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From the catacombs of London’s Somerset House, Charles Jeffrey LOVERBOY has never been a brand that colours within the lines. Now, the celebrated Scottish designer is taking his radical, club-kid aesthetic – that vivid collision of queer nightlife and Scottish folklore – into an entirely new, formal dimension with ‘The Charles Jeffrey Line,’ or simply, ‘No Wave Couture.’

The name borrows from No Wave, the late ‘70s downtown New York movement that rejected polish and convention in favour of pure, abrasive experimentation. In that same spirit, Jeffrey is using couture as his new canvas, dismantling its strict codes and rebuilding them with a raw, expressive energy.

For a brand rooted in menswear and maximalist, gender-fluid ready-to-wear, this signals both an evolution and a risk: the move into flou – the French term for soft, flowing garment construction. LOVERBOY has long dabbled in bespoke pieces for collaborators like Harry Styles and Tilda Swinton, as seen in the recent The Lore of LOVERBOY exhibition. But this new line treats couture not as a side project, but as an artistic discipline in its own right.

Jeffrey approaches this high art form with a punkish, DIY ethos, “improvising our own rhythm,” as he puts it. It’s a beautifully confrontational stance: couture not for the gilded salon, but for the restless, anti-establishment imagination.

The line’s debut is marked by its first official commission with actress and stylist Zoë Bleu Arquette, named Client 001.  Arquette, the daughter of Rosanna Arquette, is herself a rising cultural figure known for her unconventional, boho-muse style. Her first piece, a custom sea witch ensemble, draws directly from her role as Mina Murray in the forthcoming film ‘Dracula: A Love Tale,’ fusing cinematic fantasy with haute craft. The photos, captured by her friend Harry Carr inside the ornate, historic setting of Napoleon’s apartment in Rome, create a thrilling, maximalist tension in line with Jeffrey’s signature style.

This partnership introduces ‘No Wave Couture’ as a living experiment, featuring all raw edges, expressive structure and improvisational construction. Jeffrey’s vision is clear: couture can be intimate, impulsive and defiantly human.

photography. courtesy of Harry Carr
words. Gennaro Costanzo

When A$AP Rocky was announced as Ray-Ban’s inaugural Creative Director earlier this year, it signalled a new dialogue between heritage and contemporary hype. Now, the artist, fashion polymath and latest CFDA Style Icon Award recipient has delivered on that promise with the launch of the Wayfarer Puffer collection – a sculptural and thoroughly modern reinterpretation of the brand’s most iconic frame.

The new collection takes the classic, angular silhouette of the Wayfarer and gives it a literal inflation. Rounded, puffed edges and bold, gleaming finishes inject Rocky’s signature maximalist sensibility directly into Ray-Ban’s timeless style. For the occasion, the artist has also shot a short film in his hometown, Harlem, New York, which has now become a source of endless inspiration.

The collection is launched across three tiers, starting with the Crystal Edition, which pairs Ray-Ban’s cool precision with Rocky’s flair. The frame is studded with crystal details and features oversized temples finished with a polished metal logo, available in a wide spectrum of colours including black, blue, red, white, green and pink. 

Then comes the Pavé Edition, an all-out spectacle dusted entirely in crystals from front to temple tip, engineered to catch every flicker of light. Offered in classic hues like black, blue and white, it is finished with gold metal details, effectively turning the eyewear into a piece of jewellery. 

Crowning the series is the Diamond Edition, a piece of genuine decadence that features 1.65 carats of hand-set natural diamonds, alongside 14-karat gold accents and ethically sourced materials. This edition is available exclusively made-to-order. Presented in a bespoke case and rendered in radiant tones, this collector’s item is built for those who actively define culture. 

As Rocky continues to shape the brand’s creative direction, this collection proves his remarkable eye for re-contextualising icons. The Wayfarer may be the world’s most recognisable frame, but under his watch, it has been redefined as a symbol of contemporary opulence, performance and self-definition.

The A$AP Rocky Wayfarer Puffer collection is now available online and in select stores. 

photography. courtesy of Ray-Ban
words. Gennaro Costanzo

It’s that strange hour in a hotel, long after check-in but just before sleep. The world outside feels muffled, reality gets a bit soft, and you’re alone with your thoughts. This is the intimate, in-between world that Alessandro Michele has built for his new Valentino Cruise 2026 campaign, ‘Nocturne.’

Shot by Marili Andre, the campaign feels like a deeply cinematic, almost voyeuristic portrait of beautiful people, all beautifully isolated in their own rooms, all listening to the same Chopin piece, ‘Nocturne in E Flat.’

Michele’s filled this “human hive” of a hotel with his new court, a brilliantly eclectic mix of people. His long-time muse and Hollywood confidante, Dakota Johnson, is of course present, looking perfectly at home laid on the floor speaking over the phone. She’s joined by Gen-Z pop superstar Tate McRae, who swaps her signature high-energy dance routines for a moment of personal reflection. 

But this is a Michele production, so the cast has to have that high-culture twist. Music polymath Dev Hynes (AKA Blood Orange) and the famously intense German performance artist Anne Imhof are in the mix, alongside the ultimate 1970s style legend, Marisa Berenson. And the clothes, styled by Jonathan Kaye, are the entire point. 

This campaign is the visual proof of the new chapter Michele started on his debut Valentino runway. If his Gucci was a joyful, eccentric, magpie-like explosion, his Valentino is proving to be about a much softer, more personal and deeply human romance. 

The fashion here is the perfect uniform for this so-called “slow abandonment.” We see the fluid, nightgown-esque dresses, the softly structured tailoring and the languid, deconstructed silhouettes that dominated his recent show. These are clothes that, as the brand says, “lose weight and stop judging.” It is a wardrobe designed for vulnerability and intimacy, not for peacocking.

The concept is surprisingly deep for a fashion campaign. Michele is using the hotel as a metaphor for modern life: we are all in “a place of proximity without contact, where parallel solitudes breathe within the same time and thoughts intertwine through thin walls,” he notes. It’s a melancholy thought, but by setting it to Chopin and showing all these incredible people in this shared, dreamy state, he makes that isolation feel beautiful, romantic and, weirdly, like a collective, shared experience.

Find out more here.

photography. courtesy of Marili Andre
words. Gennaro Costanzo