I know you’ve seen Hailey Bieber in that orange vintage Dior mini dress, Coachella’s been unavoidable, but have you seen her in tangerine? And if your brain files this under “color,” that’s on you. Anthony Vaccarello’s latest Saint Laurent campaign, Tangerine Temptation, is not so much about shades as it is about atmosphere, and Nadia Lee Cohen’s slightly overcooked lens makes sure of that.
Remember those ‘80s-inspired, glossy, lacy, and sporty pieces from his Resort 2026 collection? That’s exactly what Hailey Bieber is seen wearing here. She’s in one of those paper-thin windbreakers, paired with lace-trimmed shorts that feel closer to lingerie than anything else. There are also one-pieces built on the same logic, styled with an almost alarmingly oversized bow at the back, just enough to exaggerate the silhouette for the camera, and that two-tone blue swimsuit everyone went crazy over, the one that looks like it was pulled straight from a ‘70s catalogue.
That throwback feeling carries straight into the (very cinematic) shots. People online have been comparing it to a house tour, the model moving through vintage interiors, then suddenly just a few steps away from a pool. The house itself leans heavily Californian, in that very sunset-friendly, slightly out-of-time way. Think leather P.A.R.I.S. slingback pumps kicked up in front of a TV someone, somewhere, would absolutely fight to archive.
Can paradise last forever? In a contained environment, can something sacred and stolen stretch to something longer? Or are those moments glimpses of a reality that, teased, out, could never realistically work?
These questions run through Permanence, Sophie Mackintosh’s newest novel, which, despite its persuasiveness of such a thing’s futility, is a hell of a lot cheerier than her most recent book, 2023’s Cursed Bread, where hysteria and conspiracy grips an entire town due to poisoned food. In Permanence, Clara and Francis wake up in an unnamed town, able to carry out their affair in the midst of other adulterers, with the domesticity they had yearned for previously. If they cause harm, physical or emotional, they’re whisked back to the real world—Francis has a wife and a child, Clara has an AWOL roommate. It’s Severance meets The Good Place for cheaters, and makes for a playful and often sweet novel about relationships, time, and devotion.
Mackintosh’s newest dreamy landscape is the town of impermanence, where baristas know regulars’ orders, one can work for gold coins (Clara and Francis gently farm, as if they were in Stardew Valley) to supply endless picnics with fresh bread and pouring wine. A newspaper reads, Breaking News: You Deserve to Be Happy! They meet shop owners who have been there for much longer than Clara and Francis, and neighbors who show them the ropes. But they’ve brought themselves to this Eden, and their struggles clash—Clara, reasonably upset she can’t live fully in the real world with him, and Francis, who is trying to mend his dual life (does his child miss him when he’s in this place?). After an argument, they’re forced back into reality, where they can only return by genuinely wishing, I would give anything to go back.
The city is miraculous, but unforgiving—each time they return, the pavement is a little more cracked, the cafe is closed. “Be good,” Clara tells herself after noticing a cigarette burn on a table, a slightly breezier chill in the air. “They did not need a city of unrelenting sunlight, of glittering fountains. It was better to live here… where he was the shining thing who made all else fall into place.” This rudimentary thinking obviously leads to more despair; Clara keeps bringing up their relationship’s lack of stability, which makes Francis moody.
At one point, Clara thinks, “Don’t ruin what you have been given,” but the city of impermanence seems more like torture, or a hard lesson in accepting their previous lives, like a visit to a prison as a child to see how messed up you could turn out if you don’t follow the rules. Francis wants Clara to enjoy what they have, and Clara wants Francis to hold her fully in his arms, to return to the real world convinced that they can be together and to leave his family. But it’s clear, as they harm themselves with more violence—extending their stays in reality—that this was just an exercise in futility.
Clara and Francis get the clarity they desperately seek, and it wouldn’t be a spoiler to say they permanently return to their regular lives, wishing only faintly that they could see each other again. In a way, it might have helped them—without the excursion, they’d spend the rest of their lives wondering what it’d be like with the other, if everything could’ve turned out different. Now, they know. Maybe they even understood from the start they were on borrowed time.
If classic Pucci belonged to Capri’s dolce vita, the newer version edges toward something older, rougher, Sicilian. Emilio Pucci has been here before, the Mezzogiorno, the mosaics, that 1956 image inside the Villa Romana del Casale that always finds its way back to the top of fashion’s archive. Under Camille Miceli, postcard history stays put. The reference point isn’t the pattern anymore, it’s the atmosphere.
