
<h2 class="wp-block-heading">Sera Akyazıcı, Managing Director at TOURIST. She lets summer unfold like a song she already knows by heart. For Sera, it’s all about quiet rituals — barefoot days on a boat, music that drifts through warm air, and the kind of joy that only comes in the company of people you love. Her style is effortless, her rhythm her own, and the season bends gently to meet her where she is.</h2>



<p><strong>What’s your beach read right now?</strong></p>



<p>Conversations on Love by Natasha Lunn</p>



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<p><strong>Your perfect summer day?</strong></p>



<p>My perfect summer day is to go on a boat trip, aka Blue Voyage, with my closest friends -its a ritual we have been doing since high school &#8211; listening to live music of my friends&nbsp;playing, enjoying a glass of Aperol and feeling the sun, good music, and warm hugs and cuddles with my friends/family.&nbsp;</p>



<p><strong>What&#8217;s the name of your summer playlist?&nbsp;</strong></p>



<p><a href="https://soundcloud.com/iremtourfm">IREMTOUR FM</a> all day everyday, every season!</p>



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<p><strong>Your go-to summer outfit in 3 words?&nbsp;</strong></p>



<p>My new shorts from <a href="https://www.instagram.com/gohomeeli/">GOHOMEELI</a>, colorful bikinis that I got from Brazil last February/carnival and my pareo from Nepal, nothing fancy but light elegance</p>



<p><strong>Sunrise dip or happy hour?&nbsp;</strong></p>



<p>Happy Hour!&nbsp;</p>



<p><strong>Karpuz or erik?</strong></p>



<p>Karpuz.</p>



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HOTLIST: Sera Akyazıcı


<p>Love has always been a mirror, reflecting not only who we are, but the world we live in. And today, that world is filtered, looped, and endlessly scrolled. On Instagram, love is golden-hour photos, Parisian kisses, and perfectly timed “candid” giggles. On TikTok, it’s couple challenges, emotional montages, and viral heartbreaks set to Billie Eilish. Somewhere in between, real love is quietly suffocating under the weight of aesthetics, algorithms, and audience. We’re living in the age of content madness where every moment must be captured, curated, and consumed. And in this chaotic theatre of self-performance, love often becomes a prop. Not something sacred and spontaneous, but something to be scheduled, edited, and liked.</p>



<p>Social media promised connection, but it delivered spectacle. Young couples no longer fall in love privately—they perform it publicly. Every anniversary is a carousel. Every argument is an almost-breakup storytime. Every gesture, big or small, is a potential post. The raw, quiet intimacy that once defined love is replaced with a constant awareness: “Would this make a good reel?” And yet, we’re not entirely to blame. The platforms are designed to reward emotional extremity. Love, in its most stable form—calm, steady, a little boring—is unremarkable in the feed. But love in crisis, love in fantasy, love on a yacht or in matching pajamas? That’s engagement. That’s reach. That’s brand.</p>



<p>TikTok, especially, has turned relationships into trending content categories. We have “soft launch” videos, “boyfriend applications,” “what I ordered vs. what I got (dating edition).” There’s even a niche for “romanticizing your breakup.” The line between real emotion and performance art is dissolving, fast.</p>



<p>So where does that leave those of us looking for love not likes? It leaves us exhausted, sometimes. Disillusioned, often. But it also leaves us with a responsibility: to reclaim intimacy from the screen. To know when to turn off the camera. To choose presence over performance. To remember that the most profound love stories are rarely the most viral.</p>



<p>There’s nothing wrong with celebrating love online. But when the celebration becomes a production, we risk losing the very thing we’re trying to show off. Love doesn’t need filters. It needs attention. It needs privacy. It needs room to breathe without asking, “Should we post this?” As we teeter on the edge of this content-obsessed culture, maybe the most radical act isn’t creating more, it’s sharing less. Loving without the lens. Feeling without the filter. Being there, fully, when no one else is watching.</p>



<p>That’s not bad for the algorithm. That’s just good for the soul.</p>


Modern love in the age of hyper-curated digital life


<h2 class="wp-block-heading">She is the one who is soaking up every golden second. She knows it’s summer – the sun’s warm embrace, the scent of blooms in the air, and the freedom in every breeze. She’s not just living in the moment; she’s savoring it, dancing with it, and letting it wrap around her like sunshine.</h2>



<p><strong>Your go-to summer outfit in 3 words?</strong></p>



<p>Mostly something subtle, serene and sleek. </p>



<p><strong>The moment summer officially begins for you?</strong></p>



<p>When I forget what day it is &#8211; in a good way.</p>



<p><strong>What&#8217;s the name of your summer playlist?</strong></p>



<p>&#8216;Golden Hour Grooves&#8217;</p>



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<p><strong>Favorite cocktail?</strong></p>



<p>I&#8217;m a wine girl. A chilled glass of wine, please.</p>



<p><strong>Road trip or airplane?</strong></p>



<p>I used to love road trips-the slow, open road vibe-but lately, I&#8217;ve been all about airplanes. Faster, smoother, and it gets me closer to new places without the wait. </p>



