
<p><strong>Under the creative direction of Anthony Vaccarello, Saint Laurent Rive Droite was created in 2019. It’s a space where art, culture and fashion all collide. Almost like heaven on earth for creatives.</strong></p>



<p>Rive Droite means “Right Bank” in english. The name refers to the right side of the Seine River in Paris. And it’s a reference to Yves Saint Laurent’s monumental <strong>Rive Gauche</strong> ready to wear line and boutique.</p>



<p>The line launched in 1966, when high fashion was still mostly locked inside haute couture salons and only aimed at the elite. Fast fashion wasn’t there to copy, and only the rich could really be interested in fashion. Rive Gauche wanted to change that.</p>



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<p>You might think that Anthony Vaccarello was being political with the name choice but actually it’s a geographical reference. Rive Droite means the Right Bank of Paris. Since the city is divided by Seine its just a reference to that, really. But of course you can read between the lines.&nbsp;</p>



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<p>In the geographical sense: the Left Bank is historically intellectual, artistic, bohemian. While the Right Bank is grandiose, wealthy, more commercial and luxury oriented. So after 53 years the Yin-Yang of Saint Laurent was fullfilled, with Anthony Vaccarello’s Right Bank. Bringing fashion to the bohemian side, and culture to the luxurious side. A perfect balance.</p>



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Rive Droite. The Yin of Laurent, Fulfilled. 


<p><strong>Some items are practical. Yet they still manage to shine through as a style statement. Watches, for instance… they’re not like bracelets you put on just for the sake of it. They have a purpose too. And when it comes to Angelina Jolie’s Cartier Tank watch, it’s definitely a statement. Purpose, met with elegance.</strong></p>



<p>The Cartier Tank watch’s origins date back to 1917. Yet it keeps its relevance and beauty today. A watch that doesn’t get affected by time’s arrows. Its clean geometry and Roman numerals have stayed almost the same, even after more than a century. Just like Angelina Jolie’s beauty, her statement item holds onto a kind of quiet grace.</p>



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<p>Her style back in the ’90s was far less graceful, more rocker chic. And needless to say, she was the blueprint of that wilder, more rock’n’roll way of dressing. She had that don’t-give-a-damn, femme fatale coolness. Now she feels more reserved, more grounded. And the Cartier Tank watch fits right into this version of her, doesn’t it?</p>



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<p>Guess some things really do change. Especially with time. Your style definitely does. Like Angie. Still ever-beautiful, still graceful… yet her style has shifted from black to something closer to a clean white slate. In a way, it’s never just about the watch. It’s about what stays, even when everything else shifts. The Cartier Tank doesn’t try to keep up, it simply remains. And maybe that’s why it works so well on her. Not loud, not chasing. Just there, in its own time.</p>


Angelina Jolie & Her Cartier Tank Watch


<p><strong>There is a persistent assumption that magazines belong to another era, an elegant but outdated form, edged out by the immediacy of the internet. But this view misses something essential. Reading a magazine, at its best, is not comparable to scrolling through content. It is much closer to reading a book. And like books, magazines remain one of the quiet ways culture is formed, absorbed, and refined.</strong></p>



<p>A well-made magazine is not a random collection of articles. It is structured, paced, and designed with intention. It’s a curated reading experience, bringing together art, fashion, design, and all elements of lifestyle, reminding you that there are others who see the world from the same perspective as you. The reader moves from one piece to another not by algorithm, but by editorial vision. This creates a continuity of thought, a rhythm that resembles the experience of reading a book. You don’t just encounter information; you enter a curated world.</p>



<p>That immersion matters. Culture is not built from isolated facts or viral fragments. It emerges from sustained exposure to ideas, language, and aesthetics. Magazines provide exactly this: creatively rich editorials, essays that unfold over pages, photography that invites attention rather than a glance, and design that teaches the eye how to see. Over time, this shapes taste not in a superficial sense, but in a deeper, more personal way.</p>



<p>To read magazines regularly is to train perception. You begin to notice tone, style, and nuance. You recognize when writing is careful and when it is careless, when an image is composed thoughtfully and when it is merely decorative. This sensitivity does not come from speed; it comes from attention. And attention is precisely what magazines demand.</p>



<p>There is also an aesthetic education embedded in the form itself. The layout, typography, and sequencing of content, these are not incidental. They are part of how meaning is communicated. Unlike the standardized templates of most digital platforms, magazines treat presentation as an art. In engaging with that, readers develop an intuitive sense of balance, proportion, and visual language.</p>



<p>In contrast, much of online reading encourages the opposite habits. It rewards quick reactions, shallow engagement, and constant movement. It is efficient, but rarely transformative. Magazines, like books, resist that efficiency. They ask for time, and in return, they offer depth.</p>



<p>This is not to romanticize the past or dismiss digital media. Many magazines now exist online, and they, too, can provide meaningful reading experiences. The point is not the format, but the approach: coherence over chaos, intention over excess, quality over speed.</p>



<p>To read a magazine today is to participate in a slower, more deliberate form of culture. It is to choose engagement over distraction, to value form as much as content, and to allow ideas to settle rather than pass by. In that sense, magazines do more than inform; they refine. They shape how we see, how we think, and ultimately, how we understand the world around us.</p>


Why Reading Magazines Still Cultivates Taste in the Age of the Scroll


<h2 class="wp-block-heading">YSL Lovenude Beauty Hotel opens its doors with Büşra Develi. Boundaries, confidence, vulnerability, and self love… there are many themes on our minds. One feels incomplete without the other. When you are with Büşra, your focus shifts from what is seen to what is felt. In her world, freedom is not found in the absence of boundaries, but in being able to recognise them. She meets us from a place where you can be alone with yourself, where you listen to your vulnerability instead of suppressing it.</h2>



