
<p><strong>In today’s hyper-curated world of pop culture, few figures dominate the conversation quite like Sabrina Carpenter. She’s everywhere—on magazine covers, on TikTok, on tour stages clad in coquettish bows and sparkling hot pants, confidently teasing a generation with her sugary power-pop. Her songs are catchy, her visuals are flawless, her presence is undeniably iconic. But as the glitter settles, some are asking: where’s the substance?&nbsp;</strong></p>



<p>There’s no denying Sabrina Carpenter has crafted a striking pop persona. From the “Espresso” video dripping with retro-glam to her onstage. Lolita-meets-Barbie performance style, she walks a fine line between playful empowerment and manufactured seduction. It’s provocative, yes—but what’s it provoking, really?</p>



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<p>Carpenter flirts with empowerment without ever challenging the structures that make it necessary. There’s no anger, no critique, no real disruption. She’s confident, yes! But it’s a kind of confidence that’s been airbrushed, monetized, and made palatable for mass consumption. It’s girl power with a PR team.</p>



<p>The real issue isn’t Sabrina alone—it’s the cultural moment that made her. Gen Z feminism is in crisis: flattened by TikTok trends, Instagram aesthetics, and “hot girl” capitalism. In this landscape, empowerment is a filter, and feminism is a merch line. Sabrina is not the problem. Maybe, she’s the symptom. Sabrina Carpenter is iconic because she knows how to play the game. But feminism isn’t a game at all. It’s political. And so far, she’s not showing up for that fight.</p>


Sabrina Carpenter: Iconic, Provocative—and a Feminist Failure?


<p><strong>She doesn’t follow the sun, she moves with it. There’s an ease in the way Begüm carries summer. Not rushed, not random. It’s all quiet choices, small luxuries, and moments that linger longer than they’re meant to.</strong></p>



<p><strong><strong>3 things in your beach bag</strong>?</strong><br>Always SPF -in all my bags-, sunglasses and also a silk bandana.&nbsp;</p>



<p><strong>A song that reminds you of summer?</strong></p>



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<p><strong>What’s your beach read?</strong><br>Grace: A Memoir or sometimes Lee by Lee Radziwill. I love reading memories, especially of strong and brave women.</p>



<p><strong><strong>What smell reminds you of summer</strong>?</strong><br>Mitsouko by Guerlain. It reminds me of warm days and memories.&nbsp;</p>



<p><strong>Bodrum or Çeşme?</strong><br>Bodrum, always. It’s the place where I spend all my summers with my grandparents. Full of joy, full of sea and happy memories — swimming all day, eating ice cream, fried calamari… and now we have a boutique in Bodrum, and it feels like everything comes together — past and present. Very emotional place for me.</p>



<p><strong><strong>Happy hour or sunrise dip</strong>?</strong><br>Happy hour! I like to watch the sun go down with a drink in my hand, ice melting slowly, and music. Always chasing the sunset.</p>



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HOTLIST: Begüm Kıroğlu


<h2 class="wp-block-heading">In an industry addicted to motion — new drops, faster edits, louder campaigns — Miu Miu chose stillness. Not as an aesthetic, but as a method. Summer Reads 2025 didn’t ask you to buy anything. It asked you to sit. To read. To remember how it feels when nothing is expected of you except your presence.</h2>



<p>From June 27 to 29, Miu Miu quietly rewrote the rhythm of the urban summer across five cities: Paris, Milan, Osaka, Beijing, and Tokyo. In each location, pastel-colored kiosks bloomed like mirages — pale green, cloud blue, soft yellow — tucked inside public parks and city squares. There was no signage screaming for attention. Instead, there were folding chairs, silk bookmarks, and novels wrapped in fabric. Not giveaways — offerings.</p>



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<p>Each title was handpicked, forming an unspoken thread of female interiority, resistance, and tenderness. Simone de Beauvoir’s The Inseparables, Agustina Bessa-Luís’ The Sibyl, Fumiko Enchi’s The Waiting Years, Marguerite Duras’ La Vie tranquille — none of these books are loud. They don’t beg to be read. They sit patiently and let you arrive when you&#8217;re ready. The same could be said for Miu Miu’s ongoing cultural orbit: confident in its subtleties, intimate in its gestures.</p>



