Blending runway presentation with live performance, Fight Night brought together fashion, music and community in a multi-sensory celebration of femininity in all its forms. Centring the showcase within a rave felt particularly fitting: long associated with queer culture, rave spaces have historically represented freedom, expression and collective connection.

Inspired by the concept of gynsexuality, an attraction to femininity regardless of gender, GYNSEXUAL uses swimwear as a vehicle for identity and empowerment. Using fluid silhouettes, provocative cut-outs and expressive styling, the line challenges traditional narratives surrounding gender and desire, creating space for self-definition and unapologetic visibility.

The swimwear delivered a striking balance of sensuality and wearability. Across bikinis and sculptural one-pieces, each look was designed to accentuate the body with strategic ruching, intricate string detailing, and sharply placed cut-outs. Silver chain embellishments cascaded from bikini cups, while micro shorts and slip-style overlays introduced unexpected layering that added both shape and versatility.

The one-pieces were particularly compelling, featuring dramatic cut-outs across the waist and torso. Many were paired with black hip-skimming overlays that gave the illusion of miniature skirts. These additions offered both coverage and an unconventional silhouette rarely seen in swimwear. Asymmetrical lines and angular edges reinforced the collection’s fierce, confrontational edge while remaining unmistakably flattering.

A standout look was a cyan string bikini (pictured above), which contrasted the mostly black palette. It had a minimal triangle top with long ties designed to wrap across the body. The piece played with ideas of exposure and control. Matching bottoms were layered with a translucent overlay, providing subtle coverage and more texture.

The evening was a collaborative showcase of London’s creative underground. Hosted by Doll Twink, with EmmaSavanna curating the sonic landscape, the event carried an energy that was equal parts celebratory and defiant. The runway ended with a pole performance by Rotten Babe, a physical interpretation of the collection’s central themes. The diverse audience of artists, creatives and collaborators reflected the inclusive ethos at the heart of the brand.

More than a runway presentation, Fight Night was a statement of intent. Bold and playful, GYNSEXUAL is rooted in self-expression.

The collection captures the disruptive spirit of WhoTheFuckIsNaz and pushes contemporary swimwear into new territory. Proceeds from the launch went to akt, supporting LGBTQ+ youth facing homelessness. If Fight Night is any indication, WhoTheFuckIsNaz is carving out a bold and necessary space within London’s emerging fashion landscape.

Let’s start with the elephant in the room: yes, it’s actually good.

I went in expecting to be disappointed but to have had fun. In short, I didn’t think it would be groundbreaking. My main concern was that there would be very little plot, in favour of a reliance on nostalgia and references to its predecessor while we get caught up with the characters rather than having a real premise.

Well, let’s remember Meryl Streep doesn’t do sequels, so, actually, I was wrong.

In fact, there’s quite a lot happening but, don’t worry, this is a spoiler free review.

The Devil Wears Prada 2 follows a really interesting and topical plot focused around the current media landscape, exploring threats to the industry that will resonate with a lot of people whose careers and interests intersect with journalism. I imagine this is most of the audience, as we all grew up watching that genre of ambitious-journalism-girl centred romcoms from the 2000s like How to Lose a Guy in 10 Days, 13 Going on 30, Never Been Kissed, and, obviously, The Devil Wears Prada.

Especially prevalent as 2026 began with an (ironically online) movement to shift away from our phones, there was something quite emotional about watching powerful characters like Miranda Priestley (Meryl Streep) struggle with the new climate of publishing. In fact, even Emily Charlton (Emily Blunt) as the now high-powered executive at Dior (which we know from the trailer) grappled with modern changes to the fashion industry commenting how retail is the only sector you can still make money in.

The Arts as a whole is under threat both on screen and in the real world, and The Devil Wears Prada 2 does an excelent job of exploring this and offering real substance while still being entertaining to watch. Recent research from the Office for National Statistics UK found that industries with the largest percentage decreases in vacancies at the start of 2026 compared to 2025 were the arts, recreation and entertainment sector (down 21.8%). This is paired with The Face magazine announcing its closure in March 2026, Teen Vogue in November 2025, and BuzzFeed having laid off 15% in January 2023 as it moved towards AI tools for content.

As dumb phones become more and more popular, being driven by a desire to reduce screen time and fight against smartphone addiction, young people are beginning to favour physical media like magazines over TikTok. A new Ofcom report from April 2026 highlights that 49% of adult social media users now post, the proportion of users who say social media platforms are good for their mental health has fallen to 36%, down from 42%, while 40% report spending too much time on their screens “most days”.

About a third of adults say they have deleted an app because they spent too much time on it, or it was bad for their mental health, up from a quarter in 2025.

In 2026, sales are rising with new products like the Brick (an app-blocking device) as well as classic, basic devices from brands like Nokia, as people seek to escape constant connectivity, notifications, and social media pressure.

While the film still feels like reuniting with an old friend, it also had a lot of meat.

It does get a bit busy, jumping from exclusive interviews to a funeral to watching Lady Gaga perform in Milan, but it’s a fun pace when you’re being met by characters rather than introduced to them.

As for the acting, I don’t think anyone was worried about this. The cast all returned to their roles seamlessly and you can tell they had so much fun filming purely from the press tour.

Despite a record-breaking 21 Academy Award nominations, Miranda Priestley has to be one of Meryl Streep’s best roles.

Anne Hathaway returns to the complex character with empathy, really solidifying how under appreciated she is. At least for me, I’ve been reminded just how much Hathaway has brought to our screens: The Princess Diaries, Ella Enchanted, and Bride Wars, alongside Interstellar, The Dark Knight Rises, and even Havoc. Let’s not forget all the style she brings, with Ocean’s 8 as a perfect example. As a matter of fact, promoting The Devil Wears Prada 2 alongside the A24 psychological drama-thriller Mother Mary says a lot about her talent.

Aside from being done dirty by a random, unnecessary romantic subplot, Andy and the rest of the cast feel exactly as you’d expect. There’s even a few touching moments that had me quite sentimental, especially towards the end.

Despite the heavy topics I’ve outlined, it still feels hopeful.

I do have to warn you though, none of the fashion looks are anywhere as good as the original. The plot is far less camp, so naturally the clothes are a little disappointing, especially given the much larger budget and the Anna Wintour seal of approval that had limited their designer access from the first film.

Apart from a few ‘fits, mainly from Emily Blunt and Simone Ashley, you will not have much to add to your wardrobe inspo Pinterst board. In fact, I was a little disappointed by Miranda’s wardrobe - she would not be wearing that feather jacket (or flying economy, but alas).

Office style is a big part of the original and that remains, Andy’s grown up corporate fashion girl wardrobe remains as iconic as the last on ended, so expect great suits and tailoring - not so much exciting gowns or something necessarily new like the first offered.

The most fun pieces are probably Miranda’s red Met Gala dress which is featured in all the promo, but it sets us up for the real life Met Gala on Monday (May 4) - between that and the premiere fashion, we’ve at least had some good outfits to look at.

Although I was pleasantly surprised and had a great time watching, there are a couple of things I couldn’t help but notice.

First, the obvious Starbucks product placement. Thankfully it seems to feature mainly right at the beginning, but it felt really uncomfortable in the current widespread understanding of how Starbucks operates unethically.

Given they were also recently announced as sponsors for the West End musical, I wasn’t shocked. Back when the original film came out, Starbucks culture was huge, with the takeaway coffee cup being a status symbol of the time. Now, it’s a Blank Street matcha (who would have made for a more fun brand collaboration, in my opinion, even if the product placement would’ve still been obnoxious).

Something I was really curious about was how it would navigate fatphobia, a rife aspect in the original film. Most viewers will remember how The Devil Wears Prada makes a lot of comments, mainly directed at Anne Hathaway’s character Andy, which always felt like a criticism of the industry rather than a genuine Bridget Jones style misunderstanding of the average body size. It’s also very dramatised, with Emily on a diet where she says, “I don’t eat anything and when I feel like I’m about to faint I eat a cube of cheese.”

It felt uncomfortable, but I also felt it was making a point. The whole film is a commentary on the industry - poor pay, long hours, a toxic culture where the thinnest women are shamed for being too large.

This doesn’t go away in the sequel, in fact Nigel’s first line is “Hello, six” to Andy in reference to her being a “fat” size 6 woman. But other than these little comments, it’s not addressed and doesn’t feel like commentary but rather old habits. They’ve attempted to explore diversity with one non-white cast member, Simone Ashley, and one fat cast member, Caleb Hearon, but the fact the latter is a man and has a small screen time makes it mean nothing, unfortunately. That body positivity scene is quite an uncomfortable watch, but this is a spoiler-free review.

