Category: Uncategorized

In the world of cinema, November is the sweet spot between October horrors and December’s holiday festivities– the best time to catch an array of 2024’s year-end blockbusters. “Gladiator II” brings epic battles back to the big screen with Ridley Scott’s long-awaited sequel, boasting breathtaking visuals and a gripping storyline led by “Normal People” actor Paul Mescal, alongside acting titans Denzel Washington and Pedro Pascal. On the other hand, “Red One” may sound like a typical gutsy action-adventure for Dwayne Johnson, but it’s actually a PG-rated melting pot of family-friendly chaos, featuring a holiday mission to rescue Santa Claus with Chris Evans, Lucy Liu, and a polar bear in the mix.

Many film festival spectaculars are following in the steps of Jacques Audiard’s “Emilia Pérez” in having a short-term theatrical release before moving to streaming services, with the former premiering on Netflix on November 13. While Luca Guadagnino’s steamy homoerotic romance “Queer” and “Andrea Arnold’s “Bird” starring Barry Keoghan are among this month’s film festival releases, Malcolm Washington’s “The Piano Lesson” and Pablo Larraín’s Angelina-Jolie “Maria” are the only entries with Netflix premiere dates.

Jon M. Chu’s “Wicked” is undoubtedly fall’s most anticipated release, with leading co-stars and musical prodigies Cynthia Erivo and Ariana Grande promising a spellbinding return to Oz in this captivating prequel. Alongside Universal’s inescapable marketing blitz– featuring limited-edition Stanley tumblers sold at Target, a r.e.m beauty collaboration, private screening with the Kardashian-Jenner clan, and more– the film boasts an A-list ensemble that includes Bowen Yang, Jonathan Bailey, Michelle Yeoh, Jeff Goldblum. Despite Disney’s juggernaut success with John Musker and Ron Clements’s initial 2016 installment, hopefully, Moana and Maui’s next quest in “Moana 2” will receive more promising acclaim upon its release later this month with perhaps a musical “How Far I’ll Go” 2.0.

Ahead are eleven November releases hitting theaters that go beyond the usual holiday cheer, spanning bloody fights in ancient Rome, forbidden love, period dramas, musical magic, and so much more.

Small Things Like These
November 8

Tim Mielants’ adaptation of Claire Keegan’s award-winning novel Small Things Like These sheds light on the sanctioned abuse within the now-banned Magdalene Laundries that plagued Ireland until the 90s. The film stars Cillian Murphy as Bill Furlong, a coal merchant and family man who uncovers dark secrets at a local convent in 1980s Ireland. As he confronts these unsettling revelations, Furlong is compelled to challenge the complicit silence of a town under the shadow of the Catholic Church.

Heretic
November 8

This horror thriller stars Hugh Grant as the sinister Mr. Reed, trapping young missionaries (Sophie Thatcher and Chloe East) in a deadly game of cat-and-mouse beneath his home. Directed by Scott Beck and Bryan Woods, “Heretic” crawls under your skin in ways you might not expect, creating an atmosphere of inescapable fear. Acclaimed film critic Roger Ebert praised “Heretic”, saying, “It’s designed to simultaneously quicken your pulse and your mind, which is too rare in genre filmmaking.”
From our earlier conversation with filmmaker Tim Mielants, this adaptation of Claire Keegan’s award-winning novel sheds light on the sanctioned abuse within the now-banned Magdalene Laundries that plagued Ireland until the 90s. The film stars Cillian Murphy as Bill Furlong, a coal merchant and family man who uncovers dark secrets at a local convent in 1980s Ireland. As he confronts these unsettling revelations, Furlong is compelled to challenge the complicit silence of a town under the shadow of the Catholic Church.

The Piano Lesson
November 8

Dubbed Malcolm Washington’s sophomore directorial project and Denzel Washington’s fourth as producer, “The Piano Lesson” dissects the importance of legacy, identity, and family bonds in 1936 Pittsburgh through the Charles family’s current dilemma. Helmed by Samuel L. Jackson as the patriarchal Doaker, they fight over an heirloom piano carved by an enslaved ancestor. Tensions rise as Boy Willie (John David Washington) pushes to sell the piano for land, much to the disapproval of Berniece (Danielle Deadwyler), who insists on keeping it to honor their heritage.

Christmas Eve in Miller’s Point
November 8

Don’t you love the holidays with annoying relatives? Well, the members of the Balsano family in “Christmas Eve in Miller’s Point” are trying not to gauge each other’s eyes out as they spend their last Christmas in their ancestral home. Directed by visionary filmmaker Tyler Taormina, the film’s backdrop of generational tensions and holiday chaos leads to two teenage cousins seizing the opportunity to claim the winter-ridden suburb for their own. Featuring an ensemble cast including beloved stars like Michael Cera and Elsie Fisher, it offers a mix of laughter, tears, and feel-good moments— sure to become a new holiday classic to revisit next year.

Bird
November 8

“Bird” explores the life of 12-year-old Bailey (Nykiya Adams), who navigates the harsh realities of poverty in North Kent. Speaking at Directors’ Fortnight in Cannes, director Andrea Arnold described the film as “the hardest I ever made,” yet it’s a visually stunning triumph that delves into the theme of companionship. As Bailey’s single father (Barry Keoghan) becomes increasingly absorbed with his new girlfriend, the adolescent bonds with the wayward nomadic stranger Bird (Franz Rogowski). Together, they navigate their challenging circumstances, ultimately discovering what it means to grow up amidst uncertainty.

Red One
November 15

Dwayne Johnson is back in action—but this time, it’s a PG-rated Christmas adventure that brings the holiday spirit to life. In “Red One,” Johnson stars alongside Hollywood heavyweights Chris Evans and Lucy Liu in a whimsical tale featuring a life-sized polar bear. The film revolves around the “Red One”, aka Santa Claus, who has mysteriously been kidnapped. It’s up to the unlikely duo of the North Pole’s Head of Security (Johnson) and an infamous bounty hunter (Evans) to rescue “Red One” and, more importantly, save Christmas in this jingle-all-the-way comedy.

Wicked
November 22

Dive into the untold story of Oz’s most infamous witches in Wicked. This Broadway-to-film adaptation stars Cynthia Erivo as Elphaba, the misunderstood green witch, and Ariana Grande as Glinda, the bubbly good witch. It takes you back to their days at Shiz University, where their unlikely friendship blossoms. Watch as the events that lead to their infamous roles in the Land of Oz unfold. Directed by Jon M. Chu, “Wicked” promises a spellbinding journey filled with powerful performances and stunning visuals, revealing that there’s always more to every story— even in Oz.

Gladiator II
November 22

Step back into the grandeur of ancient Rome with “Gladiator II.” Directed by Ridley Scott, this long-awaited sequel arrives 24 years after the original film’s release, reigniting the epic saga. Paul Mescal stars as Lucius, the grown-up nephew of Joaquin Phoenix’s Commodus, with Connie Nielsen reprising her role as Lucilla and new additions including Denzel Washington and Pedro Pascal. The film explores profound themes of revenge and redemption as Lucius embarks on a journey to seek justice for his family, following in the legendary footsteps of Maximus. With breathtaking battle scenes and a gripping storyline, “Gladiator II” is expected to supersede its cinematic predecessor and impress longtime fans.

Queer
November 27

Ever feel like an outsider in a strange new world? Queer dives into that feeling through the eyes of Bill Lee, played by Daniel Craig, who flees to 1950s Mexico City. Directed by Luca Guadagnino, this film explores Bill’s obsession with a younger man, Allerton (Drew Starkey). With its haunting visuals and complex emotional landscape, Queer is a gripping exploration of longing and identity in a world that often feels alien.

Moana 2
November 27

For the highly anticipated sequel, Moana (Auli’i Cravalho) and Maui (Dwayne Johnson) set sail on another daring quest on the Pacific waters. Joined by a new crew, they must lift a curse to restore harmony to their people and confront unknown dangers head-on. Directors David G. Derrick Jr., Jason Hand, and Dana Ledoux Miller ensure another epic voyage filled with more action, mythology, sing-alongs, and everlasting friendship.

Maria
November 27

“I share a certain loneliness with Maria Callas, stemming from our work ethic,” Jolie tells People magazine about leading her role in the Pablo Larraín-directed biopic. Starring as the opera diva herself, Jolie returns to the silver screen as Calas in her final days in 1970s Paris, capturing the complexities of her life and career. The acclaimed Venice Film Festival entry also concludes Larraín’s award-winning “Lady with Heels” trilogy of female-led biopics, following Jackie (2016) and Spencer (2021).

November is shaping up to be a can’t-miss month in music, with powerhouse comebacks, genre-bending risks, and long-awaited debuts flooding the scene. Country hotshot Ella Langley closes her “hungover” era with a rock-leaning deluxe surprise, while BTS’s Jin debuts his first post-service solo album, “Happy”, with a highly anticipated collaboration with Red Velvet’s Wendy, to hype the record’s pop-rock production. Meanwhile, K-pop’s next-gen girl group, Babymonster, steps out of Blackpink’s shadows, ready to give YG Entertainment a new hip-hop magnum opus to solidify their “leader” status among the fifth generation of idols.

