In 2008, when Zoë Kravitz was just 19 years old, she attended her first Met Gala. The actor has walked the Met steps a total of ten times, leaving her mark on the carpet with each ascension. Of course, Kravitz’s style has changed a lot in the 18 years since her first appearance. Early on in her Met career, the actor wore simpler looks created for her by designers like Alexander Wang and Derek Lam. In 2016, she took her first big swing with a Valentino couture mini dress, but it wasn’t until 2018 that she really hit her stride. That was the year when Saint Laurent started dressing Kravitz for the Met Gala, and since then, the actor hasn’t trusted anyone else with the job.

Kravitz hasn’t attended the Gala since 2021, but she will be there this year, and it’s safe to assume we will see her in another Anthony Vaccarello dress. The two are co-chairs of the host committee, meaning even more eyes will be on Kravitz than usual. So, while we wait to see what she brings to the 2026 event, let’s look back at all ten of Kravitz’s Met Gala looks from the past.

2021: “America: A Lexicon Of Fashion”

Zoë Kravitz attended the 2021 Met Gala in a slinky Saint Laurent dress.

The piece was completely see-through, which became all the more obvious when the actor turned around.

2019: “Camp: Notes on Fashion”

In 2019, Kravitz covered up a little bit more, arriving to the pink carpet in another Saint Laurent creation. This one was covered in oily black sequins and featured a unique bust cutout and neckline.

2018: “Heavenly Bodies: Fashion & the Catholic Imagination”

The actor’s history of showing a lot of skin at the Met Gala can be traced back to 2018. That year, Kravitz attended the event in a one-armed, lace Saint Laurent dress with just two bows holding up the side.

2017: “Rei Kawakubo/Comme des Garçons: Art Of The In-Between”

Kravitz prioritized drama at the 2017 Met Gala, attending in a pale pink Oscar de la Renta gown with a cape that followed her as she ascended the stars.

2016: “Manus x Machina: Fashion in an Age of Technology”

While from the front, Kravitz’s Valentino fall 2010 haute couture dress seems pretty simple, the back revealed a giant bow that looked like wings from some angles.

Kravitz paired the mini with some tulle-covered shoes and a lace face mask from the same Valentino collection.

2015: “China: Through The Looking Glass”

In 2015, Kravitz wore a silver chainmail dress designed by Alexander Wang.

2014: “Charles James: Beyond Fashion”

A blonde bobbed Kravitz attended the Met Gala in 2014 wearing a low-cut red dress with a thigh slit from Topshop.

2011: “Alexander McQueen: Savage Beauty”

A 22-year-old Kravitz wore a Derek Lam two-toned dress to the 2011 event.

2010: “American Woman: Fashioning a National Identity”

Kravitz wore her most casual Met Gala look in 2010, a white tank and black column skirt from Alexander Wang for Gap, which she paired with a python skin clutch.

2008: “Superheroes: Fashion And Fantasy”

The actor attended her first Met Gala in 2008, wearing a mint green velvet dress and fur stole that could have been plucked straight out of the Roaring ’20s.

Ever wish you could ask some cool, tapped-in people what they’re selecting for a present? You’re in luck. Below, 15 W editors answer the question: what are you giving—or hoping to receive—for Mother’s Day?

The Row Handwoven Blanket

As the temperature climbs and the seasons start to shift, I find myself already preparing for summer. These blankets from The Row are perfect for keeping warm on a windy evening at the beach. Each piece is so beautiful and unique. —Sara Moonves, editor in chief

Naturopathica Calendula Essential Hydrating Lotion

If you think face lotion with SPF isn’t fancy enough for a Mother’s Day gift, you haven’t met Naturopathica’s new Calendula Hydrating Lotion. Made with high-quality knotgrass—an antioxidant-rich botanical that smooths skin texture—and zinc oxide, this product provides a physical barrier that blocks UVA and UVB rays, and it won’t leave a white cast. The consistency is light and hydrating, and the smell is heavenly; the lotion feels refreshing and cooling on the skin. This is for the discerning mother who won’t take anything less than the best. —Maxine Wally, senior digital editor

Gucci Paparazzo Medium Top-Handle Bag

On the other hand…why not go big or go home?! My mother was the first person who taught me that every lady needs a bag—and top-handle lady bags were everywhere on the runways for fall 2026, giving me lots of Mother’s Day shopping inspiration. I love this black leather version from Gucci, which features the house’s signature horsebit and green-and-red stripe. —M.W.

Svenskt Tenn Textile Gröna Fåglar

When giving a Mother’s Day gift that is both personal and enduring, an item for the home feels extra special. Stockholm design house Svenskt Tenn is beloved for its textiles—especially the vibrant floral prints created in collaboration with Austrian designer Josef Frank. As I prepare for a new baby, I’ve been particularly drawn to the idea of using one of these richly patterned fabrics to reupholster a sofa for a nursery. —Nora Milch, executive fashion director

Flamingo Estate Richard’s Family & Friends Set

This box is such a thoughtful, well-curated collection of treats. You will find everything from a great cup of coffee to olive oil, soap, and hand cream here—all luxurious, tasty items that she will enjoy daily. —Allia Alliata di Montereale, style director

Chanel Coco Crush Bracelet

You really can’t go wrong with something as timeless as a Coco Crush bracelet. I like the idea that it’s not just for me—it’s something enduring, a piece I can pass down to my daughter. —Jade Vallario, senior accessories editor

Dolce & Gabbana x Ray-Ban The Shooter Aviators

Dolce & Gabbana lends sunnies a glam upgrade. We think this is the year’s coolest aviator remix, created in collaboration with Ray-Ban. This is an ultrafabulous present for the mom who lives for high fashion and effortlessly serves as your (and your friends’) ultimate style inspo. Finished with a leather case that doubles as a chic accessory, it’s a statement piece worthy of her influence. —Maryam Lieberman, contributing beauty editor

Briony Raymond Vintage Diamond Chandelier Earrings

I’d love a pair of vintage Victorian chandelier diamond earrings from Briony Raymond for a truly timeless Mother’s Day gift. There’s something so special about their old-world romance and craftsmanship; the pieces feel less like a purchase and more like an heirloom. —N.M.

Santa Maria Novella Melograno in Scented Terracotta

Tried and true, this classic hardly needs an introduction—it’s a perfect dose of Florence, wherever you are. If your mother’s office doubles as the dog’s favorite napping spot, she’ll especially appreciate this piece. I’ve been repurchasing it for her year after year and plan to keep doing so until she somehow tires of the scent—which, realistically, may be never. —Andrew Dasco, visuals editor

Current Body Skin LED Red Light Therapy Face Mask

Is it rude to insinuate that the mom in your life could use an antiaging device? Maybe. But she probably could, and the Series 2 Current Body LED red light mask works wonders. I use mine daily; I’ve recommended it to just about everyone—mother or not—that I know. —Sally Law Errico, managing editor

Burberry Watercolour Check Silk Scarf

I’m gifting this elegant silk scarf to my friend who is currently trying to get pregnant via IVF. She’s been working really hard to achieve her dream of having a baby and she deserves something luxe and elevated to remind her just how special she is. —M.W.

Louis Vuitton’s Chocolate Egg Bag By Maxime Frédéric

The best gifts are the ones you don’t forget—even if they don’t last. My mother was born on Easter Sunday, which makes Louis Vuitton’s chocolate egg bag by Maxime Frédéric doubly appropriate. Part objet, part dessert, it’s indulgent, impractical, and ridiculously over the top—the kind of thing she’ll remember and simile about long after it’s gone. —Katie Connor, executive digital director

Loewe Paula's Ibiza Flamenco Clutch

With summer vacation approaching, I can’t get this sunny and colorful Flamenco Clutch from Loewe’s Paula’s Ibiza line out of my head. I think I’ll gift it to my cousin, who is adopting a child in June of next year—so exciting, and right on time to hit the beach! —M.W.

