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THE RETURN OF THE ALEXANDER MCQUEEN SKULL SCARF

THE RETURN OF THE ALEXANDER MCQUEEN SKULL SCARF

THE RETURN OF THE ALEXANDER MCQUEEN SKULL SCARF

The Alexander McQueen skull scarf was the definitive “It” accessory of the 2000s — a blend of gothic romanticism and rock-chic attitude that perfectly captured the spirit of the “indie sleaze” era.

WHEN ITALIAN PORN STAR MOANA POZZI WALKED FOR FENDI

WHEN ITALIAN PORN STAR MOANA POZZI WALKED FOR FENDI

WHEN ITALIAN PORN STAR MOANA POZZI WALKED FOR FENDI

Ever wonder why we rarely see Fendi’s Spring/Summer 1994 collection? When I did a deep dive, I was shocked to find out why. FENDI...

Rudi Gernreich was considered one of the most avant-garde designers of the 1960s. With a background in dance, he believed that clothing should never restrict movement. His designs frequently challenged social norms—none more famously than the iconic monokini.

In 1964, Gernreich predicted that topless swimsuits would soon become a reality. Susanne Kirtland, a journalist from Look magazine, urged him to design one for the publication. He agreed—partly because, if he didn’t do it, someone else (like Emilio Pucci) might.

And so, the monokini was born: a one-piece swimsuit that covered the lower half of the body but left the chest completely bare. Gernreich never intended for it to be sold or worn on the beach—it was conceived as a statement, not a product. But to his surprise, it became a global sensation—and a scandal. Even the Pope publicly condemned it.

Yet Gernreich wasn’t out to shock for shock’s sake. His goal was to challenge how women’s bodies—particularly their breasts—were hypersexualized. Ironically, while the top half of the suit made headlines, the bottom was quite modest: made of thick wool and offering full coverage, it resembled old-fashioned Victorian swimwear.

Despite its conceptual origins, demand surged. Retailers began placing orders, and the monokini was eventually put into production. Today, modern versions continue to be manufactured in materials suitable for actual swimming.

Slide 1) Peggy Moffitt photographed by her husband William Claxton

Slide 2) via Life Magazine

Slide 3) Model Toni Lee Shelley arrested at North Avenue Beach in Chicago.

Slide 4) Life Magazine, 1964

Slide 6&7) Hush-Hush Magazine

Rudi Gernreich was considered one of the most avant-garde designers of the 1960s. With a background in dance, he believed that clothing should never restrict movement. His designs frequently challenged social norms—none more famously than the iconic monokini.

In 1964, Gernreich predicted that topless swimsuits would soon become a reality. Susanne Kirtland, a journalist from Look magazine, urged him to design one for the publication. He agreed—partly because, if he didn’t do it, someone else (like Emilio Pucci) might.

And so, the monokini was born: a one-piece swimsuit that covered the lower half of the body but left the chest completely bare. Gernreich never intended for it to be sold or worn on the beach—it was conceived as a statement, not a product. But to his surprise, it became a global sensation—and a scandal. Even the Pope publicly condemned it.

Yet Gernreich wasn’t out to shock for shock’s sake. His goal was to challenge how women’s bodies—particularly their breasts—were hypersexualized. Ironically, while the top half of the suit made headlines, the bottom was quite modest: made of thick wool and offering full coverage, it resembled old-fashioned Victorian swimwear.

Despite its conceptual origins, demand surged. Retailers began placing orders, and the monokini was eventually put into production. Today, modern versions continue to be manufactured in materials suitable for actual swimming.

Slide 1) Peggy Moffitt photographed by her husband William Claxton

Slide 2) via Life Magazine

Slide 3) Model Toni Lee Shelley arrested at North Avenue Beach in Chicago.

Slide 4) Life Magazine, 1964

Slide 6&7) Hush-Hush Magazine

I’ve recently been reading the book Frida Kahlo: Making Her Self Up, edited by Claire Wilcox and Circe Henestrosa, and I came across a fascinating story about one of Frida Kahlo’s jade necklaces that I’m so excited to share with you.

Frida Kahlo loved wearing jewelry that connected her to Mexico’s ancient past. Some of her favorite necklaces were made of jade, likely sourced from ancient Maya ruins. It’s believed she strung the beads herself, and they closely resemble the ones she wore in her 1933 self-portrait [Slide 1].

A small green brushstroke was discovered on the necklace. Not a random stain, but paint that Frida had deliberately applied, likely to match the color of the stones. These beads weren’t just beautiful to her; they held deep meaning, reminding her of her roots and cultural heritage. Her husband, Diego Rivera, also collected pre-Columbian art, and his connections likely helped her acquire such special stones.

Slide 1) Frida Kahlo, ’Self-portrait with necklace’, 1933

Slide 5) Lucienne Bloch, ‘Frida at the Barbizon Plaza Hotel’, 1933

I’ve recently been reading the book Frida Kahlo: Making Her Self Up, edited by Claire Wilcox and Circe Henestrosa, and I came across a fascinating story about one of Frida Kahlo’s jade necklaces that I’m so excited to share with you.

Frida Kahlo loved wearing jewelry that connected her to Mexico’s ancient past. Some of her favorite necklaces were made of jade, likely sourced from ancient Maya ruins. It’s believed she strung the beads herself, and they closely resemble the ones she wore in her 1933 self-portrait [Slide 1].

A small green brushstroke was discovered on the necklace. Not a random stain, but paint that Frida had deliberately applied, likely to match the color of the stones. These beads weren’t just beautiful to her; they held deep meaning, reminding her of her roots and cultural heritage. Her husband, Diego Rivera, also collected pre-Columbian art, and his connections likely helped her acquire such special stones.

Slide 1) Frida Kahlo, ’Self-portrait with necklace’, 1933

Slide 5) Lucienne Bloch, ‘Frida at the Barbizon Plaza Hotel’, 1933

In July 1990, Elle published a fashion spread that introduced Hervé Léger’s bandage dress to the American market. Photographed by Marc Hispard, it featured @monicabellucciofficiel and @naomi , both wearing the designer’s signature bandage dresses.

Years later, during a talk at the Festival Mode & Design in Montreal (2016), Hervé Léger—by then known as Hervé Leroux—shared how that spread played a key role in getting him noticed in the U.S.

I’m incredibly passionate about Hervé Léger’s story and the legacy of the bandage dress, so naturally, I had to track down the issue that featured this iconic spread, and I’m so happy to share it with you!

In July 1990, Elle published a fashion spread that introduced Hervé Léger’s bandage dress to the American market. Photographed by Marc Hispard, it featured @monicabellucciofficiel and @naomi , both wearing the designer’s signature bandage dresses.

Years later, during a talk at the Festival Mode & Design in Montreal (2016), Hervé Léger—by then known as Hervé Leroux—shared how that spread played a key role in getting him noticed in the U.S.

I’m incredibly passionate about Hervé Léger’s story and the legacy of the bandage dress, so naturally, I had to track down the issue that featured this iconic spread, and I’m so happy to share it with you!

Halston’s curious window displays by Victor Hugo.

Slide 1) ph by Malan Studio, 1976

Slide 2) Ultrasuede: In Search of Halston, 2010

Slide 3-8) ph by Malan Studio, 1975-1977

Side 10-13) Victor Hugo Halston boutique, 1976 photographer unknown

Slide 14) ph by Malan Studio, 1975

Halston’s curious window displays by Victor Hugo.