On the indie front, Poppy’s “Negative Spaces” plays an experimental twist on metal, and The Cure is back, delivering what may be their “gloomiest” album yet in “Songs of a Lost World”. For longtime alt-pop fans, 070 Shake’s introspective “Petrichor” balances raw emotion with club beats. Adding to the excitement, Sky Ferreira makes her long-awaited return with “Leash”, a post-disco gem featured on the promiscuous Nicole Kidman-led “Babygirl” film and promises the moody allure fans have missed.

After joining forces with Lana Del Rey for a performance of “American Jesus” at Alabama’s Hangout Music Festival, former TikTok starlet Nessa Barrett dives deeper into her “la di die” gothic pop repertoire with new favorites “Dirty Little Secret” and “Passenger Princess”, which precedes her highly-personal and angsty sophomore album, “AFTERCARE”. Additionally, Gwen Stefani is back with her fifth full-length effort, “Bouquet”, where the OG “Hollaback Girl” embraces yacht rock nostalgia on her Nashville-recorded and consciously “not country” album.

Latin music fans are also in for a treat as Rauw Alejandro’s “Cosa Nuestra” explores his Puerto Rican roots with a mix of reggaeton, Afrobeat, and salsa. Meanwhile, St. Vincent nods to her strong fanbase in Spain and Latin America with “Todos Nacen Gritando”, a Spanish-language reimagination of her 2024 release.

“Eternal Atake 2” by Lil Uzi Vert
November 1

After restarting his Instagram, Uzi revealed an eerie new album cover featuring humanoids with fixed pink-eyed smiles— though, given the sci-fi teaser, “human” might be a stretch. The intergalactic sequel to his acclaimed 2020 record boasts 16 fresh tracks and is expected to continue the original’s lo-fi and Chicago drill soundscapes, with more infectious Lil Wayne-esque cadence. Uzi’s space-bound era will expand on the notion that the blinged-out rapper “mysteriously vanished” to “fulfill a long-awaited prophecy.”

“Still hungover” by Ella Langley
November 1

Ella Langley ends her debut full-length“hungover” era with the four new deluxe tracks that bookend her Alabama honkey-tonk nack of classical country and signature rock flare, best seen on her standout duet with Riley Green, “you look like you love me”.

“1st FULL ALBUM [DRIP]” by BABYMONSTER
November 1

With Blackpink aging into solo ventures, their hip-hop predecessors made waves for their unoriginal “BATTER UP” debut. However, the rare sighting of a rookie group releasing a full-length project is a second chance to prove that BABYMONSTER’s K-hop is one-of-a-kind. Their pre-single, “FOREVER”, is a brave step forward with whimsical elements mixing seamlessly with the group’s rap forte.

“Restless Mind” by Sam Barber
November 1

Ever since the 2022 folk masterpiece “Straight and Narrow”, Barber has been a spectacle of social media success, willingly or not. His forthcoming project is a testament to that craziness, with his trademark rough Hank Williams-akin vocals painting a drab portrait of a small-town life lost to the big leagues in search of home. “‘Restless Mind’ is the culmination of my whole music career,” the independent country sensation shared on social media upon the album’s announcement. “Every day off from touring I had in the past year, I spent my time writing and recording Restless Mind. I never imagined my debut album would be 28 songs[…]”.

“HAUTE COUTURE” by MISAMO
November 6

With the new cover of Namie Amuro’s 2008 hit “NEW LOOK”, the TWICE subunit, consisting of Mina, Sana, and Momo, prepares for their sophomore Japanese mini album. According to JYP Entertainment, the fashion-focused project will center around how haute couture dresses are made by the hands of fashion masters, as seen in the “New Look” music video’s nostalgic nod to 60s supermodel Twiggy and more modern-day motifs.

“over my head!” by Rain from Heaven
November 11

The second single off NYC-based vocalist Isabel Vazquez’s debut project for Rain from Heaven fits right into her “petra-core” color palette of grunge, dream pop, and electro-folk— all hallmarks of filmmaker Petra Collins’ work. “Over my head!” is addictive at best with its haunting ambiance, propelled by a psychedelic romance with lo-fi synths, crashing jungle drums, and an eerie early-2000s R&B-inspired hook.

“AFTERCARE” by Nessa Barrett
November 15

Despite scrapping her initial jazz-influenced sophomore album, the former TikTok sensation has always faced her demons through music, and the newly-reinvented “AFTERCARE” is no exception. She told Notion that the new project explores “all of the vulnerable and raw emotions that come with love, sex, and its aftermath[…]. Sex is something that has always been taboo and uncomfortable for me, but making this album healed that.” From singles like “PASSENGER PRINCESS” and “DIRTY LITTLE SECRET”, Barret keeps the alternative angst alive across all fifteen tracks, including a dance-driven collaboration with Tommy Genesis.

“Access All Areas” by FLO
November 15

Since winning the 2022 BRITs Rising Star Award, the London girl group dished out one R&B hit after another (including this year’s iconic “Walk Like This”, “Caught Up”, and “Check”) without a hint of full-length project… until making a long-overdue announcement in August. “’Access All Areas’ is a labour of love”, the group said in a statement, highlighting the project’s themes of love and life as young Black women. “To us it represents our growth and dedication to making girl group history, to making a project we are truly proud to call our debut album.”

“Bouquet” by Gwen Stefani
November 15

In a Rolling Stone interview, Gwen Stefani clarified that her upcoming album, “Bouquet”, is “not a country record” despite recording it in Nashville. Instead, her fifth album is inspired by ’70s pop-rock and “the music I listen to now”, per a newer interview with People magazine. Reflecting on her childhood influences, Stefani explained, “It’s all the stuff I listened to in the station wagon on the way to church,” including what’s now called yacht rock. She described Bouquet as “one big statement,” with each song “handpicked with meaning.”

“Songs Of A Lost World” by The Cure
November 15

The “Just Like Heaven” rockers have a certain acclaim to live up to with their first album in 16 years. With the smoky promo singles “A Fragile Thing” and “Alone”, frontman Robert Smith delves deeper to make their “gloomiest” album yet, delivering the group’s signature lush mixture of melancholic, haunting melodies with truth-saying vocal takes harboring both love and loss, questioning if The Cure ever left work their 1980s heyday.

“From Zero” by LINKIN PARK
November 15

Marked as a return to their nu-metal roots. From Zero is the rock band’s first album since 2017, enlisting new co-vocalist Emily Armstrong and drummer Colin Brittain, who joins following founding member Rob Bourdon’s departure. On his podcast, Mike Shinoda called the band’s dynamic “easily the best culture we’ve had” and promises a fresh chapter in their legacy.

“Negative Spaces” by Poppy
November 15

Being an off-kilter tastemaker is Poppy’s game, but metalheads have denied the platinum blonde from entry since last year’s controversial “Zig” record. Though, she never minded the backlash; in fact, she died her hair black and is digging deep on her new record, “Negative Spaces”, which champions her earth-shattering screams as she journeys through indie and electronic melodies, featuring a genre-blurring spectacle of metal, synth-pop, and ’80s retro-futurism across the new singles “the cost of giving up”, “new way out”, and crystallize.”

“Happy” by Jin
November 15

As the latest BTS member due for a solo moment, the six-track debut marks Jin’s first movement since his return from mandatory military service in June. Jin’s much-anticipated pop-rock sound was first previewed with the uplifting pre-release “I’ll Be There,” the upbeat lead single “Running Wild”, and soon-to-be and swoony collaboration with Red Velvet’s Wendy on “Heart On My Window”, mirroring the hyung’s journey toward authentic happiness.

“Beethoven Blues” by Jon Batiste
November 15

Following his Grammy-nominated album, “World Music Radio”, John Batiste continues to defy genre labels with the forthcoming “Beethoven Blues (Batiste Piano Series, Vol. 1)”– a reinterpretation of Beethoven’s classics through a blues-infused lens. The lead single, “Für Elise-Batiste,” showcases his spontaneous composition style, with Batiste stating, “Recording this album was a deeply spiritual experience[…] bringing [Beethoven’s] work into dialogue with my own creative journey.”

“Cosa Nuestra” by Rauw Alejandro
November 15

“I’m going to the roots,” the Puerto Rican reggaeton star tells Billboard about his new record, emphasizing that Afrobeat is still alive and well in “Cosa Nuestra”. However, he promises to celebrate his Puerto Rican heritage while pushing creative boundaries by incorporating funk, disco, and salsa, which take center stage in the spicy album teasers “Touching the Sky” and “Déjame Entrar”. As a testament to his cultural heritage, this project will incorporate live music, a career-first for Alejandro.

