Beautiful old hotel. Dark wood. Leather chairs. Heavy curtains. Something vaguely European. Everything polished and masculine.

It comes to mind because, unconsciously, you’ve seen it before.

That’s why when we build a concept for a shoot and start looking for a location, we rarely end up choosing the first thing that comes to mind.

None of those ideas are bad. That’s almost the problem. The thing is, most of the time, the goal is to stand out, be remembered, to “stop the scroll.” And when the clothes, location, styling and references all belong to exactly the same visual world, the result can fall a little flat.

When everything makes perfect visual sense together, sometimes the image doesn’t say much at all.

Which brings me to a project we shot a couple of weeks ago.

The Cloakroom has all the traditional made-to-measure codes—craftsmanship, precision, beautiful fabrics—but what sets the brand apart is that it doesn’t feel particularly stiff or precious.

It’s a traditional offering made more approachable. Not in terms of price, but in the experience.

So the result still needed to feel elevated and high-end, just without taking itself too seriously.

Forget the baroque hotel and the cigar. It needed to smell fresh.

That’s when we found Montréal Plaza.

Visually, it wasn’t the obvious match. And that was exactly what made it interesting.

The space is playful, colourful, a little strange, full of personality. Put a perfectly tailored suit inside it and the tailoring immediately feels less expected.

And I think that’s an important distinction: a location doesn’t necessarily have to share a brand’s aesthetic. It has to share something deeper.

An attitude. A sense of humour. A way of seeing things.

Montréal Plaza and The Cloakroom don’t necessarily look alike, but they actually have a lot in common.

Montréal Plaza is a Michelin-recommended French bistro offering an incredible culinary experience, but the space itself is anything but precious. There are stuffed animals, strange sculptures, playful details everywhere and funny music playing in the background. It’s serious food in a setting that doesn’t take itself too seriously.

And that’s essentially what The Cloakroom does with made-to-measure menswear. The craftsmanship, fabrics and level of service are all extremely high-end, but the experience feels relaxed, personal and approachable.

Visually, the two worlds are quite different. In attitude, they’re a perfect match.

We actually ended up making a similar decision on another recent shoot for a womenswear brand.

The original concept was supposed to take place by the sea. It made perfect sense on paper: summer collection, water, a boat, effortless vacation imagery.

But the more we looked at locations, the more it started to feel like something we had already seen.

So instead, we shot it at a ranch. And put a boat in the middle of a field.

Technically, it made a lot less sense. Visually, it made the idea much more memorable.

The boat still gave us the summer reference we wanted, but taking it out of the context where you would normally expect to see it made the image feel slightly surreal. Familiar enough to understand, unexpected enough to make you look twice.

And I think that’s what I’m becoming increasingly interested in: keeping enough of the expected codes for an idea to be understood, then changing one thing.

We’re so used to building visual worlds through consistency—matching colours, references, eras, moods—that it’s easy to forget how much energy can come from contrast.

Sometimes the strongest creative decision is introducing one element that feels slightly wrong—just unexpected enough to create tension.

A traditional suit in a traditional hotel tells you exactly what you already know about the suit.

Put that same suit somewhere playful, colourful and a little irreverent, and suddenly you’re saying something about the person who wears it.

A boat by the sea tells you summer.

A boat in a field gives you a reason to remember it.

Maybe that’s the question I’m becoming more interested in asking: not whether everything in an image matches, but whether every element makes the idea more interesting.

Because the best location isn’t always the one that looks the most like your brand.

Sometimes it’s the one that makes you see the brand differently.

And yes, I realize I’m publishing this in August, but that also means you still have a solid month to justify a summer purchase. So before fall takes over and it’s officially too late, here are the things I wore on repeat, was genuinely obsessed with, and would 100% recommend.

DÔEN dresses

DÔEN dresses in general were probably the highlight of my summer wardrobe. No one does soft cotton quite like them, and somehow their lace always feels elevated and chic rather than overly sweet. I could honestly live in their dresses all summer. I was wearing the Safia dress on repeat and just got the Fiona dress.

The perfect grey T-shirt

I’ve been very into Aritzia lately. For the quality-to-price ratio, they’re hard to beat. This grey T-shirt has the perfect fit, the perfect shade of grey, and has slowly been replacing my usual white tees.

I think I may officially be migrating from the white T-shirt club to the grey T-shirt club. Same effortless vibe, just slightly more interesting.

Antik Batik jacket

This super-light Antik Batik jacket has become one of my go-tos for work. It gives professional, but still fashionable, which is basically everything I’m looking for in a work look.

Jimmy Choo slingbacks

Simply the most comfortable heels of this height I have ever worn.

Tressé jeans

I reached for their Denim With Braid Opening over and over again whenever I wanted to throw on jeans and a white T-shirt but still feel a little more put together. I’m also a big fan of their red striped pants, which have been another very good summer find.

The Sézane blouse

Possibly the highlight of my summer. It’s SO good.

It has the perfect amount of volume to make an outfit feel fun and special without crossing into too much. It’s currently sold out, but I’m still linking it in case it comes back because it deserves a spot on this list.

Tropic of C bikinis

The only bikinis I wear at this point. They have the best fit for small boobs, so flattering, and their colour selection always feels cool without trying too hard.

Aquazzura Night Stars Sandals

The perfect strappy heel with just enough of a twist to make them fun. They go with basically everything, and the heel is exactly where I want it: not too high, not too low.

The summer hat

I’m really not a hat person, but I’m also trying to stop putting my face directly in the sun, so I’d been hunting for a summer hat I would actually wear.

This Aritzia one finally did it for me. It’s cool, simple, and not so expensive that I’m scared to shove it into my luggage.

The Isabel Marant set

My obsession with teal continues.

This Isabel Marant skirt and top is so fun and has been the perfect day-to-night look. Easy enough for daytime, but still feels like an actual outfit when you’re going somewhere later.

Another Aritzia Win

This poplin dress is one of those things that’s just so easy to throw on and somehow works for almost any occasion. The deep V makes it feel a little sexy, but the overall shape is still really cute and effortless, so it never feels like too much. Exactly the kind of summer dress I always end up reaching for.

The summer bag

The cutest, most timeless summer bag. This light teal Armani suede bag somehow feels both fun and classic, and the colour makes even the simplest summer outfit feel a little more special. It’s one of those pieces I know I’ll keep pulling out every summer for years.

Flabelus flats

They go with everything and are so comfortable. That’s all I’ll say.

More Aritzia vacation staples

This Aritzia tank is so chic and cool. I wore it on repeat on vacation with their Lodge pants, and the two together have become exactly the kind of easy outfit I want when I’m away.

Both are great staples that I think every girl should have somewhere in her vacation wardrobe.

And that’s it for me! Summer shopping will forever be my favourite kind of shopping, so if you still have a few weeks of summer left to enjoy, I fully support one last purchase.

Happy shopping!

With the rise of AI, machines can now generate images, videos, graphics, strategies, and plans in almost no time. In my industry, the game used to be about who could create and produce the strongest content. But now that execution is becoming more accessible to everyone, creation itself is no longer the real bottleneck.

So what is?

Discernment.

