“Boobs are a big part of the show,” says Margo’s Got Money Troubles’s costume designer Mirren Gordon-Crozier. Anyone who has watched the Apple TV+ series starring Elle Fanning, Michelle Pfeiffer, and Nick Offerman knows that’s an understatement. Margo follows Fanning as Margo Millet, a college student with ambitions of becoming a writer who drops out after getting pregnant by her English professor. When she decides to keep the baby, she turns to OnlyFans to support her child, creating the sci-fi-inspired online persona Hungry Ghost. So yes, there are a lot of boobs—sometimes even green ones.

Gordon-Crozier was tasked with dressing both Margo and Hungry Ghost, two wildly different versions of Fanning’s character. Fortunately, the costume designer has plenty of experience transforming the 28-year-old actor. The pair have collaborated on five projects, including Margo, and have developed an easy shorthand over the years. “I know what looks good on her and what fabrics she likes,” Gordon-Crozier tells W, “But I always put her in itchy sweaters she complains about.”

Beyond the itchy sweaters, Margo saw Fanning in everything from 70-year-old knits to DIY cone bras while embodying her alien alter ego. Gordon-Crozier also relished dressing Pfeiffer as a kind of Real Housewives of Orange County reject, scooping up every fur-trimmed and snakeskin piece she could find across Southern California for the actor’s character, Margo’s mother, Shyanne. “She’s actually from Orange County,” Gordon-Crozier says of Pfeiffer. “So she was like, ‘This is who I would be if I hadn’t left.’” Below, Gordon-Crozier shares behind-the-scenes details from dressing the Margo cast—rounded out by Nicole Kidman, Greg Kinnear, Rico Nasty, Nick Offerman, and Thaddea Graham—along with exclusive images from the set.

“In the beginning of the show, Margo’s a student, and so I think she's trying to fit in,” Gordon-Crozier says. “She’s emulating her professor's style a bit, while putting her own twist on it. Like this knit [sweater] I got from the ’50s, but underneath she's wearing a red lace top.”

“It was really important for us to get this alien t-shirt right. We wanted to bring in that element of what happens later on in the script, like she’s looking at herself in the mirror and seeing herself in that t-shirt and getting ideas.”

“Margo is in that age range where she's definitely thrifting. She’s also probably taking clothes from her mother's closet, and they have a little bit of a magpie essence to them where they like sparkly and flashy things, but Margo wears them in a different way. So, I definitely wanted to incorporate Shyanne’s wardrobe into Margo’s.”

“For Shyanne, I took a lot of inspiration from the first two seasons of Real Housewives of Orange County before they went into logomania,” Gordon-Crozier says. “Michelle is so game for everything. She really got the character.”

“During the fittings, a big conversation was, ‘Does [Shyanne’s partner] Kenny like the cleavage? Is he okay with the cleavage? Or, does he want her to hide the cleavage?’ We decided to go with something in between. We would veil the cleavage a lot, and then every day, we would move her cross necklace up or down, depending on what Michelle was wearing, so it would lie perfectly.”

“Susie was one of my favorite people to dress,” Gordon-Crozier says of Margo’s roommate, played by Thaddea Graham. “I was really inspired by Rosanna Arquette's daughter, Zoë Blue. She has the most amazing style. It’s very whimsical. She'll wear a slip from the 1800s with a black choker. Susie's really creative, but we don't see that until later, when their basic roommates leave, and she can start being herself. We also found a lot of inspiration from real girls on Instagram with homemade, quirky style. Susie can crochet. She has a glue gun. She knows how to make her own stuff. But she's also figuring out her style. As the season progresses, you see that she becomes more and more of who she wants to be.”

“Susie is kind of the opposite of Margo in a way. She spends a lot more time thinking about her layers and what she's going to wear, who she's going to be that day.”

“Our whole thing with Margo is that she's a bit of a slob, so that's why sometimes her outfits are mismatched. She just grabs them from the ground.”

“Elle’s prosthetics were so good. We wanted to find a way to show her stomach, so we put her in this Poster Girl bodysuit,” Gordon-Crozier recalls. “But she’s not fully the Hungry Ghost yet, so she’s hiding it with a sweet little vintage ’70s cotton top. I think the lace skirt is Free People. She's always a mix of sexy and sweet.”

“This is what Margo wears to meet [her baby’s father] Mark's mother, so this is her dressing up. My assistant is very good at felting so we hand-felted this. We found a preexisting vest and just added those circles on. There’s a vintage ’70s lace top underneath.”

“The older people in this show are a little stuck in the era when they were most beautiful and thriving, before reality kicked in. So Shyanne and Jinx [Nick Offerman], and even Lace [Nicole Kidman] are a bit stuck in the ’90s.”

“That is a Paco Rabanne skirt, which she wears twice. I liked it with the body suit because of the juxtaposition.”

“There are a few repeat hero pieces,” Gordon-Crozier says. “Margo has her hero cowboy boots, which Elle actually took home because she loved them so much. There’s also her hero denim jacket which she wears a lot. She wears this white lace skirt twice. And then the red tassel jacket she wears a couple of times, too. I tried to repeat as much as possible.”

“Lace’s wrestling costume was all made of latex. I’d never worked with latex before so that was an interesting challenge. You can't just cut and sew it. You have to go to a specialist.”

“This was in the beginning, when Margo didn't really know what her OnlyFans character was. We thought, ‘What would Susie have?’ Susie's into cosplaying, elves, and all that underworld stuff. So this is us essentially taking stuff from Susie's closet.”

“This is one of my favorite outfits,” Gordon-Crozier says. “It’s a Poster Girl top and a Victoria's Secret bra. The skirt is vintage from the ’80s. And there’s a vintage belt and metallic boots, which I think are from Santee Alley. This is where Margo and the Hungry Ghost come together. She's a little more confident and she is finding her style. It's a well-thought-out outfit for her—perfect for her going out on the town.”

“This is my favorite Shyanne look. It’s Roberto Cavalli and the boots are Paris Texas.”

“Both Margo and Shyanne are magpies. They like sparkly things. So I think Margo genuinely likes her maid-of-honor dress, even though it probably came right off the rack from Bloomingdale's. But there was something less generic about it that I liked. In reality, it is vintage and we paired it with a Collina Strada necklace.”

“As she progresses into the world of OnlyFans, she has little money and she buys herself some new things. She’s meeting up with [her OnlyFans friends Rose and KC] and she’s playing into what maybe she thinks they would wear too.”

“We wanted [the Hungry Ghost look] to be DIY in a way because Susie is supposed to be making it all,” Gordon-Crozier says. “It's sort of janky, for lack of a better word, in a purposeful way, using things you can get at the store and are easily accessible. It’s a throwback to that [fall/winter 2017] Gucci ad from Alessandro Michele [and Glenn Luchford]. That was a big inspiration. So were the ’60s. We tested the body paint color a lot. Instead of a straight blue or green, we went with a teal.”

“The platform boots are from Dolls Kill. We got a lot of things from there. Elle helped me add little moons and aliens to them. Everything was custom-made and special. We also made the cones with the tassels. I purposely put the cones on the outside. It’s a little tongue in cheek.”

“A lot of [Rico Nasty and Lindsey Normington’s] stuff was from Wasteland, Dolls Kill, and then costume houses like Western Costume or Palace. They just have the wildest things in there.”

“Hair, makeup, and wardrobe collaborated a lot. Here, KC and Rose are cowboys, so we made their hair into lassos. Everyone in my costume department helped bedazzle the hats and belts, and we added the marabou to the bottom of the pants.”

