Hunza G is bringing its bold, carefree summer spirit to Marylebone on Saturday 6 June with the opening of its first London pop-up store.

An immersive space designed by studio Boom, Under the Water captures the feeling of a day at the beach with warm yellow floors, a rippled mirror that reflects light, a large pink inflatable dolphin and finishes in Hunza G Blue – the brand’s new signature colour.

"This is the first time we have created a physical home here, and we wanted the space to feel like stepping into the world of Hunza G, not simply shopping it. Under the Water is for our community. A place to experience the brand in person, in summer, in the city” says Founder and Creative Director Georgiana Huddart.

Huddart relaunched the Hunza G brand in 2025. Originally known as Hunza, the label rose to fame in 1990 when Julia Roberts wore its iconic blue mini dress in Pretty Woman. Building on this legacy, Hunza G revisits 80s and 90s silhouettes (one-shoulder tops, high-leg cuts, asymmetrical lines) and retro colour-block hues (metallic tangerine, bubblegum and mango sorbet) in swimwear designed to make every woman feel confident. The brand’s signature is the one-size-fits-all Original Crinkle™ fabric, an ultra-stretch knit providing a flattering fit for all body types.

A curated selection of new arrivals, exclusive products from the recent Burberry x Hunza G capsule and signature bestsellers will be available alongside limited-edition merchandise: tote bags, luggage tags, and water bottles. All the essentials for sun-soaked days.

6 June to 7 August 2026, 3 Paddington Street, Marylebone, London, W1U 5QD, Monday to Saturday: 10am to 7pm. Sunday: 11am to 5pm

Ropes of pearls (some from oceans, some man-made), two-tone slingbacks, straw boaters, a black-and-white palette: the stylistic codes of Chanel are manifold, and known to many. All are anchored in the life and work of Gabrielle ‘Coco’ Chanel, who established her namesake business in 1910 in Paris. There are the tweed jackets, their woven fabric a takeaway from long weekends spent in Scotland with Hugh Grosvenor, 2nd Duke of Westminster; striped Breton tops are a nod to the marinière sailors’ uniforms she spotted in and around Deauville on Normandy’s Côte Fleurie.

Piebald leopard prints are perhaps a lesser-known Chanel heirloom. The pattern first started appearing in Chanel’s work in the early 1930s. Coco herself wore a leopard-print ensemble for Cecil Beaton, when he took her portrait in 1933.

In New York, creative director Matthieu Blazy brought back Chanel’s mastery of big-cat print for his first Chanel Métiers d’art collection, shown inside an abandoned subway station in Lower Manhattan last December. Counting 81 looks that creatively draw from Chanel’s link to the city, the collection comprised skirt suits, billowing silk chiffon skirts, shoes and bags emblazoned with leopard prints. All were made by Chanel’s group of specialist ateliers, including milliner Maison Michel, who imagined a leopard-themed fascinator. Meanwhile, shoemaker Massaro finished Chanel’s totemic slingback in shaved shearling with a spotted animal print.

Handwoven by the artisans of legendary couture embroidery house Maison Lesage, slubbed, knotted leopard tweed shapes a new take on Chanel’s flap bag. A mini version of the Chanel 25, a hobo-style bag available in three sizes, each with two large patch pockets, now comes in a tactile, ponyskin-effect leather.

If you've ever felt uninspired by a supermarket meal deal, you might be in luck – Claridge's Bakery is looking to elevate the grab-and-go lunch with the launch of 'The Mayfair Meal Deal'.

The daily offer, composed by Executive Baker and Creative Director Richard Hart and Head Baker Frederic Doncel-Latorre, will include a signature sandwich, drink and sweet treat, all for £15.

The bakery, which opened in January 2026, prides itself on reinventing British classics. Sweet treats span nostalgic Belgian Buns, cherry bakewells and the bakery's signature Jammy Dodger, while the daily sandwich menu includes favourites such as cheese and pickle and salmon and cream cheese.

