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Nearly three years after the first installment of the film saga based on Frank Herbert’s beloved sci-fi novels, “Dune: Part Two” finally sees Zendaya for more than seven minutes of screentime. From the amount of “wormriding” taking over both social media and movie theaters, Denis Villeneuve’s cinematic remake of “Dune: Part One” (2021) made moviegoers dust off their boots as they witness young Hollywood elites Timothée Chalamet (Wonka, Lady Bird), Zendaya (Euphoria, Spider-Man: Homecoming), Austin Butler (Elvis, Once Upon a Time… in Hollywood) and Florence Pugh (Midsommar, Don’t Worry Darling) battle for the desert-ridden planet Arrakis and its vital psychotropic substance, called “Spice,” on the must-see sequel.

Villeneuve did his homework. The Canadian filmmaker saw David Lynch’s 1984 rendition of the space opera and understood the book’s complex history with adaptations via Lynch clashing with producers over the film’s creative control and final cut, which was just over two hours long. Before that, director Alejandro Jodorowsky even failed to secure funds for an apt 14-hour film adaptation in the 1970s. Thankfully, Villeneuve had the budget due to his solid reputation in sci-fi cinema, highlighted by the Academy Award-winning film “Arrival” (2016), thus deciding that Herbert’s fiery fanbase needed a space odyssey done right.

Though “Part One” lacked the Marvel combat sequences oversaturating today’s cinema, Villeneuve ultimately made the right decision of segmenting Herbert’s dense multi-galactic empire into installments, and dedicating the premiere event to the protagonist’s backstory, the premonitory aristocrat-turned-leader Paul Atreides (Timothée Chalamet), ducal heir of House Atreides.

Following the Emperor-ordered exodus of House Atreides from their watery world of Caladan to oversee Spice production in the windswept world of Arrakis (known as “Dune”), Villeneuve masterfully waters the dry planet with political tension in “Part One.” The family’s warm welcome was all but a facade as Paul and his mother, Lady Jessica (Rebecca Ferguson), narrowly escape death after the hellish House Harkonnen launched a somewhat successful coup for control over Spice production, which killed Paul’s father, Duke Leto Atreides (Oscar Isacc). The pair’s desert escape led them to a Northern group of Fremen, Arrakis’s Indigenous people who somehow live within the seemingly inhospitable sandy terrain, which included the group’s leader Stilgard (Javier Bardem) and a mysterious woman named Chani (Zendaya).

For as much as “Part Two” doubles down on the much-anticipated barbaric and bloody violence between the Indigenous Fremen and House Harkonnen over the exploitative Spice production, Villeneuve perfectly cushions the adrenaline with the budding relationship between Paul and Fremen woman Chani with Paul embracing the Fremen way and becoming a Fedaykin warrior. Though it’s hard to find a pivotal scene where Chalamet and Zendaya aren’t ogling each other, the real-life best friends have undeniable on-screen chemistry.

And it’s not solely their gorgeousness gracing the big screen; it’s the ghastly white, “bad boy” militarian Harkonnen heir Feyd-Rautha (Austin Butler) and the barely-there Emperor’s daughter Princess Irulan (Florence Pugh) — who will have better development in future installments — all anchored by Villeneuve’s jaw-dropping cinematography, special effects, Rick Owens-esque costuming… everything. Where “Part One” is a boy-to-man slow-burner set in a dystopic future, “Part Two” is a full-on assault aimed at the destruction of House Harkonnen, poised with betrayal that’s just as impressive as Timothée Chalamet wielding a Kindjal sword.

Beyond the desire to murder House Harkonnen, Paul finds himself neck-deep in political and religious tension as the “Spice” continues to intensify his distorted visions of a holy war, which interferes with his mission of unifying the Northern and Southern Fremen to reclaim Arrakis. Though bumpy with unavoidable information (i.e., Princess Irulan’s diary entries documenting the whereabouts of Paul, Reverend Mother Gaius Helen Mohiam’s shady scheme for Irulan, and prophecies of foreign religions that describe Paul as “Maud’Dib”), Villeneuve leaves most of it in the beginning, promising a “smooth sailing” experience complete with orgasmic vistas of far-future realities, hearty dialogue from Zendaya, Fremen-Harkonnen showdowns, and one too many grandfather sandworms.

Villeneuve dares in “Part Two,” giving all parties ample voice, which creates a peculiar dynamic that rarely fits into sci-fi films: the “bad guys” don’t feel outrightly bad. Even with Lady Jessica undergoing the grueling ritual of becoming the new Reverend Mother of The Fremen, her prophetic “anti-hero” transformation is a small-scale betrayal in Arrakis’s sandy dunes. Despite his natural affiliation with the evil House Harkonnen, Austin Butler’s pouty lip and Elvis rasp hardly qualify as a “villain,” no matter how many blades hang from his hip. Even Baron Vladimir Harkonnen (Stellan Skarsgård) bathing in fresh, warm, innocent blood feels like everyday life in the desensitized Harkonnen empire. Instead, Villeneuve presents the “evil” as an omnipresent force, played out through Feyd-Rautha’s breathtaking black-and-white coronation as Arrakis’s new ruler, the “Spice Agony” both Lady Jessica and Paul experience when they consumed the mind-altering entheogen, and even the Fremen elders who initially question the loyalty of the Atreides.

Perhaps the omnipresent evil lives inside the sequel’s thunderous score, led by Hans Zimmer. While the grandstand production quenches even the driest parts of Dune in starry-eyed wonder, it simultaneously paints the House Harkonnen in the blackest blacks and Emperor Shaddam (Christopher Walken) in the deepest misfortune. Zimmer’s contribution isn’t singular and very much supersedes sound alone; if anything, Zimmer veers “Part Two” beyond intergalactic politics, climatic fights, and star-crossed love and towards a regularly-eclipsed world brimming with betrayals that amount to a death-defying holy war. If Villeneuve didn’t make “Part Two” a masterpiece already, Zimmer certainly takes it there.

