IN & OUT INDEX: SS26 READY TO WEAR


<p><strong>At&nbsp;Museum Schloss Moyland&nbsp;in Germany, two of the most influential forces in performance art meet across time:&nbsp;Marina Abramovic&nbsp;and&nbsp;Joseph Beuys. Marina Abramović &amp; MAI in Dialogue with Joseph Beuys&nbsp;transforms the museum into a site of encounter, endurance, and transformation.&nbsp;Beuys, the German artist who defined postwar performance through his concept of “social sculpture,” meets Abramovic —the grandmother of performance art—whose work has redefined the body as a space for ritual and resistance. </strong></p>



<p><strong>This exhibition, realized with the&nbsp;Marina Abramovic Institute (MAI), bridges their shared belief in art as a living, transformative force.&nbsp;Hosted at the castle-turned-museum that holds the world’s largest Beuys archive, the exhibition unfolds as both homage and experiment. Abramovic revisits Beuys’s iconic actions—such as&nbsp;How to Explain Pictures to a Dead Hare—while inviting thirteen international artists for a month-long residency to create new, durational performances inspired by Beuys’s practice.</strong></p>



<p>The result is an evolving landscape of live works, archives, and traces—where gestures, voices, and silences replace static display. The audience doesn’t just observe; they enter a living dialogue between past and present, art and life.&nbsp;</p>



<p>In&nbsp;Marina Abramovic &amp; MAI in Dialogue with Joseph Beuys, performance becomes what Beuys always imagined it to be: not an object, but an ongoing act of becoming.</p>



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<p><em>On view at Museum Schloss Moyland, Bedburg-Hau, Germany, through October 26, 2025.</em></p>


A Living Conversation Between Two Eras of Performance Art


<p><strong>When Aldo Cipullo designed the Cartier Love bracelet in 1969, he turned a simple idea into modern mythology: love that locks. Two halves joined by a screwdriver, the bracelet became a symbol of permanence, devotion, and the quiet power of design.&nbsp;</strong></p>



<p><strong>Worn by lovers, dreamers, and rebels, it became more than jewelry. It became a manifesto. Half a century later, Cartier opens a new page. The </strong><strong><em>Love Unlimited</em></strong><strong> is the maison’s 2025 evolution — lighter, flexible, and made to move with the body.&nbsp;</strong></p>



<p>Crafted with over 200 components, it keeps the iconic screw motif but introduces freedom: it bends, adapts, and is no longer bound by a tool or a second hand. Love, after all, has changed. It’s not about possession anymore, but connection.</p>



<p>To tell this story, Cartier called on <strong>Jacob Elordi</strong> and <strong>Sofia Coppola</strong>. Their new campaign reimagines intimacy for the present: quiet mornings, soft light, fleeting glances. Elordi wears the bracelet not as an accessory, but as part of his rhythm — unposed, unguarded, alive. Coppola’s lens captures what modern love feels like: less about forever, more about being fully present. It’s a reminder that symbols endure not by staying still, but by evolving — just like love itself.</p>



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Cartier’s Love Story, Rewritten


<p><strong>Summer’s gone — which can only mean one thing: out with the linens, in with the denim and jackets. LES BENJAMINS </strong><strong><em>Classics 2.0</em></strong><strong> arrives right on cue, here to save us from the seasonal wardrobe meltdown.&nbsp;</strong></p>



<p><strong>The updated collection brings a sleek, timeless perspective to luxury urban wear, reinterpreting classic, all-season pieces through a modern lens. Designed to seamlessly fit into everyday life, the pieces masterfully combine functionality with elevated comfort.</strong></p>



<p>Classics 2.0 once again brings comfort and elegance together on the same line. Timeless cuts take the spotlight, each strong enough to form the foundation of a capsule wardrobe. Versatile pieces that easily adapt to any closet… From lightweight outerwear silhouettes to flowing dresses and skirts, from button-up shirts for men to renewed T-shirt fabrics and leather textures, every detail redefines the modern urban aesthetic.</p>



<p>The refined color palette that fuels the collection’s versatility draws its strength from neutral tones — black, off-white, and stone — while subtle touches of red, beige, and deep navy add just the right dose of character. Washed denim textures bring a cool depth to the collection, while the <strong>Classics Carpet Pattern</strong> details make you say, “Yes, this is unmistakably LES BENJAMINS.”</p>



