What is urban fashion? Also known as street wear or street fashion? It is that aesthetic of clothing originating from the United States in the eighties, from the urban tribes of that time, from breakdance fashion. It consists of wearing jeans combined with a tracksuit jacket, a baseball cap, a sweatshirt with the logo of baseball or basketball teams, Puma sneakers, and clothing brands like Lois. Greatly influenced by cinema, by films like Porky's and Teen Wolf – the jacket worn by Michael J. Fox is pure street wear–, by Boy George, by George Michael. The Wrangler jeans that Freddy Mercury wore at Queen's legendary performance at the Live Aid concert in 1985 at Wembley Stadium. Or the yellow Champion t-shirt that he himself made very fashionable. Or when he wore Puma sneakers and Adidas signed him. Who wore Lois and made the brand famous? Well, Abba, Rod Stewart, John Lennon, and Johan Cruyff.

We are immersed in Paris Haute Couture Week. The collections presented these days have left absolutely spectacular pieces, especially from Daniel Roseberry for Schiaparelli and Jonathan Anderson in his haute couture debut for Dior. But, despite the creative display that is capturing all eyes these days, there is a dress that is eclipsing them all. A very unique dress because, in reality, no one has seen it yet. And the more time passes without knowing what it looks like, the more conversations, speculations, and expectations it generates. I'm referring to the one Taylor Swift wore at her wedding to American football player Travis Kelce, held on July 3rd.Beyond the possibility that the images will be reserved for a future exclusive, this situation fits perfectly with the logic of the attention economy. In fact, a good part of the fashion world revolves around a concept that has become commonplace in the sector: hype. More than promoting a product, hype consists of building desire for it before it exists – or before it is accessible – by feeding rumors, leaks, small clues, and waiting periods that keep the conversation alive. In short, hype is the art of turning waiting into desire, because whoever controls time also controls the narrative and decides when, how, and who will have access to what everyone is waiting to see. Precisely at a time when we have become accustomed to getting almost anything immediately, it is here that marketing strategies manage to trap us. Desire, after all, usually reaches its peak intensity when we don't yet have what we want, but it dissolves with surprising speed as soon as we get it.

Few people set trends in Hollywood as much as Zendaya, who always makes daring and personal stylistic choices. The actress has once again proven she is unbeatable on the red carpet by appearing at the premiere of The Odyssey in a dress that left no one indifferent. In the film, she plays the goddess Athena, and Zendaya has decided to dress in keeping with her role: she chose a sculptural design from the firm Schiaparelli that surprises with a white breastplate-like upper body that accentuates her breasts and ribs. The corset, in fact, can be reminiscent of an ancient Greek sculpture, undoubtedly a nod to the film in which she participates, an adaptation of Homer's epic poem.

Teyana Taylor, an American actress and singer, presented the iconic show "Saturday night live" in January dressed in an unexpected piece: a white t-shirt, completely embroidered with sequins, featuring one of the most iconic logos of the 20th century: "I❤️NY". The piece was part of Chanel's Métiers d'Art 2025/26 collection, the line with which the French house showcases its maximum artisanal virtuosity each year. This time, however, the most exquisite luxury had allied itself with one of the most kitsch objects of tourist culture: the souvenir t-shirt. The episode could have remained an anecdote if it weren't for the fact that, since then, other celebrities – especially from Generation Z – have also revived this same symbol.

There is an idea that we have normalized to the point of not seeing it: that happiness can be bought. And we are not talking about that one-off acquisition of a long-desired object, but about a happiness built on a constant drip of small purchases, apparently insignificant but which, in perspective, draw a pattern of behavior and almost a horizon of meaning. Through consumption we build ourselves, we relate to each other, we articulate our free time and, in short, we shape our lives. This way of inhabiting the world is consolidated especially from the Second World War, when in the United States consumption projects itself beyond the strictly economic sphere to become an identity factor, even patriotic, and a mechanism of social stabilization that will end up being exported on a global scale. And, among the areas that most intensely participate in this logic, we find, in a paradigmatic way, fashion. But why does buying a new sweater or acquiring seasonal shoes make us happy?The key to this feeling is not so much in the acquisition itself, nor even in the moment we wear that skirt we liked so much in the store for the first time. The decisive moment — the one in which dopamine is activated, more linked to desire and expectation than to satisfaction — occurs just before the purchase: when we look for the item, pursue it, imagine ourselves wearing it, or leave it waiting in the digital cart. It is in this interval, in this tension between what we do not yet have and what we project, where the most intense peak of pleasure is concentrated. The purchase, on the other hand, does not end it: it reactivates it. The cycle resumes immediately, and with it the need for a new object, a new impulse.However, although the collective imaginary has associated compulsive buying addiction almost inseparably with women, it should be understood that it is a transversal behavior, inscribed in the very logic of capitalist economies. The idea that women cannot restrain themselves in front of a pair of shoes is constructed throughout the 19th century, in a context of profound contempt that uses this stereotype to question their moral capacity and justify their exclusion from the rights and freedoms derived from liberal revolutions. Consumption thus appears as proof of supposed weakness, of an inability to govern one's own impulses, in contrast to a masculinity defined by self-control.

Victor von Schwarz (his surname in German means "black"; Sabadell, 1988) is the artistic name of the fashion designer who has dressed some of the most popular artists on the music scene, such as Aitana, Lola Índigo or Rosalía, and who is part of the Shein X program. The designer has matured an androgynous style —influenced by his time in Taiwan—, with a constant presence of pink and "cute aesthetics, which was reflected in the pink jersey-top that Rosalía wore in the music video for Milionària. For wine, Von Schwarz is true to his brand: when he can choose, he chooses black.

Once upon a time, footballers seemed to have only one dimension: when they weren't sweating it out on the field, they were always seen in tracksuits. People programmed solely to perform athletically, as if there were no boundary between athlete and person. And when they appeared in street clothes, they conveyed the same discomfort as men who only dress up for weddings: outfits that seemed to wear them rather than the other way around. Times that, seeing the national teams' arrivals at the World Cup, seem absolutely past. But this transformation has taken several World Cups to crystallize.

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.