Jacquemus The Valérie Bag

There is no doubt that I get my handbag obsession from my mom. We’re constantly trading pieces; I’ve been hanging onto her orange Bottega Veneta for a few years now. It only seems fair to fill the hole I have left in her closet with the Jacquemus Valerie. It’s so sleek and classic, but still fun thanks to the silver domed closure and bright color. Plus, Simon named the design after his mother—how apropos! —Carolyn Twersky Winkler, staff writer

High Sport Jack Cardigan

My mom and I have recently been discussing wearing elevated loungewear at the house. While I am personally a Skims loungewear addict, I know my mother will adore High Sport because of how the brand encapsulates luxury, simplicity, and comfortability all in one. I would love to surprise her with a cardigan (in purple, because she loves a pop of color) and a pair of their classic kick flare trousers in black. She will be so sleek and chic at home! —Tori López, fashion market editor

Repetto Camille Ballet Flats

The truth is, my mom and I both need a pair of these. She’d wear them with a pleated midi skirt and a button-down (her uniform), and I’d don them with long jean shorts and my favorite cotton long-sleeve T-shirt (Leset). The red patent leather and three-centimeter heel is just right to feel cute and festive, but not overdressed at Mother’s Day brunch. —Oona Wally, associate visuals director

Chimi Sally Sunglasses

For the effortlessly cool, downtown mom—just in time for sun-soaked days ahead—these aviators from Chimi are her perfect sidekick for whenever spring and summer take her. Handcrafted in Acetate Renew, a blend of bio-based and certified recycled materials, these shades don’t just look good, they do good, too. And when the moment calls for a little “me time,” she can simply slip them on and enjoy a stylish escape from the chaos. —Che Baez, visuals editor

Tory Burch Sublime Shimmer Oil

This one is for the moms and moms-to-be who love a sleek swipe of shimmer. Tory Burch’s new Sublime Shimmer Body Oil hydrates with vitamin E, sunflower seed, and jojoba oils, while carrying the classic Sublime scent of leather, rose, and mandarin. One application and your skin will appear more radiant and lit from within. —M.W.

Coach Tabby Shoulder Bag

I love my mom so much, and she’s been eyeing the Coach Tabby shoulder bag lately. With more brunch dates planned, the weather warming up, and a trip to visit our family in Barbados on the horizon, I’d love to get her something she’s been wanting—a piece she can wear and feel really good in. —Shaliqua Alleyne, associate visuals editor

Dorsey Kate Rivière Bracelet in Moissanite

For the mother-figure in your life—because they come in many forms, from friends, to your partner’s mom—this classic, delicate bracelet is a timeless way to show your appreciation. Designed for effortless, everyday wear, it drapes perfectly on the wrist with an easy elegance that goes with everything. Made with lab-grown gemstones, it’s exceptionally durable and resistant to scratches, so they can wear it always, and never think twice. —C.B.

Vivaia Square-Toe Lace-Up Satin Sneakerina

The only thing my mom loves more than a good bag is a good pair of shoes (another obsession I inherited from her), but she struggles to find pairs that are both cute and comfortable. It seems every time we go out together, she complains about her footwear (sorry, mom, but you know it’s true). That’s why she would love a pair of Vivaia’s sneakerinas. I just wore them to Coachella—where I walked an average of 30,000 steps a day—and they passed the comfort test with flying colors. Plus, I got a million compliments. I am obsessed with this gorgeous yellow color, and I know my mom will love them, too. —C.T.W.

Abyme ABC We Print Anything Sweater

M stands for “mother.” Get your mom one of those beautiful French terry sweaters—a limited edition release, created by Abyme and the late artist Carolee Schneemann, along with The Artist’s Institute, New York. —Tobias Holzmann, design director

Piecework Puzzles The Slim Aarons Summer Set

Piecework’s jigsaw puzzles are a fun and inexpensive way to give a chic gift—each one features a fabulous photo, and includes a QR code to a themed Spotify playlist. The puzzles range from 45 to 1,000 pieces, and those pieces are cut sharply enough to satisfy the real puzzle snobs out there (no frayed edges or annoying pieces that “fit” in multiple spots). I love the Slim Aarons Summer Set, which includes the 1,000-piece puzzles Sun Basking, Positano Beach, and Dining Al Fresco on Capri. —S.L.E.

Anna Hathaway got all dressed up for work in a tweed skirt suit with a twist. The Devil Wears Prada 2 star continued her press tour for the upcoming film with an appearance on Good Morning America. Her early morning interview ensemble included a checkered blazer and calve-length skirt. The look was cinched at the waist with a thick black belt featuring a gold medallion buckle. Underneath, she had on a black turtleneck, sheer stockings, and a pair of pointed-toe heels.

From one blazer pocket, a waterfall of fabric fell down the actress’s hip, elevating office-wear into fashion. She accessorized with a gold ring, rose-tinted sunglasses, and wore her hair in loose waves.

During her interview, Hathaway reflected on working with Meryl Streep again, 20 years after the original film was produced. Streep plays the aloof and intimidating Miranda Priestly, and Hathaway explained Streep remained distant on set for the sake of her character during The Devil Wears Prada.

“Meryl loves the hang, but she decided that she should kind of withdraw from the social aspect of making the [first] film so that way we would really spend time with Miranda,” Hathaway shared. “On this one, what was so great was that I finally got to work with Meryl Streep,” she added. “She was herself, the hang was impeccable, the vibes were great.”

She added, “You just go ‘Oh my God,I love you,’ and you have to do that but what I learned in 20 years is that you zip that up and you don’t show that.”

Finding her own character, Andy, was easy with some helpful tunes.

“The thing that got me back into it was the music,” she said. “I just listened to the music from the first one and all of the memories came back of who I was when I was 22, and how scared I was making [the movie].”

Warning: spoilers for season three of The White Lotus ahead.

Season three of The White Lotus packed a lot of questionable things into its eight-episode run: an incestuous threesome, intrusive murder-suicide fantasies, and endless brand collabs, to name a few. After ending on a shocking note, with toxic but lovable couple Chelsea (Aimee Lou Wood) and Rick (Walton Goggins) meeting a tragic end, the series’ Thailand-set third season set a high bar for chaos and mystic symbolism. Creator Mike White is surely up to the task, though—and naturally, the Emmy-winning HBO hit has already been renewed for a season four. Here’s everything we know about it so far:

Where will The White Lotus season four be set?

Deadline broke the news in September that season four will be set in France. Specifically, the story will take place along the French Riviera, with some scenes shot at a Paris hotel, with a focus on the Cannes Film Festival (more on that below).

While past seasons took place at various Four Seasons properties, this time will break form. Variety reports that most shooting will take place at a stunning 19th-century palace-turned-luxury hotel in Saint-Tropez on the Côte d’Azur, called the Château de La Messardière, and at Hôtel Martinez in Cannes.

As for the Paris scenes—no other hotels have been locked in for filming yet, but Variety reports that production has scouted the chic Le Lutetia on the Left Bank of the Seine in the Saint-Germain des Prés neighborhood (where artists including Charlie Chaplin, Ernest Hemingway, Pablo Picasso and Josephine Baker all stayed), and the five-star Ritz Paris, which opened in 1898 and was visited by a similarly iconic crew of historic figures, including Coco Chanel and Marcel Proust.

Given its close, confined quarters at a single hotel property, The White Lotus filming experience has been described by many former cast members as a cross between a sleepaway camp and a reality TV set. It’ll be interesting to see how the new setting affects this installment’s outcome.

Who is in the cast?

A few guests have already been confirmed for season four: Laura Dern, Sandra Bernhard, Ari Graynor, and British actor and comedian Steve Coogan (of Alan Partridge fame) are all joining the series. This is in addition to models/newcomers Caleb Jonte Edwards, Dylan Ennis, and Marissa Long, Canadian actor and country musician Alexander Ludwig (he played Cato in The Hunger Games), Chris Messina (Argo and The Mindy Project), and Amanda “AJ” Michalka (of cult favorite aughts pop duo Aly & AJ). Max Greenfield (The Neighborhood), Kumail Nanjiani (Only Murders In the Building), Chloe Bennet (Interior Chinatown), Charlie Hall (The Sex Lives of College Girls), and Jarrad Paul (Free Bert) have also joined the cast.

