Every season, London Fashion Week rolls around and the same ritual unfolds. Established brands march their collections down the runway, press scribbles notes they’ll forget, influencers angle for the perfect street style shot, and the rest of the world scrolls Instagram. Nestled in the chaos is the Master of Arts graduate show from Central Saint Martins.
Naturally, when a fashion school shows up on the schedule, there’s a collective sniff, “cute students.” Seems like we sometimes forget that those students once became Alexander McQueen, John Galliano, Stella McCartney, Phoebe Philo, Grace Wales Bonner, and I can’t help but think of my own professor back in the day, whose sketches still stick in my head. CSM arguably breeds some of the most creative designers around. Unlike brands obsessed with sales forecasts, this is where actual experimentation happens, and each year, we get lucky enough to see it raw.
Days later, I’m still haunted by one emerging designer, Macy Grimshaw. But years before her work haunted me, it had already won over Harry Lambert, and he was backing her again. The stylist jumped in to assist a collection of 9 looks, my favorite being the “Blown-Away” dress. Denim and paper on grid-cut leather that feels like a gate left to rot, which looked like a canvas had floated down and landed on it.
Another leather moulded bodice included her class’s cigarette butts, multi-faceted girl. “The best way to make friends at CSM is via smoke break, whether you smoke or not,” she told Harper’s Bazaar. So what does one do? Patiently wait for the chatter to die down, collect the debris, coat it in resin so it doesn’t get that ‘been in the sun too long’ stench, and fuse it onto the outfit. Rusty gates, old locks, pencil shavings, fences, graffiti, petaled denim, and dresses printed with photos of other dresses, were all part of Grimshaw’s universe, in which honestly, I’m trapped. And I like it here.
Tolu Coker didn’t exactly stage a quiet Fall 2026 show at London Fashion Week, nor did she ask to be validated. Though, validation arrived anyway, wearing a crown and sitting front row, three seats from a live mic rapping on a block walked by voluminous plaid. Drawing from family archives, West London memory, and the awkward reality of social mobility, Coker just made clothes with a position, not the kind sculptural stitching gives you.
Come Thursday afternoon, February 19, the Rolls-Royce Phantom IV state car is navigating the city’s streets heading for the NewGen Space at 180 Strand. King Charles III, front-row-bound, is about to make fashion week’s first day a little more official than usual. Way to go, London. Coker got her start with a little help from the Prince’s Trust in 2018. Today, the same man has a special seat assigned for him, observing the result in real time.
That seat was front and center of a mini turquoise stage hosting The Compozers and Ife Ogunjobi, right in the middle of a set surrounded by paintings pointing to the country’s deep-rooted Black diaspora. Traffic cones, tube signs, bins, leaves, and a very specific ‘Mozart Street W10, City of Westminster’ sign dotted the scene. “With this, I just want people to hang out on the block—to see what it was like to just be in that space,” Coker told Vogue, and boy, did she take us there.
“London is a melting pot, you can’t put a picture to London. I think that’s what makes it special, everyone is from everywhere, everyone comes with their different cultures, their different values, it’s the melting pot that makes London what it is,” the designer clued the organization in backstage. After quickly taking everything in, a spotlight hit one face, and for a beat, you could have sworn it was the King. Nope, it was rapper Little Simz, about to perform ‘Free,’ just inches from Skepta and Stella McCartney.
And then, it was finally all about the clothes, 28 looks in total. Picture structural, preppy tailoring, Clueless-inspired plaid and pied-de-poule, matching hats, beautiful volumes, strong colorways, all titled ‘Survivor’s Remorse’. Some outfits made me think of the clothes my Bratz dolls wore that I used to stare at and plot owning. Behind all that, Coker was riffing on her own memory box. Home has more than one address for many people, hers was Mozart Street in West London and Lagos in Nigeria. Her inspiration was stitched together from snapshots, streets, stories, the houses she grew up in, the neighborhoods she knew, the push-and-pull of getting ahead, and luxury fashion at arm’s length.
“For AW26, I wanted the clothes to hold softness and protection alongside discipline and structure. It’s a wardrobe that moves between worlds, because that’s what social mobility asks of you and the pieces have to be strong enough to carry that story,” the press release read. Vulnerability has always been a creative’s sharpest weapon.
It’s been a long, screenful day. All you’re craving is a way to unwind – and almost automatically, your hand reaches for that social media app you know, deep down, you’d be better off without.
