The chypre is one of perfume's most seductive and distinctive styles, and Hermès's new launch, Barénia Pleine Fleur, is a radical reinvention of the form. Christine Nagel, Hermès's in-house perfumer, has made a sometimes hard-to-love form into something warm and inviting, softening a potent white lily with orange blossom and inventing a fruity note that nature wouldn't provide, all in service of a fragrance built to welcome newcomers in rather than keep them guessing.

In his film EMPIRE, Artist Simon Tyszko takes FIFA's footage of the 1966 World Cup Final – England's only football world championship, won on home soil against West Germany – and runs it in reverse. Goals are unscored, the trophy returns from Bobby Moore's hands to the Queen's, and joy is methodically unmade. Tyszko's film is a meditation on national myth, imperial legacy, and the cost of a glory that perhaps should never have been, streaming exclusively on tank.tv.

Following the success of her first book, Notes on a Foreign Country, Suzy Hansen's From Life Itself chronicles life under rising authoritarianism in Turkey. In the small neighbourhood of Karagümrük, local concerns over national identity and immigration serve as a metonym for the country, and indeed the world, at large. Here, she reads an excerpt from the new book. 

One of the greatest physicists of his generation, Carlo Rovelli's new book 85 Seconds to Midnight: A Physicist’s Argument against Rearmament is a searing indictment of the short-sighted political logic driving the world toward nuclear catastrophe. Taking its title from the Doomsday Clock, currently set to 85 seconds to midnight, the book looks to the history and potential future of nuclear weaponry, while grappling with what he deems the guilty collective conscience of his profession: the scientists who invented the deadliest weapon ever known. TANK visited Rovelli in his home in Madrid to discuss the book.

For TANK, writer Anton Jäger discussed his book Hyperpolitics, a theory of how political action in the modern age has been hollowed out without reinstitutionalisation. From mass movements like Black Lives Matter to the growing power of the British far-right, Jäger outlines how avenues for collective action are increasingly closed off — a world in which people are more politically activated than ever, yet less capable of producing durable change.

From a sewing school in Reggio Emilia to a museum floor in Shanghai – Max Mara opens its archive for its 75th anniversary.

Representing Iceland at this year's Venice Biennale, Asta Fanney Sigurðardóttir's Pocket Universe considers hope as something inexhaustible and portable. The artist reimagines Pandora's box as a vessel of optimism rather than misfortune, filling a former Venetian shipyard with glowing orbs, talismans, and buoy-like forms that blur performance, sound, and sculpture into a single dreamlike installation. Nell Whittaker spoke to the artist ahead of the Biennale's opening. 

The morning after Genuine Fake Premium Economy opened at the ICA, TANK's assistant editor Matteo Pini sat down with artists Jenna Bliss, Jasmine Gregory, and Buck Ellison to explore how the long shadow of the 2008 financial crisis haunts their work. From Ellison's material catalogues of imagined finance bros to Gregory's doctored Patek Philippe advertisements, the artists discuss how the aesthetics of wealth management and economic precarity have become embedded in contemporary visual practice.

In 1948, the Nakba – meaning, "catastrophe" – saw the forced displacement and death of hundreds of thousands of Palestinians, one of the most destructive moments in the history of Zionist colonialism and the creation of the state of Israel. The Nakba was foundational to the 1967 Naksa, the second forced displacement resultant of the Six-Day War, and is still in effect today. Ahmad Al-Bazz is a Palestinian photographer whose new photobook The Erasure of Palestine documents hundreds of sites between 2021 and 2023. In it, fragments of pre-1948 Palestinian life stand stark against the washes of settler development. Here, he reads three entries from the book.

In Biarritz, France, Matthieu Blazy presents Chanel's 2026 Resort Collection, a summery ode to freeing the mind and body. 

The V&A East Museum, which opened last weekend, seeks to rewrite its legacy with exhibitions which take modernity in its stride. But how successful are they?

At the Grand Palais in Paris, Hermès returns to its equestrian roots.

In Madrid, a new product launch by Huawei affirms the brand's continuous commitment to technological innovation. 

In the second episode of the series, TANK visits The Design Studio by Azza Fahmy in Cairo. We talked to Azza and her daughters – Fatma (CEO) and Amina (Head of Design) – on the transmission of emotion and knowledge through jewellery collections, enterprise and education.

Alice Ray travels to Madrid, home of Picasso’s horrors of war Guernica, Goya’s The Black Paintings, and now of Thomas Houseago’s Sculptures. Marking the artist’s first exhibition in Spain, the show brings together seven large-scale outdoor sculptures of traumatised figures set within the “secret garden” of the Banca March, as part of their centenary celebrations. The manifestly Jungian themes of the work describe an artist who has devoted his career to exploring the nuances of the human condition.

The historian Faisal Devji traces the root causes of the endless wars in Western Asia. From Palestine to Tehran, borders crumble and a deficit of sovereignty in the Arab world is destabilising the world economy and reshaping its map. Faisal Devji is the Beit Professor of Global and Imperial History at the University of Oxford.