The ability to look at way too many options and decide which one actually matters. The ability to understand why something works, why people care about it, why it carries emotional weight, and why it should exist in the first place.

And that, to me, is taste.

Subscribe now

Taste is more than aesthetics

Not taste as in liking beautiful things or knowing what is trending. But taste as a deeper form of intelligence. A filter. The ability to look at a hundred different images and determine which ones are actually worth drawing inspiration from.

Because taste is built from everything AI cannot truly have (at least not right now): instinct, lived experience, and a point of view shaped over time by paying attention to how things make you feel.

AI can imitate aesthetics. It can remix references. It can generate something that looks polished, beautiful, even impressive.

What it cannot fully understand is why something should exist in the first place. Why one image feels relevant and another feels empty. Why one idea makes people feel something, while another is simply well executed.

That distinction is becoming more valuable than ever. And to me, it shows exactly why taste is becoming the new big thing in so many industries.

We have more options than ever, but less clarity

The problem is no longer that we cannot make the thing. Technical execution used to matter so much because it was harder to access. Who could shoot it, design it, write it, edit it, build it. You needed the tools, the skills, the people, the time.

Now, access is shifting. The barrier to making something come to life is getting lower. But the barrier to making something meaningful is getting higher.

And this is where so much of culture starts to feel confusing right now.

We are surrounded by more images, more products, more content, more brands, more recommendations, more aesthetics, more trends, more microtrends, more “must haves,” more “cores,” more moodboards, more inspiration than ever before.

But more options means less clarity.

This is where taste becomes less about aesthetics and more about judgment: the ability to edit, to choose, and to understand what is worth building a world around. And for so many brands, this is where things get difficult. The question is no longer just how to show the product. It is what kind of world the product should live in.

When everything can be made and presented convincingly, the real value is no longer just in producing the thing. It is in knowing what the thing should be.

Taste is becoming a competitive edge

This is why taste feels like it is having a moment.

Not because people suddenly care about beauty more than they used to, but because taste has become a survival skill in a world of infinite content.

In content production, “cutting through the noise” used to mean being louder than everyone else. Posting more often. Creating bigger ideas. Making things bolder, faster, more visible…Not anymore!

The rules have changed. Now, how much you show up matters less than who you show up as, and what you actually have to say.

For people to actually care today, the identity you build online needs to be razor sharp. Precise. Specific. Because that is what makes something feel relevant and considered instead of generic.

When everyone has access to the same tools, the same formats, and increasingly the same references, what separates one brand from another is no longer just the quality of the output. It is the strength of the point of view behind it.

Two brands can use the same photographer, the same editing style, the same influencer format, even the same moodboard, and still produce something completely different.

One will resonate. The other will make people keep scrolling.

The difference is taste.

Taste is what turns content into a world

Taste is what gives polish a point of view. It is why some campaigns feel like worlds, while others just feel like photoshoots. Why some social feeds have atmosphere and identity, while others feel like a calendar of product posts.

It is also what makes personal style interesting.

Anyone can reverse image search the outfit and recreate the formula. Anyone can buy the right piece. But people with a truly distinct sense of style are rarely just copying what already works. They are interpreting. Editing. Combining things in a way that feels personal. They know when to leave Pinterest and look around.

That is why taste is hard to fake.

It is not just about having access to the right references. It is about what you do with them.

Taste cannot be downloaded

This is also why the idea of the “tastemaker” suddenly feels relevant again.

You can save references. You can build folders. You can make all the moodboards. You can ask a machine to generate a hundred variations of an idea. But none of that gives you taste on its own.

Because taste is not the same as access. It is not the same as exposure. And it is definitely not the same as having endless inspiration at your fingertips.

You can train your eye by looking at beautiful things every day and still not know how to make good choices. Taste requires time, attention, curiosity, context, and sometimes even mistakes.

It is built slowly.

Through what you read. What you watch. What you notice. What you reject. What you return to. What you are moved by. What you find boring. What you instinctively understand before you can explain it.

Taste is personal, but it is not random.

It is emotional, but it is also informed.

And it is intuitive, but it has to come with discipline.

That is why taste feels so valuable right now. It is one of the few things that still cannot be rushed.

The future belongs to people who can choose well

The future will not belong only to the people who can create the most, post the most, generate the fastest or produce at the largest scale.

It will belong to the people who can choose well.

The people who can look at abundance and know what matters.

The people who can take too many possibilities and turn them into a clear creative direction.

That is why taste is no longer just a nice quality to have. It is becoming one of the most important creative skills of our time.

Which is funny, because the more something is presented as essential, the less I tend to believe it is.

So this is not that.

This is just a list of pieces that have been making me happy lately. Some may be deeply impractical. Some may be entirely wrong for your wardrobe, your lifestyle, your budget, or your personal relationship with print. A few might only make sense if you are currently interested in the same strange little corner of summer dressing that I am.

But that is kind of the point.

So no essentials. No must haves. No universal checklist for becoming the ideal woman in 32 degrees.

Just a few pieces I found after spending too many hours online, in the hope that one of them might make you look twice.

Subscribe now

Let’s start with my favorite discovery recently: Philippa 1970, a Spanish brand that actually understands print. Not print as in “I booked a vacation and panicked,” but print as in pattern, proportion, and taste. I ordered the Shiloh Ikat dress and the Alina Buganvilla dress, and I already know I’ll wear them all summer with flats for casual dinners, or heels for something slightly more dressed up.

Another new discovery: Maria de la Orden. Their shirts have the exact energy I want this summer: chic, fun, slightly old school, and a little Italian countryside. The printed Iza shirt has basically become my spring uniform.

I’m including these Prada mules because I spent all of last summer in them. Dress, jeans, shorts, whatever. They make everything look cooler, which is really all I ask from a shoe.

This Farm Rio blouse is outstanding with a tan. Cute, sexy, a little dramatic. In the best way.

I also love spending my summers in Vibi Venezia slippers. I have them in navy, burgundy, and yellow, and they can do no wrong. They remind me of living in Italy and that very specific Italian ability to look completely unbothered while still somehow being the best dressed person in the room.

A slightly more fashion version would be these Alaïa velvet ballet flats, which I love just as much. Same ease, slightly more attitude.

I’m a big Polo ID fan, especially the suede ones for summer. I got a limited edition version last year, but this season’s is great too. Less boho, more timeless.

For fun spring and summer shirts, I always look at Antik Batik. Sézane also has some really good ones at a much more reasonable price point.

Speaking of Sézane, the Berta blouse is very good. The colour is stunning, and I’m very into fuchsia these days, which feels like a personality shift I’m not questioning. The neckline detail also makes it feel much more special than a basic spring/summer shirt.

And while you’re there, look at the Matilda leopard ballerinas. The shape feels much more expensive than the price, and leopard has somehow convinced us it is a neutral.

I’m a big La DoubleJ fan, and this scarf top feels younger and more playful than their usual pieces. It also comes as a dress.

I also had to include these Tory Burch vintage embellished jeans. If you can find them, get them.

These Zara boots are questionably not a summer item, but I’m already wearing them on repeat with very long wide leg jeans and flowy lace tops.

Finally, colourful funky heels are everything I want this summer. These Aquazzura heels hit all my criteria: elegant toe shape, thin straps, no glitter, good colour. Surprisingly hard to find.