Pause right there. What we’re often actually seeking in those moments is nervous system regulation, a way to relax and get out of our heads and into our bodies. A 2024 study published in Frontiers in Public Health found that people who regularly engage in arts and crafts report higher levels of happiness, life satisfaction and a greater sense that life is worthwhile. Here are four to try the next time the urge to doomscroll hits.
Bead flowers
Bead flowers are quietly satisfying and therapeutic, and they can seriously upgrade your living space. Bonus points for the concept of a forever bouquet. The most popular method is French beading, a practice involving stringing beads onto wire and shaping them into petals and leaves. Follow a YouTube tutorial or a guide book to get started.
No time or creative energy to paint from scratch, or simply craving more structure? Painting by numbers is a great way to improve cognitive function and foster a sense of accomplishment, while the repetitive, mindful nature of the activity does wonders for relaxation.
A card is too often a last-minute consideration. Why not make a few in advance and build your own stash to choose from? You can buy DIY card sets or cut your own from thicker paper for a more hands-on experience, then draw, paint or collage to your heart’s content. Your loved ones are bound to appreciate the personal touch.
If other activities on this list offer structure, a zine is the opposite, offering the chance to go completely off-script. Fashion collages, personal storytelling, advocating for a cause or simply celebrating your friends… The subject matter is entirely up to you. So is the aesthetic! All you need to get started is some paper and scissors.
At first, the title of Mitski’s new album seems as declarative as her last, The Land Is Inhospitable and So Are We. But it leaves a bit more room for interpretation. Take it one way, and Nothing’s About to Happen to Me is ominous, portending the darkness that’s always impending in the singer-songwriter’s music. Or perhaps it’s an affirmation, mirroring the illusory warmth of her post-Laurel Hell material. Or, if you’ve listened to enough of its songs, it’s downright misleading: whoever the protagonist is, billed simply as a “reclusive woman” in press materials, she’s far from passive in her pursuit of Nothing. As beautifully pastoral as her last record, with live instrumentation by the band that accompanied her on The Land tour, Mitski’s startling eighth album gestures at a cohesive narrative rather than breathing life into a series of interconnected vignettes. Still, there’s more than one way to connect the dots: from one song to the next, from new to old, nothing to everything. Just listen, though, and you might find her longest album (at 35 minutes) to also be her boldest statement to date.
1. In a Lake
“I should move to a brand new city and teach myself how to die,” Mitski sang 14 years ago on ‘Brand New City’, a sort of precursor to the opening track on Nothing’s About to Happen to Me. ‘In a Lake’ carries none of the fatalistic angst that powered one of the grungiest songs on Lush; it swims in the tangy sense of nostalgia that makes your heart ache wherever you go. Over the past few years, Mitski has been recontextualizing old songs to suit the pastoral sound of The Land Is Inhospitable, but the accordion, banjo, and strings beaming up the new album seem to serve a more overt narrative purpose. Our protagonist begins by declaring that she’d never live in a small town, clearly having lived in one long enough to have found a single place of refuge from its narrow people: “In a lake you can backstroke forever/ The sky before you, the dark right behind.” That spurs the thought of starting over in a big city, as if the feeling of infinite possibilities is comparable, a chance to belong to the dark. As drums crash and strings swirl towards the finale, it couldn’t sound more like coming alive.
2. Where’s My Phone?
As the lead single from the album, ‘Where’s My Phone?’ signalled a return to the fuzzed-out guitars of Bury Me at Makeout Creek, spinning familiar themes of dissociation and claustrophobia before descending into gothic horror. But oh, how it decimates the pastoral veneer of ‘In a Lake’ like a jump-cut to the chaos of a city that shoves you deeper into the recesses of your own mind. The dark she romanticized as being “safe inside”? It’s suddenly taken on a twisted dimension: “If night is like you punched a hole into tomorrow/ I would fuck the hole all night long.” There’s no pursuit of a safer tomorrow, only a frenzied cycle of erasure – starting over, over and over again.
3. Cats
Mitski regains her wistful composure as a doomed relationship enters the picture – one whose fate is entirely up to the other person. The stillness of ‘Cats’ is almost as devastating as its solitude, the protagonist’s sole consolation being the titular companions: “Our two cats,” she tragically clarifies, sleeping by her side, “Making sure I’ll be alright.” They’re embodied gorgeously by Fats Kaplin’s pedal steel and Ty Bailie’s keys; unlike the first two songs, though, the instrumentation hardly crescendos, lying helplessly dormant.
