1. Edit Your Closet

If there's one thing Bazail drilled into me over our two days together, it's that an organized closet is a constantly evolving one. Before we even touched a hanger, she had me confront the hard truth: I had been accumulating clothes (and shoes, and bags) without auditing for years. "The biggest mistake I see is not editing your wardrobe consistently," she says. "If you love fashion, you naturally love adding to your closet. But without regular edits, things very quickly become overwhelming." Her recommendation? A wardrobe “edit” every three to six months. "When you don't, you end up in this cycle where you're constantly bringing in new pieces, forgetting what you already own, and ultimately not wearing the items you actually love."

Since my closet reset, I’ve been holding myself to the one in, one out rule: every time I buy a new item of clothing, I put one item in my donation pile. So far, it’s holding me accountable.

#2: Remove, Refine, Reset

Bazail's signature process, which she calls the Reset Method, is the backbone of everything she does. "Before you organize anything, you have to understand what you actually have and whether it makes sense for your life," she explained, as I watched my entire wardrobe migrate to my bed. Her method moves through three stages: remove, refine, and reset.

First, everything comes out of your closet—the messy part. She recommends sorting those pieces into five categories: keep, sell, donate, trash, and maybe. "It helps turn what can feel overwhelming into something much more clear and manageable," she said—and honestly, having a "maybe" pile was a game-changer for my indecisive brain.

Tip #3: Deal With Your "Maybes"

Deciding whether to keep or get rid of your “maybes” can be hard for some people who are emotionally attached to their things (me), or are the type to hold onto things they never wear “just in case” (also me). If you relate, try this: split everything you’re unsure about into everyday essentials, occasion pieces, and passed-over pieces. For everyday essentials, toss or donate anything that feels overly worn; keep the rest. For occasion pieces, be honest with yourself about how wearing each item makes you feel. Lastly, for passed-over pieces—the top you never seem to reach for, the shoes you tell yourself you’ll wear, but never do—be honest with yourself about the reason you never wear them. “I’m less interested in when you last wore something and more in why you didn’t choose it,” Bazail says. “If you keep skipping over it, there’s usually a reason, and it likely doesn’t fit your life the way it used to.” In other words: let it go.

Tip #4: Organize By Wear

From there, the refining stage is where you start to make decisions about how your closet actually functions day-to-day. Think about what you reach for constantly versus what's purely seasonal. "That naturally determines what deserves to be front and center, versus what can be stored a bit further out of reach," Bazail says.

For my closet, she hung my blouses and tops above my pants and skirts; these are my everyday items, so she put them front and center. My blazers and light jackets were hung in the next room, and my winter coats were hung in a different unit entirely—so, come summer, I can ignore that area completely. "The goal isn't just for it to look good, but for it to function in a way that actually lasts,” she says.

Tip #5: Invest In Organizers

"The most chic spaces are actually the simplest," she told me. "It's less about adding more and more organizers, and more about creating a sense of uniformity." Her go-to upgrades? Matching thin felt hangers (which look chic and help save on space), consistent bins, and simple drawer dividers. "Those subtle upgrades instantly make a space feel more elevated and intentional."

Now that I’ve been living with my new closet for a few weeks, two things that have made the biggest difference are the drawer dividers and the bins. The drawer dividers allowed me to break up my larger drawers into different sections and give me more space—the key is to fold your tops and place them in vertically, like papers in a filing cabinet—while the bins are perfect for throwing things into when I’m short on time but don’t want to look at clutter.

But she was firm on one key point: "Too many organizers can actually make a space feel more cluttered, not less." When it comes to specifics, her foundational list is short: felt hangers, clipped hangers, pant hangers, drawer dividers, set hooks, a hat organizer, a sunglasses organizer, and a jewelry display.

Bazail recommends the below organizers:

Tip #6: Stack Your Shoes & Hang Your Bottoms

Shoes and bottoms are two particular things I have in excess. I was concerned there wouldn’t be enough room for them, but Bazail proved me wrong with a few key tricks. For shoes, Bazail is a firm believer in going vertical. "Shoe stackers are great because they instantly double your storage without taking up more room," she explained, as we transformed what had been a ground-level shoe pile into a tidy, stacked display. For pants, instead of clipping them or folding, she flipped them over these non-slip hangers. Not only does it look satisfyingly organized, but it also gives you full visibility of every bottom you own.

Tip #7: Stick With A 20-Minute Refresh

In the end, "it's never about perfection, it's about function and consistency," Bazail told me. "A well-organized closet shouldn't feel rigid or high-maintenance." Her prescription for the time-strapped: a monthly refresh of just 20 to 30 minutes. "Pull anything you're not wearing or loving, straighten what's gotten out of place, and make sure everything is visible and accessible," she said. "It's really about small, consistent check-ins rather than waiting until things feel overwhelming."

For a full reset, she recommends every 3-6 months—especially if, like me, you have a habit of adding new pieces regularly. "Regular resets help keep everything feeling manageable and intentional."

Since my full rest, I've kept up with it. Instead of a monthly refresh, I’ve been holding myself to a weekly one (a necessity, given the amount of products and deliveries I get). The most surprising part is that I find myself enjoying the ritual and satisfaction of putting my things away. Everything has its designated spot. No more shoving things into corners, knowing I’ll soon forget them. Bazail was right—it did get messier before it got gorgeous. But now that it's gorgeous, I’m not going back.

Fashion:

Beauty:

My parents crossed the ocean for me. Or, the promise of me. Via a now-defunct to-go packaging company that sold containers for other companies making food to-go, my father was given the opportunity to relocate his family—my father, mother, and older brother— to the US. Because of the One Child Policy, moving to America could materialize my mother's dream: a daughter. I stared enviously at the "fun" version of my mom in China: billowy pants with flowy sleeves, Blossom hats, neon blazer skirt sets that would have given Heather Chandler a run for her money. She and her friends posed in funny ways with odd architecture and pretended to strum guitars at picnics. She'd rock a pixie cut—androgynous before the word existed—that complemented her cheekbones. Her clothes were just as adventurous as her, and my humble dad, always beside her or behind the camera, boasted a sort of Gucci-model-type-of-handsome about him.

But in the US, priorities shifted: with a newborn baby girl and an eight-year-old son, my parents practiced function over fun. My mom couldn’t bring anything she might only wear once, so she ditched her fabulous sets and kept only items that were well-suited for East Coast cold. She wore turtlenecks and big-tshirts and grew her hair down to her hips—not by choice, but because she couldn’t speak English and was afraid of seeming dumb at the salon. All decisions were made so that I could chase a new promise: not just life, but a better life. When I was four, my mom truncated her time in dental school to raise me. When I was ten, my mom moved with me to Los Angeles to help me pursue acting. My parents worked tirelessly, lived separately, all to chase a life that promised glamor, and I didn’t make it easy— I lamented speaking Mandarin at home (I hated being corrected) and argued constantly.

When I was accepted to Harvard University, suddenly it all seemed worth it. My mom cried, soft-bragged on WeChat, and wished her father could have lived long enough to see me admitted. I became proof my parents were good parents. So I’d finally done it— my Good Daughter Debt paid back in full, with interest. The American prophecy fulfilled: the legacy of individual sacrifices, risked on the condition of a promise for a better life for the next person. But when I graduated, the degree felt less like a personal feat and more like a relational bartering tool— a shorthand to signal intelligence, drive, and competence to strangers without my having to prove it. I started to feel real pressure, internalized, to live up to the idea of what I was supposed to be.

For those rocky years after graduation, I felt a dissonance between my dreams and what my dreams represented to others. A conversation with my friend Molly shook me. She asked, “Isn't the fact that you were born already the achievement of your mom’s American dream?” It reminds me of one of my favorite lines from SLANTED: paraphrased, we become our own American. In the face of noise about what it means to have achieved—belonging, success— our existence uninhibited is enough. During filming, my dad visited the set and handed water to the crew. He rode Lime scooters with me across the Beltline and got to take pictures with Wu Jun Mei, an idol to him known in the States as Vivian Wu (my on-screen mother.) I got to include a real photo of myself, my mother, and my father in Joan’s living room. After my mom watched the movie, my mom opened up about something she’d never shared: she could relate to my character because, in China, she felt pressured to have big eyes, fair skin, a high nose. SLANTED gave words to a period of self-hatred that, through watching, I see my mom understand; I see an honesty in her I otherwise never would have gained access to. And for me, SLANTED is an opportunity to laugh about a time of my life that I try to forget.

Our SLANTED billboard is now on Sunset Boulevard, the strip I’d wait on in bumper-to-bumper traffic with my mother after an audition on the west side that only went okay. When I booked my first series regular role this year, my mom, inspired by my dream fulfilled, went back to dental school. My mom and dad have long ditched their fabulous nerd-chic looks for hygienist scrubs and earplugs and factory bouffant caps, but to celebrate SLANTED, my parents dusted off their finest and played dress-up. My mom, who has since amassed a shoebox collection full of funky heels she will only maybe wear, got to finally break-out a pair of red kitten heels—her own version of Louboutins—to our premiere. I get to see their dreams realized, through me. In our family group chat, I think my mom summarized the point of SLANTED best when she responded to an AI-generated version of the poster: “meaningless if it doesn’t look like daughter.”

My Skin:

My skin and I have a fun relationship, the kind David Sedaris might chronicle in a story titled “Confessions of a Sun-Worshipping Reptile.” I’m very advanced in a humid, beach setting, and have spent years frolicking in water sports and chasing that golden glow only to end up with a light smattering of sun damage—faint freckles that whisper, “remember you when you forgot sunscreen?” I’ve also dealt with perioral dermatitis before the internet knew it existed.

The crepey texture of my neck has logged more hours staring down at a computer screen than any self-respecting epidermis should endure. I don't have any broken capillaries, thankfully (my veins are polite enough to stay hidden), but my extensive skincare routine would make a 20-stepper blush. I love regenerative medicine—but that’s another chapter.

The Lyma Laser Pro: My Review

First impressions: Unboxing the Lyma Laser Pro felt like opening a high-end gadget from the future. It's sleek, matte black, surprisingly substantial in hand (but not cumbersome), with a larger treatment lens than the original model which covers way more surface area. The protocol is straightforward—no heat, no pain, no downtime. Cleanse the face, apply the LYMA Glide (their conductive gel), switch it on (a red light appears), and hold it stationary on each section for three minutes before moving to the next spot. For the neck, I focused on the front, sides, and sometimes the nape, spending about 15 to 20 minutes total in the evening when my skin was ready to wind down with tea and my birding book.

The Science: The LYMA Laser Pro wields a patented near-infrared cold laser (also known as LLLT) at 808nm wavelength and a beefy 500mW power (three original LYMA lasers in one), diffused through a clever lens system so it scatters without losing coherence, or cooking your cells like a sad microwave burrito. Instead of the usual laser drama—blasting heat to traumatize skin into panic-producing collagen—this thing whispers sweet nothings to your mitochondria, the tiny power plants in your cells. It flips genetic switches: upregulating repair genes, downregulating the ones that scream “we’re old and tired,” triggering photobiomodulation that tells fibroblasts to get off the couch and churn out more Type 1 collagen and elastin like they’re on a deadline for eternal youth. There's no heat damage, no downtime—just coherent light energy deep-diving into the dermis (and apparently even meeting with muscle layers) to make your neck skin and face behave like it’s 25 again. It’s impressive and hilarious—spending thousands on a gadget that basically gaslights your cells into thinking they’re still in their collagen prime, while the rest of me is out here gaslighting myself that another late-night scroll won’t add more lines tomorrow.

The routine: Using the Lyma Laser Pro quickly became meditative. There's something oddly satisfying about methodically holding the device against the neck and face, feeling the subtle warmth (it's cold laser tech, so nothing intense), and knowing it's penetrating deep to stimulate collagen and elastin production without any surface trauma. Unlike some devices that leave you red or tingling, this one is completely gentle—my skin felt calm and hydrated afterward, especially when paired with the brand's skincare system and supplements (I swear by these; I think they’re actually life-changing as far as capsule vitamins go).

The Results:

After consistent use over several weeks, the changes on my neck were noticeable in a subtle way. Those faint horizontal bands softened noticeably; the skin looked smoother and much more taut—and less like it was folding into itself when I looked down at my phone or laptop. The texture had improved—there was less crepiness, more bounce—and the overall elasticity felt revived, like the underlying scaffolding got a serious reinforcement. It's not a dramatic overnight "WOAH" transformation (that's not realistic or what the device claims), but it was noticeable enough for me to look at myself in the mirror and realize it was working. Compliments started rolling in from friends who hadn't seen me in a bit: "Your neck looks so smooth—what are you doing?" To me, this is more exciting than any form of flattery.

Worth It?

Let’s start with the pros. The device is truly non-invasive and painless, it covers larger areas efficiently (huge win for neck and chest) and is backed by solid science on low-level laser therapy. Plus, there’s no risk of irritation, even on sensitive skin.

However, the price tag is steep at $5,995 (we're talking investment-level), and consistency is essential—skipping nights and traveling around the world means you won’t see as noticeable results. It's not a quick fix; think of it as a long-game tool for prevention and repair.

TL;DR:

Verdict: If you're serious about addressing neck aging without needles, fillers, or downtime, the LYMA Laser Pro delivers. It's not hype—it's a legitimate at-home pro-grade tool that made my neck feel (and look) more youthful and resilient. It's worth it for anyone ready to commit to the ritual and the results. My neck thanks me every time I catch my reflection.

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What's your star sign and do you relate?

"I'm a Sagittarius. My rising is Aries and my moon is Aquarius. And I absolutely relate. What's funny is that my mom and I have the same big three, but in different placements, so I definitely feel connected to it."

What's the most Sagittarius thing about you?

"Oh gosh, probably my personality in general. I'm extremely free-spirited. I'm independent. I'm very passionate about stuff. We tend to be people who get really caught up in moral journeys and whatnot, so I definitely relate to that."

What three words best describe how you're feeling right now?

"I feel grounded, I feel excited, and I feel decaffeinated. I need a coffee."

What color is your aura?

"Probably green. A really cool green. There's so many shades of green. Maybe a jewel tone kind of forest green. It's my favorite color but I don't know if that means anything in the aura world."

Do you believe in manifestation?

"Yes, 110%."

What are you manifesting for the rest of 2025?

"I'm just manifesting good health. I'm manifesting just continuing on with the love in my life and everyone being healthy and happy."

What are the last three things you wrote in your Notes app?

"I actually have a list of four coming of age movies that I really love because I was asked by Letterboxd. And I have two groceries lists."

Can you share what's on your grocery lists?

"One is short rib, tomato paste, red wine, carrot, celery, white onion, herbs, potato—Yukon Gold, heavy cream, butter, figs, macaroni. The other one is chicken wings, butter, and crystal hot sauce."

How would you describe your personal style?

"For most of my life, I've been experimenting so much and I feel really embodied in my own style right now. And I think it would probably be office siren meets contemporary, older sister vibe. Someone told me that, so I was like, okay, cool."

How do you think your personal style connects to your sense of identity?

"It's everything to me. I've always expressed myself through my outfits. Since I was a kid, I've always been someone who loves a costume so much so that my outfits are my favorite part of the day. And I think that really intertwines with my love for acting. I just feel like putting on something makes me feel like a different person."

What do you love about For Your Soul and its message?

"What I love about For Your Soul is, first of all, I'm addicted to matching sets. I wear matching sets every single day, so I really wanted to bring the things that I feel the coziest in into my life. I love how fun and cozy and soft everything is."

How did this partnership come about?

"It came about a couple months ago, and I was really, really excited because they were so open to collaboration and creative input. I'm always excited to work with people that I love and having a fun time instead of something mechanical. For Your Soul was very from the soul one could say."

How would you describe this collaboration?

"Everything fell into place really quickly and perfectly. It felt like a day of fun. We played a lot of music. We listened to a lot of Rihanna. Andy was there who I've worked with before. It was just a really fun day. I had my stylist there, as well as my hair and makeup."

Do you have a favorite piece from the collection and why?

"I think my favorite piece is probably the pink set. Just because I love that shade of pink and it reminds me of bubblegum."

How do you slow down during your off time?

"I watch a movie or I'll watch a really shitty reality show. I love to cook, as you could see from my Notes app. So that really centers me. My whole family, they're all chefs, so it's a very culinary family. It feels very familial and cool to cook, so I love doing that. I love hanging out with my friends and just laying low at home. I'm a homebody."

What's your favorite reality show?

"My favorite reality show, this may surprise people, but I actually love watching Alone or survival shows, but I also love watching 90 Day Fiancé. I'm an out of the box reality show kind of girl. I'll watch Milf Manner or something that's a little bit more out there. If it's not the most popular thing out there, I'm tuning in."

Do you have a fashion hot take?

"I think the trends have just been too big. I just hate trends. I feel like you have to create your own thing that's cool or else it's lame."

What's your favorite place to shop?

"I love The RealReal. I love going vintage shopping a lot. I love newer designers too, but for shopping, I love vintage shopping."

How would you describe your relationship to beauty and self-care?