You can find more of my favorite summer pieces here.

Until next time!

So with the Sephora sale here, and with my usual disclaimer that a sale is not a personality trait nor a valid reason to buy seven new things you did not know you needed yesterday, I thought I would share the products I actually think are worth it if your routine needs a refresh.

I recently got into good makeup brushes, and I get the hype with this Saie Big Buffing Brush. It makes makeup go on so much smoother and look far more natural.

If you are intimidated by eye makeup and have brown eyes, this Sephora Collection Pencil in the shade 59 Golden Hour in the waterline is such an easy way to make your eye color pop and add a sexier look without reading as a full smoky eye.

MAC Whirl is my favorite lip liner for a night look. The only way I can describe it is sophisticated.

I pair MAC Whirl with this Benetint Lip + Cheek Stain in the colour Dark Cherry in the center of the lips for the perfect lip combo.

The Armani Luminous Silk Foundation is a cult favorite for a reason. On its own or mixed with a glowy base, it evens out the skin while still looking like skin.

The Shiseido Eyelash Curler is the only lash curler I ever see makeup artists using on set, and for good reason. It is simply the best. I use it every day and nothing compares.

This Kheils Avocado Cream is the best eye cream for minimizing under-eye creasing. So hydrating.

I love the finish of the Rhode blushes, but I do not find they last very long. The Westman Atelier Blush Sticks are a great alternative and stay on all day.

This Charlotte Tilbury Color Corrector is real game changer for me. I do not have bags under my eyes, but I do have a lot of color. This cancels out the purple and lets me use much less concealer afterward.

If you have dry skin, the Haus Labs Concealer is the most hydrating concealer I have tried.

I used to apply concealer with my hands until I got this Hourglass Concealer Brush. Loading the product onto the brush first makes the finish so much more natural.

If you do not like setting sprays with alcohol, this Milk Hydro Grip is the perfect alternative. It sets makeup, gives a beautiful skin-like finish, and adds hydration throughout the day.

Rhode’s Barrier Butter is best bang for your buck if you want a deeply hydrating, thick nighttime moisturizer. If you need something effective you can just slather on every night, this is it.

I love using the Caudalie Grape Water Spray to dampen my skin before applying a hyaluronic acid serum.

The Dior Backstage Glow Palette is one of my favorites for the eyes. It gives the most beautiful shine on the lids, and I use the lightest shade in the inner corners almost every day. A little too shimmery for me on the face though. For cheeks, I prefer the Charlotte Tilbury Beauty Light Wand in Spotlight for a more natural glow.

Low-fi content had its moment. And while truly raw, highly authentic iPhone content can still work, what is starting to fail is the middle. As I wrote in one of my last articles, that middle ground often performs the worst: the content that is polished enough to feel branded, but too empty, generic, or under-conceptualized to actually leave an impression.

As a result, many brands are left with an endless stream of assets that look fine, but do nothing memorable.

And budgets are not expanding in the same proportion. Timelines are not getting longer. Teams are not necessarily getting bigger.

That is why this is no longer just a creative problem. It is a structural one.

That structural pressure shows up everywhere. Brands are no longer expected to produce just one campaign or one set of assets. They are expected to feed an entire ecosystem: campaign imagery, social video, e-commerce, paid media, behind-the-scenes, trend-responsive content. And all of it still needs to feel distinct, polished, and emotionally resonant.

So when expectations are inversely proportional to resources, the real question becomes: what is the solution?

For me, the answer is editorial thinking.

But whenever I bring up editorial thinking with clients, I often hear the same concerns: I do not want my product to get lost. I do not want sales to drop. Editorial feels too poetic for commercial goals.

But that is exactly why this needs clarifying, because editorial thinking is not the visual equivalent of a poem. It can sell. In many cases, I would argue it can sell better than the commercial approaches many brands are still relying on today.

Editorial does not mean more artsy.
Editorial means more editing.

Think of a fashion editor, for example. They carefully select what subjects a magazine will talk about, which brands it will highlight, and just as importantly, what it will not comment on and which conversations it will not try to join.

That is editorial thinking.

It is hierarchy.
It is context.
It is restraint.

And that is exactly what brands need to understand right now.

Video for Zena Mouler. Discover more about this project on our website.

Trends are great — until they are not. At a certain point, if your marketing is so trend-driven that there is nothing recognizable or memorable left in it, then visibility starts coming at the expense of identity.

Yes, trend-driven content can get attention. It can even go viral. But broad appeal is not always the same thing as brand value. The more a brand tries to appeal to everyone, the more it risks becoming diluted.

When there is no editorial filter, brands fall into the same pattern.
They show everything.
They say everything.
They try to be everywhere.

And that often kills mystery, desire, and distinction.

Editorial thinking changes that.

It introduces hierarchy and filtration.
Not everything is equal, and that is the point.
Not everything needs to be shown, and that is where value is created.

And it introduces something in advertising that is more important today than ever: context.

Products are no longer isolated. They become part of a world. And when brands know how to build a coherent world in which their product naturally belongs, they become easier to trust.

In a saturated market, this is more than just creative direction. It becomes a commercial advantage.

I have seen this play out consistently in my own work, across very different kinds of projects. The principle is always the same: the answer is rarely more spectacle for the sake of it. It is about building a concept strong enough to give the product context, clarity, and distinction.

For Girl Crush, the starting point was simple: outdoor clothing that does not force women to choose between function and style.

Instead of over-explaining the product, we placed it in real environments: snowmobiles, cabins, movement, cold air. The goal was not to show everything the product could do. It was to show the right version of it, in the right world.

The difference is subtle, but it changes everything.

For a Gucci Beauty online campaign we worked on in collaboration with Izzi Allain, each fragrance was developed as its own sensory world. Instead of treating the perfumes as variations of the same product, we built distinct atmospheres around each one. Textures, colors, pacing, and mood all worked together to express something specific.

The focus was not on listing notes or features. It was on making each fragrance feel different before even explaining it.

That is what editorial thinking allows. Not just showing products, but shaping how they are perceived.

Discover more about this project on our website.

For Studio By Rose, which only shoots professional content once a year, we approached each floral arrangement almost like a character. Instead of presenting the product in isolation, we paired arrangements with fashion looks and built small narratives around each one.

That mattered because when a brand produces content that infrequently, the shoot has to do more than generate assets. It has to help define a world the brand can keep playing with throughout the year.

The result was not just engagement. It was recognition. People understood the brand more quickly, and more intuitively, because the product was no longer just being shown. It was being framed.

Editorial thinking is often misunderstood as something aesthetic. Something expensive. Something reserved for campaigns or magazines.

It is not. It is discipline.

It is the ability to decide what deserves attention and what does not. To build a clear narrative instead of a collection of assets. To create presence instead of just visibility.

You do not need more content.
You do not need a bigger production.
You need a stronger concept.

Because in a landscape where everything is seen, shooting on Mount Everest means nothing if the idea is forgettable.

Statement jackets have long been my shortcut to getting dressed in a way that still feels like me. They bring personality without requiring a look to be overworked. And while I spend my life around fashion, I do not always have the time or energy to build something super complex and layered. Most days, a simple base layer and a great jacket are more than enough.