Since sequels almost always underperform in any film series, “Part Two“ would traditionally be a tough sell following the critical acclaim of “Part One.” However, Herbert‘s iconic series is an iron-clad guide to success, which Villeneuve proudly decrypted in “Part One” and took even further in “Part Two.” And that’s a rare feat in and of itself.

Following presentations in Milan, the Fall/Winter ready-to-wear season was brought to a close in Paris,m. Home to many iconic architectural landmarks, historical ateliers of innovative design and of course the birthplace of chic Parisian style – the city attracted tourists and celebrities alike for the nine day event of runway events, after parties and showroom events.

Paris hosts seasonal textile trade showrooms and is the starting point for many luxury labels in their design cycle for couture and ready-to-wear collections. Paris represents an integral ecosystem for the world of luxury fashion, so it comes as no surprise that it is renowned as an international fashion capital – producing stunning designs and runway shows.

Celebrities of all industries attend the Paris fashion week events, and filled the seats of carefully curated and styled shows which attract public attention and drive traffic for sales of upcoming collections. This season in Paris we saw lots of muted colors, intricate detailing, luxury textures and innovative tailoring. From Chanel to Mugler, Paris fashion week brought with it amazing celebrity style moments which will not soon be forgotten.

Here are some of our favorite celebrity style moments, straight from the streets of Paris.

Jennie of BlackPink attending the Chanel Fall/Winter 2024 show wearing a black mini dress with pearl details, thigh-high boots, a leather fingerless glove and mixed silver and gold Chanel logo jewelry.

Zoey Deutch outside of the Chanel Fall/Winter 2024 show wearing a short, buttoned-up Chanel coat, cinched at the waist with a sweet bow and detailed with a pink signature camellia rosette, paired with simple black slingback block heels.

Maddie Ziegler outside of the Miu Miu Fall/Winter 2024 show styled in a matching jacket and miniskirt, layered over a polo t-shirt and paired with pointed toe heels and scrunched socks.

Sydney Sweeney entering the Miu Miu Fall/Winter 2024 show wearing a matching tank top and oversized blazer with jeweled briefs styled with sheer tights, peep-toe heels and oval sunglasses.

Lisa Rinna attending the Courreges Fall/Winter 2024 show wearing a long tailored blazer with a plunging neckline and elongated sleeves, layered over flared black trousers and pointed boots, paired with a brown textured handbag.

Emily Ratajkowski outside of the Courreges Fall/Winter 2024 show wearing an all-black look with a cropped asymmetrical faux-leather top with a glove detail, paired with a black skirt with a front pocket, styled with square toe boots.

Willow Smith at the Acne Studios Fall/Winter 2024 show wearing a cropped turtleneck knit sweater with bustier detailing, mid-wash denim jeans and square- toe moto boots

Shawn Mendes headed to the Loewe Fall/Winter 2024 show wearing a green bomber jacket layered over a beige hoodie, paired with green corduroy trousers and black boots.

Pharrell Williams outside the Loewe Fall/Winter 2025 show wearing a cream cowboy hat, brown Louis Vuitton logo monogram bomber jacket, flared denim jeans and light brown boots, accessorized with a pearl detailed belt.

Emma Chamberlain attended the Vivienne Westwood Fall/Winter 2024 show wearing a black jacket with exaggerated shoulders and brown button details, paired with a pencil skirt and fur boots.

Coco Rocha at the Vivienne Westwood Fall/Winter 2024 show wearing an off-shoulder v-neck patterned dress and knee high laced stiletto boots.

Amelia Gray Hamlin at the Balenciaga Fall/Winter 2024 show wearing an oversized blazer with large square shoulders and black wide trousers, and accessorized black handbag.

Julia Fox outside of the Mugler Fall/Winter 2024 show wearing a nude sequined bodysuit with long plastic detailing with futuristic silver face makeup.

Laverne Cox entering the Mugler Fall/Winter 2024 show wearing a shiny black bodysuit with exaggerated hip detailing, sheer black tights and pointed black heels.

Photo credit: Mat Abad, Beyond The Pines

Held in the Cirque D’Hiver in Paris France, The Casablanca Fall/Winter 2024 runway was set against the backdrop of dancers moving in perfect unison to a rhythmic soundtrack — spectacle of music, performance art and fashion. The Cirque D’Hiver is known in Paris as a prominent and historical venue for circuses and musical performances, making it a picturesque landscape for the runway show. Casablanca’s aesthetic typically follows an apres-sport aesthetic which finds the harmony between luxury and leisurewear, seeking to create timeless pieces which inspired by European design and North African landscapes which create refined, youthful and relaxed pieces.

The collection, titled ‘Venus As A Boy’ references Bjork’s song of the same name, heavily drawing from Grecian mythology, Venus (or Aphrodite in Rome) is known as the goddess of love, a theme which presented itself in recurring geometric patterns, and romantic silhouettes throughout the show. By drawing from these references which are connected yet separated by time, the collection seeked to reimagine the entwined symbolism that reoccurs in pop culture, media and design. As an invitation to the show, industry insiders received a small bowl decorated with ancient Grecian patterns and wave ornaments in a modern Casablanca color palette of red, yellow, green and blue. Pottery being one of the most ancient forms of art, the invite thoughtfully referenced the ancient aesthetics presently inspiring the brand. In the end, all the moving parts came together to highlight parallels between the ancient worlds of Greece and Rome with more modern aesthetics, traversing these ideologies with the apres-sport wear the Parisian house is most known for.