Ultimately, this movie is very different from the original. There’s less less sweeping New York scenes and small town girl in a big city vibes, more explorations of new places and topics, and I think it’s really helpful to know that going in. It’s more of an extension of the world rather than just like a remake of the same themes from the first. It’s less about the glamour, more about the artistry and the fight to be creative. But there’s definitely still some glamour.

I know what you’re thinking: ‘A sequel in 2026? Groundbreaking.’ Well, given this one isn’t half bad, I guess it is!

In addition to its fashion forward storyline, The Devil Wears Prada is iconic for its star-studded soundtrack, featuring Madonna’s Vogue (1990), Jamiroquai’s Seven Days in Sunny June (2005) and the unforgettable opening track, Suddenly I See by KT Tunstall (2004), which was also the feature soundtrack for ‘Imagine Fashion Model’ on DS just shortly after in 2008.

But the question on everyone’s lips is, can it be beaten? Or at least matched.

The main theme to The Devil Wears Prada 2 is confirmed as fashion-driven track Runway by Lady Gaga & Doechii, released just this April.

With a strong sequel opener ready to ‘walk the walk’, what can we expect from the rest of the movie’s soundtrack?

The timeline of track releases from the original screening of theThe Devil Wears Prada was heavily influenced by popular music of its time with the majority of tracks having been released from 2005 to 2006.

Recent popular music inspired by fashion may include the likes of Sabrina Carpenter’s House Tour (2025), for a steamy romance scene should we encounter another night with an attractive writer?

For a fashion focused scene, other stand out pieces from 2025 include Addison Rae’s High Fashion, Tyla’s CHANEL, or Charli XCX (feat. Billie Ellish) with their sexy and steamy track Guess for something a bit techno.

Lily Allen has soared and reclaimed her fame since the arrival of her latest breakup album West End Girl back in October 2025. Her track 4chan Stan is all about fame, fortune and power - themes that cause heated rivalry between characters Miranda Priestly, Andy Sachs and Emily Charlton, as suggested by The Devil Wears Prada 2 trailer.

Lily Allen’s track Dallas Major could also work. It explores the artist’s return in her brand new identity and could equally fashion the older and wiser Andy Sachs in the sequel. The song opens with the lyrics:

“My name is Dallas Major and I'm coming out to play…”

Similarly, Andy Sachs has made a name for herself and is set to return stronger than ever before!

Like the nostalgic 90s numbers that featured in The Devil Wears Prada, should we expect to return to the 2010s in The Devil Wears Prada 2? Bruno Mars, producer of The Devil Wears Prada 2 feature track Runway could be a strong contender, bringing back credible pop tracks with 2016 releases such as 24K Magic or Finesse.

These songs are branded by money and style which are recurrent themes in The Devil Wears Prada, and predicted themes for The Devil Wears Prada 2.

Vogue by Madonna (1990) was the oldest track in the 2006 The Devil Wears Prada 2, and could meet its match with Lady Gaga’s Born This Way (2011) for the return of Emily Charlton who it would appear knows her worth this time around. We know Lady Gaga debut’s the title track already, so it’s highly plausible that we could hear more from her.

Paparazzi (2009) could pair well with a catwalk scene or Donatella (2013) for an iconic dress up scene with Runway’s fashion designer Stanley Tucci.

Can we also expect the return of American Composer, Theodore Shapiro, who composed the original motion suite for The Devil Wears Prada?

His return sure would set the picture in motion with his fast-paced bass riffs and bond mission electronic echoes, picking up the pace for a steadfast, fashion forward and show stopping New York City. And turning towards 90s/00s stripped back nostalgic melodies, nostalgic to bands from back in the day such as Lighthouse and James Blunt.

Perhaps Sir Elton John could have a part to play this time around too?

The artist composed the score forThe Devil Wears Prada Musical on the West End back in October 2024 and did a fantastic job - so much so it quickly got a cast recording soundtrack release.

Elton and his outlandish flair could make the perfect suit, throwing it back in time with the likes of You’re So Static (1974) notably old but gold, but a song which portrays the ‘city living woman’ in hustling and bustling New York City, just like Andy Sachs and Runway all those years ago!

Edited by Emily Duff

For many, The Devil Wears Prada isn’t just a film, it’s a personality trait and the ultimate comfort watch. Now, exactly twenty years later, we’re being asked to let it evolve.

The closest comparison we have right now is the West End musical. And to be fair, it met expectations. In fact, I’ve seen it twice and am more than happy for that to become an annual tradition.

It knew exactly what it was: a love letter, not a rewrite. It didn’t try to outdo the original, just repackage it for a different format. That’s a very different challenge to what a sequel has to do.

The Problem With Recreating (Near) Perfection

That opening sequence in the original film is still unmatched. The sharp contrast between the glossy, aspirational fashion world and Andy’s chaotic morning routine is still iconic two decades later.

But what does that look like now?

If they try to recreate it too closely, it risks feeling like parody. If they modernise it too much, it loses the charm. There’s a very thin line between homage and cringe and this film is walking it.

Take the cerulean speech. It’s not just a scene, it’s cultural canon. You can’t redo it and anything even remotely similar will feel like a cheap echo of something that only worked because it was unexpected the first time.

What could survive, though, is the tone.

The biting, dry, borderline ruthless dialogue - especially from Emily Charlton (Emily Blunt) - is what gave the original its edge. The hyper-specific, sarcastic, and notoriously quotable lines from “gird your loins” to the “hideous skirt convention” shaped an entire generation’s sense of humour (mine included).

That can be recreated because it’s not tied to the time period but to voice. Which, for a film about a magazine and an aspiring journalist, is quite special.

But even then, there’s pressure. The first film is stacked with these quotes. Every character has at least one line that you’ve got unintentionally memorised. That’s a brutal benchmark for the sequel.

Noughties and Nostalgia Bait

A huge part of why the original still hits is the world it exists in.The phones alone are basically a supporting character. Andy’s flip phone constantly going off with that sharp, slightly aggressive ringtone. The landlines ringing through the Runway office. The fact that being reachable at all hours felt invasive in a way that was still novel. Now? That’s just life.

If Andy has an iPhone, it immediately changes the tone. That tiny detail strips away a layer of escapism. The original film sits in that perfect pre-digital-saturation era — modern enough to feel relevant, but distant enough to feel romantic.

Is Nate’s Absence Loss or Liberation?

Nate, played by Adrian Grenier, has become increasingly unpopular over time. He represents a dynamic that feels outdated: the unsupportive partner framing ambition as a personal failing.

There’s been some noise about whether we should’ve seen his development, but that misses the point slightly. This story was never about him.

It’s about female power and ambition. The reason many young women love The Devil Wears Prada is because it offered a rare reversal of the trope, where men exist on the sidelines rather than the other way around.

If anything, leaving him behind feels like the most modern choice the film could make.

Casting and Cameos

We know Simone Ashley is stepping into a major role, which feels like a necessary and welcome shift. The original film’s lack of diversity hasn’t aged well, and this is an easy win if handled properly.

Another huge factor: Meryl Streep does not do sequels. While she famously prefers not to repeat performances, and has avoided doing so aside from appearing in a brief cameo during the final scene of Mamma Mia! Here We Go Again, she will be returning as Miranda Priestley in a main character role. This has to speak to a good script, surely?

But then there’s the cameos.

Names like Amelia Dimoldenberg and Pauline Chalamet have all mentioned having (albeit brief) cameos. While I’m excited by most of the names I’ve seen who’ve mentioned their small role - it could go either way.

It’s a line between feeling fun and culturally tapped-in or like the film is trying way too hard to prove it’s still relevant.

The original didn’t need that. Even its biggest cameo from Gisele Bündchen was understated and is exactly why it stuck.

Bündchen‘s small role as Serena, a Runway "clacker" employee was so well curated that, even with her short screen time, she became a reference in her own right. Her styling still makes ripples - with her tiny glasses trending a few years ago as similar style trended with Miu Miu's tiny oval glasses as the Office Siren aesthetic, or "corp-core," rose to popularity.

Bigger Budget ≠ Better Film

There’s talk of a much bigger budget this time around.

If anything, this raises the stakes. Bigger budgets often come with bigger expectations, more interference, and a stronger push toward mass appeal. And mass appeal is where things start to feel watered down.

Something quite charming about the original is that they had limited access to high fashion. Whereas with this sequel we’ve already seen the cast in character at the Dolce & Gabbana spring 2026 show, which was shot live during Milan Fashion Week. Is this fun or too much?

Though it was to film a scene, it also worked to build hype - a clever marketing tactic alongside all the other filming leaks.

On that note, on paper, the marketing has been strong. The Runway-inspired magazine is my personal favourite and the brand partnerships like Diet Coke (the ultimate fashion girl drink) and L’Oréal (an accessible but notably fashion forward beauty brand known for its presence at fashion weeks and celeb ambassadors) make perfect sense. They align with the world. They feel considered.

But then there’s the other side.

