On October 5th, in the middle of the midterm election campaign, Donald Trump delivered a speech in Nebraska. Nothing new: patriotic grandiloquence and discursive posturing about the greatness of America. Once the speech ended, Y.M.C.A., by the Village People, played—that song which in the seventies became an icon of gay culture and which today Trump has adopted as his campaign soundtrack. The president then gave himself over to his now-characteristic robotic dance, until a movement revealed an unexpected detail: the suit's label, with the name Jos. A. Bank. An American brand that, at first glance, seemed consistent with one of Trump's most recurring proclamations: consuming products manufactured in the United States. But is the case of Trump and his protectionist measures in fashion exceptional?

If there is one place in Africa that is worth visiting to understand the deep mystery of the continent, it is Great Zimbabwe. These are enigmatic ruins that rise in the southeast of Zimbabwe, far enough from the capital, Harare, and the country's second city, Bulawayo, for most tourist circuits to ignore them. A big mistake, since when you walk among the walls of Great Zimbabwe, or when you climb to the fortifications on the high part, you realize that Africa is much more than what historians say who insist on narrating the history of Africa starting from the arrival of the first explorers.

The one in the photo is Caldwell. This week his owner, Katie Brockman, won the Dog Photographer of the Year award at the 2026 Dog Photography Awards. It is the chosen photo from among all the winners of the different categories. It is not one of the major photography awards, but it has repercussions because images of beasts, especially if they are endearing, are grateful content for many media outlets.

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In Son Espanyolet, the Palma neighborhood where low houses and discreet facades define a good part of the urban landscape, building anew implies knowing how to look before deciding how to intervene. The house designed by Munarq, a studio founded by architects Rafel Munar and Pau Munar, starts from the desire to be part of the neighborhood without renouncing contemporary architecture.

When Diego Luna (Toluca de Lerdo, Mexico, 1979) was just two years old, his mother, the artist and set designer Fiona Alexander, died in a car accident. Upon reading Brenda Navarro's novel Ceniza en la boca (Sexto Piso, 2022), the actor and director recognized the echo of his own experience in a character as different from him as Lucila, the Mexican teenager who migrates with her younger brother to Spain –first to Madrid, then to Barcelona– to reunite with the mother who abandoned them eight years earlier. But above all, he was fascinated by the clash of perspectives: “The daughter sees her mother's departure as an act of abandonment, but the mother feels she is making a great sacrifice for her children. As a father, I cannot stop thinking about how painful it must be to live away from one's children and start from scratch in another place. But I am also a son, and the absence of the maternal figure is a subject that has occupied my thoughts every day of my life”.

On September 22nd, the first day of Milan Fashion Week, during the Vogue World fashion show at the imposing Galleria Vittorio Emanuele II, there were two people visibly uncomfortable with what they were seeing. Miuccia Prada – head designer of her eponymous brand – and Alessandro Michele – creative director of Valentino – two of the heavyweights of the global fashion scene, were clearly wrinkling their noses while the rest of the attendees applauded, enthralled by the spectacle. The reason? The appearance of four humanoid robots from the Chinese company Unitree acting as acrobats among the models, presented under the title The age of intelligence. While the audience responded with enthusiasm, Prada and Michele seemed to be among the few who did not find it amusing. Perhaps because, behind the spectacle, they saw something more than four robots doing somersaults: the irruption of artificial intelligence into a world, that of fashion, which until now had made the body, hands, tradition, and human creativity its reason for being.

Queues at the doors of Zara stores, items sold out in minutes, resales at double the price, and videos on social media in which shoppers proudly show off their acquisitions are not exactly part of the usual experience at Amancio Ortega's house. But that is exactly what happened on October 1st. And it is not a minor anecdote: the arrival of John Galliano at Zara has altered, even if momentarily, the rules of the game in a territory much broader than that of fashion. Because Galliano is not only one of the great designers of the last decades: he is also a name loaded with symbolic capital associated with an Olympus of creation and luxury that, until not long ago, seemed incompatible with the fashion of common mortals. But what is different about this collaboration compared to the many others that, from time to time and for years, enliven –like a swallow that does not make a summer– the dimmed creativity of fast fashion chains?

Life takes many turns. Larry Williams, 66, a successful builder from Vermont, is the new master of the Montjoi de Baix farmhouse and this entire small valley located on the southern slope of the Cap de Creus Natural Park, within the municipality of Roses. A rural paradise right by the sea. A place occupied by men and women since time immemorial, rich in flora and fauna and rich, too, in stories more legendary than documented, which now, however, are becoming real. It is, moreover, the stretch of coast where Ferran Adrià performed the culinary miracle of El Bulli.

November 1996. An Ethiopian Airlines Boeing 767 crashes into the waters of the Indian Ocean following a hijacking. One of the passengers is Mohamed "Mo" Amin. In that instant, the career of the most influential photojournalist in the history of Africa was extinguished. Born in Nairobi in 1943 into a humble family of Punjabi descent, Amin fell in love with photography at the age of 11. Over three decades of his career, his gaze was our own on the front line. The founding of the independent agency Camerapix, in 1963, broke the monopoly of the great Western powers over the continent's narrative. From Nairobi, Amin demonstrated that globally impactful information could be produced and distributed with rigor, independence, and own resources from within Africa itself. From the Camerapix office, he uncovered Soviet camps in Zanzibar, filmed the assassination of Tom Mboya, gained exclusive access to Idi Amin, and in 1984, his footage of the famine in Ethiopia shocked the planet and mobilized the largest humanitarian aid campaign of the 20th century. Neither torture nor the loss of his left arm in an explosion kept him from his craft. Today, his archive of 8.5 million images asserts that Africa is not just a tragedy, but a living continent of tradition, beauty, and complexity.