<h2 class="wp-block-heading">It exists in a space that goes beyond appearing strong, reminding us of the layers of simply being human. Sometimes she invites us to notice more than what we see in the mirror, sometimes to rethink how we approach ourselves with compassion.</h2>



<p><strong>DUYGU What changes for you when boundaries disappear?</strong></p>



<p><strong>BÜŞRA</strong> When boundaries disappear, you feel a sense of freedom, but at the same time you face the risk of falling apart. For me, boundaries are less about pressure and more about a sense of centre. When you know where you stand, you can move more freely.</p>



<p><strong>DUYGU How do you define confidence in your reality?</strong></p>



<p><strong>BÜŞRA</strong> For me, confidence is not about doing everything perfectly. It is about seeing both your flaws and your strengths and still being able to remain yourself. It feels more like an inner sense of stability.</p>



<p><strong>DUYGU When you are alone with yourself, which side of you do you reconnect with the most?</strong></p>



<p><strong>BÜŞRA</strong> My more vulnerable side. In a crowd, people tend to be more controlled, but when you are alone, you truly face your inner voice. In those moments, I hear myself more clearly.</p>



<p><strong>DUYGU Is self love a result for you, or the journey itself?</strong></p>



<p><strong>BÜŞRA</strong> I do not think it is a result. It is more of an ongoing journey, one that shifts and moves with ups and downs. Sometimes you feel very close to it, sometimes you drift away. What matters is learning how to return to it.</p>



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<p><strong>DUYGU When you look in the mirror, what feels different compared to before?</strong></p>



<p><strong>BÜŞRA</strong> I used to focus more on what I saw from the outside. Now I also see what is behind the expression. Not just the image, but the experiences, the tiredness, the strength, all of it together.</p>



<p><strong>DUYGU If you were to write yourself a love letter, how would you begin?</strong></p>



<p><strong>BÜŞRA</strong> “Thank you for still being here after everything you have been through.” I think I would begin like that. Because sometimes you need to approach yourself with compassion first.</p>



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<figure class="wp-block-image size-full"><img loading="lazy" decoding="async" width="1024" height="1280" src="https://cms.basedistanbul.com/wp-content/uploads/2026/04/Based_IstanbulxYSL_Love_Nude0703-Large.jpeg" alt="" class="wp-image-72511"/><figcaption class="wp-element-caption">Büşra is accompanied by YSL Lovenude Lip Blusher No2 &amp; Kiss Shaper No103.</figcaption></figure>
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<p><strong>DUYGU Are setting your own boundaries and loving yourself connected?</strong></p>



<p><strong>BÜŞRA</strong> I think they are very connected. As you start to love yourself, what you say “yes” to and what you say “no” to becomes clearer. Setting boundaries is also a way of making the value you give yourself visible.</p>



<p><strong>DUYGU How important is beauty to you? What would you compromise in your own definition of beauty?</strong></p>



<p><strong>BÜŞRA</strong> Beauty is important to me, but it is no longer enough on its own. I think beauty is completed by a person’s energy, their gaze, what they carry. I would not make major compromises on my character, my peace, or my health for my own idea of beauty. At a certain point, what truly makes someone beautiful is how well they are within themselves.</p>



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<p class="has-text-align-right"><strong>Presented by</strong>&nbsp;Based Istanbul x YSL Beauty</p>



<p class="has-text-align-right"><strong>Talent</strong>&nbsp;Büşra Develi</p>



<p class="has-text-align-right"><strong>Creative Direction &amp; Words</strong>&nbsp;<strong>by</strong>&nbsp;Duygu Bengi</p>



<p class="has-text-align-right"><strong>Directed by</strong>&nbsp;Yağız Yeşilkaya</p>



<p class="has-text-align-right"><strong>Photography by</strong>&nbsp;Burcu Karademir</p>



<p class="has-text-align-right"><strong>Fashion Editor</strong>&nbsp;Umut Sımsıkı</p>



<p class="has-text-align-right"><strong>Hair by</strong>&nbsp;Batuhan Sancar</p>



<p class="has-text-align-right"><strong>Make-up by</strong>&nbsp;Aslı Bilge</p>



<p class="has-text-align-right"><strong>Creative Agency</strong>&nbsp;BI Creative</p>



<p class="has-text-align-right"><strong>Creative Team</strong>&nbsp;Ali Aydın Ustaoğlu, Duru Ustaoğlu, İrem Sonbay</p>



<p class="has-text-align-right"><strong>Gaffer</strong>&nbsp;Okan Ataş</p>



<p class="has-text-align-right"><strong>Photography Assistant</strong>&nbsp;Furkan Irmak</p>



<p class="has-text-align-right"><strong>Styling Assistants</strong>&nbsp;Naz Paksoy, Zeynep Koçman</p>



<p class="has-text-align-right"><strong>Hair Assistant</strong>&nbsp;Mert Ayan</p>



<p class="has-text-align-right"><strong>Make Up Assistant&nbsp;</strong>Arzu Sezar</p>



<p class="has-text-align-right"><strong>Best</strong>&nbsp;<strong>Boy</strong>&nbsp;Arif Bilbay</p>



<p class="has-text-align-right"><strong>Lighting Assistants</strong>&nbsp;Ali Rıza Çalışkan,&nbsp;Ali Şimşek İsmail</p>



<p class="has-text-align-right">⁠<strong>Set Crew</strong>&nbsp;Hamza Korhan Keskin, Mücahit Emre Ekinci</p>


