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VENICE 25 BTB CRUSH
Venice Film Festival brought a lot of excitement for fashion fans, from tons of new Dior by Jonathan Anderson, appearances of resident cool girls like Mia Goth and Chloë Sevigny, and a fair share of hunks. Here are our favourite looks!
Is there anything better than Chloë Sevigny gracing her presence at a European film festival? This is a rhetorical question. For the premiere of her latest film with Luca Guadagnino, the coolest girl in the world chose a lace-core cocktail Saint Laurent dress by Anthony Vaccarello, worn with matching biker shorts and the highest of heels. No notes.
For Andrew Garfield, Venice was a baby blue affair – from the cable-knit jumper he wore to the photocall for his new film After the Hunt to the suit in the same hue he showed up in on the red carpet. Both courtesy of Jonathan Anderson’s new vision for Dior Homme. Looks like Garfield might be the latest addition to the Northern Irish designer’s army of cuties. Yes, please!
What does one wear to their first-ever Venice Film Festival? Take a clue from Ayo Edebiri. The talented young American actress attended the press conference in a white tweed suit from Chanel. From the raw edges to the open neckline and balloon trousers, the look redefined the brand’s ultimate staple.
Noomi Rapace gravitates towards edginess in both her roles and red carpet choices. No wonder that one of the looks she chose to wear for the festival was a sharply cropped McQueen blazer with a sweeping cape – precision tailoring met theatrical flair, under the bold creative vision of Seán McGirr, the house’s creative director.
Lewis Pullman stepped out in Venice in a Saint Laurent copper silk-satin shirt and coordinating tie (tucked in halfway into the shirt, following the house’s brilliant styling at their latest menswear show), paired with dark brown trousers – a look we are looking forward to replicating this autumn.
Greta Lee is one of Jonathan Anderson’s favourites, and we’re so glad she’s following the designer to the house of Dior. In one of her Venice looks, the actress commanded the spotlight in a sculpted navy Dior bar suit that expertly fused classic tailoring with minimalism. The structured silhouette felt like a nod to the house’s sartorial authority that we can’t wait to see explored further in Anderson’s womenswear debut this October.
Let’s be honest, it’s hard for Jacob Elordi not to look dashing in anything he chooses to put on his 6’5” back. That said, the Australian actor, time and time again, has impressed us with his refined taste (special mention for that bag collection!). In Venice, he attended the photocall for Frankenstein in a white set from Bottega Veneta and jewellery from Cartier. Elegance is always a recipe for success (and swoons).
Emma Corrin made us excited about sweater weather in a lilac Miu Miu set, a whisper-thin knit top and pencil skirt layered with tonal socks. A plush fur bolero wrapped the look in a glamorous feel, while crimson heels injected a jolt of Miuccia Prada’s signature attraction to oddness.
Oh, how we love when Mia Goth goes all out and glam! Celebrating the premiere of Frankenstein, the actress made us gasp in a richly sculpted brown Dior gown by Jonathan Anderson with a dramatic bow train.
Accompanying her boyfriend Lewis Pullman, Kaia Gerber stepped onto the Venice red carpet in a lace-sheered Givenchy dress with a square neckline by Sarah Burton that felt dipped in Old Hollywood reverie. Framing the moment with black shades, heels, and a leather clutch, she made timeless feel strikingly modern.
Indya Moore appeared in Venice in a paisley-printed Saint Laurent gown – an elegant fusion of bohemian poetry and Parisian precision under Anthony Vaccarello’s daring vision. It was the kind of look that whispered rebellion wrapped in red-carpet grace – a perfect match for the outspoken actor!
A few days before the news of Giorgio Armani’s passing, Aaron Taylor-Johnson appeared in Venice in a look that embodied the Italian designer’s legacy in menswear fashion – seamlessly blending rugged charm with refined tailoring.
Vicky Krieps made her debut in Venice as Bottega Veneta's newest ambassador, wearing a sculptural black gown designed by Louise Trotter, which perfectly showcased the brand's intelligent approach to luxury. The look featured architectural draping and leather accents, complemented by sleek accessories from Bottega's fine jewellery collection and Krieps’ baby pink pixie cut.
As far as we’re concerned, no man has ever looked better in navy than Christopher Abbott in his satin Prada suit. Paired with a matching poplin shirt and sleek black leather boots, the look exuded Abbott’s quiet confidence that we can’t get enough of.
Cate Blanchett is a fearless fashion force – we know that. This quality made her the perfect candidate to be one of the first people wearing Glenn Martens’ Margiela debut on the red carpet. From the fitted bodice with the house’s signature raw hem detail to the feathery skirt made out of nature morte paintings, Blanchett delivered a bold, uncompromising statement of haunting beauty.