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<p><strong>Show us your ideal summer moment</strong>.</p>



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HOTLIST: Merve Yeşilçimen Naykı


<h2 class="wp-block-heading"><strong>Some brands don’t just dress — they awaken, remind, and reimagine. IKINITA is one of them. Born from the shared vision of two sisters; India and Carla, the brand turns getting dressed into a ritual, identity into a narrative, and fashion into a deeply transformative experience. Inspired by film reels, sun-soaked summers, and the invisible weight of emotion, IKINITA pieces are made to be felt as much as worn. They don’t shout; they linger. They speak in whispers; to the skin, to the memory, to the self.</strong></h2>



<p><strong>Let’s start with how your story came to be. How did IKINITA come to life? What inspired you to start the brand?</strong></p>



<p>IKINITA was born from our shared love for transformation, turning the body into a story, the wearer into a hero. Fashion, for us, has never been just about clothing. It’s about identity, narrative, and presence. We grew up immersed in cinema; our father, a film director in the &#8217;90s, sparked our passion for visual storytelling. His world shaped ours,&nbsp; a blend of timeless glamour and fearless creativity.</p>



<p>But everything shifted when one of our daughters was diagnosed with a condition that impacted her vision. That moment cracked open a new universe for us. We started exploring the senses beyond sight texture, sound, emotion&nbsp; and found beauty in the intimate rituals of dressing. IKINITA became a way to feel deeply, not just to be seen.</p>



<p><img decoding="async" src="https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-4-10-1024x683.jpeg" alt=""></p>



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p>&#8221;We are sisters, creators, and survivors, and through IKINITA, we turn life’s beauty and struggle into something tangible.&#8221;</p>
</blockquote>



<p><strong>What do you think makes IKINITA’s design language stand out?</strong></p>



<p>We design for women to become their own muses : bold, soft, powerful. We want each piece to hold a story, a mood, a truth. We don’t chase trends. Instead, we’re inspired by cinema, architecture, nature, and emotions. Our pieces are crafted with deep intention, a balance between art and wearability, elegance and freedom.</p>



<p><strong>What’s the most fulfilling part of building a collection? </strong></p>



<p>It’s the liberation from rules, from judgment, from expectations. Each collection begins with a feeling, a whisper, a visual we can’t shake. We let it sit, gather textures, words, memories and then we build something from it that feels like magic. It’s about storytelling through silhouette, material, and sensation.</p>



<p><strong>What is the most challenging part?&nbsp;</strong></p>



<p>Keeping the balance between fantasy and function. We want our pieces to feel like wearable art, but they also need to be lived in, to make the wearer feel confident, comfortable, sensual, and entirely themselves.</p>



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<p><strong>Your SS25 collection draws inspiration from childhood nostalgia, what’s your favorite childhood memory?</strong></p>



<p>We grew up on a boat and summers in Turkey were some of our most defining moments. Bodrum, and especially Maçakızı, feels like part of our soul. Years later, one of us moved to Turkey. Returning there to open our store felt like a homecoming. We’ve always been drawn to places with depth, history, and energy, and Maçakızı has all of that.</p>



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p>“We want our pieces to evoke emotion, to help women feel bold, soft, rebellious, ethereal… whatever they need to be that day.”</p>
</blockquote>



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<p><strong>Do you have a structured creative process or does it emerge more organically from mood, conversation or intuition?</strong></p>



<p>Like a conversation: fluid, unpredictable, always full of surprises. We gather inspiration like detectives, let it rest, and then come back to create.</p>



<p><strong>How do you balance two creative minds within one brand identity? What happens when you disagree?</strong></p>



<p>There’s trust, respect, and rhythm between us. We grew up together, and that bond allows us to challenge each other while always staying connected to our shared vision.</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1280" src="https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-6-1024x1280.jpg" alt="" class="wp-image-68059" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-6-1024x1280.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-6-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-6-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-6-1229x1536.jpg 1229w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-6-1638x2048.jpg 1638w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-6-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-6-1200x1500.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-6-scaled.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1280" src="https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-10-1024x1280.jpg" alt="" class="wp-image-68054" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-10-1024x1280.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-10-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-10-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-10-1229x1536.jpg 1229w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-10-1638x2048.jpg 1638w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-10-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-10-1200x1500.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-10-scaled.jpg 2048w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p><strong>What do you want someone to feel when they wear IKINITA — beyond aesthetics?</strong></p>



<p>Liberation. Intuition. Power. We want our pieces to evoke emotion, to help women feel bold, soft, rebellious, ethereal… whatever they need to be that day. Wearing IKINITA is about stepping into your own narrative with confidence and grace.</p>



<p><strong>Is there a fabric or technique in SS25 that you feel particularly connected to; personally or creatively?</strong></p>



<p>We’re committed to sustainability not just in name, but in practice. Our garments are made in Europe using natural fabrics and leftover luxury materials from LVMH. We incorporate hand embroidery, build each piece like a puzzle, and put love into every stitch. It allows us to create affordable couture that’s beautiful, responsible, and entirely ours.</p>