On March 30, additional actors were added to the sprawling ensemble, including Heather Graham, Rosie Perez, Ben Schnetzer, Tobias Santelmann, Frida Gustavsson, and Laura Smet.

What happened to Helena Bonham Carter?

Some other casting gossip: a little over a week into production, it was reported that Helena Bonham Carter would be exiting the season, with her role recast. An HBO spokesperson gave the following statement to Deadline: “With filming just underway on Season 4 of The White Lotus, it had become apparent that the character which Mike White created for Helena Bonham Carter did not align once on set. The role has subsequently been rethought, is being rewritten and will be recast in the coming weeks. HBO, the producers and Mike White are saddened that they won’t get to work with her, but remain ardent fans and very much hope to work with the legendary actress on another project soon.”

Laura Dern will be replacing her. Which makes both perfect sense, but also leads to some questions.

Dern is one of White’s most frequent collaborator. The pair previously worked together on the cult classic HBO show Enlightened. She also played a supporting role in White’s 2007 film Year of the Dog. Technically, she’s also contributed to TWL before. She made a vocal cameo as Michael Imperioli’s character’s estranged wife in the second season.

According to Deadline, Dern will not be playing either the character originally meant for Carter’s but rather one that “is being developed and written for her by White.” For now, the assumption would be that it is not the same character she had voiced in the second season.

Are any former cast members returning?

Though each season of the anthology series features a new group of nepo babies, beloved character actors, and other casting wild cards, White has also always brought back at least one character to tie the seasons together. In season two, it was Tanya (Jennifer Coolidge) and Greg (Jon Gries), who gallivanted around Italy on a moped before Greg set Tanya up to be killed in a murder-by-gays plot. In season three, we were reintroduced to Belinda (Natasha Rothwell), who finally got hers after being ghosted by Tanya—though in a characteristically cynical White-twist, she turned around and did the same thing to someone else (Pornchai).

So who could be coming back next season? Wood confirmed to W that, despite some fan theories, there’s no chance of Chelsea or Rick returning. Maybe we’ll circle back to Belinda and Pornchai—will White want plot symmetry between seasons, with Pornchai somehow getting justice this time?

The other most apparent loose end is with the Ratliff family. After the slow, season-long build-up toward Timothy (Jason Isaacs) revealing to his family that he had lost all of their money, it was disappointing to be denied that climactic moment as a viewer. He was also apparently facing time in federal prison. Will there be Zoom calls with Isaacs from his cushy minimum security institution next season? Will we see Parker Posey’s Victoria working at a hotel, rather than visiting one as a guest? Will Patrick Schwarzenegger’s Saxon go on his own spiritual journey, inspired by the death of Chelsea? The possibilities are endless.

What will the season’s themes be about?

Last season focused on issues of life, death, rebirth, and Eastern philosophy. According to executive producer David Bernad, season four will be about “the life of an artist.”

“Early on, Mike talked about wanting to do Season 4 as the life of an artist—the loneliness and the pain,” Bernad recently said at the annual Canneseries. He added: “That’s a throughline that runs throughout the season. As we located the show at the Cannes Film festival, this idea of fame popped up and who has the world’s attention? Who can grab it and who is the plus one in a relationship? What are the things that satisfy us? Is it the love of an intimate partner, the love of strangers, what do we prioritize in people?”

He went on: “It really examines the things we value as people and what is attractive to us, and how fame can be corrosive and dictate your choices in life. Some of the characters are existentially reflecting on those choices, some are reflecting on the choices and sacrifices they made as artists, and some are just starting to enter into this world of fame.”

Sounds like it will be very meta.

When will The White Lotus season 4 return?

There’s no release date yet—stay tuned for updates. Filming began in April and will last through October, with a possible premiere in May 2027, if past release schedules are any hint.

Rihanna headed to Mumbai this weekend to celebrate her beauty brand’s Fenty Ki Haveli pop-up. On Saturday, she modeled two looks, starting with a bright chartreuse Mugler set, a loose mock turtleneck top that tied off at her hip and a pleated leather skirt in the same shade. Making it monochromatic, the ANTI singer paired the pieces with matching slingbacks.

For extra sparkle, Rihanna wore jewelry from Mumbai designer Manish Malhotra, including dangling earrings and a hathphool (a traditional Indian hand harness). She left her hair down in a sleek wave and wore a dark red lip.

Later that evening, Rihanna changed into Alaïa, wearing a long-sleeve black dress made from semi-sheer fabric. It featured a textured crocodile skin panel across her torso that trailed down into the long skirt. She wore the ensemble with black open toe stilettos and swept her hair up into a loose bun, changing her red lipstick for a glossy brown.

Ahead of the big event, Rihanna shared her current POV on makeup with Vogue India.

“Women just want to be seen,” said the star. “It’s simple as that. We just want to be seen, we want to be known. We want to be heard. We want our visions to mean something. We want our ideas to mean something. We want our voice to have this sense of importance. We love the energy that we bring.”

She continued, “We love our contributions. But there’s so much more that women can do. What women can contribute. love when our ‘stupid ideas,’ you know, ‘stupid,’ come into perspective and they mean something. And they teach people a lot of things about our contributions to the world. This is a human thing. And I’ve noticed this more as a mom. Boys, girls, women, men—life is so crazy. It’s hard. You need support. You need community, you know?”

Last week marked my third trip to the Watches and Wonders convention in Geneva—an horological fair that continues to grow, both in scale and buzz, with each passing year. Nearly 15 additional brands have joined the event since I first attended in 2024 (including Audemars Piguet, which hasn’t shown at a watch fair since 2019). Across the fair there was plenty to take in, from early aughts revivals at Rolex and Frederique Constant to striking stone dials at Piaget and Chopard, along with skeletonized timepieces—a pervasive trend for 2026—at almost every booth. Ahead, find our favorite watches from the fair.

Rolex Oyster Perpetual 28

This year, Rolex is celebrating the centennial of its iconic Oyster case with a new lineup of Oyster Perpetual models. The 28 is the smallest of the lot, but arguably the most striking, crafted entirely in 18-karat gold, with a rich green lacquer dial and natural stone markers.

Cartier Roadster

Originally launched in 2002, the beloved Cartier Roadster is back with a sleeker redesign thanks to the work of over 100 artisans. The Roadster will be available in yellow gold, yellow gold and steel, and steel in both medium and large sizes.

Audemars Piguet Établisseurs Galets

Twenty-twenty-six marked Audemars Piguet’s debut at Watches and Wonders—and the brand did not disappoint. The label used the moment to introduce Atelier des Établisseurs, a new initiative bringing master artisans together to create incredible, one-of-a-kind timepieces.

The Établisseurs Galets was inspired by water-smoothed stones from a lake near AP’s headquarters. The turquoise and tiger’s eye bracelets fits seamlessly around the wrist, held together with gold pebbles like studs, rather than traditional links.

Patek Phillipe 7200/50-G-012

Since its debut in 2013, the Calatrava has become a fan favorite for women. Now, Patek Phillipe introduces the piece in a chic, monochromatic ice-blue, with a sunburst dial and matching alligator strap.

Chanel Noeud De Camélia Cuff

Hidden beneath a diamond camellia, Chanel’s emblematic flower, a secret watch sits atop an embossed leather strap designed to mimic grosgrain. This timepiece is a mix of Chanel’s haute couture roots and high-jewelry savoir-faire, wrapped up in an adorable bow.

Van Cleef & Arpels Lady Rencontre Céleste

Ten layers of plique-à-jour enamel, rose-cut diamonds, and sapphires bring the story of two star-crossed lovers to life on this incredible Van Cleef & Arpels high-jewelry timepiece.

Vacheron Constantin Historiques American 1921

The Historiques American 1921 gets a fresh update this year, keeping its distinctive offset dial and adding a stylish grained silver dial with blue Arabic numerals and a matching leather strap.

Piaget Polo 79

Piaget refreshes its classic Polo 79, swapping the traditional dial for a stunning deep blue sodalite, sliced into five pieces with the emblematic stripes carrying over from the case and running through the stone.

