First Bella. Now Kylie. ALO clearly has a type.

Earlier this month, Bella Hadid became the face of ALO’s latest campaign, returning to Los Angeles for a Mert & Marcus-shot celebration of presence, authenticity and feeling at home in your body.

Now, less than two weeks later, another of the world’s most recognisable women is entering the ALO universe.

Kylie Jenner.

But look beyond the celebrity casting and something more interesting is happening.

ALO isn’t simply collecting famous faces. The brand appears to be constructing a particular vision of the modern wellness woman — one who exists at the intersection of fashion, culture and extreme visibility, yet increasingly values the moments when nobody is looking.

And who better to communicate that contradiction than Bella Hadid and Kylie Jenner?

FIRST CAME BELLA

ALO’s campaign with Hadid centred around the idea of coming back to yourself.

Born and raised in Los Angeles, Bella was photographed in the city that also shaped ALO, with the campaign exploring the rituals she uses to feel grounded — movement, meditation, slowing down and creating space for herself.

“As I’ve gotten older, I’ve realised how important it is to create space for myself,” Hadid explained. “Whether that’s slowing down, moving my body, or just taking a moment to reconnect, those little rituals have become such a big part of how I take care of myself.”

It presented a noticeably quieter version of wellness.

Less perfection. Less performance. More presence.

Now Kylie is taking that idea somewhere even more personal.

THEN CAME KYLIE

There is something inherently fascinating about asking Kylie Jenner who she is when nobody is watching.

Few people understand constant visibility quite like she does.

Jenner has spent much of her life in front of cameras, eventually turning that exposure into an enormous beauty and fashion empire and becoming one of the defining figures of social-media-era celebrity.

Her ALO campaign deliberately turns the camera towards the moments supposedly happening beyond all of that.

Shot once again in Los Angeles by Mert & Marcus, the imagery explores what ALO describes as “wellness beyond the spotlight” — capturing Jenner in moments of stillness away from the expectations attached to her public image.

“Some of the most meaningful parts of my life happen when no one’s watching,” Jenner says. “Those moments of stillness are what help me feel grounded and present, and I’ve learned to protect them.”

For someone followed by hundreds of millions of people, the sentiment lands differently.

Privacy becomes a luxury.

ALO WANTS THE WOMAN BEHIND THE IMAGE

Put the two campaigns beside each other and ALO’s direction becomes clearer.

Bella’s story asks what it means to feel at home in your body.

Kylie’s asks what happens when the audience disappears.

Both centre women whose appearances have been scrutinised, copied, photographed and discussed on an extraordinary scale. Yet instead of leaning further into spectacle, ALO is positioning both through a softer language of self-possession.

The campaign isn’t asking them to become different women.

It’s interested in who they are when the noise disappears.

That represents an interesting evolution of the traditional celebrity wellness campaign.

For years, wellness advertising often sold aspiration through transformation: become stronger, become healthier, become more disciplined, become the “best version” of yourself.

ALO’s new universe feels less interested in becoming and more interested in simply being.

AND OF COURSE, KYLIE BROUGHT THE PINK

The quieter philosophy doesn’t mean fashion has disappeared.

Kylie’s campaign introduces ALO’s latest colour drop, Pink Marshmallow, with Jenner wearing the Alosoft Intuition Bra and High-Waist Intuition Capri in Pink Marshmallow Heather.

It’s almost suspiciously perfect casting.

Throughout the campaign she also wears pieces including the Sunset Sneaker, Prismatic Jacket and High-Waist Prismatic Short, Splendor Bra, Aspire Tank and ALO’s signature Airlift styles.

The palette may be soft, but the imagery remains polished.

Mert & Marcus bring the visual language of high fashion to performance wear, balancing intimate portraiture with the kind of elevated campaign imagery more traditionally associated with luxury houses.

And that might be another clue to what ALO is building.

THE WELLNESS BRAND WANTS A FASHION UNIVERSE

Activewear hasn’t really been just activewear for years.

The clothes leave Pilates.

They go to brunch. Airports. Coffee runs. School runs. Fashion Week. Everywhere.

ALO’s celebrity strategy appears to understand that evolution perfectly.

Bella Hadid isn’t simply a wellness figure; she’s one of fashion’s most influential contemporary models.

Kylie Jenner isn’t simply an entrepreneur; she’s a cultural force capable of turning an outfit into an internet conversation within minutes.

Putting them inside the same visual universe positions ALO somewhere beyond the traditional boundaries of a performance brand.

It’s selling clothes, certainly.

But it’s also selling a lifestyle built around the increasingly blurred relationship between fashion, wellness and celebrity.

And perhaps most cleverly, it is doing so through women who seemingly have everything except the thing the campaigns keep returning to:

A little space to themselves.

First Bella.

Now Kylie.

Who enters the ALO universe next?

