The Lux Tour is arguably Rosalía's most ambitious tour to date. Everything is meticulously planned, including the wardrobe. Now that the singer has begun the North American leg of the tour, she has decided to make changes to some of the outfits she wears, and the novelties have come from Jonathan Anderson, creative director of Dior, who has designed four exclusive looks for her, which were already seen at the concert she gave in Boston. The French house has shared several videos on Instagram showing the creative process and allowing us to see Rosalía trying on the outfits she will wear in the concerts she still has to perform. It should be remembered that since 2024 Rosalía has been a global ambassador for Dior.

On Tuesday, June 2, the presenter of the TVE program Al cielo con ella, Henar Álvarez, starred in an unusual scene that soon went viral. During her usual opening monologue, she complained that not a week goes by without some viewer asking her why she presents the program "dressed as a man". The question is not anecdotal.

Tulles, bows, sequins, pearls, corsets... could be the ingredients of a Parisian haute couture fashion show, but these days they are part of one of the great stages of world sport: Roland Garros. Tennis player Naomi Osaka has once again turned her entrance onto the court into a visual event, with a series of outfits designed by Swiss creator Kevin Germanier that have generated as much conversation as some of the tournament's matches. It wasn't the first time. Last year she had already surprised with a spectacular Robert Wun dress inspired by a jellyfish. This year, Osaka took to the court dressed to the nines, with a transparent tulle skirt and a bodice made from recycled pieces. Once in place, however, she sheds this first layer to reveal another, copper-colored one that blends with the clay court, but at the same time emits metallic reflections inspired, according to Germanier himself, by the night lighting of the Eiffel Tower. An authentic scenic transformation thus occurs: first Naomi the celebrity appears, almost as if walking down a red carpet; then Naomi the sportswoman emerges, ready to compete. This structure of revelation traditionally belongs to the language of fashion and spectacle rather than sport. It is not surprising that some commentators have coined the term court-ure, a fusion of court and couture, to describe this phenomenon. And all of this takes on a curious historical resonance when we consider that the scene takes place on the Suzanne Lenglen court, the great French tennis player who, at the beginning of the 20th century, understood before anyone else that transforming the players' clothing also meant transforming their place in society.

Lola Casademunt, one of the benchmark Catalan fashion brands, celebrated its 45th anniversary this Wednesday with a fashion show at Barcelona's Llotja de Mar, where it presented the spring-summer 2027 collection, a proposal greatly inspired by the city's spirit. "La Joya [collection name] aims to pay homage to Barcelona, the city that is part of our DNA and has inspired us for 45 years. The architecture, the light, the colors, and this unique blend of tradition, art, and modernity have guided the entire collection," explains Maite Casademunt, president and creative director of Lola Casademunt.

When we talk about beautiful bodies, we tend to imagine a kind of natural grace or exceptional physical attributes that only a minority of people are lucky enough to have received at birth. But what we consider beauty is not a universal or immutable reality, but a cultural construction that each society defines according to its values, imaginaries, and ways of looking. A beauty that, far from being sought for the personal enjoyment of inhabiting one's own body, needs the external gaze to exist and acquire meaning through the approval of others. It is no coincidence, then, that throughout the 20th century and as the means of reproducing and disseminating images multiplied, beauty ideals became increasingly conditioned by technologies of visibility.

Jonathan Andic, son of Mango's founder and until now vice-president of the Catalan fashion multinational, is temporarily stepping down from his positions at the company to focus on his defense. Andic's temporary withdrawal comes a week after the Mossos d'Esquadra arrested him, accused of the homicide of his father, Isak Andic, who died in Collbató in December 2024. The eldest son of Mango's founder, who avoided provisional prison after paying a one-million-euro bail, has sent an open letter to the staff in which he defends his innocence and expresses his "frustration" with the situation he is in.