“This is another one of my favorite outfits. The bodysuit is [J.Kim]. I don't even want to say where the skirt is from because Margo probably wouldn't be able to afford it. It’s Bode, but let’s say she found it at Wasteland and got a really good deal.”

“I’m obsessed with this look and the green. That coat is vintage—real mink. We got that from a costume house. Elle looks so good in these body suits, so we just kept putting her in them.”

“We had a bucket on set, and everyone would put their [soda] can tabs in it. We collected hundreds of them and sewed them all onto Susie’s Shadowheart costume. That was fun.”

“Lace was really fun to dress,” Gordon-Crozier says of Kidman’s character. “She’s a lawyer now, so I considered what sort of suits an ex-wrestler would be attracted to. I did a lot of ’90 silhouettes and superhero colors. This one is Thierry Mugler.”

I should start by saying that I am a hater. I am one of those people who spent the entirety of watching Emerald Fennell’s Wuthering Heights pointing out every deviation from the book (though that film has issues beyond its extreme creative liberties—see: a hater). They say acceptance is the first step, but that doesn’t mean it’s something I want to change. I like being a hater. I like, for instance, watching The Devil Wears Prada 2 with a healthy dose of skepticism.

For the record: I liked DWP2. It’s cute, the cast is great, and I would happily watch a million hours of Meryl Streep and Stanley Tucci as a dynamic duo running a fashion magazine. It’s an enjoyable two hours that continues a beloved story while situating it within the current realities of the media industry. Still, I suspect much of the praise is driven by nostalgia—a force very good at clouding judgment. If it were a one-off film, with all new characters and a different fictional magazine, it would likely be dismissed as boring and unevenly written—because, in my opinion, it is. That may sound odd for a movie packed with high-profile cameos, sparkly costumes, and fun montages. But look past all the glitter that’s distracting from the storyline, and you realize that, for the most part, very little actually happens.

At the height of the film, in Andy’s bid to save Runway from utter demise, she sits in a hotel room all day—albeit in a great vintage Björk shirt—and does not much more than make phone calls. Sure, there was a sense of urgency to it all but nevertheless I found my mind wandering. Here, just some of the thoughts that popped up.

Why are we spending so much time on this Aussie?

One of the major side plots of the film revolves around Andy Sachs and her new love interest, Colin a real estate contractor portrayed by Australian actor Patrick Brammall. He’s nice enough, and they seem like a good match, but when have we ever cared about Andy’s love life? Perhaps there was some conversation in the writers' room about finding a good man for Andy after Adrian Grenier’s character was sufficiently rebuked over the past two decades as the true villain of The Devil Wears Prada. Or maybe they wanted to recreate the chemistry between Andy and her one-night fling, Christian (Simon Baker), from the first film. But this relationship does nothing to further the story nor push any character growth forward. I think I can safely say no one is going to the theater to see Andy fall in love. This is a career film, and too many minutes were wasted on the new guy.

Leave the finance bros at home, please.

I had heard from colleagues that the film is very insidery; I assumed they meant it dove into the intricacies of the media industry. It does, but what I didn’t expect was that the consultants, venture capitalists, and private equity associates would be invited into the circle as well. There are multiple scenes of meetings around how to make Runway more profitable, and while they are done with a touch of satirization, it is not enough to make them interesting in any way. Every time BJ Novak’s character came on screen, I let out a groan because I knew the entertainment would cease for the next few minutes. I get it. They had to set up the stakes. The magazine is being sold off and gutted, but do we really need to talk about it over and over again? I can only watch Andy sputter on-screen so many times.

The film’s marketing and its thesis are in direct contradiction with each other.

To be fair, I did find parts of this storyline to be accurate. As someone who has been in the media industry for close to a decade, I’ve somehow dodged lay-offs while seeing them destroy good writers and even better publications on a frighteningly consistent basis. Never did I think this would be interesting fodder for a movie, but I do appreciate that DWP2 didn’t shy away from the realities of the industry as it stands. A sequel where Runway is thriving probably would have left me even more perturbed upon leaving the theater. Still, there was something hypocritical about the movie's entire thesis. Andy wants to save Runway, whether that's because she thinks it’s the last job in the industry where she can make a living wage or because she believes this cultural institution and arbiter of taste deserves to live on. But the distinction is largely irrelevant, muddled by the film’s own plot. She continually describes things as “everything that is wrong with the world,” including, at one point, a glamorous 75th birthday for the Elias Clarke CEO filled with her Runway colleagues. Are we supposed to agree with Andy? Or, do we take the side of Miranda and Nigel, who are adamant in their belief that Runway, its legacy, and its survival are paramount to the overall endurance of beauty and artistry? Perhaps a little bit of column A and column B—but anyone who believes in column B likely watched the movie’s press tour with the skeptical, side-eye emoji hanging over their head. Didn’t this film do exactly what it claims to be against: sell itself out, strip itself down to the simplest form, and hawk, not only tickets, but every branded product imaginable?

Did I just watch an ad or a movie?

When The Devil Wears Prada was in production more than twenty years ago, the fashion industry wouldn’t touch it. Here was a film blasting the most powerful woman in fashion, and brands wisely didn’t want anything to do with it. Costume designer Patricia Field had to work magic to clothe the cast when labels refused to lend clothes in fear of Anna Wintour’s wrath. This time around, Wintour was on board to such an extreme degree that she was reportedly on set, giving notes herself. Luxury labels, similarly, did a 180, securing key placelements in the film. Dior and Dolce & Gabbana are critical to the plot, while other brands are name-dropped with aplomb, and one can’t help but think there was a paycheck behind each mention. And while Jeff Bezos gets skewered in the film, portrayed by a goofy and gauche Justin Theroux, it clearly did nothing to compromise he and his wife Lauren Sánchez Bezos serving as honorary co-chairs of the 2026 Met Gala—Wintour’s annual crowning achievement.

In the first movie, Andy is a girl who wants to get into “real journalism,” who sees Runway simply as peddlers of luxury goods to people who don’t need them. There is a moment where we see that she still believes this 20 years later, specifically when talking to Emily about the $3,000 handbags Dior sells. The film makes the point that fashion magazines are more than that, but what about movies about fashion magazines? For the past few weeks, everywhere one has turned, there has been the red stiletto. Diet Coke cans, Grey Goose vodka, L’Oreal makeup, Target lines all plastered with the DWP2 logo. Would Andy approve? Would Miranda? I think not.

There’s a scene near the beginning of the movie, just after Andy gets rehired at Runway, when they go to visit Emily at Dior to discuss the brand’s advertising with the magazine. Andy learns the new lay of the land: Dior pays for the ads, ads pay for the magazine, so Emily is in a position of power. Andy is aghast, so maybe she can relate to how I felt every time a Starbucks cup was flashed before the camera or a brand was name-dropped in the film. While Andy pleads for the maintenance of integrity in the sequel, it feels like it left the building before the title card was even projected on screen.

Did we really need a sequel?

When I left the screening, I asked myself, “What was the point?” The story was told—and told well—with the first film. Why did we need a second? Then, I looked around: I was at a L’Oreal Paris-sponsored first look at the movie, one night before its wide release (yes, I can see how you might think I'm part of the problem). Standing there, in a sea of branded content, I was reminded that the point was, of course, to make money. And with a projected $180 million in global box office for its opening weekend, it will certainly succeed in keeping a struggling Hollywood afloat for at least another day.