The post FIRST BELLA, NOW KYLIE: ALO IS BUILDING ITS NEW GIRL UNIVERSE appeared first on Voir Fashion.

There are two types of people in fashion.

Those who believe you should remove one accessory before leaving the house.

And Betsey Johnson.

At 84 years old, the legendary American designer is still doing what she has always done best: refusing to tone it down.

And this time, she has found the perfect partner in crime.

Paris Hilton.

The two maximalist icons have joined forces for a new Betsey Johnson x Paris Hilton collection, bringing together enough pink, rhinestones, bows, leopard print and deliciously unnecessary glamour to send quiet luxury running for cover.

Launching on Betsey Johnson’s 84th birthday, the collaboration feels particularly fitting.

Because while fashion has spent the last few years rediscovering the joy of dressing up, Betsey and Paris never stopped.

WHY DO LESS?

“Why do less when you can do more?”

It’s a Betsey Johnson philosophy that could just as easily have come from Paris Hilton.

For decades, Johnson has built a universe where femininity isn’t something to intellectualise or restrain. It can be loud. Girlish. Sexy. Camp. Punk. Covered in rhinestones.

Preferably all at once.

Paris operates with a remarkably similar philosophy.

Long before Y2K became an aesthetic searchable on Pinterest, Hilton was living it: diamanté accessories, tiny dresses, pink everything, enormous sunglasses and outfits designed with absolutely no intention of disappearing into a room.

Together, they make almost suspiciously perfect sense.

Their new collection dives enthusiastically into both women’s visual languages, spanning shoes, bags, jewellery and clothing with plenty of references to Johnson’s archives.

There are towering heels. Rhinestone-covered boots. Leopard print. Tulle. Bows. Bridal touches. And, naturally, a handbag emblazoned with Paris Hilton’s immortal contribution to the English language:

“That’s Hot.”

Subtle?

Never heard of her.

BEFORE IT WAS AN AESTHETIC, THEY WERE ACTUALLY THERE

Here’s where things get interesting.

Fashion has spent the last few years enthusiastically resurrecting many of the things women like Betsey Johnson and Paris Hilton were once dismissed for loving.

Bows are everywhere.

Leopard print is back.

Rhinestones have escaped the fancy-dress drawer.

Hyper-femininity has become fashionable again.

The 2000s are being dissected, reblogged, recreated and sold to a generation who were either children when Paris ruled the paparazzi pages or weren’t born yet.

But Betsey and Paris don’t need the mood board.

They are the source material.

Paris has spoken about growing up attending Johnson’s fashion shows and wearing her designs, while Johnson watched Hilton take her pieces and transform them through her own unmistakable style.

Years later, the relationship has come full circle.

They aren’t referencing the women who defined this aesthetic.

They are the women who defined it.

WHEN “TACKY” BECOMES FASHIONABLE

There is something satisfying about watching aesthetics once dismissed as excessive return with new cultural currency.

Particularly when those aesthetics were overwhelmingly associated with women.

Pink was childish.

Rhinestones were tacky.

Leopard was too much.

Being overtly feminine meant you couldn’t possibly be serious.

And enjoying fashion simply because it made you feel fabulous apparently required an explanation.

Betsey Johnson never seemed particularly interested in giving one.

Neither did Paris.

That refusal now feels remarkably contemporary.

Paris has said that Betsey taught her fashion didn’t need to be serious to be powerful — a sentiment that might as well be the manifesto for their collaboration.

Because somewhere along the way, fashion became very concerned with looking tasteful.

Minimal wardrobes. Discreet logos. Perfectly tailored neutrals. Expensive handbags recognisable only to people who know exactly how expensive they are.

Nothing wrong with any of it.

But sometimes you don’t want beige cashmere.

Sometimes you want a rhinestone-covered boot.

THE ORIGINAL MAXIMALISTS ARE HAVING THE LAST LAUGH

What makes the collaboration feel more interesting than another Y2K revival is the generational exchange happening underneath all that glitter.

Betsey Johnson is 84.

Paris Hilton is 45.

Neither woman has aged out of the aesthetic that made her recognisable.

And neither appears particularly interested in doing so.

That’s quietly radical in an industry still obsessed with reinvention — particularly when women reach an age at which they’re expected to become more restrained, sophisticated and, essentially, less visible.

Betsey Johnson’s response?

More sparkle.

Paris Hilton’s?

More pink.

There is something rather wonderful about that.

Style doesn’t have an expiration date. Fun doesn’t become embarrassing when you reach a certain birthday. And growing older doesn’t require slowly draining the colour from your wardrobe.

If anything, maybe the opposite should happen.

GOOD TASTE IS OVERRATED

Perhaps that’s the real lesson of Betsey Johnson and Paris Hilton.

They’ve both understood something fashion occasionally forgets:

Getting dressed is supposed to be fun.

