Dreamwear Elevated: HAUS NOWHERE x SHUSHU/TONG Transforms Sleep into Style

#Photos by @joshwilkz

When the lights dim and eyelids flutter closed, most of us reach for reliable but uninspired sleepwear. HAUS NOWHERE and SHUSHU/TONG say no more. This collaboration—part fairytale, part fashion manifesto—breaks the boundary between sleep and style. In their hands, REM isn’t just a phase of rest. It’s a runway.

Why do we reserve creativity for daywear? Work uniforms, gym gear, party outfits—sure, they’re important. But what about our dreaming selves? HAUS NOWHERE x SHUSHU/TONG asks: what would you wear in the private theater of your subconscious? The answer arrives in the form of six sculptural cervical pillows, each crowned with cyber-Lolita bows, and eleven luxe pajama pieces that would hold their own on a fashion week catwalk.

Think fluid cotton-silk blends in soft florals, maritime navys, and nostalgic blue vichy checks. Think bodysuits, dresses, pajama sets designed to glide between worlds: intimate and shared, comfortable and commanding. This isn’t mere sleep aesthetics. Masterful pattern craftsmanship gives each piece narrative power. Every stitch, every print, sings with intention.

The pillows—a striking highlight of the collection—dramatize comfort. With their oversized bows and structural softness, they are hybrid sculptures: part pillow, part statement accessory. They echo the collection’s experimental tone: tender yet rebellious, gentle yet full of conviction.

Ningning from K-pop icons aespa serves as muse and model for the campaign. Her magnetic presence imbues the launch with global resonance and stylish charisma, bridging East-West cultural currents with effortless confidence. She embodies both the cool restraint of fashion and the emotional freedom of sleep.

The debut pop-ups, launching July 16 in Seoul, will serve as immersive installations. Picture stuffed animals thrown into a rave blackout, soft sculptures glowing under low light. Plush meets art installation. Every angle is visual poetry, every moment a curated dreamscape. These experiences will then journey to Shanghai and Shenzhen, unspooling a dream narrative across cities eager for fashion innovation.

HAUS NOWHERE x SHUSHU/TONG doesn’t just propose lounging in style. It advocates living in a stylistic continuum that embraces waking and dreaming with equal reverence. It challenges the assumption that nighttime comfort must be bland. Rather, it offers an intoxicating alternative: sleepwear as armor. Pjamas as performance. Bedding as fashion.

But what really cracks open the concept is intention. This isn’t vanity sleepwear. It’s design rooted in purpose. It insists that sleep is fertile soil for imagination—and that what we wear while dreaming matters. The collection drills into the lived tensions between soft and strong, inside and outside, private and performative. It invites the wearer to reclaim rest as a space for expression, rebellion, and identity.

Consider sleepwear as a stage. Each piece in this capsule behaves like costume and companion. The fabrics whisper across your skin, the pillows sculpture your posture mid-dream. It’s a tactile and visual dialogue with unconscious creativity. It embodies the notion that what happens in the private sphere echoes into the public one.

In the context of independent fashion, HAUS NOWHERE x SHUSHU/TONG stands apart. It fuses cerebral design thinking with streetwise modernity. Pajamas become powerful canvases. The pillow bows—unexpected, bold, feminine—are the exclamation in a whispered sentence. Together, they create texture and momentum, drawing us into a new dreaming aesthetic.

So, what’s the takeaway? Don’t sleep on this. Literal dreams deserve literal style. Let your restwear be fearless. Let your nighttime be intentional. This collaboration is a precedent: it proves that a dream can be dressed. It proves that the subconscious can be curated. And it proves, beautifully, that fashion’s reach extends even into sleep.



HAUS NOWHERE x SHUSHU/TONG: where soft rebellion meets nocturnal couture. Your dreams just got a dress code.

14 July 2025            Online Fashion and Art Magazine

Michael Rider Redefines CELINE With Power, Poise, and Precision

#Photos by Instagram

With his debut for CELINE’s Spring 2026 collection, Michael Rider proved he’s not just stepping into a legacy — he’s rewriting it with his own vision of power, heritage, and modern femininity. Presented in Paris, the show felt both fresh and deeply rooted, bridging eras with confidence and clarity. Rider’s CELINE doesn’t just reference the past; it elevates it into something fiercely relevant.

Held at CELINE’s historic atelier headquarters — opened to the public for the first time in a decade — the show began with a symbolic gesture: the audience physically walked into the house of CELINE. It was more than clever staging. It marked a literal and metaphorical reopening of the brand. Under Hedi Slimane, CELINE became known for its closed digital shows. With Rider, the house feels alive, accessible, and human again.

Above the open-air runway floated a giant printed silk scarf, echoing the show invitations: soft off-white scarves, knotted and textural. Scarves, long embedded in CELINE’s design language and French fashion history, became the connective tissue of the collection. Worn tied around necks, busts, bags, and waists, they weren’t just accessories — they were storytelling tools. They signaled heritage, ease, and effortless elegance.

The collection itself read like a masterclass in controlled contrast. Rider, who worked under Nicolas Ghesquière at Balenciaga and Phoebe Philo during her CELINE reign, brought their influence with him — but filtered it through his own lens. There were softened, minimalist silhouettes in cream and camel, clean tailoring, and an emphasis on texture that nodded to Philo’s understated legacy. Meanwhile, touches of Slimane’s aesthetic were folded in: skinny trousers reimagined in stretchier, equestrian-style cuts, tailored blazers with raw-edge charm, and a subtle thread of rock-and-roll defiance.

Accessories took on narrative power. A brown leather jacket was adorned with dangling gold and silver keys, lockets, and charms, while another piece was fastened with a golden wire wreath shaped like a bundle of wheat. Jewelry wasn’t just present — it was abundant, intentional, and luxe, tapping into today’s obsession with layered, stacked, expressive pieces. CELINE under Rider is embracing opulence — but never with excess.

And then came the Phantom.

A legendary bag from Phoebe Philo’s era, the CELINE Phantom tote was reborn with contemporary detail and clarity. Beloved for its blend of utility and luxury, its revival sent a clear message to loyal fans: this CELINE remembers its roots — and isn’t afraid to bring them forward. It wasn’t nostalgia. It was evolution.

Throughout the collection, Rider showed he understands not just fashion’s cyclical nature, but CELINE’s particular rhythm. He leaned into legacy codes — structure, restraint, sensual minimalism — and infused them with softness, fluidity, and emotion. The result felt both familiar and forward-thinking, as if the collection had always been part of CELINE’s DNA, just waiting to be unearthed.

His show notes read: “I’ve always loved the idea of clothing that lives on, that becomes a part of the wearer’s life.” That philosophy was evident in every look. These weren’t pieces for spectacle — they were designed to be worn, lived in, and passed on. Fashion with function. Elegance with longevity.



Michael Rider’s CELINE debut wasn’t just a return to form — it was a reinvention with purpose. By opening the doors, both literally and creatively, Rider has breathed new energy into the house. He’s not chasing trends. He’s crafting legacy.

If this is just the beginning, the new CELINE will be one to watch — and to remember.

04 July 2025            Online Fashion and Art Magazine

Marc Jacobs Defies Minimalism With Sculptural, Dark, Dreamlike Drama

#Photos by Instagram

In just five minutes, Marc Jacobs once again challenged the conventions of contemporary fashion. Rather than giving in to the tide of quiet luxury sweeping the runways, the American designer presented his AW25 collection as a visual explosion of theatricality, exaggerated proportions, and distorted femininity. The choice of venue was no accident: the iconic New York Public Library became the dramatic setting for this stylistic performance, where minimalism had no place.

From the very first look, the message was clear. A lilac lace blouse paired with massive trousers set the tone — this was no space for subtlety. What followed was a dreamlike and eerie parade of garments that drew on nostalgia, childhood references, and volume play, but with a more somber and sophisticated twist. If last season leaned toward the world of Polly Pocket, this time the dolls felt like they had stepped out of an old, haunted attic.

Volume was the central language of the collection. Heart-shaped puff sleeves, dresses with placed appliqués, padded backs that distorted the natural form, and corsetry constructed from layered bras — every garment challenged the standard silhouette, reimagining the female body through an architectural, almost sculptural lens. Stiff white denim with boxy forms added a frozen purity, contrasting beautifully with the more delicate laces and soft textiles that also played leading roles.

Styling took the entire vision one step further. Models floated — or wobbled — across the marble floors of the library on impossibly high platforms that blurred their shapes and defied balance. Flat bows, comically oversized, weren’t accessories; they were structural elements. Tied across backs, necklines, or integrated directly into garments, they evoked a cartoonish femininity that felt unsettling yet powerful.

Despite the visual excess, Jacobs never loses his sharp commercial instinct. Discreetly spotted in the hands of select front-row guests was “The Cristina” — the house’s new handbag. U-shaped and softly wrinkled, its quiet presence amid the chaos was a brilliant nod to the designer’s ability to balance concept and desirability. Even in his most artistic moments, Jacobs knows how to place the product.

What made AW25 so captivating wasn’t just its maximalist aesthetic, but its ability to pose questions. Can a garment exaggerate itself to the point of erasing the body and still be desirable? Where does fashion end and performance begin? While most brands lean into neutrality and restraint as new codes of luxury, Jacobs offers the opposite: a vision of opulence that is emotional, excessive, and theatrical.



In the end, Marc Jacobs AW25 was a celebration of excess, fantasy, and distortion — a manifesto wrapped in lace, denim, and platform heels. It was fashion as storytelling, as spectacle, as surreal delight. A show short in duration but immense in intention. Because sometimes, in fashion as in literature, one intense page says more than an entire chapter.

04 July 2025            Online Fashion and Art Magazine

ROSALÍA x HOMER: The Motomami Embodying Frank Ocean’s Radical New Luxury

#Photos by Instagram

Frank Ocean’s silences always say more than any grand campaign. And when he speaks, he does so in his own language: art, vision, mystery. This time, he returns not with an album, but with the comeback of HOMER, his luxury label founded in 2021. But what makes this relaunch more than just a drop is the figure he’s chosen to signal this new chapter: Rosalía.