“Todos Nacen Gritando” by St. Vincent
November 15

St. Vincent is giving her guitar-rock “All Born Screaming” album a Spanish-language makeover, now titled “Todos Nacen Gritando,” thanks to her Spanish-speaking fans. Reflecting on the experience, she stated, “Music is not separated from life in Latin America. In the United States, everything is commercialized[…] But in Latin America, music is life itself.” In addition to the now-translated standard tracklist, the new version features the slow-burning head-banger “Pulga,” highlighting music’s integral role in culture.

“Petrichor” by 070 Shake
November 15

070 Shake’s “Petrichor” is set to deliver an intense, emotional palette that balances introspection with a sharp club edge. The lead single, “Winter Baby / New Jersey Blues,” drifts from brooding melodies into pulsating 808s, merging heartfelt grit with undeniable rhythm. Shake’s latest chapter is bolder and deeper— her most uncompromising work yet.

“Leash” by Sky Ferreira
November 22

When the Nicole Kidman-led “Babygirl” landed at the Venice Film Festival, moviegoers didn’t expect to hear this Tumblr It girl on its soundtrack, much less with a new song that many are saying is a sister to 2022’s synth-rock single “Don’t Forget”. Although free from her contract at Capitol Records, the release date for “Leash” is yet to be confirmed, but we would love to see this OG sad girl win again.

Dominic Ciambrone has always been in motion: previously known as “The Shoe Surgeon” and now simply Surgeon, Ciambrone has carved out a unique space in the fashion world where niche craftsmanship and imagination personified collide. “As a kid, I didn’t know what I wanted to do,” he reflects. “I started creating because it was for me. It fulfilled something within me.” His journey is a manifestation of both passion and persistence. What began as a hobbyist pursuit of personalizing his own pair of sneakers turned into exponential and large scale growth. Throughout two decades of consistent perseverance, people began to notice his body of work. Ciambrone’s work today is synonymous with exclusivity, bespoke design, and artisan quality. From custom sneakers in collaboration with Nike and Lebron James to Reese’s candies cleats, the client list of high-profile companies, celebrities, and athletes who seek out the Surgeon’s expertise is seemingly never-ending. It’s not only making shoes or building a brand, but authoring a legacy that includes as many peers as possible.

Ciambrone may be a larger-than-life persona in the world of star athletes and sneaker customization, but in conversation he’s personable, sensitive, and deeply caring. His work isn’t just about shoes; it’s about crafting stories and experiences that resonate on an individual level. There’s an undeniable ethos behind everything he does—a genuine desire to inspire his fellow man. Despite his success, he remains grounded, never far from his roots as a kid who loved to play with pieces and build something whole. He’s as much a mentor as he is a creative icon, and that shines through in his lived approach. From having a basketball court available to the public, to sneaker scholarships in addition to customization courses in vegas, la, ny; one of the most telling aspects of Dominic’s character is his care for others and devotion to the community around him. Even his son and daughter, Emil and Celine frequent the Surgeon headquarters, to observe and to play. “Would you say there’s any limits Emil?” Dominic asks Emil. “No, there is no limits,” Emil replies, “You tell me all the time.”

A few years ago, after going through a difficult separation, Dominic found himself rethinking his life and reconnecting with things that had once made him feel alive. He took up tattoos, studied welding, and even returned to one of his old passions—motorcycles. These activities were meditative hobbies; a way of rediscovering himself. “I started doing things for me again,” he says. “Not because someone else told me to, but because I wanted to.” This balance of personal fulfillment and creative ambition is the heart of everything Ciambrone does. His designs have become a mix of rugged authenticity and refined artistry, blending commercial fashion with street culture in a way that feels true to his identity and mission. Amidst a 60 million dollar lawsuit (confusingly from past and current collaborator Nike), navigating co-parenting and personal loss, and overseeing an entire production company and facility, Dominic is at once anxious and inspired to put out his first ever Ciambrone brand apparel collection.

For this new undertaking, Ciambrone draws inspiration from varied and unexpected places. During a year-long period helping his grandmother move from Houston, Texas to Charlotte, North Carolina, 18 year old Dom ran into a shoe customizer who had painted the cleats for the Carolina Panthers Super Bowl. “It opened my mind to a whole new world,” Dom recalls. “Like if that’s possible, then more is possible”— a canon event in the lore. Dom recounts seeing rattlesnake skin for the first time, watching hand tooling, and learning about shoe repair and veg-tan leather. The Surgeon of today has since made cleats worn for Super Bowl touchdowns and the shoes for Super Bowl halftime shows. “You know, full circle,” Dom says. Attending a professional bull-riding event in downtown Los Angeles was another riveting spectacle complete with joyous fanfare. “I want to do a fashion show there, on dirt, with real cowboys,” he says with a grin. “What I’m doing is creating this whole world— from sound to scent to aesthetics.” For the collection, Ciambrone is developing a signature scent of tobacco and rose to represent the concurrent duality of beauty and grit. “I call it ‘Cowboy fucks a model’.”

Dom was never content with simply making a piece for the showroom. Even as a child, Dom’s childhood backyard forts weren’t pillow and blanket tents but two-story establishments. As a high school student, Dominic didn’t just reorganize his clothes, he rebuilt his closet to fully rotate on a vertical axis, lazy-susan style. “I used to watch my neighbor, who was a contractor, build houses,” he recalls. “I was always building and creating.” Today, those early moments of experimentation shape how he approaches the art of custom footwear. His obsession with making is deeply rooted in his experiences— his shoes aren’t just products; they are masterpieces born from the same drive that fueled his childhood projects. He still sees himself as a builder, whether it’s designing a pair of sneakers, rearranging the composition of his tattooed body art, or dreaming up new visions on the horizon that merge his many passions. His innate thirst for subverting convention pushes him to dream bigger, better, further— an entire world, where art, fashion, and function flow together in seamless harmony.

As Dominic continues to expand his brand, his focus remains on personal fulfillment while exploring the limits of what’s possible. Whether it’s opening a restaurant inspired by his Italian heritage or experimenting with music, his ambition continues to grow. “I’m 38 now and I feel part of me feels very young and there’s another part of me that’s starting to feel older. So it’s like, if I don’t do it now— when?” He dreams of building a physical place to inhabit his world; a space that reflects his holistic approach to creativity. “Imagine a warehouse where you can live and create,” he says. He envisions a hybrid living space— a massive multi-story “fort,” if you will— where work, art, and life converge. A café window “where [Emil] and his sister could work”; a series of studios: metalworking, woodworking, shoe-making, ceramics, printing; a vast and mirrored pool and a skatepark for good measure; an community environment where he and others could live and breathe their art, and inspire others to do the same. “It’s about building something meaningful, something that’s an extension of who I am,” he explains.

Dom’s willingness to embrace uncertainty and all the possibilities, including “failure,” has become one of his defining characteristics. “You have to mess things up,” he says. “That’s how you learn.” It’s this fearless attitude that has earned him a reputation not just as a designer but as an entrepreneurial visionary, unafraid to challenge industry norms and pursue new ideas with relentless curiosity. His work is always evolving. “I think it’s just getting it done and out and then seeing what magnetic forces come from it,” he says, “I know that anything I put my energy into will prove itself.” His creativity is his constant process of reinvention; a continuous thread of experimentation and innovation. For Ciambrone, success isn’t measured by fame or fortune but by the ability to inspire others—from his childhood backyard to revolutionizing the sneaker industry with bespoke customs, Dominic’s life has been designing, building, and innovating on his own terms.

Whether he’s reshaping sneaker culture or dreaming of a new Ciambrone world, his design journey is illustrious yet far from complete. Unconfined to a single medium or phase of life, Dominic Ciambrone’s legacy is still being built one meticulously crafted sneaker and visionary project at a time. It’s an evolution of passion and the freedom to constantly reinvent yourself— it’s a long road home but life is electric, so don’t forget to live it.

His work constantly reflects this mix of influences, blending traditional and unconventional elements to create something entirely new.

Supplied with a comprehensive glimpse into the seductive landscape of style, the fashion designers recently unveiled for the upcoming year was a rare treat. Across New York, London, Milan, and Paris, designers unveiled collections like they do twice (or thrice, or four times) a year, every year. Luxury and streetwear enmesh and intertwine, inclusivity reigns supreme, and classic motifs are subverted and re-established in tandem. From innovative collaborations to tactile designs, the tailoring artists put on display visions and stories that teach us what to wear and show us what we have yet to discover. Let’s dive in to consider these new vestiges of beauty and study the consumer shifts in aesthetic that define culture.

Body Becomes the Canvas and Transparency is on the Rise as Designers Embrace Sheer Fabrics and Treatments

This season, sheer and see-through fabrics took center stage, with designers across the board using transparency to highlight the natural beauty of the body. Simone Rocha and Alain Paul embraced the simplicity of the see-through quality with a more straightforward application while designers like Di Petsa and Victoria Beckham took more particular approaches, manipulating their fabrics into bold drapery in their respective styles and blending elegance with sensuality. AVAVAV and Fiorucci added an element of playfulness with their more avant garde and exaggerated designs, using transparency to push boundaries— creating illusions and highlighting playfulness.

