jeremy scott x swarovski | blinded by delight

Rebecca Hall by Thibaut Grevet for Maison Margiela.

Rebecca Hall is having a strange time on set: she arrives to play an actress preparing for a new role, only to find herself repeatedly confronted by another version of herself, face hidden behind an elaborate mask and dressed in exactly the same clothes. From there, things become increasingly difficult to explain. Who is the actress and who is the double? And, more importantly, what happens when the person staring back at you knows you too well?

That is the premise of ‘ANONYMITY’, Maison Margiela’s new Autumn/Winter 2026 campaign, directed by Thibaut Grevet and presented as the trailer for a psychological thriller that never actually reaches the cinema. The film takes the house’s longstanding fascination with anonymity and turns it into a story about identity, performance and the strange distance that can exist between a person and the character they are expected to play.

Rebecca Hall by Thibaut Grevet for Maison Margiela.

Thibaut Grevet for Maison Margiela.

The use of masks remains a foundational code for the house, tracking back to its very first runway presentation where face coverings were introduced to redirect focus away from the model’s identity and onto the clothes. In this cinematic campaign, Hall’s doppelgänger wears identical wardrobe pieces paired with different artisanal masks, which were crafted individually in the Paris atelier. The thriller format connects directly with the label’s history of cinematic exhibition, referencing the white cloth-covered cinema seats inside its Ebisu boutique in Tokyo, the 2021 film ‘A Folk Horror Tale’, and the live-projection mechanics of the 2022 ‘Cinema Inferno’ performance.

Much of the film’s strange atmosphere can be traced back to Margiela’s Autumn/Winter show by Glenn Martens in Shanghai this April, staged around towering stacks of shipping containers and populated by masked models dressed as though they had wandered out of a Parisian flea market after closing time. The collection marked the house’s first show in China and brought its ready-to-wear and Artisanal collections together. 

Rebecca Hall by Thibaut Grevet for Maison Margiela.

Rebecca Hall by Thibaut Grevet for Maison Margiela.

Edwardian tailoring is fused with second-skin jersey, destroyed tapestry is turned into flowing dresses, and garments are intentionally left with excess fabric hanging from their construction. The house’s signature Bianchetto treatment reappears on a chopped-off tailcoat and a fluid skirt, which are painted white, baked, and systematically cracked open to expose the layers beneath. Distressed details continue through an ill-fitted, knitted tank top featuring a nibbled collar and hem, worn alongside an Edwardian riding jacket entirely encased in velvet.

The accessories introduce several structural developments, led by the new Link bag. Drawing on an archival study of vintage coin purses, the design features a strap inspired by a silk-muslin covered chain from the 2001 collection. This utilitarian chain study expands into vacuum-formed leather jewellery, where a tubular leather sleeve is fitted over chain links before a machine extracts the air to mould the hide like a second skin. The iconic Tabi boot arrives covered in floral tapestry motifs, running parallel to the new Tabi Claw in nude leather. The accessory selection concludes with a thermoformed Box bag accented by ornate ceramic corner appliqués and a distressed, 17th-century tapestry iteration of the 5AC Soft bag.

Rebecca Hall by Thibaut Grevet for Maison Margiela.

The Maison Margiela Autumn/Winter 2026 collection is available now in boutiques and online. Discover more here.

photography. courtesy of Thibaut Grevet for Maison Margiela
words. Gennaro Costanzo

Tom Craig for Furla.

Furla has headed to Rome to frame its Autumn/Winter 2026 collection through a cinematic lens, showing that daily life carries its own emotional intensity when viewed from the right angle. Titled ‘Iconic Drama’, the campaign draws on the visual atmosphere of classic Italian cinema. Instead of hiring professional runway models or film stars, the Italian leather goods label cast authentic personalities from its own community circle, the ‘Furla Family’, as they move across a piazza, a café terrace or a sunlit street.

The collection treats the new-season bags as meaningful props that help define the character of a frame. The structured Furla 1927 archetype – named after the year the house was founded – anchors the lineup with its clean architectural lines and geometric, lightweight top-handle or crossbody layouts. For the festive winter timeline, the icon updates its identity via ultra-soft black velvet surfaces subtly punctuated with tiny gold galvanic micro dots.

Tom Craig for Furla.

Standing in contrast to this rigid structure is the Furla Debby, a looser shoulder silhouette reinterpreted for the colder months in soft, unstructured shapes. The design creates a contemporary dialogue through material play, matching smooth calfskin with printed grain leather and supple suede in deep seasonal tones of chocolate and espresso. Its rectangular, compact-yet-spacious body features a functional two-way zip closure finished with unique, refined cylindrical hardware that houses an engraved Arch logo puller.

The final piece of the narrative is the Furla Iride, a compact trapezoidal hobo and crossbody family built to adapt to fluid daily movement. The bag is secured by a distinctive leather strap feeding into a new cylindrical hardware weight emblazoned with the iconic Furla Arch. This season, the Iride line introduces an edgier attitude through rich suede versions embellished with metallic studs, alongside deep wildflower-inspired hues like cherry, dark forest, urban grey and winter bloom. It provides a versatile, customisable layout equipped with interchangeable leather straps and signature charms, offering a contemporary option for women who choose to view their own routines as stories worth remembering.

Tom Craig for Furla.

Tom Craig for Furla.