Yes, the Motomami. The most influential Spanish artist of the 21st century. The one who shifts seamlessly between flamenco and dembow, urban culture and the Met Gala stage. Now, she’s also the new face of HOMER. And that changes everything.

The first image from the new collection —already a visual cult item on social media and moodboards— is a silent shot. A lo-fi, raw photograph that feels almost intimate. Rosalía sits with her guitar, as if about to record another viral demo from her studio. Around her neck hangs the piece that defines HOMER’s aesthetic: “2 Livers with Bullet Holes”, a necklace that feels like a dream from a dystopian lab—precise, poetic, and dark. It’s fine jewelry, yes, but it’s also a statement: luxury isn’t what it used to be, and Ocean knows it.



Frank Ocean isn’t just making fashion. He’s building a language. And for this new narrative, he needed a collaborator who could speak his emotional and aesthetic dialect. Rosalía does —with her gaze, her fingers, her guitar. Her selection is more than strategic; it’s symbolic. She represents everything HOMER wants to be in 2025: bold, experimental, honest, and emotionally maximalist.

The campaign’s visual aesthetic rejects the traditional tropes of luxury. No golden backdrops, no dramatic lighting, no forced poses. Just a captured moment where art, jewelry, and music collide. HOMER doesn’t shout at you to buy; it whispers a secret. And this time, that secret has Rosalía’s fierce, focused face.

The full collection is now available at select physical locations —New York, London, and Los Angeles— where HOMER feels more like a conceptual gallery than a boutique. For the rest of the world, the brand’s official website (homer.com) offers a deeper look at each piece, with technical descriptions that read like industrial poetry. Nothing here is accidental.

But the real story isn’t just in the jewelry—it’s in the narrative design. HOMER doesn’t sell accessories; it offers symbols. And the necklace Rosalía wears in this campaign speaks of vulnerability, resistance, and beauty that hurts. Like her music. Like Ocean’s lyrics.

This drop is a reclamation of fashion as a medium for discourse. HOMER isn’t here to decorate—it’s here to provoke. What does luxury mean today? What is beautiful, what is tough, what is worthy of being treasured? In this terrain, Rosalía shines as a figure who embodies it all: tradition and future, rawness and elegance, strength and sensitivity.

The return of HOMER isn’t a campaign. It’s a statement. And by placing Rosalía at its center, Ocean has signed off on one of the coolest, most culturally resonant collaborations of the year. This isn’t branding —it’s alchemy. A meeting of two artists who understand that real luxury is creating something that defies explanation.

In a world flooded with polished images, HOMER offers intentional imperfection. In an industry addicted to speed, Ocean responds with stillness. And in a market full of the same faces, Rosalía arrives—different, free, brutal.
This is how new luxury is written: with power, with vision, with soul.

30 June 2025            Online Fashion and Art Magazine

KidSuper and Mercedes-Benz Collide in a Fashion-Speed Fantasy

#Photos by Instagram

Fashion or motorsport? Haute couture or German engineering? At KidSuper’s SS26 show, the answer was: all of it. Colm Dillane’s brand didn’t just present a collection—it delivered a manifesto. One where the codes of speed, luxury, and art collided without fear, creating an aesthetic that felt wild, risky, and surprisingly coherent. In other words: it was a full Mercedes-Benz takeover with more attitude than branding.

The runway became a circuit. Literally. The set design felt closer to a futuristic design expo than a traditional fashion show. But that’s part of KidSuper’s language: subversion. With Mercedes-Benz as co-pilot, the move was as ambitious as it was unexpected.

What we saw weren’t just garments inspired by motorsport; this was a full-on symbiosis. Coats patterned like car bodies, bags shaped like steering wheels, textiles reflecting the polished steel of a classic SL. The masculine silhouette morphed like a chassis mid-turn: broad shoulders, armored torsos, stiff materials. Elsewhere, the cuts were aerodynamic, as if each piece was designed to cut through air.

But beyond the aesthetic, there was narrative. What does luxury mean today? Speed? Motion? Control? Dillane doesn’t answer with theory—he answers with showmanship. And in an era where car brands are striving to become cultural platforms, a fashion runway might just outperform a showroom. Mercedes got the memo. And they went full throttle.

This wasn’t a fashion collab where one brand wears the other. It was a symbolic power shift. The three-pointed star didn’t just decorate the runway—it made a statement. It walked proudly down the catwalk, the same way it glides across a Formula One grid. Only this time, it was embroidered on satin instead of chrome.

Is this the future of collaboration? Possibly. Fashion houses crave fresh narratives. Brands outside the fashion bubble want cultural credibility. KidSuper x Mercedes-Benz achieved both—with humor, risk, and a set that pulsed with raw energy.

Sure, not everything hit the mark. Some looks veered into full theater. Others leaned too heavily on “futuristic” clichés. But that’s also KidSuper: excess, experimentation, irreverence. It doesn’t aim to please—it aims to provoke. In a sea of flat runways and soulless campaigns, that alone feels radical.

Colm Dillane continues to build a world where art, irony, and pop culture merge without brakes. This time, he did it on wheels. And not just any wheels—ones built from legacy, speed, and luxury. The result? A show that didn’t just look cool—it felt like a ride. One where you weren’t sure if you were in a garage, a time tunnel, or a couture rave.



What’s clear is that the future of fashion isn’t just fabric. It’s interdisciplinary, unpredictable, hybrid. And if it has the boldness of Colm and the brutal elegance of Mercedes, then yes—it’s worth pushing the pedal down.

30 June 2025            Online Fashion and Art Magazine

David Koma’s Resort 2026: Soft Armor, Sharp Intentions Unleashed

#Photos by Instagram

David Koma breaks through with a proposal that demands pause, focus, and texture. Resort 2026 is not just a collection; it's a visual manifesto. Think Mad Men meets Euphoria inside a silent rave. Presented in London, the collection is an act of emotional styling where romance isn't fragile — it's razor-edged. Femininity here isn't displayed; it's armed.

Koma —master of structure, silhouette fetishist— steps away from his most expected codes without betraying them. Instead of the classic bodycon silhouettes that have ruled red carpets, he delivers baby-doll dresses adorned with metallic petals, pearl bralettes that double as defense mechanisms, and skirts that feel more like shields than garments. Each piece pulses with delicious contradiction: pastel sweetness meets soft violence. Beauty meets tension. Body art dressed as ready-to-wear.

The collection is steeped in pop nostalgia, yet filtered through desire. Koma borrows Betty Draper’s restrained aura and launches it into a noir-club universe where the heroine becomes her own emotional bodyguard. The suits whisper power, not scream it. These are pieces that demand slow reading — like lost film stills from a 1960s movie directed by a post-punk Sofia Coppola.

What’s most powerful in Resort 2026 isn’t its decorative intention, but its politics of the body. Koma reads the feminine body as a tactical space, loaded with aesthetic choices that speak beyond style. It’s no accident that many garments are built with visual wiring, layered plastics, or embroidery that nearly cuts. The body isn’t offered here. It’s protected. It’s affirmed.

Yet not all is chic dystopia. There’s humor, there’s play. Koma weaves in references to pop artists like Mel Ramos, transmuted into skirts mimicking caution tape or “TV screen” dresses framed with hard edges. A visual language that flirts with kitsch, then elevates it into conceptual luxury. Koma knows irony can be couture too.

The color palette drifts between powder blue, butter yellow, carmine red, and liquid metals — a balanced symphony that brings freshness without excess. Materials are unapologetically tactile: reinforced silk, hard lace, satin leather. An ode to the desire to touch… and not be touched.

At his best, Koma designs like a director. But there’s no theatre here. There’s augmented realism. What he offers is not just wearable — it’s narratable. Every look feels like a frame from a movie that doesn’t exist yet but that you’ve somehow already lived. Fashion as story. Fashion as embodied choreography.

David Koma’s Resort 2026 doesn’t need noise to make an impact. Its power lies in its echo — in how it stays with you. In how it reshapes sensuality and femininity into something new: tense, soft, dangerous. Like a weapon wrapped in satin. Like a scream sealed inside a metallic rose.



Koma commits to the language of intention. Resort 2026 is his strongest chapter yet — and perhaps his most intimate. A wardrobe of sensual armor for a generation no longer content to be watched: they want to be felt.

28 June 2025            Online Fashion and Art Magazine

SKYLRK: Justin Bieber’s Silent Fashion Rebellion Begins Now

#Photos by Instagram

Forget everything you think you know about Justin Bieber. The pop star who once defined global adolescence is now stepping into a phase that’s rawer, quieter, and more enigmatic. His new brand, SKYLRK, doesn’t shout. It doesn’t need to. In a landscape where fashion is oversaturated, hyperactive, and filtered to death, Bieber chooses the whisper—a visual universe constructed with deliberate restraint. This isn’t marketing. It’s perception alchemy.

In early looks wearing SKYLRK, Justin appears weightless: oversized monochrome sweatshirts, shorts that hang like sculptures, sandals bordering on absurdity—yet with a sense of intention that makes it all work. Instead of a big splashy launch or runway debut, the brand appeared as a whisper. A glitch. An eerie shift in his Instagram presence.

The official SKYLRK account holds tens of thousands of followers—and zero posts. Not a single teaser. Just tension. Just promise.

This isn’t an evolution of Drew House. It’s its opposite. If Drew was pastel, skate-core, and millennial smiles, SKYLRK is dystopian minimalism, visual control, and heavy silence. It feels like it arrived from a Wi-Fi-less future. The accessories—like phone cases with a cigarette slot—are strange and desirable. The sneakers look like they were built by architects. The glasses don’t frame the gaze—they shield it.