Slide 1) ph by Malan Studio, 1976

Slide 2) Ultrasuede: In Search of Halston, 2010

Slide 3-8) ph by Malan Studio, 1975-1977

Side 10-13) Victor Hugo Halston boutique, 1976 photographer unknown

Slide 14) ph by Malan Studio, 1975

Madonna for Versace Spring/Summer 1995 shot by the legend @stevenmeiselofficial

Madonna for Versace Spring/Summer 1995 shot by the legend @stevenmeiselofficial

Zelda Wynn Valdes broke the barriers for designers of color during a time of widespread racism and discrimination. Although many of her contributions have been overlooked—and, as we saw in this year’s Met Gala, mistakenly credited, Valdes’ impact remains significant.

Today, I want to revisit her work with Joyce Bryant, a celebrated American singer, dancer, and civil rights activist. Their five-year collaboration played a key role in shaping Bryant’s sultry image, which helped propel her career. Valdes’ gowns were so form-fitting that Bryant had to develop a distinctive shuffle-step walk and often struggled to put them on, as shown in a 1953 Life magazine spread. Although Bryant stepped away from the spotlight after a performance in 1955 (Slide 2) the looks created by Zelda Wynn Valdes were crucial in her career.

If you want to learn more about Zelda Wynn Valdes I recommend reading “Defying Gravity” by Jim Byers via @metmuseum

Zelda Wynn Valdes broke the barriers for designers of color during a time of widespread racism and discrimination. Although many of her contributions have been overlooked—and, as we saw in this year’s Met Gala, mistakenly credited, Valdes’ impact remains significant.

Today, I want to revisit her work with Joyce Bryant, a celebrated American singer, dancer, and civil rights activist. Their five-year collaboration played a key role in shaping Bryant’s sultry image, which helped propel her career. Valdes’ gowns were so form-fitting that Bryant had to develop a distinctive shuffle-step walk and often struggled to put them on, as shown in a 1953 Life magazine spread. Although Bryant stepped away from the spotlight after a performance in 1955 (Slide 2) the looks created by Zelda Wynn Valdes were crucial in her career.

If you want to learn more about Zelda Wynn Valdes I recommend reading “Defying Gravity” by Jim Byers via @metmuseum

@palaisgallieramuseedelamode is presenting the first Paris exhibition dedicated to Rick Owens, on view from 28.06.2025 to 04.01.2026

A companion book, published by @rizzolibooks, will be released on 17.06.2025 to coincide with the exhibition.

Curatorial Team:

General Curatorship: Miren Arzalluz, Honorary Director of the Palais Galliera

Scientific Curatorship: Alexandre Samson

Artistic Direction: Rick Owens

@palaisgallieramuseedelamode is presenting the first Paris exhibition dedicated to Rick Owens, on view from 28.06.2025 to 04.01.2026

A companion book, published by @rizzolibooks, will be released on 17.06.2025 to coincide with the exhibition.

Curatorial Team:

General Curatorship: Miren Arzalluz, Honorary Director of the Palais Galliera

Scientific Curatorship: Alexandre Samson

Artistic Direction: Rick Owens

Last week, @griffe.revue made a post about Maison Margiela’s collaboration with H&M, highlighting some of Margiela’s signature designs—one of them being the cigarette-shoulder jacket. I remember learning about those shoulders at Parsons and how impactful they were in fashion, especially at a time when everyone was focused on the broad-shoulder power suit. Today, I wanted to revisit this Margiela favorite and share it with you guys 🖤

Last week, @griffe.revue made a post about Maison Margiela’s collaboration with H&M, highlighting some of Margiela’s signature designs—one of them being the cigarette-shoulder jacket. I remember learning about those shoulders at Parsons and how impactful they were in fashion, especially at a time when everyone was focused on the broad-shoulder power suit. Today, I wanted to revisit this Margiela favorite and share it with you guys 🖤

H.Lorenzo is celebrating 40 years of championing innovative luxury fashion with a series of exclusive collaborations. As part of the anniversary, the Spike sneaker—first seen on @waltervanbeirendonckofficial AW20 runway (slide 6)—makes its return.

Reimagined in collaboration with @grounds.official, led by Mikio Sakabe, the sneaker is available exclusively in-store and online at @h_lorenzo

Slide 3 credits: Visuals by @kakiarara
Texture/cover artist @nxbulahart

#hlorenzo40

H.Lorenzo is celebrating 40 years of championing innovative luxury fashion with a series of exclusive collaborations. As part of the anniversary, the Spike sneaker—first seen on @waltervanbeirendonckofficial AW20 runway (slide 6)—makes its return.

Reimagined in collaboration with @grounds.official, led by Mikio Sakabe, the sneaker is available exclusively in-store and online at @h_lorenzo

Slide 3 credits: Visuals by @kakiarara
Texture/cover artist @nxbulahart

#hlorenzo40

Sofia Coppola appears on the latest digital cover of @i_d, photographed by @dickpageface and @jggibbsiii, with styling by @jenny.shoo.pumps.

In a conversation with i-D’s Global Editorial Director @steffyotka, Coppola reflects on girlhood and her experience directing her first feature film, “The Virgin Suicides.” She also revisits Corinne Day’s intimate on-set photographs, now beautifully compiled into a book published by @mack_publishing

Hair: @hairbyorlandopita
Makeup: @dickpageface
Post Production: @camerin.stoldt

Sofia Coppola appears on the latest digital cover of @i_d, photographed by @dickpageface and @jggibbsiii, with styling by @jenny.shoo.pumps.

In a conversation with i-D’s Global Editorial Director @steffyotka, Coppola reflects on girlhood and her experience directing her first feature film, “The Virgin Suicides.” She also revisits Corinne Day’s intimate on-set photographs, now beautifully compiled into a book published by @mack_publishing

Hair: @hairbyorlandopita
Makeup: @dickpageface
Post Production: @camerin.stoldt

Rihanna looking gorgeous at Cannes Film Festival wearing Alaïa’s by Pieter Mulier styled by @illjahjah 🩵

Rihanna looking gorgeous at Cannes Film Festival wearing Alaïa’s by Pieter Mulier styled by @illjahjah 🩵

Known as society’s best kept secret, Ann Lowe was a talented black couturier who created stunning debutant and wedding gowns for some of America’s wealthiest families.

Known as society’s best kept secret, Ann Lowe was a talented black couturier who created stunning debutant and wedding gowns for some of America’s wealthiest families.

@jgalliano Autumn/Winter 1997 collection, titled Suzy Sphinx, was an example of his talent for weaving together eclectic cultural references into a single, theatrical presentation. For Suzy Sphinx, Galliano referenced Cleopatra, the rebellious charm of a St. Trinian’s-style schoolgirl with the gothic beauty of Siouxsie Sioux, the frontwoman of post-punk band Siouxsie and the Banshees. Adding another layer of inspiration, Galliano also referenced to silent film star Theda Bara, who played Cleopatra and was also one of Siouxsie Sioux’s own muses. The result was a visually rich, rebellious, and darkly romantic collection that exemplified Galliano’s theatrical approach to fashion storytelling.

@jgalliano Autumn/Winter 1997 collection, titled Suzy Sphinx, was an example of his talent for weaving together eclectic cultural references into a single, theatrical presentation. For Suzy Sphinx, Galliano referenced Cleopatra, the rebellious charm of a St. Trinian’s-style schoolgirl with the gothic beauty of Siouxsie Sioux, the frontwoman of post-punk band Siouxsie and the Banshees. Adding another layer of inspiration, Galliano also referenced to silent film star Theda Bara, who played Cleopatra and was also one of Siouxsie Sioux’s own muses. The result was a visually rich, rebellious, and darkly romantic collection that exemplified Galliano’s theatrical approach to fashion storytelling.

