 2011 Oscars.

2011: Golden Globe Awards

With a forehead covered by curtain bangs, Bullock attended the Golden Globes in 2011 wearing a girly and romantic baby pink Jenny Packham spring 2011 dress.

2010: Acadmy Awards

Bullock took home the Best Actress Oscar in a golden Marchesa dress.

2010: Screen Actors Guild Awards

Blue embellishments, padded shoulders, and a keyhole cutout added the perfect amount of intrigue to Bullock’s 2010 SAG Awards dress.

2010: Golden Globe Awards

Bullock’s iridescent purple Bottega Veneta dress shimmered from the photographers’ flashes on the Golden Globes red carpet.

2009: The Blind Side Premiere

The actress wore a chic black midi dress to the premiere of the film—which would go on to win her an Oscar.

2009: The Proposal Premiere

She similarly wore an LBD to the premiere of The Proposal that same year, though the actress had a little more fun with the Alexander McQueen number, adding strands of beads to complete the look.

2007: “Poiret: King of Fashion” Met Gala

Bullock looked gorgeous at the 2007 Met Gala, attending in a berry-hue Alberta Ferretti dress with gathering details that hugged her body just-so.

2007: Premonition Premiere

The actress wore a draped gray Lanvin dress with an embellished, one-shoulder detail to the premiere of her 2007 film.

2006: Venice Film Festival; Infamous Premiere

Bullock attended the Venice Film Festival premiere of her film, Infamous, in a classic black dress with a scoop neck and simple bow detail.

2006: Academy Awards

We already loved Bullock’s corseted Angel Sanchez gown when we first saw it, but then we realized—it has pockets.

2005: MTV Movie Awards

Bullock went casual for the 2005 MTV Movie Awards, attending the event in cropped jeans and a maroon tunic.

2005: Miss Congeniality 2: Armed and Fabulous Premiere

The actress accessorized her red halter-neck dress with a pashmina at the premiere of Miss Congeniality 2 in 2005.

2004: Academy Awards

Bullock’s tiered, feather-covered Oscar de la Renta dress is equal parts camp and elegant.

2002: Two Weeks Notice Premiere

The actress attended the premiere of her film in black bootleg slacks, a sparkling tunic, and a skinny scarf wrapped around her neck.

2002: Cannes Film Festival; Murder By Numbers Premiere

Bullock embraced her more feminine side in a floral, ruffled dress at Cannes in 2002.

2002: Murder By Numbers Premiere

Back Stateside, she opted for a traditionally “cooler” ensemble, styling a low-cut brown dress with a pair of knee-high leather boots.

2002: Academy Awards

Bullock shined in a Valentino spring 2002 couture dress featuring a completely sheer bust and embellishments running down the bodice.

2000: Miss Congeniality Premiere

The actress looked adorable at the premiere of her hit film thanks to her sheer, striped mini dress.

1999: Forces of Nature Premiere

Bullock pulled a Sharon Stone and paired a simple T-shirt with a satin skirt.

1998: Practical Magic Premiere

You can’t go wrong with a good LBD, which is exactly what Bullock wore to the Practical Magic premiere in 1998.

1998: Golden Globe Awards

Bullock wore a John Galliano-designed Dior spring 1998 dress to the Golden Globes that same year.

1997: “Gianni Versace” Met Gala

The actress attended the Met Gala honoring Gianni Versace in a fur coat that almost reached the floor.

1997: Academy Awards

Bullock’s embellished Richard Tyler dress is so ’90s—in the chicest way possible.

1996: Academy Awards

The actress went simple for her first Oscars, attending the ceremony in a brown, strapless Calvin Klein dress.

1995: The Net Premiere

The pink satin dress Bullock wore to the premiere of The Net was in fact a bridesmaid’s dress.

1994: MTV Video Music Awards

Bullock donned an embellished, sheer set featuring an off-the-shoulder top and scallop-edge miniskirt at the MTV Video Music Awards in 1994.

1994: Speed Premiere

A pink minidress and loafers got the job done at the Speed premiere in 1994.

“For me, the U.S. Open is a little different,” Iva Jovic tells W over the phone on an August afternoon in New York City, where she’d arrived just days before the tournament and stepped onto the grounds for the first time that morning. Jovic will soon face Alex Eala at the 2026 U.S. Open “Stars of the Open” exhibition, which features the most promising young players of the sport in an event benefiting the United States Tennis Association Foundation. Jovic, 18, has already played Eala, 21, twice this year (Jovic won both times). Off-court, the two are good friends. But that doesn’t mean Jovic isn’t taking the match seriously.

"[The Open] was my first big event as a junior, my first big event as a pro,” says Jovic. “So it’s a little sentimental. And being an American, and now ranked higher, I feel the buzz even more.”

Born to a Serbian father and a Croatian mother and raised in Torrance, California, Jovic began playing tennis at the age of five, quickly ascending the ranks and becoming the youngest player to win a women’s main-draw match at the U.S. Open in more than 20 years in 2024, when she was just 16. Her social media presence and process-focused interviews have also made her a fan favorite. Jovic is one of the fastest-rising stars of the sport—itself increasingly popular among young people globally—winning her first WTA 500 title last year at the Guadalajara Open Akron and reaching the quarterfinals and the Round of 16 at the Australian Open and Wimbledon, respectively, this year alone.

Her antidote to all the pressure is a walk through Central Park. “Once you’re in the park, you don’t really feel like you’re in New York City,” she explains. Jovic is also in the city for an intimate event with the jewelry brand Gorjana, which she hosted at Carbone NYC on Monday night, alongside fellow tennis phenom Jessica Pegula. Both athletes are partners of Gorjana’s Sports Club, the brand’s effort to spotlight women shaping the future of tennis. Jovic spoke with W about staying grounded, the older players she leans on, and the gold she’ll be pairing with a pink kit:

How do you manage the pressure of playing at a place like the U.S. Open?

Spending time with my family and close friends always helps. My mom’s here, and I have a friend from home here this week. That’s very grounding—it brings you back to earth, because it’s easy to get wrapped up in the craziness of the tennis and the results. Reading helps a lot, too. Routines and habits like that keep you fresh and composed.

What are you reading right now?

I have a couple of different books going, but the one I’m on now, my cousin gave me. It’s called The Courage To Be Disliked—a Japanese philosophy book. I just graduated, so I haven’t done any school in a couple of weeks. It’s keeping my mind [working].

You’re part of a new generation coming up in women’s tennis. What does that feel like?

Right now, in the women’s game and the men’s, there are a lot of young, exciting players. That brings viewers and energy to the sport. I’m only 18, so I probably won’t comprehend what’s happening in my life right now until much later. But I definitely appreciate where I am. All these other girls and I are next in line to hopefully make a positive impact and leave the sport better than when we came into it—not just from a results standpoint.

Who has given you the best advice or support through this process?

My family is one of the biggest. My coach, Tom Gutteridge, has my best interests at heart. And some of the older, more experienced players, especially the Americans like Maddie [Keys] and Jess [Pegula]—I’ve leaned on them for support in tournaments and settings I’m not used to. [I met Billie Jean King’s team yesterday, and] Billie is a big inspiration, especially when it comes to growing the sport and fighting for equality.

Is there anyone you’re looking forward to seeing at the Open?

Serena [Williams]. She’s played a couple of tournaments already, but seeing Serena in New York is something special. I haven’t had the chance to talk with her much since she’s been back, so that's going to be a special one for me.

You often wear jewelry on court. How do you choose your pieces?

I mix it up depending on the season and the tournament. At Wimbledon, I’ll do something strawberry-related. At the AO, I’ll do bright, fun colors, because the colors are popping around the grounds there. Sometimes you match your nails to your outfit, too.

And what’s your style like off-court?

Sporty-chic, but I play around with it. I’ll go outside the box.

What are you wearing for the Open?

My outfit is [mostly] pink, so I’ll stay more refined with the jewelry. Probably some gold necklaces.

You’re known for being meticulous about going over your performance after a match. What’s your post-game ritual like?

Usually after a match, I go back and practice a little. It’s a good routine, because then a match doesn't feel like a match—it feels like another training day. Win or lose, I talk with my coach and analyze what went well and what didn't. I think you should always do a little reflection. Then, recovery-wise, rest as much as you can. It's easy to get up in the clouds after a win, but I try to bounce out of that quickly, because there's a match the next day or the day after. Melatonin helps, if it’s a late match.

What do you like to do when you’re not playing or training?

I love going out with my friends, going to dinner, going to a movie, and talking about it after. I like to be outside. I’m from L.A., so the beach is where I feel best.

Nearly 30 years after Sandra Bullock and Nicole Kidman first appeared as the witchy Owens sisters, the iconic actresses are celebrating their return to the Practical Magic universe with two contrasting yet complementary ensembles.

At the European premiere of Practical Magic 2 on August 26, Bullock and Kidman reunited for the first official red carpet of the press tour in London. Kidman was ethereal in a shimmering, slim-fitting custom Chanel gown with cascading pearls draped along the neckline. Bullock—always in favor of a striking color story—went decidedly maximalist in a leopard-print Givenchy corset gown with a thigh-high slit and a gargantuan bow. While Kidman wore little jewelry, Bullock layered on gold Jessica McCormack necklaces with statement T-strap heels. “Whimsigoth,” they were certainly not. Still, with their structured strapless bodices and opulent high-leg slits, the actresses appeared in sync below the surface—much like their idiosyncratic on-screen counterparts.

A Halloween classic, Practical Magic follows Sally (Bullock) and Gillian (Kidman) as witch sisters with opposite personalities, navigating a generational love-life curse in very different ways. In the 1998 film, Gillian is free-spirited and chaotic, while Sally is reserved and cautious. The sequel finds them reprising their roles over two decades later—this time, with Sally’s two gifted daughters (Joey King and Maisie Williams) also in the mix.

While the second generation of stars have leaned into witchy method-dressing and gothic codes, their on-screen maternal figures appear to take a more personality-driven approach to promotional dressing. If their red carpet outfits are any indication, perhaps the Owens’ dynamics may be in for a shift, with Sally venturing into wilder territory and Gillian taking a turn for the angelic. The sequel hits theaters on September 11. Until then, we’ll be waiting to see what other red carpet magic unfolds.

Tim Curry, the British actor whose Dr. Frank-N-Furter turned a small London stage musical into The Rocky Horror Picture Show and 50 years of cult fandom, died Tuesday night at his Los Angeles home at the age of 80, TMZ reports. Curry suffered a major stroke in 2012 that left him partially paralyzed; an official cause of death has not been released.

Curry, who was born in 1946 in Cheshire, England, studied drama at the University of Birmingham before landing his first professional acting role in a 1968 West End production of Hair. Through the production, he met Richard O'Brien, who was writing a sci-fi musical that would later become Rocky Horror. Curry auditioned with Little Richard's “Tutti Frutti” and got the part of Dr. Frank-N-Furter, a corset- and fishnet-wearing mad scientist from Transsexual, Transylvania, who seduces a stranded, buttoned-up couple over the course of one very long night.

The Rocky Horror Show opened in London in 1973 and reached Broadway in 1975, the same year Curry starred alongside Susan Sarandon and Barry Bostwick in the musical's film adaptation. The movie, at first, was a flop. In a 2025 CBS Sunday Morning interview, Curry said of the original release, "It died a death. It was a failure. And I was crushed."

Eventually, though, Rocky Horror became a cult classic hit and the center of its own devoted subculture. Curry, suddenly famous, found himself inside a celebrity world he would later chronicle in his 2025 memoir Vagabond, with encounters with David Bowie and nights at Studio 54 alongside Truman Capote, Andy Warhol, and Carly Simon. To this day, at midnight showings of the film, theatergoers dress up as their favorite characters and perform monologues, dances, and songs like “Time Warp” and Curry’s “Sweet Transvestite.”

After Rocky Horror, he enjoyed a varied career alternating between playing memorable villains, like the evil clown Pennywise in a hugely popular 1990 ABC television adaptation of Stephen King’s It, and more comedic roles like Wadsworth the butler in 1985’s Clue, in which Curry led an ensemble cast of iconic actors including Christopher Lloyd and Madeline Kahn. By the end of his career, Curry had acting credits in roughly 126 movies and feature films, making him the sort of omnipresent figure that feels like part of the very fabric of pop culture.

