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 starts this Tuesday full of novelties: the first and most evident is the change of location, since 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 been considered for some time 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 novelty – 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 Consortium of Commerce, Crafts and Fashion, explains, makes Barcelona "the only catwalk that is by the sea". For Rodríguez, this new location also carries a message linked to the city's past, since "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 place for the transport of cotton and this past connects us with the present of 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 of 080 Barcelona Fashion is 2.8 million euros.

Humanity, with the Artemis mission, is once again looking towards the Moon and, with it, unearths from the memory chest the old space race that marked the Cold War. Back then, amidst the dangerous tensions between the United States and the Soviet Union, the world fractured into two irreconcilable blocs and the conquest of space became another stage for geopolitical competition. It was not just about reaching further, but about demonstrating who had the capacity to impose themselves on the other. In this context, the media flooded the collective imagination for years with images of rockets, astronauts, and distant planets. A persistent iconography that not only informed, but also shaped how society thought about tomorrow. Because, fundamentally, every society is also built upon this inevitable question: what awaits us in the future?Imagining life in space involved speculating about what this day-to-day would be like, and design was launched to rethink furniture, cars, and housing for this projected future. Between armchairs that evoked capsules and residences that seemed like orbital stations, the "space age" fashion was born, conceived to facilitate a hypothetical interplanetary life. Creators like André Courrèges or Pierre Cardin opted for rigid outfits, detached from the body, almost like shells. White, associated with the aerospace universe, became the dominant color, accompanied by helmets and metallic boots. In parallel, Paco Rabanne's proposals took fashion towards the realm of engineering, with pieces made of metallic plates that stretched the very limits of the discipline.What is revealing, seen with perspective, is the extent to which these speculations about the future have outstripped reality. If we had listened to Stanley Kubrick with 2001: A Space Odyssey, to Star Trek or even to The Jetsons, today we would already be living among flying cars, off planet Earth and in zero gravity conditions. But perhaps it is even more significant to note that, if technological imagination often goes too far, it tends, on the other hand, to fall short in other areas: such as women's rights. In these imaginary worlds, they continue to occupy subordinate positions, even in futures where humanity already inhabits other planets. And this forces us to ask whether we are really dealing with speculations or, rather, with projected male desires.However, beyond the television impact of the first moon landing –a moment highly choreographed from a propagandistic point of view by the United States–, the most transformative image was not that of the Moon, but that of the Earth. The Blue Marble photograph, which became humanity's first selfie, revealed a paradox: after years of division and confrontation, what we saw was, in reality, a single shared unit. And it was precisely this compact image that activated, in a part of the population, a new pacifist and ecological consciousness.Unlike the Cold War, today the United States does not compete in a strictly bipolar world, even though the space race continues to be a duel, this time with China, which has also set out to step on the Moon in the coming years. It is, however, inevitable to point out the paradox: at a time when the world seems to be fragmenting and humanity is going through a deep crisis of values, we look outwards again. Perhaps, as in Andrei Tarkovsky's Solaris", this journey is not so much about the future as about the past. Or perhaps – and herein lies the question – it should serve us, precisely, to look better in the mirror and rethink where we stand as humanity. But perhaps, seeing the recent images of Artemis astronauts wishing a Happy Easter from space and looking for eggs around the ship, what is in doubt is not the future, but whether we still have any shred of self-awareness.

With the arrival of good weather, it's time to take out the sunglasses from the drawer, which have been hidden from the light during this long winter. Precisely because the time to show them off has arrived, many brands have presented new collections so that everyone can find some that suit them well and look good. We review some of the most notable ones.

