When the weather has been as stiflingly hot as it was in Europe this June, most people agree that the ideal outfit is one that includes as few clothes as possible. How then, to best express a sense of personal style? At the end of the three-city romp that was men’s fashion month – which saw designers and brands present their S/S 2027 collections in Florence, Milan, and Paris – Wallpaper* has collated the standout accessories of the season, from playful jewellery to statement shoes, which will elevate even the simplest of looks.

Dior’s bold brooches

Jonathan Anderson chose to trompe-l’oeil some of his accessories this season, but the jewellery was very much real, and for S/S 2027 the Dior man is wearing a brooch. Dior was not the only place we saw brooches this week, but the oversized sparkly pom-poms pinned to jumpers, and the large metallic foxglove with coloured bead petals, worn on a jacket lapel, were among the standouts for the season.

Simone Rocha’s ballet pumps

In the run-up to Simone Rocha’s first standalone menswear show, held as part of Pitti Uomo in Florence, the designer told Wallpaper* that it was ‘contrast’ and ‘tension’ that excites her most about fashion. Nowhere was this better expressed in the show at Teatro Della Pergola than in the shoes: punky studded derbys were countered with soft ballet pumps, the latter replete with elastic strap and bow, and an occasional pearl-drop detail.

Prada’s belt bags

It was a highly streamlined affair from Muccia Prada and Raf Simons this season, and, as such, accessories were ‘integrated within these overall structures’, for maximum efficiency. In practice, this meant bags – some practical zip-up nylon, others in squishy leather – hung from belts via carabiner, swinging at the hip, a part of an outfit rather than an add-on.

Celine’s colourful cummerbunds

Michael Rider’s first menswear proposition for Celine was dictated by his own taste, and creating garments he and his team would wish to wear themselves. Cue the cummerbund, a standout piece in a collection teeming with highly desirable accessories, including chunky wooden bead necklaces, spangled fringe scarves, jangly belts and jumbo pins. The fuchsia silk sash offered a colourful contrast to a neutral-toned ensemble, and a version in turquoise worn over a black long-sleeve and white slacks made a case for incorporating the cummerbund into a daytime look.

Ralph Lauren’s statement belts

If the Ralph Lauren gentleman doesn’t have a cable-knit jumper or a striped neck-tie slung around his waist, no matter, he is not short of statement belt options for the season. There was a bit of an emphasis on the accessory at the dual-Polo and Purple Label show in Milan, with an eclectic offering including a brown leather belt with cowboy-esque buckle and studs, a version in black with a clip-on chain, and skinny, woven iterations in contrasting colours, the straps either tucked neatly through D-rings or left to hang loose.

Dolce & Gabbana’s bejewelled slippers

What do you get the man who has everything? Why, a pair of Dolce and Gabbana S/S 2027 bejewelled slippers, of course. One pair came in blue suede with matching beading, another pair positively barnacled in crystal in golden setting – contrasting with the easy, lightweight cotton and sensual linen garments proposed for a vacanze Siciliane.

Paul Smith’s undone ties

Nostalgia for summers gone by was a major theme of this season’s Paul Smith collection – one which takes place in the designer’s 80th birthday year. In the accessories, as in the way they were styled, this theme took us back to Smith’s childhood: memories of his grandfather’s relaxed approach to suiting translated into unknotted neck ties that hung loosely, as if they’d been undone at the end of a hot day. Charms cast in pewter and brass were worn on pins and on necklaces and were shaped like pennies (that a kid might collect), and seashells and sailing boats – the idyllic imagery of long ago school holidays.

Saint Laurent’s see-through shoes

The contentious see-through shoe has been mainly the preserve of womenswear discourse before now, but, thanks to Anthony Vaccarello, men too can join in the conversation. Saint Laurent’s footwear offering for the season included an elongated Oxford dress shoe with its upper portion crafted from transparent vinyl. For proving one’s fashion chops, even if it does mean giving away foot content gratis, there is no better option.

Auralee’s holiday beads

Evocative of the kind of easy souvenir one might pick up on holiday in the tropics, multi-coloured beads the size of seed-pearls were woven on strings and into micro-charms for Auralee’s S/S 2027 presentation – worn as anklets, belts, and even looped through eyelets in lieu of shoelaces.

Louis Vuitton’s surfboards

Pharrell Williams made a convincing argument that the ultimate accessory for the season is one on which you can ride the waves. For the surf-inspired show, which featured neoprene-clad models, the usual leather goods were almost upstaged by LV-monogrammed boards, an impossibly chic addition to any beach look.

Dries Van Noten’s animal-print lace-ups

An 1876 poem about a fantastical creature, half-man, half-animal, was Julian Klausner’s inspiration for Dries Van Noten this season. Presumably it was the bottom half that was the animal, for amongst the shoes featured was a series of slender brogues in photorealistic cheetah print, an effect which was also mimicked on gloves and capacious pouches.

Wooyoungmi’s laundry bags

If doing the washing doesn’t feel like an automatic association for a collection centred around joy to suggest, allow Wooyoungmi’s take on a laundry bag to make you reconsider. An array of striped versions with contrasting leather handles and piping featured throughout, reinforcing the way heung, a Korean concept based on optimism, joy and spontaneity ‘can be evoked through meditative manifestation in every area of life.’

The subject of conversation this Paris Fashion Week Men’s rarely strayed from the oppressive temperatures as a Europe-wide heatwave engulfed the city (with the mercury tipping 40 degrees, it was the epicentre of the weather phenomenon). Shows were moved from the heat of the day to early morning; venues came with paramedics on standby; and the endless flickering of fans provided the backdrop to almost every show. Marking the closing act of a sweltering fashion month, it left questions of how sustainable a fashion week is in the heat of mid-June, should this become the new normal.

And yet, the show went on. Across a six-day schedule, there were shows from fashion’s biggest houses – notably Saint Laurent, Dior, Celine and Louis Vuitton (the latter gauged the mood by making its show set a beach with an enormous ‘tidal wave’ at the end of the runway) – as well as those that define the cultural zeitgeist, like Rick Owens (his looks came with pre-installed air conditioning), Dries Van Noten (Julian Klausner’s ethereal lightness looked particularly attuned to the heat), and Willy Chavarria (the American designer talked finding joy in times of ‘chaos and darkness’). Elsewhere, Nick Wakeman hosted her debut runway show for Studio Nicholson, 16 years after its founding, and Kiko Kostadinov marked 10 years of his own eponymous label.

As the week concludes, Wallpaper* looks back over Paris Fashion Week Men’s to pick our highlights – from Jonathan Anderson’s ‘sampled and remixed’ collection for Dior (inspired by the music of Fred Again, who also soundtracked the show), to Michael Rider’s brilliant first menswear show for Celine, which closed out proceedings on Sunday.

Saint Laurent

Anthony Vaccarello has made the Tadao Ando-designed rotunda of the Bourse de Commerce – Pinault Collection gallery the location for his Saint Laurent runway shows for a number of seasons – a suitably monumental setting for the vision he has honed at the house over the past decade, one of cinematic sensuality and the uncompromising repetition of a single silhouette in a given collection. This season, the space was transformed by Fujiko Nakaya’s Cloud #07156, currently on display in the institution. The installation, one of a series of ‘fog’ sculptures by the Japanese artist, sees water vapour emitted from the floor, before being manipulated by a series of high-pressure pumps and nozzles for a 16-minute display (the technology was originally developed in 1969 alongside engineer Thomas Mee). ‘Fujiko Nakaya does not depict fog; she sculpts it,’ says art critic Anne‑Marie Duguet in the installation’s accompanying catalogue.

It set the scene for a collection in which Vaccarello explored the idea of ‘restraint as seduction’, the lingering fog around the models a symbolic gesture of the kind of undefinable desire that certain figures can provoke. ‘Nobody is trying to seduce you,’ he said of this season’s protagonist. ‘What makes them seductive is that they do not need to.’ Touchstones for this figure were ‘Marguerite Duras, whose writing found meaning in what remained unsaid; Tina Chow, whose legendary style embraced reduction rather than excess; and the fictional Mr Ripley, whose outward composure concealed a far more complicated interior life,’ as he explained via the accompanying notes.

It led to a collection defined by lightness and simplicity: there were featherweight ribbed knits that traced the contours of the body, shrunken waistcoats worn with nothing beneath, and the reemergence of the windbreaker, here in breezy hues of yellow and orange (Vaccarello said he imagined it as a collection which could be easily packed into a suitcase for travel). Tailoring this season remained broad across the shoulder, though had an easy, oversized line, while nods to the opulence of Yves Saint Laurent came in jewellery-like buttons and trench coats rendered in molten gold. Though the use of the luxurious hue was less about excess, Vaccarrello argued; rather, it was used to venerate the garment itself, ‘transforming the utilitarian trench into something extraordinary’. Jack Moss

Auralee

Auralee’s Ryota Iwai dealt with the expectation-versus-reality of the summer season in his S/S 2027 collection for his Japan-based label – the total vacation switch-off we fantasise about while on home soil, and then the slightly uncanny version of ourselves that actually shows up, still plugged in but perhaps a little more susceptible to chance.

Played out in three chapters: ‘The anticipation of departure, the sense of freedom that travel awakens, and the return to everyday life – subtly changed, soaking in the afterglow of the trip,’ looks became more relaxed as things progressed. What started as summery – but still smart – tailoring in office-appropriate blues and greys gave way into softer beach cover-up styles, brighter hues, and the addition of cute trinkets. India Birgitta Jarvis

Louis Vuitton

Pharrell Williams drew an unlikely yet astute comparison between surfers and dandies for Louis Vuitton’s S/S 2027 collection, noting their mutual reverence for performance, craft and travel. Where the dandy peacocks in a more urban context, the surfer commands the beach and rides the waves, but both are drawn by impulse and a certain non-conformity. In fact, ‘dude’, that enduring hippie slang which calls to mind tousled beach-waves and shark-tooth necklaces, used to mean dandy, once upon a time.

The two archetypes converged within Williams’ artfully staged show – a beach scene with real sand, boardwalk and an eight-metre-tall wave set within the Cité Internationale Universitaire de Paris. Classic city pieces, including two-piece suits and collared shirts, were given the surf treatment with tailored jackets constructed in neoprene and what the brand described as ‘hand-spun’ textures. Blue was the prevailing colour, from flashes of ultramarine to dusty-shaded denim which appeared time-worn and sun-bleached. This was not just a tribute – Louis Vuitton has pledged its support to reef conservation projects and enlisted the help of competitors at the Tahiti Pro, taking place this August, to monitor progress. IBJ

Dior

This season, Jonathan Anderson drafted the British producer and musician Fred Again to soundtrack his S/S 2027 show, held at Paris’ Musée Nissim de Camondo, a decorative arts museum in the 8th arrondissement. Fred Again, who produced songs for artists including Skepta and Charli XCX, rose to prominence with his three-volume Actual Life mixtapes, an aural diary of the years 2020-2022 which comprised voice notes from friends, spoken word and samples, alongside his own music. Anderson said that Fred Again’s creative process had inspired his approach to this season, which he described as ‘sampling and remixing to carve out new meaning for what’s known’.

As such, Anderson presented a collection which traversed eras – frock coats and 19th-century embroidered met tattered denim, baggy polo shirts and leather pants – while transforming familiar garments as one might remix a record. This included the tuxedo, this season’s protagonist, which shape-shifted across the collection, reimagined in a draped, organza-like fabric printed to look like tailoring wool, elongated into a robe-like coat, or transformed into a windbreaker-style jacket with a toggle fastening at its hem. Elsewhere, moments of eccentricity and play that have defined Anderson’s approach at both Dior and Loewe before it continued to come to the fore, from shimmering metallic jeans and zig-zag tote bags to corsage brooches and skewiff bow ties. ‘Fashion has to be enjoyable,’ he said. ‘It has to be fun.’ JM

Rick Owens

As Europeans across the board reckon with heatwave-proofing their homes, debating the merits of windows closed versus windows open and so on, Rick Owens was typically one step ahead. The S/S 2027 collection not only incorporated Adidas’ ClimaCool technology, but was supplemented with in-built fans and ice elements, creating a ‘personal air conditioning system’.

This technology means that Owens may have just cracked the technique for wearing all-black through the warmer months – and, to prove it, the 72-look collection was almost entirely black with the occasional contrasting buff-tone. In addition to the signature Rick Owens sharply elongated silhouette, S/S 2027 offered more sporty options, including track pants (with Adidas stripe) and puffer coats – ones which literally puffed, thanks to the air circulating within. IBJ

IM Men

‘In Praise of Bamboo Shadows’, as IM Men’s S/S 2027 was called, celebrated every conceivable association of the plant. Its usefulness and versatility as a material was expressed through fabric made from a blend of bamboo fibres and organic cotton, on which graphic designer Rikako Nagashima had printed shadowy patterns. Its deliciousness as an ingredient came through in supple leather bags, inspired by chimaki, a Japanese dish of steamed bamboo leaves filled with glutinous rice.

Most important of all were the aesthetic and cultural associations. The patterns cast by bamboo forests, light dappled in beams, was translated in a Japanese dyeing technique called ironaki, and the repeated straight lines created by the plant found their echo in hand-pleated pieces. Papery textured outerwear ‘[drew] inspiration from the jūnihitoe (the twelve-layered kimono) worn by Princess Kaguya in The Tale of the Bamboo Cutter, one of the oldest Japanese folktales,’ and denim in graduated colour evoked traditional ink wash paintings. IBJ

Dries Van Noten

Julian Klausner’s latest collection for Dries Van Noten came with a warning prior to the show: guests could expect to be subjected to extreme temperatures in the Tennis Club de Paris showspace due to the heatwave which continued into Thursday evening. So much so, on arrival, two paramedics stood on standby, ice lollies were distributed to guests, and fans were left on the seats which stretched the length of the monumental space. Luckily, this is a house with an enormous amount of goodwill, one which has extended from the eponymous Van Noten – the designer exited his brand in 2024 – to Klausner, who has astutely evolved the Belgian house’s codes with a series of lauded men’s and womenswear collections.

His S/S 2027 menswear outing was equally beguiling, a masterclass in lightness and beauty that more than distracted from the venue’s heat (in fact, the collection’s diaphanous layers looked all the more appealing). The inspiration had come from L’Après-midi d’un faune (The Faun’s Afternoon), an 1876 poem by Stéphane Mallarmé in which a ‘dream-like creature’ wakes up in the woods having dreamt of dancing nymphs; in his slumbering state, he cannot remember if the scene happened or not. ‘I was moved by the haziness the verses depict, by the constant blurring between the real and the imagined and by the fluidity with which the senses and fantasy slip one into the other,’ said Klausner.

In the collection, this feeling was conjured in the reimagining of a ‘masculine wardrobe’ in delicate, sheer fabrications or adorned with embellishment – from a breezy parka decorated with transparent paillettes, to vividly printed silk trench coats and safari shirts – while colours moved from watercolour hues and sun-bleached pastels to inky black and navy. ‘The idea of sensuality guided many of our choices, colours and fabrications, rendering wardrobe staples as clothing that feels soft and intimate,’ Klausner continued. ‘Like a dream that vanishes upon waking up, I hope everything feels loose, delicate, easy to remove, ready to fly away.’ JM

Studio Nicholson

‘This is who we are,’ declared Studio Nicholson, the British brand that held its first runway show in its 16-year history as part of Paris Fashion Week Men’s. The collection doubled down on its position as a leader of discerning, minimalist style: high-quality fabrics presented with low intervention, expertly cut and relatively unisex. The S/S 2027 show included both men’s and womenswear, but the majority of Studio Nicholson pieces could be worn interchangeably – a shared wardrobe for tasteful couples.

Although this was their first show, in ways it also served as a retrospective. ‘The Sorte’ trouser, which has been a mainstay for Studio Nicholson since the very beginning, opened the show in navy gabardine, and slightly barrel-legged jeans (the brand is the well-established go-to for this cut) appeared multiple times throughout. There was an expansion in other categories, particularly accessories and shoes, which included, in true summer style, espadrilles, flip-flops and garden clogs. IBJ

Junya Watanabe

The number of collaborators listed in the show-notes for Junya Watanabe’s S/S 2027 collection totalled 17: from other clothing brands, including Carhartt, Kappa, and New Balance, to every fashion assistant’s bête noir… DHL. The multinational’s logo appeared on caps created by another collaborator, artist Kota Okuda, which were blingified with ostentatious gold chains and strings of pearls.

Costume jewellery ran through the collection, which closed the gap between traditional tailoring techniques and more recent sportswear tropes, with more than a sprinkle of 1980s references throughout. There was a stone-washed denim jacket, cropped short and worn on top of a Wall Street blue-and-white striped poplin shirt. Tracksuits were high-sheen and colour-blocked, and bouclé accents and the occasional exaggerated epoulette called to mind classic yuppie style, albeit with more swagger. IBJ

Willy Chavarria

Since transplanting from New York, Willy Chavarria’s Paris shows have become a highlight of the schedule – previous outings have included a near-religious experience in the American Church of Paris, while last season’s all-singing, all-dancing spectacular played out like a telenovela on steroids. This season, Chavarria chose Espace Niemeyer, the Oscar Niemeyer-designed former Headquarters of the French Communist Party, for the show, which took place under its futuristic subterranean dome. The setting felt apt: the utopian architecture provided a reflection of a collection that Chavarria said was about a search for joy amid a time of ‘chaos and darkness’.

Soundtracked by a quartet of musicians, he titled the S/S 2027 outing Comunión (flyers for the show posited it as ‘New Age Group Therapy’) and drafted a group of friends and collaborators, including Bella Freud and Romeo Beckham, to walk the runway. Their looks continued to hone Chavarria’s signature aesthetic, one which reimagines work- and sportswear silhouettes in expansive proportions (and with new elegance) while his growing womenswear offering riffs on mid-century silhouettes.

This season, vivid colours were inspired by the work of Louis Carlos Bernal, and bolstered the joyful mood, while an exposure of the body – T-shirts were pushed over the head to reveal models’ chests; shorts sliced so short that the pockets hung beneath the hem – lent a pulsating sensual undercurrent. ‘There are two strong feelings in this collection,’ he told Wallpaper*. ‘One is joy, colour, levity, and playfulness. The other is shock and awe.’ JM

Kiko Kostadinov

Kiko Kostadinov was in a self-referential mood this season, which he began by ‘looking back at the minimal geometric forms of the previous season and asking what could be challenged and pushed further’. With engineer-like precision, the collection emphasised structure and materiality, eschewing embellishment for a streamlined finish.

There was an air of Y2K cyber-core about the 33-look collection, which borrowed its colour scheme from the Apple iMac G3 range: turquoise, dove grey, grape. The canvas interventions of the late Italian artist Agostino Bonalumi were referenced through shape and drape, and through the use of internal boning to create ‘curved, rippling protrusions, emphasising a tension between softness and structure’. IBJ

Wooyoungmi

Madame Woo was searching for a universality in her research for S/S 2027, particularly what various cultures and geographies have in common when it comes to reading joyfulness in apparel. Her answer was threefold: ‘light, colour and the imprint of individuality’.

Light was articulated through surface treatments which gave garments an aged appearance, as if sun-bleached. Colour, mostly pastel but with occasional flashes of vivid chartreuse or tangerine, was applied liberally. And a sense of individuality came from pieces appliqued with playful, juvenile pictures, leather keyrings hanging from belts, and ties worn rebelliously around the head. Applying these principles imbued the 47-look collection with a feeling of levity which can be recognised the world over. IBJ

Celine

Taking place on the final day of menswear fashion month, American designer Michael Rider presented one of the collections of the season with his first standalone men’s show for Celine, held in an all-white showspace constructed in the Tennis Club de Paris. Honing an already distinctive aesthetic which is based on the idea of developing an evolving wardrobe – and combining an American preppiness with the Parisian insouciance synonymous with the house – Rider said he was thinking less about thematics, and more about what he (and his team) actually want to wear. ‘[It’s about] enjoying what we do in the studio, and desiring it ourselves, all of it, the clothes and the characters,’ he said.

Besides a multitude of great clothes (this collection will be much-imitated, particularly in its playful, thrown-on styling), what is striking about Rider is his ability to evoke a ‘Celine man’ (or indeed woman), despite the eclecticism in the looks on show. Much of this is down to his own belief in what he puts down the runway: a navy cummerbund over a red sweater, an enormous bag slotted into the crook of the arm, ballooning pants, a mix of the slouchy and the shrunken – these are familiar garments that he has somehow made feel entirely new. And, while the show might have presented these pieces in more unconventional combinations, take these looks apart and this is a wardrobe that can be adopted by a wide gamut of men. ‘It’s about building towards something bigger,’ he said. ‘Something with legs, and roots.’ JM

This evening (16 June 2026), guests will gather in the cloisters of Florence’s Santa Maria Novella Church for a dinner hosted by the Umbrian designer Brunello Cucinelli – a twice-yearly tradition that marks the opening of Pitti Uomo, the historic Florentine menswear fair. And with it, the beginning of Men’s Fashion Month: after Florence, there are stops in Milan and Paris across a 12-day schedule which will see S/S 2027 menswear offerings from fashion’s biggest houses – among them Prada, Dior, Louis Vuitton and Saint Laurent – as well as a raft of newer names. By the time Paris wraps up on 28 June 2026, we will have the blueprint of how menswear might look a year from now, and no doubt plenty to mull over: this looks to be a season of consolidation and world-building as relatively new creative directors settle into their tenures and others steady the ship amid the backdrop of a global luxury slowdown.

And, while the schedule is certainly lighter than its womenswear counterpart (the S/S 2027 women’s shows will take place in September, and traditionally have a busier line-up), plenty of intriguing moments remain – from Simone Rocha’s first dedicated menswear show (she will be a guest designer at Pitti Uomo, showing in the historic Teatro Della Pergola), to calendar shift-ups, designer returns and (a small handful) of debuts. We've picked the eight moments to look out for this Men’s Fashion Month S/S 2027 below.

Simone Rocha will be Pitti Uomo’s guest star

Historic menswear fair Pitti Uomo, taking place in Florence twice-yearly, marks the start of Men’s Fashion Month each season, centring around the 14th-century Fortezza da Basso. But alongside the main fair – where you will find stands from Brunello Cucinelli, Herno and the like – organisers invite a number of guest designers to show each season in locations around the city (previous guests have included Raf Simons, Martine Rose and Grace Wales Bonner, alongside numerous fashion houses). This time, it is the turn of Irish designer Simone Rocha, who will host her first dedicated menswear show on Thursday 18 June at the 17th-century Teatro Della Pergola, an opera house and theatre that is one of the oldest in Italy (previously she has presented menswear as part of her womenswear show, or via lookbook). ‘I would like to thank Pitti Uomo for their generous invitation to present my first independent menswear show on the men's calendar,’ she said when the news was announced, elucidating that she will use the moment to show ‘the length and breadth of [her] menswear proposition... [and] a new chapter in my work and world.’

Two menswear greats will return to Milan

Milan is well known for its sartorial prowess – particularly when it comes to men’s tailoring – something that has drawn two legendary international designers back to Milan Fashion Week Men’s this season. They are Paul Smith, who has shown in the city for a handful of seasons now, and Ralph Lauren, who returned to the Milan schedule in January of this year, marking the American designer’s first Italian menswear show in two decades. Both will show in their headquarters in the city: the former on Viale Umbria, the latter at Palazzo Ralph Lauren, which resides in an imposing 1941 Mino Fiocchi-designed building formerly known as Casa Campanini-Bonomi. Both will likely be celebratory affairs: particularly for Smith, who will turn 80 in July and use the latter half of the year to celebrate the landmark, including the release of an autobiography, Threads: My Life in Style, in September.

While Thom Browne will make his Milan Fashion Week Men’s debut

American designer Thom Browne has adopted something of a travelling schedule for his runway shows in recent seasons, showing between Paris and his native New York, as well as a one-off show in San Francisco earlier this year to coincide with the Super Bowl (Browne’s tailoring is a favourite among American athletes, and NFL players DeAndre Hopkins, Justin Jefferson and Steeler Marcus Allen walked the show). This season, though, he is breaking new ground: a runway show in Milan on Monday 22 June will mark his debut in the Italian city. Apart from the venue, the neoclassical Palazzo Serbelloni, little has been revealed about the show – though, if his previous outings are any indication, expect his usual eye for fantasy and play (his last menswear show, in Paris, for example, featured enormous glittering alien heads, worn by the models as masks).

Saint Laurent is back to opening Paris Fashion Week Men’s

Last June, Saint Laurent opened Men’s Fashion Week with a S/S 2026 collection that transported guests from ‘Paris to Fire Island’ amid a serene installation by French artist Céleste Boursier-Mougenot at Bourse de Commerce – Pinault Collection (it comprised a circular pool on which a series of bowls floated across its glimmering blue surface). This season, the house will return to its first-day slot (for A/W 2026, in January, it ended proceedings) with a menswear show that is expected to take place in the contemporary art gallery. It will be followed that evening by another blockbuster show: the latest Louis Vuitton menswear collection by Pharrell Williams, which will take place at 9pm in an as-yet-undisclosed location.

All eyes will be on Jonathan Anderson’s Dior Men

Three seasons in, Northern Irish designer Jonathan Anderson has succeeded in making Dior one of fashion’s most talked-about houses: case in point, a Hollywood-inspired Cruise 2027 in the Los Angeles County Museum of Art (LACMA) in May, which alongside a starry front row (Sabrina Carpenter, Miley Cyrus and Al Pacino were all in attendance), featured collaborations with artist Ed Ruscha and milliner Philip Treacy (fittingly, one of the headpieces spelt out ‘Buzz’ in feathers). On Wednesday 24 June, he will return to Dior’s home city for his S/S 2027 menswear show – arguably the most anticipated on the Paris Fashion Week Men’s schedule, following an acclaimed A/W 2026 show that drew inspiration from the outré stylings of couturier Paul Poiret and his infamous Belle Époque dinner parties.

Sarah Burton will reveal her vision for Givenchy menswear

Sarah Burton has shown three womenswear collections on the runway since the beginning of her tenure at Givenchy (she came to the house from Alexander McQueen, where she succeeded the eponymous designer as creative director); this season, in Paris, she will begin to expand her Givenchy universe with her first dedicated menswear presentation. Because, despite overseeing commercial collections – as well as dressing figures like Timothée Chalamet for the red carpet – she is yet to formerly introduce her menswear vision for the Parisian house. What to expect? Some great tailoring, no doubt – Burton is adept when it comes to a pin-sharp suit – alongside the bold flourishes of colour and print which defined her critically lauded A/W 2026 womenswear show last season.

At Celine, Michael Rider will host a dedicated menswear show

An intimate presentation of Michael Rider’s first dedicated menswear collection for Celine – presented earlier this year in the brand’s headquarters – was one of the highlights of the A/W 2026 season, despite a lack of models and runway (the clothing was instead staged in a series of playful tableaus, while guests snacked on Celine-branded popcorn). For S/S 2027, the American designer – formerly of Polo Ralph Lauren, as well as Celine during Phoebe Philo’s tenure – will host a dedicated menswear show on the final Sunday of Paris Fashion Week. Expect the infusion of Parisian insouciance and Ivy League stylings that have become his signature – and won him a devoted legion of fans, as well as thousands more aping the look in Instagram GRWMs, from colourful sweaters slung around the waist to rugby shirts and sliced-away ties.

London label Studio Nicholson will make its runway debut

This menswear season is suprisingly light on debuts, either from fledgling labels or major houses welcoming a new creative director. Studio Nicholson is an exception, though it also doesn’t fit into either camp: founded in 2010 by Nick Wakeman, the London-based label has already established itself as a cult destination for those who favour a simplicity of design and high-quality fabrications. But, while the brand has undertaken high-profile collaborations with the likes of Zara, it has never hosted a traditional runway show, something that will change this season: Wakeman has opted to present a collection during Paris Fashion Week Men‘s. Taking place on Friday 26 June at Hotel d’Evreux in Place Vendôme. Comprising her men’s and women’s collections for S/S 2027, it is a new addition to the Paris Fashion Week Men’s schedule – others include Meryll Rogge’s first menswear presentation, 2025 LVMH Prize winner Soshiotsuki and Australian brand Song for the Mute.

In 2000, Japanese photographer Takashi Homma began photographing waves on the north shore of Oahu, Hawaii. Making up a series titled New Waves, he would continue photographing them for over a decade; the idea, he once said, was that people could purchase an image from a particular year as they might a vintage wine. ‘I fix the camera on the water; I wait, I don’t move, I wait for them to come to me,’ he said of the images, which have a hazy, dreamlike quality. ‘I take all my wave photos at the same beach – in the morning after sunrise, in good, natural light, using ten or 20 sheets.’

‘Été Celine’ arrives at London’s Selfridges

A series of these works feature in a new pop-up store from Parisian house Celine, which for the coming month takes over the ephemeral ‘Corner Shop’ space in London department store Selfridges. Homma’s photographs encapsulate the pop-up’s mood: titled ‘Été Celine’ (‘Celine Summer’), the products strike an idyllic mood, seeing Michael Rider – the Washington DC-born creative director of the house – construct a warm-weather wardrobe in what has become his design vernacular, a marriage of American prep and Parisian insouciance. (Rider was previously at Polo Ralph Lauren before his Celine appointment, though he had worked at the house during the tenure of Phoebe Philo.)

