<h2 class="wp-block-heading">Sometimes it feels like we’re all magnets—attracting chaos, pulling at meaning, pushing away what doesn’t fit. It’s a constant dance to feel in control, to map some kind of direction. Creativity? It’s the opposite. It’s the storm that tears up your careful plans, flips the table, and leaves you staring at something raw and unignorable. In this beautiful mess, our paths cross with Joe Boyd, a mixed media artist whose work is just as untethered and transformative as the process behind it. His creations feel like they’ve been pulled from a dream, warped and stretched into something new, yet hauntingly familiar. Call it serendipity, call it the law of attraction—whatever it was, it sparked something undeniable.</h2>



<h2 class="wp-block-heading">Joe’s creative process is chaos with intention, a dance between spontaneity and precision that thrives on the unpredictable. He turns overlooked objects into narratives that demand your attention. “It’s about seeing the potential in the everyday objects we often overlook as being ordinary or banal and transforming them into something unique,” Joe reflects. His medium, scanography, feels like a perfect metaphor for his ethos—it’s experimental, raw, and unrestricted, mirroring the way he approaches both his art and his life. Each piece seems to carry the residue of its journey, a fingerprint of the moment it was created.</h2>



<h2 class="wp-block-heading">Our worlds collide in this exclusive collaboration, where thoughts become words, objects transform into shapes, and ideas manifest as images. The result is four extraordinary pieces that capture the essence of this shared journey—Joe’s interpretation of our inner selves, brought to life for the first time. “An artwork has two lives: one with me and another out there in the world. Once I put it out, it’s not mine anymore,” Joe says. And maybe that’s the real confession: creativity isn’t about ownership. It’s about letting go.</h2>



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To set the stage, could you introduce us to the universe you create through your art? What journey led you to discover and explore scanography as your unique medium within this realm?&nbsp;



I’m a mixed media artist. I use unconventional equipment and processes such as scanners, microscopes and projectors, to recycle household items and other non- traditional materials into abstract pieces of art.



I discovered the photocopier when I was in school and used it to duplicate inspiration from library books. However, I realised one day when I accidentally moved a book across the glass, that you could distort and stretch materials. This began a journey of experimentation with manipulating images, typography and any object I could get my hands on.&nbsp;



I then found out I could achieve the same results at home with a scanner, and produce a digital file on my laptop that I could then edit further with software. It’s been an incredible tool of self-expression that’s enabled me to create a huge amount of art, without the need for any traditional equipment.&nbsp;



Your scanography acts as your signature that turns mundane objects into profound narratives. What do you aim to convey, and what emotions do you hope to evoke in observers?&nbsp;



It&#8217;s about seeing the potential in the everyday objects we often overlook as being ordinary or banal, and transforming them into something unique. I work this way to prove to myself that there is beauty everywhere, even in the places people consider ugly or boring.&nbsp;



My hope is that this feeling is transferred to the viewer, and they are encouraged to notice the world around them with a new perspective.&nbsp;



Despite being a digital art form, your scanography is deeply intertwined with the physical world, co-creating with spontaneity. How does the unpredictability of physical materials influence your creative process? Does your artwork seek to disrupt conventional perceptions or to reshape them?&nbsp;



I’m just true to the ideas that come. The way I work is very natural to me, even if it seems disruptive to others. The unpredictability of physical materials is a core aspect of my creative process. When I use found objects, there’s a spontaneity and a lack of control that I fully embrace. I never know exactly how the final piece will turn out, which keeps the process exciting and dynamic. This forces me to adapt and respond to the materials, leading to many unexpected discoveries. It&#8217;s a practice that mirrors life, teaching me to be comfortable with uncertainty and always open to new possibilities.&nbsp;



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By challenging traditional norms, you position yourself as a rebel against the conceived and accustomed. As an artist, do you strive to alter the perception of reality, or do you invite others to see the world through your unique perspective?&nbsp;



I make art for myself, not the audience. So during the creative process I’m never worrying about how the work will be perceived. My only goal each day is to find new and exciting ideas to explore. If I can do this, then the work is already a success for me.&nbsp;



An artwork really has two lives, one with me in my studio and another when it’s presented to the public. At this stage I let it go and however the audience reacts is fine with me.&nbsp;



A confession about yourself.&nbsp;



I spend a lot of time dreaming. When I’m at my studio, I’m usually lost in thought. All the inspiration we ever need can be found in the subconscious mind, so I’m always deep in there, searching for my next idea.



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You can visit <a href="https://thisisjoeboyd.com">https://thisisjoeboyd.com</a> to learn more about the artist and explore recent works.

Beyond the Conceivable w/Joe Boyd

The CHANEL Fall-Winter 2025 Ready-to-Wear collection takes center stage beneath the glass roof of the Grand Palais, where dreamlike illusions unfold in movement and proportion. Against a scenographic masterpiece by Willo Perron—black ribbons twisting between floor and air—the collection plays with perception, shifting scales of size and silhouette with effortless elegance.



At the heart of the collection, classic CHANEL codes—bows, pearls, tweed—are reinterpreted through exaggerated volumes and layered textures. Mini jackets meet floor-length trousers, oversized poplin shirts graze the ankles, and cape-like constructions morph into tailored forms. In a play of contrasts, jewel-buttoned tweed jackets stretch into long coat dresses, while diaphanous capes soften structured suits.



The bow, a defining House signature, appears everywhere: sculpted into openwork knits, draped over shoulders in ribbon motifs, or cascading down black down jackets and sweatpants. Accessories embrace this spirit of illusion—pearls transform into heels, cross-body bags mimic oversized jewelry, and maximalist rhinestones turn adornment into statement.



Layering adds another dimension, with trompe l’oeil effects blurring distinctions between garments. A micro-jacket in grenadine tweed reveals a flash of silk lining, while tailored trousers peek from beneath a buttoned wrap skirt. Sheer tulle overlays create shifting silhouettes—puffed sleeves floating over jackets, transparent capes extending the lines of a suit.



Delicacy finds its place in the softness of chiffon jeans, silk woven to resemble tweed, and ribbon-printed fabrics that drift like whispers in the wind. Organza parkas, black wool lace trench coats, and 3D petal plastrons evoke a poetic, fairy-tale sensibility, punctuated by sock-ankle boots and sculptural satin details.



Between illusion and mastery, the CHANEL FW25 collection captures the tension between structure and fluidity, past and present, tradition and reinvention. A vision of femininity in motion—impossible to define, yet instantly recognizable.



