The Cannes Film Festival is any fashion lover’s dream. For two weeks in May, the world’s biggest stars dress up to the absolute nines and hit the red carpet day in and day out. Picking from their favorite couture moments or ready-to-wear gowns, the festival is a time for some of fashion’s most extravagant pieces to shine. No precise aesthetic defines the festival’s red carpet aside from a penchant for statements and a bit of adventurous glamour.

Models and actors alike have nailed the assignment over the years, wearing a range of designers including big names like Lanvin, Givenchy, and Alexander McQueen, and relatively more niche labels like Haider Ackermann (Tilda Swinton’s Cannes go-to), Narciso Rodriguez, and Ralph & Russo. As stars begin to descend on the south of France for the 2026 edition, we’re highlighting a few of our favorite statements from the Cannes Film Festival red carpet.

Rihanna, 2025

Just a few weeks after announcing her pregnancy at the Met Gala, Rihanna hit the Cannes premiere for A$AP Rocky’s film, Highest 2 Lowest, in a cobalt blue Alaïa dress.

Alexander Skarsgård, 2025

Alexander Skarsgård was the man of the moment at the Cannes Film Festival in 2025 when he promoted his gay biker drama, Pillion, in an array of out-of-the-box looks. While most men walked the red carpet in traditional black tuxes, the actor opted to wear thigh-high leather boots to complete his Saint Laurent ensemble.

Natalie Portman, 2025

Natalie Portman loves to bring a reimagined, archival Dior dress to the Cannes red carpet. Two years after she attended the premiere for May December in a recreation of the famous Junon dress, she returned in a modern version of the Mexique gown from the Dior fall 1951 haute couture collection.

Simone Ashley, 2025

Sometimes, less is more. Simone Ashley proved that when she attended the Cannes Film Festival in 2025 wearing a gorgeous, white Vivienne Westwood spring 2025 dress.

Isabelle Huppert, 2024

Isabelle Huppert broke the tradition of Cannes red carpet gowns in 2024 when she wore this elevated bathrobe from Balenciaga.

Naomi Campbell, 2024

It’s one thing to wear archive Chanel, and an entirely different thing to wear archive Chanel you modeled on the runway two decades prior. Naomi Campbell did all of that and more in 2024 when she wore this vintage couture look from 1996.

Hunter Schafer, 2024

Hunter Schafer looked breathtaking in this sculptural Armani Privé design.

Jennifer Lawrence, 2023

Jennifer Lawrence loves a flat, and her decision to wear flip-flops underneath her red Dior dress was one of the more memorable pieces of footwear to hit the Cannes red carpet.

Natalie Portman, 2023

For the Cannes premiere of May December, perennial Dior muse Natalie Portman brought the house’s archives to the red carpet. She sported a recreation of one of Dior’s most famous designs, the Junon dress, which was originally created for the house’s fall 1949 collection.

Lily-Rose Depp, 2023

There’s LBDs and then there’s archival LBDs like the one Lily-Rose Depp wore to Cannes in 2023. The actress, in town for the premiere of The Idol, sported a vintage Chanel mini dress, a take on a dress that was first modeled by Helena Christensen back in 1994.

Bella Hadid, 2022

Bella Hadid brought many archive looks to the 2022 festival, but this Tom Ford-era Gucci dress from fall 1996 absolutely takes the cake.

Elle Fanning, 2022

Elle Fanning looked like a modern day princess in a pale pink Armani Privé gown with Chopard jewels fit for royalty.

Viola Davis, 2022

Viola Davis radiated beauty in a canary yellow Alexander McQueen dress, which she accessorized with Boucheron jewels.

Anne Hathaway, 2022

Some would say this Armani Privé dress Anne Hathaway wore to the Armageddon Time premiere began the actor’s current red carpet streak, as she’s hardly had a miss since.

Deepika Padukone, 2022

As a jury member, Deepika Padukone attended many red carpets during the 2022 festival, but the sculptural orange Ashi Studio dress she wore to the 75th-anniversary screening of L'Innocent was our favorite from the event.

Bella Hadid, 2021

The model stole the show in this Schiaparelli fall 2021 couture dress which features a gold necklace shaped like a pair of lungs.

Gemma Chan, 2021

The beautiful details of this Oscar de la Renta gown are what made it a standout during the premiere of OSS 117: Alerte Rouge en Afrique Noire in 2021.

Regina King, 2021

Regina King brought major regal energy in this black Schiaparelli ball gown to the festival’s amfAR Gala.

Jodie Turner-Smith, 2021

All eyes were on Jodie Turner-Smith in Gucci at the Stillwater screening during the 2021 festival.

Isabelle Huppert, 2021

Huppert, ever the ultimate cool girl, showed up to the Tout S'est Bien Passe (Everything Went Fine) screening in head-to-toe Balenciaga.

Elle Fanning, 2019

Fanning looked like a modern princess in this caped Gucci gown at the screening of The Dead Don’t Die in 2019.

Bella Hadid, 2018

Hadid’s halter neck silver Elie Saab dress stole the show at Cannes in 2018.

Rihanna, 2017

Rihanna stunned in Dior at the premiere of Okja in 2017.

Kirsten Dunst, 2016

Kirsten Dunst made a marigold statement in custom Maison Margiela at the premiere of The Neon Demon.

Liya Kebede, 2016

Liya Kebede opted for something a little different—a green velvet Haider Ackermann dress with one leg hole—at the premiere of The Unknown Girl at the 2016 Cannes Film Festival.

Amal Clooney, 2016

Amal Clooney made one of her first red carpet appearances with her husband George at the 2016 festival.

Jessica Chastain, 2016

Jessica Chastain radiated old Hollywood glamour in an Alexander McQueen gown at the premiere of Money Monster during the 2016 Cannes Film Festival.

Chanel Iman, 2015

Chanel Iman stunned in Zuhair Murad at the amfAR gala at the Cannes Film Festival in 2015.

Fan Bingbing, 2015

This Ralph & Russo gown was just one of a number of stellar red carpet looks from Fan Bingbing at the 2015 festival.

Lupita Nyong’o, 2015

At the 2015 Cannes Film Festival opening ceremony, Lupita Nyong’o made it her show in an emerald green Gucci dress.

Julianne Moore, 2015

The Mad Max red carpet drew all the best looks, including Julianne Moore’s Givenchy couture in velvet.

Liya Kebede, 2015

It wasn’t her film, but Kebede, in Proenza Schouler, still stole the show at the premiere of Mad Max: Fury Road during the 2015 Cannes Film Festival.

Blake Lively, 2014

Blake Lively revealed she almost wore this Gucci dress to the Met Gala in 2014, but last minute decided to save it for The Captive premiere later that same month at Cannes.

Zhang Ziyi, 2014

Zhang Ziyi wore this unique Stéphane Rolland dress on the red carpet of the Grace of Monaco screening during the 2014 Cannes Film Festival.

Tilda Swinton, 2013

Tilda Swinton, in her go-to Haider Ackermann, at the premiere of Only Lovers Left Alive at the 2013 Cannes Film Festival.

Jessica Chastain, 2013

Chastain’s ivory, caped Versace gown was classically beautiful, but more importantly, it acted as the perfect base for her Bulgari diamond-and-sapphire pendant. The necklace was a gift from Richard Burton to Elizabeth Taylor, making it an appropriate accessory for an anniversary screening of Cleopatra at the 2013 festival.

Carey Mulligan, 2013

For the 2013 premiere of her Coen Brothers film Inside Llewyn Davis, Carey Mulligan selected a black-and-white Vionnet look.

Diane Kruger, 2012

This Vivienne Westwood dress looks like it was basically poured onto Diane Kruger’s body.

Naomi Campbell, 2010

Campbell reminded us why models are a fixture on the Cannes red carpet when she stepped out in this custom gold Roberto Cavalli halter dress back in 2010.

Cate Blanchett, 2010

Cate Blanchett wore an Alexander McQueen gown for the premiere of Robin Hood at the 2010 festival.

Angelina Jolie, 2008

Then pregnant with twins Knox and Vivienne, Angelina Jolie looked ethereal in 2008 in a green Max Azria gown.

Linda Evangelista, 2008

Models descend on Cannes every year, but few can pull off supermodel Linda Evangelista’s statement Lanvin at the 2008 Cannes Film Festival.

Natalie Portman, 2005

While Portman’s beaded black gown was nice, the major statement of this look was the debut of her V For Vendetta buzz cut.

Tilda Swinton, 2003

Swinton walked Viktor & Rolf’s fall 2003 runway show, acting as the design duo’s muse, so it was fitting she wore a look from the brand’s fall 2002 collection to that year’s Cannes festival.

Cameron Diaz, 2002

Cameron Diaz brought the naked dress to Cannes all the way back in 2002 with the help of Versace.

