Chomping at the bit: Hermès’ horsey library
Alongside the equestrian excellence on display at the annual Saut Hermès showjumping competition in Paris, a bookshop offers an array of horse-themed titles: a tribute to the maison’s enduring love affair with all things equine.
…and on Thursday, he ate a whole Dior bag
After a decade of hiatus Reckonwrong returns with his album of bedroom pop, How long has it been?
D’heygere, specialising in concept-driven jewellery, merges function and surrealism for total intellectual luxury. This page holder ring, which helps keep a book open while you read is engraved with “Do Not Disturb,” so the wearer can get some peace in style. Photo by Sally Moore
Kirandeep at The Milk Collective
“We write to taste life twice”
Cayetana at D1 Models
“‘Oh là là!’ English people love it when I say that”
Ana at The Milk Collective
“Knowledge is something no one can take away from you”
Mykaila at Premier Models
“It is not about creating good art; it is about creating the world around it”
Poppy at Linden Staub
“Don’t take criticism from someone you wouldn’t take advice from”
Cheng at Titanium
“Respect all, fear none”
Pictured here is the flagship Huawei GT 6, which features the recent project, Wheelchair Mode. This update enables para-athletes and other wheelchair users to track their daily activities by accurately monitoring their pushes, just as the watch measures steps for non-disabled users. At Huawei’s “Now is Your Spark” global launch in Bangkok on May 7th, the feature was extended to two new timepieces: the Huawei Watch Fit 5 and the Huawei Watch Ultimate Design Spring Edition. The latter was created in partnership with jewellery designer Francesca Amfitheatrof and features 99 natural diamonds and diamond-cut sapphire glass.
Photography by Alex BibbyRetouching by Joscha Bruckert
A room diffuser from the new Penhaligon’s range of home fragrances
Loved letters lost
In 1916, printer TJ Cobden-Sanderson threw his celebrated Doves Type into the Thames from Hammersmith Bridge, determined to deny it to his estranged business partner. Nearly a century later, mudlarkers have recovered hundreds of the metal letters, allowing graphic designer Robert Green to produce an accurate digital revival of the lost typeface. Photos by Lucinda MacPherson
In April this year, TANK hosted the Student Fabric Initiative Competition in collaboration with the British Fashion Council. Fashion students across the country were invited to submit design proposals that critically engaged with culture using deadstock and surplus materials. Here are our two winners.
YUNHO KOH
MA Fashion, London College of Fashion, UAL
For Yunho Koh, the winner of the fashion design pathway, his garments were inspired by the feeling of discomfort he experiences during interviews. With scratchy, upcycled fabric in the acid yellow hues of penpad paper, Yunho’s work sets a balance between the textural discomfort of his materials and the meticulous craft with which they are constructed into garments. A Monami pen – the iconic Korean stationery brand favoured by students – decorates the collection, a nod to his habit of doodling on penpads when nervous. The judges commended Yunho’s combination of technical skill, conceptual realisation and resourcefulness in material transformation.
Model: Kofi Little at Supa Model Managment
HENRIETTE LINDGREN
BA Fashion, Ravensbourne University London
Henriette Lindgren, the winner of the fashion communications pathway, created a zine on the phenomenology of birdwatching, sparked by a chance encounter in Greenwich Park with a budding wildlife photographer. Fatigued by the endless acceleration of the creative industries, Lindgren’s project celebrates how birdwatching forces the viewer into a state of pleasant passivity and integration with nature. Creativity, as she notes, once depended on boredom: her project invites viewers to experience this lost discipline firsthand. As a fashion design student making her first zine, Lindgren impressed the judges with the project’s conceptual clarity and charm. Photo by @lifethrualens.2024
A visit to A Letter studio
A Letter was founded by Matt Empiringham and Freddy Combes in 2025: two London-based designers who share an obsession with unique materials. Their AW26 collection is the culmination of their love affair with paper, worn here by Nour from Anti-Agency. Here, gossamer-thin tissue gathers around Nour’s waist and provides the a-line skirt with a natural pleat, above which hovers a fragile bustier. The pieces, delicate as they may appear, allow for comfortable movement and are surprisingly robust. Going forward, the designers are excited to push the wearability of their materials to their limitst, but Coomes and Empiringham also understand that the A Letter world is not insular. “There’s more to having a brand than just sitting in the studio and making clothes: it’s about building a world outside.”