With Grosvenor Square and Hyde Park just down the road, it's a perfect option for an afternoon picnic or a quick lunch in between meetings.

The Mayfair Meal Deal is available seven days a week at Claridge's Bakery, Brook's Mews, Mayfair, London W1K 4HR.

This week, Chef Monica Galetti will open a new London restaurant: 130 Primrose.

The new restaurant has a noble ethos: to recruit, train and employ people with experience of homelessnesswill occupy the site formerly known as Home Kitchen Diner, a previous incarnation of the social enterprise that operated for a year until August 2025.

Seating 50 covers on Regent’s Park Road, 130 Primrose will serve breakfast, lunch and dinner, seven days a week from 9 am in a relaxed, brasserie-style setting, with additional street-side seating. Its à la carte menu will draw on Mediterranean influences, and later will bring in nods to Monica’s native Samoa. At lunchtime, sandwiches and salads will also be available, while evenings will feature an additional charcuterie and cheese offering. A speakeasy-style cocktail bar is set to open on the lower ground floor later next month.

The restaurant takes its name from the Latin phrase prima rosa, a symbol of spring and new beginnings; 130 Primrose aims to foster renewal, confidence and lasting opportunity. The restaurant will offer employees paid work, accredited training and clear progression within hospitality under the guidance of Monica Galetti and Head Chef Eric Zhang. Eric will lead the kitchen full-time.

Candidates for 130 Primrose are being recruited through referrals from partner charities including The Big Issue, Crisis, Beam, Soup Kitchen London and Only A Pavement Away. Each employee is offered a six-month contract as part of the front of house or kitchen team at 130 Primrose, which includes the opportunity to complete qualifications such as Food Hygiene and Allergen Awareness certifications. Upon completing their time at the restaurant, each employee is supported in progressing to further opportunities within the hospitality industry.

Of the new endeavour, Galletti says: “Too often, people facing homelessness are excluded from work and written off by society – seen only for their circumstances, not their potential.

"At the same time, the hospitality industry, among many other challenges, faces a shortage of committed, qualified staff. We’ve started to close both gaps to prove that talent can flourish anywhere and change perceptions. But we must do more. We must build on what we’ve learned and scale up to provide more opportunities for more people who need them. These are people with an extraordinary life experience doing extraordinary things with the right support. Employment brings dignity, belonging, and a future."

To update the well-worn adage: if you can remember the ’90s, you weren’t really there.

Well, actually, if you can, you still might have been, even if you did at the time go full Fool/Cool Britannia and fried your braincells. You can even remember them if you were born this side of Y2K. Because a quarter-century on from the decade emphatically ending, we’re positively stewing in nostalgia for The Last Great Cultural Epoch (© every newspaper/magazine/platform).

For much of last year, London’s National Portrait Gallery hosted a certifiably blockbuster exhibition about The Face. The 1980-born style magazine reached its zenith, commercially at least, around the time of its 1995 Robbie Williams’ cover, those defining images of the incipient imperial phase of the erstwhile “fat dancer” shot by Norman Watson.

More recently: Love Story only launched in February, but Ryan Murphy’s telenovela about the Peak ’90s New York romance between JFK Jr and his fashionista belle Carolyn Bessette Kennedy – which couldn’t be glossier if it was sponsored by Timotei – is already the most streamed drama in the platform’s six-and-a-half-year history.

Meanwhile you may have noticed that, a few heady months ago, that ur-’90s band, Oasis, got back together for a tour. The world collectively lost its mind and Gen Z turned itself inside out to rock a bucket hat.

Now, because nostalgia is very much what it used to be, comes The 90s: Art and Fashion. Tate Britain’s upcoming exhibition is, according to Alex Farquharson, the London institution’s Director, an exploration of a “dynamic… exciting time [of] social mobility and something so many of us crave: life lived in person without digital distraction.