Also titled ‘Été Celine’, the collection – which was revealed at the beginning of April in a Zoë Ghertner-shot lookbook – spans hallmarks of Rider’s tenure at the house so far, from vivid printed silks to bold primary hues. But there are also bikinis (some with metal Triomphe charms or monogram prints), woven raffia baskets and riffs on the Breton stripe, alongside caps, sunglasses, denim shorts, cotton sundresses, towels and sandals. Befitting the summertime mood, the Selfridges window will feature Celine hardware as well as displays reminiscent of beach houses.

Alongside, the pop-up will also feature a global pre-launch of the house’s Autumn 2026 collection, which, despite its seasonal moniker, also has a breezy, summertime mood (something also captured in the Zoë Ghertner-shot images, which are backdropped by desert-like rock formations and blue seas). Expect an array of accessories, from vividly coloured bags to beaded necklaces and charms, alongside breezy shirts, printed silk shirts and outerwear trimmed with shaggy tassels.

Celine’s ‘Été Celine’ pop-up at London’s Selfridges runs until June 27, 2026.

celine.com

As seen in the June 2026 Travel Issue of Wallpaper* – a series of ‘horizon-expanding adventures and voyages of discovery’ – here’s how to stand out this summer with our pick of the season’s most eye-catching accessories, from the fantastical (Prada opera gloves; Givenchy feathered mules) to the functional (Mulberry denim sun hat; Celine oversized sunglasses). Each is primed to make a sartorial statement over the warmer months – a time for dressing with joy and abandon.

Prada opera gloves (above left)

A glove might not immediately call to mind the summer months, though the elongated opera glove was ubiquitous on the S/S 2026 runways, including this pink satin pair at Prada, where Miuccia Prada and Raf Simons mixed up the working uniform with flourishes of eveningwear (often in a single look). ‘There is the license to combine different elements, to compose,’ said the latter post-show.

Loewe’s ‘Amazona 180’ bag (above right)

A reinterpretation of the archival Amazona bag has become the hallmark accessory of Jack McCollough and Lazaro Hernandez’s tenure at Loewe so far (they debuted for the S/S 2026 season). The ‘Amazona 180’ – referring to the 180th anniversary of the Spanish house this year – reimagines the boxy shape of the original with a slouchy new structure, designed to hang open when worn. Our favourite? This mini version in bold azure blue.

Celine sunglasses

Celine’s Michael Rider, who formerly worked at the house under Phoebe Philo before heading up Polo Ralph Lauren, marries his American roots – he was born in Washington D.C. and attended Brown University – with the house’s Parisian sensibility. Like these gleefully oversized sunglasses, which are a nod towards the bourgeois-inflected uniform of house founder Céline Vipiana in her 1970s heyday.

Givenchy’s ‘Boudoir’ mules

The summer months are primed for dressing with abandon – particularly this S/S 2026 season, where designers channelled a mood of colour, optimism and joy. These slip-on Givenchy ‘Boudoir Fringe’ mules – designed by creative director Sarah Burton – epitomise this liberated attitude, adorned with fronds of feathers.

Chanel’s resin necklace

Thanks to the stewardship of Belgian designer Matthieu Blazy, Chanel has fast become this year’s most sought-after brand – the arrival of his S/S 2026 collection in stores earlier this year sparked a much-documented shopping frenzy. This necklace, with an enormous resin charm recalling a black oyster shell, is a way to pledge your allegiance.

Fendi’s ‘Lui’ bag

Fendi has long been known for its colourful accessories which marry Made in Italy leathercraft with a sense of humour and play. Case in point: the Lui bag, a slouchy shoulder bag designed to slot neatly onto the body when worn cross-body. This version is finished with supersized leather topstitching.

Dior’s ‘Lady Dior by Sheila Hicks’ bag

At both his eponymous label, JW Anderson, and Loewe, where he was creative director for a decade, northern Irish designer Jonathan Anderson has fostered a close relationship with the art world, often through collaboration. This continues with his new role as creative director of Dior, where his S/S 2026 collection featured this Lady Dior tasseled bag, a collaboration with American artist Sheila Hicks.

Limited-edition Hermès lipsticks

A trio of limited-edition Rouge Hermès lipsticks will add a flash of colour to your make-up bag, and not only in their rich pink and mauve shades. Because the real joy of these lipsticks is the Pierre Hardy-designed packaging, adorned with graphic motifs in eye-catching primary hues.

Bottega Veneta’s ‘Baby Veneta’ bag

Bottega Veneta’s intrecciato technique – which sees strands of leather woven together – is the house’s hallmark, eschewing the need for more overt logos and branding. The new ‘Baby Veneta’, a mini hobo bag, is crafted from padded intrecciato leather, here in vivid ‘Cardinal’ red.

Mulberry denim hat

A sun hat is a perennial summertime essential. This one, from British house Mulberry, combines function with flair: crafted from classic blue denim, it comes with a bright-yellow cord-fastening, like those you might find on hiking attire.

Louis Vuitton’s summer scents

This duo of Jacques Cavallier Belletrud-masterminded Louis Vuitton fragrances capture the scent of summer: the first, On The Beach, has citrus fruit yuzu at its centre, married with fresh neroli and woody cyprus (the idea was to capture the ‘ecstasy of sun and the warmth of sand’). The second, Sun Song, is a radiant mix of orange blossom, neroli and petitgrain, finished with a final touch of lemon.

Loro Piana’s ‘Just Bag’

Sometimes the summer months require simplicity: in the heat of the day, the last thing you want is complicated. Loro Piana’s effortless ‘Just’ bag is inspired by the simple proportions of a classic paper bag, though here rendered in the Italian house’s soft and lightweight ‘Silk Calf’ leather.

Fashion/set assistant: Alice Heluin-Afchain

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Spring is a time for reset and refresh, making it the perfect time to update your beauty regimen – whether skin, hair, make-up or wellness. It makes April, the peak of the season, a fruitful month in terms of beauty launches, from products anticipating summer (bronzing creams, SPFs and the like) to those capturing a mood of spring cleaning and revival (creamy cleansers, hand creams, nourishing lip balms).

Here, as selected by Wallpaper* beauty editor Mary Cleary, are the very best beauty launches of April 2026 – what they are, why we love them and how to use them.

The natural colour creator: Westman Atelier’s Bronzing Crème

The vibe-shifting moisturiser: Vyrao's Hand and Neck Cream

The unconventional wrinkle reducer: Aesop’s Solais Replenishing Hand Serum

The luxury lip tint: Celine’s Le Rouge Matte Lip Balm

The age-reducing sunscreen: Augustinus Bader’s The Solar Shield SPF 50

The supernatural face wash: Emma Lewisham’s Supernatural Crème Cleanser

The farm-grown haircare: The revamped Davines Essential Haircare range

Prince’s ‘17 days’ is cascading through a stark white tent in central Paris. Guests at the Celine S/S 2026 show sit like churchgoers on long benches with crossed legs and serious expressions. As 70 looks by new creative director Michael Rider zoom in and out of our perspective, we’re taken on a hopscotch through music history – from 1980s pop to gospel-soul classic ‘Like a Ship…(Without a Sail)’ by Pastor TL Barrett and the Youth for Christ Choir.

Looming at each end of the catwalk are substantial wood and metal speakers, adding some retro warmth to what could otherwise feel like a void-like space.

'Music is incredibly important to Michael Rider. For this show, he had gathered photos from recording studios in the 1960s and 1970s, as well as from theatres and early talking cinemas of the 1930s and 1940s, where speakers were a prominent feature,' Matéo Garcia, the designer behind the speakers, tells me later. 'Since these are references I myself have had for a long time, it felt like the perfect collaboration.'

Matéo Garcia: a life in music and creativity

Growing up in a family of creatives (his grandfather was a contemporary of Joan Miró in Spain, his father an ex-punk and abstract painter in Paris, and his mother a contact improvisational dancer) Garcia’s home was a place of paintbrushes, music, and movement. Techno, jungle, reggae and hip hop were blasted from the speakers at all hours of the day, and his father more or less banned pop and other forms of commercial music.

‘They were free-thinkers, always questioning the status quo, and it affected me. I always destroyed my toys because I was frustrated with the limits of the design and wanted to put them back together in ways that made more sense to me,' he says.

During his teens, he ventured out at night to graffiti around Paris, and in his early twenties, while studying drawing and then industrial design at ENSCI-Les Ateliers, he began designing speakers and founded the collective Manifart. With lots of energy to shake off and bored with what they saw as a stale Parisian nightlife, they wanted to shake things up.

'The nightlife industry had smoothed out most clubs in Paris: you’d find the same kinds of bars, the same drinks, overpriced cloakrooms, and bad techno,' he notes. ‘Museums and official exhibition spaces didn’t excite us either. There was no real freedom or experimentation. We wanted to subvert expectations and have art and nightlife meet in unexpected ways.'

The collective found abandoned buildings and squats all over the city, knocked down walls and made new, creative entrances, invited artists, architects and designers to exhibit their work, and sprinkled experimental music and techno onto the evening. Trying to solve the problem of police shutting down the parties by cutting the music, Garcia created speakers embedded in concrete walls or welded steel cages and fixed them to the floor.

'We were really part of a movement of collectives around 2010, with people always pushing the boundaries, all having different approaches, but inspiring each other,' he recalls. 'I think it has led to Paris being very different today. There’s far more variety.'

After graduation, he did a long stint as what he describes with a shrug as a 'traditional designer', while continuing to keep a sound system in his workshop and experiment with speakers from time to time. Slowly, but steadily, word started spreading, and he got booked to provide sound systems for events or create custom speakers for clients and brands.

'There’s been an interesting change when it comes to speakers,' he says. 'When we grew up, they were becoming smaller and smaller, less and less visible. They were hidden in the walls and the ceilings, came mostly in black and white, and were very sleek.'

More recently, though, he’s observed a big shift: 'For a long time, there wasn’t a specific place in the home dedicated to speakers, but now I think that’s changing. The bigger speakers are coming back. And since sound itself is invisible, there’s something nice about having a visible aspect to sound.'

Sound and design collaboration with Celine

His studio only had three weeks to sketch and produce the speakers for the Celine show. Not wanting to create exact replicas of the speakers in Rider’s reference photos, they came up with an array of totally original designs.

'We sought to blend strong, very early historical references with more contemporary technologies,' he explains. 'Radical, functional forms, yet with a certain softness and delicacy. I like that combination. It’s also interesting to me that the word for speaker is the same as the word for pregnant in French. There’s an entire world inside it (a sense of containment) with many elements coming together to create something.'

The visible speakers provided the main source of sound, with smaller speakers adorning the lights and the floor. 'We wanted to figure out how everyone attending the show could experience the same fantastic sound, no matter where they were seated. Afterwards, I’ve heard from several people that it was the best sound they’ve ever experienced at an event, which was incredible feedback, of course.'

Now it’s all systems go on the numerous projects they had to press pause on for Michael Rider and Celine. Since the fashion show, they’ve provided the sound system for a listening session with James Blake arranged by the collective Mino at Lafayette Anticipations in Paris, on the occasion of the release of Blake’s Trying Times album.

'It was an honour, especially since he is known to be very precise about his mastering,' says Garcia. 'Our goal is to develop systems that remain as faithful as possible to the artist’s original work. The listening experience was very emotional.'

Later in 2026, Garcia and his team will continue to expand their range of high-end speakers, produced in extremely limited series, while also working on a more intimate and discreet dedicated listening space in Paris. With a calendar constantly filled from edge to edge, Garcia hopes to carve out time to keep exploring. 'We always want to push ourselves and be innovative, but I also need time for sculptural experimentation and research. That’s a goal going forward.'

garciamateo.com

Paris Fashion Week culminated yesterday, marking the end of a month-long season of shows that has seen previous stops in New York, London and Milan.

With a nine-day schedule standing at nearly double the length of its counterparts, Paris remains the defining city of fashion month – not least because it comprises shows from fashion’s heavyweight houses, among them Chanel, Dior, Louis Vuitton and Saint Laurent (to name just a handful).

After last season’s debuts dominated the S/S headlines, A/W 2026 was about the sophomore show, as designers settled into their positions as creative directors. Without the weight of expectation, we saw some brilliant shows – notably Jonathan Anderson at Dior, Michael Rider at Celine, Jack McCollough and Lazaro Hernandez at Loewe, and Matthieu Blazy at Chanel (all were showing their second ready-to-wear collections).

Here, reported by Wallpaper* fashion & beauty features director Jack Moss and contributing writer India Jarvis, we pick the standout shows that defined the week.

The best of Paris Fashion Week A/W 2026

Dior

Jonathan Anderson staged his A/W 2026 runway show for Dior in Paris’ Jardin des Tuileries, constructing a circular show set around one of the park’s ponds (for the occasion, it had been populated with Monet-esque lily pads, meticulously constructed to look like the real thing), while the invitation comprised miniature versions of the park’s signature green metal chairs. Across the pond’s centre ran an elevated runway, echoing the line of the Tuileries’ Grand Allée, a historic promenade since the park opened to the public in 1667 after a renovation by Louis XIV. It led to a collection about ‘seeing and being seen’, a contemporary imagining of the promenade, ‘[where] a walk in the park becomes a performance’. Cue a ‘panoply of Parisians’ in eclectic, time-hopping attire, from the woozy ruffles of the Belle Époque (here transformed into mini dresses with bouncing trains) to plays on bourgeois tropes, such as fabrics that recalled heritage tweeds, blazers with golden buttons, and shearling jackets reimagined with wave-like hems. What was most striking, though, was a feeling of levity: lily-pad-adorned footwear, polka-dot motifs and crystallised denim were both playful and pretty. ‘Dior has this giant past, and I had to start there,’ Anderson said. ‘Now I feel free to release it from that.’ Jack Moss

READ: Jonathan Anderson’s latest Dior show was a walk in the park

Saint Laurent

A cinematic offering from Anthony Vaccarello unfolded in a simulacrum of a sleek, modernist home; at its centre, a sized-up recreation of a bust that lived in Yves Saint Laurent’s own apartment. Through it strode this season’s Saint Laurent heroine, her heavy-smoked eye and slick, side-parted hair a nod towards Helmut Newton’s Paris Vogue photograph of a model in Yves Saint Laurent’s ‘Le Smoking’ tuxedo on Rue Aubriot in 1975. Indeed, tailoring was central to the A/W 2026 collection: eight trouser suits opened the show, while various other iterations appeared throughout (including Vaccarello’s own riff on the tuxedo, worn by model Loli Bahia, who walked exclusively for Saint Laurent this season and closed the show). Here, the silhouette was sloped across the shoulder and narrowed at the waist – though not constricted – for a riff on the power suit that was more ‘insouciant shrug than swagger’. As a counterpoint, Vaccarello looked towards the ‘troubled heroines’ of Gore Vidal and Tennessee Williams, as well as Romy Schneider in the 1971 film Max et les Ferrailleurs (she was this season’s protagonist, he said), to capture an ‘elegance tinged with ennui… the beauty of intimacy and vulnerability’. To capture this mood, a series of slips and dresses came in lace coated in silicone, while enormous fur coats had a vivacious confidence. Jack Moss

Dries Van Noten

For many of us, the stylings of awkward adolescence are best not dwelt upon – after all, who looked or felt their best as a teenager? Evidently, Julian Klausner takes a more romantic view of this impressionable time, but, then again, Klausner was likely a more sophisticated brand of teenager than most. In any case, this was the impression given by his A/W 2026 collection for Dries Van Noten, which was inspired in part by a visit to Lycée Carnot, and the memories of being an adolescent ‘work-in-progress’. The Lycée is a Rive Droite public school with alumni including Gilles Deleuze, Guy Debord, and Daft Punk, and its Gustave Eiffel-designed great hall has been the backdrop for numerous Paris fashion shows over the years – in other words, a suitably rarefied and creatively rich starting point.

The 61 looks at Dries Van Noten asked that most teenage question: who am I going to be today? For the confident moment, a navel-bearing button-up knit with a vibrant silk skirt. When a suit of armour is required, a protective duffel coat that does the talking for you. Or maybe one day the mood might be scholastic – collegiate blazer and pleated skirt, but always, always customised, an embellishment here, a contrasting trim there. ‘Just like a pixelated picture, the more one gets far from that time of endless questioning, the clearer it becomes,’ Klausner said, a metaphor he extended through prints with digitally warped 17th-century Flemish still life paintings. Opulent, mature fabrics and finishings were styled with a youthful irreverence best summarised by the final lines from Gala Dragot’s vocal performance, which soundtracked the show: ‘Don’t be too serious... Wear a collar... Keep it blurry though.’ India Jarvis

Acne Studios

If Dries Van Noten was an homage to the experimental attitude of youth, then Acne Studios marked its 30th birthday year with a collection that declared (as one does at 30): I know exactly who I am. A/W 2026 was an affirmation of the house’s irreverent signatures, such as a revival of the particular 1996 cut of jean that made their name, and photographic elements that nod to the brand’s unconventional marketing style, including the bi-annual Acne Paper.

The setting for this season was a succession of intersecting cuboid rooms that, viewed simultaneously from the end of the runway, appeared like a Josef Albers work made three-dimensional. According to Jonny Johansson’s show notes, this was conceived ‘like an enfilade of salons … the portals marking what has come before, and what might follow’. Where a salon in the Parisian tradition might mean a bringing together of clashing or complementary ideas, at Acne Studios, the determination is to blur those boundaries as much as possible. Standout looks saw cropped aviator jackets worn with skin-tight jodhpurs and desirable point-toe pumps, Prince of Wales check jackets worn over one shoulder, and larger-than-life portraits of art school students, taken by Paul Kooiker, printed onto stiff pencil skirts and draped dresses.

Alaïa

Late last year, just after the completion of the Italian house’s sale to Prada, it was announced that Dario Vitale would be leaving his position as creative director of Versace (he lasted a single, but impactful season), to be replaced by Belgian designer Pieter Mulier. It meant that this season’s Alaïa show, watched by designers Matthieu Blazy and Raf Simons, was to be his last: the swansong of a five-year tenure defined by commercial expansion and critical success (he has also established a coterie of model muses, many of whom walked this final show, and will likely follow him to Versace). Held in an intimate showspace in the former Fondation Cartier – Mulier said he wanted it to recall a 1990s pre-iPhone runway show – the collection itself eschewed his more recent experimental silhouettes in favour of stripping things back to the essence of the house, from simple body-contouring tank dresses to lean tailored overcoats, stretch knits, and peplums and ruffles (the last flourishes rendered in Mulier’s contemporary, streamlined style).

‘This collection is about clothes to wear. What is a jacket? What is a dress?’ he said backstage after the show. ‘It’s basically a vocabulary of the last five years. It’s what I learned at Alaïa, that I’m giving to the next designer. It’s like leaving the keys on the table. At Alaïa, I learned precision, editing and [that] real luxury is not what we all think. It is a perfectly cut jacket.’ Jack Moss

READ: Pieter Mulier delivers a swansong collection at Alaïa: ‘It is a vocabulary of the last five years’

Rabanne

Of all the distinct fashions of the long 20th century, it could be argued that 1940s style is the hardest to reference without veering into the territory of costume. Perhaps it’s because boxy tailored silhouettes and victory rolls are so much associated with the vast canon of British war movies, or perhaps because austerity-driven ‘make do’ dressing is antithetical to contemporary fashion at either end of the high-low scale. It’s a testament to Julien Dossena’s eye, then, that for Rabanne A/W 2026 he incorporated patently 1940s-inspired styles – T-bar heels, tea-dress florals, and clashing knitwear – without evoking even a hint of reenactment.

After all, Rabanne has always been a house noted for its futuristic bent. Unconventional, industrial materials, like metal and plastic, are at its very heart, and remained so this season alongside those more vintage ideas – coming together in a collection that the brand called ‘a little louche’. This take on modernist femininity was told through blink-and-you’ll-miss-it glimpses of a slip through an unbuttoned blouse, a hint of lace underneath a more conservative skirt, and pussybows left suggestively undone. Dossena told Wallpaper* post-show that the character he wanted to build with these contrasts was that of ‘a resistant woman’, and that for him, there was a suggestion of retro-futurism with the 1940s-derived shapes (for example, hair pulled into sculptural pompadour styles was less Vera Lynn and more replicants in Blade Runner). India Jarvis

Rick Owens

What might the cyberpunk cousin of Marlene Dietrich wear for a night on the town? It’s a question that could only be answered by Rick Owens – whose A/W 2026 collection was an homage to the ‘dignified sequence of her life stages’, all shot through with classics from his own particular design language. Think body parts augmented through prosthetics and sci-fi silhouettes in a post-apocalyptic landscape heavy with dry ice and punctuated by magnesium-bright beams of light. Presenting the collection as the second part of ‘Tower’, which premiered during the men's collections, Owens drew from Dietrich’s qualities of ‘steeliness’ and ‘grit’, and interpreted them as sheath-like dresses, abundant piles of faux fur, and flight jackets.

Just as the German star’s enduring legacy was in part a product of her striking collaborations with Josef von Sternberg, Owens is an artist quick to credit the rich input his work receives from his creative partners. This season, much attention has been lovingly devoted to name-checking the hands through which his raw materials pass – from the third-generation, family-run mill in Como, Italy, which weaves a high-performance fibre called Kevlar (purportedly five-times stronger than steel), to the Veneto-region wash house committed to reducing water waste, which treats industrial indigo canvas. India Jarvis

Loewe

Presented on a bright-yellow runway populated by German artist Cosima Von Bonin’s plush figures of clams, octopi and dogs, Jack McCollough and Lazaro Hernandez’s sophomore Loewe collection was a welcome jolt of energy on the Friday morning of Paris Fashion Week. ‘What is fashion but an open field for endless creative play?’ said the American designers, whose poppy A/W 2026 collection translated their colourful beach-ready debut for the winter months, resulting in a riot of curvy dégradé shearling parkas, 3D-printed slips and shaggy-hemmed dresses with trailing trains. Other elements had a sporting feel – like face-shielding sunglasses, boldly coloured anoraks and chunky riffs on half-zip ski sweaters – while inflatable elements meant garments could be transformed in size and proportion (a lobster-claw-shaped pump, shown at the re-see the following day, will be sold separately).

Such experiments were made possible by the abilities of the Loewe atelier, particularly when it came to leather: bouclé overcoats were made from intricate loops of leather yarn, while the gradient shearlings were treated ‘in the same manner as poodle grooming’. ‘As we began [creating] our second collection, we were struck by a simple truth: for us, the act of making is, at its core, an expression of joy – an intellectual, process-driven pursuit charged with playfulness,’ said the designers. ‘The path taken matters as much as the end result. It is the idea of play as rigorous experimentation and problem-solving, moving between instinct and experience, between a devotion to craft and its endless opportunities for innovation.’ Jack Moss

Issey Miyake

For Satoshi Kondo, the role of designer is as much about relinquishing control as it is wielding it. Knowing when to hold back, not to overstep the mark, to let the materials speak for themselves. This was the credo he brought to the fore for Issey Miyake’s A/W 2026 offering – a characteristically Japanese recognition of innate, simple beauty.

Titled ‘Creating, Allowing’, the collection navigated this specific tension understood by designers through pieces where the artist’s hand was inserted sparingly, never tampering with the true essence of the fabrication, only enhancing. At its best, this looked like expanses of cloth cut with technical lines that left their impression on the negative space, like the wine-coloured single-breasted coat with inbuilt cape that the model held up over her shoulders to exaggerate its rectangular construction. The innate movement of the house-signature pleats was used only intermittently and, instead, dramatically inflexible lacquered washi paper was introduced through breast plates, bodices and belts – creating a contrast between motion and restriction. Kondo’s intention with this was that the most important impact was made through the human frame, by ‘minimising design intervention and leaving the form-making to the wearer's own body’.

As for the space itself, the Carrousel du Louvre was transformed with a layer of silvery sand and ‘finely shredded aluminum foil, [serving] as a device for the interaction between "material", "people", and "clothing"’. This surface became marked and patterned as the models moved across it, another allusion to Kondo’s metaphor of ‘considered disruption’. India Jarvis

Lanvin

This year marks the centenary of menswear at the house of Lanvin – a celebration that filtered into the season’s womenswear outing through nods to the boyish silhouettes that characterised interwar ladies’ fashion. It was a time when overtly feminine curves were flattened into straight lines from bust to waist, creating an elongated, athletic outline that came to epitomise the emancipated New Woman.

Peter Copping, who took the reins at Lanvin in late 2024, imagined ‘a dialogue between generations’, which came together beautifully to meld the concerns of Jeanne Lanvin’s customers in the 1920s with those who shop the brand in the present. What do they have in common? Evidently, a love of opera – gloves were cuffed and elbow-length, and belted opera coats were voluminous enough to be worn over an evening gown, and trimmed with faux fur. They wear hats (Jeanne Lanvin’s first foray into fashion was as an apprentice milliner), with A/W 2026’s borrowing from cloche shapes but with exaggerated sou’wester-style brims. They favour a dash of restrained glamour. If some of the cuts leaned slightly austere, they were countered with an opulence of fabric and finish: hand-embroidered bead droplets, inky velvets, laser-cut fringes.

Lanvin is the oldest French maison still in operation, its HQ still in its original site – therefore, the weight of its legacy must hang heavily over every designer who takes its helm. Its founder insisted on le chic ultime, a phrase that surely needs no translation, and which is no small order. It is a comfort that, for every moment of reinvention it undergoes, Lanvin is still a place that women can go to for guaranteed elegance. India Jarvis

Givenchy

The idea of individual style was a throughline of Paris Fashion Week, one expressed by Sarah Burton with her third collection for Givenchy – the former Alexander McQueen designer’s most liberated outing yet (and, as a result, her best). ‘How can we put ourselves back together in the world we’re living in?’ was the question Burton asked this season, elucidating after the show that she was thinking about the multiplicities of a contemporary woman’s life (as such, it found a companion with the Prada show in Milan, where Miuccia Prada asserted that ‘as a woman, your life is layered – each day demands not only a shifting of clothes, but a richness of identities within yourself’). So there was some typically brilliant tailoring (Burton is known for her prowess in the medium, and has recently brought over her tailoring team from Alexander McQueen), though also more vivid expressions of style – a dress, hanging from razor-thin straps, in bright yellow leather; shimmering leopard spots that burst into tassels; silk T-shirts that had been refashioned by Stephen Jones into headpieces – as well as oversized riffs on carpenter jeans, off-the-shoulder bombers, and high-collared white shirts. ‘I wanted to make it feel very personal,’ said Burton. ‘Each woman is her own person, each silhouette is her own character.’ Jack Moss

Junya Watanabe

Junya Watanabe lets the clothes do the talking. The A/W 2026 collection was accompanied by show notes that came to two single sentences: ‘The Art of Assemblage Couture explores form born from pure creative instinct, free from conventional notions of dressmaking. Through the direct presentation of raw materials, this approach expresses the surrounding social environment.’ This succinct summary belied a frenzy of ideas, which played out over one of the most entertaining shows of the week.

Classic couture silhouettes were fashioned from a mish-mash of consumer goods and mass-produced garments. The opening look, worn by Irina Shayk, comprised a gown in a 1950s prom style, constructed from gloves, with a mesh flounce. A puff-sleeved dress, with a squared neckline and a central slit that showed a silver interior, appeared to be made from a gold Mylar blanket – its creased folds still visible, like it had just been ripped from its packet. Another dress used kitschily patterned curtains, pinch pleats and all, for its full, trained skirt, while its bodice was made from – what else? – scrap number plates.

