Held on March 15 at the Dolby Theatre in Los Angeles, the looks at the Oscars were both timeless and avant-garde. The evening also celebrated great cinema - Sinners claimed four awards following a record - breaking 16 nominations, while One Battle After Another won Best Picture.

Here are the night’s defining trends and standout moments.

Bridal Whites

White emerged as the chosen colour of elegance. Emma Stone shimmered in a floor-length Louis Vuitton dress with a plunging back and delicate cap shoulders - an empire-cut gown that reportedly took 600 hours to craft. (Her makeup was done by celebrity artist Nina Park, of course.) Frankenstein actress Mia Goth looked ethereal in hand-embroidered Dior florals, while Elle Fanning epitomised classic Oscar glamour in a Givenchy ballgown. The corseted bodice was adorned with a satin wisteria pattern, and the look was brought together with vintage Cartier jewels from 1903.

Going Avian

Feathers proved a surprisingly dominant trend. Demi Moore channelled Maleficent-chic in an iridescent feathered bustier and skirt by Gucci, its green-and-black ombre evoking a fierce peacock aura. If Moore was the black swan, Nicole Kidman offered its white counterpart in a Chanel peplum dress with a beaded bodice. One Battle After Another’s Teyana Taylor struck a middle ground in a black and white chiffon feathered gown, also Chanel, accented with white glass pearls and crystals.

A Splash of Colour

Hamnet Best Actress winner Jessie Buckley brought fresh vibrancy in an off-the-shoulder Chanel gown: the house described it as a “light pink bustier chiffon dress with a red satin leather stole.” Stylist Danielle Goldberg cited Grace Kelly’s iconic 1956 Oscar look as the inspiration. Norwegian actress Renate Reinsve turned heads in a structurally rigid, strapless Louis Vuitton with a thigh-high slit. The minimalist design was architecturally perfect without a visible crease or seam. Charithra Chandran, best known for her role as Edwina Sharma on Bridgerton, made a striking case for forest green in a Miss Sohee gown featuring a voluminous skirt and dramatic back bow.

All Black Endures

Zoe Saldana elevated a sleek Saint Laurent dress with a show-stopping Cartier ruby and diamond necklace. Marty Supreme actress Odessa A’zion brought boho lounge-chic to the carpet in a Valentino fringed beaded jacket paired with a velvet skirt. But the night’s most daring black statement came from Hamnet director Chloe Zhao: a head-to-toe ruffled gothic ensemble by Gabriela Hearst, complete with a dark veil that mysteriously obscured her face.

Bow Ties are Out

Men’s suiting saw a subtle rebellion against the traditional bow tie. Pedro Pascal graced the Oscar crowd with the rare appearance of his upper lip in a Chanel jacket accented with a giant chrysanthemum. Best Actor winner Michael B. Jordan brought an edgy touch to Louis Vuitton with a waist chain and sharp Nehru collar. Meanwhile, Joe Alwyn and Paul Mescal embraced an ultra-relaxed approach with slouchy bow ties - Alwyn in Valentino and Mescal in a cardigan-style Celine jacket.

After-Party Wins

Some of the night’s best looks skipped the main carpet entirely. Sinners actress Wunmi Mosaku proudly displayed her baby bump in a vibrant purple ruffled dress. Isla Fisher dazzled in a beaded skirt, white bodice, and voluminous blowout. Tell Me Lies actress Grace Van Patten brought sultry energy in an off-the-shoulder black dress with a smoky eye, while Devon Lee Carlson turned heads in a silky gown with an ultra-high slit.

My Personal Standouts

Anne Hathaway looked glamourous in a strapless, body-hugging Valentino with a dramatic fishtail. The Chinoiserie-patterned gown, cinched in with a bold belt, was elevated with black opera gloves and statement diamonds.

Chase Infinity, from One Battle After Another, captivated in a lilac Louis Vuitton dress with layers upon layers of delicate frills.

K-pop Demon Hunter’s Arden Cho stunned in a Miss Sohee gown featuring a bold olive-green sleeve-train.

Last, but certainly not least, F1 star Damson Idris brought authority to the carpet in a padded Prada long coat with furry lapels and a shearling collar. The romantic satin coat was pinned with a brooch Idris designed himself for his jewellery line, Didris, which uses precious stones from Botswana, Namibia, and South Africa.

Final Thoughts

From ethereal bridal whites to bold, feathered statements, the Oscars reinstated itself as the fashion centrepiece of Hollywood. Some stars played it safe while others took big risks. But whether on the main carpet or at the afterparty, these looks are destined to be remembered.

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The recent resurgence of interest in Bessette-Kennedy followed Ryan Murphy’s limited FX series, Love Story: John F. Kennedy Jr. and Carolyn Bessette, which premiered on Thursday, February 12. The show delved into the complex relationship between Carolyn and John F. Kennedy Jr., son of the former American president, and their tragic deaths in a 1999 plane crash. Lana Del Rey-coded and featuring their infamous Central Park dispute, the series reintroduced a new generation to the woman who dominated the ‘90s fashion scene.

From the moment their relationship became public in 1994, John and Carolyn were regarded as old-money style connoisseurs, with Carolyn emerging as the definitive it-girl of her era. A New York native, she remains iconic for her butter-blonde hair, svelte frame, and effortlessly chic aesthetic. Yet Carolyn was intensely private- no recorded interviews exist; instead, she communicated through fashion. Alluring and mysterious, she was dubbed the “New Jackie O” shortly after she began dating John, and was consequently thrust into a spotlight she never sought.

The Anatomy of CBK’s Style

Influenced by her trajectory at Calvin Klein- where she began as a sales assistant before quickly rising to director of publicity, Carolyn remained loyal to neutral palettes, minimal patterning, and clean silhouettes. Her look was polished but pragmatic for a working woman navigating New York’s streets.

Her designer favourites included Prada, Miu Miu, and Yohji Yamamoto. Cosmetically, she favoured a fresh-faced complexion with barely-there makeup, reserving a bold lip for special occasions. Her hair alternated between undone effortlessness and a low, sleek bun. One of her most recognisable accessories was a tortoiseshell headband from a Manhattan apothecary. She strictly avoided logos and flashy jewellery- apart from her diamond and sapphire engagement ring.

Her wardrobe revolved around a rotation of basics and investment pieces. She adhered to all-black ensembles for evening wear, while winter saw her clean-lined woollen coats, Levi’s 517 bootcut jeans, and architectural boots. Manolo Blahniks were a constant, particularly pointed-toe heels, and she rarely appeared without oval sunglasses from Selima Salaum. But perhaps her most iconic look remains her wedding dress: designed by her friend, Narciso Rodriguez, the bias-cut silk slip dress was revolutionary at the time.

Why We Love CBK

One might reasonably ask: What is so special about Carolyn? Isn’t this simply a thin white woman in plain clothes?

To make this argument is to miss the avant-garde nature of her dressing for its time. She frequently blurred gender boundaries, subverting the era’s expectations of femininity with her structured silhouettes and sombre palette. Carolyn stood in sharp contrast to the luxurious excess embodied by her mother-in-law, Jacqueline Kennedy-Onassis. Ultimately, she modernised the idea of Kennedy elegance. Her style commanded attention precisely because it was defined by restraint and the absence of excess.

Carolyn’s approach was compelling because it thrived on paradox: she wore high-end fashion but remained restrained; she was minimalist, yet elite; relaxed but never careless; polished but never forced; easy-going but never dull. She clearly understood her proportions and what colours and materials worked best with her. Her clothes were tailored to fit her body, not the other way around. She exuded elegance through subdued, sophisticated outfits. She dressed for herself and herself only. 25 years after her death, her outfits have stood the test of time.

The Futility of Recreation

Since the series aired, my ‘For You Page’ on TikTok, Instagram, and Pinterest has been saturated with CBK-inspired style lookbooks. Many people- myself included- have created Pinterest boards dedicated to ‘90s Manhattan minimalism, with Carolyn as the central fixture. Countless articles and Instagram carousels offer instructions on how to channel your inner CBK.