At Vivienne Westwood, models strutted in delicate but understated knit ensembles that were provocative with an ease. At Alaïa, monotone sheer looks blurred the line between clothing and body, allowing the human form to become part of the design itself. Grace Ling layered barely-there mesh to create gowns that both sectioned and accentuated the body. The emphasis on transparency reflected a broader exploration of body positivity and self-expression. This sheer trend underscores the ongoing evolution in how designers engage with the body, turning it into a canvas for self-expression and elevating the act of wearing as well as seeing into a more intimate, personal experience.

Classic Tweed Finds New Life and Belted Construction Gains Momentum As the Season Pays Homage to Classic Chanel and Margiela Motifs

The classic Chanel tweed jacket received fresh interpretations from several designers this season, with Anna Sui, Giambattista Valli, and Celine leading the charge. While tweed has long been a symbol of timeless elegance, Anna Sui brought the traditional tweed jacket into a more whimsical and casual sphere. At Giambattista Valli, the tweed jacket was given a feminine and traditional treatment, while Hedi Slimane at Celine brought a minimalist and polished approach in his celebration of vintage French icons, presenting the iconic skirt suit as versatile, adaptable, and timeless.

At the same time, Maison margiela’s influence could not be ignored: sunburnt accessorizing and printing at Di Petsa were reminiscent of Margiela’s debut show while “belted” dresses echoed his belt creations from 2006. Designers like Who Decides War and Noir Kei Ninomiya used belts for full construction, creating a bandage dress and statement jacket. Hodakova took a more minimal approach; the LVMH prize winner Ellen Hodakova Larsson pieced together a white leather belt dress for her entirely sustainable collection. Ludovic de Saint Sernin gave the belted look a darker and edgier twist, with eyelets and leather lacing adding structure and sensuality. Luis de Javier showed a maxi skirt deconstructed with looping strips of white snakeskin while Balmain illuminated a structured dress with white, beaded bands— trimmed with chain piping, of course.

In the Aftermath of Demure, Labels like Luar, Alaia, and Rick Owens Elevate Hoods for a Silhouette that Makes a Statement

Head coverings emerged as a pronounced trend this season, whether as a nod to the casual hoodie or referencing religion and culture. At Luar, Alaïa, and Off-White, the showcased hoods were a beyond-sleek version of their usual sweatsuit ancestors; nearly unrecognizable and thoroughly chic. At Rick Owens and Giambattista Valli, the veiled effect proved that covering the head has an undeniably substantial artistic impact. Issey Miyake’s model, cloaked in an all-white shroud, took on an almost sculptural quality with their face as well as their head and body all covered at once. These pieces speak to a broader exploration of art and expression, with head coverings being both cultural symbols and statements of personal identity.

In the Wake of the Elevated Streetwear Generation, A Tsunami of Collaborations Overtakes the Luxury Brand Space

Elevated streetwear has been swept up by a wave of high-profile collaborations, and it shows no signs of slowing down. The Martine Rose x Supreme and Vivienne Westwood x PALACE capsule collections epitomized partnerships that marry high fashion and street culture. Collaborations like these aim to emphasize where the two brands’ values intersect, resulting in the formulation of unique fusions— London culture, unexpected classics, and menswear for Martine x Supreme and punk rebellion, skate aesthetics, and haute couture for Vivienne x Palace. Furthermore, brands like Loro Piana collaborating with New Balance re-set the tone for how ultra-high-end brands could reach across stratospheres to tap into the world of the accessible and the practical, united by a focus on functional and long-lasting products.

Collaborations like Heliot Emil x Alpinestars and Cecilie Bahnsen x North Face further demonstrated how luxury brands are catering to an increasingly fashion-conscious activewear consumer. Japanese brand Beams redefined Crocs, adding a miniature leather jacket facade to the classic sandal. Nike x Supreme merged Nike’s performance-driven ethos with Supreme’s edgy, street-savvy branding while Supreme and Thrasher collided to blend skate culture with Supreme’s flair for exclusivity. Nigo, the visionary behind A Bathing Ape and certified godfather of streetwear, for Nike was a dream come true for streetwear aficionados. Bringing his distinctive aesthetic of retro vibes and contemporary streetwear cool, collaborations such as his continue to shape the landscape of street fashion, proving that when two brands come together, the hype— and creativity— soars.

Leadership Shifts and Strategic Departures Signal a Changing Landscape

Sarah Burton’s appointment as creative director at Givenchy marked a significant moment for the brand, as Burton is expected to bring a fresh vision and practiced hand, tenured by her celebrated work for Alexander McQueen. Her appointment also marks a rare female head at a heritage brand. Other notable moves included Haida Ackermann taking the helm at Tom Ford— an exciting succession as Ackermann is known for his innovative approach to tailoring. James Jebbia’s new role at Ralph Lauren indicated a strategic change aiming towards broadening Ralph Lauren’s appeal across generations and fashion sectors. Meanwhile, Glenn Martens’ departure from Y/Project left many speculating about the brand and Martens’ future direction. These moves underscore how the business of fashion is constantly evolving, with new eyes and hands bringing fresh perspectives to established houses. The industry also saw shake-ups with LVMH’s decision to sell Off-White, signaling a shift in the luxury conglomerate’s strategies.

Thus Concludes This September 2024 Filled with Tradition, Innovation, and Key Industry Shifts

Recent shows highlighted the industry’s deepening connection to both heritage and innovation. Industry adjustrments and leadership changes suggest a fashion world on the cusp of exciting transformations, with creativity and business evolving interdependently. Through sheer fabrics, age-inclusive casting, head coverings, and the reinvention of classic silhouettes, the collections celebrated what we love and gave us new and old things to excite. Designers paid homage to the icons of fashion history while simultaneously exploring new ways to express identity, inclusivity, and craftsmanship.

October is the music industry’s gift that keeps on giving. It’s the time when artists are ready to release their “most personal project yet” and jet all over North America before the winter season freezes the tour routes. Well, this notion would exclude Blackpink’s ROSÈ as her debut album, “ROSIE”, is out December 6 following her new distribution deal between THEBLACKLABEL and Atlantic Records. With the incoming releases of LISA (“Moonlit Floor”) and JENNIE (“Mantra”), the solo activities of all Blackpink members are pretty much known now, except for JISOO, who penned a deal before everyone else.

While JENNIE’s “pretty girl” comeback is a canon It girl event in the making, Shawn Mendes’ return to music after a four-year mental health break is flying too under the radar for comfort, especially when album excerpt “Why Why Why” sounds that good. Machine Girl’s comeback was expected as the New York City duo steadily released deconstructed rave bangers over the years, but the first listens of “Until I Die” and “Motherfather” allude to a cleverly dark melodic comeback unlike their past work. Similarly, Charli XCX takes to the hyperpop stage for one last hurrah for her long-awaited remix project for “Brat”, with Bon Iver, Bladee, Tinashe and Shygirl as the recently announced A-list features thus far.

This season, Bree Runway and GloRilla are holding down the hip-hop front with bar-for-bar double and triple entendres that will get the hot girls feeling like it’s summer all over again. October is also a big time for indie acts, with MUNA’s Katie Gavin leading the pack with her stripped-back, back to basics masterpieces on “What A Relief”. However, Lizzy McAlpine‘s breathtaking acoustic honesty will always be a close second place. Halsey’s genre-shifting album, “The Great Impersonator”, and Country superstar Jelly Roll’s “Beautifully Broken” are also projected to be huge wins for the culture.

Ahead, explore other buzzing music releases coming this October and get to know a few rising stars in the process.

“Shawn” by Shawn Mendes
Releases on October 18

The “Señorita” singer makes his long-awaited return to music after nearly five years and one canceled tour, now to release his self-titled fifth album. With Zach Lowe, Mendes said, “2 years ago, I felt like I had absolutely no idea who I was. A year ago I couldn’t step into a studio without falling into complete panic. So to be here right now with 12 beautiful finished songs feels like such a gift.”

“Every Night Fantasy” by Omar Rudberg
Releases on October 18

After signing with Elektra, the Venezuelan-Swedish “Young Royals” star has released music worthy of the “pop’s next It boy” title. Stepping into a more mature image following 2022’s debut album, Redberg prepares for his debut EP, with an accompanying sold-out tour thanks to candy-lacquered tracks like “Red Light” and “Talk” released earlier this year.

“The Epilogue” by Dean Lewis
Releases on October 18

I feel like it’s the culmination of a sound I’ve tried to create over the last seven years”, the “Be Alright” singer-songwriter says about his junior effort, an intimate treasure trove of stand-still confessionals and acoustic-driven romance.

