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THE RETURN OF THE ALEXANDER MCQUEEN SKULL SCARF

THE RETURN OF THE ALEXANDER MCQUEEN SKULL SCARF

THE RETURN OF THE ALEXANDER MCQUEEN SKULL SCARF

The Alexander McQueen skull scarf was the definitive “It” accessory of the 2000s — a blend of gothic romanticism and rock-chic attitude that perfectly captured the spirit of the “indie sleaze” era.

WHEN ITALIAN PORN STAR MOANA POZZI WALKED FOR FENDI

WHEN ITALIAN PORN STAR MOANA POZZI WALKED FOR FENDI

WHEN ITALIAN PORN STAR MOANA POZZI WALKED FOR FENDI

Ever wonder why we rarely see Fendi’s Spring/Summer 1994 collection? When I did a deep dive, I was shocked to find out why. FENDI...

I was reading @voguebusiness article by @luke_leitch “How Edward Buchanan became Bottega Veneta’s first-ever design director”—a part of fashion history I had no idea about.

True to who I am, I went looking for runway images or footage from that era, but wasn’t successful. Then I remembered: last year, I shared some Bottega Veneta campaigns from the ’90s.

Now, with the context of how Bottega expanded into ready-to-wear in the ‘90s—and how @edward_l_buchanan , fresh out of Parsons, became their first womenswear designer (and the only Black designer working in Italy at the time)—those images take on a whole new meaning.

Looking at the Spring/Summer 1998 campaign again, it’s honestly unbelievable how fresh and relevant it still feels… 27 years later.

MODEL: Missy Rayder
PHOTOGRAPHER: Peter Lindbergh

I was reading @voguebusiness article by @luke_leitch “How Edward Buchanan became Bottega Veneta’s first-ever design director”—a part of fashion history I had no idea about.

True to who I am, I went looking for runway images or footage from that era, but wasn’t successful. Then I remembered: last year, I shared some Bottega Veneta campaigns from the ’90s.

Now, with the context of how Bottega expanded into ready-to-wear in the ‘90s—and how @edward_l_buchanan , fresh out of Parsons, became their first womenswear designer (and the only Black designer working in Italy at the time)—those images take on a whole new meaning.

Looking at the Spring/Summer 1998 campaign again, it’s honestly unbelievable how fresh and relevant it still feels… 27 years later.

MODEL: Missy Rayder
PHOTOGRAPHER: Peter Lindbergh

In 1992, Cindy Sirko, then curator of the Costume Institute, chose supermodel Christy Turlington’s face for the mannequins displayed in that year’s exhibition. She selected Turlington because of her timeless and versatile beauty—capable of representing women, men, and even children. The mannequins were brought to life by renowned mannequin designer Ralph Pucci.

In the December 1992 issue of Vogue, Christy Turlington told Rachel Urquhart, “It’s such an honor. Twenty or thirty years from now, I’d like to be one of the faces that people associate with this time in history. To me, it’s sort of like being immortalized, in a way.”

Photos by Max Vadukul for Vogue December 1992

In 1992, Cindy Sirko, then curator of the Costume Institute, chose supermodel Christy Turlington’s face for the mannequins displayed in that year’s exhibition. She selected Turlington because of her timeless and versatile beauty—capable of representing women, men, and even children. The mannequins were brought to life by renowned mannequin designer Ralph Pucci.

In the December 1992 issue of Vogue, Christy Turlington told Rachel Urquhart, “It’s such an honor. Twenty or thirty years from now, I’d like to be one of the faces that people associate with this time in history. To me, it’s sort of like being immortalized, in a way.”

Photos by Max Vadukul for Vogue December 1992

The Alexander McQueen skull scarf was the definitive “It” accessory of the 2000s — a blend of gothic romanticism and rock-chic attitude that perfectly captured the spirit of the “indie sleaze” era.

Introduced as part of McQueen’s Spring/Summer 2003 collection “Irere,” a theatrical narrative that followed a shipwrecked girl, tropical landscapes, and pirate-inflected silhouettes, loosely inspired by the New Romantics of the Blitz scene — the scarf was crafted from lightweight silk and printed with a repeating skull motif. It quickly became a symbol of edgy luxury, draped around the necks of countless style icons and pop culture muses.

For years, fashion insiders have predicted its return…and the signs are now unmistakable. Recently spotted on Timothée Chalamet and reinterpreted on the runway by Sean McGirr, the McQueen skull scarf is making a powerful comeback.

The Alexander McQueen skull scarf was the definitive “It” accessory of the 2000s — a blend of gothic romanticism and rock-chic attitude that perfectly captured the spirit of the “indie sleaze” era.

Introduced as part of McQueen’s Spring/Summer 2003 collection “Irere,” a theatrical narrative that followed a shipwrecked girl, tropical landscapes, and pirate-inflected silhouettes, loosely inspired by the New Romantics of the Blitz scene — the scarf was crafted from lightweight silk and printed with a repeating skull motif. It quickly became a symbol of edgy luxury, draped around the necks of countless style icons and pop culture muses.

For years, fashion insiders have predicted its return…and the signs are now unmistakable. Recently spotted on Timothée Chalamet and reinterpreted on the runway by Sean McGirr, the McQueen skull scarf is making a powerful comeback.