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<figure class="wp-block-image size-large is-resized"><img loading="lazy" decoding="async" width="1024" height="696" src="https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-12-8-1024x696.jpg" alt="" class="wp-image-68055" style="aspect-ratio:4/3;object-fit:cover;width:508px;height:auto" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-12-8-1024x696.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-12-8-360x245.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-12-8-680x462.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-12-8-1536x1044.jpg 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-12-8-2048x1393.jpg 2048w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-12-8-16x11.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/look-12-8-1200x816.jpg 1200w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p><strong>What kind of impact do you want IKINITA to have in the long run; culturally, emotionally or anything in-between?</strong></p>



<p>We made a pact to honor our childhood dreams and bring them into adulthood with meaning. We want IKINITA to leave a cultural and emotional legacy. Through every garment, we aim to offer not just fashion, but an experience. A reminder to feel, to dream, to live boldly.</p>



<p>We are sisters, creators, and survivors, and through IKINITA, we turn life’s beauty and struggle into something tangible.</p>



<p>As designers, we aim to inspire women to embrace their unique strength and beauty. We believe in empowering them to become their own muse, crafting lives filled with confidence, creativity, and resilience.</p>



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<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1536" src="https://cms.basedistanbul.com/wp-content/uploads/2025/06/DETALLES-1-1024x1536.jpg" alt="" class="wp-image-68052" style="aspect-ratio:2/3;object-fit:cover" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/06/DETALLES-1-1024x1536.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/DETALLES-1-360x540.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/DETALLES-1-680x1020.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/DETALLES-1-1365x2048.jpg 1365w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/DETALLES-1-16x24.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/DETALLES-1-1200x1800.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/06/DETALLES-1-scaled.jpg 1707w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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Dressing the Soul: IKINITA


<h2 class="wp-block-heading">Jacquemus closed out Paris Fashion Week not just with a show, but with a quiet takeover of the Palace of Versailles — a setting that functioned less as scenery and more as symbol. The playful micro-bags and cherry-fueled virality were noticeably absent. Instead, the collection leaned into precision, intention, and a kind of poetic minimalism that demanded recognition, not spectacle. This wasn’t a performance built for clicks — it was a body of work asking to be understood.</h2>



<p>Jacquemus has always been fluent in the language of image. For years, he has given us tomatoes, linen fields, sun-drenched balconies and cinematic vignettes of summer. But with this SS26 collection, he seems to be searching for something less photogenic and more permanent. The silhouettes spoke louder than the setting. Dresses appeared reversed, pleated constructions unfolded mid-movement, and the tailoring—though subtle—spoke volumes.</p>



<p>Gone was the Instagram bait. In its place, a kind of studied restraint that whispered of a designer ready to graduate from viral sensation to heritage builder. A white look, almost ecclesiastical in its severity, stood in stark contrast to the soft blush palette that followed. Shoulders were pulled forward, necklines elongated, and hemlines dropped to near-monastic lengths. Everything felt intentional — less moodboard, more blueprint.</p>



<p>Yet it wasn&#8217;t without emotion. The designer looked inward this season, referencing his childhood, his family, and his own mythology. It was as if Jacquemus finally turned the camera on himself, but without vanity. The collection became a mirror: of past, of growth, of how far he’s come — and how much further he wants to go.</p>



<p>In many ways, this show was a reset. Not a reinvention, but a quiet recalibration. The romanticism remains, but it’s less flirtation, more reflection. Jacquemus doesn’t want you to just watch. He wants you to look — closely.</p>



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<p></p>


Versailles, Reversed: Fashion Week Ends Where Jacquemus Begins


<p>Okay, let’s talk about it: the lip balm obsession. You know the drill&#8230; You can’t leave the house without your trusty little tube, and if you forget it? Panic. Chaos. Lips instantly feel like the Sahara desert. Sound familiar? You’re not alone. For a whole generation raised on skincare routines, hydration reminders, and aesthetic “what’s in my bag” videos, lip balm isn’t just a necessity—it’s a personality trait. We’re not just talking basic ChapStick anymore. We’re talking Glossier Balm Dotcom, Laneige lip sleeping masks (used 24/7, not just at night), Rhode madness and absoulately luxurious treatments like YSL Loveshine Gloss, Armani Prisma Glass or obscure K-beauty brands you found through a TikTok rabbit hole at 2 am. But here’s the thing, when did taking care of your lips turn into a full-on dependency?</p>



<p>Some dermatologists have pointed out that certain ingredients (like menthol or camphor) might actually dry your lips out more, meaning the more you use, the more you need. That’s like putting out a fire with gasoline. And yet, we keep applying every hour, on the hour. Why? Maybe it’s not just about hydration. Maybe it’s about control. Life can be overwhelming, chaotic, and unpredictable. But lip balm? That’s easy. It’s right there. It works instantly. Swipe, done. It’s like a tiny hug in stick form. Comfort culture, anyone?</p>