Alex Consani opened the show in an all-white turtleneck gown complete with elongated sleeves and a belted detail, styled with gold jewelry, setting the tone for a theme of metallics which continued throughout the collection. What followed was a collection full of exquisitely tailored draping that included belted and corseted detailing, sheer paneling, cutouts and embroidered details (which could be seen on both sportswear and tailored garments), often mixing casual sportswear with more formal pieces. There was an added emphasis on winter sports and performance garments such as tight hoods, tracksuits, tennis dresses, catsuits, varsity jackets, quarter zip sweaters, puffer coats and furs of varying lengths — many of such pieces using detailed patchwork and embossed patterns that in turn added a certain dimension and interest to monochromatic essentials.

Roman and Greek references presented themselves again in strappy sandals created in collaboration with the brand Ancient Greek Sandals, which were layered under knee high transparent stockings for a modern twist. Historical motifs such as columns and geometric patterns of ancient descent were often featured on garments as borders or graphic prints. Pottery was accessorized in the collection as well, one model clutching a large vase decorated similarly to the show’s invitation as they took on the runway.

The unisex collection explored various color trends, notably a reoccuring blue gradient which appeared in bags, coats and other garments. Additionally, quintessential Casablanca palettes included multi color combinations of red, yellow, blue and green which also appeared on the pottery used in the show. Elsewhere, metallics were explored through silver bags and metallic finished denims, which later evolved into sparkling sequined details on sheer transparent textiles.

The Fall/Winter offerings were styled dynamically, pairing sparking garments with apres-ski garments and laying sporty pieces like embroidered biker shorts under tailored shorts. Some highlights from the collection included a sequined ‘naked dress’ in the same silhouette to the opening look, mini knit brief shorts paired with a cropped fur coat, a long coat with a draped shawl detail and a dress with a mirrored underbust panel which resembled scales of armor.

Drawing from architecture and art, the collection repurposed motifs such as mosaics, patterns and symbols and brought them into a contemporary lens, creating a distinct connection between present and past. All in all, and through sophisticated design techniques of tailoring and draping, designs and silhouettes, Casablanca recontextualized ancient themes to fit the needs of current consumers in new textiles such as jersey and stretch fabrics for performance and leisure, conceptualizing a narrative story of craftsmanship, evolution and sophistication of the past.

Ahead, Beyond The Pines went backstage for an inside look at the show.

Only a few can visualize the words seductive, humorous, lavish, and grim within a singular frame, and Kathy Ager is one of them. The 43-year-old Canadian painter takes great influence from Baroque paintings — precisely, the 17th-Century Golden Age of Dutch and Spanish painting, as well as touches of modern life and pop culture. While Ager’s visual language might be niche to some, the painter has collaborated with multiple brands, including Nike, Polo Ralph Lauren, NOCTA, and more.

Known for her meticulous attention to detail, much of Ager’s innate talent can be credited to her observant nature. Whether people or places that catch the painter’s interest at any given time, Ager’s artwork becomes an extension of personal souvenirs while touching upon universal sentiments that others can relate to.

“When there’s something I want to paint about, I usually start noticing things that might convey these feelings in a tangible way,” Ager tells Beyond The Pines. “Sometimes I might be working on a painting for years in my head before it all comes together.” The artist goes on to detail that once an idea is cemented of what she wants to say and how she plans to visualize it, she’ll move on to sketching, a process that usually includes pulling references from online, photographing objects or photoshopping images together. “I also like to have the title of the painting figured out before I start painting, as it usually ties in elements of humor and additional meaning that are so important to me,” she says to round out her process.

Ahead, Beyond The Pines catches up with Canada native, delving into Ager’s personal inspirations, interests and artistic style.

BEYOND THE PINES: What fascinates you the most about the Baroque style?

Kathy Ager: “I love the beauty and drama of Baroque style paintings. Even the most mundane subject, like a bundle of asparagus, becomes something to behold with the right light and composition. At the same time, there’s a moodiness or darkness to them that I can relate to. My paintings are all about feelings, and it’s comforting to see other people have been seeing that side of things and life for hundreds of years.”

BTP: What’s your favorite part about painting still-life resembling imagery rather than maybe taking a photograph? What got you into it?

KA: “What first got me into painting was how close it got you to the subject. I loved observing every detail, color and contrast. With color, nothing is ever exactly what you think it is. Concrete is never just gray, a banana is never just yellow. When I first started painting, my technique was more loose, so it wasn’t quite so realistic. It was more about nailing those colors. Over the years, my skills have tightened up and have now become closer to realism, but it wasn’t my original intent!”

BTP: Your work often revolves around themes of decay and mortality. What draws you to explore these subjects?

KA: I’ve always been a sensitive person, and because of this and things I experienced as a child, I’ve been struck by the sadness and precariousness of life. For most of my life, I kept these feelings to myself — maybe because we’ve lived in a time of toxic positivity for so long. But my paintings became a way to express those feelings and experiences in a way that seems to resonate with many viewers. Initially, I was creating them just for myself, without an external audience in mind, but since becoming more known as an artist, it’s been amazing to find out so many people can relate to or are drawn to these themes.”

BTP: There’s a varnish of dark humor that casts over your work. Can you tell us about this?

KA: Even more than mortality and decay, I love a good laugh! For me, a painting idea isn’t ready if there isn’t a layer of humor in it. It’s a way of adding a little extra zing to something that would otherwise just be a downer. My true character isn’t as dark as my paintings might suggest, and I like to be reminded of that in my work. If I can take something painful and turn it around into something beautiful, then add a good laugh at the end, I feel I’m back in my power. And that makes me feel strong enough to move on and keep going.”

BTP: Your artwork operates as a visual diary that depicts past art techniques, moments of pop culture, and perhaps personal details. How did you reach a point of merging these themes together?