“I think back to a decade bursting with energy and possibilities,” he continued this morning (Monday 27^th April) as he unveiled the exhibition – running from October 2026 to February 2027 – over caramelised banana pancakes in Soho. “When a new generation of young creatives dismantled old hierarchies without waiting to be invited.”

The exhibition will feature, according to Dominique Heyse-Moore, the Tate’s Senior Curator, Contemporary British Art, more than 70 works. Those include photography by Corinne Day: England’s Dreaming, her (cough) “heroin chic” image of Rosemary Ferguson in Day’s grimy Soho flat, which appeared in the August 1993 edition of The Face. And by Juergen Teller: his 1998 “Young Pink Kate” image of Kate Moss, used as the exhibition’s flagship image. The vitality of the era’s club culture is captured in forever-evocative images and films from assiduous youth culture chroniclers Ewen Spencer, Dave Swindells and, primus inter pares, Mark Leckey with his 1999 film Fiorucci Made Me Hardcore.

Then, leaning more directly into that “Art and Fashion” suffix, the exhibition is an Avengers Assemble of ’90s trailblazers and firestarters: Vivienne Westwood, Alexander McQueen, Chris Ofili, Steve McQueen, Damien Hirst and more. There are paintings, photography and films by Jenny Saville, Gillian Wearing and Sarah Lucas. Tracey Emin, currently rightly valorised by Tate Modern in her own 1990s-channelling exhibition A Second Life, of course features, via her 1998 neon piece: “Is legal sex anal? Is anal sex legal?” To which the answer is: only if we turn the other cheek.

Leading from the front in the exhibition is its curator Edward Enninful, who approached Tate Britain with the idea. As the decade dawned, he was an 18-year-old Ghanaian from Ladbroke Grove, the youngest ever fashion editor of an international publication, at i-D. As it faded, he had become one of the biggest voices in fashion and media in the world, on the way to becoming an OBE and the first Black person to serve as Editor-in-Chief of Vogue.

As Farquharson put it, Enninful was “at the centre of shaping the most influential and enduring visuals of the ’90s”.

All of which was launched, naturellement, at the decade’s ground zero playground: The Groucho Club on Soho’s Dean Street. “Welcome to my favourite haunt of the ’90s!” said Enninful in his opening remarks. “Have to be honest, I've never seen Groucho's in the daytime! It's a first.”

In his memory, the beginning of the decade “was a moment of transition. Not just personally, but culturally. London at the time wasn't the polished global capital it is today. It was raw, unstable and full of possibility. There was a sense that something was shifting, even if we didn't yet have the language for it.

“What defined that period, for me was not a single movement but an energy,” he continued. “A refusal of hierarchy and a belief that new voices could and should be heard across art, fashion, music and image-making. People were working in close proximity, moving between the same spaces, the same conversations, the same ideas.”

That, of course, wasn’t just a day-job for desk-jockeys. For Enninful and his coworkers at i-D, or for the team at Jefferson Hack and Rankin’s Dazed & Confused, the upstart style mag that launched in the white-heat of that time, this was a 24/7 commitment. Or, even, a 25/8 one. As Enniful said: “A morning shoot with Nick Knight and Kate Moss might dissolve into a night in Soho. Clubs were not just places to go out, but spaces where ideas were formed, images were tested and identities were performed. The boundaries between disciplines, and between private and public, were collapsing in real time.”

Full disclosure: I’m writing this in full ’90s-meets-’20s uniform, a new, limited-edition T-shirt designed by Junya Watanabe that bears a photograph of Blur, shot by Andrea Giacobbe for the September 1995 edition of The Face. I couldn’t be more nostalgic for other times/worlds if I was Doctor Who.

Fuller disclosure: as an editor at The Face in the ’90s I was one of that new generation of young creatives dismantling old hierarchies without waiting to be invited. Not that it felt anything remotely like that at the time. As one of my old mag colleagues, also in attendance this morning, put it (and I’m paraphrasing): “We were just goons having a laugh, going out a lot, making a magazine. We didn’t feel like any kind of cool set.”

