Alexander McQueen, spring/summer 1999 Credits: V&A Dundee ‘Catwalk: The Art of the Fashion Show' The V&A Dundee museum in Scotland is getting fashion-ready for 2026, when it will host two exhibitions celebrating the evolution of catwalk shows and disabled-led design. In April, the museum will open a new fashion exhibition: ‘Catwalk: The Art of the Fashion Show,’ bringing together catwalk pieces from fashion houses including Alexander McQueen, Balenciaga, Chanel, Dior, Maison Margiela, Prada, Paco Rabanne, Louis Vuitton and Yohji Yamamoto. Backstage at Alexander McQueen, autumn/winter 2009 Credits: V&A Dundee ‘Catwalk: The Art of the Fashion Show' The exhibit, running from April 3, 2026, to January 17, 2027, will document over 100 years of fashion show history, tracing the evolution of the catwalk from the private fashion salons of the late 19th century to today’s live-stream experiences. Kirsty Hassard, co-curator of ‘Catwalk: The Art of the Fashion Show’ at V&A Dundee, said in a statement: “Fashion shows are more than just moments on a runway – they’re defining moments in culture that reflect the spirit of their time, bringing together a multitude of different design disciplines including hair and makeup, set design, lighting, photography and many more. “This UK-first exhibition is a celebration of over 100 years of catwalk history, exploring the underlying dreams and motivations behind the catwalk concepts, revealing how they’ve shaped not only what we wear, but how we see ourselves.” Chanel, autumn/winter 2017 Credits: V&A Dundee ‘Catwalk The Art of the Fashion Show' Scottish museum V&A Dundee to place focus on the catwalk in 2026 The exhibition aims to spotlight the creativity, energy and impact of the catwalk showcase, highlighting seminal moments in fashion, such as theatrical spectacles seen at Alexander McQueen and dramatic show settings at Fendi at the Great Wall of China, Dior’s takeover of Drummond Castle Gardens in Perthshire and Chanel’s staging of a rocket launch. It will also highlight how the catwalk is a blend of “epic creative endeavours” from different design disciplines, with architecture, lighting, music, film, make-up, hairdressing, jewellery, set design and fashion coming together into “carefully choreographed fleeting sequences with models centre-stage”. Paul Poiret’s mannequin parade in his garden in Paris, 1910 Credits: V&A Dundee ‘Catwalk The Art of the Fashion Show' The exhibition promises to show the changing eras of the catwalk with film and photographs, original collection pieces, stage props and archival material to create “a vivid experience of the catwalk from its beginnings to the present day”. ‘Catwalk: The Art of the Fashion Show’ is a new exhibition conceived by the Vitra Design Museum in Germany and V&A Dundee. It will run in Germany from October 18, 2025, to February 15, 2026, before travelling to Scotland for its UK debut. Exhibition celebrating disabled-led design to travel to V&A Dundee V&A - Design and Disability - Rebirth Garments Credits: V&A - photo by Colectivo Multipolar The V&A Dundee will also open an exhibition centred around the contributions of disabled, deaf, and neurodivergent people to design and culture, called ‘Design and Disability’, in June, which is currently running at V&A’s London museum until February 15, 2026. The exhibit will display more than 170 objects, celebrating disabled-led design from the 1940s to the present day, spanning design, art, architecture, fashion and photography. It will show how disabled people have designed for every aspect of life through their own experience and expertise, tracing the political and social history of design and disability. Natalie Kane, curator of design and disability at the V&A, added: “This exhibition shows how disabled people are the experts in their own lives, and have made invaluable contributions to our designed world. Design and Disability aims to honour Disabled life as it engages with creative practice, presenting a strong culture of making that has always been central to Disabled identity. In putting this show together, it is an act of joy and resistance.” ‘Design and Disability’ will open on June 4, 2026.

Cecil Beaton, Coronation Portrait of Her Majesty The Queen, 1953 Credits: Royal Collection Trust by Cecil Beaton The King’s Gallery at Buckingham Palace is to mark the centenary of Queen Elizabeth II’s birth with the largest and most comprehensive exhibition of the late Queen’s fashion ever mounted in 2026. The exhibition ‘Queen Elizabeth II: Her Life in Style’ will run from spring to autumn 2026 and will chart the story of Britain’s longest-reigning monarch through clothing worn in all ten decades of her life: “from birth to adulthood, from princess to queen, and from off-duty style to diplomatic dressing for the global stage”. Queen Elizabeth II’s fashion archive is described as one of the largest and most important surviving collections of 20th-century British fashion and now forms part of the Royal Collection. More than 200 items, including clothing, jewellery, hats, shoes and accessories, will be used in the exhibition, around half of which will be on display for the first time. Princess Elizabeth’s Wedding Dress, Norman Hartnell, 1947 Credits: Royal Collection Enterprises Limited 2025 | Royal Collection Trust. The Queen’s wardrobe will be showcased alongside never-before-seen design sketches, fabric samples and handwritten correspondence that reveal the behind-the-scenes process of dressing the most famous woman in the world and shed new light on the late Queen’s close involvement in the creation of her outfits. Caroline de Guitaut, exhibition curator and surveyor of The King’s Works of Art, said in a statement: “Over the course of Queen Elizabeth II’s remarkably long reign, her distinctive style became instantly recognisable around the world, bolstering the British fashion industry and influencing generations of designers and couturiers. “Only now, as the late Queen's fashion archive comes under the care of Royal Collection Trust, can we tell the story of a lifetime of thoughtful style choices – from her hands-on role and understanding of the soft power behind her clothing, to the exceptional craftsmanship behind each garment. In the year that she would have turned 100 years old, this exhibition will be a celebration of Queen Elizabeth's uniquely British style and her enduring fashion legacy.” Queen Elizabeth II when Princess Elizabeth of York, Elliott & Fry, 1934 wearing Bridesmaid’s Dress by Edward Molyneux Credits: Royal Collection Enterprises Limited 2025 | Royal Collection Trust Queen Elizabeth II’s fashion legacy to be celebrated with new exhibition in London Highlights from the exhibition will be the display of one of the earliest surviving pieces of couture from the late Queen’s childhood wardrobe, a silver lamé and tulle bridesmaid dress, designed by Edward Molyneux, that she wore aged eight for the 1934 wedding of her uncle, the Duke of Kent, to Princess Marina of Greece. Evening Gowns, Ian Thomas, c.1970s. Credits: Royal Collection Enterprises Limited 2025 | Royal Collection Trust. Photographer: Jon Stokes. Other pieces that will take centre stage include outfits designed by British couturier Norman Hartnell, who became the Queen’s most influential designer during the 1940s and 1950s, and designed her wedding dress in 1947 and her Coronation dress in 1953, both of which will be on display. Visitors will also see crinoline-skirted gowns of the 1950s designed by Hartnell and Hardy Amies to fluid, vibrantly printed dresses by Ian Thomas that capture the relaxed glamour of the 1970s. The exhibition will also explore the royal’s use of diplomatic emblems and colours in her wardrobe for overseas tours, including a white gown designed by Hartnell for a 1961 State Banquet in Karachi, which incorporates Pakistan’s national colours through a dramatic emerald-green pleat cascading down the back. Queen Elizabeth II, Baron, 1956 wearing an evening gown by Norman Hartnell, 1956. Credits: Royal Collection Enterprises Limited 2025 | Royal Collection Trust. As well as being recognised for her couture gowns, the exhibit will showcase Queen Elizabeth II’s off-duty style and love of classic British tailoring, such as riding jackets, tartan skirts and silk headscarves. An official publication to mark the centenary, ‘Queen Elizabeth II: Fashion and Style,’ will accompany the exhibition. Written by exhibition curator de Guitaut, the book will feature contributions from fashion experts and designers, and look at the royal’s lifelong championing of the British fashion industry. The exact dates of the exhibition have not yet been finalised, just that it will open in the spring and run until autumn 2026. The Royal Collection said tickets will go on sale in November 2025, and the book will be published by Royal Collection Trust in March 2026, priced at 40 pounds. Evening Gown, Norman Hartnell, 1961. Credits: Royal Collection Enterprises Limited 2025 | Royal Collection Trust Hacking Jacket, Bernard Weatherill Credits: Royal Collection Enterprises Limited 2025 | Royal Collection Trust. Photographer: Jon Stokes. The Queen’s Coronation Dress, Norman Hartnell, 1953. Credits: Royal Collection Enterprises Limited 2025 | Royal Collection Trust

