Style analysis: Olivia Dean
Style analysis: Olivia Dean The fluidity, aura, and appeal that define love for the artist of the moment. By Irache Olivero January 16, 2026 If we talk about icons to admire and emulate in order to learn and experiment with style, we have to talk about the new soul-pop phenomenon: Olivia Dean. Under the title of her latest work, The Art of Loving, we have witnessed the stylistic eclipse of an artist we simply can’t stop thinking about. The art of loving is also fashion Olivia’s career exploded in 2025, largely thanks to TikTok, but her evolution has been in the making for more than five years. During that time, we’ve seen her move from looks closely tied to current trends toward the construction of a personal style that oozes freedom, fluidity, and personality. There are not many artists who have managed to create a timeless and recognizable aesthetic identity. Legacies like Cher’s or Selena’s are still references today, and Olivia Dean seems to be moving toward that place without even trying: in her search for the art of loving, she has found herself. Something between the stage and Olivia Dean Olivia is clear about it and has said it more than once: for her, a good look has to work in motion. It must shine on stage or have an interesting shape that influences how she moves and dances. And above all, it has to make her feel confident, beautiful, and comfortable. That’s why we see her twirling in long, flowing dresses, skirt sets, and silhouettes that elongate without restricting her, allowing her to enjoy the moment and remain “so intense,” as she defines herself. Her looks don’t just play with colors and shapes; they also incorporate personal elements that invite us to get to know her better. An iconic example is her appearance at Glastonbury in a custom Chopova Lowena dress: studs, prints, and an intimate tribute to her grandmother Carmen, the person who inspired one of her most emotional songs, titled with the same name. She’s seen it. So have we. If anything defines the creative duo of the moment, it’s their absolute fidelity to themselves. Simone and Olivia understand fashion through respect for craftsmanship and art, and perhaps that’s why each of their choices sparks anticipation. Emerging British brands like 16Arlington or Conner Ives have given the artist that boost of energy and confidence on stage. At the same time, we’ve seen her enjoy working with major fashion houses like Miu Miu, Maison Valentino, or Chanel, all of which have been unable to resist falling in love with Olivia’s authenticity. Seeing her stand out in such a personal way is a reminder of what fashion is really about: feeling, experimenting, and being so fully yourself that what you are and what you wear become inseparable. That hearing you and seeing you are the same thing. And that, as with Olivia Dean, people remember you even when all they see is a beautiful dress.
The `Comeback´of Mombasa with Bella Hadid
The `comeback´of the Mombasa with Bella Hadid The return of the it-bag that defined an era! By María Fideu January 12, 2026 Fashion is not just a cycle; it is a constant conversation between the archive and the present. If the aesthetics of recent years have taught us anything, it is that the nostalgia for the 2000s was not a fleeting trend, but a true paradigm shift. The latest proof of this is the spectacular return of Saint Laurent’s Mombasa bag, fronted by the figure who best understands the language of the modern “it-girl”: Bella Hadid. The power of the archive: From Tom Ford to Anthony Vaccarello To understand the weight of the Mombasa, we must go back to 2001. At the time, Tom Ford transformed the maison into a laboratory of aggressive sensuality and refined sophistication. The Mombasa, with its iconic antler-horn handle (originally inspired by Kenyan craftsmanship), broke away from the rigid structure of traditional luxury handbags. It was an organic, visceral, and slightly subversive design. Its success was such that it became the house’s first major “It-bag” under Ford’s direction, cementing an aesthetic that, 25 years later, has once again become the epicenter of cultural relevance. Today, Anthony Vaccarello revives this silhouette in a raw, minimalist campaign starring Bella Hadid. The choice is no coincidence: Bella has almost single-handedly helped revalue the second-hand market, wearing archival pieces that fashion insiders have relentlessly hunted down on resale platforms. The ‘Resurrection’ phenomenon This is not an isolated case. Today’s creative directors have stopped ignoring the vintage market and have begun actively feeding it directly from the runways. The Chloé precedent Recently, we’ve seen how Chemena Kamali revived the spirit of the Paddington Phoebe Philo’s iconic design restoring its status as a must-have in the brand’s new era. The YSL strategy With the Mombasa, Saint Laurent validates the new generation’s obsession with bags with personality, structure, and a touch of irreverence. Direction and Photography |Glen luchford From “Vintage” to “New Production”: A Strategic Dilemma Why now? The return of these bags speaks to a growing fatigue with extreme minimalism. After years of discreet handbags and barely-there logos, audiences are craving pieces that tell a story. The Mombasa is not just an accessory; it carries a narrative. With a history on the red carpets of the 2000s, it is a symbol of an era when fashion was more tactile, more daring, and definitely more fun. The industry has entered a phase in which success is measured by the depth of the archive a brand is able to activate. Seeing Bella Hadid carrying the Mombasa is not merely a nod to early-2000s paparazzi photos; it is confirmation that the archive is the new future. Creative directors are no longer competing with the past they are inviting it to the table.
Chanel Métiers d’Art
Chanel Métiers d’Art 2026 The New York Subway Becomes the Ultimate Luxury Runway By María Fideu December 5, 2025 One of the most anticipated shows of the season has arrived: Chanel Métiers d’Art 2026, an annual celebration that pays tribute to the artisanal excellence of the ateliers that form the creative heart of the maison. Matthieu Blazy breaks all the rules in his debut, transforming an abandoned Bowery station into the most coveted runway of the season. Forget palaces; the new luxury travels by subway. If Gabrielle Chanel freed women from corsets, Matthieu Blazy seems determined to free them from the rigidity of traditional haute couture. In a collection that explored the duality between heritage and innovation, the French maison did the unthinkable: it went underground. For the Métiers d’Art 2026 collection, Chanel didn’t choose the Met nor the Public Library, but an out-of-service subway station in Bowery. The result? A cinematic ode to commuter style. The Setting: “Next Stop, Chanel” The guests including new ambassador A$AP Rocky, Ayo Edebiri, and Margaret Qualley descended onto a transformed platform where urban reality collided with the atmosphere of a 2000s romantic comedy. Redefining a woman who is determined and self-assured. The actress Margaret Qualley |Getty images Blazy’s brilliance lies in his ability to take the mundane and elevate it to art. The collection was a parade of New York archetypes seen through a lens of extreme luxury: The New Urban Uniform: We saw quarter-zip sweater. Yes, that basic office staple reimagined with luxurious wools and pearl draping. Winks to the Big Apple: The details were delightfully literal yet subtle. Skirts with beaded embroidery recreating the Manhattan skyline at night, and the house’s iconic tweed fused with “lumberjack” flannel patterns a nod to the most rustic side of American style paired with the classic I LOVE NY T-shirt. Could it get any more iconic? Craftsmanship (Métiers d’Art) Let’s remember that this show exists to celebrate Chanel’s artisans (the embroidery, feather, and goldsmithing houses). Blazy managed to ensure that this technical virtuosity didn’t feel “museum-like.” An Art Deco dress rescued from the archives was reconfigured with Lemarié feathers, but styled with chinos to give it that effortless “I just threw on the first thing I found and I look fabulous” attitude. Matthieu Blazy has achieved what once seemed impossible: injecting a dose of raw reality into Chanel’s fantasy world without losing a single ounce of elegance. The Métiers d’Art 2026 collection was not just a show; it was a statement of intent. Chanel under the Blazy era is younger, more versatile, and deeply connected to how modern women dress today. If luxury is the ability to dream, Blazy has shown us that dreaming can also happen on the ride downtown on the 6 train.