Naomi Campbell, 2001

Naomi Campbell, a fixture of the festival, attended the annual amfAr gala in a sheer, paneled gown in 2001.

Tilda Swinton, 2001

Per usual, Swinton stood out when she hit the red carpet, this time in a quirky fruit-printed dress by John Galliano for Dior.

Bjork, 2000

Marjan Pejoski, the designer of Bjork’s pink tulle gown for the 2000 festival, would go on to make the Icelandic singer’s famous Swan Dress for the Oscars just a year later.

Catherine Zeta-Jones, 1999

Catherine Zeta-Jones looked like the prom queen of Cannes in this pink Thierry Mugler gown with a structured bodice.

Sharon Stone, 1995

Sharon Stone had some fun showing off her beaded Valentino romper with a skirt overlay at the 1995 festival.

Madonna, 1991

Madonna, in Jean-Paul Gaultier, with Alex Keshinian, the director of the film In Bed With Madonna, at Cannes in 1991.

Elizabeth Taylor, 1987

The legendary actor really brought the ’80s energy in this red Nolan Miller gown with a cinched waist and some over the top shoulders.

Princess Diana, 1987

All eyes were on Princess Diana when she walked out in this baby blue, strapless Catherine Walker dress at the festival in 1987.

Jane Birkin, 1974

Jane Birkin opted for a dancerly dress in 1974.

Train travel is timeless. So was Simone Ashley’s velvet stunner of a dress. The Devil Wears Prada 2 star was one of several celebrity guests aboard the Belmond British Pullman luxury train on May 9, to celebrate the new private dining car, Celia. To fit the glamorous vintage aesthetic, Ashley opted for a textured gold velvet dress with an asymmetrical neckline from Donna Karan’s fall 2001 collection.

She paired the dress with dramatic gold chandelier earrings that just brushed her shoulders. Over top, Ashley wore a shaggy boho coat in a charcoal and white pattern with a fluffy collar and cuffs. She left her hair down in beachy waves and wore smokey eyeliner with a nude lip.

Supermodel Stella Tennant originally debute the dress (sans coat) on Karan’s New York Fashion Week runway.

As for the matter of this luxury dinning car, Celia was imagined by Baz Luhrmann and his wife and creative partner Catherine Martin. The British Pullman is composed of restored 1920s and 1930s carriages, maintaining classic Art Deco interiors. It runs seasonally, taking guests on excursions to Oxford, Canterbury, and Bath. This is not the train’s first collaboration with a filmmaker. The British Pullman also features the Cygnus carriage, which was designed by Wes Anderson.

Guests for the special night boarded at London Victoria station for a champagne reception. They then enjoyed a three-course menu, music, and cocktails, followed by an after-party at Mark’s Club.

The big event was co-hosted by Anna Wintour, and also attended by Roger Federer, Tom Ford, Stella McCartney, Alexa Chung, Emma Corrin, Mirka Federer, Anna Shaffer, Harry Lambert, Jonathan Yeo, Francesca Hayward, Valene Kane, Julia Hobbs, Tish Weinstock, and Cesar Corrales.

Ashley has been lending her sparkle to red carpet events the past few months, as The Devil Wears Prada 2 has rolled out across Europe and the U.S. But her look at the Met Gala on May 4 was especially jaw dropping. The star wore a draped chain gown from Stella McCartney.

She accessorized with diamond earrings and bracelets from De Beers and a pair of silver Stuart Weitzman heels. In an interview with Vogue UK earlier this year, she shared, “The older I get, the more confident I feel. I’m loving a ’90s vibe at the moment—it makes me feel so chic.”

In order to achieve a convincing, long-lasting self-tan, you’ve got to get the tone right. The best formulas today are designed to read like real skin: slightly golden, never flat, and free of that telltale orange cast. They blend seamlessly, develop evenly, and wear down in a way that looks more like a gradual fade than a patchy disappearance.

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Sugared + Bronzed Sunless Tanning Water

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Mist it onto bare skin as part of your skincare prep or layer it over makeup for a subtle boost of warmth throughout the day. The ultralight texture means it won’t disturb what’s underneath, and because the color builds gradually, you can control the depth without ever overdoing it.

Lux Unfiltered Summer Skin Gradual Self-Tanning Cream

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Iconic London Prep Set Tan Mousse

Achieve that deeper, just-back-from-vacation bronze (without it looking heavy or obvious) à la this luxe mousse. It has a light, whipped texture that glides over the skin and blends out effortlessly, making it perfect for tanning newbies. The product develops over a few hours into a warm, golden tone that looks rich, but is never muddy or overly intense. What sets Iconic London’s Prep Set Tan Mousse apart is the finish. Instead of drying down flat, it leaves skin looking subtly radiant, almost like there’s a built-in glow beneath the color. That added dimension keeps the tan from looking one-note and helps it read more like real, healthy skin.

Self Glow by James Read Endless Summer Gradual Tan Moisturizer

For a tan that feels more like skincare than self-tanner, this is the one to keep on rotation. Endless Summer is designed as a true daily moisturizer first, with a subtle, buildable tint that develops over time. It melts into the skin like a body cream, delivering that soft, sunlit warmth that looks completely natural. You can use it daily to build depth or maintain an existing tan, and because the payoff is so controlled, it’s nearly impossible to overdo. The result is that understated, “I’ve been in the sun a little” vibe: polished, hydrated, and easy to keep up.

Bali Body Self-Tanning Body Milk

Bali Body’s Self Tanning Body Milk has a fluid, milky texture that melts into the skin like a lightweight lotion, making it easy to spread evenly without the usual streak stress. Your tan will be deep, but it’ll still look soft and natural—plus, this product is packed with hyaluronic acid (to pull in moisture for a smoother and more even finish) and ceramides to help lock that hydration in.

Luna Bronze Glow Tanning Moisturizer

Luna Bronze’s Glow Tanning Moisturizer builds color over a few days, giving you full control over the depth; you can stop at the slightest hint of warmth or layer it up for a more noticeable tan without ever overshooting. That gradual payoff is exactly why it works so well for fair complexions. Instead of depositing too much color at once, it adds a sheer, believable tint that enhances your natural tone. It’s also ideal as a maintenance product—something you can use in between self-tanning sessions to top up your color and extend how long your tan lasts without having to perform a full reapplication.

Loving Tan Two-Hour Express Self-Tanning Lotion

Looking for color on a deadline? This one actually delivers. Loving Tan’s Two-Hour Express Lotion is made for those last-minute moments when you can’t wait overnight. You apply, let it develop for a couple of hours, rinse, and you’re left with a warm, even bronze that continues deepening.

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Dior Solar The Self-Tanning Drops

If you want your self-tanner to feel invisible in your routine, this is the elevated version. Dior Solar’s Self-Tanning Drops are designed to be mixed directly into your moisturizer or serum, so you’re essentially turning your existing skincare into a custom self-tanner. The result is a gilded sheen that looks fully integrated, not sitting on top of your skin.

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Rihanna and A$AP Rocky are still making a fashion splash in New York a week after the 2026 Met Gala. This time, they modeled their coordinated couple’s look for Mother’s Day, enjoying a dinner at Italian restaurant Cucina Alba, per TMZ.

The Fenty Beauty founder was almost entirely in black, with a buttoned blazer over a lace bustier and a loose pair of wide-legged black pants. Her accessories added a touch of color and texture, with white and gray snakeskin pumps, a small beige Chanel purse on gold hardware, and a large burgundy handbag. She had on a gold pendant, gold chain, and oversized red-tinted sunglasses.

Not to be outdone, Rocky wore a red-lined suede trench with red oval sunglasses. Underneath, the edges of a black button-down shirt could be seen at the cuffs. He wore the statement coat with denim jeans, black boots, and a brown leather handbag.

For the Met Gala last Monday, Rihanna wore a sparkling silver custom Maison Margiela gown with custom Jennifer Behr metallic curls, celebrating the “Fashion Is Art” theme. The rapper wore a pink Chanel suit with black piping.

Rocky and Rihanna share three children, RZA Athelston Mayers born in May 2022, , Riot Rose Mayers welcomed in August 2023, and their youngest, Rocki Irish Mayers, who arrive only eight months ago in September 2025. The couple actually announced their third pregnancy at the 2025 Met Gala one year ago.

Not even a year old yet, little Rocki recently made her magazine debut on the cover of W in a costume couture Dior diaper.

“She has changed a lot because she became a mother in that time span, and that certainly changes you,” Rocky told the magazine about how his partner has changed since they first met. “But this woman has always been magic.”

After music and Callum Turner, Dua Lipa’s big love is literature. In London over the weekend, she celebrated the book world in a dress that decidedly belonged to the romance fantasy genre. The diaphanous white tulle frock had a halter neckline and pleated bubble skirt. The fabric was covered in gold polka dots, adding some sparkle to her layers as she took the stag to open the ceremony for the 10th anniversary of the International Booker Prize, which honors the English translation of novels from across the world.