<p>But here’s where it gets a little ironic: sometimes we’re so obsessed with fixing “dry lips” that we never give our lips the chance to actually regulate on their own. Like, yes, self-care is cool and all, but are we actually just chasing the feeling of doing something for ourselves even when it’s kinda pointless?</p>



<p>Let’s also not ignore how capitalism eats this up. Brands have figured out that we don’t want just balm, we want strawberry-scented, collagen-boosting, glowy, gender-neutral, ethically-sourced hydration experiences. So we buy five, stash them everywhere, and act shocked when we still feel dry. Here’s the truth: lip balm isn’t the villain. Use it, love it, enjoy it. But if you find yourself reaching for it every five minutes like it’s emotional support glue, maybe it’s time to check in. Are your lips really dry, or are you just vibing with the ritual?</p>



<p>No shame, no judgment—just a reminder that your lips (and your mental health) deserve more than endless reapplication.&nbsp;</p>


Lip Balm: Self-Care or Addiction?


<h2 class="wp-block-heading">Ten years, 101 objects, and one AI-generated voice. &#8220;The Subtleties of a Dialogue&#8221; now open at Kering’s Paris headquarters, is not a typical exhibition. It doesn’t canonize or commemorate—it distills a decade of fashion disruption into a sharply curated presentation, laid bare across mannequins, screens, and vitrines like relics of a cultural uprising.</h2>



<p>From the start, Demna’s tenure at Balenciaga was about challenging conventions—of taste, of luxury, of who gets to decide what fashion looks like. Now, in the final chapter before his move to Gucci, he’s curated a show that is less about celebration and more about confrontation. Here are the padded shoulders, the memeified clutches, the upcycled jeans that mimicked oil spills. Here are the protest hoodies, the duct-taped sneakers, the black veil he wore to the Met Gala. And, fittingly, the first thing you see upon entry is a framed rejection letter from a fashion internship he didn’t get. Full circle, with a wink.</p>



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<p>Demna narrates the experience—sort of. Visitors wear headphones through which his voice guides them, but it’s an AI-generated version of himself, a surreal gesture that feels both intimate and distanced. In a way, it perfectly mirrors his design ethos: the personal refracted through post-internet distortion.</p>



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<p>There’s no traditional timeline, no linear storytelling. Instead, pieces are arranged by concept—icons, uniforms, experiments—inviting viewers to connect the dots between couture and counterculture. Magazine covers, campaign stills, and archival press kits line the walls like flashbacks from a fashion fever dream. Some mannequins are headless; others are posed mid-stride. Even the lighting avoids glamour, casting a clinical glow that flattens hierarchy. A Birkin bag made of caution tape holds as much weight here as a gown from his couture debut.</p>



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<p>This isn’t just a look back—it’s a final punctuation mark on a designer who reshaped the contours of contemporary fashion. With the exhibition open to the public free of charge, hosted in the heart of Kering’s corporate sanctuary, it’s also a subtle flex: this was never about gatekeeping. Demna’s Balenciaga was a paradox—elitist and democratic, intellectual and meme-ready, couture and cringe.</p>



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<p>Now, with his next chapter at Gucci already in motion, this exhibition stands not as a eulogy, but a thesis. A reminder that fashion isn’t just worn—it’s witnessed, archived, and argued over. And Demna, ever the disruptor, leaves Balenciaga exactly how he entered: with a statement you can’t ignore.</p>


“The Subtleties of a Dialogue”–Balenciaga by Demna over a Decade


<h2 class="wp-block-heading">“Temple of Love” is Owens’ most personal and ambitious project to date: an immersive exhibition that collapses the boundaries between fashion, architecture, sculpture, and devotion. The Palais Galliera is holding the first exhibition in Paris dedicated to the work of avant-garde fashion designer Rick Owens. It features collections from his early beginnings in Los Angeles through to his most recent.&nbsp; For decades, Owens has carved out a world where shadows reign and glamour decays beautifully. Here, in this brutalist dreamscape, he goes a step further, turning his aesthetic into a cosmology. “I wanted to make something permanent,” Owens says. “A place for reflection. For mourning. For adoration.”</h2>



<p>“Temple of Love” unfolds like a sacred procession. Massive concrete plinths echo the stark geometry of 20th-century totalitarian monuments, while pools of dark water shimmer like ceremonial basins.&nbsp;</p>



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<p>At the center of this ritual space, there are garments to show his language of devotion. Iconic silhouettes from the Owens archive are suspended midair, cruciform, cloaked, cocooned. Leather trenches hang like saints’ robes. Feathered capes sway slightly, animated by invisible forces. But these aren’t just fashion artifacts. Owens treats them like holy objects preserved not for wear, but for worship. Each is lit with reverence, casting long, monastic shadows across the walls.</p>



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<p>Dedicated as much to aesthetic ideology as to personal mythology. A standout moment is “Sanctum Lamy”, a glowing cube pulsing with distorted projections of Michele Lamy who is Owens’ life partner and creative co-conspirator. Her voice mutters half-sentences in French and English, layered with guttural synths and ritual chants. It’s intimate, almost haunting like stumbling into someone else’s memory. “The temple is about love, yes,” Owens says, “but also about legacy. About finding beauty in mortality.”</p>



