Cue the Sex and The City theme song! Last night in New York City, Emily Ratajkowski hit the town in a look that was very Carrie Bradshaw. 

On the hit HBO show, Carrie, the character famously portrayed by Sarah Jessica Parker, was a prolific wearer of tube tops (it aired during the late ’90s, early aughts after all) and she wore them with everything from baggy jeans to pencil skirts. The strapless top has been trending on the recent runways, and Ratajkowski opted for a classic white version. But instead of leaning into an overall minimal color palette with her ensemble, she paired them with a bold, multicolored striped pant, which felt perfect for a fun night out. Even her statement bag—a silver chainmail Paco Rabanne style—was straight out of SATC universe. The fictional character even carried a mini pink version of it in season one of And Just Like That.

Of course, no nod to Carrie would be complete without a heel as well, and Ratajkowski opted for a square-toe stiletto sandal. All she needs is to swap her bejeweled necklace for the classic “Carrie” nameplate and we’d be seeing double.

Only a few weeks after hosting its ultra-feminine resort show in Los Angeles, Chanel presented its Chanel Métiers D’Art collection in Tokyo on 1 June. As always, a roster of international stars were in attendance, from actor Park Seo-joon to Blackpink’s Jennie Kim, who performed renditions of “Fly Me to the Moon” and “Killing Me Softly” at the event.

Another standout A-lister on the FROW: long-time brand ambassador Kristen Stewart, who put a contemporary spin on the iconic Chanel suit. Her look consisted of a white sleeveless Mother Denim tank top, a white bouclé jacket, and a matching ultra-mini skirt. Stewart topped it all off with black suede Mary Jane platform pumps, white high socks, and masses of silver jewelry. 

Few garments have achieved the iconic status and enduring influence of the Chanel tweed suit. Designed by Gabrielle “Coco” Chanel in 1925, it caused a stir at the time because, up until that point, suits were considered men’s clothing. Today, of course, Chanel’s creation is seen as the embodiment of classic luxury.

Coco Chanel’s successors, including the late Karl Lagerfeld and Virginie Viard, have added their own touches to her original iteration, introducing variations in color and fabric, while staying true to the suit’s essence.

Closing date: Open run. 

A Doll’s House

Nominations: Best revival of a play, best leading actress in a play (Jessica Chastain), best featured actor in a play (Arian Moayed), best lighting design of a play (Jon Clark), best sound design of a play (Ben and Max Ringham), best direction of a play (Jamie Lloyd).

Closing date: June 10, 2023. 

Nominations: Best play, best featured actress in a play (Nikki Crawford), best costume design of a play (Dominique Fawn Hill), best lighting design of a play (Bradley King), best direction of a play (Saheem Ali).

Closing date: June 25, 2023. 

Good Night, Oscar

Nominations: Best leading actor in a play (Sean Hayes), best scenic design of a play (Rachel Hauck), best costume design of a play (Emilio Sosa).

Closing date: August 27, 2023. 

Leopoldstadt

Nominations: Best play, best featured actor in a play (Brandon Uranowitz), best scenic design of a play (Richard Hudson), best costume design of a play (Brigitte Reiffenstuel), best lighting design of a play (Neil Austin), best direction of a play (Patrick Marber).

Closing date: July 2, 2023.

Life of Pi

Nominations: Best scenic design of a play (Tim Hatley and Andrzej Goulding), best costume design of a play (Tim Hatley, Nick Barnes, and Finn Caldwell), best lighting design of a play (Tim Lutkin), best sound design of a play (Carolyn Downing), best direction of a play (Max Webster).

Closing date: Open run.

Nominations: Best musical, best book of a musical (David Lindsay-Abaire), best original score (Jeanine Tesori and David Lindsay-Abaire), best leading actress in a musical (Victoria Clark), best featured actor in a musical (Justin Cooley), best featured actress in a musical (Bonnie Milligan), best direction of a musical (Jessica Stone), best orchestrations (John Clancy).

Closing date: Open run.

Nominations: Best musical, best book of a musical (David Thompson and Sharon Washington), best leading actor in a musical (Colton Ryan), best scenic design of a musical (Beowulf Boritt), best costume design of a musical (Donna Zakowska), best lighting design of a musical (Ken Billington), best sound design of a musical (Kai Harada), best choreography (Susan Stroman), best orchestrations (Daryl Waters and Sam Davis).

The ripple effect of the Ibiza club scene was huge; Oakenfold, Walker, Rampling, and Holloway brought the island’s blend of Chicago House and Balearic music back home to Britain with them, while visitors flocked from Europe to feel the freedom. “Pacha was always there,” says Tong, but during this period it began to “fade into the background slightly” especially “in comparison to edgier and more ravey clubs like Manumission and Space.” 

