Dakota Johnson and Chris Martin Have Split After 8 Years—And Honestly, I’m Not Okay
We regret to inform you that Chrota—yes, we’re still calling them that—is officially no more. After eight very cozy, very private years together, Dakota Johnson and Chris Martin have decided to call it quits. And yes, it’s devastating. The Materialists star and the Coldplay frontman were the kind of couple that didn’t need red carpets or matching outfits to prove their bond. They just existed—quietly, effortlessly, and always in Malibu. So naturally, this breakup feels like the end of an indie film we didn’t know we were watching. Wait, Weren’t They Just in India Together? Yes. Yes, they were. Dakota had recently joined Chris while he was touring in India, and they were seen together in Malibu not long before that. Despite rumors of a split last August, her rep was quick to shut things down, confirming they were still “happily together.” Fast forward to June 4, and now multiple sources are confirming the breakup to People—and apparently, this time it’s final. So… What Happened? In true Hollywood fashion, the exact reason for the breakup is vague—“little things kept adding up,” according to The Daily Mail. One insider claims Dakota fought hard to keep the relationship alive, particularly because of her bond with Chris’s kids, Apple and Moses (forever icons, name-wise). Another source told The Sun that age and family planning were dealbreakers. Dakota, 35, reportedly still had hopes of having children, while Chris, 48, felt he’d already ticked that box. “They really tried,” the insider said. “But the age gap kept creeping in.” Were They Secretly Engaged? Apparently, yes. According to People, Dakota and Chris had been “quietly engaged for years” but were in no rush to walk down the aisle. Dakota even sparked ring rumors back in 2020 when she was spotted wearing a chunky emerald stunner on that finger. Our Final Words on Chrota In a world full of PR stunts and red carpet theatrics, Dakota and Chris were refreshingly low-key. No couple selfies, no matching tattoos—just lots of privacy, and, allegedly, a lot of cozy house parties. And now? Just heartbreak. As for Dakota, insiders say she’s “devastated” about not being around Chris’s kids anymore. We’re devastated about… all of it. Here’s to eight years of low-key love, soft-core indie romance, and whatever “Fix You” now sounds like post-breakup. Wishing them healing, clarity—and hopefully a rebound we can root for.
Emily Ratajkowski Channels Coastal Cool in Gucci’s GG Monogram Campaign at Cannes
Gucci has always been fluent in glamour—but the brand’s latest campaign set against the soft glow of Cannes proves it’s just as fluent in contradiction. Starring Emily Ratajkowski and shot by documentary-style street photographer Daniel Arnold, the new visuals celebrate Gucci’s ever-iconic GG Monogram, reframed through themes of stillness and movement, presence and ease. In a series of images that feel part candid, part curated, we see Emrata glide from cobblestone city scenes to the calm shores of the French Riviera. Whether surrounded by crowds or oceanside solitude, the GG Monogram remains a quiet constant—timeless, tactile, and unmistakably Gucci. At the heart of the campaign? A showcase of signature silhouettes: Debuted during Gucci’s Cruise 2026 show in Florence, the Giglio bag is more than just arm candy. It’s a love letter to heritage—named after the fleur-de-lis emblem synonymous with Florence since the Middle Ages. Tapping into over 100 years of craftsmanship, the Giglio balances archival romance with 2026-ready edge. For the minimalists who love a monogram, the new chapter of Gucci’s Ophidia collection features GG Monogram-coated canvas, forest green cotton lining, and that signature Web stripe that whispers quiet luxury. And yes—the Mini GG duffle has been downsized and redefined for modern wearers. What happens when a heritage house plays on duality at Cannes? A campaign that feels as thoughtful as it is iconic. With Emily Ratajkowski as the effortlessly cool muse and the GG Monogram as the ever-present thread, Gucci delivers a visual story that bridges generations—and wardrobes. Take a closer look at the campaign above and shop the collection now at Gucci.com.
Nigerian-American Star Kiki Iriafen Named WNBA Rookie of the Month!