At the YSL Lovenude Beauty Hotel w/ Büşra Develi


<h2 class="wp-block-heading wp-embed-aspect-9-16 wp-has-aspect-ratio">YSL Lovenude Beauty Hotel opens its doors with M Lisa. In a world where boundaries blur and emotions intertwine, getting to know yourself feels harder than ever, and maybe more real. M Lisa opens a door to an inner journey shaped within these uncertainties. For her, life is not about separating good from bad, but about holding both at once as a whole.</h2>



<h2 class="wp-block-heading wp-embed-aspect-9-16 wp-has-aspect-ratio">She finds confidence not in perfection, but in being content with herself. Self love, for her, is not a destination but an ongoing process. With her questioning nature, honesty toward herself, and sincere approach, M Lisa reminds us what it means to be able to say, “my one and only self.”</h2>



<p class="wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>DUYGU What changes for you when boundaries disappear?</strong></p>



<p><strong>M LISA</strong> When boundaries disappear, everything becomes one for me, both the good and the bad together. Depending on the situation, it can also be something you would not choose.</p>



<p><strong>DUYGU How do you define confidence in your reality?</strong></p>



<p><strong>M LISA</strong> Confidence can look different for everyone. To me, a person is confident when they believe they deserve what they want or that they are capable of achieving it. In short, it is being content with yourself.</p>



<p><strong>DUYGU When you are alone with yourself, which side of you do you reconnect with the most?</strong></p>



<p><strong>M LISA</strong> It changes over time. If I have to say something, I notice that I have a very questioning nature. I question everything, I am not someone who accepts things just because they appear that way. I think that is it.</p>



<p><strong>DUYGU Is self love a result for you, or the journey itself?</strong></p>



<p class="wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>M LISA</strong> Self love is the journey itself. Loving life, people, nature, everything we know, that is the journey itself.</p>



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<figure class="wp-block-image size-full"><img loading="lazy" decoding="async" width="6554" height="8192" src="https://cms.basedistanbul.com/wp-content/uploads/2026/04/Based_IstanbulxYSL_Love_Nude1769.jpg" alt="" class="wp-image-72546"/></figure>
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<figure class="wp-block-image size-full"><img loading="lazy" decoding="async" width="1024" height="1280" src="https://cms.basedistanbul.com/wp-content/uploads/2026/04/Based_IstanbulxYSL_Love_Nude1910-Large.jpeg" alt="" class="wp-image-72493"/><figcaption class="wp-element-caption">M Lisa is accompanied by YSL Lovenude Lip Blusher No7 &amp; Kiss Shaper No1.</figcaption></figure>
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<p class="wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>DUYGU If you were to write yourself a love letter, how would you begin?</strong></p>



<p><strong>M LISA</strong> I would begin with “my one and only self.”</p>



<p><strong>DUYGU Are setting your own boundaries and loving yourself connected?</strong></p>



<p class="wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>M LISA</strong> Yes, I think they are. It is about giving yourself the right to say “no” when needed. It is about protecting yourself. You protect what you love.</p>



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<p class="wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>DUYGU How important is beauty to you? What would you compromise in your own definition of beauty?</strong></p>



<p class="wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>M LISA</strong> Beauty is really important to me. I am not obsessive about it, I can feel beautiful in every state when it comes to it. But feeling beautiful matters to me. I believe beauty comes from health, so I stay away from anything that could affect my skin and my body. If that is a kind of compromise. But I would never compromise in a way that disturbs my peace for anything I want.</p>



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<iframe loading="lazy" title="YSL Lovenude Beauty Hotel w/ M Lisa | Based Istanbul x YSL Beauty" width="422" height="750" src="https://www.youtube.com/embed/XTYkL6Dz0fs?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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<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Presented by</strong>&nbsp;Based Istanbul x YSL Beauty</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Talent</strong>&nbsp;M Lisa</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Creative Direction &amp; Words</strong>&nbsp;<strong>by</strong>&nbsp;Duygu Bengi</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Directed by</strong>&nbsp;Yağız Yeşilkaya</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Photography by</strong>&nbsp;Burcu Karademir</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Fashion Editor</strong>&nbsp;Umut Sımsıkı</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Hair by</strong>&nbsp;Batuhan Sancar</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Make-up by</strong>&nbsp;Aslı Bilge</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Creative Agency</strong>&nbsp;BI Creative</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Creative Team</strong>&nbsp;Ali Aydın Ustaoğlu, Duru Ustaoğlu, İrem Sonbay</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Gaffer</strong>&nbsp;Okan Ataş</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Photography Assistant</strong>&nbsp;Furkan Irmak</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Styling Assistants</strong>&nbsp;Naz Paksoy, Zeynep Koçman</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Hair Assistant</strong>&nbsp;Mert Ayan</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Make Up Assistant&nbsp;</strong>Arzu Sezar</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Best</strong>&nbsp;<strong>Boy</strong>&nbsp;Arif Bilbay</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio"><strong>Lighting Assistants</strong>&nbsp;Ali Rıza Çalışkan,&nbsp;Ali Şimşek İsmail</p>



<p class="has-text-align-right wp-embed-aspect-9-16 wp-has-aspect-ratio">⁠<strong>Set Crew</strong>&nbsp;Hamza Korhan Keskin, Mücahit Emre Ekinci</p>


At the YSL Lovenude Beauty Hotel w/ M Lisa


<h2 class="wp-block-heading">YSL Lovenude Beauty Hotel opens its doors with İlayda Alişan. Boundaries are often equated with restriction. Sometimes they shift into the opposite, creating a space where you can hear yourself more clearly and understand where you stand. İlayda moves right along that fine line.</h2>



<h2 class="wp-block-heading">In her world, confidence is not about being complete, but about being yourself even with the parts that feel unfinished. Self love is not a final destination, but an ongoing search for balance, with all its ups and downs. In moments when she steps away from the pace of the crowd and returns to herself, she encounters a calmer, clearer voice. İlayda reminds us that beauty is not only something seen from the outside, but something that comes from within as a whole. Sometimes, speaking less and standing more clearly is the strongest form of expression.</h2>