KA: “When I first started painting, I was mostly just copying photos that I liked, either that I’d taken or that I saw online, for my own entertainment. I didn’t know what I wanted to say, but I knew I liked to paint. At one point, I painted a photo of a still life, and was struck by how much of a story could be told just by combining objects and light. The first few times I created my own still lifes, in the paintings “Lonely Hearts Club” and “Can’t Get High Enough,” I was expressing feelings of loneliness and loss (which I didn’t know how to express at the time) using the objects around me. I liked how using objects that were personal to me, but also recognizable to the viewer made my pieces more striking and relatable to the viewer. In terms of past painting techniques, I initially painted my subjects lit by light coming through my Amsterdam apartment window, against a black background, to make it easier on myself — a more complicated set-up and background would have taken longer to figure out and paint. But it turned out to match the baroque style of painting, and once I noticed that, I really leaned into that style.”

BTP: You’ve once mentioned that your show, the Golden Age, is named as a wordplay to reflect on the art history period and our current obsession with excess. Could you tell me more about that?

KA: “My style is influenced a lot by the Dutch and Spanish Golden Ages of painting, around the 16th and 17th centuries. That title also seems to summarize this peak of consumerism and excess we’re in. I think humans have always had somewhat of an attachment to objects, but it’s been ramping up more and more over time.

BTP: Speaking of excess and consumerism, do you think objects can tell us about who we are, or have a profound personal meaning?

KA: “I think it’s natural to feel an attachment to things around us. We’re sentimental beings, and we want to feel like we have something to hold on to when life can feel precarious. We’re also social creatures, and I like how objects that are universally recognized and their value or meaning understood by many can be used to tell a story that’s both personal to me, and communicates something to the viewer who’s likely a total stranger to me. It’s a way to feel connected to and understood.”

With films being delayed due to the WGA and SAG-AFTRA stikes, viewers going through superhero fatigue, and #Barbenheimer solidifying itself as a pop-culture moment, 2023 was a pretty chaotic year for cinema. Slowly, 2024’s movie roster is shaping up to be, if not equally intriguing, at least a worthy rival.

From action-packed films such as ​​Furiosa: A Mad Max Saga to sci-fi thrillers like Mickey 17 and star-studded dramas with Challengers, the lineup is a notably varied one. And as far as guaranteed knockouts, enter the return of the Dune and Beetlejuice sagas to the big screen. Ahead, here are 11 films set to be turned loose in 2024 that you should have on your calendar now.

1. Drive-Away Dolls

Release Date: Feb 23

1/2 of Coen Brothers, Ethan Coen goes solo for his action-comedy Drive-Away Dolls, where two stuck-in-a-rut friends (played by Margaret Qualley and Geraldine Viswanathan) ditch town for Tallahassee, where they cross paths with a group of criminals. So much for a fresh start, but it sounds like fun.

2. Dune: Part Two

Release Date: March 1

Denis Villeneuve, in a smart move, has decided to split Frank Herbert’s 1965 sci-fi novel into two parts. With the first installment of Dune sweeping ten Oscar nominations, many are eager to see if the next meets its predecessor’s hype. Speaking of hype, the second film’s cast is somehow even more stacked than the first, seeing Zendaya and Timothee Chalamet welcomed back, and introducing Austin Butler, Florence Pugh, and Christopher Walken.

3. Mickey 17

Release Date: March 29

Award-winning director Bong Joon Ho returns with a science-fiction thriller that tells the story of Mickey, a “disposable employee” sent on a hazardous mission to colonize an icy planet. As the premise goes, if any of the employees die, they are cloned with the memories of the previous traveler.

4. Challengers

Release Date: April 26

Originally meant to premiere at last year’s Venice Film Festival, Challengers was postponed until this year due to the strike. In the film, former tennis prodigy-turned-coach (played by Zendaya) finds herself in somewhat of a love triangle between her husband and her ex, who happens to be her husband’s former friend, all amid the backdrop of Grand Slam tennis tournaments.

5. The Fall Guy

Release Date: May 3

Further cementing his return following the success of “Barbie” after a 4-year hiatus, the internet’s favorite, Ryan Gosling, is back on screens thanks to an action-comedy adaption of the eponymous 1980s series The Fall Guy. The film follows a stuntman who needs to find his missing co-star. Interestingly, the director of the movie, David Leitch, started his career as a stuntman, which makes the project all the more amusing.

6. Furiosa: A Mad Max Saga

Release Date: May 24

It took George Miller three decades to revive the post-apocalyptic 1979 Mad Max through 2015’s Oscar-winning blockbuster, Fury Road. Eight years later, the spinoff, Furiosa, revived the series, with Anya Taylor-Joy playing a younger version of Charlize Theron’s character.

7. The Bikeriders

Release Date: June 21

This fictional drama film is loosely inspired by Danny Lyon’s formative 1968 photojournalism book of the same title, depicting the lives of the Outlaws MC, a predominantly Chicago-based motorcycle club. The movie is directed by Jeff Nichols, who makes a comeback after seven years, and features a stellar cast including Austin Butler, Tom Hardy, and Jodie Comer.

8. Beetlejuice 2

Release Date: Sep 6

Whispers of a Beetlejuice sequel have fluttered about for, well, a long time, and it finally comes to fruition in 2024 with an addition of Jenna Ortega, as well as Winona Ryder, Michael Keaton, and Catherine O’Hara reprising their roles.

9. Joker: Folie à Deux

Release Date: Oct 4

With Lady Gaga as Joaquin Phoenix’s co-star, and a subtitle that translates to “shared psychosis or madness,” Joker’s sequel is among the most anticipated films of 2024 for more reasons than one. Returning as a musical, the film is rumored to be Todd Phillips’ take on the 1977 movie “New York, New York,” likely setting the expansion of the Joker universe up for a campy twist.