Not every outfit needs to communicate intellectual sophistication. Not every purchase needs to become a timeless investment piece you’ll hand down to your grandchildren.

Sometimes the shoe can simply be ridiculous.

Sometimes the bag can sparkle.

Sometimes you can wear pink because you bloody love pink.

At 84, Betsey Johnson remains gloriously, unmistakably herself.

And alongside Paris Hilton — another woman who turned being underestimated into an extraordinarily successful personal brand — she’s reminding fashion that being “too much” was never really the insult people thought it was.

So wear the leopard.

Add the bow.

Keep the rhinestones.

And if somebody tells you to take one thing off before leaving the house?

Put another one on.

The post 84 YEARS OLD AND STILL TOO MUCH: BETSEY JOHNSON AND PARIS HILTON REFUSE TO TONE IT DOWN appeared first on Voir Fashion.

And at Copenhagen Fashion Week SS27, the streets delivered.

Outside the shows, fashion’s coolest crowd descended on the Danish capital in outfits that seemed to reject the idea that good taste has to be terribly serious. There were clashing prints, flashes of turquoise, romantic lace, sporty shorts, sequins before sunset and enough scarves to make you reconsider every silk square currently abandoned at the back of your wardrobe.

The message?

The era of being afraid of your clothes might finally be over.

SCANDI MINIMALISM HAS LEFT THE CHAT

For years, “Scandinavian style” became internet shorthand for immaculate neutrals, oversized tailoring and the sort of wardrobe where cream, oatmeal and slightly darker oatmeal counted as three different colours.

Copenhagen clearly didn’t get the memo.

The SS27 street-style set embraced a far more expressive side of Nordic dressing, mixing pared-back staples with colour, texture and deliberately unexpected combinations.

A glittering skirt with a sporty jacket? Absolutely.

Lace with denim? Why not.

Athletic shorts with heels? Apparently, yes.

Prints weren’t politely separated either. Florals met animal print, stripes appeared everywhere and outfits frequently looked better because the individual pieces weren’t supposed to belong together.

That tension is precisely what makes Copenhagen style so compelling.

Nothing feels too precious.

TURQUOISE IS HAVING A MOMENT

Every fashion week eventually crowns a colour, whether it means to or not.

Copenhagen’s contender? Turquoise.

The saturated blue-green shade appeared across clothes and accessories, injecting colour into otherwise understated looks and providing a refreshing alternative to the predictable neutrals that have dominated wardrobes for seasons.

Elsewhere, mustard yellow and vivid colour combinations continued the mood.

The takeaway isn’t necessarily to dress head-to-toe like a tropical cocktail. It’s the confidence of introducing one slightly strange colour into an outfit that shouldn’t technically need it.

Copenhagen’s best dressers understand that sometimes the “wrong” colour is exactly what makes the look.

LACE GOT A PERSONALITY TRANSPLANT

Romance also returned to Copenhagen — just not in the way you might expect.

Lace dresses and delicate fabrics appeared across the streets, but instead of leaning completely into femininity, they were interrupted by denim, practical accessories and casual layers.

And that’s where things became interesting.

The Copenhagen approach to romantic dressing is less waiting wistfully in a field of wildflowers and more wearing the lace dress, grabbing your enormous bag and cycling across town.

Pretty, but never precious.

It’s part of a broader fascination with prairie-inspired florals, ruffles and nostalgic femininity that appeared throughout the week — only filtered through Copenhagen’s instinct for making almost anything feel contemporary.

THE FLIP-FLOP REFUSES TO DIE

If Copenhagen has taught us anything, it’s that fashion people will eventually make a case for almost any shoe.

This season, the humble flip-flop continued its unlikely ascent.

Flat versions appeared alongside kitten-heeled interpretations, while wedges and pointed mules offered equally compelling alternatives for navigating the city between shows.

There is something very Copenhagen about taking footwear associated with holidays, corner shops and questionable pedicures and placing it next to beautifully considered tailoring.

It shouldn’t work.

Which, naturally, means it does.

SPORTY, BUT MAKE IT FASHION WEEK

Perhaps the most entertaining styling lesson came from pieces that normally belong nowhere near a front row.

Sport shorts were pulled into fashion territory with belts, heels and elevated separates. Bermuda shorts continued their takeover. Jerseys and athletic references collided with feminine skirts and polished accessories.

The result wasn’t athleisure.

It was something stranger — and much more interesting.

Copenhagen’s street style works because the wearer rarely looks as though she has spent three hours attempting to achieve “effortless” dressing.

A practical piece can remain practical. A glamorous piece doesn’t need an equally glamorous companion.

Sometimes the best thing to wear with something fabulous is something completely ordinary.

MORE IS MORE — BUT MAKE IT COPENHAGEN

Accessories were given equally little opportunity to behave.