Watches and Wonders
J12 Coco Game watch by CHANEL
Ulysses Nardin’s booth
Spotted at the Panerai booth
The Andy Warhol watch by Piaget
Highlights from Venice Biennale by Christabel Stewart and Sofia Hallström
Glasgow-based artist duo, Bugarin + Castle’s Shame Parade at the Scottish Pavilion reimagines historic shaming rituals through sculpture, moving image and drag-inflected installation. Pictured is Nocturnal Amusements, an intricate miniature world crafted from wood, aluminium, glass, paint and nail press-ons: a diorama where defiance collides with tenderness and unstable identity is lauded.
What does it mean to nurture a child into an uncertain future? At the Japan Pavilion, Ei Arakawa-Nash’s Grass Babies, Moon Babies transforms the artist’s personal experience of parenthood into collective care. Visitors are invited to carry a doll weighted like an infant and confront the decisions shaping the world our children will inherit.
At the Icelandic Pavilion, Pocket Universe stages a threshold between reality and other realms, where ancient and contemporary games dissolve fixed rules and transcultural cosmologies birth new worlds. Ásta Fanney Sigurðardóttir channels optimism as ontology, using words to unlock wonder. A strange character, Creature Zero, navigates by intuition, tracing Earth’s origins toward the sky, guided by buoys across open waters. The work remains in endless re-creation. Photo by Timothée Lambrecq.
The Bulgarian Pavilion unites four artists: Gery Georgieva, Veneta Androva, Rayna Teneva and Maria Nalbantova under The Federation of Minor Practices, imagined as the headquarters of a fictional research lab, across three zones: a mirrored portal, a film screening room, and the Kazan, a communal philosophical game exploring the potential for a care-oriented political imagination, transformation, fear, power and trust. Rooted in Bulgaria’s ongoing political instability and collective exhaustion, the pavilion invites visitors to pause, play and think differently.
Tide of Returns at Ocean Space brings together newly commissioned works by the Repatriates Collective and Verena Melgarejo Weinandt. Curated by Khadija von Zinnenburg Carroll, the exhibition engages Indigenous cosmovisions and the agency of water to explore cultural restitution, intergenerational transmission, and collective healing. Running alongside, the policy lab Nature Speaks investigates legal rights for the Venetian Lagoon. Both projects are commissioned and produced by TBA21–Academy.
Notes on a perfume
In writing, footnotes anchor the narrative, adding depth beneath the surface. In perfumery, base notes linger the longest and carry the true soul of a scent. NOTES DE BAS DE PAJE lives in this parallel: Pierre-Jr Menana and Alice Gensse craft fragrances inspired by stories that last. This scent, Olatua (Basque for “wave”), is a suspended summer: bare feet in sand, salt-wrinkled fingertips, the naïve impatience of adolescence.
It’s a Mad, Mad world
Last year Dutch artist and architect Madelon Vriesendorp became the first woman to win the Soane Medal, which recognises major contributions to architecture and education. An exhibition of her work opens at the Sir John Soane’s Museum on July 17.
Flagrant Delit, 1975
At home with Grey Buscemi’s stitch-free designs
Before he became a fashion designer, Grey Buscemi completed a degree in economics and spent a year studying architecture; both have informed his work, as the illustrations strewn about his studio reveal. Having done his thesis on the garment industry, he sensed a lack of career growth in sewing, and therefore constructed his graduate collection entirely without a stitch. Instead, elaborate systems of calico slats are laser cut and assembled in a process which can take up to 24 hours per piece. Here, Moli at The MiLK Management wears Buscemi’s MA graduate collection, which was inspired by early aviation, with its subtle curves and eggshell palette.