Nonetheless, when The ’90s: Art and Fashion opens this autumn it will, undoubtedly, be grandstanding room-only for old ’90s lags like me, wanging on about the good old days. But Enniful promises something more, too.

“This exhibition is not about nostalgia,” he insisted. “It's about understanding a moment that continues to shape how we think, how we create, how we see. The 1990s established conditions that are still with us: the merging of high and low culture, the politicisation of fashion and image, and the emergence of diversity as a creative force.

“And perhaps most importantly,” Enninful – who now runs EE72, a “global media and entertainment company” – continued, “it reminds us the questions we were asking then remain urgent now. Questions of visibility, access and who gets to be seen. So, this exhibition is an invitation not to look back, but to look again. To reconsider that decade, not as a closed chapter, but as something still unfolding.”

Nostalgia, though, may have its limits. Having closed in 2004, The Face relaunched in 2019, and I went back as a consultant editor. It closed again last month, its collab between ’90s-minted swagger with right-now vibrancy no match for a collapsed commercial/advertising market. We had a good run, though. Although not as good a run as the ’90s, the decade that still isn’t dead.

The 90s: Art and Fashion, 8 October 2026 – 14 February 2027. Tate Britain, Millbank, London SW1P 4RG

Open daily 10.00–18.00. Tickets available at tate.org.uk and +44(0)20 7887 8888

Schiaparelli is synonymous with art. Elsa Schiaparelli founded the French fashion house in 1927, embracing the burgeoning surrealist movement while working directly with some of art history's most important names, from Salvador Dalí to Jean Cocteau. This spring, London's Victoria and Albert Museum is celebrating a century of art-inspired style, from Schiaparelli's early designs through to Daniel Roseberry's reawakening of the brand for a 21st-century industry.

Using humour and radical creativity, Elsa Schiaparelli sent shock waves through the fashion world when she launched her initial designs. Cristóbal Balenciaga would go on to name her the 'only real artist in couture', thanks to her in-depth knowledge of art and early inclusion in some of the defining creative movements of the 20th century. She embraced free thinkers and created era-defining fashion moments, designing a pair of culottes for tennis star Lili Álvarez at Wimbledon – a sight unseen at the deeply traditional tournament in the 1930s and dressing Wallis Simpson, the wife of abdicated King Edward VIII, in a lobster dress designed with Dalí.

Her artistic collaborations sometimes veered into darkness a slinky black 1938 'skeleton' dress, made with Dalí, features exposed boning – while also embracing flamboyance, such as an ornate gold bracelet with the face of chimera, made in collaboration with Alberto Giacometti in 1935. The exhibition includes a playful coat from 1937 designed with Cocteau, featuring the outline of two figures moving together to kiss on the back, the shoulders entirely covered by pink folded roses.

A series of original artworks that trace links between Schiaparelli's designs and those in her creative circle are also included, from Dalí's renowned 1938 'Lobster Telephone' sculpture, to a 1937 Pablo Picasso portrait of Nusch Éluard, which has clear parallels with the fashion house's angular and asymmetric definition of the body. Archive images of the young designer highlight how authentically she was enveloped within the surrealist world, as seen in a 1933 Man Ray portrait, in which her head peers over a naked, armless stone bust.

There are plenty of treats for visitors who have discovered the brand through its most recent designs too. The Autumn/Winter 21-22 couture 'lungs dress' worn by Bella Hadid in Cannes is on show, with a simple black silhouette cut-off under the breasts and a hefty gold necklace bearing the pattern of a windpipe and fine network of bronchi. An armour-like Autumn/Winter 2024 design also appears, its intricate features creating sweeping featherlike plates across the chest and arms. A rich celebration of a fashion house that has stayed uniquely ahead of the curve, still able to surprise a century after the movements that first gave shape to it made their mark on the world.

Schiaparelli: Fashion Becomes Art, 28 March until 8 November 2026, V&A South Kensington

“He stalks the New York City subways, waiting for his chance to strike. When the opportunity comes, he moves fast. He has to.”

