Over the past forty years, the Antwerp Six–Drik Bikkembergs, Ann Demeulemeester, WalterVan Beirendonck, Dries Van Noten, Dirk Van Saene and Marina Yee–have become a lastingreference in international fashion and an almost self-evident benchmark for everythingBelgium has represented in terms of fashion in recent decades. The Antwerp 6 exhibition at MoMU highlights the unique journey that connects them. It began with their training at the fashion department ofthe Royal Academy of Fine Arts in Antwerp and culminated in six influential solo careers.
image credits:
Marina Yee: Foto Andrew MacPherson
Dirk Van Saene: Foto Ronal Stoops
Walter Van Beirendonck: Foto Alex Conu
Dirk Van Saene: Foto Henze Boekhout
The Antwerp Six: Foto Karel Fonteyne
Set in the historic Villa Larralde in Biarritz, Chanel’s Cruise 2026 show unfolds as a refined dialogue between past and present. Designed in collaboration with Martin Brûlé Studio, the space traces back to where Gabrielle Chanel founded her couture house in 1915—reimagined now as a luminous, quietly cinematic setting where heritage meets a distinctly contemporary sense of place.
📸: @chanelofficial
Born in the spirit of Jack Kerouac, Kerouac Magazine drifts through Tokyo like a visual diary. Raw, restless, and quietly intimate. Part zine, part cultural document, it captures youth as a fleeting mood, unpolished, in-between, alive. Less about fashion, more about feeling, it reminds us that the most important stories aren’t staged—they’re simply lived.
Carla De Benedetti was one of the forces behind how we remember Italian design today. Working closely with architects, magazines, and brands in Milan, she documented a generation of interiors at the exact moment they were being lived in, not staged for history. Her photographs now act as a visual archive of the 1970s, shaping how that decade is referenced, recycled, and romanticized across fashion, publishing, and contemporary design. What makes her work lasting is this sense of timing. She captured spaces before they became icons, which is exactly why they still feel immediate now.
While researching failed architecture, a 2022 piece by Domus on Michelangelo Antonioni and Monica Vitti’s La Cupola resurfaced a familiar question: how can a relationship take on three-dimensional form? What does it mean to translate a shared life into space? When two people begin to imagine a home together, how are desire, intimacy, and tension projected into architecture? And in this case, how much was entrusted to Dante Bini, and how much remained unresolved between them? Perhaps the line between failed architecture and a failed relationship is thinner than it appears: both begin as acts of projection, both depend on fragile alignments, and both collapse, quietly or abruptly, when what is imagined can no longer be sustained in reality. SS' from New Yorker
When Ricardo Bofill discovered an abandoned cement factory on the outskirts of Barcelona in 1973 instead of demolishing, he performed a kind of architectural editing. Parts were removed like excess prose; others were softened with ivy, eucalyptus, and time. Brutalist bones remained exposed, but they were reframed.
Ricardo Bofill‘s La Fábrica
Photos by Nacho Alegre
mica ertegün’s eastern elegance continues to inspire us. layered textures, sun-warmed tones, and a bold sense of composition. what does it truly mean to be authentic today? how do we define authenticity in interior design today? photos are from getty images.
Sami el Khazen’in hikayesi Beyrut’ta başlıyor, Paris’te devam ediyor ve çok erken bitiyor. Onu ilginç kılan yalnızca tasarım dili değil aynı zamanda o dilin taşıdığı kırılma hissi. Beyrut’un kültürel olarak en canlı dönemlerinde şekillenen estetiği, Doğu ile Batı’yı, modernizmi ve İslami sanat referanslarını aynı çizgide buluşturuyordu. The Pink House da bu yaklaşımın en güçlü izlerinden biri.
Henüz kariyerinin erken döneminde, 1964 New York World’s Fair’deki Lebanese Pavilion’un iç mekânını tasarlaması, el Khazen’in ne kadar dikkat çekici bir isim olduğunu gösteriyor. Pavyon için Arredoluce ile birlikte geliştirdiği anıtsal avize daha sonra İran Şahı’nın sarayı için yeniden ölçeklendiriliyor; bu versiyonun 2018’de açık artırmada US$32,500’a satılması da, onun tasarım dilinin yıllar sonra bile nasıl bir karşılık bulduğunu hatırlatıyor.
Ama bu hikayenin asıl ağırlığı başka yerde. Lübnan iç savaşıyla Paris’e taşınan hayatı, farklı coğrafyalara yayılan üretimi ve ardından çok erken gelen ölümü, geride yarım kalmış ama güçlü bir miras bırakıyor.
Images: Architectural Digest
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Amalia Hernández House in Mexico City, designed in 1973 by Augustín Hernández for his sister who was a dancer, choreographer & the founder of the Ballet Folklórico de México.