Jaeger-LeCoultre Master Hybris Mechanica Ultra Thin Minute Repeater Tourbillon

Jaeger-LeCoultre packs two of watchmaking’s most impressive complications—a minute repeater and flying tourbillion—in an ultrathin case. A feat like this deserves to be on display, and the skeletonized case does just that.

Hermès Cape Cod

Thirty-five years after its launch, the iconic Cape Cod gets a mini update—literally. These scaled-down versions feature double-wrap leather straps in various colorways, available in yellow gold, steel, and yellow gold with diamonds.

Chopard L’Heure du Diamant

For Chopard, this stunning high-jewelry timepiece is actually pretty pared down. A glossy black onyx dial with a diamond heavy bezel sits pretty, paired with a matching crocodile strap.

Gucci G-Timeless Métiers d’Art

This Gucci archival crane motif, originally from a 1980s silk scarf, takes flight on this high-jewelry watch. The elaborate dial features real feathers—handpicked by renowned feather artist Nelly Saunier—mother of pearl, diamonds, and hand-engraved flowers.

Bulgari Serpenti Tubogas Studs

This year Bulgari pushed the Serpenti Tubogas in a tougher direction with a studded capsule collection, introducing new steel versions, each adorned with gold “clou” studs.

Tag Heuer Monaco Chronograph

The Monaco Chronograph returns to its square roots, if you will, with a sharper case closer resembling the original model from 1969. Tag Heuer, added some modern updates including a lightweight titanium case, a cleaner and more legible dial, and a new in-house movement.

Frederique Constant Manchette

Originally launched in 2002, the Manchette made a welcome return last year. Now, Frederique Constant is expanding the collection with two new styles: a sleek steel version with a smooth mint dial, and a punchy gold-tone version with a bright turquoise mineral dial.

Zenith Chronomaster Sport Skeleton

Skeletonized dials were everywhere this year, and Zenith was no exception. The brand revealed the first skeletonized Chronomaster Sport, showing off its famed El Primero movement. The watch comes in several iterations including this limited-edition 18-carat rose gold version (there are only 10 worldwide) with a stunning baguette diamond-set bezel.

Hublot Big Bang Impact One Million

Somewhere hidden between the 500 diamonds there are two small hands indicating the time—although there aren’t any numbers on the dial (that’s beside the point!). Coming in at one million Swiss francs, with this Hublot high-jewelry timepiece, it’s always diamond o’clock.

IWC Portofino Automatic Day & Night 34 Le Petit Prince

The Portofino Day & Night gets the Le Petit Prince treatment, a first for the collection—where the little prince appears on the moon of the day and night display.

Panerai Luminor PAM01731

Inspired by their 1960s tool watches originally created for the Italian Navy, Panerai reimagines the Luminor in a rich brown palette featuring beige markers and vintage-inspired pencil hands.

This week marked ten year’s since Lemonade was poured across the music landscape, and Beyoncé is in a celebratory mood. The star’s decade-old looks are still informing style, including hers. On Sunday night, Beyoncé posted a new carousel of photos in which she seems to be referencing herself.

The royal purple gown from Yves Saint Laurent’s spring 2026 collection made a splash on its own when it debuted on the Paris runways last year. Though, on Beyoncé it couldn’t help but recall the famous golden yellow dress from the famous “Hold Up” music video. Beyoncé posed with her perfect accessories: chunky black sunglasses, a spherical Cult Gaia bag, a silver pearl drop statement necklace, and a pair of burgundy slingback heels.

The photos were reportedly taken during an event to celebrate the album’s milestone anniversary. There were a few glimpses into the evening in the collection, including shots of the Renaissance singer checking her perfect reflection in the car with a purple mirror and a plate of sashimi topped with jalapeño slices. Spicy.

On April 23, she shared other pictures in honor of Lemonade. These were taken beachside, near a table set for a luxurious dinner. Beyoncé wore a beige long-sleeve jumpsuit with a brown leather belt, a flower crown, and gold hoop earrings. She posed with lemons and a full bottle of her SirDavis Whisky.

Hold up. Three lemons? Fans in the comments were quick to note the significance of the choice, namely that they’re hinting at the possibility of a new album on the horizon. It’s been four years since Beyoncé kicked of a reported album trilogy with Renaissance that continued with Cowboy Carter.So, it’s not unreasonable to think Act III is on the horizon.

A handsome, skinny white boy in his late teens or early 20s peruses a narwhal’s tusk in a museum vitrine while chewing on a toothpick. Another, in a suit and tie, with a pair of binoculars around his neck, sits in an empty strip joint, having tossed a few crumpled dollar bills at the foot of the stripper pole. There is a boy grinning maniacally as he holds a koala bear, and another—who is wearing a Smiths meat is murder T-shirt—attacking an enormous boat-shaped plate of sushi with a fork. There’s a boy at Chernobyl, and another in Japan’s “suicide forest”; one with a sign asking for money to get him to a full moon party at Koh Phangan, and another wearing a stained T-shirt, on which he has written: the hugs are free, but if you want to help us you can donate. These last two paintings depict an obnoxious phenomenon known as “begpacking,” in which Western tourists demand money to fund their travels next to genuinely disadvantaged local beggars in the countries they are visiting.

There are 40 pictures in all, and together they make up an exhibition that the American artist Hernan Bas has been preparing for a year in collaboration with Victoria Miro, Lehmann Maupin, and Perrotin galleries. Some of the works were completed during an artists residency in Venice, where the show will open in May at the Ca’ Pesaro–International Gallery of Modern Art, to coincide with the Biennale. When I meet Bas on a misty February morning at the studio where he’s spending his residency, which overlooks the Giudecca Canal, the 48-year-old is putting the finishing touches on a picture of a bleary-eyed boy wearing a T-shirt with the slogan They say I was in Amsterdam, but I can’t remember.

“I had fun with the T-shirts,” the artist says, explaining that he loves to paint the details of his subjects’ clothes. Today he is wearing an Acne Studios cap and his favorite old top—a stripy Margiela knit with a hole under the armpit that he calls his “Freddy Krueger sweater.” A TV plays with the sound down. It’s one of Bas’s few diversions as he paints alone, with no assistants, for long hours, six days a week. Sometimes a show about something weird—perhaps a paranormal phenomenon—will inspire him.

Bas had already started painting boys in foreign scenarios when he was invited to mount an exhibition in Venice, a city that is swamped with tourists like no other. He decided to call the show “The Visitors.” “I thought ‘visitors’ sounded more nefarious than ‘tourists,’ ” he says. “More like UFOs landing, as opposed to your mom in a backpack.” The pictures will be hung closely together in two rooms with a view of Venice’s Grand Canal; they depict a succession of spoiled white male American tourists doing objectionable things around the world in pursuit of leisure, bragging rights, and social media content. “It’s a kind of tourism that isn’t really connected to the place they visit,” Elisabetta Barisoni, Ca’ Pesaro’s director and the curator of the show, says with some understatement. “It shows that sometimes traveling is not related to knowledge.”

At a time when America’s presence can feel increasingly oppressive to many in the rest of the world, the show seems particularly relevant—though Bas has little interest in chasing the zeitgeist. “I did a painting of a guy doing an audio tour of Alcatraz, and the same week people were talking about ‘Alligator Alcatraz,’ ” he says, referring to the notorious immigration detention facility in the Florida Everglades. “Then I did one of Area 51, and two weeks later Netflix put out a documentary about people who were going to storm it.” He depicted a boy with the creepy dolls that populate Mexico’s Isla de las Muñecas, only to see Lady Gaga then make a video in the same place. However, he missed the Venice wedding of Jeff Bezos and Lauren Sánchez—perhaps the ultimate example of imperious American tourism, given that it seemed to use the city’s residents and culture as little more than a backdrop to a billionaire’s nuptials. “That must have been a shitshow,” Bas muses.