"I'm Brazilian. So for my whole life, I felt like beauty and taking care of yourself was a big part of loving yourself and being in tune with your body. So beauty, I've had obviously a very complicated relationship with all sorts of things, being a woman, as we all do. So I think for me, my relationship is just making sure everything's healthy and working right and not squeaking. Making sure all of my engines are working."

What do you have coming up for the rest of 2026?

"I have two movies coming up, April 10th and April 17th. We got Faces to Death. We got Mile End Kicks, both in theaters. We got a whole bunch of fun stuff around that, so that's the main thing."

Can you describe your perfect day?

"My perfect day: I wake up early. I go to Pilates. I go to the infrared sauna after. I then get my favorite coffee from Blue Bottle. It's a sunny day in LA. I come home, I hang out by the pool with my animals. I hang out with my friends. We laugh. We have a great time. That's my perfect day."

Your recent show track for Chanel went a bit viral because of the Lady Gaga inclusion. Tell me about what made you decide on Just Dance for Fall/Winter '26.

MG: “Matthieu made me decide on Lady Gaga. It was his idea to do Lady Gaga. That was not what was planned from the beginning. And maybe all of a sudden, a week before, he said, 'Oh my God, I really feel this track.' And then we decided to include her.”

Can you tell me a little bit about what has changed in terms of working with the house and working with Karl and Virginie, and now working with Matthieu Blazy?

MG: “I started to work with Karl in 1991, and then I did nonstop. So I guess we built the musical decorum of Chanel all along these years. And then after Karl passed away, I continued with Virginie. And I knew Matthieu before also because I had been working with Raf Simons. I worked with him at Calvin Klein, and at Margiela, and then he [Blazy] went to Milan, to Bottega. And at Bottega, he worked with this musician called Le Motel. And when Matthew came to Chanel, he decided to have the best of both worlds. So we've been collaborating together since Matthew arrived at Chanel, which is wonderful because it's giving a different dynamic. And the meeting of both our styles and vision makes something that's different.

It still sounds quite Chanel because Chanel has always had a certain element of fun.”

There's levity.

MG: “Yes. Also, Matthieu gets it. The set design, the collection, he's witty, he has humor, but that's also something to me that's very Chanel because [Coco] Chanel was very witty. She was extremely witty as a person. She always had the word to say about everything. And Karl was one of the wittiest people I've ever met and very funny. So, Chanel was always this thing of being elegant and witty. It's life. Chanel is life. It's not trying to be... I don't know. She revolutionized fashion for sure. She brought a lot of things, but it's not maybe so intellectual. You know what I mean? Because it doesn't need to be.”

What was the most unforgettable thing Karl taught you?

MG: “Karl was a teacher in a way because I saw him like some kind of father figure in a way. But what I liked about Karl, he loved to share. He would go into his office and everyone would be there together at the same time, sharing ideas, talking about everything. He would be very expressive and always ask me what I thought of something. He was not a dictator, not at all.

It was very important for him to get the feedback from people he was working with and asking what to do, what they would think. And what I liked also with Karl is that he would tell you, 'I would like the music to be blue or red or Italian,' whatever. But that was just a guideline, he was expecting you to give him your idea of what that could be.

It was not like, 'I want this exactly.' And that was the same for everything. It was the same for clothes, for fabric, for shows, for everything. And it makes you feel very much at ease. One of the first times that I worked with him, I brought him something that was not so readable.

It was a bunch of patchwork of samples. And I said, 'I'm sorry it's maybe not so clear for you.' He said, 'Oh, don't worry. We are working together. You bring me what you want.' You know what I mean? It was always nice, always cool.

And also with Karl, the sky was the limit. I'm not talking budgets or anything like that, but whatever it took to get to where I wanted to, that would be done. And that was quite crazy.”

What do you listen to in the mornings?

MG: “Oh my God, let me go to my Spotify because I'm a Spotify person…Well, today I was listening to an old track of a guy called Labi Siffre. I don't know if you know him. It was playing in the TV show I was watching and I forgot about that track and I thought, my God, that's so beautiful.

Is it Cannock Chase?

MG: “Yes.”

I was listening to it this weekend when I was moving house.

MG: “Oh, you were? Well, I was not feeling so good. I had to stay home, so I just watched TV. But I like that track. That popped into my mind. I like the new Kim Gordon album, it's very different. There's one track called Girl With A Look that I really like. I like Rosalía, of course, but it's not really a morning thing. Maybe I would listen to Sauvignon Blanc in the morning because that's your hangover or something, so you need a little dose of wine. I listen to Caterina Barbieri also because I think she's an amazing artist. Wow. Also, I like very much a guy that we play, a musician that we played in the last ready-to-wear show. His name is Emile Mosseri. He's more like an instrumentalist and he does soundtracks, and we used a track of his in the show, and I think his music is very beautiful. That's a real good morning music record, I think.”

What’s the strangest thing that you've included in a show track?

MG: “Nothing is strange really, it depends what you make with it. Things become strange in regards to what's happening on the runway or what you're showing or maybe the way you shock people or whatever, but nothing is strange. Whales…I don't know, any animal sounds or maybe the last show, Fabien from Le Motel included construction site sounds. It's kind of strange, but it's not because in the end, it makes sense.

How do you want people to feel when they listen to your music at shows?

MG: “I want people to feel an emotion. Whether you feel joyful, sad, pensive, or you're wondering about something, or it has to make you react in some way. And also, I like people to feel like they're on a journey because to me, music is so visual, especially at a fashion show. Okay, you see the clothes, you see the collection, you see the set, you see the whole thing, and music adds another layer of narration. And if you're not into some of the other things, the music can hold you, can be like a little bed on which you feel comfortable and it touches your memories. And this is what we want to do a lot of times is turn on the collective memory, you know what I mean? So it makes you feel something and brings you to a place that maybe you forgot about. And Matthieu likes to do that too with people from his generation, that's why he likes Oasis and Rhythm Is A Dancer and the soundtrack to Dawson's Creek, these kind of things.”

It brings you back to a moment.

MG: “Exactly. It brings back a moment because that always works on people because it helps you understand something. It's showing also the reference that music might be an easier reference to grab onto than actual clothing.”

Are there any designers who are more connected to that sentiment than others? Are there some who prioritize the music more or are more involved?

MG: “Willy Chavaria, and he is very, very music oriented. His music language is the same as his clothes' language. It's really part of him, and you cannot separate the two. And Vaquera also. I love Vaquera because it's very much their own world, and we do this patchwork of things of random memories of things they're about, and we put them together, we clash them completely, and we do it with such energy that when you see the show, it's like, 'Wow, that's a trip.' You know what I mean? And that goes very much into also their language which is important.

Also, it's like when I started in the '90s, music was a bit more abstract because not everyone had such a great musical culture, but things have changed in such a way that music has become... It's like everything. Music is readily available and you have access, so people use it as a tool. Everyone does a Spotify or they go to songs they listen to all the time, whether it's to chill, to go to the gym, to be driving, to be crying, or to do their own runway in their own house. People cultivate this private garden in a way, and it's way different.”

Do you have a favorite or a most memorable show?

MG: “Yeah, I often talk about this one because it's a show we did for Chanel in Cuba in 2016. Karl told me, 'We're going to show in Cuba and you need to go to Cuba because there's no set design in Cuba. The set is the music, so it's all going to be about the music,' because they did the show outside on the street.

So I went to Cuba with my partner, Ryan, and when we spent maybe a short week in January and we were casting musicians and bands and it was quite mind-blowing. I mean, we saw a bit of everything, but we went to people's houses in the courtyards and the fields to see them play. And then we cast them and then we came back for the show. And in the end, we hired 140 musicians to play, and the human experience working with those people in Cuba, it was so gratifying.

They were so happy, ready to give everything they had to make it sound and look good It transpired in the show because at the end of the show, we had 40 drummers coming down the runway with all the girls and playing some kind of drum beats like this. Every single person in the audience got up and danced on the runway with the models, and I'd never seen that before. So that was very moving because it was the sharing of emotions. It was very nice.”

Do you make playlists for your friends?

MG: “Yes, of course, I do.”

What is one song that makes it on frequently?

MG: “It’s hard to say because most people, when I do a playlist for them, they want something more that they wouldn't expect. So someone's getting a birthday or a wedding or there's always a bit of sleaze or something. It depends what I make it for basically.

Is there one song that’s a go-to for people who are in love?

MG: “Yeah, I would play a bit soft porn, erotic music from the '70s, from Ennio Morricone or that movie with Catherine Deneuve called Donkey Skin because the music is very princess-like, very... I would play this kind of thing. Let me check what I do have here…Oh, I will try to find maybe some odd version of a famous song, like even a Donna Summer or something. I don't know. It could be anything really. But yeah, I'm trying to play people that think what people wouldn't expect to hear or that would maybe surprise them.

Green Light

Chartreuse was arguably the biggest color trend on the Spring/Summer 2026 runways, and for Spring, we’re already seeing it populate IRL. From silk chartreuse at Simone Rocha to weightless nylon at Saint Laurent, this acidic hue has already been dubbed a wedding theme color for 2026 brides, and we’re sure we’ll see it go further than that this Spring.

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Tied Up

While there were plenty of examples during the Spring/Summer 2026 season for tie waists (see: Ferragamo, Isabel Marant, Chloé and Dior), the suggestion of a tie at the waist carries over from last Spring, where we were seeing an influx of silk scarves tied around waists to create dimension and texture in a simple look. This season, ties get elevated with fringe trims, interpreted in leather, and incorporated into garments as Jonathan Anderson did at Dior for added volume.

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High Rise

Perhaps the biggest outerwear trend this Spring is the funnel neck jacket. Initially popularized on the Spring/Summer 2026 runways, finding a funnel neck jacket is no hard task thanks to the virality of the silhouette in past months. Offered in techy, weatherproof fabric and leather options, some of our favorites were seen at Altuzarra, Alaïa, and Khaite for SS26.

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Waist Revival

Peplum hasn’t had such a big moment in the trend cycle since the early 2010s, and for Spring, the waist-shrinking silhouette is back and feeling more contemporary than ever. On the Spring/Summer 2026 runway, it was Tibi, Sacai, and Dior who placed an emphasis on the hourglass silhouette, which has now infiltrated our everyday approach to the shapes we are choosing.

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Bare Minimum

We’re anticipating bras as tops being a focal point of Spring dressing as soon as it becomes warm enough to wear the trend. From Prada’s Spring/Summer 2026 show, where both bandeau tops in suiting material and loose fitting crepe de chine apron-like bras populated the runways, to Jil Sander’s structured bra-tops and Sandy Liang’s playful gingham options, the SS26 runways made it clear that underwear as outerwear is trending once again this season.

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The New Western

Whoever said that suede was meant for fall and winter hasn’t seen the Spring/Summer 2026 runway offerings. Picture this: a slightly breezy spring afternoon or summer night and a long suede Hermés coat, high-neck Altuzarra jacket, suede Miu Miu bomber jacket, or suede Coach biker moto jacket slung over your shoulders. Designers gave us endless suede jacket silhouettes to consider—the options are endless.

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Private Parts

Underwear as outerwear is a forever trend. From a fully sheer lace skirt at Valentino to slip tops and dresses at Stella McCartney, Chloé, and Ferragamo, Spring/Summer 2026 runways had us thinking about intimates for spring. The lace trim, the sheer panels, and the general teases of nudity all contribute to looks that tow the line between sexy and innocent.

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Cold Shoulder

This season is all about shoulders. Designers showed off shoulders in every way possible: through fully strapless dresses, shirts and knits that fell off a single exposed shoulder, and tops that revealed both. With sheer materials and naked dresses being all the rage as of late, there’s something simple and sweet about only the shoulders being exposed. Eckhaus Latta, Zimmermann, Givenchy, and Courreges had us all shopping for strapless spring dresses. Balmain made a case for slouchy off the shoulder knits, Bottega Veneta had us considering tank tops with one strap casually hanging off the shoulder, and Erdem had us dreaming of fully off-the-shoulder corsets.

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Net Gains

We took note of crochet’s revival throughout Copenhagen Fashion Week in the form of cold weather accessories. We also know very well that crochet has the power to transcend seasons—a crochet scarf for winter and a crochet dress for spring as presented in Balmain’s spring 2026 collection, for example. Other designers made a case for crochet in the forms of pants, skirts, and matching two piece sets.

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Connect The Dots

The past few years have been polka dot madness. Now, it’s time to accept that the timeless print is going nowhere. Mithridate and Khiate had us searching ‘polka dot bubble skirt’ on Depop, while Valentino and Nina Ricci put polka dot blouses on our minds. They’re playful and nostalgic—what more can you ask for?

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How would you describe your personal style?

MA: “Laidback. Pretty much what I'm wearing right now, which is just a nice tank and jeans. I do like to get more feminine, too. I like dresses a lot, silky things. I think it's a mixture. I feel very comfortable dressing more masculine, but I don't like to do it all the time. I like to know that I can play with both.”

Are you comfortable with your personal style now, or still figuring it out?

MA: “I'm still figuring it out. I feel like I'll be figuring it out forever, which is fun. I'm definitely more comfortable in the things I wear now, and I regret less of my outfits—but I wore one I regret last night. It happens.”

What did you wear last night?

MA: “I have this vintage Dolce & Gabbana mesh dress, very, very see-through, and I love it. It has these little baby sleeves and it's really short. I've never worn it because it's so hard to find a place where it's appropriate—you're naked fully underneath. That's how the dress should be worn. It's very Paris. Reserved for Europe, probably. But I had nothing else to wear, so I wore it with these brown tights and brown shoes, and it was cool—but it wasn't the way the dress was supposed to be worn. I just didn't enjoy my time because my outfit wasn't good. I hate wearing an outfit that's not good, especially when you're fucking up a good piece. Really disappointing.”

Where did you wear it?

MA: “It was the first time I've ever gone to a movie premiere—for Charli XCX's new film, The Moment. There are Getty photos, which I've been too afraid to look for.”

Where do you like to shop?

MA: “I try to shop exclusively secondhand. In England, we have Vinted, which is one of the best apps ever. It's really cheap because it's a lot of parents cleaning out their kids' stuff. Whereas Depop is curated, [Vinted is] real people cleaning out their houses. But my actual favorite is ThredUp. I love ThredUp. A lot of the time the pieces are in bigger sizes because the smaller stuff gets snatched up quicker, but if you have a tailor, or if it's a piece that's easy to fix, like a skirt, there's so much you can get and just tweak. Most of my closet is actually from ThredUp."

What are some of your favorite finds from ThredUp?

MA: “I got a really good vintage Calvin Klein skirt. And actually, that whole outfit we shot today was from ThredUp—the blouse and the skirt. The skirt is a kids' skirt and it's so small I can only put it on over my arms because it doesn't fit over my butt. But I can fit it over my hips if I put it on that way. They have a lot of designer kids' stuff on there, which is cheaper, and if you get a bigger kid's size—I'm 5'3"—it fits me. The blouse is originally Banana Republic.”

How often are you shopping online?

MA: “I really try not to do it too often because I have bad impulse control. Once I see something, I'll probably buy it. It happens maybe once or twice a month where I'll be bored and I'll remember I could shop on my phone. And then obviously The Real Real, I do dabble.”

Any go-to spots for in-person shopping in LA?

MA: “I'm not really an in-person shopper, but there's a council shop on Fairfax—a thrift store —that is incredible. They have house stuff, furniture, trinkets, everything. I go there every Sunday. I usually don't get that many good clothes from there, but there's a Goodwill right opposite, and I go there for a lot of my clothes. I'll just pop a Vyvanse and spend four hours. It's my favorite way to spend the weekend.”

What about designer? Any good RealReal discoveries?

MA: “I got a Miu Miu cross-body green bag from there, and also the black one. I don't shop there too much because it's so expensive and I try not to impulse buy bags and stuff like that.”

Has your style changed since your online presence has grown?

MA: “It's incredibly different now. I didn't have much money before, so I was just wearing the same pieces over and over. I had no regard for nice shoes or bags—nice shoes are so expensive. Right before I started really doing TikTok, I'd finally saved up enough for a coat. I'd never had a coat. Even though I lived in England, near the sea in Canterbury it was freezing and windy and I was always walking—I just never prioritized it because I was 21, 22. I was like, ‘I don't need to be warm ever.’

So I saved up for a North Face puffer and an H&M trench coat. And I got these H&M sneaker knockoffs. I wore them so obsessively that one of my friends actually confiscated them from me because they ended up being the most repulsive, disgusting, smelly things. And she gave me a pair of Jordans. It was the first nice pair of shoes I owned. She put me on. I was like, ‘Oh, I'm supposed to care about this now.’”

How did it feel to wear them for the first time?

MA: “More so than I ever feel now when I put on a nice piece. The first nice few pieces you get—there's nothing like that. That same hit doesn't come often in life. Now I'm so used to wearing new things all the time. But I remember the novelty of finally getting a new piece of clothing and feeling like a new person for a day.”

What's the most sentimental piece in your closet?

