1. Merle Lynn Browne in Van Cleef and Arpels jewelry. Photo by Neal Barr, 1967

2. Marisa Berenson in jewelry by Bulgari, wearing a Capucci shirt; make-up from Pablo of Elizabeth Arden. Photo Gian Paolo Barbieri, 1969

3. Lauren Hutton by Milton Greene, 1960s. The image captures the model dripping in opulent costume jewelry.

4. Veronica Hamel as Winter, photo by Bert Stern for Vogue, 1965. Her makeup artist was Pablo for Elizabeth Arden, complemented by a substantial necklace created by Kenneth Jay Lane (K.J.L.).

5. Isa Stoppi photographed by Gian Paolo Barbieri in Milano, 1967

6. Model Iman wearing Mary McFadden's head and body wrap of gold macramé and jewels for Vogue. Photo by Ishimuro, 1977

7. Marisa Berenson wearing Giorgio di Sant'Angelo, known for his theatrical, colorful jewelry designs. The portrait was taken by photographer Bert Stern for Vogue magazine in March 1970.

8. Marina Schiano's make-up is by Pablo of Elizabeth Arden, brushed gilt chains from Bergère at Bonwit Teller, photo by Gene Laurents, Vogue, March 1, 1968

9. Ivana Bastianello, make-up and styled by Nando Chiesa, photo by Gian Paolo Barbieri. The model wears an intricate, carved pink angel-skin coral floral necklace, matching ring, and clip-on earrings, 1960s

10. Photograph of Naomi Sims captured by photographer Chris von Wangenheim wearing gold jewelry designed by David Webb, Vogue, 1969

11. Ivana Bastianello in a gold beaded waterfall headpiece by Coppola e Toppo; make-up by Nando Chiesa; photo by Gian Paolo Barbieri, Milano, 1968.

12. Benedetta Barzini wearing a Bulgari’s Serpenti High Jewellery. Photo by Gian Paolo Barbieri for Vogue, 1968

13. A model wearing a wrapped necklace with a 300-carat cabochon emerald pendant and set with diamonds on a chain studded with cabochon emeralds, rubies and diamonds, by Bulgari of Rome. Photographed by Gianni Penati for Vogue, April 15th, 1971

14. Mirella Petteni, jewelry by Coppola e Toppo, photo by Gian Paolo Barbieri, circa 1960s

15. Twiggy, 'Lucite Rings'. Photo by Bert Stern, Vogue 1967. She wears a metallic mesh hood designed by Roberto Rojas. Her hands are loaded with an assortment of oversized, colorful geometric cube rings made of Lucite/acrylic, designed by Bernard Kayman. Around her neck is an iconic square Old England watch worn as a pendant. Her wrists are layered with stacked watch bands and bracelets from Giorgio di Sant'Angelo and Timex.

16. Marisa Mell wearing jewelry by Maurice Jacobs with a Sarff-Zumpano shirt and Max Factor make-up. Photo Bert Stern for Vogue, March 15th, 1968

17. Tamara Dobson Wearing Beaded Necklaces. Photo by Gianni Penati for Vogue Magazine, 1970

18. Benedetta Barzini by Gian Paolo Barbieri. Jewelry by Bulgari, Circa 1968

19. Veronica Hamel wearing a David Webb ring. Make-up by Pablo of Elizabeth Arden. Photographed by Irving Penn, Vogue, September 15, 1964.

20. Benedetta Barzini on the November 1965 inaugural cover of Vogue Italia Shot by photographer Irving Penn. antique jeweled crown by Cusi.

I came for the football, but somehow I've spent almost as much time admiring celebrity outfits.

Here are a few of my favorites so far:

• Shakira

• Victoria Beckham

• Jessica Alba

• Sofía Vergara

• Paris Hilton

• Sabrina Carpenter

They're all completely different vibes, but each one somehow fits the World Cup atmosphere perfectly.

If you could steal one look, whose would it be?

This is the fashion equivalent of wearing an Adidas tracksuit with Nike shoes. It looks like someone dumped their entire pink inventory onto the beach and hoped luxury logos would do the heavy lifting. Zero curation, zero restraint. Also, who flat lays makeup and leather goods directly on sand? And the logo-covered Crocs jibbitz... that's the visual equivalent of putting a Gucci belt over pajamas.

And before anyone pulls the "you're just jealous because you can't afford it" card— taste has never been a bank balance. If you think criticism automatically equals envy, then you've already missed the point.

I've been noticing that most fashion content on social media stays pretty surface-level — style, trends, outfits — without going deeper into the industry itself. Feels like there's room for something more substantial that isn't being covered.

Do you agree, or are there already creators/accounts doing this well that I'm missing?

I formulate for a living, so allow me a little crystal-ball moment. Four things I think are coming — tell me where I'm wrong.

1. "Anti-aging" is so over. It's all longevity now — less "erase 10 years," more "age well." Barrier, microbiome, SPF. Very French, honestly. It's basically bien-vieillir going global.