Even as people online mocked the first viral look—a fully blue outfit with tall socks and chunky sandals, posing in what looked like Hailey’s closet—the reaction only fueled the mystery. The line between sincerity and provocation is left intentionally vague. Bieber is no longer just a pop icon. He’s a visual disruptor. And SKYLRK is his new medium.

Behind the project is Neima Khaila, co-founder of Pink Dolphin, along with other quietly powerful names from the Yeezy circle. Hailey Bieber is in the mix, not as a pretty muse but as an active co-designer. Some of SKYLRK’s most buzzed-about pieces—like the '90s-style bomber jacket—were born from her concepts. That touch is felt: a restrained femininity, a layered sensuality vibrating under the utilitarian surface of SKYLRK.

Bieber registered the brand under SKYLRK Holdco, LLC, covering not just clothing, but eyewear, footwear, accessories, and tech goods. The goal? A universe. A closed system of aesthetic codes that lures by concealing. It’s a smart move. Think less merch, more concept house. Less brand, more ambient performance.

The most important thing: SKYLRK doesn’t aim to be “streetwear.” Nor luxury. It sits somewhere beyond those binaries. It doesn’t ask to be loved—it commands curiosity. While other celebrity brands chase virality, SKYLRK offers structure, material, and mood. What we’ve seen so far suggests garments designed not for Instagram, but for embodiment.

And sure, the internet jokes. But SKYLRK is already winning something more rare than hype: intrigue. No pricing. No launch date. But the buzz is real. The questions are alive. Is it fashion? Is it art? Is it performance? In 2025, that’s exactly the sweet spot.



Bieber isn’t trying to please everyone anymore. He’s writing in a new language. SKYLRK is his vocabulary—a brand where silence is louder than fame, and form matters more than followers.
Is this the future of personal branding? Maybe not. But it’s one that deserves your full attention. Eyes wide open.

28 June 2025            Online Fashion and Art Magazine

Willy Chavarria Rewrites American Fashion Through Power and Protest

#Photos by Instagram

In a runway show that felt more like a battle cry than a fashion presentation, Willy Chavarria proved once again that fashion is not merely aesthetic — it is social structure, political body, living voice. His SS26 collection, HURON —named after his hometown in California— was an offering to the stories fashion rarely tells: those of immigrants, of Latinos, of the unseen. From the opening moment, it was clear this would not be business as usual. It was ritual.

The show opened with a performance installation: a group of men, dressed head-to-toe in pristine white Cholo-style silhouettes, knelt on the runway as a melancholic version of “California Dreamin’” played. A gesture charged with meaning: a tribute to those detained and deported by ICE, a direct response to Trump-era immigration policies, and a poetic affirmation of existence. The show invitation simply read: “NOTICE OF RIGHT TO EXIST.” Fashion with soul, with blood.

Then the runway came alive with the live vocals of Mexican singer Vivir Quintana. If the prelude was a wound, what followed was dignity draped over that pain. Chavarria took his visual language to a new altitude, sharpening codes he’s known for while deepening the emotional register. His iconic Zoot suits —wide shoulders, tight waists, pleated trousers— were remixed with brutalist elegance, precision tailoring and bold new hues.

Womenswear stepped into the spotlight. The women of HURON wore 1950s office silhouettes — powerful, sculpted, commanding. Elevated streetwear followed suit: long shorts, high socks, oversized tailoring with full Chicano attitude. The palette moved from moody to poetic: dusty pastels, satin neutrals, saturated blues.

For the first time, Chavarria ventured into accessories, unveiling handbags and clutches in vintage-inspired silhouettes. Every item felt like it held memory, as if pulled from a life still unfolding. The casting, thanks to an open call, was a masterstroke: emerging talents shared the catwalk with the likes of Kai-Isaiah Jamal, Stefon Diggs, Amelia Gray, and Paloma Elsesser, delivering a show that felt real, magnetic, and grounded. Diversity here is not decoration — it’s foundation.

Midway, the performance paused for a dedicated reveal: the Willy Chavarria x adidas capsule. Framed as a show within the show, the mini-collection pulsed with athletic street intent: long three-stripe shorts layered over boxers, fresh sneakers, hats embroidered with “Hardcore” and “Willy Chavarria Fashion Service”. More than sportswear, this was gear for a future tribe.

The third act brought glamour — eveningwear, but with subtext. Embroidered floral suits, off-the-shoulder balloon gowns, and 1950s hourglass silks closed the show with sculptural grace. These were not red carpet gowns for the elite — they were statements of dignity, redesigned for those who fight to belong.



Willy emerged in a sleek purple suit, regal and resolute, and accepted a bouquet of red roses. It was a coronation, not a closing. As he said last season: “Right now the American Dream is simply to preserve our rights as humans and to afford a decent life.” That message hits harder now. And on this runway, it walked — it was seen, heard, and fiercely applauded.

28 June 2025            Online Fashion and Art Magazine

Jonathan Anderson Reinvents Dior Homme with Silence, Structure, and Soul

#Photos by Instagram

In the Dior universe, time doesn’t stand still — it is reinterpreted. For the Spring-Summer 2026 collection, Jonathan Anderson’s debut as Creative Director of Dior Homme not only marks the beginning of a new aesthetic era for the house, but redefines what it means to dress the contemporary man.

Drawing on echoes of the 19th century, deconstructed British tailoring, and the sensual rigor that has shaped Christian Dior’s legacy, this collection arrives more as a curatorial act than a conventional runway show. And Anderson, more than a designer, steps into the role of visual storyteller.

The show’s setting — minimalist, meditative, and arranged like an art gallery — laid the foundation for a proposal that considers clothing as historical document, emotional gesture, and cultural symbol. Velvet-covered walls, soft lighting, and a centerpiece inspired by the painter Jean-Baptiste-Siméon Chardin set the tone: this is not fashion as spectacle, but as a thinking object.

Anderson, long admired for his provocative vision at JW Anderson and Loewe, doesn’t break Dior — he reimagines it. The collection reworks house codes — florals, Dior gray, the sobriety of tailoring — into something sharper and more conceptual. Rigid waistcoats become emotional armor, tailcoats are precision-cut into modernist silhouettes, and elongated cuffs flirt with theatricality.

What’s most striking isn’t just the garments themselves, but the visual language Anderson introduces: unmistakably masculine, yet introspective, free, and layered. The classic blazer is paired with voluminous trousers bordering on skirts. Coats wrap the body with a sense of solemnity, and silk drapes like a whisper of spiritual luxury. Each silhouette asks: How do we inhabit the masculine body today?

On the runway, contradiction is welcomed. Sleek looks are disrupted by irreverent details: oversized Bermuda shorts with technical sandals, fluorescent accents within a neutral palette, and floral embroidery woven into almost architectural forms. There’s a deliberate tension between heritage and disruption, between fashion and performance, between clothing and art. Anderson isn’t interested in resolving that tension — he wants to make it fertile.

Accessories act not as ornamentation but as extensions of the visual syntax. Structured bags, sculptural backpacks, and footwear oscillate between classical elegance and utilitarian futurism — sculpted sneakers, reworked loafers — projecting a bold idea: the Dior man is no longer merely elegant. He is reflective, evolving, cultured.

What’s most powerful isn’t rupture — it’s the subtle shift. Anderson doesn’t aim to shock. He aims to retrain the gaze. Rather than dictating trends, he proposes a meditation on menswear rooted in emotion, history, and artistry. What does our clothing say about us? What do we want to communicate when we step out into the world? Who do we become when we dress ourselves?

In this first act under Anderson’s direction, Dior Homme doesn’t abandon its codes — it rearticulates them with sensitivity and strength. The Spring-Summer 2026 collection isn’t a spectacle; it’s a slow-blooming work. A meditation dressed in elegance. A manifesto that honors the past while propelling us into the future.

With this debut, Anderson doesn’t just affirm his place among fashion’s most influential minds. He also dares to remind us of something bolder still: in the Dior world, beauty isn’t static. It’s language. It’s action. It’s a quiet revolution.

27 June 2025            Online Fashion and Art Magazine

Gigi Goode Unleashes a Post-Apocalyptic Couture Spell of Chaos

#Photos by Instagram

Gigi Goode doesn’t design clothes — she conjures creatures. In Alchemy, her second fashion collection, the Drag Race alum-turned-fashion force ditches the pattern for paint and trades precision for possession. This isn’t fashion. It’s invocation.

In this chapter, Goode steps into full creative trance. No sewing machines. No sketches. Just silicone, cheap painter’s canvas, and gallons of house paint. In one Instagram clip, she’s barefoot, painting directly onto a mannequin like a possessed couture priestess. “Hours and hours, even days, disappear,” she says. “Then I open my eyes and there’s a garment — and chaos everywhere.”

The pieces are post-apocalyptic couture armor: wet-look black capes that evoke radioactive nuns, scorched red ball gowns, jagged coats with brutal shoulders. “It’s like a film,” she says, “some dystopian, less-hot version of Dune. Mysterious, mutated creatures — but the girls still serve.”

Originally, Alchemy was meant to address the repression of women — with high necklines, covered mouths, motifs of silence. But the concept unraveled as Goode leaned deeper into process. “I just needed to make a mess,” she explains. What emerged is her most intuitive and unfiltered work yet.

Her lifelong obsession with 1940s fashion threads quietly through it all. Raised in a basement of vintage theatre costumes, Goode started experimenting young — styling her hair in pin curls and posing in drag at 15 in abandoned Illinois buildings. In one shoot, she played a housewife on a haunted piano. Minutes later, the keys she touched started playing on their own from the next room. “The only paranormal thing that’s ever happened to me — and I was in full nurse drag.”

Now, she’s trading the main stage for something deeper. “I love Drag Race. But I have nothing left to prove there,” she says. “It was a beautiful chapter — like a weird little diary — and I’m proud of it. But I don’t need to go back.”