The Furla Autumn/Winter 2026 collection is available now across global boutiques and online. Discover more here.

photography. courtesy of Tom Craig for Furla
words. Gennaro Costanzo

Tilda Swinton by Sølve Sundsbø for Cartier.

Tilda Swinton has found herself surrounded by more animals than you would normally expect on a film set. For her first project as Cartier’s new global ambassador, the Scottish actress steps into ‘Into the Wild’, a high-jewellery campaign populated by tigers, parrots, carp, crocodiles and rhinoceroses, alongside the Maison’s enduring Panthère.

Cartier’s relationship with animals goes back to the early 20th century, when birds and insects first entered the Maison’s jewellery vocabulary before reptiles, big cats, chimeras, zebras and elephants joined the cast. The Panthère eventually became the undisputed star, first appearing as a three-dimensional sculptural creation in 1948. ‘Into the Wild’ now gives some of its less familiar creatures their own moment too.

Swinton lends her voice to a series of short films exploring the artisans and techniques behind Cartier’s animal creations. Gold lacquer, marquetry, mosaic and other specialist crafts become part of the story, turning the animals from static jewels into characters with their own little worlds. “We celebrate here the exceptional beauty of these rare techniques, and the dedication of the artisans involved. They have created the perfect imaginary world to showcase Cartier’s savoir-faire and how it comes to life in precious wild fauna creations,” she says. “I am very proud to become a Cartier ambassador and to lend my voice to this shared creative adventure.” 

Tilda Swinton by Sølve Sundsbø and Paola Dossi for Cartier.

Tilda Swinton by Sølve Sundsbø and Paola Dossi for Cartier.

At the heart of the collection is a series of Faune & Flore de Cartier rings, each built around the head of one of five animals: tiger, parrot, carp, crocodile and rhinoceros. They are intentionally substantial, with jaws, beaks and muzzles extending across the hand rather than sitting politely on a finger. Cartier’s artisans have pushed the sculptural quality further through combinations of white, yellow, and rose gold, lacquer and an elaborate selection of precious and ornamental stones.

The Faune & Flore de Cartier tiger ring is particularly striking in shades of blue, using sapphires, aquamarine, diamonds and dumortierite quartz to recreate its stripes, while the parrot ring turns up the colour with a platinum and yellow gold base, coral, onyx, and tsavorite garnets. The rhinoceros ring gets spessartite garnet, grey agate and smoky quartz, giving its enormous head a more muted orange and opaline palette, while the crocodile ring combines diamonds, emeralds and onyx spikes in Cartier’s familiar high-contrast language.

The tiger and crocodile also escape the confines of the ring with matching bracelets and necklaces. Their heads are comparatively realistic, but the bodies take a more abstract route, formed from articulated links and graphic stone patterns that move with the wearer. The Faune & Flore de Cartier crocodile bracelet and matching necklace feature a head clasp whose articulated mouth actually bites onto the back of the strap, while diamonds, onyx, chrysoprase and rubellites run through the flexible body.

The Faune & Flore de Cartier tiger bracelet and necklace follow the same idea in a colder palette of sapphires, aquamarine, chalcedony, and dumortierite quartz, with movable gold links creating a body that shifts around the wrist. Its clasp is hidden inside the animal’s mouth, a piece of engineering that Cartier developed specifically so the mechanism would not interrupt the silhouette.

Paola Dossi for Cartier.

Tilda Swinton by Sølve Sundsbø and Paola Dossi for Cartier.

Then, naturally, there is the Panthère. Cartier’s most famous feline returns in an immaculate white gold Panthère de Cartier bracelet, its two panther heads covered in diamonds arranged in contrasting caviar and galuchat-effect settings to suggest fur and light. The collection also introduces a Panthère jewellery watch, a medallion-shaped creation inspired by the ancient art of cameos and crafted by the Maison des Métiers d’Art in La Chaux-de-Fonds. On its dial, onyx forms the nose and surface details, tsavorite garnets become the eyes and diamonds take over the bezel and lugs. The feline footprint extends into a yellow gold Panthère de Cartier bracelet with black lacquer spots, matching diamond earrings and a sleek black karung leather Panthère Double mini bag fitted with a gold-finished chain.

“The Cartier fauna is distinguished by its character. First of all, in the choice of species – big cats, reptiles, savannah animals… – and also in the creative treatment, between naturalism and extreme stylisation,” explains Pierre Rainero, Director of Image, Style and Heritage at Cartier. “Through the interplay of design, materials, and execution, Cartier questions the very perception of the animal and opens up extraordinary possibilities for exploring forms. Each creature, each creation reveals its own symbolic force, reflects an attitude, a personality trait or a state of mind. It becomes an opportunity to deliver a message about yourself.”

Tilda Swinton by Sølve Sundsbø and Paola Dossi for Cartier.

The campaign extends the collection beyond the jewellery itself, with white and yellow gold Faune & Flore de Cartier pins shaped as miniature crocodiles and tigers. With a diamond-covered panther, a smiling crocodile and enough precious stones to start a small geological museum, ‘Into the Wild’ makes one thing very clear: Cartier’s animal kingdom has never been one to stay put on the leash.

The new high jewellery creations are available to discover now across global flagship boutiques and online. Discover more here. 

photography. courtesy of Sølve Sundsbø and Paola Dossi for Cartier
words. Gennaro Costanzo