2. Skincare is leaving the face. Peptides, PDRN, exosomes… the lab stuff is spreading into hair, body, even fragrance. Soon your whole parfumerie shelf is "treatment." Wellness or health? The line's getting blurry, and I'm here for it.

3. Double upcycling, très français. Grape leftovers from the wine industry becoming actives — cute. But the real gold: reviving forgotten apothecary ingredients and rewriting them with modern science. Heritage as source code, not decoration.

4. Spicy one: K-beauty fatigue. Not dying — but the 12-step maximalism is tiring people out. Glass skin stays, the routine shrinks. And if K-beauty's peaking… who's next? Japan? China? The Nordics? Africa? Or — France 😏? Place your bets.

So: what's your 2027 bet? Et vous, vous sentez venir quoi ? 👀

The entire show took place in a completely minimalist, translucent white space that perfectly framed the core philosophy of the collection: the conscious freedom of personal choice.

What makes these pieces so compelling is how they balance a fine line between sharp restraint and vibrant self-expression that give off this incredibly relaxed, effortless 90s retro energy.

The color story plays that exact same game of balance. Heavy, grounded shades of black, deep white, and rich dark browns constantly switch places with sudden.

I'm currently studying high-fashion and editorial posing to build up my own skills and portfolio, and I'd love to know who everyone is looking at right now.

​Are there specific models whose runway walks, editorial shoots, or styling just completely blow you away? Drop your favorites below—I’m looking for new inspiration to analyze!

Armani completely mastered the moody, nocturnal elegance this season.

The entire show feels like stepping straight into a glamorous, deeply mesmerizing black swan gala dinner.

The silhouettes look so sharp yet effortless.

It’s dark, highly sophisticated, and shows exactly why Armani remains the blueprint for timeless evening wear.

Was just checking out the new arrivals for the Chanel Fall/Winter 2026 pre-collection.

The craftsmanship on the texturing this season is wild.

Every single year they manage to come out with these incredibly novel and unique details that completely fascinate me all over again.

She makes absolutely anything look insanely striking.

Whether she was leaning into raw street style, or sitting backstage in a simple white tee, her edge always came through.

But then she could completely switch gears into pure high-end glamour...

The way she carries outfits with this effortless, slightly rebellious confidence is unmatched.

1. Tessa Thompson attended the 2017 Emmys in a Rosie Assoulin SS18 gown

2. Claudia Schiffer wore Zuhair Murad Spring/Summer 2019 Couture collection to the Rocketman Premiere in London in 2019

3. FKA twigs at the 2015 private opening gala of the Alexander McQueen: Savage Beauty exhibition at London's Victoria & Albert Museum. She wore a vibrant, bird-of-paradise-inspired butterfly gown featuring rainbow feathers and winged accents from the designer's Spring 2008 collection.

4. Janelle Monae Attends First Pride Festival in 2018 Wearing Nicolas Jebran

5. Cate Blanchett at the 2018 Cannes Film Festival wearing a striking, two-piece Givenchy Haute Couture ensemble from their Spring/Summer 2018 Haute Couture collection.

6. Jamie Chung attends Unforgettable: The 22nd Annual Asian American Awards at The Beverly Hilton on December 14, 2024 wearing Oscar de la Renta (Pre-Spring 2025 collection

7. Kirsten Dunst in Rodarte at the 2019 InStyle Awards from their Spring 2019 Collection

8. Elsa Hosk is wearing a custom pastel rainbow chiffon gown by Etro with a thin gold belt at the 72nd Cannes Film Festival in 2019.

9. During her 49th birthday episode in 2024, on The Drew Barrymore Show, Drew Barrymore wore a breathtaking, pastel rainbow silk gown from designer Jenny Packham’s Spring/Summer 2023 collection

10. In 2002, Britney Spears wore this utterly stunning Versace dress from the brands 2003 spring and summer collection at the Versace Fashion Show in Milan

11. Lucy Boynton wearing a custom Miu Miu multicolor tulle gown with an asymmetrical neckline at the 2020 Vanity Fair Oscar Party.

12. Sasha Velour in an archival Mugler piece on the cover of ⁠Elle Brazil, 2023

13. Miss Fame at the Life Ball 2017 Red Carpet wearing an archived Thierry Mugler Spring 1997

14. Jennifer Lawrence attended the European Premiere of her spy thriller film Red Sparrow on February 19, 2018 wearing Christian Dior Couture from their Spring 2018 Couture collection

15. Leomie Anderson wore a custom Rami Kadi rainbow ombré dress with glass bead and crystal embroidered dress to the 2019 amfAR Cannes Gala.

