Photographed by Ellen Fedors against the naturally pink salt flats of the South of France, the story unfolds in an almost dreamlike landscape where pink water, crystalline salt and endless horizons create a sense of quiet escapism. Fashion becomes part of this otherworldly environment, exploring materiality, craftsmanship and tactility as defining elements of contemporary luxury. The story connects the ancient significance of salt as something precious, preserved and traded with fashion’s renewed fascination with the hand and the physical transformation of materials, celebrating the time, skill and craftsmanship that make a material feel rare.
Nature becomes an extension of the clothes. A Chanel sequin two-piece, its surface resembling layers of shells, almost disappears into a mound of salt, creating a camouflage-like effect as the body merges with the crystalline landscape. An oversized woven basket hat, finished with leather details, transforms a functional object into a sculptural fashion piece, while oversized fish-scale sequins on a Celine top echo the textures of the sea.
Throughout the story, materials are manipulated, exaggerated and brought into dialogue with their surroundings. Woven fibers, sequins, leather and crystalline salt reflect and absorb light in different ways, creating a visual conversation between the organic and the crafted. The result is a study of how fashion can turn surface, process and tactility into a new language of luxury.
Photographed by Olivia Frølich across the streets of Paris and inside a kitschy hotel meeting room, Paris in Passing captures fashion in constant motion. Inspired by the confident women of ’80s fashion spreads, the story turns the city into a stage, with three women moving through it as if they own the frame.
Saturated colors, sculptural silhouettes and dramatic volumes bring a bold cinematic energy to the streets. Exaggerated shoulder pads, waist belts, oversized cross earrings, supersized sunglasses, polka dots, fur shawls, tiger prints and tweed sets build a wardrobe of unapologetic power dressing. Fleeting moments, expressive tailoring and ever-changing urban backgrounds allow the clothes to become the narrative itself.
In recent seasons, something rare has started to appear on the runway: muscular women. It’s still unusual enough to stand out— despite a broader cultural moment embracing athleticism, from Kristen Stewart’s role in Love Lies Bleeding to the Olympic summer in Paris.
And yet in fashion, these bodies are often staged as anomalies: symbols of extremity, discipline, or transformation. Editorials place them in training mode, surrounded by dumbbells and gym gear, rather than presenting strength as part of an integrated vision of beauty. Physical strength is still coded as masculine or “other,” rarely allowed to exist within a broader idea of femininity.
With this story, Kenny Germé and I wanted to explore a different narrative — one where strength and softness are not opposites, but coexisting forces. Women are often described as emotionally resilient, yet their physical strength is rarely centered in the same way. Together with Chouaïb Arif we cast actual bodybuilders, whose muscular presence shaped the story. The styling moved between sculptural silhouettes — like armor — and second-skin pieces in latex or stretch fabrics, some custom-made to suggest bodies almost bursting out.
Shot in a brutalist pool complex, the setting became a character itself: concrete softened by water, hardness balanced by fluidity. Certain pieces were chosen for how they moved or transformed in that space — evoking aquatic textures like scales or mesh, without turning literal. We set out to create images where strength is not just visible, but felt—natural, commanding and fully integrated.
The story explores the tension between domestic tradition and contemporary reinterpretation, taking the visual language of the 1950s housewife and pushing it into something exaggerated, performative and quietly rebellious. The starting point was the strange return of traditional femininity as a form of contemporary power. From Nara Smith’s highly stylized housewife persona, which turns domestic codes into a global image and business of its own, to the women of The Secret Lives of Mormon Wives, who grew up within deeply conservative structures only to become the providers and public figures of their own lives. In both cases, traditional codes are not simply rejected, but appropriated and rewritten.
For the fashion story, photographer Tom Blesch and I translated this tension into a hyper-stylized domestic universe. Florals reminiscent of vintage oilcloths, lace recalling grandmother’s curtains, architectural knits, pencil skirts and the cone-shaped bras of the 1950s are paired with oversized pearls, layered cardigans and exaggerated proportions. Inspired by vintage jewelry advertisements, the model becomes both subject and display, polished, composed and almost impossibly ornamental.
We deliberately pushed these domestic codes beyond functionality. High jewelry is arranged on an ironing board as if it were another household object. Oversized pearl necklaces stretch to the floor, becoming far too impractical to cook, clean or move in. A look built around the rituals of the home is taken onto a trampoline, turning the supposedly controlled image of the housewife into something physical, playful and unruly.
The clothes play with the contradiction at the heart of these references: femininity as both expectation and performance, domesticity as both constraint and self-invention. By making familiar symbols of the traditional housewife excessive, glamorous and deliberately impractical, the story asks what happens when these codes are no longer worn as rules, but as tools to construct an identity, claim visibility and redefine power.
Pat Cleveland is a true fashion icon: one of the original muses to designers like Thierry Mugler, Karl Lagerfeld and Yves Saint Laurent and a force on the runway for over half a century. For this story, shot in New York City — the city that helped shape her legend — Eric Johnson and I wanted to capture her as the exalted figure she is: bold, playful, and utterly singular. Styled in looks that echo her exuberant spirit, the wardrobe was designed to emphasize her presence rather than tame it.
The setting, both inside and outside a building in Manhattan’s Financial District, creates a contrast between the formal rigidity of business and the expressive freedom Pat has always embodied. We aimed to portray her not just as a model, but as a living piece of fashion history reclaiming the city on her own terms.
Low-impact workouts like Pilates, barre, and aerial yoga have evolved beyond the realm of fitness. They‘ve become part of a wider aesthetic language and lifestyle. Through its rising popularity, especially among celebrities, Pilates has entered the mainstream and reshaped ideas of strength and beauty.
Originally developed by German-born Joseph Pilates in 1912 as a method of physical rehabilitation, the discipline now centers on control, alignment, and precision. In this story, photographed by Benjamin Vnuk, we translated these principles into a stripped-back visual narrative. Vnuk created a near-clinical setup: stark, controlled, almost surgical in feel that allowed the body and clothing to speak for themselves.
The styling plays with the codes of discipline and form: tight silhouettes, elongated lines, and exaggerated shapes that reference the body Pilates aims to sculpt. Instead of activewear, we used unexpected elements. Lace, sheer fabrics, leather, and even jewelry to introduce contrast and sensuality. Some pieces nod subtly to the equipment itself, like chain details echoing the springs of a Reformer machine. It’s a fashion-focused interpretation of a broader cultural shift — one where restraint, focus, and elegance quietly redefine the idea of impact.
Photographed by Oriane Verstraeten, Screen Time explores the space between reality and digital fantasy, where the quiet glow of a screen becomes a portal into an imagined world. In moments of pause, the familiar begins to dissolve. The face shifts, light changes, and the boundary between the person in front of the screen and the persona they construct within it becomes increasingly blurred.
The story is rooted in the paradox of technology as both an escape and a form of distraction. Where boredom once made space for wandering thoughts, memories and fantasies, the screen fills these empty moments with an endless stream of images. The character we see inhabits this in-between state, suspended somewhere between daydreaming and digital numbness.
The fashion reflects this ambiguity through romantic, almost fairy-like silhouettes, delicate layers and sculptural forms that feel both ethereal and slightly unreal. Masked shapes and cocoon-like constructions conceal and transform the body, suggesting a character in the process of becoming someone else. Muted light and moments of stillness give the story a somber, dreamlike quality, creating a world that feels simultaneously like an escape and a retreat from reality