Yet this endeavour eventually becomes fundamentally pointless. The entire premise of minimalism is an aversion to trend cycles. Rushing to Zara or H&M for a black turtleneck and long coat won’t make us look like Carolyn. Carolyn stood out because of her confidence and poise. Style is about clarity and authenticity, not inventory. Style is having a discerning eye amid constant trends. Style is confidence, not endless reinvention.

The Economics of Restraint

But we must interrogate this fascination with CBK’s style and minimalism specifically. Why now?

Minimalism stands in sharp opposition to our current fashion climate- a climate characterised by micro-trends, conspicuous consumption, and maximalist excess. It is quintessentially anti-trend. It offers a way to reclaim consumer agency and let understated beauty speak for itself. Minimalism means you cannot rely on statements or gimmicks; it speaks to a quiet confidence within.

Yet the interest in minimalism may be driven by more than nostalgic longing for ‘90s aesthetics. Fashion has long functioned as a reliable economic indicator. Minimalism- particularly Carolyn’s working-woman wardrobe- resonates with many women today because it prioritises functionality over flamboyance. Corporate suiting, longer hemlines, and neutrals like black, beige, and grey suggest pragmatism.

Economic downturns mould the relationship between consumers and clothing. Recessions typically hit the fashion industry first, transforming how people buy, wear, and value clothing. Carolyn’s style- sensible shoes, classic pieces, versatile items- is inherently price-sensitive. It feels achievable. Capsule wardrobes offer a way to be cost-conscious while remaining stylish. Minimalism aims to be intentional and enduring, aligning immediately with sustainability concerns. Perhaps we are entering an era of pragmatism with purpose, an era of less.

In the current global context, with inflation pressures and geopolitical uncertainties, this turn to minimalism could be argued as one of cultural adaptation rather than aesthetic preference.

In the end, the enduring fascination with Carolyn Bessette-Kennedy is about more than the clothes she wore. It’s about what her style represented: a quiet power. She wasn’t a trend setter in the traditional sense because she never followed trends. Instead, she created a personal uniform entirely her own, proving that style is ultimately an act of self-definition.

American figure skater Alysa Liu manifested her gold medal in a backless dress dripping with elegant beading and a delicate mesh skirt. The 20-year-old is easily recognised by her signature ringed ‘halo’ hair in which she dyes a new ring each year. Liu’s charm, childlike awe, and twinkling smiley piercing added warmth and sparkle to the rink.

Mariah Carey brought old-school glamour to the opening ceremony, dazzling in a white gown by Roberto Cavalli, with its silver sparkling detailing catching every light. Channelling a 1970s disco queen, she stunned the crowd while singing a medley in Italian and English.

Mongolia once again raised the bar, matching the high standard set by their Summer Olympic kit. Designed by Mongolian cashmere brand GOYOL, the athletes wore traditional deel garments that reflected their nomadic heritage. These long, belted robes - complete with a high collar, slit skirt, and silk trim - date back to the Great Mongol Empire. Embroidered with intricate patterns and horn motifs, the athletes appeared as though they had just ridden in from the steppe.

Skeleton may involve racing face-down on a sled down a steep ice track, but it hasn’t always been considered the most thrilling sport. In recent years, inspired by the bold aesthetics of Formula 1, athletes have challenged that narrative - levelling up their helmet game with super-personalised and unique designs. Take South Africa’s Nicole Burger, who proudly wore a helmet featuring her national flag. Meanwhile, Puerto Rican athlete Kellie Delka’s helmet featured a piercing blue-green eye.

Embodying elegance and dignity, Italian supermodel Vittoria Ceretti graced the opening ceremony in an all-white Armani Privé gown with a high neck and full sleeves. She was joined by a procession of models dressed in red, white, and green - the colours of the host nation’s flag - in a touching tribute to the late Giorgio Armani. The legendary Italian designer passed away in September 2025 at the age of 91.

Team USA looked, well... American for sure. Dressed head-to-toe in Ralph Lauren, the athletes displayed timeless style and national symbolism. Their red, white, and blue colour scheme mirrored the flag, while the Fair Isle pattern on their beanies added a layer of traditional Americana. The 2026 Games marked ten years of Ralph Lauren as the official outfitter of Team USA.

22-year-old Eileen Gu turned heads in a custom ski suit by Anta. Born in San Francisco but representing the People’s Republic of China, Gu paid homage to her heritage and Qinghua porcelain. Her icy-white jacket was decorated with cobalt-blue dragons, gold accents, and cloud motifs - each element symbolising the dramatic height of her jumps.

Haiti marked their Winter Olympic debut with an outfit as vibrant as it was meaningful. The hand-painted kit, designed by Italian-Haitian designer Stella Jean, was inspired by artist Edouard Duval-Carrié. Athletes Richi Viano (alpine skiing) and Stevenson Savart (cross-country skiing) wore a colourful scene of botanical details, a vibrant red horse, and a bright blue sky. The uniform’s title says it all: “Red Horse Sweeping Across a Landscape of Lush Foliage.”

And finally, we look to Winter Olympic powerhouse: Norway. The Scandinavian nation walked away from Cortina with 18 gold medals and 41 in total, topping the leaderboard. Norwegian athletes sported half-zip, 100% merino wool sweaters by Dale of Norway, decorated with blue, white, and red Nordic geometric patterns - a look they’ve proudly worn since 1956.

Whether through timeless patterns or bold, vibrant new statements, the Winter Olympics proved once again that fashion is a medal-worthy sport.

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Let’s analyse the ad that started it all. Launched in July, the American Eagle campaign featured the 27-year-old actress, best known for her roles in HBO’s Euphoria and The White Lotus. While one version showed Sweeney with a puppy and another with a vintage Ford Mustang, the problematic ad was a direct homage to Brooke Shields’ infamous 1980 Calvin Klein ad. Sweeney lay on the floor, buttoning up her jeans while breathily stating: “Genes are passed down from parents to offspring, often determining traits like hair colour, personality and eye colour. My jeans are blue.” She then looks up seductively, revealing her own blue eyes. A male narrator concludes: “Sydney Sweeney has great jeans.”

The discourse escalated rapidly. At best, the ad was seen as tone-deaf and exclusive; at worst, it was accused of promoting Nazi-era eugenics by showcasing a thin, blonde, blue-eyed white woman as a biological ideal. In our ultra-polarized climate, the seemingly harmless wordplay was interpreted by many as glorifying a racial hierarchy and playing into white nationalism.

Another strong critique centred on the ad’s regressive theme, arguing it revived tired stereotypes by exploiting a hyper-standardised image of femininity for a male gaze.

Nonetheless, if sex sells, so does outrage. The provocation paid off handsomely. American Eagle’s stock jumped 10% initially, and after a supportive post from US President Donald Trump on Truth Social, it soared another 23.3%. The ad, praised by conservative media as “anti-woke,” added an estimated $200 million to the parent company’s value. Sydney, herself, has been co-opted by the Right, a move intensified by reports that she is a registered Republican.

What’s most unfortunate is that the controversy overshadowed the campaign’s charitable aims: all proceeds benefit Crisis Text Line, a mental health support service. A butterfly on the jeans’ back pocket, representing domestic violence awareness, was also lost in the noise.

The backlash created a vacuum that other brands were quick to fill, each offering a direct counternarrative.

Standing in stark contrast was Gap’s fall campaign, “Better in Denim!”, featuring the global pop girl group KATSEYE. The ad, a high-energy, 90s-inspired dance routine, was a celebration of individuality. With members from the US, South Korea, Switzerland, and the Philippines, including some who are LGBTQ+, the group embodied youthful diversity. The lyric from Kelis’ “Milkshake”- “damn right, it’s better than yours!”- felt like a direct hit at American Eagle. The ad proved to be a massive success, generating 100 times Gap’s usual engagement rates and 400 million views total.