‘Tailoring an Image’ exhibition at Anglesey Abbey, National Trust Credits: National Trust by Mike Selby In Pictures The National Trust has opened a unique fashion exhibition dedicated to menswear at Anglesey Abbey in Cambridgeshire, exploring Savile Row flair of 1930s aristocrats. The ‘Tailoring an Image’ exhibition runs until October 31 and showcases the sartorial flair of Lord Fairhaven, owner of Anglesey, including an unusual wine-coloured velvet smoking suit from H. Huntsman & Sons, Savile Row from 1962. ‘Tailoring an Image’ exhibition at Anglesey Abbey, National Trust Credits: National Trust by Mike Selby Lord Fairhaven was known as a stylish dresser, regularly featuring in society magazines in the 1930s, and when he left the property and its collections to the National Trust on his death in 1966, it included his wardrobe featuring morning, day and evening wear. Roisin Semple, property curator at Anglesey Abbey, said in a statement: “Lord Fairhaven’s extensive wardrobe is a rare example of a 20th-century menswear collection that remains in the original setting of its owner’s home. “Unlike most museum fashion collections – often dominated by women’s clothing and detached from their original context – this collection offers an opportunity to learn more about the garments and the man who wore them.” ‘Tailoring an Image’ exhibition at Anglesey Abbey, National Trust Credits: National Trust by Mike Selby Lord Fairhaven’s Savile Row wardrobe goes on display at Anglesey Abbey The exhibition space has been transformed into a Saville Row workshop and features menswear items by H. Huntsman & Sons, which were specially made for Lord Fairhaven, alongside Bates Gentlemen’s Hatter and bespoke London shoemaker, Henry Maxwell, including a blue velvet smoking suit and colourful cropped riding breeches, from cherry-red to inky blue, made from soft sheepskin, goatskin or buckskin leather in the 1950s. ‘Tailoring an Image’ exhibition at Anglesey Abbey, National Trust Credits: National Trust by Mike Selby Semple added: “There are 16 pairs of different coloured cropped riding breeches, including a bright red pair, in the collection, and most were made in the 1950s. It is unclear where the idea came from, but the choice was presumably motivated by the durability, comfort and control they gave Fairhaven in the saddle. The length, colour and material make the style unique to him.” National Trust has also commissioned a film as part of the exhibit delving deeper into the world of bespoke, which gives visitors an insight into the Huntsman workshop. The display also features original ledgers showing some of Lord Fairhaven’s clothing orders, a saddle horse that customers would sit on to be measured for their riding clothes, and a sample book of fabric swatches. ‘Tailoring an Image’ exhibition at Anglesey Abbey, National Trust Credits: National Trust by Mike Selby ‘Tailoring an Image’ exhibition at Anglesey Abbey, National Trust Credits: National Trust by Mike Selby ‘Tailoring an Image’ exhibition at Anglesey Abbey, National Trust Credits: National Trust by Mike Selby ‘Tailoring an Image’ exhibition at Anglesey Abbey, National Trust Credits: National Trust by Mike Selby

Lagerfeld, a comic about the life of fashion designer Karl Lagerfeld by Alfons Kaiser and Simon Schwartz. Credits: Simon Schwartz / C.H. Beck Those seeking light summer reading may find what they're looking for in Alfons Kaiser's latest project. The fashion critic of the Frankfurter Allgemeine Zeitung (FAZ) has now released his 383-page biography of Karl Lagerfeld as a graphic novel. Illustrator and comic author Simon Schwartz has selected key moments from the book, tracing Lagerfeld's life from his birth in 1933 to his death in 2019. Kaiser points out an interesting detail. For the FAZ magazine, Schwartz has been drawing the series "Vita Obscura" about forgotten historical figures since 2019. On the same page, Lagerfeld published his political caricatures monthly until January 2019 – for six years. These were already published in book form under the title "Karlikaturen". Not only this overlap in the work of the illustrator and the influential fashion designer sparks curiosity. The stylised comic form effectively showcases Lagerfeld's pointed remarks. It makes one want to brush up on their fashion knowledge through an entertaining read. During Berlin Fashion Week, Kaiser and Schwartz will also present their work on Wednesday at 7pm GMT in the FAZ Atrium at Mittelstrasse two. "Lagerfeld", Graphic Novel by Alfons Kaiser and Simon Schwartz. Publication date July 10, 2025. 104 pages, fully illustrated in colour. C.H. Beck publisher. Hardcover. This article was translated to English using an AI tool. FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com

Visualisation image: Prada AW25 Credits: ©Launchmetrics/spotlight Almost 20 years after the release of the comedy "The Devil Wears Prada", work has begun on the sequel. "The Devil Wears Prada 2 - now in production," 20th Century Studios wrote on Instagram. Anne Hathaway and Stanley Tucci, stars of the 2006 hit film, shared the post, while Meryl Streep and Emily Blunt are also returning for the new film, according to the industry magazines 'Variety' and 'Deadline'. The Instagram announcement includes a short clip of two red high heels with trident-shaped heels. Snippets of quotes from the first film can be heard alongside, including Streep's bored voice as fashion magazine editor-in-chief Miranda Priestly. Film set for cinema release in 2026 In "The Devil Wears Prada", Hathaway played a young woman trying to make her way as assistant to fashion tsar Priestly, a character inspired by long-time 'Vogue' editor-in-chief Anna Wintour. Tucci and Blunt also play employees at Priestly's fashion magazine. The film was based on the book by author Lauren Weisberger, who previously worked for fashion journalist Wintour. Wintour herself announced just last week that she was stepping down as long-time editor-in-chief of US 'Vogue'. Oscar winner Kenneth Branagh ("Murder on the Orient Express") joins the stars of the first film in the role of Priestly's husband, 'Variety' and 'Deadline' report. The new film is set for cinema release in 2026. Details of the new film's plot have not yet been released. Blunt also remained tight-lipped about the new film in a recent interview with 'Entertainment Tonight'. She did reveal, however, that work on it is due to begin in July. Her two daughters would certainly like to accompany her to the set, she said, "Just because of the fashion." In the comments on the film announcement, fans expressed their enthusiasm and anticipation for the new film. This article was translated to English using an AI tool. FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com