MA: “I have this one knit Gap sweater. It's very heavy knit, so it falls on your body really nicely—hugs the front, has a hood. I got it four years ago at a charity shop in England. It's the best thing I own. I recently dyed it blue in the wash by accident and it looks terrible—patchy and blue. But I wore it to a Calvin Klein after-party with a skirt I got from Kohl's because I was in New York with no clothes, and it was a randomly great outfit. I wore it with a Calvin Klein black leather jacket. I met this guy on the street who asked me some questions for his fashion brand's TikTok. That's the only time I've ever been seen at the Calvin Klein party—in this random guy's video, wearing that sweater. And then I dyed it blue. It was just like the perfect piece of clothing. I don't know how else to explain it. The way it fit, the way it fell, the color of it was perfect. Everything about it was perfect.”

You mentioned you love a sneaker. Do you collect them?

MA: “I don't collect them, but I've made quite the collection, it seems. The [Adidas] is my everyday shoe. I just feel like they're a nice size for the bottom of a jean. But I'm trying to branch out a little bit.”

What about heels?

MA: “Hardly ever, and I'm really trying to get more into it. I just bought some brown ones on Depop on two days ago—I was very proud of myself. I wore them last night."

So you got your first coat at 21 and your first heel at 25.

MA: “Basically, yes.”

Who are some style icons for you?

MA: “I think Olivia Rodrigo always looks good—when she's dressed down especially. And then the obvious: Bella Hadid is always my inspo. I never dress like her, but she's on my Pinterest boards. And there's a lot of cool people in London I admire. There's this one girl, she used to be really popular with street style—her name is Ruby Ward, I think. She's a model. She wears a lot of big tracksuits and has this really cool platinum white bob. She's got a similar style to Billie Eilish—just these big, baggy, cool-girl clothes.”

What outfit makes you feel most like yourself?

MA: “Probably this one. I'm wearing my own jeans—there's only one pair. They're branded ‘RG’ at the back. They're big and baggy and massive. A friend had a clothing line and wanted to push me to start a brand, so they made these and gave them to me. I've never got round to making more, but I just have them and I love them. They've got buttons instead of a zip. And then this is just a white tank from The Row—it's actually a layering piece with a long sleeve that's meant to go with it, sewn together, but I ripped them apart because I wanted to wear them separately.”

So you’re down to splurge, too?

MA: “I did not buy it. It was my friend. We went on a trip to the Hamptons, my first time there, and we went shopping.”

What's the most surprising thing in your closet?

MA: “Probably my cheetah backpack. I've never worn it yet. I'm too scared. But it's one of my favorite things. It makes me feel very maternal. His name is Chef.”

Are you team backpack?

MA: “Massive one. My favorite is a Chanel one that comes everywhere with me—it's my travel backpack, this golden graffiti one. I also have this skinny Chanel backpack that sits flat on your back and clips at the front. You don't know it's on you. It's so safe because it has an internal pocket pressed against your back, no opening. I wore it all around Paris. It carries nothing except your wallet and your lip gloss. It's like an accessory, but it's a backpack.”

Why do you think backpacks get a bad rep?

MA: “Probably from everyone's school days. They were so uncool. And if you put a lot of stuff in a backpack, it does get a bit lame—it's like you look like you're working but you're not."

What was your first backpack?

MA: "Actually, there was a time when I must have been going into year five and I begged my mom for this very specific backpack. She was like, ‘You don't want this backpack. You're going to be embarrassed.’ It was pink and had 3D fairies physically stuck on it, and I was like, ‘You don't understand. This is the coolest thing I've ever seen in my life.’ We fought and I stood my ground. And I rocked up to school first day with it and immediately shrunk into a shell of myself. I had a matching lunchbox, too. No one said anything to me, I just immediately understood what she was saying. Everyone had matured to the black backpack phase of their life and I was there with 3D fairies and tassels. It stared at me from my peg all day and I was like, ‘Fuck.’”

Now you would rock it.

MA: “Now I would fuck with it. But I remember the feeling of being like, okay, I fucked up and I've got to go through the whole day with this stupid big pink backpack.”

What has it been like to let a brand dress you?

MA: “I love it because it taught me a lot about my own taste. They would put me in things that would make me so uncomfortable—I'd be like, ‘I'd never pair this, I can't imagine it's a good silhouette.’ But if you just let someone execute their vision, you see it and think, ‘Oh, it looks good.’ It took a couple of my first photoshoots to get there. I used to low-key cry in the changing rooms. I hate it because I'd actually worked as a model from a really young age and ended up quitting by 10—I was booking good jobs but it would just be me fighting with adults all day because I was so shy. And then I wound up in the exact same position in my adulthood. But then I'd sit back, let them do it, and see: ‘Oh, it looks way less weird than I thought.’ And it freed me up in what I wear out as well.”

What about when you want to feel sexy?

MA: “Sexy's changed a lot for me lately. It used to just go straight to more skin. But there was this time my neighbor's house had an art exhibition and my friend called me and was like, ‘Dude, I'm at your mysterious neighbor's house, I can get you in, just come down.’ I was up here with my best friend in pajamas, so we had to find outfits really quickly because I wanted to see inside the house.

I threw on this satin champagney spidery dress I got from a charity shop, with my Chanel boots. I'd had my hair in plaits all day, so I just took them out and it was really wavy. I didn't think it looked particularly good, but it got me through the door. And I had never felt more pretty than I felt that night. I think it was because it was such an easy outfit, unlike anything I'd really worn before. My best friend was like, ‘I love this look on you.’ It kind of redefined sexy for me—a bit more almost boyish and fun. I felt much more pretty and sexy in that than I would have in a lower-cut top and a skirt, like how I would've dressed when I was younger and going to the club.”

Tell me about the Chanel boots.

MA: “I was going through a breakup and I was really crashing out. I was like, ‘We're going to have to pull an outfit together—at the very least, I need to look good on Instagram right now.’ It was a Sunday night and we were freaking out, so my best friend sent an email to this woman she knows who owns a shop in London called Lovers Lane Vintage—one of the best stores ever. She was like, ‘Listen, this is the situation and we need an outfit.’ And the woman said, ‘The store is closed, but come in.’ We get there and there's a sign on the door that says Closed, and then in brackets: Except for fashion emergencies. She gave me a couple of outfits to borrow, and that's when I bought the boots.

My best friend wanted the same pair, so she had the saved search results going on every secondhand shopping app. She finally found them on eBay, vetted them in person, and got them. Now whenever we go out and we're trying to be treacherous, we wear the twin boots and you hear us coming.”

Who’s your bestie and do you guys borrow each other's clothes a lot?

MA: “Her name is Toa. She's an artist. Her style is really, really cool she really knows how to layer pieces. She's very Rick Owens. Kind of goth-ish, but more colorful. What's mine is hers and what's hers is mine. We're the same size in everything. It's wonderful.”

Would you trade closets with anyone?

MA: “Her. I mean, we do trade closets. I recently watched Gia. I would trade with her.”

Credits:

Photographer: Pavielle Garcia

Makeup: Pircilla Pae, A-Frame

Hair: Eduardo Méndez, A-Frame

Editor-in-Chief: Faith Xue

Senior Fashion Editor: Ella O'Keeffe

Social Creative Lead: Natasha Sheridan

Social Strategy Lead: Kala Herh

Talent: Madeline Argy

Production: Gillian Stern

Christopher Kane Named Creative Director At Mulberry

Brits, rejoice! Christopher Kane is making a triumphant return to fashion at the helm of beloved English brand Mulberry. The designer, who regrettably closed his eponymous brand in 2023, left somewhat of a hole in the British fashion community (and the world) in his absence, but now that hole is being filled up with Mulberry bags and whatever else he has in store for the heritage brand.

Reportedly, Kane is working on a collection that will debut during London fashion week in September of this year, marking not only his return to the runway, but Mulberry’s return to both ready-to-wear and the runway. The brand hosted its last runway show almost a decade ago in 2017.

Kane, while known for unexpected silhouettes that offer a great deal of levity, has long proven his ability to ground his own collections in everyday wear, which is a pillar of the Mulberry brand. Shearlings, sweaters, good coats— Kane’s oeuvre proves that he can do it all in spades. We may even get the brand resurgence Mulberry has so desperately needed!

eBay Launches “The NYC Edit”

On Wednesday night in Noho, I descended the stairs of Jean’s at 6:30pm (unheard of) to celebrate the launch of eBay’s NYC Edit, an editorial guide highlighting what style insiders in New York are buying and selling on eBay. As the IYKYK destination for shopping rare archival pieces online, eBay brought together 10 of the cities tastemakers—Dara Allen, Emilia Petrarca, and Owen Thiele, to name a few— to curate a guide of what they are both shopping and selling on eBay, with an IRL clothes swap at the event to trade something old for something new (to you).

Gucci Launches Hot New “Beauty And The Bag” Campaign

For Demna’s Fall/Winter 2026 Gucci runway debut in Milan last month, the Georgian designer sent Kate Moss and Emily Ratajkowski onto the runway in embellished rhinestone dresses. Now, the house has released a new campaign featuring the two famous faces to celebrate the Borsetto and Giglio bag shapes, in portraits that center on the connection between each individual and the bag they carry. Lensed by Mert & Marcus, both Moss and Ratajkowski pose, partially nude in some shots, with the latest accessories offering from Gucci. Hot to go!

Willy Chavaria Unveils Zara Collaboration

Galliano isn’t the only one collaborating with Zara this year! Zara and Willy Chavarria present VATÍSIMO: a collaboration that aims to celebrate culture and freedom of identity. Spanning menswear and womenswear, the campaign imagery, which features Christy Turlington, follows a cinematic story inspired by telenovelas, directed by Glen Luchford and Willy Chavaria. Drama and fun!

Emporio Armani Launches A Denim Capsule Inspired By The ‘80s

This week, Emporio Armani are throwing it back to their iconic 80s jeans campaigns with a men’s and women’s capsule collection inspired by the codes of Armani Jeans, the line launched in 1981 which, for many years, offered an informal and casual style with a particular focus on the world of denim. The capsule features a select edit of jeans and denim jackets with a vintage feel. If you’re in the market for some throwback denim, the capsule is available to shop now.

1. Fendi Baguette

Designed by Silvia Venturini Fendi and released in 1997, Fendi was inspired by French women who stroll while carrying a baguette under their arm. The style was embraced for its simple and practical silhouette, as well as for the convenience of a shoulder bag. Further popularized by Carrie Bradshaw in Sex & The City and stars like Kate Moss, Naomi Campbell, Julia Roberts, and Paris Hilton, the bag quickly became an important addition the Fendi's catalogue—and remains as so.

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2. Balenciaga City Bag

Released by Nicolas Ghesquière in 2001, the bag was beloved for its edgy, grungy, motorcycle-inspired details—well, by some people. Stakeholders actually had little faith that the slouchy silhouette and distinct hardware would sell in a market where clean structured bags were flying off shelves. Retrospectively, with the City bag remaining a staple in the fashion world, they were clearly wrong.

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3. Chloé Paddington Bag

If we were focusing on crowning 2000's it-bags, the Chloé Paddington bag would arguably be number one on the list. Introduced by Phoebe Philo in 2005, the bag was beloved for its slouchy leather and signature padlock detail. The bag remains so beloved that it returned on the house's Fall/Winter 2025 runway. Now, stars like Rachel Sennott, Daisy Edgar-Jones, Alexa Chung, and Kendall Jenner have been spotted co-signing the style.

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4. Gucci Indy Bag

I think it's safe to refer to the Gucci Indy bag as the boho bag of the mid-2000s. With distinct tassels, a relaxed hobo silhouette, and '70s inspirations, the bag launched in 2006 under Frida Giannini was seen on the arms of all of the it-girls of 2006 onward—Jennifer Lopez, Mischa Barton, Lindsay Lohan, and Blake Lively portraying Serena van der Woodsen in Gossip Girl.

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5. YSL Mombasa

Debuting in Tom Ford's Spring/Summer 2002 collection for the house, it quickly became the it-bag of the early aughts primarily due to to its effortlessly slouch silhouette, horn handle, and generally practical nature. This year, Saint Laurent brought the iconic back in the form of a slightly upgraded crescent silhouette and with a campaign starring Bella Hadid. Don't worry, though—the bag is still slouchy and effortlessly cool.

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6. Gucci Jackie

Known for its crescent shape and practical size, the Gucci jackie bag made its original debut back in 1961 as the Constance bag. Beloved by Jackie Kennedy, hence the re-name, the hobo style was considered a bit radical at the time considering that structured bags were more on trend.

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7. Prada Tessuto

First created by Miuccia Prada in 1978 (hitting the market in 1984), the bag was and still is available in a variety of silhouettes including backpacks, mini bags, and satchels. Prada's history with nylon is long and extensive but, all in all, the nylon Tessuto bags have been appreciated for their minimal appearance and slightly sporty aesthetic—so much so they the house launched the Re-Nylon Collection and re-introduced their iconic nylon bags in 2019.

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8. Gucci Bamboo

First introduced in 1947 in response to material shortages, practical origins transformed into a fashion staple—a tale as old as time. Guccio Gucci used bamboo from Japan as bag handles and the rest is history. The house continues using bamboo as handles, a design detail co-singed by the likes of Princess Diana back in the day and Harry Styles more modernly.

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9. Dior Saddle Bag

Dior's iconic saddle bag, designed by John Galliano, made waves in the early 2000s and remains considered the it-bag of the Y2K era. First debuting on the runway in Galliano's Spring/Summer 2000 collection, his equestrian inspirations were very clear. Seen on Carrie Bradshaw in Sex & The City and, more recently, everyone's favorite fashion girl Bella Hadid, the silhouette in both vintage and modern versions continues to hold its spot in the fashion zeitgeist.

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10. Birkin Bag

We all know that the Birkin bag is the luxury bag to end all luxury bags. It's the ultimate status symbol and flex due to its hefty price tag. First created in 1984 after a serendipitous encounter between Jane Birkin and Jean-Louis Dumas, the chief executive of Hermés at the time, it was the carryall bag of the '80s—and of all time.

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11. Dior Lady Bag

The Lady Dior bag was originally released in 1994 under the name "Chouchou"—it was renamed in 1996 in honor of Princess Diana who was frequently spotted carrying hers around. Known for its petite boxy silhouette, top handle, quilted leather, the house continues to release the bag that's a favorite for Sabrina Carpenter, Rihanna, Keke Palmer, Simone Biles, and so many more.

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12. Chanel Flap Bag

Perhaps the most classic bag of all! Coco Chanel launched the forever coveted flap bag, known for its quilted leather and chain strap, in February of 1955. At the time, it was considered revolutionary for the ability to wear it on the shoulder and free up a woman's hands. Then, in 1980s, Karl Lagerfeld the version with the iconic interlocking "CC" clasp. From then on, the flap bag has been a classic bag that has seen different versions and iterations.

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13. Louis Vuitton Speedy Bag

The Louis Vuitton Speedy bag has a long history—dating all the way back to 1930, actually. It was designed as a smaller version of the house's iconic Keepall bag, but was still large enough to practically suit all lifestyles. Iconic actress Audrey Hepburn requested that the house design an even smaller version and they delivered, leading to several practical size options. Nowadays, celebrity endorses include Bella Hadid, Rihanna, and Jacob Elordi.

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14. Prada Bowling Bag

Originally introduced in Miuccia Prada's Spring/Summer 2000 collection in line with her "Sincere Chic" era, the bowling bag served as an homage to the sporty influences of the '50s. With bag trends constantly returning and a newfound affinity for the silhouette amongst the fashion community, it's not surprising that the house relaunched the bowling bag in the Resort 2020 collection.

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15. Louis Vuitton Pouchette

Introduced in the early '90s, Louis Vuitton's pochette is the cutest and daintiest of the bunch. Originally developed as a convenient pouch to carry essentials, it has resurged in line with the mini bag resurgence of the 2020's. Stars spotted with the vintage style include Kendall Jenner, Gigi Hadid, and Hailey Bieber.

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Despite this dress being black, Zendaya and stylist Law Roach remain taking the bridal theme very seriously. This Armani Privé gown with a deep plunge trimmed with oversized beads was originally designed for and worn by Cate Blanchett—the chicest take on "something borrowed" that we've ever seen.

Another day of press, another all-white look. This time around, Zendaya wore a sheer white button up blouse with a white bralette underneath, a white tie, and perfectly tailored white pants all by Maison Francesco Scognamiglio.

For a day of press in Paris, Zendaya ditched the bridal whites for a blush pink with hints of coral depending on how the light hit. The dress from Matières Fécales's Spring/Summer 2026 collection was made of frayed chiffon and featured distinct layering and draping.

The bridal themed press tour continues! This time around, a pop of black put a bit of a twist on the traditional bridal white. Zendaya wore a backless Louis Vuitton gown that was entirely white save for the dramatic and oversized black bow on the back that transformed into a train.

Let's not forget: we're in the midst of a Dune: Part 3 press tour, too. She attend the film's trailer launch event in Los Angeles in brown leather from head (or neck) to toe. She wore a look consisting of a high-neck leather jacket, pencil skirt, and knee-high leather boots from Elie Saab's Pre-Fall 2026 collection.

