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

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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

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Large Leather Pivot Bucket Bag

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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 -

Dua Lipa’s just discovered the term “funmaxxing”—but it’s obvious the star’s been doing it for quite some time. With a maximalist fashion streak that’s packed with sultry and archival pieces, Lipa has clearly resonated with the term when she defined it in a recent Instagram caption. “Funmaxxing is an internet slang term describing the practice of intentionally maximizing enjoyment,” she wrote. The accompanying full lace ensemble featured in the post certainly fit the bill.

While posing with a margarita, Lipa enjoyed golden hour in a plunging black lace minidress. The swirling piece featured a floral pattern and flared sleeves for a romantic, bohemian flair. To further elevate her sultry number, the singer laced into a pair of Christian Louboutin’s sheer black KM Lace Botta boots for a monochrome cutout finish. Her look was completed with a glittering Bulgari diamond necklace and rings, plus—in true Lipa fashion—a shoulder bag covered in a golden leopard print.

However, this wasn’t Lipa’s only funmaxxing moment while enjoying the early days of summer. The star also snapped photos with pals, including Simon Porte Jacquemus, as she sparkled in a white lace miniskirt, sequin-fringed halter bralette, and linear diamond earrings.

Rounding out her funcentric range, Lipa snapped nighttime photos in a gauzy, belted black minidress and boxy leather boots. Large gold hoop earrings, a gleaming Bulgari Serpenti bangle, diamond rings, and Chloé necklaces accented with sunflower, seashell, and beaded charms brought her ensemble a free-spirited touch. As a Chanel ambassador under Matthieu Blazy, she also carried a sunny yellow latticework version of the French brand’s flap bag—which just walked the label’s Cruise 2027 show in Biarritz.

From full lace to breezy boho vibes, Lipa certainly aced a funmaxxing trend with flying colors. Indeed, with a repertoire including a flaming hot Chanel skirt suit, Chloé’s swan-shaped purse, and fluffy “mob wife” shearling, were you surprised? Call it fashionably radical optimism.

Once a year, for about half of the year, the generational baddie of the solar system, Pluto, stations retrograde. Before you start sounding the alarm, let me reiterate that Pluto stations retrograde for approximately half the year. And thankfully, this is nothing new to us. We’ve been experiencing the culture shifts provided by Pluto, the society-ruling sign, since 2023. From May 6 to October 16 of this year, Pluto will retrograde through the revolutionary, innovative, and forward-thinking sign of Aquarius. This retrograde gives us the chance to review how we’ve been changing socially, what tools are moving our lives forward, and our aspirations.

Aquarius is deeply connected to society and social lives. This is the trendsetter sign, after all: finger always on the pulse, keeping the rest of us from getting lost in the Stone Age. Over the past few years, you’ve probably noticed the way you connect with others is shifting—or, at the very least, your respect for these social interactions has changed. Pluto in Aquarius marks a social upheaval. In a digital age, where over half of the global population is on social media, we are more connected than ever. However, there is a trend bubbling up involving “dumb phones,” analog items, and the return of IRL house parties. While they’re all valuable ways to stay connected, Pluto’s retrograde in Aquarius encourages us to think about which social experiences lead to the most genuine human connections. Over the next few months, it’ll become apparent not just how you can build these connections, but also which connections hold the most value for you. Who are your people, and how will you continue to grow with them?

In addition to support from people, you’ve also got a few months to think about the gizmos and gadgets that will aid in your goal-chasing journey. Aquarius is the inventor of the stars, constantly thinking about what makes our world function and how to make life easier through innovation. That said, not all inventions stand the test of time. This doesn’t mean we shouldn’t try out new tools, or ways of problem-solving. We just need to be a bit more conscientious about it for the next few months. While Pluto is retrograde, there might be some technical difficulties in your life. These are moments you’re being called to ask “Is this the most efficient way to get what I need to get done? And on top of that, is this process actually progressing me forward, or is it just cutting corners?” Pluto in Aquarius seeks innovation, but also wants you to know when to cut through the slop that is cosplaying as progress.

Pluto in Aquarius is an aspirational time, and the next few months will help us remember where we are going. With the changes to culture and contraptions happening, it’s important to reflect on the life you want. Aquarius archetypically holds onto utopian ideals, with a humanitarian flair that understands progress requires a village. What does that dream life look like for you? Who and what will help you build it into a reality?

While it’s normal to expect the unexpected with any Aquarius transit (i.e. expect the end goal to change over time), it’s essential to have some kind of end goal in mind. Aquarius is dually ruled by Saturn and Uranus, which means this sign knows better than any other how to build upon what already exists. For you, that looks like the universe constantly taking what you want to do and naturally shaping it into something better. So do what Pluto requires of you and start making deep, fundamental changes to the things that aren’t working and are no longer aligned with your vision. Trust that whoever or whatever is pulling the strings will keep you on the right path.

For extra astro guidance, read for your rising sign below! These are sign-specific reflections to help you navigate the next few months of Pluto retrograde.

Aries

Expect a shake-up in your social life soon. Start exploring new ways to connect with the world around you—this is a good time to join a community or team-based club/organization. The airy energy of Pluto in Aquarius will only fan your flames higher and higher, so look forward to the inspiration that comes from others. Be cautious of falling into old social habits or patterns. Let these six months be a period of social rebirth.