This L’Agence jacket understood the assignment. Whether thrown over a crisp white t-shirt for something more casual or worn closed on its own for a night out, the colour, the fabric, the attitude, it is exactly the kind of energy I want my wardrobe to carry right now.

This Zara find feels genuinely special. The Sgt. Pepper reference gives it personality, but there is still something refined and slightly delicate about it that keeps it from feeling too theatrical. It stands out, but in a way that still feels wearable, which is exactly the balance I am always looking for.

You already know I love everything Antik Batik, and this jacket is no exception. Their beaded jackets always feel rich with personality without trying too hard. I am genuinely tempted to get the Ran pants to go with it because together they would make such a good set.

You have definitely seen this jacket before because I wear it constantly. At this point it has become part of my personal uniform, whether I am going out at night or throwing it over workout clothes during the day. Velvet, embroidery, drama, it is basically me as a jacket.

Another Zara piece I had to include. This Napoleon-style jacket is such a good work option because it feels structured and polished, but not boring. The side straps, gold buttons, and cuff details give it just enough personality to keep it interesting.

This embellished Ba&sh vest is one of those pieces that does a lot with very little effort. Over a white t-shirt it instantly makes the outfit feel more considered, and over a white shirt it becomes a bit more elevated. Pieces like this are such staples for me in warmer weather because they give you the effect of a statement jacket without committing to a full layer all day.

This leather jacket is just incredibly cool. It has that slightly oversized shape I always love, the embroidered details are beautiful, and the construction around the buttons gives it a subtle Napoleon feel that makes it more distinctive than your average black leather jacket.

My last Zara find, and one I have been wearing on repeat. This orange velvety cotton blazer has such a good presence to it. The slight volume at the shoulders makes it feel elegant, and the colour is exactly the kind of bold but still chic shade I am always drawn to.

Lastly, this Rixo embroidered jacket feels like the kind of statement piece that earns its place in a wardrobe long term. This edit is not necessarily about timelessness across the board, but this one absolutely is. It has enough personality to stand out, but in a way that still feels classic, elegant, and endlessly wearable.

Subscribe now

The show read as a study of characters — the overconfident socialite, the suburban sensualist, the sharply dressed power figure. Archetypes exaggerated just enough to feel deliberate. Personas rooted in real life, amplified and confrontational.

There’s something compelling about that. It brings narrative back to the runway. It shifts the focus from silhouette building to character building.

If anything, this is the approach I constantly advocate for in my own work. Integrating real-life characters. Building immersive universes. Creating worlds that feel inhabited rather than simply styled. Fashion is stronger when it feels lived in, when it carries narrative weight beyond the clothes.

The references to the Tom Ford era anchored the collection in a specific Gucci lineage — unapologetic glamour, sex-forward confidence, controlled sensuality, even a finale that recalled the iconic G-string moment. A reminder of the house’s appetite for spectacle and its willingness to court discomfort.

And there’s a part of me that respects the desire to shift the conversation. To shock. To strip things back — quite literally.

Since taking over at Gucci, Demna’s direction hasn’t been about nostalgia. He wasn’t rebuilding the house as it once was. He was pushing it into new territories and it still felt coherent with Gucci’s broader identity: dramatic, immersive, slightly excessive, reframed for today’s culture. He wasn’t diluting the codes. He was amplifying their attitude.

My hesitation isn’t about the character-driven direction. It’s about design density.

Gucci has always operated through complexity. In its cuts, its fabric compositions, its layering of references. Even at its most minimal, there was richness beneath the surface. A tension between restraint and extravagance that gave the work its charge.

Here, the simplicity and anti-luxury silhouettes read as a shock tactic. But sharper tailoring, more researched textiles, and colors that felt unmistakably Gucci would have elevated the narrative rather than flattened it. The story was there. The characters were there. The glamour references were there. The construction needed to meet them.

Evolution doesn’t require subtraction at that level. A house like Gucci can evolve without reducing its design ambition.

The idea was bold. The execution should be, too.

We’ve heard this story before. Legacy stores are struggling. E-commerce is unstable. Consumers are overwhelmed.

But that diagnosis misses something. The more interesting question is not whether the model is strained. It is what kind of retail can survive this moment.

As our habits migrate online, physical retail is carrying more weight than ever — rising overhead, declining foot traffic, leases that feel heavier by the season. And yet the e-commerce utopia we were promised has proven fragile too. Pure online players that once looked invincible are navigating tariffs, trade costs, relentless price competition, and thinning margins. Scale alone is no longer a strategy.

For years, the answer was more. More brands. More drops. More categories. But abundance has backfired. Choice, in theory, is freedom. In practice, it has made shopping harder. The scroll is endless. The edit is unclear. The responsibility of discernment has shifted from retailer to customer.

And most consumers did not ask for that job.

Yes, shoppers want access to a wide range of brands. But when a new label pops up on their feed every five minutes, abundance starts to feel like noise.

What they need now is not more choice. It is clarity. Reassurance. Someone, or something, to filter the noise and say: This is worth your time. This is worth your money. This aligns with who you are.

And that is where the gap becomes visible.

Traditional multibrand retail was built for distribution, not guidance. Pure e-commerce was built for scale, not intimacy. Neither model, at least in its current form, fully delivers the edit, the trust, and the personal resonance modern consumers want.

Retail is not failing because people stopped caring about fashion. It is struggling because its structures were built for a different era of consumption. That era is over, and the future of multibrand retail will depend less on what it stocks and more on what it stands for.

Multibrand retail won’t survive on assortment. It’ll survive on authorship.

If consumers are overwhelmed, then the solution seems obvious: narrow the choices and add guidance. In theory, that should increase conversions.

But doing that online is complex. Algorithms recommend. They do not reassure. They surface products. They do not contextualize them.

Which is why curated, personalized, experiential in-person retail feels like the natural direction forward.

Brand stores understood this early.

I was in Milan recently, and the in-store experience across many houses was extraordinary. Interior design that transports you. Impeccable service. Activations. Food. Music. Every address on Via Montenapoleone feels like an invitation into a universe.

Single-brand retail has mastered immersion. And that realization raises a question. If mono-brand stores have elevated the experience to this level, why is multibrand retail struggling so much?

The answer may be structural. It is relatively straightforward to build immersion around a coherent universe that already exists. A single brand comes with a logo, a story, a visual language, and a set of values. The store simply extends that world into physical space.

A multibrand retailer does not have any of that.

To deliver the same level of immersion, it must create an entirely new brand on top of the brands it carries. A name. A logo. A visual identity. A tone of voice. A point of view. A narrative strong enough to unify dozens of different labels under one coherent experience.

That’s not merchandising. It’s brand building. And it is an intense and costly process, especially when you’re not selling your own product. It means investing in an identity designed to elevate and distribute other brands. Which raises the real question: is that level of investment worth it for multibrand retail?

Given the pressure the sector is under, I would argue it is no longer optional.

Consumers did not move online to dress head to toe in one logo. They moved for access. Access to range. To contrast. To discovery. That desire to mix aesthetics, price points, and identities has not disappeared.

Consumers, by nature, are multibrand.

The appetite for multibrand shopping remains. What is uncertain is whether the structure behind it can adapt.