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<p>The Classics 2.0 Collection is now available in Les Benjamins stores and online.</p>


Bye bye, Summer! Enter, your new fall wardrobe…


<p><strong>There was a time when being a DJ meant something. You had to lug crates of vinyl across town, negotiate with a promoter who’d pay you in drink tickets, and pray the needle didn’t skip during the peak of the night. Today? All you need is Wi-Fi, a USB stick, and the unshakable confidence that your Spotify Discover Weekly makes you a tastemaker.</strong></p>



<p>Everyone is a DJ now. Not just in clubs, though they’re there too, but at every house party, dinner, even in a shared taxi ride. “Pass me the AUX!” has become the new “I’ll DJ tonight.”&nbsp;</p>



<p>The booth has been replaced by Bluetooth. The turntables? Your phone. Beatmatching? Who cares… The crowd isn’t dancing anyway; they’re filming their cocktails for stories while nodding approvingly at your <em>eclectic taste</em>. Now what matters isn’t skill, it’s aura. Real DJs spend years mastering transitions and digging through dusty records. The others simply <em>act</em> like DJs.</p>



<p>&#8220;Why is everyone suddenly pretending to be a DJ?&#8221; The answer is super clear: Music taste has become the last form of social currency. Your playlists are your personality. And DJing – even bad DJing – gives the illusion of authorship in a world where most of us are just endlessly scrolling.</p>



<p>Pretending to DJ is the new pretending to read philosophy books: it signals culture without requiring commitment.</p>


Why Everyone is Acting like a DJ


<p><strong>Who run the world? Girls. For Spring/Summer 2026, Miu Miu paid tribute to the working woman, elevating the humble apron into the season’s defining code. Sixty-five looks marched down the runway: a study in labour, effort, and elegance under pressure. You know how diamonds are made, right?</strong></p>



<p><strong>The show unfolded within the hallowed halls of Palais d’Iéna: Auguste Perret’s modernist masterpiece and Miu Miu’s long-time stage. Once again, architecture became an ideology. Its sculptural openness entered into conversation with Miu Miu’s ode to the working woman, laying bare fashion’s own scaffolding. The unseen labour that upholds beauty itself.</strong></p>



<p>“Work as an expression of effort. Work as a symbol of care and love. Work as a reflection of independence, a means of agency,” the press release read. In Miuccia’s hands, the apron became a staple; defining the collection’s mood, resurfacing time and again in ever-changing shapes and forms.</p>



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<p>Some looks felt domestic, others almost ceremonial, yet all carried that quiet defiance woven into Miu Miu’s DNA. To articulate the tension between durability and delicacy, the collection juxtaposed industrial fabrics: canvas, drill cotton, raw leather, with softer, more romantic elements like lace: ruffles, and silk cloqué. It was workwear, yes, but with the irreverent charm of a French <em>“oh là là.”</em></p>



<p>Stiff uniforms met ruffled lingerie. Heavy boots trampled lace hems. Workwear straps sliced through sheer layers. Every texture fought with its opposite, creating a deliberate friction—a choreography of contrast that mirrored the push and pull of modern womanhood. Miuccia had a lot to say about persistence over prettiness in an effort to balance strength with sensuality.</p>


Workwear, Oh Là Là!


<p><strong>Yesterday, Matthieu Blazy made the moon land in Paris with his debut show for Chanel. “For this first Chanel show, I wanted to do something quite universal, like a dream, something outside of time, and I was fascinated by the stars, a theme so dear to the House,” he wrote on Instagram. The cosmic set was more than spectacle. It was Blazy underlining the universality of Chanel, reimagining its codes as something celestial, suspended between past and future.</strong></p>



<p><strong>Once called “the most famous designer you’ve never heard of” for his work at Margiela, he has now become the creative force behind one of fashion’s most enduring maisons. <em>New York Magazine</em> first revealed his name in 2014, when Margiela’s creative team remained anonymous after the founder’s departure. For a designer who once thrived in secrecy, this moment felt like a quiet arrival.</strong></p>