Scarves migrated from necks to heads and waists. Fringe and tassels added movement. Shield sunglasses brought a dose of futuristic drama, while sequins escaped their traditional nighttime habitat and sparkled unapologetically under the Scandinavian sun.

Even the bum bag is creeping back into the conversation.

Yes. We said it.

But perhaps the most important accessory spotted in Copenhagen wasn’t a particular shoe, bag or pair of sunglasses.

It was personality.

Because beneath all the micro-trends was a much bigger shift.

THE COOL GIRL DOESN’T WANT A UNIFORM ANYMORE

Fashion has spent the past few years obsessed with categorising women.

Clean girl. Tomato girl. Mob wife. Coastal grandmother. Office siren. Quiet luxury. Old money. New money. Whatever TikTok decides we’re supposed to become next Tuesday.

Copenhagen offers a much more appealing proposition:

What if you simply got dressed?

What if your lace dress could live with sporty sunglasses? What if your sensible shorts deserved heels? What if sequins were appropriate at 11 a.m.? What if your outfit didn’t need to belong to an “aesthetic” at all?

That is what made Copenhagen Fashion Week’s SS27 street style feel particularly refreshing.

It wasn’t minimalism versus maximalism.

It was personal style versus the algorithm.

And personal style won.

After seasons of restraint, perhaps the most exciting fashion statement isn’t buying the next It item.

It’s opening your wardrobe, ignoring the rules and wearing the weird combination you’ve been talking yourself out of.

See you on the streets of Copenhagen.

Forget quiet luxury. The streets of Copenhagen are making a convincing case for colour, chaos and wearing whatever makes you happy.

If Paris is polished, Milan is seductive and London thrives on rebellion, Copenhagen has perfected something altogether harder to manufacture: looking like you’re actually having fun.

And at Copenhagen Fashion Week SS27, the streets delivered.

Outside the shows, fashion’s coolest crowd descended on the Danish capital in outfits that seemed to reject the idea that good taste has to be terribly serious. There were clashing prints, flashes of turquoise, romantic lace, sporty shorts, sequins before sunset and enough scarves to make you reconsider every silk square currently abandoned at the back of your wardrobe.

The message?

The era of being afraid of your clothes might finally be over.

SCANDI MINIMALISM HAS LEFT THE CHAT

For years, “Scandinavian style” became internet shorthand for immaculate neutrals, oversized tailoring and the sort of wardrobe where cream, oatmeal and slightly darker oatmeal counted as three different colours.

Copenhagen clearly didn’t get the memo.

The SS27 street-style set embraced a far more expressive side of Nordic dressing, mixing pared-back staples with colour, texture and deliberately unexpected combinations.

A glittering skirt with a sporty jacket? Absolutely.

Lace with denim? Why not.

Athletic shorts with heels? Apparently, yes.

Prints weren’t politely separated either. Florals met animal print, stripes appeared everywhere and outfits frequently looked better because the individual pieces weren’t supposed to belong together.

That tension is precisely what makes Copenhagen style so compelling.

Nothing feels too precious.

TURQUOISE IS HAVING A MOMENT

Every fashion week eventually crowns a colour, whether it means to or not.

Copenhagen’s contender? Turquoise.

The saturated blue-green shade appeared across clothes and accessories, injecting colour into otherwise understated looks and providing a refreshing alternative to the predictable neutrals that have dominated wardrobes for seasons.

Elsewhere, mustard yellow and vivid colour combinations continued the mood.

The takeaway isn’t necessarily to dress head-to-toe like a tropical cocktail. It’s the confidence of introducing one slightly strange colour into an outfit that shouldn’t technically need it.

Copenhagen’s best dressers understand that sometimes the “wrong” colour is exactly what makes the look.

LACE GOT A PERSONALITY TRANSPLANT

Romance also returned to Copenhagen — just not in the way you might expect.

Lace dresses and delicate fabrics appeared across the streets, but instead of leaning completely into femininity, they were interrupted by denim, practical accessories and casual layers.

And that’s where things became interesting.

The Copenhagen approach to romantic dressing is less waiting wistfully in a field of wildflowers and more wearing the lace dress, grabbing your enormous bag and cycling across town.

Pretty, but never precious.

It’s part of a broader fascination with prairie-inspired florals, ruffles and nostalgic femininity that appeared throughout the week — only filtered through Copenhagen’s instinct for making almost anything feel contemporary.

THE FLIP-FLOP REFUSES TO DIE

If Copenhagen has taught us anything, it’s that fashion people will eventually make a case for almost any shoe.

This season, the humble flip-flop continued its unlikely ascent.

Flat versions appeared alongside kitten-heeled interpretations, while wedges and pointed mules offered equally compelling alternatives for navigating the city between shows.

There is something very Copenhagen about taking footwear associated with holidays, corner shops and questionable pedicures and placing it next to beautifully considered tailoring.