If you didn’t know her name before May 2025, you definitely do now. Kiki Iriafen has arrived—and she’s already making WNBA history. The Nigerian-American Washington Mystics forward has just been crowned the Kia WNBA Rookie of the Month, making her the first-ever Mystics player to receive the honour. Let’s be clear: she didn’t just show up—she dominated. A Rookie Stat Line That Reads Like a Veteran’s Résumé Across seven games in her first month as a pro, Iriafen averaged 13.9 points and 10.1 rebounds, while shooting an impressive 47.4% from the field. That performance ranked her: Oh, and she didn’t stop there. From May 18 to 25, Iriafen posted four consecutive double-doubles, a feat that only one other rookie—Natalie Williams in 1999—has managed in WNBA history. To top it off, she became the fastest Mystics rookie ever to hit 50 points and 50 rebounds. Not even the franchise’s greats moved that quickly. Joining the Legends—In Just One Month Let’s talk context. The last WNBA rookie to average at least 12 points, 10 rebounds, and over 47% shooting in their opening month? That would be Tina Charles in 2010. The last time any Mystics player hit that mark? Crystal Langhorne, fifteen years ago. In short, Iriafen’s doing what hasn’t been done in over a decade—on both league and franchise levels. And she’s doing it straight out the gate. What’s Next for Iriafen? Currently averaging 14.6 points, 10.0 rebounds, and 51.7% shooting in just 28.3 minutes per game, the 2025 No. 4 overall pick isn’t just meeting expectations—she’s exceeding them with poise, power, and precision.
“Iyalode” Brings Power, Patriarchy and Purpose to the Big Screen
Courage wears many crowns. In Iyalode, she builds her own. Opening in cinemas on June 6, Iyalode is the latest Nollywood period drama shaking up the genre with a fierce female lead at its centre. Directed by Adebayo Tijani and co-produced by Toyin Abraham and Kolawole Ajeyemi, the film blends historical gravitas with a deeply human story about power, legacy, and choosing a voice over silence. Set against a richly woven cultural backdrop, Iyalode follows the journey of a woman who dares to challenge the societal mould carved out for her. Rather than simply inherit authority, she redefines it—turning a traditional title into a personal mission. The ensemble cast is stacked with Nollywood powerhouses—Toyin Abraham, Kolawole Ajeyemi, Bukky Wright, Kehinde Bankole, Ibrahim Chatta, Peju Ogunmola, Aisha Lawal, and more—each contributing to a narrative pulsing with intensity and cultural resonance. While fictional, the film draws heavily from the lived realities of women in historical and contemporary Nigeria, offering commentary on gender roles, leadership, and resistance within patriarchal systems. It’s the kind of film that doesn’t just retell the past—it interrogates it. Iyalode joins a growing canon of Nigerian films that place complex female protagonists at the centre of period and political storytelling, continuing Nollywood’s turn toward narratives that are both grounded and grand. Watch the trailer here—and mark your calendars.
You’ve Got to See How the Stars Turned Up For Toyin Abraham’s Iyalode Premiere
Somewhere between high fashion and high drama, the stars pulled up to Toyin Abraham’s Iyalode premiere and asked: “What if your overly helpful aunty was also your stylist?” And honestly? We need her number. The official theme—“Dress Like an Over Sabi Aunty”—was one of those briefs that could’ve gone sideways fast. But in true Nigerian fashion, the celebs said, “Hold my gele.” And proceeded to do the most—with strategy, sparkle, and zero shame. For the uninitiated: “Over sabi” is Pidgin for someone who knows everything, says everything, and doesn’t care if you didn’t ask. Now imagine that energy, wrapped in organza, feathers, gold lamé, and more corsetry than a Renaissance fair. That’s what the red carpet looked like. There were sculptural shoulders and fabrics that defied gravity. Dramatic entrances? Oh, absolutely. Toyin Abraham herself changed outfits mid-premiere like she was hosting the AMVCAs and officiating a wedding. Meanwhile, Mercy Aigbe arrived in a literal carriage. Cinderella could never. This wasn’t just fashion—it was theatre. It was satire. It was celebratory chaos disguised as couture. Because let’s be honest: Nigerians don’t just dress for occasions. We dress as the occasion. So if you’re still wondering whether anyone took the theme too far, the answer is yes. Gloriously so. Scroll through the looks and take notes. Or better still—channel your inner Over Sabi Aunty and critique every one. Toyin Abraham Mercy Aigbe Bimbo Ademoye Veekee James Sandra Okunzuwa Eyinju oluwa Ify Mogekwu
Veekee James Steals the Show in Ghanaian Kente at “Iyalode” Premiere