Instead, she’s carving her own path — splitting time between LA and Paris, connecting with boundary-pushing designers like Fecal Matter and Luis De Javier. Her focus? Fashion that’s physically unwearable, spiritually irresistible. “I want the girls who wear this to feel it in their bones,” she says. “The shoes were so intense their knees buckled. But once they stood in them — they stood.”



Alchemy isn’t a red carpet moment. It’s a cinematic possession. Couture for a world that doesn’t exist yet — but maybe should.

27 June 2025            Online Fashion and Art Magazine

Jean-Charles de Castelbajac Meets Palace: Color, Chaos, Cultural Clash

#Photos by Instagram

When the worlds of Jean-Charles de Castelbajac and Palace collide, the outcome is far more than a simple fashion collaboration—it’s a full-blown visual rebellion. This isn’t just a capsule drop; it’s a cultural event that challenges fashion norms with bold graphics, fearless colors, and an infectious sense of humor. Castelbajac brings decades of high-concept, pop-infused artistry, while Palace injects its raw, skate-driven irreverence. Together, they ignite a conversation between two generations of style disruptors—and the message is loud, playful, and impossible to ignore.

Jean-Charles de Castelbajac, the French maestro of vibrant surrealism, has never been shy about coloring outside the lines. His world is painted in primary tones, covered in cartoonish doodles, and soaked in references to pop culture, art history, and the optimism of childhood. Over the years, he’s collaborated with everyone from Madonna to Basquiat to LEGO, always turning fashion into a multidisciplinary playground. His work doesn’t whisper; it sings, shouts, and occasionally, giggles.

Palace, meanwhile, represents the new guard. Born in the gritty skateparks of London, the brand has made its name through attitude-driven design, dry British humor, and a refusal to conform to the polish of high fashion. Palace thrives on contradiction—luxury mixed with lo-fi, nostalgia with novelty, chaos with craft. In a world of curated feeds and overdesigned collections, Palace stays delightfully unpredictable. Pairing that energy with Castelbajac’s technicolor vision is nothing short of genius.

Visually, the collection is a feast. Hoodies explode with color-block patterns straight from a Mondrian fever dream. Outerwear gets the comic book treatment with hand-drawn graphics, Castelbajac’s signature naïve style injecting childlike joy into every stitch. Accessories—beanies, bags, and scarves—extend the energy, almost like walking art installations designed for city streets and half-pipes alike. And then there’s the Palace logo itself, cheekily reworked in crayon-like lines and positioned with satirical flair. It's streetwear, but with a knowing wink.

But don’t mistake the fun for frivolity. Beneath the visual fireworks lies a sharp cultural commentary. The collection riffs on art, fashion history, consumerism, and identity. It’s both homage and parody, remixing Castelbajac’s past with Palace’s present to create something entirely now. There's a fearless embrace of kitsch, a celebration of chaos, and a total disregard for minimalism. This is fashion that breaks the fourth wall—it knows you’re watching, and it wants you to laugh, think, and maybe even wear your childhood on your sleeve.

The lookbook itself amplifies the message: models and skaters lounge, leap, and laugh in saturated backdrops that feel more cartoon than campaign. There's no stiff posing here, no pretense of perfection. It’s a visual journal of friends hanging out, skateboarding through an art museum, or crashing a coloring book. And that’s exactly the point—this isn’t about dressing up, it’s about dressing loud.

In an industry increasingly obsessed with muted palettes, quiet luxury, and tonal monotony, Jean-Charles x Palace screams in full volume. It’s not trying to fit into the moment—it’s trying to blow it wide open. With color as language and irony as armor, this collaboration is both a critique and a celebration. It reminds us that fashion can still surprise us, make us smile, and most of all, be fun.

So whether you're a lifelong fan of Castelbajac’s artistic anarchy, a Palace diehard chasing the next cult drop, or just someone tired of fashion’s current whisper-tone, this capsule is a clarion call. In a world of beige, wear the red, the blue, the yellow. Wear the joke. Wear the joy.

24 June 2025            Online Fashion and Art Magazine

Giuseppe Buccinnà Builds Power Through Geometry, Silence, and Elegance

#Photos by Instagram

From the streets of Milan to the most visionary runways in Europe, Giuseppe Buccinnà is not just a designer—he’s an architect of emotion, a sculptor of silhouettes, a contemporary thinker transforming the female body into structure and motion. His label, Giuseppe Buccinnà Official, has emerged as a potent and refined voice in Italian fashion, fusing technical precision with a poetic, art-infused aesthetic.

With a background in civil engineering and pattern-making training at the prestigious Istituto Secoli, Buccinnà strikes the perfect balance between science and art. His collections aren’t simply garments; they’re constructions. Every piece is a study in geometry applied to the body: sharp cuts, asymmetrical volumes, deliberate transparency, and a sensuality that whispers rather than screams.

His inspiration goes far beyond typical fashion references. There are no fleeting trends here—no luxury clichés. Buccinnà draws from conceptual art, brutalist architecture, Japanese interiors, Henry Moore’s sculpture, and Francis Bacon’s raw, distorted portraits. His creative universe is built on emotion and form, but also ethics: 100% Italian production, sustainable processes, and a deeply rooted respect for craft, people, and planet. Every garment begins with a mission—to make beauty with purpose.

Buccinnà’s aesthetic is both commanding and tender. A magnetic duality pulses through his work: strength and vulnerability, structure and softness, control and release. His collections speak to women who wear fashion not as armor but as presence. These are women who don’t need to shout to fill a room; their clothing already does that.

His Milan Fashion Week debut didn’t go unnoticed. Since then, he’s been spotlighted by Vogue Italia and named a finalist for the CameraModa Fashion Trust Grant 2025—a prize reserved for visionary talents redefining the future of fashion. While other brands chase virality, Buccinnà cultivates impact. He’s not interested in loud statements but in garments that resonate—deeply, lastingly.



One of his recent ventures includes an eyewear capsule with Fabbricatorino, where his visual codes are translated into Italian acetate with the same obsession for line, cut, and light. It’s a natural extension of his design language—a play of shadow and clarity, precision and presence.

Giuseppe Buccinnà doesn’t dress bodies. He dresses ideas. He dresses intention. His clothes don’t follow fashion—they challenge it. In a world of constant noise, he creates through silence. And when a garment holds soul, it doesn’t need an explanation—it feels. It lands. It lasts.

The future? Architectural, ethical, quietly radical. And unmistakably Buccinnà.

22 June 2025            Online Fashion and Art Magazine

Sculpting Silence: Christopher Esber’s Precision, Femininity, and Form

#Photos by Instagram

From Sydney to Paris, Christopher Esber has steadily become one of the leading voices reshaping contemporary luxury. With a refined minimalism that’s tactile, emotional, and quietly sensual, the Australian designer has crafted a namesake label since 2010 that merges classical restraint with architectural experimentation.

Esber doesn’t dress a woman tied to any era or place. His muse is fluid, shaped by shifting culture and his own evolving creative vision. He doesn’t follow trends — he refines archetypes: the perfect blazer, the essential black dress, the silhouette that doesn’t scream but commands. Drawing inspiration from artists like Giacometti and Henry Moore, his influences stretch into sculpture, brutalism, and the clean spatial language of Japanese and Italian interiors.

Signature elements — cutouts, ruching, metallic hardware — contour the body with elegance and control. His designs reveal and conceal simultaneously, crafting tension through form. “The chicest woman in the room, without trying,” is how Esber describes his ideal client. She exudes ease, confidence, and effortlessness — dressed not for others, but for herself.

While showing in Paris Fashion Week was a career-defining moment, Esber isn’t driven by hype. He prioritizes authentic connection over visibility. Rather than celebrity placements, his pieces are often chosen organically by women like Jennifer Lopez or Diane Kruger — spontaneous moments he considers more meaningful than orchestrated exposure.

His creative roots are deeply personal. Raised among self-taught seamstresses — his aunts — he learned early on to trust intuition. Watching them cut and shape without formal patterns, guided only by instinct and an understanding of the body, left a lasting impact. This tactile, emotional knowledge continues to inform his work, even as he operates within the rigor of the global fashion system.

Each collection revisits his design codes with subtle reinvention: sculptural garments that flow, textiles that breathe, shapes that feel architectural yet alive. His pieces are like wearable sculpture — poetic, quiet, and strong.



Looking ahead, Esber is eager to explore new collaborations, hinting at a possible partnership with Levi’s, a brand he feels aligns with his vision of fashion as a lifelong companion. For Esber, garments should move with a woman through her evolving identity — not just dress her, but reflect her.

In a fashion landscape overflowing with spectacle, Christopher Esber offers something rare: clarity. Through silence, precision, and structure, his work doesn't demand attention — it earns it.

22 June 2025            Online Fashion and Art Magazine

Eva Navarro: The Silent Force Behind Contemporary Digital Minimalism

#Photos by Instagram

Eva Navarro doesn’t need to raise her voice to be seen. Her presence is precise, clean, magnetic. With a serene face and restrained gaze, the American-born model represented by DSG Model Agent has quietly become a key figure in a new generation of models who embody a less flashy, more intentional kind of beauty—one entirely in tune with the aesthetic codes of now.

Born and raised in Gilbert, Arizona, Eva began her modeling journey around 2018. But it was her move to California and connection with KTMGMT in Los Angeles that truly catalyzed her career. There, she began to refine a signature image: elegant, fresh, and tinged with a certain softness that effortlessly shifts between editorial edge and commercial appeal. Eva doesn’t perform characters in front of the camera—she distills them. Each image feels like it speaks from a sophisticated silence.

Her proportions—175 cm tall, 64 cm waist, EU size 40 shoe—translate into a classic silhouette. But what truly sets Eva apart is her visual language. In front of the lens, she offers a rare blend of airiness and structure. She knows when to soften her presence, when to focus her gaze, when to disappear behind the clothing, and when to claim the entire frame.