Thus began an October 1982 CBS news report that introduced the world to Keith Haring, who was at this point already an artist of note, though not yet the superstar he would become. Back then, adverts would be pasted onto black, vertical rectangles that lined New York subway stations. If one happened to be vacant, Haring would descend, with a piece of chalk in one hand, and hastily graffiti it with his simple cartoon figures – an iconic design that now adorns everything from phone cases to T-shirts from H&M.

For all that he’s now widely revered, though, the Pennsylvania-born artist was very much operating outside of the system with the subway works, which were created between 1980 and 1985. “Technically,” CBS noted, “what he’s doing is illegal”, before broadcasting one of his numerous arrests for vandalism.

That report plays on a TV screen in Voice of the Street, the immersive new exhibition at central London’s Moco Museum, the independent contemporary art gallery that also has outposts in Barcelona and Amsterdam. More than 30 of Haring’s early ‘80s guerrilla subway drawings are currently on display at Moco, with alien spaceships, the aforementioned figures and his immortal ‘radiant baby’ – a crouched infant exuding straight lines that denote innocence and light – jostling for space.

The relevant section of the gallery, meanwhile, has been remodelled in the style of an ‘80s subway carriage: a tiled wall bearing an old-fashioned telephone and a sign declaring “UPTOWN TRAINS” contribute to its rich depiction of Haring’s world. Moco was mindful, explains its Chief Exhibition, Collection & Operational Officer Birthe Faessen, that the experiential elements didn’t overwhelm the understated power of Haring’s art.

“Because we’re telling the story of Keith Haring, set in the background of 1980s New York,” she says, “it becomes important to [set the scene] because it was such a dynamic society back then. All artists create from specific circumstances, but when you recreate something like this, you want to make sure that it is true to the feeling. You don’t want to under-do it; you don’t want to overdo it.”

Work began at the start of the year. As with any creative process, the curation of the exhibition was a matter of trial and error. At one point, the space was accessible via an historically faithful subway entrance and featured a vintage Louis Vuitton suitcase, as though a passenger had plonked their possessions down to admire the art. “You don’t want to make it gimmicky,” notes Faessen. “So then the process begins: ‘Let’s eliminate some of these items so that the art can speak and visitors still feel that they’re in the 1980s.’”

After Faessen and the team stripped back certain elements (visitors will need to head down the road to Oxford Street if they really want to see a Louis Vuitton suitcase), the early renders looked too sparse. Thankfully, a fabulous neon sign that reads “OPEN 24 HOURS” is one of the props that returned to the fold, resulting in an exhibition that is both playful and accessible.

For Lionel Logchies-Prins, who co-founded the gallery with his wife Kim in 2016, that last word is crucial. “Haring,” he says, “believed that art should be accessible to everyone, which is also central to Moco. His subway drawings are the clearest expression of that idea, created in public, for the public.

“His work invites people into a shared experience, and that sense of openness and connection is something we continue to value. It shows how art can speak to everyone, without losing depth.”

Indeed, the exhibition fully explores the fact that Haring was making unapologetic, subversive art at a time when, as an openly gay man, his very existence was stigmatised amid the AIDS crisis. Some of the subway drawings depict bodies entwined in a celebration of intimacy, signalling Haring’s message of defiance in the face of a hostile media.

Haring was so inspired that he reportedly created up to 50 subway artworks per day and around 5000 in total. Countless drawings disappeared forever, while some were ripped down from the walls by enamoured travellers (many on display at Moco have suitably ragged edges). A number of these fell into the hands of collectors, with a collection of 31 subway drawings sold for $9.2m (£7.4m) at Sotheby’s in 2024 – not bad considering they could originally have been acquired for the price of a one-way ticket.

Of course, what’s really important is Haring’s worldview, which Voice of the Street has brought vividly to life some 36 years after his death from AIDS-related complications. “His message of love, acceptance, joy, resistance and vulnerability,” says Birthe Faessen, “is so relevant when there’s so much going on at a social and societal level today.”

