Ark Magazine

Raf Simons's Spring/Summer 2017 show at Pitti Immagine Uomo was a tribute to the late photographer Robert Mapplethorpe.

The collection transformed models into embodiments of Mapplethorpe himself, with oversized silhouettes featuring some of his most iconic portraits and muses.

A predominantly black-and-white palette, punctuated by pops of color, echoed the mood, beauty, and intensity of his photography.

Leather and metal met Simons' signature tailoring, resulting in a powerful tribute to Mapplethorpe and a beautiful fusion of fashion and art.

For Pride Month, Canadian chef Tiffany Wong reflects on three q***r films that helped shape her understanding of herself and the possibilities of love.

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Call it Dior Noir.

Jonathan Anderson unveiled his first cruise collection for Dior last night at Los Angeles’ LACMA, transforming the David Geffen Galleries into a cinematic tableau.

Vintage cars were stationed like relics from a studio backlot, bathed in moody, film noir lighting. It was less a traditional show and more a scene, a deliberate nod to Old Hollywood and the enduring romance between movie royalty and Dior. The house has long dressed the silver screen’s elite, a legacy Anderson leaned into.

The collection itself felt like a conversation between eras. Dropped waists gave silhouettes a languid, almost 1930s ease. Tweeds arrived sharp and self possessed, while satin pieces slipped through the lineup with liquid glamour. The California poppy appeared throughout, with denim woven into the mix.

A collaboration with artist Ed Ruscha added a distinctly Los Angeles inflection, grounding the European heritage of Dior in West Coast cultural vernacular, a dialogue between Parisian couture and LA’s intellectual cool.

Bad Bunny single-handedly saved the 2026 Met Gala.

In a sea of forgettable looks, Benito came correct.

Is he making a statement?