<p>Wrapped in signature Miu Miu linen and tied with ribbons, each book came with an ex-libris card for its new owner to sign. A tiny act of belonging. A reminder that this is yours now. The project, curated by the brand&#8217;s cultural arm and designed in collaboration with M/M (Paris), wasn’t a traditional campaign — it was more of a communion. Literature as a wearable trace. Fashion as a pause, not a provocation.</p>



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<p>The experience itself felt like something between a memory and a dream. No selfies, no performances, just quiet communion: strangers choosing stories, sitting under trees, eyes scanning sentences instead of screens. Volunteers moved through the space like librarians of an outdoor world, offering iced tea and novels instead of perfume samples or business cards.</p>



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<p>In a season of fashion where silence is often mistaken for absence, Miu Miu Summer Reads proposed another kind of presence — one where attention isn’t grabbed, but given freely. And that’s the point. It’s not about spectacle. It’s about suggestion. A gesture soft enough to live in the margins, yet powerful enough to linger.</p>



<p>For Miu Miu, summer 2025 isn’t about heat. It’s about quiet. It’s about claiming time — and returning it, dressed in lace bookmarks and linen-wrapped novels.</p>



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<p>Because maybe the future of fashion isn’t a louder runway. Maybe it’s a folding chair, under a tree, waiting for you to sit down and listen.&nbsp;</p>



<p>Miuccia Prada, long a believer that dressing oneself is an intellectual act, reminds us that reading is too. And so, in a park somewhere — maybe in Milan, maybe in Osaka — someone sits down. Opens a book. And begins to read.</p>



<p>Maybe for fashion.</p>



<p>Maybe by chance.</p>



<p>But still — they’re reading.</p>



<p>And that, in 2025, is nothing short of revolutionary.</p>


Miu Miu Summer Reads 2025: Bookmarks of Miu Miu


<h2 class="wp-block-heading">Aslı Sümen, Influencer/Founder of Aslora. There’s something about Aslı; a glow that’s equal parts sunshine and self-made spark. Her summer is playful, golden, and entirely hers. Heating up those summer memories, one moment at a time. With every sunset dip and sun-warmed idea, she’s turning the season into her own kind of rhythm.</h2>



<p><strong>Bikini of this season?&nbsp;</strong></p>



<p>I started my own bikini brand this summer called Aslora! So my favorite is a bikini set from my brand, Honey top &amp; bottom in our Giggles print.&nbsp;</p>



<p><strong>Your favorite summer destination?&nbsp;</strong></p>



<p>Actually I’m in Mallorca right now as I am writing these lines and it has officially become my favorite summer destination. The south side has the most untouched natural spots. I loved grabbing a towel and some fruit and heading to a different one every day for a picnic.&nbsp;</p>



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



<p>For me, summer starts when it&#8217;s 30°C outside. When I can leave the house without a jacket and not feel cold after a swim, that&#8217;s what I call summer.&nbsp;</p>



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<p><strong>A song that reminds you of summer</strong></p>



<p>Bad Bunny released an album this past winter, and it got me dreaming of summer ever since. My favorite track is Nuevayol.&nbsp;</p>



<p><strong>Happy hour or sunrise dip?&nbsp;</strong></p>



<p>Happy hour and sunset dip, lol.&nbsp;</p>



<p><strong>Erik or karpuz?&nbsp;</strong></p>



<p>Hard question but definitely erik!&nbsp;</p>



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HOTLIST: Aslı Sümen


<h2 class="wp-block-heading">Have you noticed those beachy scenes popping up in your Instagram feed recently? With summer here, casual sunbathers might seem pretty normal—but if you look closely something is a little off. Welcome to <em>Sun &amp; Sea (Marina)</em>, a Lithuanian opera-performance that&#8217;s turning an environmental message into a viral sensation.</h2>