@i_d has released a new digital zine as part of its Spring/Summer 2025 “The Unknown Issue,” featuring actress Margaret Qualley. The zine, available at i-D.co/margaretqualley, includes an exclusive interview by Emily Kirkpatrick, photos by Petra Collins, styling by Spencer Singer, and behind-the-scenes content. It marks a new mobile-first, interactive approach for i-D’s digital storytelling. In the feature, Qualley reflects on personal growth, name changes, and her experience filming The Substance. She joins Enza Khoury, Naomi Campbell, and FKA Twigs as cover stars for the issue, which is available online and in select stores.

@i_d has released a new digital zine as part of its Spring/Summer 2025 “The Unknown Issue,” featuring actress Margaret Qualley. The zine, available at i-D.co/margaretqualley, includes an exclusive interview by Emily Kirkpatrick, photos by Petra Collins, styling by Spencer Singer, and behind-the-scenes content. It marks a new mobile-first, interactive approach for i-D’s digital storytelling. In the feature, Qualley reflects on personal growth, name changes, and her experience filming The Substance. She joins Enza Khoury, Naomi Campbell, and FKA Twigs as cover stars for the issue, which is available online and in select stores.

In 2004, Alexander McQueen returned to London for the first time in over three years to present a special charity show in partnership with American Express.
The event combined a runway show, an art auction, and the unveiling of a limited-edition Centurion card. It was a black-themed show featuring both original pieces created for the night and standout looks from past collections.

The show was presented in a box-like asylum, reminiscent of Voss. Inside the mirrored box, snow and rain fell throughout the performance.
The show opened with a memorable performance: Kate Moss, in a sheer dress adorned with crystal skulls, dancing on stage with choreographer Michael Clark. In a 2014 interview with Nick Knight, Moss admitted she had been very nervous about the performance.

Like many of McQueen’s shows, this one was unforgettable—bold, theatrical, and full of surprises.

Slide 2) Kate Moss Dancing with Michael Clark

Slide 3-8) Footage from Alexander McQueen ‘Black’ Show

Slide 9-14) Some images from McQueen’s Black Show shot by @nick_knight

Slide 15) Kate Moss @showstudio Full Interview

In 2004, Alexander McQueen returned to London for the first time in over three years to present a special charity show in partnership with American Express.
The event combined a runway show, an art auction, and the unveiling of a limited-edition Centurion card. It was a black-themed show featuring both original pieces created for the night and standout looks from past collections.

The show was presented in a box-like asylum, reminiscent of Voss. Inside the mirrored box, snow and rain fell throughout the performance.
The show opened with a memorable performance: Kate Moss, in a sheer dress adorned with crystal skulls, dancing on stage with choreographer Michael Clark. In a 2014 interview with Nick Knight, Moss admitted she had been very nervous about the performance.

Like many of McQueen’s shows, this one was unforgettable—bold, theatrical, and full of surprises.

Slide 2) Kate Moss Dancing with Michael Clark

Slide 3-8) Footage from Alexander McQueen ‘Black’ Show

Slide 9-14) Some images from McQueen’s Black Show shot by @nick_knight

Slide 15) Kate Moss @showstudio Full Interview

Fendi Spring/Summer 1994 was WILD

Fendi Spring/Summer 1994 was WILD

Ever wonder why we don’t see much of Fendi’s Spring/Summer 1994 collection? When I did a deep dive, I was shocked to find out why: Karl Lagerfeld didn’t use supermodels for the show—instead, he cast Moana Pozzi, a famous Italian adult film star, along with a group of strippers.
It happened during Milan Fashion Week, and Lagerfeld had a very specific vision. He believed the clothes should speak for themselves, so he skipped the runway entirely. The main collection—suits and dresses—was displayed on mannequins lined up against a wall.
But when it came to the swimwear, he thought it deserved a different kind of presentation. So, in a separate room, Moana and her friends danced in the looks. Let’s just say it got... graphic.
Rumor has it Anna Wintour was so offended that she walked out of the show.

Photos by Niall McInerney

Ever wonder why we don’t see much of Fendi’s Spring/Summer 1994 collection? When I did a deep dive, I was shocked to find out why: Karl Lagerfeld didn’t use supermodels for the show—instead, he cast Moana Pozzi, a famous Italian adult film star, along with a group of strippers.
It happened during Milan Fashion Week, and Lagerfeld had a very specific vision. He believed the clothes should speak for themselves, so he skipped the runway entirely. The main collection—suits and dresses—was displayed on mannequins lined up against a wall.
But when it came to the swimwear, he thought it deserved a different kind of presentation. So, in a separate room, Moana and her friends danced in the looks. Let’s just say it got... graphic.
Rumor has it Anna Wintour was so offended that she walked out of the show.

Photos by Niall McInerney

Think festival style is dead? Think again.

Festival season is here, so let’s dive into how the look is evolving — and the style comebacks on the way — in this episode of UNPACKED. @Zalando #StoriesOnZalando #Ad

Think festival style is dead? Think again.