She has appeared in campaigns, editorials, and test shoots shaped by a 21st-century aesthetic: natural light, minimal gestures, clean production, and total presence. Her look fits seamlessly with brands that favor a modern vision of femininity—less pose, more atmosphere. Her recent work with DSG and KTMGMT shows a strong affinity for “fresh digis”: raw, unfiltered images where she radiates.

On social media, especially Instagram, Eva maintains two distinct accounts: @evanavarro_ (more intimate, with around 23K followers) and @evvnavarro (more professionally curated, with over 55K followers). Both share a cohesive aesthetic: neutral palettes, thoughtful framing, and quiet detail. It’s a personal brand—solid, confident, and far from overexposed.

Eva Navarro represents a new kind of modeling career—less about spectacle, more about consistency, discernment, and clarity of purpose. Her versatility makes her an ideal presence for both independent fashion editorials and global campaigns that seek a face with depth. If the future of fashion lies in intimacy, visual sustainability, and quiet authenticity, Eva is already there—inhabiting it with grace, precision, and beauty that never shouts.

20 June 2025            Online Fashion and Art Magazine

Iris Werkman: Redefining Beauty, Power, and Presence Through Authenticity

#Photos by Instagram

In an industry that long dictated rigid beauty standards, Iris Werkman stands as a beacon of a new era—one of conscious beauty, powerful presence, and unapologetic individuality. Born in the Netherlands, this curve model has emerged as a strong voice in the movement to redefine fashion norms. Her look is fresh, magnetic, and grounded in authenticity.

Represented by global powerhouses such as IMG (Sydney), Wilhelmina (London), and Dominique Models (Belgium), Iris has crafted a career that spans editorial features, creative collaborations, and campaigns that balance high fashion edge with a deeply personal softness. Standing approximately 1.70 m tall, with blonde hair and green-gray eyes, she breaks away from conventional molds to embrace her identity without filters.

But her work is more than posing—it’s about presence. Iris moves seamlessly between aesthetic worlds: from bold, conceptual styling to serene, nature-infused editorials. This adaptability isn’t about erasing herself—it’s about showing her full range. There’s always something unmistakably real in her gaze, something that resonates beyond the surface.

In recent interviews, Iris has spoken about vulnerability as a form of strength. Rather than hiding insecurities, she brings them into her visual storytelling. “Vulnerability can be your power,” she says—a sentiment that defines her approach. To show up as she is, fully, is perhaps the most radical act in an industry built on illusion.

With over 5k followers on Instagram (@__irisw), Iris cultivates a digital presence that mirrors her artistic philosophy. No hyper-curated perfection—just honest, evocative glimpses into her creative process, her body, and her perspective. Her platform becomes a space for connection, not comparison.

Her features in publications like C-Heads Magazine, along with campaigns across Europe that highlight inclusive casting, have positioned her as a rising figure in the global fashion conversation. Her work is not just about making room for diverse bodies, but about reimagining beauty through creativity, emotion, and truth.

Today, Werkman is part of a generation of models who do more than walk runways—they walk with intention, helping reshape the culture from within. Each photo, each post, each project asks the vital question: what happens when we stop seeing through the lens of prejudice?

With talent, clarity, and an aesthetic that blends delicacy and strength, Iris Werkman doesn’t just pose—she tells a story. One of freedom, visibility, and fierce softness. A beauty that doesn’t ask for permission. A body that claims its place.

20 June 2025            Online Fashion and Art Magazine

Aleali May Redefines Tommy Girl With West Coast Edge

#Photos by Instagram

Aleali May Reimagines Tommy Girl: A Street-Preppy Revival With LA Soul

Aleali May has done it again. The Los Angeles-born stylist, model, and designer takes center stage in the latest chapter of Tommy Girl, the iconic line from Tommy Jeans—but this time, she’s not just modeling it. She steps into the role of first-ever Guest Creative Advisor, breathing new life into the brand with a look that’s rooted in nostalgia but speaks fluently in the now. With her signature blend of laid-back California cool and hard-hitting street edge, Aleali reinvents the preppy DNA of Tommy Girl with attitude, heritage, and a whole lot of style.

Together with Tommy Hilfiger, May has created a capsule that’s equal parts tribute and evolution. They dive deep into the brand’s archives—think bold rugby shirts, oversized denim, and saturated color blocks—and redesign it for a new generation that moves between vintage, streetwear, and self-expression without borders. This isn’t about rehashing the past; it’s about reclaiming it with power and precision.

Aleali’s personal approach to style is fiercely authentic. It reflects who she is, where she’s from, and where she’s going. Drawing inspiration from ‘90s R&B and hip-hop icons like Lil’ Kim, Aaliyah, and Missy Elliot, she brings a cultural richness that adds depth to every design. “Style is about mixing influences to express who you really are,” she says. And that’s exactly what she’s brought to Tommy Girl—an aesthetic that’s fluid, bold, and personal.

Her connection with Tommy Hilfiger was instant. Both share a vision grounded in optimism, creativity, and youth culture. When Tommy saw her recent work, he invited her to help reimagine Tommy Girl for today’s world. Her starting point? A childhood memory: seeing Aaliyah in Tommy Jeans and thinking, “She looks like me.” That moment of recognition is what Aleali now wants to give others through this collection.

Among her favorite pieces: the Star jeans, the effortlessly cool rugby tee, and a rhinestone-trimmed dress that brings sporty chic into the spotlight. Each garment is designed to feel natural and confident—clothing that doesn’t wear you, but lets you show up as your full self. The message is clear: Tommy Girl is not one person, one look, or one moment. It’s whoever you choose to be.



This collection isn’t just a fashion revival—it’s a cultural reset. Aleali May isn’t looking to copy the past, she’s rewriting it with her own voice. With intention, representation, and vision, she turns this collab into something more than just a drop. It’s a statement.

In a fashion world full of empty collabs and fast fades, Aleali’s Tommy Girl proves that when you design with soul, it lasts. Because Tommy Girl was never just a trend—it was always a feeling. And right now, that feeling is back.

19 June 2025            Online Fashion and Art Magazine

Supreme and Zoo York Reignite New York’s Skateboarding Soul

#Photos by Instagram

The Spring 2025 collection is a gritty, reverent ode to the golden era of New York City skateboarding, when pavement was cracked, mixtapes were dubbed on VHS, and the culture oozed out of every chipped curb and spray-painted wall. This isn’t about polished streetwear aesthetics. This is about energy. About noise. About legacy.

Founded in 1993, Zoo York emerged when the skate world was still orbiting California’s sun-drenched punk rock fantasy. But while the West Coast was all halfpipes and palm trees, the East was something else entirely: raw, rhythm-heavy, unpredictable. NYC skaters weren’t just riding—they were weaving through graffiti, freestyling with boom boxes in the park, sharing space with breakdancers and graffiti writers.

Zoo York captured that chaos and channeled it into identity.

The 1997 Zoo York Mixtape, directed by RB Umali, was the brand’s purest expression—more than just a skate video, it was a street documentary. It featured unfiltered clips of legends like Harold Hunter, Robbie Gangemi, and Jefferson Pang, mashed up with live freestyles straight from the legendary Stretch & Bobbito Show. The result? An audio-visual time capsule where skateboarding and hip-hop fused into a singular NYC subculture, guest-starring Method Man, Ghostface Killah, Busta Rhymes, and Fat Joe.

Fast forward to 2025: Supreme, ever the archivist of underground cool, taps into that raw archive with Zoo York to revive—not just reference—that iconic era. The result is a capsule that reeks of New York grit. It’s not about streetwear pretending to be skate—it’s streetwear that was born from it.

The drop includes:

A soccer jersey with bold retro graphics

Classic hoodies with oversized fits

Baggy jeans straight out of a 1990s skate edit

Loose shorts, graphic tees, and a healthy dose of logo play

Accessories like a camp cap, beanie, a co-branded deck, and Spitfire® wheels for the real heads

The colors are muted but aggressive. The silhouettes are loose, confident, and nostalgic without being ironic. This is the LES in ‘97. It’s the sound of wheels scraping over uneven brick. It’s the smell of pizza, ink, and sweat on a summer night downtown. Supreme understands that sometimes fashion doesn’t need reinvention—just a reminder of where it all came from.

The capsule drops June 19 online and in Supreme stores globally, with an Asia release on June

And while the collection is tight, the impact is cultural. In a landscape oversaturated with glossy, collab-for-collab’s-sake streetwear, this one stands out for its roots.

Supreme x Zoo York isn’t just a collection—it’s a living archive. It reminds us that before streetwear was a global industry, it was local. It was noisy. It was skaters filming on Hi8 tapes, tagging walls, getting chased, and creating a language through motion and music.

This is more than nostalgia. This is skate culture in its purest form—reclaimed, reprinted, and reissued for the real ones.

19 June 2025            Online Fashion and Art Magazine

Donald Glover Reimagines Outdoor Style With Moncler Genius Collaboration

#Photos by Instagram

Teaming up with Moncler Genius under the banner of his creative commune Gilga Farm, Glover drops a capsule that feels less like just another celeb collab and more like a design manifesto. It’s relaxed but precise, functional but poetic, outdoorsy but make it fashion.

The result? A collection that distills Southern California soul through the refined, high-performance lens of Moncler’s alpine heritage.Titled simply as Moncler x Gilga Farm, the collection embodies Glover’s offbeat yet grounded aesthetic: think transitional layers for warm-weather wanderers, playful graphics with a surreal wink, and pieces designed to do things, not just sit pretty. The core idea? Utility meets storytelling.

Anchored in California's sun-baked energy, the capsule swaps the typical puffers for lightweight, summer-minded materials—technical linen jackets and trousers, cotton tees, windbreakers, caps, sandals, and an undeniably cool burnt-orange suede jacket that feels like the sartorial version of golden hour. But the standout piece—the true icon in the making—is a duvet jacket that morphs into a sleeping bag. Yep. A sleeping bag you can wear.