A long queue of people have patiently camped out for days –and the corresponding nights– on Barcelona's Passeig de Gràcia. In the best-case scenario, equipped with chairs and camping furniture to make the wait more bearable. The gathering forced the Mossos d’Esquadra to intervene due to the risk of disturbances. A scene that has been repeated in multiple cities around the world, with even more extreme situations. In New York, they waited for almost a week, while attempts to speculate on the queue also proliferated. In Paris, where over 300 people gathered, the police intervened with tear gas to disperse the crowd. In Milan, the authorities had to cordon off the area after rushes, disturbances, and fights.But what is the reason for this phenomenon? Are we facing a new urban encampment like the one on May 15th to demand a higher quality democracy? Perhaps the genocide in Gaza has pushed hundreds of people to occupy public space? Or perhaps the teachers' strike and the fight for public education have become a global outcry. Well, no. The reason for this collective penance is none other than the tribute that turbocapitalism demands from its most faithful followers: the queues were to get the latest collaboration from Swatch with the emblematic Swiss high watchmaking house Audemars Piguet. All in all, as absurd as it is revealing.The easiest –and also the most tempting– would be to ridicule these people and label them as brainless, foolish, or superficial. It would even be comforting to make them the scapegoat for the ills of a world we increasingly recognize and understand less. But doing so would mean killing the messenger. Because, rather than condemning individuals, what we should demand is to identify the root of the problem.What drives some people to sleep on the street for days is not the desire to get a simple watch – however attractive it may be – but the symbolic reward that capitalism has been promising for decades: the illusion of a better life through consumption. Because today watches, much more than objects intended to measure the passage of time, have become one of the most desired social markers, especially among men. And even more so if we talk about Audemars Piguet, a firm located in the same Olympus of luxury as Rolex and reserved, practically, for that privileged minority that concentrates economic power.

For a few years now, the anticipation for red carpets has shifted to film festivals. Beyond the big award galas, venues like the Cannes Film Festival have become major fashion showcases. La Croisette closes its 79th edition this Saturday and, in terms of fashion, it will be remembered for its boldness and, above all, for one name: Demi Moore. The American actress, who was part of the festival jury this year, has made her mark by showing a playful approach to all the looks she has worn at various premieres. Moore has demonstrated such aesthetic personality that it's difficult to choose just one of the dresses she has worn, but undoubtedly the voluminous Barbie pink dress with a giant bow at the neckline is very high on the ranking.

The market punishes Puig for broken talks for the merger with Estée Lauder. The Catalan multinational of premium beauty has plummeted more than 13% on the day after the talks ended without an agreement. At Friday's market close, the stock fell to 15.18 euros, after closing on Thursday evening at around 18 euros. With this move, the titles of the perfume multinational are moving further away from the price of the stock market debut it undertook in 2024, around 24.5 euros. Estée Lauder shares, on the contrary, show a strong recovery: around 12 noon in New York, two hours after the start of the session, they were up 9.4%, to 86.3 dollars.

It might seem that as societies modernize they tend to gradually shed inherited rituals laden with formality. Current times, increasingly oriented towards practicality and immediacy, have refined many social ceremonies that today seem excessively solemn: from the rigor of wearing mourning clothes to the protocols associated with baptisms or communions. However, from time to time, rituals emerge that, like stubborn salmon swimming against the current, not only survive but reappear hypertrophied, clad in a ceremonial that they did not even have in the past. This is the case with graduations. The turn is so unexpected that there are already specialized brands in this festive-academic niche and teenagers capable of patiently waiting five hours in line to get the outfit with which to publicly stage that they have finished the fourth year of ESO.