Festival season is here, so let’s dive into how the look is evolving — and the style comebacks on the way — in this episode of UNPACKED. @Zalando #StoriesOnZalando #Ad

During and after the French Revolution, particularly during the Directoire period, the Incroyables and Merveilleuses captivated Parisian society with their extravagant fashion and bold social statements. The Incroyables were aristocratic men known for their exaggerated clothing and royalist leanings — wearing jackets with long tails and oversized cravats that obscured their faces. Their appearance symbolized a reaction against revolutionary ideals.

Their female counterparts, the Merveilleuses, embraced sheer, body-revealing dresses inspired by ancient Greece. These muslin gowns created the illusion of nudity and signaled a dramatic break from the rigid styles of the past. Their hairstyles — short cuts like the Titus, or swept-up Greek styles — were sometimes seen as darkly symbolic, exposing the neck in ways that recalled the guillotine.

More than just fashion, these styles expressed grief, resistance, and a yearning for freedom in a time of political upheaval. Figures like Thérésia Cabarrus and Joséphine de Beauharnais became icons of this look.

This aesthetic legacy has had a lasting impact on fashion. Designers such as Vivienne Westwood and John Galliano have drawn from the sensuality and symbolism of the Merveilleuse style — especially the muslin dress. Westwood referenced it in her Pirate collection, while Galliano revisited Les Incroyables for his graduate collection, and later used swathes of muslin in his Fallen Angels collection.

Slide 1) Jacques Louis David Portrait of a Young Woman

Slide 2) L’incroyable et la merveilleuse by Théophile Fragonard

Slide 3) Französische Incroyables - 1794

Slide 4 & 5) “Merveilleuses Parisiennes, sous le directoire”Illustration by Raphaël Jacquemin, 1869

Slide 6) Portrait de Theresia Cabarrus by Françios Gerard, 1805

Slide 7) Portrait of Joséphine de Beauharnais by Pierre-Paul Prud’hon, 1805

Slide 8) Vivienne Westwood Spring/Summer 1981 “Pirate Collection” photo by Niall McInerney

Slide 9) John Galliano 1984 Graduate Collection via The Costume Institute

Slide 10) John Galliano Spring/Summer 1986 “Fallen Angels” photo by Bill Cunningham

During and after the French Revolution, particularly during the Directoire period, the Incroyables and Merveilleuses captivated Parisian society with their extravagant fashion and bold social statements. The Incroyables were aristocratic men known for their exaggerated clothing and royalist leanings — wearing jackets with long tails and oversized cravats that obscured their faces. Their appearance symbolized a reaction against revolutionary ideals.

Their female counterparts, the Merveilleuses, embraced sheer, body-revealing dresses inspired by ancient Greece. These muslin gowns created the illusion of nudity and signaled a dramatic break from the rigid styles of the past. Their hairstyles — short cuts like the Titus, or swept-up Greek styles — were sometimes seen as darkly symbolic, exposing the neck in ways that recalled the guillotine.

More than just fashion, these styles expressed grief, resistance, and a yearning for freedom in a time of political upheaval. Figures like Thérésia Cabarrus and Joséphine de Beauharnais became icons of this look.

This aesthetic legacy has had a lasting impact on fashion. Designers such as Vivienne Westwood and John Galliano have drawn from the sensuality and symbolism of the Merveilleuse style — especially the muslin dress. Westwood referenced it in her Pirate collection, while Galliano revisited Les Incroyables for his graduate collection, and later used swathes of muslin in his Fallen Angels collection.

Slide 1) Jacques Louis David Portrait of a Young Woman

Slide 2) L’incroyable et la merveilleuse by Théophile Fragonard

Slide 3) Französische Incroyables - 1794

Slide 4 & 5) “Merveilleuses Parisiennes, sous le directoire”Illustration by Raphaël Jacquemin, 1869

Slide 6) Portrait de Theresia Cabarrus by Françios Gerard, 1805

Slide 7) Portrait of Joséphine de Beauharnais by Pierre-Paul Prud’hon, 1805

Slide 8) Vivienne Westwood Spring/Summer 1981 “Pirate Collection” photo by Niall McInerney

Slide 9) John Galliano 1984 Graduate Collection via The Costume Institute

Slide 10) John Galliano Spring/Summer 1986 “Fallen Angels” photo by Bill Cunningham

There was actually a feud between Alaïa and Léger, but if I’m honest, I find their approach to the bandage dress completely different.

There was actually a feud between Alaïa and Léger, but if I’m honest, I find their approach to the bandage dress completely different.

In his Spring/Summer 1986 collection, Azzedine Alaïa introduced dresses crafted using a bandage technique that redefined the relationship between fabric and the female form. Using tightly woven stretch materials, he created garments that clung to the body like a second skin—sculpting, supporting, and celebrating every curve.

One of the most iconic pieces from this collection was famously worn by Grace Jones. Here are some looks from the collection:

Slide 1) Grace Jones being fitted by Alaïa in his studio, paris
Slide 2) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 3 & 4) Alaïa S/S 1986 show ph by Niall McInerney
Slide 5) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 6) Frederique van der Wal photographed by Arthur Elgort, Vogue, February 1986
Slide 7) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 8) Alaïa S/S 1986 show ph by Niall McInerney
Slide 9) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 10 - 15) Alaïa S/S 1986 show ph by Niall McInerney

In his Spring/Summer 1986 collection, Azzedine Alaïa introduced dresses crafted using a bandage technique that redefined the relationship between fabric and the female form. Using tightly woven stretch materials, he created garments that clung to the body like a second skin—sculpting, supporting, and celebrating every curve.