On a humid Friday night in Shanghai, as the city’s neon arteries pulsed along the Huangpu River, Hermès – never one to whisper when it can command – unfurled its second chapter of autumn/winter 2025 in a purpose built orange container.

The unveiling of the new Fondation Cartier premises in Paris underscores the institution’s enduring and transformative presence in the global art landscape.

At Matthieu Blazy's second couture show for Chanel, the audience is as revealing as the collection. 

Live from the Musée Rodin, Jonathan Anderson's sophomore couture collection for Christian Dior is a journey into a plush, tropical wilderness.  

At Schiaparelli Couture AW27, Daniel Roseberry redefines what it means to do haute couture. From underlit breastplates to sprawling latex wings, Roseberry's display of intergalactic artifice pushes the envelope of what we think we know about the French tradition.

Caroline Issa reads from the 2026 Summer Reader editor's letter, which discusses the displacement of global power within recent years, from the insidious movement of the tech moguls into the arts to the manufactured Zionist bias against Palestine in mainstream media. 

Aboard the SS Sudan, the steamboat that inspired Agatha Christie’s 1933 novel Death on the Nile, TANK spoke to ship director Amir Attia on the spirit of one of Egypt's most storied vessels.

The V&A East Storehouse throws open the doors to one of the great behind-the-scenes mysteries of museum life: the archive. Usually hidden from view, its 250,000 objects are here made fully visible and accessible – which only sharpens the question: where do you even begin? In collaboration with TANK, Swiss eyewear brand AKONI invited three leading creatives to find their own way in. In this episode, Architectural Association director Ingrid Schroder makes her selection of objects and muses on how curation functions within architectural practice. 

The V&A East Storehouse throws open the doors to one of the great behind-the-scenes mysteries of museum life: the archive. Usually hidden from view, its 250,000 objects are here made fully visible and accessible – which only sharpens the question: where do you even begin? In collaboration with TANK, Swiss eyewear brand AKONI invited three leading creatives to find their own way in. In this episode, Tamar Clarke-Brown, Arts Technologies Curator at Serpentine Galleries, makes her selection of objects, which examine technologies from the mechanical to the digital, tracing how generations inherit and are transformed by the tools they create.

The V&A East Storehouse throws open the doors to one of the great behind-the-scenes mysteries of museum life: the archive. Usually hidden from view, its 250,000 objects are here made fully visible and accessible – which only sharpens the question: where do you even begin? In collaboration with TANK, Swiss eyewear brand AKONI invited three leading creatives to find their own way in. In this episode, Anmol Ahuja, Features Editor at architectural platform STIR makes his selection of objects, asking what design owes to the people who use it, the empires that moved it, and the time that eventually overtakes it.

Lost in the crowd, found on the cover. Ana Portela wears Matthieu Blazy's debut Métiers d'art collection for our summer 2026 issue cover story. Photography by Otto Masters, styling by Eve Bailey, editing by Ali Golsorkhi-Ainslie.

Andrea Zimmerman is an artist, film maker and activist; their upcoming book, Long Grass in the Wind is a rich collection of essays by writers from West Bank and beyond. Here, they discuss Je tu il elle, Akerman's debut feature, which she made aged 24. Je tu il elle is a radical and restrained film, profoundly solipsistic and experimental. Topics of conversations include lesbian sexuality and one's role within their own narrative – what it means to step away from your own story. Watch the rest of the season here. 

Ajay Hothi is a writer, documentary maker and senior lecturer at Kingston University, as well as former director of TANK.tv. Here, he discusses Akerman's Sud (1999) – a meditative and psychological investigation into the murder of a Southern American black man, James Byrd, Jr., at the hands of white supremacists. Hothi, plucking from his own experience as a filmmaker, elaborates on the moral and aesthetic obligations of the documentary, and the success at which Akerman is able to balance the serene beauty of the Texan hinterlands without romanticising or otherwise compromising the harrowing testimonies of the interviewees. Watch the rest of the season here. 

Kiefer Nyron Taylor is a documentarian and photographer based in London. Here, he discusses No Home Movie, Akerman's final work, which is a documentary of simplistic but compelling video call footage between her and her elderly mother, interspersed with ethereal and deliberate shots of isolated landscapes – amongst them Maman’s sleepy Brussels flat. Akerman’s mother died shortly after filming ended, and the director herself by suicide the following year. This depiction of maternity is complicated, however, by the fact that one of the landscapes depicted was the Negev-Naqab desert in Israel-Palestine, the site of Israel’s founding myth (“Let the desert bloom”) and justification for the destruction of the Palestinians. Watch the rest of the season here. 

The ambient pioneers discuss their excellent, unsettling new album Paradessence.

The alt-pop innovator on dreaming, Eurovision and the solitude of Oslo.

The Swedish synth-pop star on TikTok, tearing up and trusting your instincts.

The electronic experimentalist on Christianity, Houston, and his sprawling new album Eroica 2: Christian Nihilism.

The Irish experimentalist discusses collaboration, their new album Songs for Nothing and the infinite wisdom of Sinéad O'Connor.

The Kampala-based metal innovator discusses collaboration and his new album The Adept.

The New York industrial rockers spell it out for us. 

The Danish poet and songwriter on love, loss and Luton Airport.