Levi’s entered the conversation with the final instalment of its REIMAGINE campaign, starring Beyoncé. ‘The Denim Cowboy’ featured a blonde Beyoncé in a rhinestone-embellished denim suit, set to songs from her ‘Cowboy Carter’ album. It was widely regarded as a powerful celebration of Black identity and empowerment, reclaiming a traditionally white-dominated aesthetic.

Finally, Lucky Brand featured TikToker-turned-singer Addison Rae. Wearing ultra-low-rise jeans, Rae demonstrated a magnetic confidence. In many ways, her ad seemed to show American Eagle how to market a similar archetype—the all-American, blonde ideal—without the eugenicist baggage.

Notably, all these competing ads have an element of sexiness. So why was Sweeney’s received so negatively? The responses demonstrate the critical distinction between selling jeans to women and selling a woman in jeans to men. The Gap, Levi’s and Lucky Brand ads project confidence and individuality for the wearer. The American Eagle ad, for many, presented Sweeney as an object for an implied male viewer.

I, like many on the internet, have grown tired of the perpetual oversexualisation of Sweeney’s image. Her buxomness is fawned over, but also co-opted and monetised. Sweeney is both a symptom and a participant in this system. But perhaps her image is more calculated than it seems; she is savvy enough to get a piece of her own exploitation. While we can’t blame her for benefitting from a system that will exploit her regardless, her complicity dangerously reinforces the status quo.

The backlash to American Eagle is a case study in how the internet reacts hard and fast to surface-level triggers. The wider cultural theme is the mainstreaming of conservatism, seen in the rise of “SkinnyTok” and “tradwife” influencers. We have broken through the era of popular ‘femvertising’; brands are no longer universally concerned with looking progressive.

Advertising is as difficult as ever. How do you speak to the most people without alienating everyone else? And if you offend, what is the cost? While it’s a significant leap from a pun to Nazi propaganda, the ad was so potent because it was profoundly out of touch. In our current climate, brands have a responsibility to consider societal cohesion. In 2025, no brand can afford to be apolitical. Neutrality is an illusion, and the choices they make, whether clumsy or calculated, carry immense weight.

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All eyes were on acclaimed films like Guillermo del Toro’s ‘Frankenstein,’ starring Oscar Isaac, Jacob Elordi, and Mia Goth, and A House of Dynamite, featuring Idris Elba and Rebecca Ferguson. The fashion choices off-screen were just as captivating. This year’s trends reflected timeless elegance, bold textures, and dramatic silhouettes.

Elegance takes the limelight

Cate Blanchett epitomised refined sophistication, first re-wearing a gemstone-embellished Armani Privé from 2022, then captivating in a showstopping feathered look from Maison Margiela’s FW25 Couture Collection.

Amanda Seyfried looked ultra-elegant in a navy-blue button-through gown by Prada, adorned with a giant red bow. At the same time, Julia Roberts served classic grace in a Versace satin gown featuring a Harlequin diamond print.

Modern moments and bold statements

The festival also demonstrated the pioneering side of fashion. Greta Lee made a strong impression in a custom Dior by JW Anderson gown, its dramatic sleeves and bow enhancing the green and black organza dress.

Before the standing ovation for her film ‘Bugonia,’ Emma Stone’s look was demure in a custom Louis Vuitton lace gown and playful bubble hem.

In contrast, Colman Domingo commanded attention in a truly lavish gold-shouldered suit by Valentino.

The ‘it’ crowd’s style

Jacob Elordi, cementing his status as everyone’s favourite It-Boy, embodied relaxed cool in beige Bottega Veneta slacks as he arrived at Hotel Excelsior.

Actress-turned-singer Suki Waterhouse channelled ‘60s modern glamour in a shiny gold mini skirt and crop top by Rabanne. While Shailene Woodley mastered minimalist edge in a simple black Celine mini dress, accessorised with a diamond serpentine choker.

A few personal favourites

Calum Turner was impeccably well-tailored in a custom white Louis Vuitton tuxedo adorned with a brown carnation pin.

Ayo Edebiri, dressed by Matthiew Blazy at Chanel, was a vision in a striking, modern red gown that balanced vitality and poise.

Alicia Vikander’s custom Louis Vuitton bustier gown, with its incredible sculptural bow sleeves and train, was pure haute couture.

From Kaia Gerber and Lewis Pullman’s stylish debut, wearing Givenchy and Saint Laurent respectively, to model Maria Borges’s sequined Rami Kadi glamour, and Gemma Chan’s luminous Armani Privé gown, the festival was a showcase of modern dolce vita fashion at the Lido de Venezia Circuit.

This was a stylish reminder that in Venice, the art of dressing is just as celebrated as the art of film.

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Who is Anna Wintour?

The 75-year-old British American editor was appointed in 1988, but the blueprints for her career were laid out long before. Born into journalism, Wintour followed the path of her father, Charles, who was the editor for The London Evening Standard. Her climb to the top was meticulously calculated: after roles at Harpers & Queen and Viva, she became editor at Harper’s Bazaar in 1975, moved to New York Magazine in 1981, and took the helm of British Vogue in 1985. All the while, she cultivated an image of authority and sophistication, becoming recognizable by her chic pageboy haircut, and ever-present sunglasses.

But Wintour’s influence extended far beyond her glossy bob and regal confidence. When she took over at American Vogue, the magazine was losing ground to its competitors, such as Elle. Wintour revitalised it, turning it into a beacon of style, sophistication, and innovation. Her monumental inaugural cover signalled a revolution: it featured model Michaela Bercu in a haute couture Christian Lacroix jacket paired with a pair of Guess jeans—the first time jeans had appeared on the cover. Wintour’s cover was so unusual for Vogue, which tended to shoot close-ups of supermodels in heavy makeup, that the printing company called to confirm it wasn’t a mistake.

This was a calculated move by Wintour, who had aimed to take the elitism out of high fashion, frequently mixing designer pieces with affordable brands. Wintour successfully redefined Vogue to encompass not just fashion, but culture, entertainment, politics and art, all while catering to what she called a “new kind of woman out there.”

Building an empire and an enigma

Under her leadership, Vogue grew into a global powerhouse. She launched Teen Vogue and Men’s Vogue in 2003 and 2005, respectively. Wintour’s prized medallion is the annual Costume Institute Benefit for the Metropolitan Museum of Art, better known as the Met Gala. As co-chair since 1995, she transformed the “creative cultural force” from a quiet society fundraiser into fashion’s most prestigious event, which raised a record-breaking $31 million in 2025.

Wintour’s tenacity did not go unnoticed. In 2017, Wintour became a Dame Commander - the female equivalent of knighthood. In 2014, the New York City Museum named a section after her - the Anna Wintour Centre. And in 2025, former president Joe Biden awarded Wintour with the Presidential Medal of Freedom.

Her immense success and ambition, however, came with a reputation for being intimidating, aloof and a perfectionist. Her management style- similar to a military commander- inspired former assistant, Lauren Weisberger, to write The Devil Wears Prada, with terrifyingly fierce Miranda Priestly as a caricature of Wintour. Wintour’s chilly demeanour garnered her the nickname ‘Nuclear Wintour’.

The big question: who could replace Anna Wintour?

This is the first time in 37 years that the top editorial job at American Vogue is open. The title itself has evolved; the new role will be ‘Head of Editorial Content.’

The competition is reportedly fierce. The front runner is said to be Chloe Malle, Vogue’s social editor who recently conducted an interview with Lauren Sanchez ahead of her extravagant wedding. Other contenders include Sara Moonves, editor at W Magazine; Amy Astley, former head of Teen Vogue; and Nicole Phelps, global director of Vogue Runway.

Stepping down but not out of style

But make no mistake, this is by no means a retirement for Wintour. She will stay on as Vogue’s global editorial director and chief content officer for Conde Nast- Vogue's parent company. In this exalted role, she will oversee a vast portfolio of brands including GQ, Vanity Fair, Architectural Digest, Glamour and Allure. Ultimately, Wintour will wield more power than ever before, catering to 32 countries and over one billion people, and her new head of editorial content will report directly to her.