She wore her long dark hair down and straight and accessorized with a diamond snake bracelet and several gold rings. The pop star went for a more natural makeup palette with a coral pink lip and subtle white eye shadow.

Lipa shared photos from the night on Instagram to model her outfit and her presence at the podium, writing, “Last night I did the introduction speech at the 10th anniversary of the International Booker Prize. An honour to speak about books and translated fiction, something I hold very dear to my heart in front [sic] of writers, translators, judges and book lovers. Thank you for having me @thebookerprizes.”

Lipa’s love of books is well known. She founded the Service95 Book Club and was named the curator for the upcoming Southbank Centre’s 2026 London Literature Festival just last month. She’s also attended the Booker Prize before, giving a keynote speech in 2022.

“Reading is a passion that has taken many forms for me,” Lipa said at the time. “Like countless other London school children, my early obsessions included Roald Dahl and Malorie Blackman, both of whom gave me little pearls of wisdom that still guide me today.”

She added, “Today, touring commitments take me all over the globe and life is often hectic. Sometimes, just to survive, I need to adopt a tough exterior. And at these times, it is books that soften me.”

The episode opens with Cassie licking her toes. Within 24 hours of Brandon Fontaine tagging her, you see, she’s gained 17,000 new subscribers and counting. Maddy, her manager, has been “working her to the bone,” Rue narrates. Cue the montage of Maddy waking Cassie up early every morning to make content: ASMR of her breasts rubbing together, personalized videos doing small penis humiliation, whispering the names of men from every race and creed imaginable into a microphone—your basic OnlyFans stuff.

As hard as Cassie’s working, Maddy’s working, too—mailing off Cassie’s used underwear to fans and even offering to perform the “fart in a jar” request that one such user has made for $700. Cassie points out that no one will know the difference. It’s all part of Cassie’s big plan to get rich and famous, and also to help Nate pay back his debts. Yes, Cassie is still in contact with Nate, who, it turns out, is totally supportive of what she’s doing. He has to be, anyway—she’s been wiring him $35,000 here and there, though it’s still not anywhere near enough to get him out of trouble. Even though Cassie’s the one “bringing home the bacon,” with Nate fully cucked at home, encouraging her to make erotic videos with Brandon Fontaine, Cassie goes on a series of podcasts to promote edgy manosphere talking points.

“American men are treated like second-class citizens,” she says on one podcast, before telling a stunned Trisha Paytas, putting on her best vocal fry for her cameo, “If a man says he wants a girl who can cook or clean, he might as well be screaming the N-word.” It’s especially humorous given Cassie’s breakdown at her wedding reception, when she told Nate she wasn’t going to be a cooking-and-cleaning kind of housewife after all. It’s also clearly a meta-commentary on Sydney Sweeney’s ongoing MAGA allegations. “You sound like a Democrat,” a male podcast host says at one point. Cassie pauses before grinning and saying, “I’m not retarded.”

“You know what’s funny? The angrier these idiots get, the more money you make,” Maddy says to Cassie at one point. Are we the idiots?

Maddy clearly doesn’t think her client is the smartest, either. She tells Cassie to put “her big, sweet heart and stick it in the fucking freezer,” because Nate is going to be entitled to 50 percent of all her earnings, and he’s already leeching off her. There’s one thing Maddy and Cassie can definitely agree on: Cassie is going to be huge.

This belief gets played out in a surreal sequence, where Cassie grows into an Attack of the 50 Foot Woman-style giantess, bursting out of her catsuit and stomping all over downtown Los Angeles while helicopters try and fail to stop her. Massive Cassie shows up outside the office of a man pleasuring himself to one of her videos—a fetish video of her sticking a tiny male figurine in between her breasts—and literalizes the moment, taking her top off and pressing her building-size chest against the office windows until they burst.

"Big lady, get on your knees,” a military helicopter pilot orders Cassie. “Back away from the building and get on your knees. Lethal force will be used if you do not comply.” She brushes past him and “Jesus Saves” written in neon lights, before stomping off to the Hollywood sign, dropping to the ground and thanking God while Los Angeles burns behind her.

"She knew this was her destiny—to triumph, to conquer, to win,” Rue narrates. "The world was hers. She had finally been unleashed."

Back at Alamo’s ranch, we revisit the events of the last episode, where Rue became an informant for the DEA, and Big Eddy let the safe get robbed. So far, it’s only Big Eddy taking the heat. He’s still in the hospital after being shot in the stomach, and Alamo threatens to finish the job himself as Rue listens on. They vow again to get back at Laurie’s crew, raiding her farm and “taking back what’s theirs.” When Kidd (Asante Blackk), one of Alamo’s workers, accidentally buys him pants that don’t fit, Alamo flips out, offended that Kidd thought of him as being a smaller man than he is. Size is a theme here, and Alamo nearly kills Kidd, holding him down and stabbing the desk next to his head with an ice pick.

There’s more violence to come, though. Later, Alamo asks to see Rue alone, “for the first time since the robbery,” in what will surely be the most nerve-wracking 1:1 an employee can have with their boss. As Rue waits, she watches Bishop put on a plastic Tyvek-style suit and gather duct tape, rope, and an electric handsaw. He tells Rue he thinks she’s brought bad luck to Alamo’s crew: "I'm of the belief that certain people are cursed," he tells her. "Ever since you came around, there's been a cascade of trouble. I'm not saying you got a 666 inscribed on the back of your skull, but something about you gives me the heebie jeebies." He plugs the saw in and sends Rue on her way. We cut to Bishop (the heebie-jeebiest character since Laurie, for what it’s worth) entering a plastic-covered bathroom with his saw, where Big Eddy is bound and gagged, screaming for his life.

Rue has a conversation with Alamo, who seems to have TCM on in the background with Rita Hayworth doing her famous Gilda hair flip. There’s a redhead strewn out on Alamo’s couch, too. He tells Rue he’s “no monkey” of Laurie’s as he plays a small trumpet. He also questions Rue about Laurie’s farm, since she used to live there, and whether she can draw a map of the place. Rue says that Laurie is probably keeping the money they stole in her basement, but Alamo says, "What she got is a whole lot fucking more valuable than money."

In the next scene, Bishop is standing over a pig trough, watching the pigs eat—and presumably, they are eating Big Eddy.

In case you forgot about Rue’s DEA situation, she has a meeting with the agents under a bridge in a sketchy part of town. Rue tries and fails to get Laurie to incriminate herself over the phone so that the DEA can start a wiretap, but she finds success with Wayne, who’s lying on the couch watching Pretty Woman with Faye, and immediately references Rue being their “drug mule.” Bingo.

Cassie and Maddy have some things to clear up. Brandon has been in Cassie’s ear, trying to convince her to sign with him and his TikTok house—where he has an entire content team employed—rather than Maddy, who is an assistant and “just another Hollywood leech.” Pot, meet kettle. Cassie visits Maddy at her apartment to break the news that she’s leaving her for Brandon, catching Maddy in her lie that she lives in a doorman building. Maddy plays it cool and says she doesn’t care, then fakes a phone call canceling Cassie’s audition for LA Nights. Cassie breaks immediately, signing Maddy’s contract instead without even reading it.

There was no audition, but Maddy strong-arms Lexi into getting Cassie a chance to be on the show. Cassie shows up to the studio in a Blumarine butterfly top, playing the part of a bubbly, ditzy, bouncy blonde, reading off her measurements—37, 25, 37—and blowing kisses for the camera. But then, she breaks out a scene from Shakespeare’s Antony & Cleopatra—Cleopatra’s “monologue of defiance.” It’s kind of…good? Lexi sees her bosses watching it on the monitors, and though they seem to be laughing at Cassie, they’re also impressed. "That's your sister?" Patti Lance asks. "If she can do Shakespeare, she can do LA Nights." Even though she’s the one who put Cassie up for the audition, Lexi is horrified and furious that Cassie used her name.

Lexi tells an ecstatic Cassie that she got the part. "I'm gonna be on TV!” Cassie screams. “This is just the beginning. You, me, LA Nights. I'm gonna be fucking famous. I'm not even gonna be able to walk down the street. I'm gonna be a household name!”

"You are literally the most selfish, narcissistic person I have ever met," Lexi tells her, preparing to walk out the door.

"But that's what it takes to make it in this town," Cassie squeals. As she stuffs more used underwear into bubble envelope mailers, she starts crying with joy.

We check in with Jules and are confronted with the limitations of her seemingly glamorous life. She and Rue are hanging out in the daytime, drinking wine and talking about high school. Jules brings up Rue’s former intimacy issues—in past seasons, you might recall, the main issue in their relationship was that Rue never wanted to have sex. Jules presses Rue on what she wants from her. "You come over here, you lie around, you look at me like you have something to say, but you never say it. I feel like I'm back in high school." She dares Rue to kiss her. "You want me? Make me yours."