Sofia Coppola has always been that girl. Her films aren’t just beautiful and one-of-a-kind — they’ve inspired a whole generation. Her style is instantly recognizable, with that perfect touch of nostalgia. She’s not just behind the camera either… she’s a full-on fashion icon, from starring in Marc Jacobs campaigns to walking the runway. Happy Birthday @sofiacoppola 💝🎂

📸 by Niall McInerney
🎥 via Fashion Channel

Sofia Coppola has always been that girl. Her films aren’t just beautiful and one-of-a-kind — they’ve inspired a whole generation. Her style is instantly recognizable, with that perfect touch of nostalgia. She’s not just behind the camera either… she’s a full-on fashion icon, from starring in Marc Jacobs campaigns to walking the runway. Happy Birthday @sofiacoppola 💝🎂

📸 by Niall McInerney
🎥 via Fashion Channel

When Jacqueline Bouvier married John F. Kennedy in September 1953, it was called the wedding of the year. The media focused on every detail, especially Jackie’s beautiful ivory gown. But few people knew the story behind the dress or its maker.

When asked later who designed it, Jackie reportedly replied, “a colored dressmaker.” That designer was Ann Lowe, a talented Black couturier who had already made a name for herself dressing wealthy American families, though she rarely received credit.

Just one week before the wedding, disaster struck. A pipe burst in Lowe’s New York workshop, ruining 10 of the 15 dresses, including the bride’s gown. Lowe didn’t give up. She bought the same fabrics again and worked around the clock with her team to remake everything in just five days, a process that had originally taken eight weeks. Remaking the dresses cost Lowe more than just time, she lost money. What was supposed to be a $700 profit turned into a $2,200 loss. She never told Jackie’s mother what had happened.

When Lowe brought the dresses to Newport, the guards at the wedding venue told her to use the back door because of her skin color. She refused, saying, “If I have to use the backdoor, they’re not going to have the gowns!” They eventually let her in.

According to the New Yorker, after Lowe read an interview in which Jackie referred to her as “a colored dressmaker,” Lowe wrote her a letter saying, “I would prefer to be referred to as a ‘noted Negro designer,’ which in every sense I am. Any reference to the contrary hurts me more deeply than I can perhaps make you realise.” Jackie’s social secretary, Letitia Baldrige, called Lowe to apologize but didn’t take responsibility.

After losing an eye to glaucoma, Lowe was hospitalized and during her recovery, someone anonymously paid off her IRS debt. She believed Jackie was the one who helped.

Ann Lowe remains one of fashion history’s best-kept secrets. She was a brilliant designer who dressed America’s most powerful women, but her name was too often left out of the story.

When Jacqueline Bouvier married John F. Kennedy in September 1953, it was called the wedding of the year. The media focused on every detail, especially Jackie’s beautiful ivory gown. But few people knew the story behind the dress or its maker.

When asked later who designed it, Jackie reportedly replied, “a colored dressmaker.” That designer was Ann Lowe, a talented Black couturier who had already made a name for herself dressing wealthy American families, though she rarely received credit.

Just one week before the wedding, disaster struck. A pipe burst in Lowe’s New York workshop, ruining 10 of the 15 dresses, including the bride’s gown. Lowe didn’t give up. She bought the same fabrics again and worked around the clock with her team to remake everything in just five days, a process that had originally taken eight weeks. Remaking the dresses cost Lowe more than just time, she lost money. What was supposed to be a $700 profit turned into a $2,200 loss. She never told Jackie’s mother what had happened.

When Lowe brought the dresses to Newport, the guards at the wedding venue told her to use the back door because of her skin color. She refused, saying, “If I have to use the backdoor, they’re not going to have the gowns!” They eventually let her in.

According to the New Yorker, after Lowe read an interview in which Jackie referred to her as “a colored dressmaker,” Lowe wrote her a letter saying, “I would prefer to be referred to as a ‘noted Negro designer,’ which in every sense I am. Any reference to the contrary hurts me more deeply than I can perhaps make you realise.” Jackie’s social secretary, Letitia Baldrige, called Lowe to apologize but didn’t take responsibility.

After losing an eye to glaucoma, Lowe was hospitalized and during her recovery, someone anonymously paid off her IRS debt. She believed Jackie was the one who helped.

Ann Lowe remains one of fashion history’s best-kept secrets. She was a brilliant designer who dressed America’s most powerful women, but her name was too often left out of the story.

Remembering this iconic mother-daughter moment:

When Tracee Ellis Ross was a teenager, she dreamt of becoming a model.
That dream came true for her 18th birthday, when designer Manfred Thierry Mugler called her mother, Diana Ross. Diana agreed to walk in the show on one condition: that Tracee could join her. Tracee made her runway debut in Mugler’s legendary Butterfly show, and returned the following year to walk solo 💖

Happy Mother’s Day to all the incredible mamas out there 💐

Remembering this iconic mother-daughter moment:

When Tracee Ellis Ross was a teenager, she dreamt of becoming a model.
That dream came true for her 18th birthday, when designer Manfred Thierry Mugler called her mother, Diana Ross. Diana agreed to walk in the show on one condition: that Tracee could join her. Tracee made her runway debut in Mugler’s legendary Butterfly show, and returned the following year to walk solo 💖

Happy Mother’s Day to all the incredible mamas out there 💐

One of the things I’m most grateful for is having this amazing community of fashion intellectuals, people who are just as passionate as I am about learning more, and from whom I learn a lot too.

After I posted about Gigi Hadid’s Met Gala look and the inspiration behind it, @misterlucero pointed out that the gown was actually created by Balmain for Josephine Baker…not by Zelda Wynn Valdes. Sure enough, after digging a bit, I found an article on Balmain’s own website confirming it: the dress was indeed designed by Pierre Balmain for Josephine Baker.

I have to admit, I was a little sad to realize the gown wasn’t a direct tribute to Zelda Wynn Valdes after all. But it was a great reminder to ALWAYS double-check facts and not just trust everything I see online, even if it comes from a well-known outlet, journalist, or celebrity.

That said, I still appreciate that Gigi Hadid took the time to learn a bit about Zelda Wynn Valdes and shared her story on the red carpet.

One of the things I’m most grateful for is having this amazing community of fashion intellectuals, people who are just as passionate as I am about learning more, and from whom I learn a lot too.

After I posted about Gigi Hadid’s Met Gala look and the inspiration behind it, @misterlucero pointed out that the gown was actually created by Balmain for Josephine Baker…not by Zelda Wynn Valdes. Sure enough, after digging a bit, I found an article on Balmain’s own website confirming it: the dress was indeed designed by Pierre Balmain for Josephine Baker.

I have to admit, I was a little sad to realize the gown wasn’t a direct tribute to Zelda Wynn Valdes after all. But it was a great reminder to ALWAYS double-check facts and not just trust everything I see online, even if it comes from a well-known outlet, journalist, or celebrity.

That said, I still appreciate that Gigi Hadid took the time to learn a bit about Zelda Wynn Valdes and shared her story on the red carpet.

Gigi Hadid in a custom @miumiu dress inspired by Zelda Wynn Valdes ✨

Gigi Hadid in a custom @miumiu dress inspired by Zelda Wynn Valdes ✨

The Met Gala began in 1948, founded by fashion publicist Eleanor Lambert as a benefit to support the Costume Institute’s yearly expenses. In 1972, Diana Vreeland joined as special consultant to the Institute and completely redefined the concept. Instead of a traditional costume exhibition, she created immersive, theatrical experiences that captivated audiences. Vreeland’s galas drew a mix of artists, socialites, and key figures from the fashion world.

Today, we’re taking a look back at the 1981 Met Gala, “The Eighteenth-Century Woman.” This iconic night brought together legends like Andy Warhol, Halston, Bianca Jagger, Gianni Versace, Grace Jones, and Diana Ross (just to name a few.) The event was also documented with Marisa Berenson as its host.