The overly literal merch. The heavy-handed references on pieces that scream cash grab rather than being a cultural moment. Nobody wants to wear a hoodie with the entire cerulean speech printed across it. Be serious.

That lack of restraint is what feels worrying. If the marketing can’t edit itself, will the film? Let’s not even get into the amount of product placement I’m expecting, too.

Though, much like Streep’s seal of approval coming simply from her agreement to return to the role, a certain figure’s involvement may also put our minds at ease that this sequel has substance beyond being a cash grab…

Anna Wintour infamously did not want the original to be made.

While she did not formally block the 2006 film, she reportedly exercised her influence to make its production difficult. As the fashion industry feared upsetting her, it is alleged that she caused production problems, reducing the film’s access to brands, designers and even locations.

Now, however, this sequel has more than just her backing. She’s playing a key part in the marketing. From a rare public appearance to present awards for Costume Design and Makeup/Hairstyling alongside Anne Hathaway to her first ever cover appearance on American Vogue alongside Meryl Streep, she’s gone above and beyond her usual role.

The Elephant in the Room: Body Politics

There’s also a conversation the sequel can’t avoid - The original The Devil Wears Prada is undeniably steeped in fatphobia.

Andy is repeatedly framed as “the smart, fat girl” and her size 6 body is mocked for being too large by fashion industry standards. While this doesn’t sit well, Andy is very obviously not a big girl and never has been known for that. So, while it’s played for laughs, it also works as a critique, highlighting just how warped and exclusionary that world is.

At the time, in 2006, those comments weren’t unusual. They blended into the background of mainstream media in a way that feels jarring now. A modern audience is far more likely to question it. To pick it apart. To refuse to laugh along so easily.

But it’s not simple enough to correct or acknowledge, it gets complicated.

Because while we’ve become more critical of those standards culturally, they haven’t exactly disappeared, in fact they’ve evolved. The rise of drugs like Ozempic has shifted the conversation again, repackaging extreme thinness as something clinical, aspirational, and — crucially — accessible, but only to a certain class.

At the same time, the cost of living crisis has made something as basic as food feel less guaranteed. There’s a growing, uncomfortable reality where wellness, restriction, and even scarcity are increasingly aestheticised — while access to actual nourishment becomes more precarious for others. We’re simultaneously watching more and more food banks open while we see food used as decoration by the wealthy.

So the question for the sequel isn’t just whether it addresses body image, but how.

Does it soften the tone to meet modern sensitivities? Does it lean further into satire? Or does it sidestep the issue entirely?

As real world fashion shows move further and further away from their short stint of prioritising body diversity, ignoring it would feel like a miss but handling it badly would feel worse.forced.

Soundtracking a Sequel

The original soundtrack works because it wasn’t trying to be the soundtrack. It pulled from existing songs that already had cultural weight so that hearing them now instantly transports you back.

The musical is full of original songs, and that constant phone tone, but they were written by Elton John based on key lines from the scene, which makes sense for stage, but not a sequel.

We’ve already heard the sequel’s original song Runway from Lady Gaga and Doechii. While both incredible artists that had me very excited, tracks written for films tend to feel different. Maybe I’ve held it to a high standard , but Runway felt too forced.

Why Does Everything Look So Dark?

The trailer’s lighting has already been called out online, and not in a good way.

There’s a wider issue at the moment with modern films leaning into darker grading, flatter tones, and this slightly washed out look. Even Wicked, set in one of the most visually vibrant fantasy worlds, Oz, fell into that trap.

The original Devil Wears Prada has this warm, almost sepia-toned finish. It feels like autumn in New York. It’s soft, rich, and fits that 00s RomCom aesthetic that a lot of people like me look for.

If the sequel loses that visual identity, it loses something bigger than aesthetics, it changes the whole atmosphere and style.

So… Will It Actually Be Good?

This sequel has a legacy which leaves it with two options: say something new, or rely on what already worked, and right now, it feels like it’s trying to do both.

That’s a risky place to sit because the truth is that no matter what this sequel does, it’s competing with something that people adore.

The fans that this sequel is for are protective over the original, that’s a hard audience to please.

That’s all.

Arriving minutes before the presentation began, it was immediately clear this would be something special. The bright, airy studio was flooded with winter sunlight, while a fashionable crowd hummed in anticipation. Live violin music drifted through the space, softening the atmosphere before the models emerged to bring English’s seasonal, botanically inspired narrative to life.

Founded in 2011, the brand has consistently rejected mass production in favour of craftsmanship, transparency, and environmental responsibility. Operating entirely from one studio in South London, the journey from sketch to finished garment remains intentionally contained, minimising environmental impact. The brand’s eponymous founder approaches design as a considered response to the environmental extremes we are living through, continuing to explore personal storytelling through textile manipulation and surface structure. Sustainability is not an aesthetic for the brand; it is its foundation.

Lost Touch unfolded as a botanical calendar in motion. Each of the twelve looks represented a flower or plant from across the year. From snowdrops and dandelions to ivy berries and foxgloves, the collection creates a quiet sense of seasonal progression. The narrative was subtle yet deliberate, brought to life through oversized three-dimensional florals that fluttered gently as the models moved through the space.

Crafted from surplus fabrics and off-cuts, the collection demonstrated English’s continued commitment to zero-waste principles and material consciousness. A restrained white palette, nuanced rather than stark, allowed silhouette and texture to take precedence. The absence of colour felt intentional, a blank canvas upon which embossing, drapery, and sculptural appliqué could speak.

Garments ranged from translucent, delicately layered tops that caught and diffused the light, to boxy shirts and drawstring trousers that grounded the collection in wearability. English blended utility with poetic floral themes effortlessly. Loose, gender-neutral cuts reinforced a sense of comfort and ease while maintaining structural clarity.

Textural detail was where Lost Touch truly resonated. Sewn florals appeared almost pressed into the fabric, as though preserved between the pages of a book. Fluttering petals and sculptural forms added depth without overwhelming the purity of the palette. The collection was texturally rich yet visually calm, a careful balance of softness and structure.

Casting further reinforced the ethos of inclusivity embedded within the brand. Models of varying ages, races, and genders moved through the gallery space individually, drifting before settling into designated positions. Rather than a conventional runway, the presentation felt immersive and intimate. When the models eventually converged, the narrative reached a gentle crescendo, a living installation of white, tactile, and botanical symbolism.

As a whole, Lost Touch brought a grounding calm to the intensity of London Fashion Week. Delicate yet assured, the presentation offered a moment of pause. It’s a collection that understands the power of subtlety.

In transitioning from winter’s stillness to the quiet optimism of spring, English demonstrated that sustainable fashion doesn’t need to compromise on artistry or desirability. Through texture, narrative and craftsmanship, Lost Touch reaffirmed that conscious design can be both emotionally resonant and visually compelling. It was minimal in palette, yet maximal in intention.

Edited by Emily Duff

“Poet-Lab is for the individuals who see fashion not as occasion-bound, but as a daily expression of self.”

This concept reveals itself in every design and begs the question, how can we be fashionably rebellious in our everyday lives?

Poet-Lab represents freedom of expression, regardless of gender, age, or size; their models reflect the principles they inspire, showcasing both older and gender-fluid models. The designs I witnessed for this collection were a testament to the dismantling of gender constructs; they showed that femininity/masculinity are within every person, and that fashion is about representation, not conformity.

“A space where fashion becomes a language of thought, emotion and identity”

Laciofano’s collection was a powerful statement against our expectations of what fashion should look like, while remaining visually breathtaking. Visceral reactions were evident in the audience, as it was a struggle not to be transfixed by the pieces. The stark contrast between the sheer white curtains and the chromatic designs awakens a sense of fascination. I noted how for every design, there was a unique walk to accompany it. This is a genius idea from Laciofano, as it amplifies the collection's individualistic nature. It felt as though every piece had its own personality; some were more mysterious, and others were brave and bold, allowing the audience to see themselves in his work. The connection between the collection and the designer is one Laciofano doesn’t take for granted.

This was the showstopping, elegant minimalism that encapsulated the entire show. A heavy lasting train swept the floor in fearless grand motions, and the model dominated the room, evoking a sense of intimated awe about it. Their hips swayed down the runway as they made sure to catch the eyes of every person there. A hardened rock glam look turned this design from regal to fearsome.

The philosophy of the collection can be seen in Laciofano’s use of a monochromatic colour palette; the visual contrast grabs the audience's attention to look at the continuous connection between sophistication and grunge. These two worlds don’t normally collide when it comes to high fashion, but Poet-Lab isn’t an ordinary brand; it challenges the preconceptions of what art should look like.

Poet-Lab has gained immense attention since its launch in 2023. People from all walks of life lined the perimeter of the building in hopes they might be able to see the show. I saw people in Harajuku outfits, to others in kitten heels and the classic trench coat, only amplifying that this show is for everyone, no matter your aesthetic. Laciofano has gained a community of people who value self-expression over conformity, which in the current political climate is critical.