Rick Owens. Spring/Summer 2024, Ready-to-Wear. Credits: ©Launchmetrics/spotlight. Paris – From Saturday, the Palais Galliera in Paris will shed light on the dark and gothic universe of American designer Rick Owens. This is the first French retrospective of this unique and avant-garde creator, a symbol of underground fashion. Also, for the first time, the Parisian fashion museum held an exhibition in daylight, which is not usually kind to delicate garments, revealed the exhibition's curator, Alexandre Samson, head of the museum's contemporary collections. "We are returning to the Palais Galliera with its initial purpose, open to the outside," Samson explained to journalists on Wednesday. ‘Temple of Love’ offers all the keys to understanding the origins of Owens’ style, an idol of the post-punk generation since he founded his own brand in 1992. His shows at Paris Fashion Week are a meeting point for a loyal following; hardcore fans who don unisex and ultra-fitted clothing, exaggerated shoulder pads, platform boots, with black and grey as the predominant colours. With 100 garments, art objects and videos, Owens took over the Palais, including a room with his most daring proposals, access to which is not recommended for minors. It’s a way of remembering his difficult beginnings in the small Californian town of Porterville. Un-Californian hobbies Born in 1961, a marginalised teenager, Owens "discovered drugs and alcohol, before his mother persuaded him to go to Los Angeles to take painting courses," explained Samson. His mother also introduced him to sewing and pattern making, and Owens soon discovered he was more comfortable designing clothes. His hobbies had little to do with the Golden State: he avidly read French decadent poets, listened to punk music and admired the androgynous look of David Bowie and Iggy Pop. He discovered nightlife and his homosexuality, but also the woman who would become his wife, French-born Michèle Lamy, who lived in Los Angeles. She encouraged him to continue with fashion, after Owens started out in pattern making, working for a company that counterfeited clothes from major designers. "It was really an apprenticeship based on copying," explained Samson. Walls upholstered with felt The first room is dedicated to those origins in Los Angeles. Its walls are entirely upholstered in dark brown felt, one of his favourite materials. His father introduced him to Wagnerian music and science fiction novels. Owens would reuse these inspirations for his monumental shows in Paris, where he sometimes used fireworks in settings such as the large courtyard of the Musée d'Art Moderne de Paris. The second room, illuminated by the Palais Galleria's large windows, offers a glimpse into his Parisian period, from 2003, when he decided to settle in the French capital. Paradoxically, it was when he moved away from his native California that his colour palette expanded. He played with blood red and fluorescent tones. His mohair jumpers full of holes and a sumptuous dress made from the skin of the Amazonian pirarucu fish stand out. Some of his designs are only for the most daring, such as in 2015, when he sent models down the runway in pairs, one hanging from the other by harnesses. The retrospective closes with an exact reproduction of the bedroom Owens and his wife had in Los Angeles, surrounded by books. On the museum's façade, Owens covered three large statues with sequins. And in the gardens, open to the public, he placed several concrete works, an illustration of his fondness for architectural brutalism. The ‘Temple of Love’ exhibition will be open until January 4, and coincides with the designer's show at this Men’s Fashion Week.(AFP) This article was translated to English using an AI tool. FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com

Polina Kulbechevskia, BTS 2024 Credits: UAL The inaugural Future Fashion Film Festival hosted by University of the Arts London (UAL) concluded this week at its new East Bank campus with an awards ceremony that offered a lens into the next generation of fashion image-makers. Held at the London College of Fashion’s recently opened headquarters in Stratford, the event aimed to position the medium of fashion film not as a digital sideshow but as a serious mode of visual storytelling, increasingly relevant to both brand building and artistic expression. Among a broad field of emerging talent, Zhaodong Zeng emerged as the standout voice, taking both the Grand Prize and Best Fashion Film awards for Liminal Space—a work that blends 2D animation and live-action to interrogate the ephemeral quality of rave spaces. The film was notable not just for its aesthetic ambition, but for its conceptual rigour, treating subcultural nightlife as a liminal zone where digital and physical realities collide. Zeng will receive commercial representation from Park Village Studios, alongside production resources and mentorship—a notable launchpad for a filmmaker who appears to sit comfortably at the intersection of speculative design, cinema, and fashion. The festival jury—drawn from across disciplines including choreography, art direction, and animation—awarded a further six prizes, reflecting the diversity of format and tone emerging in contemporary fashion film. Among the winners: * Junie Lau (Best Digital Innovation) for e^(i)+1=0, a mathematically poetic title that hints at the film’s conceptual orientation * Perry Curties (Best Fashion Documentary) for Bike Life, a study of urban cycling subcultures * Chenshuo Xu (Best Animation) for Ode to the Centaur, which combined mythological references with digital surrealism * Polina Kulbachevskaia (Best Performance) * Jessie Curry (Best Activism in a Fashion Context) Zeng’s Liminal Space stood apart for its cinematic language and referential depth, suggesting the medium is maturing into one that can borrow fluently from arthouse and mainstream idioms alike. For an industry increasingly reliant on motion media—especially in digital marketing, immersive retail, and brand storytelling—the festival signals a growing appetite for new visual languages not bound by traditional advertising or fashion week formats. Notably, two collaborative awards pointed to industry interest in surfacing new voices: Paola Nerilli won the Nowness Picks prize for Liminal Realm, while Tom Oliver received the Hi-Fi Initiative award for Fíodóra, supported by Hidden Agency, Panavision and Island Studios. The venue itself—London College of Fashion’s sprawling new East Bank home—is not incidental to the festival’s positioning. By hosting this in the heart of London’s newest cultural district, UAL is making a pointed claim about the future of fashion media: one that’s inclusive, experimental, and attuned to cross-disciplinary collaboration. The programme, while still in its infancy, reflects a wider recalibration within fashion education—moving beyond catwalks and lookbooks to embrace film as a mode of critique, exploration, and even activism. While much of the event maintained the optimistic tone typical of student showcases, the most successful films exhibited a sharp understanding of the tensions shaping contemporary fashion: the blur between the real and virtual, the pull between spectacle and substance, and the question of how fashion can remain expressive in a media landscape saturated with content. Whether Future Fashion Film Festival will become a critical calendar event remains to be seen. But if the work of Zeng and his contemporaries is any indication, the fashion film is no longer an accessory to the runway—it may soon be the main stage.

Prada Eyewear "The Sound of Prada", Berlin Credits: Courtesy Prada Eyewear In a fusion of fashion, music, and urban culture, Prada deepened its cultural investment with the latest instalment of The Sound of Prada—a branded experience rooted in global creativity—staged in Berlin this week. Anchored by the Prada Eyewear division, the event reaffirms the Italian luxury house’s ongoing ambition to remain not just a purveyor of style but a cultivator of cultural influence. Held at the Kranzler Eck, a storied café overlooking Berlin’s Kurfürstendamm—long a meeting ground for intellectuals, creatives, and tastemakers—the event reflected Prada’s calculated alignment with cities that embody artistic disruption. Berlin, with its post-reunification reputation as a capital of electronic music and counterculture, proved a fitting host for this latest iteration. Headlining the evening was American singer, actor, and producer Janelle Monáe, performing under her DJ alter ego, DJ Johnny Jane. Monáe, a decorated performer with eight Grammy nominations and a history of fusing afrofuturism with political commentary, brought star power and subversive edge to the evening. Her Wondaland Arts Society, which has cultivated talents like Jidenna and St. Beauty, reflects the kind of curatorial authority Prada seeks to associate with. Supporting acts included Christian AB—known for genre-bending electronica—and Channel Tres, whose signature blend of house, G-funk, and techno echoes Berlin’s own music scene, which remains a significant export for Germany, accounting for over €1 billion in cultural value according to the German Music Council. Prada’s “Sound of” series launched in Paris in 2019 and has since moved through key cultural capitals including London (2021), Cannes (2022), and Seoul (2024). Each edition combines live music with fashion presentations and location-specific installations. In Berlin, guests experienced a site-specific environment dedicated to the Prada Symbole eyewear collection, a core category for the brand’s licensing and accessories business. The strategy behind The Sound of Prada is emblematic of a wider shift in luxury branding—from passive product promotion to immersive storytelling that situates the brand at the centre of a cultural ecosystem. By choosing artist-driven cities and spotlighting musical innovation, Prada is creating experiential touchpoints that go beyond fashion weeks and traditional campaign formats. The guest list reinforced Prada's positioning at the intersection of pop culture and luxury, including actors Kit Connor, Ncuti Gatwa, and Clemens Schick, as well as brand ambassadors Troye Sivan and Benedetta Porcaroli. This talent curation complements the brand's global marketing strategy, which has increasingly leaned on rising Gen Z and millennial figures with high digital resonance. With eyewear now accounting for a growing share of luxury accessory sales—Euromonitor estimates the global luxury eyewear market at over 16 billion dollars—Prada’s investment in lifestyle-led promotion via its Symbole collection exemplifies the potential of experiential marketing not only to sell product but to reinforce cultural relevance. Prada Eyewear Credits: Courtesy Prada