<p>What makes <em>Sun &amp; Sea (Marina)</em> stand out is the unexpected contrast it creates. The performance captures a modern paradox: people relaxing and escaping reality while quietly acknowledging the world&#8217;s ecological troubles. Created by Rugilė Barzdžiukaitė, Vaiva Grainytė, and Lina Lapelytė, the opera earned international attention when it won the Golden Lion at the 2019 Venice Biennale. Since then, from galleries in New York to art spaces across Europe, it’s gently but powerfully connected with audiences.</p>



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<p>Imagine this scene: sunbathers lounging casually on a fake beach, scrolling through their phones or flipping through magazines, all while softly singing songs about ecological anxieties and environmental concerns. The calm visuals mixed with serious themes create an intriguing tension, elevating the performance from just an attractive scene into something deeper and more meaningful.</p>



<p>A major part of what makes this performance unique is how it’s viewed—from above. Moreover, the way the play is viewed has a unique, dynamic relationship with the space in which it is played. This unusual perspective isn&#8217;t just a creative choice; it&#8217;s meant to change how you experience the show. Looking down, you see everything clearly and almost omnisciently, observing the quiet chaos below. It’s both fascinating and a bit unsettling, gently making you reconsider your role as a passive viewer. Experiencing performance art in such a nontraditional way feels genuinely refreshing.</p>



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<p>Interestingly, <em>Sun &amp; Sea (Marina)</em> has gained even more attention online than from live audiences. Every person who sees it in person is matched by countless others discovering it through social media. This digital dynamic raises an important question: does going viral on social media make performance art more impactful or less? Ain’t&nbsp; no simple answer, but definitely a lot to think about.</p>


Sun & Sea Opera (Marina): Better From Top Down?


<h2 class="wp-block-heading">Fifteen years ago, Martin Margiela quietly bowed out in a space that felt more like an echo chamber than a fashion venue. There were no announcements, no goodbyes—just a retrospective that looked back without saying it was over. Tonight, in that same room, Glenn Martens opened his first couture chapter for Maison Margiela. But this wasn’t a resurrection. It was a re-reading of a ghost story.</h2>



<p>The choice of venue was deliberate—an architectural footnote turned into a loaded stage. The walls were covered in trompe-l’oeil wallpaper, a recurring motif from Martin’s own studio spaces and exhibitions. But Martens’s version was deliberately makeshift: crumpled, peeling, like a skin ready to shed. Not a polished homage, but a metaphor in motion. The illusion was cracking, and that was the point.</p>



<p>Martens stepped into the Maison not as an imitator but as a medium. He inherited not just a brand, but a silence—a legend made of absence, rumour, and myth. And he knew better than to fill it with noise. Instead, he built tension from material. Peeling paper. Upcycled plastics. Tin plates. Photocopies. Thrift-store lace. A couture made of leftovers, turned sacred. Ritual over razzle-dazzle.</p>



<p>Held in the gothic basement of Centquatre-Paris, the show felt like a séance. Guests sat under dim lighting as silhouettes emerged like apparitions—draped jersey gowns, sculptural corsets, church-statue volumes and layered metallics that seemed both decaying and divine. Masks returned, not as a gesture of anonymity, but of collective spirit. They framed not just faces, but moods: alien, fragile, defiant.</p>



<p>The collection pulsed with Belgian sensibility—emotional austerity, raw intellect, and an instinct for shadow over spotlight. Martens didn’t just cite the archive—he inhabited it, distorted it, and let it collapse. His references to Martin’s early plastic-coated garments or deconstructed tailoring weren’t direct quotes. They were refracted through time, grief, and an era obsessed with legacy but impatient with subtlety.</p>



<p>And while the broader fashion system spins through rapid-fire designer swaps—Demna leaving Balenciaga, new names cycling in—Martens’s entry felt like the opposite of a reshuffle. It was slow, intentional, and full of quiet resistance. A refusal to perform just for the sake of return. This was couture as commentary: a space for discomfort, for ambiguity, for delayed meaning.</p>