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CHANEL FW25: A THEATRICAL EXPLORATION OF TIME, SCALE, AND ILLUSION

<h2 class="wp-block-heading">The shutter clicks, and the moment freezes—right when intimacy and revelation begin their dance. Through the lens, we glimpse Sam Penn capturing real moments, real stories, as if each shot were a page in a personal diary written for the world to read.</h2>



<h2 class="wp-block-heading">Penn’s work pulls us into spaces of unfiltered connection, transforming the everyday into quiet, radical statements. “I usually have close relationships with my subjects. If someone is in my life, chances are I will photograph them.” he says, piecing together fragments of friendship, love, and change. Each photograph in&nbsp;Bad Behaviour&nbsp;stands strong on its own, yet together, they resonate louder as parts of his story—an open invitation to see life as it is and as it might be.</h2>



DUYGU Let’s go back to the time you said photography is “it” for you. How did it all start? Could you tell us more about your creative practice?&nbsp;



SAM I started taking pictures on disposable cameras that my mom would buy for me when I was very young. My first photos were of my parents and my two younger sisters. My mom took a lot of photos of our family with her film camera and we had stacks of photo albums that I always loved to leaf through. My grandmother and my father’s mother, was the same way. She had an Olympus Stylus and would let me shoot a few frames whenever I asked.&nbsp;



My practice of taking photos continued on from there, and my subject matter, my friends and family, has remained constant. I shoot when I’m spending time with other people and I like to think of my practice as a social one. When it comes time to make a show or a zine, I do my selection from my archives.&nbsp;



DUYGU Could you please tell us the story behind “Bad Behaviour”?&nbsp;



SAM The show is titled after Mary Gaitskill’s 1989 collection of short stories called “Bad Behaviour”. I read it this past year while I was going through some significant life changes. The stories about people living in the Lower East Side of New York, dealing with heartbreak and disappointment and trying to survive through it all reminded me of my own life.&nbsp;



In the collection, Gaitskill uses a device to reconstruct memory through flashes of connected imagery, and I found that I could use something similar to sequence my photos. The show depicts a reminiscence of the end of a relationship and the beginning of another, in the lifespan of nine photographs.&nbsp;



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DUYGU What inspires you the most about New York?&nbsp;



SAM I moved to New York because of the city’s history. I loved the work of photographers like Nan Goldin, David Armstrong, and Peter Hujar and thought I could get a glimpse of what their lives were like if I came to the city myself. The friendships I’ve made here are the reason why I stayed.



DUYGU How important is storytelling in your photography? How do you ensure your shots communicate a strong narrative?&nbsp;



SAM I like to think my photographs can stand on their own when they are shown separately, but with this collection of photos, they are stronger together in sequence. In the show and zine, I tried to establish a narrative based on the progression of the photographs.&nbsp;



DUYGU The “Bad Behaviour” series; feels super “brutal”. What does the word “brutal mean to you?&nbsp;



SAM I would not categorize the series as brutal per se. I was going through a lot when I took most of the photos, and I think the range of my emotional states, wants, and needs, were all over the place&#8230; Though I’m happy that people feel however they want when engaging with my work.&nbsp;



DUYGU How do you choose your subjects?&nbsp;



SAM I usually have close relationships with my subjects. If someone is in my life, chances are I will photograph them. I shoot some people more than others based on their willingness to participate in the work.&nbsp;



DUYGU What is the feature that separates photography from other art forms?&nbsp;



SAM I like how taking photos of people requires social interaction. It seems like with other mediums, production tends to be more solitary.&nbsp;



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DUYGU A confession about yourself?&nbsp;



SAM No.



DUYGU Any advice for creatives?&nbsp;



SAM Figure out the art you like and the art you don’t like, and try and have an understanding of why you like them or not. Be wary of other people’s advice&#8230;You have to figure out what works best for you!&nbsp;

Define intimacy. w/ Sam Penn

Through your own voice w/ Lamia Al Otaishan Aydın

<h2 class="wp-block-heading">Does being in-between always mean fitting in? Or is it a way of forming reality through conceptual ways? Either way, the fact remains the same—reality is nothing but a misconception.&nbsp;</h2>



<h2 class="wp-block-heading">The mundane has a lot of stories to tell, if you know where to search for it. When you stick your fingers through the cracks of reality, you’ll find yourself in the playground of Alessandro Malossi. Images are often quiet, but here they speak louder than words. Each piece is a deliberate provocation, crafted to make the familiar feel unnervingly strange. He is a provoker, in his unique ways “By altering reality, I can evoke new perspectives and challenge preconceived notions.” Think you’ve got it figured out? Come take a closer look then.</h2>



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DUYGU Let’s start from the beginning. How did you start?&nbsp;



ALESSANDRO I’ve been fortunate enough to always have a clear sense of what I wanted to do with my life. From a young age, I was drawn to creative expression. I remember filling the walls of my house with drawings—much to my mother’s frustration at the time. Eventually, she also recognized that art was my true calling. Since then, my parents have been incredibly supportive, encouraging my passion and making sure I had the resources to pursue my studies. Their unwavering belief in my vision allowed me to fully dedicate myself to my artistic journey.&nbsp;



DUYGU What urges you to create?&nbsp;



ALESSANDRO It’s the one thing that gives me a profound sense of safety and purpose. I often describe it as my life’s mission, something that gives me direction. There’s a deep-seated urge to create within me, it’s an integral part of who I am. Without it, I would feel lost, as if I wouldn’t know how to navigate the world.&nbsp;



DUYGU How would you describe your art to someone who has never seen it?&nbsp;



ALESSANDRO I would say my art exists at the intersection of irony, discomfort, and impact. It challenges the viewer, sometimes unsettling them in a way that prompts reflection. There’s a strong undercurrent of humor and wit layered within themes that disrupt the norm, creating a visual experience that stays with you long after you’ve seen it.&nbsp;



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DUYGU Do you use art as escapism or as a way of reflecting who you are?&nbsp;



ALESSANDRO I think it’s an equal balance of both. On one hand, art allows me to step into a different reality, to disconnect from the pressures of daily life and immerse myself in a world of my own creation. In the other, it&#8217;s a reflection of my inner self, a way to express who I am, my experiences, and how I percieve the world. It’s a delicate dance between escaping and revealing.&nbsp;



DUYGU Could you share some insights into your creative process?&nbsp;



ALESSANDRO It’s quite fluid, often influenced by the world around me and my own instincts. Sometimes, I draw inspiration from everyday life, transforming mundane experiences into something more profound. At other times, I delve into universal themes that everyone can relate to, aiming to resonate on a broader level. Then, there are moments when my ideas seem to emerge spontaneously, without any specific trigger, as though they were already there, waiting to be realized.&nbsp;



DUYGU Do you have any advice for creatives?&nbsp;



ALESSANDRO My biggest piece of advice is to embrace vulnerability and take risks. Don’t shy away from exposing yourself and your ideas, even if it feels uncomfortable. Focus on creating things that speak to you personally, rather than worrying about pleasing others. Art should be an authentic expression of your vision, not a bid for approval. Experiment with different approaches, and don’t be afraid to fail along the way—it’s all part of the process.&nbsp;



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DUYGU What do you think originality means in terms of art? How do you stay true to yourself in your work in this world of constant exposure?&nbsp;



ALESSANDRO Originality is complex. For me, it comes from the consistency of one’s vision and voice. I focus on creating a distinctive aesthetic through recurring themes and subjects, both conceptually and visually. Even in a world flooded with content, I stay true to myself by revisiting ideas and motifs that resonate deeply with me. In a way, consistency becomes its own form of originality, reflecting the unique perspective through which I view the world.



