⋆ ˚｡⋆💋 SCREAM QUEEN IN SILK

For centuries, the vampire has embodied one of the most unsettling figures in our collective imagination. A creature returned from the dead that feeds on the blood of the living, it symbolizes transgression : the blurring of the boundaries between life and death, between the human and the monstrous.

Its appearance has now become instantly recognizable. With its pale skin, lack of body warmth, sharp fangs, and vulnerability to sunlight and sacred symbols, the vampire has established itself as one of the defining figures of Gothic and fantasy literature before being embraced by cinema and popular culture. Today, it has become a major source of inspiration for the creative industries, particularly the luxury sector.

This fascination is first evident in tourism. In Romania, Bran Castle, often presented as "Dracula's Castle," attracts hundreds of thousands of visitors each year, even though its association with the famous vampire is more a product of cultural construction than historical reality. More broadly, much of Transylvania stages the legacy of Vlad III, known as Vlad the Impaler, a fifteenth-century ruler whose reputation for cruelty inspired Bram Stoker's creation of Dracula. The medieval town of Sighișoara also contributes to this narrative by offering, among other attractions, visits to Casa Vlad Dracul, presented as the prince's family home and now considered one of the region's must-see tourist sites.

The world of niche perfumery has also embraced this rich imaginary. Some fragrances offer an elegant and sophisticated interpretation of the myth. Such is the case with Dracula by Voyage Royal, which combines citrus notes, rosemary, and cedarwood to evoke a refined freshness, far removed from conventional horror clichés. Other perfume houses adopt a darker aesthetic. Nosferatu by Heretic Parfum blends lilac, violet, petrichor, and musk to recreate an almost organic Gothic atmosphere. By contrast, some fragrances emphasize gourmand accords. Carmilla by Immortal Perfumes, inspired by Sheridan Le Fanu's renowned novella, combines cherries, mulled wine, and sugar, transforming danger into seduction. Transilvania by Calaj juxtaposes chocolate, honey, and cherry, while Vampire Blood by Bath & Body Works offers a more accessible interpretation of the myth through red fruit notes reminiscent of the romantic universe popularized by sagas such as Twilight.

However, it is perhaps in fashion that the vampire has proved most influential. Numerous designers have reinterpreted vampiric codes to explore themes of beauty, power, gender, and the relationship between the body and identity.

In his Autumn/Winter 2014 Haute Couture collection, Jean Paul Gaultier envisioned a contemporary vampire dressed in silk velvet, adorned with blood-red crystals and crowned by a Gothic bride portrayed by Conchita Wurst.

In 2022, Viktor & Rolf paid tribute to the film Nosferatu by presenting silhouettes with dramatically exaggerated shoulders that conceal the neck, one of the most symbolical area in vampiric mythology.

Alexander McQueen had already explored this aesthetic as early as 1996, using translucent fabrics that revealed patterns reminiscent of human veins. Here, the vampire becomes a metaphor for the fragility of the body, the pursuit of youth, and the fear of ageing.

This influence now extends far beyond the figure of Dracula alone. In Rick Owens' work, Gothic aesthetics serve as a vehicle for exploring bodily transformation and the fluidity of identity.

Alessandro Michele, during his tenure at Gucci, likewise drew on Victorian references, lace, velvet, and androgyny to create silhouettes in which the boundaries between masculinity and femininity dissolve.

Whether it inspires tourist destinations, fragrances, or the runways of the world's leading fashion houses, the vampire reflects a remarkable cultural evolution. For luxury brands, this resurgence offers a particularly rich narrative territory, capable of shaping communication campaigns and inspiring cultural collaborations. Fashion has already embraced this potential. The vampirecore aesthetic, now ubiquitous on Instagram and TikTok, is defined by instantly recognizable codes : elongated silhouettes, velvet, lace, leather, statement jewellery, pale makeup, and blood-red accents. In a digital environment where images must be immediately identifiable, the vampire provides a powerful visual language capable of generating strong audience engagement.

The recent releases of Nosferatu by Robert Eggers and Sinners further illustrate the vampire's return to contemporary cinema. Surrounding these films, a method dressing phenomenon quickly emerged : Lily-Rose Depp, Emma Corrin, and Charli xcx extended the Gothic worlds of these productions onto the red carpet by wearing designs from Chanel, Miu Miu, Saint Laurent, Alexander McQueen, and Rodarte. In this context, clothing becomes an extension of the narrative itself.