It’s more than a gimmick. Glover explains, “Functionality is key—it’s what connects Moncler and Gilga. We both create for real-world usefulness.” That ethos is embedded in every stitch of this collection, especially in the sleeping bag coat, which riffs on one of Moncler’s first-ever designs while pushing it into future-wear territory. “I want to make things that have actual value,” Glover adds. “Not just another piece of clothing.” The sleeping bag coat, in his eyes, is both fashion and philosophy.

But there’s fun here, too. The campaign comes with a whimsical animated short where Donald drifts off to sleep at Gilga Farm and wakes up in a dreamy Moncler mountain-scape—a playful crossover between his two worlds, where practicality and fantasy shake hands under the stars.

The collection also carries a personal narrative: Glover’s first Moncler piece—a ski coat covered in cartoons and lined in yellow—was something he picked up randomly while living in New York, long before this collab was ever a thought. “It stuck with me,” he says. “That jacket felt like a story. This collection does too.”

What makes this drop stand out in the crowded collab market is how unpretentious it feels. There’s no flex. No over-designed gimmicks. Just thoughtful, wearable gear for creatives, dreamers, and the style-conscious who live a little off-grid. The color palette is grounded, the silhouettes easy but smart, the vibe unmistakably Glover: part loner-genius, part nature-shaman, part street philosopher.

And yes, he’s in good company. Glover is one of 11 collaborators in the Moncler Genius 2025 lineup alongside A$AP Rocky, Willow Smith, and Edward Enninful—but his voice is uniquely his own.

Available now via moncler.com/genius and selected Moncler stores, the Donald Glover x Moncler Genius collection proves that fashion doesn’t have to shout to be bold. Sometimes, it’s the quietest gear that speaks the loudest.

19 June 2025            Online Fashion and Art Magazine

ERL and Peter Berlin Rebel With Erotic Denim Fantasy

#Photos by Instagram

Eli Russell Linnetz is done playing it safe. With The Wild Bunch, ERL’s pre-fall 2025 collection, he trades in the sunshine-soaked nostalgia of previous seasons for something wilder, grittier—and unapologetically sexy. Set against the darker backstreets of Venice Beach, the collection takes cues from biker gangs, metal shops, and 70s cult cinema. Think Marlon Brando in The Wild One meets queer rebellion, filtered through ERL’s chaotic, cinematic lens.

Forget clean-cut preppy. This is the era of the Dudley Dozens—a fictional gang of mercenaries-turned-anarchists who wear their leather shredded, their denim sun-faded, and their attitude like armor. It’s youth subculture, reprogrammed. “I was coming out of this kind of preppy optimism I was hell bent on,” says Linnetz. “I started walking around Venice, soaking in the grit, the edge, the film references. It all collided.”

But what really takes this collection to the next level is the unexpected collaboration with queer icon and visual pioneer Peter Berlin. Known for his provocative self-portraits that defined a generation of homoerotic art in the 1970s, Berlin’s work is repurposed into graphic prints across tanks, biker tees, and muscle shirts. His unapologetic sensuality infuses the collection with a raw charge, challenging the limits of fashion’s comfort zones.

For Linnetz, the collaboration wasn’t just aesthetic—it was spiritual. “Peter existed on the fringes of the art world like I feel I exist outside of the fashion world,” he explains. “There was a deep connection in the way we both create in isolation, in how misunderstood that process can be.” That bond manifests in garments that feel like emotional armor—soft in construction, but sharp in intention.

And while the mood may be rebellious, the execution is pure discipline. Everything is handcrafted in California, from the sun-bleached, hand-dyed denim to the wool varsity knits made with American-spun yarns. This isn't chaos for chaos’s sake—it's calculated disruption. “I work in silence, in a regimented way,” Linnetz shares. “That control lets me unleash the chaos in the clothes.”

The result? A cinematic, erotic, rule-breaking wardrobe for the ones who never belonged to begin with. ERL doesn’t just design clothing—it builds universes. The Wild Bunch isn’t about dressing up; it’s about stepping into character. A character that’s misunderstood, defiant, and a little dangerous.



In a world of polished campaigns and sterile minimalism, Linnetz reminds us that fashion should be feral, dirty, and deeply human. With The Wild Bunch, he doesn't just challenge the mainstream—he seduces it, flips it off, and rides away on a sun-faded chopper.

ERL was never meant to fit in. And that’s exactly the point.

17 June 2025            Online Fashion and Art Magazine

Francesco Risso Exits Marni After Nine Visionary Creative Years

#Photos by Instagram

After nearly a decade of redefining Marni’s aesthetic with his unmistakable dreamlike, maximalist, and radically free vision, Francesco Risso says goodbye to the Italian fashion house. The news, officially announced by the OTB Group on the morning of June 18, marks the close of one of the boldest chapters in recent luxury fashion history.

Risso, who joined Marni in 2016 following the departure of founder Consuelo Castiglioni, was met with skepticism. Replacing a visionary is no easy feat—especially when you’re a virtually unknown designer who had been working quietly behind the scenes at Prada. But what followed was a masterclass in reinvention: collections that broke away from inherited minimalism, delirious color palettes, voluminous silhouettes, romantic psychedelia, and a theatricality that revived Marni’s spirit—young, free, and provocative.

In his farewell, Risso didn’t hold back his emotion: “Marni has been a studio, a stage, a dream,” he told Vogue Business. And he wasn’t exaggerating. For nine years, he turned each show into a multisensory experience where art, music, and fashion spoke the same language. From runways transformed into surreal gardens to unexpected collaborations, Risso proved that fashion isn’t just clothing—it’s expression, it’s visual choreography.

Renzo Rosso, chairman of OTB, bid him farewell with high praise, highlighting his ability to keep Marni’s spirit alive while leading it into unexplored territory. “Francesco is a unique designer and an artist at heart,” he said. And he’s right: Risso didn’t design to please; he designed to challenge, to move, to provoke thought.

Collections like Fall/Winter 2024 with its “interior zoo” turned into garments, or Spring/Summer 2024’s 2D flower dresses that defied dimensionality, are just two examples of his ability to build alternative universes from fabric. His designs were never predictable, and that’s why, during his tenure at Marni, he achieved something rare in the industry: being authentic without becoming a caricature.

The grandson of a tailor, taught by his seamstress grandmother in Genoa, educated at Polimoda and Central Saint Martins, Risso carries the perfect mix of craftsmanship and imagination in his DNA. Before Marni, he spent eight years at Prada, quietly refining a vision that would later explode with total freedom once he had his own creative space.

Now, with his departure, the inevitable question looms: who will take the reins? And even more pressing: what’s next for Risso? One thing is certain—we won’t see him vanish behind the curtain. Francesco has too much character, too much vision, and too many stories left to tell to remain silent.

So for now, we say thank you. Thank you for the beautiful chaos, the impossible shapes, the shameless colors. Thank you for making Marni a place where strangeness was celebrated. The future is wide open, and Risso is surely already dreaming up his next stage.



17 June 2025            Online Fashion and Art Magazine

Martine Rose Reclaims London Fashion With Grit and Glamour

#Photos by Instagram

In Martine Rose’s London, fashion doesn’t walk the runway — it weaves through side streets, lounges in barbershops, sips cocktails at a market stall, and lands unapologetically on the shoulders of the people who keep the city alive. After her Milan debut last season, the British designer returned home with an off-schedule show that felt more like a community act than a traditional presentation.

The venue: a former job centre in Marylebone, transformed into a visual oasis on the hottest day of the year. Downstairs, a buzzing market showcased emerging vendors selling graphic tees, zines, vinyls, and art, as guests mingled over drinks and creativity. Upstairs, the space turned into a ‘70s-style dream salon, with satin drapes replacing the grey carpeting — a world reborn, Martine-style.

The show opened with a model dressed head-to-toe in black and a towering wig — a recurring motif of dramatic, sculpted, and permed hair that echoed across the runway. “We wanted the models to play,” Martine shared backstage. “They were all street cast. I wanted them to enjoy posing — to have fun and be charming. Because people are charming, aren’t they?”

The soundtrack, curated by longtime collaborator Sasa Crnobrnja, swung between '90s underground hits and remixes of Fela Kuti, turning the show into a hybrid of club night and cinematic performance.

The clothing? Sexy, awkward, experimental — and completely captivating. Rose described it as “a new, shrunken silhouette,” and it delivered. Shapewear was repurposed as outerwear, shirts and jackets clung to the body with stretch fabric, while leather coats were cropped or cinched tightly at the waist. There was an almost absurd play on proportions: oversized tailoring pinched to fit, thigh-skimming shorts paired with knee-high socks, and football jerseys rebranded with Martine’s iconic logos.

Technical gear was mashed up with slick leather pants, hooded tracksuits fused with baseball caps, and slinky skirts teased against structured jackets. On the feet, she debuted a new version of her cult-favorite Nike Shox MR4, alongside kitten heels and hybrid mule-loafers — each detail a nod to the unpredictability of London’s high streets.

And as always, the prints told their own story. Juice packaging became graphic art. Vintage adult magazine ads reimagined as fashion statements. Even barbershop capes and greasy spoon aprons were transformed into covetable pieces.

This is Martine Rose’s London — imperfect, alive, and defiantly sexy. It’s not just a city, it’s a living archive of subcultures, people, tension, joy. A place where fashion doesn’t dictate — it collaborates, remixes, celebrates. And no one captures that spirit like Martine.

17 June 2025            Online Fashion and Art Magazine

Dapper Dan Redefines Luxury, Harlem Style, Decade After Decade

#Photos by Instagram

In an industry obsessed with looking to Paris and Milan, Dapper Dan looked to Harlem. While luxury houses crafted fantasies in European ateliers, he was stitching identity, pride, and resistance from a small boutique on 125th Street. Today, with over four decades of career behind him, he continues to prove that real haute couture is born on the street — in the urgent need to be seen.