10. Wicked: Part One

Release Date: Nov 27

Hollywood is known for its love of prequels, and in this particular one, Ariana Grande stars as Glinda, the Good Witch in The Wizard of Oz, while Cynthia Erivo takes on the role of the Wicked Witch of the West. Even though Wicked has been playing on Broadway for over 20 years, the star power of this cast alone is enough to warrant anticipating box office records.

11. Nosferatu

Release Date: Dec 25

Christmas is getting an October treatment this year with Robert Eggers’ take on the classic 1922 film Nosferatu. The terrifying vampire is played by none other than the Pennywise actor Bill Skarsgård, with Lily Rose-Depp as Ellen Hutter, the subject of Nosferatu’s obsession. Even better, Willem Dafoe, who often plays the villain, is the vampire slayer in this one.

Following the exciting presentations at London fashion week, the next stop on the Fall/ Winter runway schedule is Milan, Italy, home to countless iconic and household brand names in fashion. This season, Milan welcomed new residencies of creative directors who debuted their designs for well known fashion houses like Moschino and Blumarine as well as featuring collections from beloved designers like Kim Jones and Miuccia Prada.

Milan, known for its incredible architecture and one of the foremost design capitals in the world is a major destination during the runway season, attracting tourists and international fashion lovers. As home to one of the largest luxury fashion economies in the world, and birthplace of numerous historic fashion houses – the trends that are showcased here inevitably trickle down to create uniforms for the masses.

As the fashion industry shifts and is democratized to be made accessible by media landscapes like TikTok and Instagram – the people who consume fashion content and critiques expand as well, introducing a new demographic into runway culture and consumption. In response to this, technology has been at the forefront of innovation in the industry and digital runway shows were also included in the fashion week calendar.

A steady balance between new technology and historic technique is the core of what makes Milan Fashion Week so exciting, and with that being said – here are this season’s highlights.

Diesel

Glenn Martens has made it a point to make Diesel accessible to the masses for some seasons now, offering open invitations to the masses and opening his runway presentations to invite transparency into the industry. This year he took this concept of inclusivity to another level by live streaming behind the scenes for 4 days before his runway presentation in Milan. Models walked the runway surrounded by screens filled with the faces of hundreds of people who registered to participate in the show. The unisex show was filled with Diesel staples like manipulated leather and denim pieces, including braided knitwear, intense layering, faux fur pieces, and sheer panels which appeared like burned edges to garments. Martens continues to create spectacles through his collections and further push the importance of community in fashion by creating luxury design that is accessible to all.

Fendi

Kim Jones has delivered many an iconic collection since his entrance to the 99 year-old fashion house, staying true to his muse, Fendi heiress Delfina Fendi – who also acts as the houses artistic director of jewelry. The collection was filled with strategic asymmetry, exquisite draping, color blocking and dynamic silhouettes which borrowed from Japanese inspiration. Polkadots added a playful touch to the sophisticated and chic pieces, bright layered garments stood out among the mainly earthy and muted palette which provided contrast and fun pops of color throughout.

DSquared2

The two great minds behind Dsquared2, twin designers Dean and Dan Caten took personal inspiration when casting their runway show, filled with duality – 24 sets of twin models came down the runway featuring day-and-night versions of the over the top maximalist styled looks. The campy unisex collection was fun-filled and balanced polished aesthetics with outdoor wear and grungey looks which featured fur, flannel and athleticwear. The duo emerged to take their bow following suit in the show’s concept – Dan in sleek denim trousers and a sheer chiffon shirt and Dean alongside him in a plunging black corset dress and bright red hairdo.

Prada

Vogue’s March cover girl Miuccia Prada took inspiration from bows this season, using the girlish applique as a symbol of youth on more mature silhouettes that referenced vintage silhouettes. As the masters of ‘ugly-chic’ Prada and Simons played with nostalgia, sending lettermans jackets, sweater sets and cocktail dresses down the runway accessorized with gloves, textured hats and clutch bags envisioned in modern textiles. Bows appeared subtly as belts and fasteners, making a more obvious appearance on dresses which were covered in the applique, the symbol of youth being repurposed on traditionally more mature garments was refreshing and oh so Prada.

Gucci

Following the relatively recent exit of beloved Gucci designer Alessandro Michele, Sabato De Sarno has slowly but surely built the foundation for his vision for Gucci. The italian designer presented his latest womenswear collection last week full of wardrobe essentials, namely outerwear and gowns of varying lengths and silhouettes. The collection leaned into stiff construction to create geometric shapes with jackets and coats, moving into leggy silhouettes that utilized sheer textiles and shortened hemlines on dresses.

Marni

Marni returned to the italian runway after several international shows including Tokyo and Paris. Francesco Risso noted this collection was conceptualized without the typical visual references like moodboards and instead was created instinctually by returning to the basics of design and stripping back the creative process to simplify and deconstruct garments to essentials. With an emphasis on triangular silhouettes seen on jackets and dresses, there were many fur looks which ranged from bags to full jackets and even shoes which played into animalistic and primal references which also appeared in mixed animal printed garments.

Moschino

Moschino welcomed a new creative director following the exit of beloved designer Jeremy Scott and the tragic death of newly appointed creative director Davide Renne. Adrian Appiolaza assumed the role in January, following an impressive career in the industry – the Argentinian designer leaned into Franco Moschino’s design legacy for his debut collection, balancing the campy characters with more wearable everyday garments. The unisex collection opened with a classic trench coat and long string of pearls, the model clutching a paper grocery bag filled with bread and produce. The collection explored graphics like a large question mark, smiley faces, peace signs and polka dots which brought a playful touch to a more serious Moschino collection.

Photo credit: Mat Abad

The 74th Berlin Film Festival comes to a close on Sunday, bringing to an end a slew of red carpet appearances from the likes of Kristen Stewart, Amanda Seyfried, Carey Mulligan and Adam Sandler grace their ahead of the release of their latest projects, with new films such as “Gloria!,” “All Shall Be Well” and “Love Lies Bleeding” vying for a shot at critical acclaim.