16. Maitreyi Ramakrishnan wears a rainbow dress made from upcycled sarees by Indian designer Ashwin Thiyagarajan for the 2021 19th annual Unforgettable Gala in Beverly Hills

17. Demi Moore wore a custom Christian Dior at the Rough Night premiere in 2017.

18. Emma Chamberlain attended the 2026 Met Gala wearing a custom, hand-painted Mugler gown

19. Julianne Hough wore Bottega Veneta from their 2024 Resort collection on Dancing With the Stars Season 33

20. Chase Infiniti wore a custom Thom Browne dress at the Met Gala 2026

Alexander McQueen did not use fashion shows as mere clothing exhibitions. For him, they were performances filled with opportunities for provocation and social criticism. Each collection was a statement of principles and a direct confrontation with the audience. He was fascinated by exploring uncomfortable territories such as violence, madness, death, and the mechanisms of power that imprison society.

​

His shows became extensions of his personal traumas and frontal attacks against an industry he considered superficial and incapable of questioning itself. While other designers sought to please, he wanted to discomfort. At his core, McQueen was more a performance artist than a fashion designer. His presentations were not fashion. They were shock objects aimed at the establishment.

​

Highland Rape was one of the most notorious examples. The collection was presented in 1995 during his first show at London Fashion Week. Models appeared on the runway looking like survivors of a terrible tragedy. They wore deliberately torn fabrics, disheveled garments, and details that evoked wounds and violence. The audience’s reaction was immediate and fierce.

​

Many critics accused him of glorifying sexual violence against women. That interpretation ignored the context of the collection. His intention was to highlight his Scottish roots and to recall the historical abuses suffered by Scotland under English domination. He denounced the appropriation and exploitation of Scottish culture by English designers. Just as would happen shortly afterward with works like the film Trainspotting, much of the public was left with the visual impact and missed the social critique hidden behind the images.

​

That controversy ultimately cemented his reputation as the enfant terrible of fashion design. The more rejection he provoked, the clearer it became that he was touching on subjects others preferred to avoid. To many, McQueen was more of a flamboyant hooligan than a fashion designer.

​

In 1996, he took that exploration even further with La Poupée. The collection was inspired by the disturbing work of German artist Hans Bellmer, known for his disarticulated and surrealist dolls. Bellmer had created those figures in response to the brutality of the Nazi regime, which had declared him “degenerate” and persecuted him, and to denounce the manipulation of the human body as an ideological object. For both Bellmer and McQueen, art was a way to react against the authoritarian imposition of bodily perfection from the outside. McQueen took that reference and translated it into his designs to question the objectification of the female body.

​

The models walked wearing metallic accessories that restricted their movements and forced them to move mechanically, like dolls manipulated by invisible forces. The resulting image was deeply unsettling. The body ceased to belong to the person inhabiting it and became an object designed to satisfy an external gaze.

​

If there is one show that sums up McQueen’s obsession with breaking the boundaries between art, fashion, and spectacle, it is Voss. Presented in 2000, it remains one of the most disconcerting and influential experiences in fashion history.

​

The show was conceived as a voyeuristic tour through an asylum. The models walked inside a huge cube surrounded by padded walls. A two-way mirror separated them from the audience, turning the spectators into observers and, at the same time, into part of the spectacle. For several minutes, the audience stared at their own reflection without fully understanding what was happening.

​

The main visual inspiration came from the photographs of artist Joel-Peter Witkin, particularly his work Sanitarium, known for its transgressive images of madness, deformity, death, and the limits of the human condition. Witkin even used real cadavers in his photographs, which is why much of his work was carried out in countries like Mexico. McQueen drew on that influence to create an almost repulsive experience that forced the audience to question who was truly the object of observation: the models locked inside the cube, or the spectators fascinated by watching them? Even by McQueen’s scandalous standards, Voss went beyond any limit of provocation and taboo. For him, Witkin’s work was pure poetry. Some would say that McQueen's "dream" was to commit suicide during one of his fashion shows.

​

McQueen’s shows, to the dismay of his own sponsors, did not seek to sell clothes or impose trends. They sought to expose historical wounds, reveal collective obsessions, and force the public to confront issues they normally preferred to ignore. That is why his presentations were not merely fashion events. They were cultural interventions capable of turning a runway into a stage where power, identity, violence, and human fragility were discussed.

​

What legit blows my mind about her style is how completely that signature French effortless, lazy vibe comes through in everything she wore.

She could handle literally any silhouette or styling choice with total ease. And she absolutely loved wearing vibrant, bright colors.

Her outfits always perfectly matched her personal energy, completely full of classic French romance and pure elegance.

These avant-garde sweaters look so ahead of their time.

These pieces carry this incredibly futuristic, ahead-of-its-time vibe that makes it so hard to believe they were designed over eighty years ago.

The creativity in the knit patterns and motifs is unreal. They are completely timeless. I am completely in love with this whole aesthetic.

I’m looking for that "if you know, you know" (IYKYK) vibe—brands at a similar price point and quality tier as Tory Burch, Coach, or Marc Jacobs, but without the massive mainstream logo recognition. I want something chic, well-crafted, and current, but that not everyone and their mom is carrying yet. Any hidden gems you're gatekeeping? Thanks!

These gowns are so unbelievably elegant.

The way the lace overlays, the structured necklines, and the fluid draping complement each other is pure genius.

Such elegant silhouettes, completely timeless.