So far, so Watanabe, but this season offered more in the way of spectacle than just unconventional materials. In a more choreographed display than usual, Watanabe called in the services of Poland-born movement director Pat Boguslawski. He directed a languid yet melodramatic routine for Watanabe’s models, who threw garments onto chairs with tango-inspired passion, and turned their heads with the kind of simpering doe-eyed expressiveness of silent movie starlets. This reference was reinforced through Eugene Souleiman’s hair design, sculpted curls slicked to the foreheads and cheeks in the manner of Josephine Baker, and glam make-up by Isamaya Ffrench – winged, heavy-lashed and sometimes tear-streaked eyes. India Jarvis

Celine

It hasn’t taken long for Michael Rider to define a signature look at Celine: a preppy, uptown-inflected uniform that feels like a vision of Parisian style through American eyes (Rider had worked at Celine previously, under Phoebe Philo, though more recently headed up US label Polo Ralph Lauren). And it has worked: his collections thus far have felt like you could wear them off the runway and straight onto the street, full of clever riffs on quotidian pieces that will no doubt be much copied by lesser brands (they have also been full of great accessories, from abundant charm bracelets to colourful handbags and slipper-like loafers). For A/W 2026, Rider continued his upward trajectory with a show held at the Institut de France amid a series of beautiful modernist speakers in wood and metal, presenting a collection that favoured perennial style over ephemeral trends. ‘Celine is a style: a mix of old and new that feels urgent and dreamy,’ said Rider. ‘Making the things we all dream of finding and wearing.’ And in among this ready-to-wear wardrobe (in the truest sense), flourishes of the playful and the romantic emerged, from enormous sequins and flashes of animal print to feathered headpieces and bold punctuations of colour. ‘Putting on clothes, a look, can change the day – [it can] change how we walk and feel,’ said Rider. ‘I love that.’ Jack Moss

Hermès

Staged on a runway of moss and soil (strangely, a trend of the week, later seen at Miu Miu and Louis Vuitton), Nadège Vanhée’s latest outing for Hermès saw her conjure what she called a ‘liminal realm’ between dawn and dusk, earth and space. It lent the collection an alien, otherworldly feel: models emerged from glowing orbs and looped around the Garde Républicaine show space on an inky runway, which also inspired the clothing’s palette of deep blues, greys and black. Mashing up the equestrian codes that remain at the heart of Hermès – here, sliced-away jodhpurs-cum-cycling shorts, dressage blazers and knee-high leather boots – with lean, futuristic silhouettes, it was a clever hybrid of the past, present and future, a liminal realm of Vanhée’s own. Ostrich and leather jump suits, with contrasting knit sleeves, were the season’s show pieces – the result of the house’s superlative leather atelier, they straddled sex appeal and function – while visible zips added an almost sci-fi feel, running down the front of dresses or slicing across the chest of a jacket. Prints came via AM Cassandre, an art deco artist, and saw clouds intersected by a geometric structure – a reflection of Vanhée’s own juxtapositions between the graphic and the elemental. Jack Moss

Comme des Garçons

A strong Comme des Garçons collection saw Rei Kawakubo find solace in her favoured colour, black, which – save for a brief interlude in bright, candy pink – made up the majority of the A/W 2026 collection. And, while recent collections have seen Kawakubo grapple with tumultuous world affairs, the choice of the colour was not necessarily to represent grief or mourning – instead, the Japanese designer said it captured the expansiveness of the creative process. ‘I have come to realise that, after all, black is the colour for me,’ she said in a typically brief statement issued to the press. ‘It’s just the strongest, the best for creation, and the colour that embodies the rebellious spirit. And has the biggest meaning: the universe and the black hole.’ Indeed, the use of a single colour allowed Kawakubo’s typically provocative forms to come to the fore: this season, pillow-like constructions draped in semi-sheer black tulle, undulating pile-ups of shirred ruffles and tassels, or saucer-shaped protusions that looped around the upper body. Like any Comme collection, it was a Rorschach test – revelling in the unfamiliar, Kawakubo always challenges you to draw your own conclusions. Jack Moss

Balenciaga

Of all the creative directors at the nascent stages of new tenures, Pierpaolo Piccioli might have one of the steepest mountains to climb at Balenciaga. In the 16 years he spent at Valentino, prior to taking this new position in the spring of 2025, he demonstrated a Cristóbal Balenciaga-worthy approach to dressmaking that prioritised proportion and colour. But while Piccioli was sending out breathtaking confections of ballooning silk taffeta at Valentino, Balenciaga the brand was being injected with a new edge, at the hand of Vetements-founder Demna, whose zeitgeist-defining designs were laced with subversion and irony. How to bring the grandeur and romance that are Piccioli’s calling cards, without alienating the new demographic of customers who flocked to the brand under Demna?

For this season, his second collection, Piccioli pinned his hopes on a collaboration with Sam Levinson – the creator of Euphoria, the teen drama responsible for making internationally recognised stars out of its cast, which includes Jacob Elordi, Sydney Sweeney, and Hunter Schafer. Audiences at the Balenciaga A/W 2026 show were treated to a preview of clips from the HBO show’s third series (airing publicly in April), which played on screens across the venue; its interplay of light and dark was found running through the collection, which Piccioli had titled ‘ClairObscur’. The collection itself was a largely black affair, in light-catching high-gloss fabrics, punctuated by the occasional neon-toned print that harkened to Euphoria's colour-saturated visual style. If Euphoria – boundary-pushing, youth-orientated, and ever so slightly contentious – feels more spiritually within Demna’s wheelhouse than Piccioli’s, the High Renaissance references (‘ClairObscur’ is a play on clair-obscur or chiaroscuro, the artistic style beloved by Mannerist painters, which manifests as dramatically contrasting tones to create intense depth) brought proceedings firmly back into Piccioli’s world. India Jarvis

READ: Balenciaga taps Euphoria’s Sam Levinson for A/W 2026

Jean Paul Gaultier

After the shock factor of his debut last season – one which divided both critics and online commentators with its barely-there silhouettes and trompe l’oeil prints of nude bodies – Dutch designer Duran Lantink seemed to hit his stride this season, using his eye for the surreal and the sculptural to create a disruptive cast of archetypes, from the raver to the cowboy. Marlene Dietrich (or, more specifically, a treasured mesh T-shirt printed with the filmstar that Lantink had found in a vintage shop) was one figure on the moodboard, inspiring the clever opening tailoring, which came with jutting folds and sculpted lapels, while also being printed on a dress installed with dry ice (a nod to her favoured vice – cigarettes). The designer said she was a master in subverting tropes: ‘dominant, sexy and graceful, the ultimate hybrid’ – a mood that informed the shape-shifting collection. Tailoring metamorphosed into tech-y sportswear, trompe-l’oeil bodysuits of artist’s dummies were overlaid with lingerie, and puffer jackets became bodysuits. ‘It’s a spirit that suits the house of Gaultier, a place where the world is perpetually turned upside down,’ said Lantink via press notes. ‘Feminine and masculine, inside out, vintage and new, underwear as outerwear, technical and tailored all at once.’ Jack Moss

Chanel

Matthieu Blazy said that his sophomore ready-to-wear collection began with a quote from house founder Gabrielle ‘Coco’ Chanel. ‘Fashion is both caterpillar and butterfly. Be a caterpillar by day and a butterfly by night,’ she said. ‘There is nothing more comfortable than a caterpillar and nothing more made for love than a butterfly. We need dresses that crawl and dresses that fly.’ It seemed an apt description for Blazy’s own vision for Chanel thus far, one which elevates the quotidien through expressive acts of craft, and finds joy in both the functional and the glamorous. These are special clothes, no doubt (as anyone who has had the chance to see them up close can attest), though they are designed to be worn, not simply exalted. As such, he will no doubt be satisfied by the busy shop floors earlier this week as his debut collection landed (it was an ongoing fashion-week talking point), and more so to see those purchases worn by attendees to the show on Monday evening (and not just by the usual high-spending customers, but editors and stylists alike).

Staged amid a series of vast primary-coloured cranes – Blazy is, after all, still in the process of constructing his Chanel – the designer’s A/W 2026 collection was a brilliant and comprehensive exercise in wardrobing, which, to borrow Coco Chanel’s categorisation spanned the ‘caterpillar’ (roomy blazers, tweeds reformulated into lumberjack-style overshirts, simple jersey dresses), but also the ‘butterfly’. The latter came in an extraordinary stream of lustrous, colour-sturated looks at the end of the show, loaded with embellishment – appliqué flowers, lace and beads – and matched with models’ pastel-coloured or metallic hair. Over the 78 looks, there was a multitude of iterations of the Chanel woman, and the accessories to match (from gleaming metallic court shorts, to squashy crescent-shaped bags that recalled croissants). ‘Chanel is day, Chanel is night. It represents the freedom to choose between the caterpillar and the butterfly whenever you want,’ said Blazy. ‘I wish to create a canvas for women to be unapologetically who they are and who they want to be.’ Jack Moss

READ: Matthieu Blazy’s sophomore Chanel collection is made for ‘women to be unapologetically who they are’

Louis Vuitton

Nicolas Ghesquière staged his A/W 2026 collection for Louis Vuitton amid a show set by Severance production designer Jeremy Hindle, seeing rolling green hills – like those found in pastoral landscapes – abstracted into a series of sharp, futuristic peaks. The collection itself had a similar rationale, drawing inspiration from nature – ‘mountains, forests, plains’, and the clothing traditionally used to live among such elemental landscapes – and reimagining them through a series of Ghesquière’s typically idiosyncratic, time-travelling silhouettes. The idea of expedition seemed a throughline – supersized-wide-shouldered jackets, shearling hats and furry-hooded duffel coats seemed primed for protection, while bags hung on leather staffs like bindles – though there was a ceremonial feel to garments, which recalled traditional rural dress (though, in Ghesquière style, they were mashed up in such a way that the references were hard to place). ‘It is not an escape from our realities, but an echo of them,’ said Ghesquière of the vivid collection, which also featured the ‘urban pastoral’ works of Ukrainian artist Nazar Strelyaev-Nazarko. ‘[It is] a new folklore, for the future.’ Jack Moss

Miu Miu

Miuccia Prada has long interrogated a woman’s place in the world: how they move through it, and a wardrobe that feels reflective of their needs. For A/W 2026, she was thinking about the ‘smallness of the body’ – not in its physical proportions, but in opposition with the vastness of the world around us. It feels like a response to our current era of overload: the runway at Palais d’Iéna was covered in a layer of soil and moss, a reminder that beyond the pomp and ceremony of luxury fashion, we are simply humans living in communion with the earth (as a seatmate commented, perhaps this was her instruction to ‘touch grass’). ‘I am obsessed with the smallness of the body – in a human sense, the contrast between ourselves, our bodies and the vastness of that which surrounds us,’ she said. ‘Who we are, and the scale and magnitude of what we have to face. This collection is not about fragility – there is a confidence, and a strength. But always about a confrontation between a human and the expansiveness of the world.’

As such, the collection segued between moments of strength and intimacy: for the former, enveloping trapper hats, hiking shoes and sporty shearling-lined parkas, for the latter, slip dresses, satin shoes and bejewelled embellishment. There felt something of the 1990s to it: not only in the more minimal looks, which intersected the middle of the show, but in that contrast between glamour and utility (a parka over a mini dress; a studded handbag; a block heel), and also the appearance of Chloë Sevigny, a longtime house muse who first walked for Miu Miu in 1996. She was joined by a coterie of ‘individuals’ on the runway, from models Gemma Ward and Kristen McMenamy to the actress Gillian Anderson, who closed the show. Jack Moss

READ: Miu Miu’s all-star cast for A/W 2026 featured Gillian Anderson and Chloë Sevigny

All change! So could be the motto of the S/S 2026 season, which heralded the arrival of 15 new creative directors at fashion’s major houses – from Dior to Chanel.

It led to a sweeping feeling of freshness and renewal that would define the season, one that Wallpaper* captures in a new series of images by photographer Nicole Maria Winkler and Wallpaper* fashion & creative director Jason Hughes.

S/S 2026’s standount looks in the fitting room

Originally featured in our March 2026 Style Issue, they capture model Valerija Kelava dressing up in a series of S/S 2026’s standout looks – whether the rising Belgian design Julie Kegels’ collaged layers (she said she wanted the collection to feel like it had a life of its own) or a sweeping white gown from Jonathan Anderson’s first Dior collection, delicately edged with flowers.

The setting is a surreal imagining of a fitting room by set designer Kim Harding, Winkler’s longtime collaborator. Within it, we explore the transformative power of a new season of looks. Keep scrolling to shop the story.

Model: Valerija Kelava at Oui Management. Casting: Esther Boiteux at EB Agency. Hair: Moe Mukai using Oribe. Make-up: Sunao Takahashi at Saint Luke using Byredo. Set design: Kim Harding Studio. Digi tech: Anna-Sophia John. Photography assistants: Josh Rea, Elliot Humbles. Set design assistant: Austeja Gokaite. Fashion assistant: Lucy Proctor. Production assistant: Danielle Quigley.

A version of this story appears in the March 2026 Style Issue of Wallpaper*, available on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + now. Subscribe to Wallpaper* today

Shop the story

Optimism, colour and a sense of play are the order of the day as this season’s 12 standout looks and accessories spark a fresh start. As taken from the March 2026 Style Issue of Wallpaper*, we unpack S/S 2026’s defining trends.

Bold Texture

Above left.

For her Bottega Veneta debut, Louise Trotter channelled a feeling of ‘liberation’ through an expressive use of colour and texture, including a series of pieces constructed from strands of iridescent recycled fibreglass. In their dynamism, she sought to reflect the vibrant life of Laura Braggion, Bottega Veneta’s design director from 1985-2001, who was a member of Andy Warhol’s Factory before her time at the house.

Lucky charms

Above right.

The charm bracelet is an item of jewellery long said to bring luck andprotection. This season, the auspicious accessory enjoys a renaissance, thanks to Michael Rider at Celine: the designer’s debut ready-to-wear collection featured bracelets heavy with charms, from the house’s Triomphe monogram to heart-shaped padlocks, lockets and a helping hand, the latter a longtime symbol of prosperity and safety.

The 1990s slip

The 1990s’ mythic cool continues to be an influence on contemporary fashion (and looks set to carry on with the launch of Tate Britain’s blockbuster exhibition ‘The 90s’ in October). Few garments are more synonymous with the era than the slip dress, which had a rebirth on the runway this season, appearing at Victoria Beckham, Tom Ford and Wooyoungmi, where this negligee came edged in delicate fronds of lace.

A brand new bag

‘A study in intimacy’ is how Sarah Burton describes her first major bag launch for Givenchy. Titled the ‘Snatch’, its gently curved shape, which hooks over the shoulder and hugs neatly under the arm, is designed to echo Burton’s ready-to-wear, whether the cinched waist of a blazer or the curve of a bra top. The softness of the leather is an echo of this feeling of intimacy: ‘it pulls, cinches and embraces,’ she says.

Pyjama dressing

There is an undone elegance to the pyjama shirt, which appeared in various iterations this season – at Dries Van Noten, Dunhill and Dolce & Gabbana, among others. This striped offering, from Saint Laurent by Anthony Vaccarello, is part of a collection of ‘ease and escapism’, in which Vaccarello sought to capture the inertia of a summer afternoon. ‘Everything feels light; shapes float rather than cling,’ he says.

Block colour

At Ferragamo, Maximilian Davis took inspiration from the dress codes of the 1920s, injecting modernity via vivid accessories – feathers sprouted from bags while mules came in luminous hues – and colour-blocked garments, like this graphic silk-panelled dress. Indeed, colour blocking was a throughline of the wider S/S 2026 season – collections from Celine, Jil Sander and Loewe all featured the expressive motif.

True blue

Blue provided a feeling of undeniable uplift this season, with the breezy hue colouring the runway at IM Men (part of a collection inspired by the work of ceramic artist Shoji Kamoda), Fendi, Tom Ford and Dolce & Gabbana. Over at Lanvin, Peter Copping paid homage to house founder Jeanne Lanvin’s love of the colour – a fascination that began with the vivid blue skies of Fra Angelico’s 15th-century frescoes.

A new summer shoe

Former Proenza Schouler designers Jack McCollough and Lazaro Hernandez looked to artist Ellsworth Kelly for their debut collection for Loewe, channelling his ‘elemental colours’ and ‘chromatic intensity’ in a collection that sought a feeling of freedom and release. Sculpted leather dresses, flocked heels and vivid striped knits had a playful sensibility, injecting new energy into the Spanish house.

Extreme layering

Zane Li’s debut show for his eponymous New York label LII made a case for extreme layering, a playful theme that ran throughout the S/S 2026 season. At Issey Miyake, diaphanous layers of fabric were stretched over household objects to create surreal silhouettes, while rising Belgian designer Julie Kegels turned garments upside down and collaged them together, as if they had taken on a life of their own.

Shirt tales

Matthieu Blazy’s debut collection for Chanel featured a collaboration with Parisian shirtmaker Charvet. The designer drew inspiration from Coco Chanel’s love affair with polo player Boy Capel and the way she would purportedly share his clothing. Embroidered with ‘Chanel’ and crafted with a weighted hem, the poplin shirts capture Blazy’s knack for elevating the quotidian through meticulous acts of craft.

Standout specs

Sunglasses are for making a sartorial statement this season. Case in point: these goggle-like frames from Miu Miu, which appeared on the S/S 2026 runway in bright shades of yellow, orange and blue. Similar styles were seen at Loewe, Versace and Balenciaga, the latter presenting huge bug-eyed shades adorned with shimmering crystals and worn with gowns and opera gloves – a very modern proposition for eveningwear.

Vivid outerwear

Outerwear eschewed the usual hues of grey, brown and black for bold colours that befit spring. This red overcoat by Prada embodies the season’s optimism, appearing as part of a collection that was about capturing a mood of escapism. Colourful outerwear was also spotted at Auralee, Dries Van Noten and Saint Laurent by Anthony Vaccarello, the latter inspired by hazy summer days on New York’s Fire Island.

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A version of this story appears in the March 2026 Style Issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + now. Subscribe to Wallpaper* today

Models: Pascal Thulin at Next, Marrit Krikke at Platform Agency. Casting: Leila at Suun Consultancy. Hair: Paula McCash using Babylisspro and Evopro. Make-up: Claire Urquhart at Julian Watson Agency using Make Up For Ever. Manicure: Saffron Goddard using Chanel La Base Camélia and La Crème Main. Digi tech: Cameron Williamson. Photography assistant: Lucas Bullens. Fashion assistant: Nathan Fox. Production assistant: Danielle Quigley.

For the S/S 2026 season, the spotlight fell on 15 creative directors. After many months of abrupt departures, sudden arrivals and judicious role-swapping at Dior, Chanel, Balenciaga, Celine, Gucci, Bottega Veneta and Carven – plus new placements at Versace, Jean Paul Gaultier, Mugler, Maison Margiela, Loewe, Jil Sander, Area and Proenza Schouler – those in question unveiled debut collections to an audience that had eagerly coined this unprecedented shift as ‘fashion’s great reset’. But every new beginning comes from another beginning’s end, as the saying goes. And across these debuts, it was the past that would define the future.

However, it was neither sycophantic nostalgia nor a simple rehashing of familiar codes that swept the runways. As the show notes written for Jonathan Anderson’s inaugural ready-to-wear womenswear collection at Dior stated: ‘Daring to enter the house of Dior requires an empathy with its history, a willingness to decode its language, and the resoluteness to put all of it in a box. Not to erase it, but to store it, looking ahead, coming back to bits, traces or entire silhouettes from time to time, like revisiting memories.’

Anderson, who bade farewell to Loewe in March 2025 after 11 years at its helm – a period in which he transformed the languishing Spanish brand into a zeitgeist-defining institution – chose Paris’ Jardin des Tuileries as the location for his highly anticipated reveal. Conceived by longtime Anderson collaborators, director Luca Guadagnino and production designer Stefano Baisi, the white cube-like set featured a pyramid at its centre, on which a video by Adam Curtis was projected. The British documentarian had applied his signature collaging technique to archival recordings of every creative director who had preceded Anderson. And the collection itself also traversed the house’s illustrious history. But whether a restructuring of the Bar jacket, its flared waist manipulated into a blossoming bow, or the cleverly skewed, shrunken proportions of the New Look silhouette, signature Andersonisms (abstracted shapes, off-kilter detailing, surrealistic millinery) made it clear that an ‘inevitable change’ had arrived.

At Celine, Michael Rider followed a similar tack for both his spring 2026 resort collection, which marked his debut, and the ready-to-wear that followed. Speaking backstage after the first presentation, the designer stressed that Celine’s new chapter wouldn’t be marked by ‘a sense of erasure’. He said, ‘There was a foundation to build on. That, to me, felt modern, ethical, strong.’ So, in both offerings, Céline Vipiana’s quintessential silks and entrenched house prints melded with a pinch of Phoebe Philo (oversized shoulders and soft draping, for example), with whom Rider worked during her tenure at the house. There was also a touch of Hedi Slimane’s youthful Parisian sensibility: denim jeans, leather biker jackets and a nod to the dress codes of the 1960s Left Bank. Equally, the Washington DC-born Rider, a former creative director at Polo Ralph Lauren, was claiming Celine as his own with design tropes belonging to preppy Americana: oversized varsity jerseys, leather lace-up pumps and white socks, and knits emblazoned with the brand’s equestrian logo.

At Maison Margiela, Glenn Martens said his S/S 2026 ready-to-wear offering would see ‘new design suggestions appear alongside reintroductions and evolutions of archival ideas’. Like Martin Margiela and the house’s late co-founder Jenny Meirens, Martens is Belgian, and his avant-garde approach was honed at Antwerp’s Royal Academy before taking the reins at Y/Project and Diesel. In the wake of former creative director John Galliano’s lauded era of dramatic spectacle, a gritty ambience returned. For the runway show’s soundtrack, Martens referred to Martin Margiela’s S/S 1990 presentation (held in the Paris suburbs, where local children ran freely among models’ Tabi-clad feet), while his collection put a slant on deconstructed tailoring, slashed and reworked denim, and slope-shouldered leather outerwear, worn by open-mouthed models, their lips stretched using metal mouthpieces evocative of the house’s signature four-stitch motif.

A sort of fashion relay took place at Gucci, Valentino and Balenciaga between Alessandro Michele, Pierpaolo Piccioli and Demna: Michele, formerly at Gucci, handed the baton to Demna, previously at Balenciaga, a house that Piccioli now heads up. For Gucci’s S/S 2026 presentation, Demna chose to save the runway for March this year, instead opting for a lookbook shot by Catherine Opie, titled La Famiglia. ‘La Famiglia is a study of the “Gucciness” of Gucci, an expression of the brand as a mindset and a shared aesthetic language,’ he said. Heritage – the Horsebit loafer, the Bamboo bag, the GG monogram – were now viewed through shades of previous creative directors Michele, Frida Giannini and Tom Ford, with Demna’s unmistakable witticisms the mark of fresh design territory.

Piccioli’s proposition for Balenciaga began with Cristóbal Balenciaga’s ‘minimalist maximalism’, taking the 1957 Sack dress as a starting point from which to unfold history. ‘It would be stupid to deny who has been here before: Demna, Nicolas Ghesquière, Cristóbal,’ he said of the collection, which infused his trademark romanticism with voluminous, cocooning shapes, peppered with a more austere, Ghesquièrian aesthetic.

Matthieu Blazy left Bottega Veneta towards the end of 2024, with Louise Trotter announcing she would be exiting Carven to replace him. Blazy was quickly named as Chanel’s new creative director. Both showed their first collections across September and October. And at Bottega Veneta, Trotter, in her words, ‘return[ed] to the beginning to find the present’. ‘The language of Bottega Veneta is intrecciato. And it is a metaphor,’ said the designer of her vision for S/S 2026. ‘It is two different strips [of leather] woven together that become stronger – the two things make a stronger whole.’ Bottega Veneta is rooted in Italian craft, and Trotter explored this with flair, manipulating fabrics in a continuation of Blazy’s love of movement and texture. Backstage after the show, Trotter also said that one of her inspirations for the collection was Laura Braggion, Bottega Veneta’s first female creative lead, who worked for the house from the 1980s to the early 2000s.

‘I was imagining her journey,’ she said. ‘Her freedom of being an Italian woman, an archetypal Italian woman, moving to New York. And what that experience meant. It was a liberation for her. And that’s what I wanted to capture – a feeling of liberation.’ In billowing trench coats, skirts and dresses, and the undulating, glistening fringing of ombré skirts and ‘sweaters’ formed from recycled fibreglass, the feeling was palpable.

And then, Chanel. Blazy’s invitation to the French fashion house marked the first time that a designer outside of Gabrielle ‘Coco’ Chanel and Karl Lagerfeld’s inner circles would enter its ateliers (Virginie Viard, who had worked closely with Lagerfeld from the 1980s up to his death in 2019, would step down for his arrival). So whether to maintain or disrupt the status quo was a predicament for Blazy. ‘Either we do a clean, modern, by-the-codes, by-the-book Chanel show, and it’s a first step. Or we do this show as if it was our last,’ he told The Business of Fashion. ‘I took the last option. Let’s do a show as if it were the last one.’ Against a vast interplanetary set – an ode to Coco Chanel’s fascination with the cosmos – Blazy cast any staid or fusty remnants of Chanel aside. In their place, lightness and liberation; a breath of fresh air. ‘Above all, there is an idea of freedom, of a new universal dress and a borderless blending of styles,’ he said. ‘The inheritance of not just one Chanel woman, but rather, of Chanel women.’

Across 77 looks, there was a subversion of tailoring, with cues borrowed from Boy Capel, Coco Chanel’s English lover, with whom she would sometimes share a wardrobe; there was also a reimagining of the classic 2.55 bag, which appeared softer, as though crumpled under the weight of history. In a continuation of the trompe l’oeil trickery that Blazy was so fond of at Bottega Veneta, tweed was, in fact, not tweed at all, but thousands of tiny glass beads. The final look – a louche ecru silk T-shirt worn with a cascade of confetti-like organza flowers in the shape of a floor-length skirt – was met with rapturous applause.

The S/S 2026 season has seen fashion grapple with a wider question that it has, perhaps, been trying to avoid in recent years: in a culture of short attention spans, what does ‘newness’ even look like? The answer, for now at least, doesn’t seem to lie in the ‘gimmick’ or the ‘redux’, but in acknowledging the design methods of those who came before as a means to move forward. It’s a return to the art of making clothes and the importance of knowing history well enough to alter it.

A version of this story appears in the March 2026 Style Issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + now. Subscribe to Wallpaper* today

Model: Bernie Ross at Elite Model Management Actor: Vaslov Goom at Birdston Talent Management Casting: Lucy Rogers Hair: Michael Harding at Blend Management using Oribe Make-up: Sandra Cooke using Chanel Denim Collection and No.1 de Chanel Body Serum Manicure: Megan Cummings at Snow Creatives using Dior Manicure, Le Baume and Vernis Digi tech: John Cronin Photography assistants: Louise Oates, Tamibe Bourdanne Fashion assistant: Lucy Proctor Production assistants: Archie Thomson, Ady Huq, Indy Davy Photographed on location at The Lanesborough, London.

2025 was a year of seismic change in the fashion industry – one not unnoticed by the Wallpaper* style team, who, in reflecting on their personal style moments of the year, found joy in the new. There was Matthieu Blazy’s exuberant debut at Chanel; the ‘clarity’ of Jonathan Anderson’s first womenswear collection for Dior; and the ‘fresh and beautiful’ opening act from Simone Bellotti at Jil Sander.

But there was charm to be found in the existing, too: Craig Green’s ‘delirious, psychedelic’ return to the runway in Paris, or Nadège Vanhée’s ‘Second Chapter’ show for Hermès in Shanghai, which unfolded against the city’s futuristic skyline. ‘It made for an arresting spectacle,’ says Wallpaper* fashion & creative director Jason Hughes. ‘The kind that you feel lucky to have witnessed.’

In this spirit, the Wallpaper* style team reminisce on their personal style moments of 2025.

‘This year was undoubtedly about the debuts, and I really felt like the combination of Matthieu Blazy at Chanel and Jonathan Anderson at Dior – despite being distinct in their visions – set fashion’s new mood, and captured the feeling of a slate being wiped clean. Both had a clarity of vision that was exciting to watch: at Dior, I loved the focus on form – and the brilliant accessories – while Chanel had a feeling of joy and energy, bolstered by great clothes and craft (I was a huge fan of Blazy’s work at Bottega Veneta). I’m excited to see the two designers’ vision unfold in 2026 – particularly their debut couture shows in January.

‘On a personal front, I also loved travelling to Shanghai for Hermès’ “The Second Chapter” show – a continuation of Nadège Vanhée’s A/W 2025 womenswear collection for the house. I loved the cleverly layered and stacked-up looks – sweaters around the waist, bags across the chest, leather water bottle holders slung from bags. It played out in North Bund Bay on the banks of the Huangpu River in a specially constructed structure: as the show began, a series of shutters swung open to reveal Shanghai’s glimmering, futuristic skyline beyond. It made for an arresting spectacle – the kind that you feel lucky to have witnessed.’

‘2025 has proved a landmark year in fashion, notable for the number of debuts which dominated headlines and social-media feeds (whether positive or negative, online commentary has been passionate). For sheer spectacle, it was Matthieu Blazy’s Chanel: stepping into the Grand Palais, which had been transformed into an enormous simulacrum of the solar system, was true take-your-breath-away stuff. The collection itself had a feeling of levity, encapsulated by Awar Odhiang’s gleeful spinning finale – she was undoubtedly the model of the season. On the other end of the spectrum was Simone Bellotti’s debut at Jil Sander – eschewing theatrics, he showed in the stark-white surroundings of the brand’s Milanese headquarters. I loved the collection: sharp and sensual, with the intriguing proportions that he brought to his previous role at Bally, it was the type of collection that you immediately want to wear everything you’d seen.

‘Smaller in scale, but no less impactful, was Craig Green’s return to the runway – a delirious, psychedelic outing that looked towards The Beatles and 1960s bedsheets for inspiration. It was an honour following the collection’s progress in the October 2025 ‘Long View’ issue of Wallpaper*, from his showroom in London’s Docklands to the Paris runway. “Creativity is how everything moves forward,” he told me. “You need creative thought for things to progress, and for new things to happen. You have to have the freedom to make mistakes, to create work and not live in fear.” In our increasingly algorithmic society, they seem to be words to live by.’

‘As a native New Yorker, I was pleased to see Matthieu Blazy bring his first Métiers d’Art show for Chanel to the New York subway – even if it was a little more cleaned up than the cross-city commutes I’m used to. Taking place on the platform of the now-disused Bowery station on the Lower East Side, the collection was every bit as exhilarating as his much-discussed debut show in Paris earlier this year, conjuring a fantastical cast of characters you might encounter on the New York street – from Upper East Side ladies at lunch to those headed to the office. It was a joy – and made me excited to go back this Christmas.