It’s pretty rare to enter a fashion exhibition and find references to single-celled plankton, connective tissue, and mycelial filaments. Indeed, stepping into “Iris van Herpen: Sculpting the Senses” at the Brooklyn Museum, one might think they’d made a tremendously wrong turn and ended up at the American Museum of Natural History. But anyone familiar with van Herpen’s work knows not to expect a typical ready-to-wear retrospective. Over 20 years, the Netherlands native has transformed scientific concepts into showpieces worn by Beyoncé, Lady Gaga, Björk, Tilda Swinton, and many more stars. The exhibition—curated by Brooklyn Museum’s senior curator of fashion and material culture, Matthew Yokobosky, and curatorial assistant Imani Williford—places more than 140 haute couture creations in direct conversation with their sources of inspiration. Because this is Iris van Herpen we’re talking about, that includes a 180 million–year-old fossil (borrowed, in fact, from the Natural History Museum).

“Sculpting the Senses” is billed as a midcareer retrospective, a term that could feel like a death knell to many creatives. Van Herpen, on the contrary, takes the distinction in stride. “It’s fitting,” she tells W. To be fair, she got started early, opening her own studio when she was just 22, and at 41, she’s already been in the industry for almost two decades. Still, van Herpen has a highly prolific nature—one that is proudly on display at the museum.

The show opens with what van Herpen calls the Seijaku Dress, from her fall 2016 haute couture collection—though anyone who paid attention to the Met Gala earlier this month will immediately recognize it as the inspiration for Eileen Gu’s bubbled mini. At the Brooklyn Museum, the dress is placed before a mixed-media piece from the Japanese art collection 目 (mei, or “eye”), created specifically for the exhibition. Waves seem frozen in time, like they could overtake the gown at any moment. “I grew up between two rivers in the Netherlands, and my studio is next to the river as well,” van Herpen explains. “Water is the origin of life, and it’s the most vital material that we have on the planet.”

There’s a section dedicated to sea life, where dresses inspired by jellyfish and coral slither into view. Van Herpen’s techniques feature otherworldly effects that, in person, truly come alive. Those who have only seen the designer’s work from a screen are in for a treat.

“Sculpting the Senses” expands across 15,000 square feet of gallery space. The show, which originated at the Musée des Arts Décoratifs in Paris in 2023 and has since traveled worldwide, is organized by theme. The water and sea life sections give way to an exploration of form, where laser-cut dresses are placed next to mirroring artwork by van Herpen’s longtime collaborator, Rogan Brown.

Just when you’re officially and fully in awe of the designer’s hand, she lets you in on all the secrets. Suddenly, the small gallery rooms expand into an atrium, where a version of van Herpen’s atelier has been reconstructed. Thousands of fabric and material scraps line the walls, while real-time footage from her Dutch studio, projected in the center, clarifies why one of her dresses can take up to six months to create. Visitors are invited to touch samples and peer into microscopes for an even closer look at the process. This portion was van Herpen’s idea, and it was created specifically for the Brooklyn Museum’s stop on the show’s tour. “I love the architecture here,” van Herpen says of the Beaux Arts–style space. “The building makes everything breathe more.”

In one room, you’ll find skeletal designs matched with fossils. A 3-D-printed skeleton dress is currently on view at the Metropolitan Museum of Art’s Costume Institute for the “Costume Art” exhibition, but the Brooklyn Museum is the only place you can see it in conversation with a 180 million–year-old Stenopterygius.

For years, van Herpen eschewed color in her work, because she wanted the focus to remain on technique, artistry, and silhouette. In the penultimate gallery, “Cosmic Bloom,” dresses of every hue fall from the ceiling, where some mannequins have been installed upside-down. Meanwhile, a soundscape created by van Herpen’s partner, Dutch composer and music producer Salvador Breed, blasts through the speakers. (There’s also an auditory element to this show, which speaks to van Herpen’s synesthesia, highlighting pieces inspired by her ability to visualize sound.)

A respite from any overstimulation can be found in the familiar, like a dress once worn by Kylie Jenner for Interview Germany or a gown Gwendoline Christie donned for the season 8 premiere of Game of Thrones in 2019. The Brooklyn Museum saved van Herpen’s many celebrity placements for the grand finale: the last gallery features a wall of some of the most influential women in culture over the past decade, all dressed in van Herpen. Rihanna, Natalie Portman, and more stand tall in their ethereal, sculptural designs. The journey has been completed from the microscopic organisms of the ocean to the macroscopic grandeur of space and the stars (both literally speaking and of the A-list variety).

“Sculpting the Senses” is on display at the Brooklyn Museum from May 16 to December 6, 2026.

The fashion calendar can be a confounding thing. Just when the weather warms up and the public starts shedding layers, unearthing long-abandoned sundresses—brands begin releasing their fall collections. Your current mind-set might be focused on how to style thong sandals, or which pair of shorts will be your go-to this year. But right on schedule, the fall 2026 campaigns are already rolling out right now. Of course, you have the option of admiring the laissez-faire French attitudes of Celine’s offerings to come, or perhaps daydreaming about the drama of Balenciaga’s Celine Song-directed world. Remember those pieces that call out to you, but keep them in the back of your mind—save the front for open-toe shoes and floppy, sun-protecting hats. Feel free to peruse the looks that will be everywhere next season, or check back here when you’re mentally ready to dive into some seriously chic fall fashion.

Loewe

Loewe is celebrating its 180th anniversary with a campaign honoring almost two centuries of leather craftsmanship—and a playful spirit. Brand ambassador Julia Garner stars alongside Sissy Spacek and artist Kara Walker in the Talia Chetrit-shot images, showcasing an array of iconic Loewe handbags from across the decades.

Loewe

From the Flamenco clutch (launched in the ’80s) to the Puzzle bag of 2015, the campaign highlights the enduring impact of these accessories. Also on display is the Amazona 180, which was introduced in 1975 and recently reimagined by creative directors Jack McCollough and Lazaro Hernandez for their debut collection at the house. The selection proves Loewe’s affinity for the past, as well as its ability to adapt to the present and lead the future.

Balenciaga

Celine Song lent her directorial talent to Balenciaga for A New York Minute, the brand’s theatrical fall 2026 campaign, starring Love Story actor Sarah Pidgeon.

Balenciaga

The campaign, which takes the form of three one-minute films, finds Pidgeon during a day in Manhattan as the actor engages in mundane tasks. She retrieves her dry cleaning, crosses a busy street, and takes a cab home. These are simple actions every New Yorker makes daily, but zoom out, and you will find it’s all movie magic.

Balenciaga

Song’s videos act as an exploration of movie-making and city life. Of course, they’re also a meditation on Pierpaolo Piccioli’s latest offerings for the brand. Each scene finds Pidgeon in a different Balenciaga look, always with one of the brand’s classic bags in hand. It proves that Piccioli’s Balenciaga can be utilized in everyday life, but there is an added sense of drama to this wardrobe, even if you might not notice it at first.

Celine

Celine invites you to a day at the beach in celebration of its fall 2026 campaign. The sun hides behind clouds, but the warmth comes from those around you. A group lounges on the sand and rocks and blocks each other from the whipping wind. They layer up in tailored coats with oversize shoulders and collegiate sweatshirts, protecting their belongings in patterned totes.

Celine

Accessories are key. Beaded necklaces layer atop a short-sleeve knit and sunglasses cover almost every set of eyes. Color comes in the form of nautical stripes and green accents on a silk scarf. Red flannel provides a sense of nonchalance, as does the wind-blown hair and the up-close nature of Zoë Ghertner’s imagery.

Burberry

Burberry is getting in the football spirit ahead of the 2026 FIFA World Cup this summer. The brand has released its autumn 2026 campaign, “A Good Sport,” celebrating the energy of the sport’s fandom.