<p>Owens doesn’t shy away from vulnerability. In fact, he builds temples to it. His long obsession with brutalism isn’t just aesthetic, it’s emotional. He finds poetry in permanence, emotion in form. Here, the hard becomes soft. The concrete feels alive.</p>



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<p>“Temple of Love” isn’t just a retrospective. It’s a thesis statement. Unlike other fashion meets art exhibitions, Owens doesn’t court spectacle. There are no QR codes, no selfies encouraged. The lighting is dim, the silence heavy. It demands presence. Stillness. Respect. It’s about devotion of death and desire. It’s an act of faith.&nbsp;</p>



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<p>The exhibition will run until 04.01.2026 but Owens’ hidden world does not surprise us this much he just announced that he will open an OnlyFans account for his feet. “I thought it was an interesting way of addressing aging,” the designer said, noting he took inspiration from a 19th-century aristocratic who “reduced her life to photographing her feet.” And reminds that; “I’m like, I started my career with a picture of me p—-ing into my mouth,” a photo montage from 2002 that is included in the exhibition catalog, along with other NSFW imagery. “I mean, this is the most innocent thing I’ve ever done.”. He is Rick Owens and no more words needed.</p>



<p><em>Photography courtesy of Palais Galliera.&nbsp;</em></p>



<p></p>


Rick Owens’ “Temple of Love” Is a Brutalist Sanctuary of Style, Spirit, and Seduction


<h2 class="wp-block-heading">In a menswear season pulsing with spectacle and subversion, Véronique Nichanian’s Hermès Spring/Summer 2026 presentation stood apart by refusing to shout. There were no theatrics, no viral gimmicks, no new-age manifestos. Instead, it was an assured continuation of Nichanian’s quietly radical vision: fashion that moves with you, breathes with you, and feels like second skin.</h2>



<p>Staged once again at Place d&#8217;Iéna in Paris, the show opened with softly tailored silhouettes in whispering neutrals: slate, caramel, olive, and sun-faded coral. Silk blouses draped like liquid, while deep V-neck knits and collarless outerwear added a subtle sensuality to the crisp, utilitarian undertones. The tailoring was supple but intentional, making even the most structured pieces appear effortless.</p>



<p>The leatherwork—unsurprisingly for Hermès—was pristine. Butter-soft trousers, belted pleated shorts, and safari-inspired jackets brought a lived-in luxury to the lineup, elevated further by accessories that doubled as storytelling devices. Scarves were tied loosely around necks, hinting at breezy Mediterranean escapes, while oversized canvas and leather bags brought volume and function to an otherwise serene aesthetic.</p>



<p>Footwear reinforced the collection’s ease. Leather thongs and open-toed sandals made a convincing case for barefoot-adjacent dressing, especially when styled with cropped pants in pale greys and sun-washed taupes. The inclusion of Hermès’ iconic carrés in several looks grounded the collection in the brand’s heritage, offering quiet signals of legacy amid the relaxed silhouettes.</p>



<p>And yet, amidst all this calm, there were playful disruptions. A bright yellow knit. A wine-colored leather jacket. A revamped Birkin bag with a utility slant—pockets and all. Even the Kelly took a detour westward, remixed with rugged hardware that felt more desert road trip than Faubourg Saint-Honoré. These touches didn’t overpower; they punctuated.</p>



<p>Nichanian, who has helmed Hermès’ menswear for over three decades, continues to refine a language where elegance doesn’t mean stiffness and masculinity isn’t defined by hardness. SS26 is not a reinvention, but a reaffirmation: clothes that live with you, not for you. The kind of luxury that doesn’t scream—because it doesn’t have to.</p>



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Hermès SS26: Whisper in a Season of Screams


<h2 class="wp-block-heading">In Paris, where the runway calendar is already overflowing with narratives of nostalgia, neo-romance, and new-age tailoring, A$AP Rocky’s AWGE Spring/Summer 2026 show felt like a glitch in the system—intentional, chaotic, and deeply self-aware. Set inside the Palais de Tokyo but performed like a late-night fever dream, Rocky’s sophomore runway outing didn’t aim to make sense. It aimed to stick.</h2>



<p>Titled <em>American Sabotage</em>, the collection unfurled as a visual manifesto—part cultural commentary, part fashion fan fiction. It was less about seasonal product and more about cultural positioning. Think anti-establishment slogans, stars and stripes turned inside-out, military jackets clashed with boxing robes, denim beaten down and then re-sculpted. At its best, it felt like Jean-Michel Basquiat met WWE meets a Harlem stoop in 2005.</p>



<p>This wasn’t just a runway—it was a theatrical collision of timelines. A$AP Nast opened the show with a megaphone. The front row—thick with stars like Rihanna, Pusha T, and Tyler, The Creator—felt more like a cipher than a seating chart. Models wore gas masks. One look featured a shredded American flag fashioned into a cape. Another, a tuxedo jacket held together by nothing but pins and pins of meaning.</p>