“Music For People Who Believe In Love” by Joe Jonas
Releases on October 18

Fifteen years after his debut solo record, “Fastlife”, Joe Jonas is now a father and ready to birth his sophomore album. During his episode of “Therapuss with Jake Shane”, Jonas shared that this album is “the most personal music [he’s] ever put out” and is both sonically and lyrically “all over the place”, featuring “real beautiful ballads” and songs about fatherhood, love, and self-betterment.

“Fantasy” by JADE
Releases on October 18

Out of her contemporaries, Jade of Little Mix has been accepted by the “brats” of the world, with “Angel of My Dreams” sounding like the long-lost sister to Addison Rae’s “Diet Pepsi”. Since releasing “Midnight Cowboy”, co-written by RAYE, Jade’s next single continues her glittery foray into house music.

“MG Ultra” by Machine Girl
Releases on October 18

The New York City electronic hardcore duo have announced their sixth studio album and their first in half a decade, and share the “sad” news that it’s a bit more polished compared to their apocalyptic and cathartic punk work seen on the gritty 2014 debut “Wlfgrl”.

“The Gift Of Love” by Jennifer Hudson
Releases on October 18

Gospel-singer-turned-TV-host Jennifer Hudson is gearing up for her first album in 10 years, which happens to be her first-ever holiday album, which features seasonal classics like “O Holy Night” and “Winter Wonderland,” along with original songs such as “Almost Christmas,” featuring Grammy Award-winning rapper Common. The album was executive produced by Ryan Tedder, and it includes collaborations with notable producers like David Foster and Kirk Franklin.

“Tension II” by Kylie Minogue
Releases on October 18

The iconic Grammy-winning Aussie’s sequel to her chart-topping sixteenth album features nine fresh dance-ready anthems with features from The Blessed Madonna, Orville Peck, Bebe Rexha, Tove Lo, and Sia.

“Assembling Symbols Into My Own Poetry” by Alice Longyu Gao
Releases on October 23

“I have a fountain inside of my heart, and that’s where my art is coming from. It was blooming for many years until it had a drought,” the Chinese-born visionary storyboards the end of her debut trilogy. Her recent tastemaker with Danny Brown, “Bird W/O Nest”, is a tame version of Gao’s trademark neon Harajuku-styled hyperpop, but the tender ballad slowly unfurls with explosive mood-shifting feelings.

“The Great Impersonator” by Halsey
Releases on October 25

Described as a “confessional concept album,” Halsey’s fifth effort delves into themes of time and fate, posing intriguing questions about identity and how Halsey would navigate different decades as an artist. Beyond her recent genre-bending singles like modernizing Britney Spears’ “Lucky” with the harsh realities of Halsey’s recent Lupus diagnosis, filibustered by the sharp-tongued rocker “Ego”, she took to Instagram to say she made the record “in a space between life and death”.

“What A Relief” by Katie Gavin
Releases on October 25

After 11 years exclusively with indie-pop band MUNA, frontwoman Katie Gavin will release her debut solo record via Phoebe Bridgers’ music label, Saddest Factory Records. Gavin described the bluegrass lead single, “Aftertaste”, as“Lilith Fair-core,” while viewing predecessors like Alanis Morissette, Fiona Apple, and Ani DiFranco as a “North Star” for the album as it journals the obstacles that come with finding meaningful connection, even patterns of boredom and isolation.

“Mirror Starts Moving Without Me” by Pom Pom Squad
Releases on October 25

Frontwoman Mia Berrin introduces fans to “mirror world”, the next evolution of the Brooklyn-based indie rock band. Featured singles “Downhill” and “Spinning” zero in on the band’s signature edgy grunge with introspective conversations about identity, ambition, and self-destruction.

Sean Ellmore is the furthest thing from a starving artist; if anything, after working with the world’s biggest stars, he wants more. “I see myself as a paparazzi with a paintbrush,” the now LA-based illustrator tells Beyond The Pines about his portraits– a mixture of pop culture milestones and a travel-sized Winsor and Newton watercolor palette– which can be seen covering (one of) Miley Cyrus’s glam room walls in an Architectural Digest feature from 2020. Though Cyrus is a recurring customer of Ellmore, the 28-year-old has also worked with the likes of Doja Cat, Charli XCX, Lorde, Kim Petras, and once received a funny commision request from Chrissy Teigen.

“She [Teigen] commissioned me to create this hilarious piece of Reba McEntire and a baby elephant hugging, holding wine glasses,” said Ellmore. “It was an inside joke between her and her friend Yashar Ali. Chrissy had it printed on a dinner plate, and that was one of the weirdest commissions I’ve ever had.”

However, Ellmore is better known as TikTok’s pop culture encyclopedia under @seansartaccount, with his informative paint lessons attracting nearly 500,000 followers and millions of likes. Whether he wants to recreate a professional photograph or put his own spin on a low-quality 2000s TMZ scene, his game is mastering the iconic, making sure people know that Justin Timberlake did not directly apologize for ripping off Janet Jackson’s chest plate during the Super Bowl XXXVIII halftime show. Ellmore’s secret weapon, a black blow dryer, also makes numerous cameos, which caps his entire painting process to just over an hour.

“I’ve always loved watching deep dives on literally anything. For example, so many iconic historic [read iconic] events came from Lindsey Lohan calling Paris Hilton the C-word, which is my favorite pop culture moment ever!” Sean details the origins of his Pop Culture Paint Lessons on TikTok. “I thought, ‘Why not paint it and tell the story behind it?’ No one else was doing that kind of long-form content on TikTok.

“The script and research came together really easily. When I posted it, the video got a million views within a few hours,” Ellmore continued. “People were like, ‘Oh, we love this.’ So I kept dusting off the pop culture history books for each video, and each one kept getting more views”. The ongoing series has attracted brands like the NFL, MTV, and Spotify to create similar content.

Ahead, Beyond The Pines catches up with the LA illustrator, delving into Ellmore’s personal inspirations, pop culture beginnings, and favorite celebrity happenings.

BEYOND THE PINES: What drove your interest in pop culture?

Sean Ellmore: I don’t know the exact moment, but I remember being very aware of Britney Spears during the “Blackout era” in middle school. I was so absorbed in the celebrity gossip of the Paris-Lindsay-Britney era and wished I was ten years older so I could actually be a part of it. I would see all the headlines and read the magazines in grocery stores or snoop on my parents’ computer to follow all the celebrity news. I’d look at sites like Perez Hilton and thought it was all so juicy. It’s weird that I was so young trying to figure all this out.

BTP: Has celebrity portraiture always been the focus of your art?

SE: I was really drawn to movies; my big thing when I was little was “Alice in Wonderland” and “The Wizard of Oz”. I would ask my mom and grandmother to draw things from those movies for me when I was two years old because I wanted to carry the pictures around. But they weren’t good enough, so I started doing it myself.

The first time I tried to take art seriously and learned how to shade things was in 2009. It was a portrait of Lady Gaga [from MTV’s Video Music Awards], and from then on, it’s basically been portraits. I never strayed away from that.

BTP: How do you go about selecting reference images for your paintings?

SE: Sometimes I’ll see a picture and immediately know, ‘That’s it.’ Other times, especially with older moments like from the early 2000s, there might only be low-quality photos or videos, so I have to create my own version. I’ll take reference photos of people’s faces and recreate the scene using different elements. I try to pick the most famous or recognizable image when it’s a more iconic moment. But there’s not always a rhyme or reason—I just know when I see it.

BTP: Can you walk me through your art process from start to finish?

SE: I always start by sketching on my iPad because if you sketch directly on watercolor paper and erase, it ruins the surface. I transfer the sketch to watercolor paper using my computer screen as a lightbox. Then, I start with a base layer of pink or red tones to lay down the shadows. After that, I build up the flesh tones layer by layer.

I don’t mix colors on a palette; I mix them directly on the paper. I also use a travel watercolor palette because I hate using tubes and mixing colors. I use a blow dryer between each layer to speed things up because I’m very impatient. Once I’ve finished the painting, I scan it and digitally add highlights to make it pop more.”

BTP: Who have you enjoyed working with most?

SE: Miley will always be a favorite. Her projects are always fun and random. One of my favorites was also Charli XCX: I did a bunch of work for her “How I’m Feeling Now” (2020) album and booklet. That was super cool, especially since we got close during the “Pop 2” era.

Another favorite was Chrissy Teigen. She had me paint this bizarre illustration of Reba McEntire and a baby elephant hugging as a joke for her friend Yashar Ali. That commission was hilarious because it was printed on a dinner plate.

BTP: How did your friendship with Miley Cyrus begin, and how did it lead to the wallpaper in her bathroom?

SE: I’ve been a Miley fan since the first episode of “Hannah Montana”. When I started getting into art, which I’ve always done, I started getting into fan art, specifically drawn to painting her. I would always do art from the “Bangerz” era and post it on Twitter. Many Miley fans and big fan accounts would repost it, but I never got her attention. But all of her fans followed me and were like, ‘Make prints, and we’ll buy it,’ so I started making money from it. I got invited to Miley’s events, and all of her team knew who I was. In 2019, she finally started liking my stuff, and I was like, “Oh hey, finally! After ten years!”