Zendaya has displayed an affinity for bridal white lately—whether that's confirming rumors of her secret wedding or just playing into the subject matter of her film The Drama is up for debate. The key takeaway from her look for the film's premiere is this: she co-signed outfit repeating by rewearing her white silky Vivienne Westwood 2015 Oscars dress.

She arrived in one show-stopping Fall 2026 look just to change into another—for the actual show, she changed into a floral gown with a halter neckline, ruched corset bodice, from Alexander McQueen's Fall 2026 collection for her appearance on Jimmy Kimmel Live!

Zendaya arrived to shoot Jimmy Kimmel Live! in a gray blazer and Bermuda short set from Moschino's Fall 2026 collection, a white button up top underneath with long, dramatic ruffles, and pointed white pumps.

The press tour looks arguably began when she emerged on the 2026 Oscars stage with The Drama co-star Robert Pattinson in a custom chocolate brown Louis Vuitton gown with a draped, off the shoulder neckline.

Week Of 3/23/2026

Lola Tung

Out and about promoting Forbidden Fruits, Lola Tung proved that she's a pro at mixing patterns. She wore a patchwork dress from Kiko Kostadinov's Spring/Summer 2026 ready-to-wear collection featuring attached pants that match one of the featured patterns.

Bella Hadid

For dinner in West Hollywood, Bella Hadid stepped out in Y2K-inspired bootcut jeans, an orange latex zip up top, pumps, and oversized glasses.

Miley Cyrus

Zillenials rejoice—Hannah is back! Or she was for a moment, at least. For the premiere of the Hannah Montana 20th anniversary special, Miley Cyrus embraced method dressing in sequined Rabanne dress with a Hannah Montana t-shirt underneath.

Dua Lipa

For the Bulgari event in Italy, Dua Lipa wore a lowcut black velvet Balmain gown with a purple peak-a-boo bra. She completed the look with an emerald Bulgari necklace.

Taking a page out of Carrie Bradshaw's book on things not to wear, Dua Lipa stepped out in Milan in a royal blue dress and swan purse.

Charlotte Lawrence

For the IHeartRadio Music Awards, Charlotte Lawrence pulled a semi-naked dress from Etro's Spring/Summer 2026 collection. The dress featured a '70s-inspired printed off the shoulder top and black sheer lace skirt trimmed with the same print as the top.

Sailorr

Speaking of naked dresses at the IHeartRadio Music Awards... singer Sailorr wore a sheer white mini dress with lace-up corset details and floral embroideries.

Zendaya

For her "something borrowed," Zendaya wore Cate Blanchett's black Giorgio Armani Privé gown to the Rome premiere of The Drama. The gown features a plunging low cut with oversized beading trim.

Week Of 3/16/2026

Alana Haim

Alana Haim walked the carpet at the premiere of her film The Drama a custom black draped Louis Vuitton gown. My favorite detail? The corsage she wore on her wrist.

Zendaya

Zendaya arrived to the premiere of The Drama in a bridal white gown that might look a little familiar. That's because she re-wore her silk Vivienne Westwood dress from the 2015 Oscars.

Zendaya arrived at Jimmy Kimmel Live! in a look from Moschino's Fall 2026 collection: a gray blazer and matching Bermuda shorts, a dramatically ruffled white button up top, and pointy white heels.

Kerry Washington

For a New York City screening of her series Imperfect Women, Kerry Washington wore a gray suit set with distinct shoulders, a cinched waist, and perfectly baggy pants.

Demi Lovato

Demi Lovato celebrated her return to acting and wore a black and red leather racer jacket and black leather pleated skirt to promote her film Tow.

Anya Taylor-Joy

Anya Taylor-Joy was spotted leaving her hotel in New York City in a look that communicated that spring is on her mind: a ivory Victoria Beckham slip dress and strappy heeled sandals.

PinkPantheress

Our former cover star PinkPantheress arrived at the premiere of The Drama in a royal blue silk tulip dress from Miss Sohee's Spring/Summer 2024 Couture collection. She completely her look with silver pumps.

Suki Waterhouse

For the premiere of The Drama, Suki Waterhouse brought... the drama. She wore a sculptural dress from Harris Reed's demi-couture collection. The dress featured patchwork details that mixed colors, textures, and fabrics, a corset bodice, and blue feather details up top.

Rosie Huntington-Whiteley

For National Portrait Gallery Gala in London, Rosie Huntington-Whitely embraced one of the Fall/Winter 2026 season's biggest trends: fringe. She wore a little black dress with a plunging neckline, a wrap around scarf detail, and a textured tasseled skirt.

Kendall Jenner

For the Adidas Originals 2026 World Cup Away Kit Unveiling in LA, Kendall Jenner paired a leather bomber jacket with brand's signature three white striped on the sleeves with black tailored Bermuda shorts.

Gabbriette

For the Adidas event in Los Angeles, Gabbriette gave sporty chic a whole new meaning. She paired a green fitted jersey with slim fitting jeans and black platform heels.

Week Of 3/9/2026

Tyla

Tyla embraced the snakeskin trend—but in the most interesting way imaginable. She forewent the traditional top route in lieu of a one-of-a-kind temporary tattoo top by designer Simon Carle. She paired the tattoo top with low-rise blue jeans, achieving the perfect Y2K look.

Hailey Bieber & Kendall Jenner

For W's Pre-Oscars dinner, besties Kendall Jenner and Hailey Bieber both opted for Dior looks—but of completely different eras. Jenner pulled from the archives of John Galliano's reign: a lace trim cami from the fall 1998 collection paired with a black scarf and black trousers. Bieber, on the other hand, paid homage to modern Dior in a cropped Bar Jacket by Jonathan Anderson. Yes, the same cropped Bar Jacket that Harry Styles wore with ballet flats to present at the 2026 Grammys.

Emma Chamberlain

Emma Chamberlain got the fun tights memo. For a day out working in New York City, she paired a green cap sleeve dress with lace details that coordinated with her black lace tights.

Victoria Pedretti

I'm personally a sucker for a dressed up graphic tee. Out and about in New York City doing press for "Forbidden Fruits," Victoria Pedretti paired a long-sleeve graphic tee with a satin chartreuse pencil skirt and fun heels.

Harry Styles & Zoë Kravitz

Harry Styles and Zoë Kravitz are the couple dressing icons of the moment—and it's not because their looks are elaborate or groundbreaking, but because they're pared back, simple yet thoughtful, and accessible. Harry Styles makes a statement in a look as simple as blue jeans, Adidas sambas, a navy Prada jacket, and white bug-eyed sunglasses. Kravitz wore a white maxi skirt, red and white button up top, a long black coat, simple black ballet flats, and a black baseball cap that read "Kiss."

A moment for a solo Zoë Kravitz—as well as for her thoughtful layering. As the weather unfortunately dropped again in New York City, Kravitz layered a Penny Lane-inspired jacket with fur lapels over a black sporty nylon jacket.

Alysa Liu

For her Paris Fashion Week debut, olympic gold medalist Alysa Liu honored LV for the Louis Vuitton Fall/Winter 2026 show while also remaining true to her young, edgy style. Liu wore a matching brown denim jacket and jeans set and accessorized with a monogrammed LV bag.

Kaia Gerber

Kaia Gerber brought the naked dress trend to the 2026 Vanity Fair Vanities party–and in the most playful way possible. She wore a black sheer lace mini dress from Givenchy's Fall/Winter 2026 collection that featured a plunging neckline, embellished bodice, and fun flared ruffle skirt.

Bella Hadid

For a night out in West Hollywood, Bella Hadid embraced multiple trends at once through her model-off-duty look. She wore a form-fitted leather jacket with details alluding to a classic corset, a chunky bracelet over her sleeve, classic blue jeans, leopard print peep-toe heels, and small oval sunglasses reminiscent of CBK.

Zendaya

For the Louis Vuitton show in Paris, Zendaya seemingly played into the rumors of her secretly tying the knot with Tom Holland. She wore a pure white dress with a high-low bubble hem and dramatic collar.

For the 2026 Essence Black Women in Hollywood Awards, Zendaya once again wore bridal white. This time, she opted for a vintage Caché dress that was worn by Carrie Bradshaw in "Sex And The City" movie, as well as by Whitney Houston in the 80s.

Week Of 3/2/2026

Alexa Chung

We all know that Alexa Chung is the queen of the silk scarf as a belt. Now, the trend she might have started has reached a new level: leather. Out and about in Paris for fashion week, Chung wore a black blazer with padded shoulders, white trousers, jelly shoes, and a leather scarf belt.

For the Grand Dîner du Louvre in Paris, Alexa Chung wore Valentino from head to toe: a floral embellished mini dress with dramatic blue draping from the Spring 2026 collection over a pair of black trousers and open toed heels.

Amelia Gray

Amelia Gray graced us with another naked dress moment in this Starlit dress for the brand's cocktail event. She wore a black lace maxi dress with long sleeves, a deep plunge, and a keyhole cutout detail.

Alex Consani

Alex Consani brought the naked dress trend to the Grand Dîner du Louvre in Paris in a sheer black dress with structured and sculptural turtleneck.

Olandria Carthen

The people's princess Olandria Carthen brought gothic and vintage elements to the Grand Dîner du Louvre in Paris with help from her styling team Matthew and Reginald Reisman. She wore a dress by designers Khaled & Marwan that combined corsetry, embellishments, balloon sleeves, and a fit and flare skirt.

Emily Ratajkowski

For the Loewe show at Paris Fashion Week, Emily Ratajkowski bared skin and styled a sweater in a way we've never seen before: tied over her shoulders, a move that we've seen before, but with nothing else underneath.

Olivia Rodrigo

The Chloé show at Paris Fashion Week called for pastel pinks and lingerie-inspired details—and Olivia Rodrigo got the memo. She wore a dress from the house's Pre-Fall 2026 Collection that was flowy, in an a-line silhouette, featured a tiered lace detail at the bust, and a lace hem. She completed her look with a purple Chloé paddington bag.

Vittoria Ceretti

Vittoria Ceretti was spotted arriving at the Costes Hotel in Paris in a black dress that would be entirely sheer if not for the embossed leather panel lining the torso.

Lila Moss

Between shows and events in Paris, Lila Moss nailed the comfy and effortless model off duty look in a boxy tee shirt, black pants, loafers, and oversized sunglasses—all while co-signing the return of the slogan tee.

Where Are You From?

From: Chicago

Located: Los Angeles

What's Entertaining You?

Watching: "I'm always watching lots of movies also given it was just award season. Of course, I was watching all the Oscar films. I was late to seeing Hamnet, which I just watched, and it's incredible. I thought Jessie Buckley was amazing."

Reading: "Right now I'm reading a book called 'How to Change Your Mind'' by Michael Pollan, which is about the science of psychedelics."

Listening: "I've been listening to Don Toliver's new album."

What's In Your Cart?

"Right now, the whole American Express Gold x STAUD collection. I love STAUD; it's just really cute resortwear for somebody who's always traveling, who's always on the go. I love the details. I think the beaded bag is so cute."

What Are You Saving?

The Spring/Summer 2026 runways had a slightly different take on the headband trend. Carolina Herrera's show featured models in thick and puffy satin headbands that felt formal and elevated. Simone Rocha's runway featured headbands with embellishments that coordinated with details on the garments worn.

Our favorite stars have co-signed the trend as well. Elle Fanning, for example, channeled '50s femininity in a vintage Balenciaga sheath dress featuring a bow in the middle and a simple and sleek black headband. This pairing proved the timelessness of the trend. Despite Love Story having everyone associating the trend with the 1990s, the trend dates back to the 1920s—and, of course, has existed in different forms and iterations.

Elsewhere Bella Hadid remains ahead of the trend cycle. Her New Year's day outfit that she wore out and about in Aspen featured a leather jacket, white jeans, and leopard-print bag—the model and entrepreneur accessorized with oval-shaped sunglasses and a black plastic headband. She then wore the same headband and slightly larger oval sunglasses to her Orabella event in Milan. Hadid was essentially channeling CBK before Love Story hit streaming services.

There are a few lessons to takeaway here: the CBK influence will continue for the foreseeable future, head and hair accessories of all forms are really having their moment, and anything that Bella Hadid wears will ultimately become a trend—who has their finger on the pulse more than our favorite it-girl?

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1. Tomato Red

Tomato red was seemingly everywhere in terms of Spring/Summer 2026 and Fall/Winter 2026 runways. From long dresses in Valentino's Fall/Winter 2026 collection and Carolina Herrera's Spring/Sumer 2026 collection to leather outerwear in Balenciaga's Fall/Winter 2026 collection, if these past two seasons taught us anything, it's that tomato red transcends season.

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2. Cobalt Blue

Cobalt blue was put on our radars by the one and only Greta Lee throughout her two 2025 press tours—now, it's clear to us that this color is going nowhere. Cobalt blue reigned supreme on both Spring/Summer 2026 and Fall/Winter 2026 runways, certifying itself as a sound choice when it comes to statement outerwear thanks to Bottega Veneta, sleek dresses thanks to Loewe, and fun pants courtesy of Givenchy.

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3. Deep Eggplant

It's never too early to start preparing for fall—here at Coveteur, this past fashion month had us taking notes and filling online carts. Fall/Winter 2026 runways made a strong case for deep eggplant as a fun yet muted alternative to black and brown. Diotima, Proenza Schouler, and Cult Gaia all had us searching for deep eggplant dresses for the sake of owning moody evening wear.

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4. Marigold

For Fall/Winter 2026, designers embraced Marigold in the form of a structured and tailored dress in the case of Calvin Klein and slinky and silky dresses in the cases of Marni and Tory Burch.

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5. Mint Green

My prediction: we will be seeing mint green on everyone come spring and summer. Mint green comes in many forms and both muted and full-bodied variations. Chanel's runway featured layered sheer mint green dress with lace embroidery. Dior made a case for muted mint in the form of a boxy polo-style shirt. Amrnai Privé featured a monochrome mint set: a strapless dress paired over trousers with mint green kitten heels and a matching clutch.

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6. Mustard Yellow

I, who for whatever reason always associated mustard yellow with spring, had a strong epiphany upon seeing a model walk down the Sergio Hudson runway in a mustard yellow turtleneck and mustard yellow trousers with a turquoise coat layered on top. From that moment forward, I will never again doubt mustard's season-defying powers. In terms of Spring/Summer 2026, Valentino sent a model down the runway in a chiffon mustard button up top paired with a purple skirt and pink heels. Hermés made a case for mustard yellow outerwear with a coat paired with black leather pants.

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7. Baby Pink

Baby pink has been everywhere and we have good reason to predict that it will remain like that for the rest of 2026—and likely beyond that. Acne and Ulla Johnson encouraged wearing the color next fall and winter through the presentation of dresses and outerwear. On Stella McCartney's Spring/Summer 2026 runway, a valid point was also made: we need outerwear in the spring and summer too for those breezy nights—and they might as well be a fun color.

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8. Chartreuse

For the past two seasons, all the shades of chartreuse imaginable have been present on major runways. Prada and Alaïa, for example, made strong case for a green-leaning variant of the hue in the forms of dresses and skirts. The Ashlyn runway made a case for bright neon colors in the fall and winter with a turtle neck knit a yellow-leaning variant of the popular color.

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Knife Point

Ultra-pointy pumps were a fixture on the Spring/Summer runways this year. Most notably at Saint Laurent, where Anthony Vacarello sent the exact same shoe out with every single look, only varying colours and fabrications. All of them were sky high stiletto pumps with an elongated, severely pointed toe. Elsewhere, Pierpaolo Piccioli’s debut Balenciaga collection featured pointed toe court shoes, and Maximillian Davis’ Ferragamo featured a series of patent leather mules.

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Leather Lace Ups

Preppiness is back thanks to the likes of Michael Rider, who offered a Spring/Summer Celine collection that was filled with just that, including little white leather lace up shoes perfect for Spring. Jil Sander’s Simone Bellotti had a similar stroke of genius, fusing a kind of vintage Prada sport silhouette with a traditional Oxford shoe for something a little more laid back, while Prada went for a classic patent leather Oxford.

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Walking On Water

While more of a trend during the recent Fall/Winter 2026 shows, a water shoe theme emerged amongst designers, namely Simone Bellotti and Miuccia Prada. At Jil Sander’s Fall/Winter 2026 show, satin and leather water style shoes appeared on the runway. Over at Miu Miu, Mrs Prada brought the bubble soles from her 1999 collections back in the form of slip-on leather water shoes. At Loewe, it was a little more rain shoe than water shoe, as heeled clear court shoes came down the runway. If you’re looking for a sportier option this Spring, consider the water shoe!

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Fancy Footwork

The Spring/Summer season was one of plenty of fun amidst the court shoes and brogues, as demonstrated by Sean McGirr at McQueen, who resurrected Lee McQueen’s famous Spring 2003 rosary strappy sandals with a horn heel, while over at Chanel, Matthieu Blazy sent a series of pony hair slingbacks down the runway. At Jonathan Anderson’s Dior debut, the Irish designer offered up a series of satin mules with twisted rosettes at the toe, all pointing towards a surge towards fun footwear.