Tod's My Gommino Credits: Tod's As the luxury sector increasingly reckons with questions of authenticity, sustainability, and the long-term value of heritage, Tod’s has emerged as a standard-bearer for Italy’s artisanal tradition—now receiving dual international accolades that underscore its strategic positioning in a crowded global market. Diego Della Valle, President of Tod’s Group, was honoured this month with the Changemaker Award for Craftsmanship at the third edition of Changemakers in Luxury Fashion, an event hosted by Camera Nazionale della Moda Italiana. The award, while symbolic, reflects a deeper market reality: that handcraft, far from being nostalgic, is now a competitive differentiator in an era of mass luxury. Della Valle has long argued that the luxury industry must protect its intangible capital—skills, heritage, and the transmission of know-how. “Craftsmanship is the true essence of Italian luxury: a heritage made of hands, time and knowledge that cannot be replicated. It is a national value for Italy and must be protected and enhanced through concrete investments, starting with the training of young people,” he said. “With our Bottega dei Mestieri, we aim to pass on not just a profession, but a culture of doing things well, with care and passion. Being an artisan is something noble and we must make this profession desirable and promote it.” This ethos—what Della Valle terms Artisanal Intelligence—is not mere rhetoric. It is embedded in Tod’s business strategy, particularly through initiatives like the Bottega dei Mestieri, which serve both to future-proof the supply chain and elevate the narrative value of Made in Italy in the eyes of international consumers. Meanwhile, Tod’s received a second major accolade: International Brand of the Year at the WWD x Saudi Fashion Awards in Riyadh, an event staged by the Saudi Fashion Commission in partnership with Women’s Wear Daily. The award recognises the brand’s growing global reputation, particularly at a time when luxury buyers in emerging markets are increasingly drawn to brands with strong, authentic craftsmanship narratives. Tod’s Creative Director Matteo Tamburini participated in the WWD Global Fashion and Beauty Summit, appearing alongside international peers to discuss the evolving luxury landscape. That Tod’s was singled out during this global forum suggests the brand’s narrative is resonating not only with consumers but with industry stakeholders betting on the long-term value of craftsmanship in luxury’s next chapter.

Louis Vuitton Cruise 2026 Credits: Courtesy Louis Vuitton Louis Vuitton on Thursday staged its Cruise 2026 show in the hallowed Cour d’Honneur of the Palais des Papes in Avignon — a space more accustomed to theatre than sartorial statements. The choice of venue, a UNESCO World Heritage site at the heart of the city’s famed theatre festival, underscored a collection as concerned with narrative and transformation as with silhouette and stitch. The significance of Cruise — or resort — collections has evolved considerably in recent years. Once a practical offering aimed at wealthy clientele wintering in warmer climes, these interseasonal shows now serve as strategic cultural moments for luxury houses. They allow brands to maintain commercial momentum between their traditional Spring/Summer and Autumn/Winter collections while projecting a global vision that often transcends the garments themselves. For conglomerates like LVMH, the Cruise calendar is a canvas for soft power and cultural diplomacy, aligning luxury with heritage, art, and aspiration. The upcoming Dior Cruise show in Rome on May 27 at Villa Albani Torlonia is rumoured to be the last for creative director Maria Grazia Chiuri. Nicolas Ghesquière, Vuitton’s artistic director for womenswear, has long embraced the performative potential of fashion. The collection — a meditation on costume and character — unfolded like a series of visual vignettes, invoking themes of identity, drama, and metamorphosis. Structured doublets evoked the vestiges of medieval court attire, reimagined through a futuristic lens of iridescent synthetics and exaggerated tailoring. Billowing organza capes swept across the stage like old Hollywood roles, while utilitarian tunics spoke to a warrior-poet archetype. Louis Vuitton Cruise 2026 Credits: Courtesy Louis Vuitton To call the collection theatrical would be too simplistic. Rather, it was theatre itself — an exploration of how clothing performs, conceals, reveals. The show also reaffirmed Vuitton’s longstanding relationship with the arts. Since its 1854 founding, the house has focused not only in trunks and textiles, but in cultural capital. Hosting a Cruise show at a historic ecclesiastical fortress is not merely an aesthetic decision — it is a calculated alignment with the values of permanence, prestige, and performance. Critics may argue that the spectacle of Cruise shows, often hosted in far-flung locales at considerable environmental cost, reflects a fashion system still struggling with the demands of sustainability. Yet for LVMH, the calculus remains clear: Cruise shows are not just about selling clothes — they are about reaffirming the mythology of the brand in a crowded luxury landscape.

Credits: Stéphane Feugère, Karl Lagerfeld Paris (dpa) - If anyone understands the craft - or rather, the art - of documentary filmmaking and celebrity portraits, it’s Gero von Boehm. In a small but sophisticated film, the 71 year old now gets to the bottom of the man, myth and fashion designer Karl Lagerfeld (1933-2019). ‘karl - the man behind the mask’ (60 minutes) was broadcast on 3sat at 8.15pm GMT on Saturday, May 24, and is also available in the media library. The filmmaker secured a number of prominent voices for the documentary, including US ‘Vogue’ editor-in-chief Anna Wintour, model and muse Nadja Auermann, actor and ‘becoming karl lagerfeld’ actor Daniel Brühl, designer colleague Wolfgang Joop, and F.A.Z. journalist and biographer Alfons Kaiser (‘karl lagerfeld - a german in paris’). “Karl was like my magic fairy dust and my mentor,” said Claudia Schiffer, who was his favourite model for years. “He transformed me from the shy German girl into the supermodel.” End of life Sébastian Jondeau, his closest confidant in his final years, provided insight into the hours before Lagerfeld’s death in February 2019. He also revealed that something very specific was supposed to happen to the ashes at the designer’s request, and why there is neither a gravestone nor a memorial. Many small stories about his early years in Paris paint an exciting picture of the man who almost perfectly understood how to stage himself, talking a lot but saying little (at least nothing private). Lagerfeld claimed that he did not belong to any generation or milieu and that he fitted in everywhere. Glamour There are anecdotes from his childhood friend Peter Bermbach, such as how Karl Lagerfeld, as a young German in Paris in the 50s, was said to have strutted around the swimming pool in tight swimming trunks, or how he liked to park his Mercedes convertible in front of the ‘café de flore’ or the ‘deux magots’ in the quartier saint-germain-des-prés in order to be seen. At a fashion competition in the mid-50s, he won first prize for a coat design, but the more important award for the best dress went to the then 18 year old Yves Saint Laurent, who remained a kind of rival in the decades that followed. Much later, Lagerfeld was the first big name from the world of haute couture to collaborate with a fast fashion brand like H&M. Origin The documentary also speculates and analyses, but with good reason. Lagerfeld was probably ashamed of his year of birth, 1933, which was associated with the nazi seizure of power, and which he liked to conceal or change. He is also said to have made up stories as a young man about being descended from a Swedish baron. The fact that his entrepreneurial parents were both members of the nsdap did not fit in well with the CV of a man of the world who wanted to make an international breakthrough and, above all, be accepted in his adopted home of France. Love His only great love, the dandy Jacques de Bascher, died of aids in 1989 at the age of just 38. Caroline Lebar, Karl’s head of communications, revealed that Lagerfeld had to confront the hated themes of illness and decay at that time, that he spent the last days with Bascher and then immediately continued to work in a highly disciplined manner, for example at fittings. The documentary also has original quotes on this dark chapter: of course he took care of his friend at the time, he wasn’t ice-cold, said Lagerfeld. “The better you live with yourself, the better you can take care of others.” Those close to him say that Lagerfeld gained weight in the years that followed, probably out of grief and sorrow. Icon Around the turn of the millennium, Lagerfeld reinvented himself again. He changed his appearance, lost 42 kilograms in 13 months with a radical diet, also to fit into the narrowly cut clothes of designer Hedi Slimane. Lagerfeld increasingly turned himself into his own brand - and finally became the global star that many young people can still remember today. Finally, he was struck by prostate cancer. Lagerfeld almost died as early as 2015, but the Hamburg native ignored the disease for as long as he could. Work, work, work - that was his life. He did not want to accept death. “I don’t want to be seen when I’m dead either, I think it’s terrible - cloth over it and away. In the bin. Done. Over.”(DPA) This article was translated to English using an AI tool. FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com