In 1982, he starred alongside Carol Burnett as the sleazy con artist Rooster Hannigan in Annie; in 1992’s Home Alone 2: Lost in New York, he played the meddling concierge at the hotel where Kevin (Macaulay Culkin) stays; in 1996, he played pirate Long John Silver in Muppet Treasure Island, and in 2000, he played a foil to Cameron Diaz, Drew Barrymore, and Lucy Liu in the first Charlie’s Angels film.

Of his penchant for playing villains, Curry told The Guardian in a 2025 interview, “I’ve always tried to make them amusing, which gives them a bit more edge. It’s like people being drawn to the scene of a car crash. They’re drawn to extreme behavior…I think people secretly long to be a bit more explosive or act out much more.”

Curry returned to the stage several times, earning three Best Actor Tony nominations, including in 1981 for originating the role of Wolfgang Amadeus Mozart in Amadeus, playing fictional actor Alan Swann in 1993’s My Favorite Year, and in 2005 for his role as King Arthur in the wildly popular musical Monty Python's Spamalot, written by Eric Idle and based on the 1975 film Monty Python and the Holy Grail. Idle and Curry had a running joke about the roles Hollywood offered British actors, telling The View in 1997, “We shake hands and say, ‘Butlers and villains.’ The fact is, though, the bad guys are always much better written than the good guys, and they're kind of irresistible to play.”

Curry was also a very successful voice actor, playing iconic children’s characters like Captain Hook in 1990’s Peter Pan and the Pirates (for which he won a Daytime Emmy) and Nigel Thornberry on Nickelodeon’s The Wild Thornberrys. In 2006, he was nominated for a Grammy for the audiobook version of Lemony Snicket’s Series of Unfortunate Events: The Bad Beginning, alongside Meryl Streep, Jim Carrey, and Jude Law.

In 2016, he returned to Rocky Horror, playing the narrator (The Criminologist) for Fox TV’s adaptation of the film with Laverne Cox playing Dr. Frank-N-Furter.

Last year, at an Academy Museum special screening in celebration of the film’s 50th anniversary, Curry told the audience that having LGBTQ audiences embrace Rocky Horror “means a lot because I think the message of the film—‘don’t dream it, be it’—is very important.” He added, “One of the things that the movie does, I think, is give anyone permission to behave as badly as they really want, in whatever way and with whom. And I’m proud of that.”

Curry himself never publicly defined his sexuality and remained very private about his personal and romantic life. He never married and had no children. Last year, Curry reflected on playing the overtly sexually androgynous character who came to define his career, telling The Guardian, “I did think it was risky, and indeed it was. But I like risky. I would choose risky over anything. That’s the best way to be.”

“I think stones hold a lot of energy,” model Alex Consani says on a phone call from New York City. She’s talking about gemstones, the kind she used to find while rummaging around her mother’s jewelry collection growing up in the San Francisco Bay Area. “If I asked her, ‘Where did you get this?’ and she’s like, ‘An ex-boyfriend that I don’t fuck with anymore,’ I’m like, ‘Let me put that right back, girl. I know it’s not going to make my day better. I like to wear things that make me feel good.’”

It’s safe to say Consani—who’s walked for all the major fashion houses including Dior, Chanel, McQueen, Prada, and many more—has found a trove of baubles to fill her with joy. She is one of the faces of the new Pandora Talisman jewelry collection campaign. The rings, necklaces, and bracelets in the lineup feature zodiac-inspired motifs, with silver pendants bearing star signs and a 14-karat gold-plated chain that resembles the cosmos itself. “For my birthday this year, Pandora sent me one of the Talisman Leo necklaces with my name on it—but they sent me eight of them for all of my best friends,” Consani added. “As a kid, I always appreciated having friendship bracelets, or the little magnetic heart necklaces. I can look at them and be like, ‘I know that’s my bitch because we got on the same necklace.’”

What’s your first memory of Pandora?

Going into the store with my aunt and my grandma and just being gagged. I mean, I would call Pandora on the more accessible side—you can get it at the mall, and that’s where I got my first piece. I remember being able to customize it. The first charm I got was a little London bus with the British flag on it because I was so obsessed with Harry Styles. Ever since then, I would go back and add to it.

Was it a charm bracelet?

No, I knew this Australian girl who I thought was really cool—I’m from California, where there aren’t a lot of Australian girls that come around. She had one of the braided leather Pandora bracelets. I was like, “Oh, this is some Australian shit. Okay, girl.” She was like, “No, it’s from Pandora.” So I got one.

What was it like shooting the Talisman campaign with Jill Kortleve and Mahi Kabra?

We were all together shooting it in person, just having fun and chatting the whole time. There aren’t that many opportunities to be yourself on set, especially when it’s a campaign like this. But it was—I don’t want to say relaxing, but it was as chill as it could go, and it was incredible to have the girls with me.

What’s your personal taste in jewelry?

Recently, I’ve been into Art Deco and Art Nouveau jewelry, but I’m not there yet financially. When I wear jewelry, it’s usually simple—I have a limited amount, and I appreciate what each one means to me.

Who inspired that taste?

My mother obviously inspires me. She has a lot of earrings—she has this earring rack I made as a kid. You take a skewer, the things that you make s’mores with, and you hot-glue a piece of felt on it and hang it on the wall. And you can put earrings on it. Now, I have one on my wall at home.

Are you a big fan of family heirloom jewelry? Did you get passed-down pieces?

A little bit. But I’m not royalty, so I would love to say I got diamonds and stuff, but definitely not. I did get some beautiful silver jewelry from my mom, and some stuff from my grandma. People see heirlooms as something that’s given posthumously. But most of the jewelry I’ve gotten has been given to me—or taken from my mother—in my teenage years. Stolen from the jewelry box. She always knew about it, though. She’d be like, “Okay, so my earrings are gone, where are they at?”

This collection is inspired by the zodiac, and you’re a Leo on the cusp of Pisces. With which astrological sign do you identify most?

Definitely big Leo in the building. I’m the first day of Leo, so someone gotta start it with a bang. But a lot of different signs resonate with me. Right now, I feel like a Virgo. Yesterday, I felt like a Cancer. I can feel aspects of my astrology coming out during certain phases of the moon.

What are your plans for fashion month? Can you tell us which spring 2027 runways you’ll be walking?

My plans are quite up in the air because I’m blessed to have the opportunity to be working in film a lot more. I just finished my second project that I’ve been working on for four months, shooting American Horror Story, which was such an incredible honor. Of course, I love fashion. At the same time, it’s nice to explore what entertainment means for me outside of that. I’m motivated to do more projects in film. So that’s going to change a bit of what I do “schedulely.”

Practical Magic 2 is almost here—and for Joey King, the witch-inspired method dressing is well underway.

On Wednesday, the 27-year-old actor was spotted doing press for the upcoming sequel in London, wearing a gothic gown fit for a contemporary coven. The plunging design, from Ermanno Scervino’s resort 2027 collection, featured a sheer bodice with an intricately ruffled, tiered skirt that almost floated as she walked. With delicate lace lining the neckline, the garment exuded pure dark romance—which King played up with her structured Alexis Bittar wristlet, Gianvito Rossi leather sandals, and Capsule Eleven crystal pendant necklace.

Her co-star and on-screen sister Maisie Williams was also in attendance, donning a vintage Gucci plum-colored jacket with a Victorian ruff and opulent floral embellishments.

The highly anticipated sequel takes place 25 years after the 1998 original, which starred Sandra Bullock and Nicole Kidman as witch sisters riddled with a supernatural family curse. In Practical Magic 2, King and Williams will star as Bullock’s on-screen daughters, Kylie and Antonia, respectively. If their recent promotional looks are any indication, they’ll be carrying the torch for whimsigoth world-building.

As the older on-screen sister, King, specifically, has been leaning into the moodier elements of the iconic film. After debuting long, red locks last summer, she’s spent the past year experimenting with daring sheer layers and otherworldly outfit embellishments. Last month, she stepped out in a lace Alessandra Rich gown, with a dramatic bowed neckline and a translucent bodice. A day prior, she wore a flared mesh black skirt with a deep burgundy Mark Gong top. Her latest ensemble adds yet another layer of dark romanticism to the press tour.

Out September 11, Practical Magic 2 will find King and Williams as bourgeoning witches discovering their own magical abilities. Judging by their recent ensembles, we’re in for an aesthetically rich ride.

Dolly Parton’s first visit to New York City was a nightmare. Early in her career, when she was still best known in country music circles, she decided to escape to the city with her best friend, Judy Ogle. “I looked cheaper than I even do now, and Judy didn’t look any better,” she once told Conan O’Brien. “So we checked into this hotel, and they thought we were hookers.” (The hotel ended up locking them out of their rooms.) Later, while walking along 42nd Street trying to figure out how to get home, a man made the same assumption and tried to make a move. Dolly ended up pulling a gun on him. “It was a different time, I had a gun in my purse,” she recalled. “My friend Judy started laughing, because she thought it was the funniest thing she’d ever seen.”

Luckily, the girl from the Great Smoky Mountains of Tennessee didn’t hold a grudge against city folk, and returned to NYC often. In the 1980s, she even owned an apartment on 5th Avenue in Manhattan. Throughout that decade, she could be found popping up at nightclubs and hobnobbing with socialites, art stars, club kids, and jocks, all while retaining her signature Dolly glam.

Although Dolly was a country girl through and through, it’s not hard to see why the city was so fond of her. Parton and denizens of the Big Apple share a few things in common: a celebration of others’ differences, a non-stop work ethic, and the belief that you can be whoever you want to be, with the help of the right fashion.

Here, Parton holds court with Andy Warhol at a 1977 dinner at Windows on the World (the restaurant that once sat atop the World Trade Center). The night was to celebrate Parton’s performance in the city, but it wasn’t the first time the pair met. In her 2023 memoir Behind the Seams: My Life in Rhinestones, Parton said she often joined Warhol on the couch at Studio 54 to partake in their joint interest of people-watching. “Andy and I would mostly just sit on the couch and watch all these crazy people out there doing their thing. We really got to know each other, just sitting on that couch." Warhol, of course, also chose Parton as a subject for one of his famous silkscreen paintings.

That same night, she’d meet Saturday Night Live and Blues Brothers star Jim Belushi.

Parton was no stranger to Studio 54. The legendary club even held the after party for one of her concerts in 1978. It was one of the few times the club brought in a live white horse.

Later, she took to the dance floor with the club’s co-owner, Steve Rubell.

Back in 1985, Parton signed a new record deal with CBS, and met Grace Jones at an event to celebrate in Harlem.

In 1985, Parton was the main entertainment at a charity ball held to benefit the New York Hospital-Cornell Medical Center at the Waldorf Astoria Hotel. She held her own with the city’s swankiest black-tie crowd.

In 1980, paparazzi caught Parton and best friend Ogle heading into Nirvana, a swanky lounge that once operated in Times Square.

In 1987, Parton was spotted leaving Ms Magazine's Women of the Year ceremony at the Roseland Ballroom.

In 1984, the unlikely pair of Parton and Sylvester Stallone co-starred in the NYC-set rom-com Rhinestone. Parton plays a country girl forced to perform at a sleazy Manhattan country bar. Through a rather unlikely series of events, she ends up falling in love with a taxi driver played by Stallone. Here, the pair celebrates at the film’s premiere party.

Currently, New York City is caught up in Knicks mania, but back in 1987, the city was infatuated with the Super Bowl-winning Giants. Parton helped celebrate by posing with members of the team at a restaurant.

Parton at the New York City premiere of 9 to 5 with co-stars Lily Tomlin and Jane Fonda.

Parton poses with Neil Diamond, Barbra Streisand, Norio Ohga, and Billy Joel at an event at Lincoln Center in 1993.

Later that night, she’d be seated next to Tony Bennett.

She accepted adoration from Cyndi Lauper at the grand opening of the Sony Music Recording Arts Complex in 1993.

One of Parton’s rare appearances during fashion week came when she sat front row at a Calvin Klein show in 1994, alongside Diane von Furstenberg and Fran Lebowitz. Although Lebowitz may seem like the cultural anthesis to Parton (a New York City cynic to Parton’s country angel), Lebowitz adored her.

“Who doesn’t love Dolly Parton? I personally am certain that she is the most popular person in the country,” the writer once quipped. “People who hate each other love Dolly Parton. I have never heard anyone say they didn’t, and they don’t even like her, they love her.”