<p>Ultimately, Martens’s Margiela debut was not a reboot—it was an initiation. A ritualized passing of an invisible torch. A reminder that inheritance isn’t about preservation. It’s about translation. And sometimes, the only way to honour the ghost in the room is to let the wallpaper peel, step forward, and speak in your own voice.</p>



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Margiela Couture FW25: Glenn Martens and the Art of Inheriting Ghosts


<h2 class="wp-block-heading">In Paris this summer, Demna didn’t stage a fashion show. He staged a pause. His 54th couture collection—his last for Balenciaga—refused the logic of spectacle. Instead, it unfolded like a study: quiet, sculptural, and searching. What does haute couture mean when everything around it demands immediacy?</h2>



<p>Demna closes his decade at Balenciaga not with a period, but with a kind of slanted ellipsis. “This collection is the perfect way for me to finish my decade,” he shared in a statement. “I have come as close as possible to being satisfied in this endless pursuit of impossible perfection—the defining ethos of Cristóbal Balenciaga.” And yet, nothing about the show suggested finality. The air was filled with unfinished thoughts.</p>



<p>The looks themselves were photographed across Paris—the city where Demna began his fashion career. Each image read like a note-to-self written on the surface of the city. Silhouettes moved through alleys, climbed façades, dissolved into Haussmannian stillness.</p>



<p>What they wore wasn’t simply “couture” in the expected sense. It was couture held under a microscope. Tulip lapels framed faces like architecture. Medici collars and Nosferatu necklines floated around bodies without asking to be admired. Lightness wasn’t decorative—it was the engineering. Corsetry wasn’t restrictive—it redefined ease.</p>



<p>There were echoes of Cristóbal throughout: in the precision of a 1967 houndstooth suit once worn by muse Danielle, now made strange again; in the purity of a pink debutante dress floating in the lightest organza; in the severity of tailoring that offered no stretch, no shortcuts, no softness without purpose.</p>



<p>Demna’s personal memories slipped in, too—like a 1957 floral motif reworked in sequins, pattern-matched on a skirt suit and handbag, pulled from the tablecloths of his grandmother’s kitchen. Elsewhere, corduroy was rendered in 300 kilometers of tufted embroidery. The joke? He finally made a pair of “corduroy pants I’d actually wear.”</p>



<p>The casting blurred lines, as always. Supermodels, muses, collaborators, and unretouched faces all walked side by side. Couture wasn’t about distance anymore. It was about proximity—about holding space for the imperfect and the too-perfect at once.</p>



<p>Kim Kardashian appeared as a living echo of Demna’s long-standing fascination with mid-century glamour—a type of beauty once defined by its polished flaws, now erased by social media&#8217;s sheen. Draped in a faux mink coat crafted from embroidered feathers, cinched into a flesh-toned silk slip dress reminiscent of <em>Cat on a Hot Tin Roof</em>, and wearing Elizabeth Taylor’s actual diamond earrings from Lorraine Schwartz’s private collection, she embodied an ideal Demna has chased for years: cinematic, hyper-styled, slightly unreal.</p>



<p>Those instincts were present throughout the collection. The images simmered with Demna’s signatures—what could be called his personal couture code. Hidden references, archival prints, and techniques that never announced themselves but revealed their intricacy on second glance. Isabelle Huppert’s look, with a sharply tailored pantsuit and hands framing her face, resembled a New Hollywood figure trying to hide fresh surgery with couture—a vision both absurd and exacting. It recalled the prosthetic lips from the Erewhon pre-fall 2024 show in Los Angeles: performance stitched into fashion.</p>



<p>The oversized suits—made to fit bodybuilders, yet shown slipping from shoulders—and the deliberately contorted evening gowns spoke to a decade of Demna rewriting the rules of elegance. Each piece in this final offering didn’t just reference his legacy—it collapsed it inward. He didn’t just design clothes. He constructed modern archetypes for a generation raised on distortion.</p>



<p>Logos disappeared. In their place: names. On handbags, on details. Not ownership, but identity. Elsewhere, flower brooches crafted from discarded tissue paper and silk pongee by Lemarié and William Amor became quiet declarations of process. A briefcase was reimagined as a jewelry box—for your laptop. Even the couture sneaker, Balenciaga’s first, was built using traditional shoemaking techniques.</p>