<p>The silhouettes were erratic on purpose. Wide-legged trousers dragged across checkerboard floors, military belts wrapped twice around shredded basketball shorts, and cropped varsity jackets revealed mesh tank tops underneath. This wasn’t cohesion—it was collage. A zine disguised as a clothing line. Punk sensibility wrapped in post-internet styling.</p>



<p>AWGE isn’t building a brand; it’s staging a rebellion. With collaborators like designer Bede Marchand and longtime stylist Matthew Henson, the label leans less into fashion’s traditional arc and more into performance, mood, and meme logic. This season’s message? America is broken, but we still know how to dress for the fallout.</p>



<p>The finale was pure Rocky: he emerged in a patchwork flag robe, rapping into the mic mid-stride, before disappearing into a cloud of applause and fog. No press notes. No explanations. Just a reminder that sometimes fashion is best understood through distortion.</p>



<p><em>AWGE SS26 doesn’t ask for approval. It asks if you’re still paying attention.</em></p>



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<p></p>


AWGE SS26: A$AP Rocky’s Myth-Making Machine Rolls into Paris


<h2 class="wp-block-heading">Paris’ Salle Pleyel didn’t just host a show this season — it hosted a reckoning. Willy Chavarria’s SS26 collection didn’t arrive in noise. It began in stillness: 35 men, lined up in silence, dressed in crisp white ACLU shirts, hands clasped behind them. A still life of resistance. No music. No theatrics. Just bodies. Just presence.</h2>



<p>This wasn’t fashion as escapism. This was fashion as testimony.</p>



<p>Named <em>Huron</em>, the collection moved like a quiet sermon. Long tailored coats in monochrome palettes, oversized silhouettes styled with precision, and an almost sacred use of minimalism. Pieces hovered somewhere between courtroom and cathedral — familiar but loaded, gentle but firm. The focus wasn’t on design tricks but emotional architecture.</p>



<p>There were no logos screaming for attention. No gimmicks. Just structure, shape, and message. A shirt became a shield. A suit became a stage. Chavarria understands the politics of form — how to weaponize elegance, how to make fabric carry memory.</p>



<p>The casting did what most brands claim to but rarely execute: it reflected the world outside. Real faces. Real tension. Chavarria doesn’t tokenize — he centers.</p>



<p>One look — a layered cream ensemble with delicate accessories — felt like a eulogy in motion. Another, all-black with a rosary tucked under the collar, could have belonged to a man leaving court, or walking into confession. This duality — of dignity and grief, of strength and vulnerability — shaped the show’s core.</p>



<p>Even as the show moved into its final looks, the tempo never shifted to spectacle. Instead, Chavarria stayed locked in on feeling. The sound returned only at the end — sparse and cinematic — like breath after holding it too long.</p>



<p>In a season cluttered with brand noise, <em>Huron</em> offered quiet clarity. Chavarria isn’t asking to be heard. He’s already speaking. The question is whether fashion is ready to listen.</p>



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Fashion as Witness: Chavarria’s Tribute to the Detained


<h2 class="wp-block-heading">Jonathan Anderson’s first menswear collection for Dior didn’t arrive with a bang — it arrived with structure. Set inside a velvet-lined space echoing the Gemäldegalerie in Berlin, the room felt more like a study than a runway. Two quiet 18th-century still lifes by Chardin hung on the walls, offering a kind of calm entry point — not into nostalgia, but into detail.</h2>



<p>Rather than deconstruct Dior, Anderson paused to examine it. The silhouettes were crisp but soft, carrying with them elements of historical menswear: tightly tailored waistcoats, grey suiting, military references, and nods to the house’s own codes — like the Bar jacket, reconfigured with a lighter touch. Donegal tweeds and regimental stripes added weight, but nothing felt heavy.</p>



<p>His approach to formality was never rigid. Loose ties, uneven collars, and layered cargo shorts added a touch of tension — something adolescent, a bit off, yet calculated. It called back to his own coming of age in a Britain where royal aesthetics mixed with rebellion. These weren’t costumes. They were interruptions.</p>



<p>Pieces drawn from Dior’s past didn’t feel like quotations. Archival dresses were reframed rather than repeated. Rococo-style embroidery and the romanticism Monsieur Dior admired appeared in details — but kept their distance from decoration.</p>



<p>Accessories expanded the idea. The Book Tote featured covers from classic novels instead of logos. A crossbody referenced <em>Dracula</em>. The Lady Dior was unraveled — literally — into a fringe of handwoven linen, thanks to a collaboration with artist Sheila Hicks. Anderson used these objects to shift the center of gravity, pulling Dior away from iconography and into narrative.</p>



<p>This wasn’t an overhaul. It was a calibration. Anderson treated Dior as something alive — not untouchable, not sacred, but adaptable. What came through was not noise or provocation, but tempo. Not a signature stamped across every look, but a framework — measured, specific, and grounded in a long view of fashion history that understands its weight, but doesn’t overstate it.</p>