<p><strong>DUYGU What changes for you when boundaries disappear?</strong></p>



<p><strong>İLAYDA</strong> From the outside it may look like freedom, but for me it is the opposite. Without boundaries, clarity fades and what is right and what is unnecessary start to blur. Setting boundaries in my life is like creating structure. It shows both yourself and the other person where things stand.</p>



<p><strong>DUYGU How do you define confidence in your reality?</strong></p>



<p><strong>İLAYDA</strong> For me, confidence is the journey of being myself. But it is important that completion does not become the goal along the way. It is a process where I grow day by day. And while growing, it is also about being able to love the parts of me that I cannot grow, accepting them with awareness, and being myself in every state, in every situation.</p>



<p><strong>DUYGU When you are alone with yourself, which side of you do you reconnect with the most?</strong></p>



<p><strong>İLAYDA</strong> My calmer side. During the day there is a constant pace, decisions, people… But when I am alone, I realise how much I can actually pause and think. In those moments I turn inward a bit more. Listening to myself has always felt good.</p>



<p><strong>DUYGU Is self love a result for you, or the journey itself?</strong></p>



<p><strong>İLAYDA</strong> Definitely a journey. It is not something you can say is done and finished. Sometimes you feel really good, sometimes you are harsher on yourself. What matters is being able to find that balance again.</p>



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<p><strong>DUYGU When you look in the mirror, what feels different compared to before?</strong></p>



<p><strong>İLAYDA</strong> I see someone clearer. I used to feel the need to explain myself more, to express myself. Now I prefer to speak less and stand more clearly.</p>



<p><strong>DUYGU If you were to write yourself a love letter, how would you begin?</strong></p>



<p><strong>İLAYDA</strong> I would not start with big sentences, it would be simpler… Big words have always intimidated me. I would probably write the ending at the beginning. Most likely, I would thank myself for everything.</p>



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<p><strong>DUYGU Are setting your own boundaries and loving yourself connected?</strong></p>



<p><strong>İLAYDA</strong> I think they are directly connected. Setting boundaries is like saying “I am here” to yourself. If you cannot do that, it means you are putting yourself in the background somewhere.</p>



<p><strong>DUYGU How important is beauty to you? What would you compromise in your own definition of beauty?</strong></p>



<p><strong>İLAYDA</strong> Beauty is important, but it has no meaning on its own. It can be effective at first impression, but it is not sustainable. Energy, presence, character last longer. I believe so deeply in the idea of inner beauty… That is why I would not compromise myself for beauty.</p>



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<iframe loading="lazy" title="YSL Lovenude Beauty Hotel w/ İlayda Alişan | Based Istanbul x YSL Beauty" width="422" height="750" src="https://www.youtube.com/embed/m-FrDC-R8BQ?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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<p class="has-text-align-right"><strong>Presented by</strong> Based Istanbul x YSL Beauty</p>



<p class="has-text-align-right"><strong>Talent</strong> İlayda Alişan</p>



<p class="has-text-align-right"><strong>Creative Direction &amp; Words</strong> <strong>by</strong>&nbsp;Duygu Bengi</p>



<p class="has-text-align-right"><strong>Directed by</strong>&nbsp;Yağız Yeşilkaya</p>



<p class="has-text-align-right"><strong>Photography by</strong> Burcu Karademir</p>



<p class="has-text-align-right"><strong>Fashion Editor</strong>&nbsp;Umut Sımsıkı</p>



<p class="has-text-align-right"><strong>Hair by</strong>&nbsp;Batuhan Sancar</p>



<p class="has-text-align-right"><strong>Make-up by</strong>&nbsp;Aslı Bilge</p>



<p class="has-text-align-right"><strong>Creative Agency</strong>&nbsp;BI Creative</p>



<p class="has-text-align-right"><strong>Creative Team</strong>&nbsp;Ali Aydın Ustaoğlu, Duru Ustaoğlu, İrem Sonbay</p>



<p class="has-text-align-right"><strong>Gaffer</strong>&nbsp;Okan Ataş</p>



<p class="has-text-align-right"><strong>Photography Assistant</strong> Furkan Irmak</p>



<p class="has-text-align-right"><strong>Styling Assistants</strong>&nbsp;Naz Paksoy, Zeynep Koçman</p>



<p class="has-text-align-right"><strong>Hair Assistant</strong> Mert Ayan</p>



<p class="has-text-align-right"><strong>Make Up Assistant&nbsp;</strong>Arzu Sezar</p>



<p class="has-text-align-right"><strong>Best</strong>&nbsp;<strong>Boy</strong>&nbsp;Arif Bilbay</p>



<p class="has-text-align-right"><strong>Lighting Assistants</strong>&nbsp;Ali Rıza Çalışkan,&nbsp;Ali Şimşek İsmail</p>



<p class="has-text-align-right">⁠<strong>Set Crew</strong> Hamza Korhan Keskin, Mücahit Emre Ekinci</p>


At the YSL Lovenude Beauty Hotel w/ İlayda Alişan


<p><strong>We can’t change chronological age. Time keeps moving forward. But in recent years, that has stopped being the main point. The focus has shifted from how long we live to how we live that time. That’s exactly why longevity has become such a central idea. It’s not about a longer life, but a better one. Preserving energy, vitality, and resilience over time.</strong></p>



<p>Today, this idea is no longer just a scientific discussion, but also a cultural shift. And one of its most visible reflections is Demi Moore. As Lancôme’s new ambassador, Moore represents longevity beyond being the face of a campaign. The point here isn’t to look younger, but not to fade with time. Rather, to become more defined within it.</p>