Edited by AJ Craig

From subtle character moments to industry commentary, here’s everything we learned from the trailer.

Miranda Priestly Doesn’t Remember Emily

One of the most talked-about moments in the trailer is a blink-and-you-miss-it exchange where Miranda Priestly appears not to remember Emily Charlton.

It’s played lightly — almost as a throwaway line — but it reveals something much bigger about Miranda’s character.

In the original film, Emily was fiercely loyal, hyper-competent, and completely dedicated to Runway. And yet, years later, she’s seemingly forgettable to the very person she centred her life around.

It reinforces a core theme:

In Miranda’s world, people are replaceable — no matter how indispensable they think they are.

If the sequel leans into this, it could offer a much darker, more honest look at ambition and burnout in the fashion industry.

The World Is Bigger Than Runway Now

The trailer hints at a shift away from the insular world of a single magazine.

Quick cuts suggest:

• a more global fashion landscape

• multiple power players

• a faster, more chaotic media environment

This aligns with the reality of 2026, where influence is no longer concentrated in one publication.

The sequel appears to be acknowledging that Runway — and what it represents — is no longer the only centre of power.

Andy Sachs Is Not The Same Person

While the trailer keeps Andy’s storyline relatively under wraps, there’s a noticeable shift in tone.

She appears more self-assured, more composed — and far removed from the wide-eyed assistant we met in 2006.

The question is no longer whether she can survive the industry.

It’s whether she chose to stay in it — and what that choice cost her.

Fashion Feels Faster, Sharper, More Digital

Visually, the trailer reflects a very different fashion ecosystem.

Gone is the slow, print-driven world of the original film.

In its place:

• rapid-fire visuals

• social-first energy

• a sense of constant movement

It suggests the sequel will engage, at least visually, with the speed and pressure of modern fashion.

Nostalgia Is There — But It’s Not The Whole Story

Yes, there are callbacks. Yes, the tone feels familiar.

But the trailer doesn’t rely entirely on what worked before.

Instead, it hints at something more reflective — almost critical of the world it once glamorised.

That’s where the sequel has real potential not just to revisit The Devil Wears Prada, but to interrogate it.

The Real Question The Trailer Raises

More than anything, the trailer sets up one central tension:

Can the power structures of the original film exist in today’s industry?

Because if they can’t, then The Devil Wears Prada 2 isn’t just continuing the story but challenging it.

First trailers are designed to hook attention — and this one does exactly that.

But beyond the surface-level excitement, it also signals a shift in tone.

If the full film follows through, The Devil Wears Prada 2 could move beyond nostalgia and become something far more relevant:

a reflection on how fashion, media, and power have fundamentally changed.

And if that’s the case, it might have even more to say now than it did in 2006.

Set within the concrete, echoing Newgen show space at 180 Strand, the atmosphere felt industrial and charged. Guests clutched complimentary Blank Street coffees as anticipation built. When the show began, LUEDER’s signature fusion of classic tailoring and reimagined sportswear immediately commanded the runway.

Founded in 2019, the London-based label is built around the concept of “mental armour” - meaning Lueder designs garments to shield the body while creating space for expression, individuality, and emotional freedom. The brand continues its mission to destigmatise mental health, advocating for a more holistic fashion industry that supports both its creators and its community. In LUEDER’s world, collaboration and experimentation foster connection. Garments become symbols of protection, resilience, and theatrical self-expression.

Sustainability remains central to the brand’s ethos, demonstrated through the use of organic denim, recycled jersey, and regenerated nylon. The label’s distinctive hybrid language, a blend of sportswear, tailoring and medieval silhouettes, stems from Lueder’s childhood experiences at a medieval summer camp in Hamburg. There, she created costumes with her mother, and that sense of pageantry still lingers in the brand, now sharpened with intention.

Ghosts of My Life draws inspiration from the haunting landscapes of Tobias Spichtig, alongside Mark Fisher’s book, and the collection’s namesake, Ghosts of My Life, which explores hauntology and the persistence of the past. Together, these references construct a world that feels dark, seductive and emotionally charged, where memory, fear and desire collide. This season confronts anger, nostalgia, and vulnerability through the lens of community, mental health, and genderless design.

The colour palette of white, black, red, grey and light blue was bold and assertive. Silhouettes ranged from elongated smock-style shirting with exaggerated hoods to sharply tailored pieces cut with asymmetry and precision. Oversized, boxy proportions reinforce LUEDER’s commitment to fluidity and wearability. A standout piece was the long-sleeved white top emblazoned with the phrase “sorry no budget”, with the hand-painted typography appearing deliberately careless yet knowingly chic.

New techniques also emerged this season. A futuristic, lightweight flocked nylon camouflage, developed in collaboration with an Italian mill, introduced a technical dimension that offset the collection’s emotional references.

Pinstriped suiting, another new addition, paid homage to Lueder’s background in bespoke tailoring. Here, it was reimagined with relaxed irreverence, challenging traditional ideas of formality and structure.

Performance is Integral to LUEDER’S identity, and AW26 reinforced this commitment. Working closely with British music producer and composer Danny Harle, the runway unfolded to an original soundtrack designed to heighten the show’s emotional intensity and communal energy. Casting further reflected the brand’s commitment to community, blending models with musicians and creatives from London’s cultural scene, including Rose McGowan, Lava La Rue and Princess Julia.

As a whole, Ghosts of My Life marks a confident evolution for LUEDER. It has sharpened the brand’s core themes of protection, identity and emotional resilience while pushing further into sensuality and confrontation. Every element, from fabrication to performance, felt intentional. LUEDER delivered fashion as armour, rooted in community and charged with emotional release.

Edited by Emily Duff

In recent years, the term has increasingly taken on a negative connotation, with “patriot” and “nationalist” often being seen as an implication of one’s extreme personal or political views.

As a result, when hearing terms such as “national pride” or “patriotism”, people often picture the ideas and associations these words carry.

The idea of patriotism, according to the Cambridge Dictionary, should reflect one’s manifestation of love and pride for their nation. But in reality, it’s often utilised to segregate and other those who disagree with those people’s “ideals” and patriot utopianism.

The 97th Academy Awards ceremony gave us a (much-needed) reminder of what national pride could look like.

In the shadow of bad press, the term took on a brighter meaning in light of nominations, and later wins, of the Latvian animated movie Flow and Brazilian movie I’m Still Here.

Flow made an impact on the animation film industry due to its highly innovative take, relying heavily on visuals rather than dialogue. The movie was a historic success for Latvia, bringing back the first-ever Academy Award and Golden Globe wins for the country.

Not only boosting national morale, these accolades took an important role in placing Latvia on the international map for creative and cultural achievements.

Since its release, the national impact of Flow has grown so big that the municipality of the capital, Rīga, cooperated with the film’s director, Gints Zilbalodis, and sculptor, Kristaps Andersons, to transform the star cat into a temporary 3D sculpture.

This decision, as well as displaying the Oscar award at the Latvian National Museum, came to ensure that every resident and visitor of Rīga could experience a taste of national pride.

On a wider scale, the film’s success has triggered an increase in the government’s support and funding for Latvia’s animation industry. The Ministry of Finance and Culture pledged to redistribute funds in order to secure sustainable growth for the animation sector. Flow has highlighted the potential of independent animation globally, enhancing Latvia’s cultural reputation and illustrating that smaller countries can successfully compete with Hollywood giants.

The same can be said about the award-winning Brazilian movie I’m Still Here, which also brought astonishing national pride in its citizens.

As a Brazilian myself, seeing my country recognised in such a prestigious way rekindled a deep sense of nationalism within me as well as the whole nation.

I’m Still Here recounts the nation’s turbulent history during the dictatorship era (1964–1985) through the true story of a family torn apart by the regime. The recognition of the film at the Academy Awards sparked both national pride and long-overdue reflection, breaking through the silence left by the Amnesty Law and the absence of memorials to confront the memory of state persecution.

By centring the story’s plot line on the horrors that happened to the Paiva family, it transformed the abstract horrors of the military regime into something deeply human and relatable. It allowed Brazilian citizens the chance to see their own struggles and history reflected on screen, and to see that their country’s history hasn’t been forgotten, and justice is still being sought for the families of those killed during the dictatorship.

Although Brazilian co-productions and filmmakers had earned Oscar nominations in the past, this was the first time a homegrown production took home a win in a major competitive category. I’m Still Here earned multiple Oscar nominations, including Best Picture, an unprecedented milestone for Brazilian cinema. The news ignited celebrations across the country, with people waving flags and donning costumes to show pride for both the film as well as the nation.