<p>He was well aware of the maison’s history. His first look, a checked wool pantsuit with a sharply cropped jacket, drew inspiration from Mademoiselle Chanel herself, who famously borrowed clothes from her lover, Arthur “Boy” Capel. It all began with menswear: a shirt and trousers once borrowed by Gabrielle Chanel from her greatest love. That shirt, originally crafted by the French heritage shirtmaker Charvet, was reimagined in collaboration with Chanel. Weighted with the house’s signature chain, its proportions honored the discipline of traditional male tailoring. Masculine-cut jackets followed, raw yet refined, evolving into silhouettes that felt unmistakably Chanel. The tweeds, British at heart, moved with purpose and agility, pressing forward while nodding to their past.</p>



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<p>The paradox of Gabrielle Chanel’s feminine power remains her greatest legacy: a wardrobe where practicality never sacrifices allure and restraint never diminishes desire. In Blazy’s hands, day and night, work and love merge into one unbroken flow. Silks draped, knits knotted, shapes slipped between discretion and drama. A new duality emerged, at once feminine and masculine, soft and sharp, timeless and unapologetic. Chanel, once again, was not something but someone.</p>



<p>The language of Chanel remains universal, traveling through time and expanding into the future. Masculine lines softened into fluid blousons, while tweeds and weaves were reimagined with tactile precision that revealed the maison’s enduring obsession with craft. The future, Blazy suggested, already lives within Chanel’s codes: grids of tweed unraveling into knotted knits and sheer transparencies, jewels orbiting like tiny planets, shoes designed for movement. Above all, there was freedom. A new, borderless femininity. Not one Chanel woman, but many, each inhabiting her own universe.</p>



<p>“Chanel is about love. The birth of modernity in fashion comes from a love story. This is what I find most beautiful. It has no time or space. This is an idea of freedom. The freedom worn and won by Gabrielle Chanel,” Blazy reflected.</p>



<p>Chanel’s taste for androgyny, often diluted into cliché, revealed its true sensuality under his gaze. His eveningwear moved between power and pleasure: silky separates and slithering gowns in shades of beige, ivory, and black, echoing the maison’s eternal codes and Paris’s centenary celebration of Art Deco. Blazy’s Chanel does not look back or race ahead. It simply hovers — timeless, untouchable, its own universe.</p>



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Blazy Took Paris to Space, Elevating Chanel to Its Orbit


<p><strong>“Hermès In The Making” pulls back the curtain on the maison’s most guarded secrets of savoir-faire, inviting the observer into an intimate dialogue with the artisans themselves. Each gesture, stitch, and polish becomes a testament to patience and mastery, where heritage is not preserved behind glass but carried forward, hand to hand.</strong></p>



<p><strong>Getting a glimpse behind the scenes of Hermès’ most iconic creations means immersing yourself in the very philosophy of its craftsmanship. <em>“Nous sommes les escargots,”</em> remarked the artisan behind the house’s legendary silk scarves, a reminder that patience and precision are inseparable virtues.</strong></p>



<p><em>“True luxury lies in the ability to be repaired and passed on to future generations,”</em> added the craftsman entrusted with restoring Hermès bags, framing heritage not as nostalgia but as continuity.&nbsp;</p>



<p>Passion, patience, and precision lie at the heart of this storied maison’s success.To witness the very hands behind the making of the Birkin, the Kelly, silk carré scarves, equestrian saddles, hand-painted porcelain, and timepieces is nothing short of an otherworldly encounter with craftsmanship itself.</p>



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<p>&#8220;Nous sommes les escargots.&#8221;</p>
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<p><em>Hermès In The Making</em> lays bare the anatomy of luxury through the gestures that have defined the maison since 1837. Saddles hammered into form on wooden trees, Kelly bags held steady in wooden clamps, silks printed colour by colour, porcelain designs brushed into life, gloves cut with 19th-century “ironhand” tools, gemstones set grain by grain, and timepieces assembled into celestial rhythm — each métier unfolds as a performance of discipline and devotion. What unites them is the saddle stitch: a single thread crossed by hand, promising endurance even if one link should falter.</p>



<p>Yet this is no museum of relics. The artisans’ presence makes each table, tool, and stitch an act of transmission. Precision is not fetishized but lived, whether in watchmakers suspending time itself or repair specialists restoring a bag for its next generation. In every métier, Hermès insists that luxury is not in the fleeting moment of possession but in the permanence of objects meant to be touched, used, and reborn.</p>