The end of an era

Perhaps the leadership change signals more than just a new name as head but marks the end of a bygone era. The old guard of traditional, all-powerful fashion gatekeepers has retreated, and the digital age of influencers reigns supreme.

The final successor will be announced ahead of New York Fashion Week in September. Whoever it is will have their work cut out for them, not just running a magazine, but picking up the baton from a legend.

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As the oldest and most prestigious tennis tournament in the world, Wimbledon has long been the stage where fashion and sport intertwine. Since its inception in 1877, the tournament’s attire has evolved from the long trousers, high collars, and corsets of the Victorian Era to today’s sleek and modern silhouettes.

The players must abide by the tournament’s strict all-white dress code—no cream, no off-white, just white1. Originally introduced to conceal sweat in a more conservative era, the rule now serves as a springboard for players to express their personalities while uniquely combining function and style.

Coco Gauff wore a whimsical yet chic New Balance set, featuring a lacy tank top with 3D butterflies and a pleated skirt. Unfortunately, Gauff’s early exit after the first round cut her fashion moment short.

Italian player Lorenzo Musetti turned heads when he glided onto court wearing a white intrecciato-woven leather bomber jacket by Bottega Veneta. The move marked the beginning of his ambassadorship with the luxury brand.

While the players adhere to strict whites, spectators embrace Wimbledon’s unspoken dress code: polished, preppy, and quintessentially British. Think crisp linen, tailored chinos, blazers, sun dresses, and classic silhouettes. Generally, spectators go for a smart casual look with a posh or sporty flare. It is frowned upon if one’s outfit is uncouth—for example, loud colours, large logos, and controversial or political messaging. Oh, and ripped jeans!

Leading the royal fashion pack was patron of the All England Lawn Tennis Club, the Princess of Wales. Princess Catherine made two impeccable appearances this year. First, she delivered elegance in a royal blue Roksanda dress, brown heels, and a straw hat. Her second look—when she presented the trophy to Poland’s Iga Świątek for the women’s singles—was a timeless ivory dress with a structured blazer by British brand Self-Portrait.

Singer Olivia Rodrigo, accompanied by her British Beau Louis Patridge, channelled a London cool girl vibe, wearing a red-and-white gingham dress by Ralph Lauren.

Arsenal player Bukayo Saka kept it relaxed with a grey linen shirt and white chino pants.

Reality star Molly Mae Hague nailed minimalist chic in a dark beige Dior shirt dress and her iconic slicked back bun.

My personal favourites were Cate Blanchett and Lila Moss. Blanchett wore a metallic Giorgio Armani suit, and Moss wore a navy blue laced collar slip dress by Ralph Lauren.

Wimbledon’s fashion ethos—steeped in tradition, restraint, and understated elegance—stands in contrast to the brazenness of other high-profile events. But perhaps, that’s what makes it so special. In an era of ever-changing trends, Wimbledon remains a stronghold for timeless sophistication. As the 138^th tournament concluded, one truth remained: whether on the court or in the stands, Wimbledon fashion continues to serve looks as iconic as the matches themselves.

I never felt truly comfortable when dressing for male attention. I felt stared at, judged, and insecure—like I was always competing with the girls around me. But I did it because I thought showing off my body was the only way to be beautiful. All the girls around me were dressing that way, and they always looked super cool. The internet was screaming at me to do it, magazines were screaming at me to do it—so, I did it.

And guess what? I got the male attention that I wanted. Lots. And it was great for all of five seconds, until an insecure thought popped into my head and I needed another man to check out my boobs in this top. A very valuable lesson I’ve learnt in university is this: male validation should not have such a chokehold on female worth.

I am a staunch feminist and always have been. I thought the only way to be a feminist was to take ownership of my body by showing it off. “Owning my sexuality” is what it was called. My mindset has changed a lot. Now, I take ownership of and pride in my body by keeping it sacred. Not any random man gets the privilege of staring at my phenomenal boobs. To me, being a feminist is stopping the innate right most men seem to have to sexualise me as a woman. I am not, first and foremost, a sexual object—I am so much more than that.

I know modesty is a super unpopular opinion right now, and honestly, if you asked me a year ago how I saw myself dressing, it was not like this. Most young women in my life do not understand why I choose to do this. I do not expect them to, because this all started with my faith, which is always a personal journey. I understand that modesty was used in the past by various institutions to force women into a box. But unfortunately, I think the same thing is happening with sexuality. Now, women are being pushed to over-sexualise ourselves. And who does this please the most? Once again, men. I, for one, am done with dressing to please other people.

Societal standards, I’m not going to dress the way you want me to. My value as a woman does not lie in my appearance and ability to attract a man’s attention. Each woman can choose how she wants to dress for herself. We need to be done with the slut-shaming and the prude-shaming and all this nonsense that defines our worth based on our appearances.

This is an invitation to try something new. Step out of line with me. It’s actually really fun going against what everyone tells you to do—I promise. I have never felt more beautiful than I have in the past few months. Modesty has helped me truly embrace my femininity. I don’t get as much direct male attention as I used to, but I can live with that. It’s helping me not define myself by other people’s standards.

Modest dressing doesn’t mean wearing a burlap sack that has no shape or style. Modesty has made me more creative with my fashion, since I have tucked away my previous focal point. I play with shapes and colours. I’ve been pinning and layering. I wear things backwards and upside down. I have so much fun with it.

Modesty has been freeing. For the first time, I can run without a boob popping out.

SAMW started out with Grad Week. “It’s always amazing getting to witness the talent and honestly makes me feel so hopeful about South Africa’s future in fashion,” said stylist and fashion design graduate Panashe Ndhlovu. “The creativity and hard work of each and every designer made it truly unforgettable, and I’m glad I didn’t miss it.”

Ndhlovu stated that this year’s main shows really stood out from previous years. Some standouts for her included The JOZI Collective, Thabo Kopele, Nao Serati, and IMPRINT. “Thabo Kopele did an amazing job with sharp tailoring and a balanced colour palette, while Nao Serati gave us a flawless and beautiful collection. I seriously want every single piece,” she said.

“Normally, we showcase our new collections at South African Fashion Week in Johannesburg,” said Michael Ludwig, the designer behind Michael Ludwig Studio. This year marked their first time at SAMW in Cape Town. “It felt vibrant, diverse, and exciting. With roughly over 200 people in attendance, it oddly but wonderfully felt intimate in the Wonderland Studio venue. Backstage was filled with stylists and photographers trying to capture and tweak all the ensembles in a flurry right before they hit the runway,” he said.

Michael Ludwig Studio showcased their newest collection on the runway and shared, “This collection, Abundant Anthesis, celebrates the beauty of self-contained growth, where the journey of anthesis—or blooming—within oneself and for oneself is the true measure of success. In a world where accolades and achievements often take centre stage, Abundant Anthesis reminds us that the process of growth and self-discovery is what truly matters.”

Ultimately, SAMW has become a hub of fresh creativity, teeming with talent from up-and-coming as well as established designers, generating massive excitement towards the future of South African fashion.

The long-awaited night has had the fashion world buzzing with excitement and expectations. With such a significant theme that draws inspiration from a momentous book (Monica L. Miller’s Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity), well-researched and intentional looks are the standard. Key things to look out for included: dramatic shoulders, hats, extensive accessorising, black designers, pocket watches, canes, monocles, and Dapper Dan.

The Co-Chairs

Although honourary co-chair LeBron James could not make it, the rest of the co-chairs arrived early to set the bar. Colman Domingo wore a blue custom Valentino cloak, paying tribute to the late Andre Leon Talley—thee black dandy icon. The cloak was topped with a silver, show-stopping chest piece that dramatically balanced the simple and classy part of the look. Underneath, he revealed a grey, black, and white suit with contrasting patterns and a large lapel flower. On paper, the styling may clash, but Domingo’s stylist duo, Wayman and Micah, carefully allowed for the blazer to compliment the accessories.