‘As for what I'm taking from the runway into my own wardrobe, it has to be the stacked-up charm bracelets and belts of Michael Rider’s first two collections for Celine – they appeal to my magpie-like sensibilities, and have got me searching out charm bracelets of my own. Beauty-wise, I was seduced by the dishevelled hair and stripped-back make-up of Prada’s A/W 2025 show – courtesy of Guido Palau and Lynsey Alexander – which gives an excuse for a just-rolled-out-of-bed look I’m tempted to embrace come January.’

‘My favourite fashion moment of the year was Simone Bellotti’s debut for Jil Sander. The shades of blue and red, the sharp silhouettes, the casting – including Guinevere Van Seenus, who appeared in the brand’s early campaigns. It just felt so fresh and beautiful as it came down the runway. I’m really excited to see where he takes the brand next.

‘As a side note, I’ve also loved listening to the music that soundtracked Wanderlust, a film shot in Hamburg he released for the brand over the summer. It’s a particularly calming kind of astral electro by Bochum Welt, and is the perfect soundtrack for wandering through a city.’

It is a truth universally acknowledged that, when it comes to fashion, the basics are the hardest to master. Chief among them: the white T-shirt.

The white tee is the quintessential element of the capsule wardrobe. It adapts to nearly any aesthetic: it can be dressed up or down, layered or worn solo, accessorised or left plain, and is a year-round essential, equally useful under shirts, jumpers and jackets when the temperature falls.

Wallpaper’s fashion and creative director Jason Hughes and fashion features editor Jack Moss are united in their devotion to the white tee. ‘It’s the foundation of almost every outfit I wear,’ says Jason, who is rarely seen without a flash of white peeking from beneath a sweater or shirt. For Jack, the white T-shirt is ‘probably the garment [he wears] most’, again, usually layered under a shirt or sweater. As for me, I favour a pared-back, Scandinavian aesthetic, for which the white tee is indispensable. Pair with low-rise jeans, tailored trousers, a silk skirt… the options are almost endless.

What makes the perfect white T-shirt?

This elusive garment avoids extremes: not too tight at the neck, shoulders or waist – but not tunic-loose. The sweet spot? A slightly dropped shoulder and a relaxed silhouette. As for length, aim for hip level – just long enough to flatter the form without skewing proportions.

‘Because a T-shirt is so simple, its shape really matters,’ says Jack, who gravitates toward looser, boxier fits, adding, ‘it has to have a high crew neck’. Loose and boxy is a good rule of thumb for women, too; a too-snug tee will bunch at the waist and pull at the hips. If you want a smooth silhouette, don’t be afraid to go oversized. Acne Studios, COS and Arket all do models that fit the bill.

The best white T-shirts are substantial but breathable, with a GSM which offers structure and longevity. Jason’s go-to is a heavyweight crew-neck from US utility brand Pro Club. Jack also leans toward heavier cottons, swearing by classics like Gildan and Fruit of the Loom, but lately he’s been enjoying Extreme Cashmere’s cotton-cashmere blend (‘it falls really nicely’, he says, thanks to the softness of the superfine knit).

The best white T-shirts, according to Wallpaper*

Classic white T-shirts

Cult white T-shirts

Luxury white T-shirts

Sustainably-minded white T-shirts

Everyday white T-shirts

An imagined meeting between photographer Robert Mapplethorpe and couturier Yves Saint Laurent – two men responsible for honing the aesthetic of the 1980s – provided the inspiration for Anthony Vaccarello’s A/W 2025 menswear collection for Saint Laurent, presented in the Tadao Ando-designed rotunda of Paris’ Bourse de Commerce earlier this year. Hanging chandeliers – lowered to just a few feet from the floor – lent the space a moody half-light, inspired by those which hung in the ballroom of Paris’ Intercontinental Hotel, where Yves Saint Laurent held his couture shows from 1976 onwards.

Out of the darkness emerged his protagonist for the season: part-Yves Saint Laurent in ‘bookish’ houndstooth and flannel tailoring, a recreation of his distinctive Parisian uniform, part-Mapplethorpe in the thigh-high leather boots worn atop, inflected with the suggestion of kink that ran through his photographic oeuvre (Mapplethorpe remains best-known for his homoerotic male nudes, which often featured elements of fetish and BDSM-wear, from leather boots, chaps and harnesses to gimp masks and latex). Vaccarello described the collection as capturing ‘a menacing, seductive elegance’, further figured in hefty leather overcoats and flourishes of ‘fur’ (in fact, these pieces were constructed from thousands of meticulously placed feathers).

Dangerous elegance: A/W 2025’s new menswear mood

This feeling of ‘menacing elegance’ ran through the season, with 1980s-inflected designs capturing a mood of dangerous sensuality through moments of leather, denim and western-wear, often clashed with classical tailoring or corporate attire. At MM6 Maison Margiela, tasselled leather gilets and pants looked to have stepped out of a Karlheinz Weinberger photograph; at Versace, slick leather tailoring was worn with silk shirts adorned with animal prints and baroque motifs; while at Prada, an influence of western-wear came in cowboy boots tweaked upwards at the toe, and tailoring made from a patchwork of leather. Playing out amid a scaffold show set designed to evoke the intimacy of a nightclub, co-creative directors Miuccia Prada and Raf Simons called it a collection of ‘instinct and passion’.

Here, taken from the cover shoot of the September 2025 Style Issue of Wallpaper*, a series of these looks is captured by French photographic duo Melanie + Ramon and Wallpaper* fashion and creative director Jason Hughes. Together, they encapsulate the A/W 2025’s dangerous, sensual mood – an invitation to embrace a sense of risk when dressing for the season ahead. Our short film of the shoot, above, plays out to the voice of a young Marlon Brando, as recorded in an early screentest for Rebel Without a Cause (the part later went to James Dean).

Model: Colin O at Tomorrow Is Another Day. Casting: Noah Shelley at Streeters. Hair/grooming: Michael Harding at Blend Management using Davines. Digi tech: Grzegorz Stefanski. Photography assistants: Joe Conway, Jason Colledge. Fashion assistant: Anna Sweasey. Production assistant: Danielle Quigley. Retouching: Courtoisie.

A version of this story appears in the September 2025 Style Issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

If accolades were handed out for inspiring workplace views, then there would be few more worthy recipients than the Celine factory in Radda in Chianti. Nestled in the Tuscan hills, 30km north of Siena, the 5,200 sq m concrete, steel and glass structure rises from its small nook in the lush Italian countryside to provide 360-degree panoramas to the 300 artisans working on the fashion house’s factory floor. Such is the exceptional natural beauty surrounding them, that it makes the item they are crafting all the more fitting. For it is here that Celine’s most celebrated object of beauty, the ‘Triomphe’ handbag, is brought into existence every day.

A classic for all seasons, the ‘Triomphe’ is one of the house’s most popular pieces, transcending not only time but something even more impressive in the world of luxury fashion: creative directors. Designed by Celine’s then-creative director Hedi Slimane in 2018 as a tribute to the Paris-based brand’s founder Céline Vipiana, the ‘Triomphe’ will continue to feature in collections under new creative director Michael Rider, who made his debut in July. Slimane named the bag after the landmark that inspired its logo. Following a minor collision while circumnavigating the Arc de Triomphe, legend has it that Vipiana got out of her vehicle and noticed the interlocking Cs engraved on the chain circling the monument and made it her logo. Long resigned to the maison’s archive when Slimane took the reins, it was revived as the main motif on his maiden handbag – and an icon was reborn.

Inside Celine’s Tuscan factory

Achieving such legendary status requires meticulous attention to detail. At the Radda in Chianti factory, the ‘Triomphe’ is realised through a precision- practised, 15-step assembly line (including quality control after each stage). Akin to watching a sculpture come to life in the hands of an artist, here, hand and machine work symbiotically to achieve perfection.

There are no fewer than 100 components to be accumulated in the cutting process before the assembly of the bag can take place. In this important early stage, artisans study the minutiae detail on calf leather hides using a combination of nesting machines and thenaked eye before lining up their pattern parts within millimetres of each other to reduce waste.

When all are collected, the pieces for each bag progress through skiving (a process that thins the leather), gluing and monogramming, before seams are folded, raw edges are painted, loops and straps are stitched (the thread is first rubbed in beeswax), its body is moulded, and everything is brought together. The final stages see the gold-finished Triomphe clasp hand-screwed onto the front flap before going through a rigorous two-step quality check, and it’s then wrapped ready for sending to Celine’s worldwide stores. And with the success of each step determined by the skilled eye and steady hand of each artisan, the weight of perfection only grows as the handbag nears completion, but not a beat is dropped thanks to the team’s finely-tuned baton passing. If there are nerves, then none are showing. It is, we are told, a stimulating, collaborative and rewarding experience – and it looks it.

Designed in LA, made in Italy, and exuding Celine’s signature Parisian polish, the ‘Triomphe’ is an ode to legacy, tradition and modernity – or, poetically put, beauty born from beauty.

A version of this story appears in the September 2025 Style Issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

The heavens may have opened just prior to Michael Rider’s debut runway show for Celine – taking place in Paris today on the eve of the city’s haute couture week – but the adverse weather did little to dampen what was a fresh, contemporary outing from the American designer, who previously worked at the house during Phoebe Philo’s tenure (in the meantime, he was creative director of Polo Ralph Lauren from 2018-2004).

Taking place at the Celine headquarters on Rue Vivienne, its courtyard partly protected with an enormous silk foulard which fluttered above attendees' heads, Rider said that he was seeking to create something timeless – an echo of both his former boss, Philo, and his predecessor, Hedi Slimane, who both approached this task in radically different ways (the former did so through a quietly subversive expression of feminine elegance, while the latter drilled down on – and perfected – wardrobe archetypes, particularly those linked with subculture).

Celine S/S 2026: Michael Rider’s joyful debut

‘I’ve always loved the idea of clothing that lives on,’ Rider said in a letter distributed at the beginning of the show. ‘That becomes a part of the wearer’s life, that may capture a moment in time but also speaks to years and years of gestures and occasions and change of the past, the present and the future, of memories, of usefulness and of fantasy, of life really.'

So there were enormous rugby shirts, wide-sleeved marl sweaters, stripey shirts and ties (a nod to the preppy, varsity wear of Polo Ralph Lauren and his native United States); pinched waist blazers with wide shoulder lines, voluminous trousers and jeans with rounded side seams, languid funnel-neck trench coats (a pitch to the Philophile); alongside skinny jeans and riffs on the uniforms of the Parisian bourgeoisie (a little Slimane).

Then there were expressions of craft – a black dress was made from thousands of Celine labels, the sleeve of a biker jacket adorned with stitched-on keys, while jeans were decorated with intricately embroidered flowers – and plenty of Celine logos, across colourful sneaker boots, T-shirts and sweaters.

Any familiarity was purposeful, and clever. After the show, Rider said that he ‘did not want there to be a sense of erasure. There was a foundation to build on. That to me felt modern, it felt ethical, it felt strong.' Indeed, after the financial success that Slimane brought to the house – according to estimates, he doubled Celine’s sales to over €2.5 billion, making it a jewel in the LVMH roster – gut renovation was not necessary.

That said, this was no rehash. Rider’s vision brings a new lightness to the house, embracing colour, humour and play – for a summer collection, it achieved the necessary feeling of a window being opened, of the air being let in. ‘Coming back to Celine, and to Paris, back to 16 rue Vivienne in a changed world, has been incredibly emotional for me,’ he said. ‘And a complete joy.’ His ebullient mood more than translated into this astute debut.

celine.com

Summer is a time for living with abandon; for freeing yourself from quotidian routines and making straight for the nearest beach. Dressing for the season should be approached with a similarly liberatory spirit: the heat of summer calls for embracing your instincts for the playful and the brightly hued, a more is more aesthetic befitting a mood of escapism, where, for a tantalising brief few months, you can reveal a whole different side of yourself (both metaphorically, and, for the brave, physically).

As seen in the Wallpaper* June Travel issue, Bulgaria-born, London-based photographer Irina Shestakova and Wallpaper* fashion and creative director Jason Hughes capture this spirit of playful abandon, proposing a pile-up of accessories that look best on the beach. From raffia totes, bag charms and candy-like strings of necklaces to barely-there swim trunks and fluoro T-shirts – as well as bikes and snorkels – this is our directive to let go this summer, and give into your desire for escape.

Explore the story below.

Splash out! This summer’s best accessories

Models: Mia and Tsion at Next, Nikita, Adam and Eden at IMG, Chanula at Milk. Casting: Nico at Ikki Casting Hair: Christos Bairabas. Make-up: Victoria Martin using Haus Labs. Manicure: Olivia Gane using Chanel Le Vernis and Chanel La Crème Main. Photography assistants: Federico Covarelli and Sam Sorabjee. Fashion assistant: Lucy Proctor Hair assistant: Malita Nagelyte. Production assistant: Archie Thomson.

A version of this article appears in the June 2025 Travel Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

The notes of spring perfumes are markers of the season itself, with blossoming flowers, ripening fruit and green accords symbolic of new beginnings.

After the moodier, heavier scents of wintertime – rich gourmands, spicy ambers and woody ouds that linger in a colder atmosphere – spring fragrances are a welcome breath of fresh air, in keeping with the climbing temperatures and renewed sense of optimism buoyed by the sun’s rays.

Here, Wallpaper* presents our edit of the best spring perfumes of 2025, from the likes of Réservation, Perfumer H, Louis Vuitton and more.

The best spring perfumes of 2025

Earlier this week, the latest Été Celine collection was teased with a lingering shot of the azure-blue waters of the French Riviera, the gently undulating surface glimmering in the summer sun.

Such a scene captures the essence of the warm-weather capsule collection from the Parisian house, which is inspired by the French Riviera and Saint-Tropez, embracing the feeling of escape that comes with summertime sojourns in the storied locale.

Été Celine at Sefridges, London

Pre-launching with a special pop-up in London’s Selfridges department store today (16 April 2025), the clothing collection features Celine’s riffs on summertime essentials, from the straw hat (here intricately woven with the house’s Triomphe motif) to bikinis, espadrilles and caps (the latter with a new nautical motif, comprising the letter ‘C’ intertwined with an anchor).

Other pieces capture a mood of languid Riviera glamour – crisp white trousers, nautical stripes and golden buttons – while an accompanying selection of homeware, from cushions to raffia tables and a hammock, are primed for beachside living.

The pop-up space, which takes over Selfridges’ ephemeral ‘Corner Shop’ on the department store’s ground floor, will also launch a new fragrance from the house’s Haute Parfumerie line. Titled ‘Un Été Français’, the fragrance evokes the ‘freedom and lightness’ of the New Wave generation, capturing south of France holidays ‘lulled by the waves and summer heat’ à la Bonjour Tristesse (notes include fresh bergamot, jasmine and neroli, along with hints of sweet, silky vanilla).

The pop-up store will run for a month in the Corner Shop space, until 16 May 2025. The Été Celine collection will then launch internationally – just prior to the debut collection from new creative director Michael Rider, who will show on 6 July during Haute Couture Week in Paris

Été Celine at The Selfridges Corner Shop, 400 Oxford St, London, W1A 1AB, celine.com

As seen in the March Style Issue of Wallpaper*, photographer Luca Strano and stylist Nicola Neri capture the mood of undone elegance that ran through the S/S 2025 menswear collections with a series of collaged and layered-up looks – a proposition for translating the runway into the everyday.

Titled ‘Cut and Paste’, the photo series offers lessons in embracing fashion’s new mood of eclecticism – a throughline of the S/S 2025 season – whether doubling up on jersey vests or shirts for a subversive twist on basics, leaving buttons undone to expose slices of skin, or tying-up the arms of a sweater for playful new proportions.

Cut and paste: how to wear the S/S 2025 menswear collections

Other garments come with layering built in, whether the trim of lace that emerges from beneath an otherwise quotidien grey sweater from JW Anderson, or a trompe l’oeil belt on a pair of Prada trousers (co-creative directors Miuccia Prada and Raf Simons describe their S/S 2025 collection as one where nothing is quite what it seems).

Elsewhere, a diaphonous sheer top by Dries Van Noten is worn over an Hermès blazer – a satisfyingly strange take on eveningwear – while T-shirts and jackets hang from the waistband of trousers to surreal effect. Meanwhile accessories – from colourful lace masks to colourful nylon sneakers and metal brooches – contribute to the season’s uninhibited mood.

Explore the looks below.

Model: Owen Ruppersburg at Milk Management. Casting: Svea Casting. Set design: Harry Stayt. Grooming: Lachlan Mackie. Photography assistants: Elliott Gunn, Luca Viopelle. Fashion assistant: Sophie Bell. Set design assistant: Marko Ilic. Production assistant: Archie Thomson.

A version of this article appears in the March 2025 issue of Wallpaper*, available in print on international newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

For the Wallpaper* March 2025 style issue, we imagined six intoxicating perfumes through six different looks, photographed by Grace Difford and styled by Jason Hughes.

Dior, Poison: Notes of coriander, tuberose absolute and vanilla (above)

Derived from the French word for ‘wake’, ‘sillage’ is a perfumery term used to describe a lingering scent trail. Although its wearer may have left the room, any powerful fragrance will remain behind, like an olfactory phantom. ‘Long after one has forgotten what a woman wore, the memory of her perfume lingers,’ said Christian Dior of an intoxicating fragrance’s ability to haunt and beguile.

Of the many perfumes in the history of Dior, Poison, created by Edouard Fléchier in 1985, distinctly encapsulates this statement. Containing plum, coriander, anise, tuberose, incense and honey, this bombastic, syrupy scent could diffuse a nuclear aroma of grape flavoured candy with a single spritz. (Such was its intensity, some offices and restaurants outlawed those who dared to wear it.)

Escentric Molecules, Escentric Molecule 001: 100 per cent Iso E Super

Fléchier’s predecessor, master nose Edmond Roudnitska, who created perfumes for Dior between 1948-1976, would surely have admired this polarising elixir, believing that ‘the beautiful perfume is the one that gives us a shock’. Roudnitska was the first perfumer to make commercial use of hedoine, or methyl dihydrojasmonate, a synthetic molecule found to activate human pheromone receptors and areas of the brain associated with emotion.

Iso E Super is another synthetic ingredient said to trigger a similar pheromone response. Geza Schoen founded his fragrance brand Escentric Molecules in 2006, inspired by the moment he smelled this compound in isolation. ‘Iso E Super is highly unusual. You can never get enough of it. One sniff and you want the whole bottle. It’s like a drug,’ he said. ‘It’s brought alive by the warmth of the body. It blossoms on the skin, adding a velvety radiance to your own individual scent signature. You want to nestle into it, it’s sensual, cocooning.’ The first perfume by the brand, Escentric 01, is crafted from Iso E Super alone. One review on Fragrantica describes it as so ‘addictive to my own nose that I keep burying it in my shirt’.

Loewe, 001 Woman: Notes of jasmine, linen and musk

The synesthetic quality of perfume is celebrated by Serge Lutens in his Collection Noire, a capsule of fragrances with ‘strong Proustian accents’. This includes the 1993 scent Ambre Sultan, designed to evoke a ‘fragment of amber resin picked up by Serge Lutens during a wander through the souks of Marrakech, which lay forgotten for years inside a thuja wood box.’ Resinous, smoky and sweet, thanks to a welcome underscore of vanilla, it recalls the feeling of stepping into a sauna and imbibing the terpene smell of hot cedarwood.

In 2016, reflecting on another intimate setting, Jonathan Anderson put forward the initial perfume offering for Loewe under his tenure: 001 Woman and 001 Man. These ‘reinterpret the scent of a skin caress’ and are ‘suggestive of the morning after’, with shared notes allowing them to be worn together, as if lovers entwined in bed. The jasmine and musk in 001 Woman combine with notes of linen for an enveloping effect.

Hermès, Oud Alezan: Notes of rose oxide, rose hydrolat and oud

For Christine Nagel, head perfumer at Hermès, it was a close encounter with a chestnut mare named Scheherazade, in the stables at the annual Saut Hermès competition in Paris, that led to the creation of Oud Alezan. ‘I could feel the hair across her head… her palpitating heart in her neck,’ she said in an interview with us last year. ‘One day, I was given some blotters. The supplier didn’t say what was on them. When I smelled one of them, it was as if I was smelling Scheherazade’s neck again.’ On those blotters was an exceptionally rare oud that would form the foundation of Oud Alezan. Enveloping and supple, the sharpness of rose oxide slices through it in the manner of a craftsman’s blade through leather.

Celine, Reptile: Notes of cedar, pepper, tree moss, leather and musk

Celine’s Reptile and Black Tie also evoke the tactility of fabric, referencing the clothing designs of the then creative director Hedi Slimane. According to the brand, the former is an ‘olfactory twin’ of the stage outfits made for the designer’s rock star muses, while the latter nods to the textures of grain de poudre and satin. Intensely powdery via musk and white orris butter, a Fragrantica user attests to Black Tie’s addictive qualities: ‘What has this done to my nerve endings?’ Another adds that Reptile is ‘like I’ve stuck my nose into a fine leather handbag’.

Slimane’s penchant for designing perfume that elicits a visceral response is, in part, thanks to his one-time mentor Yves Saint Laurent, who, alongside his A/W77 Les Chinoises collection, debuted Opium, a heady blend of myrrh, patchouli and vanilla. ‘I chose Opium for the name because I hope that it will diffuse through its incandescent powers, divine fluids, magnetic waves, and the things that most appeal to the heart,’ explained Saint Laurent. ‘The charms of seduction, which give birth to passionate love, when you fall head over heels, fatal ecstasy…’

Yves Saint Laurent, Opium: Notes of cloves, cinnamon, incense and sandalwood

‘Saint Laurent oversaw the entire creative process, from the choice of scents and the shape of the bottles to the press kit and the advertising campaign featuring Jerry Hall photographed by Helmut Newton,’ notes the Musée Yves Saint Laurent website, adding that the fragrance caused global controversy for its association with the narcotic. Opium’s scandalous legacy continued under Tom Ford, whose 2000 advertising campaign, shot by Steven Meisel and starring a nude Sophie Dahl seemingly in the throes of ecstasy, was banned by the UK’s Advertising Standards Authority after receiving an unprecedented number of complaints. Four years later, Ford left Yves Saint Laurent to set up his own brand. A beauty line soon followed, and with it, the first Tom Ford fragrance: Black Orchid. ‘This is not about an ordinary orchid, it’s about something a little more strange and rare,’ Ford said at its launch in 2006.

Tom Ford, Black Orchid: Notes of truffle, plum, rum, ylang-ylang, black orchid and patchouli

‘For the last decade, I think we’ve launched fragrances that have become so stripped-down, so transparent in terms of colour and scent,’ he continued. ‘For me to put a story back into fragrance and put the fragrance into a beautifully designed bottle and shoot it in a very lush way, this is a reaction to a decade of minimalism that has left people starved for content and substance. I wanted a potent product.’ In a world where audacious fragrances are, at times, more diluted than ever before, we could do well to heed Ford’s words.

Model: Maaike Klaasen at Platform Agency. Casting: Ikki Casting at WSM. Hair: Stelios Chondros at Julian Watson Agency using Bumble and Bumble. Make-up: Claire Urquhart at Julian Watson Agency using Nars. Manicure: Abena Robinson at Agency 41 using Margaret Dabbs London. Prop maker: Sienna Murdoch. Photography assistants: Adam Roberts, Bradley Polkinghorne. Fashion assistant: Nathan Fox. Hair assistant: Kate Hussey. Make-up assistants: Fernanda Paz, Tasmin Ballingall. Retouching: Art Post

A version of this article appears in the March 2025 issue of Wallpaper*, available in print on international newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

One of the Wallpaper* Design Awards 2025 winners includes a recent collection of eye and lip pencils from Hermès Beauty, named Trait d’Hermès. ‘I vividly remember that I was one of those kids who loved stationery and having a huge palette of colours in front of me,’ Hermès Beauty’s creative director Gregoris Pyrpylis said of the collection upon its launch in October 2024.

Conceived in collaboration with the brand’s packaging creator Pierre Hardy, it reflects on these childhood memories and is designed to resemble a kaleidoscopic set of new crayons. ‘Make-up has become even more joyful and more playful than ever,’ he continued. ‘And Trait d’Hermès is an invitation to explore this to its fullest.’

Wallpaper* Design Awards 2025: make-up collections by Hermès, Dior, Celine, Chanel and Prada selected by beauty editor Hannah Tindle

A grown-up invitation to play with make-up application has felt like a running theme over the past year in beauty. Peter Philips, Dior’s creative and image director of make-up, channelled a similar line of thought into the reimagined Diorshow Mono Couleur eyeshadows and Stylo eyeliners, encouraging spontaneity and experimentation with an array of colours and textures. In the accompanying Diorshow ad campaign, Philips drew abstract black and pastel-toned stripes across model Deva Cassel’s eyes – paying homage to Serge Lutens, whose radically illustrative work for Dior creative director Marc Bohan used every inch of the face as a surface for painting and drawing with make-up.

During his tenure at Celine, Hedi Slimane mined the modernist archives of its founder Céline Vipiana. (Besides clothing, Vipiana produced the brand’s first perfume, Vent Fou, in 1963, alongside accessories and lifestyle objects.) Before announcing his departure last October (2024) Slimane marked a new chapter, launching Celine Beauté with a single product: a satin lipstick in an effortless red dubbed Rouge Triomphe. As quintessential as a piece from Slimane’s ready-to-wear collections, it’s a lipstick so universal that the individual ways it can be worn seem almost endless.

Back in 2022, Chanel set up its Cometes Collective, a group of emerging make-up stars hand-picked by the brand to formulate a seasonal, limited-edition collection – ‘independent thinkers united, above all, by the conviction that beauty comes from the freedom to be and to become yourself in all your richness, complexity and nuance,’ says the house.

The first make-up artists selected were Ammy Drammeh, Cécile Paravina and Valentina Li, with the collective’s debut launching in 2024, courtesy of Li. A painter before she turned her hand to make-up, she sports a blue bob (Li considers the colour to be a ‘reflection of her inner world’). As a result, her Spring 2024 collection traversed a range of blues from cobalt to pale azure in a Les 4 Ombres eyeshadow quad, Stylo Yeux eyeliner and Lumière de L’Océan illuminating powder.

Miuccia Prada and Raf Simons described their vision for Prada’s S/S 2025 collection as ‘rallying call against the internet algorithm’ and a rejection of the ‘derivative and expected’. Casting director Ashley Brokaw assembled a roster of new and eclectic looks for the runway show, with Prada’s global creative make-up artist Lynsey Alexander taking an equally tailored approach to beauty. Using products from the brand’s namesake make-up line – including the Memphis Milano-esque Dimensions eyeshadow palettes, which Alexander described as a ‘juxtaposition of ugly and beautiful, coming together to create something quite extraordinary’ in a 2023 interview with Wallpaper* – each model received a unique look, corresponding to their facial structures and personalities.

As artist Cindy Sherman once said, ‘I’m good at using my face as a canvas. I’ll see a photograph of a character and try to copy them on to my face.’ It’s a statement that speaks to the current mood in contemporary make-up and beauty, where the face becomes a canvas in every sense of the word.

Models: Mouy Onak at IMG, Essoye Mombot at Oui Mangement, Marie Loridan at Women Management. Casting: Ikki Casting at WSM. Hair: Rimi Ura at Calliste Agency. Digital assistant: Farouk at Dope Paris. Photography assistant: Theophile Parat. Make-up assistants: Toma Marandeau, Ekaterina Mignery.

Find all the Wallpaper* Design Awards winners in the February 2025 issue of Wallpaper* is available in print on newsstands from 9 January 2025, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Wallpaper’s beauty products of the month is an edit of the make-up, skincare and haircare loved by our resident beauty editor.

Today (1 February 2025) this includes Celine’s expanded lipstick range, Chanel’s S/S 2025 make-up collection and Mantle’s jellyfish mucin serum pads. Plus, Frédéric Malle’s quintessential perfume Portrait of a Lady by Dominique Ropion, dressed up for its birthday in a red lacquered bottle.

The best beauty products of the month recommended by Wallpaper*

Make-up

Chanel’s limited edition make-up collection for S/S 2025

Chanel’s limited edition make-up collection for S/S 2025 has been designed by Ammy Drammeh, one-third of the house’s Cometes Collective alongside Valentina Li and Cécile Paravina. Naturally, the offering is a celebration of colour and texture, with unconventional shades of Ombre Essentielle solo eyeshadows, or Stylo Yeux waterproof eyeliners. (This season, they come as duo sets in hues of mauve, pink, green and nude). Le Vernis nail polish in creamy pastels, and Jeux de Lumieres highlighting powders, complete the house’s offering.

Chanel S/S 2025 limited edition make-up, price varies, chanel.com.

Celine’s expanded lipstick shades

Celine Beauté’s debut lipstick Rouge Triomphe, which inaugurated the Le Rouge Celine collection, has now been joined by 14 others, each in the same hydrating, long-lasting satin texture. Orange Clea is a sultry red; while La Peau Nue is a classic nude, first featured on the S/S 24 Celine runway. There’s also an array of warm, rosy hues: from Rose Palace, through to cooler pinks and purple tones including Zou Zou (also the name of a fragrance launched by the house last year). Nightclubbing, which takes its name from a perfume as well, is the darkest shade of all – a deep inky violet.

Celine Le Rouge Celine lipstick, £62, celine.com.