CAMI: A Brand First, a Retailer Second.

I’ve seen many initiatives pop up trying to solve these issues by creating a new brand to host a multibrand store. One in particular caught my attention.

CAMI is a Montreal-based showroom concept that is attempting to rethink multibrand retail entirely. Instead of operating as a traditional store, it functions somewhere between a personal shopping appointment, a curated showroom, and a retail space.

Brands that previously existed only online in Canada are brought into an intimate, highly designed environment. Clients can try pieces in person. Build full looks across labels. Experience the products beyond the scroll.

According to founder Camille Tremblay, the value lies in dual impact: “For customers, it removes stress and guesswork. For brands, it creates a physical presence and real connection.” That first part is crucial. Removing stress and guesswork is not just a service benefit. It is a response to saturation. In her words, “Our role is not to add more noise. It’s to filter it.”

What is compelling is not only the curation, but the container. The branding is strong. The interior is thoughtful. The edit is tight. It feels intentional, not transactional. Most importantly, it offers something rare in today’s retail landscape: a non-saturated environment.

Camille has mentioned that convincing brands of the long-term value of that kind of physical presence beyond immediate sales is still a challenge. But the potential is clear. Discovering a brand in a space like this creates a different kind of attachment than encountering it mid-scroll between two ads. The likelihood of conversion increases not because of urgency, but because of context and trust.

For founder Camille Tremblay, that trust is built through the brand itself: “CAMI had to be a brand first. If they connect and trust CAMI itself, it becomes much easier for them to trust the brands and styles we recommend.”

If concepts like CAMI are any indication, the future of multibrand retail may lie not in carrying more labels, but in carrying a clearer point of view. When the retailer becomes a brand in its own right, trust compounds. And in today’s fashion landscape, trust is the most powerful currency of all.

If you’re ever in Montreal, I highly recommend booking an appointment at CAMI.

Until next time.

The content we consume from creators is almost exclusively optimized for reach: loud hooks in the first two seconds, high-pitch voiceovers, poorly filmed “get dressed with me” videos. Personal style, especially in fashion, has slowly turned into “the weirdest, most provocative styling you’ve ever seen.” Without a fil conducteur, that’s exactly how personal branding goes out the window.

That same logic has spilled into brands, luxury marketing included.

When everything is optimized for reach

Content now has to be “in-your-face” to perform. More behind-the-scenes. More access. More exposure. Luxury brands, for the first time in history, started revealing insights into their processes, their teams, their studios, in the hope of generating engagement, sometimes to the point where nothing feels exclusive anymore.

Luxury has always relied on a certain distance from the customer, a space of controlled availability. That distance is what creates the magic, signals true craftsmanship, and ultimately sustains desirability. The problem is that algorithms reward the opposite, and today’s customers demand to feel closer to the brand.

This tension is pushing modern luxury to rely on restraint and intention just as much as emotional connection. And that’s a tricky place to be, because it makes storytelling more necessary than ever — but also far more delicate.

Because when too much is exposed, the “dream factor” breaks. And without the dream, luxury loses its power.

When intimacy weakens authority

Take this Audemars Piguet video. The concept clearly aims to create a sense of closeness with the customer and, on paper, aligns with the brand’s DNA—a house known for audacious collaborations across art, music, and culture. But the execution ultimately weakens its authority. The videography feels unrefined: a dusty watch display in one shot, a visible fire escape sign in another. Even the humor lands awkwardly. These details may seem minor, but together they erode the sense of mastery one expects from a brand defined by extreme technical mastery.

Audemars Piguet 150th anniversary Instagram collaboration with Zlatan Ibrahimović. Video courtesy of Audemars Piguet.

We’re clearly at a crossroads. Luxury brands no longer have the option to sit out on this new wave. They must strengthen their connection with their customers, “open up” — but on luxury’s own terms. Many are already testing where that line sits.

And it’s fascinating to watch, because you can immediately tell who truly understands what luxury means from a marketing standpoint, and who was relying on the product alone to carry the “luxury” label all along.

Intimacy, done right

Jacquemus is a great example of a successful approach to this new marketing logic. The brand has found a way to maintain a premium visual language while slightly reducing the distance between the brand and the audience. That closeness — that feeling of being “let in” — deepens emotional connection without ever compromising desirability. The intimacy feels intentional, never accidental.

Nostalgia plays a central role in Jacquemus’s social media strategy: when executed within a high-end visual language, it creates a sense of intimacy and humanity while fully preserving a premium perception.

Jacquemus plays on a nostalgic childhood scenario of being home alone. Video courtesy of Jacquemus.

Jacquemus introduces his new bag, named after his mother, Valérie. A beautifully shot campaign reflecting her sense of humor and poetry. Video courtesy of Jacquemus.

One nostalgic format I’ve been especially drawn to lately is the classic Vogue-style interview video. Not as old as postcards, but a format that has been around for years. One that millennials and Gen Zs grew up watching.

It elevates a brand by remaining editorial, intentional, and timeless; a print magazine feature translated into motion. Shot on a professional camera, it allows for aesthetically rich, engaging visuals and a level of craftsmanship that formats built primarily around personality usually sacrifice.

These formats work because they meet the audience halfway — offering something personal without fully collapsing the distance. They don’t interrupt, they invite.

A recent Vogue-style interview we produced for @pinklablondeatelier with @nistanraider became the centerpiece of its launch campaign. It communicated the brand’s clean and peaceful universe while deepening audience connection, without ever compromising its premium perception.

The takeaway is simple: not everything should be optimized for maximum reach. Some things need to be protected. Taste is one of them. And when a luxury brand seeks intimacy with its audience, the format must remain premium and true to the brand’s essence.

I’d love to hear your thoughts on this — where do you think the line should sit? Until next time.

And don’t get me wrong, I love embellished pieces. I love colour. I love interesting shapes. But the line between elegant and tacky is razor thin, and once you start playing with bold elements, intention becomes non-negotiable. Maximalism without thought is just noise. Last night was a perfect example of how more is more… until it isn’t.

That said, the chaos did allow a few looks to shine. This perfectly fitted vintage moment stood out instantly. The neckline was the star of the look, beautifully executed, timeless, and incredibly flattering. Proof that restraint and intention can still win, even when everyone else is screaming for attention.

Take Kesha’s Atelier Biser look. It could have been so cool and unique. But when the material is already that puffy, the shape needs to work harder. A bit more structure. A bit more tailoring at the waist. A short pouffy dress can be fun and directional. A long pouffy dress, without enough construction, quickly turns into a sea of fluff. And fluff alone is not a concept.

A strong counter-example was Lady Gaga in a custom black feathered mermaid gown by Matières Fécales. Shape, texture, drama. It is absolutely a statement, but the structure is so well thought out. It feels intentional, intelligent, and just very her.

Maximalism works when it’s designed, not just piled on.

Until his menswear show last week.

While many reviewers praised Anderson’s bold vision, I found the collection chaotic. Too many references at once, un-Dior-like proportions, and a direction that felt disconnected from Dior’s core identity.

But this piece isn’t about his menswear collection. It’s about his couture debut. Because before changing my mind entirely, I needed to wait and see. And I’m very glad I did.