Taurus

Pluto retrograde gives you the chance to revisit your legacy. You are a stability-loving sign, but you could be feeling an itch for something new. What aligns with who you are? Who can you work with to carve out a professional path that is perfect for you? There’s no more time to clock in and out without feeling a gust of inspiration. Take these few months to revisit your long-term plan of action.

Gemini

Pluto retrograde will push you to continue being curious. You might find yourself revisiting some old ideas of the world, or filling in the gaps of how you understand this place we call home. Close the loops over these next few months. Use this period of time to go as deep as the iceberg will allow you. No longer are you a jack of all trades, but rather you are becoming a master of all.

Cancer

Pluto retrograde will help you dive deep and shed your skin, metaphorically speaking. You will be experience a greater understanding of yourself and your most intimate relationships by the end of these six months. The manner in which you share who you are continues to evolve, so if there are any boundaries you feel like have been crossed recently, go ahead and re-establish them now. Embrace the intensity, expect the unexpected, and know that this is the time for you to take back control.

Leo

Pluto retrograde will be a moment to assess your relationships: professional, plutonic, passionate—all of ‘em. You might feel particularly like there are some power struggles going on, or a feeling that one party is trying to push the other to bend to their will. Compromise is key, but that doesn’t mean you should compromise on your values. How and with whom you choose to connect will change over the years, so let these next few months be a lesson in who should stand the test of time.

Virgo

It’s time to get serious about your work. These next six months, you might feel like life seems a bit more mundane, which is not necessarily a bad thing. Sometimes moving on autopilot is necessary to focus on inner work, or to chip away at a goal. That said, if you’ve been slacking at all you could experience a bit of tension. Reflect on how you want your life to operate and start making the changes slowly, over time, so that life can start being a reality.

Libra

Oh, how special this retrograde will be for you! During the next few months, you might notice an urge to explore former passion projects, reignite old flames, and find ways to reconnect with your inner child. Pluto in Aquarius is a spark of inspiration that shifts how you express yourself, and shine in the world. People-pleasing should go out the door, because right now is your chance to prioritize your happiness. Trust the fact that, if you make changes from within yourself, you will inspire others to do the same.

Scorpio

Pluto retrograde could be a bit tough, so get ready to do some of the hard work these next few months. You might have to revisit some tense conversations, or wash the salt out of any re-opened wounds. The lesson here is to focus on how you emotionally regulate yourself. What needs to change so you can feel more at ease, day in and day out? If there is something to get off your chest, or a hatchet that needs to be buried, take action.

Sagittarius

The next six months will be a bit of a mental whirlwind with Pluto retrograde. You might have moments of déjà vu in conversation, or you could feel as though you can’t get an idea out of your head. Revisiting how you consume information, and what you choose to share is important right now. Rather than getting caught up in an inner monologue, make sure you are sharing what is on your mind and perhaps someone else’s perspective could help you piece together the answer to the deep questions you’ve been asking.

Capricorn

Pluto retrograde is a great time for you to realign financially. You might have noticed that money is feeling a bit tighter than you’d like. There is only so much you can do about the global economy, but there are steps you can take. Revisit your budget and where you are spending your hard-earned cash. Doing this in conjunction with some reflection on your values will help you pinpoint what to prioritize. There’s no need to change what works, just find ways to be more conscientious about how you use your resources.

Aquarius

Pluto retrograde in your sign is both a celebration and a mourning period. On one hand, you will probably feel like you are disconnected from the person looking back at you in the mirror. You might question yourself, wondering who you will be at the end of this long transit. However, it is also a celebration of your growth and how much you’ve been able to overcome. Don’t stress about having it all figured out, or trying to force yourself into a box. You will continue to evolve, so be grateful for the person who got you here, and welcome in the person who will get you through the next phase of life.

Pisces

The next few months will be filled with healing and spiritual insights. Pluto retrograde will aid you in understanding more deeply your beliefs and your dreams. Additionally, you’ll find that these next six months will be filled with natural endings, both internal and external. Remember: when one door closes, another one will open. Be patient, and let yourself surrender to the changing of the seasons.

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.”

To follow up 2023’s Oscar-winning Oppenheimer, director Christopher Nolan has chosen one of history’s great epics for his next blockbuster. The Odyssey will arrive in theaters this summer, and a stacked cast of Hollywood’s biggest stars will help bring Homer’s ancient Greek story to very modern IMAX audiences. Here’s everything we know about the film so far, including its first full-length trailer:

Is there a trailer for The Odyssey?

A short teaser for the film leaked last July and later debuted in theaters, but the first full-length trailer for The Odyssey premiered on The Late Show with Stephen Colbert on May 4, 2026. The clip conveys the story's texture and, like the great epic, starts with Matt Damon’s Odysseus recounting his life back home to Charlize Theron's Calypso. He recalls his decade-long journey, from helping the Athenians take Troy to navigating treacherous seas and other difficult situations. It hints, though, that the film will focus a great deal more on life back in Odysseus’s home of Ithaca, where his son, Telemachus (Tom Holland), and wife, Penelope (Anne Hathaway), have been waiting for him and trying to fend off Antinous (Robert Pattinson) from taking everything Odysseus has.