Dior’s PH-activated lip balm

Dior Addict Lip Glow, a recent launch from the house of Dior’s make-up line, has been made with a pH-reactive formula, so the sheer wash of colour it provides will morph into a distinct, personal hue upon contact with the skin. It also comes in both warm and cool undertones and is intensely hydrating, containing both cherry extract and shea butter.

Dior Addict Lip Glow lip balm, £33, dior.com

Skincare

Omorovicza’s healing blue serum

Omorovicza’s Blue Diamond Super Serum – an addition to the Blue Diamond Surfacing Peel and Blue Diamond Supercream – focuses on eliminating senescent cells to regenerate skin at a deeper level, with ingredients including diamond peptides, tetrapeptides, hyaluronic acid and Omorovicza’s patented healing concentrate derived from the thermal waters of the brand’s native Budapest.

Omorovicza Blue Diamond Super Serum, £350, omorovicza.com

Mantle’s jellyfish mucin pads

Mantle’s Hydra Serum is powered by the combination of jellyfish mucin (said to bind water three times better than hyaluronic acid), and deep sea algae. Together, these ingredients form the Scandinavian skincare brand’s patented mPelagic2 Complex, which is now also found in its Hydra Pads alongside lactobiotic acid, providing exfoliation and intense hydration in just a few swipes. Keep them in the fridge for an additional de-puffing and cooling effect.

Hydra Pads by Mantle, £49, mantleskin.com

Haircare

Dyson’s automatic hot tool

The beloved Dyson Airwrap received an update in 2024 in the Airwrap i.d., a tool that wirelessly connects to an app via Bluetooth. Here, you are able to create your own profile and styling programme, adapting heat, timing and airflow depending on your particular hair type. Then, at the push of a button, the Airwrap i.d. will carry out the sequence. (Last month, it received a makeover in the form of a limited edition colourway called Jasper Plum, which compliments the packaging of its Chitosan products).

Dyson Airwrap i.d., £480, dyson.co.uk.

Fragrance

Frédéric Malle’s Portrait of a Lady (in red)

Frédéric Malle's Portrait of a Lady was created by legendary nose Dominique Ropion in 2010. Ropion is often referred to as ‘the master of flowers’, a title that he demonstrated with aplomb in Portrait of a Lady, where two variations of concentrated Turkish roses meet with notes of blackcurrant, raspberry, patchouli and amber. To mark its 15th anniversary, the fragrance is dressed up in a limited-edition red lacquered bottle, accompanied by a portrait series by photographer David Sims.

Frédéric Malle Portrait of a Lady eau de parfum, £290, fredericmalle.co.uk

Acqua di Parma’s interpretation of a classic

Colonia Il Profumo by Acqua di Parma is an intense reinterpretation of the Italian maison's original Colonia. Opening with the citrus notes, Acqua di Parma is renowned for, including Italian bergamot, grapefruit, blood orange, and petitgrain, the heart of Colonia Il Profumo features rosemary and ylang-ylang. Going deeper still, vetiver and patouchli provides the scent with a richness quite unlike any other from the brand.

Acqua di Parma Colonia Il Profumo, £264.00, acquadiparma.com.

Dior’s olfactory lucky charm

Christian Dior was a superstitious man. One of the couturier’s lucky charms, a piece of wood he would carry with him to bring good fortune, is the inspiration behind Bois Talisman, a new fragrance by Francis Kurkdjian for La Collection Privée Christian Dior. Kurkdjian, sharing M. Dior’s superstitions – including keeping a sugar cube as a charm – crafted a perfume symbolising the blend of wood and sugar. This scent is an olfactory exploration of cedarwood and vanilla, with multiple extraction methods enhancing the richness of vanilla.

Dior Bois Talisman eau de parfum, £380, dior.com

Tom Ford’s rose exposé

An unconventional composition of florals and leather, Rose Exposed by Tom Ford has been created to ‘capture the ephemeral beauty of a rose at its peak bloom’. It achieves this through an exclusive co-distillation of rose absolute and rose water. Rose Expose is more complex than it first appears, however: white pepper, pink peppercorn, bergamot, and curcuma give a warm and spicy element. A ‘tactile black leather accord’, as the brand describes, is comprised of sandalwood olibanum, and cashmeran.

Tom Ford Rose Exposed eau de parfum, £222, tomford.com.

Unboxing beauty products on Boxing Day? Well, metaphorically speaking, why not?

Here, we take a look back at the pages of Wallpaper* from the past year, reflecting on the make-up, perfume, tools and accessories that defined our 2024.

Unboxing beauty products from 2024, as seen on the pages of Wallpaper*

Chanel lipstick in Wallpaper* February 2024: The Design Awards Issue

In the February 2024 issue of Wallpaper*, we presented a design award to the Chanel ‘31 Le Rouge lipstick’. The lipstick comes in several shades and textures, all created to be housed in a glass case crafted by Japanese artisans and designed by Sylvie Legastelois.

Read the full article here.

MyBlend led mask in Wallpaper* March 2024: The Style Issue

For the first Wallpaper* Style Issue of the year in March 2024, we turned the spotlight on the MyBlend ‘myLedmask’, with its uniquely contoured design slightly reminiscent of Pedro Almodóvar’s The Skin I Live In.

Read the full article here.

Acne Studios x Frédéric Malle perfume in Wallpaper* April 2024: Global Interiors

We spoke with the creative director of Acne Studios Jonny Johansson, fragrance legend Frédéric Malle and emerging nose Suzy Le Helley about their collaborative work on ‘Acne Studios par Frédéric Malle’ eau de parfum, previewed in the April 2024 issue of Wallpaper*.

Read the full article here.

Bottega Veneta scented candle in Wallpaper* June 2024: The Travel Issue

Bottega Veneta launched scented candles earlier this year, with three different fragrances available in red, yellow and green lava glaze ceramic pots. We captured the brand’s ‘Redstone’ candle on the pages of Wallpaper* June 2024, which contains notes of plum nectar, tobacco and cedarwood.

Read the full article here.

Rimowa vanity case in Wallpaper* June 2024: The Travel Issue

Rimowa's vanity case also made its debut in Wallpaper* June 2024, our annual travel issue. A reimagined 1970s design from the Rimowa archives, the case is robust enough to contain a multitude of products and tools without fear of damage whilst on the move.

Read the full article here.

Fendi perfumes in Wallpaper* July 2024: The Design Directory

In 2024, Fendi created seven exclusive perfumes, inspired by the personalities and memories of close members of the Fendi family. The collection, which we included in the July issue of Wallpaper*, features refillable glass bottles evoking the vocabulary of Roman architecture.

Read the full article here.

Calvin Klein CK One perfume in Wallpaper* August 2024: The USA 100

The August 2024 issue of Wallpaper* was dedicated US creatives, with an accompanying portfolio shot by Inez and Vinoodh. In addition, we looked at 12 American design icons, including Calvin Klein’s ‘CK One’ eau de toilette. First released in 1994, the fragrance remains a best seller to this day.

Read the full article here.

Solid soap in Wallpaper* September 2024: The Style Issue

For Wallpaper* September 2024, the year’s second issue dedicated to style, we celebrated the pleasures of solid soap, including bars from the likes of Aesop, Celine, Diptyque, Hermès and Sisley.

Read the full article here.

Celine Beauté lipstick in Wallpaper* October 2024: Guest Editors

Celine launched its first-ever beauty line in October 2024, Celine Beauté. Designed by Hedi Slimane, who has since left the house in the hands of his successor Michael Rider, the ‘Le Rouge Celine’ lipstick in a shade of red called 'Rouge Triomphe’ made its Wallpaper* premiere in the same monthly issue.

Read the full article here.

Hermès eye and lip pencils in Wallpaper* November 2024: The Art Issue

Hermès’ ‘Trait d’Hermès’ eye and lip pencils were designed by Pierre Hardy and Gregoris Pyrpylis, the house’s creative director of beauty, to evoke a playful stationary set. We captured the collection’s kaleidoscopic colour palette in Wallpaper* November 2024.

Read the full article here.

Bottega Veneta perfume in Wallpaper* November 2024: The Art Issue

Bottega Veneta’s fragrance collection by Matthieu Blazy (now succeeded by Louise Trotter after his appointment as creative director at Chanel) includes five scents inspired by Venice, with bottles blown in Murano glass. Above, is the brand’s ‘Come With Me’ eau de parfum, as featured in the November 2024 issue of Wallpaper*.

Read the full article here.

Dior perfumes in Wallpaper* December 2024: The Entertaining Issue

In 2024, Francis Kurkdjian, the creative director of Dior Parfums took five fragrances from the house’s ‘La Collection Privée’, reinterpreting their notes in ‘Esprit de Parfum’, a new scent range featured on the pages of Wallpaper’s December Entertaining Issue.

Read the full article here.

Dries Van Noten lipsticks in Wallpaper* December 2024: The Entertaining Issue

After taking a final bow on the runway earlier in the year, for the December 2024 issue of Wallpaper* we caught up with Dries Van Noten about his next steps, which include growing the beauty and fragrance arm of his eponymous brand (and spending more time in his beloved garden).

Read the full article here.

Beauty and fashion are close bedfellows. But in 2024, this relationship got even cosier, with a litany of turbocharged crossovers between the two disciplines.

The year began with Pat McGrath’s viral porcelain doll make-up for John Galliano’s tenure-defining Maison Margiela Artisanal S/S 2024 show. Later, during September’s S/S 2025 show season, Olivier Rousteing welcomed the much-anticipated Balmain Beauty. (As well as releasing a line of perfumes called ‘Les Éternels’, the Balmain runway collection included clothes and accessories directly referencing the fragrance bottles, alongside yet-to-be-released products such as lipsticks and eyeshadows).

In October, Celine debuted its first-ever beauty line, with a red lipstick called ‘Rouge Celine’, designed by Hedi Slimane. (Slimane announced his departure from the house soon after). During the same month, Matthieu Blazy unveiled a collection of Bottega Veneta fragrances in Murano glass bottles. Last week (12 December 2024) it was revealed that Blazy would be stepping down from Bottega Veneta and into the role of creative director at Chanel. The day before that, news broke that John Galliano would be exiting Maison Margiela.

If one is to believe fashion’s rumour mill, there are more major changes yet to come in the new year. But if the past 12 months have taught us anything, beauty is going to be a huge part of whatever these changes may be. Here, Wallpaper* takes a closer look at a selection of key fashion-meets-beauty moments, which set the tone for 2025 and beyond.

How 2024 brought beauty and fashion closer than ever before

Beauty on the runway, from Maison Margiela to Marc Jacobs

Even if you still haven’t seen the videos of Maison Margiela Artisanal S/S 2024, where John Galliano’s cast of models (including the likes of Gwendoline Christie) staggered beneath the arches of the Pont Alexandre III in Paris, dressed as dolls plucked straight from Émile Zola’s demi-monde, you’ll have seen the make-up. Or, perhaps the endless reproductions of it across Instagram and TikTok at least. After all, almost immediately after the Pat McGrath-created look appeared on the runway, the internet was ablaze with beauty creators trying to decode the secret formula to the waxen, porcelain skin.

The hubbub around the look reached such a fever pitch that McGrath eventually weighed in herself, sharing the lengthy list of products – including a dizzy combination of peeling masques layered and dried directly on the skin with a hairdryer – that it took to achieve. (Ever the savvy entrepreneur, though, Dame Pat also revealed that her empire-scale beauty business, Pat McGrath Labs, is in the process of developing an all-in-one product for fans eager to get the look).

If there’s another fashion figure who won big in the beauty stakes this year, it would have to be Marc Jacobs, who collaborated with McGrath on a limited edition ‘MatteTrance’ lipstick to mark the 40th anniversary of the American design’s namesake brand.

On the runway, however, it was the S/S 2024 40th anniversary Marc Jacobs show, held in March, which saw the likes of Alex Consani and Kaia Gerber transformed into living dolls (a key theme this year, it would seem).

Strutting out from beneath large-scale Robert Therrien sculptures, their clumped eye make-up by Diane Kendal was offset with hectic 1960s-esque bouffants from Duffy. The label’s second show of the year for A/W 2024, which took place in July, pushed the all-pervasive doll theme yet further, with models sporting cartoonish overblown pastel eyelid covers, sewn from fabrics and trimmed with spidery faux lashes.

Beauty-inspired collections, from Balmain to Abra

But runway beauty went the extra mile in 2024, with collections even taking direct inspiration from beauty products themselves.

At Balmain, Olivier Rousteing used the house’s S/S 2025 show, staged in September, as an opportunity to toast a new line of perfumes called ‘Les Éternels’ and tease yet-to-be-released Balmain Beauty products. Flacon-shaped clutches, trompe l’oeil lipstick heels and eyeshadow palette pochettes figured alongside dresses embroidered with depictions of scarlet tinted lips and lacquered nails. (In 2022, Balmain partnered with Estée Lauder to bring Balmain Beauty to life. William P. Lauder, grandson of Estée and chairman of executive chairman of The Estée Lauder Companies, watched the collection unfold from the front row).

Elsewhere, independent label Abra leaned into beauty-inspired design for its A/W 2024 show, presented over Paris Fashion Week in February. The brand was founded in 2019 by Abraham Ortūno Perez, who has worked with Jonathan Anderson on footwear for both JW Anderson and Loewe. In particular, Perez is responsible for the former’s giant chain mules and the latter's surrealist sandals for S/S 2022, which included heels in hyper-realistic broken eggs, bars of soap and bottles of nail polish.

For the Abra collection in question, make-up brushes were transformed into necklaces, while lipsticks and mini eyeshadow palettes became earrings and brooches. There was also an oversized white T-shirt dress, which appeared as though the model had wiped her hands on it after applying foundation.

Beauty launches, from Celine to Bottega Veneta

2024 was as much about what landed on shop floors as what we saw on the runways, with the year bringing a glut of beauty launches from brands and houses.

One of the most memorable is Celine’s first-ever make-up product, ‘Le Rouge Celine’, a classic satin-finish scarlet hue that comes in an exquisite gold case, developed under the direction of Hedi Slimane. The entire cosmetics line, Celine Beauté, is set to continue under his successor Michael Rider, with more products such as eyeliner, eye pencils and more coming next year.

Elsewhere, Victoria Beckham’s booming beauty empire expanded further, with a collaboration with Augustinus Bader on a concealer pen, which contains the science-led skincare brand’s patented TFC8 technology. Augustinus Bader, which was founded by its namesake biomedical scientist and CEO Charles Rosier, is no stranger to fashion partnerships, having previously teamed up with the likes of Haider Ackermann. (On another note, Ackermann joined Tom Ford in September 2024, drumming up intrigue around the direction the French-Colombian designer will take its revered fragrance and beauty line, which recently put out a lipstick campaign starring Angelina Jolie).

Victoria Beckham Beauty debuted ‘21:50 Rêverie’ – a scent inspired by a twilight dinner she and her husband David once had in the Javan rainforest – by perfuming the designer’s S/S 2025 show space with it. (This wasn't the only time that scent was seen on the runway this year, with Burberry perfuming its A/W 2024 show space with ‘Ivy’ by Perfumer H).

Acolytes of Matthieu Blazy’s Bottega Veneta were blessed with scented candles in volcano-glazed pots and five perfumes including ‘Come With Me’ and ‘Acqua Sale’, all inspired by Venice, the ultra-luxe label’s home city. Each was housed in glass bottles that echoed the texture of handblown Murano and perched on a miniature Verde Saint Denis marble plinth.

Beauty and fashion in 2025, from Dries Van Noten to Miu Miu

Keeping track of the developing relationship between the worlds of fashion and beauty in 2024 was truly a head-spinning task. This year also saw Dries van Noten take a final bow as creative director of his brand, after almost a decade at its helm. (On 9 December, it was revealed that Julian Klausner would succeed him).

However, Van Noten will continue to work on its beauty and fragrance division, stoking excitement around how its offering could develop. As the designer told Wallpaper* in the December 2024 issue: ‘My life changed quite a lot this year,’ he says. ‘It’s an exciting time. We had some storms, with big trees falling over, so there is more work to do in the garden and some thinking to be done.’

Perhaps the launch to look out for next year, though, is the arrival of Miu Miu beauty. Launching by way of a licencing agreement with L’Oréal, the new line expands the Prada Group’s beauty foothold, which was first established in 2023 with Prada Beauty, under the creative direction of Lyndsey Alexander.

It is also worth keeping an eye on Chanel. Although beauty and fragrance will not be under new creative director Matthieu Blazy’s direct purview, it will nonetheless be interesting to see how his creative vision informs and interacts with this vital and storied branch of the French house.

Although I’m Wallpaper’s resident beauty editor, this gift guide takes a more eclectic approach, which I hope will inspire your festive shopping habits. (For fragrance ideas, head to this Wallpaper.com feature on winter perfume. Or if you’re on the hunt for a scented candle, then look no further).

Here, however, you will find unique pieces for the home, including a mid-century silver ashtray in the shape of a lily, sourced by London-based interior designer Hollie Bowden. Plus, an archival poster for Stanley Kubrick’s Eyes Wide Shut – a film which captures the oh-so-festive feeling of turning up alone to a fancy dress party.

There’s also a pair of kitten-heeled ‘Campo’ loafers by Loewe – a style universally beloved by the Wallpaper* team – and iridescent, bottle-green eye-make up from Victoria Beckham Beauty, which I plan to wear whilst sipping Champagne on New Year’s Eve.

Wallpaper* beauty editor Hannah Tindle’s gift guide

A Hollie Bowden ashtray

Hollie Bowden is a London-based interior designer who also sources unique objects for the home. This silver ashtray in the shape of a lily was created c.1950-1960, with cocktail parties in mind. Each of the six petals can be removed individually, becoming vessels for cigarette ash. Disclaimer: I do not encourage nicotine consumption. But this would make for a decorative item or a handy receptacle for burning incense. (I also have my eye on this Tiger's Eye blanket from Bowden’s recent collaboration with artist Cesca Dvorak).

Hollie Bowden Silver Petal Ashtray, £500; Hollie Bowden x Cesca Dvorak Tiger's Eye Blanket, £350.

shop.holliebowden.com

A Dr Karen Doherty gift card

Dr Karen Doherty is an aesthetic medicine practitioner taking a ‘less is more’ approach to injectables and non-invasive procedures. Her clinic, located in North London’s Stoke Newington, offers a wealth of different procedures, including NeoGen plasma and polynucleotides. And, the clinic now also offers gift cards to put towards any treatment of your choice.

More information on Dr Karen Doherty gift cards can be found on the clinic's website.

drkarendoherty.com

A La Bonne Brosse hairbrush

A contemporary rival to the storied grooming brand Mason Pearson, Parisian label La Bonne Brosse creates design-led hairbrushes in a spectrum of colours, built to last a lifetime. Each is tailored to specific hair types and concerns, whether it’s loss, dryness or scalp-stimulation. (Taking a diagnostic quiz on the La Bonne Brosse website will guide you towards the right brush according to your needs).

La Bonne Brosse, N.02 The Care & Detangling Hair Brush, £138.

labonnebrosse.co.uk

A pair of Loewe loafers

Wallpaper’s style team are huge fans of the ‘Campo’ Loafer by Loewe. Fashion & creative director Jason Hughes has a pair in tan suede and fashion features editor Jack Moss is coveting a boat shoe iteration, included here in his gift guide. I would very much like the kitten-heeled version, which is available in leather or brushed suede.

Loewe 'Campo' loafer, price between £875-£925.

loewe.com

An Eyes Wide Shut poster from Posteritati

Posteritati has been sourcing archival film posters since 1995. (Though located in New York, it ships worldwide). It was difficult to make a selection from the selection on its website. But a French language poster for Stanley Kubrick’s Eyes Wide Shut — a film set in December that captures the festive feeling of turning up alone to a fancy dress party and making small talk with strangers — seemed like a fitting choice.

Posteritati, Eyes Wide Shut poster, $175.

posteritati.com

A Victoria Beckham eyeliner

I’ve been meaning to try the shimmer and jewel textures of Victoria Beckham Beauty’s ‘Satin Kajal Liner’ for some time now. And what better time than when party season kicks into full gear? The colours ‘Olive’ and ‘Sequin Green’ happen to coordinate perfectly with a bottle of champagne. I plan on using them with ‘Vast Lash’ mascara to create smudgy, smoky eye make-up for New Year’s Eve. (For something even punchier, the brand has also just launched an ‘Emerald’ shade of its ‘Lid Lustre’).

Victoria Beckham Beauty ‘Satin Kajal Liner’, £32.

victoriabeckhambeauty.com

A Celine cosmetic pouch

And the perfect place to keep said eyeliners is this cosmetic pouch from Celine. Crafted in leather and printed with the house’s ‘Triomphe’ monogram, it’s also the ideal size to fit in the rest of my ‘on the go’ make-up collection, such as Nars’ ‘Radiant Creamy Concealer’ and Chanel’s ‘Baume Essentiel’ – two products that, at the risk of sounding dramatic, I can’t live without,

Celine small cosmetic pouch in ‘Triomphe’ canvas and leather, £270.

celine.com

A gift wrapped by Colford

For all your gift-wrapping needs, Colford has you covered. Founded by Nathan Cole and Imogen Beresford, the sustainable, design-led company was featured in the December 2024 issue of Wallpaper*. services businesses and individuals – and worked with the likes of Hermès, Stella McCartney, Cartier and Johnston’s of Elgin.

Colford bespoke wrapping services, price on request.

colford.co.uk

A charitable donation

A donation to a charitable organisation is a meaningful way to give back during this time of the year. The Hair and Beauty Charity has been running for 150 years, providing a safety net for hair and beauty professionals and their families through financial hardships. Any unwanted hygiene and self-care products can also be donated to the Hygiene Bank, a grassroots charity which tackling hygiene poverty.

Head to the links below to find out more.

hairandbeautycharity.org

thehygienebank.com

Update: In a further release from Celine this afternoon, Michael Rider has been named as Hedi Slimane’s successor. He has an impressive CV: beginning his career at Balenciaga under Nicolas Ghesquière, Rider went on to spend a decade working with Phoebe Philo during her tenure at Celine and was most recently creative director of Polo Ralph Lauren.

'I am delighted to welcome Michael back to Celine, a maison that he knows intimately,' said Severine Merle, CEO of Celine. 'Michael’s vision, creative talent, together with his genuine nature and strong connection to Celine’s heritage make him a natural choice to continue to build a long-lasting success for the maison.' He will begin at the house in early 2025, and will oversee all collections, including womenswear, menswear and couture. He will show his first collection on July 6, 2025 in Paris.

After months of speculation, Hedi Slimane has confirmed he is leaving Celine, the house announced today (2 October 2024). Coming days after revealing his S/S 2025 womenswear collection via a short film, it marks the end of a seven-year tenure in which the designer has reshaped the house with his singular vision, which combines subcultural influences with the heights of Parisian savoir-faire.

‘Under his creative and artistic direction, Celine has experienced exceptional growth and established itself as an iconic French couture house,’ said Celine in a statement. ‘The extraordinary journey taken together over the last seven years has made Celine a house with a formidable foundation for the future.’

Hedi Slimane to leave Celine after seven years as artistic, creative and image director for the French couture house

To herald his arrival at the house in 2018 after the departure of Phoebe Philo, he dropped the acute accent – ‘é’ – from the first ‘e’ in Celine. His tenure has seen the designer achieve both commercial and critical success, establishing a comprehensive Celine wardrobe for men and women that spans clothing, accessories, haute parfumerie and, most recently, beauty, which launched in Harrods earlier this month with a single red lipstick.

Initially showing Celine collections as part of Paris Fashion Week, Slimane has since favoured either off-schedule shows – like a blockbuster A/W 2023 show held in Los Angeles titled ‘The Age of Indieness’, or collection films, which he directs. In keeping with this approach, he also photographs all of the brand’s campaigns.

His collections for the house – which favour riffs on archetypal garments over avant-garde statement – have drawn on Celine’s golden era in the 1960s and 1970s, whereby it was adopted as the uniform of the Parisian bourgeoisie (think: tweed jackets, silk carré scarves, horsebit motifs), though infused with Slimane’s love of rock and roll. Recently, he has drawn inspiration from the indie and electro scenes of the 2000s, when the designer rose to fame during his tenures at Dior Homme and later Saint Laurent. Music has been an intrinsic part of his runway shows, on which he has collaborated with figures from LCD Soundsystem to Suicide.

He also revived the house’s Triomphe logo, which is said to be based on the railings which surround Paris’ Arc de Triomphe and was introduced in the 1970s (so the story goes, house founder Céline Vipiana’s car broke down at the landmark, prompting her to notice the decorative flourish). It now adorns many of Slimane’s designs for the house, including the clasp of the ‘Triomphe’ handbag, sunglasses, jewellery, and Celine’s signature monogrammed canvas. In the brand’s HQ in Paris, they even distribute Triomphe-shaped candy and mints.

The move will of course prompt speculation as to where the designer is heading next – he has been one of the front runners in the conversation as to who will take over Chanel after the departure of Virginie Viard – though as yet the designer has not hinted at his next move.

celine.com

Two decades on from her death, French author Françoise Sagan is having something of a moment. First, there is the upcoming film adaptation of her breakout novel Bonjour Tristesse, a melodrama of teenage lust and disillusionment set in the Côte d'Azur which Sagan published in 1954 aged just 18 (it would make her a sensation). Starring Chloë Sevigny, Claes Bang and Lily McInerny, the new film premiered at the 2024 Toronto International Film Festival earlier this month and marks the directorial debut of writer Durga Chew-Bose.

And this weekend in Paris, Hedi Slimane looked to Sagan as inspiration for his latest Celine womenswear collection, presented via a short film titled Un Été Français (it would mark the first time in four years that the designer has shown his womenswear collection to coincide with Paris Fashion Week, which is currently taking place in the city). It was not Bonjour Tristesse, though, which served as the collection’s starting point – rather La Chamade, another tale of teenage disillusionment and lost love. It traces the brief, heady relationship between the carefree Lucile and penniless publisher Antoine in post-war Paris, fated by Lucile’s desires to live a life of luxury. It was adapted into a 1968 movie by Alain Cavalier, starring Catherine Deneuve as the flighty Lucile.

Celine Womenswear Summer 2025: ‘Un Été Français’

The designer said that it was a re-reading of La Chamade, while listening to the music of The Velvet Underground and Nico, which set the S/S 2025 collection’s mood. Riffing on girlish, 1960s silhouettes, the collection is also a nod towards the golden era of the French house in the 1960s and 1970s, when Celine became the unofficial uniform of the Parisian bourgeoisie. Here, Slimane conjures the era’s liberated spirit in abbreviated skirt suits and tweed twin sets, ‘boarding school' kilts and babydoll dresses (the latter nipped under the chest with a bow), alongside Breton stripes, printed silk scarfs, and 1960s-style floral prints (a rare moment of pattern from the designer). An impressive series of couture looks, interspersed throughout, include architectural black evening gowns and shorter styles adorned by thousands of beads, crystals and sequins. The ‘Teen Bag Joséphine’, meanwhile, is the season’s main bag, a nostalgic, ladylike style which recalls vintage handbags.

Meanwhile winged eyeliner – an homage, says Slimane, to the recently departed actress Françoise Hardy – and ruffled bobbed hair suggest an underlying mood of rebellion, a subcultural streak which runs through all of the designer’s work. The eyeliner is a tease of a new release from the Celine Beauté. line, which launched in Harrods earlier this month with its first product, the ‘Rouge Triomphe’ classic red lipstick. The eyeliner was designed in ‘the spirit of Greco’, say the collection notes, a reference to another muse of Slimane’s: Juliette Gréco, the late French singer and actress who he photographed in 2020 (one of the images is a close-up of her eyes drawn with thick black eyeliner). The winged style also references the 2000s indie music scene, a continuing fascination for the designer.

The accompanying Slimane-directed film was shot on location at Compiègne, an opulent royal chateau to the north-east of Paris, where Marie Antoinette met Louis XVI. In the cinematic short, the models walk amid its dramatic corridors and frolic in the vast grounds (in one scene, a model holds a lamb, a nod perhaps to the tale that Antoinette had a flock of perfumed pink sheep in Versailles). Lila Moss stars in the short, which is soundtracked by the Lou Reed-written Femme Fatale, performed by The Velvet Underground and Nico. It provides a companion piece of sorts to the S/S 2025 menswear show film, released earlier this month, which was captured in Holkham Hall on England’s Norfolk coastline and drew inspiration from Evelyn Waugh and his social circle of Bright Young Things.

Watch the Summer 2025 Celine film below.

London fashion has always been defined by a mood of eclecticism, where the establishment – the meticulous precision of Savile Row, Knightsbridge’s gleaming department stores – meets the convention-breaking, from the punkish glamour of Vivienne Westwood to Alexander McQueen’s savage beauty, or the playful, idiosyncratic approach of Jonathan Anderson.

When it comes to shopping in the city, you will find a similarly diverse offering – from big-name boutiques and classic department stores to the best in vintage, alongside the sleek and experimental – which continues to draw international shoppers off their phones and onto the streets. Here, Wallpaper* selects the very best fashion stores London has to offer.