That show was couture. And it was Dior.

For this debut, Jonathan Anderson turned to the natural world and to the house’s history to establish a remarkably strong couture direction. Nature, craft, and continuity emerged as central themes. Couture presented as a “living language” where Dior’s craftsmanship heritage meets contemporary creativity.

“Last year, just before my first women’s show for Dior, the first person I wanted to show the collection to was John Galliano,” Anderson wrote on Instagram. He has been very open about viewing Galliano as a mentor, which makes sense considering that Galliano remained at Dior longer than Christian Dior himself. Galliano arrived at Anderson’s first show with cyclamen tied in black silk ribbons and a bag of cakes and sweets for the atelier. A small, intimate gesture that would later echo throughout the couture collection, with florals appearing in the invitations, accessories, and earpieces worn by the models.

This detail alone says a lot about how personal and thoughtful the collection was. But it also shows how intelligently Anderson builds on Dior’s legacy rather than simply referencing it. Flowers have been part of Dior’s visual language since Christian Dior himself, whose love of gardens shaped both his designs and his perfumes. Anderson’s interpretation felt different. Fresh. Poetic. Modern without nostalgia. Relevant without being obvious. It made the show emotionally accessible and easy to connect with.

Beyond heritage and symbolism, the collection succeeded on a purely sensory level. Sculptural gowns, bubble silhouettes, intricate embroidery, all set within a floral, garden-like atmosphere. It felt immersive, refined, and deeply considered. Couture not as spectacle, but as experience. And don’t get me started on that closing bridal look.

Vogue Italia, January 2026.

And at the end of the day, couture is a product designed for an ultra-wealthy, highly niche clientele, with a significant portion of today’s audience based in Asia. You could feel Anderson’s awareness of that reality throughout the collection. In the avant-garde silhouettes. In the subtle oriental influences. This is also why his appointment at Dior has often been described as a strategic move. Anderson does not just make people dream. He understands how to sell that dream.

We saw it when he first joined Dior, through a strong accessories and bag offering. And we see it again here. This couture debut confirms that he is not only capable of honoring Dior’s legacy, but of translating it into something contemporary, desirable, and commercially intelligent.

Introducing a new series where I share my favorite shopping finds of the week. This edit is full of gold, velvet, and playful details. Enjoy.

Starting off strong with a The RealReal find. And honestly, if none of you buy it, I will. This Etro evening jacket is the kind of piece that works as a staple while still adding a bit of fun with the sleeve detail. And it’s listed in excellent condition, which we love.

Next up, these Vestieri House slippers. They remind me of Vibi Venezia, but in slipper form. Made from leather and Italian velvet, and you can even get them embroidered. A little luxurious add to your at home wardrobe.

Had to include a Laganini jacket. They are so good. A friend of mine just got the teal one and it looks incredibly chic. Definitely on my radar.

I’ve been obsessing over Philippa1970 lately. Currently eyeing their Caeli jacket, but honestly take a moment to browse the site. The blouses and coats are incredible. The whole brand gives old Italian grandmother energy, but young and fresh. Which is exactly how I would describe my style goal.

Just ordered this Chan Luu knit cape. A wool and cashmere blend, and I already know it’s going to be one of those pieces that effortlessly elevates any outfit this spring.

Last but not least, this Tressé Paris dress. Such a cool silhouette for winter. I would style it with tights and dainty heels for a cute evening look.

Hope you enjoyed. If you end up purchasing any of these pieces, I’d love to hear your thoughts.

Until next time

x

I obviously love doing it for trips filled with dinners, events, and moments where you need to show up. But for a family vacation or a quiet getaway with my boyfriend, when the goal is a real reset, my approach is very different. It’s called throwing a pile of baggy linen pieces, bikinis, and pareos into a huge (overweight) bag and calling it a day.

This is what I’m taking with me when I go fully off the map. No events, no shoots, no projects in sight.

1. Linen everything

Whether it’s a dress, shorts, or pants, I own just about every piece of clothing you can think of in a baggy linen version. It always looks chic and effortless, either thrown over a bikini during the day or dressed up at night with chunky jewelry. Love the fit of this Reformation pant.

2. Flowy dresses

Flowy dresses, of course. Linen again, obviously, but I also love a good print. Paisley especially, or pieces with smaller, intricate details and layered moments. My favorite brands at the moment are Matteau, Ulla Johnson, Farm Rio, Dôen, and La DoubleJ (on the pricier side). I even found an incredible Zara one recently, which felt like a small but meaningful victory.

3. The right bikini

I honestly don’t care for overly intricate bikinis. Fit is what matters to me. And if it’s not broken, don’t fix it. I’ve been wearing almost exclusively triangle bikinis from Tropic of C for years (Their Eco Sets), and the Gooseberry classic one-piece when I want something a bit more elevated.

4. Shawls and pareos

They’re just as good for elevating a daytime beach look as they are for covering up when the sun sets and it gets a little chilly. Another no-effort, ultra-versatile styling trick that instantly makes a look feel more chic. I love bamboo ones for the beach because they’re light and breathable (and often cheaper), and switch to pashmina or silk-and-cashmere blends at night.

And unless it’s an espadrille, leave your heels at home. No one wants to see stilettos at the beachfront restaurant.

Until next time.

Dior was still everywhere. But in an industry driven by desire and conversation, being present is not the same as being relevant. The house had become comfortable, predictable. And in luxury, comfort is often the first step toward losing its edge.

Here’s why Jonathan Anderson is exactly what Dior needed.

1. Dior did not need reinvention. It needed reactivation.

Dior is a house built on powerful history, symbolism, femininity, and architectural rigor. These are the elements that made it iconic, but also the ones that can turn a brand into a dusty museum piece if left unchallenged. Heritage is only powerful when translated into the present.

At Loewe, Anderson was working with far looser codes (if any), which allowed him to build almost from a clean slate. Dior is the opposite, and he understands that. Rather than discarding the house’s foundations and inventing new ones, he reactivates them, treating heritage as a living language and speaking it in a way that feels relevant today. This reveals a different kind of mastery: not the ability to invent a world from scratch, but the ability to enter an existing one, understand its gravity, and move it into the present. (The next point is a good example.)

2. He doesn’t see craftsmanship as something valuable only because it’s old. He sees it as something alive and evolving.

One of Dior’s codes has always been its focus on garment structure and fabrication. One of the house’s most defining moments was the New Look in 1947, which challenged the womenswear silhouette and introduced its now-iconic hourglass shape with a sharply tailored waist. Anderson fully embraces this code, but reinterprets it through today’s cultural lens. For him, craftsmanship does not only mean an overpolished, atelier-perfect aesthetic. It can also mean raw hems and visible construction.

This is exactly what emerged in his debut. The sense of unexpected proportion remains, but it is expressed in a way that feels less theatrical and more authentic, ultimately aligning more closely with what resonates today.

3. He redefines femininity for a modern gaze.

Since the New Look, challenging femininity in unexpected ways has been central to Dior’s identity. But as mentioned, the house’s interpretation of femininity had become predictable, consistently powerful, performative, almost goddess-like. So for Anderson to come in and disrupt that feels very on brand. In line with the complexity of the modern woman, he introduces a womenswear vision that feels more nuanced. It is a femininity that feels lived in rather than performed. Less about power as spectacle, more about intelligence, complexity, and movement. And in that sense, it feels entirely aligned with Dior’s original essence, just recalibrated to what actually makes women feel powerful today.