After the show, Parton posed with the designer himself.

Parton meets Manhattan tycoon Barry Diller at a Ziegfeld Theater party for Shining Through in 1993.

In 2000, Parton was spotted checking out of a Midtown hotel, doing her version of the city’s (almost) all-black uniform.

Twenty-nine years after the film, Parton reunited with her 9 to 5 co-stars for the premiere of the Broadway adaptation. Parton wrote the music and lyrics for the play.

In 2019, she walked the red carpet with New York disco legend Nile Rodgers at the We Are Family Foundation honors.

On the night of her death, New York City’s Empire State Building lit up in bright pink to honor her legacy. Parton’s mark on the city isn’t over yet. Next year, her musical DOLLY: A True Original Musical will premiere on Broadway.

The unofficial US Open dress code may call for tennis whites and preppy polos, but that won’t stop Kaia Gerber from showing up in a little black dress. Still, the model-turned-actor has a way of making her signature silhouette tennis-appropriate.

On Tuesday evening, Gerber attended the 2026 US Open exhibition honoring legend Roger Federer in New York City. At first glance, she appeared to stick to a familiar outfit formula: a sleek, body-hugging V-neck slip with a low scoop back. But upon closer inspection, the dress had a thematically sporty twist. Created by New York-based designer Yana Matkivski, the piece—dubbed the Donna—is inspired by vintage bathing suits. Made of dense viscose ponte knit, it features a bodysuit construction with an integrated pencil skirt. Its technical elements, like a built-in internal liner, sculpt the body and offer just the right amount of stretch—fitting for an athlete on the go. Naturally, Gerber dressed things up with luxury-leaning accessories, including a pair of oversized Side Eye sunglasses, Paris Texas Lidia mules, a gold Panthère de Cartier watch, and a tiger-print Fendi baguette.

The Roger Federer: An Icon Returns to New York event celebrated the Grand Slam-winning champ four years after his retirement with two exhibition matches at Arthur Ashe Stadium. For the courtside outing, Gerber watched alongside her The Shards co-star—and fellow Gen Z scion—Homer Gere. He, too, looked polished in an unbuttoned collared shirt and a black blazer. With Gerber by his side in a similar eveningwear ensemble, the pair once again evoked co-star synchronicity.

Throughout the press tour for The Shards, Gerber has pushed the limits of the typical LBD—donning everything from a shredded Fendi couture gown to a ’90s-inspired Gucci two-piece. Her latest look once again shows the shapeshifting powers of a perfect black dress. When you’re Kaia Gerber, it can take you from posing at a red carpet premiere to sipping Honey Deuces at a sports stadium.

Dolly Parton understood the power of a signature. For more than half a century, the country icon turned rhinestones, towering blonde hair, body-skimming silhouettes, and unapologetic glamour into something instantly recognizable—and entirely her own. Her clothes were never separate from the music, the wit, or the larger-than-life persona; they were part of the same singular language.

Following Parton’s death at 80 on August 25, 2026, revisit the style that helped make her one of the most indelible figures in American culture. From the bedazzled stage looks of the 1970s to the custom creations she wore well into her seventies, Parton never stopped shining.

Big, blonde hair and pink sequins at a 1976 London performance.

The 1977 Grammys called for this bubblegum pink and white look.

Parton performed at the Tech Coliseum in this sheer and bedazzled bodysuit.

Parton the Playboy bunny.

The singer’s stage style is never short on sparkle.

This lemon yellow dress, with a high slit and sequins, perfectly accented Parton’s coiffed hair.

In Lake Tahoe in 1989, Parton channeled an ice queen with a heart of gold.

Flapper fringe for a 1986 concert.

Leave it to Parton to rope Oprah into draping herself in sequins.

With her People’s Choice Award in 1988.

A vision in diamonds and pearls.

Parton slipped into this baby blue number for the 1989 Steel Magnolias premiere.

A Parton signature: voluminous hair, chandelier earrings, and a bucket load of sequins.

Bob Mackie, the man behind some of Cher and Madonna’s most famous looks, was a favorite designer of Parton’s during the start of her career.

Parton amped up her floral dress with tons of sparkle, of course.

Cowgirl denim done the Dolly way.

Parton at the Kennedy Center Honors in 2006.

A Jetson-esque skirt set paired nicely with Parton’s strappy sandal heels.

She loves a graphic t-shirt.

Sunshine yellow is a favorite of the singer.

A little noise for the dress, please.

Parton’s silver-encrusted guitar served as her main accessory here.

Wearing every color of the rainbow at the Country Music Awards.

The singer matched her ruby necklace to her cherry dress at the 2019 Grammys.

Even Parton’s bra has sequins on it.

A rare all-black moment is of course blinged out with gold chains.

Parton put a red carpet twist on her signature sequined stage fashion.

The singer looked angelic in white at the 53rd annual CMA Awards.

Barbie pink in 2021.

Parton, all the years later, still loves herself a high, high heel.

The singer chose a black outfit with nude illusion details for a 2023 album release party.

Parton showed her allegiances during a 2023 Dallas Cowboys game when she hit the halftime show in one of the team’s cheerleader uniforms.

Even something as simple as a white jacket is embellished in silver chains.

In January 2025, Parton brought leather and lace to the Dolly: An Original Musical fireside chat and press conference in Nashville.

If you can believe it, Labor Day Weekend is just around the corner. Come September 7, what some consider the end of summer will arrive. (For the record, September 21, the day before the autumnal equinox on September 22, is the official end of the season. And if you’ve listened to Zara Larsson’s Midnight Sun earworm, you know that “summer’s endless when it comes from within” anyway.) This means you still have ample time to show off the hot-weather outfits you haven’t been able to debut yet; or, if you’re more of a fall fan, you’re likely finding fashion inspiration from the slightly cooling temps.

Most importantly, September 7 signifies a pivotal shopping day, when some of the best deals of the year—both online and in IRL shops—are unleashed. With Labor Day on the horizon, W’s fashion editors have combed through pages upon pages of ready-to-wear, accessories, and lifestyle products to cull a list of the best LDW sales to shop now. Grab a new bikini for a final beach day, or start putting together your autumn mood board from some of the best retailers and e-tailers.

Allia Alliata di Montereale, Style Director

Herbert Levine Rain Check PVC Ballet Pumps

At first, I couldn’t justify paying full price for these shoes because I was not sure I would wear them often—PVC is famously tricky. However, now that they are on sale, I can’t resist. They are the perfect, unexpected addition to my fall wardrobe.

High Sport Louis Wool-Blend Knit Cropped Pants

I already own a couple pairs of High Sport pants and I still want more. Chic, comfortable, flattering, and ideal for travel thanks to the wrinkle-resistant fabric, I am trying to collect pairs of these in all colors.

Agolde ’90s Coated Midrise Loose-Fit Jeans

Even wearing these shimmery Agolde jeans with a white tank top or T-shirt still feels dressy and put-together.

Chloé Susan Studded Leather Flats

I wear a lot of flats; these add more sparkle and personality to a casual outfit.

Nour Hammour Mirja Shearling Coat

I’m often perusing sales for shearling jackets in particular. I am currently in search of one that is not black and is superfab. Nour Hammour’s maroon, fuzzy garment checks both boxes.

Arma Gary Leather Jacket

Arma makes great leather jackets. You can’t go wrong with any of their designs, but I love the roomy, blouson feeling of the Gary leather jacket.

Marie Adam-Leenaerdt 4-in-One Wool-Blend Sweater

With cozy season approaching, a great investment for LDW sales is a wool or cashmere sweater. This Marie Adam-Leenaerdt piece has a sporty, stylistic edge with a quarter-zip and attached vest.

Jenna Wojciechowski, Market and Menswear Director

Liffner Sprout Striped Leather-Trimmed Sisal Tote

Everyone needs a classic straw bag in their wardrobe, and this one is my pick. I love the pop of color from the stripe (especially if you’re a neutral wardrobe girl like me).

Dries Van Noten Heydu Stretch-Cotton Jersey T-Shirt

At the start of a new season, I’ll often refresh the classics in my closet. This Dries T-shirt is incredibly versatile—comfortable enough for weekends at the park, yet chic enough to dress up with a pair of trousers for a night out.

Dôen Huguette Organic Cotton Blouse

Doên makes the perfect tops for just about any occasion. This one has become a staple in my wardrobe. It’s ideal for any event, from a beach day to a baby shower. If the black one goes on sale, I suggest snagging that one quickly.

Auralee Cashmere Cardigan

A good cardigan is a must-have heading into fall, and this butter-yellow shade is the perfect pop of color. Wear it on its own or drape it over your shoulders and tie it around your neck like a scarf for an effortless touch.

Adidas Originals + Wales Bonner Karintha Sneakers

I love everything Grace Wales Bonner does with Adidas, so when I see a sale, I’m buying it!

Tori López, Fashion Market Editor

Chloé Lace Trim Rib Top

Finding cute tops somehow always seems to be a struggle. When I do find a top I like, it tends to veer more simplistic, with an element or two to make it feel special. This Chloé shirt does just that, with a form-fitting silhouette and a little lace for a touch of femininity.

Dries Van Noten Tiered Ruffle Polka Dot Mesh Dress

Nothing makes me feel like a lady more than Dries Van Noten. This dress is begging for a night out to see your favorite play or ballet.

Maison Margiela Wedge Pointed-Toe Pump

I’ve been a loyal kitten heel enthusiast for years, but something about my 2000s nostalgia has gotten me back into wedges this summer. These black leather ones from Margiela will go with every outfit.

Ferragamo Open Knit Fringe Short Sleeve Virgin Wool Sweater Skirt

I’m super into everything fringe right now, and no one does texture better than Ferragamo. Designer Maximilian Davis has been experimenting with the style in his past two collections; I love how this piece feels summery and light.

Vaquera Stripe Jersey Asymmetric Skirt

I can always count on Vaquera for fun, sculptural pieces that add a bit of flair to my everyday wardrobe.

Julie Kegels Sidney Glitter Hem Sheer Silk Skirt

The heat this season has been at an all-time high—opting for sheer fabrics are a nice way to make you feel cool, calm, and collected.

Tyler VanVranken, Associate Accessories Editor

Versace Cotton-Blend Jacquard Jacket

I love a sporty sweater, and Versace’s candy-apple red version provides the best pop of color to combat dreary weather.

Valentino High-Rise Wool-Blend Wide-Leg Pants

Gray is my favorite neutral—yes, I said it! The material on these wool-blend slacks is fabulous, and the work-friendly cut of these pants will beef up your weekly wardrobe.

The Row Tavoris Jacket

I love a trench, but I can never pull off the longer, shin-grazing ones. With The Row’s Tavoris jacket, I have discovered the solution to my problem.

Etro Braided Leather Belt

Belts can be tricky for me because I find them to be bulky at times. But a classic woven belt can never fail, and offers a more streamlined silhouette.

Toteme High-Rise Wide-Leg Jeans

I am a self-professed denim hoarder, and I have just discovered the next addition to my ever-growing collection.

Khaite Bella 55 Leather Ankle Boots

There is no better time to buy a classic boot than when it’s on sale.

Dries Van Noten Printed Wool-Blend Midiskirt

Cow print could be the new neutral of the season. What better way to get in on the burgeoning trend than with this skirt?

Aesther Ekme Phantom Large Suede Tote Bag

To me, suede is a fall/winter material, so now is the time to stock up!

Velvet Novato T-Shirt

I love to layer tees in autumn for added dimension, but things can get colossal quickly. This is the ideal tee to eliminate any unnecessary bulk.

Celeste Roh, Assistant Fashion Editor

Lemaire Souris Flat Classic Derbies

I never say no to Lemaire accessories, and these flat Derbies are screaming fall. The classic silhouette is a no-brainer.

Rier Long-Sleeve Polo Shirt

Rier is always on my list to check during sale season. I love the brand’s deep pastel colors, high-quality wool, and slightly oversize shapes, which accommodate any layered styling. This polo is definitely one of my must-haves.

6397 Check-Pattern Asymmetric Wrap Skirt

As someone whose closet is filled with overwhelming proportions of whites and blacks, this checked wrap skirt is the perfect compromise. Instead of black trousers, why not try slightly more dynamic yet classically printed skirt?