There’s also some strong evidence here that The Odyssey will simply be Nolan’s most Dad-friendly film yet. When Pattinson’s Antinous threatens to replace Odysseus as the master of the home, telling him he’s “pining for a daddy he’ll never know,” Holland’s Telemachus tells him with a shaky voice: “My dad is coming home.”

Watch the first Odyssey trailer below:

Who is in the cast of The Odyssey?

Some of the biggest names in Hollywood are part of Nolan’s film, including Matt Damon as Odysseus, Tom Holland as his son Telemachus, Anne Hathaway as his wife Penelope, Robert Pattinson as Odysseus’s rival and Penelope’s suitor Antinous, Zendaya as the goddess Athena, Charlize Theron as the sea witch Calypso, Jon Bernthal as Spartan king Menelaus, Benny Safdie as Menelaus’s brother Agamemnon, Mia Goth as the maidservant Melantho, John Leguizamo as Odysseus’s friend Eumaeus, Samantha Morton as the mythical Circe, and Himesh Patel as the Odysseus’s second-in-command Eurylochus.

In a Time profile published May 12, Nolan confirmed online speculation that Lupita Nyong’o would be portraying Helen of Troy, the most beautiful woman in the world, and the wife of Odysseus’s fellow king Menelaus (Jon Bernthal). Nyong’o will also portray Helen’s sister, Clytemnestra, who is married to Menelaus’s brother, Agamemnon (Benny Safdie).

Nolan also cast Travis Scott as a bard, telling Time: “I cast him because I wanted to nod towards the idea that this story has been handed down as oral poetry, which is analogous to rap.”

The sprawling cast also includes Elliott Page and Logan Marshall-Green in as-yet unidentified roles.

Who has worked together before?

The film marks several creative reunions, including for Nolan and Hathaway, who starred in 2014’s Interstellar (along with Matt Damon) and 2012’s The Dark Knight Rises. Pattinson has also worked with the director, starring in 2020’s Tenet.

The Odyssey is the second of three movies starring Pattinson and Zendaya releasing this year, which also includes The Drama and Dune: Part Three. It’ll also bring Zendaya and partner Tom Holland back to the screen for the first time since 2012’s Spider-Man: No Way Home (their fourth Spider-Man installation, Brand New Day, arrives in theaters on July 31).

How will The Odyssey film diverge from the original saga?

There have been several films and TV series that draw inspiration from the foundational myth of The Odyssey. Kirk Douglas starred in a popular Italian version of the story in 1954’s Ulysses, and the Coen brothers’s 2000 musical-comedy O Brother, Where Art Thou? put George Clooney in the Odysseus role on a satirical journey through the American South (and included a folk-revival soundtrack that won the Grammy for Album of the Year). Nolan’s epic is closer to a faithful adaptation of Homer’s 8th-century BC Bronze Age epic, though it seems life back in Ithaca, with Holland’s Telemachus and Hathaway’s Penelope warding off Pattinson’s Antinous, will get significant screentime in addition to Damon’s long journey home as Odysseus, where he’ll battle mythical creatures like cyclops, sea monsters, and tempting sirens.

What has Christopher Nolan said about the film?

It’s fitting that a director known for his massive-scale filmmaking would take on history’s great epic, and Nolan brought his characteristic sense of grandeur to the 91-day shoot. He told Empire magazine that they shot over two million feet of film (The Odyssey is the first feature film in history to be shot entirely with 70mm IMAX film cameras).

Much of that shoot occurred on the open ocean, which he called “vast and terrifying and wonderful and benevolent, as the conditions shift. We really wanted to capture how hard those journeys would have been for people. And the leap of faith that was being made in an unmapped, uncharted world.”

Nolan avoided CGI and green screens for the film, instead opting for the kind of grand scale Hollywood production that doesn’t typically get made anymore. The cast shot in locations all over the world, including Scotland, Sicily, Iceland, and Morocco.

Of his decision to shoot in such physical conditions, he added: “By embracing the physicality of the real world in the making of the film, you do inform the telling of the story in interesting ways. Because you’re confronted on a daily basis by the world pushing back at you.”

He also told Colbert on The Late Show that The Odyssey was the original Marvel movie, saying: “Even comic book culture, whether you’re talking about Marvel or D.C. or all the rest, a lot of it comes directly from the Homeric Epics. The thing about Homer is, nobody knows if that was a person. Homer, in a way, is the sort of George Lucas of his time.”

And adding more evidence to the Dad Movie theory of it all, he also told Colbert that The Odyssey’s major thread about Odysseus’s dog is what really made him want to make the film. “It's really one of the things that hooked me,” Nolan said. “I'm a new dog owner. I'd never had a dog growing up. I didn't have a dog when my kids were young. We denied that, and then as soon as they left for college, we got a dog. They love the dog, too, when they get to visit. I decided to do The Odyssey because it's the ultimate dog story.”

When is the release date for The Odyssey?

The Odyssey arrives in theaters on July 17, 2026.

At first glance, indie rock in recent times appeared to be on life support.