Daniel Day, aka Dapper Dan, was born in 1944 in Harlem, New York. The son of a working-class family, he grew up surrounded by street dice games, jazz, and a Harlem brimming with contradictions. In the 1980s, he turned his environment into pure inspiration. He opened his boutique in 1982, and from that modest space, began redefining what luxury meant for African-American and Latino communities.

His formula was as subversive as it was genius: take logos from brands like Gucci, Louis Vuitton, and Fendi, and reinterpret them on leather jackets, tracksuits, and fur coats. It wasn’t counterfeiting — it was reverse cultural appropriation: taking symbols of exclusion and turning them into emblems of power. He was a designer before the world accepted him as one — a visionary before streetwear had a name.

His client list read like a hip-hop hall of fame: Mike Tyson, Salt-N-Pepa, LL Cool J, Eric B. & Rakim, and practically every icon of 1980s rap. But success came at a cost. Lawsuits from fashion giants over unauthorized use of logos led to a 1992 raid spearheaded by Fendi that forced the closure of his boutique.

The end of his story? Not even close.

In 2017, Gucci unknowingly reignited his legacy by replicating one of his iconic designs — without credit. The backlash was swift. But instead of turning away, Gucci did the unthinkable: they invited Dapper Dan to collaborate officially. Together, they reopened his legendary Harlem atelier — this time with full brand backing, but still rooted in his original spirit. He went from fashion outlaw to luxury insider, helping to reshape the global fashion narrative.

Now, at 80, Dapper Dan isn’t slowing down. He works as an author and speaker, launches capsule collaborations with brands like Gap, and remains a vital voice in conversations about fashion, race, and representation. His memoir, “Dapper Dan: Made in Harlem”, is a powerful testament to survival, style, and redemption.



He’s been named to the Time 100, his designs have been showcased in the MoMA, the Smithsonian, and honored by the Met Costume Institute. His Harlem atelier still operates today, dressing a new generation of artists, activists, and creators who understand that style can be resistance.

Dapper Dan doesn’t follow trends — he predicts and shapes them. He dresses bodies, yes, but more importantly, he dresses narratives. Stories of those once excluded from luxury. Stories of those who now walk tall — in a look that started in Harlem.

13 June 2025            Online Fashion and Art Magazine

Robbie Spencer Dresses Ideas, Not Bodies — Fashion’s Punk Oracle

#Photos by Instagram

There are stylists. And then there’s Robbie Spencer. A visual architect of desire, an alchemist of stylized chaos, a visionary who doesn’t just follow fashion — he redraws it with fresh blood and a punk attitude.



In a world saturated with images, Spencer cuts through the noise with a sharp scalpel and a militant gaze. With over a decade redefining the visual language of Dazed, his legacy spreads like an elegant, distorted shadow across the entire industry. He doesn’t create looks — he builds universes.

“Clothes aren’t enough. There has to be tension. A story. A crack in the surface where the light gets in,” he once said in an interview. That crack is where his magic lives.

Nothing in his work is accidental. Everything feels stolen from a vivid dream and thrown mercilessly onto the editorial canvas.
From wrapping Rihanna in alien lace to dressing Timothée Chalamet like a post-human dandy, Spencer reimagines masculinity, femininity, and everything in between with exquisite insolence.

His aesthetic — sharp, baroque, conceptual — drinks from surrealism, grunge, urban youth, 90s club kids, queer art, and something even rarer: honesty.

He’s not a decorator. He’s a storyteller.

More than a stylist, he’s an invisible director. His work with photographers like Willy Vanderperre, Harley Weir, and Nick Knight has produced some of the most haunting and poetic fashion images of recent years.

Magazines like AnOther, Vogue Italia, L’Uomo Vogue, Document Journal — they’ve all fallen under his spell. But it’s at Dazed where his impact has been most visceral: for 15 years, he was the aesthetic heart of the publication, steering its visual DNA into darker, stranger, more beautiful territories.

Now, as Executive Fashion Director, Spencer steps into a mutant phase: freer, more hybrid, more dangerous. From projects with Moncler and Givenchy to shows for Craig Green and Y/Project, his influence is everywhere — though you’ll never see it coming.

And that’s the brilliance of Robbie Spencer: he doesn’t impose a formula, he just leaves you wondering why the world hadn’t dressed like this before.

Maybe in 10 years, fashion history books will call him “the stylist of the post-gender generation.”

Or maybe “the eye that stripped fashion of its lies and dressed it in truth.”

Either way, one thing is clear:
Robbie Spencer doesn’t dress bodies. He dresses ideas.

13 June 2025            Online Fashion and Art Magazine

Madeline Argy Camps in Style with Samsøe Samsøe FW25

#Photos by Instagram

When you go camping, you know the drill: rope, tent, sleeping bag, stove, flashlight, food, water. The basics. But Samsøe Samsøe, the Scandinavian label with a sixth sense for functional style, reminds us that a mood is just as essential. In their new pre-FW25 collection, titled “Summer Camp”, they take survival gear and elevate it to an aesthetic — minimalist, wild, and completely wearable.

But the clothes aren’t the only highlight. The brand makes a bold move by announcing its first-ever official brand ambassador: Madeline Argy. Yes, that British internet sensation known for her chaotic-good energy, unfiltered storytelling, and “I-don’t-care-but-here’s-my-entire-life” vibe. A risky pick? No. A perfect one.

In the campaign visuals, Madeline wanders through nature — among trees, tall grass, textures that feel raw and real — wearing the collection with the kind of attitude that doesn’t perform, just exists. It’s not styled to death. It breathes. Light jackets, reimagined cargo pants, oversized parkas, boxy tees — all in earth tones, mossy greens, stone, muted rose and dusty pastels. The kind of palette that whispers instead of shouts. Cool without the costume.

And that’s the genius: “Summer Camp” isn’t literal, it’s symbolic. You don’t need a flashlight to see clearly if you know what you’re carrying inside. This isn’t “camping gear chic.” It’s a uniform for emotional freedom. It’s about losing yourself to find yourself again. It’s about motion, silence, and owning your own transformation.

The collection isn’t screaming for attention — and somehow, that makes it louder. No flashy logos, no trend-chasing, no desperate “look at me.” It’s clothing with its own quiet language, made for people who shift moods, change plans, and rewrite their own vibe daily. A wardrobe that gets it.

In her conversation with the brand, Madeline sums it up perfectly: summer isn’t a season — it’s a state of mind. And this “camp” isn’t a physical place; it’s a mindset. One where you disconnect from the noise and reconnect with lightness. With what feels good. With what’s real.

Sure, a trip to the forest is nice. But moving at your own rhythm, with pieces that don’t ask you to explain yourself? That’s better. And if you happen to throw on a Day Off mini bag or some thigh-high boots on your way there — even better.

"Summer Camp" is relaxed attitude with sharp intention, a quiet manifesto that says, “I dress for me, not the algorithm.”


And in this world? That’s almost revolutionary.

12 June 2025            Online Fashion and Art Magazine

The Attico FW25 Embraces Chaos, Duality, and Unfiltered Style

#Photos by Instagram

Coherence? Overrated. At least that’s the unapologetic stance of The Attico in its fierce new FW25 campaign, kicking off with a manifesto-worthy declaration:

“Coherence is a trap.” A statement begging to be tattooed on the back of every girl with a shapeshifting personality and a mood-dependent wardrobe. And that’s exactly the point: dressing isn’t about defining yourself — it’s about transforming. Shifting without explanation. Gilda Ambrosio and Giorgia Tordini make it clear — once again — that the The Attico woman doesn’t need to fit into anything.

This season throws out the rulebook. No fixed formulas. Just bold contrasts, deliberate contradictions, and a visual story that celebrates fluidity. One day she’s a power-dresser in an oversized shoulder-padded suit; the next, a slinky siren in a snake-print dress. Everything is valid as long as it matches who she is right now.

Because yes, duality is human — and also aesthetic. As Rosalía famously put it: “I’m very me — I transform.” And in every transformation, there’s a look to match. This collection gets it like gospel: your style doesn’t need to be coherent, it just needs to be true to who you are in the moment.

The trench coat becomes a hero piece; zippered cargo pants bring back interactive styling. The oversized varsity jacket channels early 2000s nostalgia — without slipping into costume territory. It’s retro, minus the clichés. And the accessories? Pure Attico punch: over-the-knee boots for a power walk, sculptural curved heels built for high drama, and mini bags like La Passeggiata and Day Off that say, “I’m out — but you’ll notice me.”

The color palette speaks softly, but firmly. Black, grey, beige, olive green — the hues of a woman who doesn’t need to shout to be seen. But that doesn’t mean she stays silent: deep wine and icy pink tones make surprise appearances, like a sudden lip bite in the middle of a calm conversation — “Now watch me.”

This collection dances between quiet sophistication and unapologetic boldness. Like a butterfly post-metamorphosis, The Attico woman emerges without needing to explain herself. Her style is a living statement: she wears it all, owns it all, and apologizes for nothing.

Because in the end, dressing isn’t about fitting in — it’s about expression. Being many things at once. Being messy, moody, contradictory. And doing it with purpose. The Attico gets that — and leans into it, with no script, no straight lines, and not a hint of needing approval.



The takeaway? Incoherence is actually honesty. Because the only narrative that matters is yours — and if it’s non-linear? Even better. That’s where real style begins.

12 June 2025            Online Fashion and Art Magazine

Myah Hasbany Reimagines Alien Lore Through Transformative Fashion Design

Myah Hasbany presents a deeply symbolic and personal final collection inspired by a little-known yet meaningful legend: the alleged UFO crash in Aurora, Texas, in 1897.

 According to local lore, a spaceship collided with a windmill, and the alien on board died on impact. Rather than publicize the event, the townspeople gave the extraterrestrial a Christian burial and collectively erased the incident from memory. Myah uses this story as a narrative foundation, imagining a world where the townspeople who covered up the crash begin to mutate and transform—physically and psychologically—as a result of suppressing the truth.

This idea of transformation is reflected in the silhouettes of her designs, which evolve from familiar, traditional shapes into strange, otherworldly forms.