The millennium marked Pacha’s revival period, however: Eric Murillo joined the lineup, and Paul Oakenfold had a night, which Tong then took over with Pure Pacha, a residency that lasted ten years. “Pacha had almost been the most glamorous, the most Spanish, the most Latin,” he says. “International, classy. You had the legacy of Hollywood glamour and Spanish royalty coming over in the ’70s and ’80s. I wanted to bring back the heritage, the feeling of dressing up, the spirit of what Pacha had been at the beginning.”

By the 2010s, Pacha had moved more into the EDM space and became a franchise, with clubs opening in New York, London, and several other cities. “It got messy,” Jessica McCarthy Capaz, artistic director of Pacha, remembers. “It’s not just about the cherry logo, it’s about content, operations, service. Some of the new Pacha clubs did a good job, Buenos Aires was amazing, for example, others less so.” By 2017, new ownership decided to close the franchises. Capaz herself wanted to take Pacha in another direction, to leave behind the EDM big room sound and “go back to basics, what Pacha was famous for—house music—and Solomon, Dixon, and Bob Sinclair brought back those more organic, warm, sexy sounds.”

This June marks the fiftieth anniversary of the club—and five decades of defining both club culture and style. At the 2023 opening party, the room hits capacity as Solomon headlines from the new DJ booth, installed to update the space and to swap a raised pulpit above the dancefloor to a booth into the center of the club, and the middle of the crowd and action. The VIP area is sprawling, with burly waiters in black T-shirts carrying champagne bottles with sparklers, and emblazoned with the club’s famous logo. Tickets aren’t cheap, but as Ferrer points out, DJs have put their prices up; plus, there’s the new sound system and its complex but impressive architectural design above the dancefloor. In VIP, you’re paying for that “Mediterranean sense of hospitality,” he adds, and true to form, on opening night, he seems to know everyone. 

Otherwise, I was reading books on astronomy and physics. One of those is by a woman named Lou Page—A Dipper Full Of Stars—she was a geologist, but she wrote it to teach herself astronomy. I was thinking about Carl Sagan and people whose books are a model for that kind of writing. My reading life was also opening up from the very specific people who I’d studied as an undergraduate. I was reading Nicole Krauss and Zadie Smith’s essays and Toni Morrison. And I was seeing that it was possible that you could, you know, be a woman writer, writing about women. Mind-blowing.

Throughout your career in magazines, and now as an editor at Vanity Fair, you’ve written and edited book reviews, profiles, and other magazine journalism. Can you speak to the relationship between your own nonfiction and fiction?

I’ve read magazines since I was little. I remember having the Lindsay Lohan Vanity Fair cover that I’m sure my mom had gotten and then I weaseled away into my room. Both novels and magazines have been a big part of my life. I think that falling into other people’s brains, getting immersed in their stories, can be accomplished in both forms.

I didn’t get an MFA, but I’ve gotten to interview authors who I love over the years [and] profile Zadie Smith and Nicole Krauss and Rebecca Solnit. [In doing this,] I was trying to learn how to be a writer too. And I just have been really fortunate that the two can be in conversation with each other.

Did you have a run-in comparable to Sal and Martin’s meeting?

I did. I was at a reading at the New York Public Library. After the reading, we were all sort of milling around, there was a reception in the next room with cheese plates and too much cheap red wine. This man who was in his 70s just came up and started chatting with me. I was 22. He was saying all these wonderful things that I was very excited to hear at the time—that my life was going to be so beautiful, that he could tell that I was a writer. Afterward, my professor who had invited me was like, “You know that was Hampton Fancher, the screenwriter for Blade Runner?” Which meant little to nothing to me at the time, except that I was like, “Oh, that’s very cool.” I had already started writing the shadows of Martin and Moira, but I think that gave me something to latch onto. In some ways, it was a similar experience to Sal and Martin’s encounter. And then materially, it was totally different. But it opened up narrative pathways.

This interview has been edited and condensed.

It’s no secret that British heartthrob Harry Styles is obsessed with polka dots; there are even fan threads charting his obsession. A polka dot printed Gucci tee that the singer wore on his “Love on Tour” has become something of a signature look that seems to have bounced easily into street style, and was seen both at the menswear shows last June, and at the cruise shows in May. Scroll below for the best polka dot prints in street style. 

Four years later, Miller would adapt the piece into a feature film, directed by Blake Edwards (with a gorgeous score by Henry Mancini, his recent collaborator on Breakfast at Tiffany’s) and starring Jack Lemmon and Lee Remick. Despite the reservations of studio heads, who, according to Lemmon, were worried that no one would want to see “some downbeat, terrible story about a couple of young drunks that can’t get over it,” Days of Wine and Roses became one of the highest-grossing movies of the year, and earned Oscar nominations for both Lemmon and Remick. (In the end, the movie only came away with best song.) 

