Mahila Intimates’ “Move” Collection Is Here—Because Girlhood Deserves a Uniform Too
Mahila Intimates is back. And like any stylish woman worth watching, she took her sweet time. The London-based label—founded by sister duo Jasmine and Bella Muller—has returned a year after its 2024 debut with a second collection that’s giving “soft power girlhood” in all the right ways. Titled “Move,” the drop plays on comfort, confidence, and that very specific kind of femininity that doesn’t need to shout to be heard (but absolutely could, if she felt like it). Mahila, which started as both a fashion label and a community for women, isn’t just in the business of making cute fits. It’s a brand with a mission: championing women’s bodies, voices, and moods—with pieces that find the middle ground between cozy girlcore and snatched silhouette. Think: if your favourite boxer briefs had a thing with a ballet wrap top and the result was ethically made in London. The “Move” collection brings us sporty skorts, tanks, and cropped tops in three new hues—Lychee (a blush that’s basically a mood), Sea (your softest core memory), and Kohl (the drama). Everything’s designed to be worn together, apart, or however your group chat inspires you that morning. Mix, match, repeat. And in true Mahila fashion, it’s not just about the clothes. The campaign, shot by sports-meets-fashion darling Dani, gives the collection an IRL energy—equal parts studio glow and weekend ease. If you were looking for a reason to retire your sad old loungewear, this is it. “Move” drops June 3 on MahilaIntimates.com. Stretch, scroll, shop.
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
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.
Jonathan Anderson Takes the Reins as Dior’s Sole Creative Director
It’s official: Jonathan Anderson is Dior’s new fashion sovereign. The Northern Irish designer, long admired for his cross-genre sensibility and cerebral approach to clothing, has assumed full creative command at Christian Dior—overseeing women’s, men’s, and haute couture collections. It’s a historic appointment that makes him the first designer in decades to control the house’s entire creative vision. Dior made the announcement on Instagram, shaking up a Monday that was otherwise set to be business as usual. Within moments, the fashion world recalibrated. “I have always been inspired by the rich history of this House, its depth, and empathy,” Anderson shared in a statement posted on LinkedIn. “It is a great honour to join the House of Dior… I look forward to working alongside its legendary ateliers to craft the next chapter of this incredible story.” What It Means for Dior—and for Fashion Anderson’s first official runway outing for Dior Men will take place on June 27 during Paris Fashion Week, but his creative impact will reverberate much further. He steps into the role vacated by Maria Grazia Chiuri, whose departure was announced just last week, following a reign that was both commercially successful and critically polarizing. Now, Dior finds itself at a new crossroads—one that blurs the gendered boundaries of the brand’s legacy and invites a fully unified design vision under Anderson’s lead. Delphine Arnault, CEO of Dior and longtime LVMH powerhouse, gave her blessing: “I have followed Jonathan’s career with great interest since he joined the LVMH group over ten years ago. I am convinced that he will bring a creative and modern vision to our House…” A Legacy That Precedes the Future Anderson isn’t arriving empty-handed. His 11-year run at Loewe redefined luxury storytelling with conceptual cuts, artsy surrealism, and a brutalist-meets-baroque aesthetic that carved out a singular lane within the LVMH portfolio. His own label, JW Anderson, remains a breeding ground for gender play and experimental silhouettes—elements that could now find a sharper, couture-finished edge under the Dior umbrella. The announcement follows months of fashion-world whispers after his April appointment as Dior’s menswear lead raised eyebrows—and questions. Now we have the answer: Jonathan Anderson is Dior. The move marks a new era for the House—one that feels at once risky and remarkably right. Will Anderson’s eccentric edge meld with Dior’s romantic codes? Can he honour Monsieur Dior while reinventing the wheel? We’ll find out soon enough. And the whole industry will be watching.
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.
Queen Letizia Just Wore a Cropped Leather Top (Yes, Really!) – And It’s Wildly Chic!
There are royal fashion moments, and then there are royal fashion mic drops. Queen Letizia just delivered the latter. Spain’s ever-elegant style icon stepped out for the National Final of Scientific Monologues (yes, that’s a real event, and yes, she made it look like fashion week) wearing a look that screamed: I’m a queen, but I also used to be a journalist, and I know how to cut through the noise. Let’s break it down: a sleek, all-black ensemble anchored by an unexpectedly cropped leather t-shirt. That’s right. Cropped. Leather. T-shirt. Royal protocol just gasped in Spanish. It appears Queen Letizia took the original tee to a tailor and said, “Take a little off the top.” And the result? A bold, boxy silhouette that instantly veered off the palace runway and landed firmly in fashion’s front row. Cropping a leather piece—especially one worn to an official event—isn’t just bold, it’s practically unroyal. Which is exactly what makes it iconic. The rest of the outfit was a masterclass in texture play and understated glam: high-waisted wide-leg trousers from Sybilla, a black velvet Giorgio Armani clutch, and Massimo Dutti leather heels. It was luxury meets high street, with a slick of rebellion. This wasn’t Letizia “just trying something new”—this was Letizia saying: “I’ve reigned long enough to crop my leather shirt if I damn well please.” And the fashion crowd noticed. Over on Instagram, royal watchers were in full stan mode. “I’m obsessed with this look omg,”“She is on a streak,”“Love her hair. And this is serving chic cocktail.” Serving? She’s feeding us a five-course style meal. For a queen known for her elegant tailoring, power suits, and diplomatic dressing, this look is a sartorial plot twist that might just signal a new era. One where fashion-forward choices are just as welcome in palaces as they are in Paris. And honestly? We’re here for it. Because if Queen Letizia can crop a leather tee and make it royal, what can’t she do?