Adidas in Las Vegas Credits: Adidas The rivalry between sports brands Adidas and Puma, which were founded by two brothers in a small Bavarian town, is being adapted into a television series thanks to family archives, the producers announced on Sunday. The series brings one of the most fascinating family conflicts in business history to the screen: Adolf “Adi” Dassler, founder of Adidas, and Rudolf “Rudi”, who founded competitor Puma a few years later. The two brothers initially ran the family business, Adidas, together before falling out during the Second World War. Their feud divided the small town of Herzogenaurach, near Nuremberg, after the conflict. The Dassler family has approved the project by Hollywood producer No Fat Ego. Screenwriter Mark Williams, writer of the hit series ‘Ozark’ on Netflix, was chosen to write the story using videos and family memories. “Everyone knows the brands, but we don’t really know the story behind them,” the screenwriter told AFP on the sidelines of the Cannes Film Festival. The behaviour of the two brothers during the war will be explored, a sensitive topic for the two groups, which are now valued at billions of dollars. Adi and Rudi Dassler became members of the Nazi party in the 1930s, like most business leaders. Rudi fought and, on his return to a defeated Germany, was arrested by the Allied forces. “Adi stayed at home and tried to keep the company alive,” said Williams. The family’s factory had been seized as part of the war effort to be converted into an ammunition factory. The series promises to be a “drama in the style of ‘Succession’”, an US series about a family at the head of a media group in the US, Williams explained. The head of No Fat Ego, Niels Juul, who produced Martin Scorsese’s last films, said he was drawn to the story after discovering the partnership between Adidas and Black US athlete Jesse Owens. Jesse Owens, a four-time gold medallist at the 1936 Olympic Games in Berlin, wore innovative Adidas spiked shoes, among other things, a slap in the face for Adolf Hitler, who wanted to use the games to demonstrate White supremacy. This article was translated to English using an AI tool. FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com

Louis Vuitton x Murakami Chapter 3 Campaign Credits: Courtesy Louis Vuitton Louis Vuitton has unveiled the third and final installment of its re-edition partnership with Japanese contemporary artist Takashi Murakami. This chapter, marking the 20th anniversary of their initial 2003 collaboration, not only leverages nostalgia but also reflects a calculated attempt by parent company LVMH to invigorate consumer interest through cultural capital and collectible appeal. The collection, which coincides with the launch of Vuitton’s 2025 Resort line, once again taps actress and brand ambassador Zendaya, who features in a Mediterranean-inspired campaign shot by Inez and Vinoodh. This instalment reintroduces Murakami’s playful “Cherry” motif—two gleaming, kawaii-style cherries on a verdant stalk—across more than 70 items ranging from leather goods and footwear to whimsical seasonal items including a bicycle, silk scarves, and even a deck chair. But beyond the playfulness lies a serious business rationale. In a climate where aspirational buyers are pulling back amid inflationary pressures, and with China’s luxury rebound proving less robust than hoped, LVMH is relying on well-established brand storytelling to sustain desirability. “Murakami for Louis Vuitton” is not merely a design collaboration; it is fashion mythology. Originally conceived under then-creative director Marc Jacobs, the partnership introduced a vibrant pop-art palette to the subdued Monogram canvas and helped redefine luxury’s visual language for the early 2000s. The new release updates this formula with high-tech treatments—multi-step serigraphy, 3D-printing finishes, and Cherry-shaped heels—underscoring Vuitton’s ability to blend heritage with innovation. Of particular note is the new Monogram in white, a “blank canvas” for Murakami’s joyful aesthetic that plays directly into the collectible nature of the pieces. Key icons such as the Speedy, Alma, and Capucines bags have been reimagined with hidden charms and embellished motifs, designed to captivate both seasoned collectors and a new, Gen-Z audience steeped in digital fandom and nostalgia. A commercial cushion and cultural bridge For LVMH, which reported a marked slowdown in fashion and leather goods growth in Q1 2025 compared to its pandemic-era highs, the timing of this reissue is telling. With younger consumers increasingly drawn to "investment pieces" and limited editions, the Murakami re-edition serves as both a commercial cushion and a cultural bridge—connecting Louis Vuitton’s heritage with its future in collectible, cross-generational luxury. Moreover, the emphasis on joyful escapism—a Mediterranean setting, breezy fabrics, and vacation-ready silhouettes—matches current consumer desires for experiential and emotionally resonant purchases. As fast fashion makes everything feel less unique and luxury tries to stay relevant, collaborations like this show why some partnerships stand the test of time. The final chapter of Louis Vuitton × Murakami doesn’t just mark the end of a big-name collaboration—it highlights how emotionally driven, artist-led design can help keep a brand moving forward. In a crowded market where everyone’s trying to stay relevant, Vuitton is leaning into legacy. And for now, that seems to be working.

In Pictures National Trust’s Polesden Lacey ‘Dress to Impress’ exhibition - coronation gown Credits: National Trust by Arnhel de Serra National Trust’s Polesden Lacey in Surrey, the former home of Edwardian society hostess, Margaret Greville, is hosting a new exhibition throughout the house that delves into how people dress and explores the coded messages about power, politics, and personality. ‘Dress to Impress’ runs until November 2, and features paintings, historic costumes, and replica dresses, alongside photographs, films, and talks that look at dress and social influence. National Trust’s Polesden Lacey ‘Dress to Impress’ exhibition Arnhel de Serra Credits: National Trust by Arnhel de Serra Key highlights include a recently conserved portrait of Eva Maria Garrick by Johann Zoffany, which shows the opulence of masquerade balls, with the 18th-century dancer and wife of acclaimed actor David Garrick, dressed in shimmering silk. This sits along artwork from the 18th and early 19th century showcasing portraits of children by Henry Raeburn and Thomas Lawrence, looking at how brothers and sisters were depicted, and how these became less formal in their dress, poses and interactions between siblings, and work from early 20th century photographer Alice Hughes, sharing how she captured the essence of fashion and style of the era from her portraits of women and children, including royalty. The exhibition also features several loaned fashion items, including a Georgian waistcoat and skirt, a man’s Victorian fancy dress costume and Queen Mary's silk kimono. National Trust’s Polesden Lacey ‘Dress to Impress’ exhibition Credits: National Trust by Arnhel de Serra These fashion items sit with dresses from the National Trust’s collections, including a coronation robe from Ickworth celebrating Margaret Greville’s attendance at three coronations, and a Parisian 1920s silk and sequinned ‘flapper’ dress from Scotney Castle. Polesden Lacey’s Volunteer Textile Group have also recreated the dress and opera cloak worn by Margaret Greville in the full-length portrait of her by Carolus-Duran, while dress historian and author Serena Dyer has created a film showing how to dress like a Georgian. National Trust’s Polesden Lacey ‘Dress to Impress’ exhibition Credits: National Trust by Arnhel de Serra Alice Strickland, curator at the National Trust, said in a statement: “We can’t wait for visitors to experience this journey through fashion and accessories in art. This is not only an opportunity to see gorgeous historic garments and artworks on display but to enjoy films and talks, and to get playful, with replica dress to try on and a chance to pose for your own photographs in Alice Hughes’ recreated photographic studio.” National Trust’s Polesden Lacey ‘Dress to Impress’ exhibition Arnhel de Serra Credits: National Trust by Arnhel de Serra There is also a collaboration with Wimbledon College of Arts, part of the University of the Arts London (UAL), showcasing the next generation of costume design talent. Eleven final year students on the college’s BA (Hons) Costume for Theatre and Screen course have designed costumes inspired by the fancy dress attire featured in Margaret Greville's photograph album of the 1897 Devonshire House Ball. This opulent event was considered the social highlight of the year, graced by royalty and the aristocracy. Strickland added: “We are delighted there is a modern twist on the exhibition by welcoming students from Wimbledon College of Arts with their work. It is exciting to see how this next generation of fashion designers have been inspired by the Devonshire House Ball and the fabulous costumes that were worn there.” Dress to Impress exhibition at Polesden Lacey, featuring costumes by Wimbledon College of Arts, BA (Hons) Costume for Theatre and Screen students Credits: National Trust by Arnhel de Serra National Trust’s Polesden Lacey ‘Dress to Impress’ exhibition Credits: National Trust by Arnhel de Serra National Trust’s Polesden Lacey ‘Dress to Impress’ exhibition Credits: National Trust by Arnhel de Serra National Trust’s Polesden Lacey ‘Dress to Impress’ exhibition Credits: National Trust by Arnhel de Serra