The Lady Dior, reinterpreted by Jonathan Anderson. Creative direction: Jonathan Anderson; film direction: Caroline Gaimari; styling: Benjamin Bruno.

On a more personal note, he’s managed to make me like the Lady Dior for the first time…a bag I really didn’t understand. And that most probably has something to do with that incredible ad.

4. He excels at restraint in an era of noise — Why this works now.

Anderson understands timing. In fashion, everything operates in cycles, a continuous pendulum swinging from one extreme to the other, as we’ve just seen with a shift from minimalism to maximalism. After being too perfect for too long, Dior needs friction. After years of spectacle, it needs grounding. In an era where everything is bold and loud, Anderson understands that a quieter Dior can feel radical. And as outlined in the previous point, he softens historical references without abandoning them, creating clothes that communicate through cut and movement rather than obvious messaging and connections to the past. Quiet does not mean less impactful. His collections remain bold, but their power lies in delicacy and intricacy, not in excess, sparkle, or grandeur.

5. He managed to unify menswear and womenswear.

One of Dior’s most recent challenges was coherence across categories. Womenswear leaned romantic, nostalgic, and tightly controlled, while menswear explored more contemporary narratives. Each made sense on its own, but they were not speaking to each other. And this coherence is increasingly important as consumers move more fluidly across categories. Coherence across a house is no longer optional. It is something that will define successful luxury brands moving forward.

Jonathan Anderson is not making Dior louder. He is making it sharper, quieter, and far more dangerous — which, in today’s luxury landscape, is exactly the point.

This is not a list of rare or statement pieces. It’s my list of true staples. The pairs I reached for again and again this year. The ones that, quite literally, are hanging on by a thread by now.

Subscribe now

Let’s start with my everyday heroes. These Sézane slingbacks have been repurchased twice already, simply because I wore my first pair into the ground. They are effortless, comfortable, have the perfect heel height, and somehow manage to work with everything from denim to tailoring. And to me, gold shoes have the power to elevate even the simplest outfit, adding just the right amount of sophistication and personality.

These are currently unavailable, but here’s a similar style that’s worth checking out.

On the gold shoe topic, these Aquazzura sandals made an appearance at almost every formal event I attended this year. They work with every colour and every silhouette, from dresses to trousers. If I had to pack only one pair of heels for a trip, these would be it.

I am very picky when it comes to pumps. The toe needs to be extra pointy, and the design has to include a playful element so it doesn’t feel too corporate. These Jimmy Choo pumps strike the perfect balance. Elegant, timeless, but still fun and fashion-forward.

If you know me, you know I am a heeled boot kind of girl. You will never catch me on set in flats. I need height, but I also need to move. That is why western-inspired boots became my everyday choice. This Isabel Marant pair has truly been through it this year, from Milan cobblestones to Montreal winter streets. They are high yet incredibly comfortable, and the wide ankle makes them even more interesting. I love tucking my pants into them for a slightly undone, messy look.

Last but not least, my funky slide of choice this year. I love making shoes the star of the outfit, and colourful or busy slides are the easiest way to elevate a baggy jean and white t-shirt moment. Effortless, but intentional.

I hope this gives you a little footwear inspiration going into 2026!

Until next time.

This is not just a creative observation. It is a strategic shift brands need to understand before investing another dollar into content.

Subscribe now

Audiences no longer respond to the simple, middle ground professional shoot. Clean photos of a model standing against a white wall, beautifully lit “to let the product shine,” used to perform. Today, they get lost. What actually works now lives at two extremes: quick, natural iPhone content that feels relatable, and aspirational productions built around strong creative concepts. The in between, which brands relied on for years to sell products, is simply no longer worth the investment.

In other words, if your plan is to photograph a model wearing your product against a plain backdrop with basic lighting, you are often better off using an iPhone. And I say this as someone who built a business around producing professional content. Authenticity buys you engagement. So does content that makes people dream. What performs today is either deeply relatable, or not relatable at all.

The Rise of iPhone Authenticity

This shift is largely driven by the rise of iPhone content. It allows for a level of realness that traditional professional shoots could never fully replicate. It is quick, spontaneous, and raw in the best way. People trust it, and because they trust it, they consume more of it.

But the second you try to fake that spontaneity with a heavy camera setup and big lights, it loses its magic. Audiences can sense when something is trying too hard to look effortless. Jacquemus understood this long before most brands did. Here is a perfect example of a post that only works because it was shot on an iPhone. If it were a professional runway video, stable with crystal clear rendering, most people would scroll past it (Jacquemus, 2024):

So I always say this: if you are going to take out a camera and stage something, then stage something that cannot exist spontaneously. Whether it comes from strong art direction, a clear story, or intentional postproduction, your content needs to transport people into an environment, a mood, an atmosphere that is rarely experienced in real life.

And when you choose to stage content, audiences expect more depth. More intention. More time to be immersed. That is especially true for video. Creating a world worth entering often takes more than ten seconds. Instagram is already starting to push longer formats again. If that is not your sign, I don’t know what is.

How Jacquemus introduced its ski collection with Nike (Jacquemus, 2025):

When Professional Content Still Works

To be clear, if you are building a brand, especially a premium or luxury one, you absolutely need professional content. It is essential to shaping your brand world, your codes, your universe. iPhone content will never replace everything a brand needs visually. But it has changed the expectation for what professional content must do.

I can always tell when brands invest in production without investing in research and meaning. The budget goes into execution before the concept is fully formed. The result is often visually pleasing, but it does not make you dream or transport you anywhere. There is no reason behind the aesthetic, no narrative holding it together.

So let’s get to the point. If you are going to invest your time and resources into a professional shoot, it needs what I call a gallery worthy idea. If your visuals could live in an exhibition, be worth framing, and sit on a wall with a short text explaining the why behind the image or the film, that is when the investment makes sense.

I come back to this rule on every shoot, regardless of budget. Sometimes, the story lives less in a written concept and more in the visual language itself. That is why I have one golden rule. For professional content to have an impact, it must include at least one of the following:

• An immersive story that evokes emotion. A classic form of storytelling that makes the viewer laugh, feel moved, relate, or reflect. This can be achieved by creating a character, telling a true or fictional story, going behind the scenes, or teaching your audience something.

• An impressive visual concept. Something that is simply visually wow. Artistically strong, visually striking, technically difficult to replicate, and the kind of image or video that makes you instinctively click share.

Deliver one, and you will create content that people engage with and that converts. Deliver both, and you will create something close to a masterpiece. The kind of work that defines a brand, elevates industry standards, shapes its visual language, and stays in people’s minds for years.

This is one of the few ads I saw achieving both this year (Vogue World, 2025):

It undeniably makes you feel something. It tells a beautiful story most viewers could never experience themselves, and it is visually impressive in a way that stays with you.

What This Means for Your Brand

So what does this mean for brands today? Stop spending money on boring photoshoots. If you are hiring a photographer, a model, makeup, styling, and production, make sure the end result is worth it.