One of the most iconic pieces from this collection was famously worn by Grace Jones. Here are some looks from the collection:

Slide 1) Grace Jones being fitted by Alaïa in his studio, paris
Slide 2) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 3 & 4) Alaïa S/S 1986 show ph by Niall McInerney
Slide 5) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 6) Frederique van der Wal photographed by Arthur Elgort, Vogue, February 1986
Slide 7) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 8) Alaïa S/S 1986 show ph by Niall McInerney
Slide 9) Alaïa S/S 1986 show via Fondation Azzedine Alaïa
Slide 10 - 15) Alaïa S/S 1986 show ph by Niall McInerney

Just came across Tristan Webber’s Fall/Winter 1999 collection, and I’m obsessed with these two looks. Shown at London Fashion Week, the collection embraced a dark, futuristic aesthetic with distressed shades of red, burgundy, and black flowing through asymmetrically cut leathers and satins. I still need to dive deeper into Webber’s work, but how incredible are these designs?

Just came across Tristan Webber’s Fall/Winter 1999 collection, and I’m obsessed with these two looks. Shown at London Fashion Week, the collection embraced a dark, futuristic aesthetic with distressed shades of red, burgundy, and black flowing through asymmetrically cut leathers and satins. I still need to dive deeper into Webber’s work, but how incredible are these designs?

From 1993 to 1994, Cindy Sherman collaborated with Rei Kawakubo on an avant-garde advertising campaign for Comme des Garçons after Kawakubo was inspired by Sherman's editorial work in Harper's Bazaar. Instead of traditional fashion photography, Sherman created surreal images featuring disjointed mannequins and unconventional characters, pushing garments into the background and challenging fashion imagery norms. This approach aligned with Kawakubo’s deconstructivist philosophy, blurring the boundaries between art and commerce. The campaign was showcased in Comme des Garçons' direct-mail campaign and SoHo boutique, later becoming a collectible piece in the history of fashion and contemporary art.

From 1993 to 1994, Cindy Sherman collaborated with Rei Kawakubo on an avant-garde advertising campaign for Comme des Garçons after Kawakubo was inspired by Sherman's editorial work in Harper's Bazaar. Instead of traditional fashion photography, Sherman created surreal images featuring disjointed mannequins and unconventional characters, pushing garments into the background and challenging fashion imagery norms. This approach aligned with Kawakubo’s deconstructivist philosophy, blurring the boundaries between art and commerce. The campaign was showcased in Comme des Garçons' direct-mail campaign and SoHo boutique, later becoming a collectible piece in the history of fashion and contemporary art.

Melvin Sokolsky’s Bubble Series for Harper’s Bazaar (March 1963) was a groundbreaking moment in fashion photography. At a time when most editorials were shot in studios, Sokolsky took an entirely experimental approach—placing model Simone D’Aillencourt inside a transparent acrylic bubble, floating through the streets of Paris in the latest designs by Pierre Cardin, Nina Ricci, Jean Patou, Lanvin, Roberto Capucci, Guy Laroche, Yves Saint Laurent, and Balmain.
The idea came from two sources of inspiration: Hieronymus Bosch’s “The Garden of Earthly Delights” and a department store display where handbags and shoes were showcased inside plastic bubbles. To ensure the concept was feasible, Sokolsky tested the bubble’s strength by using it to lift a Volkswagen Beetle. The first test shoot took place in Weehawken, New Jersey, with New York City as the backdrop—this glowing image later became the Harper’s Bazaar cover.
Once the experiment proved successful, Sokolsky shipped the bubble to Paris and rented a crane to suspend it in various locations across the city. Unlike today—where such surreal visuals could be created with Photoshop—Sokolsky captured every image entirely on film, making the Bubble Series a true feat of analog photography and artistic vision.

Melvin Sokolsky’s Bubble Series for Harper’s Bazaar (March 1963) was a groundbreaking moment in fashion photography. At a time when most editorials were shot in studios, Sokolsky took an entirely experimental approach—placing model Simone D’Aillencourt inside a transparent acrylic bubble, floating through the streets of Paris in the latest designs by Pierre Cardin, Nina Ricci, Jean Patou, Lanvin, Roberto Capucci, Guy Laroche, Yves Saint Laurent, and Balmain.
The idea came from two sources of inspiration: Hieronymus Bosch’s “The Garden of Earthly Delights” and a department store display where handbags and shoes were showcased inside plastic bubbles. To ensure the concept was feasible, Sokolsky tested the bubble’s strength by using it to lift a Volkswagen Beetle. The first test shoot took place in Weehawken, New Jersey, with New York City as the backdrop—this glowing image later became the Harper’s Bazaar cover.
Once the experiment proved successful, Sokolsky shipped the bubble to Paris and rented a crane to suspend it in various locations across the city. Unlike today—where such surreal visuals could be created with Photoshop—Sokolsky captured every image entirely on film, making the Bubble Series a true feat of analog photography and artistic vision.

