sidequest | a creative studio at the crossroads of sport, culture, + storytelling

Post Malone has spent the last year proving that his transition into the fashion world is anything but a side quest. After bringing a literal horse onto a Parisian runway for his brand’s debut in September, the artist – now firmly in his ‘Austin Post’ era – has launched the first chapter of his ‘Studio Series.’ This inaugural drop is a collaboration with LA-based artist Matt McCormick, a man who has spent his career dissecting the same grit and glamour of the American West that Malone is currently obsessed with.

If you’ve followed McCormick’s own label, One of These Days, or seen his charcoal drawings on album covers for the likes of Bad Bunny or Zach Bryan, you’ll know his style: it’s charcoal cowboys, Marlboro-red nostalgia and the dusty but cinematic Americana wardrobe. For this capsule, Malone and his team actually decamped to McCormick’s studio to dig into the visual language of his practice. The result is a five-silhouette collection which includes heavy-duty hoodies, crewnecks and tees, that serves as a wearable extension of McCormick’s paintings.

The collection leans heavily on two of McCormick’s exclusive works, ‘Among The Low Light’ and ‘Ceremony of Certainty.’ These graphics are integrated with ‘At First Light – Season One’ typography, a direct visual reference to the brand’s AW25 runway show that recently set the tone for the label’s future. The colour palette stays true to the ‘modern cowboy’ aesthetic with muted, earthy tones that look better the more they’re worn.

For McCormick, the cowboy is a symbol of masculinity and cultural myth that he’s been unpacking since watching Westerns with his dad. “The reality is it could be a cowboy, or it could be something else – the fact that the feeling got through and resonated is the best part,” says the artist. “I’m a huge fan of Richard Prince and seeing what he had done with the Marlboro advertisements and taking ownership of those, there’s a lot about masculinity, about how my country exists in the world. There’s just a lot that comes from that imagery.”

By teaming up with Post Malone, who is currently the poster child for the ‘Post-modern Cowboy’ movement, the collaboration embodies a genuine dialogue between two guys who just really love the desert.

The capsule collection is available exclusively on Austin-Post.com.

photography. courtesy of Austin Post
words. Gennaro Costanzo

Emily Cooper has officially traded her croissants for carbonara and Fendi is making sure her Roman holiday looks the part. To mark the arrival of Season 5 of ‘Emily in Paris’ on Netflix today, the Roman house has dropped a special capsule collection that essentially captures Emily’s pivot from Parisian chic to Italian maximalism. 

If you thought Emily’s wardrobe was already dialled up to eleven, wait until you see her navigating Rome with a mint-green tapestry Baguette in tow. It is the ultimate main character accessory, and while her postcode has changed, that “It’s not a bag, it’s a Baguette” energy remains entirely undefeated. This is the fashion crossover for a show that half the internet claims to hate-watch while secretly scouring the frames for outfit inspiration.

The collection focuses on three of Fendi’s most sacred and iconic shapes, specifically two Baguettes and one Peekaboo bag, all reinterpreted through the House’s codes. The standout feature is a tapestry-effect fabric that introduces the Fendi Dots motif, a clever hybrid of the iconic FF logo and Art Deco polka dots. The colour palette is delightfully clashing, featuring colour-block combinations like a soft brown paired with candy pink or a sophisticated dove grey offset by a punchy mint green. Each piece comes with a dedicated tag to prove you were part of the Season 5 hype.

What makes this drop feel particularly meta is that Lily Collins actually wears the collection throughout the new season. Viewers will spot Emily navigating her new Roman adventures while carrying the Baguette through the Fendi headquarters at the Palazzo della Civiltà Italiana and the flagship store at Palazzo Fendi.

It is a full-circle moment for a bag that became a cultural phenomenon in the late 90s. As the internet says, the Roman Empire is no longer just a meme; for Emily Cooper, it’s a lifestyle.

The capsule is available in a very limited release at selected Fendi boutiques and online from today, coinciding exactly with the binge-watch release of the new episodes.

photography. courtesy of Fendi, Michael Stewart
words. Gennaro Costanzo

When Jonathan Anderson made his debut at Dior earlier this year, his mission to dismantle a heritage house that has religiously guarded its codes was never clearer. For Pre-Autumn 2026, the British Designer of the Year deepens this recoding, pivoting from the conceptual armour of his first outing toward a wardrobe built for an expansive cast of characters. By taking the Maison’s sacred, often rigid motifs and quite literally crushing them with a sense of normality, Anderson has arrived at a decisive silhouette that feels remarkably alive.

The focal point remains the Bar jacket, but it has been stripped of its mid-century rigidity. Anderson isn’t interested in the waist-nipping ghost of 1947. Instead, he treats the Bar jacket as a shape-shifter: sometimes shrunken and soft, other times dramatically enlarged into an enveloping coat that carries the weight of a security blanket.

There’s a clever interplay between the Dior we’ve grown accustomed to and Anderson’s more relaxed vision, most notably in the wide silk denim trousers. Cut with the volume of a pleated skirt but rendered in ultra-lightweight silk denim, they possess a liquid-like drape that makes a utilitarian staple feel like pure couture.

The ‘sideways explosions’ on the sculptural gowns provide the collection’s most ‘Anderson’ moments. Architectural silhouettes appear serene from one angle before erupting into unexpected volumes at the hip or shoulder. It’s a virtuoso display of the Dior atelier’s prowess, filtered through a chromatic sensibility of muted, tonal greys and navies. Even the 1948-inspired deconstructed Arizona trapeze coats, secured with elongated hat pins, feel like a rebellion against traditional luxury.

Accessories are where the idea of ‘character dressing’ truly takes hold. The new Dior Cigale, with its bow-front and sculpted, curved opening that leaves the interior partially exposed, is already the season’s most talked-about It bag. It’s joined by the slouchy Dior Crunchy and the structured Dior Médaillon, offering a range of attitudes for the wearer to inhabit. 

Whether paired with sensible loafers or open-toed pumps, the collection proposes style as a swift, personal discourse. By mixing these high-couture elements with such everyday pieces, Anderson is proving that Dior can be a highly versatile, slightly rebellious language for the modern woman.

photography. courtesy of Peter Joseph Smith
words. Gennaro Costanzo