Honestly, this is one of those Met Galas I really wish I could have attended.

Slide 1) Halston and Bianca Jagger

Slide 2-6) The Eighteenth Century Woman, 1982 | From the Vaults via The Met

Slide 7) Diane von Furstenberg

Slide 8) Victor Hugo

Slide 9) Unknown

Slide 10) Grace Jones

Slide 11) Gianni Versace

Slide 12) Unknown

Slide 13) Elsa Peretti and Bobby Breslau

Slide 14) Patrice Calmettes and Diana Ross

Slide 15) Isabella Rosellini

Slide 16) Raquel Welch and Diane von Furstenberg

Slide 17-18) party vibes

The Met Gala began in 1948, founded by fashion publicist Eleanor Lambert as a benefit to support the Costume Institute’s yearly expenses. In 1972, Diana Vreeland joined as special consultant to the Institute and completely redefined the concept. Instead of a traditional costume exhibition, she created immersive, theatrical experiences that captivated audiences. Vreeland’s galas drew a mix of artists, socialites, and key figures from the fashion world.

Today, we’re taking a look back at the 1981 Met Gala, “The Eighteenth-Century Woman.” This iconic night brought together legends like Andy Warhol, Halston, Bianca Jagger, Gianni Versace, Grace Jones, and Diana Ross (just to name a few.) The event was also documented with Marisa Berenson as its host.

Honestly, this is one of those Met Galas I really wish I could have attended.

Slide 1) Halston and Bianca Jagger

Slide 2-6) The Eighteenth Century Woman, 1982 | From the Vaults via The Met

Slide 7) Diane von Furstenberg

Slide 8) Victor Hugo

Slide 9) Unknown

Slide 10) Grace Jones

Slide 11) Gianni Versace

Slide 12) Unknown

Slide 13) Elsa Peretti and Bobby Breslau

Slide 14) Patrice Calmettes and Diana Ross

Slide 15) Isabella Rosellini

Slide 16) Raquel Welch and Diane von Furstenberg

Slide 17-18) party vibes

Petition for MTV to release all full episodes of “House of Style” because I need more @cindycrawford in my life.

Petition for MTV to release all full episodes of “House of Style” because I need more @cindycrawford in my life.

After designing his first slide for the Berlin Biennale in 1998, artist Carsten Höller created another playful installation in 2000 for the Fondazione Prada in Milan. Known for using slides as a futuristic form of transportation, Höller’s work blurs the line between art and experience.

At Fondazione Prada, Höller’s slide stretches three stories high, connecting Miuccia Prada’s office directly to her car park. While intended as a piece of contemporary art, the slide also serves as a playful escape. Even celebrities like Frank Ocean have been known to enjoy it (Slide 2.)

In a 2022 interview with @theprophetpizza for Harper’s Bazaar, Miuccia Prada was asked when she last used the slide. She replied, “It’s been a long time. At the beginning, it was exciting. I get bored very quickly. That is why I like fashion.”

Slide 2) Frank Ocean sliding down Fondazione Prada via @nssmagazine

Slide 4,5,7,8,9) photos by @juergenteller_ for @systemmagazine

After designing his first slide for the Berlin Biennale in 1998, artist Carsten Höller created another playful installation in 2000 for the Fondazione Prada in Milan. Known for using slides as a futuristic form of transportation, Höller’s work blurs the line between art and experience.

At Fondazione Prada, Höller’s slide stretches three stories high, connecting Miuccia Prada’s office directly to her car park. While intended as a piece of contemporary art, the slide also serves as a playful escape. Even celebrities like Frank Ocean have been known to enjoy it (Slide 2.)

In a 2022 interview with @theprophetpizza for Harper’s Bazaar, Miuccia Prada was asked when she last used the slide. She replied, “It’s been a long time. At the beginning, it was exciting. I get bored very quickly. That is why I like fashion.”

Slide 2) Frank Ocean sliding down Fondazione Prada via @nssmagazine

Slide 4,5,7,8,9) photos by @juergenteller_ for @systemmagazine

I was reading @voguebusiness article by @luke_leitch “How Edward Buchanan became Bottega Veneta’s first-ever design director”—a part of fashion history I had no idea about.

True to who I am, I went looking for runway images or footage from that era, but wasn’t successful. Then I remembered: last year, I shared some Bottega Veneta campaigns from the ’90s.

Now, with the context of how Bottega expanded into ready-to-wear in the ‘90s—and how @edward_l_buchanan , fresh out of Parsons, became their first womenswear designer (and the only Black designer working in Italy at the time)—those images take on a whole new meaning.

Looking at the Spring/Summer 1998 campaign again, it’s honestly unbelievable how fresh and relevant it still feels… 27 years later.

MODEL: Missy Rayder
PHOTOGRAPHER: Peter Lindbergh

I was reading @voguebusiness article by @luke_leitch “How Edward Buchanan became Bottega Veneta’s first-ever design director”—a part of fashion history I had no idea about.

True to who I am, I went looking for runway images or footage from that era, but wasn’t successful. Then I remembered: last year, I shared some Bottega Veneta campaigns from the ’90s.

Now, with the context of how Bottega expanded into ready-to-wear in the ‘90s—and how @edward_l_buchanan , fresh out of Parsons, became their first womenswear designer (and the only Black designer working in Italy at the time)—those images take on a whole new meaning.

Looking at the Spring/Summer 1998 campaign again, it’s honestly unbelievable how fresh and relevant it still feels… 27 years later.

MODEL: Missy Rayder
PHOTOGRAPHER: Peter Lindbergh

In 1992, Cindy Sirko, then curator of the Costume Institute, chose supermodel Christy Turlington’s face for the mannequins displayed in that year’s exhibition. She selected Turlington because of her timeless and versatile beauty—capable of representing women, men, and even children. The mannequins were brought to life by renowned mannequin designer Ralph Pucci.

In the December 1992 issue of Vogue, Christy Turlington told Rachel Urquhart, “It’s such an honor. Twenty or thirty years from now, I’d like to be one of the faces that people associate with this time in history. To me, it’s sort of like being immortalized, in a way.”

Photos by Max Vadukul for Vogue December 1992

In 1992, Cindy Sirko, then curator of the Costume Institute, chose supermodel Christy Turlington’s face for the mannequins displayed in that year’s exhibition. She selected Turlington because of her timeless and versatile beauty—capable of representing women, men, and even children. The mannequins were brought to life by renowned mannequin designer Ralph Pucci.

In the December 1992 issue of Vogue, Christy Turlington told Rachel Urquhart, “It’s such an honor. Twenty or thirty years from now, I’d like to be one of the faces that people associate with this time in history. To me, it’s sort of like being immortalized, in a way.”

Photos by Max Vadukul for Vogue December 1992

@i_d has released a new digital zine as part of its Spring/Summer 2025 “The Unknown Issue,” featuring actress Margaret Qualley. The zine, available at i-D.co/margaretqualley, includes an exclusive interview by Emily Kirkpatrick, photos by Petra Collins, styling by Spencer Singer, and behind-the-scenes content. It marks a new mobile-first, interactive approach for i-D’s digital storytelling. In the feature, Qualley reflects on personal growth, name changes, and her experience filming The Substance. She joins Enza Khoury, Naomi Campbell, and FKA Twigs as cover stars for the issue, which is available online and in select stores.