The scene cuts to later at night, where Jules is moaning during sex, but it’s not with Rue. It's been a while since we've seen Ellis, or Jules’s “landlord,” as Rue called him, and unfortunately, he's back. He finds Rue’s boxers on the floor, which, for some reason, have her initials on them, and he’s angry. "You're bringing guys to my apartment and fucking them when I'm not here?"

"I give you a lot of freedom, but I got kids," he tells Jules. "I got a wife. I cannot be coming home with a fucking STD." She tells him it's not like that, but he’s livid. "I like you, but I love my family, and I will not put them at risk," he says, coldly throwing Rue's shirt at Jules, who has tears in her eyes.

We also get a quick Nate check-in. For a moment, he’s doing well. Cassie has just transferred him another $30,000, and he’s day-drinking in his pajamas, dancing to old records on vinyl. His busted-up face even looks kind of healed. But it doesn’t last long. One of Nas’s goons breaks into the house with a golf club and chases Nate up the stairs, ripping off his toe again and cutting off a finger for good measure. Outside, a little girl rides by on a tricycle down their idyllic suburban street, as Nate can be heard faintly screaming in the background. He really just can’t win.

Back at the Silver Slipper, Rosalía’s Magick finds a bag of coke in her locker and brings it to Alamo, telling him that Rue framed her. She reiterates what she was telling Big Eddy right before the robbery—that Rue was questioning Kitty about whether she was being trafficked, and that Rue can’t be trusted. It’s news to Alamo that Magick was present that night, and he gets more details from her, including a damning one for Rue: that she didn’t seem to immediately recognize the voices of Laurie’s crew.

Rue, meanwhile, is having dinner with Maddy at a diner. Maddy explains that she's removed all emotion from her dealings with Cassie. It's all business now. "Equanimity," Maddy explains. "Everything is as it should be. It's all equal." She adds that she’s “reached a state of pure harmony." Rue doesn't buy it, but Maddy says, "It all goes back to Jesus,” and reminds Rue to keep reading her Bible. "Jesus teaches us to be in the world, but not of the world, right? That's basically what I'm saying."

As they’re talking, Alamo approaches the table, spurs clinking on his boots. We’re fully in the Western noir territory promised this season. He introduces himself to Maddy and compliments her nails, joining them at the table. Maddy knows that Alamo is Rue’s boss and that he owns strip clubs, but clearly has no idea just how dangerous he is. She asks where he’s from, and he explains: “I didn't have the fortune of growing up in a safe place like Rue. Nice suburban street. Cute little house. The American dream didn't really factor for me."

"My boss knows literally nothing about me or my family," Maddy says. Alamo replies that it's important to know about your employees, "or you won't know who's working for you or against you." He’s obviously on to Rue, and he tells her that G and Bishop are waiting for her outside and are going to give her a ride somewhere vague. Rue is concerned about leaving Maddy alone with Alamo, although she really should be worried about herself.

Rue gets in the car with G and Bishop. She asks where they're going, and G says, "to another place." Not exactly comforting, and even worse, they take her phone.

Back at the diner, Maddy is opening up to Alamo. "That's what I didn't respect about my dad," she says. "He just accepted his fate." Maddy tells Alamo that the one thing missing from her life is money, and about her plan to manage more OnlyFans stars. Hollywood made $8 billion last year, and OnlyFans made $7 billion, she says. "A lot of money is being left on the table.” Alamo agrees that people are afraid of the stigma of sex work and are too caught up in being seen as "good people” to cash in. "I'm not," Maddy says. "I'm not either," he replies. Maddy and Alamo are a truly diabolical combo.

"Within six months, my top girl, Cassie, could be bringing in a million a month," Maddy tells Alamo. She shows him a picture of Cassie, and he says he has girls just like her that they could make money off of together. Maddy says she wants to “see the inventory first,” adding, "You might have some busted-ass girls." They drive off to the Silver Slipper together, where Maddy surveys the dancers like cattle at an auction. She chooses #7 and #15—Kitty and Magick, of course.

At the ranch, Bishop, G, and Kidd make Rue dig a hole “up to her throat.” It’s not looking good for Rue, and once she’s finished digging, they immediately start burying her up to her head. "I don't know what I did to deserve this, but this is extreme," she says. "Who even thinks of this shit?" Indeed. Having brokered a deal with Maddy, Alamo is back home, saddling up his horse and talking about trust. "Some people don't even deserve to be trusted," he tells the horse. It's morning now, and Rue is begging the guys to get her out of the hole in which she’s buried. Alamo picks up a riding crop with a mallet on the end and comes galloping down the hill on his horse, swinging the crop toward her head. She screams for her life, and as Alamo descends on Rue, the scene cuts to black.

Is Rue really dead? It seems unlikely—given that we still have three episodes left in the season, including a finale that’s HBO’s longest-ever episode—but anything can happen in Euphoria land. Stay tuned for next week, when we’ll find out if Maddy is an even better pimp than Alamo, and whether Nate got his toe and finger on ice quick enough this time to get them both sewn back on.

Just outside of Venice in the former industrial port of Marghera, Golden Goose once again transformed its creative headquarters into one of Biennale week’s more unexpected destinations. This year, for the third installment of Haus—Golden Goose’s ongoing cultural platform dedicated to art, craft, and community—the brand handed the keys over to Los Angeles creative studio Playlab, Inc., whose founders Archie Lee Coates IV and Jeff Franklin are best known for building immersive worlds that sit somewhere between installation, fashion spectacle, and childhood fantasy.

Over the past two decades, Playlab has been shaping unforgettable visual moments in fashion and pop culture. The duo worked closely with Virgil Abloh for years, crafting some of his most ambitious runway sets for Louis Vuitton along with multidiscplinary projects, installations and campaigns for the likes of Marc Jacobs and Nike. Their work often feels playful, surreal, and slightly absurd—think: oversized inflatable objects, hidden jokes, and cartoonish color palettes filtered through a distinctly emotional lens. That sensibility made them a natural fit for Golden Goose, which collaborated with Abloh and Off-White back in 2016 on one of the designer’s earliest sneaker partnerships.

This year’s Haus installation, titled The Forest For The Trees, transformed the massive warehouse space into an interactive storybook inspired, in part, by the hand-drawn animation of Disney’s Bambi (1942). Guests began by tossing a leaf into water before wandering through a sequence of theatrical environments: painting miniature wooden trees, walking through sensory tunnels of woodland sounds and light projections, and eventually arriving inside a sprawling handcrafted forest built by Italian artisans. The evening concluded with a vegan dinner in which hors d’oeuvres—cheese bon bons, crispy edible leaves, and a “basket” of asparagus dip—were “planted” within seemingly endless moss-covered tablescapes, only furthering the interactive affair.

Speaking to press before the night unfolded, Golden Goose CEO Silvio Campara explained that he considers himself the “Chief Emotion Officer”, noting that, in an era increasingly shaped by the neverending, impersonal scroll of digital consumption, the most successful luxury brands must offer something tactile and human in order to thrive. “It isn’t about the brand,” he explained, emphasizing the importance of experiences and collaboration over just product. “People need to feel something.”

No Venice Biennale has felt more roiled in controversy than the current edition. But despite the headlines, the artists are still here, putting in the effort to make some of their most ambitious work to date. Here are six who delivered.

Sung Tieu

When you are invited to the Venice Biennale, you should endeavor to go all out. By this measure, Sung Tieu has met her moment. “It’s been a learning curve,” Tieu tells W, underselling the mammoth effort behind her most ambitious work to date. Tieu has transformed the German Pavilion, which she shares with the late artist Henrike Naumann, by cloaking its entire silhouette with a new one. The shell, made of thousands of tiles, is a trompe l’œil tessellated marble recreation of Objekt Gehrenseestraße, the Plattenbau housing complex in Berlin-Lichtenberg where Tieu spent part of her childhood and the past decade leading bus tours as part of a radical and ongoing artwork about the personally and socially loaded history of the site. Tieu’s Potemkin housing project takes care to recreate the decay and graffiti that colored the building’s final years since its decommissioning in 2003. In its original incarnation, it was little more than nine slab-construction towers that housed over 6,000 Vietnamese contract workers, each allotted roughly five square meters of living space. The title of the work is Ruin: in many ways, it feels like all the years of Tieu’s bus tours through Marzahn and Lichtenberg—the neighborhoods surrounding the former GDR dormitory complex—were building to this moment of erasure, whereby the German Pavilion, a symbol of fascist nationalism, is eclipsed by the true history of its legacy.

Inside the pavilion, Tieu takes the opportunity of a national stage to take pride in a homeland that is much more personal: her mother. Chocolate ladybugs, which have become a visual shorthand for childhood in Tieu’s work, are scattered throughout the space. “I liked the idea of being invited to show in a space, and arriving as a kind of infestation,” Tieu says of her insect hordes. “They feel like they are occupying.”