Burberry

Jason Sudeikis, who has become especially familiar with footy thanks to his work on Ted Lasso, stars in the campaign alongside actors Jodie Turner-Smith, Lucy Punch, and Stephen Graham. Also featured are Romeo Beckham, models Rosie Huntington-Whiteley and Neelam Gill, as well as football stars Eberechi Eze, Leah Williamson, Naomi Girma, and Son Heung-min. 

Burberry

“Burberry has connected football fans across generations for decades,” says the brand’s chief creative officer, Daniel Lee. “It’s only right that we celebrate that this summer....There’s a certain attitude to being a good sport that is very British and very Burberry.”

It’s not a Met Gala without Rihanna. The singer is basically as essential to the event as Anna Wintour herself, and the evening just doesn’t seem complete until she hits the red carpet. And while Rihanna arrived late, per usual, to the 2026 Met Gala, she didn’t deny us the drama for which she has become known, thank goodness.

Rihanna attended the Gala on Monday night in Maison Margiela Couture by Glenn Martens, inspired by a look from the designer’s fall/winter 2025 collection. Metallic fabric wrapped the singer’s legs in a column skirt before climbing up and encircling her upper torso, creating an opening to show off a jewel-encrusted turtleneck top. Diamond rings dotted her fingers while forty metal pin curls from Jennifer Behr covered her hair, mimicking the shape of the dress and adding an artful touch to the ensemble.

The best part about Rihanna’s Met Gala repertoire is that we never know what to expect. A silk, fur-lined coat? A pearl-covered pope? A deconstructed suit? Each year brings with it something different, and 2026 was no exception.

Of course, Rihanna was joined by her partner, A$AP Rocky, on the red carpet, and together, the two made for the most fashionable couple of the evening. For his part, Rocky wore a pink Chanel jacket-cum-house coat featuring a belt finished off with fringe and a feathered flower brooch. The pair’s looks were in no way coordinating, but they represented both of their respective styles, allowing each to shine in their own way.

We don’t know what Rihanna’s goals were for her look this evening, but perhaps she wanted to look “pretty,” like in 2019. Milliner Stephen Jones, who made Rihanna’s pope hat that year, asked the singer the simple question of how she wanted to look prior to the event. He recalled the moment recently to W. “She replied, 'Funny enough, nobody has asked me that,’” he said. Jones warned Rihanna of the hat’s weight, but the singer, always a pro, was unconcerned. “Have you seen the shoes?” she asked. “The hat is not the problem.” Tonight, then, must have been a breeze for her.

The winner of this year’s Loewe Craft Prize, Jongjin Park, has many skills. The South Korean artist could most simply be described as a ceramicist—but to stand out among the 29 finalists vying for the international award, which lauds innovation in modern craftsmanship, Park employed a range of craft traditions. As a result, the assistant professor at Seoul Women’s University—who holds an MFA, BFA, and PhD in ceramics from Kookmin University—received the coveted Loewe Craft Prize for 2026 in Singapore on Tuesday. The finalists were selected from over 5,100 submissions by artists representing 133 countries and regions, all of whom work across a number of mediums like woodwork, furniture, bookbinding, glass, and jewelry. Park’s work, Strata of Illusion, 2025, won over the jury due to its exploration of tension between control and collapse. The chair-like statue is hardly what one pictures when they consider traditional ceramics; Strata is constructed from thousands of layered sheets of paper, coated in porcelain slip. When placed in the kiln, the paper burns away and gravity takes over, distorting the work and causing the center to nearly collapse.

The Prize’s jury—which consists of leading figures from the worlds of design, architecture, and criticism, alongside Loewe creative directors Jack McCollough and Lazaro Hernandez—chose Srata as its winner because of the piece’s ability to confound the expectations surrounding the art of ceramic-making. Park’s use of air to establish form and layering of paper evokes the practices of glassblowing and bookbinding. Strata’s resistance against using one singular material evoked the central meaning of the Prize, according to the jury.

Alongside Park, special mentions were given to the Baba Tree Master Weavers and Álvaro Catalán de Ocón, as well as Graziano Visintin. Spanish designer Catalán worked with the Master Weavers collective—composed of Mary Anaba, Charity Aveamah Atuah, Christiana Anaba Akolpoka, Asakiloro Aduko, Mary Ayinbogra, Teni Ayine, Subolo Ayine, and Punka Joe—which presented Frafra Tapestry, a large-scale, communally woven tapestry based on aerial photography of a traditional village in Ghana’s Gurunsi region. Visintin, meanwhile, was recognized for his work, Collier: two necklaces composed of tiny cubes of gold and niello.

“It has been a privilege to join the jury of the Loewe Foundation,” said McCollough and Hernandez. “Craft has been at the heart of Loewe since the house was founded 180 years ago. Across each of the shortlisted works, we encountered an extraordinary sense of commitment, creativity, and innovation. Together, they stand as a powerful testament to the enduring possibilities of making.”

The Loewe Craft Prize was founded in 2016 by the Loewe Foundation and then–creative director Jonathan Anderson as a way to showcase and celebrate innovation, excellence, and artistry in contemporary craft. This year, the winner was awarded €50,000, and each special mention received €5,000. All 30 shortlisted works will be exhibited at the National Gallery Singapore from May 13 until June 14; they can also be viewed virtually via the Loewe Foundation’s digital platform, The Room.

The Cannes Film Festival is known for its glamour. The gowns, the guest list, the seaside location all oozes with elegance and the red carpet is a constant parade of couture. But outside of the black-tie premieres, some of the most powerful fashion statements have been made with a humble T-shirt.

The festival actually has a pretty rich history with graphic tees. For decades, guests have been attending photocalls and even premieres in the wardrobe basic. Sometimes, they do so to make a statement—advocate for a political candidate or call out unjustified violence. More often, they’re supporting their film with a shirt that references the director, the theme, or a quote from the movie. And then, there are those who just feel most comfortable in a T-shirt, dress code be damned.

Jordan Firstman made headlines in 2026 with the display of his NSFW tees in promotion of festival darling Club Kid, but he is hardly the first to pack such a top for his trip to the South of France. Below, a visual history of graphic tees at Cannes, from Dennis Hopper’s Napoleon number in 1976 and Spike Lee supporting the Knicks, to Elle Fanning shouting out her Sentimental Value director Joachim Trier.

Jordan Firstman, 2026

Jordan Firstman promoted his directorial debut, Club Kid, one of the buzziest films at Cannes this year, with an array of NSFW, Internet-brained T-shirts, with jokes seemingly referencing the movie, which was acquired by A24.

Niels Schneider, 2026

French-Canadian actor Niels Schneider attended the photocall for his film, The Unknown, wearing a shirt featuring a sketch of Bob Dylan and the singer’s legal last name, Zimmerman. But Schneider wasn’t simply showing his support for Dylan; he was likely also referencing The Unknown, in which he plays a character named David Zimmerman.

Adèle Exarchopoulos, 2026

Not all T-shirts make it to the red carpet. French actress Adèle Exarchopoulos arrived at Nice Airport ahead of the festival this year in a shirt featuring her Blue Is the Warmest Color co-star Léa Seydoux and the phrase “Léa Forever.” The tribute nodded to the pair’s shared Cannes history: in 2013, the jury made the unprecedented decision to award the Palme d’Or not only to the film’s director, Abdellatif Kechiche, but also to Exarchopoulos and Seydoux.

Elle Fanning, 2025

While 2024 was Brat Summer, Charli xcx predicted 2025 would be “Joachim Trier Summer” during her Coachella set that year. Elle Fanning was inspired by the announcement, tapping the 12-year-old son of her stylist, Samantha McMillen, who has his own brand called Dylan’s T-Shirt Club, to put the phrase on a top for her to wear to the photocall of her film, Sentimental Value, directed by Trier.