Burberry Check-Lined Walking Umbrella

What better way to brighten up a gloomy, rainy day than with a chic umbrella? Business on the outside with a discreet heritage flair on the inside, nothing says quiet luxury more than this.

Studio Nicholson Grange Corduroy Wide-Leg Trousers

Fall is my favorite season because I get to experiment with heavier textures and fabrics, like corduroy. As the transitional season approaches, anything blending classic silhouettes with workwear-inspired fabrics are welcome additions to my closet.

Extreme Cashmere Triangle Scarf

Extreme Cashmere is another brand that I always check for during sale season, especially when I want to add brighter colors to my wardrobe. Leaving my lighter linens behind and bringing wool back in, I absolutely need this cute red scarf to warm up my outfits.

Carl Friedrik The Hybrid Carry On X

I’m an overpacker who is always worried about my luggage getting roughed up at the airport. As a result, this carry-on has been on my list for a while—it comes with a lifetime warranty and optimal space for all my essentials and work laptop, without compromising on style.

Byredo Vanille Antique Night Veils Extrait de Parfum

Many of my favorite perfumes range on the pricier side. For this upcoming colder season, woody, tobacco scents that also have sweeter, vanilla notes are my absolute go-to.

Acne Studios Layered Look Cardigan Sweater

Whenever I can, I try to grab pieces that add an element of fun to a classic garment. This layered, embroidered, slightly off-kilter sweater does half the job for me—I love anything I can pull out of the closet and throw on before running out the door.

Saint Laurent Le 5 A 7 Wood Beads Bag

I absolutely adore this bag because it reminds me of the wood accessories my grandmother would carry around when I would walk with her to the local market. Hardier than a mesh bag while still providing that perfect amount of peek-a-boo, this is definitely something I’m eyeing for the year.

Loulou de Saison Santo Scarf

For those looking to add another timeless staple to their wardrobe, look no further than this fringed scarf. Easy to tuck into an oversize sweater or coat, you can’t go wrong with purchasing a high-quality scarf that will serve you for years.

Kayla Perno, Fashion and Accessories Assistant

Lovers and Friends Darby Cardigan

I’m always searching for a new sweater once it starts getting chilly outside. The built-in white fabric detail makes this cardigan feel a little more elevated and unique.

Helsa Easy Tank in Jersey

In any season, a simple tank top is a staple. I love the sheerness of this one because it makes things feel more interesting than your everyday basics.

Helsa Suede Trench Coat

I’m a firm believer that you can never have too many coats or too much suede. When the weather turns and your coat is what people see for most of your commute, a statement jacket is a must.

Polo Ralph Lauren Twist Raffia Tote Bag

Labor Day sales are the best time to stock up on pieces for warmer months, or your next escape from NYC’s winter. This raffia tote is a great bag to have ready for your 2027 vacation.

Le Specs Honey Pot Blue Light Eyeglasses

I love Le Specs, so any time I can save some money on their glasses, it’s an immediate purchase. If you spend a lot of time on your laptop for work, there’s nothing better than having a pair of chic blue-light glasses to give your eyes a break.

Tory Burch Gigi Slingback Wedge Pump

The 3.5-inch wedge is perfect for someone like me, who has never been a fan of a superhigh heel. I love the versatility of a closed-toe shoe, especially paired with some jeans or a skirt and tights for fall.

Bru Eyewear Merrin Sunglasses in Ice

I understand why Bru’s impressive slate of sunglasses is a favorite of Bella Hadid’s. This pair, the Merrin style, feels summery—especially with the blue tinted lenses—but can transition neatly into fall as well.

Allow Misty Copeland to introduce a new take on the T-shirt and jeans. In New York City on Tuesday, the legendary ballerina put a refined spin on a familiar outfit formula—pairing a baggy black tee with an opulent take on the humble denim skirt.

Spotted leaving CBS Studios in Midtown, the 43-year-old reworked classic Americana style codes with a hint of business-minded polish. Her charcoal-colored tee was oversized in all the right areas, featuring drop shoulders, rolled-up sleeves, and a relaxed neckline. But instead of pairing the top with traditional jeans, she offset its billowing, baggy fit with a high-waisted Michael Kors Collection denim pencil skirt. The intentionally frayed garment had a banded waist, a subtle back slit, and black-and-white knit threads that created a worn-in finish. To add to the effortless allure of the ensemble, she accessorized with a slouchy black bag, a minimalist Michael Kors leather belt, and a pair of high-shine pointy-toe heels. It’s a satisfyingly high-low look for the American trailblazer, who has been busy as ever as of late.

In 2015, Copeland made history as the first African American female principal dancer at the American Ballet Theatre. After retiring from her role last October, she has spent the past year focused on philanthropy, pursuing writing projects, and advocating for inclusion in the dance community. Her latest children’s fantasy book, Firebird Waltz—which she appeared on CBS to promote—follows a 12-year-old dancer with a magical destiny and aims to create more world-building in the historically exclusive ballet space.

Needless to say, Copeland has always been a groundbreaker. Leave it to her to demonstrate how the humble T-shirt can be entirely reworked.

Dolly Parton, queen of country music and prolific philanthropist, passed away at age 80. A statement shared with the press by Parton’s reps confirms that the beloved singer died peacefully in Nashville, Tennessee, on August 25, after a brief battle with cancer. Her nephew, Bryan Seaver, announced the news in a video posted to her Instagram account. Parton had been open about her health issues in recent months, canceling a Las Vegas residency in September 2025.

Born in 1946, Parton was raised with her eleven siblings in a one-room cabin in the Great Smoky Mountains in East Tennessee. Parton began performing and singing on local radio and television programs as a child, and she often credited her musicality to her mother, who entertained the children with traditional Appalachian songs passed down through generations from her Welsh ancestors. Parton has described her childhood as loving, but the circumstances as “dirt poor,” topics she wrote about in many of her early songs, like “Coat of Many Colors” and “In the Good Old Days (When Times Were Bad).”

Parton pursued music right after graduating high school, moving to Nashville and finding early success as a songwriter—a skill that would become the bedrock of her talent and influence over the course of her life as she penned massive hits like 1973’s “I Will Always Love You,” made famous by Whitney Houston, and classic country tune “Jolene,” covered by everyone from Parton’s goddaughter Miley Cyrus to The White Stripes to Beyoncé for 2024’s Cowboy Carter. Her breakthrough came in 1967, when Porter Wagoner hired her as the "girl singer" on his syndicated television show. The pair recorded a string of hit duets over seven years, and she wrote "I Will Always Love You" as her farewell to him when she left to go solo.

Her first solo single, 1967’s “Dumb Blonde,” set the stage for the style of music Parton would become known for: personality-driven, first-person lyrics written for a gutsy, high soprano voice. In 1974, “Jolene” and Parton’s version of “I Will Always Love You” dominated the country charts (she has said she wrote the two hits during the same session). She declined Elvis Presley’s bid to cover the song under the condition that she sign over half the publishing rights—standard procedure at the time, but unacceptable to Parton nonetheless. That decision led to her earning millions in royalties from the song over the years, especially Houston’s version, released in 1992 on The Bodyguard soundtrack.

In the following years, Parton gained significant influence with a string of country hits and many mainstream artists—including Olivia Newton-John, Emmylou Harris, and Linda Ronstadt—covering her songs. With 1977's "Here You Come Again," she began a successful crossover to pop, topping the Hot 100 with "9 to 5" in 1981 and again in 1983 with "Islands in the Stream," her duet with Kenny Rogers. In 1987, she, Ronstadt, and Harris released Trio, a Grammy-winning collaboration that remains a benchmark of the genre.

By the end of her career, Parton had released 49 studio albums (not including collaborative, soundtrack, live albums, and EPs) and won 11 Grammys out of 50 nominations, including a Lifetime Achievement Award in 2011. She was inducted into the Country Music Hall of Fame in 1999, received the Kennedy Center Honors in 2006, and, after initially asking to withdraw her nomination, saying she hadn't earned it, was inducted into the Rock & Roll Hall of Fame in 2022. She declined the Presidential Medal of Freedom more than once.

She also had a decades-long acting career, most famously starring in 1980’s 9 to 5 with Jane Fonda and Lily Tomlin, for which Parton also wrote the titular song. The role and song earned her three Golden Globe nominations and an Oscar nod (the song won the Grammy Award for Best Country Song). She also went on to star in 1989's Steel Magnolias alongside Sally Field, Shirley MacLaine, and Julia Roberts. Parton was nominated for a second Oscar for writing “Travelin’ Thru” for 2005’s Transamerica, part of a lifelong pattern of championing marginalized groups (especially LGBTQ+ rights) despite public criticism.

She was also both criticized and celebrated for her personal style. With bleach-blonde wigs, sky-high heels, long acrylic nails, and one of the most recognizable silhouettes in pop culture, Parton’s look was inspired by the “town tramp” she saw growing up. Moved by her glamour and originality, Parton developed a sense of style that matched—a young girl’s idea of a country star, she once said. When pressed on her image during a 1977 interview with Barbara Walters, Parton famously said, "I would never stoop so low as to be fashionable, that's the easiest thing in the world to do.”

Parton was married for 58 years to her husband Carl Thomas Dean, who died in 2025. Dean avoided publicity, running an asphalt road and driveway-paving business in Nashville for many decades and quietly supporting Parton’s life in the limelight. She has said that he only saw her perform once. The couple had no children. In 1986, Parton opened Dollywood, the theme park in Pigeon Forge, Tennessee, that grew into one of the most-visited attractions in the country. Through her Dollywood Foundation, Parton has been known as a prolific philanthropist, especially for supporting literacy through her Imagination Library. (Her family has asked that in lieu of flowers, fans make a donation to the program, which has gifted more than 300 million books globally to children since it started in 1995.) In 2020, her $1 million donation to Vanderbilt University Medical Center helped fund early research on Moderna's COVID-19 vaccine.

Even as she got older, Parton wasn’t one to slow down. In 2021, she won her first Primetime Emmy for executive producing Dolly Parton’s Christmas on the Square. This summer, she appeared in TikTok videos promoting her new My Life of Many Colors Museum, which opens this fall. Parton was spearheading Dolly: A True Original Musical—an upcoming Broadway production based on her life; it will reportedly still begin previews in December for a January 2027 opening as planned. In a 2021 cover story, Parton told W: “I always say, I’m as old as yesterday, but I’m as new as tomorrow.” She is survived by six of her eleven siblings.

The iconic handbag is back and better than ever for fall 2026.

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Morning, kids! That’s a Keke Palmer-ism, for the uninitiated. The actor-singer-dancer-talk show host has always had the gift of gab, but her sense of style has certainly grown up along with her. Over 20 years ago, Palmer was just a tween shouldering the burden of mid-aughts red carpet glam, but now she’s a full-fledged couture chameleon who isn’t afraid to take fashion risks when the occasion calls for it. From the days when every look she wore had an element of sparkle, to her more recent obsession with a low-cut neckline, Palmer has worn it all. She now favors brands like Roberto Cavalli and Gucci and has a special penchant for New York-based Sergio Hudson and vintage Chanel. Likely, she gets her taste from her Nickelodeon days as the Vice President of a fashion label on True Jackson, VP and now, as a movie star, hitting the red carpet for her films like I Love Boosters, Lightyear, and Nope. Below, take a look back at Keke Palmer’s best red carpet moments from Akeelah and the Bee to now.

2026: BET Awards

Palmer’s crystal-embellished Gucci gown—with a gaping back cutout and thigh-high slit—was the main event at the 2026 BET Awards.

2026: Met Gala

For the Met Gala’s “Costume Art” theme, the star gave new meaning to monochrome in a head-to-toe crimson look—complete with a red pixie and a custom Prabal Gurung gown.

2026: Vanity Fair Oscar Party

Palmer mastered the art of pelvic cutouts in this jewel-toned velvet Gucci gown.

2026: NAACP Image Awards

Bridalcore meets ballroom extravagance in this couture Miss Sohee gown with a matching white feathered shawl.

2025: BET Awards

Embellished with gilded sequins and gauzy tulle, this vintage Chanel minidress served a maximalist moment at the 2025 BET Awards, where Palmer was nominated for Best Actress.

2025: Met Gala

In honor of the “Superfine: Tailoring Black Style” theme, Palmer paid tribute to Dorothy Dandridge in a four-piece Vera Wang ensemble, complete with a frothy bustle, slim-fitting trousers, and a crisp white collar.