Grotta dei Cordari, the location of choice, is part of the ancient quarries outside Syracuse, a landscape already marked in the time of early Greek presence in Sicily. Cut deep into limestone, the space feels less constructed than revealed, as if the earth itself was opened and left that way. At a later point, it briefly held rope-making activity, a fleeting human layer against something far more enduring.
The collection was titled ‘Alba,’ Italian for dawn, Miceli-an for three very different ways of seeing the first light of the day. The designer drew inspiration from what we all just thought of, the Mediterranean’s warmest colors, Etna-tinted reds, oranges, and pinks we’ve all agreed to romanticise first thing in the morning. “It’s a genuine celebration of that pure vitality, of that irresistible desire for joy and lightness. Each dawn invites hope, vitality and the chance to see the world with a new outlook,” she told WWD. Then there’s the after-party sunrise, the one that signals a very good night rather than a new day. And then there’s the artificially serious one, like Olafur Eliasson’s 2003 Tate Modern sun, where daylight becomes installation.
Which makes perfect sense once you see the woman on the runway. She grew up in Sicily, where she first learned to read nature, color, and patterns, before moving through Morocco, Paris, and New York, each adding a different layer to her understanding of bohemian aesthetics, until she landed in Berlin’s raves, where all those references began to dissolve into each other, in my head, at least. Picture Fiamme prints, geometrical shapes, fringes, stone embellishments, knits, sheer lurex, gladiator sandals, and black leather belts. It’s a lot, but never randomly so.
Grimes is teasing a new album. In a feature with Interview magazine, the musician said she has a new album on the way called Psy Opera. Here’s everything we know so far.
How long has it been since Grimes’ last album?
Grimes released her most recent album, Miss Anthropocene, in 2020. Though she signed to Columbia Records the following year, she only put out a few one-off singles before departing the label. She also remixed tracks by Magdalena Bay and Aespa. Last year, she unveiled the Miss Anthropocene demo ‘idgaf’, as well as a new song, ‘Artificial Angel’, via her own label, Nazgul Recording LLC.
What else has Grimes worked on since Miss Anthropocene?
In the Interview feature, Grimes told science-fiction author Nnedi Okorafor that she “totally quit music a couple years ago” with the intention of being a stay-at-home mom. “I couldn’t listen to music without getting PTSD,” she said. “I was only interested in writing and reading. I started writing poetry, and then someone was like, ‘Can you write a rap for this K-pop artist?’ I started writing the rap and I was like, ‘This is too good. I’m keeping this because it’s crazy.’ But then we had a problem for eight months where I was just a white rapper… Luckily we moved past that.”
She also said that one of her “side quests” is working on a documentary about “machine consciousness” called First Contact, clarifying she doesn’t use generative AI in her own music.
Will AI be a theme on the new album?
Grimes did admit that for one of the songs on Psy Opera, ‘DeepSeek’, she employed the Chinese AI model of the same name for help writing lyrics. As for how it might be framed as central theme on the album, the musician had this to say: “I was thinking about how everyone is like, ‘We’re building gods,'” Grimes said of the writing process. “I’m like, ‘Why do you automatically assume you’re so much lesser? You’re literally responsible for creating AI. You’re abdicating so much self-esteem and pride and responsibility and agency when you act like whatever AI is, no one has a hand in it.’ And I was getting emotional because we might really go extinct, for a number of reasons. Human life is very frail and time is very long. But I’d hope, if we had good relations with AI, they would take our DNA and make more of us when things get more hospitable.”
Has a release date been announced?
Grimes hasn’t shared any other details about the album’s release.
Has Grimes released any singles from the album?
No. But during her surprise during Cobrah’s Weekend 1 Coachella set earlier this month, she did debut a new collab song called ‘Sign From God’.
No matter how advanced or convenient a creative tool can be, there will always come a point when it stops being new. For instance, people become interested in X-Design alternatives. It is not because the app failed. They search for other options, as templates become too familiar, workflows feel repetitive, and ideas outpace the features. Slowly, users realize that what once worked as a powerful tool now starts to feel limiting. In other words, the urge to explore choices comes from growth.