A guide to the best fashion stores London has to offer

Dover Street Market

Moving from its eponymous Dover Street address to Haymarket in 2016 – a short walk from the busy Piccadilly Circus – Rei Kawakubo and Adrian Joffe’s conceptual fashion market remains London’s most thought-provoking boutique. Across the vast 31,000 sq ft space, Dover Street Market London shoppers will find not only pieces from the various Comme des Garçons lines (Kawakubo is also the founder and creative director of the Japanese label), but an array of brands spanning streetwear, luxury houses, and the international avant-garde, as well as plenty of rising talent. ‘People’s expectations rise and you have to rise with them. The question is how do we make DSM even more surprising and create something that you don’t expect?' Joffe told Wallpaper* when the store opened. Indeed, traversing the labyrinthine space, which unfolds over five floors, reveals hidden displays and spaces – head all the way to the top and you’ll be rewarded by a London outpost of the Parisian Rose Bakery, where cakes and pastries line the steel countertop. Read more.

18–22 Haymarket, London, SW1Y 4DG.

london.doverstreetmarket.com

Alaïa

Fashion and art unite in Alaïa’s sleek London flagship, seeing a changing roster of artists – including Sarah Lucas, Thomas Ruff, Steven Shearer and Sterling Ruby – line the space’s gallery-like white walls (the selection is curated by creative director Pieter Mulier). Meanwhile, in an echo of house founder Azzedine Alaïa’s meticulous eye for interiors, Marc Newson’s ‘Pelota’ lamps, chairs by Gerrit Rietveld, Gio Ponti and Franco Albini, and tables by Shiro Kuramata populate the two-storey space, providing a satisfying backdrop for Mulier’s latest clothing and accessories collections. Another nod to the late Azzedine Alaïa comes in an industrially designed kitchen on the second floor – a reference to the late couturier’s Paris home, where he would memorably host home-cooked dinners for his creative milieu of friends and muses. Read more.

139 New Bond St, London, W1S 2TL.

maison-alaia.com

Climax

Though not a fashion store per se, Climax bookstore has become a favourite with fashion industry insiders – so much so, it has collaborated with Heaven by Marc Jacobs and, most recently, Chopova Lowena on a capsule collection. Founded by former Dazed editor-in-chief and current Acne Studios chief marketing officer Isabella Burley, it promises an array of rare and out-of-print tomes, focussing on photography, erotica and counterculture, as well as objects and ephemera. ‘It's about us not just being seen as a second-hand bookstore but having a world, a kind of universe around us that encompasses many different things, not just books,’ Burley told Wallpaper* after opening a New York Climax earlier this month (September 2024). ‘I think books are the foundation of Climax and what we've been trying to do, but it's really fun to think: what is Climax beyond that?’ As such, as well as collaborations, Climax is also a burgeoning publishing house, with Martine Syms and Del LaGrace Volcano monographs in the works.

Climax Books HQ, 5 Wardour Mews, London, W1F 8AL.

climaxbooks.com

Sunspel

While Sunspel has always been a spot for those seeking the best in basics (such is the brand’s appeal, it was the undergarment of choice for Daniel Craig’s James Bond), a relatively new store on Jermyn Street takes the process of honing the world’s best T-shirt one step further. Alongside the usual product range, those visiting the store – which is situated on a street synonymous with made-to-measure style – can have a bespoke T-shirt made, cut to their body shape and requirements (whether a slightly shorter sleeve, higher neckline, or particular colour of cotton). After being measured in-store, the T-shirt will be made in the brand’s historic Long Eaton factory. Also in the store is an ongoing exhibition space, showcasing both the brand’s history and hosting intimate events for the Sunspel community.

23 Jermyn Street, London, SW1Y 6ST.

sunspel.com

Harrods

Steadily approaching two centuries in business, the 1849-founded department store Harrods is a stalwart of London shopping, long attracting hordes of tourists to the Knightsbridge address – whether seeking teddy bears, tea or tote bags, and particularly so when the 19th-century exterior is illuminated for Christmas with its signature rows of string lights. Though recent years have seen Harrods shake off its somewhat stodgy reputation, as it has drafted in a slew of big-name brands for blockbuster takeovers – among them Dior (a gingerbread world for Christmas), Louis Vuitton (complete with an enormous Yayoi Kusama), and Burberry (a blue-lit facade and Burberry-clad porters). This is alongside a promised £200 million renovation of the store’s fashion areas – including an already-completed lingerie and sleepwear area designed by David Collins Studio with all the marble and gleaming glass you would expect, and a near-encyclopedic menswear department on the lower ground floor.

87-135 Brompton Road, London, SW1X 7XL.

harrods.com

Celine

A ‘carnival of materials, furniture and art’ is how Wallpaper’s Dal Chodha described the Hedi Slimane-designed Celine outpost on London’s Bond Street. Indeed, the gleaming space features opulent panels of marble, white walls and neoclassical mouldings, alongside a selection of contemporary art and furniture that reflects Slimane’s singular vision as creative director of the house, which combines classical French luxury and savoir-faire with a countercultural flair. For a truly intimate encounter with the store’s catalogue of artworks, seek out the men’s fitting room which features the 1670 oil painting Portrait of Maximilien de Bethune Duc de Sully of the Flemish school – surely a changing room first. Read more.

40 New Bond Street, London, W1S 2RX.

celine.com

Rellik

Located on west London’s Golborne Road in the shadow of the Ernő Goldfinger-designed Brutalist Trellick Tower, vintage store Rellik is the domain of Fiona Stuart, Steven Philips and Claire Stansfield, who have long sourced some of the city’s most unique vintage finds – from punk-era Vivienne Westwood to rare Maison Martin Margiela, Azzedine Alaïa, and John Galliano, as well as 1930s underwear, costume jewellery and millinery. A spirit of anarchy still defines the small, busy store, though it has become beloved by establishment names from Kate Moss to Kim Jones, and was recently taken over by Valentino for the house’s vintage exchange project.

8 Golborne Road, London, W10 5NW.

relliklondon.co.uk

Balenciaga

Step in Balenciaga’s Bond Street store and you might be mistaken for thinking you have stepped into a site that is still in construction. Indeed the raw concrete walls – each one painstakingly ‘distressed’ by hand – were made to recall ‘the warehouse, the carpark, the emptied gallery – places that have hosted a palimpsest of activities,’ said Niklas Bildstein Zaar and Andrea Faraguna of the Berlin-based studio Sub, who collaborated with Balenciaga creative director Demna on the space. It makes shopping akin to walking onto a film set, leaving you to wonder what is real and what is fake, all the way down to the patina of rust on enormous concrete girders. Demna calls it ‘raw architecture’, and it makes for a shopping experience like no other. Read more.

24-25 New Bond Street, London, W1S 2RR.

balenciaga.com

The Row

The Row’s London outpost is an exercise in refinement: which other store in London greets you with one of James Turrell’s glowing orbs in the entranceway? Elsewhere, a tasteful array of objects and furniture adore the airy space, a reflection of the design-focussed universe Mary-Kate and Ashley Olsen have curated at their 2006-founded label. Located just off Mount Street – an afternoon of shopping in itself – it makes for a serene haven in which to peruse the brand’s men’s and womenswear collections, which marry ascetic design with enveloping fabrications and flourishes of craft and play. And it's only getting better. But so is demand – with searches up 93 per cent on Lyst, we advise befriending store staff to get a heads up on new arrivals.

5 Carlos Place, London, W1K 2EY

therow.com

Aries

Aries founder Sofia Prantera envisages the skatewear brand’s Soho outpost as a kind of ‘library’ for its community, hosting not only its collections but an outpost of Paris café Paperboy, a bookstore, and a vast basement which can be transformed for events and screenings. Meanwhile, the store design echoes what she calls the ‘temple and the rat’ ethos of Aries (a reference to Fergus Purcell’s playful graphics for the brand), seeing the brand traverse the worlds of luxury design and streetwear. Here, a marble staircase references Carlo Scarpa’s Venetian architecture, while sparse concrete floors, strip lighting and scaffold poles meet luxurious Italian furniture. ‘[Since the beginning], our identity is all about this duality – the elevated temple and the decay of the rat,’ Prantera told Wallpaper* when the store opened. Read more.

31 Great Pulteney Street, London, W1F 9NN.

ariesarise.com

Baraboux

Sarah Faisel, owner of the east London-based vintage store Baraboux, has fashion in her blood. Named after a fashion business run by her mother – which then sold leather goods and handbags – Faisel has since turned Baraboux into a fashion archive which collates a sleek edit of pieces which lean towards 1990s minimalism (in stock currently, S/S 1990 Prada capri shorts, a Maison Martin Margiela ‘sock boot’ from A/W 1999, and plenty of Helmut Lang). Housed in Hackney’s Netil House (by appointment only), Faisel says that ‘in a world of excess, Baraboux aims to provide just what you need: nothing more and nothing less’.

Netil House, 1 Westgate St, London E8 3RL.

baraboux.com

JW Anderson

Soho is not the typical address for a fashion store, though Jonathan Anderson – lover of the strange and the idiosyncratic – is no ordinary designer. Housed next door to the ‘Las Vegas’ amusement arcade in a former corner shop, the JW Anderson store features gleaming neon lights (a nod to its neighbour) alongside sleek shelving housing the brand’s famed accessories, like the Bumper bag. A more enveloping basement level features curtains of fabric and rough plaster walls, which 6a architect Tom Emerson (who designed the space) says is ‘how you might finish a London basement that you would never expect anyone to see'. ‘As much as everyone is consumed with the online experience, it's still important to have a physical space,’ Anderson told Wallpaper when it opened in early 2020. ‘It's kind of like porn somehow. Everyone can get porn online but they still come into Soho. Everyone can get fashion online but they will still come into Soho.' Read more.

2 Brewer Street, London, W1F 0SA.

jwanderson.com

Thirty years in the making, Hedi Slimane’s latest Celine collection transports the Celine man from the streets of Paris to Holkham Hall, a rolling 18th-century estate on Britain’s Norfolk coastline designed by William Kent for the 1st Earl of Leicester in the grand Palladian style.

The collection is presented in a film directed by the designer (watch it below), a cinematic short that sees models walk amid the home’s porticos and manicured gardens, their outfits recalling Evelyn Waugh and his social circle in the 1920s. Indeed, the Summer 2025 collection’s title, ‘The Bright Young’, references ‘Bright Young Things’, a name given to the group of hard-partying socialites and bohemians which would be satirised by Waugh in his 1930 novel Vile Bodies.

Celine Summer 2025 menswear: ‘The Bright Young’

The particular allure of England, says Slimane, has been percolating for the past three decades, since he was a student at Ecole de Louvre in the latest 1980s. Then, he wrote an essay on ‘Anglomania’, which spanned the Comte D’Artois, who brought an English influence to the French court in Versailles, to 1920s socialites Stephen James Napier Tennant and photographer Cecile Beaton, known for their decadent, liberated lifestyles as part of Waugh’s set.

Slimane has also long been embedded in the British music scene. In 2020, he photographed six young British musicians for his ‘Portrait of a Performer’ series, including Bad Static’s Floyd Magee and Junior Cobbinah of Malady.

Here, though, Slimane riffs on the traditions and uniforms of the British upper classes – from straw boater hats and public school uniforms, to tailcoats and rowing blazers – while flourishes of romance come in sprays of country garden flowers that emerge from the brims of hats or the baskets of bikes, the latter specially designed by the designer for the film. Footwear sees plays on classic British styles: the monk strap, the derby and the Richelieu Oxford shoe.

Still, the collection retains the frisson of subversion that runs throughout Slimane’s work. Abbreviated chequered shorts are cut high on the thigh, worn with knee-high electric red socks, while tailoring has a louche, undone sensibility and is often worn with dark sunglasses – long a symbol of Slimane’s rebellious style.

Meanwhile, moments of craft demonstrate the savoir-faire of the Celine atelier and community of craftspeople, whether the 1920s English summer cashmere cloth rewoven for Celine for the collection, or hand embroidery, forming trompe l’oeil motifs or ‘heraldic’ Celine patches that reproduce techniques on early 20th-century military uniforms.

With its horseriding on the lawns, zooming bicycles and lingering, longing shots of the palatial grounds and its yearning inhabitants, the film recalls the great British costume dramas like Brideshead Revisited, an adaption of the Waugh novel screened on the BBC in the early 1980s (which in turn would inspire 2023’s breakout film Saltburn).

Alongside last season’s Winter 2024 collection film, a Western epic directed by Slimane in California’s Mojave Desert, this latest celluloid outing is a testament to his ambitious cinematic vision – an auteur, as much as a designer.

Watch the film of the Celine Summer 2025 menswear show below.

Hygiene is considered to be something of a modern preoccupation, but there is evidence that soap was invented by ancient civilisations nearly 5,000 years ago. Archaeologists unearthed traces of it in Babylonian clay artefacts, which were also inscribed with recipes for soap-making.

In Aleppo, olive oil, laurel berry oil and lye were melted down, then cooled underground to form a vast, avocado-green sheet, a process that remains largely unchanged today. (Some myths recount Cleopatra bathing in milk, using Aleppo soap). Echoing this ancient wisdom, Santa Maria Novella – the oldest pharmacy in the world, with roots that trace back to 13th-century Florence – produces a buttery milk soap bar that is available unscented or containing botanical ingredients such as gardenia or verbena.

Why solid soap is the most pleasurable object to wash with

A bar of soap also recalls the midtwentieth century era, when brands such as Pears and Cussons would vie for airwave supremacy through their sponsorship of radio and TV programmes, leading to the shows being dubbed ‘soap operas’.

The celebrated 20th century photographer and society darling Cecil Beaton was once asked, ‘What is elegance?’, to which he simply replied, ‘Soap and water!’ One can imagine one of his muses – Maria Callas, Barbra Streisand, Baroness Fiona Thyssen-Bornemisza – returning to their bathrooms after a day shooting with Beaton and using a rose-scented Dior soap bar to dissolve heavy, camera-ready make-up. The house offers up a contemporary iteration of this product in its ‘Prestige Le Savon’ soap.

Hedi Slimane also captures a sense of 20th-century nostalgia in his bath and body collection for Celine. The round soap medallions, engraved with the fashion house’s Triomphe motif, are fragranced with signature scents, from the citrus notes of Parade to the zesty, slightly sugary accord of Cologne Céleste.

‘Bathing is an essential gesture that systematically plunges me back into the soothing atmosphere of childhood,’ says Slimane. Rich in Parisian glamour, these soaps can also be slipped dry into drawers, infusing clothes and linens with their scent.

Smooth, shiny and pebble-like, with branding satisfyingly embossed or debossed into its surface, a new bar of soap can conjure up similar emotions to those inspired by a freshly unwrapped chocolate bar. Perfume house Diptyque, in particular, has a knack for creating solid soaps that almost look too good to use. It can feel like a heart-wrenching act to gradually wash away the grooves of typography, watching them grow faint before the final act of disappearing entirely.

The ephemeral poetics of soap have not been lost on contemporary culture. For her 1993 piece Lick and Lather, performance artist Janine Antoni created 14 busts of her head and shoulders, seven in soap and seven in chocolate – she then licked the chocolate and bathed with the soap to reshape her image. Meanwhile, in Thomas Bärnthaler’s 2015 book Do It Yourself: 50 Projects by Designers and Artists, John Baldessari provided instructions on soap carving, in a work he called A Large Piece of Soap Becomes a Small Piece of Soap Eventually.

At this year’s Salone del Mobile in Milan, Belgian architect Nicolas Schuybroek celebrated the form and functionality of soap in a collaboration with Aesop. His installation, Form Follows Formulation, used hundreds of the Australian skincare brand’s body cleansing slabs – which contain purifying oils, bergamot rind, ylang ylang and lime – to build a monolithic brickwork structure in Aesop’s Piazza Cordusio store, in the centre of which a treatment therapist performed a daily choreographed facial treatment.

‘Restricting materiality to something as simple as a soap bar resonates with the principles of the arte povera movement, while also echoing Superstudio’s iconic monochromatic grid structures from the 1970s,’ says Schuybroek.

Some designers have looked to combat the transient, slippery nature of solid soap by inviting it to inhabit the domestic landscape as both beauty product and decorative object. Loewe’s ‘Scent of Marihuana’ soap bar, which is studded with exfoliating particles of red algae and emits the soothing aroma of the sativa plant, can be decoratively hung using its integrated linen rope, in a similar way to the rotating, wall mounted soaps by French brand Provendi.

Liquids, gels and foams share a common goal: to sanitise, enveloping bacteria and microbes so they can then be washed away. But while a bar of soap is just as good at cleansing the skin, it can be so much more, creating a decadently pleasurable experience that’s been enjoyed for millennia.

This article appears in the September 2024 issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

‘I’ve always been very exposed to this strange state of alienation,’ says Nadège Vanhée, the artistic director of Hermès’ womenswear collections. After moving to Antwerp to study at the Royal Academy of Fine Arts in her twenties – the school that had memorably birthed the Antwerp Six, among them Ann Demeulemeester, Walter Van Beirendonck and Dries Van Noten – for the next 15 years, she would largely live outside of her native France. First, there was a stint at Delvaux in Brussels, then Maison Martin Margiela in Paris, before joining Phoebe Philo at Celine in London. In 2011, she moved to New York, becoming design director at Mary-Kate and Ashley Olsen’s then-burgeoning label, The Row.

So the role at Hermès – one of France’s best-known luxury exports and an emblem of Parisian style – marked something of a homecoming for Vanhée. But, as she sits amid objects from the house’s 16 métiers (there is a ceramic dining set, trails of jewellery and, of course, plenty of handbags) in Hermès’ sunlit showroom on Rue d’Anjou, she says that she still feels like something of an outsider in her home country. She calls English her ‘sentimental creative language’. ‘I always feel like I have been floating between the two,’ she says.

Nadège Vanhée on ten years of womenswear at Hermès

Vanhée was still in New York when she was approached for the job in 2014, taking over from Christophe Lemaire, who had left earlier that year. ‘I felt a bit like the last French person they could have chosen,’ she says. ‘Which was really nice.’ Returning to France from the US ‘felt almost ecstatic’, though it was not always easy. ‘For the first six months, I had to realign myself with my Frenchness,’ she smiles. For his part, CEO Axel Dumas says she was the only person he approached for the job. The first time they met, they discussed Plato. She was hired not long afterwards as one of Dumas’ first major appointments (a sixth-generation member of the Hermès-Dumas family, he began his position as sole CEO earlier in 2014).

This is not to say that Vanhée is not now at home in her role, nor that she is blasé about the cultural importance of Hermès to the French populace (‘you have the king, we have Hermès’). Rather, her design philosophy is one of quiet rebellion, teasing at the edges of what the Hermès woman can be, as often only an outsider can do. In some ways, her perspective reflects a shift in the Hermès consumer, who is increasingly international and, like Vanhée, shifts between countries and cultures in their life and work. It has helped the company garner impressive sales in recent years, even as the luxury market slows, which Dumas recently credited to the ‘loyalty of our clients worldwide’ (for the first quarter of 2024, profits were €3.8m, up 13 per cent). Hermès is no longer the reserve of a closed circle of wealthy Parisian bourgeoisie.

In Vanhée’s collections, contrasts abound: sensuality and toughness, masculinity and femininity, the quotidian with intricate flights of craft. She is often deemed ‘enigmatic’, largely eschewing the spotlight, and absent from social media. Where you expect her to go in one direction, she diverts – if subtly – to another. A recent collection saw her use the craftspeople who usually make the outré feathered outfits for the Moulin Rouge dancers to create a series of pieces that appeared like horsehair. ‘They have the aesthetic of being feathers, but they also look like horsehair and are super light,’ she says. ‘I like the surprise element of Hermès.’

As we talk, Vanhée is putting the finishing touches to a special New York show, meeting music producer Frédéric Sanchez that afternoon to finalise the soundtrack (the show later took place in June at Pier 36). It marked an opportunity for the designer to connect with the growing American market with both the show and a series of activations and events across the week. ‘New York is a place of resilience,’ says Vanhée, who notes the city retains a personal significance. ‘It gave me the chance to be who I am – without my time in Manhattan, I don’t think I would have had a chance to work with Hermès.’

The show was the second instalment (titled ‘The Second Chapter’) of the designer’s A/W24 collection, which was presented earlier this year on a wet afternoon at Paris’ Republican Guard during the city’s fashion week. Inside, the heavens had opened, too: in the darkened show space, a theatrical trick saw water pour from the ceiling and on to the runway. It marked a shift from the season prior, whereby the same space had been transformed into a brightly lit Edenic meadow, complete with undulating mounds of wildflowers and long grasses through which models wove. ‘[This time] I was really inspired by central London, like Soho. It’s very dark, [there’s] all of this black paint. And the rain,’ she smiles. ‘But I find the rain very beautiful.’

The collection itself was titled ‘The Rider’, straddling inspirations from both equestrian-wear (Hermès began life as a harness maker in 1837) and motorcycle riders (‘astride a horse or a motorcycle… boldly she rides on,’ said the collection notes). ‘It was this feeling of how do you put more pepper in the Hermès woman than there already is?’ says Vanhée, who likened this season to ‘a self-portrait in a mirror’. Though, as she asserts, not of herself. ‘It’s more about a contemplation within yourself, about finding the strength within.’

‘I started by looking at portraits that had struck me, like those by Lucian Freud,’ she says of the collection’s nexus, noting a particular interest in ‘the different skin tones he was developing in his paintings’. ‘There’s something about the gesture of the stroke,’ she comments. ‘I was thinking: what is a portrait of a woman? Not in an academic way, but something more sensual.’ As is traditional for a Hermès collection, it started with colour (colour cards are used across the different Hermès métiers, and often begin the process of creation). For A/W24, she said her choices looked back to the ‘roots of Hermès’: étoupe greys, earthy browns and deep reds, alongside tones she had discovered in Freud’s paintings. ‘It’s really about instinct,’ she says of how she chooses the palette each season.

Next comes the collection’s textures, which this season largely comprised what Vanhée describes as ‘heritage fabrics’, among them aged calfskin, corduroy and moleskin. ‘Hermès is about this notion of touch so, as a technician, you will always qualify a fabric material by its touch in the hand – we call it ‘le main’.’ Indeed, Vanhée talks about a new urgency to celebrate tactility after Covid lockdowns. ‘We were not even able to sit down and talk. So when we came out of that, I really wanted to push the sensuality. It’s this idea of redefining what is sensual or sexy through the intuition of a woman.’

And though Vanhée claims not to design clothing for herself, she admits that there is ‘a little of me’ in each collection, but also those around her (she says, gesturing at the Hermès team who join us in the showroom). ‘It’s a great balance between what I love and what I want to explore – my obsessions, my feelings. What I want to wear, yes, but also pieces that go out of my comfort zone.’ However, she admits, ‘with ‘The Rider’, I would wear every piece’. The title of the collection came from thinking about the ‘link between an individual human with a machine or an animal… the spirit of the open road’. For Vanhée, the motorcycle – or indeed, the horse – is a ‘phenomenon of freedom’. At Maison Martin Margiela, she remembered constructing trousers from the saddles of motorbikes; here, the ‘imprint’ of an equestrian saddle appeared in the construction of the back of a leather jacket.

The idea of telling stories, says Vanhée, is at the heart of Hermès. Tales of the house’s history will often be overheard in corridors, or passed on by the artisans who work across the house’s métiers (some of who count their time at the house in decades, not years), while each year, creative director Pierre-Alexis Dumas (the great-great-great grandson of Hermès founder Thierry Hermès) chooses a yearly theme that unites the métiers. For 2024, it is ‘The Spirit of the Faubourg’, referring to the first Hermès store at 24 Rue du Faubourg Saint-Honoré, which he calls ‘the beating heart of the house’. Previous years have been ‘Astonishing Hermès’, ‘An Odyssey’ and ‘In the Pursuit of Dreams’. ‘Hermès is a house of intelligence,’ says Vanhée. ‘It’s so based on the idea of meaning. There is also this bridge between modernity and tradition. Hermès has a capacity for assimilation; it really absorbs the changes in our lifestyles.’

The term ‘luxury’ does not resonate with Vanhée. Instead, she sees what Hermès does as ‘a preservation of quality’. She wants to create a uniform to ‘protect against the erosion of life’. Clothes, for her, are ‘a portal to create an identity’, a tool of self-definition that has followed her from her teenage years when she would dress up in her mother’s old clothing and pieces that she found in secondhand stores. ‘In the 1990s, there was this total emancipation from the question: is it beautiful, is it not beautiful? I was in the right place at the right time. I could open myself up.’

Now, she hopes that her collections at Hermès can have a similarly liberating effect on their wearer. ‘You are really connecting with the vulnerability of the person… there’s a direct touch to your skin,’ says Vanhée. ‘The people who wear my collections have different psychologies, different personalities,’ she continues, noting that she would never dictate how an item of clothing is worn. She likes to see women smiling. ‘I don’t want to sound naive, but I want them to be proud, emboldened, confident. I’m really just observing different types of women and their needs. I like to go outside my comfort zone and ask: what is the life of a woman in Hong Kong? A woman in Sacramento? One advantage of our civilisation is that we have this super-globalisation: we can see, we can go, we can check. We are no longer locked in our little ivory towers.’

Model: Dalton Dubois at Milk Management. Casting: Ikki Casting at WSM. Hair: Yumi Nakada-Dingle using Bumble and Bumble. Make-Up: Faye Bluff at Of Substance Agency using Hermès Beauty. Nails: Jessica Ciesco at Snow Creatives using Hermès. Photography assistant: Pietro Lazzaris. Fashion assistant: Lucy Proctor. Production assistant: Ady Huq. Retouch: Camillo Bernardi Studio.

This article appears in the September 2024 issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

hermes.com

Forms were an abstract concept for German-French sculptor, painter, and poet, Jean Arp, who drew on nature’s organic silhouettes to create sensual shapes in his work.

The ephemeral nature of his sculptures, encapsulated particularly in the series he created in the 1950s after being inspired during trips to Greece, made his estate a natural choice for Celine creative director Hedi Slimane when considering the next focus for the Celine Bijoux d’Artistes Project. The project, paying tribute to great avant-garde artists, has so far collaborated with the estates of French sculptor César and American sculptor Louise Nevelon, translating their works into wearable art forms in 2020 and 2022 respectively.

Now, it is the turn of Jean Arp, and the third iteration of the project is a homage to Arp’s work, Ptolémée II, a biomorphic shape juxtaposing solidity with space. Gently curving, its oval form pays as much respect to the void as it does to the bronze, cutting a harmonious balance between the two.

‘It was in the house-studio in Meudon-Clamart that Arp created the sculptures in the round, including the versions of "Ptolemy" (the title is a reference to Claudius Ptolemy, the ancient Greek astronomer, mathematician, and geographer),’ says Etienne Robial, art director and president of Fondation Arp, who has worked closely with Celine on this jewellery project. ‘"Ptolemy" is a perfect example of the dialectic of emptiness and substance, inside and outside, form and counter-form, where the full and the void both complement and resonate with each other.’

The Fondation Arp, just outside Paris, is a carefully preserved tribute to the two artists, with the house-studio and gardens continuing to be a meeting place for artists, researchers, museum curators and exhibition commissioners. In its maintained grounds and thoughtfully curated interiors, it is an embodiment of the Dadaist philosophy that guided Arp and Taeuber-Arp in their life and work. ‘Dadaism was a movement for art, not against it, a rebellious spirit striving to make art the driving force for a new society, in complete contrast to the one that led to the First World War,’ adds Robial. ‘From their Dadaist past, Arp and Taeuber-Arp maintained a lasting camaraderie with fellow artists through their lives, the fulfilment in creating collective works where personalities fade away in favour of creation. Together they have created duo-drawings, sculptures, and collages.’

In the house-studio designed by Taeuber-Arp, where the couple lived from 1929, a clean materiality reigns, evinced in the clean lines of sandstone and concrete and simple, painted wood linear furniture. ‘Here, we meet all the guiding principles of Sophie Taeuber-Arp's holistic thinking and the poetry of Jean Arp's sculptures in the round.’

For Robial, the collaboration with Celine is a harmonious melting pot of Arp and Celine’s philosophies, his own work and the cultural climate. ‘I am interested in Arp precisely because of the dialogue between form and counter-form, a closely related theme in my work as a graphic designer and typographer. An Arp sculpture is like a letter of the alphabet. As president of the Fondation Arp my work is focused on uncovering the similarities between the creations of Jean Arp and Sophie Taeuber-Arp and current artistic concerns.’

It was crucial in the partnership to maintain the tension between space and matter Arp expressed in his work, but the process was not without its challenges. The jewellery, created in a small workshop in central Paris, spent over 18 months in production, the result of over 50 prototypes, in the pursuit of a perfect balance between weight and form. To avoid the piece being too heavy, a hollowed structure was required, a fact which then meant a mould couldn’t be created as it would in the normal production process for a jewellery piece. Eventually weighing in at over 130 grams, it is by far the heaviest Bijoux d’Artiste piece created by Celine. Worn on a chain, a retractable eyelet means it can also stand alone as a miniature Ptolémée II reproduction.