DUYGU The relationship between social media and your work: is it the best way to spread it?&nbsp;



ALESSANDRO In today’s digital age, social media is undeniably one of the most effective platforms for sharing and spreading art. It offers unparalleled access to a global audience and provides immediate feedback and engagement. Though it has its limitations, I believe it&#8217;s an indispensable tool for any contemporary artist.



DUYGU What role does abstraction play in your art, and how does it serve as a medium for exploring deeper truths?&nbsp;



ALESSANDRO In my case, I wouldn’t necessarily call it abstraction, but rather a form of surrealism. I enjoy taking familiar objects and completely transforming them, stripping them of their conventional meanings and imbuing them with new significance. This process allows me to explore deeper truths and question the way we interpret the world around us. By altering reality, I can evoke new perspectives and challenge preconceived notions.&nbsp;



DUYGU How does your artistic process mirror the complexities of modern life? Is there a specific narrative you aim to convey through your work?&nbsp;



ALESSANDRO A recurring theme in my work is a focus on contemporary issues. I aim to engage with topics that are relevant and reflective of the world we live in, but always through my own perspective. My art doesn’t just mirror modern life—it critiques and reinterprets it, pushing viewers to question the status quo and consider alternative viewpoints.



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DUYGU Given that your methods are far from traditional, in what ways do you think your cultural background influences your artistic vision and the themes you explore?&nbsp;



ALESSANDRO I believe that meaningful art requires a strong foundation in culture and history. While my work isn’t overtly tied to any specific cultural tradition, my understanding of the world, along with my awareness of past and present events, shapes the way I approach my art. My background gives me a framework to push boundaries and explore themes that resonate not just with me, but with society at large. In this sense, social media becomes a venue for dialogue—almost like an open exhibition space.



DUYGU What can you say about the importance of viewer interaction with your art? Can you discuss the role personal interpretation plays in the meaning of your work?



ALESSANDRO I place a great deal of importance on viewer interaction. I intentionally leave a lot of room for personal interpretation, often giving my pieces generic titles to avoid imposing a fixed narrative. This allows the viewer to engage with the artwork on their own terms, bringing their unique experiences and perspectives into the dialogue. In this way, the meaning of my work is always evolving, shaped by the ongoing interaction between the art and its audience.



DUYGU How do you envision the future of your artistic practice? Are there new themes or mediums you are excited to explore?&nbsp;



ALESSANDRO I’m currently exploring art direction more extensively, which feels like a natural progression for me. I think it’s time for my art to take a leap beyond the digital sphere and evolve into something that encompasses a broader range of mediums and experiences. The possibilities ahead are endless, and I’m genuinely excited to see where this journey will take me.



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DUYGU Do you care about people’s opinions on you?&nbsp;



ALESSANDRO To a certain extent, yes. While I don’t let others’ opinions dictate my creative choices, I do believe in maintaining a dialogue with your audience. That said, I prioritize staying true to myself and my vision, even if that means not always meeting others’ expectations.



DUYGU One thing you can’t live without.



ALESSANDRO Definitely my iPad and good music. They’re essential tools for my creative process and help me stay focused and inspired while I work.&nbsp;



DUYGU A confession about yourself?



ALESSANDRO I suffer from anxiety at levels that feel almost cosmic in scale. It’s something I’ve learned to manage, but it’s always there in the background.&nbsp;&nbsp;



<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
“In a way, consistency becomes its own form of originality, reflecting the unique&nbsp;perspective through which I view the world.&#8221;
</blockquote>

reality is nothing but a misconception w/Alessandro Malossi

<h2 class="wp-block-heading">Istanbul is a city that never stops its rhythm and dissolves chaos and order in the same pot. To exist here means to open a space for yourself, to be able to be included in its flow without getting caught in its waves. For some, it is the unpredictability of its streets, for others the stories behind its walls, and for others the state of being alone even in a crowd. Being creative means assimilating the lawless energy of this city and creating its own language. Recording Istanbul records the names that understand this language, find their own rhythm and feed on the infinite possibilities offered by Istanbul. Finding yourself in this city means accepting to get lost a little bit. They recorded, we listen.</h2>



Sometimes an ex-lover, others an endless journey&#8230; Ali Can Ayyıldız carves out his own path amid the chaos of Istanbul, never hesitating to share the inspiration he draws from the city back with it. He narrates his life not based on how others might react, but on what makes him feel good: “It’s not exactly easy, but when you can manage to act this way, you naturally become a one-of-a-kind character.” His relationship with Istanbul is woven with kites, marbles, friends, and losses. Sounds familiar?



Recording Istanbul_______ this time Ali Can sits in front of us. We delve into the unique mark he’s left on the city’s chaos, the original energy he’s infused into its spirit, and the creativity-filled stories he’s brought to life. Stories born from familiar voices, yet never heard before.



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Take us into your world! What are the core values that make you who you are?



Original, innovative, and emotional. Not only in my work but in every aspect of my life, I always try to create and try new things. I’ve never tied my purpose of survival to financial reasons — instead, I’ve always moved forward with innovative projects.



In the brands I’ve created or in the close relationships I’ve built, my emotional side can show up at a very high level. Maybe that’s why I push myself to be original — it has to be something completely new for me to actually love it.



What does “being unique” mean to Ali Can?



Acting not based on how others would react, but based on how I would feel good about myself. It’s not the easiest way to live, but when you manage to do that, you naturally become a one-of-a-kind character.



How would you describe your relationship with Istanbul?



I have a very long-term relationship with Istanbul. I’ve experienced its most ‘ghetto’ sides, I’ve flown kites, played marbles in the streets. I’ve made countless friends and lost many too. I’ve worked in so many places, opened venues, closed them. I’ve been deeply nourished by this city. That’s why it’s impossible for me to say anything bad about Istanbul. It’s actually like an ex I can never forget — you only realize you can’t live without it once you’re apart.



What makes a place stand out from others for you?



The crowd.



A confession about creativity.



I used to get really jealous of truly creative, great work. There were so many times I was mad at myself thinking ‘why didn’t I do this?’ As I’ve gotten older, I’ve calmed down a bit — now I can appreciate and move on with my life.



What would be the soundtrack of your life right now?