<p>Demna didn’t say goodbye. He left something behind instead: a collection that refused resolution, that lived in tension. Between weight and air. Between perfection and the impossibility of it. Between the house’s archive and the city&#8217;s sidewalks.<br>Between the first cut and the silence that comes after.</p>



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End of an Era: Demna’s Last Coup at Balenciaga Couture


<h2 class="wp-block-heading">Ayşe Demirhan, Model/Founder of Aziza Kasbah. 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>3 things in your beach bag?</strong></p>



<p>La Roche Posay Anthelios Spf Stick, Carmex Spf 15 Lip Balm, Glossier hot cocoa dotcom</p>



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



<p>Persepolis Marjane Satrapi</p>



<p><strong>Favorite summer food?&nbsp;&nbsp;</strong></p>



<p>Coconut</p>



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



<p>When I start wearing only flip-flops.</p>



<p><strong>Bodrum or Çeşme?&nbsp;</strong></p>



<p>Bodrum.</p>



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<p></p>


HOTLIST: Ayşe Demirhan


<h2 class="wp-block-heading">In the warped interior of the Grand Palais’s Salon d’Honneur, Chanel presented its final haute couture collection shaped by the in-house team that has worked with Karl Lagerfeld and Virginie Viard over the past decade. The setting echoed a stretched memory: mirrored walls, beige drapery, and surreal proportions of Gabrielle Chanel’s apartment sofa.</h2>



<p>The collection came from the in-house team that has shaped the house’s vision for years. Without aiming for farewell or spectacle, the show focused on line, volume, and motion. Shapes were edited, not erased. Proportions shifted but stayed calm.</p>



<p>Shortened jackets, cut to graze just above the waist, introduced glimpses of skin with a measured approach. They were paired with elongated skirts—some slit, some layered—bringing a sense of openness to grounded silhouettes. Thigh-grazing boots returned across multiple looks, nodding quietly to earlier chapters of the brand’s visual history. Materials were handled with restraint: they followed the body without gripping it, and loosened without losing form.</p>



<p>Familiar elements reappeared, gently reworked. Tweed ensembles broke open at the waist. Lightweight blouses softened the upper half and left the arms exposed. Skirts shaped like petals adjusted the line of the figure without overwhelming it. Volume was used thoughtfully—more like a breath than a bold gesture. Each look seemed to move around the wearer, rather than cling to them.</p>



<p>Details were consistent: gold buttons, pale tones, occasional fringe. Hair was soft. Makeup stayed light. Everything pointed back to the same rhythm—measured, aware, but not too self-referential.</p>



<p>As the house marks its 110th year and prepares for a shift under new creative leadership, this collection didn’t attempt to summarise anything. It let the work speak as it was: complete in its control, subtle in its release.</p>



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<p></p>


Chanel Haute Couture FW25: A Last Breath Before the Leap


<h2 class="wp-block-heading">Zohaer Majhadi, Global PR Director. He is the one whose refined tastes compel him to follow through, who understands the true worth of time not just the easy pace of summer days, but in every fleeting moment.</h2>



<p><strong>A fragrance or smell that reminds you of summer?</strong></p>



<p>My favorite fragrance is a perfume created by my friend Sanya. The perfume is inspired by Sanya’s childhood memories in Cyprus. It’s fresh, slightly spicy, and beautifully nostalgic. Every time I wear it, I feel connected to her story and the soulful place that inspired it.</p>



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



<p>My summer playlist definitely has to be romantic—I just love a romantic summer vibe. Right now, my favorite singer is Snoh Aalegra. I discovered her a bit late, but I’m completely obsessed. Her voice is so deep, soulful, and summery—it’s the perfect soundtrack for warm, slow days. Another artist I’ve been playing on repeat this summer is Omar Apollo. I also discovered him this year, and I’m honestly hooked on both his voice and his songs. Together, they set the mood for exactly the kind of dreamy, emotional summer I love.</p>