Before her tragic death in the Majdanek concentration camp during World War II, Else Simon—better known as Yva—created beautiful and sensual photographs that captured the essence of feminine decadence. As a renowned Berlin-based photographer, she produced striking fashion imagery for major publishing houses, earning international recognition during her brief but impactful career from 1925 to 1938. During this time, one of my all-time favorite photographers, Helmut Newton, apprenticed under her. The influence of Yva’s visionary work is unmistakable in Newton’s photography.

1. Beatrice Garga, 1929
2. Dancer Jenny Steiner, 1927
3. Dancer Toni Freden, 1927
4. Ruth Sonnetzky, 1929
5. Lilo Witte, 1933
6. Karin Stilke, 1936
7. Actress Hilda Ludwig with jewelry from Trianon
8. Untitled, 1937
9. Ad for Elcaya Creme, 1934

Before her tragic death in the Majdanek concentration camp during World War II, Else Simon—better known as Yva—created beautiful and sensual photographs that captured the essence of feminine decadence. As a renowned Berlin-based photographer, she produced striking fashion imagery for major publishing houses, earning international recognition during her brief but impactful career from 1925 to 1938. During this time, one of my all-time favorite photographers, Helmut Newton, apprenticed under her. The influence of Yva’s visionary work is unmistakable in Newton’s photography.

1. Beatrice Garga, 1929
2. Dancer Jenny Steiner, 1927
3. Dancer Toni Freden, 1927
4. Ruth Sonnetzky, 1929
5. Lilo Witte, 1933
6. Karin Stilke, 1936
7. Actress Hilda Ludwig with jewelry from Trianon
8. Untitled, 1937
9. Ad for Elcaya Creme, 1934

She ate and left no crumbs 💅❤️‍🔥 @karliekloss for @jeanpaulgaultier

She ate and left no crumbs 💅❤️‍🔥 @karliekloss for @jeanpaulgaultier

Prada’s Spring/Summer 2012 collection is undoubtedly one of the fashion industry’s most beloved. Drawing inspiration from the 1950s—cars, rockabilly culture, and retro Americana—the collection was a masterful blend of nostalgia and modernity. Bold car illustrations, fiery flame motifs, and impeccable tailoring brought the theme to life, but the true showstoppers were the now-iconic flame heels. Even today, they remain one of my personal favorites—and a permanent fixture on my wishlist.

The campaign, of course, was nothing short of breathtaking. With its cinematic quality and timeless allure, it continues to live rent-free in my mind as one of Prada’s most unforgettable visual masterpieces.

CREDITS

Photographer
@stevenmeiselofficial

Models
Guinevere van Seenus, Ymre Stiekema, Kathryn Kruger, Natascha Poly, Elise Crombez

Prada’s Spring/Summer 2012 collection is undoubtedly one of the fashion industry’s most beloved. Drawing inspiration from the 1950s—cars, rockabilly culture, and retro Americana—the collection was a masterful blend of nostalgia and modernity. Bold car illustrations, fiery flame motifs, and impeccable tailoring brought the theme to life, but the true showstoppers were the now-iconic flame heels. Even today, they remain one of my personal favorites—and a permanent fixture on my wishlist.

The campaign, of course, was nothing short of breathtaking. With its cinematic quality and timeless allure, it continues to live rent-free in my mind as one of Prada’s most unforgettable visual masterpieces.

CREDITS

Photographer
@stevenmeiselofficial

Models
Guinevere van Seenus, Ymre Stiekema, Kathryn Kruger, Natascha Poly, Elise Crombez

Marlene Dietrich (1901–1992), born in Berlin, was an iconic actress and singer celebrated for her sultry voice, androgynous style, and bold persona. Known for attending underground drag balls in 1920s Berlin, Marlene rose to fame with “The Blue Angel” (1930), and became a Hollywood legend, known for films like “Morocco” and “Shanghai Express.” A trailblazer in fashion, she challenged gender norms with her signature menswear looks, and during World War II, she supported U.S. troops by performing on the front lines. Her enduring legacy spans film, music, and fashion, cementing her as one of the 20th century’s most influential and defiant stars.

Slide 1) Marlene Dietrich during a paratrooper practice jump with the 82nd Airborne Division, Soissons, France, 13 March 1945. Photo by George Norton. Public domain (U.S. Army work)

Slide 2) Dietrich family photo, Berlin, 1906

Slide 3) Marlene Dietrich in her iconic Morocco role (1930)

Slide 4) Portrait photo of Marlene Dietrich with cravat, early 1930s. Photo by Eugene Robert Richee

Slide 5) Anna May Wong with Marlene Dietrich in “Shanghai Express,” 1932

Slide 6) Josef von Sternberg, Marlene Dietrich, and Charlie Chaplin. Photo by Hyman Fink, 1931

Slide 7) Marlene Dietrich with daughter Maria, Los Angeles, March 1934. Photo by Hyman Fink

Slide 8-9) Photos by Edward Steichen for Vogue, May 1935.

Slide 10) Marlene Dietrich in a red knit sweater from Knize, Los Angeles, 1940. Photo by Ray Jones

Slide 11) Marlene Dietrich wearing a Charles James dress for Vogue, October 1944. Photo by Rawlïngs.

Slide 12) Marlene Dietrich kissing soldier returning from WWII, 1945. Photo by David Lee Guss.

Slide 13) Marlene Dietrich in a performance costume on a U.S. Army tank. Photo by Lin Mayberry.