Radiohead &#8211; No Surprises



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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
“It’s actually like an ex I could never forget — you only realize you can’t live without it once you’re apart.”



-Ali Can Ayyıldız
</blockquote>



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<iframe loading="lazy" title="Based Istanbul 𝗖𝗢𝗡𝗙𝗘𝗦𝗦𝗜𝗢𝗡𝗦 Issue⁠Recording Istanbul ━━━━━━ Ali Can Ayyıldız" width="500" height="281" src="https://www.youtube.com/embed/AGZhnUvs20U?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe>
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In conversation with Ali Can Ayyıldız



Editor ın Chief <span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;"> Duygu Bengi



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Art Direction by Yağız Yeşilkaya



Videography by Umutcan Öncü, Melike Duman



Edited by Melike Duman



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Fashiıon Editors Birce Naz Köş, Murat Şentürk



Interview by Tunga Yankı Tan



Hair Team Enes Sakızcı, Yiğithan Yılmaz



Make Up by Melisa Deniz Aslanboğa



Make up Assistant Zeynep Naz Akoğlan



FashionAssistantants Melek Kaya, Zeynep Naz Gümrükçü

Recording Istanbul_______ Ali Can Ayyıldız

<h2 class="wp-block-heading">What does a handbag do when no one carries it? How does it see the world? When it slips from a woman’s hand, gets abandoned in a corner, passed from lover to lover—does it carry the weight of those memories? Or are all these stories a purely human illusion? Joanna Hogg builds the 29th chapter of Miu Miu Women’s Tales around these very questions, turning a handbag into more than just an object: a silent witness to time itself. This time, the protagonist is a white Miu Miu Wander.</h2>



In Hogg’s lens, the bag becomes an eye observing the world in silence. We first meet Wander resting alone on a rock in the vast landscapes of Maremma, Italy. This is where its story begins—in stillness. From there, the film rewinds through the bag’s life: its immaculate birth in the Miu Miu factory, its transformation in the hands of different owners, from the opulence of grand Italian villas to the shadows of urban peripheries. With every new touch, every new hand, the bag absorbs another story; the bag evolves—from a status symbol to a relic of heartbreak, from a witness to love to a symbol of being lost. 



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In Hogg’s cinema, an object is never just an object. Her films uncover the spirit of things, the memories soaked into them, and the complex bond between people and their possessions. Just as The Souvenir explored the collapse of a relationship through the silence of interiors, Autobiografia di una borsetta reads the surface of a bag like a diary—etched with love, loss, and transformation. The bag is not an accessory; it is a carrier of time itself.



Since 2011, Miu Miu Women’s Tales has invited female directors to explore femininity through their own vision. Each season, a new short film, signed by a woman, becomes part of this ever-growing conversation. As Miuccia Prada puts it, “a conversation with women about women.” From Ava DuVernay and Miranda July to Chloë Sevigny and Agnès Varda, the series has evolved beyond fashion film clichés to become a space for examining power, vulnerability, desire, and self-discovery.



With Autobiografia di una borsetta, Hogg rewrites the usual narrative structure. The central character is not human but an object. People are reduced to supporting roles—just hands passing the bag along, blurred faces in the background. The bag is the one carrying the story. And this story is not only the journey of an object but a metaphor for the fragility, desire, alienation, and fleeting nature of women’s lives.



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To enhance this radical shift in perspective, Hogg chose to shoot the film entirely with four iPhone 16s. This choice allows the camera to remain physically close to the bag, capturing the world from its point of view. Sometimes, we see through the eyes of an insect, sometimes as if we are the wind brushing against it. Ultra-wide lenses emphasize the bag’s position in time and space. In Hogg’s visual language, realism and magical realism merge, transforming what could have been a simple fashion film into a cinematic memory archive.



Autobiografia di una borsetta is not just the story of a handbag, but a portrait of contemporary Italy. The widening gap between social classes, the fragility hidden beneath glamour, the fleeting triumph of being a desirable object, followed by the inevitable fall into neglect—Wander bears silent witness to all of it. Once a symbol of status, the bag gradually loses both its value and the dreams it once carried.



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1365" src="https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1024x1365.jpg" alt="" class="wp-image-66650" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1024x1365.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-360x480.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-680x907.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1152x1536.jpg 1152w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1536x2048.jpg 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-16x21.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1-1200x1600.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/03/MMWT-29_AUTOBIOGRAFIA-DI-UNA-BORSETTA_JH-2-1-scaled-1.jpg 1920w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>



This is why Hogg’s film is not a traditional fashion film. It is social history seen through the eyes of an object—a poetic meditation on how objects absorb our desires, fears, and humanity itself.



Autobiografia di una borsetta is the fruit of creative freedom. Seeing the world through a handbag’s eyes, connecting memory and materiality, linking personal and collective history—this is where the creative legacy of Miu Miu Women’s Tales meets Joanna Hogg’s cinematic language.



 Miu Miu Women’s Tales has always chased what makes fashion more than clothing: the courage of women to tell their own stories in their own voices. Joanna Hogg’s Autobiografia di una borsetta reminds us—sometimes a bag is not just a bag. Sometimes, it’s a diary quietly remembering who we are.



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Autobiografia di una borsetta: A Bag’s Tale by Joanna Hogg for Miu Miu

<h2 class="wp-block-heading">Prada shows always hold a special place in the fashion calendar. Surprises, references, twists… This season was no different. Miuccia Prada and Raf Simons revisited the concept of femininity for Fall/Winter 2025. Instead of breaking the familiar molds or replacing them with new ones, they shifted those molds—creating gaps in between. And those gaps were just as important as the clothes themselves.</h2>



Classic codes of femininity—bows, dresses, jewels—appeared on the runway. But none of them carried their usual meaning. Fur coats, wrapped in plastic, were they being protected or stripped of their value? Skirts with paper-bag waists, were they embracing the body or avoiding it? A tiny bow sitting on the shoulder of a knit, was it about innocence or irony?



What Prada does is never just designing clothes; it builds ideas through garments. Once again, the archive met the present to refresh that conversation. Traces of Fall/Winter 2009 appeared on the runway, but the “strong woman” narrative of 2009 evolved into today’s questions: How has the relationship between femininity and simplicity changed? When luxury is so accessible, what does true elegance even mean?



The setting at Fondazione Prada’s Deposito supported these ideas too. Metal scaffolding and Catherine Martin’s patterned carpets placed rawness and luxury side by side. This physical framework made the collection’s message even clearer: Femininity is no longer a polished whole. It’s layered, contradictory, fragmented—and all the more real because of it.



And yes, Prada continues to celebrate imperfection. Visible seams, intentional wrinkles, and purposeful gaps… In Prada’s world, imperfection is never a flaw, but part of the design itself. This season, that attitude stood front and center: Not wanting to be perfect is the ultimate freedom.