Fan pages for the AI folk-rock band the Velvet Sundown flooded TikTok. Recommendation engines churned out playlists for everything from “helping you pass a kidney stone” to “watching a commercial for an allergy medicine.” The last true indie artist to win the Grammy for album of the year was Arcade Fire, for The Suburbs, in 2011. But recently, a cohort of indie acts—from singer-songwriters Lucy Dacus and Nate Amos to bands like Momma and Chanel Beads—has been presenting an improbably fresh picture of music’s left-of-center scene, one that evokes the generational breakthrough of ’00s bands like the Strokes, Yeah Yeah Yeahs, and Interpol.

“Indie” is a mercurial term, perhaps best understood as music that exists slightly outside the mainstream and embodies peculiarity over polish. Even the most committed purists have lost count of the genre’s revivals. Since punk, indie has mutated from the DIY drama of Buzzcocks and Hüsker Dü to the alt-frequencies of Sonic Youth and Pavement to the freak-folk flamboyance of Animal Collective and Joanna Newsom.

“Every so often, a generation of bands discovers the Velvet Underground, Television, Suicide, and Talking Heads and tries to write their own version,” said Ronen Givony, author of Us v. Them: The Age of Indie Music and a Decade in New York (2004–2014). What makes this cycle different is that the infrastructure that once sustained independence has been replaced by paywalls and playlists. It’s a far cry from the early-aughts peak, when file-sharing spread the music, blogs boosted scrappy bands, and corporations like Red Bull underwrote shows. Even Jay-Z and Beyoncé caught Grizzly Bear at the Williamsburg Waterfront. “For an indie artist to break through now,” Givony said, “they’re almost doing it with one arm tied behind their back.”

If attention is the scarcest resource in the streaming economy, Lucy Dacus has stood out by doing less. “We’re not meant to understand everything all at once,” she said. “You can only frame one idea.” Forever Is a Feeling, which came out last March, is only her fourth album in 10 years. Boygenius—her supergroup with Phoebe Bridgers and Julien Baker—dropped their debut album in 2023, toured arenas, and walked away as a Grammy-winning band. “I’m making art selfishly, to understand myself,” Dacus said. “If people don’t like it, that’s their business. If they do, that’s also their business.”

Lucy Dacus

At a recent set in the National Gallery of Ireland, she sang “Modigliani”—a love song about seeing a partner beyond their persona, which Dacus has said is about Baker. Deliberate, with a touch of tremble, her voice echoed through the empty halls, allowing the lyric “You will never be famous to me” to feel romantic, precisely because it was raw. “I don’t know if I would succeed doing it a different way,” she said.

To audiences, that reserve reads as a guarantee that what you’re getting is real because she made it for herself. “I’m not gonna pander to my fans,” she said. “That would feel like a death sentence. I feel sweetly toward my fans. We all chose to be in the same room. Them showing up is such a gift. I’m not entitled to their attention.”

Nate Amos operates with similar self-awareness, albeit with the obsessive tinkering of a mad scientist. Water From Your Eyes, his performance art–rock project with Rachel Brown, has opened for Interpol in Mexico City. With his solo project, This Is Lorelei, Amos endlessly remixes and revisits his extensive back catalog. “The goal is for a song to exist outside of any one version of itself,” he said. His 2024 album, Box for Buddy, Box for Star, mixes irony and openness in songs that land like a gut punch. The compositions proved sturdy enough to function like standards. Alt-country crooner MJ Lenderman transformed one hyperpop-punk track into a retro-country dirge. Geese frontman Cameron Winter performed a grand piano version of “Where’s Your Love Now” on his solo tour. A super deluxe edition of the album, released in April, features guest takes on Amos’s Bandcamp bedroom pop by 10 different acts—among them Fantasy of a Broken Heart and Jeff Tweedy, Power Snatch, Waxahatchee, and Momma. “There’s a secondary gratification when a song survives surgery,” Amos said.

This Is Lorelei

If Dacus, 31, and Amos, 35, represent indie’s new sincerity, Momma might just be the genre’s poppiest architects. On a recent afternoon, singer-guitarists Etta Friedman and Allegra Weingarten, a pair of late-20-somethings who met in high school outside of Los Angeles, sat at the bar of Forgtmenot, a neighborhood pub in New York’s Chinatown. Weingarten’s cherry-dyed hair matched the spicy watermelon margaritas they had ordered. Behind them, the walls were plastered with vintage concert flyers and other downtown ephemera.

The band, which also features bassist and producer Aron Kobayashi Ritch and drummer Preston Fulks, is often grouped with the gritty ’90s sounds of Veruca Salt or Liz Phair. But Weingarten and Friedman also acknowledge a more mainstream influence: the mid-2000s power-pop-punk of Avril Lavigne, Ashlee Simpson, Hilary Duff, and Disney-era Miley Cyrus. “Those Hannah Montana songs are expertly crafted,” Weingarten said. “There’s a real skill to writing something catchy and timeless.”

That prowess is the secret sauce of Welcome to My Blue Sky, Momma’s fourth album. By beefing up the pop-punk gloss with fuzzy neo-grunge textures, Momma turns guitar-driven escapism into catchy earworms. The New York Times declared the lead single, “I Want You (Fever),” one of the best songs of 2025, and said it was the shoegaze answer to Robyn’s “Call Your Girlfriend.”