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Colour Pop

It was the season of the coloured boot on the Spring/Summer 2026 runways. At Courréges, a pair of blue sock boots intercepted the otherwise fairly neutral collection, and at Hermes, mustard yellow suede riding boots came out every few exits, while at the Fall/Winter shows this past month, we saw embellished yellow boots from Prada, and electric blue suede options from Acne Studios. ‘Tis the season for a brightly coloured boot!

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Congratulations on the Estée Lauder announcement! How does it feel to be the new global ambassador for such an iconic brand?

Daisy Edgar-Jones: "It really feels like such a dream. I've loved Estée Lauder for such a long time. I've grown up loving their products and playing with their makeup and going to the counters in department stores."

What's your current favorite product?

DEJ: "I've really gotten into the Double Wear [foundation] and I love the new formula because it's so lightweight and easy to apply. I'm such a busy person—I often leave the house for hours on end and never have time to retouch my makeup, so I love that it's so long-lasting. I'm on the matte side. I need the matte. I love applying with a Beautyblender. You can really get the full coverage you need."

It's been six years since Normal People came out. What's the biggest difference between Daisy in 2026 and Daisy in 2020?

DEJ: "I feel like I haven't changed a huge amount, which I'm actually glad about. I did a job recently with someone I'd worked with when I was 17 and she said, 'You haven't changed'— and I was really glad to hear that. But I definitely feel a lot more comfortable in my skin, which I think is part of growing up in your twenties. You start to like yourself a bit better and be a bit more accepting of yourself. My confidence has grown."

What helped you get there?

DEJ: "I used to feel like, if I had an interaction with someone and I didn't feel confident, I'd blame myself for it. Whereas now I'm like, it's about finding your people—the people that make you feel like your most true self. I've just been around the block a few times. I know how to handle situations, especially at work. I'm more sure of myself in that department. I still have imposter syndrome at times, but I feel more like I belong in the space, and I take up a little more room in it, which is good."

You're a pro at playing deep, complicated women. Who's a complicated woman, real or fictional, that you look up to?

DEJ: "I feel like I've not met a woman, or a person, who isn't deeply complicated. Everyone is so full of depth and strangeness and light and shade. But I'm very inspired by Margot Robbie right now. She's such an incredibly talented actress, but also incredibly talented as a producer. I love what she's doing with LuckyChap [Entertainment]. I've heard from so many people that if she's producing a movie, she's in there with the spreadsheets and the budget—she's fully in it. I find her very inspiring."

Astrology question: do you identify as a Gemini?

DEJ: "I'm interested in astrology, though I wouldn't claim to be particularly knowledgeable about it. My rising is Virgo, and I feel more Virgo in a lot of ways—I'm incredibly organized and meticulous. I do a lot of prep. I was the person with all the cue cards when revising. But I suppose the Gemini parts of myself show up in my career, because there's the duality of myself and then a character who's very different from me. Maybe Gemini in that way. I'm not a massive gossip, but I can be quite flighty—very intensely present with someone, and then if I'm off on a job, I don't reply for three weeks. Just know I love you. I'm going to come back."

What are you reading right now?

DEJ: "A book called The Premonitions Bureau. It's nonfiction. There was a study done in the '60s where they set up this bureau in the UK and tried to get people who had premonitions to write in about them, almost like Minority Report, to see if they could predict things from happening. I find premonitions so interesting because I've had a few little sprinkles of them myself. I actually had one with Normal People—I had this full-body sense that something big was going to happen in my life, and then I got the call that I got the job. I'd had an audition, three days had passed, and I was like, 'It's probably not going to happen.' And then I remember walking along the Thames at the South Bank and having this strange sensation...and then my agent called. It was a very strange thing."

That's incredible. What are you listening to right now?

DEJ: "I'm really into a musician called Jessica Pratt. She has a song called Back, Baby and so many beautiful songs. She's so nice for this time of year, especially because in London it's very gray and cold. I have all her records—she's lovely to listen to when you're sat by the fire."

Describe your perfect day.

DEJ: "Listening to Jessica Pratt in the morning, having a coffee, leaving myself enough time to journal and do my hair and makeup. Then a walk in London, seeing mates, watching a movie. And a Sunday roast. I do like a roast. Very hygge."

You mentioned journaling—is that something you do regularly?

DEJ: "Yes, definitely. I set up a new journal every year and try to give it a theme. I do it with mates as well, which is very hygge—we get little stickers and make our journals together. This year my theme is sneak joy in all that you do. Last year it was take it seriously, but wear it lightly—and I feel like I really did that."

What are you manifesting for the rest of the year?

DEJ: "I really want to be a lot more present. I'm manifesting finding my inner peace by the end of the year, if I can. Life's really fast, the world's quite a wild place, and trying to find moments of peace amongst all of that is kind of what I'm reaching for."

Last question: What's the most and least British thing about you?

DEJ: "The most British thing is that I drink tea all day. I'm huge into my tea—chamomile, plain. I'm quite an energetic person, so chamomile calms me down without making me sleepy. The least British thing... honestly, I'm so British. I really can't think of anything. Maybe that I'm not massively bothered about football. That might be it."

This interview has been condensed and edited for clarity.

What do you love about your job?

"When I first started, it definitely didn't feel like a job and that was one of the more exciting aspects of it. I knew that I hated working in general, which is why I left the corporate setting I was in—I really just wanted to create. I think going into it, I never really thought about it from the mindset of like, oh, I need to do something that's going to be profitable or my livelihood. I just wanted to do something where I felt passionate. Over the years it's morphed into different versions of itself. I love that it's always kind of been a canvas for me to create and build upon what's existed in this space and just allow me to have new visions and take on new things that I'm passionate about and not ever feel boxed in because I don't think that we're ever meant to do just one thing."

When you're not at work, what do you like to do?

"Oh, be in nature. That is my number one thing. And to be honest, I feel like I'm rarely at work. I have really centered my life around doing things that feel good to my spirit. So I'm often in nature, wherever that is in the world. And then from there, work or creativity comes through."

How would you describe your relationship with fashion?

"I guess it's more so style. I don't think that I'm part of the fashion industry, I just love style as an expression of art. I'm so fascinated when I come across different designers who can just really come up with something innovative and new or are just really good at putting pieces together. And so that's always what fascinates me about the idea of style and just seeing how people use it as a way to express their personality."

How would you describe your relationship with art and creativity in general?

"I think it's the same thing. I think we're all, as human beings, multidimensional, innately creative, and innately artistic. It's just a matter of how we express those things. For me, I think it's endless. It's kind of whatever I feel called to in the period of life that I'm in. But everything for me goes hand in hand. There is no me without being creative, even if I'm not physically doing something."

How would you describe your personal style?

"Comfort. Always comfort. Honestly, this is why this weather is so hard for me because I'm typically in flip flops, a tank top and shorts."

Who are your style icons?

"I don't know that I have style icons in terms of like fashion. I love Prince. I love Sade. I love Malcolm X. I love people who just seem very effortless in their approach to life. And you can tell they're not waking up in the morning and spending like two hours putting an outfit together—it takes the backseat."

What are your favorite brands?

"I love old Phoebe Philo Celine. I love a lot of independent brands like Amalya Meira and J.Kim. Yeah, a lot of independent designers who are just kind of funky and weird."

What's the most worn item in your wardrobe?

"Probably these green cargo pants I got from Urban Outfitters like four years ago and I wear them all the time. They're flattering, but they're so comfortable and they're season-less."

What does your process of getting ready look like?

"I typically am in gym clothes because I work out five days a week and after I go to the gym, I start my day. I usually don't feel like getting changed unless I have to go somewhere."

How do you decide what brands or artists or creatives to put into your store?

"The foundation has always been working with small independent designers. But I think about maybe five years ago, I started bringing in Korean designers and I just love what's going on in Seoul, South Korea. I think Asia has been the future and when I go there, I'm just always very impressed by how they approach fashion and style. And a lot of the clothing that we carry is from Seoul."

Why did you decide to include music and records in your store?

"Music has always been a really big part of my life. I've always wanted to be a DJ, but then I think I got a little turned off by the idea just because everyone is a DJ now. I've always loved to dance. It's always been just an expression of therapy for me since I was, I don't know, a kid. Having that element because this is a lifestyle space was really important. We've done parties here and there, but even with the parties, it's been like just a really specific type of music that allows for people to dance and engage."

How often do you end up taking things home from the store?

"Not often. It's very rare. I'm just about comfort and I don't like having a lot of stuff."

Do you have a favorite item in the store at the moment?

"I do. It's a pair of jeans from Seoul and they're unisex. They have l some really cute details, but they're just very classic and an easy wear."

While some keyboard warriors are deeming the top "bizarre," others have coined it "groundbreaking"—it's all about the duality. Generally, the online discourse remains about men wearing garments, whether it be due to material or silhouette, that can be considered "feminine." Our opinion? We love the fashion men continuing to make a case for subversive, gender-defying dressing—Skarsgård being one of them!

Stay

There is nothing quite like spending a month in hotels and staying with friends and walking into a place that is entirely your own for a couple of days. Checking into my Porta Venezia Airbnb felt like a true escape (an escape with a living room and kitchen all to myself). With everything I could need, this beautifully designed space became my home for five nights, giving me a sense of grounding amid the chaos. Waking up and making my own breakfast in the peace and quiet of my own space felt like such a luxury, and walking out the door every day made me feel situated like a local. Porta Venezia is also the perfect area in the city, easily accessible via train, trolley, or whatever other mode of transport you prefer, and feels more neighborhood-y than a lot of the rest of Milan.

Eat

There is one place you must visit when you go to Milan and it's La Latteria. This mom & pop-run restaurant was bought by Loro Piana last year after the news came that the beloved seven-table institution would soon close due to the Maggi family's retirement. This no-booking, no fuss spot offers some of the most perfect food you can have in Italy. If you find yourself in Milan and prepared to wait in line for a table (I got lucky one Wednesday and did not have to, so there is hope), it's worth every moment. Get the zuchinni with mustard sauce. Don't sleep on the pasta pommodoro.

If, like me, your days are consumed by either attending shows or trying to figure out the quickest way to get to your next show and then travelling to said next show, you'll know that lunch is often skipped and time is of the essence. A friend reccomended Princi for a quick bite—a walk in bakery serving Milanese delights and plenty of Mortadella sandwiches to keep you well fueled while on the go.

Finally, for a true Milanese meal, it doesn't get more authentic than Trattoria Milanese. Go for the Milanese crumbed meats and stay for the ossobuco and tortellini en brodo.

Do

Party!

I didn't have much time to do anything but my job. After all, this is a fashion week guide, not a tourist guide. When EsDeeKid is rumored to perform at the Gucci afterparty, you must go. That's all! Ciao.

Meet The Experts:

What Is J-Beauty?

J-beauty, or Japanese beauty, is deeply grounded in cultural heritage and time-honored traditions. J-beauty emphasizes mindful skincare rituals rooted in ancient wisdom, practice, and holistic care. Vicky Tsai, founder and creator of Tatcha Beauty, a skincare line focused on Japanese rituals, explains that the biggest difference in the Eastern approach to well-being and beauty is the heavy emphasis on holistic care. “The Japanese phrase 'hinou dokon' means skin-mind, same root. In Japan, caring for the skin is caring for the mind, and that belief has shaped their approach to skincare,” she says.

J-beauty heavily emphasizes sun protection, dating back to almost 500 years ago. Even though they didn’t have advanced SPF 50+ gel sunscreens back then, the importance of taking care of your skin meant being mindful of sun exposure and incorporating nutrient-dense ingredients like rice bran, green tea, and seaweed into your diet and skincare routine. Many Japanese beauty brands infuse innovative and powerful ingredients into their skincare products, and these efficacious formulations cater to a diverse range of skin needs and concerns.

Tatcha’s proprietary complex, Hadasei-3, is the heart of their skincare formulas. “It’s made from double-fermented rice, green tea, and algae that goes deeper than water to channel nutrients into the skin, boosting the efficacy of your skincare ritual while replenishing the skin’s moisture barrier for a plump, supple complexion. It was inspired by Japan’s nutrient-dense diet, known to boost longevity,” explains Tsai.

What Are The Key Ingredients In J-Beauty?

According to Kazuko Tatsumoto, the brand manager at J-beauty brand Albion, Kojic Acid is a standout ingredient in Japanese beauty. "It is naturally derived from the fermentation of rice or soybeans, a process that produces Koji, a long-used ingredient in Japan for sake, soy sauce, and miso. It was discovered in Japan in 1907. Research on its ability to improve the appearance of uneven skin tone began in the 1970s, and nearly 60 years of subsequent data support its use in skincare," Tatsumoto says. "Thus, reliable safety and efficacy are notable features of the Kojic Acid compared to other newly found ingredients with limited studies. It is also smaller in molecular size than other well-known brightening agents such as Vitamin C, Arbutin, and Tranexamic Acid. Kojic Acid allows for more efficient absorption, helping it reach the skin where it can make a visible difference.

Other popular ingredients in J-Beauty include green and matcha for anti-aging and environmental protection, licorice root extract for soothing and evening out skin tone, and hyaluronic acid for the sake of achieving the "mochi-hada" that we all strive for.

What Does A J-Beauty Skincare Routine Look Like?

A J-beauty skincare routine takes a more simplified and gentler approach. Kyoko Getz, an esthetician for Shikō Beauty Collective, explains that “J-beauty always seeks balance and tends to focus on ingredients and product formulations that support and honor the skin's natural rhythms.

For these reasons, J-beauty is often a great approach for sensitive, reactive, or dry skin,” Getz adds. For the ultimate J-beauty skincare routine, she recommends using a gentle cleanser, exfoliating one to two times a week, applying a hydrating toner or essence, and layering on a nourishing serum before finishing things off with a moisturizer and sun protection. “Hydrating toners, lotions, and essences are designed to add water to the skin and soften the skin and to increase the penetration of active ingredients in serums or moisturizers that follow,” she says.

Incorporating J-Beauty Into Your Routine

Founded on the idea that less is more, "each step of the classical Japanese beauty ritual is beloved and essential,” says Tsai.

If you are overwhelmed with too many products in your current routine, simplifying things with an essence could be a good start. Essences are a hybrid of a serum and toner and can help hydrate your skin quickly after you cleanse. J-beauty also focuses on less abrasive ways to cleanse the skin. Gentle cleansers or cleansing balms clean the skin while preserving your skin barrier. J-beauty skincare rituals also encourage taking your time when cleaning and prepping your skin.

Exploring the beauty aisles of local Japanese or Asian supermarkets offers a tangible glimpse into the world of J-beauty. However, for an even more extensive selection and access to authentic products not commonly found in mainstream retailers, online curated marketplaces like Shikō Beauty Collective and J-Beauty Collection are invaluable resources for finding unique, high-performance skincare products. In the vast landscape of J-beauty, whether you're perusing physical aisles or virtual marketplaces, both experiences offer a practical blend of tradition, innovation, and the chance to find skincare treasures tailored to your needs.

What Are The Most Popular J-Beauty Products?

The Bottom Line On Japanese Beauty:

J-beauty emphasizes mindful skincare rituals rooted in ancient wisdom, practice, and holistic care. Products tend to prioritize sun protection, anti-aging, and general hydration—all while being sensitive skin friendly and relatively minimal formulas.

"I didn't even know what fashion was really," he says. "It's been a bit of a process even up until now learning about what fashion is and I'm still sort of learning." Luckily, Clarke has had the best teachers along the way through both bachelors and masters programs at Central Saint Martins and jobs at Burberry and Phoebe Philo where he worked on 3D teams transforming research images into draped garments. "Some people like to draw and then go about that with patterns, but I like to just sit with a mannequin and fabric and just make stuff," he says. "I feel like that is when I sort of properly understood the context of fashion in a way."

For Clarke, the biggest blessing of a fashion education was the space to simply create—it wasn't about creating masterpiece after masterpiece but rather creating for the sake of learning through false starts, what could be personally interpreted as failed attempts, and technical mistakes. Now, his process is purely instinctual. On top of gaining the space to make things over and over again, he gained a built in fashion community in London. "Our class specifically is really good friends. And I love that. I think that's important," he says. "It hasn't felt competitive and it helps because everyone's so different. There's no competition because we're all doing completely different things."

So many artists can likely relate to this sentiment: to Clarke, creativity and being unorganized go hand-in-hand—there is really no other way to approach art as a creative keen on picking things up along the way that will one day play a role in your practice. "My room is just full of all these weird objects," he says. "I used to just be strapping those little objects together and then putting it on someone and then including fabric. It was a sculpture that just happened to build a body." He doesn't sketch out the looks that he plans on creating—instead, he does tons of research, prints out photos, and plays with the physical fabrics on a stand. One look, for example, will have a handful of potential collars of varying styles. Clarke will rotate the various styles out until one just makes sense.