<p>The longevity approach doesn’t address aging from a single point. It proposes a more holistic perspective. Instead of focusing only on the surface, it tries to understand the skin through how it functions at a deeper level. This is where Lancôme’s Longevity Integrative Science™ comes into play. By addressing aging at molecular, cellular, and tissue levels, it aims to support the skin’s natural functioning. The goal is not just to repair, but to preserve resilience and vitality over time.</p>



<p>This perspective takes form in the Absolue Longevity MD range. Drawing from scientific research in longevity, the range approaches both visible and invisible signs of aging in a multi-dimensional way. At the center of the formula is Mitopure™, an active that focuses on supporting mitochondria, which are responsible for cellular energy production. By aiming to reactivate declining cellular energy, it addresses the skin not only on the surface, but at a deeper level.</p>



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<p>What emerges here differs from the traditional idea of anti-aging. It’s less about correction, more about direction. Instead of forcing the skin, it works with it. Instead of trying to stop time, it suggests moving forward with it, in a better way.</p>



<p>This is exactly where Demi Moore’s place in the narrative gains meaning. What she represents is not a fight against age, but knowing how to carry it. Perhaps this is the clearest expression of longevity: not disappearing with time, but becoming more defined within it.</p>



<p>For Lancôme, longevity is not a passing trend, but a long-term perspective. The Absolue Longevity MD range is one of its most current expressions. More than a product line, it offers a different way of thinking about how we approach the skin.</p>



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A Better Life, Made Tangible. Lancôme Absolue Longevity MD.


<p><strong>Music festivals are one of those rare cultural rituals that seem immune to aging. Trends come and go, genres rise and fall, but the core appeal of gathering in a field or a city, or a desert with thousands of strangers for the sake of music remains remarkably intact. The question isn’t just why festivals are still popular. At the heart of it, there is something deeply human. It’s about collecting the experience. </strong></p>



<p>Listening to music alone can be powerful, but hearing it live, surrounded by people who feel the same rhythm, transforms it into something larger. A chorus shouted by thousands doesn’t just amplify sound. It amplifies emotion. That shared energy is almost impossible to replicate elsewhere, and it resets every time, with every crowd. No two festivals are ever truly the same, even if the lineup repeats.</p>



<p>Another reason festivals stay fresh is their constant reinvention. They evolve alongside culture without losing their essence. One year it’s indie rock dominating the stages, the next it’s electronic beats or global fusion acts. Beyond music, festivals absorb new ideas: art installations, immersive experiences, wellness spaces, even tech integrations. They’re not static events; they’re living ecosystems that adapt to what people care about right now.</p>



<p>There’s also the element of escape. Festivals carve out a temporary world with its own rules, aesthetics, and pace. For a few days, everyday routines dissolve. People dress differently, act more freely, and often connect more openly. It’s a kind of socially accepted break from reality. Festivals balance predictability and surprise.&nbsp;</p>



<p>Attendees know the general script —multiple stages, long days, big headliners— but within that framework, anything can happen. You might discover a new favorite artist at a small stage, stumble into an unforgettable performance, or simply have a random interaction that becomes a lasting memory. That mix keeps the experience from becoming routine.</p>



<p>There’s also a generational handoff happening all the time. For first-timers, festivals are novel and overwhelming in the best way. For veterans, they’re nostalgic yet still exciting. People return not just for the music, but to reconnect with a feeling they can’t quite find elsewhere. Meanwhile, new audiences bring fresh energy, new expectations, and new interpretations of what a festival should be. This constant renewal keeps the culture from stagnating. Festivals act as a bridge between the familiar and the unknown, where legacy acts meet emerging talent, and audiences expand their tastes without even trying.</p>



<p>Music festivals don’t get old because they aren’t just about music. They’re about connection, transformation, and discovery. They tap into something fundamental: the desire to feel part of something bigger, if only for a moment. And as long as that desire exists, festivals will keep finding ways to feel new even when the concept itself is decades old.</p>


Why Music Festivals Won’t Age


<p><strong>This spring, Fondazione Prada brings together two of the most provocative image-makers of our time Arthur Jafa and Richard Prince for a confrontation. Titled as; <em>Helter Skelter</em>, the exhibition opens at Ca’ Corner della Regina in Venice from May 9 to November 23, 2026, unfolding during the Venice Biennale. It’s a fitting setting for a show that thrives on tension, collision, and cultural overload.</strong></p>



<p>At first glance, Jafa and Prince seem to operate in entirely different worlds. Jafa’s work is deeply rooted in Black experience, constructing a visual language that attempts to carry the same emotional and sonic intensity as Black music. Prince, on the other hand, has built his practice on appropriation; mining advertising, celebrity imagery and American subcultures to question authorship, desire and the mythology of whiteness. Yet <em>Helter Skelter</em> reveals a shared instinct: both artists are relentless image scavengers, pulling from the endless stream of visual culture and reshaping it into something at once familiar and deeply unsettling.</p>



<p>What emerges across the exhibition is not a clean narrative, but a fractured portrait of America itself. A country shaped by spectacle and violence, by music and memory, by obsession with fame and a constant recycling of its own imagery. Both of their work echoes the legacy of Marcel Duchamp and the readymade, but pushes it further into the present, where appropriation becomes less a gesture and more a condition. Prince rephotographs and reframes, while Jafa samples and edits, building dense constellations of meaning from existing material. In their hands, images are no longer fixed; they are fluid, unstable, and open to reinterpretation.&nbsp;</p>