Naomi Campbell arrives at the 77th edition of the Cannes Film Festival. Credits: Photo by Valery Hache / AFP Luxury fashion labels are increasingly reaching beyond the red carpets and exclusive parties of the cinema world, becoming partners with filmmakers and production companies. At the Cannes film festival this year, which starts Tuesday, labels will be looking to showcase not only their outfits, but also their credibility as investors. Alongside corporate heavyweights such as Chanel and Dior, trendy Paris-based label AMI and its founder Alexandre Mattiussi have linked up with the festival for the first time. AMI is set to present a new award for emerging talent -- the Grand Prix AMI Paris -- at the secondary Critics' Week section of the festival. "We're going there humbly, in support of cinema and its actors, to accompany artists," Mattiussi, who serves as creative director of his brand, told AFP. But AMI has also co-produced several films such as "The Beast" in 2023 by Bertrand Bonello, starring French actress Lea Seydoux, or "Enzo" by Robin Campillo which will premiere in Cannes this year. Fashion and cinema are "in a way, the same job. I also tell stories through clothing. A runway show has a context, music, and this idea of spectacle - it's a narrative process too," added the 44-year-old. But Mattiussi stressed he doesn't "consider myself a film producer. That would be pretentious." "I don't get involved in the scripts or creative decisions," he said. His label contributed to costumes for "The Beast", much like Jonathan Anderson -- newly appointed creative director of Dior Homme and formerly at Loewe -- did for Luca Guadagnino's 2024 movie "Queer". For years, Anderson's runway shows have also served as gathering spots for cinema stars, from Timothee Chalamet to Tilda Swinton. Expanding Other fashion houses are expanding their presence in the film industry with Saint Laurent running a division devoted entirely to cinema, called Saint Laurent Productions. Run by current artistic director Anthony Vaccarello, the division aims to co-produce two to three films per year. It has already backed works by Paolo Sorrentino ("Parthenope"), David Cronenberg ("The Shrouds"), and Jacques Audiard's 2024 smash hit musical "Emilia Perez". Kering, the owner of Gucci, Saint Laurent and Balenciaga among others, is also the sponsor of a major Cannes prize -- "Women in Motion" -- which recognises figures who "advance the place of women in cinema and in society". This year's winner will be Australian actor Nicole Kidman. L'Oreal, the festival's official make-up partner for 28 years, also sponsors a prize supporting "women in cinema". In return, its logo appears behind stars including Eva Longoria, Helen Mirren, Andie MacDowell, Viola Davis, and Aishwarya Rai. A new sponsor this year will be French carmaker Alpine, which has teamed up with another major parallel section of the Festival, the Directors' Fortnight. It will be showcasing its sports cars on the water-front boulevard of Cannes known as La Croisette.(AFP)

Documentary Let Them Be Naked Credits: Courtesy Earth Conscious Life + Inside Out LLC As pressure mounts on the fashion industry to confront its environmental and health impacts, designer Jeff Garner is offering a personal—and urgent—call to action. His award-winning documentary Let Them Be Naked will stream globally for the first time this Mother’s Day weekend (8–11 May), in memory of his mother, Peggy Lynn Garner, whose death from cancer he links to the synthetic toxins commonly found in everyday clothing. Presented by Earth Conscious Life and backed by Suzy Amis Cameron’s Inside Out LLC, the documentary provides a rare and provocative examination of the hidden chemicals used in global garment production. It arrives at a moment of heightened scrutiny for the industry, as regulators, scientists, and sustainability advocates demand greater transparency and accountability in the lifecycle of fashion products. A designer’s personal loss, an industry’s moral crisis Garner, who has been designing sustainable fashion since 2002, began his investigation after losing his mother in 2019 to breast cancer. “This is a gift to all the mothers who deserve to know what lies in their clothing,” said Garner in a statement ahead of the preview. “No mother should suffer from the unknown carcinogenic toxins found in their bra or underwear.” Let Them Be Naked—a title referencing the unfiltered truth behind what we wear—was filmed over the course of 2023, following Garner and his small crew across continents as they uncovered the underreported health risks associated with synthetic fibres and industrial dyes. The documentary builds on the designer’s earlier Let Them Be Naked handbook, which compiles scientific studies linking textile chemicals to skin absorption and long-term health risks. One cited 2018 study from Sweden and Italy found that benzothiazole, a chemical present in many garments, can leach through skin and into the body. Other research suggests that up to 37% of toxic chemicals in clothing may be absorbed dermally—a figure that rises with sweat and friction, conditions common in daily wear. Growing scientific and institutional alarm The film’s release coincides with a global pivot toward stricter environmental governance in fashion. In April, the United Nations dedicated its International Day of Zero Waste to the fashion industry, warning that “unless we accelerate action, dressing to kill could kill the planet.” The UN highlighted the use of thousands of chemicals in textile production—many of which are harmful to human and ecological health—as a pressing threat. This growing international awareness has exposed the fashion industry’s long-standing complacency on chemical safety. For decades, consumer safety and health impacts have remained secondary to cost and aesthetics in the global supply chain. While some luxury houses and independent designers have begun to invest in sustainable alternatives, meaningful systemic reform remains slow. A call for clean clothing and consumer awareness Garner’s mission now centres on public education. Through his film, he hopes to ignite a consumer-led movement toward nontoxic fashion. His own practice, Prophetik, has long used natural fibres such as hemp and plant-based dyes grown on his Tennessee farm—approaches that were once niche but are now gaining traction among climate-conscious designers. The documentary is also a rare example of fashion intersecting with legislative advocacy. Garner and his collaborators—including Amis Cameron’s Inside Out, a platform for regenerative design and living—aim to press for tighter regulation of chemical use in clothing manufacturing. Their goal is not only to inform, but to catalyse change at both consumer and policy levels. For an industry that has built its empire on aesthetics, Let Them Be Naked asks a more uncomfortable question: what lies beneath the fabric? As the fashion sector repositions itself in an era of climate and health awareness, Garner’s documentary stands as both memorial and manifesto—a call to strip away the sheen and confront the chemical truths stitched into the seams. Jeff Garner’s Let Them Be Naked will stream globally from 8–11 May via www.letthembenaked.com, presented by Earth Conscious Life and supported by Inside Out LLC. Peggy Lynn Garner with Jeff and sister Melissa (clothing designed by Peggy) Credits: Courtesy Inside Out LLC and IO Media