Thankfully, there is no shortage of options today. Take a look at these alternatives to X-Design (now known as Zawa) that reshape how creative work gets done, aligning with where creators are now.
Best X-Design Alternatives in 2026
Simfa
With creative growth in mind, Simfa brings content creation to the next level. It gives a more efficient and refreshed approach. Whether it is for product visuals, digital marketing, branding, or pure entertainment, this app is useful for optimizing creative campaigns and creating brand identity.
Simfa is equipped with features for generating AI images, AI outfit swaps and face swaps, enhancing products, upscaling images, creating descriptions, bulk pricing, updating SEO Meta, removing backgrounds, and color grading.
Pricing
Free Access
Starter Package – $15 per month
Plus Package – $23 a month
Simfa+ Package – $99 per month
Enterprise Package – Customizable
Krea
Krea functions as a creative AI suite built for both beginners and professionals. With a very simple interface, creators who use this tool can jump straight to the action without going through dry tutorials.
Among its offerings are AI image and video generation, AI image and video enhancements, AI fine-tuning, AI 3D generation, and file management.
Pricing
Free Access
Basic Package – $9 a month
Pro Package – $35 per month
Max Package – $70 – $165 a month
Business Package – $50 – $2,850 per month
Enterprise Package – Customizable
Playground
Designing anything like an expert is made easier by Playground. This platform is an AI image generator and editor. From inputting prompts to exploring numerous templates, it allows users to produce visuals for logos, social media posts, marketing materials, products, and more.
Aside from over 20 templates, Playground delivers image tools that help remove backgrounds, generate logos, generate mockups, and convert files.
Pricing
Free Access
Pro Package – $15 a month
Pro Plus Package – $45 per month
Mujo AI
Mujo AI caters to creators who require AI image generation and visual content creation tools. Designed for brands, e-commerce teams, and casual users, this tool uses AI models to provide campaign creatives, photoshoots, product photos, and other visual content.
Its main features include an AI photoshoot, an AI agent for e‑commerce listing content, an AI design editor for product images, and an AI copywriting editor for product listings.
Pricing
Free Access
Start Package – $12 a month
Basic Package – $28 per month
Pro Package – $49 a month
Creator Package – $101 per month
Flair.ai
Another web-based option is Flair.ai. It positions itself as an AI-driven content creation platform for designing product photoshoots, videos, marketing, advertising, and content. This app even allows real-time collaboration with teams.
Flair.ai. includes capabilities such as generating bulk content, model photography, product videos, marketing content, and several image tools.
Pricing
Free Access
Pro Package – $8 a month
Pro Plus Package – $26 per month
Scale Package – $38 – $138 per month
Enterprise Package – Customizable
Final Notes
Outgrowing a tool is part of the creative process. It is like a favorite shirt from five years ago — it is still nice, but no longer fits. As ideas evolve, the tools and how they are used should evolve too. And with so many X-Design alternatives available on the digital market, creators are no longer limited to a single way of creating.
In the process of veering away from a setup that feels restrictive, a creative tool like Simfa is essential. This app not only shows new ways to create but also introduces enhanced automation and AI systems that offer a fresh take on creative workflows.
From April 10 to 12, 2026, the 37th edition of Art Shopping opened at the Carrousel du Louvre in Paris, welcoming more than 20,000 collectors and art enthusiasts across three days. With over 150 artists and galleries from more than 50 countries, the fair once again confirmed its place as one of the most important open art fairs in the world.
To exhibit at the Louvre is to make a statement that no other address in the world can replicate. As the most visited museum on earth, welcoming over 9 million visitors each year, the Louvre carries a cultural gravity that transforms every work displayed within its reach. For the artists and designers of the 37th Art Shopping, this was not merely a venue — it was a declaration of arrival on the world stage.
Since its founding, Art Shopping has remained committed to a singular vision: to make original contemporary art accessible, and to give artists from every background the opportunity to be seen. Over 37 consecutive editions, the fair has introduced more than 10,000 artists to international audiences. This spring edition brought together participants from over 50 countries, including France, Germany, the United Kingdom, the United States, Canada, Italy, Austria, Portugal, Spain, Belgium, the Netherlands, Sweden, Norway, Greece, Japan, South Korea, India, Turkey, Brazil, Chile, Colombia, Mexico, Romania, Argentina, and China.