Here is where Kelli O’Hara enters the picture. Growing up in western Oklahoma, the Tony-winning soprano—known for her roles in shows like Nice Work If You Can Get It, The Bridges of Madison County, The King and I, and Kiss Me, Kate—was steeped in the movies of the 1960s. “This is what we watched full-time in our house,” O’Hara explains. The stories (and the costumes) of that era still appealed when she started working, and was cast as Susan in the 2002 Broadway production of Sweet Smell of Success, set in mid-century New York. O’Hara was so taken with the world that it conjured—and with her co-star, Brian d’Arcy James, whom she had seen two years earlier in Andrew Lippa’s The Wild Party—that shortly after Sweet Smell of Success closed, and she joined the first workshop of Adam Guettel and Craig Lucas’s The Light in the Piazza, she pitched Guettel an idea. “I thought, I wanna do another show with Brian, and I wanted to sing more Adam Guettel music,” she recalls. “And I said to Adam, ‘You should make a really dark, opera-type, dramatic musical of Days of Wine and Roses for Brian and for me.”

And so began a lengthy conversation that will culminate, some 21 years later, in the Off-Broadway opening of Days of Wine and Roses at Atlantic Theater Company on Monday. (Previews began in May.) Directed by Michael Greif (Dear Evan Hansen), with music and lyrics by Guettel and a book by Lucas—their first collaboration since Piazza, which happens to be at New York City Center later this month for an Encores! presentation led by Ruthie Ann Miles—the show represents a fascinating hybrid of forms: a 90-minute musical with an operatic score that confronts the ravages of addiction with a directness still rarely seen in live theater. (Though an altogether different project, a 2020-set production of Long Day’s Journey Into Night, underlining Mary Tyrone’s opioid addiction, did arresting work in this space last year.) 

Since becoming the Princess of Wales, we’ve seen Kate wearing a tiara twice: at King Charles III’s first state banquet back in November and at the Diplomatic Corps reception in December. Now, the royal has been pictured in full princess mode once again, at the state banquet celebrating the wedding of Crown Prince Hussein of Jordan and Princess Rajwa Al Saif in Amman, Jordan.

For the white-tie affair, Kate opted for a dazzling pink Jenny Packham gown (which she also owns in emerald green), continuing the series of all-pink looks she’s sported over the past week, paired with a matching Prada clutch. She also wore the Lover’s Knot Tiara—a piece she has often turned to over the years. The tiara was commissioned for Queen Mary in 1913 from royal jeweler Garrard, and was worn previously by both Princess Diana and Queen Elizabeth II.

At the state banquet, Kate also wore some heirloom jewelry that is new to her: the Greville chandelier earrings, which were worn by the late Queen numerous times throughout her reign. Queen Elizabeth II received them as a wedding gift from her parents—her mother had inherited them from Dame Margaret Helen Greville, a jewelry-loving British socialite, who had purchased the diamond earrings from Cartier in 1918.

Kate was not the only British royal sporting family heirlooms at the wedding banquet: Princess Beatrice opted to wear the York tiara, belonging to her mother, Sarah Ferguson, for the event. Commissioned from Garrard, the tiara was a gift from Queen Elizabeth II and Prince Philip ahead of the Duchess of York’s wedding in 1986.

For some, the term “royal wedding” refers to the nuptials of William and Kate or Harry and Meghan, but for me, the term is reserved for only the very queerest of marriages. This is a category that actress Beanie Feldstein’s recent wedding to Liverpool-born producer Bonnie-Chance Roberts falls into, especially given that Sarah Paulson and Holland Taylor were in attendance. (Paulson was even one of Feldstein’s bridesmaids! I die!)

The camp-themed wedding (as in summer camp, where several generations of Feldstein’s family met, not “Notes On…”) took place in upstate New York, and one look at the couple’s matching Gucci ensembles—and Beanie’s gorgeous veil!—has me updating the mental wedding Pinterest board I absolutely do not keep, because I am a cool and liberated woman who definitely has not had her wedding menu picked out since childhood. 

Feldstein and Roberts first met while making How to Build a Girl in 2018 (Feldstein was the star, Roberts co-produced), with the former writing on Instagram that year: “I took this photo of the night I knew I was in love with her. She made fun of my bowling skills and then belted karaoke loud enough for all of London to hear her. She’s the brightest, silliest, warmest, most loving woman and I can’t believe she’s mine.” That’s true love, baby! In a perfectly full-circle moment, Caitlin Moran, who adapted the screenplay for How to Build a Girl from her 2014 novel of the same name, even gave a speech at the wedding.

Feldstein’s Booksmart costars Molly Gordon and Kaitlyn Dever were also there for the ceremony, as well as actors Ben Platt and Noah Galvin. If people from a movie you made four years ago are showing up to celebrate your marriage, I think that speaks quite well of your character and your general “love vibe.” Don’t laugh! A love vibe is important; it’s the difference between being the couple everyone wants to go on vacation with and the couple everyone talks about three minutes after they leave the party. So, mazel to the happy couple!