Though some movies have yet to hit the big screen, this year’s cinematic themes of transition, displacement, and (sometimes) violent dissonance already reflected much of Germany’s current internal tension and the country’s position in a time of international conflict.

While Ambur Braid and Douglas Smith smiled alongside Syefried at the premiere of “Seven Veils,” Irish actress Saoirse Ronan was spotted on the carpet for “The Outrun.” Elsewhere, all eyes were on the Academy Award-winning Lupita Nyong’o as the actor dared in a white Gucci dress for her history-making appointment as Berlin Film Festival’s first black Jury President.

During a press conference, director Martin Scorsese of “Killers of The Flower Moon,” who received an Honorary Golden Bear and a special screening of his 2006 film “The Departed,” offered a moving discussion on how “individual voice” must be maintained while embracing the “transforming” film industry and asserting fearlessness in the face of outdated protocol and artificial intelligence.

Kristen Stewart, the beloved Chanel ambassador who stars in the new lesbian love thriller “Love Lies Bleeding,” previously championed Scorsese’s sentiments in January, telling Variety that she will “quit acting” until she directs her passion project “The Chronology of Water” amid studio funding setbacks.

Among the sea of stars was also “Cuckoo’”s leading lady, Hunter Schafer, who wowed in a fresh runway look from Maison Margiela’s Spring 2024 Artisanal Collection, as well as Lena Dunhum, who impressed at the “Treasure” premiere in an almost sheer Simone Rocha dress, spotted at one point embracing actor Stephen Fry.
Whether sitting on panels or turning red carpet photo calls into a fashion moment, Beyond The Pines’ Mat Abad (Bad Boi) snapped photos of all the biggest actors at the 2024 Berlin Film Festival. See them below.

Paul Dano and Carey Mulligan catch their breath after carrying the conversation at John Renck’s “Spaceman” panel. The “intergalactic odyssey of love, ambition, and self-discovery” also stars Adam Sandlar.

“Cuckoo” co-stars Jan Bluthardt and Marton Csokas listen to fellow panelist Hunter Schafer speak about the Tilman Singer-directed mystery thriller, which was later nominated for Best Feature Film at the 74th Berlin Film Festival.

Lead actors of “Another End” Bérénice Bejo and Gael García Bernal have a momentary reprise during panel discussions where Bernal can’t resist a good laugh. Piero Messino’s death-defying romance is nominated for Best Film at the 74th Berlin Film Festival.

Kristen Stewart arrives at the premiere of “Love Lies Bleeding” wearing silvery-white contemporary look from Chanel Spring 2024 Haute Couture. The latest LGBTQIA thriller, “Love Lies Bleeding” festival critics awarded the film a nomination for Best Feature Film.

Award-winning actress Jessica Henwick sits alongside “Cuckoo” co-star Hunter Schafer as the 25-year-old breakout star leads the panel discussion.

Palm Springs has often been regarded as the ultimate destination for a quaint vacation, and a buzzy target for relaxation and stillness. It’s sunny and posh, but still carries a coziness. The slow city has a penchant now for grand airbnbs and towering hotels, but in recent years, as air travel and road trips both have ramped back up to pre-pandemic volumes, with it comes a seeming preference for cozier lodging spaces across hotspot destinations, with vacationers beelining for hotel properties that echo the warmth and familiarity of home in lieu of the near clinical-esque predictability of more standard options.

For Southern California travelers in search of such an experience, there is the Palm Springs gem, Casa Cody. Perched on the western edge of the desert city at the foot of California’s San Jacinto Mountains, the property offers an intimate and luxurious experience with a touch of nostalgia. Surrounded by clusters of palm trees and arches of bougainvillea, the hotel boasts a small footprint of just 30 adobe-style bungalows set against an unobstructed view of a majestic mountainscape. Inside, there’s more square-footage offered per guest than most hotels you’ll come by.

Against the backdrop of urban skylines and bustling streets, the hospitality industry is reinventing itself. The next chapter in travel is not written in grand ballrooms or opulent suites but in the quaint charm of charm-filled lodgings like Casa Cody. Complete private kitchenettes and centered pools that aren’t at risk of overcrowding, you also get that which you might not usually get at home such as massages, reiki sessions and yoga.

Ahead, Casetta’s Brandi Russell, Vice-President of Marketing and Sales at Casa Cody’s parent company, chats with Beyond The Pines about the charm of a cottage stay in the California desert, and the art of a lodging experience that breeds comfort and familiarity.

BEYOND THE PINES: What is at the heart of Casa Cody’s ethos?

Brandi Russell: Casetta was founded by boutique hotel lovers excited by the challenge of giving storied properties new life. Our hotels are architecturally significant, in some cases historic, and often hidden gems. We dig into each building’s history, honoring the past while designing for the future, collaborate with our partners and artists to design spaces that speak to each property’s locale, and spend time with our communities, aiming to create special hotels that resonate with each guest.

BTP: What are the advantages of opting for a bouquet hotel stay versus a more standard option?

BR: We love visiting boutique hotels as they feel closer to a home away from home. The guest experience is more intimate and personal when done right. There’s usually a sense of thoughtfulness that is so thorough, yet not calculated.

BTP: What makes Casa Cody unique in comparison to other boutique properties in Palm Springs?

BR: The history. Casa Cody is the oldest operating hotel in Palm Springs founded in the 1920s by female pioneer Harriet Cody, cousin to the legendary Buffalo Bill. In the early 1900s, Harriet and her husband, Harold Bryant Cody, traveled by wagon from Hollywood to Palm Springs. They settled on the land to become Casa Cody and built a home. By the 1920s, Harriet established the property as a hotel, and it became the stomping grounds for legends of the Los Angeles arts community visiting the desert. Charlie Chaplin, American Opera Singer Lawrence Tibbett, and AnaÏs Nin spent time on property, particularly in the Adobe House, where a stage was built. Tibbett’s piano was kept below the House for performances and parties.