The Central Saint Martins fashion masters program culminates in a runway show during London Fashion Week which begins with all students casting models in the same space at the same time. "A lot of my friends modeled it as well," Clarke says. "I like using my friends as models mostly because I know what they're like, so it makes sense to me I can pair them with a certain garment." It was in this show that Clarke sent what people have deemed Paul Mescal "merch" down the runway. For Clarke, this decision had much less to do with a love for Paul Mescal and more to do with a love for ready-made art from the '50s and a desire to replicate that—and a desire to keep consumers thinking, questioning, and guessing. "It's playing with consumerism and commerciality, but not in a sort of negative way at all," he says. "It's about taking something that means so much, putting it somewhere, and changing the context of it."

Sending your clothes down a runway naturally comes with nerves—especially as a an emerging designer. But for Clarke, the actual creation process was the best time of this life—and this feeling and freedom is exactly what he's chasing post-grad. That and wrapping his ahead around the business side of fashion. While 2026 feels like a particular challenging time for any and all career paths, Clarke has faith in his city: "I think there's a lot of space for the young designers in London especially," he says. "Now I need to learn about the business side of things, speak with and learn from people."

If he could do fashion school all over again, he would shed the stress and put less stock into what he was actually making. "If itt's bad, that's good anyway, because you just learned something in that way," he says. "Doing these things should be playful and fun doing these things—that's when it's good."

The baseline for Oli Clarke's post-grad path forward is straightforward, though: "I just want to keep making stuff."

The role of the creative director at a fashion house has always been to honor the legacy of the codes while offering a degree of newness to steer the brand towards commercial success. We are all plenty aware of the ways in which capitalism demands a quick turnover in order to thrive, but what if this has begun to cloud our judgement on what actually makes a good collection, and in turn, a good designer?

Demna’s Gucci was only the thin end of the wedge conversationally. The criticism that he didn’t do “enough” feels like a disproportionate expectation here, especially for a house like Gucci, which historically doesn’t have a storied connection to savoir-faire or couture. It does, however, force us to raise a larger question: what do we actually expect from designers right now?

We have long surpassed the opportunity for things to feel truly transgressive today. What was once shocking—Gabrielle Chanel’s women in pants and Christian Dior’s post-war “New Look”—now just serves as a historical milestone. The dawn of the highly digitized era we are currently living in has certainly not been any help. When everything is shocking, is anything shocking anymore? Most of us just want to be moved, but it begs the question, who gets to decide what moves you? Is the job up to the designers? The critics? The influencers? The internet trolls?

We're existing in a moment in late-stage capitalism where designers simply do not have time to settle into their posts anymore. Take Sabato De Sarno, for example, who after only a year and a half of showing collections that were entirely different from Alessandro Michele’s Gucci (which was initially what it seemed consumers wanted, despite high brand-loyalty towards the Italian designer), was out as the industry struggled to adjust. The changes at Gucci in recent years is hardly the only example of swift designer turnover. Dario Vitale only got one season at Versace last September before being ousted following Prada Group’s acquisition of the brand; Peter Do was at Helmut Lang for a brief 1.5 years before exiting in 2024; and who could forget Ludovic De Saint Sernin’s single season at Ann Demeulemeester before his abrupt departure, or Raf Simons’ 28 months at Calvin Klein?

Immediate success—both commercially and in the wider conversation— is now expected from designers who have barely had enough time to thoroughly comb the archives of the legacy brands they land at, let alone design a hit debut collection (honorable mention to Jonathan Anderson and Matthieu Blazy, who did just that at Dior and Chanel respectively this season). As context slips further and further away via diluted “hot takes” and a new wave of internet armchair critics whose view counts are bolstered by negativity and flash-reactions instead of thoughtful critique and research, so does our collective ability to understand the intention, effort, and meaning behind a designer’s creative vision.

I felt moved by Demna’s Gucci. Not because the jersey mini dresses on the runway reached inside of me and unearthed a dormant emotion that only a truly masterful collection can, but because it was such good fun. Everything was ultra hot, ultra bright, ultra famous. I am not looking to Gucci to discover anything profound about fashion. I do believe it is the job of designers to elicit some kind of emotional response, but does it always have to go further than fun?

When creative directors are tasked with up to twelve collections per year, the idea that we need to constantly be offered up newness in order to feel something about fashion is not only unrealistic, but unnecessary. If we demand to be stunned by each and every show, we will surely reach the point of fatigue that we are beginning to witness in our current situation—one where rage bait and spectacle via publicity stunts are beginning to increase in frequency and our attention is drawn from craft to clout.

My Skin:

I'm perpetually searching for and testing out products that will leave my dry skin feeling anything but stiff and tight when I wake up in the morning. While some products work temporarily, I'm really looking for a long lasting hydration that truly transforms my skin. If a product keeps my skin moisturized and hydrated overnight, I consider it a huge win—if there are even more benefits to it then that, it's a no-brainer repurchase.

The Product:

Dear Klairs is a Korean beauty brand focused on creating products suitable for sensitive skin. Their products are minimal yet effective, as well as vegan, eco-friendly, and cruelty free. In K-beauty, an ampoule is essentially a hyper-concentrated serum formulated to address one major skin concern. More often than not, these products come in the form of vials and dropper bottles. In the case of the Dear Klairs Fundamental Ampoule Mist, the major skin concern targeted is dryness and it comes in the form of a spray bottle—this eliminates the need to put the product in your hands and rub it together before application making the process seamless and mess free. In terms of formulation, the product is jam-packed with ingredients to address hydration, antioxidant protection, and glow: 82% green tea leaf water, cucumber, rice, mugwort (a very popular ingredient in K-beauty and praised for its calming and repairing abilities), luffa, and kelp extracts, and trehalose.

The Results:

While the instructions encourage two to three spritzes of product, I found myself spraying extra—that's just how much I liked the way it felt on my skin. I used this as the very first step in my routine after washing my face, then patted the product in a little bit, but mostly let it air dry. I then proceeded with the rest of my routine: a hydrating serum, a heavy cream and a facial oil. I'm about to make a massive statement and I don't say this lightly: this is one of the most hydrating products that my dry skin has ever met. Despite my already established routine doing a lot of heavy lifting hydration-wise, I still tend to wake up a little dry—and I've accepted this as my reality and chalked it up to how my skin is and always will be. Adding this ampoule to my routine fully changed my perspective, as dramatic as that might sound. After using the ampoule, I woke up feeling hydrated and with a remaining glow and softness.

I was doubly as sold on this product when I took the advice of one very wise Redditer that wrote: "The Dear Klairs Fundamental Ampoule Mist is really good at setting makeup—maybe a little too good. My makeup did not budge." I, a dry-skinned girl desperate for makeup that stays on my face for 24 hours and maintains a glowy finish, obviously had to give this a go. Here comes another massive statement: this worked better than any product actually intended to function as a makeup setting spray. Through Reddit comments, deep dives into ingredients, and solo research, I've concluded that this is due to the rice extract in the formula, which creates a semi-permeable film on the skin. It forms a protective layer and barrier which, arguably, locks in makeup and prevents it from separating. Just in case you needed more convincing: a review on the Klairs Cosmetics website reads "This is my absolute favorite product to set makeup in the morning, especially on colder or drier days. It brings back all the hydration to my skin, and it keeps it there!” Enough said.

Worth It?

in short: yes! Regardless of your skin type, it's a great starting point to prepare your skin for the rest of your skincare routine—and it leaves the skin with hydration and softness that lasts all day. I would recommend this product even if it wasn't multi-functional, but the fact that it works shockingly well as a setting spray makes this a no-brainer purchase. For something that fills multiple roles in ones beauty routine, the $27 price-point feels like a steal.

TL;DR

I discovered the Dear Klairs Fundamental Ampoule Mistt through a Reddit deep-dive and was intrigued by its multi-functionality. It's formulated with 82% green tea leaf water, cucumber, rice, mugwort, luffa, and kelp extracts, and trehalose, so it provides daylong hydration for all skin types without clogging pores. Several reviews noted that, because of the rice extract creating a film over the skin, it works insanely well as a setting spray—I, of course, had to test this theory out for myself and can confirm that it indeed does.

At a $27 price-point for an item that fills multiple roles in one routine, I encourage everyone to try this out for themselves.

Long Exit

This season was all about trains. Everywhere we looked from New York to Paris, the trains followed. At Kallmeyer, Daniella Kallmeyer created silk shirts with bias-cut fabric trailing from the hips, while at Dior, Jonathan Anderson introduced a series of layered tutu skirts with frothy trains trailing behind. Over at Loewe, textured trains were secured to knitted mini dresses like great big tails, and at McQueen, a neat little black dress was finished with a translucent organza train, further emphasizing the high-low effect.

Tactile Texture

Texture was a focal point of the runway for Fall/Winter 2026. Most notably, Louise Trotter’s sophomore Bottega Veneta collection overflowed with an offering of fur, pile, shearling and fringe. At Chanel, Matthieu Blazy focussed on layered sequin pieces that looked like scales, alongside floral appliqué motifs. Over at Louis Vuitton, shearling and fur overtook the runway, while back in New York, Diotima’s Rachel Scott offered a show-opening dress and pair of long skirts using a three-dimensional organza intarsia technique that almost looks like shearling if you squint.

Pin It

Brooches have been circulating the trend cycle for a time now, especially on the red carpet. But this season, bigger, more statement-making pieces appeared on the runway. In place of jewelry-focused pins, floral appliqués and rosette ribbons abounded. In New York, Khaite’s Catherine Holstein attached a series of vibrant flower pins onto the lapels of stark black jackets; in London, Simone Rocha put an emphasis on rosettes, and in Paris, it was all florals at Dior and Chanel—both collections included oversized flower motifs that looked pinned to clothing.

Dark Romance

It’s the era of Wuthering Heights and all things tragedy, and naturally the runways are reflecting this cultural moment with plenty of gothic, romantic references. In the city of love, Saint Laurent’s Anthony Vaccarello offered a supremely moody collection, with a finale streaked with black lace pannier gowns; Stefano Gallici brought gothic romance to the Ann Demeulemeester runway, which featured silk and chiffon bodice dresses, asymmetric hems and high necks, while over at McQueen, Sean McGirr blended regency silhouettes with a sense of subversion. At Dreaming Eli’s London Fashion Week show, it was all about lace corsets and thorn crowns.

Checked Out

Arguably one of the biggest trends on the runway this season was plaid, tartan, and checkerboard prints and weaves. This was best demonstrated at Chloé, where Chemena Kamali showed a Fall/Winter 2026 collection that was filled with check prints, from button down shirts to translucent shirred tea dresses. Over at Acne Studios, we saw a similar approach, where different check prints were styled together to create a visually busy, yet cohesive look. There is no point in talking about tartan without talking about Burberry, and for Daniel Lee’s latest collection, which felt heavily evening-focussed, the British designer offered a series of tartan fur trimmed coats in navy and garnet for the Burberry check fix.

Statement Fur

It wouldn’t be a Fall/Winter 2026 trend report without a mention of fur, which has come back in a very significant way this season. After a vintage fur revival, faux fur has returned to the runway and showed up everywhere we looked. At Gucci, the Gucci archetype was explored through belted fur coats, while at Chanel, Matthieu Blazy offered multicolored versions. At Schiaparelli, Daniel Roseberry took the trend far enough to add fur pants into looks, while at Valentino in Rome this past week, Alessandro Michele offered versions of fur coats that looked as though they were plucked out of an heirloom closet.

The New Suit

Skirt suits took over the runway this season in every possible way. Once relegated to the likes of Chanel (where this season Matthieu Blazy placed an emphasis on the core house silhouette), brands this season fixated on the humble skirt suit. Perhaps a CBK-inspired effort? At Jil Sander, a lapel-less purple skirt suit made its way down the orange runway, while at Ferragamo, Maximillian Davis experimented with deconstructed tailoring. At Haider Ackermann’s Tom Ford, it was all about the suede skirt suit in poppy red and ecru for a modern feel.

Open Season

In the accessories department, one bag trend ruled over all: open bags. From Chanel flap bags to Loewe’s Amazona shape, a new interpretation of the work bag from Balenciaga, and exposed duffles at Louis Vuitton, this season was all about interior exposure.

Dior Pops Up At South Coast Plaza

In celebration of the launch of Jonathan Anderson’s Dior collections, South Coast Plaza’s Jewel Court will be transformed by the brand into a visual pop up. Reimagined as an homage to the archives, the pop up features a display of the boxes from Dior’s very first boutique on 30 Montaigne. The pop up is set to feature stand out moments from both Anderson’s women’s and men’s collections, featuring stand-out accessories and silhouettes. Time to shop!

Kaia Gerber Releases Collaboration With Repetto

Who is an It girl without her ballet flats? This is the question Kaia Gerber asks with the release of her Repetto collaboration today, as a loyal wearer of the beloved flats. Titled "In Bloom", the project is imagined via a campaign/short film (Gerber loves a campaign video-cum short film) directed by Neels Castillon and choreographed by Fanny Sage. The model and actor apparently went through months of dance training with Sage to both execute the campaign properly, and gain further understanding of Repetto’s dance-rooted history. The collection featured Gerber’s take on both the classic Camille heeled ballet flat and the Babies Mary Jane in multiple colourways. As a certified ballet flat/Repetto lover, I approve this partnership.

Loewe’s Debut SS26 Collection Lands At Bergdorf Goodman

As of this week, we can all officially shop Jack McCollough and Lazaro Hernandez’s debut Loewe Spring/Summer 2026 collection at Bergdorf Goodman. For anyone who wanted one of those Polly Pocket dresses or rubber shoes, now’s the chance. The collection, featuring women’s ready-to-wear looks, leather goods and accessories, will be framed against vibrant stacked ceramic-tile benches, drawing inspiration from the iconic Spanish artisan-made ceramic tiles featured throughout LOEWE stores.

Phoebe Philo Releases Collection E

This week, Phoebe Philo proves that she does not need a flashy show or even a celebrity-stacked campaign to have Philophiles still falling at her feet. With the release of the British Designer’s fifth collection since launching her eponymous, highly successful brand, Philo offered a collection filled with luxurious oversized furs, expertly cut drill cargo jackets, watery silk gown and leather bomber jackets with huge ribbed knit funnel necks that can only be described as indulgent. In a moment where there is a lot of chatter about casting, intention, spectacle, and virality, Philo once again lets the clothes do the talking.

Chanel 25 Bag

Dua Lipa was the official face for the Chanel 25 handbag campaign back in 2025. The bag, a hobo style with relaxed silhouette, is available in three sizes and various materials: grained calfskin, suede, washed denim, tweed, and perforated calfskin.

Shop The Bag:

Balenciaga Rodeo Bag

Spotted on it-girl Amelia Gray as well as Sarah Pidgeon, Hailey Bieber, Lori Harvey, Hilary Duff, and Sarah Michelle Gellar (plus a star-studded campaign with Michelle Yeoh, Kim Kardashian, and Naomi Watts), Balenciaga's rodeo bag is characterized by it's modern silhouette, slouchy structure, and wide open look.

The Row Margaux

Coined "a future heirloom" by Vogue, The Row's Margaux plays a major role in the rotations of Kendall Jenner, Zoë Kravitz, Jennifer Lawrence, and more. The design is minimal and it offers a quiet luxury aesthetic, but key details include the structured handles and functional buckle details on each end.

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YSL Mombasa

This year, Saint Laurent made the wise choice to reissue the house's popular cary-all bag from the early aughts—and it-girls far and wide have already co-signed the decision. 2026 marked the return of the Mombasa Bag and this was announced with a campaign starring Bella Hadid who has been spotted everywhere from New York to LA with the bag slung over her shoulder. The bag is a hobo style and crescent shape hybrid: slouchy, casual, but structured and modern where it counts.

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Bottega Veneta Cabat Tote

Jacob Elordi is a Bottega boy through and through—and this has been demonstrated through his to-die-for bag collection, one of which is the ever so practical Cabat tote. Available in four sizes ranging from mini to large all in the house's iconic intreccio weave.

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Gucci Borsetto Bag

Demna first presented the the Borsetto (a combination of the word 'borsa' (Italian for 'bag') and 'morsetta' (Italian for 'horsebit') bag as a part of Gucci's Spring/Summer 2026 collection and they finally became available for the world to shop last month. Spotted the arms and shoulders of Vittoria Ceretti and Alex Consani, the bag is practical size in a rectangular silhouette with traces of the house's equestrian inspirations.

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Valentino Panthea

Co-signed by Rihanna, Jenna Ortega, Bella Hadid, and Anne Hathaway, the bag first presented through Alessandro Michele's Fall/Winter 2025 collection has quickly become a celebrity staple. It has '70s influences, a semi-structured silhouette, and features embellished feline heads, chain handles in addition to a leather strap, and the house's signature V logo.

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Saint Laurent Le 5 à 7 Supple Bag

I believe that everyone needs a suede bag in their rotation—and Zoë Kravitz, arguably the queen of practical dressing, seems to agree. Also available in leather and a fun leopard print, the bag originally presented in Anthony Vaccarello's Spring 2021 show has understandably stood the test of time. The hobo-style shoulder bag is casual yet sleek, practically sized for all your daily necessities, and is complete with YSL monogram hardware that doubles as the fastener.