4. If I Leave
The narrator is granted a choice, after all, but is certainly no happier for it. If Jeni Magaña and Bruno Esrubilsky’s sturdier rhythm section is a sign of newfound agency, they also mirror her mounting anxiety: painstakingly, she lists every place in the city where the flurry of people only reminds her of the one who could truly see her. “I’ve let only you know/ How I ride through a tunnel and it’s dark the whole way,” she sings, dialing the distortion back up. Mitski has illuminated it several times before, but there’s more to this story.
5. Dead Women
Who gets to tell it, though? Here, the reclusive woman – women, in the title, underlining the song’s allegorical power – imagines herself dead, her story to be exploited by anyone who pleases. The end is chilling – “She gave her life/ So we could fuck her as we please” – its violent dreaminess punctuated by the first deployment of synths on the album.
6. Instead of Here
Mitski has transformed her live concerts into striking one-woman shows, for which ‘Instead of Here’ provides excellent material. You can imagine her acting out – slowly, to match the song’s ambling pace – the first line, “Right as I dip/ A toe in the abyss,” then opening the door to Death and lying down beside her. The lush instrumentation isn’t meant to contradict the quietly morbid drama – in her solitude, the protagonist has reached an almost blissful level of untouchability. Almost humorously, death plays more of a therapist’s role, saying “she wished I’d known that I’m still just a kid” before clocking out. In flirting with Death, turns out, she may actually teach herself how to live. Old friend misery would never bother with such lessons.
7. I’ll Change for You
On ‘If I Leave’, Mitski’s protagonist wandered from “this street” to “this mall” to “this bar,” stressing how nobody knows about her predicament. The order is hardly accidental, as she finds herself in that last stop again on ‘Instead of Here’: “Bars/ Such magic places/ You can be with other people/ Without having anyone at all.” If the song’s arrangement is any indication, it could be a jazz bar, where the music is playing with her ambivalence about the death of a relationship. As she watches all the cars passing by, she compares herself to “a kid waiting for my ride,” Death’s insight ringing out. By the final refrain, her desperation turns to conviction as she belts out one more “I’ll do anything.” Magic places make it seem possible; then it’s closing time.
8. Rules
“I’m slow to learn all the rules,” Mitski sings on the opening track, and eight albums into her career, we’re treated to her relationship rulebook, which starts with her coming over and (spoiler) ends with her “crying ‘cause it feels good.” Good how? you might be wondering, a question she and her collaborators answer with old-timey orchestration – at this point, less of a new haircut for Mitski than a full-on body suit, so sparkly you can’t help but see (and dance) through the disguise.
9. That White Cat
‘Working for the Knife’? More like working for that white cat – not the two cats that the earlier song was about, but a new one in the neighbourhood marking out its territory. The Rid of Me-esque aggression and wordless additional vocals of ‘Where’s My Phone?’ return – I guess if you don’t find those things worthy of an existential spiral, Nothing’s About to Happen to Me is not the album for you. But you gotta make something out of nothing to figure out what that something is all about, and Mitski’s breathtaking performance pierces right through it.
10. Charon’s Obol
On ‘I’m Your Man’, an unsettling highlight off The Land Is Inhospitable, Mitski pictured throwing herself to the hounds as punishment for faking her way through being loved. How poetic, then, that on the penultimate track of the new album – and most complete, story-wise, as she switches to the third person – the protagonist is the one feeding the dogs circling her new house, reclaiming ground haunted by death as she restarts her own life. When she goes out to feed them, Mitski sings, “Her memories bathe in the moonlight for a while” – the only other keeper of her memories is not a lover, but the outside world, driving her into that emotional lane for a brief moment. No matter how cut off from humanity we can pretend to be, the things we consider less animate than us might still hold the key to our fragile hearts.
11. Lightning
One of my most cherished live memories is hearing Mitski sing “Every drop of rain singing ‘I love you, I love you, I love you’” to a crowd that’d been standing for hours through a storm at Primavera Sound 2024. I’d go through it all again to hear the repeated line “All hail the rain” on the final track of Nothing’s About to Happen to Me. The setting, of course, isn’t a festival stage but that same house, the rain drops hitting like “ghosts on the roof/ Running like they’re feeling alive again.” There’s no doubt the song – poised, but as thunderously climactic as it should sound – is hurtling towards death, but not without flirting with the idea of rebirth, of reflecting the moonlight that might stir another’s empty soul. I won’t spoil its punchline of an ending, but your tomorrow won’t be the same after hearing it. More than glowing praise, that’s just the record’s truth: hole up in your house, hollow out your heart, believe it’s dark the whole way – no matter what you do, nothing’s going to be the same as yesterday taught you. And Mitski could try to make the same record and end up with another masterpiece.