“I wanted to make art accessible and allow artists to meet the public — and vice versa. We’re not focused on a specific genre, but rather on identity and creative spirit. Artists need an audience to discover their works. The universe is bubbling right now — it’s very creative, very emerging, with many young artists.”
— Myriam Annonay Castanet, Founder and Director, Art Shopping
Among the participants, 21 selected artists and designers, chosen through a jury review process, presented their works at booths B66 and B34. Working across digital illustration, screen print, fiber art, leather craft, mixed media, and digital painting, their works spanned themes of memory, identity, technology, and the natural world.
Participating artists include: Kaiyuan Chen (Glimmer), Yumei Feng (Shaping the Infinite), Hanyong Yang (Be Water), Xiaoyun Chen (Joy), Anqi Ni (Quiet Bloom), Zoe Ze Zhou (Hair from You), Renjia Wang (Mapping Gan Da Ying), Lifei Wang (Through Gravity), Yujia Ke (After the Light), Yingjie Li (Symphony of the Unseen and the Digital Pulse), Suwenjing Li (Shed or Tree), Xin Wei (Whispers of the Misty Peaks), Siyuan Teng (Nourishing Chaos), Kedi Zhang (Nocturnal Botanica), Zhiyong Wang (Redrawing Time), Bilan Liu (After the Dream, A Soft Light), Wei Kang (Happiness), Chujun Yang (Forest Spirit of Breath), Jingyi Wang (Before the New Year Dinner), Peng Zheng (Vernal Sky), and Qian Jiang (The Garden of Synthetic Eden).
Their collective presence made undeniable what the art world has been sensing for years: the global center of artistic gravity is shifting. From fiber art of inherited grief to Renaissance-scale meditations on artificial intelligence; from leather footwear rooted in Eastern philosophy to bold reimaginings of ancient ink painting — these works did not seek to explain a cultural identity to an outside audience. They simply occupied the Louvre, fully and on their own terms.
Gallery directors, institutional curators, and private collectors from across the globe arrived at booths not as observers of a foreign tradition, but as participants in a shared dialogue. What unfolded was not a presentation of difference, but an exchange of perspectives—where ideas of memory, identity, and technology resonated across cultures. In this space, the works did not ask to be interpreted through a single lens; instead, they invited engagement, recognition, and connection. The conversation was no longer about origin, but about presence—situated firmly within a global contemporary discourse that belongs to all.
Exhibition Information
Dates April 10–12, 2026
Venue Carrousel du Louvre, 99 Rue de Rivoli, 75001 Paris
On the 20th of April, we celebrate the birthday of Catalan painter Joan Miró i Ferrà. Born in the historic Barri Gòtic neighbourhood of Barcelona in 1893, Miró left his mark on the artistic world with his intriguing Surrealist paintings, borrowing from Fauvism and Expressionism with a personal twist. Notably, Miró was fascinated by the subconscious mind, and harboured a deep distrust of conventional painting, viewing it as a tool of the wealthy used to project power and cultural identity.
His move to Paris in 1920 proved formative, bringing him into contact with Pablo Picasso, who became both a friend and an informal champion pointing collectors and dealers in Miró’s direction. Yet Miró was never content to stay within painting alone. From the early 1930s he began experimenting with sculpture, incorporating found objects and painted stones, and by the 1960s it had become a central focus of his practice.
Below, we’ve picked three of Miró’s paintings that demonstrate why, over a century later, his works are still well worth losing yourself in.
Man/Woman/Chainsaw have announced their debut album, Cannonball. Arriving August 7 on Fiction Records, the record follows their debut EP, Eazy Peazy, one of the best of 2024. Check out the defiant, synth-candied lead single, ‘Nosedive’, below.
“It’s is a song about longing for both comfort and freedom simultaneously in a relationship through the metaphor of being an injured bird needing shelter,” the band’s Emmie-Mae Avery said of ‘Nosedive’. “We turned it into a danceable upbeat track, which made the tone shift throughout the song as though you find a way to pick yourself up and fly away.”
The band worked on their debut LP with Seth Evans (Geordie Greep, black midi) and Margo Broom (Fat White Family, Big Joanie). “We were talking about having a whole record of bangers – having everything be really in your face,” drummer Lola Cherry recalled.