Nonetheless, it would be a mistake to describe “The Visitors” as straightforward satire. Over the course of his career, Bas has painted skinny young men almost exclusively—some of his first pictures were even painted using SlimFast, the food substitute intended to aid weight loss, as pigment. Back in the early ’00s, he was deeply inspired by Hedi Slimane’s designs for Dior Homme—slender tailoring for hollow-cheeked indie kids. “As a young artist, you sort of paint what you are,” Bas says. “When I was growing up in Miami, the ideal of beauty was the Bruce Weber swimsuit model. So when Hedi happened, I was like, Oh, that’s me. You get excited when you see yourself presented in culture.”

Bas grumbles that people are always curious as to why he paints only white boys. “I’m not making work about white guys,” he says. “To me, I’m just casting characters. I say they’re all Holden Caulfield from The Catcher in the Rye. People ask me why I don’t paint Black figures, and I just don’t think it’s my place. I find it strange when a white artist paints Black bodies. There are some who do it, and it’s almost like fetishizing, in a way.”

So why are the guys always handsome? “Do you really want to look at a painting of a street urchin?” Bas asks. He says that although he’ll sometimes paint friends’ features on his figures, he usually goes to male models on Pinterest for facial inspiration; they all wear smoldering expressions. Bas adds that good-looking people tend to get away with a lot more in life, an idea that he plays with in his work. “People are more forgiving. It’s like, Oh, look at this handsome young man doing something so terrible. He’s carving into the Colosseum, but he’s hot.” As for the lack of women in his work, “it’s probably the straight-up fact that I’m gay,” Bas says. “It’s as easy as that. I mean, Picasso didn’t paint a whole lot of men.”

Bas is the third of six children. His parents left Cuba in the early ’60s, after Fidel Castro came to power; Bas was born in Miami, and a few months later the family moved upstate to a spot that was remote and rural, “literally on a dirt road.” The area’s other inhabitants included zoo animals that had escaped when a train carrying them derailed. “I remember my sister riding on a giant tortoise in the yard because it just wandered over,” he says. One Fourth of July, he and his sister were stalked by a panther while walking back from their neighbor’s house. The animal fled only when Bas’s mother appeared on the porch. “It sounds like a made-up horror movie, but it really happened,” he says.

As Bas tells it, the area was also a hot spot for paranormal activity. His father was matter-of-fact about seeing UFOs—Bas has a memory of him sitting with a gun in their living room, “which was covered in dazzling red, blue, and green lights” because an alien spacecraft was parked outside. The artist also remembers looking out of his window as a child while lying in bed and seeing the hairy face of a Yeti-like creature peering in, upside down—meaning that it must have been crouching on the roof. It’s no wonder that his paintings often have a macabre component. Bas’s decadent stew of influences ranges from Edgar Allan Poe, J.K. Huysmans, and Gustav Klimt to the Choose Your Own Adventure books he loved as a child, in which the reader has to decide where the protagonist goes next on his quest.

Bas declared that he wanted to be an artist when he was 4—his parents have recordings of him at that age talking about it—and they were supportive. His father had been in a successful Cuban-American orchestra in Miami called Los Jovenes del Hierro, which translates to the Youths of Steel, a name that Bas says he will one day appropriate for his retrospective. He went to art-focused middle and high schools—“like regular high school, but instead of leaving at the end of the day, you spend another three hours doing art courses.” Things went awry in college, at Cooper Union in New York City; Bas got thrown out after one semester for not turning up to classes. By that point, he explains, “I was so sick of art school.” Feeling adrift, he went back to Miami and, in 1998, got a job as an art handler and tour guide at the Rubell Family Collection, the museum that had been set up in a former drug and weapons confiscation center by the art collectors Don and Mera Rubell. “He was always in the library, a young person obsessed with looking at art,” Mera Rubell remembers. “Without us realizing it, he was our first artist in residence.”

Bas says that the Rubells were the only people who came to his first show, in 1998, at a community college gallery space in Miami. “They took me to lunch because I think they felt bad.” But over the next couple years, he found other young artists in the city, and they started doing group shows together. He was taken on by the Miami gallery Fredric Snitzer in 2000. “I couldn’t drink at my own opening because I wasn’t 21 yet,” he remembers. “I’ve been showing for a long time.”

He also benefited from Art Basel, which had its first fair in Miami in 2002. Bas’s gallery was the only local dealer to have a booth, and his work sold. Since then, he says, “it’s been a slow build—there was never a moment when I was the It boy.”

The Rubells were hugely impressed with a 2002 show he did at the Museum of Contemporary Art North Miami of “very tender” drawings of Boy Scouts, which were displayed inside a log cabin and had to be viewed with flashlights. “You felt like this artist was letting you into a very private space, revealing his experience in his life as a gay man who didn’t fit the profile of the prevalent American masculinity,” Mera Rubell says. The couple bought the whole show (they now own around 50 of Bas’s works) and later introduced the artist to Glenn Scott Wright from Victoria Miro, the gallery that would add Bas to its roster in 2003. Since then, Bas has done a variety of intriguing shows. “The Conceptualists,” from 2022, depicted imaginary conceptual artists: One “mixes his paints exclusively with water from Niagara Falls”; another, “by combining different grave rubbings, invents lives that never existed.” Earlier shows riffed on the Bloomsbury Group and the Bright Young Things, the writers, philosophers, and socialites who sought to reinvent British society after World War I.

Bas says that he can’t help but refer to art history when he paints. “Any artist who thinks they’re making something that has nothing to do with what’s happened before is fooling themselves or delirious,” he says. “The moment you pick up that brush, centuries of history are in your hand.” Mera Rubell admires the way Bas is able to combine different eras, like his 2004 painting of King Ludwig II of Bavaria, which imagines the Swan King as an aughts twink. “He layers contemporary insecurities about the body and puts them into historical settings. It’s quite magical,” she says.

Venice will mark the apotheosis of an artist who has stealthily cruised to the forefront of the art world. “I am an A-list artist who gets the C- or D-list slots,” he says, smiling. “People like the work, but I get the small room. I get to do the residency, but during the time that no one else wants. I have that lucky career where I’ve gotten all the opportunities, but always just off to the side.”

His next show will continue to explore the theme of problematic youth—he was going to call it “Red Flags” but ended up with “Hostile Youth” as the title. It’s all part of Bas’s ongoing quest to manifest the images that come to him. He’s been thinking of young American tourists who ostentatiously pretend they’re Canadian, for instance. But some are more enigmatic. “I’ve had this image in my brain for the last couple of months,” he says, “of a guy in a dazzling pink suit sitting on a park bench feeding pigeons with tons of bread around him.”

Grooming by Danilo Ferrigno for Davines Italia at W-MManagement; Retouching: Art Post. Artworks: © Hernan Bas, Courtesy of the artist, Lehmann Maupin, Perrotin, and Victoria Miro.

There’s a saying Martha Kelly’s Laurie wheels out this episode: “the grass is always greener over the septic tank.” It was the title of American humorist Erma Bombeck’s 1976 book about the dark side of suburban life, and although it’s said as a joke, it’s really the thesis of the episode. Sunday night also features the event the season has been building toward: Cassie and Nate’s wedding.

First, we start with Hunter Schafer’s Jules. The episode opens not in the present, but in Jules’s past, and we learn about her origin story as a sugar baby through the kind of flashback structure the show has been using to fill in the four-year gap since season two. She’s at art school, living in an inexplicably giant loft with a roommate who tells her how she can make some easy cash (“It’s just like dating, except you get paid”).

We then see a sequence of Jules going on her first dates, including one with a 48-year-old lawyer named Rick, who just wants to masturbate while licking Jules’s tights. “All I have to do is see this guy twice a month, and he pays my rent? I’m going to clean up,” Jules says. She sees Randy, a “Hollywood producer worth $200 million,” and a “run-of-the-mill” finance guy, whom we watch her go down on under his desk while he makes a call.

The only one who actually matters is Ellis (Sam Trammell), a plastic surgeon with a clinical interest in Jules-as-specimen. He quickly becomes her only client, and Jules drops out of art school, for some reason. “All her fears about making it as an artist disappeared,” Rue narrates. When Jules tells Ellis that she transitioned at 14, he caresses her skin, saying, “That’s why you’re poreless. You never went through puberty. It’s beautiful.” He compares his work as a plastic surgeon to Jules’s transition, saying, “I do what God couldn’t.”