Chanel Just Overtook Louis Vuitton in the Luxury Brand Power Play
In a plot twist that would make even the most stoic fashion executive do a double take, Chanel has leapfrogged over Louis Vuitton to become the world’s second most valuable luxury brand, per Brand Finance’s 2025 rankings. Behind only Porsche (yes, the car), Chanel posted a jaw-dropping 45% surge in brand value—making it the fastest climber on the luxury ladder this year. Translation? Chanel didn’t just step up—they moonwalked past Vuitton, flipped their signature flap bag over their shoulder, and kept it moving. The brand now sits at a cool $37.9 billion, while Vuitton, bless them, grew a modest 2.1% to $32.9 billion. Is the crown slipping? Chanel’s Rise While the rest of the market took cautious baby steps, Chanel was busy eating the luxury girls up. The brand flexed across every vertical—from haute couture to beauty to high jewelry—like it had something to prove. Spoiler: it didn’t. But it did anyway. France gave Chanel a perfect score for awareness, consideration, and customer satisfaction (we stan a national treasure), and key markets like the U.S. and Asia kept showing up and showing out. Oh, and in the Brand Strength Index, they jumped from fifth to fourth with a sizzling 89.6/100. What’s Fueling the Fire? Two words: strategy + vision. CEO Leena Nair and CFO Philippe Blondiaux are clearly not here to play. The brand has been on a global conquest, opening its first beauty store in India and linking up with Nykaa for a retail power move that says, “We see you, emerging markets.” Creative-wise, the arrival of Matthieu Blazy—formerly of Bottega Veneta—as artistic director signals a stylish shake-up. We’re all holding our breath for his debut collection this autumn, but Chanel’s been keeping the energy alive with six shows a year (because when has Chanel ever been caught slacking?). And let’s talk product: ready-to-wear is booming, while leather goods (once Chanel’s cash cow) are… well… not giving. But the hope is Blazy’s magic touch will restore the sparkle. Wait—They’re Doing All This While Losing Money? Yup. In a surprising twist, Chanel’s revenue dropped 4.3% to $18.7 billion, and operating profit tanked 30%. Sounds grim, right? But here’s the kicker—they still spent big: Clearly, the brand’s playing long-term chess while the others are busy budgeting lunch. The Price Problem (and the Gen Z Factor) Let’s address the elephant in the boutique: prices keep going up, and not everyone’s thrilled. Leather goods saw a dip, likely due to sticker shock. But Chanel claims they’re now syncing increases with inflation and doubling down on design, quality, and storytelling. Enter the Chanel 25 bag, launched with help from Dua Lipa and Jennie of BLACKPINK. It’s aimed at both longtime collectors and TikTok scrollers who want the bag that says taste and tax bracket in one frame. TL;DR: Chanel Ate—and Left No Crumbs This isn’t just a Chanel moment. It’s a reshuffling of the luxury elite. The top 50 luxury brands are now worth a combined $317 billion, with fashion claiming 70% of that pie. And yes, France still runs the show. But while others coast on legacy, Chanel is doing the most—with style, with strategy, and with a wink. And somehow, it’s working. In 2025, they’re not just in the conversation. They are the conversation. So if you hear a faint rustle in the fashion wind, that’s just Gabrielle Chanel rolling over to smirk in approval.
Princess Isabella, 18, Just Raided Queen Mary’s Wardrobe for Cannes-Worthy Prada (And We’re Obsessed!)
Right, darlings, gather ’round, because if there’s one thing we love more than a major royal fashion moment, it’s a major royal fashion moment that involves a bit of wardrobe raiding. And Princess Isabella, at a chic 18 years old, just delivered on all fronts. The daughter of King Frederik and Queen Mary was the absolute spitting image of her stylish mother in more ways than one as she stepped out onto the balcony of Frederik VIII’s Palace to celebrate King Frederik’s 57th birthday this past Monday. Not only is that gorgeous long brunette hair making her Queen Mary’s undeniable double, but our eagle eyes immediately clocked what made her look so effortlessly put-together: a stunning Prada blouse straight from her mother’s illustrious wardrobe. This designer gem, with its delicate chiffon overlayer, intricate floral embroidery, and that oh-so-on-trend pussy bow neckline, was a true standout. And honestly? It feels incredibly 2025 – proving that great style, especially when it’s Prada, is truly timeless. For those keeping score, Her Royal Highness Queen Mary first graced us with this very blouse back in April 2018, when she opened the ‘Transformation’ photo exhibition. She styled it impeccably with wide-leg black trousers and those killer patent stilettos. It even made a virtual appearance during her opening speech at the Womenomics Nordic Business Conference in 2021. Talk about getting your cost-per-wear! Isabella, however, proved that a royal hand-me-down can feel utterly fresh. And while she might have been the sartorial star of the balcony moment, Queen Mary herself was, of course, present and equally chic, rocking a sophisticated navy Soeren Le Schmidt dress, teamed with Gianvito Rossi snakeskin pumps and an exquisite leaf brooch by Ole Lynggaard Copenhagen. Because clearly, the apple doesn’t fall far from the exceptionally stylish tree. Consider Princess Isabella officially our new royal style crush. Sustainable, elegant, and effortlessly chic? She’s got it all.