It shouldn’t work.

Which, naturally, means it does.

SPORTY, BUT MAKE IT FASHION WEEK

Perhaps the most entertaining styling lesson came from pieces that normally belong nowhere near a front row.

Sport shorts were pulled into fashion territory with belts, heels and elevated separates. Bermuda shorts continued their takeover. Jerseys and athletic references collided with feminine skirts and polished accessories.

The result wasn’t athleisure.

It was something stranger — and much more interesting.

Copenhagen’s street style works because the wearer rarely looks as though she has spent three hours attempting to achieve “effortless” dressing.

A practical piece can remain practical. A glamorous piece doesn’t need an equally glamorous companion.

Sometimes the best thing to wear with something fabulous is something completely ordinary.

MORE IS MORE — BUT MAKE IT COPENHAGEN

Accessories were given equally little opportunity to behave.

Scarves migrated from necks to heads and waists. Fringe and tassels added movement. Shield sunglasses brought a dose of futuristic drama, while sequins escaped their traditional nighttime habitat and sparkled unapologetically under the Scandinavian sun.

Even the bum bag is creeping back into the conversation.

Yes. We said it.

But perhaps the most important accessory spotted in Copenhagen wasn’t a particular shoe, bag or pair of sunglasses.

It was personality.

Because beneath all the micro-trends was a much bigger shift.

THE COOL GIRL DOESN’T WANT A UNIFORM ANYMORE

Fashion has spent the past few years obsessed with categorising women.

Clean girl. Tomato girl. Mob wife. Coastal grandmother. Office siren. Quiet luxury. Old money. New money. Whatever TikTok decides we’re supposed to become next Tuesday.

Copenhagen offers a much more appealing proposition:

What if you simply got dressed?

What if your lace dress could live with sporty sunglasses? What if your sensible shorts deserved heels? What if sequins were appropriate at 11 a.m.? What if your outfit didn’t need to belong to an “aesthetic” at all?

That is what made Copenhagen Fashion Week’s SS27 street style feel particularly refreshing.

It wasn’t minimalism versus maximalism.

It was personal style versus the algorithm.

And personal style won.

After seasons of restraint, perhaps the most exciting fashion statement isn’t buying the next It item.

It’s opening your wardrobe, ignoring the rules and wearing the weird combination you’ve been talking yourself out of.

See you on the streets of Copenhagen.

The post Forget quiet luxury. The streets of Copenhagen are making a convincing case for colour, chaos and wearing whatever makes you happy. appeared first on Voir Fashion.

Wellness used to want something from us.

Wake up at 5am. Drink the green juice. Hit 10,000 steps. Meditate. Journal. Pilates. Supplements. Eight hours of sleep. Perfect skin. Perfect body. Perfect life.

Exhausted yet?

Bella Hadid and ALO are proposing something considerably more appealing: what if feeling good didn’t have to look like a performance?

The model and entrepreneur is the face of ALO’s latest campaign, photographed in Los Angeles by legendary fashion duo Mert & Marcus and styled by Mimi Cuttrell.

And rather than presenting wellness as another thing to achieve, the images centre on something much simpler — being present.

THE WELLNESS GIRL IS GROWING UP

Bella Hadid has spent much of her career existing within fashion’s fantasy machine.

Runways. Campaigns. Red carpets. Paparazzi photographs dissected outfit by outfit. The kind of visibility that turns simply leaving the house into an aesthetic event.

Which makes seeing her presented through the language of stillness particularly interesting.

Born and raised in Los Angeles, Hadid shares a natural connection with the city that shaped ALO. The campaign returns both to their roots, capturing Bella through intimate portraiture, natural light and understated styling.

There are no complicated wellness commandments attached.

Instead, the focus is on the small rituals that bring her back to herself: movement, meditation, slowing down and finding moments of consistency even while travelling.

“As I’ve gotten older, I’ve realised how important it is to create space for myself,” Hadid says. “Whether that’s slowing down, moving my body, or just taking a moment to reconnect, those little rituals have become such a big part of how I take care of myself.”

It sounds simple.

Perhaps that’s why it feels refreshing.

FROM WELLNESS AS PERFORMANCE TO WELLNESS AS FEELING

For years, the internet sold us a very particular vision of what “wellness” looked like.

It came beautifully packaged.

Matching activewear. Immaculate kitchens. Expensive smoothies. Colour-coded supplements. Elaborate morning routines filmed before most of us had opened both eyes.

Somewhere along the way, taking care of yourself started looking suspiciously like another full-time job.

ALO’s campaign with Hadid taps into a different mood.

“To me, that’s what wellness is all about,” she says of those everyday rituals. “That’s why this partnership felt so authentic — it reflects a part of my everyday life that’s been there for years.”

The distinction matters.