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<p>The title <em>Helter Skelter</em> carries its own layered history, from a British amusement ride to a song by The Beatles, later distorted into something far darker by Charles Manson. Here, it functions as a kind of conceptual anchor. What makes <em>Helter Skelter</em> feel particularly urgent is how closely it mirrors the present. We exist in an era defined by endless scrolling, where images circulate without origin and meaning is constantly rewritten. Jafa and Prince anticipated this condition long before it became embedded in everyday life.&nbsp;</p>



<p>In the end, the exhibition resists offering clarity. Instead, it creates an atmosphere where beauty and violence, humor and horror, intimacy and spectacle collapse into one another. It asks the viewer not to decode, but to sit within the complexity. Because somewhere within this chaos lies recognition not just of America as an idea, but of a broader visual culture that we are all, inevitably, part of.</p>



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Chaos as Culture: Jafa x Prince


<p><strong>Creative work is often seen as exciting, flexible, and driven by passion. From the outside, it can look like a dream career: designing, writing, filming, or making art for a living. But behind that image, many people in creative industries feel something very different: constant pressure and endless work.&nbsp;</strong></p>



<p>One of the biggest reasons is how the industry is structured today. Many creatives work as freelancers or on short-term contracts. This means there is no guaranteed income. You’re not just doing your job. You’re also looking for your next one. Finding clients, sending emails, negotiating prices, and managing payments all take time.&nbsp;</p>



<p>So even when you’re not “working,” you’re still working. Because of this uncertainty, it becomes hard to say no. Turning down a project might mean losing future opportunities. So people take on more than they can handle, just to stay safe. Over time, this creates a cycle of overwork that is difficult to escape.</p>



<p>Another challenge is that creative work is rarely clear or final. Unlike many other jobs, there’s no strict finish line. There’s always another version, another idea, another round of feedback. And feedback can come from everywhere; clients, managers, teams, even audiences online. This leads to constant changes. A project that should be simple can drag on for weeks because opinions keep shifting. Instead of focusing on creating something meaningful, many creatives spend their time managing expectations and responding to feedback.</p>



<p>At the same time, the digital world has changed the pace of work. Today, creativity is no longer about making one strong piece. It’s about producing content all the time. Social media, algorithms, and online platforms reward people who are constantly active. This means creatives are expected to do more than ever before. A single idea is turned into multiple formats: posts, videos, short clips, updates. The work grows, but the time doesn’t.</p>



<p>Being online is also part of the job now. Sharing work, staying visible, and keeping up with trends are all necessary. But this creates a feeling of always being “on.” Even during breaks, there’s pressure to stay active. It becomes hard to truly disconnect.</p>



<p>New technologies like AI have added another layer of pressure. While these tools can make work faster, they also raise expectations. If something can be done quickly, it is expected to be done quickly. Deadlines get shorter, and clients expect more for less. Instead of reducing workload, efficiency often leads to more demands. There is also a deeper, more personal challenge. For many people, creative work is not just a job. It’s part of their identity. Being a designer, writer, or artist is something they feel, not just something they do.</p>



<p>This makes everything more intense. Criticism feels personal. Failure feels heavier. And stepping away from work can feel uncomfortable, like losing a part of yourself. All of these pressures project-based works uncertainty, endless feedback, constant content, online visibility, and personal identity come together to create a system where overwork feels normal.</p>



<p>But it shouldn’t be.</p>



<p>Creativity needs time, space, and energy. It needs rest just as much as effort. When people are always tired and overwhelmed, the quality of the work suffers too. If creative industries want better ideas, better work, and healthier people, something has to change. That means fair pay, clearer boundaries, realistic timelines, and a culture that respects rest. Because creativity doesn’t come from being constantly busy, it comes from having the freedom to think.</p>


Why Creative Industries Are Chronically Overworked


<p>Sometimes, a statement item comes from just the need of keeping the dirt at bay. Kate Moss did exactly that with her Hunter boots. Worn through her iconic Glastonbury fits… Through mud, soil, and festival fields, they became part of an image that felt effortless, accidental, and therefore impossible to replicate. Not a statement piece. Yet somehow, the statement. To the point that Hunter even made a pair for her with her name on them, instead of the original logo.</p>



<p>Kate was never just an icon as a model. Her style, the way she uses fashion to express her creativity… that’s what makes her <em>Kate Moss</em>.</p>



<p>It wasn’t about the boots themselves. Because the boots themselves weren’t special. Not in the way fashion defines special. They weren’t designed to be desirable. They were designed to function. Mud, rain, fields. That’s it. And then Kate wears them at Glastonbury, mid-2000s. Mud everywhere. And she’s walking through it like it’s just another pavement. That’s when something shifts. Slowly, Wellington boots turn into a cool-girl festival staple.</p>



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<p>What’s cool about Kate’s style is exactly that. She is effortless. The epitome of a cool girl. Sometimes messy, sometimes dressed down, but always exciting to the eye. There’s something in the way she dresses that catches you. Not just because she is <em>Kate Moss</em>, but because she never looks like she’s pretending. She’s just herself. Fully. Transparently.</p>



<p>And that’s where her festival fits get their beauty from. She was actually there. To have fun, to listen to music, to be in it. The boots were chosen out of necessity. But on her, they became something else. A statement. Not because she tried to make one, but because she didn’t.</p>



<p>She wasn’t there as the version of Kate Moss the fashion industry constructed. She was there as someone who loves music, chaos, and being in the moment. And that’s what makes it stick.</p>


Kate Moss & Her Hunter Boots


<p><strong>There was a time when living to the ages of seventy or eighty was considered a full, respectable life. Today, that benchmark feels almost modest. Across social media feeds, podcasts, startups, and even casual conversations, one idea keeps resurfacing: not just living longer, but living much longer and better. Longevity has become less of a medical topic and more of a cultural movement. At first glance, the obsession seems rational. Advances in medicine, nutrition, and technology have made it increasingly plausible to extend both lifespan and healthspan.</strong></p>