Julian Assange, 2025

During his first major public appearance following his release from prison, WikiLeaks founder Julian Assange attended the 2025 photocall for the documentary about his life, The Six Billion Dollar Man. He did so in a white tee featuring the names of 4,986 Palestinian children under the age of five killed in Gaza since 2023.

Spike Lee, 2025

Spike Lee wore a shirt and hat from the collab between his apparel line, 40 Acres and Supreme to the photocall for his 2025 film, High 2 Lowest. The two specific pieces he chose for the French Riviera-set event featured the logo from his 1992 film, Malcolm X.

Alexander Skarsgård, 2025

Alexander Skarsgård really embraced the theme of his biker BDSM film, Pillion, while attending the festival in support of it in 2025. At the Pillion photocall, he paired tight leather pants with a T-shirt from the South London store Jerks, featuring an illustration of a man licking a leather boot.

Kenichi Yoda, 2025

Then-Vice President—and recently appointed President—of Japanese animation studio Studio Ghibli, Kenichi Yoda, showed off a t-shirt from the 2023 Studio Ghibli film The Boy and the Heron. He was attending the festival that year in order to accept the Palme d'Or on behalf of the studio.

Josh O’Connor, 2023

Josh O’Connor wore a pink graphic tee under a blazer at the photocall for La Chimera in 2023.

Alina Baikova, 2023

Ukrainian model Alina Baikova only had a brief moment to show off her shirt disparaging Russian president Vladimir Putin and the war in Ukraine before she was removed from the red carpet by security.

Timothée Chalamet, 2021

While promoting Wes Anderson’s The French Dispatch at the 2021 festival, Timothée Chalamet donned a pink tee featuring Richard Pryor as God in the 1980 comedy In God We Trust.

Spike Lee, 2021

While Lee wore a graphic Air Jordan shirt to the jury photocall in 2021, it was his hat that made more of a statement. The director’s cap is from a collaboration between 40 Acres and Mitchell & Ness. The year on it, 1619, refers to the first arrival of enslaved Africans to Jamestown, Virginia, over 400 years ago.

Terry Gilliam, 2018

British comedian and filmmaker Terry Gilliam paid homage to his sketch comedy roots when he attended The Man Who Killed Don Quixote photocall in 2018, wearing a shirt featuring Mr. Bill from Saturday Night Live.

Jessica Chastain, 2017

Jessica Chastain arrived to the Cannes Film Festival in 2017 wearing the graphic tee of the moment. Her shirt, which read “We Should All Be Feminists,” came from Maria Grazia Chiuri’s debut collection for Dior. The show featured many politically adjacent slogan shirts, but it was this phrase that really seemed to strike a nerve, with the shirt being spotted on several stars including Rihanna.

Sandy Powell, 2017

British costume designer Sandy Powell attended the How to Talk to Girls at Parties during its Cannes premiere in 2017 in a Sex Pistols T-shirt. The choice was likely made to pay homage to the film she costumed, which takes place in the punk rock world of 1970s London.

Takashi Miike, 2017

Japanese director Takashi Miike posed for a photocall for his 2017 film, Blade of the Immortal, wearing a T-shirt featuring artwork by Katsuhiro Otomo, the son of Akira creator Katsuhiro Otomo, along with his signature 57577, the title of Otomo’s 2014 book.

The Captain Fanastic Cast, 2016

Captain Fantastic has often been described as a fictional manifestation of left-wing idealism, and the film’s cast doubled down on this idea at the 2016 Cannes photocall. There, Viggo Mortensen and his co-stars broadcast their support for Bernie Sanders in the lead-up to the U.S. Presidential election.

Maïwenn, 2015

No, Maïwenn’s shirt doesn’t say “Beverly Hills,” it actually says Belleville Hills. The French director shouted out Paris’s hilltop artistic community while promoting her film, My King, in 2015.

Jack Black, 2011

Ever the joker, Jack Black posed with Angelina Jolie wearing a shirt bearing John Lennon’s face and the name “Juan” at the photocall for Kung Fu Panda 2 in 2011.

Spike Lee, 2008

In 2006, Lee took the opportunity to show his support for Barack Obama ahead of his first election that fall.

Natalie Portman, 2008

In 2008, Jury member Natalie Portman showed her love for Neil Young in a magenta tee by illustrator Jess Rotter of Rotter and Friends. Rotter started her company in 2007 and has been popular for her illustration of world-famous musicians ever since.

Gus Van Sant, 2007

In 2007, director Gus Van Sant, who lives primarily in Portland, Oregon, attended the Paranoid Park photocall in a tee from the local restaurant, Bluehour—one of his go-to spots before it closed in 2020.

Kim Ki-Duk

Korean director Kim Ki-Duk celebrated the 60th anniversary of the Cannes Film Festival with a T-shirt marking the occasion.

Michael Pitt, 2005

Michael Pitt wasn’t promoting the 1983 film Sudden Impact at Cannes, but he did wear a shirt bearing Clint Eastwood’s famous quote from the movie, “Go ahead, make my day.”

Penelope Cruz, 2004

Penélope Cruz arrived to the festival in 2004 wearing a bedazzled Dolce & Gabbana Mickey Mouse tee.

Terry Gilliam, 2001

In 2001, Cannes jury member and Monty Pyton and the Holy Grail director Terry Gilliam joked that he could be bribed by producers to award their films. “I’m willing to take large sums of money to vote for your film,” he said on opening day. “I will choose the film whose producer gives me the largest amount of money.”

Spike Lee, 1996

A lifelong Knicks fan, Lee repped his favorite team as well as his production company 40 Acres and a Mule at the Girl 6 photocall in 1996.

Neil Young and Jim Jarmusch,

Neil Young, Jim Jarmusch, and Johnny Depp made quite the trio in their T-shirts at the photocall for Dead Man in 1995. Young supported the movie he composed music for in a Fishbone band tee, while director Jarmusch opted for a top emblazoned with the road known as the “Devil’s Highway”, Route 666.

Kenneth Branagh, 1993

In case you were curious what movie Kenneth Branagh was promoting alongside Emma Thompson and Denzel Washington at the festival in 1993, just look at his shirt, and you’ll see the trio starred in Much Ado About Nothing.

Spike Lee, 1989

Three years before he released Malcolm X, Spike Lee hit the South of France to promote Do the Right Thing wearing a “No Sell Out” Malcolm X tee. The slogan, which the civil rights leader frequently used in his speeches, was sampled on Keith LeBlanc’s 1983 hip-hop single of the same name.

Derek Jarman, 1987

Derek Jarman dressed up his T-shirt with a striped suit, but he made sure the top, which bore the name of his film, Aria, could still be clearly seen. Jarman was one of ten filmmakers including Robert Altman and Jean-Luc Goddard who participated in the anthology film project, with each one directing a segment that interpreted an opera aria. Jarman’s was set to Gustave Charpentier's “Depuis le jour.”

Dennis Hopper, 1976

Dennis Hopper attended the Cannes Film Festival in 1976 to promote his film Tracks. He was very casual at the event, attending in a cowboy hat, jean jacket, and a tee featuring Napoleon on the front.

Hunter Schafer is having an art-filled week. In Sunday’s episode of Euphoria, her character, Jules, recreated Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte, turning the neo-impressionism masterpiece into a ghoulish scene too explicit for poor Lexie (Maude Apatow) or network television.

But on Monday, on a Met Gala red carpet filled with sheer and barely-there dresses, Schafer was one of the few attendees who opted for a more demure look. She also took the evening’s theme seriously, dressing like a figure straight out of art history.