Momma

The band had just returned from a run through Japan and Australia. In Tokyo, a fan showed up at their hotel to deliver a gift. Friedman recalled that in Sydney crowds went “so fucking hard” for the album’s scream-along hooks: “Australia feels like the farthest place in the world, so to have a bunch of people be that hyped felt crazy.” During a night off at a Sydney karaoke bar, Friedman and Weingarten fronted a live band to perform Tenacious D’s “Tribute,” a song about a demon who threatens to eat a band’s soul unless they play the best song in the world.

These days, making music can feel like a similar Faustian bargain. “We’re not impressed with indie rock right now,” Weingarten said. “We find it to be very algorithmic.” She illustrated the point with an anecdote about hearing Momma play on “some female indie rock” Pandora station at a hair salon. “At first I was like, Woo, okay, fun!” she said. But as the playlist droned on, all the songs sounded the same. She promised herself right then and there that “whatever we do, whether it’s well received or poorly received, I want it to be controversial,” even if that causes “people to hate the next thing we do.” Friedman agreed: “You can’t keep feeding the formula. Maybe we need to just do whatever the fuck we want.”

In a landscape that rewards predictability, other artists are also keeping rock’s rebel spirit alive through disruption. The London trio Bar Italia—Nina Cristante, Sam Fenton, and Jezmi Tarik Fehmi—trade linear storytelling for voyeuristic snapshots. Testing an outside producer for their upcoming album is an intentional act of instability. “We’ve made three or four albums in a certain way,” Fenton said. “It’s almost more exciting that it could go horribly wrong.” Imperfection also guides Chanel Beads, the project of Shane Lavers. On the band’s debut album, Your Day Will Come, digital distortions and archival sound collages suggest subversive counter-programming to an era in which new music rapidly disappears from the Spotify Top 50. “It’s not really a debate or decision when making music,” Lavers said. “It’s more like planting something, and whatever fruit grows is what you have to eat.”

Bar Italia

Chanel Beads

The Philadelphia quartet Mannequin Pussy—singer Marisa “Missy” Dabice, synth guitarist Maxine Steen, drummer Kaleen Reading, and bassist Colins “Bear” Regisford—have had to literally fight not to let streaming platforms define their existence. Searching their name on TikTok once yielded no results, but when they typed “Mannequin Cock,” their music appeared. The platform wasn’t policing obscenity, they concluded—it was policing femininity. Asking Amazon’s Alexa to play Mannequin Pussy caused the device to shut off entirely. Eventually, the tech-bro powers that be backed down and algorithms were reprogrammed so that, as Dabice put it, “the only type of ‘pussy’ that can be searched on TikTok is ‘Mannequin.’ ”

Mannequin Pussy

Their lyrics also flout conventions: “Not a single motherfucker who has tried to lock me up / Could get the collar round my neck or find one that’s big enough,” Dabice growls on the track “Loud Bark,” from the band’s most recent release, I Got Heaven. Pitchfork declared the record a “mouthy, messy” masterpiece. Mannequin Pussy didn’t adapt to the streaming era so much as win it over on their own terms. Like the rest of indie’s new guard, they’re making the industry accommodate them, rather than the other way around.

Mannequin Pussy and Lucy Dacus: Hair by Gregg Lennon Jr. for Oribe at The Only Agency; makeup by Nick Lennon for Prada Beauty at The Only Agency; production: Suki Smith Studios; producer: Julia Steeger; fashion assistants: Anabelle Hernández, Eric Jackson Chen; hair assistant: Emily Blair; makeup assistant: Luna Vela; tailor: Jackie Martirosyan at Susie’s Custom Designs.

Bar Italia: Hair by Kei Terada for Ouai at Julian Watson Agency; makeup by Erin Green for VIOLETTE FR at Artlist Paris; photo assistant: Rory Cole; hair assistant: Takumi Horiwaki; makeup assistant: Hanna Fee Friedrich.

Chanel Beads: Grooming by Ginger Leigh Ryan for Make Up for Ever; photo assistant: Diego Salcedo; fashion assistant: Isabel Choi; special thanks to Flux Studios.

This Is Lorelei: Grooming by Kazu Katahira for Oribe at Forward Artists; photo assistant: Lux Nguyen; fashion assistant: Isabel Choi; grooming assistant: Rio Kinoshita.

Momma: Hair by Ginger Leigh Ryan for Bumble and Bumble; makeup by Mical Klip for Sofie Pavitt Skincare; photo assistant: Huy Vu; fashion assistants: Isabel Choi, Sofia Prochilo; makeup assistant: Mason Harper; special thanks to Forgtmenot.

Alana Haim has been sitting in the front row at Louis Vuitton shows for years now, but last night marked the singer’s first time walking the runway. She made her modeling debut for the brand’s cruise 2027 show, held in the grand, first-floor galleries of Manhattan’s recently renovated Frick Collection on Fifth Avenue overlooking Central Park.

The gilded Beaux-Arts mansion served as a striking backdrop for artistic director Nicolas Ghesquière’s futuristic vision of New York style through a distinctly Parisian lens. Models sporting cotton-candy-colored hair and pieces printed with Keith Haring’s iconic figures—created in collaboration with the late artist’s foundation—strutted past Rembrandts, Vermeers, and Goyas.