<p>To encounter the artisans of Hermès is to witness mastery at its source and from October 3 to 12, Zorlu PSM becomes the rare stage where such intimacy is possible.</p>



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Behind Hermès, the Hands of the Artisans


<p><strong>Virgil Abloh rewrote the language of fashion. He didn’t just design clothes; he rewired culture. He was able to express himself across almost every creative field imaginable. His fingerprints were everywhere: on furniture, sneakers, album covers, catwalks.</strong></p>



<p><strong>The Grand Palais brings this multidisciplinary approach under one roof, containing nearly twenty years of his work. More than 20,000 objects, sketches, prototypes, and fragments of his personal archive spill into one vast conversation.</strong></p>



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<p>This exhibition is not just about looking back on his career. It treats his creations as a living system of codes, a language still in motion. What he made continues to speak. Both for himself and for the art world at large.</p>



<p>Curated by Chloé and Mahfuz Sultan, in partnership with Nike, the exhibition opens on September 30, which would have marked Abloh’s 45th birthday, and runs until October 9.</p>



<p>What makes this exhibition important is its ability to capture the intensity of his creations. It doesn’t isolate a single discipline but instead reveals his creative spirit as a whole. Like a system of “codes” that spilled into everything he touched: fashion, music, architecture, advertising, even the way we think about luxury.</p>



<p>Those codes are there to be read: the “3% rule,” his conviction that the smallest tweak could make an object entirely new; the quotation marks that turned products into commentary; the endless sampling and remixing borrowed straight from DJ culture; and the tourist vs. purist tension that electrified his Louis Vuitton shows.&nbsp;</p>



<p>There is irony, too: Handbags stamped “SCULPTURE” and the audacity of treating streetwear as luxury, long before anyone else dared. What ties it all together is a radical openness: a belief that fashion was not a gated world but a dialogue, that hoodies, furniture, album art, and architecture could all speak in the same language.</p>



<p>Beyond the archive, the exhibition celebrates his collaborations with artists, designers, and athletes, revealing how deeply he valued community and collective work over ego. For Abloh, creation was never solely solitary; it was always communal.</p>



<p>Workshops, performances, and screenings extend the experience, offering deeper insight into the exhibition’s themes while bringing together the voices of Abloh’s creative community.</p>



<p>This isn’t a memorial, and it isn’t nostalgia. The Codes is a reminder of how Abloh moved through the world—restless, playful, democratic—and how much of that world he left changed in his wake.</p>


Virgil Abloh’s Language of Codes Takes Over the Grand Palais


<p><strong>Some perfumes are made to seduce the crowd. The rest are made to seduce the self—<em>and only then</em> the world will follow. Miu Miu understands the difference. With Miutine, the house delivers not a fragrance but an attitude: irreverent, insouciant, and deliciously out of step.</strong></p>



<p><strong>The face of the campaign is Emma Corrin, a performer who defies definition, lending Miutine the same edge and fluidity that Miu Miu has always claimed as its own. Recently named Global Ambassador, Corrin is not a mere accessory to the campaign but its living embodiment. </strong></p>



<p>Inside its toffee-toned matelassé flacon, Miutine reimagines the classic chypre with gourmand insolence: wild strawberry at the top, gardenia at the heart, and an indulgent melt of brown sugar and bourbon vanilla at the base. A twist on tradition, a smirk disguised as elegance.</p>



<p>Even its name is a play: the French <em>mutine</em>, a rebel bottled. This is the essence of the Miu Miu girl: she knows every rule, and she bends each one with grace. Miutine is not a manifesto but a knowing glance; a sweet rebellion laced with wit, worn entirely for oneself.</p>



<p>For Miutine, Miu Miu abandoned the tired tropes of fragrance PR. No satin ribbons, no perfumed petals. Instead, the house orchestrated a mic drop, quite literally. Influencers received a miniature branded microphone alongside the fragrance, a wry nod to voice, rebellion, and the act of speaking up, all central to Miutine’s ethos.&nbsp;</p>



<p>It was not a gift but a provocation: a prompt to perform, to confess, to play. Some boxes even concealed bespoke card games, layering discovery with irony. The strategy was pure Miu Miu: irreverent yet impeccably considered, transforming seeding into theatre and ensuring the drop itself became as talked-about as the perfume it was meant to unveil.</p>



