Je M’appelle Macid on the distance between artist and figure, the ghost that begins a painting and the power of darker fragility.

As Skopje prepares to become European Capital of Culture 2028, the city’s post earthquake architecture, public spaces and layered identity offer a new way to think about renewal.

For the first time, all 20 BMW Art Cars come together in Munich. From Alexander Calder to Julie Mehretu, the collection follows a car as it slips away from its expected role.

Working between Datça and Istanbul, sculptor Korkut Sönmez treats marble and bronze as vessels of time. In this conversation, he reflects on Knidos, belonging, permanence and the act of removing what is unnecessary until a form reveals itself.

Before it becomes light, the jewel is form and anticipation. The Victory necklace begins with a hidden structure, a laurel wreath, and one orange-yellow diamond that gives the piece its point of gravity.

From Gaudí’s façades to Hockney’s pools and Saint Laurent’s clothes, some surfaces do more than appear. They slow the eye, redirect attention and change how looking begins.

When everything is saved, the problem is no longer preserving the past. It is finding what still matters.

A city does not become an exhibition by holding artworks alone. At the 7th Mardin Biennial, each venue brings its former use, rhythm and memory into the way the works are seen.

A look at impossible materials in fashion, from Chanel’s cement embroidery to Rabanne’s metal links, Issey Miyake’s fabric systems and Iris van Herpen’s 3D-printed shells.

Long before the moodboard became a digital habit, Aby Warburg showed that images could think, remember and speak differently when placed beside one another.

Skopje’s modernist and Brutalist buildings reveal a city shaped by reconstruction, public life and the changing politics of taste.

Between a new book and a Paris exhibition, Alaïa and Dior meet through form, memory and the quiet discipline of couture.

As screens become endless and increasingly weightless, print is returning as something people can hold, keep and live with.

From Schiaparelli’s surreal anatomy to Gaultier’s re-edited eyes and lips, Vivienne Westwood’s hand-painted gaze and Balmain’s beaded faces, fashion has long returned to the body as fragment, surface and symbol.

Fashion imagery is no longer satisfied with beauty alone. From Prada’s surreal pink bird to sculptural creatures and immersive worlds, fashion is moving beyond the product image and into something stranger, more theatrical and more alive.

At Fondazione Prada’s Deposito, Prada’s AW25 show setting placed raw structure against decorative detail, echoing the collection’s questions around femininity, beauty and glamour.

At Salone del Mobile.Milano 2026, fashion houses once again translated their codes into interiors, objects and installations, turning archives, materials and rituals into spatial stories.

Bodrum’s summer hotels are less about arrival than atmosphere, shaping the season through light, sea, dining, wellness and the small rituals of Aegean life.

A study of the things we touch, keep and return to. Object Lessons explores everyday objects through form, material, memory and the rituals they carry.

Assouline’s Chic Dogs and Chic Cats trace the place of pets in fashion, art and social life, looking at dogs and cats as part of a wider history of taste, character and style.