Oscar Isaac is in his fashion babe era, and we love to see it. In Venice, the actor made us giddy in a Celine look by Michael Rider, centred around an off-white tuxedo jacket and a polka-dot shirt. A masterclass in laid-back sophistication!
Does Tilda Swinton ever miss? No. Did she take our breath away in the black and white Chanel gown with a voluminous silk skirt? Obviously.
Words by Martin Onufrowicz
FATHER MOTHER SISTER BROTHER
Saint Laurent Productions, under Anthony Vaccarello, proudly announces that FATHER MOTHER SISTER BROTHER, written and directed by Jim Jarmusch, has been awarded the Golden Lion for Best Film.
With Tom Waits, Adam Driver, Cate Blanchett, Charlotte Rampling, Vicky Krieps and more, the film gathers a cast as striking as its vision.
Presented by Saint Laurent by Anthony Vaccarello with MUBI and The Apartment, in association with Jarmusch’s partners, it marks a powerful chapter in the house’s dialogue with cinema.
IN THE NAME OF ICARINO
For Winter 2025, Saint Laurent expands its iconic Icare line with the Icarino, a refined, compact take on the house’s signature shopping bag. Crafted in luxurious lambskin with the distinctive flat lozenge quilting, the bag retains the sculptural cassandre emblem, designed like a piece of jewelry. Its smaller format, with zip closure and lambskin lining, makes it both elegant and practical. Available in a rich palette — black, urban grey, hortensia, dark beige, strong moss — as well as an orange caramel cognac in suede satin, the Icarino embodies modern sophistication with timeless appeal. The season also sees fresh iterations of the Icare maxi bag, reimagined in cabernet red lambskin and natural shearling merinos.
PRADA FINE JEWELLERY COULEUR VIVANTE
Prada’s latest Fine Jewellery collection from Miuccia Prada and Raf Simons unfurls as a chromatic manifesto – a meditation on harmony and dissonance, where colour becomes an evocative language. Amethyst, aquamarine, madeira citrine, pink morganite, and oro-verde peridot are not merely stones but characters in a dialogue, their contrasts arranged with an unpredictable grace. The gems shimmer between intensity and fragility, echoing lives in calm flux.
The campaign sustains this tension: actors Maya Hawke and Kim Tae-Ri, as well as poet and activist Amanda Gorman, appear in monochrome portraits suspended in time, then overlaid with translucent veils of colour that refract their presence through jewel tones. Against this dreamlike haze, rivière necklaces, solitaire rings, drop earrings, and line bracelets reveal their true hues. Jewellery here is an atmosphere, not an accessory – a beauty redefined: subversive and ever-shifting.
Words by Martin Onufrowicz
SAINT LAURENT FALL 25
SAINT LAURENT FALL 25
BY ANTHONY VACCARELLO
STUDIO INTIMACY
Sarah Burton’s first campaign for Givenchy is a love letter to the women behind fashion. Shot by Collier Schorr, the imagery blurs the line between team and talent — with stylists, makeup artists and even the photographer stepping in front of the lens. What emerges is a soft, cinematic glimpse into the energy of real collaboration, featuring icons like Kaia Gerber and Liu Wen alongside Burton’s creative circle. The collection itself is elegant yet grounded, infused with warmth, ease and intimacy. For Burton, beauty begins with connection — and this campaign makes that personal.
VELVET HEAT
Saint Laurent
Velvet Heat
by Anthony Vaccarello
For Fall 2025, Anthony Vaccarello invited Kate Moss to make the pre-collection her own.
No script. No set.
Just Kate in Los Angeles, moving through heat and silence, wearing the clothes her way.
A silk skirt. A leather blouson. A man’s jacket on bare skin. Sunglasses and sun.
Chloë Sevigny and Frankie Rayder pass through.
A pool. A drive. A house. A party.
Real moments — nothing staged.
Fragments of friendship, freedom —
and Kate, always at the center.
SHADES OF SUMMER
SAINT LAURENT BY ANTHONY VACCARELLO
captured by Purienne
feat. Frankie Rayder, Erin Wasson, Jenn Du Puy
A CURATED LIFE
Jonathan Anderson reimagines JW Anderson as a personal cabinet of curiosities — a space where refined craftsmanship, twisted classics, and everyday treasures coalesce. For Spring 2026, he channels an instinctive approach to curation, blending Japanese denim, Scottish knits, and English silk damask into an ever-evolving narrative of taste. The new store concept mirrors this spirit: warm, familiar, rich with handmade details. Alongside the fashion offering, objects like Mackintosh lamps, Murano glass, antique tools, and even estate honey tell stories of artistry and place. It’s a celebration of what Anderson loves most: things with soul, made to be lived with, and shared.
