Pieter Mulier moves through fashion the way some men move through life, with the anxious elegance of those who know destiny enjoys changing its mind at the last moment. As artistic director at Alaïa, he has put breath back into a house once thought frozen, as one might crack open a window in a room admired too long in silence. Since 2021, something has begun to beat again at Alaïa, and Richemont, not exactly known for sentimentality, has grown attached. One does not easily let go of a man who reminds you that clothing can still have a soul.
And yet Milan is calling. Versace, that house which has always lived too loudly to die quietly, is looking for its future in an old mirror. Mulier’s name is spoken the way a possible love is spoken of, never made official, always feared. Nothing is signed, everything is negotiated, and in this hesitation lies a very novelistic truth: fashion, too, is afraid of making a mistake. Continue reading
We live in a marvelous age: everyone is a specialist in everything, provided they have never practiced anything. Knowledge is deemed suspicious, experience arrogant, and competence downright indecent. Today, it is enough to speak in order to exist, and better still: to speak badly, and above all, at great length. Opinion has become a career, and ignorance a posture.
It all began one Saturday on an elegant street in Belgravia. Motcomb Street was then home to only one Jimmy Choo boutique, the tiny epicenter of a still-young brand. Hannah Colman sold shoes there on weekends, never imagining that this hushed space would become the starting point of a decades-long story.
Consumers still believe they are choosing. They manipulate images of themselves, virtually try on a lipstick or a hairstyle, and call this freedom. In reality, the machine is already watching, already learning, already sorting.
There is something about Maximilian Davis that suggests he moves through the world convinced it cannot quite muster the strength to disturb his inner calm. Even the false fire alarm that drove the entire Ferragamo headquarters onto Milan’s freezing sidewalks only earned from him a gentle look, almost apologetic toward a fate that sometimes insists on making unnecessary noise. Everyone else shivered. He merely seemed to wait for reality to regain its composure.
Salt & Stone has emerged as one of the most dynamic players in the body-care market by turning an everyday product into a major commercial success. The California-based brand has built a business valued at 140 million dollars thanks to a flagship deodorant that has become a top seller on both Amazon and Sephora.
Rumor has it that the Prince of Medici snatched the position from LVMH for the presidency of the Comité Colbert with the same ease he grabs a “Money paint ” at a private sale: silently, but leaving everyone stunned.
The iconic British house Burberry is consolidating its management team as its sales rebound, particularly in key markets such as the United States and China. In a phase of strategic revitalization, the group has announced two internal appointments aimed at bolstering its executive team.
Williams offers us yet another celestial illumination, dressed in Adidas and aphorisms. That evening, under the New York spotlights, he didn’t just accept an award: he delivered a revelation. A sneaker-clad homily. The “shoe of the year” is a nice touch, but above all, it brought us the “quote of the decade.”
Chanel made its big comeback in New York yesterday with its Métiers d’Art show the first under Matthieu Blazy’s “little pompadour,” a trial by fire that sent a jolt through the city, or at least through everyone who knew where the subway entrance actually was.
Born in Paris in 1989, David Benedek fell into perfumery the way others fall into the sewers of Paris except his version smelled of jasmine and bargain-basement vetiver. Between two snacks and three spelling tests, his grandmother Édith taught him the sacred art of the perfume bottle and was already predicting a grand destiny for him: “My dear boy, one day you’ll be swallowed by an empire à la Jacquemus, and then you’ll know glory… or Excel spreadsheet purgatory.” Visionary, that Édith.
In the bustling streets of Seoul, where the crowd moves like an invisible current, Louis Vuitton has opened a new space. It is no longer just a store, but a place that aims to tell a story blending the memory of a house with the appetite of an age hungry for experiences. One might see a paradox in it: to win back a distracted younger generation, the answer is not fewer signs, but more, more shapes, more symbols, more fleeting moments to consume.
After the release of her mini-documentary charting her career change, broadcast on an international platform, the former singer turned luxury ready-to-wear couturière makes a triumphant return to the studio with a pre-autumn collection defined by sharp lines, considered draping and fluid silhouettes, designed to accompany women from morning until night.
For the past few years, the fashion industry has been undergoing a transformation unlike any other a quiet revolution, masked by the glitter of digital marketing. While discussions focus on generative AI and hyper-personalized campaigns, the real shifts are happening elsewhere: in processes, in organizational structures, in consumer habits, and in the power dynamics these tools are reshaping. The vision of Canal-luxe and its leaders sheds light on these overlooked realities realities that will soon determine which brands survive and which fade away.
Never expect Glenn Martens to follow the beaten path: he would much rather, as always, take the corner at full speed and let everyone else choke on his dust. In a landscape where every brand seems to beg Gen Z for attention, Martens settled that matter long ago. Under his command, Diesel has become nothing short of an amusement park for Zoomers: iridescent pop, public happenings, and winks to the 1990s and early 2000s an era this generation knows only through the filters of algorithms. 
We finally reached the shores of Osaka, a vast hive of metal and wind, escorted by a cohort of journalists and a legion of models from America and France. The entire airport rustled like an ocean stirred by the tumult of currents licking the coasts of Japan: Parisian Haute Couture, arriving in a dazzling procession, awakened in the crowd a frenzy that made the security services nervous and almost fierce.
Rodeo Drive, that tiny strip of asphalt where the sidewalks shine brighter than the financial future of 99% of humanity, has just welcomed a new Bulgari flagship. Four floors of marble, gold, and glass basically a temple where even the door handles probably have tax advisors. Over there, the poor aren’t technically forbidden… they’re just invisible, as if some force field gently redirects them toward less Instagrammable zones. No judgment: it’s just nature. Some places are meant for migrating birds, others for Black Cards.
Do you remember Walmart’s “Birkin,” affectionately nicknamed the Wirkin, born as an unintentional tribute to American creativity and a certain impatience with Hermès’ legendary waiting lists? Well, guess what: it’s back shinier than ever ready to parade alongside chrome pickup trucks and XXL burgers.
This generation born between 1965 and 1980 aka Generation X, who really earned their name by showing both their sex and their butts, the ones who “knew life before the Internet but answer emails faster than their kids” is now at the peak of its career and earning power… and yet luxury brands still treat them like an Ikea bookcase: practical, sturdy, but, you know, something to deal with later.
One might have thought that the eternal darling of concepts would eventually manage to surprise us with something other than déjà vu. But no he tirelessly falls back into the same habits, and his latest bag arrives with a strong sense of déjà vu, to say the least. It’s astonishingly similar to the bag created by Maison Monnier in 2013; same silhouette, same spirit.