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Miutine, A Sweet Rebellion by Miu Miu


<p><strong>Art resists confinement. It refuses molds, boundaries, definitions. At Contemporary Istanbul this year, it takes shape not only on walls and pedestals, but on four wheels. From September 24 to 28, the very first BMW Art Car — the 1975 BMW 3.0 CSL transformed by Alexander Calder — will be on display. The Art Car series merges sculpture, performance and engineering, reminding us that art does not stand apart from life, it moves through it.</strong></p>



<p><strong>The tradition began in 1975 when French racing driver and collector Hervé Poulain asked his friend, the sculptor Alexander Calder, to paint the car he would race at the 24 Hours of Le Mans. What began as a personal experiment soon sparked a lineage of commissions that continues to this day, merging the worlds of art and automobile into a lasting cultural phenomenon.</strong></p>



<p>Calder was famous with his kinetic mobiles and bold blocks of color. He transformed the BMW 3.0 CSL with his style. With forms of red, yellow and blue. Almost turning the car into one of his kinetic mobiles. Following Calder’s footsteps Frank Stella designed the BMW 3.0 CSL his black and white gridlines in 1976, turning the car into one of his artworks.&nbsp;</p>



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<p>Roy Lichtenstein covered the body of a BMW 320i Turbo in 1977 with comic inspired landscapes and motion lines. Two years later, Andy Warhol painted a BMW M1 in just 28 minutes, his brushstrokes still visible in their raw energy. From there the roster grew: Ernst Fuchs, Robert Rauschenberg, David Hockney, Jenny Holzer, <a href="https://basedistanbul.com/en/olafur-eliasson-invites-you-to-re-sync-with-the-planet">Olafur Eliasson</a>, Jeff Koons, Cao Fei, and most recently Julie Mehretu in 2024, each reimagining what a car could be, not merely a vehicle but a canvas for its time.</p>



<p>Calder remains the genesis. His Art Car is a sculpture in motion, a burst of color that seems to vibrate even when standing still. To show it in Istanbul is to place it in a city that also thrives on fusion and movement, where the past and future meet at high speed. Nearly fifty years on, the BMW 3.0 CSL remains more than a car. It is a radical experiment that gave birth to an entire legacy of art on wheels, a story that began on the racetrack and continues to race forward.&nbsp;</p>



<p>From September 24 to 28, Contemporary Istanbul will present Calder’s 1975 BMW 3.0 CSL, the inaugural BMW Art Car and the first of twenty in the series — a rare opportunity to encounter the origin of a cultural icon that now spans twenty legendary creations.</p>


When Movement Becomes Art: Alexander Calder’s BMW Piece at Contemporary Istanbul


<p><strong>Yorgos Lanthimos takes Prada’s Galleria somewhere deliciously strange.</strong> <strong>As polished and chic as Prada can be, in fashion the elegant can so easily tip into the uncanny and when it does, it is meant to be savored. With Scarlett Johansson as his muse and the Galleria bag in hand, Lanthimos pulls us into another register of reality. A reality that feels dystopian, eerie, yet arrestingly beautiful. A world where a handbag is not merely carried but performed; where luxury slips into surreal theater. In Lanthimos’s lens, the Galleria becomes a portal; part icon, part apparition.</strong></p>



<p>Since 2007, the Galleria has been Prada’s most refined icon: A bag that never stops reinventing itself. This season, it slips into the uncanny gaze of Lanthimos, where timeless elegance turns disquieting, where an accessory transcends its function and becomes a statement of strangeness.</p>



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<p>Scarlett Johansson appears not as a brand ambassador but as a Lanthimos character: Poised, heightened, a little surreal. She performs the bag as much as she carries it, moving through frames that read less like a campaign and more like a short film stitched into Prada’s mythology.</p>



<p>Prada has always blurred the line between cinema and fashion: Jonathan Glazer, Xavier Dolan, and Alex Da Corte have all left their marks on the Galleria. Lanthimos, with his absurdist touch, pushes the dialogue further. Transforming the product into a protagonist, staging luxury as theater, as provocation.</p>