‘One of the key characteristics of this pendant is that it can be looked at and appreciated from different angles, something that Celine had not yet experimented with,’ says Robial. ‘This is certainly one of the reasons why this piece was chosen. Another determining factor was the selection of materials, vermeil (yellow-gold) and silver, which brought a preciousness to the two pieces created. Arp was interested in jewellery throughout his life. He worked with artisans to create pendants, brooches, rings, cufflinks and more. He would surely have been very proud of the collaboration, and admired the exceptional craftsmanship of the Celine artisans.’

fondationarp.org, celine.com

This article appears in the September 2024 issue of Wallpaper*, available in print on newsstands from 8 August, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

For the September 2024 Style Issue, our fashion and creative director Jason Hughes and fashion features editor Jack Moss have chosen to explore the sensual delights of tactility, texture and touch. It’s a theme that runs throughout the A/W 2024 collections, where the clothes implore you to reach out and stroke them, and Hughes and Moss were determined to capture this form of sensory pleasure in words and pictures.

The results are starkly alluring. Photographed for our main womenswear fashion story by Nicole Maria Winkler, this month’s cover star, seminal American model Kelly Mittendorf, is styled by Hughes in leathers, shearling and faux furs, all touchpoints for the new, sensual approach to dressing.

Meanwhile, photographer Matthieu Delbreuve and stylist David St John James highlight the fundamental appeal of menswear fabrics and silhouettes in a series of intimate portraits entitled ‘Quiet on set’.

In Paris, Moss talks to Kim Jones about his first dedicated couture collection for Dior Men (shown as 20 looks at the end of the runway show) and interviews Nadège Vanhée, artistic director of Hermès womenswear, whose A/W 2024 collection encapsulates what the designer describes as ‘a preservation of quality’.

The same mood of enlightened permanence can be found in Simon Chilvers’ exploration of seasonal menswear trends for The Glossary – a surge of energy in contemporary tailoring that sees the likes of Martine Rose, Giorgio Armani and Luca Magliano reinterpreting the suit in imaginative new ways. (Magliano also shares his insider’s guide to his native Bologna for this month’s Navigator.)

Elsewhere, Hannah Tindle explores the sensory pleasures of solid soaps, Daniel Scheffler takes a trip to Arc’teryx’s new ‘creation centre’ in Tokyo, and Orla Brennan meets up with Studio Boum, the London-based events and production agency behind some of fashion’s most memorable runway shows and experiences. We also take an exclusive tour of Karl Lagerfeld’s bookshop and library 7L, which is being revitalised with a programme of cultural events, and get a first look at Celine’s latest Bijoux d’Artistes Project, which sees Hedi Slimane design jewellery pieces inspired by artist and sculptor Jean Arp.

All in all, an issue for the ages, and the senses. Enjoy the issue.

Bill Prince
Editor-in-Chief

The September 2024 issue of Wallpaper* is available in print on newsstands from 8 August, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Back in March this year (2024) Hedi Slimane announced the imminent arrival of Celine’s first-ever beauty line, Celine Beauté. In September, the collection pre-launched alongside Celine’s A/W 2024 collection in a pop-up space with its debut product: a quintessential red lipstick named ‘Rouge Triomphe’.

As of yesterday (16 October), ‘Rouge Triomphe’ is now available globally, both in Celine stores and online. It is described by the Maison as ‘effortless’ – a term that not only applies to how it should be worn but also its formulation.

Celine Beauté by Hedi Slimane’s ‘Rouge Triomphe’ lipstick arrives in-store and online

‘Rouge Triomphe’ has a deeply hydrating yet long-lasting satin finish. Designed to feel almost weightless, draws upon Slimane’s ‘obsession with couture fabrics’. Contained in a faceted refillable case, nodding to Louis XVI’s gold jewellery and Art Deco design, the lipstick’s delicate scent of rose and rice powder is a nostalgic nod to beauty products from the 1970s.

Hedi Slimane tapped American model and actor Ever Anderson to star in the debut Celine Beauté campaign, which rolled out in August.

The 16-year-old Anderson, who is the daughter of Milla Jovovich, has also recently featured in Celine’s ‘Portrait of an Actress’ photography series. (Other notable subjects shot by Slimane for the project include Margaret Qualley, whose recent roles include Yorgos Lanthimos’s Poor Things and Coralie Fargeat’s The Substance, and Lily McInerny, who will star alongside Chloë Sevigny in the upcoming film adaptation of Françoise Sagan’s 1954 novel Bonjour Tristesse).

In the campaign film, Slimane captured the up-and-coming star in close-up, a wind machine blowing her tousled dirty blonde hair, styled by Esther Langham. Her make-up look, created by Aaron De May, allowed Anderson’s freckles to show through subtly mattified skin; barely perceptible eyeshadow and mascara ensured the ‘Rouge Triomphe’ lipstick appeared in sharp focus.

Earlier this month (2 October 2024) Slimane announced that he would be stepping down from Celine after a seven-year tenure as its artistic, creative and image director. Michael Rider was soon named as his successor, noting in a press statement that ‘Celine is a maison with values very close to my heart and a beautiful heritage to build on.’

But for now, there is still a lot to come in terms of the house’s beauty offering, which remains everything you would expect from Hedi Slimane’s uncompromisingly chic world. Expect 14 more ‘Rouge Celine’ lipstick shades including ‘La Peau Nue’ (a colour first used by in the house’s 2024 show); eyeliner, which was demonstrated to powerful effect in Slimane’s 1960s-inspired collection for S/S 2025; plus nail polish, blush, loose powder, tools, accessories, and more.

Celine Beauté ‘Rouge Triomphe’ lipstick (£62; refill £40) is available now.

celine.com

‘A lampshade, a shower cap, an old barn jacket.’ So Tory Burch lists the somewhat disparate objects you would have found in her atelier earlier this year when she was creating her A/W 2024 collection, shown in February at the New York Public Library during the city’s fashion week. On a chilly winter evening, the historic space was momentarily transformed with silver panels across the walls and runway, recalling Andy Warhol’s foil-covered Factory.

After two decades in business, and now a stalwart of the American fashion scene, the New York-based designer has remodelled her brand in the past five years in what she calls a radical break from the past. Freewheeling, experimental and unafraid of getting a little weird, it is a far cry from the uptown polish – and signature ‘Reva’ ballet pumps with their metal double-T plaque – with which she was for years synonymous, and which helped make her Forbes’ second-youngest self-made female American billionaire in 2013.

‘I feel like a new designer,’ says Burch, who is still in the midst of what pundits have deemed a ‘Toryssaince’, seeing the label embraced by a new generation of trend-hungry consumers. In 2023, her ‘Pierced’ mules landed at number six on the Lyst Index, a quarterly barometer of the world’s ‘hottest brands and products’, pooled from a mass of digital shopping data. That same year, she was nominated for CFDA Womenswear Designer of the Year, and this year she was named as one of Time’s 100 most influential people. Meanwhile, social-media ubiquitous celebrities, from Hailey Bieber to Emily Ratajkowski – the latter walking in her A/W 2024 show – have taken Tory Burch to the timeline.

She credits the change in part to Covid, which allowed her a rare pause to consider what the brand was, and in part to stepping down as CEO in 2019, a move that allowed her to focus ‘nearly 100 per cent’ of her time on design (her replacement was husband and former LVMH executive Pierre-Yves Roussel, who was largely responsible for placing Phoebe Philo at Celine and Jonathan Anderson at Loewe). A Shaker-inspired collection for S/S 3021, presented via lookbook due to the pandemic, was the starting point, a polished vision of American craft inspired by attending a Quaker school as a young child. The resulting pieces showed both creativity and restraint, inspired by the old Shaker maxim that ‘beauty rests in utility’.

‘It was a palate cleanser and a restart, to take a step back and think about the essence of where we were, and who I am,’ she says. Employing stylist Brian Molloy – perhaps best known for his work with the Olsens’ The Row – and re-energising her design team with new hires, including associate creative director Pookie Burch (the designer’s stepdaughter), her main desire was to shirk any talk of being ‘on brand’. ‘I always heard people in the business saying “on brand” and it really bothered me. I found out there was this perception of what that meant, and then a reality – because it wasn’t how I was feeling.’ Burch says reconciling this required a ‘careful balance’. ‘I wanted to rethink everything, but I didn’t want to alienate our customer as well.’ The way Burch sees it now is that she’s simply bringing her longtime fans along on the ride, and picking up some new ones as she goes. ‘The only regret I have is that I didn’t do all of this sooner.’

Her A/W 2024 collection centres on fabric and silhouette. Garments were crafted from ‘the inside out’, inspired by handbag construction and ‘old Japanese kids’ origami books’ that her team had discovered in the New York Public Library. A flared line, across dresses and tops, recalls the shape of traditional paper lampshades. Denim and utility jackets nip the waist, while other dresses fall away into trails of ‘unravelling’ ruffles. A multitude of textures, meanwhile, span a glossy, super-lightweight mock croc, papery leather, shimmering tweeds and a voluptuous tinsel raffia used across outerwear and boa-like scarves. ‘I don’t want to walk away from ideas too quickly, I want to get better at them,’ she says, noting each season now begins with a period of experimentation and play. ‘I also say to our team that people should be able to cover the label and get a sense of who we are, and that that is something different to everybody else.’

Such ambition is a hallmark of her career. Launching her label in 2004, Burch (then a 37-year-old mother to three young children and working in fashion PR) showed her first collection in her Upper East Side apartment, before opening a store downtown. She wanted to create the sort of pieces she imagined her and her friends wearing, honing a breezy, bohemian aesthetic that drew on vintage garments and old magazine clippings. Pieces were cheaper than her competitors, and on its first day of trading, her store almost sold out. Appearances on The Oprah Winfrey Show – then watched by almost nine million viewers a show – and her presence on New York’s social scene propelled the brand to the sort of ubiquity achieved by behemoths such as Ralph Lauren, Calvin Klein and Tommy Hilfiger.

‘I’d previously shied away from the word ‘ambition’ because it had a very negative connotation when it came to women,’ she says. ‘But for me, ambition is living on your own terms and, for the last 20 years, I’ve been figuring out how to make it okay for women to embrace it.’ In 2009, she created the Tory Burch Foundation to empower female entrepreneurs (it has since awarded more than $100m in funding). Recently, she gave a commencement speech at Parsons School of Design, and wondered what advice she should give to a new generation of designers. She settled on, ‘You have to focus on who you are and what makes you happy, live by your own rules and not be defined by how other people see you. You have to find your purpose. Negativity is noise.’

As for being one of the faces of American fashion (Anna Wintour is a friend and longtime supporter, while her work featured in The Met’s blockbuster 2022 ‘In America: An Anthology of Fashion’ exhibition), it is a role that Burch embraces. ‘Sometimes people say “American fashion” in a derogatory way, but I’ve always had a great relationship with the term. I think what America has contributed to fashion is pretty substantial.’ She notes the influence of Claire McCardell, who laid the foundations for casual, comfortable sportswear in the 1940s and 1950s. ‘She put pockets and zippers on garments,’ says Burch. ‘She was the first one to take workwear and play with it in really interesting ways – France looked to her.’

But if Burch’s output was once synonymous with American ease, then she hopes her recent collections have a more transformative effect on their wearer. ‘I want women to feel beautiful, confident and unique, but mostly I want them to feel powerful,’ she says. She singles out her sell-out ‘Pierced’ leather mule, punctured with metal hoops, as epitomising the mood. Like a symbolic ‘Reva’ with a nose piercing,it is an emblem of the new Tory Burch: still elegant, expertly commercial (a multitude of pierced iterations are in the works), and – most importantly – just a little off-brand.

This article appears in the August 2024 issue of Wallpaper*, a guide to Creative America, available to download free when you sign up to our daily digest of news, in print on newsstands from 4 July, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

Model: Dayna Monique at Models 1. Casting: Ikki Casting at WSM. Hair: Abra Kennedy using Oribe. Make-up: Megumi Matsuno at Of Substance Agency using Charlotte Tilbury Beauty. Manicure: Jessica Ciesco at Snow Creatives using Bio Sculpture. Set design: Thomas Conant. Photography assistant: Tom Porter. Fashion assistant: Samela Gjozi. Production assistant: Ady Huq

If ever there was motivation to workout, this might just be it – Hedi Slimane has revealed a Celine pilates collection, rendering the exercise’s essential accessories in the French designer’s deeply luxurious style.

There is a sheepskin and Triomphe canvas-clad reformer machine, a cork yoga mat and block, and an array of weights, from an impossibly chic lambskin kettlebell to dumbells and weighted bracelets. Besides their functionality, each is also a satisfying objet in itself, constructed with the same savoir-faire as the house’s clothing and accessories.

Alongside, an array of activewear has also been revealed, from sports bras and cycling shorts in seamless technical jersey to viscose crop tops and leggings. An athletic headband, meanwhile, is adorned with a metal Triomphe motif, while a barrel-shaped holdall in Triomphe canvas and calfskin is a sleek alternative to the typical nylon gym bag (so much so, it might take some convincing to put your sweaty workout gear back inside).

Hedi Slimane reveals Celine pilates collection

It follows a Celine dog collection, inspired by Slimane’s own canine companion Elvis, which comprised collars, leashes and treat bags. Other objects created by Slimane during his tenure include hammocks, lighter cases, board games, boules and beach bats. Each one helps populate Slimane’s luxurious universe at the house.

To reveal the pilates collection, Hedi Slimane photographed house muse Kaia Gerber in Malibu in December 2023. In the sunlit images, a workout-ready Gerber wields a yoga mat, cap and headphones (the last a Celine and Master & Dynamic collaboration) with the Pacific Ocean glimmering in the distance beyond.

The Celine pilates collection will be released on Celine’s website and selected stores this coming October.

celine.com

Hard and soft, sweet and sharp: Pre-Fall 2024’s most intriguing looks are defined by a play on texture, seeing clean lines and pin-sharp tailoring meet shaggy, enveloping fabrics and touches of romance, from knitted candy-pink bows to twisted leather flowers. Whether the crackled vinyl of a Sportmax jacket, Alaïa’s delicate twists of merino wool, or layers of faux fur, shearling and leather, these are pieces that call out to be touched (and, indeed, treasured).

Captured in a series of portraits by Milan-based photographer Mattia Parodi and Wallpaper* creative and fashion director Jason Hughes, Dutch model Renee Does wears the defining looks of the Pre-Fall 2024 collections – from Saint Laurent by Anthony Vaccarello to Bottega Veneta, Chanel and Celine – backdropped by a textural collage of draped fabric, modernist furniture and concrete. The story was originally featured in the Design Directory July 2024 Issue of Wallpaper*, on international newsstands now.

Pre-Fall 2024: the defining looks of the season

Model: Renée Does at Viva London. Casting: Ikki Casting at WSM. Hair: Tomi Roppongi at Julian Watson Agency using Bumble and Bumble. Make-up: Faye Bluff at Of Substance Agency using Byredo. Set design: Stilema Studio at Tristan Godefroy. Interiors: Olly Mason. Photography assistants: Pablo Gallegos, Tom Green. Fashion assistant: Samela Gjozi. Interiors assistant: Ady Huq. Digi tech: Jess Segal/

A version of this article appears in the July 2024 Design Directory issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

Face the travails of travel with capacious getaway bags that do the heavy lifting – whether navigating airport delays or lost hold luggage, these roomy, wear-forever weekend bags will carry much more than you’ll ever need.

Photographed by Rosie Harriet Ellis and styled by Wallpaper* fashion and creative director by Jason Hughes, we select the season’s best travel bags – from minimal briefcases and raffia totes to roomy carry-alls from the likes of Prada, Hermès, Ferragamo and more – as first seen in the June Travel Issue of Wallpaper* (on newsstands now).

Summer’s best weekend and travel bags

Air travel: Keep the air flowing with this top-handle tote by historic Brussels-based brand Delvaux – the luggage house was first founded in 1829 – which features a perforated exterior to keep your belongings cool. It takes its cue from Delvaux’s 1946 perforated Avia suitcase, made for then-burgeoning air travel, and comes in a smaller ‘Pin Airess’ iteration. 

The ‘Airess’ shopping bag is coming soon. The ‘Pin Airess’ is available now from delvaux.com.

Clean lines: An architectural sensibility informs this elongated riff on the shopping bag by Valentino Garavani, which in its minimal, no-fuss design makes for a chic travel companion which will pair with any airport attire (though we suggest teaming with classic blue denim). Meanwhile, a shoulder strap can be added for the inevitable dash to the gate. 

Valentino Garavani’s ‘Tagged’ shopping bag is available from valentino.com

The holy trinity: When it comes to travel, there are few occasions when just a single bag will do. This trio of a classic ridged-aluminium suitcase Rimowa (which doubles as a perching stool for crowded airport lounges), the roomy carry-all ‘Sea’ tote by Connelly (crafted from soft French nubuck leather) and Loro Piana’s Ghiera shoulder bag (for the most precious belongings) is our holy trinity. 

The Rimowa ’Original Carry On’ suitcase is available from rimowa.com. The Connelly ‘Sea’ bag is available from connollyengland.com. Loro Piano’s ‘Ghiera’ shoulder bag is available from loropiana.com.

Celine’s Plein Soleil: Each summer, Parisian house Celine embraces the lightness of summer with its ‘Plein Soleil’ collection, an eclectic gathering of clothing, accessories and objets (from beach ball bats to hammocks). These include a roomy raffia tote intricately woven with the house’s double-C motif, the perfect companion to Celine’s timeless monogrammed luggage.

Celine’s Plein Soleil and luggage collections are available at celine.com.

Sleep aid: Though it might usually be sacrilegious to rest your head on a Prada handbag, this duo of tote bags from the house are particularly appealing in their tactile nappa-leather construction and generous proportions. The ‘Buckle’ handbag – shown in foreground – is a particularly luxurious (and roomy) travel buddy, looping around the top with a belt-like fastening and stamped with the house’s logo in embossed gold leaf. 

Prada’s ‘Buckle’ handbag is available from prada.com.

Cooling power: Harness the cooling power of white this summer with this slouchy, oversized version of Saint Laurent by Anthony Vaccarello’s ‘Le 5 à 7’ handbag, complete with a monogram clasp. A truly capacious style – the collapsible edges fold outwards to transform it from tote to trapezoid shopper – we recommend as a particularly sumptuous play on the beach bag. 

Saint Laurent’s ‘Le 5 à 7’ handbag is available from ysl.com.

Earn your stripes: Ferragamo has long been known for its work in leather – the Florentine house began as a shoemaker in 1927 – though recent seasons have seen British creative director Maximilian Davis breathe new life into the medium with enticing, oftentimes colourful accessories. Case in point, the squashy-sided white tote crafted from vegetable-dyed leather with a bold blue stripe, recalling the colour of glorious summer skies. 

Ferragamo’s blue-strip tote bag is available from ferragamo.com.

Arm architecture: Contemporary Italian leather goods brand Valextra is defined by its minimal, architectural approach to accessory design – one echoed by its design-minded stores, from the monumental marble interiors of its John Pawson-designed Milan flagship to a Kyoto outpost housed in a former machiya teahouse. The ‘Milano’ bag – in soft Millepunte calfskin with a suede lining – represents the very pinnacle of Valextra’s leather atelier, its elegant top-handle style inspired by its namesake city. 

Valextra’s ‘Milano’ bag is available from valextra.com.

Carry all: though we are largely proponents of a less-is-more approach when it comes to packing, long-haul departures require a panoply of objects to aid in arriving in your destination fresh. An open-top tote has always been our airport bag of choice – allowing you to access your belongings without fiddly zips and buttons – like this calfskin shopper by Brunello Cucinelli, whereby two internal ties allow the bag to shape-shift to your needs.

Brunello Cucinelli’s calfskin shopper is available from brunellocucinelli.com.

Models: Celine at Ikon Model Management, Hamaam Pelewura at Elite London, Tim V at D1Lon. Casting: Jonathan Johnson. Hair: Mike O’Gorman using Sam McKnight. Make-up: Nina Sagri using Ranavat. Manicure: Edyta Betka using Kure Bazaar. Set design: Kei Yoshino at Bryant Artists. Interiors: Olly Mason. Photography assistants: Garth McKee, Genoveva Arteaga-Rynn. Fashion assistant: Lucy Proctor. Set assistant: Ryosuke Hirano. Interiors assistants: Archie Thomson, Ady Huq. Digital and retouching: David Barreiro.

A version of this article appears in the June 2024 Travel Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

A phalanx of Celine-branded helicopters and a motorcade of black Cadillacs; soaring shots of the undulating mountain ranges of the Mojave Desert; cowboys on braying horses; miles-long stretches of Californian open road – with his latest Celine menswear collection, presented in a short film released today, Hedi Slimane embraces the cinematic for a Hollywood epic in the designer’s singular style.

It begins with a jukebox – delivered by helicopter and replete with the same Celine branding – which when flipped on plays not one of Slimane’s usual rock and roll muses (recent collection films and shows from the designer have featured soundtracks from LCD Soundsystem, The Libertines and Alan Vega), but Hector Berlioz’s 1830-composed ‘Symphonie Fantastique’.

Celine Winter 2024 menswear: ‘Symphonie Fantastique’

Purportedly inspired by an obsessive, consuming relationship between the French musician and English actress Harriet Smithson, the dream-like epic is a feverish hallucination – one of opium poisoning, satanic witches and murder – which in 1969 was declared by Leonard Bernstein as ’the first psychedelic symphony’, created over a century before the birth of the acid-fuelled 1960s movement.

‘Now I’m sure that any of you who has ever had a crush on someone who didn't return your feeling will understand that passionate melody perfectly,’ said Bernstein, who recently was the subject of Academy Award-nominated film Maestro, starring Bradley Cooper in the titular role. ‘You can easily see how a lovesick musician could become obsessed by it. And if you understand that, you're ready to hear the symphony.’ Slimane discovered the work at age 11, and became instantly ’passionate’ about Berlioz, the house describes.

It provides a suitably dramatic backdrop for a collection that mines Slimane’s most enduring signatures: the narrow riff on the tuxedo, shrunken leather jackets and trousers, and flourishes of rock-and-roll showmanship, from pussy-bow neckties to fabrics that glimmer across their surface. An evolution comes in the play on proportion that runs through the tailoring: blazers are elongated or nipped in the body, or shortened in the lapel, recalling 1960s silhouettes (other jackets see the lapel done away with entirely, in what the house describes as a ‘frock coat’). Bernstein, meanwhile, seems to hover over the collection in roll-neck sweaters and billowing capes, which are instilled with the drama of the concert hall.

Elsewhere, a series of pieces from the house’s couture arm capture Slimane’s ongoing fascination with Parisian savoir-faire – whether crystal-adorned overcoats which refract the Mojave Desert’s light, or tailoring decorated with thousands of sequins. Each is shown on Slimane’s make-shift catwalks: a vast stretch of open road which runs through the desert like an airport runway.

California, and Los Angeles – the latter shown in glimpses of its downtown skyline at the end of the film – has long been something of a second home for Slimane, who lived in the city before relocating to the south of France at the beginning of his tenure at Celine. His fascination with the city’s heady blend of rock and roll subculture and nostalgic, Hollywood glamour has long pervaded his collections at Celine and at Saint Laurent and Dior Homme prior. In December of 2022, he hosted his Winter 2023 collection with a high-wattage show The Wiltern Theatre in Los Angeles, a historic movie palace-turned-music venue which has hosted the likes of Prince, Iggy Pop and Sonic Youth.

Discover Celine’s Winter 2024 womenswear collection, which was presented this past March in a Hedi Slimane-directed film, here.

celine.com

Celine introduced its Haute Perfumerie line in 2019. Now, the line-up includes 11 fragrances designed by Hedi Slimane, with signatures such as Parade and Rimbaud for the day, and Reptile and Nightclubbing to be worn after dark.

Now, joining the daytime roster is Zouzou, a new scent inspired by Slimane’s obsession with 1960s youth culture. ‘I wished to create a perfume about utopic adolescence, capturing an ideal of eternal youth. The recklessness of the young French writer Françoise Sagan, the ingenue boyishness of Jean Seberg filmed by Jean Luc Godard, the magnificent heroines of The Velvet Underground, together with the young women I was able to photograph for more than 20 years,’ he says in a press statement.

Celine launches new fragrance Zouzou, inspired by 1960s youth culture

Starring in the Zouzou campaign is British-American actress and musician Esther Rose McGregor, daughter of Ewan McGregor, sporting a Seberg-like sandy blonde pixie crop. ‘I called my new perfume for Celine Zouzou, an affectionate and child-like nickname that appeared in the last century to describe a young woman with short hair,’ Slimane explains.

The notes in Zouzou include benzoin and tonka bean, amber and musk, with caramel overtones underlined by patchouli and labdanum. The finish is powdery and sweet, unfolding throughout the day to capture the spirit of Parisian adolescence.

As with all perfumes created by the Maison, Zouzou is contained within a rectangular and weighty glass bottle, in keeping with the tradition of French glassmaking. It is finished with a signature black lacquered cap, engraved with the Triomphe emblem.

Celine Zouzou is available now.

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Workwear has long been the bedrock of men’s fashion, endlessly riffed upon, honed and upgraded – from the classic denim shirt and jeans, adopted by cowboys and miners in the American West, to chore jackets, cargo pants, and hi-vis jackets. This sense of utility was seen throughout the S/S 2024 collections – from Prada’s danger-red pocket-covered gilet, a play on the uniforms of security details, to Givenchy’s khaki bombers, Celine’s camo-adorned pants and hardy suede jackets at Miu Miu.

Utilitarian men’s fashion gets an upgrade for S/S 2024

The season’s functional mood is captured in a series of carefree combinations by Italy-born, London-based stylist Nicola Neri and photographer Luca Strano, who is based between London and Milan. As seen in the May 2024 Milan Preview Issue of Wallpaper* (on international newsstands now), this series of portraits puts the utilitarian aesthetic in the hot seat – leaving you with a blueprint of how to upgrade the everyday this spring and summer.

Models: Tom Davison and Milo Boaten-Rolfe at Xdirectn, Oscar Young at Premier, Rea at Milk Management, Zakaria Dau at PRM, Mason Marchetti and Yertai Abdibekov at Next London. Casting: Miro Raynov. Hair: Kanae Kikuchi at Haco+ using Instant Icon. Make-up/grooming: Jo Banach using Chanel Les Beiges Summer Spirit and Hydra Beauty Micro Serum Lip. Interiors: Olly Mason. Photography assistants: Domizia Salusest, Farid Ghimas. Fashion assistant: Hope Palmer. Hair assistants: Takuro Watanabe, Rio Shimmaki. Interiors assistant: Archie Thomson.

A version of this article appears in the May 2024 Milan Preview Issue of Wallpaper*, available in print, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today.

Celine presented its A/W 2024 collection yesterday (12 March 2024), an ode to the maison’s 1960s heyday and titled ‘La Collection de l’Arc de Triomphe’. Make-up artist Aaron de Mey, who has been working with Hedi Slimane on Celine shows for a number of years, created a pared-back beauty look, which included a nude lip befitting of the era the collection referenced.

As it turns out, this was a shade called ‘La Peau Nue’ (translating as ‘naked skin’) and is part of the soon-to-launch Celine Beauté line, the first cosmetics offering in the house’s nearly 80-year history.

Celine Beauté is coming, with the first product launch in autumn 2024

In 2019, Celine brought out a Haute Parfumerie collection, another pioneering move from Slimane, which Wallpaper* awarded ‘Best Beauty Packaging’ in 2023 for its bath and body line. The aesthetic of Celine Beauté is very much in keeping with this, with faceted refillable tubes embossed with the Triomphe monogram, inspired by late 18th-century French-style classicism (notably the gold jewellery worn by Louis XVI and the art deco movement). This includes bottles, pencils, cases, and objects made for ‘enriching the cultural roots’ of the maison through Parisian beauty and grooming rituals.

The first items will arrive in autumn 2024, ‘a collection of high-end luxury objects and jewellery or accessories as well as precious leathers’, and a red lipstick, ‘Rouge Triomphe’. This will soon be followed by a wider range of colours, comprising a 15-shade, satin finish lipstick collection called ‘Le Rouge Celine’. The hydrating and long-wearing formula is said to ‘provide precise, generous and effortless application’, including 89 per cent naturally derived ingredients. The products are scented with notes of rose and rice powder, in a nod to the 1970s. After this, each season reveals a new collection, with lip balms, mascaras, eyeliners, loose powder, blush cases and nail polishes.

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So the story goes, in 1971, Céline Vipiana found herself momentarily stranded on Place de l’Étoile after her car broke down at the busy Paris junction that houses the Arc de Triomphe. It would prove a lucky coincidence for Vipiana, who founded eponymous French fashion house Celine in 1945, the brief diversion making her notice the distinct decorative motif adorning the chain-link fence that loops around the Parisian landmark. A version of the design would soon become the Celine monogram, decorating handbags, buckles and scarves, which were quickly adopted by the city’s bourgeoisie.

Over half a century on, the ’Triomphe’ monogram continues to be an emblem for the house, reintroduced by Hedi Slimane, whose tenure began in 2018 (the French designer says he reimagined the monogram on his first day). Now, his streamlined, modernist version is perhaps best known for appearing on the house’s ‘Triomphe’ bag, which in its various iterations ‘embodies the very essence and values of the couture house’, appearing time and again in Slimane’s collections. 

Hedi Slimane reveals Celine A/W 2024 womenswear collection

Released today (12 March) in a short film directed and conceived by the designer (watch it below), Slimane’s A/W 2024 womenswear collection is titled ‘La Collection de l’Arc de Triomphe’, celebrating the house’s spiritual roots in the monument. Filmed in several of Paris’ landmark art deco interiors – among them Salle Pleyel theatre, Maison de la Chimie conference centre, and Musée Bourdelle and Musée des Arts Décoratifs galleries – alongside flashes of the Arc de Triomphe, the collection also reveals a first glimpse at Celine Beauté, which launches in autumn 2024.

