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.
Further along, the path bends toward an early work, Calder’s Circus (1926–1931), on loan from the Whitney Museum of American Art, which appears like a miniature world where the infinite hides beneath the guise of play. These figures of wire and light fabric, these fragments of objects transformed into characters, evoke less a construction than a waking dream. One almost hears the artist’s voice still, as if he had only just left the room, leaving behind this troupe ready to resume its fragile dance at the slightest breath of memory.
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.
In this global chessboard of luxury, the Lord often advances his pieces with silent finesse. In Japan, the group’s strategy is not to acquire local brands and fold them into its vast portfolio. The move is subtler: take minority stakes, observe, support, and capture growth without direct exposure. “Much like Sony in the United States at the end of the 1950s: the Japanese firm first analyzed the American market before establishing its brand there for the long term, a process of implantation that would unfold over several years.” 
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.
Alice Taglioni, a silhouette with two faces, the one before and the one after, now stands beneath the spotlights of the Series Mania Festival in Lille. Here is how the struggle of appearances comes together to shape the world. Allow yourself to be carried into a theatre where elegance whispers, yet invisible storms rumble beneath the surface.
In the vast tapestry of fashion, where threads of gold intertwine with destiny and legacy, there emerges a quiet yet resolute heroine: 
You recognize Bella Hadid as she arrives at a party on this fashion planet where even black holes have a dress code.
Vestiaire Collective is strengthening its tech division with two strategic appointments, as its new chief executive officer, Bernard Osta, aims to accelerate innovation and move the luxury resale platform closer to profitability.
With its brushed steel gleaming like a freshly polished wing, its paddock-style concrete, and its flashes of red leather worthy of a bucket seat ready to take a splash through Eau Rouge, the new Ferrari Lifestyle flagship is clearly no longer a boutique. It’s a permanent qualifying lap.
Hair experimentation has become Cardi’s trademark. At 33, the rapper, actress, entrepreneur, and trophy-wielder parades through a carnival of transformations where gaudy wigs and excessive makeup pass for identity. On red carpets and runways, she flaunts high-impact “looks,” supposedly unfiltered, that thrive above all in a society obsessed with glitter and vulgarity. 
At Paris Fashion Week, people usually come to showcase a style. Then there’s Jaden Smith, who seems to have decided to show up… with his housing slung over his shoulder. Yes, the son of Will Smith, now apparently the creative director of “Loubou Catin.”