<p>We are no longer limited to treating disease after it appears; we can now track biomarkers, optimize sleep, fine-tune diets, and even experiment with cutting-edge therapies aimed at slowing aging itself. When the possibility of adding decades of healthy life enters the conversation, it’s hard not to be intrigued. But the intensity of the current fixation goes beyond science.</p>



<p>Longevity has become a kind of modern aspiration, almost a status symbol. Just as previous generations chased wealth or career prestige, today’s culture increasingly celebrates optimization: better habits, cleaner diets, sharper minds, longer lives. Living longer is no longer just about survival; it’s framed as a personal achievement, something you can engineer through discipline and knowledge.</p>



<p>There’s also a deeper psychological layer. In a world that feels unstable, economically, politically, environmentally, the idea of controlling aging offers a sense of certainty. If we can’t control everything around us, perhaps we can at least control our bodies. Longevity becomes a form of reassurance, a promise that time itself can be negotiated.</p>



<p>Culturally, the obsession is also tied to how we now experience time and identity. Life no longer follows a single, linear script of education, career, and retirement. People reinvent themselves multiple times, changing careers, cities, even values well into midlife and beyond. In that context, a longer life feels less like excess and more like a necessity. More years mean more chances: to start over, to explore different versions of yourself, to participate in a culture that increasingly rewards reinvention over stability.</p>



<p>At the same time, the obsession reveals a subtle discomfort with mortality. For all our technological progress, death remains the one inevitability we cannot eliminate. The surge of interest in longevity may reflect an attempt to push that reality further away, or at least soften its edges. Talking about “healthspan” and “biological age” feels more empowering than confronting the limits of life. However, there’s a risk in turning longevity into a singular goal. When the pursuit of a longer life becomes all-consuming, it can overshadow the quality of the life being lived right now. Constant tracking, optimizing, and worrying about future health can, ironically, reduce present well-being. There’s a fine line between caring for your future self and neglecting your current one.</p>



<p>Perhaps the healthiest perspective lies somewhere in the middle. The desire to live longer and better is natural, even admirable. But longevity should be a byproduct of a meaningful life, not its sole purpose. After all, an extra 20 years means little if those years are spent chasing metrics instead of experiences.</p>



<p>In the end, the real question isn’t just how long we can live, but what we are living for. Longevity may extend the timeline, but it doesn’t automatically fill it with meaning. That part, as always, remains up to us.</p>


 The Longevity Obsession


<p><strong>Looking and seeing are two different things. The sense of sight depends on both. Yet, seeing is where fruition begins. Cinema and photography are both rooted in sight, but they don’t function the same way. Photography belongs entirely to the eye, while cinema extends itself to all senses. So what changes when the source of creation stays the same, but the medium shifts?</strong></p>



<p>The answer can’t be put into words, but can be witnessed through Yorgos Lanthimos’s photography. And what better way to experience this than through his new exhibition at Onassis Stegi?</p>



<p>The exhibition feels like a more personal, almost introspective extension of his cinema. The photographs are born from his film sets, taken on the fringes of locations and constructed worlds. But they don’t function as documentation. They sit somewhere in between. Between what is staged and what slips out of it. Between cinema and something more instinctive.</p>



<p>You can see the fruition of his ideas, his aesthetic, his vision, at its rawest form. Without a full production, without scripted scenes being played out, this is Lanthimos closer to his essence. And you are simply the spectator, witnessing it.</p>



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<p>He recalls starting photography as a technical necessity during his film education. Cinema came first. But over time, photography became another way of expression. Many of his photographs are taken in between takes on set. So they sit in a strange space: between fiction and reality. Between what is about to become a scene, and what exists just outside of it.</p>



<p>Photography can exist on its own. It doesn’t need a script, actors, or even a defined setting. It captures a feeling, and the narrative forms after the image. And even the way we encounter a photograph changes its meaning. We scroll past thousands of images every day. The same photograph, placed in a book, an exhibition, or a different sequence, can generate entirely new interpretations.</p>



<p>He considers this one of photography’s defining qualities: its independence from time and fixed narrative. Unlike cinema, which unfolds in a controlled structure, photography remains open, fluid, and reinterpretable. For Lanthimos, this makes it freeing.</p>



<p>It’s almost ironic. Photography is limited to a single sense, yet it feels more expansive. Maybe the intensity of focusing on just one sense creates that freedom. And in this exhibition, you don’t just see Lanthimos’s photography. Nor his cinema. You see something closer to the core of both. His way of seeing.</p>



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<p>On view at Onassis Stegi, Athens, until May 17.</p>


compressed senses, expanded meanings


<p><strong>A24, one of the strongest strongholds of independent cinema in recent years, returns with its latest production </strong><strong><em>The Drama</em></strong><strong>, offering a sharp and contemporary take on the performative nature of love, going beyond a conventional relationship story. While the film stars two powerful names, Zendaya and Robert Pattinson, what truly stands out is how these actors are pushed to “unravel.”</strong></p>



<p>The film’s director, Kristoffer Borgli, previously explored modern narcissism and the desire for visibility with dark humor in <em>Sick of Myself</em>. In <em>The Drama</em>, the tone is more serious, yet the perspective remains just as ruthless. In Borgli’s cinema, characters deceive themselves, and what’s most tragic is their lack of awareness. Here, too, the couple on the verge of marriage is not in love with each other, but with the idea of the relationship they have constructed. The director gradually dismantles this illusion, leading the audience toward an unsettling confrontation.</p>