Simone Risoluti is the Vatican photographer in charge of documenting all of Leo XIV's activity. Last Monday, he captured the moment when the pope was talking to the pilots of the plane that was taking him from Lourdes to Metz, on the last day of his visit to France. The scene has a touch of irony that the photographer seems to accentuate: the pope in the sky, closer to God. He is there thanks to aeronautical engineering and the work of the pilots. The ecclesiastical authority who speaks of elevating souls and guiding them to heaven in the cockpit of an aircraft. Here, faith is not as important as mechanics and technology. The scene also recalls those old jokes where all kinds of celebrities would coincide on a plane and, faced with a critical situation, everyone had to jump, but there was always one parachute missing.

On November 13, 2003, Rolling Stone magazine published its issue 935. On the cover, The Strokes, who were releasing their second album, Room on fire. Music journalist Neil Strauss was in charge of the main interview with Julian Casablancas, the visible, and beautiful, face of the New York band. It had only been a year and a half since the group had exploded. They were the advanced heirs of the local scene of the seventies, concentrated in the legendary concert venue CBGB, in the East Village, and of bands like Television. The Strokes were the best reality of the new wave: they had released a majestic album, Is this it, and were the center of all eyes. Everything was going well. Or so it seemed, because Strauss, who years later published the full interview with the singer in the book Everyone Loves You When You're Dead (Contra, 2012), found himself in front of someone decadent, exhausted, erratic, and visibly affected by alcohol consumption. The journalist described the meeting as "The worst interview of all time".

Insect-shaped pins made with electrical resistors and fuses. With this discreet jewel by Christian Konn began, one could say, the adventure of Drap-Art. Critic Rosa Pera saw them and invited him, along with other Barcelona artists, to participate in a recycled art festival held in the north of France, La Braderie de l'Art de Roubaix, and a whole expedition of friends went there who, upon returning, decided to organize their own festival in Barcelona. This is explained, in a documented and enlightening article, by Xavier Theros in the book Drap-Aires. Stories of the Drap-Art Festival, which gathers the thirty years of the festival with a whole selection of photographs by Consuelo Bautista. If Theros is the chronicler of the Barcelona art scene of the nineties, there is no doubt that Bautista is the one who has best known how to portray it. There is also, of course, a text by Tanja Grass, Christian's partner and, from the beginning, the soul and driving force of this festival that began in 1996 and has had continuity in different formats throughout the years. Until today. The next one will be from November 17th to December 21st in various spaces in Barcelona's Gothic Quarter and before, in October, there will be parallel festivals in Formentera and the Ebro Delta.

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Every day, in the vast Kantamanto market in Accra, Francis, an experienced vendor, walks its busy aisles from dawn until dusk selling modern empty shopping bags with eye-catching designs, including one with the United Kingdom flag. It is no coincidence: the United Kingdom is one of the largest exporters of used clothing to Ghana, a trade that has transformed both the market and the country's environment. Every week, more than 15 million second-hand items arrive in Ghana, mainly from the northern hemisphere.

Right now we are living in a surreal dystopia stretched between two apparently opposite extremes. On one hand, we are frightened by the possibility that a potentially superintelligent AI might end up annihilating humanity; on the other, we suffer from the human stupidity of a good portion of our political leaders. A paradox between artificial intelligence and natural foolishness that, if it weren't for everything we have at stake, could seem comical to us. Leaders who, all too often, whether out of overconfidence or because they feel in danger, seem to start rambling in their public statements, taking their shortcomings out for a walk. And it is precisely in this context that Donald Trump has decided to imagine a uniform for the Space Force that does not exist... nor does it seem likely to exist.On September 6th, the President of the United States surprised the world with a post on Truth Social. This consisted of the image of a supposed new uniform for the Space Force, the latest branch of the American Armed Forces, created by Trump in 2019, intended to protect and operate the country's military space infrastructure. We are not dealing with astronauts, but with what he has dubbed "guardians": military personnel who, beyond exploration tasks, must dominate, protect, and defend this new military domain. With the Space Force, Trump contributes to transforming the space scenario that, until now, we had associated primarily with science and fiction into a new space for military combat.

Sea level rise is one of the impacts of the climate crisis that are already irreversible, as the UN warns. As the oceans warm, water rises mainly due to a phenomenon of thermal expansion, and to this is added the water poured in by both melting terrestrial glaciers and the continental ice of the poles as it thaws. It is precisely this last cause, the melting of the polar ice caps, that has been accelerating the most in recent years. Now, a new study published in Scientific Data, from the Nature group, offers the most precise portrait obtained to date on ice loss in Greenland and Antarctica.

For ninety years, the photograph Death of a Loyalist Militiaman has been attributed to Robert Capa. The image of a republican combatant at the moment of being struck down consecrated the Hungarian photographer. The precise instant it portrays, with the militiaman losing his balance but not yet having touched the ground, gives it a drama that condenses the cruelty of war. The rifle seems to slip from his hand and the barren landscape further accentuates the tragedy of the soldiers. An atrocious and lonely death. It is impossible to identify his face, and the slight lack of sharpness of the image allows one to intuit the urgency of a photographer who triggers the shutter at the same moment they are startled by the horror of the scene.

Where the Pyrenees plunge into the Mediterranean Sea, some rocks resist submergence. The water reaches great depths close to the coast, and yet, some islets protrude, like perennial icebergs. Two of these islets are found at the tip of Cap de Creus, near the lighthouse: s'Encalladora and the Massa d'Or (or Maça d'Oros).

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