Kim Jones has decided to leave his position as artistic director of men’s collections after seven-year run. The development is sure to further fuel speculation that Loewe fashion star Jonathan Anderson may soon be installed at Dior. Dior needs newness to recapture clients attention.

The luxury industry is all about creativity, product appeal and desirability . “There is a reason why creative directors are paid what they are.”

The British designer‘s resignation came one week after he paraded Dior’s fall 2025 menswear on a minimalist set of grand, white staircases and was decorated as a Knight of the Legion of Honor, France’s highest civilian decoration by the Wintour ! don’t understand by Anna a american lady. Jones and the next goal Chanel why not…

Iroquois haircuts, also known as Mohawk, are a bold and distinctive hairstyle.  ‘Yes, it’s a cross between a punk and a monk disguised as a hedgehog, the Iroquois, this haircut could have been a symbol of war status, a message to the Lord of luxury the big Bernard, perhaps!

But these dresses are to be found in the collections of many museums around the world. They have a specific name, they were called court dresses, or corpse dresses, according to the ceremonial dress of the European courts of the 18th century, they symbolised social rank, wealth and power, and that hasn’t changed much.

It was Louis XIV, the Sun King, who contributed to its design around 1680. It consisted of a rigid whalebone bodice laced at the back, a crinoline skirt and separate sleeves. It also included a train worn either at the waist or falling from the shoulders, but the Maria prefers without a train to admire the world origin of ‘courbet’, a visit under the girls’ dresses, a must.

Kim Jones, under a black tent, like the sadness of the world, with a white staircase as a backdrop, Potemkin staircase style, a stripped-down décor to better highlight the fabrics and the construction of the fundamentals that distinguish the luxury of clothes as opposed to those of Zara. From a distance, looks are uncluttered, monochrome, sober at first glance, like this monastic black coat worn with a Yamamoto-style long skirt – the Catholicism is back. But if you zoomed in on the details, which even the front row had trouble seeing, you could spot details like these glass beads scattered like raindrops on the shoulders of a navy blue suit, the tears of luxury perhaps!

Diving into the archives makes sense at a time when many designers are redoubling their efforts to win back luxury consumers disappointed by the poverty of creations, because high-end basics ranging from €800 t-shirts to €4,500 coats are no longer in vogue, and at these prices, they’d better please. That’s probably why the more streamlined designs are given a touch of originality, often drawn from the women’s fashion lexicon of the old haute couture school.

Pharrell Williams, standing next to his longtime friend Nigo, two of the most influential tastemakers in streetwear, from the launch of their Billionaire Boys Club brand to their first eyewear design for Vuitton in 2004, to ongoing projects such as Nigo’s Human Made brand and Williams’ auction platform Joopiter, nigo and Williams to destroy Louis Vuitton.

Only at the top of the Louvre’s luxury pyramid, Nigo, “who means Goofi” in French, 54, took over the helm of Kenzo in 2021, and Williams, 51, was named artistic director of menswear at Vuitton in 2023, both young designers.

The collection they unveiled Tuesday in a mirror box in the courtyard of the Louvre, through a clothing vault filled with archive models, for a collection sprinkled with references and winks to the past, for a Vuitton men’s fashion that has no history!

A study varsity jacket that Williams never made, cherry blossom pink and leopard-print jeans, Williams’ bubblegum aesthetic, pink and the new black.

I am not a film critic, and yet, after last night’s shock, I am going to tell you about Jacques Audiard latest nuggets that will change French cinema and bring it, like the New Wave in its time, into another dimension. The film “Emilia Perez” stands out for the complexity of its plot, centered on the personal transformation of its protagonist. The film explores in depth the journey of “Manitas Del Monte”, a cartel leader who has aspired to become a woman since childhood, and who, with the help of her lawyer Rita, begins a transition to become Emilia.

This transformation is much more than a simple physical change; it represents a quest for identity and redemption. Manitas, played by Karla Sofía Gascón, must navigate the emotional and social challenges of her transition, while facing the consequences of her criminal past.

The film explores themes such as self-acceptance, overcoming prejudice and finding inner peace. But the complexity of the plot also lies in the relationship between Emilia and Rita, played by Zoe Saldana. Their dynamic evolves over the course of the film, from a professional relationship to a deep friendship, marked by understanding and mutual support. This relationship is a central pillar of the story, illustrating how empathy and solidarity can help overcome personal obstacles. The subject it addresses: can we become a better soul by changing sex? Is redemption possible?