Prada Fall/Winter 2025 doesn’t glorify femininity or reject it. It simply asks: What could it be? And Prada’s only answer, as always: Femininity never fits into one form. It’s in every piece, every detail, every contradiction.



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PRADA FW25: The Raw Form of Femininity

<h2 class="wp-block-heading">Gucci’s Fall/Winter 2025 collection introduced a blend of cinematic grandeur and contemporary design, set against a backdrop of mirrored interlocking Gs on the floor and ceiling. The runway setting evoked a high-tech reimagining of a vintage perfume bottle, reinforcing the collection’s mix of mod aesthetics and modern styling. </h2>



Fur and lace played a significant role in the season’s looks, reflecting broader industry trends. A-line mini dresses with a Twiggy influence were paired with silk scarves draped over baseball caps, while the brand’s signature horse-bit motif was reworked into a drop-chain necktie. Pastel patent leather skirt suits adopted a boxier silhouette, and glittery 1980s logo catsuits were styled alongside updated shaggy Jackie bags.



This collection marks the first since Sabato De Sarno’s departure, with Gucci’s in-house design team taking charge. While De Sarno often explored &#8220;his and hers&#8221; pairings across men’s and women’s collections, this season expanded on that idea with a fully co-ed lineup. Menswear elements—particularly structured outerwear and striped duffles—stood out, layered over well-tailored monotone suits.



The brand has also relied on its internal team during past transitions. Following Alessandro Michele’s departure in 2022, Gucci presented four seasons of collections before appointing De Sarno. Similar design choices appear between FW23 and this latest collection, with bold pops of orange, green, and blue contrasting muted suits and formalwear. Sheer, sequined, and lace low-rise midi skirts paired with long-sleeve sweaters also carried over as a statement look.



With no creative director currently confirmed, the future direction of Gucci remains a topic of speculation. As the brand responds to changing consumer preferences and market shifts, this collection offers a glimpse into its evolving aesthetic and strategy.



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Gucci Fall/Winter 2025 : Redefining 70’s Flair

<h2 class="wp-block-heading">Istanbul is a city that never stops its rhythm and dissolves chaos and order in the same pot. To exist here means to open a space for yourself, to be able to be included in its flow without getting caught in its waves. For some, it is the unpredictability of its streets, for others the stories behind its walls, and for others the state of being alone even in a crowd. Being creative means assimilating the lawless energy of this city and creating its own language. Recording Istanbul records the names that understand this language, find their own rhythm and feed on the infinite possibilities offered by Istanbul. Finding yourself in this city means accepting to get lost a little bit. They recorded, we listen.</h2>



Istanbul draws its breath from its creators, and Bengi Apak is one of its loudest voices. Her world is a reality unafraid to unfold, free from plastic facades and contrived mysteries. In her realm, clarity triumphs over chaos, and culture rises above fleeting trends. Bengi approaches creativity with a firm stance: “I’m not interested in extremes. For me, it’s crucial that everything I write and create is light and understandable.” She doesn’t linger in the tension of scaling the wall built by her doubts; instead, she turns her back to it, basking in its shadow. Let life throw as many bricks as it wants—Bengi’s palace of thought remains unshaken.



Recording Istanbul___ is making another recording. This time we are turning our lens towards Bengi Apak&#8217;s Istanbul; towards a universe where clarity steers creativity, challenges turn into confidence and self-awareness is the biggest source of inspiration. We’re not sure if the path leads to anywhere, but we are definitely on our way.



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Take us to your world! What are the core values that make you who you are?



Now! My world is a very straightforward place. I&#8217;ve always avoided plastic, forced mystery. I have nothing to do with extremes. It is very important for me that everything I create is understandable and light. I am traditional in terms of basic value judgements. I believe in family upbringing, I find love optional and respect essential.



 What does it mean for Bengi to be ‘unique’?



I am a self-sacrificing person. When necessary, I can stretch and mould myself by looking out for the people I care about. As I grew up, I started to do this for myself as well. I no longer make what goes on in my mind a cause of anxiety. What makes me unique is that I made peace with my mental palace, took it seriously and finally utilised it freely.



 How does being in the digital world affect you creatively, do you care what people think?



 My mobile phone is always on. I care too much about people&#8217;s thoughts. Each of us has become eager for a certain amount of interaction at the last point of the digital world. Our catalyst has always been to be liked and the digital world has made it very accessible and easy. Being open to comments used to be a horrible thing for me, but at this point I don&#8217;t make a big deal out of it. I take the positive and the negative in the same range and don&#8217;t get too caught up in it.



What did your work make you discover about yourself?



 If I hadn&#8217;t started this job, I wouldn&#8217;t have found anything I wrote at home sufficient, and I would have ended up not being able to create anything for the sake of creating the perfect, and not being able to exist because of myself. Half consciously, half by fate, I embarked on such a dynamic path. I realised myself despite myself. I am grateful to every detail of my path.



 A confession about creativity.



It&#8217;s not as magical as it&#8217;s portrayed.



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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
&#8220;Style has no meaning without a story. Style is actually an expression of you and your experiences. A style that is not shaped by your own story is just an image.&#8221;



 -Bengi Apak
</blockquote>



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In conversation with Sude Belkıs



Editor ın Chief <span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Duygu Bengi



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Art Direction by Yağız Yeşilkaya



Videography by Umutcan Öncü, Melike Duman



Edited by Melike Duman



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Fashiıon Editors Birce Naz Köş, Murat Şentürk



Interview by Tunga Yankı Tan



Hair Team Enes Sakızcı, Yiğithan Yılmaz



Make Up by Melisa Deniz Aslanboğa



Make up Assistant Zeynep Naz Akoğlan



FashionAssistantants Melek Kaya, Zeynep Naz Gümrükçü

Recording Istanbul_______ Bengi Apak

<h2 class="wp-block-heading">There’s something haunting about the way youth slips away before we even realize it’s gone. It lingers in fragments—blurry photographs, a half-smoked cigarette, the golden glow of a summer that no longer exists outside of memory. Sophia Cutino knows this well. Her work is a restless pursuit of preservation, an attempt to hold on to what refuses to sit still. At 23, she releases&nbsp;Diaries of a Wet Bird, a collection of images that capture the fleeting nature of adolescence, the beauty and decay entangled in its fabric.</h2>



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Sophia Cutino is obsessed with time. Not in a philosophical way, but in the way a collector hoards postcards from places they’ll never return to. As a kid, she stuffed pictures into scrapbooks, pressed receipts between book pages, and filled jars with rocks and shells—little talismans of moments she feared would slip through her fingers. That fear morphed into an obsession with film photography in her teenage years. And now, at 23, she releases&nbsp;Diaries of a Wet Bird—part fever dream, part love letter to a youth that’s already dissolving beneath her feet.



