Amy Verner

At the Sceners Gallery on the eastern edge of Paris, far from the Metropolitan Museum, where Kim Kardashian arrived at the Met Gala in a metallic orange breastplate with pert breasts and curvaceous hips, there are several examples of the art that inspired her.

After a week of springtime rain in Marrakech, the sun had returned on the morning that I paid a visit to the artist Amina Agueznay, whose atelier and archives are located to the north of the city’s bustling core. From the upper terrace of a multi-unit building dripping with fuchsia bougainvillea and surrounded by leaning palms, she waved a small group of us up to meet her.

Cape Town is a symbolic place for the designer Thebe Magugu. When he was nine years old, he took his first trip by plane from Kimberley in South Africa’s North Cape province to discover the cosmopolitan city with his mother and two uncles. While there, his mom bought him a camera, kickstarting an interest in photography which he would later study along with fashion design and media.

After 10 years at the helm of the legendary French maison, the Belgian-Italian creative director sits down to reflect—in an exclusive conversation and shoot with CULTURED—on an industry that has shifted under his feet, and how he's managed to stay one step ahead of it.

Two years after Mickalene Thomas’s first visit to Paris in 2009, she returned for a residency at Giverny, the well-known home and garden of Claude Monet, where she was deeply drawn to the interior and exterior worlds he created. Now, with her solo exhibition “All About Love,” at the Grand Palais, visitors can experience her own worlds transposed into immersive spaces filled with furniture, stacks of books and Jet magazines, arrangements of potted plants, and still-life vignettes in which ever...

Azzedine Alaïa had a philosophy about preservation. “A dress holds three memories,” he would say. “The memory of the couturier who made it, the atelier that realized it, and the woman who wore it.”
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We live in a world saturated with images. They can be deeply personal or commoditized, produced and consumed ad infinitum. But for the internationally renowned artist Gerhard Richter, they attest to a monumental career that not only moves through a multitude of genres, but also transmits meaning from each and every surface.
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Not to spoil the surprise, but the very first thing visitors encounter upon arriving to Virgil Abloh: The Codes at the Grand Palais in Paris is a recreation of Colette, which was often considered the most influential store in the world before it closed in 2017. There’s even a miniature white façade, accented with broad windows, signature blue awnings and the double dot logo, that people will pass to reach the wide selection of collectible merch and tchotchkes branded to the max.
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Des années avant de devenir réalisatrice de films aussi iconiques que Virgin Suicides, Lost in Translation, Marie-Antoinette ou Priscilla, Sofia Coppola a passé un été en stage chez Chanel, à Paris, grâce à celle qu’elle considère comme “l’une de ses tantes”, l’actrice Carole Bouquet.

Next Thursday night in Paris, after the final show on the haute couture schedule has ended, an altogether different show will take place at the Louvre. Jordan Roth will present Radical Acts of Unrelenting Beauty, a cycle of three live performances in which he uses fashion as a conduit for his impressions of the world’s largest museum.

As of this week, the second phase is complete enough that visitors will now arrive via the main entrance on the refurbished Square Jean Perrin, where allegorical statues adorning a fountain are gleaming white.

An extraordinary pilot program from the Virgil Abloh Foundation, Abloh Air was conceived to give 10 students with creative interests from underrepresented backgrounds in his hometown of Chicago the transformational opportunity to spend nine inspiring days in London and Paris.

Some 12 hours into constructing Notre-Dame from more than 4,300 Lego pieces, I finally arrived at the pinnacle: the soaring spire, or flèche, that became a defining feature of the cathedral in the 1860s, 700 years after the first stones were laid.