Slide 14) Marlene Dietrich performing in Pilsen, Bohemia, May 1945.

Slide 15-16) Marlene DIetrich with her daughter Maria, 1947. Photos by Horst

Slide 17) Marlene Dietrich for Vogue, May 1952. Photo by Milton Greene

Marlene Dietrich (1901–1992), born in Berlin, was an iconic actress and singer celebrated for her sultry voice, androgynous style, and bold persona. Known for attending underground drag balls in 1920s Berlin, Marlene rose to fame with “The Blue Angel” (1930), and became a Hollywood legend, known for films like “Morocco” and “Shanghai Express.” A trailblazer in fashion, she challenged gender norms with her signature menswear looks, and during World War II, she supported U.S. troops by performing on the front lines. Her enduring legacy spans film, music, and fashion, cementing her as one of the 20th century’s most influential and defiant stars.

Slide 1) Marlene Dietrich during a paratrooper practice jump with the 82nd Airborne Division, Soissons, France, 13 March 1945. Photo by George Norton. Public domain (U.S. Army work)

Slide 2) Dietrich family photo, Berlin, 1906

Slide 3) Marlene Dietrich in her iconic Morocco role (1930)

Slide 4) Portrait photo of Marlene Dietrich with cravat, early 1930s. Photo by Eugene Robert Richee

Slide 5) Anna May Wong with Marlene Dietrich in “Shanghai Express,” 1932

Slide 6) Josef von Sternberg, Marlene Dietrich, and Charlie Chaplin. Photo by Hyman Fink, 1931

Slide 7) Marlene Dietrich with daughter Maria, Los Angeles, March 1934. Photo by Hyman Fink

Slide 8-9) Photos by Edward Steichen for Vogue, May 1935.

Slide 10) Marlene Dietrich in a red knit sweater from Knize, Los Angeles, 1940. Photo by Ray Jones

Slide 11) Marlene Dietrich wearing a Charles James dress for Vogue, October 1944. Photo by Rawlïngs.

Slide 12) Marlene Dietrich kissing soldier returning from WWII, 1945. Photo by David Lee Guss.

Slide 13) Marlene Dietrich in a performance costume on a U.S. Army tank. Photo by Lin Mayberry.

Slide 14) Marlene Dietrich performing in Pilsen, Bohemia, May 1945.

Slide 15-16) Marlene DIetrich with her daughter Maria, 1947. Photos by Horst

Slide 17) Marlene Dietrich for Vogue, May 1952. Photo by Milton Greene

Leigh Bowery was a groundbreaking artist, performer, and fashion innovator whose fearless creativity left a lasting impact on the art and fashion worlds. Emerging in 1980s London nightlife, he challenged conventions through bold performances in galleries, theatres, and the streets, using clothing and makeup as artistic tools to reshape aesthetics, gender, and sexuality. His avant-garde approach to fashion and performance produced some of the most iconic images of the 1980s and 90s, inspiring generations of designers and creatives.

🚨There is currently an exhibition on Leigh Bowery at Tate Modern until August 31, 2025, for anyone visiting London.

Slide 1)Leigh Bowery & Trojan by Johnny Rozsa, 1983

Slide 2) John Galliano Spring Summer 2003

Slide 3) Leigh Bowery by Fergus Greer, 1994

Slide 4) Gareth Pugh Spring Summer 2007

Slide 5) Leigh Bowery by Fergus Greer, 1991

Slide 6) Alexander McQueen Fall WInter 2009

Slide 7) Leigh Bowery by Fergus Greer, 1989

Slide 8) Maison Margiela Spring Summer 2009

Slide 9) Leigh Bowery by Fergus Greer, 1988

Slide 10) Maison Margiela Couture Fall Winter 2013

Slide 11) Leigh Bowery by Fergus Greer, 1994

Slide 12) Rick Owens Spring Summer 2016

Slide 13) Leigh Bowery by Fergus Greer, 1991

Slide 14) Richard Quinn Fall Winter 2021

Leigh Bowery was a groundbreaking artist, performer, and fashion innovator whose fearless creativity left a lasting impact on the art and fashion worlds. Emerging in 1980s London nightlife, he challenged conventions through bold performances in galleries, theatres, and the streets, using clothing and makeup as artistic tools to reshape aesthetics, gender, and sexuality. His avant-garde approach to fashion and performance produced some of the most iconic images of the 1980s and 90s, inspiring generations of designers and creatives.

🚨There is currently an exhibition on Leigh Bowery at Tate Modern until August 31, 2025, for anyone visiting London.

Slide 1)Leigh Bowery & Trojan by Johnny Rozsa, 1983

Slide 2) John Galliano Spring Summer 2003

Slide 3) Leigh Bowery by Fergus Greer, 1994

Slide 4) Gareth Pugh Spring Summer 2007

Slide 5) Leigh Bowery by Fergus Greer, 1991

Slide 6) Alexander McQueen Fall WInter 2009

Slide 7) Leigh Bowery by Fergus Greer, 1989

Slide 8) Maison Margiela Spring Summer 2009

Slide 9) Leigh Bowery by Fergus Greer, 1988

Slide 10) Maison Margiela Couture Fall Winter 2013

Slide 11) Leigh Bowery by Fergus Greer, 1994

Slide 12) Rick Owens Spring Summer 2016

Slide 13) Leigh Bowery by Fergus Greer, 1991

Slide 14) Richard Quinn Fall Winter 2021

I found this video in the BBC archives—Derek Nimmo visits Vivienne Westwood and Malcolm McLaren’s shop, Seditionaries, on King’s Road in 1977. This was the peak of punk, with the Sex Pistols at the height of their fame. Nimmo explores the punk movement and its bold fashion, while Vivienne showcases some of her designs, including the iconic bondage jacket.