Almost as if to put a punctuation mark on what the show notes referred to as an exploration of “pop art, pop culture, and pop luxury: the notion of the popular as a powerful medium” Haim appeared in a bouncy purple-and-yellow minidress paired with matching yellow socks, a black choker, bucket hat, and lace-up boots. A longtime muse of Ghesquière’s, she has worn and modeled his designs before—just never on the runway. There was the official fall 2023 campaign she starred in alongside her sisters Danielle and Este, the leather pants he designed for the band’s 2022 One More Haim Tour, and countless red carpets, including the recent custom seafoam-green silk gown she wore to the New York premiere of The Drama, her latest film with co-stars Robert Pattinson and Zendaya.

The latter was in attendance at the cruise show too, part of a star-studded front row that included friends of the maison like Emma Stone, Cate Blanchett, Anne Hathaway, Emily Blunt, Amy Adams, Chase Infiniti, Hoyeon, and Stray Kids star Felix. Here, Haim shares her photo diary from the unforgettable evening—from her pinch-me moment with Pat McGrath to post-show selfie bliss.

“Waking up on show day. Was so excited to walk that I had to make a custom shirt because I love being a Ghesquière girl!”

“Ready to go, let's do this!”

“In glam, starting to feel real.”

“Number 10 in the model lineup.”

“The icon herself touched my face…. AGAIN, PAT MCGRATH TOUCHED MY FACE.”

“I'm a model now, didn't you know?”

“Last moment before it’s time to go.”

“Ghesquière girls for life!”

“Final hat fitting before rehearsal.”

“In love with my show look.”

“Trying not to trip.”

“Show over, I didn't trip!”

“Laughing with Nicolas after the show. I still can’t believe I got to walk in a Louis Vuitton show.”

“Celebrating with my sisters after the show.”

“Thank you, Louis Vuitton, for having me. I had the time of my life!”

Looking to make a style statement this summer? Start with sunglasses. Often regarded as an afterthought accessory—a piece that inspires less fanfare (and frenzy) than big-ticket bags or shoes—eyewear is actually a potent styling tool. The right sunglasses can level up your look. Extra-large shades might bring drama or mystery, while classic Wayfarers offer a timeless sense of cool. The spring 2026 runways delivered plenty of fresh inspiration, introducing a wave of exciting new sunglasses trends, plus endless possibilities for your summer style persona. At brands like Celine, Khaite, Prada, and Loewe, shades arguably stole the spotlight. Ahead, discover the five sunglasses trends we’re most excited to wear this summer.

Oversize Wrap

Just in time for the 2026 World Cup, channel your inner early aughts WAG in a sunglass style that offers full coverage. Hide from (while simultaneously attracting) the paparazzi in this considerable shape, which is marked by a curved front that cradles the face.

The Atlas D-frame acetate sunglasses

Thistles -

+ The Shining round-frame acetate sunglasses

Jacques Marie Mage -

Oval cat-eye acetate sunglasses

Gucci -

Runway Wrap Sunglasses

Tory Burch -

x Oliver Peoples 1967C

Khaite -

The Aela

Jimmy Fairly Paris -

The Tint

At Celine, Bottega Veneta, and Chloé, tinted lenses appeared in an assortment of sizes and colors. Ranging in mood from cinematic to retro to bohemian, this non-traditional lens will add a dose of colorful chic to your day.

Aviator-style acetate sunglasses

Bottega Veneta -

Eclipse round-frame tortoiseshell acetate sunglasses

Matteau -

Round-frame acetate sunglasses

Prada -

Groupie

Bonnie Clyde -

Chloé Wavy Sunglasses

Chloé -

The Funk Daddy

Crap Eyewear -

The Athletic

Even if, like me, you can’t run a mile to save your life, you can borrow the agile cool of an athlete with a pair of sporty shades. Bold colors, silver frames, and game-ready shapes will up the energy of any outfit.

Rounded-frame acetate sunglasses

Miu Miu -

Rim MG22

Gentle Monster -

Momoka Pacer Veridian, D+ Onyx Mirror Designed in California

District Vision -

Tommy Sunglasses

Bru Eyewear -

Eye Jacket™ Redux

Oakley -

Brady Sunglasses

Tom Ford -

The Wired It Girl

Wire rims are nothing new in the eyewear realm, but they feel fresh in the hands of designers like Miuccia Prada and Michael Rider.

1984C

Oliver Peoples -

Rectangle Frame Sunglasses

Jacquemus -

Prada Eyewear Collection sunglasses

Prada -

Jet-02 round-frame gold-tone and tortoiseshell acetate sunglasses

Tom Ford -

SL 866 square-frame metal sunglasses

Saint Laurent Eyewear -

Calisto Photochromic Sunglasses

Akoni -

The Flat-Top Aviator

This look marries sporty ease and oversize glamour. Seen at Loewe, Khaite, and Burberry, this shape feels new and directional for 2026.