Lewis Hamilton showed up in a well accessorised tailored white suit by Grace Wales Bonner. The suit was accompanied by a matching bowtie, a beret by Stephen Jones Millinery, and a brooch. Vogue reports that the look had many details drawn from inspirations such as “Barkley L. Hendricks paintings to Black spiritual dressing,” as seen on the lined sash and cuffs with cowrie shells.

Pharrell Williams arrived in his own Louis Vuitton-designed suit. Williams had tailored black pants paired with a double-breasted blazer covered in 100,000 pearls. From a surface-level perspective, the look was not out of the ordinary for Pharrell. However, anyone who has been watching him for years knows that the look was very intentional. Williams is already a black dandy himself. With this, he took something that is his signature look and made it even more significant and connected to the theme. Pearls symbolise elegance and beauty, which perfectly align with the theme, alongside the dress code: tailored for you.

Like Pharell, A$AP Rocky also wore his own design. With inspiration from his childhood neighbourhood, Rocky came in an AWGE custom jacket inspired by marmot jackets that he used to see and wear growing up in Harlem. Although marmots are used for outerwear, in Harlem they are a part of streetwear. A$AP’s jacket made for a dressy silhouette and was paired with other sophisticated pieces such as a double-breasted closure, AWGE x Louboutin oxfords, a dapper umbrella, and AWGE x Ray-Ban sunglasses. Of course, it wouldn’t be an A$AP look without beautifying it with jewellery.

Best Dressed

The fashion data account @databutmakeitfashion announced that, according to thousands of posts found online, the best looks after Colman Domingo and A$AP Rocky’s are Janelle Monáe and Teyana Taylor’s.

Janelle Monáe’s surrealist Thom Browne x Paul Tazewell suit jacket gave us an artistic and playful take on the theme. The printed jacket revealed a matching black, red, and white blazer and skirt underneath. The look was perfectly accessorised with a monocle and a top hat.

Both Monáe and Teyana Taylor brought exactly what was needed and expected to the carpet. Teyana Taylor’s piece had everything! From a feathered hat and durag to brooches, a cape, gloves, and a cane. So much accessorising can be risky, but the Ruth E. Carter and Marc Jacobs collaboration blend all the accessories together to make a harmonious over–the-top look, topped with signature platform Marc Jacobs heels.

Personal Favourites

There are four looks that stick out to me that haven’t gotten as much love: Diljit Dosanjh, Laura Harrier, Khaby Lame, and Tems.

Punjabi artist Diljit Dosanjh wore an ensemble inspired by Indian dandy Bhupinder Singh, Maharaja of Patiala. Prabal Gurung designed the look to incorporate Indian and Punjabi cultural references such as the ivory and gold sherwani, coat, and a decorated turban.

Zac Posen mastered the art of making the masculine theme feminine by combining a feminine silhouette with masculine tailoring for Laura Harrier. The pair honoured black dandies such as Andre 3000 and Duke Ellington with dramatic elegance.

Tik Tok star Khaby Lame teamed up with Boss creative director Marco Falcioni for sharp suit tailoring. The suit included a significant detail—multiple pocket watches sourced from different flea markets on the waist coat.

Nigerian artist Tems honoured her West African roots with an Ozwald Boateng custom gown. The suit dress’s Ankara fabric paid tribute to the African dandies. The singer’s look reminded us of the importance of other black dandies’ influences in the diaspora.

Honourable mention to André 3000 and his piano. He reminds us that the dandy is not only about identity through clothes but extends to a state of being through his love for the arts such as music.

Top Designers

The top designers consist of Thom Browne, Marc Jacobs, and Louis Vuitton. Popular Thom Browne looks include Whoopi Goldberg and Walton Goggins. Marc Jacobs dressed Tracee Ellis Ross and Rihanna, while Louis Vuitton dressed singers Lisa and Zendaya.

A couple of black designers made their debut this year. Grace Wales Bonner was booked to dress a couple of celebrities, from FKA Twigs to Omar Apollo, in timeless and classic pieces. The British-Ghanian designer Ozwald Boateng was also supported by several celebrities such as Jaden Smith and Burna Boy. South Africa’s own Thebe Magugu appeared on the carpet on Aurora James in a look inspired by “West and Central African sartorial photographers in the 50s and 60s,” as he explained on Instagram.

The Unexpected

This year, fashion’s It Girls (Zendaya, Tyla, and Doechii) surprisingly did not make the top five best looks. While they have been known for their memorable fashion moments, many people found that they did not live up to expectations.

Zendaya’s Met Gala looks have often stolen the show, so it came as a surprise to see her in something so simple. The custom Louis Vuitton suit was inspired by Bianca Jagger’s wedding suit. Although simple, it is still beautifully tailored and aligns with the theme. We know Zendaya’s capabilities, so I feel that she does not need to prove herself and can still look great in something a bit quieter. What we didn’t expect was Anna Sawai coming in an almost-identical Dior suit.

Tyla has solidified herself in the fashion world for the past two years. However, her second Met Gala did not cause as much excitement as the first. Although her Jacquemus gown respectfully paid homage to André Leon Talley, many (including myself) preferred her pre-Met Gala Tolu Coker look.

Doechii has created a buzz around her style lately, making her one of the most anticipated celebrity looks. Her Louis Vuitton tux and shorts were indeed dapper. While the look was good and on theme, many online have expressed that it was underwhelming. There was nothing wrong with it, but I expected more and something different considering we already saw her in a blazer and shorts during Paris Fashion Week.

Overall, the Met Gala consisted of many great looks this year. While the ones that flopped showed that some people barely did any research or misinterpreted the theme, the majority of looks included intention and detail. There were many looks that did not disappoint—and, finally, the men actually showed up for the theme.

Fashion Revolution Week is a time for advocacy for a better fashion industry. This year it ran from 22 to 27 April, with many events happening, including a clothing swap on campus, a ‘mend-in-public’ day, informative talks, and sewing workshops across Cape Town and Johannesburg. They also run informative social media campaigns to expose the hidden costs of fashion around topics such as sustainable fibre use and decarbonising fashion.

Holly Kane, Fashion Revolution volunteer, shared, “I was at the mend-in-public day teaching people how to fix their clothes. It was so amazing to see how quickly you can have an impact by sharing skills. Two people completely independently came up to me before leaving and said that they felt empowered by learning how to mend—they had these big smiles on their faces and it was clear that they just felt so good after making something usable again.”

“Fast fashion is branded as something more accessible because it makes fashion cheaper. But you are then still forced into buying clothes—you have less control. I think what is actually accessible is when people have the skills to fix their clothes and aren't forced into buying new things all the time—even if what they're buying is ‘cheap’,” Kane stated.

Mel Lippert, ambassador, volunteer, and project coordinator of the annual Fashion Revolution and Peter Clarke Art Centre Grade 11 Design Project, shared, “Mending a well-loved and well worn garment is way less stressful than shopping for brand new wardrobe items. Mending and making as a community has so many benefits for the environment and one's own mental wellbeing, skill and resource sharing, getting into a creative flow, and connecting with new people.”

“Whenever I'm participating in a mending or making gathering, I realise the true value of being proud to wear 'hand-me-down' clothes and of learning basic needlework skills from my gran and at school. Today, with a teen of my own, I see the necessity to pass on this mindset and lifestyle practice to mend, modify, and include previously loved garments in my wardrobe to the next generation.”

Fashion Revolution reminds us that real sustainability isn’t just about buying sustainable clothing—it’s about valuing what we already own. By mending, sharing, and looking after our clothes together, we can build a fashion culture that’s rooted in care and community.

Layering

Layering is at the core of creating unique and, more importantly, warm outfits. Thinking about how you layer your clothes is vital to creating depth and complexity in your outfit, as well as showcasing different aspects of your outfit. You don’t want your clothes to be hidden underneath jackets or sweaters. Experiment with how you show your layers—a collared shirt with a low-neck sweater, puff sleeves underneath a dress or vest, or even socks and a pair of loafers are all examples of layering.