2025: Vanity Fair Oscar Party

Palmer dipped into some iconic archives for this ab-baring cream dress from Versace’s spring 2004 collection—first worn by Cristina Aguilera in the aughts.

2025: American Black Film Festival

Is it a shirt? Is it a dress? It’s Balmain, and it’s both. The trompe-l’oeil design put a playful twist on the wardrobe classic, complete with a crisp collar, a visible tag, and a gold brooch.

2025: Screen Actors Guild Awards

Palmer stunned in an archival Chanel gown with opera gloves and gold detailing at the neckline. She amped up the Old-Hollywood glamour with a bold red lip and her side-swept bob in buckled curls. The most iconic detail? This dress was first worn by Jamie Lee Curtis in the ’80s.

2024: Met Gala

In keeping with the “Sleeping Beauties: Reawakening Fashion” theme, Palmer donned a custom Marc Jacobs gown adorned with frayed beading and sequins.

2024: NAACP Image Awards

Palmer was decidedly dapper in a Tom Ford tuxedo, complete with a cummerbund, a floppy black bowtie, and a red rose boutonniere. To complete the vintage aesthetic, she carried a cane as an accessory.

2023: Fragrance Foundation Awards

The actress kept things simple and entirely chic for the 2023 Fragrance Foundation Awards in a plunging slip-style gown from her frequent collaborator Sergio Hudson.

2023: Met Gala

Palmer looked regal for the 2023 Met Gala in a strapless Sergio Hudson tweed dress and billowing train.

2023: Big Boss Premiere

Letting her wild side run free, Palmer went with an animal print jumpsuit from Roberto Cavalli for the Big Boss premiere.

2023: New York Film Critics Circle Awards

Before winning the award for Best Supporting Actress, Palmer shined on the red carpet in this bump-baring Michael Kors number for the 2023 New York Film Critics Circle Awards.

2022: Michael Kors Show

Palmer brought the sunshine in this canary yellow knit dress and coordinating overcoat to Michael Kors’s spring/summer 2023 show.

2022: Governors Awards

Palmer opted for a tiered wine-red Robert Wun gown for the 2022 Governors Awards.

2022: CFDA Fashion Awards

The actress bloomed in this billowing floral gown and coordinating knee-high boots by Carolina Herrera for the 2022 CFDA Awards.

2022: Nope UK Premiere

Palmer certainly made a statement for the UK premiere of Nope in this lace Valentino number complete with feather detailing at the waist.

2022: Nope Premiere

The Nope premiere called for a standout look, so Palmer grabbed this ensemble right off the runway from Marc Jacobs’ fall 2022 collection.

2022: BET Awards

Palmer wore a low-cut Conner Ives patchwork dress to the BET Awards.

2022: Lightyear Los Angeles Premiere

Palmer wore this colorful David Koma look from the designer’s pre-fall 2022 collection to the Lightyear premiere.

2021: Met Gala

Channeling Diana Ross, Palmer attended the 2021 Met Gala in a shimmering Sergio Hudson dress with long sleeves and an open back.

2020: MTV Video Music Awards

For the remote 2020 MTV VMAs, Palmer hosted in a light blue Area mini dress.

2019: Time 100 Next

Wearing a mini Cong Tri Spring 2020 dress with an attached train, Palmer attended the Time 100 Next event in November 2019.

2019: Hustlers Premiere

Palmer showed off a whole lot of leg in this crystal-covered Roberto Cavalli dress at the Toronto Film Festival’s premiere of Hustlers.

2019: MTV Video Music Awards

Wearing a bright yellow Yousef Aljasmi Swarovski-embellished gown, Palmer attended the 2019 MTV Video Music Awards.

2016: American Music Awards

Palmer embodied her inner Rihanna in this completely sheer silver Natalie Fedner set at the 2016 AMAs.

2016: VH1 Hip Hop Honors: All Hail the Queens

Looking like a Klimt painting, Palmer stepped out at the VH1 Hip Hop Honors event in this strapless gold dress from Baja East.

2016: Billboard Music Awards

Palmer wore this House of Harlot knee-length latex dress with a keyhole cutout to the Billboard Music Awards.

2016: GLAAD Media Awards

This sheer lace Thai Nguyen dress stole the show at the 2016 GLAAD Media Awards.

2016: Nickelodeon’s Kids’ Choice Awards

Wearing the color of the night, Palmer attended the 2016 Kids’ Choice Awards in an orange leather midi dress from Alessandra de Tomaso.

2016: People’s Choice Awards

Going for a darker, romantic vibe, Palmer wore a cropped lace, off-the-shoulder top and black column skirt by Yousef Al-Jasmi to the 2016 People’s Choice Awards.

2015: Teen Choice Awards

Color-blocking was all the rage around 2015, so this pink, black, and white mini dress from Giulietta was the perfect choice for the Teen Choice Awards.

2015: Vanity Fair Oscar Party

Palmer kept things fairly simple for the Vanity Fair Oscar party, opting for a white Stella McCartney gown.

2014: Emmy Awards

The actress, who played Cinderella on Broadway, looked very much like a Disney princess in this royal-blue mermaid gown.

2014: BET Awards

Palmer embraced unexpected cutouts on this white-and-gold Alon Livné minidress at the 2014 BET Awards.

2013: NAACP Image Awards

Palmer has proven her love for blue over the years; here she wore this Naven halter dress in a gorgeous cerulean.

2012: Kids’ Choice Awards

This purple Marco Marco dress with a skirt made of large rosettes was the perfect look for the Kids’ Choice Awards.

2011: BET Awards

You can tell Palmer was feeling herself in this silver mini Mandolo dress.

2011: Nickelodeon Kids’ Choice Awards

Palmer looked adorable in this one-shoulder, sequin-covered Ina Soltani mini dress at the 2011 Kids’ Choice Awards.

2010: Teen Choice Awards

It’s clear the actress loved some sparkle back in the day, which is why it’s no surprise she opted for this crystal-encrusted Collette Dinnigan mini dress for the 2010 Teen Choice Awards.

2009: MTV Movie Awards

Wearing a coral pink Matthew Williamson mini dress, Palmer attended the 2010 MTV Movie Awards.

2009: NAACP Image Awards

Palmer looked angelic in this pleated Camilla and Marc mini dress at the 2009 NAACP Image Awards.

2007: Critics’ Choice Awards

A 14-year-old Palmer looked adorable in a simple black dress at her first-ever Critics’ Choice Awards.

2006: Akeelah and the Bee Premiere

Palmer attended the premiere for her breakout film, Akeelah and the Bee, in this lace-covered strapless gown with a bow around the waist.

2005: NAACP Image Awards

Palmer attended her first NAACP Image Awards in this white silk dress with a silver sequined belt.

2005: Screen Actors Guild Awards

Palmer was just 12 years old when she wore this pink silk dress with a matching hair bow to the 2005 SAG Awards.

Bridgerton star Simone Ashley seems to be having quite the romantic summer in real life too. The star was spotted out in and about in London’s Notting Hill neighborhood not only hand-in-hand with a new friends, but also in outfit that checked off just about every major fashion trend of the summer.

Walking around the Notting Hill neighborhood, Ashley wore a butter yellow mini dress with suede Puma low profile sneakers, an off-white Prada bag, gold hoops, and a whimsical polka-dot headscarf. Her end-of-summer ensemble would fit right in at Copenhagen Fashion Week where guests went all in on the head scarf trend.

Though, the biggest standout of the outing was not what she was wearing, however, but who she was with. Ashley was pictured holding hands with Jay Jammal, a Senior Account Executive at SoHo Communications in London.

While their relationship remains unconfirmed, the outing appeared affectionate and sweet, with the pair walking their dogs and laughing together. Sartorially, they were also aligned. Jammal reflected Ashley’s laid-back aesthetic in light-wash jeans, a navy T-shirt, chocolate brown Birkenstocks, and a baseball cap.

Though her recent sidewalk excursion could be considered something of a soft launch, the British actor is notoriously private about her relationship status. After sharing that she was in a “single era” in 2025, she was last linked to entrepreneur Tim Sykes, but the pair reportedly split in early 2026.

Relationship or not, the 31-year-old has been having a particularly stylish summer. After emerging as the bona fide best-dressed character in The Devil Wears Prada 2, she has continued showcasing her eye for style off-screen. At Cannes, she displayed her knack for French-Riviera lingerie dressing. At Wimbledon, she pulled off perfectly crisp whites. And evidently, when occasion calls, she knows how to pepper in just the right amount of flirty accessories.

If the best-dressed stars of summer 2026 have demonstrated one thing, it’s that bras can be the centerpiece of any outfit. Michelle Monaghan is the latest to prove exactly how.

On Monday night, the actor arrived at the New York City premiere of Netflix’s The Whisper Man wearing a Bevza dress that put a mermaidcore spin on bra-first dressing. Aptly named the Mermaid Bra Dress, its body-hugging black column skirt was contrasted by a cream-colored bra with subtle ribbing that emulated the texture of seashells. At the back, its streamlined silhouette featured a high slit, allowing for effortless movement as she walked. Styled by Karla Welch, Monaghan accessorized with Gianvito Rossi’s Portofino Sandals, drop earrings, and a perfectly on-theme pearlescent manicure.

While peekaboo styling has been rising in popularity for seasons, this summer saw the undergarment evolve into the main event for a subset of fashion-inclined stars. Anya Taylor-Joy experimented with bright color-blocking in a Balmain look. Kristen Stewart went bra-first in a tweed Chanel set. Ravyn Lanae used a Versace spiral bra as a conduit for surrealist dressing. Monaghan’s mermaidcore take, however, is both ethereal and decidedly restrained.

For her latest role in The Whisper Man, the 50-year-old actor will star alongside Robert De Niro and Adam Scott. The film—streaming on Netflix on August 28—is a dark crime thriller surrounding a serial-killer mystery. It makes sense, then, that to promote the upcoming release, Monaghan would offer a more muted interpretation of the bra-as-the-outfit style. Once intended to be layered under clothes, the brasierre has emerged as a staple of styling experimentation and sartorial shapeshifting. It’s no longer synonymous with festival dressing or pop-star maximalism. Clearly, when done right, the bra can even be a dress code for the macabre.

Polo Ralph Lauren’s Polo Blaze Bag

Polo Ralph Lauren has launched a new bag just in time for fall. The Polo Blaze bag is named after the white marking on a horse’s face from the forehead to the nose. With sculptural lines and distinctive hardware, the piece represents a bold reimagining of equestrian spirit for the Polo Ralph Lauren woman. The bag is elevated yet effortless, crafted in moto-inspired leathers. The smaller top-handle option is prim and ladylike, while the wider, small-shoulder variety provides a bit of edge. The large shoulder version, finally, balances downtown edge with heritage elegance, providing a new, modern take on a work or travel tote. All three Polo Blaze bags are available now on ralphlauren.com.

Polo Blaze Large Shoulder Bag

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Polo Blaze Small Shoulder Bag

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Polo Blaze Top Handle

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Omega Speedmaster 38mm Update

Omega is sharpening up its Speedmaster 38 mm with seven new references that bring the compact chronograph closer to the house’s iconic Moonwatch. The refresh swaps oval subdials for rounded ones, pares back the dial text, and adds a chunkier bezel and Moonwatch-style bracelet. The lineup ranges from classic black-on-steel to icy blue, mother-of-pearl, and two-tone gold versions, with two diamond-set options for a little extra flash. Consider it a cleaner, more polished take on one of watchmaking’s most recognizable silhouettes. For more info visit omegawatches.com.

Dilara Findikoglu’s Bridal Capsule

Alt brides, rejoice. Dilara Findikoglu has released her first-ever bridal capsule. The wedding-ready pieces fit seamlessly in Findikoglu’s Victorian-inspired oeuvre, with the lingerie-adjacent designs mirroring existing signatures from the designer’s collection. Never one to follow rules, Findikoglu said she wanted to take part in the ritual of weddings, but aimed to do so in her own way. The result is a collection comprised of just eight ruffle- and ribbon-covered pieces. There’s a lace-up mini dress, honeymoon-worthy bra-and-panties set, and a sophisticated, tailored look perfect for the courthouse bride. A pink mesh dress adds a girlish touch—ideal for those eschewing white—for the fashionable bridesmaid, while a classic corset can easily be recycled following the nuptials. The collection is available now on dilarafindikoglu.com.