I found this video in the BBC archives—Derek Nimmo visits Vivienne Westwood and Malcolm McLaren’s shop, Seditionaries, on King’s Road in 1977. This was the peak of punk, with the Sex Pistols at the height of their fame. Nimmo explores the punk movement and its bold fashion, while Vivienne showcases some of her designs, including the iconic bondage jacket.

Castaneda’s latest collection is a whimsical fusion of childhood dreams, medieval opulence, and playful eccentricity. Inspired by his childhood promise to take his mother to a castle, the designs explore the pursuit of grandeur while celebrating authenticity. The collection blends everyday wear with quirky tailoring, highlighted by elaborate headwear—bunny ears in plaid, houndstooth horns, and tweed monkey ears. A jewel-toned palette of sapphire blue, ruby red, emerald green, and gold is enriched by hand-painted motifs and intricate embroidery, including a trompe-l’œil effect mimicking ermine fur. Presented in a striking red room with orange carpets, the show featured a soundtrack blending Alexandre Desplat’s Moonrise Kingdom score with Nicki Minaj’s quotes, creating a bold, theatrical experience.

Credits:
Artistic direction and photography - Ivo Barraza Castaneda
Production: Gautier Rouquette
Video Photography: Clement Longis
Make-up: Adèle Poulain, Noémie Gilles, Eva Brianceau

Castaneda’s latest collection is a whimsical fusion of childhood dreams, medieval opulence, and playful eccentricity. Inspired by his childhood promise to take his mother to a castle, the designs explore the pursuit of grandeur while celebrating authenticity. The collection blends everyday wear with quirky tailoring, highlighted by elaborate headwear—bunny ears in plaid, houndstooth horns, and tweed monkey ears. A jewel-toned palette of sapphire blue, ruby red, emerald green, and gold is enriched by hand-painted motifs and intricate embroidery, including a trompe-l’œil effect mimicking ermine fur. Presented in a striking red room with orange carpets, the show featured a soundtrack blending Alexandre Desplat’s Moonrise Kingdom score with Nicki Minaj’s quotes, creating a bold, theatrical experience.

Credits:
Artistic direction and photography - Ivo Barraza Castaneda
Production: Gautier Rouquette
Video Photography: Clement Longis
Make-up: Adèle Poulain, Noémie Gilles, Eva Brianceau

Pearls have been an integral part of Chanel’s DNA since Coco Chanel herself embraced them. This season, I love how the Chanel design studio took a playful approach, reimagining oversized pearls as statement bags and heels.

PH 1-2 by Acielle

PH 3-5 by Armando Grillo

Pearls have been an integral part of Chanel’s DNA since Coco Chanel herself embraced them. This season, I love how the Chanel design studio took a playful approach, reimagining oversized pearls as statement bags and heels.

PH 1-2 by Acielle

PH 3-5 by Armando Grillo

Inspired by train stations as places of fleeting encounters, @nicolasghesquiere drew from films like 2046, Snowpiercer, and Casablanca for @louisvuitton F/W 2025 collection. The former train company headquarters near Gare du Nord was a perfect location, considering Louis Vuitton’s heritage as a trunk maker. My favorite moment was the collaboration with electronic music pioneers @kraftwerkofficial , whose influence was woven into pinstriped jumpsuit and accessories featuring Trans-Europe Express graphics, reinforcing the rhythmic, travel-inspired theme.

Inspired by train stations as places of fleeting encounters, @nicolasghesquiere drew from films like 2046, Snowpiercer, and Casablanca for @louisvuitton F/W 2025 collection. The former train company headquarters near Gare du Nord was a perfect location, considering Louis Vuitton’s heritage as a trunk maker. My favorite moment was the collaboration with electronic music pioneers @kraftwerkofficial , whose influence was woven into pinstriped jumpsuit and accessories featuring Trans-Europe Express graphics, reinforcing the rhythmic, travel-inspired theme.

Duran Lantink continues to push fashion’s boundaries with his radical approach to shape and form. His latest designs feature exaggerated shoulderlines, hip protrusions, and “floating” skirts, challenging traditional beauty ideals. Embracing “bad taste,” he mixed zebra prints and camouflage with classic plaids and padded Barbour jackets. The most talked-about moments? A latex top sculpted into a muscular torso and another with exaggerated breasts—provocative statements on gender or simply viral stunts? Either way, his models embraced the transformation ❤️‍🔥

PH by Umberto Fratini

Duran Lantink continues to push fashion’s boundaries with his radical approach to shape and form. His latest designs feature exaggerated shoulderlines, hip protrusions, and “floating” skirts, challenging traditional beauty ideals. Embracing “bad taste,” he mixed zebra prints and camouflage with classic plaids and padded Barbour jackets. The most talked-about moments? A latex top sculpted into a muscular torso and another with exaggerated breasts—provocative statements on gender or simply viral stunts? Either way, his models embraced the transformation ❤️‍🔥