Motion sickness pills were discreetly stashed in guests’ handbags for Kim Shui’s 10-year anniversary. This season, New York fashion week set sail, literally. The designer decided to trade the usual venues for a boat on the Hudson, the Eternity Yacht at Pier 17, to be exact. What’s more New York than fashion wobbling past skyscrapers on a river?
Per the collection notes, “Set against New York City’s surrounding waterways, the show repositions the city as a modern terrain of migration and transformation. Presented aboard a moving vessel, the runway becomes a living metaphor, the boat acting as a contemporary counterpart to the horse, an instrument of mobility, while the skyline shifts with the evolving landscape.”
Shui looked to Mongolia’s nomadic past, where movement wasn’t a choice but a way of life, from vast landscapes to the era of Genghis Khan. So, after a brief struggle with gravity and balance, the runway came to life, and it had it all. Greens, reds, and sunburnt tones were all part of it. Just like animal print, faux fur, thick velvet, suede, and leather. But what actually stood out were the knots. Not as decoration, but as the thing holding everything together. Shui pushed traditional Chinese knotting into structural territory, cords under tension and handwork doing the job fabric usually does. In several looks, the clothes relied almost entirely on this system. Oversized pankou closures kept showing up, working at once as fastenings, details, and the logic behind the whole garment.
The first knotted looks took me straight to China. Somewhere in the middle, I drifted into 80s Italy. Then suddenly, it all felt aggressively New York, before circling back again. Not a single look invited quiet thoughts or passive viewing. From oversized hair bows to complex construction, it all read very Kim Shui, even when it wobbled.
The invitation led straight to 49 Chambers, former Emigrant Industrial Savings Bank, once the biggest of its kind, still carried the weight of its ambition. Cold marble floors, soaring ceilings, and every corner dripping with institutional confidence set the stage, literally. And what do you do when you inherit that kind of space? Stage a runway and build the backstage right in the middle. Make-up stations, racks, hairstylists, and mirrors reflecting it all in plain sight so models could stop mid-walk for touch-ups. Every detail on display, basically within arm’s reach of Rihanna, A$AP Nast, Julia Fox, Evan Mock, and Wisdom Kaye.
The show started innocently enough with a cream leather shirt-dress hybrid, surprisingly digestible. Until you noticed the alarmingly long red nails, the coffee cup in hand, and Rocky’s face plastered on a dollar bill that was wrapped around it. Slowly, the memo clicked, practical, but urban enough. A triplet of looks followed shortly after, complete with big furry bags, ties, and baby carriers. Then came a splash of racing. First, a polo dress on Helen Lasichanh, Pharrell Williams’ wife, followed by jackets, gloves, cropped zip-ups, and leather slit skirts. Preppy Rocky appeared too, tailored suits, vests, coats, plaid, but everything still carried AWGE’s hip-hop DNA, making even what would be court-assigned pieces feel like they belonged in a music video.
Of course, the lineup made room for Rocky’s ongoing love affair with Puma, the Mostro 3.D Mule, the Mostro Lenticular, and the Rocky Straycat, all made appearances. But his affection for Ray-Ban was clear too, almost a year into his role as the brand’s first-ever creative director. And it showed, specifically through bags that could double as enormous sunglass cases, and pairs that carried both labels’ names. I’ll admit, the piece I kept coming back to wasn’t wearable. Not clothes, not shoes, not bags. It actually was a stroller. A stroller so meta, you half-expected Jimmy Neutron to be tucked inside.
Honestly, this was Rocky, in every sense. The New Yorker, the rapper, the dad, the businessman, the designer, the guest designer, the influenced. You didn’t just watch the show, you watched him, all of him, on one runway, simultaneously.
Mewgenics has a funny way of testing how much you love your cats. The game plays as a turn-based roguelike where you control a squad of feline fighters, each with its own health and abilities. Any cat, no matter how strong, can be taken down in a single hit if the timing is right, and damage can stack quickly if you’re not careful. When a cat’s HP drops to zero, it becomes incapacitated, and a death timer starts ticking. If you don’t act quickly, a downed cat may be lost for good, so knowing how to revive your cats in Mewgenics is essential to keeping your squad in the fight. If you want to make sure your kitties stay in action, here’s how to revive your cats in Mewgenics.