The launch, which follows the debut of Celine’s Haute Parfumerie collection in 2019, marks the first cosmetic line in the house’s history. Here, models wear one of the 15 shades of the ’Le Rouge Celine’ lipstick range that be available in 2025 (the shade used is ‘La Peau Nue’, which translates to ’naked skin’), while the Celine Beauté line will launch this autumn with a satin lipstick shade ‘Rouge Triomphe’. A sleek, faceted gold case engraved with the ’Triomphe’ monogram continues the much-coveted aesthetic of the house’s Haute Parfumerie collection, which draws inspiration from traditional Parisian apothecaries (a recent bath and body launch from the collection was named by Wallpaper’s beauty and grooming editor as some of the best beauty packaging of 2023).

The collection itself looks back to the house’s 1960s heyday with a sleek collection of abbreviated skirts, coordinated nipped tailoring and moulded felt hats which recall those by the era’s ‘Space Age’ designers, like André Courrèges and Pierre Cardin (notably, no trousers feature in the collection). Meanwhile, a Parisian insouciance is conjured in chubby faux fur jackets, polka-top blouses and chunky, round-toed Mary Janes. Other looks are an expression of the Celine couture atelier, whether dramatic pussy-bow fastenings, sculptural baby-doll dresses or flourishes of embellishment, from swathes of jewellery-like crystal adornment to plumes of feathers and raised floral appliqué (out of the collection, 20 looks are from the house’s haute couture line). Bags include the ‘Nino’, ‘Terence’ and ‘Garance’ bags, each a riff on the ladylike top-handle handbag and complete with ’Triomphe’ monogram clasp.

The collection is dedicated to the photographer Richard Avedon, with whom Slimane collaborated Dior Homme campaigns during his tenure at the house in the 2000s. ’A friend and mentor’, he describes of the late American photographer, whose humanistic portraiture – which combined formal simplicity with a poetic majesty – no doubt influenced Slimane’s own prolific photographic oeuvre, which runs concurrent to his work in design.

Watch the Hedi Slimane-shot film below

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These sculptural hair clips are ten practical yet decorative design solutions for days when high-maintenance styling feels like a bridge too far. Whether an oversized barrette crafted in patent leather courtesy of Miu Miu, a structured red ribbon by Ferragamo, or a rose made from Prada’s Re-Nylon fabric and finished with the house’s iconic enamel triangle, each is a welcome distraction from a less-than-perfect coiffure and an alternative to more formal hair jewellery. 

The hair clips can be worn pinned in bangs or used to part a growing out fringe, added to cropped cuts or gelled locks, or as a tool to nonchalantly pile loose strands on top of your head in the middle of a working day. And, each has the Wallpaper* stamp of approval.

Ten sculptural hair clips

1. Sacai

Chitose Abe, creative director of Sacai, began her career as a pattern cutter at Comme des Garçons and Junya Watanabe, which explains the angular and slightly irregular shape of this claw clip, a continuation of the Japanese brand's ready-to-wear codes. This version is crafted in polished silver-tone brass, but Sacai also makes a gold-tone iteration. And, both have more than a touch of modernism about them. (Think: Constantin Brâncuși or Barbara Hepworth).

Sacai Silver S Hair Clip, £345, available at ssense.com.

2. Completedworks

Trust London-based jewellery brand Completedworks to produce a barrette hairclip that is akin to a wearable sculpture. Made in gold vermeil, the clip is designed to fit seamlessly over a ponytail, creating the illusion of the folds of a scrunchie. In fact, the barrette is part of the brand’s ‘Fold’ collection, which is inspired by Georges Perec’s writings on the everyday; particularly ‘that which is generally not taken note of, that which is not noticed, that which has no importance’.

Completedworks gold-plated hair clip, £395, available at net-a-porter.com.

3. Celine

The Celine Triomphe motif dates back to 1973, designed by the founder of the Parisian fashion house, Céline Vipiana, as a ‘symbol of renewal’, and inspired by the Arc de Triomphe de l'Étoile. Hedi Slimane, currently artistic director of Celine, has celebrated this symbol to full effect, particularly on leather accessories and in this claw clip made from acetate and steel, which feels distinctly architectural in form.

Celine, Triomphe large hair claw in acetate and steel, £325, available at celine.com.

4. Re-comb

Re-comb produces hair accessories out of recycled plastic waste from the fashion and beauty industries. Whilst predominantly known for its tooth combs, it also makes clips, such as these large hair barrettes. The mixture of materials used provides the accessories with a veined effect, which is rather reminiscent of sculpted marble.

Re-comb large clip, £18.50, available at re-comb.com.

5. Katya

The third collection from London-based hair accessory brand Katya is inspired by a butterfly gently landing on petals. Made from durable yet light high-gloss cellulose acetate, and designed to work with thicker and longer hair, the newly launched Mariah clip can be worn in ponytails or twisted chignons (or even playfully clipped to bags and clothing, if you so wish).

Katya Mariah claw, £34, available at katya.world.

6. Prada

Prada launched its Re-Nylon initiative in 2019, an endeavour that sees plastic collected from the ocean (such as discarded fishing nets) recycled, purified and regenerated into fabric. Since then, it has been masterfully sculpted by Miuccia Prada and Raf Simons across clothes, footwear and accessories, such as this hair clip. Made with a leather tab and Plexiglas pin, here, Re-Nylon takes the form of a rose, recalling the ready-to-wear floral motifs that Mrs Prada and Simons so adore.

Prada rose-embellished Re-Nylon hairclip, £580, available at matchesfashion.com.

7. Miu Miu

Recent Miu Miu runways have celebrated bad hair days, with autumn/winter 2023 providing a particularly chic take on dishevelment. (Guido Palau used balloons rubbed on hair to create static, frizzy strands, that were then set in place with hairspray). It's no wonder, then, that the Italian brand knows good hair accessories, including this oversized barrette clip in patent red leather, emblazoned with a three-dimensional Miu Miu logo.

Miu Miu leather logo hair clip, £280, available at harrods.com.

8. Hermès

Hermès first introduced its Chaine d'Ancre motif in 1938, and it remains a source of inspiration for Pierre Hardy (creative director of jewellery, beauty and accessories) to this day. Here, the motif forms the centrepiece of this hair clip, where the signature links are blown up to large, almost inflated proportions in either a matte black or gilt finish.

Hermès Tri Maillon GM hair clip, £510, available at hermes.com.

9. Ferragamo

Since taking the helm of Ferragamo in 2022, Maximilian Davies has solidified a particularly vibrant shade of red as one of the signature house colours. (It can be seen across campaigns, ready-to-wear and accessories, such as the Hug and Hobo bags). This hair clip is another example of the shade in action, this time on a soft silk ribbon that nods towards the history of the Italian label through a riff on the Vara bow.

Ferragamo Vara soft bow hair clip, £ 310.00 available at luisaviaroma.com.

10. Sophie Buhai

Los Angeles-based brand Sophie Buhai draws upon modernist design history, emphasising organic and sculptural forms across handcrafted jewellery and accessories. The same applies to this cellulose clip in the shape of a shell, which is part of Buhai’s most recent collection inspired by the natural beauty of the sea.

Sophie Buhai fan Shell tortoiseshell acetate hair clip, £260, available at net-a-porter.com.

Investing in a selection of new home fragrances is a surefire way to reset your living space for the year ahead, and help stave off the January blues in the process. Scents are a trigger for memories and emotions. So, bringing a whole new olfactory experience to the home can help with the formation of new memories as the calendar months go on. Wallpaper* has selected some of the best home fragrances to help you along the way. From the freshness of Loewe’s Cucumber candle, to Celine’s indulgently scented paper, and Frédéric Malle’s dreamy linen spray, we hope you’ll discover something you love.

Home fragrances to reset your living space

1. Loewe Cucumber scented candle

What could be more cleansing and refreshing than the scent of cucumber? This luxury candle by Loewe (created in collaboration with Chinese actor Leo Wu, one of the brand’s ambassadors) packs an intense verdant fragrance, which also reveals notes of mint when lit. As with most candles from the fashion house, creative directed by Jonathan Anderson since 2013, the natural wax is contained in a glazed terracotta pot, which can be reused. Combine it with a Tomato Leaves candle, also by Loewe, for a delicious olfactory salad.

Loewe Home Scents Cucumber large candle, £345, available at mytheresa.com

2.  Officine Générale Smoky Olive room spray

French fashion label Officine Générale launched its first range of home fragrances at the end of last year (December 2023). For the brand’s founder Pierre Maheo and its image director Nina Maheo, ‘scent is ever-present... connecting back to childhood; bringing comfort or familiarity; providing a simple, everyday pleasure’. The scent that has been created for this new product offering is called Smoky Olive, and is infused into a candle, hand wash and room spray, each with top notes of bergamot and ginger, heart notes of iris, patchouli and vetiver, and base notes of tobacco, cedar, incense and leather.

Officine Générale Smoky Olive home spray, £55, available at officinegenerale.com.

3. Diptyque Baies scented oval

Designed in a white porcelain holder by Jean-Marc Gady studio, and containing a wax perfume diffuser, this Diptyque scented oval provides a sculptural take on the brand’s iconic candle (the latter now also available in a refillable version). Crafted with a black cotton rope, allowing the object to be placed at various locations throughout the home, the fragrance will last a minimum of three months (so will take you seamlessly from winter into spring). Diptyque’s Baies scent evokes ‘the tangy coolness of blackcurrant berries and lively, flowery rose accents’, diffusing an energising aroma into any space. (A new launch from the brand for 2024 includes the La Drogurie odour-removing room spray with basil, as part of its home cleaning collection, if you’re in the market for something a little more practical).
Diptyque Baies scented oval, £53, available at harrods.com; La Droguerie Basil odour-removing interior scent spray, £56, available at selfridges.com.

4. Trudon Cyrnos reed diffuser

Trudon has been producing candles since 1643 and was the official provider of the royal court of Louis XIV at the Palace of Versailles. The scent of this reed diffuser, however, is inspired by the citrus gardens of the Belle Époque-style Villa Cyrnos on the Côte d’Azur, designed by Hans-Georg Tersling. Your home may not be quite as lavish as either of these buildings, but it deserves an equally flamboyant fragrance nonetheless. With notes of lavender, pine, cedarwood and fig, this scent will last for around four months, with the diffuser itself made in Trudon-green glass.

Trudon Cyrnos reed diffuser, £178, available at selfridges.com.

5. Gabar 01 Float scented candle

Fragrance and personal care brand Gabar is based in London, but rooted in the culture and heritage of Myanmar, and has newly released its home fragrance line this month (January 2024). The 01 Float scented candle draws inspiration from the Inle Lake in Myanmar’s Shan Hills, with notes of jasmine and violet leaf combining with amber and white musk, to welcome a much-needed sense of calm into the new year and beyond. (It also makes for a perfect bathtime companion.)

Gabar 01 float scented candle, £48, available at gabarmyanmar.com

6. Celine Parade scented paper

Celine scented papers are designed to be placed into a drawer to fragrance clothes and linens, with Parade, the Parisian label’s best-selling perfume, dreamt up by Hedi Slimane. Embossed with the house‘s Triomphe logo, the papers are a decadent way to enliven your wardrobe after a January cull. Although, as Wallpaper* contributing editor Mary Cleary pointed out upon the product’s launch in 2022: ‘...there is plenty of room to get creative with how you use them – perhaps as a perfumed card slipped into a gift, an elegant bookmark, or a clever addition to your suitcase, for example’. Indeed, the possibilities over the year ahead are almost endless.

Celine parade scented paper, £65, available at celine.com.

7. Santa Maria Novella scented terracotta

Officina Profumo-Farmaceutica di Santa Maria Novella is the ‘world’s oldest beauty brand’, founded in 1221 by Dominican friars in Florence. This scented terracotta pomegranate can double up as an incredibly fragrant paperweight (or simply a pleasing handcrafted object to rest on any surface in the home). It is imbued with Santa Maria Novella’s Melograno perfume, which is said to be ‘emblematic of fertility and abundance’, led by top notes of bergamot, bitter orange and fresh spices, followed by pomegranate accord, rose, ylang-ylang, labdanum, musk, oakmoss and patchouli.

Santa Maria Novella, Melograno scented terracotta, £60, available at libertylondon.com.

8. Byredo Rose hand wash

It’s time to ditch the Dettol and rid the edges of your sink from Radox. Containing pink pepper, patchouli, white musk (and what Byredo describes as a ‘radiant chord of raspberry’) this rose-scented hand wash is your new bathroom or kitchen staple, a gentle, vegan formulation that cleanses hands whilst leaving them delicately perfumed. The complementary lotion – which is rich in shea butter – also helps aid in soothing and softening dry winter skin.

Byredo Rose hand wash, £44, available at spacenk.com.

9. Mad Et Len x Lemaire Bois d’Orange scented candle

Artisanal French brand Mad Et Len emphasises the evocative power of scent. (In fact, it takes its name from Marcel Proust’s ‘Episode of the Madeleine’, from In Search of Lost Time). All of its fragrances are made in Grasse, with containers crafted from rolled metal. Mad Et Len has recently collaborated with Lemaire, to produce a range of fragrances for the home. The Bois d’Orange candle releases notes of Japanese cypress and Haitian vetiver, and is described as an ‘enveloping perfume that delicately slips into the atmosphere like a thin thread of material or a light fabric’.

Mad Et Len x Lemaire Bois d’Orange scented candle, £90, available at matchesfashion.com

10. Frédéric Malle Dans Ton Lit linen spray

Frédéric Malle says that this fragrance can recreate the effect of ‘sleeping on a bed of roses’ or ‘dreaming on a perfumed cloud’. So if your New Year resolution is to make rest a priority, then investing in a bottle of Dans Ton Lit linen spray is a good way to help you keep it. Containing half Turkish rose essence, and half Rose Water Essential (an ingredient that has been developed as an exact rendition of rose water’s natural scent), simply spritz on your pillow, close your eyes, and drift into redolent slumber.

Frédéric Malle Dans Ton Lit linen spray, £85, available at selfridges.com.

11. Maison Francis Kurkdijan linen care set

In a new release from Maison Francis Kurkdjian for 2024, this scented laundry soap set is ‘the ultimate in refinement’, says the perfumer. (We would be inclined to agree – we’ll be adding it to our clothes care routine.) Infusing garments with the notes of Aqua Universalis, a fresh citrussy scent containing bergamot from Calabria, citron from Sicily, white flowers and the subtle scent of light and musky wood, the set is available for both light and dark colours, and contains a laundry detergent and fabric softener.

Maison Francis Kurkdjian Aqua Universalis Linen Care Set, £95, available at harrods.com

12. Perfumer H Ink incense

Perfumer H, founded by British nose Lyn Harris, is known for its unconventional fragrances. This extends to its offering for the home, including this incense, which has been made by one of the few traditional incense makers in Kyoto, Japan (who also provide incense for the local Buddhist temples and monasteries). Notes include elemi, juniper wood, cedar wood, papyrus, vetiver and frankincense, to evoke the illusion of blue ink.

Perfumer H, Ink incense, £30, perfumerh.com.

13. Discothèque milk candle

Discothèque candles are created to evoke the memories of hedonistic nights out and are made using fully traceable, sustainable, high-grade vegan wax in the United Kingdom. This particular candle is named after the Milk! night club that was up and running in Mannheim, Germany, between 1990 - 1993. With top notes of weeping juniper, citrus limon, bergamot, and black pepper (and with a sandalwood, vanilla bean, leather and balsamic base), lighting it will bring a slice of nightlife into your home, setting the tone for many dinner parties to come.

Discothèque Milk! candle, £54, available at harveynichols.com.

It is said that a good way to justify the cost of a particularly expensive fashion purchase is to calculate its cost per wear. When it comes to these Celine headphones – a collaboration with Master & Dynamic – this makes for a particularly satisfying equation. After all, what accessory is worn more than a pair of over-ear headphones? 

First revealed as part of Hedi Slimane’s S/S 2024 womenswear collection for Celine – titled ‘La Collection de la Bibliothèque Nationale’ and presented via short film – the headphones feature the house’s distinctive branding, alongside the ‘Triomphe’ monogram (its looping form originally inspired by the railings of Paris’ Champs-Élysées). Models wore the wireless style slung around their necks, while an extended version of LCD Soundsystem’s ‘Too Much Love’ provided the film’s soundtrack. 

Ear candy: Celine’s collaboration with Master & Dynamic

Master & Dynamic is a New York-based American audio company founded by Jonathan Levine, who first created an audio studio in his home to appease his two sons, an aspiring DJ and tech enthusiast respectively. It has since become one the foremost audio brands in the world, its use of fine materials – leather, stainless steel, even concrete – bringing particular renown, inspired by the design of the Second World War aviator headphones. The idea is to create objects that are designed to stand the test of time.

This particular pair – which is engraved with ’designed and developed in Paris’ in reference to Slimane’s particular riff on the classic Master & Dynamic style – features ‘precise and expansive sound’, says Celine, featuring ‘clear highs and rich lows as well as sound isolation’. On the technical side, they are equipped with Bluetooth 5.2, quick pairing technology, and boast up to 30 hours of battery life.

In terms of design, the three colourways – monochrome black, black and silver, and tan and silver – are defined by a lightweight construction in anodised aluminium, while the headband and removable ear pads are crafted from buttery lambskin leather (the latter featuring the Triomphe logo, or engraved with ‘Celine’). Promising ‘attention to detail’, even the charging cable is laser engraved with ‘Celine Paris’.

Celine headphones, created in collaboration with Master & Dynamic, will be available from celine.com (£650) and Celine stores worldwide soon.

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Boxing Day is a distinctly British tradition. No matter where you are in the country, or how you celebrate the holiday season, the general consensus is that it’s considered a national day for doing not very much at all, if possible. Whether you’re currently spending today on the sofa, eating, drinking, and relaxing, or even if you’re on your way elsewhere, take a moment to scroll through the Wallpaper* shortlist of seductive beauty packaging from the past year.

There’s Lucia Pica’s First Emotions collection for Byredo (which won Wallpaper’s 2023 design award for best use of colour), Hermès’ debut eyeshadow launch (captured by photographer Ivona Chrzastek on the pages of our November 2023 art issue, alongside an interview with the creative director of Hermès Beauty, Gregoris Pyrpylis), and more.

Boxing Day: seductive beauty packaging from 2023

Byredo’s First Emotions collection by Lucia Pica

Okay, so if you want to be pedantic, Byredo’s First Emotions collection, designed by the brand’s creative image and make-up partner Lucia Pica, was technically launched in 2022. However, for the Wallpaper* 2023 design awards issue, we gave the range of products the top spot for ‘best use of colour’. It goes without saying that the packaging also deserves a mention, which includes designs for a Kajal eye pencil and mascara in burgundy, a five-colour eyeshadow palette with gold, auburns and metallic pinks, and two lipsticks.

Celine’s bath and body collection

Inspired by the ritualistic Parisian art of bathing, Hedi Slimane realised a new Celine bath and body collection in 2023. Infused with the scent of fragrance Cologne Céleste (which launched earlier in the year containing notes of orange blossom, angelica, sweet lemon essence, petitgrain, neroli, ambrette, and orris butter) the bottles are also pieces of art unto themselves, with weighty glass bottles and metal lids that turn any bathroom into a little slice of luxury.

Hermès’ eyeshadow debut

Designed by Pierre Hardy in keeping with the entire Hermès Beauty range, the packaging for the first collection of eye products was highlighted on the pages of Wallpaper* November 2023, celebrating form as well as function. Called ‘Le Regard’, the selection of products is comprised of eyeshadow palettes and brushes, and a selection of mascaras in six different shades. As Greek make-up artist and creative director of the storied house’s beauty line Gregoris Pyrpylis told Mary Cleary: ‘I don’t want to impose a certain look on someone … I want them to amuse themselves and have a nice moment. Make-up shouldn’t feel like an obligation.’

Rabanne’s new make-up line

‘The nice thing about the products is that they’re very interchangeable. You can mix them, and there’s a lot to play with. There’s definitely that playfulness, that avant-garde spirit and a little bit of sophistication, while still being playful and young,’ said make-up artist Diane Kendal, in a Wallpaper* interview marking the launch of Rabanne’s gender-neutral make-up line, and her subsequent appointment as its creative director, in August 2023. ‘People want to have fun and have products they can play with.’ Of course, a Rabanne product wouldn’t be a Rabanne product without design references to the iconic chainmail that the Spanish brand is renowned for, evidenced in the metallic packaging for foundations, lipsticks, eyeshadows, amongst others.

Ann Demeulemeester’s first ever fragrance

September 2023 marked a first for Belgian designer Ann Demeulemeester (her namesake brand was founded in Antwerp in 1985), when the label put out its first-ever fragrance. Simply titled ‘A’, and described as ‘darkly romantic’ with notes of clove, cumin, Ceylon cinnamon, Sicilian lemon and Calabrian bergamot, and ‘narcotic’ jasmine, the bottle played into the gothic minimalism inherent to the fashion line, with a sleek black design crafted from glass. ‘The box itself – evocative of a blank canvas – is designed to recall the designer’s Antwerp boutique, while a portrait of the designer by husband Patrick Robyn in 1992 is fixed to the interior,’ wrote Wallpaper’s fashion features editor Jack Moss upon the perfume’s arrival.

What to get the person with everything? From a beautiful hand-crafted chest set from Hermès to a Bottega Veneta domino set – each tile painstakingly cast in Veneto ceramic – or a decidedly sleek saffiano leather backgammon set from Prada, these will impress even the most fastidious of style aficionados (after all, sometimes a gift’s purpose is to please desires, rather than needs). 

In time for days of doing nothing and hibernating at home, we have picked a luxurious list of games and amusements from fashion’s finest, which make for gifts both generous and unique – or simply a precious addition to your own burgeoning games cabinet.

Luxurious board games from fashion’s finest

An elegant card set encased in Celine canvas

Encased in Celine’s signature ‘Triomphe’ monogram canvas, this card set from Celine is a beautiful travel companion with which to strike up a game wherever you are in the world (though would prove equally impressive when brandished after dinner at home). Inside the lambskin-lined case are two sets of cards, as well as a Celine-branded notebook and pencil for keeping score. 

Enquire at celine.com

A Bottega Veneta domino set made from Veneto ceramics

A reflection of the Italian house’s longtime dedication to artisanal craft – one particularly celebrated by current creative director Matthieu Blazy – this domino set from Bottega Veneta features 28 ceramic tiles crafted in Veneto, all encased in a beautiful walnut-wood box. Part of a recently released home collection from the house, other games available include playing cards and backgammon, as well as a wheelalong intreccio leather donkey for children.  

Available from bottegaveneta.com, £1,710

A hand-crafted travel chess set from Hermès

Keep your mind sharp – and your home chic – with this beautiful hand-crafted wooden chess set from Hermès, which also folds away for travel. One of the French house’s most popular amusements, the ‘Samarcande’ comes this year with a new deep red strap, the perfect complement to the mahogany and cassia board. Each of the chess pieces has a distinct, minimal design, as well Clou de Selle engraved stainless steel weights for satisfying hand-feel. 

Available from hermes.com, £2,360

A sleek backgammon board from Prada 

Prada aficionados will no doubt enjoy the Italian house’s sleek take on the classic backgammon set, which provides an impossibly chic centrepiece to your next game night. Constructed with the same meticulousness as Prada’s collections and accessories, the red, white and black board – complete with dice, shakers and playing pieces – is completely clad in the house’s signature saffiano leather (equally desirable are the house’s mahjong and poker sets). 

Available from harrods.com, £4,800

A minimal porcelain and wood draughts set by Brunello Cucinelli

In the house’s signature tones of beige and cream, this elegantly crafted – but minimally embellished – draughts set doubles as both an amusement on long winter days and an adornment for coffee tables and sideboards. Made in Italy, the sleek porcelain surface is inset with contrasting wooden squares, while the pieces come with a sturdy steel ring (and can be packed away using the handy compartments on the back).

Available from matchesfashion.com, £2,657

A traditional solitaire set in signature Berluti leather

Part of Berluti’s luxurious passe-temps collection – which comprises cigar cutters, champagne buckets and watch cases, alongside puzzles and games – this moulded leather solitaire set is a contemporary riff of pasttime which is said to have originated in the court of Louis XIV. It includes 36 brass balls, one delicately engraved with the Berluti logo. 

Available from berluti.com, £3,850.

The Wallpaper* gift guide is the perfect moment to put our motto – ‘the stuff that surrounds you’ – into practice. However, having just joined as beauty and grooming editor, when it came to whittling down the extensive list of beautifully designed things that I covet, it turned out to be no easy task. After some careful deliberation, I have managed to settle on a final edit of just ten. What made the cut? Find out below.

Wallpaper* gift guide by beauty & grooming editor Hannah Tindle

A philosophical jewel

Inspired by Hermès' chaine d'ancre motif, which was designed by the maison in 1938, the Echappee ring demonstrates ‘the harmonious balance between practicality and beauty that is quintessential to the Hermès philosophy’. With a circular toggle in the centre, I’ve chosen the largest model available, as something this aesthetically pleasing deserves to be seen in high definition.

Echappee Hermes Ring, Large Model, £450, available at hermes.com

A step in time

‘It is with this tremendous sense of admiration and responsibility that I will seek to carry forward [Alaïa's] legacy of celebrating femininity and placing women at the heart of creation,’ said Pieter Mulier when he took the helm at the house in 2021. I think that these Tribale mules, crafted in buttery black suede and with sculptural silver embellishments in the shape of pebbles, are a testament to the fact that he has kept true to his word.

Alaïa Tribale embellished suede mules, £1,298, available at mytheresa.com

A perfect pair

I practically live in blue jeans and believe that one can never own enough pairs. Although, with such a vast collection, I can easily spend too much time agonising over which cut and shade of wash to choose when it comes to getting dressed for work. With this pair from Celine, which are blue jeans par excellence in their simplicity, I’d save a lot of time in the morning.

Celine Margaret Jeans In Pismo Wash Denim, £790, available at Celine.com

A much-needed replacement

Admittedly, I already have a bar of this soap hanging in my bathroom. It emits Loewe's signature Tomato Leaves scent, which more than lives up to the evocative description of a 'fresh verdant aroma of the vines just before they burst into fruit'. Studded with exfoliating particles of red algae, and with a creamy texture that lathers into a skin-nourishing foam, I would very much like to receive a replacement when the other runs out.

Loewe Tomato Leaves Solid Soap, £43, available at perfumesloewe.com

An ode to blue

As previously mentioned, I have a penchant for blue jeans. This five-colour eyeshadow palette by Dior in the shade Denim cements the obsession once and for all. Designed by Peter Philips to reference haute couture pieces by the fashion house, the shadows contain cornflower extract. So although the formulation is highly pigmented and long-wearing, the finish on the lids is weightless, conjuring the lightness of silk. Whether worn blended together, or used individually for a bold wash of colour, completing my chosen look with two coats of black Diorshow mascara is a must.

Diorshow 5 Couleurs Eyeshadow in Denim, £55, available at harveynichols.com; Diorshow Iconic Overcurl Mascara in 090 Black, available at dior.com

A heavenly bath robe

Taking inspiration from art and architecture, including Le Corbusier and Agnes Martin, Tekla’s blankets and towels provide the most heavenly sleeping and bathing experiences (two activities I love to indulge in). This navy robe, crafted in extra thick, extra combed 385-gram terry cotton, is both highly absorbent and stands the test of time. This is just as well, because I think I would practically live in it should it ever be gifted to me.

Tekla Hooded Cotton-Terry Bathrobe, £155, matchesfashion.com

A bedtime story

Lighting a Byredo candle is always a welcome addition to any bedtime ritual. (I love the Loose Lips fragrance, which has been created with rose, violet and Morello cherry notes, bringing to mind the sugary, waxy scent of lipstick). A red and white limited edition of the brand's signature Alphabeta Blanket, woven in the softest cashmere and virgin wool blend, would heighten the sensory experience.

Byredo Team Colours Limited Edition Blanket, £440; Byredo Loose Lips candle, £64, both available at byredo.com.

A classic hairbrush

When I was little, my mum owned a classic Mason Pearson hairbrush that made excellent work of detangling my very thick hair. Designed with boar and nylon bristles, and with a pleasingly ergonomic handle, it's a testament to its longevity and quality that she still uses the same brush to this day. (I think it’s about time I have one of my own.)

Mason Pearson Popular Hairbrush, £123.50, available at harrods.com

A hint of glamour

Anthony Vaccarello’s vision for Saint Laurent sees meticulous craft melding with unadulterated glamour. And even when paired with relaxed tailoring or loungewear, this diamanté embellished headband would provide a necessary touch of that glamour to the everyday. Plus, it makes the perfect accessory for the later days of your hair-wash cycle.

Saint Laurent Crystal-Embellished Headband, £565, available at mytheresa.com

A generous companion

I've never been one to travel light. Whether heading out of the country, or even just to the office, I find myself laden with endless detritus. Enter Bottega Veneta's Andiamo tote bag, in oxblood Intrecciato leather. Its roomy size would solve a multitude of storage issues, for years and years to come.

Bottega Veneta Large Andiamo, £5,550, available at bottegaveneta.com