Take the time to write a story. Build a character. Create a world that is fully yours. One your audience will remember, and associate with your brand long after the scroll.

I would love to hear how you are currently thinking about content investment for your brand, and where you feel stuck. Drop any questions you might have in the comments!

Until next time.

Subscribe now

This wouldn’t be my gift guide if I didn’t include a funky jacket. I’ve talked about this Forte Forte velvet coat before, and I still haven’t been able to get it off my mind. Funky jackets make such great gifts. They’re unique, memorable, and you’ll always remember who gave them to you. Plus, they’re never really a “good basic you can justify splurging on,” which is exactly why they make the perfect gift.

They also just came out with this new jeweled cape. Forte Forte truly excels at creating pieces that feel unique yet totally wearable. I’d definitely recommend checking them out.

A more budget-friendly alternative would be this embroidered jacket from Zara. It’s such a good piece and you’d never guess it’s under $300.

A beautiful decanter or pitcher makes such a great gift. It’s practical, but also a gorgeous decorative piece. I currently have my eye on this Cabana pitcher. A stunning large glass bottle with a green statement lid.

I’m convinced a girl’s jewellery organisation can always be improved, and this Sophie Bille Brahe jewellery box is one I’ve had my eye on for a while. Practical and beautifully designed, it can act as a decorative piece thanks to its velvet fabric, looking just as good displayed on a wooden or stone surface as it does filled with your favourite pieces.

Statement tops also make great gifts. They’re easy to style and always a fun addition to a girl’s wardrobe. I love Farm Rio. Their pieces are so unique and full of personality. Definitely a brand I’d check out for gifts during the holidays…or to treat yourself.

I’d definitely add wine glasses to my wish list. These Riedel ones are simply to die for. They are so delicate, pretty, satisfying to hold, and perfect for Pinot noirs and Nebbiolos. I am not going to go full wine nerd on you, but good glasses really do make drinking wine so much more delicious. And since the high-quality ones are a bit of a splurge, they make the perfect gift.

I had to include this Lamarque coat, as it’s the clothing item I’ve received the most compliments on recently. People literally stop me in the street when I wear it. It’s so unique yet remains incredibly elegant. It makes you feel exactly how a great coat should, in my opinion, stylish & fun but still sophisticated. The kind of piece that makes the outfit during the colder winter months.

Another great coat option would be anything by Charlotte Simone. Her coats were everywhere over the past few years, and the hype has finally died down. You don’t see them on everyone anymore, and that’s probably why I’m starting to like them again. I have this short black one on my list. Fun, fresh, and the kind of piece that adds just the right touch of personality to an everyday look.

The last thing on my list is incredibly basic, but had to be included: The new Dyson Airwrap. If there is one thing about me, it is that I can’t do hair. At all. Give me a curling iron and I will walk out of the bathroom with zigzags in my hair. But I tried the Dyson a little while ago and somehow managed to make it work. And now that they released a new, much more powerful version that performs better on fine hair (the Coanda2x), I can justify it a bit more and would love to integrate it in my routine. If your curls tend to fall flat, this is something to look into. I also love Jasper Plum color. Very chic.

That’s it for now! I’d love to read what’s currently on your fashion or lifestyle wish list in the comments.

Until next time.

When I wrote the script for our first TV commercial, we only had five seconds to make an impact. That meant every decision had to be extra intentional, rooted in research and success cases. And as a studio used to creating and producing content for web and social media, we had to change our ways.

Subscribe now

Here’s how we did it:

The brand we were working with had just five seconds of airtime to make an impression. The brief? Create something funny, unexpected, and memorable enough to make people remember the brand name.

Since TV reaches such a broad audience, the goal was not to sell a product right away but to build awareness, to make the brand stay in people’s minds through tone, mood, and personality. I personally prefer creating content with this intention because the message and the vibe come first, and the product can simply live within that story without needing all the attention. It gives us way more flexibility than when the focus has to be placed directly on the product and everything else has to be built around it.

So we built the concept around three ultra-short scenes (1.6 seconds each) each one showing a different mood that captured the brand’s essence. Because the brand speaks to such a wide range of women, we leaned into that and imagined the kind of wildly different situations they could find themselves in… and stereotyped them to the max.

Stereotypes in advertising, when done well, are one of the best storytelling tools. They help people instantly understand a scenario, which is crucial when you only have a few seconds of attention. In this case, it was the perfect way to make viewers grasp the story and the action in 1.6 seconds without needing to show or explain much.

That’s how we landed on three exaggerated personas: a girl in a diner, a girl in an office, and a girl fishing. Completely random, totally over-the-top, but that’s what made it work.

And when you play with humor and stereotypes, the magic really happens in the details: styling, hair, makeup, and videography all carry the joke visually. The team absolutely nailed it. I couldn’t have dreamed of a better execution.

You can watch the full commercial and learn more about the project on our website.

And if you’re curious about the production or creative process, feel free to send your questions, I always love sharing more about it.

Until next time.

Subscribe now

Vintage style mules, funky robe, most beautiful couple glasses, world’s best panettone, my everyday bronzer, most beautiful shoes I’ve ever tried on.

There will forever be shoes on my wish list, and we are starting strong. I recently discovered this brand Nou, and I am genuinely obsessed with their classic mule. It is one of the most flattering shoe I have ever seen on a foot. The vibe is vintage without feeling dated, and the shape is just beautiful. I find mules like these are really hard to find, so they are absolutely going on my list.

For a little more of a splurge, I would also add this Manolo Blahnik style, which I find so unique. Pretty sure it’s the most beautiful pair of shoes I’ve ever tried on. The kind of shoe you put on display in the living room. The entire Carnival Collection is worth checking out. It’s one of the most breathtaking collections I have seen in RTW in a long time. Just make sure you try them on first because the sizing is not standard at all. I am usually a 35.5 and I was a 37 in these.

Next up, a funky robe. And I don’t mean the Missoni print. I mean cool colours and patterns that make your self-care moments feel a little more fun. I bought one not too long ago from OAS that I adore, and I would love to get something in the same spirit.

You’ll notice there’s always some kind of tableware item on my wishlist. My current pick for fun glassware are these Agustina Bottoni coupe glasses. All her designs strike the perfect balance between playful and timeless. I’m obsessed!!

Next up, I had to include the best panettone of all time. Not to be dramatic, but when I lived in Italy I used to bring six of these back in my suitcase. I later realised Lipari carries them which, thankfully, saves a lot of luggage space.

Cova Pasticceria, founded in Milan in 1817, is one of the city’s most iconic pastry and coffee houses. I used to stop there for a slice of panettone on my walk home almost every day. I love the whole concept of panettone — a brioche style cake that somehow feels both precious and luxurious. Cozy, nostalgic, and perfect to share with family.

Makeup is always such a treat to receive. Especially those more luxurious items that elevate your everyday routine. My pick is the Chanel Les Beiges cream bronzer. I have repurchased it at least five times by now. The best part is that it contains so much product that it lasts me a full year before I hit pan, and I wear it every single day. It is the one thing I reach for when I want that soft effortless glow while keeping everything natural. The finish is so skin-like, it’s the perfect everyday bronzer.

That is it for now!

Until next time.