Like Flow, Brazil’s historic Oscar win has ensured that the statuette is now on public display at a cinema museum in the upscale Urca neighbourhood of Rio de Janeiro. The Brazilian government has also bought the house where the movie was shot to repurpose it into a public museum to celebrate Brazilian cinema.

Both films highlight the power of meaningful cinema, broadening audiences’ interests beyond typical Hollywood fare and demonstrating that international movies are not only worth watching but also deserving of recognition, as they represent the voices and culture of entire nations.

Edited by Emily Duff

With a UK release date set for May 1, anticipation is building rapidly, especially as a global press tour — including a London premiere — is expected to take place in April.

Here’s everything we know so far.

The Devil Wears Prada 2 Release Date

Filming began in July 2025 for The Devil Wears Prada 2 which brought a flurry of social media discourse - and an influx of viral online posts of on-set videos and paparazzi photos. Meryl Streep shared while in conversation with Harper’s Bazaar:

The film is set to release in UK cinemas on May 1, 2026. The timing positions it perfectly as a spring cultural moment, bridging fashion season and blockbuster cinema.

This date also coincides with The Met Gala weekend - with the iconic ‘Superbowl of Fashion’ event taking place the following Monday 4 April. This event was also a key role in the first film, with this timing potentially being a hint to its prevalence in the sequel, also.

A London premiere is expected to take place in late April, likely around April 24, though official confirmation is still pending. The press tour did kick off on Monday 30 April, with its first screening in Mexico City. Soon to follow are - Tokyo, Seoul, Shanghai, and New York City before London marks its final location and European Premiere.

Cast: Who Is Returning?

While full casting details have not yet been officially confirmed, speculation strongly points toward the return of key original cast members, including:

• Meryl Streep as Miranda Priestly

• Anne Hathaway as Andy Sachs

• Emily Blunt as Emily Charlton

Given the cultural impact of these performances, audiences are expecting continuity — but also evolution.

What Will The Plot Be?

Unlike the first, which is based off a book by Lauren Weisberger of the same name, the sequel will not be following Weisberger’s second book. Plot details are currently under wraps, but early reports suggest the sequel will explore:

• The evolution of fashion media in the digital age

• The decline of traditional print publishing

• The rise of influencers and social-first brands

This opens the door for a much more contemporary take on the industry — one that reflects the realities of 2026 rather than 2006.

Why The Sequel Matters

The original film wasn’t just a fashion movie — it became a defining commentary on ambition, power, and the cost of success.

In today’s landscape, where fashion is driven by TikTok, sustainability debates, and shifting power structures, a sequel has the potential to say something even more relevant.

What Fans Are Expecting

Audiences are hoping The Devil Wears Prada 2 will:

• Update its perspective on the fashion industry

• Maintain the sharp dialogue and iconic moments of the original

• Deliver a new generation of memorable looks

At the same time, there’s growing curiosity around whether the film can capture the same cultural impact in a very different media landscape.

As excitement builds, one thing is clear: The Devil Wears Prada 2 isn’t just a sequel — it’s a test of whether era-defining Y2K fashion films can still define culture in the way they once did.

With a May release date approaching and a London premiere expected in Spring 2026, all eyes are on what could become one of the most important fashion films of the decade.

With themes of sustainability, nostalgia, and imaginative reinventions of classic silhouettes, the collections were interesting and mesmerising. While every student brought something unique, here are Darling’s four favourites from the show.

Maisie Bodington- Memories to Hold

A champion of sustainability, Maisie Bodington’s (@mkbfashion) collection “Memories to Hold” drew on themes of family heritage and nostalgia, brought to life through repurposed materials and careful detailing.

She fused oversized tailoring with soft, floral accents to create silhouettes that felt both grounded and tender. Standout pieces included a pinafore dress layered over a voluminous sage green undershirt, and an oversized tweed blazer and shorts set adorned with delicate floral appliqué.

Her palette of dark green, khaki, cream, orange, and yellow evoked a sense of warmth and memory, while styling details like headscarves and mid-length socks with heels added vintage charm. The overall effect was fashionable, thoughtful, and quietly radical in its environmental commitment.

Emma Gillie- Get Down to Business

Emma Gillie (@emmagillie) brought a clever twist to traditional menswear with her collection, “Get Down to Business” which also featured in GFW’s dedicated menswear show.

Inspired by the uniformity and repetition of office spaces, Gillie shared via Instagram,

“I imagined a bored businessman climbed into his computer and became awesome.”

Her designs parodied business wear with knitted suits in jewel-toned blues, greens, oranges, and purples. Mismatched panels of check and stripe patterns added energy without clashing, while dramatic flared trousers and sharp tailoring reimagined office attire with a playful, modern edge. Bold, creative and technically impressive, Gillie’s collection celebrated individuality over conformity.

Ernesta Palionyte

Ernesta Palionyte (@ernesta.palionyte) delivered an exquisite knitwear collection that balanced oversized silhouettes with soft femininity.

With a palette of cream, dusty pink, deep red, and black, her pieces featured large floral details, gingham fabric accents, and dynamic textures. Loose yarn trousers, shaggy knit elements, and asymmetrical hems added movement and charm. Palionyte’s technical skill was clear in the variety of stitch styles, from tight and intricate to open and airy.

The final look, a red body-hugging knit dress with embroidery hoop details across the back and a sweeping white scarf connecting a dramatic hood, brought the collection to a striking, unified close.

Catherine Brodie- Eternal Toybox

Catherine Brodie (@shop.catcat) delivered a riot of colour and playful defiance in her collection

“Eternal Toybox”, inspired by Japanese Kawaii fashion and her personal trove of toys and trinkets.

Embracing maximalism, Brodie layered clashing prints, textures, and playful motifs to explore dressing for personal happiness rather than social norms. Her designs challenged the notion that adulthood must mean leaving behind childlike joy, with designs that featured cartoon flowers, big bows, and bright neons.

Despite its whimsical tone, the collection was cohesive, imaginative, and impressively constructed. One particularly striking look featured a tight, long dress with orange accents, a giant lime green bow, and a pink fluffy bunny-ear hat, a perfect expression of Brodie’s joyful philosophy.

The Nottingham School of Art & Design runway stood out for its variety, creative storytelling, and refreshing takes on traditional forms.

From reimagined menswear to experimental knitwear and expressive maximalism, NTU’s graduates set a high bar for the weekend. Their collections demonstrated the emotional depth, technical ability, and innovation shaping the future of fashion, and proved that knitwear is anything but one-note.

Edited by Emily Duff

The runway delivered collections rich in technical finesse, strong visual identity, and bold reimaginings of contemporary menswear. Here are Darling’s three standout collections from the show. 

Amaani Chowdhary - Clothing as Comfort

From Arts University Bournemouth, Amaani Chowdhary (@clothingbyamaani) presented “Clothing as Comfort”, a deeply personal collection inspired by their experience with seasonal affective disorder and the emotional connections we form with objects during difficult times. Designed to be both protective and wearable, the garments combined oversized knitwear, quilted fabrics, and waterproof outerwear in a palette of red, grey, and orange. 

Slouchy turtle necks, puffy quilted trousers, and a drooping red puffy coat captured the feeling of warmth and safety while also nodding to contemporary streetwear trends. Chowdhary’s use of denim and durable materials added function to the pieces, and each look stood confidently on its own while contributing to a cohesive narrative. A favourite piece was the two-toned red and orange knit, intricately knitted yet understated, perfectly balancing comfort with craftsmanship. 

Alicia Bambury

Representing Cambridge School of Visual and Performing Arts, Alicia Bambury’s (@a.r.bambury) award-winning collection “That-has-been” was a poetic exploration of memory, heritage, and sustainability. Drawing inspiration from photographs and film slides of her grandfather, Bambury used headstock fabrics, repurposed blankets, second-hand pony skin, and even curtains to evoke a sense of emotional time travel. 

The collection married classic utilitarian tailoring with experimental textile work, including hand-knitted and crocheted elements made by her grandmother. These intergenerational touches grounded the collection in personal history. Cyanotypes and photographic prints transformed the garments into wearable archives, making the past tangible in every stitch. 

Tones of mustard, brown, beige, and soft blue gave the collection a gentle but striking visual identity. Pieces ranged from lace-detail tailcoats and sweater vests to structured workwear silhouettes. The emotional resonance of the collection was elevated by two older male models walking the runway, bringing its story of generational continuity to life in a powerful and moving way. 

Maya Higgins

Maya Higgins (@mayahigginsknitwear) from Nottingham School of Art and Design delivered a menswear collection defined by impeccable construction and tactile sophistication. Deep blue, burnt orange and khaki green block tones ran throughout, providing a grounded colour story that felt timeless and contemporary. 