Gala Porras-Kim

It feels almost too fitting that the halls assigned to Gala Porras-Kim at the Arsenale were originally the rooms in which the tools of the shipyard were put on display—built, from the start, for exhibiting objects. Porras-Kim has established a name for herself in recent years as an interventionist in art’s most prestigious institutions; she embeds herself in them through visual research, and then uses that material to surface questions those institutions are asking themselves, but are not always forthright in sharing.

For her Venice Biennale presentation, Porras-Kim delves into a subject that feels entirely apropos to the environs of a sinking city: decay. More specifically, she is looking at what she calls “institutionally defined damage”—instances where moisture, sunlight, and time have taken their toll on an object now under the care of conservators. Porras-Kim is especially interested in the moments when an object considered irreversibly damaged by the institution that holds it is, through that very same deterioration, finding its way back into alignment. “Everything is getting destroyed anyway,” says the artist, who was born in Bogotá to a Colombian-Korean family, and now lives between London and Los Angeles. “Just how slow and perceivable can we recognize that damage.”

The show includes new and existing work. As part of her longstanding interest in systems of distribution, Porras-Kim takes a deliberate approach to exhibition-making, traveling a core set of works she owns across presentations to ensure continuity with her past. Visitors familiar with her practice will recognize some of what's on view, but the exhibition also introduces new works that emerged from her collaboration with the Victoria and Albert Museum, which partnered with Porras-Kim for the Biennale's Applied Arts Pavilion.

Lubaina Himid

“So many artists tend to only work in specific parts of the pavilion, or cover it all up,” says Lubaina Himid, this year’s British Pavilion occupant. “I wanted to reveal it.” For Himid, this meant forgoing her usual sculptural moves, her iconic painted cutout figures that she used to fill the halls of the Tate back in 2021. Instead, Himid opted to let her paintings be paintings—ones that hang alone on otherwise bare walls above empty floors.

The space feels full anyway, thanks to a soundtrack pumping overhead—created with Polish-born, U.K.-based artist Magda Stawarska-Beavan, who has been collaborating with Himid for over two decades. The composition greets visitors at the door like a prelude and trickles and pours through the building, ushering them from the entrance to the back, where one can glimpse and hear the lap of the lagoon just beyond. There is an intentional bleed between the world outside and the composed world within.

Himid’s paintings echo this uncanny recognizability. They are familiar but ever-so-slightly wrong—images of boatyards. Images of tailors, of kitchens. They flicker with the initial light of recognition and then get darker the longer we stare. Each carries text, labels that quietly undermine the painting and the room itself. “These are paintings that ask questions,” Himid says. “They ask if flies can ever settle. If water is always useful. If poison can taste delicious.”

Water is a recurring force flowing through more than forty years of Himid’s work. But it takes Venice, a city that was built on water and is now being taken back by it, to reveal just how many things she has been weaving together at once. Trade, colonization, globalization, climate collapse: the water carries all of it, and standing with these new paintings, you finally feel the weight of that accumulation.

Those looking to parse where the satire starts and ends with Himid should spend particular time examining figures’ clothing. Like Venice, steeped in fashion history through Fortuny and the competing fortunes of Pinault and Prada, Himid is deeply interested in the way how one dresses communicates. When in doubt, the clothes are the clues. And you are part of the show.

Sara Flores

Artist Sara Flores has spent the past two years as the subject of a feature documentary, The Hummingbird Paints Fragrant Songs, directed by Èlia Gasull Balada and Matteo Norzi, set to debut later this year. The on-set experience opened a new door into filmmaking, the first fruits of which Flores is debuting in Venice alongside the largest kené painting of her career. Flores has not demurred from the responsibility as the first Indigenous woman ever to represent Peru—she has embraced the specialness of the occasion by pushing herself and her medium to do things she’s never done before.

The film, Non Nete (A Flag for the Shipibo Nation), depicts a sustained image of kené moving in the wind. Kené is the visual and cosmological language of the Shipibo-Konibo people of the Peruvian Amazon. It is not decoration, and it is not pattern in the way we typically use the word. It is a living system—geometric, intricate, endlessly recursive—transmitted through generations of women. Flores learned it at fourteen, from her mother. She has painted every day since.

The pavilion sees that expertise in action via the largest work of Flores’s life, a canvas that took more than four months to complete. The artist worked through it daily, resting only on Saturdays; its scale demanded that kind of commitment, but the process stayed the same as always: listening to the designs, following where they led.

The film’s soundtrack, a whistled melody blown into an ayahuasca bottle at the opening of a ceremony, fills the space with a shaman’s invitation. “What gives the work its strength is that it remains faithful to where it comes from,” Flores says of her pavilion. “If it can stand in that space without changing its nature, then it already carries what it needs to carry. In this critical moment for the planet, in which people fight against one another, its message is as powerful and as simple as ever: we are all interconnected.”

Kandis Williams

If you pass Palazzo Nervi Scattolin at night, make a stop. One of the few examples of Venetian modernism, the iconic building has been given over for the Biennale to the Pier Luigi Nervi Foundation, which is projecting new moving-image work across its facade after dark as part of the exhibition If All Time Is Eternally Present, curated by Chiara Carrera and Marta Barina and supported by Bottega Veneta.

Several artists are featured in this open-air theater, but look out especially for Los Angeles-based artist Kandis Williams, whose contribution, A Travel Guide: Black Gothic in South Korean Horror (2025), feels especially prescient for the city and this moment. It is a tourist ghost story that follows Williams as a foreigner in South Korea. “The barriers to building a cohesive narrative out of a first travel to a different country,” she says, “are how I’m looking to undermine the notion of straightforward documentary films that engage an objectively expert or neutral tone.” The result is something more honest and more unsettling than expertise could produce.

The film tracks the deep entanglement between Black American music and K-pop, and the more uncomfortable questions about image, and who gets to own a culture’s sound. For Williams, the Black traveler is always negotiating more than geography. “The Black traveler has to pass borders and thresholds of meaning from monster to fetish idol,” she adds. “These thresholds are often invisible and veiled in some sense, and hyper visceral in others.” K-pop, with its absorption of Black American music and what Williams calls the role of “images of Black women, especially Black femme pop stars” in “imperialist hyper-sexualities,” is another threshold to examine.

When asked about her inspirations for the work, Williams cites Renée Green’s Free Agent Media and the Negro Motorist Green Book as touchstones. These are works that track, in her words, “subjectivities that have to live and perform on the limits of perception of being human or recognizable as humans.” In Venice, a place so full of specters, it is hard to find a more pitch-perfect, drive-by score.

It is also a kind of teaser. Williams has big things ahead. She is fresh off a show at the Walker Art Center, and gearing up for solo exhibitions at the Rockbund Museum and the Serpentine Galleries. Get used to seeing her name.

Yto Barrada

The French Pavilion’s architecture unfolds like a gift box, a central room with four wings extending outward. The shape inspired Yto Barrada to pursue a subject that could be unfolded in as many directions. She found her seed in a line from the French Revolutionary orator Pierre-Victurnien Vergniaud, spoken in 1793 shortly before he was guillotined: “The Revolution, like Saturn, devours its children.” From there, the associations cascaded. Each room of Comme Saturne, curated by Myriam Ben Salah, takes the theme somewhere new through color theory, labor history, melancholy, the Luddite revolts. To pull it off, Barrada not only had to build up a library of puns and associations, but also put together a team of experts.

She started by moving back to France. Born in Paris and raised between there and Tangier, Barrada has long lived experienced both Moroccan and New York City life. But for this project she relocated the family for the year. “I wanted to work with local makers and collaborators,” she says. She began educating herself in a material she had never worked with before: wool. She found a master dyer specializing in wool, Charlotte Marembert, and an anthropologist of color history, Arnaud Dubois, and brought them together at her dye garden and residency space in Tangier, where the project began to take shape.

What makes Comme Saturne surprising is that Barrada didn’t arrive at the French Pavilion coasting. She is an artist with a long-established, international practice. Her work is held at MoMA, The Met, Tate Modern, and the Centre Pompidou; she could have made something consolidating what is already known about her. Instead, the artist went in the opposite direction. “I’m bored with my own works very quickly,” she says. The pavilion became a laboratory: for a material she had never worked with, for a color theory she had to learn from scratch. The artist burns away the familiar until something unexpected comes through.

Scent is an intimate experience. That’s why switching up your fragrance isn’t just a luxury, it’s a necessity, for creating new moments, sculpting fresh moods, and tapping into the brain’s deeply ingrained scent-memory connection. In 2026, we’re highlighting the perfumes that are classics in the making: rich, multifaceted, unapologetically complex, and thought-provoking incantations that dare to bring unlikely aromatic fusions together. These fragrances aren’t about mimicking or amplifying a single note, they aim to create a lasting, harmonious experience from top to base. We’ll be updating this list all year long, so check back often. You’ll want to wear these scents with confidence, and let your fragrance do the talking—because the only thing that should be overwhelming is how good you smell.