Easter Week, beyond processions, masses, palms, and "monas" (cakes), displays a repertoire of vestments that we have learned to look at without seeing. Garments that, being so familiar, have ceased to seem strange to us, but which, if we pause for a moment, are profoundly unusual and far removed from any form of everyday dress. And among the mantillas with combs, the Nazarene tunics, the girdles, or the cloaks of the virgins, there is an element that stands out for its formal power and its symbolic connotations: the hood. The doors of Seville Cathedral open and the first Nazarenes begin to emerge, in a line, surrounded by an intense smell of wax and incense. Tunics, candles, and pointed hoods that rise above everything. The drums mark a dry and constant rhythm and the attendees remain expectant, in a contained silence. The faces of the Nazarenes are not seen, only their eyes, and the street, for a moment, ceases to be an everyday space to become a stage. The hood has fulfilled its function: to make individual identity disappear to give prominence to the saint being worshipped. In this way, it ensures that the wearer is seen without being recognized and allows them to enter the structure of the ritual, assuming an attitude of discipline and surrender. But what is the origin of this strange hat, which has survived centuries of history?Its origin is not, in any case, processional, but rather it was born as an instrument of public penance between the 15th and 17th centuries, in the context of the Holy Inquisition. The condemned were exhibited with sambenets — a type of tunic — and coroces — hats often conical or pointed —. Its function was clearly punitive and exemplary: to make sin visible and to humiliate the sinner. Far from pursuing anonymity, as happens today, it was about marking the body and exposing it publicly.It will be between the 17th and 18th centuries when Holy Week processions are institutionalized and penance ceases to be imposed to become voluntary. In this new context, the hood is re-signified: it comes to symbolize spiritual aspiration —with its projection towards heaven—, the assumption of religious discipline, and the centrality of the ritual over the person. But beyond its morphology, there is a question that is even more unsettling and often bewilders many visitors: what relationship does this piece have with the Ku Klux Klan (KKK)?The KKK was founded in 1865, after the Civil War, as a violent reaction against the abolition of slavery and with the aim of restoring white supremacy. It deployed a regime of terror and intimidation against the African American population, and to do so it equipped itself with a deliberate aesthetic of authority and threat. Its iconography —white robe and pointed hood— draws from a mixture of imaginaries, among which are European phantasmagorical, ritual, and religious references. The formal coincidence with the hood is evident, but its meaning is radically opposite. If in the context of Holy Week anonymity expresses humility, penance, and dissolution of the self, in the case of the KKK it serves to guarantee impunity and exercise collective violence. The same operation, that of concealing identity, which can serve both to submit and to dominate.Easter Sunday brings the Holy Week to an end and, with it, the time of penance. The solemnity fades away as easily as a Nazarene takes off his hood. A few days later, in Andalusia, the calendar turns and the revelry of the April Fair makes way: colors, ruffles, moons, exposed bodies, flowers in hair, Manila shawls... The contrast is so immediate that it is difficult not to wonder to what extent what we have seen was a deep experience or a shared theatricalization. Garments that are activated and deactivated as ways of organizing bodies, time, and desire.

There are developments in the beauty, cosmetics, and perfume sector. The Catalan company Puig Brands confirmed tonight that it is in talks with the American company Estée Lauder, also majority-owned by the family. In a statement to the Spanish National Securities Market Commission (CNMV), the group controlled by the Puig family acknowledged that these negotiations are taking place, as previously reported by [the Spanish news outlet]. Financial TimesIn the same statement, the multinational—which owns brands such as Paco Rabanne, Nina Ricci, Jean Paul Gaultier, Byredo, Charlotte Tilbury, and Carolina Herrera, among others—adds that the talks are focused on "a possible combination of businesses with The Estée Lauder Companies Inc." In any case, they assure that "no final decision has been made nor has any agreement been reached." And they add that "until there is an agreement, there is no guarantee that a transaction will take place, nor its terms." The Wall Street Journal Information has emerged about the operation, which would create a cosmetics giant valued at over €30 billion. Following news of the talks, shares of the US firm fell by more than 8% on the stock market. Estée Lauder is larger than Puig Brands, which also has a portion of its capital publicly traded. The US group's value is around $30 billion – it fell to $28 billion on Monday – while Estée Lauder's is valued at approximately $9 billion. IPO

The Catalan group, which debuted on the stock exchange on May 3, 2024, launched at €24.50 per share, a price it has not yet recovered. This Monday, it closed at €15.57, up 3.59%. The family that owns the Catalan multinational, with a 112-year history, retained more than 90% of the voting rights despite its IPO. In 2025, Puig reported net revenues of €5.042 billion, a 5.3% increase, and profits of €594 million, an 11.9% increase.