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<p></p>


Drafting Dior: Jonathan Anderson’s Opening Statement


<h2 class="wp-block-heading">Thunder cracked over Paris as day two of Fashion Week came to a chaotic close — streets flooded, stilettos submerged, and fashion’s elite left wading through thigh-deep waters on Avenue Montaigne. As the city spiraled into near-biblical drama, Rick Owens — prophet of glamorized doom — opened the gates to <em>Temple</em>, his SS26 menswear show.</h2>



<p>Held at his spiritual home, Palais de Tokyo, the runway was more ritual than presentation. Models emerged from behind scaffolding, descended into a shallow pool, and began their procession — soaked, solemn, sculptural. The sun scorched overhead, the air thick with humidity. But this wasn’t about climate. This was <em>climate collapse couture</em>.</p>



<p>Rick isn’t interested in escapism. While other brands are floating down fantasy runways, he’s dragging us into reality — half-drenched, spine-straight, strapped into leather harnesses and orthopedic sandals. The show’s title, <em>Temple</em>, mirrored the name of his retrospective opening just across the street at Palais Galliera: <em>Temple of Love</em>. But love, in Rick’s world, is dense, ritualistic, and tinged with decay. “A retrospective brings to mind decline,” he said. “I was happy to lean into that.”</p>



<p>What followed was a procession of flesh and hardware. Leather rigging evoked both bondage and Baroque — garlands twisted into body straps, flashes of skin framed between slashed hides. It was both violent and devotional, caught somewhere between Hollywood sleaze and neoclassical longing. And while Rick’s always flirted with spectacle, this time the drama felt deeply grounded. There was gravity in every soaked silhouette.</p>



<p>He dug into the past without nostalgia. Cashmere knitwear, reimagined by his first fit model Terry-Ann Fricken, brought early-2000s Rick back to the surface — not as throwback, but as reincarnation. Meanwhile, a collaboration with legendary New York punk band <em>Suicide</em> infused the show with scorched-electronica energy: leather jackets raw and unhinged, as if pulled from the ruins of CBGB’s basement.</p>



<p>The pièce de résistance? Not a look, but a moment: Tyrone Dylan, Rick’s muse and opening model, scaling a central steel sculpture in vertiginous Kiss boots, dripping from the fountain below, clinging like a soaked saint in a post-apocalyptic cathedral. It was part fashion show, part fever dream.</p>



<p>And yet, amid the spectacle, a softness. Voluminous parkas in silk taffeta, GRS-certified nylons woven by old Italian mills, and cotton shorts paired with open-toed, Velcro-strapped orthopedic sneakers affectionately dubbed <em>Burrito Sneaks</em>. The balance of the grotesque and the tender is where Rick thrives.</p>



<p>He’s not scared of the end — he designs for it. While others scramble for relevance, Rick turns his possible “downfall” into a set piece. That’s the trick: by embracing ephemerality, he becomes eternal. Long live the king of darkness, water, and light.</p>



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Temple of Flesh: Rick Owens Floods Paris–Again


<h2 class="wp-block-heading">Some collections demand attention. Others simply hold it. Acne Studios’ Spring/Summer 2026 menswear show belongs to the latter — a steady, self-contained meditation on masculinity, filtered through spontaneity, nostalgia, and an almost academic sense of cool.</h2>



<p>There’s a quiet rebellion at play. Instead of chasing sharp tailoring or polished perfection, creative director Jonny Johansson leans into instinct — clothes that feel lived-in, worn out, passed down. The pieces don’t scream for significance. They already carry it.</p>



<p>Silhouettes swing freely between extremes: shrunken T-shirts meet stretched-out shirts, oversized jogging trousers sit beside narrow, vintage-style jeans. Academic influences linger in the elongated collars, slim-cut silhouettes, and silk shirting that reference ‘70s prep — but it’s all softened, made less precise on purpose. There’s ease here, but it’s deliberate.</p>



<p>The collection balances soft chaos with archival continuity. The return of Acne’s “1979” jeans in a sharp, modern cut and the reworked “2010” low-rise denim — now visibly mended — anchor the narrative in house history. Paired with caps, cowboy boots, and the comeback of the Camero bag, these details blur past and present into a single, non-linear timeline.</p>



<p>Then there’s the texture of personality: sweatshirts with subtle fading, denim that looks like it’s seen a garage floor, suede backpacks marked by human touch. Every item feels like a memory. Not curated, but collected.</p>



<p>Johansson describes the attitude behind the collection as “geeky” and “quietly confident” — and that’s exactly what comes through. Acne isn’t redefining masculinity as much as it’s loosening its grip. There’s no singular figure on the runway, no fixed type. Just a rhythm of garments that breathe a little easier, step a little slower, and exist on their own terms.</p>