Louis Vuitton Ambre Levant Eau de Parfum

Louis Vuitton Ambre Levant

Here’s the perfect dose of spring luxury, which has already earned its place among Vuitton’s most notable fragrance compositions. A beautiful symphony of mandarin, cardamom, cinnamon, white pepper, and saffron moves into an even warmer register of labdanum, incense, and a subtly mineral ambergris glow.

Loewe Aire Sutileza Elixir Eau de Parfum

Loewe Aire Sutileza Elixir

We urge you to manifest a summer getaway in Mallorca with this sheer, gorgeously composed new fragrance from Loewe’s Spanish Landscapes collection. With more concentrated perfume oils than the original iteration, this version features airier notes of pear, bergamot, and lemon, softened by wildflowers. The whole scent evokes a breathtaking seaside town filled with florals.

Van Cleef & Arpels Fleur de Nuit Eau de Parfum

Van Cleef & Arpels Fleur de Nuit

If you’re searching for a scent that is distinct and polished (and delicately effeminate) this one checks all the boxes. While others chase the usual lab-made signatures, this tuberose and milky vanilla concoction remains a true standout with sumptuous notes that define the term “taste.”

Matiere Premiere Metal Lavender Eau de Parfum

Matiere Premiere Metal Lavender Eau de Parfum

It’s polished, intoxicating, and we love it. This lavender iteration is rendered with a heightened sense of sophistication. The new unisex scent perfectly blends two distinct expressions: lavandin oil and a rich floral absolute that unfolds into an elevated, cashmere-like musk.

Elorea GIT (깃) Extrait De Parfum

Elorea Git Extrait De Parfum

One of our absolute favorites of the year, this silky concentrated scent opens on cool lychee, softens into rose leaf, then settles into amber silk that lingers beautifully. This veers on the light side, but it certainly can be worn layered.

D.S. & Durga Debaser in Bloom

D.S. & Durga Debaser in Bloom

Think of this as a sly reissue of the brand’s signature favorite, “Debaser”—with the same fig-infused haze, but this time it’s loosened with gardenia, white currant, coconut husk, and rosemary flower. And yes, actual cassette tapes make their way into the formula.

Initio Sugar Blast Eau de Parfum

Initio Sugar Blast

Here’s a grounded gourmand we can get behind. This scent is brightened by a flirty lift of coconut, praline, and a splash of rum keep things indulgent, but never heavy.

Nonfiction Dew & Light Eau de Parfum

Nonfiction Dew & Light Perfume

If you love light, clean scents, this one is stunning—it’s harmonious, delicate, but still grown-up. The brand, founded by Haeyoung Cha in South Korea, just opened a new store in NYC’s Lower East Side neighborhood, its first outside of Asia. Dew & Light is a refined floral chypre, with misty peony wrapped in clean white moss and a touch of akigalawood for a perfectly balanced finish.

Maison Francis Kurkdjian Paris

Maison Francis Kurkdjian Paris Kurky

The alcohol-free version of last year’s hit, it’s lighter and creamier but still wrapped in that comforting warmth.

Dolce & Gabbana Light Blue Eau De Parfum

Dolce & Gabbana Light Blue Eau De Parfum

To create a more sensual summer fragrance around citrus notes like Sicilian lemon can be challenging. Often, no matter what the composition, that zesty effervescence dominates the base. But here, D&G executes the blend with real finesse: creamy, woody undertones of frangipani and marigold are lifted by bright bergamot.

Amouage Love Hibiscus Eau de Parfum

Amouage Love Hibiscus

Here’s a spirited take on the sweet floral fragrance that centers on hibiscus and is lifted by citrus, softened by caramel, and threaded through with sheaths of passionfruit.

Guerlain Eau de Popeline

Guerlain Eau de Popeline Fragrance

From the nearly 200-year-old French beauty house comes a cool concept—if this scent were a fabric, it would be bright yellow poplin. Eau de Popeline proves the point with powdery mimosa and a soft apricot lift; it’s a combination tailor-made for spring and summer.

Byredo Sister Dreamer Eau de Parfum

Byredo Sister Dreamer Perfume

This fruity floral, dreamed up with artist Lauren Halsey, is inspired by the South Central gardens that surround her home. The West Side of L.A. is thick with native plants, wildflowers, and fragrant herbs, all humming through notes of juniper, pink pepper, and geranium. Sandalwood and amber drift quietly beneath it all, while the bottle’s sleeve—expressed through Halsey’s vivid, maximalist lens—turns the whole thing into a fragrant little world of its own.

Ojai Wild The Clearing Magician Eau de Parfum

Ojai Wild The Clearing Magician Perfume

A spiritual experience in a bottle, The Clearing Magician by Ojai Wild pairs white sage (good vibes only), jasmine, and lemongrass for a crisp, citrus-lit clarity, with just a whisper of frankincense and myrrh. From seed to skin, born from founder Janna Sheehan’s personal farm in Ojai, it’s a lovely citrus-spell to beautify your wrist—or frankly, any room you walk into.

Tom Ford Taormina Orange Eau de Parfum

Tom Ford Taormina Orange

One of the more satisfying scents of the new season, we are more than ready for the fab sunshine this perfume will surely bring. A thoughtfully created love letter, this is an ode to the fabled hilly landscapes of Taormina, Italy.

Liis Flower Glyph Eau de Parfum

Liis Flower Glyph

A gentle floral where notes of blueberry, honeysuckle, and jasmine mingle softly, drifting across the skin with a quiet grace. As with all of Liis’s fragrances, this one is crafted with organic sugarcane alcohol.

Ex Nihilo Lust in Paradise Eau de parfum

Ex Nihilo Lust in Paradise

To mirror the sultry sunsets on the French Riviera, this perfume is the magnified version of the original Lust in Paradise. This time around, the scent celebrates warmer musks, brimming with red ginger, pink pepper. and jasmine sambac.

Bulgari Man Wood Essence Eau De Parfum

Bulgari Man Wood Essence

Commanding and magnetic (you know the type): now, he’s found his perfect scent. This intense new fragrance is meticulously crafted by Bulgari’s perfumers with a deliberate extracting process to keep notes as raw and pristine as possible. Beginning with Sichuan pepper, it merges into a sophisticated tapestry of austere cypress, velvety cashmere wood, and a bold patchouli and vetiver.

Gamine Altered States Solid Parfum

Gamine Altered States

Here’s an evening scent that puts you at ease immediately with warm, subtly masculine notes. The lovely notes here include intense nutmeg and plum, which unfold with beautiful depth as the night carries on.

Uni Rain-Based Water Perfume

Uni Rain-Based Water Perfume

Softly sensual, this light, pristine scent captures the clean shimmer of dewy rain, softened by peony and grounded in oakmoss. Water-based, reef-safe, cruelty-free, and crafted from upcycled, sustainably sourced ingredients, the vessel is refillable, climate-neutral, and with 1 percent of sales supporting coral farmers, it’s as principled as it is fresh.

Kilian Paris Forbidden Games Eau de Parfum

Kilian Paris Forbidden Games

A more layered, tantalizing take on florals, where succulent peach and honey melt into smooth vanilla, creating a unisex scent that oozes the feeling of joy.

Anti Parfum Kleopatra

Anti Parfum Kleopatra Eau de Parfum

A serene gourmand scent, this is a milky perfume inspired by the fabled baths of Cleopatra infused with bourbon, jasmine, and vanilla.

Escentric Molecules Cologne One

Escentric Molecules Cologne One

This is a vibrant citrus scent that works beautifully for daytime, exuding a super-clean vibe with its execution. We consider this one a lovely pick-me-up all around.

Comme des Garçons Parfums [ ] Dia x Meg Webster

Comme des Garçons Parfums [ ] Dia x Meg Webster

Comme des Garçons Parfums has collaborated with Dia Art Foundation on a new, bespoke fragrance. The scent is called [ ] Dia x Meg Webster (yes, with the brackets. You read that right!). The contemporary arts organization, encompassing 12 sites and locations like Dia Beacon in New York, partnered with the fashion label and American artist Webster, who is known for her sculptures made from salt, sand, and other earthly materials. Notes of geranium mix with a heart of carrot seed oil and mushroom accord, along with a patchouli and sandalwood base—and the bottle comes encased in a polished silver box shaped like a pyramid.

Dries Van Noten Limited Edition Soie Malaquais Gilded Bottle

Dries Van Noten Limited Edition Soie Malaquais Gilded Bottle

Aromatic bliss in a bottle. This one feels like Paris in February, during a twilight wander along Boulevard Saint-Germain, while a hint of romance lingers in the air. Beautiful bergamot with blackcurrant unfolds into a silk-laced rose before settling into a warm, chestnut finish that feels intimate.