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The film features Ryhan Aboah doing pull-ups on a rusted playground, model and influencer Cassie Jekanoski flipping through print magazines, Fallou Seck setting up his film camera and then setting up for the perfect shot, skater Connor Champion taking a breather and sipping on a coffee on a brownstone stoop, actress and skateboarder Dede Lovelace thoughtfully working on a painting, jewelry designer George William taking a close, intentional look at something through a telescope, Claire Zhu enjoying a quiet solo meal, and James Oleynik smoking a nice cigar.

All in all, both the hustle bustle and the much needed moments of semi-quiet and leisure in between were so perfectly captured—and all while wearing Grand Collection's practical pieces made for the movement that NYC requires.

Now, it's safe to say that modern brides are generally prioritizing meaning over expectation while rejecting everything that society taught them that an engagement ring aught to be. "We’re seeing more interest in pieces that feel wearable, symbolic, and a little unexpected rather than overly flashy," Landau says. "There is also a shift away from using the ring as a status symbol. Today it is more about identity and intention. The modern bride is confident enough to choose something that feels like her, even if it does not fit the traditional mold." And while the hype, buzz, and conversation around Carolyn Bessette-Kennedy's ring and the influence that remains might feel ironic in the larger conversation surrounding personal style, I'd like to think that the sentiment is the same.

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Where Are You From?

Born: Bangok

Raised: Hong Kong

Located: London

What's Entertaining You?

Reading:

"Lucien" by J.R. Thornton: "I received an advance copy of "Lucien," the latest novel by J.R Thornton—a dark academia thriller—so I've been making my way through that."

"Chinatown" by Oh Jung-hee: "I've also been enjoying "Chinatown" by Oh Jung-hee, who has been dubbed as the grande-dame of South Korean literature, though the author has had limited mainstream presence in the West and her book was only translated and released by Penguin last summer. It's cool to see her finally getting her flowers."

Listening:

"I am a big Mitski fan—my cat's name (Mitsy) is a play on the singer and "mittens" because of her four white socks—so I have been listening to her new album 'Nothing's About to Happen to Me; non-stop. The second track, 'Where's My Phone,' is this frantic exploration of modern anxiety and digital dependency, which feels like timely commentary on the loss of self in this chaotic, tech-driven world."

What's In Your Cart?

Medicube Booster Pro: "Like everyone, I have become obsessed with Medicube's Booster Pro. I normally get zapped by my facialist but the results (improved absorption and hydration) have been so apparent that I am seriously thinking about buying one for the home."

New Chanel shoes: "The new Chanel shoes by Matthieu Blazy (the ponyhair flats and colorful mules from the spring/summer 2026 collection are perfect for now—I wish I could get my hands on a pair!)

Clothes from independent East Asia designers: "Pillings (the fall/winter 2026 show looked so cosy and I'd love to own a hand-knitted skirt from Ryota Murakami, the Osaka-born designer behind the LVMH Prize nominated label). Setchu (one day I'll own one of designer Satosh Kuwata's modular, origami-inspired jackets), Renli Su (she's a very underrated Chinese designer whose work focuses on emotional connection over trends. A decent selection of her designs can be found at Dover Street Market - I can see myself wearing this cropped embroidered jacket). Commission (I have my eye on this quirky polka-dot number from Asian-American designers Dylan Cao and Jin Kay, whose New York-based brand is inspired by their backgrounds and '90s style), Shushu/Tong (I order a new cardigan from designers Liushu Lei and Yutong Jiang every season and spring/summer 2026 was no exception, I can't wait for my delivery this month!)

Acne Studios "Camero" Bag: "The new-season styles were just shown in Paris and won't arrive in stores until the fall but they come in delicious vibrant colors like bumblebee yellow and basil green."

Art: "I'm often discovering artists at the Cob Gallery in north London. My husband bought a Cat Roissetter mixed-media work from here the first year we moved in together and it now hangs above our piano. I've long been a fan of Jack Davison's photography and would love to own one of his works one day. He currently has a show at the same venue."

Tell me about your earliest skincare memory.

Athena Hewett: “My mom and I would go out nearly every summer back to Greece to see my Yiayia and Papou. My Yiayia and her six sisters were all very incredible chefs—especially my Yiayia. I feel like I learned a lot from them and I didn’t realize how much of an effect it would have on me until I got older. I kept the bottles we used to bring to monasteries to collect holy water; I think I still have a box of them sitting in my house somewhere. I was just so into the witchy, craftiness of it all and the little weird bottles."

How did you turn that into a career in skin?

AH: "I went into esthetics not really thinking about becoming an esthetician, but still wanting to be a part of that witchy world [I grew up with]. I ended up doing a CIDESCO program, which requires students to write a thesis to move on from the course. I wrote about essential oils, and the effects they have on the skin and the mind. I dug into that part a lot and wrote about all the different terpenes and how much limonene different essential oils contain; mostly did that so I could just lengthen my thesis.

After that, I took the first job I could out of the course, which was a medspa. I worked there for nearly 10 years. I was the lead esthetician, the spa director, and I really learned a lot. We were using the pharmaceutical brands of the early aughts. I don’t want to name drop any brands, but they were the highest quality brands you could expect to see in a medical space.

Then, I started to develop stage three, stage four acne. It made me look at ingredients again, like when I was writing my CIDESCO thesis. I started to really compare the ingredients between the brands in our space, and I noticed that they nearly all looked exactly the same. Like, across six brands, maybe one ingredient would be different? It made me wonder why our medspa was even selling all these different products if they’re all basically the same.

I also found that so many of the surfactants and preservatives in my skincare were also ingredients that I was finding in my household products. I couldn’t imagine putting household products on my skin, and yet here I was doing it, and telling my clients to do it too. So, I became pretty nervous and I went on a full cleanse. I didn’t use any products; not even the water that came out of my showerhead. Literally no water touched my face.

What happened next?

AH: "In about six weeks, my face went from stage three, borderline stage four acne, to no active acne. The whole thing just made me feel jaded about the skincare industry, and it was the first time that I had thought about leaving it completely. I wasn’t sure what my next move was going to be and I was trying to find inspiration when I decided to go through some of my old stuff, and came across my thesis again. It made me remember that this was really my first, true love that got me into aesthetics. I started to think maybe I should try formulating again.”

What was the first Monastery product you ever made?

AH: “The first product I made was on a day where I specifically had to put sunblock on my face. It was one of those rare, 95-degree days in San Francisco. I remember using the SkinCeuticals UV Physical Defense, thinking, ‘This might be clean enough, but how do I remove it?’ I didn’t trust any of the cleansers I had. I was worried they were going to tamper with the good bacteria of my microbiome. So I made a large molecule cleansing oil; that first product was an iteration of what is now the Rose Cleansing Oil. Then, I ended up making the [Monastery] Gold, to treat the pigmentation and scarring that I had from the acne. Those were my first two products.

Around the same time, I also ended up getting a perfume certification. I was feverishly studying formulation and perfumery. I think a lot of people usually go towards herbalism, but I found that herbalism doesn’t really get you very far in creating a beautiful product; you have to know how to make an accord. As an esthetician who gives a luxury-type facial with a medical component, I was always concerned about creating a beautiful experience for myself and my clients, while making sure there wasn’t much limonene or linalool.

About a year after making Monastery Rose and Gold, the owner of the medspa I worked for gave me their blessing to open up a small space down the street.

I took my clients and my potions; I didn’t tell anyone I was making my own products. I realized that was helpful because I was getting tons of unsolicited feedback on what the real winners were. I was making hundreds of variations of products, pouring maybe two or three test batches per night, and I ended up launching the six winners based off the feedback I was getting from clients. I had a solid five to six years of refining my products in a spa setting before launching Monastery.

Acne seems like a pretty central aspect of Monastery's origin. What would your advice be for acne-prone people who don't want to cut out their entire routine?

AH: “This might sound a bit wild or counterintuitive but adding a little bit of oil into their routine. That can easily be done by adding the Rose Cleansing Oil in as either the first cleanse, a solo cleanse, or even literally mixing it into their current cleanser. I have found that nearly 100% of the time if someone is having an issue with acne, their skin is overdried and overactivated. The neutrality with added nourishment and support helps everyone.”

What Monastery product would you recommend everyone try?

AH: “The Rose Cleansing Oil. This is the first product that I ever formulated and it single-handedly cured my stage three acne. It’s my desert island product. Remember to use equal amounts of the cleansing oil to the weight of what is sitting upon your face. Our cleansing oil removes physically, rather than chemically.”

Which product is Monastery's sleeper hit?

AH: “Our retinol, Rei, is one that I think doesn’t get enough credit. There are a lot of retinols on the market but ours is exceptional. Not only is it potent but it’s extremely hydrating. Whenever I fall out of my normal routine and get back to using Rei consistently, I'm surprised by how effective it is. My skin looks brighter and hydrated immediately.”

Monastery’s vibe is very cool and luxe, but also lowkey and under the radar. How did you strike that balance?

AH: “The whole team at Monastery is made up of fashion girls; we’re all very design-oriented. Our ideas were based off what we were noticing in the world around us and how we could channel that into making our brand distinguishable. It’s why we chose brightly colored box packaging, as opposed to the white product boxes we saw everywhere. I’ve noticed a recent shift with brands embracing more color in their packaging, and I think we were definitely ahead of the curve. Before, there was the green Bottega box, but most brands were sticking with just white.”

I’m hearing scrappy, but I’m also hearing that you were influenced by things that feel aligned with you and your team’s aesthetic sense. Was it scary to try something different and go against the crowd?

AH: “I was nervous about doing the boxes in colors, to be completely honest. I knew it looked cool, but there were many spa accounts that we couldn’t get because our colorful boxes didn’t fit into the spa’s neutral aesthetic. But my dear friend, who is an amazing designer and long-time Monastery collaborator, is someone who I think has better taste than I do and she believed in it. I think it’s important to surround yourself with people ahead of the curve and smarter than you.”

It sounds like you’ve got a really great team.

AH: “That is definitely a big part of Monastery’s success. We have superstars. There are people who I would never have been able to afford who did things pro bono for us, I think because they were rooting for the…handcrafted girl? Seriously! They would tell me they were tired of everything being so manufactured.”

I saw that you did the Khaite show and that you’re also the Chelsea Hotel’s resident esthetician. Can you talk a little bit about navigating that path towards those places and how it feels to work in those spaces?

AH: “I think it goes back to what I was saying about not having the capital for a traditional marketing strategy. Positioning ourselves with indie-cool, out-of-reach brands is really the way for us to stay exclusive. And all those things just happened really organically for us. It just seemed like a great fit.”

How do you tell when something feels right for you or not?

AH: “A girl I knew got a position at The Hotel Chelsea and said, ‘I just heard a rumor that the wife of the owner of the Chelsea is a huge Monastery fan.’ So, I went to this woman and asked if we could please bring Monastery. And then I met the Chelsea’s spa director, Alexis, to train with. She’s always on the pulse. I think maybe three minutes into meeting her, she asked me, point blank, ‘Would you ever consider doing a residency with us?’ She’s so bold and I respect that so much, and there’s something she can just see right away.

With Khaite, the founder was already interested in our brand when they approached us. It felt very, like, ‘whoa, that’s a big brand!’ We still felt so indie, while Khaite had taken their indie brand and turned it into a major fashion house that still had an indie edge to it. We loved the brand; we loved the clothing and a lot of our customers did. It felt very aligned there.”

It seems like there’s a lot of artistic resonance happening with these projects. The vibes feel right.

AH: “Oh, yeah. I’m sure there’s data strategists or analysts out there who wouldn’t like the way I make decisions, but my core team and I are making decisions based on whether we like it or not. I think we have pretty high-level tastes, so if it’s something that we feel like we want to do, there’s a good chance it’ll keep us exclusive and aspirational.”

What is your favorite part of your job?

AH: “I love creating beautiful things. And I get to do it with the best people.”

What is your current AM and PM skincare routine?

AH: “For AM, I start with our serum launching this year. After that, press Monastery Gold into my face. I let that set for a little while before a veil of Attar to finish. SPF—sometimes I like to mix my SPF with Attar at the end. I’ve been loving Light Saver from Dr. Kim. On a very ambitious day or when my skin looks its best, I will make sure to start with our LED mask for 10 minutes on my clean skin.

For PM, I use Rose to cleanse off my makeup, SPF, and grime from the day. I follow-up with our retinol, Rei. The last step is sealing it all in with Attar. These three products ensure I wake up with hydrated and bright skin in the morning.”

What are some dream brand collaborations?

AH: “We’ve only done one collaboration so far and it’s been with The Coppola Hotels in Belize. The product turned out beautiful.”

The true, singular origins of hoop earrings is slightly ambiguous, and extends across many cultures and timeframes.Sumerians created hoops in Mesopotamia in 2600-2500 BCE and Ancient Egyptians, Ancient Romans, and the Minoans in Ancient Greece created and wore the style as well. Representations of Hindu deities and many Indigenous cultures in South America wearing hoop-like styles makes it clear that the style belongs to no one group of people. "Hoops can be made using the relatively simple forging techniques—shaping metals with a hammer and heat—so it is not surprising that they appeared more or less simultaneously in all corners of the world," Dr. Lauren Beltrán-Rubio, senior researches and managing editor of The Fashion and Race Database, says.

In the United States, hoop earrings surged as a staple in Black and Brown communities in the 1960s ,and just kept on surging and maintaining their presence in the trend cycle. "Public figures and celebrities used hoops to create their images: actress and singer Diana Ross frequently appeared with them, activist Angela Davis famously wore hoop earrings for the cover of Time in 1971, musician Selena Quintanilla's signature look combined hoop earrings with red lipstick, and singer Jennifer Lopez also adopted them," Beltrán-Rubio says. "The use of hoop earrings among such visible women helped both consolidate the association in the public mind and expand the trend among Black and Latinx people."

Since having your African and Native American people piercing their ears to wear earrings was deemed a "barbaric act" by white European colonists, it’s fair to describe hoop earrings as a symbol of resistance in this context. Historically, those with heavily Christian viewpoints saw piercings and body modifications as completely unacceptable—an invasion of the temple that is the human body, if you will. When things that could be deemed “anti-Christian” are done by Black and Brown folks, the backlash and negative response is heightened because standards are higher for us. Today, hoop earrings remain as a tool for self preservation—a way to reclaim the agency that society consistently tries to strip us of. This is representative of the lengths Black and Brown people still have to go to for white people to consider us as appearing put together and, therefore, be taken seriously. Proximity to luxury is, unfortunately, key for this.

"Golden hoops [in particular] may also signal access to luxury—and the economic means to participate in luxury markets—which is also a way of reclaiming and exerting agency among communities who have been constantly marginalized and systematically removed from privilege," Beltrán-Rubio says.

However, due to pre-determined stereotypes and deeply engrained racism, fashion staples associated with Black and Brown communities are historically quickly labeled as “ghetto”. While hoops were empowering to the Black and Brown people wearing the styles, the white community began associating the trend with the working class. The intentional stigmatization of anything and everything related to Black and Brown people runs deep, and this is where my mother's anti-hoop earring mindset stems from. This isn't entirely from a place of racism, but also from the instinctual maternal instinct to protect—to white-wash me as much as possible to protect me from harm, verbal, physical, and mental, from an anti-Black world. The only issue is that I don’t want to assimilate.

"Wearing them thus becomes a way of contesting racist narratives that stereotype Black and Brown people," Beltrán-Rubio says. "When worn strategically by public figures such as Congresswoman Alexandria Ocasio-Cortez or Supreme Court Justice Sonia Sotomayor, hoops signal their belonging to a historically marginalized community and their access to spaces that have been often reserved to the white elites—in short: social mobility against systemic racism."

I didn't start wearing hoop earrings until my sophomore year of college, when I was far away enough from my mother's influence and felt grown enough to make decisions for myself that I knew she wouldn't necessarily approve of. While they don't totally make me feel connected to a specific part of my heritage, they make me feel connected to a collective as someone who, as the child of immigrants, didn't really grow up immersed in Black American culture. Still to this day, though, I question if being drawn to small dainty hoops rather than big, bold ones is a reflection of my own internalized racism and a fear of how I'm perceived. I’ve convinced myself that large hoop earrings simply don’t suit me but I am conscious of the fact that there is more to my avoidance of the style than that. While actively trying to connect to Black culture, I often find myself trying to appear quiet and small.

For Dr. Lauren Beltrán-Rubio, the connection is more obvious. "For me as a Latina, for example, hoops have always been part of my cultural history and cultural heritage. I remember wearing hoops since I was a little girl and hoops were some of the most precious gifts I received on the most special occasions of my life: my first communion, my 15th birthday, even graduating from my PhD," she says. "With more than a decade living abroad, my hoops have also become a strong connection to my home country and relatives, especially as I now own some family heirlooms that I can proudly wear for special occasions."