In a moment that felt equal parts movie star and monarch, Veekee walked in draped in a custom Ghanaian kente gown that could’ve easily doubled as architectural sculpture—if buildings wore sequins and had better posture. The look wasn’t begging for attention. It already had it. Made in Ghana and soaked in West African artistry, the gown was a maximalist fever dream: rich reds, coral flashes, sneaky hits of green, and beadwork so intricate it could’ve passed for mosaic. Sculpted at the waist, clenched at the hips, and anchored by sharp, defined shoulders—Veekee’s silhouette was less “red carpet ready” and more “get out of my frame, I am the frame.” The scoop neckline? Soft enough to say, “I’m approachable.” The high braided updo? A quiet flex that said, “But also, I don’t do chaos.” And don’t even get us started on the red clutch—textured, tonal, and visually in sync like it was styled by intuition, not Pinterest. It’s not new for Veekee to serve a lewk. But what she did here was serve context. A nod to heritage. A lesson in tailoring. A warning shot to every influencer who thinks a corset counts as couture. The dress wasn’t just fashion. It was finesse. And for anyone still unsure if she knew the weight of what she wore? The smirk, the stance, the “I planned this months ago” glow on her face said it all. The only thing unchic about this moment was everyone else’s attempt to compete. See more photos. (Or just save them. You’ll need references.) Photo Credit: Veekee James/Instagram
Eniafe Momodu Is a Walking Archive, a Production House, and a Cultural Shift
Nobody becomes “that guy” in fashion without a little chaos, a little flair, and a lot of receipts. And trust—Eniafe Momodu has all three. Eniafe is a 27-year-old London-born, Lagos-based photographer, writer, producer, and cultural curator—yes, all the hyphens. And while most of us are still deciding between Canva and CapCut, he’s busy co-producing Amazon documentaries, working with Nike, MAC, and Off-White, and leading creative direction for Beyoncé-adjacent fashion moments. (Yes, that Beyoncé.) His style? Let’s just say if André Leon Talley and a West African griot had a creative love child, it might look like Eniafe in a flowing crimson kaftan. But don’t get it twisted—he didn’t dress like this to be eccentric. He dressed like this to survive. Growing up big and tall, he once used fashion to disappear. Now? It’s how he dominates a room. And the fashion industry noticed. Brands like Fruché, Emmy Kasbit, and Pepper Row have all created looks inspired by him—or even named after him. Today, the silhouettes he once had to custom-make can be found off the rack. He’s no longer an outlier—he’s the blueprint. But here’s what hits harder than the clothes: the brain behind the beauty. Eniafe’s work is rooted in storytelling. Whether it’s photographing Temi Otedola, producing campaigns, or launching PRISM Creative (his own production + research agency), it’s always been about the why, not just the wow. His childhood? A multi-hyphenate origin story. His dad made him earn his first Nikon DSLR by scoring all A’s. (Spoiler: he did.) His entry into fashion? Getting paid by Fisayo Longe before he even asked for a rate card. His first big flex? Shooting Venus and Serena during their Lagos tour—at age 14. And now? He’s shaping the future of African style while archiving its past. Because West African fashion isn’t a trend. It’s history. It’s identity. And Eniafe is preserving it. Read the full story penned by Ugonna Ora-Owoh via the link.
African Creatives Shine at Cannes 2025 in Vlisco – A Celebration of Culture and Creativity
Actress Sophie Tankou and content creator Sylvanie Bessong made a memorable appearance on the red carpet of the 2025 Cannes Film Festival. Their presence was made possible by the iconic brand Vlisco, in collaboration with media outlet Brut. The two rising stars wore custom gowns designed by Francel Guezodje, Vlisco’s Head Couturier at the brand’s atelier in Cotonou, Benin. Sylvanie wore a Satin Royal dress – a romantic and glamorous fabric, with an airy drape and soft, fluid movement – adorned with Swarovski crystals. Sophie wore Vlisco’s iconic Grand Super-Wax – defined and crisp, with a touch of sparkle on the finish – also embellished with Swarovski crystals. This project, initiated by Vlisco, offered these young creatives a one-of-a-kind experience while celebrating their talent. “It’s a joy to see these young women bring their dreams to life and share their creativity and culture with the world,” said Perry Oosting, CEO of the Vlisco Group. By spotlighting their talent on a global stage like Cannes, Vlisco continues to honour and uplift the next generation of African creatives. More than just a brand representation, this is a true celebration of identity, art and savoir-faire through fashion. All fabrics featured in this story are available on Vlisco.com and through your trusted Vlisco retail partner. Explore the collection, find inspiration, and create your own one-of-a-kind look with a Vlisco print.