Dior Beauty Cuir Saddle Eau de Parfum

Dior Beauty Cuir Saddle Perfume

This is by far Dior’s most equestrian-centric fragrance, inspired by the iconic Saddle bag that defined the early aughts. Leather and musk are definitely center stage here, with a delicate floral note woven into an elegant ode to the house’s signature accessories.

Gucci The Alchemist’s Garden Lignum Idealis Eau de Parfum

Gucci The Alchemist's Garden Perfume

If you can believe it, this scent captures the monumental presence of a giant sequoia tree. With its woody, spicy scent that features creamy sandalwood and a hint of juniper, the perfume is entirely addictive.

eLVes Louis Vuitton Eau de Parfum

eLVes Louis Vuitton Perfume

A new release—and already a favorite this season—the special-edition monogrammed Louis Vuitton bottle feels perfectly suited for a moment of celebration. This contemporary floral pairs CO₂-extracted centifolia rose and mesmerizing lily of the valley anchored by a subtle patchouli.

Hermès Musc Pallida Eau de Parfum

Hermès Musc Pallida Perfume

Brisk, crisp iris and a trace of musk fall on the skin like soft cashmere brushing your collarbone. Pallida here refers to iris pallida (the “pale iris”), one of perfumery’s most precious raw materials. The flower’s rhizomes are harvested, dried for years, and distilled into orris butter, which is why it’s among perfume’s most expensive treasures.

Tom Ford Beauty Soleil Neige Eau de Parfum

Tom Ford Soleil Neige Perfume

Joie de vivre, distilled. This eau de parfum reminds us of snowy winters by the fireside in St. Moritz. Soleil Neige captures a kind of elegance, with bright bergamot, luminous orange blossom, and white florals softened by a whisper of silky musk.

Bulgari Le Gemme Tygar Extrait De Parfum

Bulgari Le Gemme Tygar Extrait de Parfum

Le Gemme Tygar Extrait is pure Bulgari finesse, which hits like an instant aphrodisiac. Citrus and wood are warmed by Peru balsam. Note that this one is on the heavier side of scents, but not in a negative way. It’s just a matter of your preference.

Dolce & Gabbana The One Eau de Parfum Intense

Dolce & Gabbana The One

Ultra-feminine, very Italian, and very Dolce & Gabbana, this is the most earnest love letter to the glam of the brand’s couture dresses. More intense than the original, The One delights with a surprising pink peppercorn spark, plus a floral bouquet that’s stunning.

Tory Burch Sublime Eau de Toilette

Tory Burch Sublime Eau de Toilette

We wore this one one several occasions; each time, we got compliments galore. Tory Burch’s new Sublime eau de toilette is that rare composition of a fragrance: it smiles politely but means business, and is great for office (and after hours). The scent pairs mandarin and rose with vetiver and a faintly leathered patchouli, which is lovely.

Le Labo Violette 30 Eau de Parfum

Le Labo Violette 30 Perfume

Here’s another win for Le Labo: Violette 30 gives violet essence a boost of elevation. The ingredient has long been prized for its softly romantic, calming essence. But by the hand of Le Labo, we get a chicer reboot that features a lovely cedarwood base.

Chanel Allure Homme Sport Superleggera

Chanel Allure Homme Sport Superleggera Eau de Parfum

Allure Superleggera envelops grapefruit in a woody scent that’s unique enough to wear in any season.

Burberry Her Parfum With Cherry

Burberry Her Parfum With Cherry

On the sweeter side, this one feels super-sophisticated. Cherry, amber, and vanilla mingle gracefully, and are never cloying, letting each note breathe and shine.

YSL Beauty Libre Berry Crush

YSL Beauty Libre Berry Crush Perfume

Libre Berry Crush folds raspberry, orange blossom, and a measured hint of coconut into a layered floral. It’s a polished, self-assured perfume that’s impeccably done, with plenty of presence in each spritz.

Miu Miu Fleur de Lait Eau de Parfum

Miu Miu Fleur de Lait Eau de Parfum

This one is for the St. Barts winter crowd—the ones who trade snow for sun and never give up their fresh scents. Juicy mango and creamy coconut bring a beachy sense of softness, while osmanthus adds a smooth floral finish.

Balmain Paris Destin De Balmain Eau de Parfum

Balmain Paris Destin De Balmain Perfume

Balmain’s feminine scent begins with strawberry and a bit of baies rose colliding. Then, peony unfolds with creamy lychee, and sandalwood lingers. Encased in a refillable, gold-capped labyrinth, it’s overall an exquisite scent.

Initio Parfums Privés Lift Me Up Extrait de Parfum

Initio Parfums Privés Lift Me Up Perfume

Musky and a proper tribute to winter, Initio’s latest aromatic spell drapes magnolia and ylang-ylang in a soft veil of vanilla. The scent seamlessly shifts from comforting warmth to a refined metropolitan ease, one that feels confident and calm.

Clive Christian Strange Heavens Out of the Blue Perfume

Clive Christian Strange Heavens Out of the Blue Perfume

We have one word for this one: ethereal. Clive Christian Strange Heavens Out of the Blue blends citrus, jasmine florals, and warm wood into a unisex fragrance straight out of a blissful daydream. And yes, the bottle by artist Domingo Zapata makes you want to keep it on your dresser forever!

Elorea Silk Bouquet Eau de Parfum

Elorea Silk Bouquet Perfume

Delicate but far from forgettable, this floral is precise rather than super-sweet. It’s a fresh and restrained infusion that opens up with watermelon blossom and magnolia before fading into soft woods.

Dior Addict Peachy Glow Eau de Parfum

Dior Addict Peachy Glow Perfume

This peachy take feels like a few elegant steps above the sugary gourmand perfume craze happening on TikTok. Jasmine and vanilla mix with a very cheerful splash of peach, for a distinctive eau de parfum you can wear seamlessly from day into night.

Valentino Beauty Amour Sans Détour Perfume

Valentino Beauty Amour Sans Détour Eau de Parfum

This is what you wear on a winter evening, when the air is sharp and you intend to be remembered. The violet arrives softly, while the smoke and leather follow. It’s all moody lighting, a little flirtatious, with a splash of healthy mischief.

Jo Malone London Amber Labdanum Cologne Intense

Jo Malone London Amber Labdanum Cologne Intense

Bitter orange flashes briskly against the dark, hypnotic pull of labdanum. It’s an elegant unisex scent, one that we imagine will be worn by an assured individual.

Henry Rose London 1983 Eau de Parfum

Henry Rose London 1983 Eau de Parfum

Inspired by founder Michelle Pfeiffer’s memory of a fragrance she discovered and loved on London’s King’s Road in 1983, this parfum is the fruit of a long search for that edgy, cool scent. It just so happens to be one of our favorite clean, non-toxic offerings from Henry Rose, opening with fig, black pepper, jasmine, and waterlily.

Mugler Alien Pulp Eau de Parfum

Mugler Alien Pulp Eau de Parfum Fruity

Alien Pulp is the Mugler fragrance house doing what they’ve always done with perfection: making perfume devotees pay full attention. This is a fruitier version, but still has Alien’s base blended with raspberries and jasmine notes.

Molecule 01 + Champaca by Escentric Molecules

Molecule 01 + Champaca by Escentric Molecules

Here’s a beautiful luxury, almost like slipping into your softest silk blouse. There’s a warm vibe at play—a transportive, woody haze softened by Champaca, a rare flower with creamy depth, and hints of jasmine and tea.

Dior Homme Intense Eau de Parfum

Dior Homme Intense Eau de Parfum

This cologne feels impossibly precise, like someone distilled a modern Neutra house into a scent. There’s powdery amber with crisp, clean edges; we think it caters to the type of man who notices all the details, and expects nothing short of perfection in his life.

Valentino Beauty Born in Roma Donna Purple Melancholia

Valentino Beauty Born in Roma Donna Purple Melancholia

Creamy, fruity, and wrapped in soft vanilla, this new fragrance feels like what the color purple would smell like: part luxury, mystery, and unexpectedly playful.

AllSaints Naked Woods Unisex Fragrance

AllSaints Naked Woods

AllSaints’ Naked Woods is a warm embrace. Wood and amber aromas drift from crisp apple leaves and rhubarb. Soft woods and skin musk make for a calm, grounded unisex scent that’s especially enjoyable during the colder seasons.

Aerin Mediterranean Honeysuckle Soleil Eau de Parfum

Aerin Mediterranean Honeysuckle Soleil Perfume

This is the fragrance that you take on holiday and end up associating with a very good chapter of your life. Clean and sunlit, it blends neroli and orange flower with coconut milk, plus an almost unfairly beautiful tuberose that’ll have you inhaling the scent of your own wrist throughout the day.