Wellness doesn’t necessarily have to be transformative. It doesn’t need a before and after. Sometimes the point isn’t becoming a better version of yourself.

Sometimes it’s simply returning to yourself.

BELLA, BACK IN LOS ANGELES

Los Angeles is more than scenery here.

Shot against the city that shaped both Hadid and ALO, Mert & Marcus balance cinematic polish with something softer and more intimate.

Strength exists alongside stillness. Fashion exists alongside function. And Bella is photographed less as an untouchable supermodel than as a woman comfortable occupying her own space.

Of course, it still looks fabulous.

This is Bella Hadid photographed by Mert & Marcus and styled by Mimi Cuttrell, after all.

But that tension between high fashion and ease is precisely why the partnership works.

“Bella has been part of our community for years, and she represents the ultimate ALO girl who moves seamlessly between the worlds of fashion, wellness, and culture while remaining deeply connected to herself through it all,” says Summer Nacewicz, ALO’s EVP of Marketing & Creative.

And perhaps that idea of connection is the real luxury being sold here.

Not perfection.

Not optimisation.

Not becoming somebody else.

Just feeling completely at home in the person you already are.

If this is where the wellness era is heading, we’re listening.

The post BELLA HADID IS ENTERING HER SOFT POWER ERA WITH ALO appeared first on Voir Fashion.

When temperatures climb and the city begins to feel like an oven, Saint Laurent offers a different kind of forecast. Respiro—Italian for “breath”—is Anthony Vaccarello’s latest summer campaign, inviting us to slow down, exhale and disappear into the effortless glamour of the Mediterranean. Shot by South African photographer Henrik Purienne, the campaign feels less like a fashion advertisement and more like a hazy holiday remembered through sun-faded film.

Set against the rocky coastline of the South of France, Respiro unfolds through moments rather than poses. Models Vittoria Ceretti, Mona Tougaard, Loli Bahia, SJ and Jenn du Puy drift between the sea and sun-drenched cliffs, lounging on pebbled beaches, carrying leopard-print swim rings, balancing surfboards and slipping into raffia accessories as if they had packed only the essentials for an endless Riviera escape.

Purienne’s signature analogue aesthetic is central to the campaign’s appeal. Grainy textures, golden-hour light and spontaneous compositions blur the line between editorial photography and personal holiday snapshots. Rather than polished perfection, the images embrace movement, heat and intimacy—qualities that have made the photographer one of fashion’s most recognisable visual storytellers.

The wardrobe reflects that same understated confidence. Vaccarello pares back summer dressing to its essentials: breezy silhouettes, barely-there dresses, raffia interpretations of the House’s iconic Panier and Loulou bags, oversized acetate sunglasses and lightweight layers that feel designed for late afternoons by the sea. The styling never appears overworked, yet every look carries the sharp precision synonymous with Saint Laurent.

Beyond fashion, Respiro expands the Saint Laurent universe through Rive Droite, the House’s lifestyle platform. Alongside ready-to-wear, the campaign introduces exclusive summer objects, including collaborations with Wilson, handcrafted Jitensha bicycles and Fieldbar coolers—transforming luxury into a complete holiday state of mind rather than simply a wardrobe.

At a time when Europe is experiencing another intense heatwave, Respiro feels especially timely. The campaign doesn’t simply sell summer dressing—it captures the universal desire to escape. Whether that’s diving into the Mediterranean, switching off for the weekend or simply imagining yourself somewhere far cooler, Saint Laurent delivers a visual fantasy that feels impossible to resist.

Sometimes the best summer destination isn’t on a map—it’s inside a campaign.

The post Saint Laurent’s Respiro Is the Summer Escape We All Need appeared first on Voir Fashion.

Victoria’s Secret brings back the push-up bra with Candice Swanepoel, Anok Yai, Imaan Hammam, Abby Champion and Paloma Elsesser. But this isn’t just lingerie nostalgia. Fashion is falling for overt glamour again.

For a while there, fashion wanted us to pretend we hadn’t tried.

The perfect white tank. The invisible bra. Barely-there makeup. Undone hair that required several products to look appropriately undone. Even sexiness became quieter — less bombshell, more nonchalant.

Well, somebody found the push-up bra.

And naturally, it was Victoria’s Secret.

The lingerie giant is revisiting one of the silhouettes that defined its cultural dominance with its new Very Sexy campaign, starring Candice Swanepoel, Anok Yai, Imaan Hammam, Abby Champion and Paloma Elsesser.

Shot against the cinematic backdrop of Rome, the campaign feels like an unapologetic return to something fashion has spent the past few years cautiously rediscovering:

Glamour.

Not whispering. Not hiding. And definitely not pretending you woke up like this.

BOOBS ARE BACK. YES, WE SAID IT.

Fashion’s relationship with the female body has always moved in cycles.