Then COVID happened, and she reposted one of my paintings on her Instagram story. I had open DMs with her, and when she was doing her “Bright Minded” live show on Instagram, she posted that she was looking for artists and animators to collaborate with for the intro. I sent her a DM with animations I had made of her before, and she responded with, ‘Holy shit, this is amazing!’ Then she followed me, asked for my email, and hired me to do some work.

She later asked me to create wallpaper for her house. She wanted it to feature every iconic hairstyle she’d had throughout her career, from “Hannah Montana” to “Plastic Hearts”. We collaborated, and I made 32 portraits for the wallpaper that was part of her house renovation for Architectural Digest. It was all very collaborative, and I got to play with so many details. I gagged when I saw the final result.

BTP: Is there anyone you’re still dying to work with?

Sean Ellmore: Lady Gaga is definitely on my list. She was the subject of my first fan art, so working with her would be a full-circle moment. I’d also love to do more work with Madonna. I’ve done some advertising for her, but I’d love to do something directly for her. I also love the whole pop music scene, so I’d happily work with any of the pop girls—except maybe Dua Lipa. I’d still do something for her if she asked, but she’s not at the top of my list.

BTP: What does pop culture mean to you, and what does it mean to capture it in your portraits?

SE: Pop culture is the ultimate escape. Growing up as a closeted gay kid in a small town in Pennsylvania, I couldn’t relate to people the way I wanted to, so I’d escape into the glamorous lives of celebrities and the fantasy lands of some classic films. Now, it’s crazy that I can walk into a room, and those people I once idolized can be there. It’s still an escape, but it’s also something that’s much more tangible now.
__

BTP: Have you considered opening a gallery in LA for a few months to showcase your work?__

SE: Yes, I’ve been talking about doing a solo show for a while. The issue is paying to frame and hang everything because I have around 300 paintings. I’ve done gallery shows before but want to do a solo exhibit with more locations. I’d love to have it in LA, then take it to New York, Philadelphia, and maybe other places. It’s something I’m super excited about.

October is the black sheep of cinema, where it’s too early for Disney’s year-end spectaculars and film festival favorites to be enamored by the public. Still, there are plenty of reasons to take a trip to the theaters. With the announcement of Lady Gaga’s self-proclaimed “six point five” companion album, “Harlequin”, it makes her starring role in filmmaker Todd Phillips’s “Joker: Folie à Deux” simply irresistible. Out of all of October’s scares, “Smile 2” is expected to be an audience favorite, with trending actress Naomi Scott commanding the screen.

Sometimes blood is a squeamish topic, though, in which “We Live In A Time” would be a smitten alternative with Hollywood favorites Andrew Garfield and Florence Pugh nose to nose in a decade-long whirlwind romance of love, loss, and rebirth. Even if Autumn isn’t a transformational time, it is just as vibrant, much like the Lego-ification of Pharrell Williams’ biopic, which guest stars the 51-year-old producer’s many A-list music collaborators in a “block by block” musical.

Ahead, spooks aren’t the end-all-be-all of this film roundup, so here are nine October releases coming to theaters (and streaming services) that span romance, music-driven storytelling, action, and, of course, horror.

Joker: Folie à Deux
Releases on October 4

Besides getting an eight-minute ovation at the Venice Film Festival, Todd Phillips “Joker: Folie à Deux” sees double the publicity thanks to Lady Gaga’s companion record, “Harlequin”, out September 27 because, as Gaga said during the film’s London premiere, “When we were done with the movie I wasn’t done with her.” The dark musical sequel finds Joaquin Phoenix reprising criminal Arther Fleck (better known as The Joker)— now in an asylum while he awaits trial— navigating his newfound love Harlequin (Gaga) and unearthing “the music that has always been within him”.

White Bird
Releases on October 4

Following the events of 2017’s Julia Garner-led “Wonder”, its heartfelt follow-up continues to expand on characters in R. J. Palacio’s best-selling collection of stories, namely Julian, who is struggling to fit in at his new school after being expelled for bullying Auggie Pullman. When Julian is visited by his grandmother (called “Grandmère”), the film transforms into a touching war drama about her attempts to escape Nazi-occupied France during World War II, saved by a boy she and her classmates once shunned.

Piece by Piece
Releases on October 11

Lego animates legendary recording artist Pharrell Williams’ life story— a first of its kind. The Lego-fied biopic enlists voiceovers from RIAA platinum and diamond-selling artists such as Jay-Z, Gwen Stefani, Kendrick Lamar, Snoop Dogg, Justin Timberlake, and more as the trendsetting icon produced many of their beloved radio hits.

We Live In A Time
Releases on October 18

Andrew Garfield and Florence Pugh front the bill on John Crowley’s latest romance, one that chronicles the past and present. A decade of young, foolish love, childbirth and family life, and an unforgiving diagnosis that changes everything.

Rumours
Releases on October 18

Cate Blanchet puts on her best German accent for this satirical political horror, executively produced by “Midsommar” director Ari Aster. On a mission to draft a statement on a global crisis, seven leaders of wealthy democracies find that tea time has been interrupted by zombies, who are conveniently mistaken for protesters by the French and German representatives. As more hilarious dangers (and witty comebacks) arise, the crew ventures into the woods in search of rescue.

Smile 2
Releases on October 18

“Aladdin” star Naomi Scott transforms into global pop sensation Skye Riley, who is touring the world when her grinning deceased friend haunts her reality. As fame heightens her traumatic dark past, Riley’s quest to “discover what hides behind the smile” becomes death-defying as the psychological smile horror turns into a physical fight for life.

Venom: The Last Dance
Releases on October 25

Marvel’s latest superhero victory comes with Tom Hardy reprising his role as both Eddie Brock and Venom one last time. The comedic anti-heros are on the run in the trilogy’s finale, and as their worlds close in, the duo prepares for an action-packed last dance.

Conclave
Releases on October 25

Following the thriller’s premiere at Telluride, Edward Erger’s “Conclave” has been praised for its witty, intellectual study of one the world’s most secretive and ancient events. After the pope’s unexpected death, Cardinal Lawrence overtakes the covert process of selecting the new Catholic figure. As 118 Cardinals gather from across the globe to cast their votes, Lawrence discovers that being holy doesn’t outbid ambition nor rivalry as a conspiracy threatens the Church’s sacred foundations.

Don’t Move
Releases on October 25

Long are filmmaker Sam Raimi’s “Spiderman” (2002) days. If anything, he returns to savage, low-budget horror films, a la “The Evil Dead” (1981), with a new twist. In this executive-produced project, a grieving woman battles a paralytic agent, only having 20 minutes to outrun, fight, and hide from a seasoned killer before her body shuts down.

I’m digging through the Sunday pile at Jet Rag on La Brea, a LA vintage stronghold. My gaggle of sapphic friends are contemplating their latest find: a stunning but dusty pair of boots; steel-toed, heavy, with buckles all up the sides. My mind wanders. They’re really motocross boots, for riding dirt bikes and motorcycles. The Rick Owens store next door, for example, has some shorts to match them: leather with an exposed zipper for a fly — another motocross detail. We compare finds in the car — an elaborate white petticoat, a slim black tie, a Bass Pro Shops t-shirt. These pieces, really cultural artifacts with historied functions, are referenced and cross examined on an operating table. Redrawn with a twist, they become Pharell’s Louis Vuitton, the new old Silverlake cool, September’s Grailed rare finds, sirens of the modern age, best-dressed on your Erewhon smoothie run. And do they make for a compelling dialogue between tradition and innovation? You be the judge.

An example of the fluidity of extant fashions where the lines between different types of attire—athletic, casual, formal—are increasingly blurred, athleisure has grown into familiar foliage in the American landscape. Originally designed for athletic performance, items such as leggings, zip-ups jackets now emerge as loungewear, as ready-to-wear and even in some cases, as evening wear. “Gorpcore,” for example, takes the “athleticism’ of athleisure a step further: inspired by the functionality of gear made specifically for the great outdoors. Imagine earthen primary colors, one thousand pockets, Yes, it’s perfectly mundane to wear your Arc’teryx on a date and your salomons to the trendiest of coffee shops.

Characterized by its embrace of practicality—think technical fabrics, multiple pockets, and weather-resistant materials, these details are a celebration of utilitarian design. But these qualities are embraced for more than just the functional; they are above all, “drippy.” Gorpcore reflects the desire for authenticity and for connection to the outdoors, even in urban settings. It says, “I’m so active sitting in this cafe right now,” or “the smell of rain and mulch is very appealing.” Whether the wearer actually enjoys the summitting of a mountain and how many hours they clock on a trail has been deemed irrelevant. It’s about the spirit of the thing.