Ferragamo Signorina Romantica Perfume

Ferragamo Signorina Romantica Eau de Parfum

Ferragamo’s latest perfume is the kind of cheerful winter fragrance that turns gray skies into sunnier days. Opening with bright Italian lemon and orange blossom before melting into a creamy, citrus-glazed vanilla heart inspired by Anginetti cookies, this is instant optimism in a bottle.

Kindred Black The Priestess Perfume Oil

Kindred Black The Priestess Perfume Oil

Kindred Black’s High Priestess may well become your new fixation. It’s less a perfume than a private ritual, where delicate neroli glows against clove and sandalwood in a devoted composition. Warmed at the pulse, it renders citrus meditative, as though intention itself were the most intoxicating note.

Diptyque Orphéon Eau de Toilette

Diptyque Orphéon Eau de Toilette

This is Diptyque’s love letter to the founders’ favorite jazz club, where we can only guess friendships were forged, ideas flowed, and the air smelled far better than it had any right to. Green tangerine, pink peppercorn, and juniper mingle with woody cedar and musk, capturing the allure of a late night out.

Discothèque Body Heat Eau de Parfum

Discothèque Body Heat Eau de Parfum

Here’s a warm, alluring blend of amber, cardamom, and coffee in a cool, limited-edition glass bottle.

Viktor & Rolf Flowerbomb Pretty Peony Eau de Parfum

Viktor & Rolf Flowerbomb Pretty Peony

If you love sweet florals, this peony-central scent is bright and special, with strawberry notes dancing through the multilayered aromas.

Jimmy Choo I Want Choo With Love

Jimmy Choo I Want Choo With Love

Jimmy Choo released a lively citrus infusion—raspberry and orange flower are the first things you notice—with whispers of rose and freesia. There’s also a trail of sandalwood and vanilla towards the end of the first sniff that settles nicely.

We have no idea if Rosalía was trying to channel the iconic “red dress dancing woman” emoji while out in Seville, Spain today. Rosalía does dance, and she was wearing a red dress. Though, a closer look at the outfit reveals her own personal style was very much in tact and not outsourced to emoji cosplay.

The singer opted to wear a simple red dress while strolling through the street of Seville. Her sweet, sleeveless number featured a low-cut neckline with a squared silhouette, as well as a fluttering hem that hit just below the knee. Complete with windswept curls, it was a simple and effortlessly simple look that still packed a punch. No wonder fans gathered to cheer her on in the street.

Musically, she’s known for mixing classical influence with edgier sounds. Her outfit followed a similar formula. Her Mary Jane-style footwear included four thin upper straps, embellished with small silver buckles, studs, and pointed spikes. The pair gave her otherwise sweet look—which also included a confectionary, pale pink Dior Book tote by Jonathan Anderson—a sharp edge, affirming her signature penchant for edgy dressing.

With her latest off-duty look, Rosalía proved she can master simple dressing in addition to avant-garde fashion. However, with her signature punky attitude, the singer’s sure to bring her own spin to any look—no matter how basic it may be.

Mother’s Day is still on the horizon—but a dance music mother convention took place last night in Brooklyn. This week, house musician Rochelle Jordan shared a group photo online with a holy trinity of alt-dance and R&B star: Kelela, PinkPantheress, and Tinashe. They had assembled for Pink’s event at the Brooklyn Storehouse. Together, the crew’s members individually showed a different take on going-out dressing, united by an undeniably sleek flair.

Kelela took color-blocking for a spin with a dark blue ribbed sweater and bright red miniskirt. A blue, white, and black leather racing jacket added a motorsport influence to her look. PinkPantheress took on a similar color palette with deep blue capri pants and a bright red bra, layered beneath a sheer blue crop top. The singer and producer returned to her signature small shoulder bag as well, toting a cool brown suede version of the Y2K-inspired accessory.

Meanwhile, Jordan and Tinashe opted for darker ensembles. Tinashe slipped on a pair of black leather pants and a curved crop top, worn beneath a shearling-lined coat. Jordan embraced the drama of early 2000’s dressing in a black and white minidress covered in a zebra stripe print, layered over sheer black tights. Gleaming silver earrings brought a glamorous touch to the house singer’s attire.

Together, all four musicians’ looks were surprisingly coordinated—indeed, it seems great minds think alike. However, each star’s individual pieces and aesthetics remained unique and singular. The only thing missing? A group single that would certainly break the internet.

Foundation is supposed to be the glow-up step in your makeup routine, not the product that’s actually making your look like you didn’t get a wink of sleep last night. The problem? Some of the most common application habits can actually emphasize fine lines, cling to texture, and leave skin looking dull or dated, often without you even knowing it. From choosing the wrong formula to overdoing certain techniques, small tweaks can make a major difference in how fresh, smooth, and skin-like your foundation appears. Ahead, W spoke with celebrity makeup artist Scott Barnes—who has worked on the faces of Jennifer Lopez, Gwyneth Paltrow, and Salma Hayek—about the most common foundation mistakes that can unintentionally age your look, and exactly what you should do instead.

Using matte formulas

According to Barnes, matte foundations were made to “mattify the skin”—that is, absorb oil and cancel shine using ingredients like talc, corn starch, and clay. “They’re great to balance skin that is excessively oily, but if you have textured or dry skin, matte foundation can settle in the pores and lines, emphasizing them and making skin look aged,” he says, recommending a formula with a luminescent, satin finish instead. “These finishes are youthful and always universally pretty, regardless of skin type, skin tone, or skin age.”

Armani Beauty Luminous Silk Oil-Free Foundation

If you’re set on a matte-finish formula, Barnes says prepping your skin is key. You’ll want to exfoliate and hydrate beforehand, making sure your skincare fully absorbs before going in with foundation. Also, he says that because matte foundations are formulated with ingredients that do not reflect light, they can appear flat. Underpainting—applying your contour and highlight before foundation—can help “create dimension and contour that a stand-alone matte formula can’t achieve,” he says.

Tom Ford Beauty Architecture Soft Matte Foundation

Not updating your foundation

According to Barnes, using the same foundation shade and formula you relied on years ago can affect your entire look—as your skin changes, so, too should your formulas. Over time, skin typically becomes drier, a little more textured, and can shift in tone or undertone. A formula that once looked smooth and seamless can start to sit heavier, settle into fine lines, or look flat and dull instead of fresh.

Shade is another big factor. If your undertones have changed (which they often do), an outdated match can make your complexion look ashy or too yellow. The result is makeup that looks more obvious, less blended, and a bit dated overall.

Updating your foundation—whether that’s switching to a more hydrating formula, a lighter texture, or simply a better shade match—helps everything melt into the skin again, reflect light better, and bring back that fresh finish.

Ilia True Skin Serum Foundation

Neglecting skin prep

Skipping skin prep is one of the fastest ways to make even the best foundation appear flat on the skin. When your face isn’t properly hydrated or smoothed, foundation has nothing to grip onto evenly—so it clings to dry patches, settles into fine lines, and exaggerates texture instead of blurring it.

Thankfully, skin prep doesn’t have to be a lengthy process. Start with a clean canvas by cleansing, then follow with a hydrating cream to smooth and prep the skin. “Everyone knows my favorite, favorite is the classic La Mer cream,” says Barnes. “I use it on myself, J.Lo, all my clients—even new models for shoots. Just use a dab, warm it up, and press it into the skin.” From there, Barnes uses the Medicube Booster Pro to help melt the product in and boost circulation before finishing with a few spritzes of Downright Dewy Mist for a hydrated, glow-boosting base.

La Mer Crème de la Mer Moisturizing Cream

Not blending into the neck

Skipping your neck is a subtle mistake that makes a big visual impact. When your foundation stops at the jawline, it can create a harsh line that instantly reads heavy. That contrast can make your complexion look flatter and more mask-like.

This can also throw off the natural continuity of your skin tone. If your face looks more perfected (or a different shade) than your neck, it can highlight unevenness, emphasize texture, and make the overall look feel less polished. Blending a small amount of product down into the neck helps everything look cohesive, lifted, and much more natural—like your skin, just better.

Applying too much product

If your base has been looking a little heavier, duller, or more textured than usual, the application, not your products, might be to blame. You may be tempted to apply a heavy layer of foundation to cover dark circles, melasma, or rosacea, but “too much foundation tends to cake and crease, making the skin look older,” says Barnes. You’ll know you’ve over-applied if you start to see foundation settling into crease lines around the mouth and eyes. Another telltale sign, per Barnes: tilt your face up and slightly to the side—if you notice a visible line of demarcation, that’s a sign you’ve gone in too heavy.

Barnes says that for the most natural, skin-like finish, apply in thin layers with a synthetic foundation brush, working the product in small circles, from the center of the face outward. “After the first layer, go back and retouch areas that need a bit more coverage with whatever product remains on the brush.” If you have problem areas, Barnes says to use thin layers of color-correcting concealers, then use foundation to lightly even out the rest of your complexion and create a smooth, skin-like finish.