Smythson x Thomas Leělu Credits: Smythson Smythson, the British purveyor of luxury stationery and leather goods, is the latest heritage brand to embrace the art world, with a new capsule collection in collaboration with Parisian artist Thomas Leělu. The partnership, which sees Leělu's characteristically pithy and playful sentences emblazoned across Smythson's signature items, underscores the brand's ongoing commitment to artistic collaborations. Leělu, known for his wry observations on the everyday, expressed admiration for Smythson's "absolute authority" in its field. The collaboration is described as a meeting of minds, born from a shared appreciation for the analogue world of writing and a desire to inject a sense of humour into the mundane. Together, Smythson and Leělu have curated a selection of the artist's most celebrated aphorisms, aligning them with Smythson's core brand tenets: writing, travel, and gifting. Leělu's fascination with language, he explains, stems from his upbringing, as the son of a literature professor and a psychoanalyst. This linguistic preoccupation is evident in his concise and often ironic turns of phrase. The collection, launching in May, features three notebooks in varying sizes, rendered in Smythson's classic cerulean, black, and Nile Blue hues, alongside a limited-edition luggage tag and passport cover, the latter bearing a travel-inspired quote. The collaboration represents a subtle, yet sophisticated, merging of Smythson's timeless elegance with Leělu's contemporary wit.

Kering, the luxury conglomerate, and the Festival de Cannes will bestow the 2025 Women In Motion Award upon Nicole Kidman, recognizing her significant contributions to cinema and her advocacy for female representation, the festival announced. Kidman, whose career spans over three decades, will receive the accolade at the official Women In Motion dinner during the festival. Analysts point to this as a strategic move by Kering, solidifying its position as a key player in promoting gender equality within the film industry – a cause that resonates strongly with an increasingly influential consumer base. Kering's commitment through initiatives like Women In Motion aligns with the evolving values of luxury consumers, who are looking beyond just product and seeking brands that demonstrate social responsibility. Beyond her acting credits, Kidman has leveraged her influence to champion women behind the camera. Her production company, Blossom Films, has backed projects like "Big Little Lies," which garnered critical acclaim and numerous awards, with Kidman herself winning an Emmy. Her public pledge to work with female directors has translated into significant action, exceeding her initial commitment. The award also acknowledges Kidman's emergence as a fashion icon. Over the years, she has cultivated relationships with major fashion houses, notably Chanel and Balenciaga. Her red-carpet appearances are closely watched by industry insiders, and her style evolution from classic Hollywood glamour to more avant-garde choices reflects a willingness to experiment. Kidman's impact on fashion goes beyond simple endorsement; she embodies a sophisticated, confident style that resonates with a discerning audience. Her collaborations with these major houses have further solidified her status as a cultural figure whose influence extends beyond the film industry, a key factor in awards such as this, showcasing her influence on broader cultural conversations. “For this anniversary edition of Women In Motion, Nicole Kidman, who fully embodies the spirit of the program, was an obvious choice. Through her artistic standards, her committed choices and her concrete action to change representations in cinema, she is a powerful illustration of what Women In Motion has been defending for a decade.” - François-Henri Pinault, Chairman and CEO of Kering “It’s a true honor to receive this award from François, Thierry, Iris, my friends at the Kering Group as well as the Cannes Film Festival. I am proud to join this list of extraordinary women who’ve received this honor before me—artists and trailblazers I deeply admire. The Cannes Film Festival has been a part of my life for over 30 years and I am thrilled to add this incredible recognition to the many memories I’ve made here.” — Nicole Kidman The Women In Motion program, launched by Kering in 2015, celebrates the achievements of women in cinema and their impact on society. Nicole Kidman Credits: © Platon via Kering

In collaboration with the MoMADe campus, the Palais Galliera is organising the Fashion-Z festival Credits: Aéris Fontaine The Palais Galliera, Paris’s fashion museum, collaborated with the Campus Mode, Métiers d’Art & Design (MoMADe) for the Fashion-Z festival, which took place on April 25 and 26. The unprecedented event, a first for the institution, set out to examine the future of fashion, bringing together the ideas and work of researchers, professionals, influencers and students. The festival opened on Friday, April 25, with hour-long panel discussions on current themes and issues, such as sustainability, decolonialism, transgression and experimentation in the broader fashion sector. An exhibition of installations and photographs, as well as silhouettes designed by students from the network of partner institutions, encouraged participants to extend their reflections in a contemplative and sensitive way. The next day, the Palais Galliera was transformed into a temple of creativity with free workshops. Visitors tried their hand at sewing on tote bags and t-shirts, which resulted in collaborative works displayed in the museum's courtyard. The more playful were no doubt won over by the card game ‘Les petits héros durables’ (Little sustainable heroes), which aimed to “raise awareness of the various fashion materials and their environmental impact, while having fun”. More meticulous visitors lent themselves to transforming household linen into collection flags, through colourful and delicate embroidery. But the most popular workshop was undoubtedly that of French creator Maroussia Rebecq, where participants were restyled and invited to pose theatrically alongside a performer. The event concluded with a closing party, at which designer Rick Owens and his partner Michèle Lamy were present but keeping a very low profile. In this article, FashionUnited looks back at the main lines of thought that punctuated the Fashion-Z festival. Making sustainable fashion accessible The subject of sustainability in fashion is not new. In recent years, many initiatives and projects have emerged and become popular in order to make fashion more responsible: the rise of second-hand fashion apps, the launch of the repair bonus and the increase in vintage fashion shops and pop-up stores, to name but a few of the best-known examples. However, at the same time, fast fashion and ultra-fast fashion brands continue to account for a significant share of the clothing market, reminding us that sustainability in fashion can never be taken for granted and must be constantly rethought. In partnership with the MoMADe campus, the Palais Galliera organised a panel discussion, led by Andrée-Anne Lemieux, director of sustainable development at the IFM, bringing together Zoé Hotuqi, vintage fashion influencer and author of 'Vintage et seconde main', and Sakina M’sa, founder of the eponymous brand, among others. It was an opportunity for the speakers to explain how they became interested in these issues, and continue to learn and commit to them. A large part of the workshops was also devoted to transformation and reclamation through simple actions, inviting participants to sew, embroider, draw or cut into fabrics. The aim was to show that these actions can be part of everyday practice. Thinking of clothing as a social act The second and third panel discussions attempted to go beyond the purely aesthetic dimension of clothing, to examine its social and political role in our society. “Wearing clothing is never a purely individual practice. Through clothing, the body is inscribed in the collective,” introduced the second meeting, which brought together speakers with varied profiles: Marine Kisiel, doctor of art history and head of collections at the Palais Galliera; Marine Chaleroux, doctoral student in contemporary history; Gael Calderón, design student at the IFM; and Etna Malone, dancer. Their combined perspectives remind us that clothing, more than just a way of asserting individual style, is associated with a set of symbols and connotations. Above all, it is intrinsically linked to the body and to intimacy: it is used to reveal, hide or suggest, depending on social, cultural or political environments. Led by five students from the École des Arts Décoratifs – PSL and Annabela Tournon Zubieta, a teacher of colonial studies, the third panel discussion welcomed fashion historian Khémaïs Ben Lakhdar and lawyer Glynnis Makoundou, who specialises in copyright and intellectual property law. With their respective expertise, using examples, they questioned the impact of colonialism on fashion design, redefined the notions of appropriation and cultural appreciation, before considering forms of re-appropriation by minority cultures of their own heritage. The Palais Galliera and the MoMADe Campus provided a stage for exploring these essential issues, in order to understand yesterday's fashion and imagine that of tomorrow, in front of an audience of amateurs, professionals and the curious. Honouring student design While the last panel discussion offered a few students from the École Duperré the opportunity to present the ideas and stories behind their projects, in reality the whole festival was committed to celebrating multidisciplinary student design and offering it a space for expression. During the workshops, the students exhibiting exchanged views with the public about their look, in an enriching encounter for everyone. The Fashion-Z festival was fully booked, with panel discussions sold out and almost 800 visitors of all ages in the workshops. This is proof of a real interest in this type of event, as one participant testified: “We were really waiting for this type of event at the Palais Galliera.” A partner of the museum, the MoMADe campus offers a network of training establishments and institutional partners in fashion and design, including the École des Arts Décoratifs - PSL, the École Duperré and the Institut Français de la Mode. Its mission is to promote all forms of training, from vocational to research level. This article was translated to English using an AI tool. FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com