In Andalusia, everything can change in a matter of days. The black, the hoods, and the rosaries – visible expressions of penance, renunciation, and faith – suddenly dissolve into an explosion of patterns, colors, flowers, and bodies that demand prominence at the Feria de Abril. The chest-beating and stark cries of Holy Week processions give way to celebration, excess, and immoderation. If in one case aesthetics impose restraint and anonymity, in the other it demands the exact opposite: to stand out and occupy space under the gaze of others. It is not just a change of atmosphere, but also a deeper displacement: from one emotion to another, from a way of feeling and inhabiting the body marked, with almost ritualistic precision, by the calendar to another. As if faith (or its theatricalization) also had seasons. And this is where one of its most eloquent instruments comes into play. Because, at the Feria, this need to be seen is dressed up. And it does so with a garment that draws all eyes: the flamenco dress.Despite the current perception, this dress was not born as a showpiece, but as clothing for the popular classes of the 19th century. It was worn by peasant women and vendors who attended Andalusian livestock fairs, especially the April Fair, which in its origins was a commercial space and not festive. Its shape responded to the patterns of the time: a fitted bodice and a voluminous skirt, in this case resolved with ruffles. These ruffles, now distinctive of the dress, have been interpreted in various ways. On the one hand, they have been linked to gypsy and Andalusian contexts, where the movement of the body (both in dance and in daily gestures) found its correlate in clothing that not only accompanied it, but also made it visible. On the other hand, they must be placed within the framework of 19th-century women's fashion, dominated by voluminous skirts supported by internal structures such as farthingales or crinolines, which limited mobility. Without evidence that they were conceived as an alternative, the ruffles nevertheless allowed volume to be generated without immobilizing the body.

Just twenty years ago, Hollywood premiered, without intending to or expecting it, a film that would end up becoming an icon of the fashion world, The Devil Wears Prada. Beneath the appearance of a light comedy, the film hid a much more biting background than it might have seemed at first glance. The story brought to life the homonymous novel by Lauren Weisberger, which stemmed from her own experience as an assistant to Anna Wintour, editor-in-chief of Vogue and one of the most powerful figures in the industry. But what could have remained a simple chronicle of the fashion world became, in reality, a deeper reflection: not so much about fashion itself as about the forms of power that sustain it and, in particular, about the degree of violence that our society is willing to accept when this power is presented as excellence.Talking about Anna Wintour is not just talking about the magazine Vogue, but about a figure who has redefined the rules of the game of contemporary fashion. Endowed with a particularly keen nose for detecting trends and new talents –like those of John Galliano or Alexander McQueen–, she has also been the architect of one of the traits that define the sector today: the hybridization between haute couture and more everyday aesthetics. And, in parallel, she has decisively contributed to turning the inauguration of a fashion exhibition into a global event, such as the Met Gala, which has just taken place on February 4th. However, following Weisberger's account and the epithet with which she herself christened her –devil–, Wintour also embodies a certain way of understanding power: as an exercise of perfectly normalized violence, both within the sector and in relation to all the people around her. Working for her implies accepting constant humiliation, extreme competition, and renunciation of any form of personal life as natural. After all, as is repeated in The Devil Wears Prada, “a million girls would kill for this job”, even if it means seeing a brilliant resume reduced to tasks as mundane as bringing her coffee, picking up her dry cleaning, or satisfying her daughters' whims.

A very floral carpet with reminiscences of Van Gogh saw the top brass of global celebrities pass by this Monday night, who gathered at the Metropolitan Museum of Art in New York to raise funds for the Fashion Institute. The traditional Met Gala was held, not without controversy due to the participation of Jeff Bezos, owner of Amazon, and his wife, Lauren Sanchez, as the main financiers of the event, a fact that has led to calls for a boycott. Nevertheless, the gala continues to be the big fashion party and this year the chosen theme –Fashion is art– has given rise to the most diverse interpretations: on the carpet we have seen sober dresses but also very outlandish options, the most direct way to make an impact.

In full negotiations with Estée Lauder for a possible integration, Puig Brands, the Catalan fashion and beauty multinational, has announced its first-quarter results for this year, with sales of 1,215 million euros, an increase of 0.8%. The rise is 4.7% at constant perimeter and exchange rates. The company insists that "no definitive decision has been made" with the US firm, with whom talks were confirmed on March 23. It adds that "until an agreement is reached, it cannot be guaranteed that there may be a transaction nor its terms".