One decade celebrates cleavage; the next hides it beneath oversized tailoring. Bras become increasingly engineered, then disappear beneath bralettes. We go from bodycon to quiet luxury and somehow convince ourselves each revolution will last forever.

It never does.

Now the pendulum appears to be swinging towards a more deliberately constructed femininity.

Corsets have escaped the costume department. Lingerie is being worn as clothing. Lace is appearing everywhere. Y2K glamour continues to infiltrate wardrobes, and dressing up — properly, extravagantly dressing up — feels exciting again.

Enter the push-up bra.

Victoria’s Secret’s new Low Cut Push-Up Bra takes the familiar formula and pushes it lower, with a plunging neckline and Memory Foam padding designed to create a medium lift of up to one cup size.

But the interesting part is what happens outside the underwear drawer.

The same lift technology moves into corset tops, camisoles, bodysuits and slip dresses, blurring the increasingly irrelevant boundary between lingerie and ready-to-wear.

The bra isn’t simply going underneath the outfit anymore.

It is the outfit.

THE RETURN OF THE VICTORIA’S SECRET BOMBSHELL

Of course, nobody understands the visual language of the bombshell quite like Victoria’s Secret.

The brand spent decades turning it into an archetype: glossy hair, impossible lingerie, heels, wings and the kind of confidence that entered a room several seconds before you did.

Candice Swanepoel’s presence in the new campaign deliberately connects that history with the present.

But she isn’t alone.

Alongside Swanepoel are Anok Yai, Imaan Hammam, Abby Champion and Paloma Elsesser — a cast that makes this version of the Victoria’s Secret woman feel considerably broader than the rigid fantasy that once defined the brand.

It matters because the bombshell itself is being renegotiated.

Maybe she doesn’t have one body.

Maybe she doesn’t have one aesthetic.

Maybe “sexy” works better when women get to decide what it looks like.

IF YOU’RE GOING TO DO Y2K, COMMIT

Victoria’s Secret isn’t being subtle about the nostalgia.

Its bestselling Bombshell Push-Up Bra has been turned up accordingly with rhinestone straps, bows and logo embellishments — precisely the sort of deliciously excessive details that would have made perfect sense beside a diamanté-encrusted flip phone twenty years ago.

And suddenly, they make sense again.

Fashion’s Y2K obsession has moved beyond low-rise jeans and tiny sunglasses into something more interesting: the return of performed glamour.

We’re seeing clothes that acknowledge the pleasure of getting ready.

The going-out top.

The ridiculous shoe.

The tiny bag that carries absolutely nothing.

The dress requiring specific underwear, strategic tape and possibly assistance from a close friend.

After years dominated by stealth wealth, beige minimalism and expensive clothes designed to announce how little you supposedly care about fashion, overt fabulousness feels almost rebellious.

Sometimes you want the simple white T-shirt.

Sometimes you want rhinestones on your bra straps.

Women contain multitudes.

THE NEW BOMBSHELL DOESN’T NEED PERMISSION

There is, however, an important difference between resurrecting an old beauty ideal and reclaiming the pleasure associated with it.

The push-up bra has baggage.

For generations of women, bras were marketed around correcting, enhancing, lifting and reshaping bodies towards whatever silhouette happened to be considered desirable at the time.

Which makes its comeback interesting.

Because the most compelling interpretation of the push-up revival isn’t that women suddenly need bigger-looking breasts again.

It’s that after years of fashion dictating that sophisticated women should aspire to restraint, there’s pleasure in choosing excess simply because you want it.

Wear the bralette.

Go without one entirely.

Or put on the most outrageously engineered push-up bra known to humanity.

The point is choice.

Perhaps that’s what makes Victoria’s Secret’s latest chapter feel more culturally relevant than a straightforward nostalgia trip.

The brand isn’t merely bringing back a bra.

It’s arriving at precisely the moment fashion is remembering that femininity doesn’t have to be quiet to be modern.

The rhinestones are back.

The corsets are back.

The cleavage is back.

And the bombshell?

She never really left.

The post THE BOMBSHELL IS BACK — AND SHE’S DONE PRETENDING NOT TO TRY appeared first on Voir Fashion.

The exclusive celebration marked a defining moment for both brands, bringing together influential figures from the worlds of fashion, media, luxury, and entertainment to honour creativity, excellence, and the future of the global fashion industry.

A highlight of the evening was the official appointment of VOIR Fashion Magazine Founder and Editor-in-Chief, Jyoti Matoo, as the UK Representative for FashionTV—an exciting new chapter that signals ambitious plans for the growth and expansion of FashionTV across the United Kingdom.

The evening also celebrated the exclusive launch of a special collector’s edition of VOIR Fashion Magazine featuring three iconic covers. The highly anticipated issue spotlighted fashion legend Professor Jimmy Choo, activist and model Munroe Bergdorf, and FashionTV CEO Maria Lisowska. The triple-cover edition reflects the vision, influence, and achievements of three remarkable figures shaping the future of fashion, culture, and global media.