1. Only Girl
2. Canyons
3. Goddamn, Lizard Man!
4. Lighter
5. Nosedive
6. Get Up and Dance
7. Snakebite
8. Flick of the Wrist
9. The Thing
10. Still Angry
11. Something Else to Give
An intriguing legal drama has taken Netflix by storm. Based on the manga series by Shohei Manabe, Sins of Kujo revolves around a lawyer who protects bad guys. What could possibly go wrong?
The Japanese production has already spent two weeks on the Netflix charts and is currently the fourth most-watched non-English show on the platform. With 2.2 million views last week, it also made the Top 10 in three countries. Could this mean more episodes are on the way? Here’s what we know so far.
Sins of Kujo Season 2 Release Date
At the time of writing, there’s no official news about a potential Sins of Kujo season 2. That said, the title isn’t listed as a limited series, and viewership numbers are promising so far.
Netflix frequently waits to assess audience reactions before making a decision, so it might be a while before we learn more about the show’s fate. If all goes well, new episodes could arrive sometime in 2027.
Sins of Kujo Cast
Yûya Yagira as Taiza Kujo
Hokuto Matsumura as Shinji Karasuma
Elaiza Ikeda as Hitomi Yakushimae
Keita Machida as Kengo Mibu
Nobuko Sendô as Akiko Karasuma
Takuma Otoo Yoshinobu Arashiyama
What Is Sins of Kujo About?
A dark legal drama, Sins of Kujo revolves around Taiza Kujo, a lawyer who routinely takes on clients with a long list of crimes under their belt, including ties with the yakuza. While this affects his reputation, not everyone is deterred. Young lawyer Shinji Karasuma joins his practice, hoping to discover what compels Kujo to defend such complicated individuals.
At first, it’s tricky to figure out whether you should root for Kujo. As the episodes go by, though, you learn there is more to the lawyer than meets the eye. The show offers a mix of legal cases, while also telling a compelling story about Kujo and his developing bromance with Karasuma. If you like series that centre on an anti-hero type of figure, there’s a good chance you’ll be hooked.
The first season ending hints at a continuation, so it will be interesting to see what Sins of Kujo season 2 might bring. The lawyer is still steadfast in his decision to uphold the justice system, but he’s in more danger than ever before. Fingers crossed he’ll get a chance to reunite with Karasuma sometime in the near future.
Two young boxers band together for the greater good in Bloodhounds, a gritty series available on Netflix. Now back with season 2, the drama has been consistently praised for its great action sequences and compelling dynamic between the leads.
Not only that, but viewers are tuning in as well. After two weeks on the Netflix charts, the Korean production is now the most-watched non-English show on the platform, with 7.4 million views last week. It’s also the #1 show in 14 countries. Does that mean it might come back for more?
Bloodhounds Season 3 Release Date
At the time of writing, Netflix is yet to renew Bloodhounds for additional episodes. That doesn’t mean it won’t happen, as the platform often waits a bit before deciding either way.
Viewership numbers are strong, and the show is popular worldwide. If everything lines up, Bloodhounds season 3 could arrive in a couple of years.
Bloodhounds Cast
Woo Do-hwan as Kim Gun-woo
Lee Sang-yi as Hong Woo-jin
Park Sung-woong as Kim Myeong-gil
Huh Joon-ho as Choi Tae-ho
Rain as Im Baek-jeong
What Is Bloodhounds About?
Bloodhounds follows Kim Gun-woo, a kind-hearted rookie boxer, and Hong Woo-jin, his rival-turned-best friend.
Their lives change when Gun-woo’s mother becomes a victim of predatory loan sharks. Determined to fight back, the two team up with a benevolent moneylender and his associates to take on the dangerous underworld of illegal lending.
In season 2, the narrative shifts from local crime to a bigger, more brutal arena. The duo faces a new threat in the form of an underground boxing league run by a ruthless crime boss.
The crime boss targets Gun-woo and wants to force him into the league, where fighters are treated as disposable assets. Woo-jin, meanwhile, takes on more of a strategist/coach role but still gets dragged into the violence. On top of that, the league is a front for a larger criminal network, so the two men try to dismantle the organisation from the inside.
Bloodhounds season 3 will likely tackle a new story. It might even go international, as long as breadcrumbs pay off. Whatever happens, we’re sure fans would love to see Gun-woo and Woo-jin make another comeback, especially if the series continues to deliver on the action front.