What set Higgins’ collection apart was its subtle reinvention of knitwear. On first glance, you might not even realise many of the garments were knitted, underscoring both the technical mastery and wearability of her designs. Cropped shirts, oversized quilted jackets, and sculptural scarves gave the collection shape and presence, while knitted and quilted trousers added dimensional texture. Her tailoring was clean, the silhouettes strong, and the detailing thoughtful, resulting in a menswear range that felt both innovative and effortless. 

Other standout contributions included Emma Gillie’s vibrant, knitted take on power suits, Ying Zhong’s culturally rich, colour-forward pieces, and Delaney Gamboa’s whimsical, voluminous designs in baby blue and pink.

This year’s menswear catwalk was a celebration of innovation, identity, and emotion. Each designer brought their own narrative, style, and perspective to the runway, redefining what menswear can be. From emotional resilience to family heritage and wearable reinvention, GFW’s second day proved that the future of menswear lies within meaningful reinventions of tailoring and streetwear. 

Edited by Emily Duff

The ruling came about due to the campaign group For Women Scotland, who brought a case against the Scottish government stating that sex-based protections should apply only to people that are born female. The Supreme Court was asked to clarify what the definition of a woman is in terms of the Equality Act, which led to the ruling that women and sex refer to a biological woman and biological sex.

Trans activists, campaigners and individuals have warned that this definition could remove protections against trans people, furthering discrimination and excluding trans women from female-only spaces and services, including hospital wards, prisons, changing rooms and refuges.

It is currently unclear exactly how the ruling will impact on these same-sex spaces - in court, the Scottish government confirmed that trans people with a gender recognition certificate (GRC) are entitled to the same protections as biological women, yet it was also stated that under the new ruling the same-sex spaces can exclude people with GRCs if it is ‘proportionate’. 

Yet, the British Transport Police (BTP) have already released a statement to introduce an ‘interim position’ following the ruling, stating that trans women in custody will now be strip searched by male officers in line with their biological sex, unlike their previous policy which allowed those with a GRC to be searched in accordance with their chosen sex.

There are concerns that those with a GRC will not be entitled to the same rights and protections the certificate provided before the ruling, yet there are also many trans people who do not have a GRC. 

These certificates have been issued in the UK since the Gender Recognition Act in 2005, providing people with the legal right to change the sex recorded on their birth certificate.

Though the UK government estimates there are around 200,000 to 500,000 trans people in the UK, the Ministry of Justice only reports around 8,000 certificates being granted in the UK since 2005. This could be due to the costs to gain the certificate and meeting the strict legal criteria as reviewed by the Gender Recognition Panel - this includes a diagnosis of gender dysphoria.

Trans individuals have slammed the ‘heartbreaking’ decision of the Supreme Court, stating that they feel terrified about how this will implicate their lives moving forward, including which public toilets to use and the fear of trans hate crimes rising further. 

According to the Statista Research Department, the number of hate crimes committed against transgender people in England and Wales has increased in recent years, reaching 4,732 offences in 2022/23, and only declining slightly to 4,780 offences in 2023/24, even before this ruling.

Many have provided the example of 16-year-old Brianna Ghey, a trans teenage girl who was brutally murdered in broad daylight in February 2023. 

In this case the court concluded that hate against transgender people was one of the motives for the premeditated murder.

Though women’s rights groups such as For Women Scotland have been seen celebrating this decision, other feminists have spoken up about how reducing women down to their chromosomes is harmful to all women. 

But this decision proves scary for those AFAB (assigned female at birth), too, with rising concerns about how women are going to prove their chromosomes to access female-only spaces and how this will provide another way for people to discriminate against women for how they look and present themselves publicly.

Women with high testosterone, PCOS, who present more ‘masculine’, who are unable to have periods, or conceive, are also fearful of how this ruling will affect them.

Trans women are women and this decision, to reduce women to their biological characteristics, is harmful to all women. 

Edited by Emily Duff

In a world dominated by seriousness and fleeting trends, why not add some fun and boldness to your wardrobe? 

Lucrezia Ive does just that with her innovative shoe brand, Lucrethea, bringing a breath of fresh air into the fashion industry. 

Talking to Darling Magazine, she shares her journey, inspirations, and why embracing freedom and self-expression is essential in fashion.

When Lucrezia arrived at my London flat for our photoshoot, she was as glamorous as ever, carrying numerous bags filled with her creations and a head full of ideas. Seeing her latest collection, The Walk of No shame, in person was an experience like no other. 

Featuring dramatic chunky pink mules adorned with phallic and vulva shapes, these designs make bold statements while being incredibly fashionable and beautiful.

Creativity and design has always been a part of Lucrezia’s life. 

As a child, she would sketch clothes and ask her grandmothers to bring her ideas to life with their sewing machines. 

“My mum has an incredible passion for shoes, I remember slipping into her shoes as a kid, fascinated by their shapes and designs,” Lucrezia recalls. 

Lucrezia’s Latest collection, The Walk of No Shame, is a bold celebration of freedom and sexuality, a tribute to personal expression through fashion. 

Embodying the motto, “my body, my choice,” her designs challenge societal norms, address the stigma around sexuality and confront these taboos head-on. 

Sustainability is also at the core of Lucrezia’s work. 

This inspired her to create a sustainable clothing collection for university, where she focused on up-cycling old and unconventional items to give them a second life and reduce waste. This led to her raiding her dad’s wardrobe for materials to transform, turning old jeans into coats and unused trainers into corsets.

After an inspiring afternoon discussing her designs and story, Lucrezia left me feeling empowered and excited to see what she does next. Her work is not just about fashion; it’s about making bold statements, breaking taboos, and pushing the boundaries of creativity and sustainability. 

Read the full article in the upcoming Issue 5 of Darling Magazine…

The first time we saw The Notebook, we were left in a teary mess, captivated by the epic love story between two steamy stars. 

But in the eleven years since the film first captured our hearts, we've had time to watch it over (and over) again. And what really sticks with us - besides the emotional rollercoaster, of course - are Allie's gorgeous vintage-inspired outfits. 

Both Noah and Allie’s style is exceptional, but the starring role, however, goes to leading lady Allie Hamilton’s 1940s fashion - the wardrobe department, led by Karyn Wagner, truly excelled themselves.  

From the iconic blue dress to her adorable swimsuits, the '40s-era looks somehow still have modern appeal. And with the news that the film was to be adapted for TV but unfortunately never proceeded, we had hoped for even more retro fashion inspiration to look forward to.  

This era is defined by playsuits, high-waisted shorts, polka dots, and other fashionable items. It was a time when pin-up girls truly emerged and became iconic. Allie’s (Rachel McAdams) style is all about bright red lipstick, cute playsuits, and curly hair - a perfect combination, if you ask me!  

Once again, as in Pride & Prejudice, the cinematography in The Notebook is breath-taking. 

The film, based on the novel by Nicholas Sparks, takes the viewer on a whirlwind of emotions as they follow the lives of two lovebirds, Noah and Allie. The story is set in the 1940s, an excellent era for fashion.  

Inspiration can be drawn from many aspects of this movie, such as the natural landscapes of South Carolina or Allie’s paintings. 

However, nothing compares to Allie and her wardrobe. Her look is feminine, proper, and polished, yet her quirkiness also shines through.  

We meet our star-crossed lovers on 4th June 1940, more specifically, at the carnival in Seabrook, South Carolina. 

Southern belle Allie Hamilton and local boy Noah Calhoun first cross paths during a tumultuous ride on a Ferris wheel. Noah is drawn to Allie, perhaps by her boldly coloured shirtwaister dresses and cotton knit cardigan combinations. 

Button-down dresses and playsuits dominate the early 1940s look, and many people can still take inspiration from Allie’s style today - perfect for bike rides, jumping in lakes, or even playfully squishing ice creams into lovers’ faces.  

Summer love blossoms after a date night at the pictures, featuring yet another tea dress and cardigan combo, leading to the iconic dancing-in-the-street scene. 

The red-and-white colour motif continues throughout the ‘summer love’ section of the film - the styling and accessorising alone deserved an Oscar. 

Allie’s hair is set majestically in classic 1940s styles, with pin curls and victory rolls, complemented beautifully by pearl jewellery and suede ankle-strap shoes. A lipstick in the most perfect shade of orangey red completes the look, making it pop.  

Three years go by, and fashion evolves. Allie’s style changes too, as a Rita Hayworth, Veronica Lake starlet look replaces the 1940s fashion we originally fell in love with. Her hair becomes bigger, her makeup bolder, and statement hair flowers and veiled millinery accessorise designer gowns and formal skirt suits. Bicycle rides are replaced by horse riding, and dancing in the street gives way to glamorous nights at clubs with full big bands.  

Perhaps the most famous dress in the movie is the pale blue, Nehru-collared, button-down wiggle dress - arguably an impractical choice for a rowing boat trip. Nipped at an impossibly tiny waist, with contrasting covered buttons and turn-back sleeves, it marks a more mature evolution of Allie’s style.  