It’s here that the exhibition’s immersive elements come into their own. “I'm hoping that if anybody walks away from this exhibition having a conversation,” says Faessen, “it’s about what is happening now or what happened back then.”

Voice of the Street is open at Moco Museum London for a limited three-month run

‘I do believe that Italy really purifies and ennobles all who visit her. She is the school as well as the playground of the world,’ wrote Italophile E.M. Forster in his 1905 novel Where Angels Fear to Tread. He was referring, of course, to the very features that have defined Italian culture for millennia: the glorifying beauty of its art and nature; the effortlessly elegant style (or ‘sprezzatura’), mixed with an exacting seriousness about doing things right (drinking cappuccinos before noon, no cheese with seafood); the vivacity of its people; and the unparalleled quality of everything they make, from cashmere sweaters to olive oil.

For 110 years, Acqua di Parma has dedicated itself to bottling this unique Italian arte di vivere, creating fragrances as refined as the film stars – Cary Grant, Audrey Hepburn, Ava Gardner, to name a few – who chose them as their signature scents. The brand traces its heritage back to Baron Carlo Magnani, who wanted a fresh alternative to the opulent, heavy perfumes that were popular around the turn of the 20th century. His answer was Colonia, a fragrance meant to bottle the feeling of basking in an Italian sun that combined the ‘frutti d’oro’ of Italy (lemon, orange and bergamot) with a bright citrus heart tempered by fresh lavender, rosemary, verbena and warm vetiver, sandal and patchouli.

Now, the premier name in Italian fragrance is celebrating its anniversary with a reinterpretation of Colonia, created by perfumer Alexis Dadier. Colonia II Profumo Millesimato retains the signature aspects of its forebear, but is enhanced by the addition of a special 2024 harvest of Madagascan ylang-ylang, a uniquely complex and rich variety of the plant known for its creamy, slightly banana-esque smell.

‘For this anniversary edition, I wanted to honour Colonia II Profumo by highlighting a rare discovery: the 2024 Ylang-Ylang White harvest,’ says Dadier. ‘Its extraordinary radiance and natural solarity inspired me to revisit the icon in a way that feels even more luminous and precious. By incorporating this unique quality, the fragrance glorifies Colonia Profumo, elevating its character while remaining faithful to its timeless spirit.’ The result is a distinctly Acqua di Parma blend of refreshing, clean notes and warm skin-like qualities; enriched by the addition of a note probably unlike anything you have smelled before. It is, in short, another icon, created by the icon.

One of the most anticipated debuts at Milan Fashion Week this month was undoubtedly Demna's collection for Gucci. When the Georgian fashion designer took the reins from Sabato de Sarno last year, he began immersing himself in Italian culture. Visits to museums and galleries ensued, with Demna finding himself particularly captivated by Sandro Botticelli’s The Birth of Venus.

His debut collection was a celebration of Gucci's heritage. "Above the product, Gucci is culture, it is a way of thinking and a way of being," Demna said in a press release before the show. And the pieces certainly created a mood. Walking in a set that resembled a museum, a star-studded cast of models – including Gabbriette, Alex Consani, Kate Moss, Karlie Kloss, Amelia Gray and Emily Ratajkowski – wore silhouettes that heralded a new era for Gucci, while fully comprehending its enormous legacy.

It was sexy – skin-tight mini dresses, gothic lace and fur coats were accentuated by sequins, slits and cut-outs. The hues were dark and metallic, the makeup moody. Nods were paid to Tom Ford's revolutionary reign at the house back in the 90s – but this was no throwback. Demna just ushered in a new era of Gucci girl.