Schafer arrived to the 2026 Met Gala in a custom Prada look inspired by Gustav Klimt’s 1912/1913 painting Mäda Primavesi. The portrait depicts the nine-year-old girl in a confident stance amid a colorful background, wearing a white dress by Klimt’s friend, couture designer Emilie Flöge, decorated with flowers. Appropriately, the painting is part of the museum’s permanent collection.

Like Primavesi, Schafer wore an empire-waist gown with a line of rosettes just under the bust. While Primavesi’s dress ended just under the knee in layers of ruffles, however, Schafer’s reached the floor. Holes and tears along the waist and skirt made the dress look almost as if it were falling apart. Underneath the linen fabric emerged a floral silk chiffon fabric that continued into a long train behind the actor that draped the steps as she ascended. Schafer finished the look with a bow in her hair just like Primavesi, and a simple face of makeup—pink cheeks and blue eyeshadow—that matched the nine-year-old's own pre-war glam.

The result is Schafer as Primavesi all grown up. Or, like the actor discovered the old Emilie Flöge dress tucked away in an attic, filled with holes after years of gathering dust, and brought it to Prada to refurbish.

The theme on Monday night was Costume Art, and many attendees opened up their old art history textbooks to find references for the evening. Schafer wasn’t the only attendee to dress like a figure who stepped right off a canvas. Artist Amy Sherald tasked Thom Browne to dress her like the young woman from her 2014 painting, Miss Everything (Unsuppressed Deliverance). While others, like Rosie Huntington-Whiteley, embodied the infamous John Singer Sargent subject, Madame X. As a result, the evening is truly an art nerd’s dream. Surely, Jules would have enjoyed the festivities greatly.

Ever since Dua Lipa confirmed her engagement to Callum Turner last year, there has been one question repeatedly playing on our minds: What will the pop star wear to her nuptials? Lipa is known for turning out looks, whether it’s on stage, for the red carpet, or even just for an Instagram post. So we knew her wedding ensembles would be well-thought-out and noteworthy. Now we finally have (at least partial) clarity, and while it wasn’t exactly what we expected, her choice does place her among an impressive list of brides. It may also have an effect on future brides for years to come.

Lipa said “I do” over the weekend in an ivory set featuring a tailored blazer with gold bijoux buttons and a matching asymmetric skirt custom designed by Schiaparelli’s creative director Daniel Roseberry. What many thought was the hip padding providing structure to the jacket peeking out of Lipa’s hem was actually a sculpted blush bustier trimmed in white lace layered underneath. A Bulgari serpent necklace, white gloves, Louboutin heels, and a custom Stephen Jones hat lined in gold completed the bridal ensemble.It was a gorgeous, sophisticated choice from Lipa, complemented nicely by her now-husband’s blue Ferragamo suit.

Those who know their bridal fashion history took one look at Lipa’s tailored ensemble and immediately saw connections to Bianca Jagger’s own wedding outfit. In 1971, the activist and actress wed Mick Jagger in Saint-Tropez wearing a similar suit. Bianca’s ensemble was courtesy of Yves Saint Laurent and featured the designer’s famous Le Smoking jacket as well as a matching skirt. Like Lipa, Bianca topped things off with a wide-brimmed hat.

In the 55 years since the Jagger wedding, Bianca’s suit has been canonized and copied many times. At the Met Gala last year, Zendaya, Anna Sawai, and Kerry Washington all referenced the ensemble (and Bianca’s general affinity for white suiting). Since then, many a bride has embodied the effortless ease of a wedding suit or similarly rebellious pants. Amal Clooney wore a tailored two-piece Stella McCartney set to her civil ceremony with George in 2014, and Solange Knowles donned a caped Stéphane Rolland jumpsuit to her wedding in 2021. Just last year, Kim Cattrall married audio engineer Russell Thomas just a few miles down the road from Lipa at the Chelsea Old Town Hall in a Dior suit styled by Sex and the City costume designer Patricia Field.

Lipa’s own nuptial on Sunday, May 31, at Old Marylebone Town Hall in London were likely just the civil ceremony. The pair is reportedly still hosting a more extravagant affair in Sicily in the near future. The moment looked straight out of a rom-com, aided by both parties’ high fashion ensembles.

Unlike many stars of her caliber, Lipa isn’t beholden to one fashion house. While we can expect Zendaya to wear Louis Vuitton to her own upcoming nuptials, Lipa’s choice of designer was anyone’s guess. The singer has great relationships with multiple brands. She has been known to be partial to Jacquemus (and attended Simon’s own wedding a few years back), and has recently been spotted out in Kim Shui, Chloé, Gucci, and Balmain. She attended the Chanel spring 2026 haute couture show last year, and was perhaps scouting looks for the wedding’s Sicilian portion from the front row. But for the event on Sunday, it was Roseberry and Schiaparelli who won out.

That also means her choice of bridal suiting was likely very intentional. It could very well have quite the impact on the upcoming crop of brides. The singer is an undoubted fashion influence, so don’t be surprised if you see more and more women ditching ballgowns for suits and veils for floppy hats. Of course, we probably have many more bridal looks incoming from Lipa (possibly some more traditional ones as well), especially if this Italian wedding is to be as elaborate as the tabloids predict. If this first outfit is any indication, we are in for quite a sartorial treat.

Austin Butler has great timing. The 34-year-old actor arrived in New York City on Wednesday night, just in time to celebrate the Knicks’s Game 4 win with the rest of the town. Perhaps that impressive punctuality is thanks to his timepiece. Butler is an ambassador of the Swiss luxury watchmaker Breitling, and is in the city to celebrate the return of the label’s iconic ’90s watch, the Chronomat. But just like anyone else who has set foot on the island of Manhattan (and the surrounding boroughs) over the last few weeks, Butler has Knicks fever, even if he is a California native. “I’ve been going to watch the Knicks since I first moved to New York when I was 20,” he tells W. “This is unreal.”

If Butler makes his way to a courtside seat this series, keep an eye on his wrist, as he will likely be sporting a piece from the new 22-piece Chronomat collection. On Thursday night, the actor hosted a ’90s-themed soirée in honor of the new collection at Breitling’s Madison Avenue store. He arrived to the event in a vintage, Breitling-branded yellow taxi and spent the evening soaking in the throwback atmosphere, where guests snapped pics on Polaroid cameras and enjoyed a playlist of retro hits. Inside the Breitling pay phones made especially for the event, Butler took some time away from the party to discuss his partnership with Breitling, the nostalgia he gets from the relaunched watch, and the one ’90s trend he’s leaving in the past (for now).

What drew you to Breitling in the first place?

Because of what they stand for. They embrace this sense of adventure—riding motorcycles and flying planes, all those things that are aspirational for me. There’s a rugged nature to Breitling, but also you can find pieces that are elegant.

Do you ride motorcycles and fly planes?

I do ride motorcycles, but flying planes is an aspiration. Eventually we’ll get to the planes.

Are you excited about this reintroduction of the Chronomat?

I feel like this marks an evolution of the Chronomat. I wasn’t a watch expert before [working with Breitling], but then I started learning and I realized the nostalgia this watch has for me. My dad was a big Jerry Seinfeld fan, so seeing him wearing it on Seinfeld or seeing pictures of Bruce Willis wearing it is very cool. But now they’ve made certain updates that really suit me.

The Chonomat is such a classic ’90s watch, and I feel like there’s definitely some ’90s influence in your style. What is one trend you like to embrace from the decade?

I don’t know if this is ’90s, but I like wearing a long-sleeve shirt under a short-sleeve shirt. That’s a look I really appreciate.

What’s one ’90s trend that should stay in the ’90s?

Parachute pants. Are those from the ’90s? I’m sure some people could pull them off, but I don’t think I’m going to be pulling out a pair of parachute pants myself.