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



<p>My perfect summer day starts with waking up at sunrise—there’s something so peaceful about those early morning hours. I usually start with a meditation, then go for a walk or a run to get my body moving and my mind clear. I love spending the day outdoors, walking around, exploring new places, and discovering little gems in the city or nature. Lunch with a good friend is a must—something light, fresh, and shared over good conversation. If I can fit in a swim, that’s the dream. I always try to end the day early, with a quiet sunset and a nice dinner—ideally somewhere with a beautiful view.</p>



<p>I really value a healthy, mindful lifestyle. For me, summer isn’t about partying—it’s about presence, peace, and making the most of each moment. Quality over chaos, always.</p>



<p><strong>Bodrum or Çeşme?</strong></p>



<p>Bodrum. Always and forever.</p>



<p><strong>Sunrise dip or happy hour?</strong></p>



<p>Sunrise dip.</p>



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HOTLIST: Zohaer Majhadi


<h2 class="wp-block-heading">At the Petit Palais, Daniel Roseberry presented a collection that peeled back the layers of couture rather than adding more. Gone were the viral stunts and costume theatrics. What remained was something quieter, stranger, and far more intimate.</h2>



<p>The show opened with a stark black-and-white palette — a contrast not just visual, but emotional. These were garments as memory, as provocation, as breath held in. Corsets no longer cinched or shaped; they outlined, revealed, questioned. Ribcage-like structures hovered over the body, framing not flesh, but absence. What if couture didn’t perform? What if it whispered?</p>



<p>Each silhouette was drawn with restraint but rarely resolved. Coats crumpled mid-motion, seams curved then fell apart, drapes were unfinished sentences. The tension wasn’t between tradition and innovation — it was between surface and depth. Schiaparelli’s surrealism lived on, not in bombast, but in eerie grace. Feathers jutted where symmetry should’ve been. Velvet faked neoprene. Gloves mimicked skeletal wings. Nothing landed quite where expected.</p>



<p>There were no lions this time, no viral accessories engineered for the internet. But there was still armor — quieter, psychic, slow-burning. A twisted ribbon, a displaced rosette, a shoulder that refused to sit politely. Every detail demanded a second look. Maybe even a third.</p>



<p>Roseberry wasn’t referencing Elsa Schiaparelli directly — but she lingered. Not as a quote, but as an energy. A mood. That disorienting push-and-pull between elegance and oddity, presence and absence.</p>



<p>FW25–26 wasn’t about nostalgia or provocation. It was about control — and the power of letting go of it. In an age of algorithms and overload, this was couture as negative space. It didn’t ask to be liked. It asked to be interpreted.</p>



<p>And in doing so, it reminded us that the most radical act in fashion today might simply be restraint.</p>



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<p></p>


Schiaparelli FW25: The Shape of What’s Missing


<p>In the golden age of gig economy romanticism, “freelance” has become a buzzword for freedom. It’s marketed like a lifestyle upgrade. No bosses, no commutes, just creativity on your own terms&#8230; Instagram makes it look idyllic; working from a cafe in Lisbon, deadlines in yoga pants, replying to emails between beach dips and oat milk lattes. But behind the aesthetic &nbsp;lies a far more complicated, often underwhelming reality. Being freelance is, frankly, overrated.</p>



<p>The biggest selling point of freelance life is freedom. Sure, you can technically work from anywhere. But when your livelihood depends on chasing invoices, juggling five clients, and saying “yes” to everything because you don’t know when the next project will land… Freedom becomes a mirage. You don’t have one boss, you have ten.You don’t work 9 to 5, you work always. And vacations? They’re just workdays in disguise, with guilt attached. Ofc the hustle is not that much.&nbsp;</p>



<p>Freelancers aren’t just creatives or technicians. They’re also their own marketing team, accountant, project manager, and therapist. Every gig is a pitch. Every invoice is a negotiation. Every late payment is a stress spiral.</p>