PH by Umberto Fratini

Demna’s latest Balenciaga collection methodically revisited the archetypes he has built—sharp corporate tailoring, underground clubwear, Cristóbal-inspired eveningwear, and streetwise denim and bombers—while signaling a shift toward refinement. Declaring himself “Demna 2.0,” he distanced from performative fashion, emphasizing the challenge of creating the perfect suit over spectacle. Yet, he balanced this evolution with market-savvy pieces like a Puma collaboration featuring skinny tracksuits and Olympic-style medals, culminating in a couture puffer ballgown. The result? A polished, grown-up vision aimed at an audience with spending power.

PH. 1-5) by Acielle

PH. 7-20 by Isidore Montag

Demna’s latest Balenciaga collection methodically revisited the archetypes he has built—sharp corporate tailoring, underground clubwear, Cristóbal-inspired eveningwear, and streetwise denim and bombers—while signaling a shift toward refinement. Declaring himself “Demna 2.0,” he distanced from performative fashion, emphasizing the challenge of creating the perfect suit over spectacle. Yet, he balanced this evolution with market-savvy pieces like a Puma collaboration featuring skinny tracksuits and Olympic-style medals, culminating in a couture puffer ballgown. The result? A polished, grown-up vision aimed at an audience with spending power.

PH. 1-5) by Acielle

PH. 7-20 by Isidore Montag

Rick Owens’ latest collection continues his exploration of raw opulence, material innovation, and avant-garde collaborations, infused with inspiration from 1930s aesthetics and the work of interior designer Jean-Michel Frank. Leather chaps lined entirely in leather, created with London-based Leo Prothmann, evoke both fetishistic indulgence and discreet luxury. Owens references Frank’s refined minimalism and sumptuous materiality in his approach to texture and form. Parisian designer Victor Clavelly contributes handwoven chain-linked skirts and dresses from laser-cut Groppone cow leather, exaggerating the body’s form. Matisse Dimaggio’s natural rubber frilled tops and hoodies add a tactile contrast, while Tanja Vidic’s intricate knitwear recalls the surreal naturalism of the Wiener Werkstätte. Outerwear takes on sculptural proportions, with strict-shouldered jackets layered beneath sleeveless coats in shearling or rigid RWS-certified wool drill from Japan. Dracu-collared jackets in heavyweight, vegetable-tanned calf leather, alongside British wool felt coats sourced through sustainable practices, reinforce Owens’ commitment to ethical materials and dramatic forms.

Denim plays a central role, with collage dresses and skirts in ‘MegaCrust,’ where layers of bronze foil and wax create a textured, oxidized finish. Additional shredded skirts in 14oz organic Japanese indigo slub denim receive Owens’ signature ‘Hustler Wash.’ Capes and coats from Bonotto, zipped and harnessed in homage to Blixa Bargeld, use RWS-certified virgin wool for traceability and ethical production. Long skirts in wool drill, lacquered denim, or ethically sourced pirarucu leather add further depth. Cropped jackets and bags appear in responsibly sourced bleached alligator skins. The soundtrack, Iggy Pop’s ‘Mass Production,’ a reference to Owens’ first New York show 23 years ago, underscores his enduring fascination with the weird and wonderful.

Rick Owens’ latest collection continues his exploration of raw opulence, material innovation, and avant-garde collaborations, infused with inspiration from 1930s aesthetics and the work of interior designer Jean-Michel Frank. Leather chaps lined entirely in leather, created with London-based Leo Prothmann, evoke both fetishistic indulgence and discreet luxury. Owens references Frank’s refined minimalism and sumptuous materiality in his approach to texture and form. Parisian designer Victor Clavelly contributes handwoven chain-linked skirts and dresses from laser-cut Groppone cow leather, exaggerating the body’s form. Matisse Dimaggio’s natural rubber frilled tops and hoodies add a tactile contrast, while Tanja Vidic’s intricate knitwear recalls the surreal naturalism of the Wiener Werkstätte. Outerwear takes on sculptural proportions, with strict-shouldered jackets layered beneath sleeveless coats in shearling or rigid RWS-certified wool drill from Japan. Dracu-collared jackets in heavyweight, vegetable-tanned calf leather, alongside British wool felt coats sourced through sustainable practices, reinforce Owens’ commitment to ethical materials and dramatic forms.

Denim plays a central role, with collage dresses and skirts in ‘MegaCrust,’ where layers of bronze foil and wax create a textured, oxidized finish. Additional shredded skirts in 14oz organic Japanese indigo slub denim receive Owens’ signature ‘Hustler Wash.’ Capes and coats from Bonotto, zipped and harnessed in homage to Blixa Bargeld, use RWS-certified virgin wool for traceability and ethical production. Long skirts in wool drill, lacquered denim, or ethically sourced pirarucu leather add further depth. Cropped jackets and bags appear in responsibly sourced bleached alligator skins. The soundtrack, Iggy Pop’s ‘Mass Production,’ a reference to Owens’ first New York show 23 years ago, underscores his enduring fascination with the weird and wonderful.

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