]]>

One of the latest bombshells in fashion This has been the announcement of Zara's new collaborationThe global fast-fashion giant has brought on board designer John Galliano, one of the most singular figures in contemporary design, for a two-year period. It's a partnership that was difficult to foresee, but one that is profoundly revealing of the current moment we are living in as a society.

]]>

Zara has announced a two-year creative collaboration with designer John Galliano, whose aim is to reinterpret the brand's archives across various collections with an innovative and contemporary approach. Galliano will work with pieces from past Zara seasons, deconstructing and transforming them to create entirely new designs. As the Inditex flagship brand explained in a statement on its social media channels, the signing of the designer represents a firm commitment to reinterpreting the brand's legacy and identity, which spans more than 50 years.

]]>

It's been months of red carpets. An excess of catwalks and an excess of discomfort. Not only the discomfort generated by some of the award winners' speeches, but also by the outfits women choose, which continue to present images unheard of in the 21st century. But if we're being strict, in the 21st century, the world is also governed by ultra-violent narcissists who are leaving a landscape that hasn't changed in centuries. And since little more can be said about the brutality of a system that allows the bombing of whatever a few wretches fancy, and since we seem to have to accept violence as a necessary evil in this rotten world of self-interest, let's turn the tables and look at what is apparently permanent, and what many people consider a free choice. And they're right. Because women's formal attire is the perfect symbol to explain where we still are. And the damage it does isn't comparable to war, but it still leaves many dead. It's the imprisonment of the body. Of the standards of beauty. Of scandal disguised as glamour.

]]>

The Catalan multinational fragrance company Puig has appointed a new CEO. Executive José Manuel Albesa, currently the company's deputy CEO, will assume this role, which is currently held—along with the chairmanship of the group—by Marc Puig, the company announced in a statement on Tuesday. With this appointment, Marc Puig will step down from the chairmanship but will remain as executive chairman. "Marc Puig will work closely with José Manuel Albesa to align the strategic vision, while remaining focused on the mergers and acquisitions strategy," the statement reads. The appointment is effective immediately and has already been approved by the multinational's board of directors, with the endorsement of the appointments and remuneration committee. The decision to separate the chairmanship and CEO positions, which were previously held by the same person, is "in line with best practices for listed companies," according to the company. "The separation of roles aligns with the highest standards of best practices," the group's president stated in the same press release. Puig, a family-owned company since its inception, went public in May 2024 and It entered the select group of the Ibex 35 —the index that groups the 35 largest companies on the Spanish stock exchanges— two months later.

]]>

How does the son of Mallorcan farmers manage to walk the runway at New York Fashion Week and be considered John Galliano's successor? Why does this protégé of the fashion press end up thrown to the wolves? We asked ourselves these same questions in this very newspaper exactly eleven years ago in the wake of Call it a balance in the unbalance (2011). An epic story with a dramatic ending in which Regine Lettner delves, through the experiences of designer Miguel Adrover, into an industry capable of destroying myths as quickly as it builds them. This documentary was part of the first edition of Moritz Feed Doc, Barcelona's international film and fashion festival, which celebrates its tenth anniversary this year by, coincidentally, revisiting the fascinating and enigmatic figure of Adrover. On this occasion, it does so through The designer is dead (2025), a documentary by Gonzalo Hergueta focusing on the life and artistic trajectory of one of the most consistent and radical personalities in contemporary fashion. This Adrover is the same Adrover who, more than two decades ago, was already speaking about sustainability and multiculturalism, when these concepts were not yet widely understood. mainstreamThis is similar to how, a few months ago, he refused to dress Rosalía de Lux because the singer wasn't using her platform to denounce the Palestinian genocide. For Adrover, fashion should be understood not only as a cultural artifact but also as a political one.