A fascinating fact about the functioning of trends is that, no matter how many experts and agencies are dedicated to predicting them, they always retain a component of unpredictability. It would be like the flight of starlings, which we can observe how they move, but we will never know who decides their turn, direction, or the moment they stop. And it is that fashion, far from being the sum of individual decisions, responds to dynamics inscribed in a complex social fabric. This is why, while big brands invest time, money, and entire teams to produce the it-bag of the season, suddenly a completely unremarkable one appears that, incomprehensibly, concentrates all the desire: the tote bag from Trader Joe's supermarket.On the one hand, we could believe that ostentatious aspirations of social climbing have been set aside in favor of a certain democratic practicality. But this consolation lasts little: why hasn't the same happened with the Bon Preu (Esclat) or Condis supermarket bag? It is in this mismatch that it becomes evident that distinction has not disappeared, but rather has become sophisticated. It no longer operates solely through price or ostentation, but through subtle codes, where the value of an object depends as much on cultural context as on its material cost.

When the good weather arrives, it's not just our clothes that change, our footwear also adapts to the new temperatures. That's why brands are starting to present their star models before the heat arrives, for all those who like to get things done before it's completely mandatory. These are 4 models of women's shoes that will be very popular this summer.

Zara has done it again. Without any shame or embarrassment, it has strolled through the supermarket of social struggles, underground cultures, and symbolic identities with its cart wide open: a bit of marginality to give it pedigree, some uncomfortable figure of those who were a nuisance in life, and, above all, a good dose of rebellion. That's right: all nicely domesticated. Everything, passed through the quick boil of fast fashion, shrink-wrapped and ready to be consumed in the form of a prefabricated identity. And this time, who got to enter the shredder of turbocapitalism? Camarón de la Isla.And this in the full Camarón year, coinciding with the 75th anniversary of the birth of the iconic cantaor, a figure who was not only an exceptional voice of flamenco, but also one of its great renovators. From La leyenda del tiempo, he opened the genre to new sounds and sensibilities, and moved it from an almost fossilized space to a living territory in tension with the present. But, furthermore, he contributed to overflowing the social image of gypsy culture beyond the cliché to which it had been subjected during Francoism, trapped between folklorism and marginality. Together with key figures like Paco de Lucía, he broadened the imaginaries around gypsy identity, both from within and in its public projection.

Bridal white returns to Barcelona Bridal Fashion Week, but also vibrant red, electric blue, emerald green, fuchsia, striking yellow, sequins or gala satins and all the intense colors of the red carpet. One more year, Bridal will become an essential meeting point to discover the market and the trends that will mark the 2027 season, and not only for bridal fashion, but also for party, gala, and accessories.

The 080 Barcelona Fashion closes its 37th edition with proposals from 26 brands, a clear international commitment, and its classic combination of established designers and young emerging talents. The move to Port Vell was experienced with a certain duality, as the spectacularity of the new location could not be fully enjoyed since the runway area was closed off by large black curtains that blocked the sea views. Nevertheless, we have selected some of the most prominent trends we saw over these four days of fashion.

The new edition of 080 Barcelona Fashion begins this Tuesday full of novelties: the first and most obvious is the change of location, as after years at the modernist complex of Sant Pau, the Catalan catwalk moves to Port Vell, specifically to the Trencaones promenade, where an ephemeral structure of more than 50 meters long will be installed to host the different proposals of the participating designers. The change of location had long been considered by the organization because Sant Pau had become too small for a catwalk that has been growing in recent years. The entry of the Barcelona City Council into the organization of the event – another of the novelties –, which materializes with a contribution of 500,000 euros, has been decisive in choosing the new location, by the sea, which, as Moisès Rodríguez, director of the Consorci de Comerç, Artesania i Moda, explains, turns Barcelona "into the only catwalk that is by the sea". For Rodríguez, this new location also has a message linked to the city's past, as "the sea is fundamental to the history of the Industrial Revolution in Catalonia and the development of the textile industry". "The port was a strategic location for the transport of cotton and this past connects us with the present of the industry and fashion," he highlights. With the contribution of the City Council, and the support of the Diputació de Barcelona, which this edition has joined the project to boost the fashion sector, the total budget for 080 Barcelona Fashion is 2.8 million euros.