@i_d has released a new digital zine as part of its Spring/Summer 2025 “The Unknown Issue,” featuring actress Margaret Qualley. The zine, available at i-D.co/margaretqualley, includes an exclusive interview by Emily Kirkpatrick, photos by Petra Collins, styling by Spencer Singer, and behind-the-scenes content. It marks a new mobile-first, interactive approach for i-D’s digital storytelling. In the feature, Qualley reflects on personal growth, name changes, and her experience filming The Substance. She joins Enza Khoury, Naomi Campbell, and FKA Twigs as cover stars for the issue, which is available online and in select stores.

In 2004, Alexander McQueen returned to London for the first time in over three years to present a special charity show in partnership with American Express.
The event combined a runway show, an art auction, and the unveiling of a limited-edition Centurion card. It was a black-themed show featuring both original pieces created for the night and standout looks from past collections.

The show was presented in a box-like asylum, reminiscent of Voss. Inside the mirrored box, snow and rain fell throughout the performance.
The show opened with a memorable performance: Kate Moss, in a sheer dress adorned with crystal skulls, dancing on stage with choreographer Michael Clark. In a 2014 interview with Nick Knight, Moss admitted she had been very nervous about the performance.

Like many of McQueen’s shows, this one was unforgettable—bold, theatrical, and full of surprises.

Slide 2) Kate Moss Dancing with Michael Clark

Slide 3-8) Footage from Alexander McQueen ‘Black’ Show

Slide 9-14) Some images from McQueen’s Black Show shot by @nick_knight

Slide 15) Kate Moss @showstudio Full Interview

In 2004, Alexander McQueen returned to London for the first time in over three years to present a special charity show in partnership with American Express.
The event combined a runway show, an art auction, and the unveiling of a limited-edition Centurion card. It was a black-themed show featuring both original pieces created for the night and standout looks from past collections.

The show was presented in a box-like asylum, reminiscent of Voss. Inside the mirrored box, snow and rain fell throughout the performance.
The show opened with a memorable performance: Kate Moss, in a sheer dress adorned with crystal skulls, dancing on stage with choreographer Michael Clark. In a 2014 interview with Nick Knight, Moss admitted she had been very nervous about the performance.

Like many of McQueen’s shows, this one was unforgettable—bold, theatrical, and full of surprises.

Slide 2) Kate Moss Dancing with Michael Clark

Slide 3-8) Footage from Alexander McQueen ‘Black’ Show

Slide 9-14) Some images from McQueen’s Black Show shot by @nick_knight

Slide 15) Kate Moss @showstudio Full Interview

Fendi Spring/Summer 1994 was WILD

Fendi Spring/Summer 1994 was WILD

Ever wonder why we don’t see much of Fendi’s Spring/Summer 1994 collection? When I did a deep dive, I was shocked to find out why: Karl Lagerfeld didn’t use supermodels for the show—instead, he cast Moana Pozzi, a famous Italian adult film star, along with a group of strippers.
It happened during Milan Fashion Week, and Lagerfeld had a very specific vision. He believed the clothes should speak for themselves, so he skipped the runway entirely. The main collection—suits and dresses—was displayed on mannequins lined up against a wall.
But when it came to the swimwear, he thought it deserved a different kind of presentation. So, in a separate room, Moana and her friends danced in the looks. Let’s just say it got... graphic.
Rumor has it Anna Wintour was so offended that she walked out of the show.

Photos by Niall McInerney

Ever wonder why we don’t see much of Fendi’s Spring/Summer 1994 collection? When I did a deep dive, I was shocked to find out why: Karl Lagerfeld didn’t use supermodels for the show—instead, he cast Moana Pozzi, a famous Italian adult film star, along with a group of strippers.
It happened during Milan Fashion Week, and Lagerfeld had a very specific vision. He believed the clothes should speak for themselves, so he skipped the runway entirely. The main collection—suits and dresses—was displayed on mannequins lined up against a wall.
But when it came to the swimwear, he thought it deserved a different kind of presentation. So, in a separate room, Moana and her friends danced in the looks. Let’s just say it got... graphic.
Rumor has it Anna Wintour was so offended that she walked out of the show.

Photos by Niall McInerney

Think festival style is dead? Think again.

Festival season is here, so let’s dive into how the look is evolving — and the style comebacks on the way — in this episode of UNPACKED. @Zalando #StoriesOnZalando #Ad

Think festival style is dead? Think again.

Festival season is here, so let’s dive into how the look is evolving — and the style comebacks on the way — in this episode of UNPACKED. @Zalando #StoriesOnZalando #Ad

During and after the French Revolution, particularly during the Directoire period, the Incroyables and Merveilleuses captivated Parisian society with their extravagant fashion and bold social statements. The Incroyables were aristocratic men known for their exaggerated clothing and royalist leanings — wearing jackets with long tails and oversized cravats that obscured their faces. Their appearance symbolized a reaction against revolutionary ideals.

Their female counterparts, the Merveilleuses, embraced sheer, body-revealing dresses inspired by ancient Greece. These muslin gowns created the illusion of nudity and signaled a dramatic break from the rigid styles of the past. Their hairstyles — short cuts like the Titus, or swept-up Greek styles — were sometimes seen as darkly symbolic, exposing the neck in ways that recalled the guillotine.

More than just fashion, these styles expressed grief, resistance, and a yearning for freedom in a time of political upheaval. Figures like Thérésia Cabarrus and Joséphine de Beauharnais became icons of this look.

This aesthetic legacy has had a lasting impact on fashion. Designers such as Vivienne Westwood and John Galliano have drawn from the sensuality and symbolism of the Merveilleuse style — especially the muslin dress. Westwood referenced it in her Pirate collection, while Galliano revisited Les Incroyables for his graduate collection, and later used swathes of muslin in his Fallen Angels collection.

Slide 1) Jacques Louis David Portrait of a Young Woman

Slide 2) L’incroyable et la merveilleuse by Théophile Fragonard

Slide 3) Französische Incroyables - 1794

Slide 4 & 5) “Merveilleuses Parisiennes, sous le directoire”Illustration by Raphaël Jacquemin, 1869

Slide 6) Portrait de Theresia Cabarrus by Françios Gerard, 1805

Slide 7) Portrait of Joséphine de Beauharnais by Pierre-Paul Prud’hon, 1805

Slide 8) Vivienne Westwood Spring/Summer 1981 “Pirate Collection” photo by Niall McInerney

Slide 9) John Galliano 1984 Graduate Collection via The Costume Institute

Slide 10) John Galliano Spring/Summer 1986 “Fallen Angels” photo by Bill Cunningham

During and after the French Revolution, particularly during the Directoire period, the Incroyables and Merveilleuses captivated Parisian society with their extravagant fashion and bold social statements. The Incroyables were aristocratic men known for their exaggerated clothing and royalist leanings — wearing jackets with long tails and oversized cravats that obscured their faces. Their appearance symbolized a reaction against revolutionary ideals.

Their female counterparts, the Merveilleuses, embraced sheer, body-revealing dresses inspired by ancient Greece. These muslin gowns created the illusion of nudity and signaled a dramatic break from the rigid styles of the past. Their hairstyles — short cuts like the Titus, or swept-up Greek styles — were sometimes seen as darkly symbolic, exposing the neck in ways that recalled the guillotine.

More than just fashion, these styles expressed grief, resistance, and a yearning for freedom in a time of political upheaval. Figures like Thérésia Cabarrus and Joséphine de Beauharnais became icons of this look.

This aesthetic legacy has had a lasting impact on fashion. Designers such as Vivienne Westwood and John Galliano have drawn from the sensuality and symbolism of the Merveilleuse style — especially the muslin dress. Westwood referenced it in her Pirate collection, while Galliano revisited Les Incroyables for his graduate collection, and later used swathes of muslin in his Fallen Angels collection.