Shield Dress for Brides

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Eternal Love Bra

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Eternal Love Shorts

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Promise Me Dress

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Mikimoto x Chrome Hearts

Pearl jeweler Mikimoto and fashion label Chrome Hearts have reunited on another collaboration, two years after their first in 2024. Born from a shared appreciation for craftsmanship, individuality, and timeless design, the collection unites Mikimoto’s pearls with classic Chrome Hearts motifs and metalwork. The five pieces from the first collection, previously rendered in white gold, are now available in 22-karat gold hardware with Akoya pearls and natural diamonds. Two drop earrings, a bracelet, a safety-pin brooch, and a necklace offer traditional jewelry with an added edge, balancing refinement and rebellion in a collection that feels authentic to both brands. Mikimoto x Chrome Hearts is available exclusively at Chrome Hearts Aoyama; Mount Row in London; and the Mikimoto stores in Ginza, New York, and Hong Kong. Also, for a limited time, well-heeled shoppers can peruse the goods via private appointment at Chrome Hearts Cannes and St. Barths.

Hailey Bieber x Gap

Now you don’t have to dig through secondhand bins to mimic Hailey Bieber’s laid-back denim style. Any fan of the model knows she loves a vintage Gap jean, and she has officially teamed up with the clothing brand to make her favorite, effortless styles available to all. Introducing: The Hailey Jean, a limited-edition denim capsule that reimagines Gap’s designs through Bieber’s lens. The line is inspired by that effortless ’90s look, as well as the Gap silhouettes Bieber champions in her day-to-day life: the Extra Baggy and Low Rise Loose. Updated fit proportions usher the pieces into the 21st century, while six custom washes allow for an array of styling options. Bieber’s personalization of the jeans continues with the addition of a “1996” design detail referencing Bieber’s birth year, and the model’s signature printed inside the pocket lining. “Gap has been a part of my wardrobe since I was a kid, so this came together very organically,” the model said in a statement. “Nineteen-ninety-six was the year I was born and I get a lot of style inspiration from the ’90s because there was something so effortless about that era and the way people wore denim.” The Hailey Jean launches on July 16 online and in select Gap stores.

Gu Fall/Winter 2026

Former creative director of Marni, Francesco Risso, is going accessible. The designer just released the fall 2026 collection for Gu, his first as the creative director of the Uniqlo sister brand. The collection marks a turning point for the label, introducing a new design approach built around six lifestyle concepts. Together, these wardrobes—minimal, classic, playful, utility, sport, and cozy —represent the way people live today. Each one outfits a specific character, while encouraging combination in order to create the perfect personal style. The classic line features nostalgic, ’70s-inspired pieces, reinterpreted through a modern lens, while the playful offerings introduce colors and patterns that allow for radical expression. Among all of the pieces, there is truly something for everyone.

“What interests me most about clothing is its ability to accompany life,” Risso said in a statement. “The wardrobe of today needs to feel grounded and accessible, yet also leave space for imagination, individuality, and play. The six lifestyle concepts are an attempt to reflect that reality; everyday dressing can be both practical and expressive, familiar and surprising.” The collection has already started to roll out, and will be available in full in stores and on gu-global.com on July 24.

Faux Leather Baby Jacket

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Oxford Shoes

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Jumper Mini Dress

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Pandora Wonders

Pandora is launching a new multiyear creative platform, Pandora Wonders, which will explore a distinct material annually. Up first, freshwater pearls, placed front and center in a whimsical collection co–created by British stylist Harry Lambert. The charms take on the shapes of ice cream cones, mushrooms, squids, and more, all rendered with one-of-a-kind freshwater baroque pearls. That makes each piece a collector’s item, as no two pearls are the exact same. They were chosen distinctly for their shape—because they resembled the body of a rocket ship or the head of a mouse—and are finished with 14-karat gold-plated details and crystals for added sparkle. “I’m such a fan of pearls, so I’m thrilled to bring a renewed sense of childlike delight and nostalgia to Pandora’s unique world of charms,” Lambert said in a statement. Per usual with Pandora, the charms can be worn in a multitude of ways: on necklaces, bracelets, hooked onto hoop earrings, and more. Pandora Wonders will be available in select stores and online at Pandora.net on July 9, 2026.

Pufferfish Dangle Charm

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Peas in a Pod Dangle Charm

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Oversized Frog Pendant

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Birkenstock x Repetto

Balletcore and gorpcore unite in one of the most unexpected footwear collaborations of the summer. Beloved French shoe brand Repetto is transforming classic Birkenstock silhouettes that scream more girly girl than outdoorswoman. Think the classic Boston sandal with its rounded toe, but this time topped with a little bow and finished off with a satin ribbon to be tied up the ankle and calf. The metal buckles of the Arizona, meanwhile, are replaced by oversized rounded ones, and completed in monochrome. Finally, the Opéra offers the most Frankensteined option, melding the two brands together into a rounded, closed-toe shoe with two delicate top straps and a graceful laced bow. All styles are offered in three colors—black, pretty pale pink, and very cherry red—in suede, matte, and patent leather, and boast gingham inserts for an added girly touch. The Birkenstock x Repetto collection will launch on July 16 on 1774.com, repetto.com, and at selected retailers worldwide.

Converse x Collina Strada

Converse is a classic for a reason, but even classics can stand an update from time to time—and Collina Strada is the perfect brand to inject a little bit of zest into your sneakers for the summer. Converse x Collina Stada reimagines the Chuck 70 with a playful lens, adding texture, embellishment, and color to the high, low, and even knee-high silhouettes. Gems, lace, charms— nothing is off limits in this collab, which features multiple colorways, from cutesy pale yellow and pinks to more Gothic black. The styles already walked the runway—both at Collina Strada’s September 2025 and February 2026 New York Fashion Week shows—but now they’re finally available to buy, at collinastrada.com, converse.com, and in select retailers.

Collina Strada x Converse Chuck 70 Hi

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Collina Strada x Converse Chuck 70 Ox

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Collina Strada x Converse Chuck 70 XX-Hi

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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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As Harry Styles sang, “I know what you like, I know what you’ll really like,” at the first of his six Mexico City concerts this summer, a girl in the pit turned to her friend and yelled, “He’s talking about me!” She was surrounded by 68,000 people, all packed into an outdoor stadium in the rain to see Styles’s Together, Together tour, for his fourth solo album, Kiss All the Time. Disco, Occasionally.

Since 2010, Styles has released nine albums and toured for a cumulative five years and eight months. About half of all that was with the British boy band One Direction, which he joined as a swooshy-haired 16-year-old. After the band went on an “indefinite hiatus,” in 2016, Styles quickly matured from teen pop idol to respected solo artist. Between his previous album, the 2022 hit Harry’s House, and his latest, Styles finished a very long tour, moved to a small paparazzi-free Italian town, and went out—not as one of the biggest pop stars of the decade, but as a regular guy—to LCD Soundsystem concerts and clubs like Berghain. As a result, his new music sounds different. His first solo albums leaned in to 1970s and ’80s rock, a little David Bowie and Elton John; the latest one is more electronic pop, a little James Murphy and Berlin techno.

For the Together, Together tour, Styles is doing a series of residencies—just seven cities, but longer stretches in each. First was Amsterdam; then London, where he had 12 sold-out nights at Wembley Stadium. For W, the photographer David Sims went to his final London show, on July 4, and took photos as Styles danced like a boy at a rave and played a modular synth behind his back. A few weeks later, they met in Mexico City for portraits. The centerpiece of Styles’s tour is a 30-show stretch at New York’s Madison Square Garden, his only U.S. stop. He’s doubling his 2022 Garden run, which earned him a banner in the rafters. Every night is sold out, which means that over 10 weeks, more than 500,000 people will dance with him in that arena.

Julio Torres interviewed Styles a few days after seeing him perform in Mexico City. The writer, director, and actor’s work is whimsical and uncopyable: Take his comedy specials, Color Theories and My Favorite Shapes, which imagine the backstories and inner lives of inanimate things such as the color navy and the airplane curtain between first class and coach. Needless to say, he and Styles respect each other’s work. —Jensen Davis

Hello. My name is Julio. I was asked if I wanted to go to Harry Styles’s concert in Mexico City and interview him for W magazine. I think maybe I came to mind because I’m also an Aquarius. We’re elusive people and somewhat prone to metaphor (you’ll see). The show was a never-ending sea of bedazzled, mostly female fans having the most incredible time of their lives. They threw roses and teddy bears and yelled out, “Te amo, Harry!” And yet, looking up at the stage, I didn’t get the sense that he was an impenetrable, untouchable being up in the clouds. He felt so…human. I think that’s what the te amo’s are about. Not “I love you” like “Please take me,” but “I love you” like “Thanks for this show!” or “I’ve loved you since we were both kids!” Not a kiss, but a hug.

I went into the conversation guided mostly by curiosity—not necessarily a curiosity about this one very beloved person, but curiosity about how someone in his position thinks about the relationship between artist and audience, the tension between observing and being observed, and how to avoid making art that is just a reflection from the Internet’s hall of mirrors. I also asked him what’s up with all the fish imagery in his work, though maybe I didn’t press him enough on that. After all, I’m not a journalist. I’m just a curious guy. And what I found is that world-famous icon Harry Styles is one too.

Julio Torres: One of the things that was so special about your show was the energy of the fans. It seems like you’re pretty sensitive to that.

Harry Styles: The fans have always been so emotionally generous toward me. I feel it now more than ever after taking a break from the road. When you’re around something all the time, it numbs you to it—like eating your favorite food all the time. The break recontextualized it. Black is most shocking on white.

In the time that I took away from touring, I watered a side of my life I hadn’t paid much attention to previously. Because I started so young, touring became so much of who I was. I would feel quite uncomfortable with stretches at home. I didn’t know what to do with myself sometimes. Now I feel really fortunate to have this incredible job and creative environment, but also this life away from it that I’m excited to spend time in. I don’t know that I had that before. The idea of not touring is less frightening to me. It feels quite special to be in it, bathe in it, and be aware it’s not forever. It doesn’t come with this existentialism that it used to, when I was like, Who am I if I don’t do this? I’m a little more comfortable with who I am if I’m not doing it, which makes touring a lot more enjoyable. It quiets the—

—who am I if I’m not being perceived?

Exactly.

It takes confidence to be a public-facing artist and take a step back and be okay with disappearing for a little bit. When I was growing up, if someone didn’t have a project, you wouldn’t hear about them. Then suddenly social media was like, Oh, we’re meant to know what people are doing every day of their lives. I think at some point the work suffers from that, from constantly reflecting but never absorbing.

A big part of the break was about recalibrating the image of myself that I felt like I was accidentally swallowing all the time—that was being reflected back at me but that I didn’t want necessarily. It’s such an unnatural thing to be shown other people’s perception of you all the time. I was a little bit in my head about moving through the world and feeling very aware of how everything was being perceived toward the end of the last tour. Like, if I moved this way, or if I did this—very outside in.

Once you read a comment…

It’s death!

It’s irrelevant whether it’s a good comment or a bad comment. Suddenly, you are not creating something that you want to show people but, rather, performing for an audience.

A lot of the time off was about getting back to living from the inside out. With the work as well, it was about: How do I make something that I really love with no perception of what’s expected of me or what people want from me? There’s a cycle when someone makes something that connects with people. It becomes commercially successful, then everything you’re being told that you are is shifting you away from the version of yourself who was able to make something from a nice point of view.

It’s almost like a constant loop of making bad sequels about the original.

It’s an easy trope to fall into. You can become so disconnected from the world, the universe, and people. Then you stop being able to relate. That’s when people go, “Oh, I’m gonna try and redo that thing I did.”

We met [in 2019] at Saturday Night Live, when I wrote a sketch for you and Bowen Yang. When I worked there, I noticed that in a writer’s first year, they’re a fountain of ideas. They’re mostly people who, up until that month, have been pretty broke, living a life, hustling, and struggling to make it in show business. Then around year two or three, there’s a danger that sketches become about airports and awards shows. You’re completely consumed by what works, versus thinking, What do I believe is exciting?

Yeah.

I read your conversation with Haruki Murakami [in Runner’s World]. It touched me that you seemed to be wondering what your contribution is. As someone who went to your show, I saw this massive ocean of people who’d been looking forward to this night for a long time. They received such joy from it.