Well, they could be helpful when you get around to flying planes.

You’re right. That’s important to have. In case you need a parachute.

Sometimes it feels like fresh handbags are hitting the market every single day. Just moments after you swipe your card for a new going-out bag, a casual scroll through Instagram may reveal another contender. Every time Bella Hadid steps out on the town, or Dua Lipa posts a new photo, they have a new covetable carry-all by their side. It’s downright overwhelming, but it’s not surprising. Accessories have long been a major seller for luxury brands, and there’s an incentive to release new and updated pieces. Are we to blame for wanting them all?

The situation has gotten even bigger thanks to the constant designer debuts. It seems that whenever someone takes the helm at a brand, they’re expected to couple their first collection with a new bag. The spring 2026 season brought with it many inaugural collections from new creative directors—and now, we’re reaping the benefits. Since the beginning of the year, many bags have become available, and they’re already in the closets of fashion’s most influential faces. Yes, you can collect them all, but if you’re attempting to be more selective (and save a few bucks), see below for a breakdown of the year’s It bags, so you can determine which one (or two...or three) will be right for you.

Dior Cigale

Jonathan Anderson has introduced many new bag designs during his first few seasons at the helm of Dior, but none have quite caught the eye of buyers as much as the Cigale. Presented during the spring 2026 runway show, the Cigale is named after a 1952 dress designed by Christian Dior. Once called “a masterpiece of construction and execution” by Vogue, the Cigale dress is known for its structured silhouette featuring a pinched-in waist and reduced pannier hips. Anderson has cited the dress as his favorite of all time, so it’s no surprise references to the piece have popped up throughout his work at Dior. The Cigale bag, specifically, features the same architectural lines for which the 1952 gown is known—representing feats in craftsmanship and construction, but also timelessness. It’s a sophisticated accessory for the modern ladies who lunch, and it has already been seen toted by Taylor Swift, Ariana Grande, Charlize Theron, and Charli xcx.

Gucci Borsetto

The Gucci Borsetto is one of those handbags you know about before it even launches, because you see it on the arms of all your favorite It girls. Prior to becoming available to the public earlier this year, the accessory was already seen held by Alex Consani and Vittoria Ceretti. Since then, Demi Moore, Kate Moss, and Dua Lipa have given the design their expert seal of approval too (with Moss also starring in the bag’s campaign).

The name Borsetto comes from an amalgamation of borsa (Italian for “bag”) and morsetto (Italian for “horse bit”). Of course, the piece features Gucci’s iconic horse bit, placed on the front of the bag atop the house’s two-tone stripe. With an elongated zipper and detachable strap, the Borsetto allows for versatility; an array of colors offers a more subtle look—black leather, brown suede—or something a bit more flashy with the classic GG monogram.

Large Borsetto Boston Bag

Gucci -

Medium Borsetto Boston Bag

Gucci -

Bottega Veneta Veneta

Jacob Elordi has one of the best bag collections out there, and if he cosigns a design, it’s worth a second look. Of course, Elordi is a Bottega boy, so it’s no surprise the actor was one of the first to get his hands on the brand’s newest Veneta bag. The Veneta was first created in the ’70s by Bottega cofounder Renzo Zengiaro before being reintroduced under its current name in 2002. Last year, as part of spring 2026—Louise Trotter’s first with the brand—the Veneta was reimagined in four new sizes. The updated Veneta also features leather strips of 1.2cm width, padded out with a soft interior filler, allowing for a more cushioned feel. It has already proven to be a favorite of Julianne Moore, Olivia Dean, and Elle Fanning.

Maxi Veneta

Bottega Veneta -

Baby Veneta

Bottega Veneta -

Loewe Amazona 180

No, this isn’t just a list of Kate Moss’s favorite bags (we already did that). It’s just that the model is always on the cutting edge of accessories. That’s why it’s no surprise she was one of the first to get her hands on the new Loewe bag, one of the many spring 2026 designs that fall under the “Pickpocket Bags” category. When the Amazona 180 first appeared at Jack McCollough and Lazaro Hernandez’s debut show for the house, it was presented unzipped. And while you may have thought that was just a styling technique, here Moss is, proving the look can be taken to the streets (with caution).

Of course, the zipper does work, so those afraid of losing their phone need not fear—and the style also fits under the shoulder for extra protection. The Amazona 180 (named for Loewe’s 180th anniversary) also features a removable crossbody strap and comes in a variety of colors, as well as three sizes. Moss opted for the large in black leather, but the mini in blue makes for a perfect, bright addition of color to any outfit.

Large Amazona 180 Bag

Loewe -

Mini Amazona 180 Bag

Loewe -

Versace Pivot

Versace is championing the continuing domination of the bucket bag, a silhouette that has often been ignored by luxury brands despite its extreme popularity on the street. Straight from Dario Vitale’s debut (and only Versace show), the Pivot Bag leapt off the runway and onto the arms of Alex Consani, Chloë Sevigny, and Amanda Seyfried. It brings some color to this lineup, with offerings in cobalt blue and aquamarine suede. But those looking for something subtler will also be drawn to the black, camel, or chocolate brown leather. And, of course, upon the front lies the classic Versace Medusa emblem—lest anyone mistake the bag for another brand. It is flanked by a chain that swoops from the lip to the side strap for an extra flourish that feels quintessentially Versace.

Small Suede Pivot Bucket Bag

Versace -

Large Leather Pivot Bucket Bag

Versace -

Chanel Maxi Flapbag

The most elusive of this new crop of bags is undoubtedly Matthieu Blazy’s ludicrously capacious take on Chanel’s classic Flap. After debuting on the runway during the spring 2026 season (Blazy’s first with the brand), the collection released to much fanfare in March. Everyone wanted to get the bag, but most walked away empty-handed—adding, of course, to the appeal. It also helps, of course, that the purse is equal parts chic and practical, with its large size allowing for use as a work or travel bag. And while the layman may continue to struggle to add the Maxi Flapbag to their closet, Hailey Bieber, Kendall Jenner, Jennie, and even Harry Styles have been taunting us, flaunting their own acquisitions on the street.

Valentino Garavani Devain

Many of the bags on this list fall squarely in the “everyday” category, but with its latest offering, Valentino is suggesting an accessory for evening. First presented in the pre-fall 2025 collection, the Devain has been seen on everyone. And we mean everyone: Sabrina Carpenter, Dakota Johnson, Olivia Rodrigo, Hailey Bieber, Selena Gomez, Bella Hadid, Margot Robbie...the list goes on. That’s likely due to the versatility: the accessory comes in a wide swath of colors, fabrics, and embellishments, allowing one to mix and match, working the Devain into their existing wardrobe. There’s a denim version embroidered with flowers, a metallic blue one covered in sequins and beads, a completely crocheted option—and that’s just the tip of the iceberg. The many iterations make the bag feel customizable. And as an added bonus, the variety decreases the chance of you carrying the same bag as your best friend on a night out.

Devain Small Embroidered Velvet Shoulder Bag

Valentino Garavani -

DeVain Embroidered Small Shoulder Bag

Valentino Garavani -

Spoilers ahead for I Love Boosters

When you want to dress a surrealist world in outrageous color, call up Shirley Kurata. Daniel Kwan and Daniel Scheinert (affectionately referred to as “the Daniels”) did it for their Oscar-winning film, Everything Everywhere All At Once, and W followed suit for the 2022 Directors Issue. When Boots Riley was planning his latest film, I Love Boosters, enlisting Kurata to do the costumes was likely a no-brainer.