<p></p>



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<p></p>


Cool by Default: Acne Studios SS26 Is Quietly Loud


<h2 class="wp-block-heading">What looks like a board game from above is, in fact, a calculated act of quiet symbolism. For his Spring/Summer 2026 menswear collection with Louis Vuitton, Pharrell Williams transformed the rooftop of the Centre Pompidou into a massive Snakes and Ladders set — complete with oversized dice, checkerboard motifs, and a panoramic view of Paris. But beyond the spectacle, it was the restraint that spoke loudest.</h2>



<p>Working alongside Studio Mumbai’s Bijoy Jain, Pharrell staged a fashion show that flirted with play, but rooted itself in precision. The scenography wasn’t just set dressing — it was language: geometric codes, Indian references, and LV heritage layered in subtle, referential repetition. This wasn’t about cultural appropriation. It was about recalibration — reading the rhythms of modern Indian menswear and translating them through Vuitton’s global lens.</p>



<p>The results? Dhoti-inspired trousers in suiting-grade wool. Washed brown denim that revealed a ghostly white thread over time. Jackets detailed with oversized “LVM” embroidery, cargo-pocket stitching, and garments that evoked utility, formality, and ease in the same breath. The tailoring didn’t scream reinvention, but it was unmistakably reconfigured: low-slung, unbuttoned, re-proportioned. Flip-flops with suit pants? Why not.</p>



<p>The accessories—long one of Vuitton’s strongest storytelling tools—were especially rich this season. Frog bags, animal embroideries lifted from Wes Anderson’s <em>The Darjeeling Limited</em>, and the reworked Speedy P9 bag in painted leathers and bold detailing, all acted like punchlines in a language of texture. Meanwhile, the footwear expanded into new terrain, from LV Buttersoft sneakers to skate-inspired Tilted shoes.</p>



<p>What set this collection apart was its ability to merge mood with motion. Pharrell stripped down the theatrics without losing momentum. The palette shifted from sober navies and browns into yellows, purples, and plum. Metallics shimmered instead of shouting. Even the most ornate looks — shell suits woven from metal yarn, mountaineering jackets lined with embroidery — felt edited, not indulgent.</p>



<p>And yes, this was easily Pharrell’s most commercially dialed-in collection yet. The looks were wearable, shelf-ready, and undeniably saleable — and that wasn’t a flaw. It felt like strategy. With LVMH navigating slower growth and a shifting global market, this collection didn’t chase virality. It chased longevity. It didn’t reimagine the man — it softened him, rerouted him, and handed him a new map.</p>



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<p></p>


East of Paris: Louis Vuitton SS26 by Pharrell Williams


<h2 class="wp-block-heading">Yves Saint Laurent once said he’d leave boring suits to the others. It sounded cocky in 1969. Now, over half a century later, it reads more like a dare. The suits have survived — but at what cost? And more importantly, in whose image?</h2>



<p>Anthony Vaccarello doesn’t answer directly. He never does. But in this latest menswear show for Saint Laurent, he hints at an answer: the suit is still here, but the rules have shifted. This isn’t about discarding formality — it’s about dissolving it, slowly, at the seams.</p>



<p>Set inside the quiet, echoing vastness of Bourse de Commerce, the collection opened not with spectacle but with serenity. The space was overtaken by Céleste Boursier-Mougenot’s <em>Clinamen</em> — a shallow, circular pool where porcelain bowls float and collide in soft, accidental rhythms. That imagery lingered: quiet disruption, accidental choreography, friction without noise. A fitting metaphor for what Vaccarello seemed to be doing with the garments themselves.</p>



<p>The collection opened with a saffron shirt and brown microshorts — a combination that felt almost deliberately offbeat, refusing the usual Saint Laurent polish. It said summer, but not vacation. Instead: sweat, memory, skin, self-awareness. The silhouettes that followed held onto the brand’s tailored backbone, but added a certain transparency — literally and emotionally. Ultra-fine nylon shirts clung to the body, blazers draped like suggestions rather than statements, trousers hung low with a sort of post-dandy indifference. No ties, or if they existed, tucked deep behind buttons — like a formality half-forgotten.</p>



<p>There was a certain push-and-pull running through the collection. Between restraint and exposure. Between a desire to show up clean and the temptation to let go completely. This Saint Laurent man doesn’t shout. He doesn’t even explain. He leans. He breathes. He leaves his shirt unbuttoned because why wouldn’t he?</p>



<p>References to Yves are embedded, but they don’t scream homage. They&#8217;re more like echoes. Yves, who escaped to Marrakech in 1974 to reset. Yves, whose own studio photos show him pulling his tie into his shirt, almost as if rejecting the image he helped create. The new collection gestures to those moments — a kind of unlearning of the uniform, a loosening of the narrative.</p>



<p>What makes this chapter feel alive isn’t just its emotional restraint — it’s the awareness underneath it. Vaccarello isn’t trying to break the code. He’s shifting the rhythm. Letting the tension linger between pieces that conceal more than they reveal, between a past that’s too iconic to ignore and a present that needs to breathe.</p>



<p>So no, this isn’t the Saint Laurent revolution. It’s not even a reinvention. It’s a slow, careful re-reading. The kind that asks: what happens when you stop styling power — and start wearing vulnerability instead?</p>



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