A doctor with a God complex—very original. When Jules asks him about his family, she starts to apologize for making him uncomfortable. “I slice women open for a living,” he says. “There’s very little that makes me uncomfortable.” Hopefully that’s not a piece of foreshadowing, but the following scene doesn’t do much to assuage our fears. At the penthouse apartment we now realize he’s been putting Jules up in, she stands nude with her arms raised above her head in a stress position as he wraps her tightly in cellophane, leaving only a small hole for her to breathe through her mouth. He steps back to admire his handiwork, then says, “I just might keep you forever,” before kissing her. The score—not by Labrinth, mind you—is triumphant.

Back at Alamo’s club, Rosalía is performing for a crowd of older cowboys while wearing that damn bedazzled neck brace. A man watching her heads to a backroom and meets with Rue, where she’s selling guns. She’s worked her way up at the Silver Slipper to being an arms dealer, shaving off serial numbers and upselling criminals on AR-15s. “I know a lot of Americans have very strong feelings about guns,” she narrates breezily. “But if it’s any consolation, the majority of the weapons I was selling were headed to Mexico.” Alamo names her employee of the month, but when she tells him that her goal is to make enough money to go legit, he takes it extremely personally. Per his argument, all underground economies, from running numbers to bootlegging, eventually get taken over by the government. “What was once illegal is now legit,” he says. “The question is: where does all that money go?” The government says it’s going toward education, but the kids are getting dumber, so something isn’t adding up.

This civil discourse is interrupted by the pig that Alamo sent to Laurie’s house in their ongoing feud, appearing out of nowhere, peeing all over the strip club floor. Alamo shoots the poor animal, its blood and brains splattering all over a dancer (lest we forget for a moment what this show is really about: shock and awe).

In his rage, Alamo says he wants to take what matters most to Laurie in order to break her heart. We learn that she has a pet parrot named Paladin, as we watch her coo and sing to the bird. It’s looking like Paladin’s days are numbered.

Back at Jules’s apartment, Rue and Jules discuss going to Nate and Cassie’s wedding. Rue is bringing Jules as a plus one. Sticking money in Jules’s bra, Rue jokes, “I’m your sugar daddy now. Dress sexy.”

Finally, we arrive at the wedding, and the show’s new costume designer Natasha Newman-Thomas, who took over for Heidi Bivens, pulled out all the stops, bringing back the over-the-top looks that helped make Euphoria such a sensation in the first place. First, there’s Cassie, spilling out of her Wiederhoeft corset as she tells Lexi (Maude Apatow) in a Nana Jacqueline pink bridesmaid gown that Nate didn’t come home the prior night (we see him hiding in the bathroom, vomiting and breathing into a paper bag with either a nasty hangover, anticipatory regret, or both).

Then there’s Jules, who took Rue’s brief to dress sexy very seriously. She’s in the most naked of naked dresses, an icy blue gathered number from Acne Studios’s spring 2023 collection, her blonde wig providing more cover than the dress itself. “I can’t believe she had the nerve to show her face,” Nate’s mom says to Cal. “She showed a little more than her face,” he adds.

Maddy is there too, in a custom green dress with a matching fur stole that’s open as low down the back as it can be, with a rosary dangling past her hips. To address the question you’d be justified in thinking (why is Maddy at her abusive ex and ex-best friend’s wedding at all?), Rue narrates: “Maddy didn’t know what she wanted more—to get in between Nate and Cassie, or to make a little money.”

It’s not clear that she does either, though. Instead, we watch Maddy’s face become increasingly crestfallen as she sits in the audience of Cassie and Nate’s nuptials, which are as over-the-top as Cassie wanted them to be. She clearly got her $50,000 worth of flowers, which are arranged in pink-and-orange archways over the aisle and into a giant formation of their initials. There are not one but two flower girls, and an ice sculpture of the couple, though Cassie quickly notes that her breasts are unfortunately melting.

Cassie’s mom (Alanna Ubach) manages to make the day about herself, whispering a darkly funny monologue as she walks her daughter down the aisle about how her wedding to Cassie’s dad was the last happy moment they ever shared as a couple. “As I marched down the aisle, like we’re doing now,” she says, “it never occurred to me the brutality of the man that I never knew before. It’s like, how could I be so naive? It’s not a mistake you can fix.” Cassie’s eyes well up with tears and raw fear as her mom hands her over to her towering future husband, who has cleaned up since spending the morning vomiting. But then, when they say their vows and ferociously make out for their first kiss as husband and wife, it’s a real high, and they seem genuinely happy, beaming as they walk down the aisle.

Like her mother and father, though, it might’ve been Cassie and Nate’s final moment of bliss. The rest of the wedding goes downhill from there. Halfway through dinner, Nas, the man Nate owes money to, suddenly appears behind them, threatening Nate and telling Cassie just how deeply they’re in debt. The couple from last episode’s dinner party, who put their kids’ college fund in Nate's real estate development scheme, overhear what’s happened, and the wife calls out Cassie for letting Nate “pimp her out” for flowers.

“Is everything okay?” Lexi asks her sister. “Of course!” Cassie says, eyes red with tears. “It’s my wedding day. What a weird question to ask on the best day of my life.” Come on, Lexi, she’s clearly “never, ever been happier!”

In the midst of this chaos, Rue gets a call from Bishop (Darrell Britt-Gibson) that she has to do a pickup from Laurie for Alamo. This leaves Jules alone at the wedding, where she chats with both of the Jacobs men. First, she runs into Cal at the bar, who tells her what happened to him at the end of season two, when he got busted for a video where he “fucked a guy who was two and a half months away from turning 18.” He “lied about his age, just like you,” Cal tells Jules. He copped a plea deal and ended up on the sex offenders registration list, calling it the “Modern-day scarlet letter. It’s a pretty cringey line, considering the atmosphere the season is being released in, but Euphoria has never minded pushing the limits.

Cal apologizes for taping Jules, though his reasoning (“I just wanted to jerk off to it”) doesn’t exactly redeem him. The more interesting revelation is Jules connecting the dots that since the police never got the tape, Nate must have destroyed it. He finds a moment between being threatened by a loan shark and having his bride implode on him to share a private cigarette with Jules outside. The whole thing wraps up a little too neatly for two of the show’s longest-running loose threads.

Rue, meanwhile, is on her way to Laurie’s and, on the drive over, gets a call from Fez. It’s a delicately handled, one-sided call, where Rue chops it up with her old friend, who jokes about escaping prison with parkour. When she and Bishop arrive at Laurie’s, they’re ostensibly there to purchase some pills, but it quickly becomes clear the real mission is to poison Laurie’s bird. The bird is named after Paladin, the well-dressed mercenary from the old series Have Gun—Will Travel, which Laurie often has on in the background. It goes back to the Western theme Levinson wants to bring forth this season, and if anyone is Paladin, it’s the silent Bishop, with his slick outfits and deadpan one-liners. While Laurie focuses on trying to get Rue to come back and work with her, he slips what’s presumably a tablet of fentanyl in the bird’s water. Rue and Bishop leave, with Laurie none the wiser.

Back at the wedding from hell, Cassie screams at Nate, who takes shots with his groomsmen. “You’re not who you say you are,” she says, clutching a bottle of champagne. “You want me to be the perfect housewife? You want me to cook and clean and suck your cock? And you don’t even have money for food. You’re not a man. Men provide.”

Nate tries to calm her, but she accidentally pops the cork in his eye. Still, he forgives her, and she tries to forgive him too, as they drive off from the wedding in their circa-2005 Hummer stretch limo. Nate assures Cassie that he will get them out of the mess he’s created, and Cassie is pacified as he promises to be a better husband and, one day, a father.

Maddy, meanwhile, gets dropped off alone by an Uber on her dark, sketchy side street, where she walks back to her little garden studio apartment, looking beautiful and sad. If only she knew that the grass is greener by the septic tank! Rejection, in this case, was truly protection.