The Notebook, even years later, remains a classic story for hopeless romantics and a beautiful source of style inspiration for lovers of old-school fashion, as well as those who prioritise comfort over aesthetics.  

Haute couture, a term coined by the French designer and "King of Fashion," Paul Poiret, refers to the luxurious clothing lines produced by the leading houses in the fashion industry.  

These high-end brands ignited a new meaning in the culture and created a desire to own them for those who wished to carry the embodiment of art de vivre and poise. 

With Poiret’s ground-breaking designs, including the transition from tight-fitting corsets to lampshade tunics, it is easy to say that he influenced the evolution of haute couture and the level it has reached today. But with sustainability and eco-consciousness on the rise, can couture still be couture?  

Christian Dior, Guccio Gucci, Coco Chanel, and Miuccia Prada are just a few of the iconic pioneers who have ingrained their names in the high-end fashion industry. 

With their clientele holding them to the highest standards, these designers utilised only the “best” quality fabrics. Unfortunately, these materials were often unethically sourced, costing the lives of innocent animals.  

Ostriches, alligators, and stingrays were tortured and reborn into exotic leather handbags, wallets, and shoes. Minks, rabbits, raccoons, and foxes were killed to create the infamous plush and warm fur coats and scarves often worn by luxury consumers.  

These elite materials are often acquired from the Amazon biome, which has strong correlations to deforestation in Brazil. 

To make matters worse, unsold goods are burned instead of donated to maintain exclusivity within the brand. And as the scope of fashion brands’ clientele grew, so did the discovery of their malpractices.  

News of the fashion industry’s immoralities spread like wildfire throughout the media, which soon resulted in protesters defaming the name of couture. 

With boycotts, petitions, campaigns, and the crashing of model runways, couturiers were forced to adopt a more eco-friendly approach to save their brands’ reputations - while still being up to par with their clientele’s expensive tastes and without compromising their credibility.  

Gucci was one of the first pioneers to take the bold step of proving that a luxury fashion house can transition while still maintaining its image. 

Seeking to capture the hearts of eco-conscious consumers, Gucci now has a strict policy of implementing low-waste cutting techniques into its system to protect biodiversity. 

In 2017, Gucci permanently eliminated fur products from its line and has found new routes to ethically obtain materials for its bestsellers, including its renowned GG leather belts and handbags. The brand has even introduced a clothing collection dedicated to sustainability, featuring products made with organic and clean fabrics for those who wish to shop with ease, without worrying about their carbon footprint. 

On top of this, Gucci has implemented a ten-year sustainability plan to reinforce a culture of purpose, which can be read in Gucci Equilibrium. 

Living in a consumerist culture, it was inevitable that nature’s harmony would eventually be disrupted. 

However, with environmental awareness now easily accessible through social media, influencing the masses to make greener choices, sustainability has become one of the driving forces behind product sales. 

As more powerhouse fashion designers embrace sustainability, the intersection between high fashion and eco-consciousness proves that the two can coexist.  

Growing up in the early 2000s watching animated movies from Pixar, DreamWorks, and Walt Disney Studios, was an entirely different experience from the animations made nowadays. 

The new stories created for recent generations do not match the rich and enthralling creativity of the older movies such as Shrek, Spirit: Stallion of the Cimarron, Brother Bear, Happy Feet, Lilo and Stitch, and Toy Story.

Very few animations made in the last two decades come close to having the same level of originality or inclusivity that the “original” ones have. 

The studios have been so concerned about trying to be inclusive and self-conscious of the “cancel culture” movement that their work comes across as anything but inclusive and fresh. 

Lilo & Stitch Live Action Remake, 2025

Instead, to avoid any criticism, their efforts have been put into remaking the classics or readapting them to live motion. 

In reality, this comes across as lazy and seems like a cheap excuse to attract revenue from old audiences rather than hiring new creative minds to develop innovative storylines.

After 2010, Disney saw a rise in the production of live-action movies or photorealistic remakes of highly successful animated feature films. 

What started with Maleficent (2014), a retelling of the beloved Sleeping Beauty, rapidly became a trend. 

According to Pearce (2024), ever since its release, not including the sequels, there have been 12 live actions that Disney remade. 

The main issue with these remakes is that no matter how much effort and money Disney puts into them, they won’t be able to replicate the magic present in the originals.

The entertainment business seems to be locked in a rut with its relentless production of reboots, remakes, and sequels without taking chances with new concepts. 

Fans who want new stories, like me, are growing increasingly disappointed by the lack of creativity.

According to Chappell-Beattie (2024), Disney, once regarded as the unrivaled powerhouse of cinematic storytelling, is currently facing a challenging period at the box office. 

Even though Disney has established its brand with a uniquely strong reputation, in recent years, the studio has fallen behind its rivals. 

With Coco and Moana, they showed that they still had some fresh ideas. But even then, with the unnecessary sequel to Moana now in 2024 and upcoming Coco sequel in 2029, Disney played yet again into the money-grabbing trend. 

Remakes are now the standard formula used by film companies to capitalise on existing fan bases and appeal to nostalgia.

That isn’t limited to the animation industry alone, it is no secret that the movie industry has also been suffering to produce entertaining and innovative stories. 

According to Muldoon (2012), in 2011 there were 27 movie sequels released which at the time was higher than any previous year’s stats. 

In the same study done by Muldoon, she referenced a statistic brought up by Cieply (2011) that argued that in 2011 all top 7 box office films were sequels which had set an unprecedented box office record. 

She also confirmed that between 1996 and 2011 there was a drastic decline in Hollywood’s creativity showing that in 1996, 58.45% of films released were original compared to 51.36% in 2011.

One of the factors that Muldoon argues that would explain such a decline in originality is that producers strongly rely on past successful films when financial difficulties arise. 

Meaning, that during a recession they might invest in lower-risk material from already previously successful books and movies turning it into a sequel or an adaptation. 

Artist Austin Kleon released a book called Steal Like an Artist (2012) where he uses already existent poetry and blackouts words to create his own. 

He argues that nothing is ever done without “stealing” from somewhere else – that nothing is truly original but rather inspired by already existing content. 

Perhaps Hollywood’s consistent usage of their “movie formula” is now revealing that they are resorting to “stealing” or readapting already overdone source materials instead of attempting to get inspired by them and reimagining them.

Let’s look at La La Land (2017) for example, the reason it was such a success lies in the fact that even though it played into a classic cliche that rom-coms normally have, it didn’t have a happy ending. 

Transforming such a common happy trope into a bittersweet one, brought something new to the table making La La Land feel dynamic and more realistic. 

Sabit (2022) says that if the only new element in a movie is a different cast then the movie has little to no purpose. 

She also mentions the live-action remake of The Lion King which had a 52% score by Rotten Tomatoes due to the lack of depth - its only purpose being to capitalise on nostalgia.

Creating a sense of nostalgia with remakes of successful franchises brings consumers to the cinemas due to the familiarity and fondness they have of those beloved storylines. 

While this might seem harmless, it actually stops us seeing new and groundbreaking ideas. 

Hollywood is a worldwide reference for the film industry and has seen eras of risk-taking and experimenting periods in cinema. 

Therefore the question must be raised, where has all their creativity and edge gone? 

According to Bunker (2023), major film studios are not interested in originality because they bring less revenue than franchise ones. 

However, if there’s no investment in smaller productions and willingness to take a jump in the dark there will be no new and contemporary cinematic era. 

Hollywood needs to invest in giving opportunities to new writers and talent whilst simultaneously opening their doors to foreign influence. 

With writers strikes and rising concerns around AI, focusing on the success of small films such as Hundreds of Beavers and Anora. 

Cruella De Vil is one of the most iconic villains in Disney history, known for her spiky demeanour that transcends into her outfits which shape her as a character. 

The only thing that is not explored in One Hundred and One Dalmatians is how she became the evil, twisted, and extravagantly dressed person that we see in the film. 

In comes the 2021 film Cruella. Providing the origin story of Estella a young and bodacious girl who has an eye for fashion from an early age, we see her alter ego Cruella form and come out when she gets angry or frustrated.

Within the first moments of the film, you see Estella at school and swiftly flipping her blazer inside out to reveal her hand drawn patterned lining, displaying a pure and unapologetic parade of individuality.

Costuming in films has long been an addition to evoke feelings and expressions and Cruella did that and certain looks seem very Vivienne Westwood-esque. 

Looking deeper into the film, costume designer Jenny Beavan created mood boards not only of the late Dame Vivienne Westwood but also Alexander McQueen, showing the vision for the costumes was to unequivocally reflect not only her personality but the uniqueness of Cruella.

The refreshing thing about this story, is we see reworked looks deconstructed from thrift store finds which is a very current topic in today’s world. 

