This week in fashion, standout IG posters illustrated the power of anything-goes fashion. A tuxedo paired with gold grills? In the world of designer Riccardo Tisci, this coupling masterfully marries rough-and-tumble with formality. Model Kyle Gayle, a.k.a. @reallydoedusty, made a long-sleeved latex top, a Goofy tee, a propeller hat, and a furry bag look like the perfect dinner outfit. While Laverne Cox, who recently celebrated her 51st birthday, wore a 2001 John Galliano-era Dior with 1985 Manfred Thierry Muglery, showing that a fabulous vintage get-up does not have to be constrained to a singular decade. 

There were also unapologetically high-glam moments. Notably, Bones and All star Taylor Russell delivered bonafide razzle-dazzle in a Jonathan Anderson at Loewe design. The glittering look matched the rising star’s undisputable shine. 

Tina Lawson, who seems to be accompanying daughter Beyoncé on her Renaissance World Tour, became an art masterpiece at the Louvre in high-waist cargo pants, a statement belt, and a chic black top. Mona Tina! 

Get into the best fashion Instagrams of the week below. 

Marc Forne

Laverne Cox 

Riccardo Tisci

@louisvuittoncrocs

Haim

Tina Lawson

Jonathan Anderson and Taylor Russell 

Pechuga Vintage 

@sicamode

@cainandlane

Blake Lawren

@reallydoedusty

Rosalía 

Maria Cornejo has spent spring on the road, visiting stores around the US—Austin, New Orleans, Chicago, Detroit. In Denver, where she put on a fashion show at the Contemporary Museum of Art with her retail partner, Max, a ZMC superfan introduced herself. “She said, ‘I’ve had so much fun in this dress,’” Cornejo remembered during a recent studio visit. “That’s why we’re still here, we’re always listening to our customers.”

Cornejo’s business turns 25 this year, a milestone that shouldn’t go unremarked. Over that quarter century, the fashion industry has become more and more consolidated, with resources concentrated among a small number of super brands, which in turn command the lion’s share of retail and e-tail real estate, and thus the fashion media’s attention. To stand out as an independent business in that landscape, a designer needs to have a unique selling point—a voice.

That’s one thing that Cornejo has never lacked, as a tour through the racks in her showroom reminds us. She resurrected a circular grid print she created at another museum, San Francisco’s de Young, a decade ago for this resort collection, but it’d be wrong to call it a greatest hits lineup. Cornejo’s vocabulary is well established. She worked here with the easy-wearing, elegant circular and triangle shapes she’s long favored, as she does most seasons.

The novelty comes from the fabrics, which only become more interesting as time goes by. There’s the circular grid print, in different colorways for the diverse regions where her collection is sold. Us New Yorkers get the black version with fiery orange and yellow dots, while the white will play better in the south and west, she said. There’s a soft cotton matelassé whose vibe is different depending on its color; white says beach wedding guest and the two-tone brown-and-black option looks ready for holiday parties. And there’s stretch luxe velvet in jewel tone shades of citrine and amethyst for a caftan and a figure flattering column with a lightly elasticated waist.

As far as fun is concerned, this season’s top contender is something new from ZMC: a short dress with a deep-v neckline and no sleeves. “They want to show off their legs and look sexy,” Cornejo explained. Always listening.

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.