Back at the mansion, Nate is carrying Cassie over the threshold of their home into certain doom. The lights flick on, and we see Nas waiting for the couple. Immediately, his henchmen pop up from behind and start beating Nate within an inch of his life. Cassie gets hit in the melee and, realizing her nose is bleeding, starts wailing like a baby. “This is so unfair!” she cries out, not even turning around as Nate is dragged by his feet behind her. “It was supposed to be the best day of my life!”

The henchmen take off Nate’s dress shoes and cut off his pinky toe, and as blood spurts all over the hideous carpet, Nas says, “You know, Cassie, some women inherit wealth, but others inherit debt.”

We end the episode with Rue, driving along, listening to her Bible tapes that Ali put her onto, getting pulled over by the DEA.

A final shot shows Paladin, the bird, taking a sip of water before falling over and dying.

The impressive pool of 20 semifinalists competing for the annual LVMH Prize for Young Fashion Designers has been carefully narrowed to just eight names. The group hails from all walks of life, representing a variety of design techniques, business acumen, and technical skills. The one thing they have in common? A jury of industry all-stars saw something special in their work.

But the hard part is hardly over. On September 4, these eight designers will gather once again when the jury hands out the main Prize alongside the Karl Lagerfeld Prize and Savoir-Faire Prize. Last year, it was Soshiotsuki who received the big honor, with Steve O Smith, and Torishéju taking home the other two trophies, as well as the money and mentorship programs attached.

You may already recognize some of the names on the finalist list. Colleen Allen, Zane Li, and Julie Kegels have all been featured in the pages of W, while Daniel del Valle Fernandez made quite a stir last season with his debut collection for Thevxlley. But there are many brands still waiting for their moment in the spotlight, and the Prize could provide just the kind of support necessary to take their businesses to the next level. It’s never too early to familiarize yourself with tomorrow’s icons.

Colleen Allen

Designer: Colleen Allen

Location: United States

Specialty: Womenswear

Fans: Carey Mulligan, Hannah Einbinder, Lily Allen (no relation), Greta Lee, Mikey Madison, Ayo Edebiri

In just four seasons, Colleen Allen has managed to become a New York fashion darling. Really, though, it happened faster than that. Following Allen’s debut during the spring 2025 season, editors immediately took notice. Initially a menswear designer, Allen was introduced to womenswear during her time at The Row. Now, she is designing for her eponymous label, delivering seasonal collections that very carefully skirt a fantastical line. She’s often inspired by the mystical and spiritual, but she distills these ideas into distinctly modern collections. While some of her clothing can undoubtedly be described as “witchy,” what is more evident is the sense of a self-empowered woman dressing herself. A jacket is fitted at the waist and boasts Victorian-era hook-and-eye closures down the front, but its construction in fleece makes it contemporary (and a front-runner for your next hike). Her use of color has also been lauded, as she dabbles in poppy orange, saffron red, royal purple, and chartreuse. She picks her colors with care each season, the orange first entering due to its association with spiritual awareness. Most recently, Allen expanded into the accessory category with the release of bustle handbags, which can be worn under the arm or under the skirt. It is likely the first sign of major growth in the brand’s future.

De Pino

Designer: Gabriel Figueiredo

Location: France

Specialty: Womenswear

Fans: Lady Gaga, Hailey Bieber, Caroline Polachek, and Dara Allen

Gabriel Figueiredo staged his first runway show for his label De Pino during Paris Couture Week—a statement in itself. Amid the fait-main stalwarts came this young French label characterized by exaggerated silhouettes that provide a cheekiness to an otherwise sophisticated design language. Figueiredo is a student of fashion. Yes, he is a graduate of the Brussels visual arts school, La Cambre, from which he gained a master’s degree in fashion design in 2017, but his education extends beyond the purely academic setting. Figueiredo references icons like Lady Gaga and Martin Margiela (he’s done embroidery work for Maison Margiela), along with Tumblr, Style.com, and Nicolas Ghesquière’s Balenciaga days. In many ways, his designs embody this sense of nostalgia, but viewed through the eyes of a craftsman. “There’s definitely a childish vision of fashion,” he told W in 2024 after his debut. “It’s a mix between these really extreme sophistications, but also something childlike and fun.”

Institution

Designer: Galib Gassanoff

Location: Georgia

Specialty: Womenswear, menswear, and genderless

Galib Gassanoff could be considered a bit of a hometown hero. For three seasons, the Georgia-born designer has been championing the traditional craft and history of his country. For fall 2026, this meant employing weavers for three showpieces. They produced beautiful rugs, each of which required as many as 85,000 knots made from bouclé and felted double-face wool. The pieces brought color to a mostly neutral collection, as three models ended the show in beautifully crafted designs that were very obvious in their origins—rugs that had been draped on models in an obvious, yet still artistic way. Elsewhere, camouflaging was more central, as skirts and dresses made from shoelaces danced down the runway, creating incredible texture that needed to be studied to reveal its true nature. Fabrication is one of Gassanoff’s strengths, and he usually allows textiles to lead the way in his process, which has proven successful. But Gassanoff’s inspirations also carry weight. For fall 2026, the designer looked toward Georgian and Azerbaijani history—specifically, the story of women’s suffrage and political independence in those countries. Between the heaviness of history and the cheekiness of art and craft, Gassanoff has been able to thrive.

Julie Kegels

Designer: Julie Kegels

Location: Belgium

Specialty: Womenswear

When designing, Julie Kegels always thinks about women. That sounds like an obvious approach, but it’s the detail in which the Belgian designer considers her customer that makes the act unique. “I always have a group of women in mind, and they appear in different guises, in different stories,” she told W in 2025. “I think, Okay, this is for a woman who works at the library, is passionate about tennis, and loves to eat mango—I really get into the details.” The specifics are often where contrasts can be found. A working woman is one thing, but if she’s a working woman with three children who loves to spend her off days at the roller derby, she’s dressing very differently from her single-minded counterpart. And it’s within these contrasts and juxtapositions that Kegels finds inspiration. For three seasons (she launched in 2024), Kegels has been slowly amassing a fan base with her twisted classics. Last season, that meant a silk shirt dress imprinted with a shadow or a jacket featuring a cropped, rounded hem that gave the look of a woman walking with her hands on her hips. Kegels has mastered the art of surprise, but not at the expense of the clothes, which still boast an impressive level of wearability. “What I really love—and this is when things get interesting for me—is when something is a bit weird.”

Lii

Designer: Zane Li

Location: China

Specialty: Womenswear and menswear

Fans: Jennifer Lawrence, Ayo Edebiri, Greta Lee

Perhaps you’ve seen Jennifer Lawrence or Ayo Edebiri in an untraditional, layered fit recently—one that resembled a high-fashion take on the Joey Tribbiani moment in Friends when he asks, “Could I be wearing any more clothes?” Well, the women were dressed in Lii, one of the hottest brands of the moment. Founded by Chinese designer Zane Li after his graduation from the Fashion Institute of Technology, Lii rejects the fragility of fashion and instead focuses on the durable. This often means creating dresses and blouses from more traditional menswear fabrics. His inspirations of 1990s American sportswear and Cristóbal Balenciaga are clear within his work. Those seem like disparate ideas, but they encapsulate Li’s design ethos effectively. “People think that if you wear something ladylike or something old-fashioned and traditional, then you’re uncool,” he told W last year. “But I don’t think that way; I want to explore the possibility of putting practicality into glamorous dressing.” Li works with his husband, stylist Jason Rider, who helps with all aspects of the brand outside of designing. Together, the two have built Lii up to a fashion darling, one that mixes architecture and elegance with utility.

