A Helmut Lang jacket appears on a resale site. It could be worth $80 or $800, depending on whether it was designed by Lang himself, by the anonymous studio team that followed his departure, or by Peter Do. The label reads Helmut Lang in all three cases. Most AI tools cannot tell the difference, and most human resellers cannot either — not without ten minutes of research per item anyway. Multiply that by a few hundred garments a day and you arrive at the basic problem: fashion’s circular economy is running on infrastructure that was not built for the volume it now carries. AI is supposed to fix these types…

Would you buy a 8.6 Million euro handbag? At least that’s what the Japanese businessman Shinsuke Sakimoto did this July for Jane Birkin’s original bag in an auction organised by Sotheby’s. Of course it is not just a bag, it is “the” Birkin bag — an iconic piece of archive, element of history, in other words a piece of art. The Bag’s presence in an art auction is not benign, it is the result of a long artification process luxury houses have organised in the past 20 years. Elevating an object of craftsmanship to the status of artwork is only one of the tensions between the fashion sphere and the…

The relationship between art and fashion has long been the subject of critical debate, torn between notions of separation and synthesis. Karl Lagerfeld famously stated that “art is art, fashion is fashion,” positioning the two as fundamentally distinct disciplines. It is a neat statement: clean, quotable, and ultimately difficult to uphold. Within the realm of haute couture, garments transcend utility and enter the domain of conceptual and aesthetic expression becoming, for most, wearable art. Few fashion houses at this intersection have engaged as actively with avant-garde artistic circles as Schiaparelli. Elsa Schiaparelli translated key elements of early twentieth-century Paris’ Surrealism into her designs, establishing a house that is today, under the creative direction of Daniel Roseberry, experiencing an almost excessive resurge of…

Oftentimes, when we think of sustainability, we picture processes that are modern and high-tech. However, how can sustainability and tradition coexist? Some answers can be found within the Baltic country of Lithuania. Home to Vinted, the secondhand retail platform that gained such popularity that it became the #1 fashion retailer in France in 2025 (beating Zara, Shein, and Amazon), environmental awareness isn’t new to this country’s fashion industry. In fact, natural materials such as flax have been vital crops for Lithuanian folklore and crafts for thousands of years, with linen weaving playing a central role in Lithuanian culture. To this day, Lithuanians often opt for artisanally crafted clothing made of…

Scroll through TikTok or Instagram today and you’ll quickly encounter a familiar phrase: “run, don’t walk — I found a dupe.” Whether it’s a $30 version of a $900 designer bag or a fast-fashion reinterpretation of a viral runway piece, the “dupe economy” has become one of the defining phenomena of contemporary fashion culture. But behind the excitement lies a more complex question: are dupes making fashion more accessible, or are they quietly eroding creativity and value within the industry? At its core, the dupe economy is not new. Fashion has always operated through cycles of inspiration, reinterpretation, and diffusion. Luxury designs trickle down into mass markets, and trends are…

If you’re reading this, you’ve probably had the dream at some point. Fashion. Paris. Milan. The shows, the front rows, the studios, the idea that work could look like that. It’s a powerful image, and an industry very good at projecting it. But at the end of the day, it’s still a job. The meetings run long. The targets need to be hit. Most people are just people doing their work, answering emails, figuring it out as they go. And it’s still a business that needs to be monetised. If you’ve ever said “I want to work in fashion” and then immediately realised you have no idea what that actually…

It isn’t just a fashion show that unveils clothes; it builds a universe for them to exist in. At Dior, Jonathan Anderson does so with grace and ingenious creativity. There is only one way to describe it: j’adior.  What makes Anderson’s Dior so satisfying is how unafraid it is of poetry. Not the vague “romantic” mood-board poetry that gets waved around to justify any amount of beige, but an actual poetic logic: images, textures, and references that behave like metaphors. From his very first show for the house at Paris Fashion Week in September 2025, it was clear: Anderson had no intention of playing it safe. That debut was less a reset and more…

You’re missing the point. The internet has rediscovered Carolyn Bessette Kennedy the way it rediscovers everything: through a slideshow. Swipe. Black knit turtleneck. Swipe. Headband. Swipe. Straight-leg jeans. Swipe. Minimal gold jewelry. Swipe. Slim sunglasses. There she is. Or at least, the version of her that fits neatly into a Pinterest board or a 15-second TikTok “How to Dress Like CBK” video. With the release of Hulu’s Love Story, CBK has re-entered the cultural bloodstream. And just as the internet tends to do, it has reduced her to a moodboard. A capsule wardrobe. A shopping list. A colour palette. Apparently, all it takes to embody one of the most scrutinised…