Similarly, motocross gear has always been synonymous with extreme durability and bold stylization. Be it Louis Vuitton’s articulated texture trousers, or the rise of Alpine Reserve’s clout, or the casual wearing of riding and boxing boots in FIDM students’ fitcheck TikToks, extreme sportswear is undoubtedly encroaching upon classic “streetwear.” Inspired wearers are offered a sense of adventure and ruggedness, dirt bike and boxing experience irrelevant. Designers reimagine a cowboy— intricate stitching, luxurious materials, incongruous silhouettes.

Traditionally designed for life on the range— sturdy riding boots with spurs, hats wide-brimmed for the sun, durable denim reinforced by metal rivets at points of stress. The utilitarian design of Carhartts, Dickies, even denim itself as a textile, are rooted in the working-class ethos of durability and practicality. Once purely functional, denim and leather have long since become classic canvases, as neutral as muslin. These garments, once reserved for factory floors and construction sites, have been reinterpreted through the usage of the everyday non-laborer. Now central to both streetwear and high fashion, they retain the vintage, worn feel of legacy without sustaining a speck of dust. The ruggedness is emphasized yet softened with styling choices that make the concept of the clothes suitable for someone who does not own power tools, or in some cases, is far removed from the realm of everyday dress altogether, á la Diesel’s denim wedding dress.

Western motifs such as bandanas and bolo ties are now integrated into the wardrobes of many, offering a narrative on wild west traditions. This refocusing of cowboy culture through a perspective at once “gen z” and “heritage” not only pays homage to Americana roots, but also allows for an exploration of identity, particularly within the context of queer dressing. The fluidity of more recent cowboy-inspired expressionism disrupts the rudimentary play, making it a colorful statement. Workwear, originally designed for the rigors of intense manual labor, has evolved into a staple of the chic crowd. The rise of workwear reflects a societal shift that values the aesthetics of simplicity and practicality. Though derivative, these pieces maintain their functional appearance while being elevated as pieces whose only function is style. On the other hand, this movement resonates with the broader cultural movement of authenticity and sustainability, as consumers increasingly seek out clothing that is vintage, high quality, and genuinely built to last.

Drawing inspiration from video games, movies and the professional world, the trend of dressing “office siren” explicitly outside of the office uses skeuomorphic reinvention to transform the standard 9-to-5 into a personal philosophy statement that blurs the lines between professional and provocative. The “Office Siren” challenges the boundaries of what is considered appropriate and what can be romanticized in a modern working life. Why wear that lumpy blue sweater, for instance, and resign yourself to a mundane cubicle existence eating sad chowder when you can paint yourself instead slaying the girlboss monologue and serving cunt in a sensual silky blouse and the most arresting kitten heels? Bayonetta glasses, blazers fitted and oversized, pencil skirts with daring slits, and skinny heels that command attention are central to this genre.

The Office Siren redefines “sexy” by blending traditional office attire with elements of allure and seduction, subtle or otherwise. Through its sleek, tailored attitude, it can utterly transform one’s day-to-day experience inside or outside of office culture. This also poses interesting questions of what is considered a desirable lifestyle and the influence of outsider perception. By empowering women to exude confidence and authority in unexpected ways, the look plays with the idea of femininity and autonomy, tradition and repetition, freedom and corporate slavery. By recontextualizing classic office wear, the Office Siren opens up new possibilities for self-expression and empowerment through a lens half homage, half fetishization.

As we look to the future, it’s clear that the fusion of function and form will continue to drive innovations of style and of design. As cross-pollination between different subcultures of taste grows exponentially, the emergence of new and hybrid trends awaits us. As designers and consumers alike embrace the blending of tradition and innovation, the future of fashion promises to be as dynamic and diverse as the cultures and subcultures that inspire it. A reference of a reference of a reference, obscurity becomes scarcity becomes derivative. The lineage of certain design details and practices might become impossible to trace. A bouquet of evolving complexities in the crystal goblet of modern life.

Recent social media-borne trends of influence such as the dolly and angelic “coquette,” the commanding and mysterious “mob wife,” or the playful and flippant “y2k” are really aesthetics-based at their core, built and maintained by integrated object motifs such as bows, fur jackets, and blinged-out flip phones. These trends are easy to understand and have a relatively easy buy-in: they are archetypes of a closet, a makeup style, hairstyles and accessories. You can become a y2k mcbling queen for a day easily. Start with a pair of extreme lowrise denim booty shorts, add a crystal-flooded big buckle belt, donn a busty top— perhaps in hot pink with an elaborate fleur de lis or cross applique. Add oversized sunglasses or hoop earrings, slap on some frosty lip gloss and lastly, and slip put your feet into a pair of fluffy furry boots. For extra credit, one could go so far as to track down a Von Dutch or Ed Hardy baseball cap, or snag a fake piercing ring from Alibaba to adorn the corner of your bottom lip.

A similar regimen can be summoned for its peers in the same class of “aesthetics” — Balletcore, mob wife, dark academia, cottagecore. These are genres of dressing and filters of tonality that a typical girl scrolling through social media might inspiredly cherry-pick jewelry, perfume, hairstyles or other wardrobing details from. They don’t explicitly require lifestyle adaptations. You can wear ballet flats and legwarmers without a rigid twice-daily stretching routine. One can indulge in their mob wife fantasy, harmlessly sipping champagne from a crystal flute, without ever actually needing to consider the ethics of hush money cargo or study the ins and outs of criminal organizations and the specific benefits of compartmentalized morality. A college student studying communications at Penn State is free to cast their public relations powerpoint deck in a more romantic light, with the power of some candles, a crisp white dress shirt, and a select “dark academia studying playlist” during their Thursday night cram.

However, what happens when aesthetic and lifestyle develop comorbidly? Cottagecore, the “-core” that spawned the current age of aestheticization, grew from the seed of some mushroom earrings and a milkmaid dress or two. Picnicking and crocheting might be cottagecore activities, but a full involvement within the aesthetic doesn’t necessarily include a change in lifestyle. Conversely, the “-girl” pre-cultures, such as “clean girl”, “soft girl”, or “coconut girl” are slightly more encompassing. Your typical “clean girl” aesthetic doesn’t only mean slick back buns and understated hoops. A lover of this aesthetic might want to drink green juice, go to pilates, keep an immaculately organized Google calendar, and never put off answering an email as they sip from their ever-present hydrating vessel (almost undoubtedly branded Hydro, Stanley, or Lululemon). The uniform of the aesthetic implies an idealized daily life, habits, or schedule. The archetypes of being encapsulate an attitude towards life; an aspirational and conceptual occupation, without a dictated, inherent thought philosophy.

Unlike heritage “subcultures”— such as the punks, goths, skaters— the “-girls” weren’t established around a music genre or specific activity that sustains generational continuity. “Soft girls” don’t quite yet have social customs or collective ethos that are continuously fostered by the soft girl community, and without a niche gathering point of interest only time will tell if the microbiome could survive and maintain traction long enough to develop its own ecosystem. A “coconut girl” doesn’t yet have a strong system of beliefs (beyond a love of beaches, relaxation, coconuts) she could instantly identify with a self-proclaimed peer she’s never met before. Will longevity for the “clean girl” see a new age of health-conscious girl bosses that rally behind political-adjacent movements and protest against lack of organizational literacy en-masse? I’d sure like to see that.

A most recent sweeping phenomenon, the “tradwife” “movement” benefits vastly from the implication that it is actually not a new movement in its infancy, á la the aforementioned, but instead, a harkening back to some ancient, tried-and-true way of being. The retrofitting of neocolonialist nuclear family ideals onto the concept of “tradition” gives the movement the provenance. One figurehead of the movement with 9.6 million followers on TikTok and a staggering 9.9 million followers on instagram, Hannah Neeleman (of Ballerina Farm fame) was swarmed with concern from internet bystanders as the details about her life behind her prairie dress beauty queen online persona were revealed in the infamous Megan Agnew article this July. Nara Smith has an astonishing 9.2 million following on tiktok, and an impressive 4 million on instagram. Her from-scratch kitchen laboratory projects, soothing voice overs, and closet of Frankie’s Bikinis dresses, Lirika Matoshi gowns, and avant garde Selezza London is to be repeatedly complimented but not imitated— she remains entertainment; a public figure more celebrity or figurehead than blogger or youtuber. In contrast to the massive audience appetite for tradwife content, new member participation seems dwindling. The two creators mentioned are also both of mormon faith, perhaps a contributing factor to their almost oppressively unattainable lifestyle, unrelenting presentation of perfection, young marriages, and partialness toward plentiful procreation.