When layering, it is advisable to start with lighter fabrics and end with heavier fabrics to maximise comfort and ensure your outfit is not overrun with bumps and bulges. The first layer of clothing consists of your undergarments, such as vests and leggings. This layer won’t be revealed, but it is vital for creating warmth.

Next are the tops and bottoms. This layer is the most customisable and consists of dresses, shirts, trousers, and skirts. You can pair items within this layer together—think shirts with dresses and skirts over trousers—or you can use them as a base to put knitwear over.

Afterwards is the knitwear and winter accessories layer. This layer is responsible for generating the most warmth and adding a unique flair to your outfit, as a lot of knitwear, particularly vintage, is one of a kind. Hands, ears, necks, and heads are usually left unprotected. This is where gloves, scarves, and hats come in; they instantly warm your body whilst cultivating an eccentric look. Earmuffs are good for protecting ears, but tricky to find. I’ve found headphones to be a good alternative that comes with the bonus of listening to music.

Lastly, the jacket layer. Jackets are necessary for breaking the harsh winds. Your jackets don’t always have to be a leather jacket, fur coat, or puffer—especially if it isn’t rainy. A lighter jacket will suffice if you’ve already got the first three layers. Additionally, leaving your jacket partially unzipped or unbuttoned is a useful way to reveal aspects of your outfit.

The end goal of winter fashion is to fully cover your body, but this doesn’t have to be completed in a linear way, with each new layer of clothing hiding the previous layer. Think of layering as a puzzle where all the clothing pieces are building up your outfit—if one piece of clothing doesn’t cover you in a certain way, another will.

The Fashionable Fit

Silhouette, colour, and texture are the holy trinity of outfit cultivation. Incorporating some or all of these techniques is crucial to elevating your outfit.

Silhouette

The shapes of your garment can signal visually interesting cues. Whether it's using a corset to accentuate your waist, wearing puff sleeves, or a baggy ensemble, the silhouette of your outfit aids in how your body is perceived. For example, an outfit with tight-fitting clothes and geometrical shapes can communicate fierceness, whilst flowy loose-fitting garments create a more ethereal look.

Colour

Popular fashion is currently suffering from a grey pandemic. Experimenting with vibrant colours and peculiar colour combinations can easily make you stand out against the grey of the crowd and clouded skies. Do not be afraid of wearing certain colours. Although colour theory is not an exact science, certain combinations do work better together than others. If you have a hard time finding colour combinations, look to nature for help. Whether it’s the colours of the ocean, the sunset, or a meadow, the natural world is able to pull off bold and vibrant colour combinations.

Texture and patterns

The feel of an outfit is just as important as its look. Play around with the textures and patterns used in your clothing, as they add tactile dimension to your outfit—especially if it is monochrome. Fur, denim, and leather are popular winter textures that can be paired together to create a striking look (e.g. denim on denim), or with other patterns for a fresh use of classic textures.

The Puffer Jacket

If there is one item that is a must for Cape Town winters, it’s the puffer jacket. Its insulating and waterproof properties make it perfect for battling the winter rains. Puffer jackets do tend to consume other aspects of an outfit, but they can always be taken off inside to reveal your outfit. If you need an affordable puffer jacket, Mr Price and Edgars are currently selling them.

When it comes to fashion, the combinations are endless. It is a world full of constant self-discovery. All these tips are part of my personal fashion philosophy that was born from the style epiphanies I’ve had over the years. Hopefully, this guide is able to help with navigating the upcoming winter. Have fun creating!

First, let's talk about the things we expected to see. My list going into this analysis was as follows: cheetah and other animal prints, booty shorts, big belts, hair and body jewellery, layering lots of jewellery, boots (it is the desert), and sheer lace. I expected it to be a “Bratz dolls at a rodeo” type of event, where the style of Charli XCX was combined with the heat of the desert and classic Coachella cowboy accents.

All of my predictions—which were very broad and entirely based on currently popular trends—came true. Most of the girlies were in darker colours and booty shorts, led by their queen brat Charli XCX. These shorts are definitely more practical than the previously popular ultra mini skirt, so I’m happy for the girls and gays. They were finally able to sit comfortably. These shorts were often in cheetah print or paired with a cheetah print accessory of sorts. Other than cheetah, there was a decent amount of Y2K snake and zebra prints in lots of bright colours. Interestingly, there was a popular presence of one-pieces that were very trendy two years ago. Last year, these one-pieces made a comeback in animal prints.

Belts, as per usual, accompanied almost every outfit. Unsurprisingly, the big buckle cowboy belt seemed to be the most popular choice. I really enjoyed seeing people creatively layering multiple belts. Jennie’s red, belted stage outfit quickly became iconic for weekend one.

As for our newest South African icon, Tyla’s outfits were unfortunately quite underwhelming. Now let’s be real—this is Tyla. She would look good in anything. She is gorgeous. But… I was expecting more. She’s still new on the celebrity scene, but she has pulled out some phenomenal looks. The sand dress—need I say more? And so, for Coachella, I hoped she’d wear something a bit more fun, take a risk. When is a better time?

As for a phenomenal performer look, Lady Gaga and Benson Boone's outfits were amazing. Gaga, as per usual, is an icon and worked some iconic looks (yes, plural) for her performance. Commenters are calling it “Gagachella” because she absolutely stole the show. She did not just sing to the crowd—she PERFORMED. She put in the effort, all while in the desert heat—no more weather excuses, people!

As for Benson Boone, I just love him. His little moustache has become so iconic for him. He is the reason I no longer let men off the hook for fashion. Benson made a plan. Billy Porter walked so that Benson could dance on stage in a sparkly jumpsuit. He continues the legacy of destroying every status quo that says, “Men can’t wear that, it’s for girls.” As we all know, that is absolute nonsense. Men can wear whatever they want. So men, please, I beg—this is your chance to have some fun!

Naturally, there was tons of lace, sheer, and maximalist accessorising. These are classic staples in the festival scene. These are always welcome. However, there are some things that I won’t welcome at Coachella…

Guys, please stop with the baggy jorts and a t-shirt. That is not a Coachella-worthy outfit. If you’re not Lorde, don’t wear a plain t-shirt to this festival. Sorry, Post Malone, not even you! Coachella is not the place to wear an outfit you could wear to a cafe or campus. It’s the perfect opportunity to have some fun!

I was even disappointed with Emma Chamberlain, who rose to stardom because of her quirky fashion. She usually pops off during Coachella. Don’t get me wrong, she looked cute. But that’s something she could wear to grab coffee or go to Erewhon in. Emma, you’re meant to lead the masses to quirkiness and adventurous fashion. Similarly, Izzipoopi is a new fashion influencer who rose to stardom for trying the most outrageous clothing she could find online. Even one of her outfits was boring!

Yes, the desert is hot. But there are many ways to work around that. For example, this chainmail-esque dress worn by fashion influencer Somrutai Rattanawaraha. This was cute and lightweight. I’m sure she was super breezy at Coachella.

Another way around the heat is to wear your little shorts and tiny top but with some fun pattern mixing. I loved what the Kuan sisters wore. It was a comfy, chilled vibe but with some spice. It had patterns, colours, accessories, and hair, yet it was still super laidback and effortless.

Something I want to see much more of is layering. Light, whimsical, flowy layers that look like they are fun to dance in. We need more Lana Del Rey energy! Clairo brought some with her, including patterned layers and winged eyeliner. She mixed lace, sheer, polka dots, flowyness—mwah.

This leads me to ask… is Coachella losing its fashion spark? It seems like everyone this year tried to go for the effortless aesthetic but instead it just ended up looking like they didn’t want to put effort in. Only a few people pulled out all the stops for their outfits. Most settled for trendy items I would wear to school—if they were slightly less revealing. There were a few whimsical looks that made me happy, which were reminiscent of the iconic Coachella days, but more modern and trendy. Yes, some outfits were good. But ultimately, I was very underwhelmed.