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The book is an excavation of Cutino’s coming-of-age, a flickering reel of images pulled from her time in Southern California and New York. The structure is fluid, cyclical—a breath in, a breath out. The book opens with poetry and black-and-white film stills before bleeding into color, only to slip back into the fog of obscurity. Cutino stitches together fragments of existence: blurry summers, skin on asphalt, cigarette smudges, a body floating in the afternoon light. But there’s rot, too—roadkill, shrines on the side of the road, discarded relics of something once alive. The beauty of it all is that nothing stays beautiful for long.



Cutino doesn’t just capture youth—she dissects it. She worships and destroys it in the same breath. Her fascination with impermanence is deeply tied to her view on photography itself, a philosophy she carved out after devouring Susan Sontag’s&nbsp;On Photography. A photograph is a soft murder, and Cutino took that to heart. Photography is like taxidermy to her. It holds something still, but it also takes something away. You can never really get it back.



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Her visual language is steeped in contradictions—devotion and defiance, beauty and decay, nostalgia and nihilism. Catholic iconography seeps into her work—crucifixes, candlelit shrines, white doves in mid-flight. The religious weight isn’t lost on her. She often reflects on faith and how people crave conviction. Maybe photography is her way of searching for meaning in the randomness. The book’s title echoes that sentiment. Pulled from an old Jackie Vernon joke—A wet bird never flies at night—it teeters on the edge of profundity, but ultimately means nothing. And maybe that’s the point.



There’s a delicious irony in mourning youth while still living it, and Cutino is self-aware enough to know it. She has been romanticizing her adolescence since before she was in it. The book is her way of making peace with the fact that nothing stays. Of learning how to love the moment before it’s gone. Of holding it still, just for a little while longer.



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Diaries of a Wet Bird: Sophia Cutino’s Ode to the Impermanence of Youth

<h2 class="wp-block-heading">Istanbul is a city that never stops its rhythm and dissolves chaos and order in the same pot. To exist here means to open a space for yourself, to be able to be included in its flow without getting caught in its waves. For some, it is the unpredictability of its streets, for others the stories behind its walls, and for others the state of being alone even in a crowd. Being creative means assimilating the lawless energy of this city and creating its own language. Recording Istanbul records the names that understand this language, find their own rhythm and feed on the infinite possibilities offered by Istanbul. Finding yourself in this city means accepting to get lost a little bit. They recorded, we listen.</h2>



Sude Belkıs’s Istanbul is woven with originality and freedom. We are in a space far removed&nbsp;from comparisons, where overcoming obstacles feels like a game. The whole story is about&nbsp;writing your own rules.&nbsp;“If someone looks at something and says,&nbsp;‘This is so Sude Belkıs,’&nbsp;then I know I’m on the right path,”&nbsp;she adds. As she discovers new versions of herself, she&nbsp;becomes more authentic; and as she becomes more authentic, she rediscovers herself—in&nbsp;each cycle we meet anew.



Recording Istanbul___ the movie tape&nbsp;rolls over and over again. The line between the fabric&nbsp;of the city and Sude becomes more and more blurred. Yet, one thing becomes clear: one can&nbsp;only be as free as one is auth.



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1536" src="https://cms.basedistanbul.com/wp-content/uploads/2025/02/SUDE_EXPORT_2-2-1024x1536.jpg" alt="" class="wp-image-66526" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/02/SUDE_EXPORT_2-2-1024x1536.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/SUDE_EXPORT_2-2-360x540.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/SUDE_EXPORT_2-2-680x1020.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/SUDE_EXPORT_2-2-1365x2048.jpg 1365w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/SUDE_EXPORT_2-2-16x24.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/SUDE_EXPORT_2-2-1200x1800.jpg 1200w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/SUDE_EXPORT_2-2-scaled.jpg 1707w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /><figcaption class="wp-element-caption">SUDE&nbsp;wears a jacket by&nbsp;Kundura,&nbsp;a T-Shirt and a denim by&nbsp;Diesel</figcaption></figure>



Take us to your world! What are the core values that make you who you are?



 SUDE Being original and free. They both feed each other.



What does being ‘unique’ mean for Sude?



SUDE I don&#8217;t compete to be the best, I like to stay out of comparison. Also, it&#8217;s great when someone sees something and says ‘this is Sude Belkıslık’.



How do you deal with creative blocks in your creative process?



SUDE Creativity seems to me like the process of finding solutions to overcome blocks. Obstacles exist in every field, the whole point is to aestheticise that obstacle and make it enjoyable.



How do you connect with yourself, do you have routines?



SUDE Hanging out on the phone for at least 4 hours a day and talking to myself for 1-2 hours is good for me.



A confession about creativity.



SUDE It looks like overcoming mountains but it&#8217;s just a short path.



What would be the soundtrack of your life right now?



SUDE BLOK3 UYUZ



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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
&#8220;I feel like creativity is the process of finding solutions to overcome obstacles. Obstacles exist in every field, the whole point is to aestheticise that obstacle and make it enjoyable.&#8221;



-Sude Belkıs
</blockquote>



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In conversation with Sude Belkıs



Editor ın Chief <span style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Duygu Bengi



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Art Direction by Yağız Yeşilkaya



Videography by Umutcan Öncü, Melike Duman



Edited by Melike Duman



<em style="font-size: revert; text-align: right; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;">Fashiıon Editors Birce Naz Köş, Murat Şentürk



Interview by Tunga Yankı Tan



Hair Team Enes Sakızcı, Yiğithan Yılmaz



Make Up by Melisa Deniz Aslanboğa



Make up Assistant Zeynep Naz Akoğlan



FashionAssistantants Melek Kaya, Zeynep Naz Gümrükçü

Recording Istanbul_______ Sude Belkıs

<h2 class="wp-block-heading">The spirit of SUNNEI defies easy categorization—it&#8217;s not just a fashion brand but an evolving platform for creative expression that transcends conventional boundaries. Founded by Loris Messina and Simone Rizzo, SUNNEI embodies the vibrant collision of refined bold Italian flair, blending the unexpected with a sense of authenticity that resonates deeply with its community. We ask Loris and Simone to explore how they navigate this unique creative landscape, the inspirations behind their multidisciplinary approach, and the philosophy driving them to build a timeless yet ever-evolving wardrobe. Dive into our conversation with the minds behind SUNNEI to uncover the layers of irony, practicality, and boldness that define their work. </h2>



For starters, let’s get to know you a little. How would you define your work to a person who has never seen it before? And where does your creative persona stand in that work?