Slide 1) Jacques Louis David Portrait of a Young Woman

Slide 2) L’incroyable et la merveilleuse by Théophile Fragonard

Slide 3) Französische Incroyables - 1794

Slide 4 & 5) “Merveilleuses Parisiennes, sous le directoire”Illustration by Raphaël Jacquemin, 1869

Slide 6) Portrait de Theresia Cabarrus by Françios Gerard, 1805

Slide 7) Portrait of Joséphine de Beauharnais by Pierre-Paul Prud’hon, 1805

Slide 8) Vivienne Westwood Spring/Summer 1981 “Pirate Collection” photo by Niall McInerney

Slide 9) John Galliano 1984 Graduate Collection via The Costume Institute

Slide 10) John Galliano Spring/Summer 1986 “Fallen Angels” photo by Bill Cunningham

There was actually a feud between Alaïa and Léger, but if I’m honest, I find their approach to the bandage dress completely different.

There was actually a feud between Alaïa and Léger, but if I’m honest, I find their approach to the bandage dress completely different.

In his Spring/Summer 1986 collection, Azzedine Alaïa introduced dresses crafted using a bandage technique that redefined the relationship between fabric and the female form. Using tightly woven stretch materials, he created garments that clung to the body like a second skin—sculpting, supporting, and celebrating every curve.

One of the most iconic pieces from this collection was famously worn by Grace Jones. Here are some looks from the collection:

Slide 1) Grace Jones being fitted by Alaïa in his studio, paris
Slide 2) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 3 & 4) Alaïa S/S 1986 show ph by Niall McInerney
Slide 5) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 6) Frederique van der Wal photographed by Arthur Elgort, Vogue, February 1986
Slide 7) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 8) Alaïa S/S 1986 show ph by Niall McInerney
Slide 9) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 10 - 15) Alaïa S/S 1986 show ph by Niall McInerney

In his Spring/Summer 1986 collection, Azzedine Alaïa introduced dresses crafted using a bandage technique that redefined the relationship between fabric and the female form. Using tightly woven stretch materials, he created garments that clung to the body like a second skin—sculpting, supporting, and celebrating every curve.

One of the most iconic pieces from this collection was famously worn by Grace Jones. Here are some looks from the collection:

Slide 1) Grace Jones being fitted by Alaïa in his studio, paris
Slide 2) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 3 & 4) Alaïa S/S 1986 show ph by Niall McInerney
Slide 5) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 6) Frederique van der Wal photographed by Arthur Elgort, Vogue, February 1986
Slide 7) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 8) Alaïa S/S 1986 show ph by Niall McInerney
Slide 9) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 10 - 15) Alaïa S/S 1986 show ph by Niall McInerney

Just came across Tristan Webber’s Fall/Winter 1999 collection, and I’m obsessed with these two looks. Shown at London Fashion Week, the collection embraced a dark, futuristic aesthetic with distressed shades of red, burgundy, and black flowing through asymmetrically cut leathers and satins. I still need to dive deeper into Webber’s work, but how incredible are these designs?

Just came across Tristan Webber’s Fall/Winter 1999 collection, and I’m obsessed with these two looks. Shown at London Fashion Week, the collection embraced a dark, futuristic aesthetic with distressed shades of red, burgundy, and black flowing through asymmetrically cut leathers and satins. I still need to dive deeper into Webber’s work, but how incredible are these designs?

From 1993 to 1994, Cindy Sherman collaborated with Rei Kawakubo on an avant-garde advertising campaign for Comme des Garçons after Kawakubo was inspired by Sherman's editorial work in Harper's Bazaar. Instead of traditional fashion photography, Sherman created surreal images featuring disjointed mannequins and unconventional characters, pushing garments into the background and challenging fashion imagery norms. This approach aligned with Kawakubo’s deconstructivist philosophy, blurring the boundaries between art and commerce. The campaign was showcased in Comme des Garçons' direct-mail campaign and SoHo boutique, later becoming a collectible piece in the history of fashion and contemporary art.

From 1993 to 1994, Cindy Sherman collaborated with Rei Kawakubo on an avant-garde advertising campaign for Comme des Garçons after Kawakubo was inspired by Sherman's editorial work in Harper's Bazaar. Instead of traditional fashion photography, Sherman created surreal images featuring disjointed mannequins and unconventional characters, pushing garments into the background and challenging fashion imagery norms. This approach aligned with Kawakubo’s deconstructivist philosophy, blurring the boundaries between art and commerce. The campaign was showcased in Comme des Garçons' direct-mail campaign and SoHo boutique, later becoming a collectible piece in the history of fashion and contemporary art.

Melvin Sokolsky’s Bubble Series for Harper’s Bazaar (March 1963) was a groundbreaking moment in fashion photography. At a time when most editorials were shot in studios, Sokolsky took an entirely experimental approach—placing model Simone D’Aillencourt inside a transparent acrylic bubble, floating through the streets of Paris in the latest designs by Pierre Cardin, Nina Ricci, Jean Patou, Lanvin, Roberto Capucci, Guy Laroche, Yves Saint Laurent, and Balmain.
The idea came from two sources of inspiration: Hieronymus Bosch’s “The Garden of Earthly Delights” and a department store display where handbags and shoes were showcased inside plastic bubbles. To ensure the concept was feasible, Sokolsky tested the bubble’s strength by using it to lift a Volkswagen Beetle. The first test shoot took place in Weehawken, New Jersey, with New York City as the backdrop—this glowing image later became the Harper’s Bazaar cover.
Once the experiment proved successful, Sokolsky shipped the bubble to Paris and rented a crane to suspend it in various locations across the city. Unlike today—where such surreal visuals could be created with Photoshop—Sokolsky captured every image entirely on film, making the Bubble Series a true feat of analog photography and artistic vision.

Melvin Sokolsky’s Bubble Series for Harper’s Bazaar (March 1963) was a groundbreaking moment in fashion photography. At a time when most editorials were shot in studios, Sokolsky took an entirely experimental approach—placing model Simone D’Aillencourt inside a transparent acrylic bubble, floating through the streets of Paris in the latest designs by Pierre Cardin, Nina Ricci, Jean Patou, Lanvin, Roberto Capucci, Guy Laroche, Yves Saint Laurent, and Balmain.
The idea came from two sources of inspiration: Hieronymus Bosch’s “The Garden of Earthly Delights” and a department store display where handbags and shoes were showcased inside plastic bubbles. To ensure the concept was feasible, Sokolsky tested the bubble’s strength by using it to lift a Volkswagen Beetle. The first test shoot took place in Weehawken, New Jersey, with New York City as the backdrop—this glowing image later became the Harper’s Bazaar cover.
Once the experiment proved successful, Sokolsky shipped the bubble to Paris and rented a crane to suspend it in various locations across the city. Unlike today—where such surreal visuals could be created with Photoshop—Sokolsky captured every image entirely on film, making the Bubble Series a true feat of analog photography and artistic vision.

Before her tragic death in the Majdanek concentration camp during World War II, Else Simon—better known as Yva—created beautiful and sensual photographs that captured the essence of feminine decadence. As a renowned Berlin-based photographer, she produced striking fashion imagery for major publishing houses, earning international recognition during her brief but impactful career from 1925 to 1938. During this time, one of my all-time favorite photographers, Helmut Newton, apprenticed under her. The influence of Yva’s visionary work is unmistakable in Newton’s photography.