<p>And heritage lingers beneath the surface. The bag still bears the name of the Galleria Vittorio Emanuele II in Milan, the storied arcade where Mario Prada opened his first shop in 1913. Future heirloom, past monument, present obsession. In Lanthimos’s hands, this history does not weigh the bag down; it bends, mutates, slips into the future.</p>



<p>What results is more than advertising. It is Prada declaring, yet again, that fashion can unsettle, seduce, and disturb. A handbag as cinema. A muse as apparition. A director as provocateur.</p>



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Prada Gets Uncanny with Lanthimos


<h2 class="wp-block-heading"><strong>A beach bag packed like a diary, scents that outlast days, and the eternal debate between cocktails and ice cream… it’s all about curation. Painting memories from grains of sand that linger on our things, reminding us that summer doesn’t end with the calendar, but only when Tanrı Misafiri’s menus say so. For this edition of HOTLIST, we gather around a table with Müge Tüzer and Müge Büyüktalaş, embracing the magic of sharing the same name and the same summer spirit.</strong></h2>



<p><strong>A song that reminds you of summer.</strong></p>



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<p><strong>3 things in your beach bag?</strong><strong><br></strong>MT: Countless merch lighters, funky chewing gums, sunglasses.<br>MB: Stones collected from shore, notebook and pencil, bandana.</p>



<p><strong>What smell reminds you of summer?<br></strong>MT: Beach Walk from Margiela’s Replica series.<br>MB: Cacao oil during the day and Arabian jasmines on a hot summer night.</p>



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<p><strong>What’s your beach read right now?</strong><strong><br></strong>MT: I don’t usually read much in summer, but the best thing I’ve read this season was Caffe Sicilia’s menu turned into a fanzine.<br>MB: Peter Brook – <em>The Empty Space</em>, Brook says “I can take any empty space and call it a bare stage.”</p>



<p><strong>Cocktail or ice cream?<br></strong>MT: Pet-nat! Never a dull day with a frozen.<br>MB: Ice cream!</p>



<p><strong>The moment summer officially begins for you?<br></strong>MT: Sunrise at Waking Life &amp; when tomatoes reappear on Tanrı Misafiri menus.<br>MB: When green plums appear and we have orange sunsets.</p>



<p><strong>Show us a selfie.</strong></p>



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HOTLIST: Tanrı Misafiri


<p><strong>Ever dreamt of partying like it’s the ‘70s? One look at the dazzling photographs of celebrities drenched in sequins and sweat at Studio 54, and the fantasy feels irresistible. Picture this: It’s 1977, Midtown Manhattan. Velvet ropes part, and a new temple of excess is born. On the dance floor there’s Andy Warhol, Cher, Liza Minelli, Debbie Harry, and millions of other icons of an era basking in excess. Breaking free of themselves and surrendering to the glitter-soaked chaos of Studio 54. It was the best of times, no doubt. And now, on September 10th, 45 years later, the doors of this legendary club will reopen for one night only.</strong></p>



<p>&nbsp;Attendees will include creators and artists invited to witness this time-travel celebration, alongside original patrons of Studio 54. Needless to say, we can’t wait to see how the night will unfold. And till then, let’s look back at iconic photographs to celebrate this vibrant, free-spirited, unapologetic party scene. Let these frames be our tunnel back to those times. Sure we cannot go back, but we can pretend.&nbsp;</p>



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<p>Studio 54 opened its doors in 1977 under the vision of Steve Rubell and Ian Schrager. Behind the velvet ropes of Midtown Manhattan, an abandoned broadcasting studio became the epicenter of excess and allure. The club was notorious for its ruthless exclusivity. Only the chosen few slipped past the doormen into a world where night reigned without rules. Inside, sweat, excess, and glitter -so much glitter, took over. The music reverberates, champagne slicks the floor, and the icons of the ’70s shed their personas; unmasking themselves in the chaos of the night.</p>



<p>Infamous for its celebrity guest lists, quixotic entry policies, extravagant events, rampant drug use, and unapologetic sexual hedonism, Studio 54 burned bright and fast. By 1980, the empire of excess collapsed, Rubell and Schrager brought down by tax evasion charges. The most dazzling stage of the night closed not with the last song, but with the heavy slam of prison doors. An era of wild abandon ending as abruptly as it began. And yet, even in its fall, Studio 54 left behind a myth too potent to fade. For one night only, that myth will flicker back to life: Celebrating the glorious chaos that once defined an era.</p>