In recent months, Luigi Mangione has made his rounds in the news and on social media. From what I have observed, the perception of him is widely one of support. I have been trying to find out what exactly irritates me about this support. Mangione is engaging in radical behaviour which challenges the current healthcare system in America, which reeks of capitalism and inequality.

For all intents and purposes, this kind of behaviour is a kind that I am usually a massive proponent of. So why am I filled with an unquenchable sense of irritation and moral superiority whenever I see an Instagram story about him? I do not believe that people are supporting him for the ‘right reasons’ and, to be honest, I think that the aestheticisation of him is grossly inappropriate.

It would only be right to give the background to Mangione before diving into my own opinions. He has been charged with killing the chief of United Healthcare, Brian Thompson, on 4 December 2024. Amongst other things, he is being charged with terrorism and first-degree murder, and his prosecutors are pushing for the death penalty. At the time this article is being written, he is pleading not guilty.

Mangione’s motivation for this murder is his resentment towards the ‘parasitic’ health insurance companies in America. In his own words, he wrote, “Frankly, these parasites had it coming.” Apart from that, he has not made any more public comments about the economic state of America. His support over social media has been unwavering, and there are two main issues with this.

Firstly (and I cannot stress this enough), Mangione comes from an extremely privileged background. He was the valedictorian of an elite all-boys private school in Baltimore before moving on to become an Ivy League graduate. He comes from a wealthy and prominent family who are significant in the real estate business, owning country clubs and golf courses. This is not to say that privileged people cannot be celebrated for doing radical things, but it seems painfully clear that his background is the reason for such strong support.

In conducting my research, the majority of the news articles I read made sure to include the fact that he was well-educated, rich, and on a track to success. As if his radical actions are made more concrete by his economic and social background. This is not the first time that we have pedestaled the wealthy in our left-wing efforts. In fact, the bourgeoisie has constantly been iconised into leaders of a movement that, for all intents and purposes, they will never truly understand. I think that this is a massive failing of such movements. The rich can afford to murder CEOs because they don’t have as much to lose as someone who is actively a victim of the healthcare system.

The next issue is more obvious. We need to stop aestheticising topical political events. The majority of the posts that I have seen with regard to Luigi Mangione are shameless in their approval of his physicality. He has been turned into the new boyfriend of the internet, with people expressing their support for him as a result of how good-looking they deem him.

The first thing that comes up when you search his name is people expressing that he should walk free because he’s too pretty to be locked up. Not to be dramatically Marxist about it, but I think that this is a crisis of our sense of humanity and community. It is impossible for people to support Luigi Mangione simply because they believe in violent, radical action against the top 1%. There needs to be an element of aesthetic, something that can be turned ‘consumerable’.

At what point, I wonder, will we stop deciding that an individual should be a spokesperson for a movement? More critically, at what point will that individual stop being wealthy and societally attractive?

“I’m a fashion writer turned amateur fashion historian documenting my practice-based research online.” This is how Khensani describes herself on her Substack newsletter, Hanger Management, a space where she unpacks African fashion with a mix of sharp insight and humor.

Khensani is a digital storyteller and fashion history enthusiast who brings African fashion to the forefront of conversation. She’s the creator of Clothes Minded, a podcast exploring Southern African fashion history, and a vibrant voice on social media, where her short-form videos on TikTok and Instagram, and longer-form Youtube videos, make historical and educational content feel fresh.

Mohlatlole’s experience across styling, social media, and fashion entrepreneurship has given her a broad perspective on African fashion. “Nothing in the fashion industry or fashion system is an island,” she says, highlighting how everything in the industry is connected.

When asked about the most impactful figures she’s come across in her research, she shares about Nigerian designer Shade Thomas-Fahm. Credited as Nigeria’s first fashion designer, Thomas-Fahm played a key role in shaping modern African fashion while staying true to its roots. “What I really appreciate about her is her approach to ‘modernising’ African fashion,” Khensani shares. Thomas-Fahm is known for many things, including transforming traditional wrappers into zippered dresses, making them more practical for modern women while preserving their cultural significance. “Even what we think of as traditional has room for play, exploration, and curiosity,” Khensani adds, highlighting the power of design as a form of problem-solving.

“I’ve been on the internet for way too long,” Khensani laughs when asked what inspired her to start Clothes Minded and her digital storytelling platforms. She shares that she chose podcasting because much of African history is passed down through oral traditional storytelling. She shares that her goal isn’t to lead a conversation necessarily but to make knowledge-sharing and connection accessible in her corner of the internet.

Khensani shares that she believes sustainability and traditional African crafts are one and the same. “African fashion has always been done in a way that is now deemed ‘sustainable’ by modern standards,” she explains. Local production, handcrafting, and valuing garments beyond trends reflect deep ancestral knowledge that holds relevance today in the sustainability space.

She encourages consumers to engage with craftsmanship, whether through mending or making garments, and to adopt a more mindful approach. “We are one small part of the ecosystem that must give back as much as we take.” Khensani believes sustainability starts with community and encourages emerging designers to look to their own heritage for inspiration and to build a vision for a better fashion future, then work backward to make it a reality.

If you're interested in learning more about African fashion history, Khensani recommends the e-commerce website Industrie Africa for free educational content, and the book Creating African Fashion Histories for deeper academic insights. She also highlights the African Fashion Research Institute, which offers access to useful articles, events, and workshops.

Before the change last year, these online retailers made use of the de minimis exemption. It allowed imports valued under R500 to enter the country without incurring VAT, only import tax. This meant that around 20% of the value of the items was paid in fees, rather than 45%.

As well as people worried about their own orders, many were concerned about those South Africans who turn to Shein because they cannot afford more expensive local clothing and would now have to pay increased fees as well.

Now that prices seem to have stabilised, the response has been almost unanimously positive, with shoppers like Thimna Mabece (@_t.himna on TikTok) celebrating the fees being back to their old selves. However, the issues mentioned regarding the affordability of clothing do still raise concern—though not necessarily in the same way.

The more traditional route of finding affordable clothes is finding second-hand clothes, whether through charity shops or personal connections. Because traditional slow fashion generally produces higher-quality clothes, they could be worn and passed down several times without it being too much of a problem.

However, the popularisation of shops like Shein, which produce enormous amounts of clothes in very little time, has led to a decrease in clothing quality. This means that fewer clothes end up being sold in charity shops and more end up in landfills.

This means that, rather than helping those who can’t afford new, local clothes, this ultra-fast fashion has forced them into buying into it, while putting strain on local fashion retailers for being seen as too expensive.

The fast turn-around of fashion trends as well as the tendency to use Shein’s affordability to buy for these trends that may only last a couple of months, leads to landfills being clogged up with mounds of barely worn clothing, exacting a devastating impact on local environments.

Although Shein is often seen as a valuable tool for poor people, it is important to examine whether it is really in South Africa’s best interests. The question may not be whether people can afford to buy from local retailers, but whether we can afford not to. In a country that already faces issues with environmental protection and supporting home-grown industry, Shein poses a considerable threat to national well-being.

In all the reshuffling one man is moved and another is used to replace him. Although many of them are righteously adored, the major fashion houses’ lack of willingness to appoint minority groups that are not just gay men can be considered lazy and cowardly. With the current global political and economic climate, it makes sense that luxury brands would want to play it safe and pick directors with huge followings and headlines. However, this threatens the future of fashion and its integrity, as talent and creativity are swapped out for names that will bring in the most money.

This is not to say that the dominating men in fashion are not talented, but in an industry full of many talented young designers such as Martine Rose, Thebe Magugu, Dilara Findikoglu, Laquan Smith, Sandy Liang and many more, tokenism is unnecessary. Female, and designers of colour should be given the same respect and opportunities as their (mostly) European male counterparts. They are just as talented but totally overlooked.

A change in the selection process would be beneficial. To consider designers outside the bubble of recycled men is not a difficult task as this is how the fashion world gained talents like Jonathon Anderson and Alexander Mcqueen – everyone must start somewhere. Looking for newer faces is part of the cycle but to broaden the demographics is something the industry urgently needs.