1. Beatrice Garga, 1929
2. Dancer Jenny Steiner, 1927
3. Dancer Toni Freden, 1927
4. Ruth Sonnetzky, 1929
5. Lilo Witte, 1933
6. Karin Stilke, 1936
7. Actress Hilda Ludwig with jewelry from Trianon
8. Untitled, 1937
9. Ad for Elcaya Creme, 1934

Before her tragic death in the Majdanek concentration camp during World War II, Else Simon—better known as Yva—created beautiful and sensual photographs that captured the essence of feminine decadence. As a renowned Berlin-based photographer, she produced striking fashion imagery for major publishing houses, earning international recognition during her brief but impactful career from 1925 to 1938. During this time, one of my all-time favorite photographers, Helmut Newton, apprenticed under her. The influence of Yva’s visionary work is unmistakable in Newton’s photography.

1. Beatrice Garga, 1929
2. Dancer Jenny Steiner, 1927
3. Dancer Toni Freden, 1927
4. Ruth Sonnetzky, 1929
5. Lilo Witte, 1933
6. Karin Stilke, 1936
7. Actress Hilda Ludwig with jewelry from Trianon
8. Untitled, 1937
9. Ad for Elcaya Creme, 1934

She ate and left no crumbs 💅❤️‍🔥 @karliekloss for @jeanpaulgaultier

She ate and left no crumbs 💅❤️‍🔥 @karliekloss for @jeanpaulgaultier

Prada’s Spring/Summer 2012 collection is undoubtedly one of the fashion industry’s most beloved. Drawing inspiration from the 1950s—cars, rockabilly culture, and retro Americana—the collection was a masterful blend of nostalgia and modernity. Bold car illustrations, fiery flame motifs, and impeccable tailoring brought the theme to life, but the true showstoppers were the now-iconic flame heels. Even today, they remain one of my personal favorites—and a permanent fixture on my wishlist.

The campaign, of course, was nothing short of breathtaking. With its cinematic quality and timeless allure, it continues to live rent-free in my mind as one of Prada’s most unforgettable visual masterpieces.

CREDITS

Photographer
@stevenmeiselofficial

Models
Guinevere van Seenus, Ymre Stiekema, Kathryn Kruger, Natascha Poly, Elise Crombez

Prada’s Spring/Summer 2012 collection is undoubtedly one of the fashion industry’s most beloved. Drawing inspiration from the 1950s—cars, rockabilly culture, and retro Americana—the collection was a masterful blend of nostalgia and modernity. Bold car illustrations, fiery flame motifs, and impeccable tailoring brought the theme to life, but the true showstoppers were the now-iconic flame heels. Even today, they remain one of my personal favorites—and a permanent fixture on my wishlist.

The campaign, of course, was nothing short of breathtaking. With its cinematic quality and timeless allure, it continues to live rent-free in my mind as one of Prada’s most unforgettable visual masterpieces.

CREDITS

Photographer
@stevenmeiselofficial

Models
Guinevere van Seenus, Ymre Stiekema, Kathryn Kruger, Natascha Poly, Elise Crombez

Marlene Dietrich (1901–1992), born in Berlin, was an iconic actress and singer celebrated for her sultry voice, androgynous style, and bold persona. Known for attending underground drag balls in 1920s Berlin, Marlene rose to fame with “The Blue Angel” (1930), and became a Hollywood legend, known for films like “Morocco” and “Shanghai Express.” A trailblazer in fashion, she challenged gender norms with her signature menswear looks, and during World War II, she supported U.S. troops by performing on the front lines. Her enduring legacy spans film, music, and fashion, cementing her as one of the 20th century’s most influential and defiant stars.

Slide 1) Marlene Dietrich during a paratrooper practice jump with the 82nd Airborne Division, Soissons, France, 13 March 1945. Photo by George Norton. Public domain (U.S. Army work)

Slide 2) Dietrich family photo, Berlin, 1906

Slide 3) Marlene Dietrich in her iconic Morocco role (1930)

Slide 4) Portrait photo of Marlene Dietrich with cravat, early 1930s. Photo by Eugene Robert Richee

Slide 5) Anna May Wong with Marlene Dietrich in “Shanghai Express,” 1932

Slide 6) Josef von Sternberg, Marlene Dietrich, and Charlie Chaplin. Photo by Hyman Fink, 1931

Slide 7) Marlene Dietrich with daughter Maria, Los Angeles, March 1934. Photo by Hyman Fink

Slide 8-9) Photos by Edward Steichen for Vogue, May 1935.

Slide 10) Marlene Dietrich in a red knit sweater from Knize, Los Angeles, 1940. Photo by Ray Jones

Slide 11) Marlene Dietrich wearing a Charles James dress for Vogue, October 1944. Photo by Rawlïngs.

Slide 12) Marlene Dietrich kissing soldier returning from WWII, 1945. Photo by David Lee Guss.

Slide 13) Marlene Dietrich in a performance costume on a U.S. Army tank. Photo by Lin Mayberry.

Slide 14) Marlene Dietrich performing in Pilsen, Bohemia, May 1945.

Slide 15-16) Marlene DIetrich with her daughter Maria, 1947. Photos by Horst

Slide 17) Marlene Dietrich for Vogue, May 1952. Photo by Milton Greene

Marlene Dietrich (1901–1992), born in Berlin, was an iconic actress and singer celebrated for her sultry voice, androgynous style, and bold persona. Known for attending underground drag balls in 1920s Berlin, Marlene rose to fame with “The Blue Angel” (1930), and became a Hollywood legend, known for films like “Morocco” and “Shanghai Express.” A trailblazer in fashion, she challenged gender norms with her signature menswear looks, and during World War II, she supported U.S. troops by performing on the front lines. Her enduring legacy spans film, music, and fashion, cementing her as one of the 20th century’s most influential and defiant stars.

Slide 1) Marlene Dietrich during a paratrooper practice jump with the 82nd Airborne Division, Soissons, France, 13 March 1945. Photo by George Norton. Public domain (U.S. Army work)

Slide 2) Dietrich family photo, Berlin, 1906

Slide 3) Marlene Dietrich in her iconic Morocco role (1930)

Slide 4) Portrait photo of Marlene Dietrich with cravat, early 1930s. Photo by Eugene Robert Richee

Slide 5) Anna May Wong with Marlene Dietrich in “Shanghai Express,” 1932

Slide 6) Josef von Sternberg, Marlene Dietrich, and Charlie Chaplin. Photo by Hyman Fink, 1931

Slide 7) Marlene Dietrich with daughter Maria, Los Angeles, March 1934. Photo by Hyman Fink

Slide 8-9) Photos by Edward Steichen for Vogue, May 1935.

Slide 10) Marlene Dietrich in a red knit sweater from Knize, Los Angeles, 1940. Photo by Ray Jones

Slide 11) Marlene Dietrich wearing a Charles James dress for Vogue, October 1944. Photo by Rawlïngs.

Slide 12) Marlene Dietrich kissing soldier returning from WWII, 1945. Photo by David Lee Guss.

Slide 13) Marlene Dietrich in a performance costume on a U.S. Army tank. Photo by Lin Mayberry.

Slide 14) Marlene Dietrich performing in Pilsen, Bohemia, May 1945.

Slide 15-16) Marlene DIetrich with her daughter Maria, 1947. Photos by Horst

Slide 17) Marlene Dietrich for Vogue, May 1952. Photo by Milton Greene

Leigh Bowery was a groundbreaking artist, performer, and fashion innovator whose fearless creativity left a lasting impact on the art and fashion worlds. Emerging in 1980s London nightlife, he challenged conventions through bold performances in galleries, theatres, and the streets, using clothing and makeup as artistic tools to reshape aesthetics, gender, and sexuality. His avant-garde approach to fashion and performance produced some of the most iconic images of the 1980s and 90s, inspiring generations of designers and creatives.

🚨There is currently an exhibition on Leigh Bowery at Tate Modern until August 31, 2025, for anyone visiting London.