<p>Not a return but a resurrection. One night to relive the delirium of an era.&nbsp;</p>


Back to the Freaks of 54


<h2 class="wp-block-heading">Sun’s out, vibes up. On the dreamy coast of the French Riviera, it’s all about salty air, glowing skin, and bold fits that pop.&nbsp;And maybe we can add some Pucci’s styled with Manc bags!&nbsp;Join Naz Koral as she lives her best&nbsp;summer so far—mixing color, confidence, and carefree energy into every look. It’s giving endless summer, and we’re here for it.</h2>



<p><strong>Bikini of this season? </strong></p>



<p>Anything Pucci, of course. It’s Pucci summer! It’s not just a bikini, it’s a whole mood and it screams Naz!</p>



<p><strong>3 things in your beach bag? </strong></p>



<p>Anything can be a beach bag for me — this time I brought my MANC Monogram Bella Bag to Jacquemus Beach Club in Monaco. Inside? My essentials: phone, earbuds, and bronzer. That’s all I need! Sorry SPF girlies!</p>



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<p><strong>Your favorite summer destination?  </strong></p>



<p>My favorite summer destination? I’d normally say Bodrum—the sea there is unmatched. But for this summer, I think it has to be Hôtel Le Negresco in Nice, France. Maybe it’s because of the beautiful memories I made there, but it truly felt special.</p>



<p>Happy me, in a happy place!</p>



<p><strong>Ice cream or cocktails? </strong></p>



<p>Ice cream, no doubt! I can never say no to sugar, and honestly, I hate the bloated feeling that comes with alcohol. Give me a scoop (or two) any day!&nbsp;🍦</p>



<p><strong>Green plum or watermelon?</strong></p>



<p>One thing is never quite enough! But if I had to choose, it’s definitely watermelon…&nbsp;Preferably with a side of carbs. Because what’s summer without a little sweet and a little crispy?</p>



<p><strong>Show your summer selfie!</strong></p>



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HOTLIST: Naz Koral


<p><strong>Fragments for Venus, directed by French filmmaker Alice Diop, is the 30th chapter in Miu Miu Women’s Tales. This acclaimed short film series brings together some of the most original and profound women directors of today to interrogate what femininity and appearance mean in the 21st century. Diop’s film focuses on the politics of the gaze; the Western-centric gaze sees the Black woman as an object to be possessed or categorized. Beginning from this reduction of identity to appearance, the film reverses the gaze. And it is precisely there that it transforms into a poetic gesture of owning, celebrating, and freely expressing Black womanhood beyond this frame.</strong>&nbsp;</p>



<p>Two Black women, two settings: one moving through a museum, reflecting on images of Black women throughout art history; the other, a poet wandering the streets of Brooklyn, quietly adoring the women she encounters, seeing them as the Venuses of today.&nbsp;</p>



<p>Alice Diop first encountered American poet Robin Coste Lewis’s Voyage of the Sable Venus (2015) through her friend and translator Nicholas Elliott. The poem’s title refers to enslaved Black women sent to the West Indies, while its central section draws from titles, catalogues, and exhibition notes documenting the representation of Black women’s bodies in Western art, spanning back to 38,000 BC.</p>



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<p>Diop describes her Women’s Tales film Fragments for Venus as both a “cinematic gesture” and a tribute to the Black American artists who inspired her: Robin Coste Lewis, Claudia Rankine, Saidiya Hartman. She recalls the joy of seeing Black women in New York’s streets, recognizing her own existence through theirs. For her, making this film was an act of self-celebration, a healing gesture.</p>



<p>Though only 21 minutes long, Diop considers Fragments for Venus as significant as her feature Saint Omer, stressing that its quiet rhythm is itself a political stance. At its core, the film is about “looking at gazes,” a central concern of feminist film theory since the 1970s. As Diop explains: “We, Black people, come from the history of images. Throughout that history, we have been marginalized, objectified.”</p>



<p>The message is clear: “We, as artists, writers, thinkers, are here now and we are ready to express ourselves.”</p>



<p>Fragments for Venus, premiered on August 30 at the Venice Film Festival and will be available to stream on MUBI starting September 15.</p>