It turns out the admiration was mutual. “I’ve always been a big fan of his work,” Kurata tells W. “Even without reading the script, I told him, ‘Yes, I would love to work with you.’” When the Los Angeles–based stylist and costume designer learned more about the film, her enthusiasm only grew. “I knew we would have so much fun creating some crazy looks for all the characters.”

I Love Boosters, which arrives in theaters May 22, follows a clique of Oakland women who regularly shoplift from the fictional clothing store Metro Design and resell the goods to their local community at discounted prices. The group’s ringleader, aspiring designer Corvette (Keke Palmer), reveres Metro Design’s despotic creative director, Christie Smith (Demi Moore), but not enough to keep her from robbing the woman dry. When her crew, the Velvet Gang (including Taylour Paige, Naomi Ackie, and eventually Poppy Liu), gets their hands on a teleportation device, it takes their Robin Hood–esque operation to the next level.

Anyone who is a fan of Riley (and Kurata) knows better than to expect anything conventional from this film. Like Riley’s other works, Sorry to Bother You and I’m a Virgo, Boosters is a brightly colored commentary on societal issues. This time, Riley tackles unethical labor practices, fake news, and fast fashion. His use of practical effects leaves the viewer uncomfortable at points, but don’t you dare shield your eyes and miss a moment of Kurata’s over-the-top wardrobe. From a velour tracksuit exaggeratedly overstuffed with boosted goods to a plaid dress that erupts in streams of fabric (shown below), Kurata breaks down every wild ensemble from I Love Boosters.

Corvette’s Spiked Jumpsuit

At one point during the film, Metro Design starts selling a spiked jumpsuit that Corvette claims was her original design—one of the few pieces in the film directly attributed to her—and a window into how she actually thinks.

“[Boots] just wrote a description of the jumpsuit in the script, so I made some sketches to make sure I understood him correctly,” Kurata says of creating the piece. When Riley approved the design, Kurata reached out to Philip Seastrom and Lacey Micallef of the Los Angeles–based brand Big Bud Press. “They do colorful overalls, and I asked them to help me conceive it,” Kurata says. “Thankfully, they were able to make all the colorways of the jumpsuit.”

The Stuffed Pink Tracksuit

One of the first physical gags in Boosters comes after a shoplifting expedition to Metro Design. Corvette crams merchandise into her pink velour tracksuit and emerges from the store looking like an overstuffed version of Paris Hilton. Initially, Kurata didn’t think she’d be able to find a set roomy enough to be stuffed, and she was prepared to make it herself. Luckily, Juicy Couture comes in extended sizes, so she was able to purchase a suit from the velour masters.

“We built padding underneath and then actually started stuffing clothes in it,” Kurata recalls. “But we needed to make sure Keke would be able to walk, so I had to test it out. There is a silly picture of me trying on the jumpsuit and stuffing pillows inside.” With that, Kurata confirmed the tracksuit was usable and secured Riley’s approval.

Corvette’s Turquoise Dress

When Corvette sneaks into Christie’s comically slanted apartment, she does so in a turquoise dress of her own design, one that immediately catches Christie’s eye. Riley initially gave Kurata the brief that the dress was to be inspired by Corvette’s parents’ Oldsmobile, which turned Kurata’s attention to cars. “I actually sourced vinyl upholstery and mimicked quilting from car seats,” she says. “There are also some chrome elements in the belt and in her shoes.”

The dress had to be unconventional, as it's established with her spiked jumpsuits that Corvette is hardly a traditional designer. At the same time, there were logistical considerations, like the design’s durability. “She’s running in place in Christie’s apartment, so the dress had to be practical, allow movement, and get attached to a harness. There were a lot of factors, but I had so much fun creating something that I felt like came out of Corvette's mind.”

The Heist Looks

Midway through the film, the Velvet Gang embarks on a robbery spree of every Metro Design store in the East Bay. Rather than trying to blend in, the group dresses in an array of over-the-top looks. “The whole point was that they couldn’t get recognized, so they had to have disguises,” Kurata says. “But we wanted to make sure every outfit was heightened.”

Riley didn’t specify any particular themes he wanted to convey in the script, which gave Kurata the creative freedom to dress up the group however she desired. One such set of ensembles, which Kurata describes as “raver anime,” finds the group in day-glo fur jackets, miniskirts, and Kawaii-adjacent accessories. Another covers the girls in florals, with Palmer in a vintage Moschino dress. Kurata gathered the wardrobe through a combination of brand outreach, vintage shopping, and some good old DIYing. The bag Palmer is carrying, for example, in the floral clip, was hot-glued with flowers. “There was a lot of arts and crafts,” Kurata says.

The Transforming Garments

It's during this montage that the women discover their teleportation device has another trick: It’s also a “situational accelerator,” which turns anything it’s pointed at into its most surreal version. This leads to a scene in which the quartet experiments with the gadget’s settings, transforming their clothing into Dalí-esque versions of the original designs.

First up is Corvette, whose plaid dress erupts in streamers that encompass the room. “I thought it would be cool to go more punk with that look,” Kurata says of Palmer’s long-sleeved dress. Kurata reached out to French designer Solène Lescouët to create the piece. “She’d previously done a collection of spiky, punk-inspired dresses.” Riley wanted to create the effect of lines coming off the dress, so Kurata sourced plaid fabric for Lescouët, who made two versions, one plaid and one black. From there, Kurata collaborated with the film’s production designer, Christopher Glass, to develop the practical-effects approach. In the end, she sewed colored ribbons to the black dress so they could emerge from all angles.

Sade’s dress, meanwhile, came from Rodarte. “They’re good friends,” Kurata says of sister designers Kate and Laura Mulleavy. “I knew Sade’s dress was going to expand and there would be a fabric explosion, and I knew tulle would be a great fabric for that, because it's pretty inexpensive and you could buy bolts and bolts and bolts of it.”

To create Poppy Liu’s dress of dirt, twigs, and leaves, Kurata took a trip to Michael’s and the now-defunct JoAnn Fabrics to buy up panels of grass. “I got leaves and twigs from the yard and just glued them on top of a camo corset,” she says with a laugh. “The glue gun was definitely used a lot because we had a limited budget.”

The most striking look in this scene comes when Taylour Paige’s brown silk Collina Strada dress turns into a fuzzy, anatomically correct bodysuit complete with comically large areolas. “Boots wanted it to look like a Muppet,” Kurata says. “We didn’t want it to look too realistic because that would just be creepy.”

Christie Smith’s Black and White Wardrobe

And while the main group of women is shrouded in an immense amount of color throughout the film, Demi Moore’s tyrannical designer stands in stark contrast, wearing an almost exclusively black and white wardrobe. Her looks are also in direct opposition to her designs, which are monochrome but colorful, with each Metro Design location dedicated to a different solid colorway.

“Because all of Christie’s stores are based on color, I thought it would be funny if she never wore it,” Kurata says. When dressing Christie, Kurata looked to designers like Rei Kawakubo and Phoebe Philo, who dress almost exclusively in black and neutrals. “I talked to Demi and offered that idea, ‘To set you apart from this world, you’re going to be in non-colored outfits.’ She totally loved it.”

Moore actually helped with sourcing her character’s wardrobe. When she went to London prior to production, she picked up a few structural pieces from Comme des Garçons. Kurata got other pieces from a friend who has an impressive vintage archive. The costume designer wanted Christie’s clothing to also invoke the “wonkiness” of her tilted apartment. “I sought out pieces that were asymmetrical and avant-garde.” She also commissioned work from designers like Victoria Yujin Kwon, who created a pair of 3D architectural gray shorts for Moore. “I just loved how cool and unique they are,” Kurata says. “It works so well in her slanted apartment.”