Slide 1)Leigh Bowery & Trojan by Johnny Rozsa, 1983

Slide 2) John Galliano Spring Summer 2003

Slide 3) Leigh Bowery by Fergus Greer, 1994

Slide 4) Gareth Pugh Spring Summer 2007

Slide 5) Leigh Bowery by Fergus Greer, 1991

Slide 6) Alexander McQueen Fall WInter 2009

Slide 7) Leigh Bowery by Fergus Greer, 1989

Slide 8) Maison Margiela Spring Summer 2009

Slide 9) Leigh Bowery by Fergus Greer, 1988

Slide 10) Maison Margiela Couture Fall Winter 2013

Slide 11) Leigh Bowery by Fergus Greer, 1994

Slide 12) Rick Owens Spring Summer 2016

Slide 13) Leigh Bowery by Fergus Greer, 1991

Slide 14) Richard Quinn Fall Winter 2021

Leigh Bowery was a groundbreaking artist, performer, and fashion innovator whose fearless creativity left a lasting impact on the art and fashion worlds. Emerging in 1980s London nightlife, he challenged conventions through bold performances in galleries, theatres, and the streets, using clothing and makeup as artistic tools to reshape aesthetics, gender, and sexuality. His avant-garde approach to fashion and performance produced some of the most iconic images of the 1980s and 90s, inspiring generations of designers and creatives.

🚨There is currently an exhibition on Leigh Bowery at Tate Modern until August 31, 2025, for anyone visiting London.

Slide 1)Leigh Bowery & Trojan by Johnny Rozsa, 1983

Slide 2) John Galliano Spring Summer 2003

Slide 3) Leigh Bowery by Fergus Greer, 1994

Slide 4) Gareth Pugh Spring Summer 2007

Slide 5) Leigh Bowery by Fergus Greer, 1991

Slide 6) Alexander McQueen Fall WInter 2009

Slide 7) Leigh Bowery by Fergus Greer, 1989

Slide 8) Maison Margiela Spring Summer 2009

Slide 9) Leigh Bowery by Fergus Greer, 1988

Slide 10) Maison Margiela Couture Fall Winter 2013

Slide 11) Leigh Bowery by Fergus Greer, 1994

Slide 12) Rick Owens Spring Summer 2016

Slide 13) Leigh Bowery by Fergus Greer, 1991

Slide 14) Richard Quinn Fall Winter 2021

I found this video in the BBC archives—Derek Nimmo visits Vivienne Westwood and Malcolm McLaren’s shop, Seditionaries, on King’s Road in 1977. This was the peak of punk, with the Sex Pistols at the height of their fame. Nimmo explores the punk movement and its bold fashion, while Vivienne showcases some of her designs, including the iconic bondage jacket.

I found this video in the BBC archives—Derek Nimmo visits Vivienne Westwood and Malcolm McLaren’s shop, Seditionaries, on King’s Road in 1977. This was the peak of punk, with the Sex Pistols at the height of their fame. Nimmo explores the punk movement and its bold fashion, while Vivienne showcases some of her designs, including the iconic bondage jacket.

Castaneda’s latest collection is a whimsical fusion of childhood dreams, medieval opulence, and playful eccentricity. Inspired by his childhood promise to take his mother to a castle, the designs explore the pursuit of grandeur while celebrating authenticity. The collection blends everyday wear with quirky tailoring, highlighted by elaborate headwear—bunny ears in plaid, houndstooth horns, and tweed monkey ears. A jewel-toned palette of sapphire blue, ruby red, emerald green, and gold is enriched by hand-painted motifs and intricate embroidery, including a trompe-l’œil effect mimicking ermine fur. Presented in a striking red room with orange carpets, the show featured a soundtrack blending Alexandre Desplat’s Moonrise Kingdom score with Nicki Minaj’s quotes, creating a bold, theatrical experience.

Credits:
Artistic direction and photography - Ivo Barraza Castaneda
Production: Gautier Rouquette
Video Photography: Clement Longis
Make-up: Adèle Poulain, Noémie Gilles, Eva Brianceau

Castaneda’s latest collection is a whimsical fusion of childhood dreams, medieval opulence, and playful eccentricity. Inspired by his childhood promise to take his mother to a castle, the designs explore the pursuit of grandeur while celebrating authenticity. The collection blends everyday wear with quirky tailoring, highlighted by elaborate headwear—bunny ears in plaid, houndstooth horns, and tweed monkey ears. A jewel-toned palette of sapphire blue, ruby red, emerald green, and gold is enriched by hand-painted motifs and intricate embroidery, including a trompe-l’œil effect mimicking ermine fur. Presented in a striking red room with orange carpets, the show featured a soundtrack blending Alexandre Desplat’s Moonrise Kingdom score with Nicki Minaj’s quotes, creating a bold, theatrical experience.

Credits:
Artistic direction and photography - Ivo Barraza Castaneda
Production: Gautier Rouquette
Video Photography: Clement Longis
Make-up: Adèle Poulain, Noémie Gilles, Eva Brianceau

Pearls have been an integral part of Chanel’s DNA since Coco Chanel herself embraced them. This season, I love how the Chanel design studio took a playful approach, reimagining oversized pearls as statement bags and heels.

PH 1-2 by Acielle

PH 3-5 by Armando Grillo

Pearls have been an integral part of Chanel’s DNA since Coco Chanel herself embraced them. This season, I love how the Chanel design studio took a playful approach, reimagining oversized pearls as statement bags and heels.

PH 1-2 by Acielle

PH 3-5 by Armando Grillo

Inspired by train stations as places of fleeting encounters, @nicolasghesquiere drew from films like 2046, Snowpiercer, and Casablanca for @louisvuitton F/W 2025 collection. The former train company headquarters near Gare du Nord was a perfect location, considering Louis Vuitton’s heritage as a trunk maker. My favorite moment was the collaboration with electronic music pioneers @kraftwerkofficial , whose influence was woven into pinstriped jumpsuit and accessories featuring Trans-Europe Express graphics, reinforcing the rhythmic, travel-inspired theme.

Inspired by train stations as places of fleeting encounters, @nicolasghesquiere drew from films like 2046, Snowpiercer, and Casablanca for @louisvuitton F/W 2025 collection. The former train company headquarters near Gare du Nord was a perfect location, considering Louis Vuitton’s heritage as a trunk maker. My favorite moment was the collaboration with electronic music pioneers @kraftwerkofficial , whose influence was woven into pinstriped jumpsuit and accessories featuring Trans-Europe Express graphics, reinforcing the rhythmic, travel-inspired theme.

Duran Lantink continues to push fashion’s boundaries with his radical approach to shape and form. His latest designs feature exaggerated shoulderlines, hip protrusions, and “floating” skirts, challenging traditional beauty ideals. Embracing “bad taste,” he mixed zebra prints and camouflage with classic plaids and padded Barbour jackets. The most talked-about moments? A latex top sculpted into a muscular torso and another with exaggerated breasts—provocative statements on gender or simply viral stunts? Either way, his models embraced the transformation ❤️‍🔥

PH by Umberto Fratini

Duran Lantink continues to push fashion’s boundaries with his radical approach to shape and form. His latest designs feature exaggerated shoulderlines, hip protrusions, and “floating” skirts, challenging traditional beauty ideals. Embracing “bad taste,” he mixed zebra prints and camouflage with classic plaids and padded Barbour jackets. The most talked-about moments? A latex top sculpted into a muscular torso and another with exaggerated breasts—provocative statements on gender or simply viral stunts? Either way, his models embraced the transformation ❤️‍🔥

PH by Umberto Fratini

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