BTP: What are some of the inspirations behind the interior and design?

BR: When we remodel a property, it is very much about maintaining the bones and never transporting the look or feel into another era. We are about breathing in new life, not stripping it away. For Casa Cody, we worked with the designers at Electric Bowery to revitalize the property utilizing rich colors and textures such as the velvet settees you see in many rooms. You’ll see these beautiful zeliage tiles in the showers that feel almost as if they belonged there all along, and the Saltillo tiles take you back in time as you can tell they’re original.

BTP: How do you strike a balance between preserving the antique charm of the property and incorporating modern comforts?

BR: For Casa Cody I think it plays into the design choices that were made. The bathrooms clearly needed to be updated, but the tile feels as if it could have been there all along. It’s making a conscious decision to not do anything too bold at the end of the day. Paint colors are subtle yet current, and landscaping by Terremoto — nothing feels too recent, trendy or modern. You still drive up to the vintage neon light and enter through a large gate that transports you into what feels like a private estate.

BTP: How do you envision the future of boutique hotels, and what role do you see them playing in the evolving travel landscape?

BR: I think we’ve seen a major shift post Covid where travelers alike want to feel connected now. Whether that’s through guest experience or programming, it is something that’s done best at boutique properties. Larger chain hotels definitely have a very special space in the industry that we respect, but with a greater amount of rooms comes a greater opportunity to disconnect from the guest even if that’s not intentional. Staying small allows us to know guests by names and keep track of their preferences. We’ve also seen a huge increase in the demand for wellness offerings and it’s easier for boutique hotels to quickly adapt to needs like this as they arrive. For example, at Casa Cody we have built a beautiful treatment room for massages and reiki, we regularly host sound baths and yoga and at our hotels in development we are installing barrel saunas and cold plunge baths.

Photo credit: Mat Abad

A quintessential Cigarettes After Sex track is akin to the musical equivalent of a black-and-white film. The band’s technicolor lyrics, however, paint their melancholic tunes in themes of nostalgia, regret, and most importantly, love, and it’s a raw formula that has propelled the trio (that’s Greg Gonzalez, Jacob Tomsky, and Randall Miller) into cult fandom, their ethereal catalog spanning over 16 years thus far.

“Creating music can reveal feelings you didn’t know you had,” Gonzalez, who fronts the band as lead vocalist tells Beyond The Pines. “You can write something, and it can bring you to tears.” Understanding the Texas-born musician is realizing he’s a romantic at heart, no matter how sorrowful the music feels. Love outlines his favorite films – The Red Shoes, L’Avventura, The Wind Rises, and The Double Life of Veronique – and a glimpse at Gonzalez’s Instagram (it’s comprised solely of black and white images, like the band’s joint account), indicates its influence on the group’s signature sound, a slowcore melancholy that builds in the pit of the stomach.

What began as an “accident” in a stairway at the University of Texas at El Paso turned into Cigarettes After Sex’s debut EP, I (2012), a noir-tinted introduction to a decade-plus career exploring romance in its varying shades. However, it wasn’t until 2016’s “K.” that the band found the level of notoriety it enjoys today, making its rounds then on what some called the “sad girl” side of Tumblr, á la similar alternative figureheads such as Lana Del Rey, Arctic Monkeys, and The Weekend.

Gonzalez’s velvety soft voice no doubt sweeten Cigarette After Sex’s mainstream appeal, but it’s his pure autobiographical approach to songwriting that seals the deal, with “K.” becoming the centerpiece of a very important storyline. “The songs that relate together are usually that way because they are about the same person,” he says. “‘Affection’ was the first song I wrote about that person, sharing specific details of the beginning of our relationship. Then “K.” would be next, telling the story of a week we had together in New York, and how I started to miss them when they left.”

With “Sweet” encapsulating the height of his love and “Touch” documenting the break-up, Gonzalez admits the latter is “the least faithful to the actual real-life story.” However, he calls last year’s “Bubblegum” and “Stop Waiting” their discography’s outliers, describing the singles as “more like scenes [he] wrote based on specific emotions [he] had.” The backstory for “Stop Waiting” starts with a night on which Gonzalez recalls taking too long to work up the courage to talk to someone at the bar. “When I finally did, they were leaving, and I only got to talk to them for a second before the moment was gone. I guess the sadness of that experience led me to imagine the romance that plays out in the song.”

Though originally intended for 2017’s self-titled debut album, their latest tracks received a second wind during Cigarettes After Sex’s sold-out UK/European tour in late 2023, and will get another chance at the band’s upcoming Bonnaro set in Tennessee.

Their impact continues to transcend the Tumblr generation, finding a new home on TikTok thanks to 2017’s “Apocalypse” going viral with a lipstick-smudged trend that translated into over a billion streams on Spotify. Also among their popular Spotify tracks is “Cry,” the title track to their sophomore album, now with nearly 390 million streams.
“I remember feeling vulnerable about the lyrics to ‘Cry,’” Gonzalez says. “I thought that the lyrics might come across as arrogant somehow. The honesty of having to tell someone you can’t be with them for those reasons.”

It’s this vulnerability though that, for the three of them, just seems to work. Gonzalez’s autobiographical limerent ramblings and lush world-building has proven to have awakened a new generation’s love for good ‘ol nostalgia and longing, and, if love is ever lost, Cigarettes After Sex is perhaps the best in the business of rekindling the beauty of trying again.