In the 1980s and 90s, the idiom “the bigger the hoop, the bigger the hoe” was popularized in what represents the misogynoir that Black and Brown women so often face. Women of color are intensely sexualized and objectified. On the other hand, we are also more consistently slut shamed if there is even the slight perception that we are embracing our sexuality—it’s the epitome of a lose lose situation. Because of this, it’s not surprising that something as unrelated to sex as earrings would be used as a tool to further scrutinize women of color. On the other hand, white women in hoop earrings within the same time period were praised and considered classy. When Madonna, for example, began wearing hoop earrings in the ‘80s, they began a part of her image and were deemed a confident fashion statement with young white girls following suit. This, in and of itself, is proof that it’s not about the actual hoop earrings at all.

As hoop earrings remain a consistent, universal trend that will always and forever be in fashion in various sizes and densities, it remains important for Black and Brown people to continue turning to the style and lean on it as a source of identity. The style has never belonged to anyone and still doesn't, but what it means to certain groups of people is relevant—and, for every wearer of hoops who doesn't face criticism or isn't subjected to stereotypes, it should be acknowledged. The more I feel my mom’s aversion to hoops, the more important I feel it is for me to continue wearing them—because for all of us, Black and Brown, the resistance continues.

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What Is The Ammortal Chamber?

The Ammortal Chamber touts itself as a human “recharging” station. It’s unique in that it layers multiple wellness modalities into a single, immersive experience designed to benefit your mind and body for an all-in-one wellness “stack.” In strictly scientific terms, it delivers red and near-infrared light, pulsed electromagnetic field (PEMF), and molecular hydrogen to the body. “Red light is linked to improved cognition, decreased inflammation, improved skin healing and increased ATP [cellular energy] production,” says Neil Paulvin, DO, a physician specializing in functional and regenerative medicine. He adds that PEMF reduces inflammation and is especially beneficial for those healing from injury. Meanwhile, research shows that molecular hydrogen is anti-inflammatory, has antioxidant capabilities, and is beneficial for regulating energy metabolism and immune function.

On top of those three modalities, the Ammortal Chamber also offers guided meditation, breathwork, and vibroacoustic sound therapy—each of which trickle in and out of the experience—to complement these therapies to soothe and settle your nervous system. “All are synchronized to move the nervous system out of fight or flight and [ease] the mind into a calm, present state,” says Ammortal co-founder Brian Le Gette.

While red light therapy has surged in popularity in recent years and meditation has been practiced for centuries, the Ammortal Chamber is designed for modern efficiency. Even a single 25-minute session promises to leave you feeling refreshed, restored, and ready to conquer the rest of your day—no caffeine required.

In the world of elite sports, the Chamber has become a low-key recovery flex. Everyone from NFL and MLB stars to the world’s greatest tennis players have climbed into the Chamber to accelerate recovery, boost energy, and reduce pain. But there are also perks to be had for the rest of us—including but not limited to improved skin quality, hair growth, less fatigue, and better focus (supposedly). While many perks are subjective, regulars often measure shifts via wearables tech, like the Oura Ring.

The Cost

Sessions typically start around $125, depending on factors like location and package rates. It’s undeniably more than your standard latte, but the promise is a feeling closer to a full-system refresh. And with consistent use, devotees say it can meaningfully shift how they feel and function.

You can purchase the machine for your home for a casual $160,000, which some elite athletes and biohackers already have.

My Review Of The Ammortal Chamber

I tried the Ammortal Chamber at two of its Los Angeles locations: first at Heal EastWest in Manhattan Beach, and next at the Proper Hotel in Santa Monica (where Chamber access is accessible for Proper Club members, hotel guests, and the general public alike). Both visits landed in the middle of packed work trips and long travel days: prime conditions for a mind-body reset.

There are seven guided journeys to choose from that are calming, awakening, or hybrid experiences, which will vary based on the meditation cues and style of music played throughout. I opted for “Release,” which was designed to clear stuck emotional energy. (I do, in fact, have all the feels and a long history of anxiety to back that up.) According to the menu, it’s meant to leave you “confident, alert, and propelled forward with purpose,” powered by “pulsing, rhythmic frequencies that fuel motivation and strength.” I was more than open to the assignment.

After selecting my journey, audio guide, and duration (15, 25, or 50 minutes—I chose the middle ground, which is enough for a quick boost without a major time commitment), I slipped on protective eyewear and a nasal cannula delivering molecular hydrogen before pressing start. The audio guide cues deep breathing and intention-setting as the red light activates, the PEMF begins to pulse, and the chamber slowly lowers.

Once inside, the Chamber tucks you in so you’re untethered from the outside world. The red and near infrared light are bright and just the slightest bit warm. The PEMF induces gentle buzzing on your skin. You also feel the vibroacoustic pulses through your body, almost like you’re in a surround-sound theater but in a cocoon form. The audio guide is there to support your meditation at the beginning and end of the session, and you’re advised to revisit your intention when your mind wanders. There’s a lot going on throughout the journey, but it never feels overstimulating. The space contains everything well and you never feel jostled out of rest mode.

By the time each session ended, it felt clear that I’d been through something. I wouldn’t call it psychedelic, but it’s definitely… curious. The Ammortal team says that the Chamber elicits a caffeinated calm, which sounds accurate to an extent. I didn’t exactly feel like I’d woken up from a nap or just downed a coffee—but I felt relaxed and reinvigorated in ways that neither of the two typically elicit for me. It offered a pick-me-up that allowed me to stay clear-headed and sociable for my work trips without relying on my standard midday cold brew.

The Ammortal Chamber positions itself as a full mind-body reset not just for elite professionals, like athletes and CEOs, but also for those of us who don’t have a staff doctor on speed dial. “Everyone needs less inflammation, better cellular performance, and less oxidative stress,” says Le Gette. “Nearly every person comes to us in some stage of fight or flight, so they must also calm the nervous system and the conscious mind.” It gets a seal of approval from Dr. Paulvin, who says that people are likely to benefit more from the stack, versus using a tool or two individually. “It complements a wellness protocol because it decreases inflammation and helps improve mitochondrial function, which are key for aging,” he says.

The Takeaway

The Ammortal Chamber may not be the most accessible wellness tool on the market—not just in terms of price, but also since it’s currently only available at about 50 locations nationwide, with plans to rollout to more. Still, it offers a glimpse into where luxury wellness is headed: high-tech, hyper-curated, and deeply indulgent.

Perfection materialized at Cult Gaia's Fall/Winter 2026 show in the form of a sculptural wedding gown paired with an extra long veil that pooled into a train and oversized floral statement earrings that matched the sculptural elements of the gown. I saw this and, for a moment, thought about how we could all collectively (but at our own respective weddings) walk down the aisle like we're walking down a New York Fashion Week runway.

At Bora Aksu's Fall/Winter 2026 show in London, a case was made for three types of bride. The first is a garden fairy bride that was certainly keen on a spring wedding. She doesn't necessarily need to carry a bouquet of flowers because she is wearing them both on her body and in her hair. She isn't afraid of a semi naked-dress moment, not even with her immediate and extend family present. She is traditional, but only to an extent, as seen through her asymmetrical veil—short at the front, long at the back—complete with the sweetest lace trim. The second is the demure bride. She prefers being covered up but in the most fashion-forward ways imaginable. Because of this, she goes for a veil so long that it blends in with her dress to the point that it's unclear where one ends and the other begins. Despite already being fully covered, she wears opera gloves underneath—because she's a fashion girl. The third and final is the nonchalant and non-traditional bride. She doesn't care about traditional details like a veil. Instead, she pairs a bonnet with her floral embroidered gown. She's likely eloping or planned a micro wedding but still hired a film photographer to capture every moment. She completes her look with opera gloves because, despite not wanting to deal with the fuss of a big wedding, she still very much cares.

Patrick McDowell's London Fashion Week showing was decorated with romantic moments. The bridal look, in particular, felt like both an ode traditional wedding dresses and a case for the modern bride. The dress was simple, far from a pure white, and featured a corset top. What had me really considering bridal trends, though, was the veil: not long, not short, but mid-length, and covered in floral adornments akin to dandelions.

Vaquera had these words of wisdom in their show notes at Paris Fashion Week: "Don't be married to a fixed version of your future." I'm not lying when I say that these words led me to further indulge in rotating, vastly different ideas about bridal fashion. This look further challenged my perception and my long-term dedication to a simple and sleek wedding look—because what if your wedding is the opportunity for you to be your absolute biggest? Not necessarily in a ball gown type of way, but in an avant-garde, high fashion but still somehow casual, taking up a lot of horizontal space type of way?

I continuously have to remind myself that this wedding is indeed hypothetical, but indulge me for a moment: a destination micro wedding of fifteen people maximum in an Italian garden and me walking down the grassy aisle in this. A girl can manifest!

1. She Was Making History Before Her Historic Oscar Win

Arkapaw made history at the 2026 Oscars as the first woman and Black person to win the award for best cinematography—that's not where her history making moments began, though. She shot Sinners in IMAX, being the first ever woman DP to do so. Then, her Oscar nomination marked the first time a woman of color was nominated in that category. All of this of course culminated in her historic win last time—the perfect conclusion to a long run of records.

2. She Used To Shoot Fashion Films With Gia Coppola

In the early stages of Arkapaw, she could be spotted running around town with director Gia Coppola shooting low budget fashion films. Essentially, the duo shot what they interpreted as beautiful and their friends having fun in lovely clothes for brands like Opening Cermeony. This was the beginning of the longstanding friendship and working relationship with Coppola.

3. She Was Previously Known For Her Work On Music Videos & Indie Films

Arkapaw is the visionary behind some of my personal favorite music videos. She notably worked on Haim's "Falling," the Jonas Brothers's "Sucker," Solange's "Lovers in The Parking Lot," Rihanna's "Lift Me Up," and SZA, The Weeknd, and Travis Scott's "Power Is Power" to name just a few. This was all before she embarked on her indie film journey—she worked on films such as Palo Alto, Mainstream, and The Last Showgirl with Gia Coppola, as well as Teen Spirit and One & Two.

4. This Wasn't Her First Collab With Ryan Coogler

The duo previously collaborated on Black Panther and have established a close, trusted working relationship—like working with a "long lost cousin" in their words. Arkapaw never misses an opportunity to praise Coogler, especially for his consistent commitment to platforming women both on and off his film sets.

5. She's A Fashion Girl!

I suspected this based off of the work she previously did with Gia Coppola and my suspicion was confirmed when she arrived at the 2026 Oscars wearing custom Thom Browne. During an interview for the Director Fits Substack, Arkapaw noted that working in the entertainment industry naturally makes her intentional about what she chooses to wear. Arkapaw, who knows everything about good lighting, good angles, and capturing clothes on film, is adamant about not sacrificing comfort—a true fashion girl knows how to look put together while still being able to move around on set and get all the right shots, after all.

Rachel Sennott

Rachel Sennott wore a black lace custom off the shoulder Balenciaga gown with a nude lining.

Cara Delevigne

Cara Delevigne played with both themes of nudity and gender with her custom beaded Thom Browne gown.

Myha'la

Myha'la went full sheer in an indigo blue lace gown from Valentino's Spring/Summer 2026 collection.

Amelia Gray

Amelia Gray wore a black turtleneck dress with a plunging back and high slit from Revolve.

Heidi Klum

Queen of the runway (and Halloween) Heidi Klum wore a butter yellow Chrome Hearts dress with sheer panels and floral embroidery.

Zoe Saldaña

Zoe Saldaña hit the silver carpet wearing a latex lace petrol mini dress from Saint Laurent's most recent Fall/Winter 2026 collection.

Suki Waterhouse

Suki Waterhouse looked angelic on the carpet in Tamara Ralph Spring/Summer 2026 couture.

Connor Storrie

Heated Rivalry star Connor Storrie arrived in a sheer turtleneck look by Saint Laurent. Who said the boys can't have fun too?

Hudson Williams

Matching! Storrie's Heated Rivalry co-star Hudson Williams also attended in a sheer Balenciaga look.

Alessandra Ambrosio

Supermodel Alessandra Ambrosio wore a sheer corseted dress with crystal embellishments from Sophie Couture.

Da'Vine Joy Randolph

Da'Vine Joy Randolph looked like an angel from heaven in custom Karla Gil.

Renate Reinsve

Renate Reinsve looked possibly the best she's ever looked in a sheer black panelled custom tulle dress from Louis Vuitton.

Cara Delevingne

For the Vanity Fair Oscar Party, model and actress Cara Delevingne gave naked-dressing a whole new meaning. She wore a gown with abs painted onto the bodice from Thom Browne's Spring 2026 collection.

Hailey Bieber

We said it once and we'll say it again: animal print is the trend that keeps on giving. For the Vanity Fair Oscar Party, Hailey Bieber wore a custom gown by Giorgio Armani Privé: a strapless, shimmery leopard print number.

Bella Hadid

For this occasion, model and fashion icon Bella Hadid opted a two-piece ensemble. She arrived in an ivory pencil skirt and crop top featuring a halter neck and scarf detail—all courtesy of Prada.

Emma Chamberlain

Emma Chamberlain arrived in Valentino from head to toe: a pristinely embellished sequin maxi skirt that pooled into a mini train, a deep red camisole with black and tan lace trim, and yellow leather opera gloves.

Kendall Jenner

For this red carpet appearance, Kendall Jenner arrived looking like a Disney princess in supermodel form. She went with a custom Chanel dress in a pale blue reminiscent of Cinderella.

Amelia Gray

Amelia Gray continues to endorse and re-invent naked-dressing—the Vanity Fair Oscar Party being no exception. Shre wore sleek sleeveless black dress with a turtleneck that featured a dramatic and deep side plunge.

Connor Storrie & Hudson Williams

Naked-dressing is for men, too! We owe a big thank you to "Heated Rivalry" stars Connor Storrie and Hudson Williams for reminding us of that. Both boys wore completely sheer tops on the carpet, Storrie's courtesy of Saint Laurent by Anthony Vaccarello, and Williams's courtesy of Balenciaga.

Myha'la

The full on naked dress trend made its way to the Vanity Fair Oscar Party carpet—thank you, Myha'la. The "Industry" star wore a completely sheer Valentino dress with lace details.

Quenlin Blackwell

For Hollywood's biggest night, Quenlin Blackwell opted for a knit moment adorned with textured floral embroideries and embellishments by Chanel.

Julia Fox

Julia Fox went for drama at the 2026 Vanity Fair Oscar Party. She wore a Viktor & Rolf couture look with dramatic straps that exceeded the heights of her actual shoulders. The dress featured grey and black floral embellishments and a full white skirt.

Emily Ratajkowski

Emily Ratajkowski walked the carpet in a deep, moody red velvet dress with distinct draping, ruching, and a dramatic open back courtesy of Connor Ives.

Sarah Pidgeon

In a subtle ode to Carolyn Bessette-Kennedy, "Love Story" star Sarah Pidgeon walked the Vanity Fair carpet in a crystal and sequin encrusted gown by Calvin Klein Collection.

Jessie Buckley

Newly crowned Best Actress winner Jessie Buckley swapped out her pink and red Chanel gown for another Chanel look: a shimmery black gown.

Elle Fanning

Jessie Buckley isn't the only one who opted for a darker look for the after hours events. Oscar nominee Elle Fanning traded in her white embellished princess gown for a black sculptural look.

Teyana Taylor

For the after party, Oscar nominee Teyana Taylor slipped into something a little more comfortable: an ivory Chanel slip dress with chain straps.

Anya Taylor-Joy

Anya Taylor-Joy arrived look as playful as ever in a Dior bodysuit, black tights, a dramatic headpiece, and a statement necklace by Tiffany & Co.

Da'Vine Joy Randolph

The naked dress trend was alive and well at the Vanity Fair Oscar Party. Oscar winner D'avine Joy Randolph arrived in a custom look by Karla Gil. The dress featured a lace long sleeve top with pleated cups providing all of the coverage necessary, and a slinky, draped skirt.

Demi Moore

Demi Moore is on a feather kick. She changed her feather adorned Oscar dress for different feathers, all courtesy of Gucci. She completed the already dramatic look with black leather opera gloves.

Renate Reinsve

Best actress nominee Renate Reinsve traded in her simple and sleek red dress for a bold, black semi-naked dress by Louis Vuitton.

Rose Byrne

We noted that fringe was trending on fashion month runways and the Vanity Fair Oscar Party red carpet is seemingly no different. Best actress nominee Rose Byrne swapped her floral embroidered gown for a two piece set by Dior feautirng shimmery black fringe.

Dua Lipa

Styled by Lorenzo Posocco, Dua Lipa wore black Schiapprelli gown with shiny gold fringe covering the skirt.

Kate Hudson

Oscar nominee Kate Hudson bared her abs at the Vanity Fair party in a crystalized black gown with a distinct cutout by Gucci.

Kim Kardashian

Kim Kardashian pulled a look right off of Demna's Fall/Winter 2026 runway: a gold form-fitting gown with long sleeves and a turtleneck.

Tate McRae

Tate McRae was a vision in a red Ludovic de Saint Sernin gown with her glam courtesy of Neutrogena.