Aviator-style acetate sunglasses

Celine -

Aviator-style gold-tone and tortoiseshell acetate sunglasses

Loewe Eyewear -

Tony

Chimi -

Telluride Sunglasses

Illesteva -

Val Sunglasses

Elisa Johnson -

Oversized aviator sunglasses

J.Crew -

Euphoria’s third and final season has officially come to a close. The finale, which aired on HBO Sunday night, brought the series’ unforgettable characters and crime-racked world to a rollicking end only Sam Levinson could create. Season three has been quite a ride—between the surprise deaths, biblical references, unexpected character arcs, and dubious fetish portrayals, this round of the controversial show has produced more questions for loyal fans than it has answered.

But one aspect has remained steadfast—the beauty direction. Ending Euphoria, which first premiered in 2019, meant the makeup, hair, and skincare had to be the clearest and most powerful vehicle for storytelling.

In the first two seasons of the hit show, the characters’ aimlessness, grief, experimentation, angst, and yearning were displayed directly on their faces: glitter tears, electric eyeliner, and rhinestones galore made Euphoria beauty a mainstay (and a source of inspiration for other makeup artists). This season, meanwhile, the looks—while nowhere near dull in comparison—are precise, dark, intense, and dramatic, leaving much of the glitz behind. Head makeup artist and lead makeup designer for the show, Donni Davy, refers to the style as “feral glam”—the best way to sum up the season’s mood as characters claw their ways out of their adolescence and into an even more unforgiving world. “I understood immediately upon reading [the scripts] that this season was not going to be about whimsical self-expression or finding different versions of themselves,” Davy tells W. “The motive is not self-discovery, it’s not dreamy, it’s not like anything we’ve done before.” With high aspirations and higher stakes, the only elements at the center of the characters’ minds are money, success, and fame. They will use any means necessary to arrive at those goals, including how they choose to paint their faces.

Sex work is a central theme of the final season—played out in the storylines of Silver Slipper dancers, Cassie’s OnlyFans career pursuits, and high-end escorts like Jules. As such, Davy explains that the male gaze drives the aesthetics of Cassie (Sydney Sweeney), Jules (Hunter Schafer), and Maddy (Alexa Demie). Any sense of creative expression and innocence is long gone—now, there is an aggressive sense of hustle within these characters that’s reflected in their glam.

“It’s not all about money,” Davy clarifies. “It’s also about notoriety, recognition, and survival. And all of those things are so tied together now, in modern times. Cassie wants fame, Maddy wants status and also definitely money, and Jules wants this elevated life.” Lexi sports a full beat to work, particularly with a bold red lip as she steps into an exciting industry, attempting to prove her worth as a writer. Davy refers to Maddy’s makeup as a “grown-up, professional version of herself: striking, old Hollywood, and classic with almost no color.” Cassie is striving for straight-up sex appeal, while Jules is stifled by her own escort work and therefore takes on a “vacant” look.

Cassie’s attempts to capture male attention and a life of fame at any cost reveals a clear political affiliation, Davy says. “I thought, ‘oh my god, she’s a Republican,’” the makeup artist says. “I didn’t lean into that part too much, because it’s boring.” Instead, she drew inspiration from an issue of Hustler Magazine given to her by Levinson. Davy crafted looks for Cassie that were hypersexual (think: ultra juicy lip gloss and shimmery eyes). When it came to Jules, it was clear to Davy that the character was wrestling with her choices; as a result, her beauty routines displayed a level of moody discretion. She’s feminine and sexy, but “not in the traditional TV way, with the super smoky eye and red lip,” Davy explains.

Across all the show’s characters, Davy believes Jules takes the greatest departure from her first-season self, and therefore so does her glam. But the difference in the whimsical, sparkling looks from previous seasons lies in this round’s dark materials. “Everyone in the beginning was like, ‘What happened to the glitter?’” Davy says of the concluding Euphoria season’s makeup. “There is still glitter! Kitty (Anna Van Patten) and Magick (Rosalía) have rhinestones.” There is, of course, also a heavy dose of special effects for all those gory bits.

Knitwear designer and emerging New York Fashion Week favorite Henry Zankov has been named the artistic director at Diane von Furstenberg. The 45-year-old is the first to hold this position at the company, which will have him oversee the brand’s total creative vision, including collections and visual identity. He will make his DVF debut this September during New York Fashion Week. Nathan Jenden, who was brought on as the brand’s chief design officer and vice president, creative last year will report to Zankov.

This new job will actually mark Zankov’s return to DVF, as the designer first joined the company in 2014 under then-creative director Jonathan Saunders. Zankov remained at DVF for four years before he left and eventually started his namesake knitwear brand, Zankov, in 2020. He returned to the DVF fold last September when he designed an exclusive collection for the brand to much success.

“I have always been surrounded and inspired by strong women and Diane is the ultimate embodiment of that,” Zankov said in a statement. “The DVF woman is a rebel—confident, curious and independent. It is an honor and privilege for me to build on Diane’s legacy and to carry the brand into the future.”

Zankov was born in St. Petersburg, Russia and moved to the United States with his parents when he was nine. He was raised in New Jersey, where his proximity to New York City shaped his love of fashion early on. He took sewing classes at the Fashion Institute of Technology in high school and went on to officially enroll in the school to study women’s design, where he eventually gravitated toward knitwear. “I’ve always been drawn to softer materials, whether it’s jersey, sweaters, or silk,” he told W in 2024. “I really enjoy creating something from nothing. But it’s so tedious to knit, and knitting machines are so precarious. So I had to learn how to be patient.”

