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The Standard called it “a feast for the eyes and the mind,” while The Guardian described it as “a mucky joy to behold.” Despite its modest-sounding premise, 'Dirty Looks' curated by Karen Van Godtsenhoven, is one of the most beautiful exhibitions I have ever visited. Highly relevant too, considering I had just read Susan Strasser's Waste and Want in December (worth the read if you're interested in sustainability and design.)

Haute Couture Week is a battle of craftsmanship and creativity. A space in which designers convey abstract motifs through their collections. In Jonathan Anderson’s debut at Dior, it became immediately clear that his design language was not contingent on his work at Loewe. While he retains a sense of playful elegance and trompe l’œil elements, this collection stood as a defining moment of Haute Couture Week in its own right.

It is January 5th and, already, the pressure is on. My social media is flooded with posts warning which prints, colours and silhouettes I MUST invest in before the season’s over – enough already! I do wonder, however, if these harmful trend predictions will still exist in the same format come this time next year? It’s well known that the aesthetic trends which gain the most traction are usually rooted in broader cultural and economic shifts, and, after 2025’s storm of fast fa

When speaking of fashion legends, Valentino Garavani stands alone. His name is synonymous with opulence, elegance, and timeless beauty, qualities that earned him the title of the Last Emperor of Fashion.

In her final essay, Nikita David annotates the style of 'I Love LA' offering some useful insights into the psychology of an LA influencer

Nepalese-born British designer Sanyuta Shrestha offers a daring proposition combining her native country’s legacy, love for imperial silhouettes and commitment to ethical fashion for Spring Summer 2026.

For twelve years, Charu has been quietly building LABBADA in the domestic market, developing a philosophy of luxury that whispers rather than shouts, that enhances rather than eclipses. In this conversation, Charu shares insights into the philosophy, craftsmanship, and quiet confidence that define LABBADA.

With his signature blend of humour, surrealism and trompe l’œil, he has introduced a refreshed vision that feels both respectful and forward-thinking. In Anderson’s hands, Dior is not rewritten, but reawakened proof that even the most historic fashion houses can evolve without losing their soul.

Natalia Georgopoulos reviews ‘Marie Antoinette Style’ exhibition at the V&A, Kensington.

‘La Toile’, meaning ‘the canvas’ in French, is envisioned as a brand where women can express themselves freely, confidently, and with unmistakable elegance. The brand elegantly crafts its world through premium fabrics, refined cuts, and sensual silhouettes that whisper exclusivity.