A STUDY IN STILLNESS
In LOEWE’s FW25 precollection, character takes centre stage once again.
Captured by Gray Sorrenti, the campaign blurs lines between reality and roleplay — a cinematic ensemble featuring Yang Mi, Greta Lee, Josh O’Connor and Stéphane Bak inhabits modernist interiors where reflection, light and form distort expectation.
There’s a quiet tension: bodies lounge, observe, withdraw. Are they rehearsing, dreaming, remembering? Draped in twisted tailoring, fluid leathers and florals, each silhouette plays with scale and proportion — the kind of visual play that defines LOEWE.
Bags become totems in the scene: the Puzzle, the Madrid, the Roll-top. Softness meets structure. Mystery lingers. The wardrobe thinks before it speaks.
ROMANCE OF REBELLION
In the heart of Soho, McQueen finds poetry in the dissonance. Tailored silhouettes stalk the streets where writers once drank and rebels once dreamed — sharp collars, broad shoulders, and the sting of metallic thread catching light. Francis Bacon’s ghost lingers in the shadows of lace-lined satin, beside sailors in reworked gabardine. Theo Sion captures the clash: heritage cut against flight jacket edge, antique leather softened by city glow. Inside The Coach & Horses, the past leans into the present — with Soho George and Florence Joelle carrying the spirit forward. A tribute to London’s grit, romance, and refusal to be tamed.
AN ORDINARY DAY
SAINT LAURENT
An Ordinary Day
by Anthony Vaccarello
Photographed by Martin Parr
An Ordinary Day is anything but. Through Martin Parr’s saturated lens and Anthony Vaccarello’s precise eye, the banal becomes theatrical — plastic chairs, sunburnt skin, greasy spoons all elevated to high fashion’s quietly amused stage. It’s a study in contrasts: hyperreal color meets restrained styling, irony brushed against elegance. Every frame hums with voyeurism, wit, and something oddly tender. Parr doesn’t romanticize — he reveals. And Vaccarello, always flirting with subversion, finds beauty where others see clutter. The result? A collection that smirks at spectacle while becoming one.
PRADA FRAMES X SALONE DEL MOBILE 2025
In what has become a welcome custom of Salone del Mobile – the world’s largest design fair taking place in Milan this year from April 8th to April 13th – Prada Frames returned for its fourth edition! Following last year’s focus on the home space, this year’s iteration of the three-day symposium, hosted by the Italian fashion house in tandem with research and design practice Formafantasma, centred its lens around forms of mobility.
Aptly titled In Transit, the conference looked at how global distribution networks and digital revolutions shape our daily lives. Through examining the disruptive impact of online and logistical infrastructures and the juxtaposition between the ease of global transit of goods and the challenges related to human migrations, the symposium offered a critical take on modern hypermobility.
The subjects were discussed by speakers from the realms of academia, design, art and technology – from AI scholar Kate Crawford doing a talk on digital infrastructures and researcher Marta Foresti looking at tools designed to enforce migration to author Nicola Twilley tracking the way in which refrigeration technology has impacted the global consumption and distribution of food.
Each year, Formafantasma’s co-founders Simone Farresin and Andrea Trimarchi conceptualise a captivating venue for the event that evocatively encapsulates its centre of attention. This time around, the duo invited the guests to Milan’s Central Train Station, hosting the talks in the historical waiting area Padiglione Reale (used back in the day by the Italian royal family and heads of state) and the Arlecchino train from the 1950s designed by Gio Ponti and Giulio Minoletti.
Words by Martin Onufrowicz
CLEMENTE X SAINT LAURENT
For the Summer 2025 campaign, Saint Laurent invited acclaimed artist Francesco Clemente to create a series of portraits capturing the essence of actors Zoë Kravitz and Isabella Ferrari, alongside models Penelope Ternes and Ajus Samuel. Through his poetic brushstrokes, Clemente transforms each subject into a symbolic figure, radiating quiet strength and a deeply personal expression of femininity.
Anthony Vaccarello was drawn to Clemente’s emotive approach, recognizing in his layered use of color a natural resonance with the spirit of the season’s collection.
Since the 1970s, Clemente’s art has been shaped by his travels across cultures, each experience leaving a subtle imprint on his work. After settling in New York in the 1980s, his evocative paintings—often exploring the fluidity of identity between the spiritual and the material, the feminine and the masculine—helped reaffirm painting as a vital and relevant medium. His creative path includes collaborations with legendary figures such as Andy Warhol, poet Allen Ginsberg, and filmmaker Alfonso Cuarón for his 1993 adaptation of Great Expectations.