There’s so much emphasis that it’s about me. It’s a really complex relationship to have with yourself. One of the best things anyone has told me is that comments, the bad and good, neither of them are true. Some people will tell you you’re the best thing in the world, and that’s not true. Some people will tell you you’re terrible, and that’s also not true. When you’re younger, there’s this want to be great, and it’s harder to negate the positive stuff. When people say, “Oh, this is great!” you want to be like, “Really? You think I’m great?”

When I was younger, admitting that it’s not really about me would have been quite terrifying. Now it’s actually really liberating to acknowledge that it’s so much bigger than me. We, as the crew and the band, get to create an environment for people to have this joyous time. But we’re all there for the same thing. If you’re onstage, it’s a very godlike position. But I’m not guiding you to me. I’m not asking you to follow me. I’m saying that I believe in the same thing that you believe in, and we’re all here for that reason, which is beyond me.

You’re the astronomer, not the stars.

Yeah, exactly.

At the show, I was next to this girl who had bedazzled a tie with your initials. The fans all had little sparkles on their faces. At least aesthetically, you seem pretty drawn to a sparkle. It’s so smart because everyone wants to feel a little sparkly.

There’s definitely been some sequin use over the years.

You have a lot of water and fish imagery in your work too. What’s up with that? I ask as someone who’s also drawn to water and fish.

It has always been a joke that when we do a shoot or a video, if I’m not wet and/or cold, we haven’t done anything. When I come offstage, the first thing I do is shower, because it’s better for me to feel like I washed it off. There’s a version where you come offstage and feel like, Oh, I’m the guy right now. I remember that from the really early days, the “How do I stay in this feeling—this is amazing!” Over the years, I’ve tried to acknowledge that is that, and I can wash it off. You do the show, you go backstage, you shower, and all of a sudden you’re naked in this most vulnerable, almost infant-like state of yourself. It couldn’t be more different from what you were doing 10 minutes ago.

Are you excited about New York? I suppose you have to say on the record that you are excited.

New York operates at a higher frequency than I do. At times, I find it quite a lot. But for that reason, I’ve always loved performing there so much. You really feel the city during the show, this swelling of energy. I’m not going to do this forever. It feels very singular, and that’s allowing me to really be in it. During the shows, there’s a lot more moments where I’m standing there taking it in, when I’m in the room with the crowd, seeing this energy they’ve made. I feel so aware that it exists past the shows, the songs, the tour—everything. It’s like, “You did this more than I did,” in a lot of ways. I can show up and play as many times as people buy tickets for. Doing this many shows in New York is solely because of them.

Have you ever been in New York for Halloween?

The last show is on Halloween, actually. We did a show a few years ago on Halloween, and it’s one of the coolest experiences to see everyone dressed up. When you look at the world, we’re getting more and more isolated, and we’re losing ceremony. It’s why people still love weddings—it’s a ceremony where we all get to come together. It’s the same thing with sports.

All these events are about community—you’re experiencing the thing together. It’s not not like Halloween. No one does Halloween by themselves.

Post-Covid, and now in this AI time, there’s something about standing next to a sweaty stranger and exchanging energy that you can’t really replace with anything. The desire is for the more tangible, the little bits of magic that just happen.

All the imperfections that come with that give you the moments that you really remember. A shitty rainy day or wet socks while watching Harry perform are the moments that are actually getting ingrained in our memory, versus the content that is created for the deliberate purpose of being enjoyed, then forgotten about immediately.

Everything in our world now is about being productive—how do we grow this and optimize everything. Almost exclusively, my favorite things have come in moments of being incredibly unproductive.

People are obsessed with data, like wearing rings that tell them how many hours of good sleep they got.

You know those things on websites where they say to verify you’re a human, and you have to tick the boxes that have bridges in them?

Yes. It’s like, What is a bridge? Or when they say, “Check every box that has a bicycle”—what if there’s a sliver of a bicycle? Who am I to say that box does not contain a bicycle?

Where’s the line?

I wish one could give a subjective answer verbally.

Someone has to sit in front of you, and you could explain why this was.

Why, to you, the shadow of a bicycle represents enough of the bicycle.

Actually, it’s just a picture of a bicycle. You’re not a human. Don’t ask me if I’m a human. Where do you have the gall!

Hair by Lukas Tralmer at Streeters; makeup by Dotti for iS Clinical at Statement Artists. Set design by Patience Harding.

Executive Production: Erin Fee Productions; Production: Westy Productions; Postproduction: Skn Lab; Stylist’s Assistants: Naomi Phillips, Kayla Perno.

W’s Fashion Issue hits newsstands September 8.

For Phoebe Tonkin, a life on the go is always in style. Just back from a trip to Italy, the New York-based actress recalls her early and enduring appreciation for travel. “My parents worked in the business, and getting my passport stamped is still one of the best sounds ever,” she muses. It makes sense then that Tonkin’s personal style reflects the movement and care she brings from every destination — and the experiences connected to them.

But no matter where she is in the world, Tonkin firmly believes the most special pieces transcend aesthetics. “I think the chicest part about style as you get older is the stories that come with what you wear. ‘This is a shirt I bought on a girls trip to Jamaica’ or ‘This was a gift from my husband.’ The coolest people I meet always have great stories behind what they wear. You have to live a full life to collect those stories — and build that wardrobe.”

These days, Tonkin’s wardrobe is a study in modern elegance with tailored staples — think blazers, polo shirts, baggy trousers, and loafers — that carry her through every New York minute. “Living in New York, you have to dress not knowing necessarily where your day will take you,” she adds. “I love that what you wear can be both an armor and also an expression of where you are in your life and how you’re feeling.” To that end, a classic watch is also an essential part of her everyday ensemble. “Watches are chosen thoughtfully and always have a memory attached,” Tonkin explains. “I have two vintage sweaters that my mum wore when she was pregnant with me. Wearing one of those sweaters with freshly washed hair, a bit of lip tint, and a beautiful watch — like the Vacheron Constantin Overseas — is the epitome of classic, cozy, and elegant.”

It’s one thing to view time as a luxury, but it’s another thing to wear it — and with a timeless watch, Tonkin continues to tell an enduring story: You don’t have to sacrifice fashion for function. “It’s a perfect blend of masculine and feminine, sexy but also functional,” she says when asked about adorning the looks featured here with the Overseas. “It elevated each outfit, and was also so comfortable on my wrist that I almost left with it still on.”

Sartorial choices aside, Tonkin also brings a high level of discernment to her creative endeavors. Growing up in her native Australia, Tonkin’s parents enrolled her in an acting class to help overcome her shyness. She quickly grew to love the community and explored various workshops in acting and musical theatre. What began as an after-school hobby has now blossomed into a flourishing career — one where style always has a role to play in her process. “I love incorporating a watch into my character’s costume,” she notes. “It says a lot about a person and carries a rich history. That sort of story building helps shape a character.”

While Tonkin’s professional schedule is ramping up come fall, that hasn’t stopped her from embracing what’s left of summer in the city. “You really can live eight lifetimes in a single day, especially this season and when you get up early.” In that vein, you’ll likely spot the off-duty actress traversing the boroughs with the same passion that characterizes her work: whether perusing the shelves at her favorite bookstore or enjoying a walk in the park — all while wearing her heart on her sleeve and a timeless watch on her wrist.

Overseas Self-Winding

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In Carmel-by-the-Sea on California’s central coast, fog settles onto the Monterey Pine trees and sprawling mountain ranges each morning. There are lots of fields in the forested, beachside town—where strawberries, lettuce, and cauliflower sprout easily. It’s a low-key, old-money enclave of the West Coast. And for most of the year, it’s quiet and serene.

That is, until Monterey Car Week comes roaring into town. The annual event brings thousands of car enthusiasts and showcases classic automobiles, racing events, brand activations, and more to the area. During Car Week, held this year from August 7-16, you’ll not only hear thunderous revving engines, you might also see a fleet of rare race cars zooming down the Pacific Coast Highway.

This was the picturesque environment in which Cadillac made its presence known at Monterey Car Week, unveiling multiple launches during the 10-day period. The American automobile brand was everywhere, releasing its new V-One Concept—a limited-production automobile based on Cadillac’s famed LMDh race car—and the introduction of the company’s bespoke Curated by Cadillac IQ program.

At Cadillac House—an invitation-only mansion rented out by the brand and filled with cars, a DJ, and a full bar—executive design director Dominic Najafi discussed the new personalization program, which allows well-heeled clients to choose every design aspect of their car, from the paint job to the interior leatherwork. The Celestiq—a sleek electric vehicle that looks like an incredibly stylish station wagon—is particularly conducive to customization. “The car is hand-built in Detroit at the artisan center,” Najafi, a Brit from the Manchester area, tells W. “There have been people coming with their own swatches, like, ‘Hey, could you match this material? Could you match this color?’”

“We do pay attention to trends,” says Alexandra Dymowska, who works on Cadillac’s design and brand creative side. To create the new Celestiq, she adds, the crew looked far outside the confines of cars and car culture for ideas. “Lots of inspiration came from architecture—like Zaha Hadid’s work—from fashion, and from lighting,” she notes. “Also, the sculptor, Armen Agop, who creates monolithic, very distilled sculptures. There’s a designer at Cranbrook Academy [in Michigan] who influenced the linear patterns of the car.”

The fashion world also played a part, with Balmain being a prime source of fascination for the team, Dymowska says. “Balmain is a heritage brand, a legacy brand, that has completely re-envisioned themselves in the fashion world,” she says, noting that many “structural and graphic elements” of the French fashion house influenced the “brave silhouette and this magnetic presence.”

“When Cadillac was founded, the tagline was: standard of the world—the highest standard of design, engineering,” Najafi adds. “Celestiq was a part of the whole reinvention of Cadillac over the last seven to 10 years, putting the brand back in an elevated way again. If you think about those first cars, those first Cadillacs like El Dorados, they were very much the spaceships of their day; they were very progressive. We take that ethos and interpret it in a new way. We’re making a car beyond transport, and more of an object of desire.”

Dua Lipa celebrated her 31st birthday over the weekend with a trip to an upstate New York sculpture garden, multiple desserts, and a satisfyingly offbeat styling moment with husband Callum Turner.

On Monday, the star—who was in Ibiza last week for pre-birthday festivities with family—took to Instagram to share a recap of her celebratory weekend in New York. Many of the photos show her and Turner together at Art Omi, a free, 120-acre outdoor space full of contemporary sculptures by over 60 artists and architects (sorry to Storm King). As they meandered about the interactive exhibitions, the pair opted for a transitional styling hack embraced by off-duty models and Olsen twins alike: the shirt as a scarf.

For her part, Lipa wore a white tank with a narrow V-neck, a Vivienne Westwood midi skirt, and an East-West bag from Chanel’s fall 2026 collection. In lieu of her usual chunky necklaces, she accessorized with a bright red knit draped around her neck. Featuring circular cutouts and ribbed ends, the garment was reminiscent of a sweater’s sleeves. Turner opted for a similar look—half-wearing a navy button-up with a white T-shirt and baggy jeans.

In perfect sartorial synchronicity, the couple capped off the day with two birthday cakes—one that read “Happy Birthday Dua” and another that read “Happy Birthday Beba.”

It wasn’t the only couple style moment of the weekend, however. On a romantic evening outing, Lipa dressed things up in an LBD with gauzy, sheer layers and ruffled detailing. Turner once again followed suit, offsetting her all-black look with a white button-up adorned in subtle pinstripes.

The pair—who tied the knot in May—have been showing off their fine-tuned approach to fashion throughout the summer. Together, they’re never overly matchy, but instead effortlessly balanced, whether they’re at a high-profile red carpet or a casual sports game. Fittingly, for Lipa’s birthday weekend, they once again reached an aesthetic equilibrium. Here’s to another year of A+ couple dressing.

Sneakers are undoubtedly a wardrobe essential. They are comfortable, versatile, and egalitarian—a classic for good reason. Classics, however, need not be boring. In fact, thanks to an ever-growing number of high-fashion interpretations, sneakers have also become significantly more in style.

Lately, we’ve noticed a new crop of bright and colorful kicks from the likes of Dries Van Noten, Celine, Auralee, and Prada, alongside the go-to stalwarts like Nike and Adidas. They’re all making a compelling case for a little more fun south of the ankles.