Inside Dominic Calvert-Lewin and Sandra Jerze’s Effortlessly Stylish Wedding Weekend
It started with a sock. That’s where Premier League striker Dominic Calvert-Lewin stashed the ring—tucked inside his suitcase—for the entire sun-drenched holiday in Sardinia. Six almost-proposals later, with timing never quite right and nerves running high, he finally got his perfect moment: a private beach, a 2001 bottle of Sandra’s favourite Sassicaia, and a sunset straight from the movies. “I’m not the best organiser,” he admits. “Sandy is the planner. I just needed it to feel right—and somehow it took until the very last day.” She said yes. But their love story had been unfolding quietly for three years already, ever since that fateful night at London’s Chiltern Firehouse, where mutual friends and magnetic chemistry collided. Sandra—model, interior designer, and low-key bridal visionary—was based in Switzerland at the time. Dominic, in Manchester. “We kept meeting up in London,” he recalls. “Then Sandy came up to Manchester for a few days…”“…And I never left,” she grins. By summer 2023, their daughter Ahava had arrived. Nearly a year later, the proposal. And then, in a crisply-lit weekend in March, timed to the international football break, came the wedding. The weekend kicked off with an intimate civil ceremony at The Old Marylebone Town Hall. Just the couple and their parents. Sandra wore a Karl Lagerfeld-era Chanel jacquard two-piece—sourced via a perfectly impulsive Google search and Farfetch click. “I knew what I wanted. I typed it in. I saw the listing and just bought it,” she says. Dominic wore a bespoke Andréa Kọsta suit—the first of three custom pieces he’d wear that weekend. “No pressure, no frills,” he says of the first day. “Just us.” The next day, the mood shifted into full celebration. Sixty guests gathered at The NoMad Hotel, a venue that reminded the couple of their Chiltern beginnings. The brief: soul classics, soft florals, warm light, and zero stiffness. The priest? Also a musician. The vibe? Think Motown-tinged supper club, with a touch of candlelit mischief. Sandra walked down the aisle in a long-sleeved, embroidered lace Dana Harel gown—the first (and only) wedding dress she tried on. But not before surprising Dom with a pre-recorded message from baby Ahava playing through the speakers. “I was crying before I even saw her,” Dominic says. The cake was Biscoff and four-tiered, cloaked in roses. The dance floor? Instant magic. Sandra’s final outfit change of the evening was a silk corseted Danielle Frankel number, made for spinning through the night. The weekend wrapped with a cozy, candlelit lunch—just their nearest and dearest, a lot of laughter, and more exceptional wine. “It got messy,” laughs Dom. “You don’t want to see those pictures.” What began with a sock and a secret Sassicaia ended in three dresses, a crying groom, and a Chanel suit that started it all. And somewhere between the soul music, rose-stacked cake, and whispered vows, Sandra and Dominic did what all the best couples do: they made their own rules.
Louis Vuitton’s Virtuosity High Jewellery Show Was Nothing Short of a Regal Flex
Fresh from showing its Cruise collection inside the majestic Palais des Papes in Avignon, the Maison swept east to the Spanish island of Mallorca, where it unveiled its latest Haute Joaillerie opus—Virtuosity—within the Gothic grandeur of Castell de Bellver, a 13th-century circular fortress fit for kings (and couture). Cue the live orchestra. Cue the made-to-measure looks by Nicolas Ghesquière. Cue 110 pieces of high jewellery so exquisite, even the walls of the ancient castle probably gasped. Virtuosity, as its name suggests, isn’t just a collection—it’s an artistic manifesto split into two universes: The World of Mastery and The World of Creativity. The vibe? Maximal technique, maximal beauty, and a borderline spiritual commitment to gemmological storytelling. Leading the charge was the Savior necklace—an architectural marvel featuring a hypnotic 30.56k triangle-cut Australian black opal, flanked by emerald beadwork so precise it borders on obsessive. The pièce de résistance? A 28.01k emerald drop, demanding over 1,500 hours of craftsmanship. This was Louis Vuitton flexing. Quietly. Boldly. Irrefutably. The Protection choker, with its subtle 3.02k pearl drop, felt like soft power reimagined, while the Keeper suite—a genderless brooch collection inspired by the all-seeing eye—combined sapphire, alexandrite, and an extraordinary 32.85k Sri Lankan chrysoberyl, creating something between jewellery and personal talisman. Here’s where things got fluid, free, and ferociously modern. Chokers sculpted to move with the wearer’s every breath. Sapphires, rubellites, and tourmalines tangled in ropes of yellow gold. A standout? The Connection necklace, where 114 radiant pearls—a first in Vuitton’s high jewellery repertoire—were joined by 2,000 diamonds to form a radiant, kinetic masterpiece. And then came the mic drop. Eternal Sun, the show’s finale necklace, suspended a 14k yellow diamond in the centre of a spiral dripping with 27 colour-matched yellow diamonds—a feat that took Vuitton’s gemmologists seven years to source and assemble. All to create an infinity-shaped emblem of light, time, and enduring radiance.