This collaboration between Clemente and Saint Laurent reflects Anthony Vaccarello’s ongoing commitment to engaging with visionary artists across disciplines. By bringing his singular perspective to the campaign, Clemente adds a new layer to the ongoing dialogue between fashion and art—one that continues to evolve with each season.
Art direction Anthony Vaccarello
Artist Francesco Clemente
In collaboration with Vito Schnabel Gallery
Talents Zoë Kravitz, Isabella Ferrari, Penelope Ternes, Ajus Samuel
#YSL #SaintLaurent #YvesSaintLaurent #YSL58 @anthonyvaccarello
LUDOVIC DE SAINT SERNIN BACKSTAGE FW25
Photography by Oriane Verstraeten
COURREGES BACKSTAGE FW25
Photography by Oriane Verstraeten
ECHOES OF ELSEWHERE
Shot by Jack Pierson, the Bally Spring/Summer 2025 campaign unfolds in the sun-drenched Coachella Valley, just outside of Palm Springs, California. The setting—an architectural masterpiece designed by Swiss modernist Albert Frey in 1964—serves as more than just a backdrop. Frey’s signature fusion of structure and landscape, where glass walls dissolve the boundary between indoors and outdoors, echoes the central theme of Bally’s latest collection: a delicate interplay between heritage and evolution, restraint and liberation.
Postcards featuring idyllic Swiss landscapes punctuate the campaign, an overt yet poetic nod to the maison’s origins. These images act as visual footnotes, reinforcing Bally’s Swiss roots while emphasizing the brand’s defiance of rigid borders—both geographic and conceptual. Founded in 1854, Bally’s heritage is undeniable but, rather than confining itself to the past, the brand embraces transformation.
This philosophy of freedom is woven into the very fabric of the Spring/Summer 2025 collection. Inspired by the Dada movement—which started in Switzerland with sound-poetry author Hugo Ball—creative director Simone Bellotti pondered on the dichotomy between tradition and modernity. References to Ball’s artistic revolution are made in cocooning silhouettes and ruffle peplums—the same now transported to a desert-like environment.
Bally thrives in contradiction. Like Dadaism, which sought to dismantle artistic norms, the collection questions the rigidity of heritage while honoring its essence. The campaign’s mise-en-scène reflects this duality, where the stark modernity of Frey’s architecture and the surrounding wilderness provide a fitting stage for Bally’s latest evolution.
…
Words by Pedro Vasconcelos
AS TIME GOES BY
Under Anthony Vaccarello’s creative direction, Saint Laurent’s new project draws inspiration from Marcel Proust’s “In Search of Lost Time”, exploring memory and Monsieur Saint Laurent’s favorite book.
This collection of short films, directed by Nadia Lee Cohen, features Charlotte Gainsbourg, John Waters, Chloë Sevigny, Addison Rae, Joey King, Travis Bennett, Cooper Koch, and more.
“As time goes by” is capturing the essence of Proust’s narrative with an auteurist eye and unique sense of irony, plunging into Proust’s mind and transforming his themes into a visual experience.
In each film, recurring themes from Proust’s work — Love, Togetherness, Dreaming, Desire, Time, and Memory — are cinematic meditations on emotion, set against the evocative nature of the season.
First published in seven volumes, Proust’s masterpiece contemplates the way the past shapes our identities.
MODERN FREEDOM
For the CHANEL Cruise 2024/25 collection campaign, photographer Jamie Hawkesworth captured a series of portraits of model Loli-Bahia in and around Marseille, embodying the independence, ease, and modernity of the House and the collection. Loli-Bahia embodies the feeling of wind, sun, sea and sky as she surveys the coastline in classic black and white CHANEL lines, here reimagined into a scuba diving suit. Across the images, we see the codes of the House, reconfigured for the Mediterranean.
The sporty attitude is reflected in the season’s iconic tweed jackets, which appear throughout the campaign. The silhouette is reinterpreted with athletic details: with hoods made in sweatshirt, press studs and shell embroideries, their modernity mirrored by the angular geometries of the urban environment. An active feel runs through the rest of the collection, from cycling shorts rendered in fine leather to denim bermudas embellished with braid like a tracksuit. Flat shoes in black patent leather nod to both tuxedo shoes and scuba-wear.
There is a feeling, too, of escape: in the iconic 11.12 bag, which is rendered in luminous pastel tones, in a cotton poplin and lace top and skirt, and in the straw boater hats - a style favoured by Gabrielle Chanel - worn by Loli-Bahia with an insouciance and youthful allure.
These images capture a sense of spontaneity and effervescence. This is the spirit and attitude of the CHANEL woman today: active, energetic, and free.
The Cruise 2024/25 collection will be available in CHANEL boutiques in November.