SUNNEI is often recognized as a Milan-based fashion brand, known for its clothing and unconventional runway shows, but in our eyes, it’s so much more. SUNNEI embodies a spirit that transcends traditional fashion, taking shape in everything from clothing to projects like SUNNEI Objects and Radio SUNNEI. The fil rouge is creativity, timeless authenticity, transcending traditional schemes and connecting with the present through our peculiar language which explores the duality of digital and physical realms via multidisciplinary and cross-media initiatives. We are the creative entrepreneurs behind the brand, those who realized that something like this was missing in the market and decided to do it ourselves.&nbsp;



What inspires you to create, and how does that creative spark find life in the world of SUNNEI?



Our inspiration comes from real life. We’re not driven by abstract ideas but by what we experience around us. Sometimes, our starting point is intensely personal—like an inside joke only we understand—and other times, it’s a symbol everyone can relate to. Take our Torre Velasca-shaped candle, for instance. It celebrates one of Milan’s most iconic buildings and has become a beloved piece among our community.&nbsp;



If we were to approach you as the Yin and Yang of SUNNEI, what would you say are the complementary and contrasting sides of your creative personas that shape your work?



Loris is French so we tend to say that he infuses the brand with the refined taste of his homeland, while Simone is from the South of Italy hence the bold colors, the irony and the provoking attitude of the brand. But SUNNEI is more than the sum of our two personalities, it would be an oversimplification to view it this way. In the office, usually, you would find Loris in the Design department and Simone with the marketing team, but the truth is that every important decision is taken together.&nbsp;



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When you hear SUNNEI, you think “new Milan.” How do you think the city has influenced the identity of your brand, and what sets it apart from the traditional fashion scene?



Though we’re not Milan natives, this city welcomed us with open arms, and we’ve grown deeply connected to it. which is why we try to honor it in what we do. For example, we undertook an urban regeneration project in an area on the outskirts of Milan, which we eventually painted entirely white and used to present our SS20 show. Today, people know it as “Bianco SUNNEI.”&nbsp;



Rooted in Milan with the mindset of the world—thinking local and acting global. How do you approach the concept of sharing culture? Are there any other cultures or cities that you find muse in?



For a long time, people thought that SUNNEI was a Korean or Japanese brand, because they didn’t expect this aesthetic from an Italian brand. This is to say that borders have always been kind of blurred for us. We just follow our instincts. Our muse isn’t tied to any one place; it’s about embracing a universal perspective.&nbsp;



Your designs challenge traditional fashion. How do you strike the balance between originality and commercial success when creating the identity of a brand?



This blend comes natural to us. We push boundaries but also strive for practicality and versatility. Our community values distinctiveness and quality, and that balance is key.&nbsp;



There is a noticeable divergence from the design approach in your work, leaning towards practicality. How do you think this has shaped your design process and manifested through the garments you create?



Every detail in our pieces serves a purpose. Our process often starts by revisiting our archive and asking, “How would we do this today?” It’s a constant journey of questioning and refining, always striving for new levels of quality and function.&nbsp;







<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
&#8220;We believe in not taking ourselves seriously all the time, which is why you’ll find t-shirts bearing ‘I hate fashion’ prints or high-end Murano glass objects shaped like sex toys.&#8221;
</blockquote>



In the fashion world, personal authenticity often requires a stand against trends. What kind of creative process does SUNNEI follow as the brand goes beyond trends and creates its own aesthetic?



What’s most important is to focus on our direction without getting distracted by what happens around us. Chasing trends is a dangerous game and we do the opposite: our goal is a timeless wardrobe so that our pieces can accompany our community through a long part of your existence &#8211; which is also why we give priority to their quality -.&nbsp;



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In this race against trends and time, how do you handle creative blocks?



The fact that we often start by re-imagining items that are already there might help. We always say that SUNNEI is like an iPhone that gets system updates every season: it’s always the same but better. When it comes to shows and content, we’re never short on ideas; it’s just a matter of when is the right time to choose one over the other.&nbsp;



What do you believe the fashion world needs more of, particularly for the next generation of designers?



Unrestrained freedom of thought. More interesting things would emerge if people simply followed their instincts instead of predefined norms.&nbsp;



Your work often plays with humor and irony. How do you balance being approachable while maintaining an edge?



We like to play with conventions and we believe that we don’t need to take ourselves seriously all the time. That’s why you’ll find t-shirts bearing “I hate fashion” prints or high-end Murano glass objects shaped like sex toys. We believe in not taking ourselves too seriously all the time.&nbsp;



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SUNNEI has a bold character, reflected in its creative decisions, especially in your 10th- anniversary show where the casting was truly out-of-the-box. What drives you to make these choices? Do you aim to break boundaries, or do you not believe in them at all?



Probably, your last assumption is the most accurate: we don’t believe in boundaries—or, simply put, we don’t care about them. We are often seen as provocateurs, as if we do things merely to “be different” or “sabotage the system.” In reality, subversion is never our goal; this is simply what happens when you don’t follow any preconceived rules. Speaking about our shows, many guests tell us that when they arrive at the location, they start wondering what we might do this season, and they appreciate having an active role in our presentations. We understand that most of the attendees see dozens of shows in a day, so to make ours memorable, it’s essential to create something that deeply resonates with them.&nbsp;



How does the bond established by the SUNNEI brand with its target audience nourish their individual stories and styles? Why is it so important for you that people who wear it can express themselves in an original way?



Thanks to the consistency of our aesthetics, we like the idea that our community might mix pieces from different SUNNEI collections without any clash. It all ties back to the concept of a timeless wardrobe.&nbsp;



How does the aesthetic understanding of the SUNNEI allow the wearer to express his own individuality? Do you think your designs give people the power to express themselves in different ways?



Absolutely. To give customers more options, we offer several reversible and customizable items. For example, the “Do What You Want” collection features a selection of t-shirts in various colors and sizes, each accompanied by iron-on SUNNEI logos, allowing you to decide if and where to apply them.&nbsp;

SUNNEI- Creativity Beyond Norms w/ Loris Messina & Simone Rizzo

<h2 class="wp-block-heading">This season, Les Benjamins brings an innovative and timeless perspective to luxury urban wear with its new Classics collection. The collection offers pieces that can easily transition from day to night, redefining simplicity and elegance and finding a place in every moment. Each carefully selected key element perfectly combines elegance and function, staying loyal to the fast-changing and versatile nature of contemporary urban style.</h2>



Grounded in cultural narratives as a global platform, Les Benjamins&#8217; Classics collection brings effortless chic and modern elegance together, bringing a fresh air to the urban lifestyle. The collection redefines contemporary dressing by blending clean lines and meticulous tailoring with elegantly soft silhouettes. Combining aesthetics and functionality in every detail, the collection offers a wide range of urban essentials, from sweatshirts and tracksuits to hoodies, t-shirts, dresses, trousers, polos, knits and casual outerwear options. These pieces stand out not only in terms of aesthetics, but also in terms of comfort and functionality, due to the perfect blend of high quality fabrics.



