In the shifting light of Biarritz, where the ocean seems to converse with the sky, Matthieu Blazy brought an old dream back to life. In this very place where Gabrielle Chanel first traced the outlines of her empire, he summoned the elegant shadow of Karl Lagerfeld and fulfilled what the latter had only imagined. The casino, transformed into a hushed sanctuary, became a stage of apparitions, where the world and its illustrious figures gathered to witness this dialogue between past and present.
Yet this return to origins was no mere exercise in nostalgia. Blazy, like a contemplative wanderer, captured the spirit of the sea, of bathers and sailors, as Mademoiselle Chanel once did. Stripes, liberated silhouettes, and echoes of ballet and the Roaring Twenties unfolded with natural grace, while a marine reverie, peopled with mermaids and shimmering reflections, gently unsettled the rigor of the lines.
To this faithful memory, the designer wove the boldness of his own time. Here, a jacket resurrected from the past; there, an unexpected, almost whimsical detail that seemed to smile at the solemnity of tradition. Even the accessories, at times strange, at times playful, lent the whole a surprising lightness, as though fashion, for a moment, allowed itself to play with its own reflection. Continue reading
There is, in the spirit of the times, an unexpected fascination with Gen Z. A segment of our younger generations, born into open and democratic societies, now seems to be looking elsewhere, toward authoritarian political models, with a curiosity that can sometimes feel unsettling. China, in particular, has become for some both an object of admiration and a source of questioning.
There are sentences that reek of the incense from the bonfire of vanities; these clearly belong to the chapel of industrial ego, where common heritage is mistaken for personal property. Thus, according to the “lord of the rings,” luxury would be nothing less than a sanctuary preserving the “identity,” “history,” and “cultural heritage” of an entire country… A rather spectacular rhetorical pirouette to define the French soul. Surprising, isn’t it?
The same question comes back every summer, like a stubborn mosquito in an overheated room: which swimsuits should one invest in for 2026? Invest, really. As if the bikini had become a safe haven asset, wedged somewhere between gold and government bonds, ready to withstand economic storms and Instagram tides.
Once upon a time, there was an enchanted kingdom where the air smelled faintly of burnt credit cards. In this realm, a house called Jimmy Choo decided it was time… to invent the seasons. After centuries of winter, summer, and falling leaves without any creative direction, someone clearly had to take control.
Beneath the arcades of the Galerie Vivienne, where light glides over the mosaics like an ancient confidence, stands a boutique one might almost miss… if its soul did not know how to call out. It bears a name, simply engraved, with an almost tender restraint: Spoturno.
The Ministry of Culture regularly offers support schemes aimed at helping French companies in the fields of couture, leather goods, jewelry, accessories, and watchmaking. On paper, the initiative sounds commendable: encouraging creativity, supporting talent, preserving craftsmanship. But a closer look at the eligibility criteria tells a different story.
From the very first moment, the visitor’s gaze seems seized by an invisible hand, held briefly in a suspension almost sacred, where a vast constellation of vermilion forms unfolds, their impulses appearing to converse with Gehry’s diaphanous sails, as though the architecture itself had consented to become breath. Nothing here weighs any longer according to the ordinary laws of matter: the sculpture does not impose itself, it breathes, it floats, it seems to listen to the very silence of space, and to merge with it like a thought made visible before the Lord.
Behind the scenes of luxury, Gucci is trying to stitch its narrative back together. Under the direction of Demna, newly arrived from Balenciaga, the Italian house is showing a flicker of recovery in North America (+7%), though not enough to conceal ongoing strains in Western Europe and China, where Kering acknowledges missteps in distribution and a loss of desirability.
On Monday morning, at that hour when the boulevards of fashion awaken with the languid grace of a well-fed beast, a piece of news slipped into hushed salons like a carefully orchestrated confidence. The house of Dolce & Gabbana, that theater of opulence where every stitch seems to conspire toward destiny, has summoned to its side a man of networks and measured silences: Stefano Cantino. 
In the grand history of Parisian fashion, certain personalities leave a singular, almost electric imprint. Maud Frizon was one of them. I met her at a time when she was considering creating a perfume, while I came with all my expertise in bottle design. That encounter struck me with its simplicity and liveliness: she spoke of creation as a serious game, with sparkling eyes and a constant curiosity for materials, shapes, and sensations.
Paris, the world capital of fashion, macarons… and now, according to certain police scenarios, of financial laundering with a hint of Italian leather. We already knew about laundering in washing machines, tax laundering, and even artistic laundering. Now comes the latest trend of the season: laundering through luxury leather goods. 
Have you heard that little tune? It returns with every conflict. A discreet yet persistent melody whispering that, in the storms of the world, some people never really get wet. The rich, it is said, are not the ones struck by the bombs. They stack their gold, their assets, and their fortunes into private jets, ready to take off at the first rumble in the sky.
In ports where the sea resembles a sheet of polished steel, containers rise in stacks like giant ideograms. Blocks of orange, blue and rust form a kind of industrial calligraphy that contemporary China writes across the oceans. It is within this landscape of global trade that Maison Margiela chose to stage its Fall 2026 show in Shanghai. A setting of docks and metal boxes, raw and monumental, as if the poetry of luxury had decided to converse with the machinery of world commerce.
Cartier has announced a three-year partnership with The King’s Foundation, the educational charity founded in 1990 by the then Prince of Wales, now King Charles III. The aim is not to produce more watches, nor to speak of growth or market share. The objective is simpler and far more precious: to pass on rare crafts.
Adriano Goldschmied, the Italian designer widely regarded as the “godfather of denim,” died Sunday in Italy at the age of 82 following a battle with cancer. Behind iconic brands such as Diesel, Reply, Gap 1969, AG and Goldsign, Goldschmied leaves behind a legacy that transformed jeans from utilitarian workwear into a cornerstone of high fashion.
Linda Dresner, a former model who, for 45 years, left her mark on luxury retail by offering the creations of some of the world’s most avant-garde and innovative designers, passed away peacefully at her home on Monday. She was 88.
During the Fall 2026 edition of Shanghai Fashion Week, local designers once again energized the Chinese contemporary fashion scene… with an enthusiasm that would make the fastest photocopier blush.
People say our era is running short of oil, yet it seems to lack neither smoke nor mirrors. And so, beneath the gilded surfaces of contemporary fashion, there appear supposedly new spectacles that bear a striking resemblance to those Versace had already designed as a creator more patient and less clamorous several years ago. Novelty, in the case of Jacques Mumuse, resembles those impatient heirs who demand the inheritance before even greeting the ancestor. 
Hermès is reportedly preparing to welcome French designer Léa Peckre, at a time when the house has been hinting at a possible move into haute couture. The details of her role and her starting date have not yet been specified, but she is expected to work under Nadège Vanhée, artistic director of Hermès women’s ready-to-wear since 2014.
One day, the Mont-Saint-Michel was bound to meet its fool. For thirteen centuries the rock has watched pilgrims, kings, armies, and tides capable of swallowing entire regiments. Yet it was still missing a rarer apparition: the little advertising strategist convinced that a thousand-year-old monument is nothing more than a backdrop for a miniature handbag.