<p>The breaking point of <em>The Drama</em> unfolds during what begins as a pleasant evening at the couple’s wedding rehearsal. When they attempt to turn it into a double date by asking, “What’s the worst thing you’ve ever done?” the question quickly spirals into an uncontrollable reckoning, stripping away all secrets.</p>



<p>Though the question appears innocent, it tests the limits of the relationship. What follows is a chain of events, culminating in a line that lingers long after: “Were we ever real, or did we just look good?”</p>



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<p>Clinging not to the reality of their relationship but to the idea of sustaining it, the couple chooses not to cancel the wedding, but to go through with it. What unfolds is a striking portrayal of two people attempting to keep a collapsing relationship alive one last time, by performing it. At this exact moment, Borgli subverts classical dramatic expectations; instead of a happy ending, he delivers an immaculate depiction of an empty ritual.</p>



<p>While <em>The Drama</em> offers no easy answers, it poses a fundamental question: <strong>“Is it love that sustains a relationship, or the need to believe in it?”</strong> With Kristoffer Borgli’s composed direction and the controlled performances of Zendaya and Pattinson, the film lingers in the mind long after it ends. This is not a love story. This is a story about how love is performed.</p>



<p>If you still believe in love, even as a performance, this playlist is for you.</p>



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Fragility of Modern Relationships: The Drama


<h2 class="wp-block-heading"><br>Sometimes a blur is more beautiful than seeing clearly. Entering situations without knowing what you’ll get and being surprised in the journey, as he puts it. And, I agree. We connect visually, over ideas around blacks and whites. An argument and a confession. Intimacy and spectacle. Two extremes that shouldn’t coexist, yet they do… violently, beautifully. </h2>



<p><strong><br>It’s all born from friction. We scroll, we consume, we archive. It’s all the same gray. Take your daily dose of Kertin Vasser if you refuse that sameness. Once you open yourself to it, it’s impossible to miss; the rawness, the confidence, the strangely relatable extremeness. “My turning point was realising that I didn’t have to imitate anyone else’s idea of ‘good photography’. The advice was simple: stop apologizing for your own eye. Once I trusted the mess, the flash, the awkwardness became the style.” he says. Frame this: coming to terms with your art starts with coming to terms with yourself. But honestly, what else did you really expect?</strong></p>



<p><strong>YANKI What is your <em>ikigai</em>?</strong></p>



<p><strong>KERTIN</strong></p>



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<p><strong>YANKI How do you feel about comfort zones?</strong></p>



<p><strong>KERTIN</strong></p>



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<p><strong>YANKI What is the greatest fear of an artist?</strong></p>



<p><strong>KERTIN</strong></p>



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<p><strong>YANKI How does pushing boundaries take shape in your reality?</strong></p>



<p><strong>KERTIN</strong></p>



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<p><strong>YANKI What does creativity mean to you?</strong></p>



<p><strong>KERTIN</strong></p>



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<p><strong>YANKI What would a dream see if it had a camera?</strong></p>



<p><strong>KERTIN</strong></p>



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<p><strong>YANKI What do you want your viewers to unlearn?</strong></p>



<p><strong>KERTIN</strong></p>



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<p class="has-text-align-right"><strong>Photography by </strong>Kertin Vasser</p>



<p class="has-text-align-right"><strong>Words by</strong> Yankı Tan</p>


Violently, Beautifully.


<p id="block-ae3f0ad7-ab48-4e95-abc1-ae04f874820b"><strong>Pat McGrath is not just a makeup artist; she is the moment and the movement. If fashion is fantasy, then Pat McGrath is the one who paints it into reality. For over three decades, she has shaped the visual language of beauty from backstage shadows to global obsession, turning fleeting runway looks into cultural history.</strong>&nbsp;</p>



<p>To understand McGrath is to understand power. Born in the UK and trained by instinct rather than convention, she entered fashion not as a follower but as a disruptor. There were no rules; so she wrote her own. Long before “glass skin” and “editorial glam” became buzzwords, McGrath was backstage at Prada, Versace, Louis Vuitton and Givenchy, creating beauty looks that felt closer to art installations than makeup.&nbsp;</p>



<p>Her collaborations are legendary, especially with John Galliano, she built entire worlds. Most recently, at the Maison Margiela Artisanal show in Paris, models emerged in a haunting, hyper-reflective “glass / porcelain skin” that felt almost unreal. A look so surreal it broke the internet, sparked thousands of recreations, and reminded the industry what true artistry looks like. But this wasn’t new for McGrath. Rewind to her era at Christian Dior: crystallised lips in the ’90s, metallic lashes, paper brows, unapologetic maximalism. Each show wasn’t just beauty, it was spectacle.</p>



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<p>McGrath’s brush has touched the most influential women of our time; Naomi Campbell, Kate Moss, Rihanna, Madonna, Zendaya&#8230; Not just clients, but collaborators in image-making. Together, they didn’t follow beauty standards, they dismantled and rebuilt them. Every shoot, every cover, every campaign became a reference point for what beauty could be.</p>



<p id="block-ae3f0ad7-ab48-4e95-abc1-ae04f874820b">What makes McGrath truly iconic is not just her aesthetic, but her impact. She is the first makeup artist to receive the highest honor from the Council of Fashion Designers of America. She was named one of Time’s most influential people. She was awarded a Damehood by Elizabeth II, the first makeup artist in history. And still, she evolves. With Pat McGrath Labs, she translates backstage alchemy into products that carry her signature: skin that glows like glass, pigments that feel otherworldly, finishes that blur reality.&nbsp;This is her legacy: not trends, but transformation. Not makeup, but mythology. Every look she creates doesn’t just capture a moment, it defines an era. In a world obsessed with what’s next, Pat McGrath has always been there first and somehow, still ahead.</p>



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