<p>It’s not about doing what you love. It’s about doing what pays and doing it constantly, sometimes under people who treat you as disposable. Burnout doesn’t knock. It barges in wearing a deadline. No benefits. No insurance. No sick days. No paid time off. Feast or famine is the norm. One month, you’re flush. Next, you’re wondering if you should go back to that job you swore you’d never return to. No team. No clashing ideas, No support. You are your own. No brainstorming. No learnings from a colleague.&nbsp;And in an algorithm-driven world, your value is increasingly tied to metrics — likes, followers, clicks — rather than your actual work.</p>



<p>There’s also a hidden emotional toll: isolation.&nbsp;Coworkers become memories. Office banter is replaced by silence and self-doubt. You’re always on, yet often alone with no one to bounce ideas off, no creative friction, no spontaneous lunch breaks to anchor the day.</p>



<p>Let’s stop pretending it’s the perfect lifestyle. Let’s stop selling it like it’s the dream, it’s just a different kind of trap.</p>


Being “freelance” is overrated


<h2 class="wp-block-heading">Michael Rider’s debut for CELINE set a distinct tone. After months of anticipation and a quiet runway hiatus, Spring/Summer 2026 emerged not with spectacle, but with clarity. A negotiation between heritage and progression.</h2>



<p>Rather than overwrite CELINE’s existing vocabulary, Rider offered a subtle remix. The silhouettes were recognisable: narrow blazers, slick sunglasses, softened tailoring. But they felt less like Hedi Slimane’s declarations and more like conversations — quieter, more measured.</p>



<p>The show unfolded in calibrated layers. Tailoring, while precise, met fluid trenches and diaphanous shirting. Sheer button-ups sat beneath cropped leather vests, and pleated trousers were matched with delicate knits. Everything suggested thoughtfulness — less about rupture, more about alignment.</p>



<p>Rider stayed loyal to CELINE’s chromatic world: deep black, dusted grey, sharp white, and punctuations of cherry red and ice blue. Accessories weren’t an afterthought. Slim belts, looped keychains, and compact bags were fused into the looks. The merchandising logic behind them was palpable, but never overt.</p>



<p>Spring 2026 was a quiet but confident merging of the brand’s past and present. Rider brought together Phoebe Philo’s softened structure, Hedi Slimane’s precision, and his own experience at Ralph Lauren and Balenciaga under Ghesquière. Familiar items like layered T-shirts, polos, and sweatshirts were styled with care and slight distortion, making everyday garments feel considered without losing their practicality.</p>



<p>Accessories played a central role. Sunglasses, brooches, charm belts, keyrings, and small bags were part of the silhouette, not added on. Rider’s merchandiser instincts were clear in the way each look carried something to hold or fasten or attach.</p>



<p>Equestrian touches tethered the collection to a sense of movement and control. Horse-and-carriage insignias resurfaced on knits and leather goods, while riding boots, long gloves, and jodhpur-adjacent trousers traced lines between tradition and subversion. The skinny trousers stood apart. More stretch than Slimane’s, cut like riding crops, they felt slightly out of sync with recent trends. For years they’ve been seen as anti-fashion, but here they were used to reinforce the equestrian line. The effect was intentional, even if it felt unfamiliar.</p>



<p>And then came lightness. The Phantom bag returned, softened and smiling at the edges. Washed pastels entered the scene. Some proportions loosened their grip. Alongside playful proportions and a lighter colour palette, it signalled a shift in mood. If this is where CELINE is going, it’s not about choosing between identities, but letting them speak at once. In those small gestures, a shift in energy. Not radical, but intentional.</p>



<p>There was no bombast. No sets to distract. No soundtrack to overpower. Just garments, in space, with room to breathe. In a season obsessed with fashion’s volume, CELINE turned it down.</p>



<p>This wasn’t about declaring a new era. It was about understanding the present one. And perhaps that’s Michael Rider’s greatest introduction: a refusal to chase noise, choosing instead to steady the signal.</p>



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CELINE SS26: BETWEEN ABSENCE AND ASSERTION

BERLIN FASHION WEEK: THE NEW IT FASHION WEEK?