Mewgenics: How to Revive Your Cats
Just because a cat goes down in Mewgenics doesn’t mean it’s out of the fight. You can revive cats in Mewgenics using specific abilities or items, depending on what your squad has equipped and which cats are in play. Here’s how it works:
Reviving Cats with Abilities
The easiest way to bring a downed cat back is through abilities. Each class has unique powers that can restore a cat’s health or fully revive them, giving you a tactical advantage in battle. Here’s what each ability in Mewgenics does:
Ability
Effect
CPR (Collarless)
Revives an adjacent cat to 1 HP.
Deathproof (Collarless Passive)
While downed, 25% chance to revive with 1 HP at the end of each round.
Awaken (Cleric)
Revives a cat to 1 HP.
Born Again (Cleric)
Fully revives a cat, gives All Stats Up, then the cleric falls asleep.
Revive (Cleric)
Revives a cat to 50% HP and heals one injury.
Breath of Life (Cleric)
Healing spells also revive downed cats.
Eternal (Cleric)
When downed for the first time in a battle, revive with half HP and no injuries.
Lifedrain (Necromancer)
Can be cast while downed; if it kills a unit, revives the cat with 50% health.
It’s Alive! (Tinkerer)
Hitting a body with electrical damage revives it with 1 HP; the cat is charmed, takes an extra turn, then dies.
Reset (Psychic)
Revives all bodies, heals all units, clears active status effects. Can only be used once per battle.
Deep Dive (Monk)
The monk becomes downed without injury, then revives next round with 1 HP, 15 Shield, and All Stats Up.
Reviving Cats with Items
Besides abilities, some items can also bring downed cats back, either instantly or when the round ends. Here’s how each item can help revive your cats:
Item
Effect
Smelling Salts
Revives an adjacent cat to 1 HP; automatically triggers if you’re downed.
Brain Maggot
Revives with 50% health two rounds after being downed.
Head Wrap
Revives with 15% health at the end of the round and grants +1 Health regen.
Death Mask
Revives at the end of the first round with full HP and +2 Shields.
Face Wrap / Neck Wrap
Revives with 15% health and +1 Health regen.
Flesh Kid
Automatically revives at the end of the round; movement replaced with Jump and cannot be injured.
Hockey Mask
25% chance to revive with 1 HP.
Apart from the two ways mentioned above, you can also revive cats in Mewgenics by simply finishing a round. At the end of combat, all cats receive healing based on their Constitution stat, which can sometimes bring them back from the brink. Any cats that haven’t fully healed by the end-of-round recovery can be restored using abilities or Cleric spells.
Also, keep an eye on which cats have healing or revival abilities and use them at the right moment to save downed teammates and turn the tide of battle. When a cat is downed, its corpse health lets you know how many hits it can take before it’s lost for good. By default, a downed cat can survive three hits, but items like the Muertos Mask increase corpse health, giving your cats extra chances to get back on their paws.
When we talk about art, we talk about the work: the stylistic composition, colours, recurring motifs and hidden messages. How much an artist’s life ought to shape our reading of that work is a question that’s been debated for as long as people have written about art.
What has grown, however, is a willingness to look more honestly at aspects of identity pushed to the margins or altogether ignored, including sexuality. In the spirit of LGBTQ+ History Month, here are five queer artists we think you should know:
Rosa Bonheur (1822–1899)
French painter Bonheur was famous for her distinct animal paintings, including The Horse Fair. Bonheur lived openly with her female partner for decades, wore men’s clothing with an official government permit and was one of the most celebrated artists in Europe in her lifetime. “As far as males go,” Bonheur has been quoted to say, “I only like the bulls I paint.”
Brooks was an American painter based largely in Paris and Capri, known almost exclusively for her portraits. She belonged to the circle that gathered at Natalie Barney’s Paris salon, a meeting point for queer writers and artists of the early twentieth century. Her silvery portraits of queer women and gender-nonconforming figures feel very ahead of their time.
You may already be familiar with this fact, given Kahlo’s bisexuality has become more widely recognised in recent years – and rightly so. She existed in radically queer and bohemian circles, and her relationships with women, including Josephine Baker, were no secret to those around her.
Hockney has been openly gay since before it was legal to be so in Britain, a fact worth remembering when looking at the sun-drenched California swimming pool paintings that make him so recognisable. The sense of ease and pleasure they carry are telling. He moved to Los Angeles in the 1960s partly because it offered a freedom unavailable at home.
González-Torres never named the AIDS crisis directly in his work, but its influence is unmistakable. His candy piles, mounds of sweets whose combined weight matches that of his partner Ross Laycock who died in 1991, invite visitors to take a piece, slowly reducing the work, which is then replenished. His billboard of two indented pillows was shown across New York in 1992. He died of AIDS-related illness four years later, aged 38.
