One hole in the wall, many readings: Alessandro Michele’s Valentino couture show becomes a device of voyeurism, a controlled fashion spectacle where desire is visible, regulated, and denied

Between strategic caution and craftsmanship as content, Matthieu Blazy’s first Haute Couture uses Couture as an instrument of control, rather than a space for creative assertion

Dissidence, irony, and controlled provocation. This is the British contribution to a house that more than any other embodies wealth, heritage, and symbolic power

It is not fashion. It is work. The “well made,” the cloth that stays in the wardrobe: the Zegna method and what Northern Italian enterprise still teaches

We need to insist on what Milan looks like. The city’s palette is gray, never flat, altered by rain. Armani, today under the direction of Leo Dell’Orco, remains the clearest expression of the Milanese logic

In fashion, obsession means Prada. How does Miuccia Prada, also in dialogue with Raf Simons’ cool detachment, continue to rediscover—and redefine—the identity of Milan?

From latex tailoring to deadstock suiting, Richert Beil’s work sits in the friction between instinct and resistance—imperfection, limitation and delay are part of the process

Shaping presence through movement, Tidjane Tall builds garments that carry a sense of balance — between body, material, and intention

Shot across the sunburnt calm of Palm Heights in the Cayman Islands, Timothy Schaumburg’s LV special L32 for Lampoon 32 – SOAP blends raw island edges, sharp light, and an offbeat tension

A reflection on light and absence, Renaud Cambuzat’s contribution to Lampoon 32 SOAP investigates the language of stillness through a cinematic eye