One of the standout pieces is a hand-embroidered coat adorned with over 300,000 beads—a labor-intensive project that took her over a year to complete.

The coat not only showcases technical skill and dedication but also acts as a metaphor for the emotional weight of concealing what is different or uncomfortable. For Hasbany, this is more than just a fictional story—it mirrors real social dynamics she has observed growing up in Texas: the tendency to silence or erase what doesn’t conform.

This theme becomes even more resonant given the current political climate in her home state, where anti-LGBTQ+, anti-women, and especially anti-trans legislation is increasingly being passed. Through her fashion, Myah offers a subtle yet powerful critique of how “othered” identities not only survive but reshape the world around them—just as her fictional characters do in the town of Aurora.

Alongside her creative vision, Hasbany also reflects on the limitations within fashion education. She notes that many students are unaware of the wide range of roles available in the fashion industry until they start working for larger companies. She believes fashion schools should do more to expose students to these varied paths early on and help them develop their unique strengths accordingly.

Personally, she is committed to designing clothing for body types that have historically been ignored by mainstream fashion. She has long been frustrated by the lack of size representation on runways and the challenges of finding clothing that truly fits and flatters. Her goal is to change the narrative that certain bodies can't look fabulous.

One defining moment in her journey was a chaotic trip to Paris with a friend, during which they hand-delivered their portfolios to various fashion houses. The trip was a logistical nightmare, and she suspects many of the portfolios were discarded immediately.

Still, the act of putting herself out there proved crucial. Despite the awkward encounters, she ended up landing an internship at Maison Margiela—partly because they remembered her loitering in the lobby.

For Myah, that experience represents the importance of taking risks, even when success seems unlikely. It reaffirmed her mission to challenge convention and design with authenticity, courage, and purpose.

12 June 2025            Online Fashion and Art Magazine

Sabrina Carpenter and Prada Beauty Spark Magic in ‘Manchild’ Video

Sabrina Carpenter and Prada Beauty: A Power Duo in 'Manchild'

Sabrina Carpenter is continuing her reign as both a pop princess and beauty muse, this time deepening her glamorous collaboration with Prada Beauty in her latest music video, "Manchild."

The visual not only showcases her signature charm and cinematic flair, but also drops subtle — yet unforgettable — beauty cues that hint at an evolving creative partnership with the iconic fashion house.At the center of the buzz is a small, unexpected detail: a banana-shaped candy adorned with the Prada logo.

Far from being a random prop, the candy references Prada's playful archival banana print and symbolizes a whimsical new era in their branding. It serves as both an Easter egg for fans and a nod to a larger campaign in the works — one that blends the boundaries between high fashion, music, and beauty with bold, pop-infused storytelling.

This isn’t Sabrina’s first time integrating Prada Beauty into her visuals. In her previous hit, “Please, Please, Please,” she spotlighted the now-viral Color Changing Lip Balm, a product that has since become a cult favorite. Alongside it was Pradascope, the brand’s debut mascara, which added a sleek, high-fashion touch to her on-screen persona. In "Manchild," however, the beauty narrative is expanding further.

Sabrina’s glam in the video features not only the Pradascope mascara and the newly introduced Prada Light Highlighter, but also teases a mystery lip product — yet to be named — that fans are already clamoring to identify. The lip moment, paired with her ethereal, glowing skin and bold eye looks, suggests that more exclusive Prada Beauty products may be on the way.

The banana candy, while small in size, carries big implications. It represents the unique blend of camp, luxury, and clever marketing that defines both Carpenter's aesthetic and Prada’s ever-evolving identity. The collaboration feels authentic — Sabrina doesn’t just wear Prada; she embodies it.

Through her visuals, she transforms beauty products into storytelling devices, making every lipstick swipe or candy drop a symbol of something bigger: identity, rebellion, or playful seduction.

Speculation around a broader Sabrina x Prada Beauty capsule collection is growing. Will the mystery lip product become the next viral sensation? Is Prada preparing to launch limited-edition items tied directly to Sabrina’s visuals? While no official confirmation has been released, the signs are hard to ignore — and fans are watching closely.

One thing is clear: Sabrina Carpenter is not just a face for Prada Beauty — she’s shaping its future. With her finger firmly on the pulse of pop culture, and Prada’s innovative approach to beauty marketing, this partnership is proving to be one of the most exciting intersections of music and makeup in recent memory.

11 June 2025            Online Fashion and Art Magazine

HEL­MUT LANG PRE-FALL 2025: RADICAL CLEAN AND CONTROLLED BEAUTY

Sharp words, clean clothes. Helmut Lang’s new collection arrives like a quiet strike in the middle of chaos. Nothing is excessive, everything is in its place. And yet, there’s no coldness.

There’s restraint — but also body, intention, and a very specific way of saying a lot without raising its voice.

Photographed by Daniel Shea and styled by Jason Rider, the Pre-Fall 2025 collection presents itself as a minimalist manifesto that doesn’t aim to impress, but to refine. In an era overloaded with visual noise, Lang offers clarity: precise cuts, technical materials, clean forms. A quiet, but firm language.

Basics are not so basic. Laser-cut poplin shirts with embroidery that almost disappears into the fabric. Sheer knits with 3D lines that look like textile architecture. Cotton twill zoot pants, boxy charmeuse shirts, malfilé textures... It all speaks to a luxury that isn’t loud but is deeply felt in every seam.

The cocoon pant — with its sculpted volume and tapered leg — perfectly captures the spirit of the collection: classicism that mutates without losing its frame. Up top, the Bustier Shirt or the Uniform Shirt reinterpret uniform codes from a more sophisticated, almost futuristic lens. Oversized pockets, calculated abrasions, surgical precision.

Garment-dyed cotton basics with ombré effects bring a relaxed balance without disrupting the harmony. Logo sweatshirts and tees aren’t here to chase the streetwear wave, but they don’t reject it either. They’re just another note in the conversation. Not everything has to make a statement. Sometimes, it just has to work.

The color palette is sober: surgical whites, deep blacks, concrete-like grays. Everything breathes clarity, geometry, and intention. No frills. No excess. And today, that alone feels revolutionary.

Helmut Lang Pre-Fall 2025 doesn’t ask for your attention. It’s for those who no longer need to shout. For those who choose pieces that accompany rather than disguise. For those who know that real style lives in the details — and that clothes can speak without making noise.



Available now at helmutlang.com. If it leaves you indifferent, maybe it’s not for you. And that’s perfectly fine.

05 June 2025            Online Fashion and Art Magazine

Demna’s Final Matthew Williams Debuts in Paris with His Most Personal Label Yet

Matthew Williams is back. After his departure from Givenchy in 2023, the American designer returns to the heart of fashion with the launch of his namesake label—and he’s doing it in style.

His first collection will debut during Paris Fashion Week, from June 26 to July 1, hosted at Seiya Nakamura’s showroom. But this isn’t just a comeback—it’s a statement of intent.Known for his sharp aesthetic and ability to fuse luxury with streetwear codes—something he mastered at both Givenchy and 1017 ALYX 9SM—Williams is now hitting pause and turning inward.

This new chapter steps away from the breakneck pace of seasonal fashion, embracing a more conscious, meticulous, and lasting form of creation. The result won’t be a trend-driven spectacle, but a thoughtful reflection on craftsmanship, process, and purpose.

The collection centers on material quality and manufacturing excellence. To achieve this, Williams has reunited with long-time collaborators from his 20-year career: an artisanal denim mill in Japan, a jersey fabric specialist in the U.S., and a handmade footwear workshop in Spain. This trusted network forms the foundation of a collection that promises to be as honest as it is sophisticated.

The offering will include both menswear and womenswear—but gender is not the focus. These are garments designed to speak to the body and its function. While ALYX gave us industrial buckles and edgy street silhouettes, and Givenchy reimagined classic elegance, this time Williams invites us into a new space: one where luxury is redefined through authenticity.

The designer, who began his career as Lady Gaga’s creative director and was one of the co-founders of Been Trill, has evolved. He’s no longer chasing impact through excess, but aiming to connect through what’s essential. In an industry overwhelmed by overproduction and creative burnout, his decision to slow down—to do less, but do it better—feels almost revolutionary.

The debut collection remains under wraps, but all signs point to a thoughtful synthesis of experience and vision.

A mature project, free of unnecessary frills, that focuses on substance over spectacle. And while Matthew Williams remains one of the most influential names of his generation, this launch marks a shift: less hype, more intention.

At a time when the fashion world is desperate for new narratives, Williams’ approach feels like a whisper among the noise. An invitation to look closely, to touch the seams, to realize that true luxury may once again lie in what is made with time and purpose.

Could this be the beginning of a new era for the designer? All signs point to yes—and we’ll be watching closely

04 June 2025            Online Fashion and Art Magazine

Demna’s Final Balenciaga Collection Redefines Fashion’s Social Code

Demna’s last collection for Balenciaga, titled Exactitudes, is not merely a seasonal offering—it’s the closing chapter of a transformative era. After nearly a decade redefining the codes of luxury, the designer’s farewell to the Maison is neither nostalgic nor sentimental.

Instead, it functions as a visual and conceptual archive, capturing the essence of his tenure and offering a bold, calculated reflection on fashion as anthropology.

The collection draws deep inspiration from Exactitudes, a long-running photographic project by Ari Versluis and Ellie Uyttenbroek. This documentary series captures people in public spaces, dressed in strikingly similar outfits, exposing the tensions between individuality and conformity.

Demna takes this concept and weaves it into the core of his final show. His garments echo this visual language—uniform yet distinct, standardized yet nuanced. The result is a compelling study of human behavior through clothing.

Every silhouette in Exactitudes is sculpted with mathematical precision. Volumes are exaggerated, proportions are warped, and textures are layered with purpose. There’s an intentional uniformity across the collection, a visual code that blurs the boundaries between luxury fashion and streetwear, between couture and the everyday.