Petra Fagerström

Designer: Petra Fagerström

Location: Sweden

Specialty: Womenswear

Fans: Charli xcx

Petra Fagerström is creating fashion for the future by looking back. The Swedish designer uses traditional craft techniques to create modern designs. She launched her brand last year after graduating with her master’s from Central Saint Martins, and only just showed at fashion week for the first time. The theme for that collection stemmed from her experiences ice skating growing up in Gothenburg, an activity she gave up when she got into designing. The sartorial life of a skater was represented with sequins and fur trims, but also a warm-up top that could be an ancestor of the Dior Bar jacket. There is an understanding of fabrication, as well as a youthful excitement still prominent within Fagerström’s work. She utilizes an impressive technique of ironing and stitching to create optical illusions that blur right before one’s eyes. In an interview with Vogue, Fagerström spoke of her interest in cultural archetypes and if they “can be transformed into something sharper and more powerful, while rejecting the aspects of being a woman today that frustrate me.” That is clear in her first collection, but we will have to see where Fagerström takes the brand (and if the Prize will provide a boost to those endeavors).

Ponte

Designer: Harry Pontefract

Location: United Kingdom

Specialty: Womenswear and menswear

There’s an artistry in Harry Pontefract’s work. Some of it is immediately obvious, like a woman in his recent collection, Series Five, who’s surrounded by a dress of stockinged limbs in what could double as a museum-worthy sculpture. Other times, it’s more subtle, like a well-tailored suit with a charcoal-like glean, an effect that occurred when it was painstakingly colored in with pencils. The process took hours, which isn’t unique for Pontefract. And while he might work on a couture timeline, the results are impressively simple and wearable, something on which he prides himself. Of course, that isn’t true of everything (the stocking look may be hard to wear to the store). Pontefract understands that he sits within a space of juxtoposition “between art and fashion,” as he describes it to Vogue. And thus far, that placement has been a successful one for him. It’s Pontefract’s ability to combine the everyday with the unexpected that has turned him into a designer to watch.

Thevxlley

Designer: Daniel del Valle Fernandez

Location: United Kingdom

Specialty: Genderless

The line between art and fashion is even further blurred at Thevxlley (pronounced “the valley”). Daniel del Valle Fernandez grew up in Pilas, a small town near Sevilla, and moved to London at 19. He worked in floristry to make ends meet, so it’s no surprise that flowers seem to be a large theme of his work these days. They popped up repeatedly in The Narcissist, the collection he showed during London Fashion Week in February. Fernandez described the work as “a catalogue of obsessions.” It seems his focus was more so on those items—bread, ceramics, flowers—with their wearable nature becoming an afterthought. Fernandez pulled from his upbringing for the collection. His father is a baker, ceramics are ubiquitous in Southern Spain, and he even used his mom’s wedding dress. He was not traditionally trained, but learned from the craftsman whom he grew up around. The result is a physical manifestation of Fernandez’s creativity. A wooden corset acts as shelving for dozens of mini vases, while a dress is a still life blooming with wax flowers. Nothing is as it seems. A shirt is a vase, is a basket, is a loaf of bread. It’s confounding and strange, beautiful and funny. It’s fashion for art’s sake.

Yoshita 1967

Designer: Anil Padia

Location: Kenya

Specialty: Womenswear

Yoshita 1967 is all about craft—specifically the kind that hails from the cultures in which Padia was raised as an Indian boy growing up in central Kenya. After a short stint at Central Saint Martins, Padia went to Paris, where he spent time at Paco Rabanne, Y Project, and Jacquemus. There, he shaped his boyhood creativity into something more tangible. An early goal of Yoshita was to highlight often-overlooked skills from his upbringing. Because of that, all the crochet and embellishment details in his work are done by hand, a slow but rewarding process. A look through Padia’s debut collection, Temple Road, which showed at Paris Fashion Week, will find these techniques coming together in spectacular form. Brightly colored crocheted dresses are dotted with mirrors or little bells; the latter pops up throughout Padia’s work. “They are my obsession, because they hold so many layers at once: culture, dance, heritage, family memory,” he tells One. It’s a fitting symbol for Yoshita, which seems to encompass all of those things.

Nobody’s been pulling out the fashion stops this season quite like Anne Hathaway. The actress has been on a whirlwind international press tour for The Devil Wears Prada 2, complete with overlapping promotion for her pop star-centric thriller Mother Mary. While in London this week, she continued pulling double duty with an impressive aesthetic swap across two very different outfits—all in under 24 hours.

This morning, Hathaway’s Devil Wears Prada 2 tour continued with an appearance at the Victoria and Albert Museum in a tailored black velvet Giorgio Armani Privé coat dress. Her floor-length style featured exaggerated shoulders for a dynamic edge, while allover pearl embroidery brought a sprinkling of glamour. Stylist Erin Walsh finished Hathaway’s look with small diamond-covered hoop earrings and glossy cat-eye sunglasses. Meanwhile, a dark red manicure subtly nodded to The Devil Wears Prada’s signature red, black, and white color scheme, which Hathaway, Meryl Streep, and Emily Blunt have all referenced across their various red carpet looks for the film in recent weeks.

However, Hathaway took an entirely different approach the night before. During a special screening of Mother Mary, the actress leaned into the movie’s ghostly themes with a dramatic gown from Iris Van Herpen’s spring 2020 couture collection. The sweeping black silk piece featured a matte skirt and flared sleeves, which flowed upwards into a series of thin, intricate cutouts. A high collar, rounded chest cutout, and cold-shoulder openings brought a sultry finish to her style, which was grounded with black cutout Aquazzura boots.

At their core, Hathaway’s two looks showed her prowess as a fashion chameleon. After all, it takes a special kind of star to pull off two themed aesthetics at once. Each look also showed a keen approach to styling pieces with an all-black palette, emphasizing texture and shape in the absence of color. Though the shade’s been at play in Hathaway’s wardrobe for each project, this back-to-back moment proved her ease in style adaptation across opposing ensembles.

Though they’ll move at a slower pace, Hathaway’s fashionable forays are far from over after The Devil Wears Prada 2 and Mother Mary’s press cycles wrap. This summer, she’ll be back onscreen in the mythological epic The Odyssey and sci-fi thriller The End of Oak Street. Come fall, she’ll wrap the year taking on the titular role in the film adaptation of Colleen Hoover’s Verity. Clearly, Hathaway’s no stranger to versatility across different genres in the acting world. However, it’s abundantly clear she just be the ultimate fashion multitasker.

Today, Dakota Johnson and Alessandro Michele have proven one of fashion’s most loyal designer and muse pairings. Since taking the helm at Valentino, he’s dressed the actress in everything from lace hot pants to retro cutouts—a surprisingly maximalist streak for the typically minimalist Johnson, but one she’s wholeheartedly embraced. At last night’s Time100 Gala, her latest look by the Italian label was surprisingly statuesque while still making a statement.

Johnson floated onto the carpet at Jazz at Lincoln Center for the occasion in a sweeping white gown, complete with a smoothly draped bodice and thin spaghetti straps. The stark style packed a dramatic punch from its matching cape, which was clasped beneath glittering sequined feathers. Together, both pieces created an angelic effect, with added sparkle from Roberto Coin’s elegant diamond drop earrings, rings, and a diamond-covered bracelet.

Johnson’s attire wasn’t without a surprise, however. Stylist Kate Young paired the actress’s heavenly dress with gothically black leather mules, enhanced with a glamorous twist. The dark, pointed-toe style was topped by crystal-coated snakes, a signature Michele motif across his current Valentino era and his days at Gucci. Johnson’s always rife for a clever contrast on the red carpet, and this latest outing was no exception.

Capes have been subtly trending this year across runways and red carpets, as well—in fact, Johnson’s fellow Time100 honorees Hilary Duff and Kate Hudson also wore the shape at the same event. Furthermore, it’s a favored silhouette of Michele’s, whose swirling iterations have encompassed feline beadwork, colorful sequins, rich velvets, and more ornate details over the years.

During Michele’s previous tenure at Gucci, Johnson became a loyal brand ambassador who frequently wore his intricate designs across red carpets and campaigns. It seems they were destined to come back together. Since Michele took the helm at Valentino, Johnson’s quickly become a brand ambassador and campaign star for the house. Now, after stepping out in some of its most dynamic ensembles, she’s affirmed that aesthetics might transform over time—but friendship is always in style.