U-turn Charity Store

U-turn aims to house people and transform their lives with career and therapeutic support. The funds raised from initiatives such as their charity shops allow them to do this. Their charity shops take donations directly and can be found all around Cape Town, including in Claremont, Kenilworth, Elsies River, Mitchells Plain, and Durbanville.

Help the Rural Child

Help the Rural Child aims to contribute towards improving the lives of vulnerable rural children by raising funds for the Goedgedacht Trust. They sell donated goods such as clothing, books, furniture, sports equipment and more. You can find their clothing shops in Cape Town city centre, Sea Point, Mowbray, and Retreat.

St Luke’s Hospice

St Luke’s Hospice raises funds to provide terminally ill patients with palliative care. St Luke’s has over ten charity shops in Cape Town, including in Milnerton, Table View, Kenilworth, and Maitland.

The Haven Night Shelter

The Haven Night Shelter provides its clients with “temporary” shelter, welfare, and other services. They take clothing donations, especially men’s and warm winter clothing and have shelters across Cape Town including Claremont, District Six, and Wynberg.

Saartjie Baartman Centre

The Saartjie Baartman Centre for Women and Children is a haven for women and children who have survived abuse. The centre has assisted thousands of women and children since 1999 and continues to do so today. They do not only accept women's and children’s clothing; bedding, linen, and shoes are also welcomed. Queries concerning donations can be directed to their main office in Manenberg or through email and phone.

Other honourable mentions include: Lifeline Charity Shop in Mowbray, Salvation Army in Mowbray, and Home of Hope in Table View. Most of the charity shops mentioned allow drop-off donations, but it is always important to check by calling ahead.

The Importance of Sustainability

While donating is a more responsible option than discarding, it’s not a sustainable solution on its own. The rise of fast fashion has led to overwhelming amounts of second-hand clothing. Globally, approximately 25% of clothing donated to charity shops is sold, while the rest ends up in landfills, being burnt, or elsewhere. Concerningly, the mindset of clothing donations being painted as a “perfect option” leads to crises in Africa. The continent is overrun with clothing donations from the Global North, which has impacted not only local clothing traders but also overfilled African landfills.

Ultimately, it is important to reduce overall consumption. Buy less, choose quality over quantity, and think critically about where your clothing goes when you no longer need it.

In a time when beauty standards are constantly shifting and everyone seems to be getting their filler dissolved, Prada presented a radical rejection of “ladylike” fashion and maintenance. Through aggressive, unflattering silhouettes, undone hems, scrunched-up pyjama separates, dark, harsh brows and messy-bed hair, this collection created a direct response to continuous debates about identity, liberation, and aesthetic contradictions. If you are familiar with Miuccia Prada and Raf Simons’ work through the years, you will know that they have an unmatched ability to take the temperature of the world and translate it into a fashion experience. They don’t ask for approval—instead, they take the lead and subvert it in a way that may confuse the masses.

For decades, Prada has historically shaped the discourse in fashion, being at the forefront of fashion’s intellectual evolution. Miuccia Prada, no stranger to politics, obtained her PhD in Political Science in 1978 at the University of Milan. I guess one could say that this fashion week in Milan was a full circle moment. Drawing from her political background, she recognises fashion as more than just pretty clothes on a runway. For Miuccia, fashion was never merely about glitz and glamour—it served as a language to communicate ideologies, shifts, and important moments of the time. Prada’s approach has always been about challenging the status quo, taking current cultural and societal issues and translating them into something that is both conceptual and visually engaging. The Prada Show at Milan Fashion Week 2025 was no different and served as a significant moment in fashion history.

The collection encompassed the primary goal of liberating women from the rigid female stereotypes present in society. It was constructed of a variety of silhouettes, materials, and styling choices that strayed away from the conventional assumptions of what a fashion show is supposed to be. In place of tight, body-con little-black-dresses, Prada sent oversized knit dresses down the runway. Lingerie and silk robes were swapped for crumpled pyjamas and reimagined as daywear. Bold necklaces weren’t added as accessories but embedded into ribbed, jewelled necklines repurposed from prim cardigans. Clean, tailored hems gave way to raw, exposed seams deliberately left unfinished, challenging traditional notions of polish and perfection. Waistlines were skewed by scrunched-up men’s shirts, and closet staples were dressed up with faux fur accents on coats and blazers.

The initial impression of Prada's collection was one of discomfort—even disdain. The New York Times reported that it was “aggressive and thrillingly unflattering.” The fashion industry is dominated by influencers, models, and celebrities who embody a carefully curated “effortless” aesthetic that envisions being raw, undone and unfiltered. Yet, when it is presented on the runway, stripped of its social context and without the implicit approval of trendsetters, it somehow doesn’t land. Thus, the collection forces confrontation. Prada lays down the red carpet for a larger conversation about effortlessness, chicness, and realness. Why do we accept messy hair, no makeup, and undone, unfiltered styling choices on the “cool girl” but disapprove when it appears on the runway?

Prada tackled this question fiercely, forcing the audience to confront that hypocrisy, decontextualising effortlessness, and reshaping (or rather de-shaping) glamour itself. Hence the title: Raw Glamour. The impact of this collection on the fashion industry challenged and redefined trends, opposing the “cool-girl” aesthetic and the unreachable “clean-girl” aesthetic. It was a deliberate rejection of polished femininity and the societal expectation that women must always appear impeccably maintained.

This collection challenges our ideas of what it truly means to be beautiful and who gets to embody those ideals, which is exactly what Prada stands for. Prada’s world is a matriarchy, run by busy, multi-faceted and complex women who may not have time to brush their hair every day or pull the thread from their hem before leaving the house. As the New York Times puts it, Prada’s vision wasn’t about pleasing anyone “except the body inside the clothes.” So, whether loved or loathed, the Raw Glamour 2025 collection has sparked an important conversation on politics in fashion, beauty, and cultural identity—one that will continue long after the last model has left the runway.

The theme was inspired by Monica L. Miller’s book Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity. It will emphasise black men’s style with regard to dandyism from the 1800s until present day. Alongside Anna Wintour, the co-chairs for this Met Gala are fashionable black men in pop culture, including A$AP Rocky, Colam Domingo, Lewis Hamilton, and Pharrell Williams, with the honourary chair given to LeBron James.

The dandy is a man that uses their outward appearance to define themselves in the world of art and literature through personal grooming, style, and elegant behaviour. Miller’s book talks about the history and cultural significance of the black dandy. It explores how the black dandies, having emerged from Enlightenment England, used dandyism to refine themselves to challenge societal expectations and limitations of black men at the time by cultivating an identity and presence in the artistic spheres. This theme is one of the most significant Met Gala themes as it challenges societal expectations and ideas of masculinity and race.

The co-chairs of this Met Gala could not have been more perfectly picked. Each man shows qualities of the black dandy and challenges society’s expectations in their own ways through their involvement in the fashion industry. Pharrell and A$AP have been two of the most credited men in the music industry for their decades-long influences in fashion through personal style and involvement in the industry. Colman Domingo’s red-carpet looks have been nothing short of bold and magnificent, making him one of Hollywood’s best dressed men. When he is not dominating the F1 tracks, Lewis Hamilton graces the streets and fashion shows with tastefully curated style. LeBron’s influence in the male-dominated sphere of basketball allows him to sway the sports world into the fashion world. This makes him the perfect honorary chair, as he can build the bridge for challenging society’s ideas of what it means to be masculine.

This theme might bring about avant-garde pieces and looks inspired by period and historical aesthetics and silhouettes, such as tailored coats, corsets, and vintage fabrics, but modernised. I hope to also see pop culture references to modern day black dandies who influenced men’s fashion today such as Andre 3000, Fela Kuti, Dennis Rodman, and Dapper Dan. Virgil Abloh’s Louis Vuitton 2021 Fall Menswear is also a fitting collection to pay homage to. The standards for men will be set high as now they have no excuse to not show up (in the fashionable sense).