February’s New York Fashion Week circuit marks the beginning of the Fall/Winter ready-to-wear cycle, and presentations of the latest from beloved American designers and otherwise came and went, as they do every season, with a quickness. With Marc Jacobs among the latest mega houses to commit to off-calendar showings, and budding designers such as Theophilio sitting this round out for one reason or another, a more bare bones line up this time around didn’t necessarily mean the week was destined to be an uneventful one. In the end, Parisian commodity Ludovic de Saint Sernin cast a fresh POV over the week with its first New York-destination show, Puppets & Puppets executed an emotionally stirring farewell (the brand showed its last ready-to-wear collection this season and said goodbye to New York and fashion shows, pivoting henceforth to accessories with London as its new base), and at Luar’s Bushwick show, a surprise Beyonce appearance.

While trends of past seasons leaned heavily into monochromatic palettes, color blocking and ‘90s minimalism, recent collections see a palpable shift toward a palatable maximalism, ushering in mixed patterns, vibrant tones and bold textures reminiscent of ‘60s. Runway gimmicks were in shorter supply this year (Beyonce aside), leaving room to take in the collections themselves, and there were efforts at diverse casting after a few seasons of backtracking, with models baring maternity bodies and brands enlisting a wide age range.

Ahead, as shows ensue in London, and up next, Milan and Paris, here’s the rundown on New York’s best.

Helmut Lang

Peter Do made quite a stir during his debut at SS24 in New York last year, and as he navigates constructing his sartorial narrative through the iconic label – the designer continues to carve out his own path as a Vietnamese-born designer for an American label. The collection retained a much darker tone than spring/summer, ditching bright colors and bold cutouts for more sharp and structured tailoring, mixed plaids and interesting silhouettes. Accessories from the collection included inflated handbag handles, flat crossbody sling bags, large rectangular leather purses and steel detailed boots.

Collina Strada

Coming off the heat of her AI-assisted SS24 show, the Collina Strada FW collection was playful as ever, baring models with pregnancy bellies, tops resembling inflated muscles and even a baby on the runway. As typical for a Collina Strada show – diversity was a must on the runway featuring models of diverse sizing and races. The collection was an explosion of color, whimsical patterns and over-the-top layering – ruching was a key component of the collection which added to the inflated bicep silhouettes resembling muscles which matched the eccentric dumbbells fashioned with squashes instead of weights.

Eckhaus Latta

Held in an empty industrial office space in Tribeca, the Eckhaus Latta fall/winter collection was a delightful presentation made up of earthy neutral and berry tones. The 30 look collection showcased faux fur detailing, ribbed knits, and sheer garments which embodied the restrained yet sexy aesthetic synonymous to the independent label. The unisex collection also featured playful accessories like an oversized fur scarf and knitted headpieces. Latta has mastered the art of cutouts, this collection including an asymmetrical cutout midi skirt and tops with strategic slicing in the fabrics which bared the models skin, adding intriguing detail to the laid back collection.

Anna Sui

In attendance by icons like Sofia Coppola and Marc Jacobs – the Anna Sui runway show was held in Strand’s Rare Book Room, a 37 look collection of explosive patterns and accessories that made no attempts to stay within muted or neutral tones and rather leaned into a palette that stood out among other runway shows. The collection began with orange and brown tones that utilized plaids and tartans, moving into blue paisleys and floral patterns before moving on to some darker looks which included some silver and foil tones, closing the show with an all sequined look. The styling of the collection was intentionally over the top, knee high socks, assorted headpieces, gloves and scarves were piled onto strategically layered looks adding complexity to the show. Overall, the runway presentation made for a delightful throwback to 60s aesthetics and vintage silhouettes while still including modern inclusions like cargo pants layered under plaid skirts.

Tommy Hilfiger

After a year hiatus from NYFW, Tommy Hilfiger has come home to New York City with a 59 look collection which reminds us what American design is built on. The iconic NYC label built on preppy staples like Khakis, Polos and cable knit sweaters quintessential to the all-American uniform – affordable, timeless and versatile. The large collection made use of classic patterns like stripes and plaids in standout pieces, paired with tailored blazers and more casual garments like varsity jackets and oversized sweaters to make for effortless and cool looks which were accessorized with large scarves and baseball caps. Tailoring varied from structured skirt suits to relaxed button-ups layered under chunky sweater vests, which demonstrated variety in the collection and Hilfigers knack for creating a recognizable uniform for a modern preppy aesthetic.

Elena Velez

The Milwaukee-born Elena Velez presented a small collection of 7 intricately crafted designs which notably made use of quality rather than quantity. Velez described the event as a salon rather than a classic runway presentation which further dove into the world that the designer is building with each season of work. The humble collection was a far-cry away from the designers previous runway season’s mud-fight stunt but no less synonymous to Velez’s vision of expanding the notions of femininity in fashion. Attendees were adorned with custom Elena Velez designs, and the intimate gathering of curated guests gathered on Fifth Avenue to bear witness to the brilliant artistry of Velez’s more current work. The collection leaned into Victorian Era details like voluminous tiered skirts and off-shoulder necklines in specific brand fabrications and textiles like leather and cotton-linen blends.

Sandy Liang

2023 was the year of the bow, chinese-born designer Sandy Liang being a principal influence in this trend which is still going strong. Liang has kept momentum following the success of the launch of her pointe shoe inspired ballet flats and multiple collaborations with notable footwear brands like Soloman and SUBU over the past year. Moving into Fall/Winter her latest collection has evolved her signature bow motif and featured Liang staples like the pleated skirts, square necklines and the adored ballet flat with the inclusion of new textures and silhouettes like rosette applique outerwear, fuzzy textured skirts and jackets as well as sweet floral prints. The overall pastel palette of the collection was punctuated by bright looks like an all-red look and bright pink bow dress which stood out among the collection. An expert at blending sporty aesthetics with more formal workwear and suiting, Liang has established a codified equation for the Sandy Liang it-girl which remains ever evolving.