Dries van Noten first launched the eau de parfum Soie Malaquais in 2022. Created in partnership with perfumer Marie Salamagne, the formulation of Soie Malaquais lists notes of blac currant, bergamot, cacao, silk and roses. “The most striking note is the chestnut,” says Dutch artist Bouke De Vries. “It’s so rich and warm and it reminds me of when I first got to London in the winter and there would be people roasting chestnuts on a brazier creating the evocative smell of chestnuts .”

Born in Utrecht, Netherlands, De Vries trained at the Design Academy Eindhoven and in London, at Central Saint Martins. Following a period of working with fashion designers including John Galliano and Zandra Rhodes, De Vries changed tact somewhat, specialising in the conservation and restoration of ceramics. And he continues to work with ceramics to today, which led Dries van Noten to partner with him. Five masterpiece bottles of Soie Malaquais are the result of the collaboration, rendered in De Vries’ signature collage of ceramic fragments. “The fragments I use are from everywhere, they are mostly 17th and 18th Century porcelain from China and Delft ware from the Netherlands. These are all things I have collected over the years,” explains De Vries.

“For this project, it wasn’t just the fragrance itself that directly inspired the work, but mainly the blue-and-white porcelain element of the bottle,” he continues, describing the scent’s Delft ware influenced flacon. “The Dries van Noten team felt that this detail, belonging to their iconic Soie Malaquais, resonated strongly with my style, providing an opportunity to take a fresh and distinctive approach to the bottle design.”

One particular De Vries Soie Malaquais vessel is festooned with a rose-like arrangement, ceramic shards fanning out like a circle of petals. “The idea was that roses grow well in clay soil,” De Vries explains. “Clay was also used to make these porcelain objects, the fragments of which I then used to grow my own rose.”

Victoire de Castellane joined Dior in 1998. Tasked with turning out the French maison’s line of fine jewellery, de Castellane set about researching Christian Dior’s life, passions and many works. Since then, the couturier’s love of plants, gardens and horticulture has given shape to creations such as the Bois de Rose rings - bands cast from precious gold in the shape of rosebush stems, replete with spiky thorns - while his superstitions inspired the Rose des Vents collection. Here, a windrose with an eight-pointed star at its centre is a nod to the lucky star Christian Dior carried with him as a token of good luck.

With a new group of designs, unveiled today, de Castellane pays tribute to the house of Dior and its haute couture dressmaking ateliers.

Part of the Couture Dior jewellery collection, and another take on the ribbon motifs that de Castellane first explored with her Diorama designs, these new designs interpret Christian Dior’s spring / summer 1951 collection. That collection first introduced the Naturelle line, a new silhouette that was more flexible, fluid and light compared to the famous 1947 New Look. With that in mind, de Castellane designed a necklace, a bracelet, a double-ring and a hair ornament, among other pieces.

Ariana Grande will make her London stage debut next summer alongside Wicked co-star Jonathan Bailey in a production of Sunday In The Park With George at Barbican Centre.

The Stephen Sondheim play tells the story of French artist Georges Seurat. It follows him as he obsessively works on his masterpiece A Sunday Afternoon on the Island of La Grande Jatte, exploring the cost of artistic creation on his relationships, particularly with his lover and muse, Dot.

The first act imagines Seurat’s process and emotional detachment as he assembles the painting and pushes people away in pursuit of perfection. The second act jumps a century forward to Seurat’s fictional great-grandson, also an artist, who grapples with creative doubt and legacy, ultimately finding connection between past and present through the enduring act of making art.

Grande and Bailey announced the news, pictured in front of Seurat's A Sunday on La Grande Jatte, at The Metropolitan Museum of Art in New York.

The Tony and Pulitzer Prize-winning play first opened in 1984, starring Mandy Patinkin and Bernadette Peters and was last performed on the stage in 2017.

With music and lyrics by Stephen Sondheim and a book by James Lapine, the production will be directed by Marianne Elliott – who directed Bailey in a production of Sondheim's Company in 2018 – with design by Tom Scutt.

Tickets will go on sale in May 2026 and will only be sold via the official Barbican website and box office.

To be the first to hear details and all further information about the production, sign-up here.