The event featured the presentation of two prestigious FashionTV Awards by Maria Lisowska, recognising outstanding contributions to fashion and culture:

Professor Jimmy Choo received the FashionTV Diamond Legacy Award, celebrating his extraordinary impact on the global luxury fashion industry and his enduring influence on generations of designers and entrepreneurs.

Munroe Bergdorf was honoured with the FashionTV Icon Award, recognising her powerful contribution to fashion, advocacy, representation, and cultural change.

Guests enjoyed an exceptional evening of luxury experiences, networking, and celebration, surrounded by some of the industry’s most respected creatives, innovators, and leaders. The atmosphere reflected the energy and vision behind this exciting collaboration, setting the stage for a dynamic future for FashionTV in the UK.

The official highlights film captures the elegance, excitement, and unforgettable moments from what has already become one of London’s most talked-about fashion gatherings of the year.

A very special thank you to Upstairs at Langan’s for hosting this remarkable evening, Le Grand Caviar for the exquisite caviar experience, Grey Goose for sponsoring the drinks reception, Mozart Concierge for the stunning floral installations, and Ian Taylor, founder of ESTAGE, for his invaluable production support.

We would also like to extend our sincere gratitude to all guests, partners, creatives, collaborators, and supporters whose presence helped make the evening truly unforgettable.

As FashionTV and VOIR Fashion Magazine embark on this exciting partnership, this event represents only the beginning. Alongside the launch of the special three-cover edition, a series of innovative projects, exclusive collaborations, international initiatives, and industry-defining experiences are already underway. Together, FashionTV and VOIR are committed to creating new opportunities, celebrating exceptional talent, and shaping the future of fashion media on a global scale.

Watch this space—the next chapter is only just beginning.

Produced by VOIR Fashion Magazine in collaboration with FashionTV.

Photography Younce Lopes

The post Inside Fashion TV x VOIR London Launch Event appeared first on Voir Fashion.

View the Magazine here

View the magazine here

The post Voir magazine featuring Munroe Bergdorf appeared first on Voir Fashion.

Professor Jimmy Choo is more than a world-renowned designer—he is a global icon whose journey has inspired generations of creatives and entrepreneurs. In this exclusive feature for Voir Magazine, Professor Jimmy Choo reflects on his remarkable career, the evolution of luxury fashion, the importance of craftsmanship, and his vision for nurturing the next generation of talent. A story of passion, perseverance, and timeless elegance, this interview offers rare insights into the man behind one of fashion’s most influential names.

Photography Matt Moor House

View the magazine here

The post Voir Magazine Issue 34 Featuring Professor Jimmy Choo appeared first on Voir Fashion.

And naturally, what would a football campaign be without a Beckham?
Leading Burberry’s line-up is Romeo Beckham, joined by an all-star cast featuring Rosie Huntington-Whiteley, Neelam Gill, Declan Rice, Leah Williamson, Son Heung-min, Eberechi Eze and Naomi Girma alongside Jason Sudeikis, Jodie Turner-Smith, Stephen Graham and Lucy Punch. Models including Bright Vachirawit, Mika Hashizume and He Cong complete the campaign, creating a cast that moves effortlessly between fashion, sport, music, film, and global celebrity culture.
The casting itself says everything about where Burberry stands today. Heritage faces sit beside contemporary icons. Models mix with athletes. British glamour collides with football culture in a way that feels instinctive rather than forced.

Visually, the campaign embraces a kind of organised chaos. Rain-soaked energy sits beside polished tailoring. Traditional Burberry outerwear is layered with sportswear references, while stadium culture becomes elevated without losing its authenticity. Even the soundtrack — Bloc Party’s Banquet — adds to the unmistakably British atmosphere running throughout the film.
But what makes A Good Sport particularly compelling is that Burberry does not romanticise football from the outside looking in. It understands that football is not simply a sport in Britain — it is a language. A community. A visual identity of its own.

Burberry has always existed close to that conversation, whether intentionally or not. Long before luxury fashion fully embraced football culture, the Burberry check had already become embedded within British street style and terrace culture for generations. This campaign feels like the house reclaiming that history with confidence — not distancing itself from it, but evolving it into something sharper, more self-aware, and culturally current.
And perhaps that is why A Good Sport feels so successful. It is not trying to imitate British culture.
It already belongs to it.

The result is a campaign that feels both nostalgic and modern at once — cinematic without losing humour, luxurious without feeling distant.
With A Good Sport, Burberry is not simply selling fashion.
It is selling British identity itself.
And in doing so, the house has entered a league of its own.

Watch here

The post Burberry’s A Good Sport Has Entered a League of Its Own appeared first on Voir Fashion.