In one of the scenes we see what looks like rubbish bags and old newspapers fall from the back of a rubbish truck and then Emma Stone appears amongst all the trash, to reveal a dress with a 40ft train as the rubbish truck pulls away with Cruella on the back and the dress trailing behind her. 

In the story, the dress is made from one of the Baroness’s outdated collections – drawing from the expression, “One woman’s trash is another women’s treasure.”

Cruella has forty-seven looks in the film, according to Jenny Beavan and when designing the outfits she had to take into consideration that it was set in the 1970s and that she would have created looks from vintage stores before she had money. 

This meant that Beavan scouted vintage stores and fairs in London, LA, and New York to find pieces that worked with the aesthetic and era of Cruella. 

It turns out that this process was a foundation exercise to work out the basis of the looks because none of the vintage outfits found were used in the film, they were instead a guideline, so they knew the direction they were going to take.

There are so many iconic looks throughout the film one of the main ones is the red gown that is revealed when Cruella sets fire to her cape, and it disappears to reveal the dress. 

Within in the story it turns out to be a design of the Baroness and Cruella finds it in a vintage store and reconstructs it to add her own flare. 

This dress was based on Charles James 1955 design ‘Tree’ dress. His passion was recreating the shape of the body through corsetry, meaning his designs accentuated the shape of the hips and pulled in the waist, creating a flattering body skimming look. The skirt flutes out from the knee to the floor and he named the dress ‘Tree’ because it mimics the plant, with how roots splay out from the ground.

A costume department goes through such a lengthy process when creating looks for the silver screen, but this one seems much more challenging because there were so many pieces that needed to be intricate yet extravagant and needed to cover entire cars, for instance. 

The look that especially had a Vivienne Westwood flare was the outfit that Cruella wore when stood on the Baroness’ car. 

Beavan said that it was a tricky design because the skirt part needed to be light enough that Stone could wear it but heavy enough that she could swoosh it over the car and yet it had to be enormous to cover the car. 

It took a few versions of the design to get it right with the first few being just too heavy. In the end they went with a design by costumer Kirsten Fletcher who is no stranger to making items for theatre and film. 

Beavan also drafted in the help of students to hand-sew petals onto the skirt, in total there were 5,060 petals! 

The skirt was just one feature of this design and if then look closely at the jacket element of this look, its nothing short of a masterpiece. 

A beautiful military jacket adorned with chains, a gold rope design and epaulets with miniature horse and carriage on each shoulder, its such an interesting piece close-up but also a spectacular statement look from a distance which just shows the sheer talent of the designers who collaborated to create this.

Cruella is not the only one who has glorious designs to wear, the Baroness played by Emma Thompson also wears glamourous gowns and jackets, but her style is very much from a different era. 

In comparison her looks could be described as that of the 50s and 60s, still with incredible lines and shapes but more softened. The Baroness’ style influence was that of Dior and so her looks were not as bold or outrageous but still extremely glamorous. 

They both had a colour palette, with the Baroness having muted browns and golds and Cruella having the iconic black and white with spattering’s of grey and then red for the pivotal scenes. 

All this plays into the personality of the characters and what feelings are conjured when they appear on the screen and the subconscious influence of colour and texture creates elements of the story.

This is one of the most flamboyantly fashionable films of our time and it added so many fanciful layers to one of the most recognisable Disney villains. 

Glorious and unrestrained, the outfits were what you could imagine seeing on a red carpet or more likely at The Met Gala.

Amidst these jaw-dropping costumes, created was an origin story that made you empathise with Cruella; as person acting out from a place of hurt and loss, feelings everyone can relate to. 

The reality is she started out as a kid with a dream and despite the traumas of life, she pushed through and made it happen, while getting a bit of revenge along the way, in true villain style.

As the melancholy winter months creep away, a trace of darkness is left behind in the form of a new alternative clothing brand: In the silence. 

Launching last month, they’ve seeped into the streetwear scene to fill the gaps in the market with a gothic edge.

Speaking to the Manchester-based owners, they explained their intention to “bridge the gap between gothic clothing and streetwear.”

They explain that the brand was “born from a love of streetwear and heavy music” and their desire for the clothing is to subtly reflect their music tastes and identities “without being too in your face.”

Meaning in the silence is the brand for people who want to don an alternative style, without delving into the extreme. 

The creation of the brand has been a lengthy process, and the first batch of creations have been in the works for over a year.

Yet, the first clothing launch is finally here, consisting of 3 pieces to form a foundation for the brand’s identity and future collections. 

The items in question consist of 2 t-shirts in alternating colours (white and black), and a black hoodie, all suitable for unisex wear and available in a variety of sizes. 

Each piece is made from 100% cotton and have an oversized fit - who said style couldn’t be comfy?

The owners express their excitement from their ideas finally coming to fruition after a long production process, exceeding their expectations and leaving them feeling “more than pleased with the quality and design” of their products.

All of the items feature the brand’s logo printed on the back: a skeletal hand gesturing for quiet, clasping a dripping ‘S’. 

The garments feature small details which help to craft the clothing’s gothic edge, such as a removable metal pin and embroidered details. 

These simple, but impactful, additions allow the wearer to “subtly represent who they are” in addition to each piece being unique - as the distressing around the sleeve and waist bands are done by hand. 

Images from the launch’s recent photoshoot capture the craftmanship and wearability of the designs, whilst also showcasing their dark edge. 

The photos hold an eerie atmosphere, with black make up seeping from the models’ eyes, an atmosphere in keeping with the brand’s gothic feel. 

Seeing the pieces worn by various models allowed the brand’s carefully crafted identity to come alive in the photography studio, making the photoshoot the owners’ favourite moment from the brand’s journey thus far. 

In the silence now has a life of its own: it’s made its way out of the pixels of a digital mock-up and into customers’ hands.

So, what opportunities stir in the silence of the future? 

In the silence is anticipated to eventually stock a full range of items; including trousers, jackets, joggers and accessories.

Eventually, they dream of their favourite metal bands repping in the silence, such as Australian powerhouse Parkway Drive. 

In the silence is a brand to keep an eye on. 

The owners have “endless ideas for products,” so watch this space. 

Edited by Emily Duff

With stunning jewels, elegant silhouettes and flamboyant feathers, Baz Luhrmann’s The Great Gatsby was not only a fantastic movie adaptation, but an iconic fashion statement.

Embodying the showstopping nature of the Roaring ‘20s, the 2013 movie showed dapper suits, tailored to absolute perfection, paired wonderfully with cigars and martinis. 

This lifestyle, first explored in Fitzgerald’s novel, was once of riches and definitely not rags.

As lifestyles changed, so did fashion. The ‘30s saw long dresses and skirts paired with hats, gloves and well-tailored blazers, while the ‘20s brought short statement pieces that often exposed stockings and light colours.

The beautiful Daisy Buchanan (Carey Mulligan) reflects what many ladies in the ‘20s only dreamed of wearing.

Inspired by the flapper movement, where young women were known for their energy and daring dances, Daisy and her companions’ dresses were works of art. Most of their fancy frocks were short enough to whirl without a problem, some with deep V-neck cuts while others opted to layer capes and scarves. 

Intricate beading, often accompanied by feather and fur accessories and a low heel, was perfect for dancing to the electric jazz music that overtook the era. One thing’s for sure - they really knew how to party.

On the other hand, gents like Mr Gatsby himself (Leonardo Dicaprio) always appeared dapper in three-piece suits and bowties, regardless of whether it was a late dinner or an evening ball.

One thing about the Gatsby movie costuming is that it was the opposite of casual. 

Which is only fitting given the set: galas with champagne towers, live jazz bands and plenty of evening entertainment had to be reflected in their outfits.

The colour palette of The Great Gatsby was a muted one, presumably encompassing Fitzgerald’s soft tone and romantic approach to the actually quite tragic story. 

Women are seen in gorgeous shades of cream, warm golds, dusky pinks, deep reddish purples and peacock greens, all with an extremely feminine touch. Daisy’s own wardrobe mostly comprised pale shades, often associated with wealthy women who didn’t work or do household tasks.

The wardrobe for men was split between black tie in the evenings, and subtle shades of cream, light blue and brown throughout the daytime. This play on colour for men’s suits shows the slight playfulness and open-minded approach to fashion in Gatsby’s era, as the party host wasn’t a stranger to colour.

Of course, an outfit in the 2013 movie was not complete without plenty of accessories. Daisy Buchanan is often seen with a selection of jewelled headbands, gloves, feather boas or necklaces and rings.

A style that will always be appreciated and make comebacks in garments through small details such as pearl accents, gold and silver hues and jewelled gowns, the extravagance of The Great Gatsby is what keeps the fashion statements of the ‘20s alive today.

As we’re living in the ‘20s again now, perhaps it’s time to look to costume designer Catherine Martin’s picks for our next outfit inspiration?