]]>

"There are no more urban tribes, and there won't be any, at least not with the presence and strength they had in the second half of the 20th century," states José Mansilla, an urban anthropologist in the Department of Social and Cultural Anthropology at the Autonomous University of Barcelona (UAB). "In Spain, they emerged with great force in the 1980s as a result of a period of realignment in Spanish society. Now, only a few nostalgics will remain," he asserts.

]]>

The red carpet at this year's Oscars passed without incident or surprises. Hollywood, once again, did its traditional job of turning a blind eye to the world's problems and allowing us to forget for a few hours that the planet is falling apart. A missed opportunity to use such a powerful platform to stir consciences or, at least, slightly unsettle the established order.

]]>

"I have always dressed by imitating others," says Elisabet Coll-Vinent at the beginning of I want to dress like you (now books), an essay in which she reflects on authenticity and imitation, the individual and the collective, and in which she invites us to develop a greater understanding of fashion to better understand ourselves and the society we are part of.

]]>

Chinese fashion giant Shein will open offices in Barcelona, ​​where it will house its marketing team for the Spanish market, despite the investigations opened by the European Commission against the company and the growing tariff pressure. The presence in the Catalan capital represents "a strategic step" for the multinational of fast fashion, according to the director of branding Shein's Borde Hiransomboon, this Thursday at the presentation of the delegation.

]]>

Those of us who are a bit older will remember one of the iconic couples of the nineties: Carolyn Bessette and John F. Kennedy Jr. A relationship that is being revisited these days, with a marked hyperglycemia, by the Disney+ series Love StoryShe worked at Calvin Klein, the brand that best embodied the minimalist spirit of the late 20th century, in tune with the moderation and introspection imposed by the economic crisis of the time. He was the heir to one of the most powerful surnames in American politics, with an almost mythical allure that opened doors for him, but also forced him to constantly prove his worth.

]]>

The Catalan multinational fashion company Mango increased its profit by 11% in 2025, to 242 million euros, in line with the 13% increase in turnover compared to the previous yearMango's revenue reached nearly €3.8 billion, as reported this Thursday by the company's president and CEO, Toni Ruiz. "We have managed to turn a complicated year into a record year," Ruiz stated at the press conference presenting the results at the group's headquarters in Palau-solità i Plegamans (Vallès Occidental). The CEO noted that 2025 was "the first year without our founder," referring to the death of Isak Andic in December 2024. With these results, Mango maintains the upward trend of recent years, following the initial impact on the Catalan retail sector. Compared to 2019—the last year before the COVID-19 pandemic—the multinational has increased its revenue by approximately €1.5 billion. Ruiz celebrated that the group is "growing well above the market." "Mango is experiencing the strongest period in its history," he added. Looking ahead to this year, the president has set the company's goal of reaching €4 billion in revenue.

]]>

At Marta's house, with two girls, clothes haven't been a big expense. Throughout their childhood, they've made use of everything that friends' or cousins' daughters no longer needed. It's come to them through the seams, and that's why, even as little girls, both have been able to choose what they like and discard what they don't. They only bought the most basic items, like leggings, which are difficult to pass down. Both the older girl, 12, and the younger one, 8, have agreed on one thing for the past few years: they haven't worn skinny jeans because, apart from not finding them comfortable, they arrived just as wide-legged or flared trousers were back in style.

]]>

The Goya Awards hadn't been held in Catalonia for 26 years, and their return to Barcelona was marked by a palpable sense of celebration, reflected in the fashion. Although, as is typical for these galas, black was predominant—always a safe bet for those who want to look elegant—there were some daring choices that attempted to break away from the prevailing color scheme. There was also room for political statements, with many guests accessorizing their evening wear with pins advocating for the liberation of Palestine.

]]>