If you’ve historically stuck to neutral sneakers in white, black, or gray, or find the idea of a bright shoe intimidating, there are lots of easy ways into the trend. A Technicolor sneaker can cleverly punctuate an all-neutral outfit, or melt into a head-to-toe monochromatic look. Leaning into the wrong-shoe theory can also lead to surprising clashes that turn an otherwise casual, understated look into something unforgettable.

However you choose to style them, colorful sneakers are a cool and comfortable trend to embrace for the season ahead. Below, find some of our favorite ways to wear them right now.

Neutrals with a Pop

Dip your toes (literally) into the trend, by letting a pair of subtly hued sneakers anchor a clean, all-neutral ensemble. No fear of clashing here.

The Regent Trench Coat

Aritzia -

Oversized T-Shirt

Cos -

Pleated cotton wide-leg pants

Toteme -

The Flat Sneaker

Celine -

Go-To Jeans and Tee

Another failsafe way to style sneakers is with a simple tee and jeans. Colorful Nikes pair well with a thicker, skater-stripe tee and straight-leg denim.

Vintage Short-sleeve Tee

Levi's -

Fisherman leather braided belt

The Row -

Childhood slim-leg jeans

Still Here -

Moon Shoe OG

Nike -

Off Colors

More ambitious dressers may want to indulge in a bit of off-color play—mixing two-tone kicks with quirky, clashing colors. Keep one piece in the outfit neutral, like we did with the trench here.

Mid-length Tropical Gabardine Tickhill Car Coat

Burberry -

Julie organic cotton-piqué polo shirt

Flore Flore -

Poplin Skirt

Tory Burch -

Collapse Re-Nylon and suede sneakers

Prada -

Tone on Tone

Tonal looks are trending. Create your own comfortable, yet colorful, look with a knit, roomy trousers, and sneakers in a single shade.

Innes Slouch V-Neck

&Daughter -

Telanto organic Supima cotton-jersey T-Shirt

Loulou de Saison -

Beau Pant

Posse -

Leather-trimmed suede sneakers

Dries Van Noten -

Full Prep

Preppy style has always embraced bright colors and sporty shapes, making it a natural match for colorful sneakers. Here, we paired Pane’s cobalt kicks with classic prep staples: a khaki skirt, a button-down shirt, and a blazer.

James wool-blend jersey blazer

Kallmeyer -

Esme relaxed-fit button-up shirt in Greenwich poplin

J.Crew -

Pleated Midi Skirt

Zara -

Zephyr Training Pouching Women’s Shoes

Pane -

Shop More Colorful Sneakers

Pogo sneaker in technical knit and suede

Loewe -

Tokyo Sneaker

Adidas -

Mexico 66

Onitsuka Tiger -

Technical Fabric and Suede Low-Top Sneakers

Miu Miu -

Orbit Flash Sneaker

Bottega Veneta -

Colorblock Suede Runner Sneakers

Comme des Garcons x Spalwart -

Bushido III

La Sportiva -

Speedcat OG

Puma -

Never let the weather stop you from wearing exactly what you want. Jodie Turner-Smith certainly doesn’t. On a hot August day in Los Angeles this weekend, the actress embraced an archetypally autumnal outfit formula with a summer-approved twist.

Spotted at The Studio City Farmers Market on Sunday, Turner-Smith wore a look that, at first glance, hit all the notes for a crisp fall day: high-waisted lightwash barrel jeans with an oversized plaid button-up tucked in. Upon further inspection, however, her tartan-printed top subverted seasonal conventions. It was not a traditional flannel at all, but a sultry sheer top with a light-as-air fabrication. As she wheeled a shopping trolley filled with produce, its gauzy design billowed in the breeze, subtly revealing her skin underneath. Her styling doubled down on this skin-exposing allure—with rolled-up sleeves and undone buttons creating a plunging V-neck silhouette. She tied the off-duty look together with dainty layered necklaces, a Ritz Paris baseball cap from Frame, wired headphones, and blue checkered sneakers that satisfyingly matched her top.

Any fan of Turner-Smith knows she is highly skilled in the art of pairing classic blue jeans with unexpected tops. It’s something of a go-to for the 39-year-old red carpet darling, who has worn everything from a low-waisted baggy pair with a military jacket to a bedazzled iteration with a translucent bra. Naturally, she was also an early adopter of lingerie dressing—having made the case for chiffon suits and see-through lace slips over the years. Her latest outing effortlessly ups the ante on this reputation—taking Americana-adjacent workwear and infusing it with playful, skin-baring boldness.

Just like that, the plaid button-up is born anew. Leave it to Turner-Smith to reimagine an age-old garment on an afternoon grocery run.

Sometimes you just need a reminder that fashion can actually be fun, and there’s no one who can deliver that joyous reminder quite like Cardi B. The Bronx-born rapper made a surprise appearance at Kehlani’s sold-out show at Barclays Center in Brooklyn on Friday. The pair performed their 2018 collaboration “Ring,” and Cardi performed her recent single “AH HA” live for the first time. It would have been a grand musical moment in and of itself, but it was Cardi’s outfit that helped make it go viral.

The rapper walked onstage in one of the most far-out looks from Chanel’s pre-fall collection. Her look was creative director Matthieu Blazy’s psychedelic take on the French house’s classic skirt suit. Instead of classic tweed, the suit was featured a trippy black, yellow, and red pattern. Cardi took a page out of Aretha Franklin’s playbook by bringing her purse on stage, but considering her bag was a Chanel flap in a matching pattern, it deserved to be seen by the audience. The “WAP” artist wore her hair in a sleek updo with a side bun. A pair of Chanel sunglasses added the finishing touches.

The outfit almost immediately went viral online, and some fans argued that Cardi should have saved such a monumental fit for a red carpet event.

We’d argue that the fact she wore it to perform is what made it so much fun.

Often, when we see celebs in recent off-the-runway fashion, it’s in a controlled setting—a red carpet, a photo call, a magazine spread. The outfit is sent over from the brand. The star is primped and preened. They get their photo taken, then go back to their hotel suite to take off the look. The outfit is zipped up, into a garment bag, and sent back to wherever it came from (hopefully dry-cleaned somewhere along the way).

Here, we actually get to see fashion as a part of a cultural moment.

Although the look was previously worn by Dua Lipa (she was dressed in the suit to sit front-row during Chanel’s haute couture show back in January), it practically demanded a moment like this. This isn’t an outfit for the timid or overly proper. Doesn’t that skirt suit deserve to be worn by someone who’s living life to the fullest?

The moment also solidified that, with Blazy at the helm, Chanel is fun again! Before his arrival, the brand had reverted back to its ladylike primness and sacred house codes. It was hard to imagine anything designed under the previous regime making an appearance during an R&B concert in Brooklyn. Indeed, when Cardi had previously worn Chanel, it was almost always from the Karl Lagerfeld-era archives. Blazy’s take on Chanel might even suit her even better.

“Let me post my lil’ pic, I’m like ‘Ah, ha,’” Cardi raps in her new single. “Let me show off my ’fit, I’m like ‘Ah, ha.’” Exactly.

Detractors may try to convince you otherwise, but the 2000s resurgence is not going anywhere. Just ask Rihanna. The superstar’s latest outing is an ode to two of the most recognizable—if slightly fraught—trends of the decade: micro skirts and tracksuits.

On Friday, the Fenty Beauty founder stepped out in New York City in a look that served pure Y2K street style. Spotted leaving the Four Seasons with A$AP Rocky and her three kids, she wore a faded bubblegum zip-up by Miu Miu, featuring a subtly cropped fit and ribbed detailing along the cuffs and hem. In true noughties fashion, she paired the piece with a low-waisted, well-worn denim mini skirt, complete with frayed seams and pocket linings peeking through the bottom. To dial up the nostalgic maximalism, Rihanna accessorized with snakeskin heels, XL hoops, a gold choker, and giant Louis Vuitton sunglasses with a retro pink tint. She left the collar popped and kept her hands in her zippable pockets—evoking a Juicy-Couture-wearing It girl on the go.

The star has had aughts-era tracksuits on the mind as of late. Earlier in the week, she sported a full velour set in a striking burnt orange hue, courtesy of Chloé. Her Miu Miu jacket, however, has a modern, sporty allure, thanks to its jersey fabrication instead of velvet. It’s also a callback to one of her go-to pink-tinted outfit formulas during her pregnancy with baby Rocki.

This summer, the 38-year-old singer—who has spent time with her family in New York City and Barbados—has mastered the low-effort, high-impact ensemble. Last week, her seafoam green set for a kids’ trip to the dentist was languid and oversized, but statement-making in its color execution. Before that, the black maxi dress she wore to visit her former home on Rihanna Drive served as a lesson in well-accessorized vacationwear. One thing about the superstar is that she will always make an outfit look effortless—even if it’s reminiscent of a decidedly maximalist era.

As the undisputed queen of La Vacanza lifestyle, Dua Lipa trains all year for a birthday trip to Ibiza. The star turns 31 on August 22, and naturally, she started the celebrations early by putting a main-character spin on the classic black dress.

On Friday, Lipa—currently vacationing on the Balearic island with her family—shared an Instagram carousel in a glamorous pre-birthday outfit. With a high-neck silhouette and a straight cut, her all-black column dress—from the Calvin Klein Collection fall 2026 runway—was both simple and full of aesthetic intrigue. Though the front was unadorned, the back was Lipa-level interesting, featuring an open halter design that plunged at the sides. It was also lined in fringe trim, adding avant-garde texture to the LBD formula. For a final hit of high-octane accessorizing, she opted for a sculptural gold bangle.

Though it was full of precise details, the LBD was perhaps the most pared-back piece in Dua Lipa’s birthday-trip wardrobe. So far, her Ibiza outfits have leaned into color-blocking and pattern play. On a beach trip, she paired a polka-dot bikini from With Jéan with royal blue baggy basketball shorts. She amped up the outfit with a crab pearl choker and her beloved gold bangle. For a yachting day with her siblings Rina and Gjin, Lipa wore a leopard-print bikini and big gold hoops.

The superstar’s packing strategy includes a strong rotation of accessories. This was the case with her outfits just last week, when she was in Portofino wearing sculptural flower earrings, stacked rings, and a colossal Chanel basket bag. (Her go-to gold bangle also made an appearance.) Needless to say, Dua Lipa is a seasoned pro at vacation dressing, and her birthday trip is no exception.

While most summers see her travelling across Europe, the singer spent much of July in New York City, recording new music and supporting her husband Callum Turner at the premiere of his film One Night Only. In recent weeks, however, she has been firmly committed to closing out the season on a Euro-Summer note. As she prepares to ring in another year, it’s good to see Lipa once again honoring her passion for the beach.

Velvet has long been synonymous with crisp, autumnal evenings and holiday dinner parties. Heavy and texturally rich, it’s the ultimate fabric for cozying up in the cold. That is, unless you’re Michelle Pfeiffer.

On August 20, the star appeared on The Tonight Show Starring Jimmy Fallon in a jewel-toned ensemble that made the convincing case for velvet as a summer staple. The matching set—from Fforme’s pre-spring 2027 collection—comprised the brand’s Lola top and Cori skirt, both colored in a rich raspberry hue. Like the material itself, the outfit had an opulent silhouette, with romantic balloon sleeves that cinched at the elbows and a straight-fitting skirt that flared subtly toward the bottom. To complete the vintage vibe, Pfeiffer accessorized with dangling gold earrings featuring burgundy gemstones and reddish-brown Jimmy Choo heels.

It was a fittingly regal look for the star, who has had a lot to celebrate as of late. She is currently up for two Emmys for her role in Apple TV’s Margo’s Got Money Troubles, where she stars alongside Elle Fanning. She’s also been making her mark in the beauty world in recent years, developing formulas for her fragrance brand Henry Rose, which she launched in 2019. Style-wise, things are no less exciting. With a taste for precise tailoring and high-quality fabrics, Pfeiffer has been ordained the undisputed queen of the menswear-inspired pantsuit. And still, she has an equally impressive eye for classic feminine codes. Partnering with stylist Samantha McMillen—who also works with Fanning—Pfeiffer has lately been leaning into crystal embroidery, slinky silhouettes, and silver textural fringe.

Ultimately, the 68-year-old has long been a master of dressing for herself instead of following trends or seasonal directives. Pfeiffer can’t be boxed in—and neither can her velvet.