While in school, Zankov interned at the cashmere brand TSE and moved to Donna Karan upon graduation, where he acted as an assistant menswear designer. It was at DVF, though, that he said he found his love of color. That came in handy as he launched his own brand, which has become known for its bold hues and imaginative uses of knit. In 2023, Zankov landed his first wholesale account, with Net-a-Porter. That same year, he was a runner-up for the CFDA/Vogue Fashion Fund prize, for which he received $100,000. In 2024, he was named American Emerging Designer of the Year by the CFDA. Since then, Zankov has become a staple in the New York Fashion scene, and he will continue to work on his brand alongside his new role with DVF.

Last year, global chief executive officer of DVF, Graziano de Boni, took the company back from its Chinese licensee and distributor Glamel. He began thinking about the future of the brand, known for its wrap dresses, when a colleague recommended he speak to DVF alum Zankov. That led to the capsule collection, as well as a friendship between the two men. “I came to the conclusion that Henry was the right person that could bring us that freshness and that modernity, and even broader, the cultural relevance that I’ve been working to re-establish for our product,” de Boni told WWD.

Furstenberg, meanwhile, has given Zankov her seal of approval. The designer is 79 and currently spends most of her time in Venice, Italy. She told Vogue that she and Zankov “come from the same tribe.”

Nobody has fun with fashion quite like Demi Moore. The actor loves making a statement, and she’s to continue that streak this year as a member of the jury for the Cannes Film Festival. To kick off the first day, Moore delivered a burst of whimsical polka dots, courtesy of Simon Porte Jacquemus.

While arriving to a jury members’ photo-call at the Palais des Festivals, Moore stepped out in a strapless white dress from Jacquemus’s fall 2026 collection. Her style featured exaggerated hips as well as a mermaid-style tiered hem. However, the piece’s boldest accent came from a smattering of black, red, blue, and yellow polka dots—many attached to thin wisps of feathers, creating a floating effect.

To match her dramatic dress, Moore carried a polka-dotted version of the brand’s Valérie handbag. Stylist Brad Goreski kept focus on the star’s look with clean white pumps and coordinating cat-eyed sunglasses, framing her statement piece with stark neutral elements. Sparkling blue sapphire and diamond earrings glamorously completed Moore’s ensemble with a touch of sparkle.

Moore’s polka-dot dress proved her longtime statement dressing streak is only growing. Whether she’s wearing feathered Balenciaga couture, Western-inspired Brandon Maxwell suiting, or a leather Gucci catsuit, Moore has proven adept at wearing a range of dynamic looks in recent years. Her Jacquemus number is no exception, bringing a playful take to the classic, crisp white attire that’s signature of the south of France.

Of course, this is only the beginning of Moore’s upcoming Cannes wardrobe. On his Instagram Stories, Goreski teased her white dress as “Look 1,” nodding to a range of outfits on the horizon. As part of this year’s jury, Moore will spend 12 days viewing the festival’s various films—and ultimately deciding its 2026 winners—alongside fellow jury members Ruth Negga, Chloé Zhao, Park Chan-wook, Laura Wandel, Diego Céspedes, Stellan Skarsgård, Isaach De Bankolé, and Paul Laverty. With a swathe of premieres, parties, and additional events coming up, we can expect plenty of eye-catching looks in store from the fashion-forward star.

Margot Robbie was a drama-club kid during her teenage years, as one would expect of someone who is now an Oscar-nominated actress and theater producer. Yet today in London, Robbie was feeling a little bit more like a band geek—at least, sartorially speaking. Attending the West End transfer premiere of the play 1536, Robbie suited up in McQueen’s edgy take on a marching band–esque jacket. A pair of ultra-low-rise “bumsters” added even more drama.

While they’re technically better referred to as Napoleon jackets or military jackets (we just prefer the less violent interpretation), marching band jackets have seen a sudden return to fashion this year. They had originally been repurposed as a signifier of subversive cool back in the ’80s when Britain’s New Romantics music scene appropriated the look (see: Adam Ant), and then returned to the “In” list in the ’00s when they popped up on the influential runways of Hedi Slimane–era Dior Homme and Christophe Decarnin–era Balmain. The garment reappeared en masse on several spring 2026 runways, although Robbie’s McQueen version may be the sexiest iteration.

Robbie wore a black T-shirt underneath, but the jacket itself is cropped mid torso—meant to be worn wide open. While the piece exposes the midriff, elongated sleeves kept Robbie’s knuckles modestly covered. It’s decidedly on trend, but the outfit also harkens back to Alexander McQueen history. The house founder showed a cropped military jacket in his 2003 “Irere” collection. The low-rise “bumster” pants that Margot wore are, of course, one of the definitive McQueen codes. They’re called “bumster” because they’re cut so low, they risk showing off a bit of bum. Robbie, however, managed to avoid that risk.

Written by Ava Pickett, 1536 explores the impact of Anne Boleyn’s execution on three working class women in Tudor England. The play picked up numerous awards and rave reviews. Robbie and her Lucky Chap Productions company came aboard as producers as the show moves to the West End.

So, while the event may have been more drama club, we guess it’s appropriate that Robbie was on the sidelines helping to hype the production in her marching band jacket.