James Richards’ viral video
All images courtesy the artist and Sylvia Kouvali, London / Piraeus.
Fevers (2026) is a three-act film in which artist James Richards weaves narration, geological investigation, and collage into a troubling meditation on deep time. Richards’ frequently bizarre imagery – including scenes of synchronised swimming, boars eating a carcass, a frog eating a meal, and a boy stacking blocks – often resembles a fever dream, when the brain returns myriad visuals to the dreamer whose metabolic system is febrile and overheating. The film opens with flashes of stroboscopic light that nod to Tony Conrad’s structural masterwork The Flicker (1966), literalising the threshold between wakefulness and sleep. Subtitles from Marguerite Duras’ Les Mains Négatives (1978) read over the video, appropriating Duras’ musings on the meaning of images atop a zone in which the cinematic image is laid bare as illusory and self-made. As the viewer’s eyes are forced to flit between the subtitles and the scintillating flashes, it is as if we are caught between two modes of creation, the arbitrary, violent recurrence of nature and the precarious beauty human vision can forge.
Part two pans over pictorial graffiti – the incised symbols and pictures scratched into a surface which read as faces and bodies, identified from orifice-like holes. The images echo Brassaï’s 1950s photographs of graffiti-covered walls in Paris: anonymous etchings into urban surfaces that, for him, had come to replace nature in the modern city. Though a marginal, defacing act, which for centuries was considered a legitimate means of public comment, graffiti persists in this film at the threshold Duras announces: “at a point where the word isn’t created yet.” Here, before language, mark-making is the only available speech.
Part three becomes much more visibly narrative, with a sequence of synchronized swimmers, the cultural phenomenon that emerged in the 1940s and 50s, as film met the elaborate watery choreography. But Richards refuses this fantasy of mastery. Through transitions, repetitions and layering, he echoes the sedimentary, recursive logic of time itself. Images from the film’s three acts – graffiti etched in stone, bodies synchronising underwater, light strobing in darkness – suggest a mark left on the substrate of the present. Fevers ultimately suggests that cinema, like geology, is an art of reading surfaces. In his book Le cinéma ou l’Homme imaginaire (1956), Edgar Morin famously theorised that cinema is the art form most closely aligned with dreaming. Richards extends this insight into a geological register: if cinema dreams like the mind, then deep time dreams like the earth, accumulating layer after layer of marks and traces, waiting patiently to be rediscovered.
A holy trace: Zurbarán at the National Gallery
So the story goes: a woman, known only as Veronica, wiped Christ’s face with her veil as he carried the cross and his likeness was miraculously imprinted. Francisco de Zurbarán’s Veil of Veronica (c. 1630s) depicts Christ’s face as an artist’s sketch in three-quarter profile on a tromp-l’oeil veil. The painter’s craft becomes as miraculous as the legend it portrays, and with mystical foresight, invokes a tradition from centuries far in the future; the morning after icon of foundation smeared across a pillow. Zurbarán is on at the National Gallery until August 2026.
The incomplete collections of Mr Chris Packet
U.K. CRISP PACKETS published by Sports Banger, 2026.
Valentino
Dior
Alaïa
Rabanne
In Long Grass in the Wind, stories from Palestine and beyond grow wild, take root and hold ground
Long Grass in the Wind, edited by Andrea Luke Zimmerman and Rana Kayed, is a new essay collection translated between Levantine Arabic and English. Its contributors include a mix of poets, musicians, teachers and more from Switzerland to Syria, their pieces constellated around the ongoing conflict in Palestine and their voices both poignant and genial. All profits from sales of Long Grass in the Wind go to Hope and Play, a charity for children in Gaza.
In her newest monograph, Traces, photographer Isiuchi Miyako circles the possessions of the deceased. In these objects, materiality and ephemerality are inseparable: no thing lasts forever.
Mother’s, 2000-05. © Ishiuchi Miyako. Courtesy of The Third Gallery Aya
Ishiuchi Miyako: Traces, edited by Lena Fritsch and Yasufumi Nakamori and published by Thames and Hudson, is out June 2026.