Monica Ainley of British Vogue tried the “tradwife” lifestyle for a week (dismissing her nanny, cooking every meal, taking a leave from work, “serving” her husband), complete with fabulous skirts and dresses, pointed toe shoes— declaring relief as it came to a close, vowing to steer her daughter away from tradwifery. Harriet Walker of the Times felt similarly about her week-long stint. Head of Poshmark’s Merchandising and Curation, Chloe Baffert sheds some additional light: “Viral trends often influence shopping behavior, but the Trad Wife aesthetic has yet to gain significant traction on Poshmark. The Trad Wife uniform is notably synonymous with muted tone prairie dresses and demure style elements, […] a unique and nostalgic charm that appeals to those who appreciate its polished look.” Their data as of July 2024 indicates a “downtick” in related items: sales of cat eye sunglasses decreased 17% compared yearly; sales of wiggle dresses decreased by 14%; prairie dresses sunk 13%; knee length skirts by 9%; cardigans by 9% and aprons —2%. The “tradwives” community on reddit currently stands at a bit over 1.3 thousand members.

Ultimately, the “tradwife movement” is called a movement for a reason. An aspiring Nara Smith, Hannah Neeleman, or Esteec Williams wouldn’t only aim to purchase elegant gowns, put on a full beat, and style their hair. They would surely pin recipes for white chocolate lemon zest brownies, save videos for how to maximize laundry efficiency, take notes on blog entries touting the best rituals for welcoming their spouse home after a work day, and perhaps prepare mentally for a large family. The transformation wouldn’t be complete without a full indoctrination into the role of traditional, home-making wife and all the accompanying intricacies and rules. The level of requisite fanaticism is high at baseline entry: you must not only be a fan, you must be devout; you can’t just wear the band tee, you have to know every album; it’s not casual participation but an entire committed course. Maybe if the tradwife life were less demanding in its conversion process, it might be more popular amongst young women— but the subtle but definite tones of religion, politics, and even fetish outweigh even the most idyllic imagery of perfect body, kitchen, family, and closet.

When it comes to fashion, the journey from idea to execution can be as intricate and textured as the fabrics that grace the skin and compose the garments. For one LA-based fashion designer, this journey began not with a traditional path through design school but with a passion for creation sparked in unexpected places. From the snowy slopes of Utah to the bustling streets of Los Angeles, Eleanore Guthrie has crafted a brand of knitted denim that reflects her unique vision but also challenges the conventions of the clothing industry: Knorts.

Born and raised in Pasadena, Los Angeles was always home for Eleanore, but it wasn’t where her story began— her path to building a fashion brand began with a different first love, a passion that consumed her during her college years in Utah. “I used to really be into snowboarding,” she recalls. “I had so much fun, it was like winter camp… I wanted to be a pro. “ It was in the world of snowboarding that she first became captivated by fashion. The world of snowboarding has its own distinct culture, characterized by articulated silhouettes, dynamic utility, and an undeniable style. She found herself drawn into the aesthetics of the scene, altering her snowboard pants to create shapes that she found visually appealing. “I loved it,” she explains. “I’d alter my snowboarding pants to achieve a certain silhouette. I was like, I think maybe I like fashion… Let me see what I can do with that.”

The leap from snowboarding to brand development may seem like a giant one, but for her, it was a retrospectively natural progression. “Growing up, I always wanted a business,” Eleanore confesses. She had chosen to study accounting— a strategic choice, driven by her early entrepreneurial ambition. As college was coming to an end and a professional snowboarding career had failed to materialize, Guthrie was struggling to find a job in her field, a challenge compounded by her self-described difficulties in job interviews. “I’m a really bad interviewer,” she admits with a laugh. “So bad that I was like, I guess I have to go back home.”

She began by working with hand loomers, creating her own genre of fabric by putting indigo dyed thread (traditionally woven into denim) into the knitting process instead. Since its inception Knorts has utilized the unique qualities of knitwear by making clothing the fully fashioned way. This means that each separate piece of material making up the finished garment is knitted to that exact shape instead of being cut from a rectangular piece of woven cloth. Eleanore’s first collection manifested this way in 2016, with simple designs that highlighted the unique textures and patterns she could achieve with her kind of denim.

Her brand began to gain traction, particularly with her signature flare pants—a letter to a first love. It wasn’t as easy to get to the mountain as it was in Utah. “Thinking about it, looking at it, seeing it can really depress me,” Eleanore recounts. “I had to give it up to pursue my brand.” The pants were directly inspired by her love of snowboarding. They hugged the legs and flared out at the ankles, mimicking the silhouette of snowboard pants when worn over boots. This design quickly became a hallmark of her brand, embodying the blend of functionality and style that had drawn her to fashion in the first place.

How does a person go from the creation of a product to getting people to buy that product, to then living off of the money from selling that product? “It’s been a mystery I’ve wanted to solve,” Eleanore says. “As my brand was growing, I was like— I might actually be able to figure it out.” As her label grew, so did her ambition. She realized that in order to scale her business, she needed to make a bold decision: she purchased industrial knitting machines and set up a live-work studio space in her home.

“I was really overwhelmed with how fast my business was growing,” she reflects, “So I got one machine […] and another machine one about a year later.” The machines, which she had transported into her garage with the help of a specialized knit machine mover, allowed greater control over the production process. The machines break and need troubleshooting often, but Guthrie even has a third spare machine just for parts. “I’m an expert mechanic now,” she beams.

The decision to bring production in-house maintained the integrity of her design language— the yarn she used, particularly the indigo-dyed yarn, was notorious for a phenomenon known as “crocking,” where the dye would rub off onto the machines. Most local factories refused to work with her yarns for this reason, but she knew that the color transfer was manageable. By keeping production in-house, she could continue using the materials she loved without compromising her vision. “I often switch,” she relays, “between my cream and indigo.”

Despite the challenges of learning to operate the industrial knitting machines—a process she described as a “fun nightmare”—she found that this move paid off in more ways than one. Not only could she produce exactly what she wanted and oversee the entire process, she also had more flexibility to take on custom orders and last-minute requests, something that wouldn’t have been possible if she relied on external factories. This ability to be nimble and responsive became a key advantage as her brand continued to grow. “It definitely was a lot to learn,” she explains. “But now I can move faster.”

With success came new challenges. As her designs gained popularity, she began to notice that other brands were starting to imitate her approach. Knitwear was becoming more prevalent in the fashion industry, and lower-priced brands were creating designs that looked similar to hers. This influx of similar products threatened to dilute her brand’s unique identity, forcing her to continually evolve. “In order to stand out,” she says, “I need to innovate beyond that original aesthetic. What I’m always working on is how to reinvent myself.”

Rather than being discouraged by the “saturation of her aesthetic”, Eleanore saw this as an opportunity to push her creativity even further. She began experimenting with more original yarn recipes, ways of combining different yarns, knitting techniques, and washes to create new textures and patterns that set her designs apart from the competition. She also learned to adapt her designs to better suit her customer base, moving away from the oversized tops that had been popular in snowboarding culture and towards more fitted silhouettes that her customers preferred. “I learned from stylists,” she adds, “watching them pull outfits that take off inspires me too.”

While it can be tempting to follow trends or chase after the latest fashion fads, she has found that her most successful designs are those that come from a place of authenticity. “Any time I’ve ever tried to include trends into my brand, or design around trends that I see, it’s never served me well” she says. “So I try to stay within my own brain and the yarns and my traditional design process.” Eleanore’s “traditional” process is far from traditional— it changes with each iteration of designs. For her latest season, she’s trying something new for her— a return to Knorts classics. Rather than emphasizing brand new designs, she’s excited to approach silhouettes beloved by Knorts customers with new experiments in forms, finishes, and materials.

Swarmed by collaborations, helming a movement, and fighting off inspired imitators all while still managing the design, production, and finances of her expanding brand, Eleanore approaches the ten-year mark in her fashion journey. One of the most important lessons learned has been the value of maintaining the balance between staying true to her vision and leaving room for flexibility and growth. Her newest collaboration with Urban Outfitters, for example, involves cut-and-sew techniques—a different focus on craftsmanship from the defining fully-fashioned feature of her brand. Another upcoming collaboration (September 19th!) with vintage LA stronghold American Rag further elaborates on the mixing of woven clothes and Knorts knit.

Eleanore’s journey is a testament to the power of perseverance and the importance of staying true to one’s vision. From her early days of hand looming to the acquisition of industrial knitting machines, every step of her journey has been guided by a passion for creation and a desire to bring something new and unique to the fashion world. As she continues to evolve her brand, she remains committed to the principles that have brought her success: innovation, craftsmanship, and an unwavering dedication to her goals.

In the ever-changing world of fashion, where trends come and go with the seasons, Eleanore’s story is a reminder that true success comes not from following convention but from daring to follow your own path. As she looks back on her journey, she can see how every twist and turn has led her to where she is today—a place where her ideas are not just a dream but a reality, woven into the very fabric of the fashion industry.

Looking forward, Eleanore Guthrie is excited about the future of her brand despite an “unclear future” for the industry as a whole. She envisions a world where knit denim is as ubiquitous as traditional denim, a staple in wardrobes around the world. Whether through her own brand or through consulting for other labels, she is committed to continuing to innovate and push the boundaries of what’s possible with denim and with knitwear. “I’ve got a lot of ideas,” she says. “I really, really hope to get those ideas out.”