<h2 class="wp-block-heading">Berk Abdullahoğlu, Turkey Marketing and Sales Director at Seventy One Gin. Berk doesn&#8217;t chase summer highs, he curates them. A morning swim, a bite of something fresh from the sea, a Paloma in hand (or whatever the sun calls for). For him, it&#8217;s not about escaping the city &#8211; it&#8217;s about finding rhythm in the heat, taste in the salt, and joy in the in-between. No plans, just perfect timing.</h2>



<p><strong>Your favorite summer destination?</strong></p>



<p>Any remote Greek island does it for me. Or my little secret cove in Bodrum.&nbsp;</p>



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



<p>Paloma is my favorite but during summer, anything goes.&nbsp;</p>



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<p><strong>Your perfect summer day?&nbsp;</strong></p>



<p>Wake up, light breakfast, hit the beach, sunbathe and swim and day drink and sunbathe and have some midye dolma.&nbsp;</p>



<p><strong>Favorite summer food?</strong></p>



<p>Fish and crustaceans especially&nbsp;the tiny fried Greek shrimps</p>



<p><strong>Happy hour or sunrise dip?</strong></p>



<p>Sunrise dip and sunbathing all day.</p>



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



<p>Karpuz all the way! </p>



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HOTLIST: Berk Abdullahoğlu


<h2 class="wp-block-heading">Donatella Versace’s final campaign as chief creative officer of Versace isn’t a swan song, it’s a statement. Photographed by Mert &amp; Marcus and starring house legends Kate Moss, Claudia Schiffer, Amber Valletta, and Natasha Poly, alongside modern muses Anok Yai, Mica Argañaraz and more, the campaign assembles a kind of fashion pantheon. It&#8217;s not a farewell — it&#8217;s a constellation. Each image a relic. Each model a torchbearer.</h2>



<p>Rather than indulge in nostalgia, the visuals offer something fiercer: a refusal to fade. The looks are archetypal Versace — sharp tailoring, molten chainmail, plunging silhouettes, oversized shades — but they’re rendered with a stripped-back intensity that lets the woman wear the myth. It’s not about looking back. It’s about becoming future-proof.</p>



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<p>Kate reclaims her leopard-spotted throne, Claudia serves 90s face with timeless conviction, Amber and Anok oscillate between runway rebellion and refined allure. These aren’t ghosts of fashion past. They’re proof that a house built on audacity doesn’t age — it adapts.</p>



<p>Donatella’s own voice seeps through every frame. “Created with soul… with friendship,” she wrote in her caption. And that’s what this is: not a performance, but a communion. There’s no gimmickry, no forced virality — just the purity of brand DNA distilled through decades of trust, sequined defiance, and muscle-tight discipline.</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/2025/07/snapins-ai_file_2-1-1024x1280.jpg" alt="" class="wp-image-68194" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_2-1-1024x1280.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_2-1-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_2-1-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_2-1-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_2-1.jpg 1080w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p>But to understand the weight of this moment, one must look back. After the tragic murder of Gianni Versace in 1997, Donatella stepped into a kingdom grieving its monarch. The world doubted. The fashion industry braced. But she didn’t flinch. She mourned in black lace, but she moved — transforming a brand drenched in excess into a global powerhouse that defined the pop-luxury aesthetic of the 2000s and beyond. From dressing supermodels to megastars, from Milan to Met Galas, Donatella steered the house through grief and spectacle alike, carving out a creative legacy on her own terms.</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/2025/07/snapins-ai_file_5-1024x1280.jpg" alt="" class="wp-image-68182" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_5-1024x1280.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_5-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_5-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_5-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/07/snapins-ai_file_5.jpg 1080w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>
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<p>As Donatella shifts into a new role as Brand Ambassador and hands the creative reins to Dario Vitale, this campaign doesn’t mourn. It marks a pulse. The beat of a woman who carried the weight of a surname and transformed it — through vision, through discipline, through sheer force of style.</p>



<p>After nearly three decades at the helm, this wasn’t just her final campaign. It was her mythology, framed. The Versace legacy is not bowing out. It’s just changing form. But this finale under Donatella? It’s pure theatre — the kind you don’t forget when the lights come up.</p>



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