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Les Benjamins&#8217; iconic design approach is reflected in the artistry of each piece, creating an elegance with exquisite details. Blending modern and traditional elements in its designs, the brand stands out this season with its timeless pieces. The collection consists of black, white, dark navy blue, biscotti, gray, army green, ocean green and marshmellow color palettes. These sophisticated colors offer a timeless elegance that can be easily preferred in every season. The color choices not only create visual harmony, but also reflect a universal aesthetic understanding by eliminating gender, age, culture and seasonal differences.



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1280" src="https://cms.basedistanbul.com/wp-content/uploads/2025/02/1benjamins-4-1024x1280.jpg" alt="" class="wp-image-66455" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/02/1benjamins-4-1024x1280.jpg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/1benjamins-4-360x450.jpg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/1benjamins-4-680x850.jpg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/1benjamins-4-16x20.jpg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/02/1benjamins-4.jpg 1080w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>



The Les Benjamins Classics collection, which is offered in women&#8217;s, men&#8217;s and children&#8217;s clothing categories, is designed to appeal to the needs of individuals of all styles. The collection offers pieces that can be worn comfortably in every environment, from school to work, from daily life to special moments. It adds elegance and comfort to every moment by offering a selection of essential pieces in your wardrobe. With a timeless elegance, Les Benjamins Classics will highlight your style in every situation and allow you to achieve elegance with every outfit.



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Newest Classics: Les Benjamins 

<h2 class="wp-block-heading">Orphism in Paris, 1910-1930, is an exhibition that charts Orphism’s expansive reach across disciplines—where color is movement, rhythm is form, and painting becomes a visual symphony. Taking over the Guggenheim’s spiraling rotunda, the show presents over 90 works that reframe Orphism’s position within the broader avant-garde, not merely as an art movement but as a fluid dialogue between painting, dance, music, and poetry.</h2>



Named after Orpheus, the mythical poet and musician whose melodies could bridge worlds, Orphism was born in the early 1910s amidst an era of seismic cultural and technological shifts. The movement’s pioneers—Robert and Sonia Delaunay, František Kupka, and others—sought to break from the constraints of representation, constructing compositions where color and form existed in a state of perpetual motion. The exhibition underscores how Orphism resonated beyond the visual arts, drawing inspiration from contemporary dance and the rhythmic structures of modern music. In these paintings, motion is not merely suggested but enacted—planes of color pulsate, shapes spiral, compositions unfold like musical scores translated into pigment.



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Beyond its dynamic forms, Orphism was a reaction to the accelerating tempo of modernity. In the streets of early 20th-century Paris, electric lights flickered, automobiles blurred past, and cinema redefined perception. Orphism absorbed this sensory overload, translating speed and simultaneity into luminous compositions that transcended time and space. The Delaunays, in particular, championed a vision of “pure painting”—a universal visual language that rejected narrative in favor of sensation.



Revisiting Orphism from a contemporary lens, Harmony and Dissonance situates the movement within a lineage of abstraction that remains vital today. Works previously exhibited in Synchromism (1978) at the Whitney Museum and Robert et Sonia Delaunay (2003) at the Centre Pompidou return here, not as historical artifacts but as dynamic forces, still vibrating with the energy of their creation. This is an exhibition not just of paintings but of movement, sound, and the restless pursuit of a new artistic syntax—one where harmony and dissonance are not opposites, but echoes of the same rhythm.



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A radical vision of abstraction pulses-           Harmony and Dissonance: Orphism in Paris, 1910-1930,

<h2 class="wp-block-heading">“Dick Lourant is dead”</h2>



<h2 class="wp-block-heading">Lost Highway is undoubtedly one of the most memorable &#8211; or the most confusing &#8211; of legendary director and painter David Lynch&#8217;s oeuvre. Starring Bill Pulman, Patricia Arquette and Balthazar Getty, the neo-noir film, which can be described as the director&#8217;s masterpiece, intertwines the past and the future, blurs reality and fantasy, and strays far away from the linear timeline.&nbsp;&nbsp;</h2>



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In the movie, it is possible to see the details in which the director blends his two disciplines. Just as everyone makes different interpretations when looking at an artwork, the film allows the viewers to create their own fiction. The fact that Lynch sticks to his principles in filmmaking and never reveals his films in interviews allows the viewer to reflect a reality based on his personal point of view. While it is left entirely to the audience to uncover the dark elements hidden within the movie, it also offers the opportunity to discover the director&#8217;s alter ego.



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The movie opens with a tense couple living in a cold and uncanny house. The hostility or fear between them is palpable. Renee (Patricia Arquette) says, “Do you mind if I don&#8217;t go to the club tonight?” She would rather stay home and read a book. Fred (Bill Pullman) laughs bitterly, “Books? Book?” We cut to a scene with a 1940s noir feel, where the husband appears as a saxophone player. Then we go back home. The next morning, an envelope is found on the stairs. Inside the envelope is a videotape of their home, which looks like an old IBM punch card. Then comes the tape showing his wife murdered in bed…



Fred Madison is a jazz musician and lives with his wife Renee. Fred begins to experience a series of strange events while watching videos of a man he does not recognize in the garage of their home. In these videos, a man with an unrecognizable face is constantly appearing in images that intrude into Fred&#8217;s home and life. Over time, Fred is forced to commit a mysterious crime that he associates with these videos. Pete Dayton is another main character and narrates another life that develops in parallel with Fred&#8217;s story. Pete is involved in a crime and loses his identity through a series of events. Pete&#8217;s life overlaps with many elements of Fred&#8217;s story.



Throughout the movie, the identities of Fred and Pete are blurred, creating a transition between reality and fantasy. By sharply shifting time frames, Lynch gives the viewer a constant sense of being lost.The film dives into themes of the subconscious as both characters&#8217; dark journeys of identity and crime unfold.



The high-contrast lighting, dark colors and the atmosphere created by the film strongly reflect the elements of suspense and horror.&nbsp; The music also deepens the emotional atmosphere of the film, with Trent Reznor&#8217;s (Nine Inch Nails) contribution adding to the sense of tension and unease.



The unraveling of the film&#8217;s blurred structure forces the viewer to confront himself and the film.The narrative freedom that is usually present in Lynch&#8217;s work is also evident here, which makes the film a challenging and thought-provoking experience for the viewer.In this film, David Lynch is particularly notable for the complexity of the narrative and the way he manipulates the viewer&#8217;s perception of reality. Lynch&#8217;s cinema often manages to immerse the viewer in a disturbing, strange and dreamlike atmosphere.



Although the film has been compared to another of Lynch&#8217;s films, Mulholland Drive, in terms of the emotional meanings attached to colors and the different personalities of the characters, it is one of Lynch&#8217;s most characteristic works with its psychoanalytic themes, identity crises, repressed desires and traumas coming to the surface and a Freudian perspective.



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