”Mend in Public Day” poster. Credits: Liv Simpliciano for Fashion Revolution Just a generation or two ago, it was common practice to mend an old garment at home – broken zippers, torn knee or elbow areas, ripped hems, loose buttons – none of this was a problem. Every household relied on their darning and sewing utensils, and many even had a sewing machine. Difficult cases were handed over to the trusted tailor, which could still be found on almost every street corner. Today, the situation is different – ​​garments with even minor problems like a loose button end up in the back of the closet and later in the trash. Why is this? What has changed? Home sewing machine. Credits: Eduard Kalesnik / Pexels On the one hand, people hardly have time to sit down and mend clothes. On the other, repairing clothes is no longer a “cool” leisure activity; it has gone out of fashion, and with it, the skill. After all, it is an art to mend a hole so that the repair is barely visible and it is covered for good. Or to sew a hem straight back on, or even to make clothes tighter or looser. The main reason, however, is that clothing (unlike most other consumer goods) has not become more expensive over the decades, but rather cheaper. This is due to factors such as mass production, globalisation and the rise of fast fashion. This means that while a t-shirt cost 10 to 12 euros (or whatever the equivalent in the local currency was) back in 1980, it can be had for half that price today. This has resulted in people buying two or more t-shirts instead of one; in fact, we buy more of everything, we have too much - pants, shirts, t-shirts, skirts, outerwear, etc. Our wardrobes are bursting at the seams and when an item of clothing is no longer usable because it has a stain, a button is missing or a hem is ripped, we throw it out instead of mending it. We are secretly relieved to have reduced our clothing heap a little. „Mend in Public Day“ on 26th April So the question of mending does not arise for most consumers. Unless it becomes a public, revolutionary act. Like this Saturday, April 26, for example, when the non-profit organisation Fashion Revolution is once again calling for a “Mend in Public Day” as part of Fashion Revolution Week, a whole day dedicated to collectively repairing and beautifying garments. For those who have forgotten how to sew, darn and be creative with a needle (or perhaps were never taught), there are instructions, tips and tricks. Sewing kit. Credits: Suzy Hazelwood / Pexels In the UK, US, Canada, Europe, Asia - worldwide, in fact - Fashion Revolution is organising its “Mend in Public Day” again, which was a hit when it was started last year. In many cities around the globe, it will be all about repairing and beautifying clothes as a communal activity. Materials are often provided, as are snacks and drinks, as well as information about garments and the garment industry. Clothes can also be swapped. Detailed information about what is happening in individual cities and where one can swap clothes, repair them, participate in discussions and learn more can be found in the “Events” section of the Fashion Revolution website. Fashion companies offer repair services Fashion companies have also realised that it is more sustainable to offer repairs for the garments they produce than to bombard customers with ever-increasing quantities of new goods. Just yesterday, for example, Hamburg-based fashion group Tom Tailor announced a partnership with Dutch repair platform Mended, and resale platform Vestiaire Collective has been collaborating with the repair and alteration platform Sojo since June of last year to provide Vestiaire customers with access to tailoring and repair services. Swedish slow fashion brand Asket, British footwear brand Dr. Martens and outerwear specialist Patagonia all offer repair services. Even clothing retailers with great ambitions for worldwide market penetration such as Decathlon and Uniqlo, are now focusing on repairs: Decathlon through repair workshops in stores and Uniqlo through its Re.Uniqlo Studios, which offer repair, alteration and donation options. Also read: * What if we could wear our favourite clothes longer? * Most consumers know cheap fashion isn’t sustainable—so why do they keep buying it? * A closer look at the upcoming EU’s Right to Repair legislation and its impact on fashion

A statue of Snoopy, a comic strip character by Charles Schulz, in downtown São Paulo (Brazil, 2016) Credits: VANESSA CARVALHO / BRAZIL PHOTO PRESS / Brazil Photo Press via AFP A new exhibition opened Saturday in Paris charting the emergence of Snoopy as a fashion icon, with the famed black-and-white beagle embraced by designers from streetwear brands to couture houses. The show at the Hotel du Grand Veneur in the Marais neighbourhood is part of the celebrations for the 75th anniversary of Snoopy, Charlie Brown and the Peanuts comic strip crew which were created by late American illustrator Charles Schulz. It is the latest entry in a competitive but extremely well-attended field of fashion showcases in the French capital, with the Louvre ("Louvre Couture") and the Grand Palais ("Dolce & Gabbana") currently hosting packed-out exhibitions. "Since we're celebrating our 75th anniversary this year, we thought it would be fun to celebrate the history that the brand has with fashion. And where else would you do that but in Paris?" said Melissa Menta from the Peanuts Worldwide company. Entitled "Snoopy in Style" and running from March 22-April 5, the free show explains the intense care taken by Schulz to create simple, visually recognisable characters that would "bounce off the page". Charlie Brown was initially drawn with just a plain white t-shirt before Schulz -- whose snappy dress sense is also celebrated in the show -- gave him his trademark sweater with a jagged stripe. But the exhibition is at its most interesting in explaining how designer collaborations and merchandising -- long before they were fashionable -- helped turn a 1950s comic strip scribble into a global cultural phenomenon. Nowadays, Snoopy is recognised by between 80-90 percent of people in the United States, Europe, Japan and even China, according to research by the Deloitte consultancy for the Peanuts company. 'Funny' Much of the credit for Snoopy's journey from newspaper pages to mass-market clothing stores and fashion catwalks is given to Schulz's long-time merchandising collaborator Connie Boucher. She came up with the idea of producing dolls of Snoopy and his sister Belle in the early 1980s which she then sent to fashion houses around the world, asking their designers to dress them. "Isn't it amazing how the busy fashion celebrities wanted to take on the challenge of designing outfits for fuzzy characters with large ears and tails?" she is quoted as saying afterwards. By 1982, there were enough dolls -- from Karl Lagerfeld, Fendi or long-time fan Jean-Charles de Castelbajac -- to put on a first travelling exhibition in US cities, London and Paris. Many of them are on display in the most striking room of the Paris show that features dozens of dolls from this period and others from the present day. Italian fashion house Valentino sent a contribution that sees Belle in a replica of a couture outfit that was showcased in Paris in January this year that includes 15 different fabrics. "Designers wanted to include Snoopy because they realise the universal message that he carries," curator Sarah Andelman, founder of former Paris boutique Colette, told AFP. Elsewhere, visitors get a sense of the global marketing and commercial power of the Snoopy figure which appears on Marc Jacobs trainers, Uniqlo t-shirts, Lacoste padded jackets, Gucci jeans, Vans shoes and more. Licensing agreements come with strict conditions. "It shouldn't be X-rated and Snoopy can't be smoking or drinking alcohol," Menta explained. Keeping Charlie Brown's pet sidekick relevant to new generations so long after his first appearance on October 4, 1950, is a challenge for the Peanuts company. The fashion collaborations achieve this, but help has also come from the internet where Schulz's 18,000 Peanuts strips are endlessly recycled. Charles Schulz, who passed away in 2000, "would be amazed at how it has taken off on social media," his widow Jeannie Schulz told AFP.(AFP)

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