Over time, the vampire has become a figure with whom diverse audiences identify. Existing on the margins of social norms and blurring the boundaries between gender, identity, and historical periods, it is often perceived as a symbol of otherness and freedom. Reducing this rich symbolic heritage to a mere marketing trend would risk stripping it of its meaning. This is perhaps the greatest challenge facing luxury brands : not simply to appropriate the vampire's aesthetic codes, but to understand what continues to make this figure so compelling today.

Vogue World landed in California, in Hollywood, at the legendary Paramount Studios lot for its fourth annual edition. The event celebrated the influence of cinema on fashion, paying special tribute to the legendary costume designers who have shaped the history of film.

Nicole Kidman had the honor of opening and closing the show, paying homage to Rita Hayworth in Gilda (1946) as she walked the runway in a Chanel gown, a custom creation by Matthieu Blazy. She performed under the direction of filmmaker Baz Luhrmann, with whom she had previously collaborated on Moulin Rouge! (2001). She also gave a backstage performance of "Put the Blame on Mame".

The show was divided into several themed acts, each exploring a different facet of cinema.

Act I, "Hollywood Glamour," paid tribute to costume designer Catherine Martin and celebrated Hollywood's Golden Age, spanning from the late 1920s through the 1960s.

Kendall Jenner appeared in the iconic sequined bodysuit worn by Nicole Kidman in Moulin Rouge! (2001). Satine's costume is distinguished by its black-and-silver corset embellished with Swarovski crystals, sequins, and teardrop-shaped beads arranged in a pattern reminiscent of fish scales. The instantly recognizable look perfectly captures the spirit of the showgirl aesthetic, a microtrend that has recently made a strong comeback, fueled in part by the release of Taylor Swift's latest album.

The Great Gatsby (2013), also directed by Baz Luhrmann, was also celebrated during the show. Elizabeth Debicki, who portrayed Jordan Baker in the film, walked the runway in a custom Miu Miu creation inspired by the original costumes designed by Catherine Martin in collaboration with Miuccia Prada. Meanwhile, Adut Akech wore Daisy Buchanan's original costume, elevated with Tiffany & Co. jewelry.

Act II, "The Renegades," paid tribute to costume designer Colleen Atwood, immersing the audience in the gothic world of Tim Burton.

Model Anok Yai walked the runway in a recreation of Edward's costume, originally worn by Johnny Depp in Edward Scissorhands (1990). The look is defined by its asymmetrical silhouette, crisscrossed leather belts, metallic gloves, and steampunk-inspired details. Colleen Atwood has described the design as being inspired by the idea of a character "assembled from disparate parts," reflecting Edward's handmade, outsider nature.

Meanwhile, actress Louisa Jacobson embodied Edward in a reimagined version by Alexander McQueen. Creative director Seán McGirr fused the original costume's Victorian aesthetic with a contemporary sense of glamour.

Another Tim Burton film was also celebrated during the show. Kodi Smit-McPhee appeared in the Mad Hatter's costume from Alice in Wonderland (2010), originally worn by Johnny Depp, while Quintessa Swindell wore Alice's iconic look, first brought to life by Mia Wasikowska.

Act III, "Historical Heroines," honored costume designer Milena Canonero and celebrated the influence of iconic historical women on the silver screen.

Actress Julia Garner embodied Marie Antoinette, wearing one of the costumes originally worn by Kirsten Dunst in Sofia Coppola's Marie Antoinette (2006). A modern reinterpretation of 18th-century court dress, the gown featured cascading ruffles and layers of pink tulle, evoking the opulence of Versailles while adding a contemporary twist. She completed the look with pink Manolo Blahnik mules, echoing the shoes worn by Kirsten Dunst in the film.

The show also paid tribute to Stanley Kubrick's Barry Lyndon (1975), with Nastassja Kinski walking the runway in a costume inspired by the one worn by Marisa Berenson in the film.

Before the show moved on to the next act, one of its most poignant moments was a tribute to Diane Keaton, who passed away on October 11, 2025. The iconic Annie Hall (1977) silhouette was recreated by Betsy Gaghan, dressed in Ralph Lauren.

Act IV, "Summer of Love," paid tribute to costume designer Arianne Phillips, transporting the audience to the spirit of New Hollywood, a period shaped by profound social and political change. Inspired by the 1960s and 1970s, the act celebrated the era's cinematic experimentation, capturing the free-love movement's influence on fashion and culture.

The act featured numerous cinematic tributes. For Quentin Tarantino's Once Upon a Time... in Hollywood (2019), Cara Delevingne walked the runway in a Marc Jacobs look inspired by the outfit worn by Margot Robbie as Sharon Tate, while Abby Champion appeared in the film's original costume.

Conan Gray wore the costume from A Complete Unknown (2024), the biopic in which Timothée Chalamet portrays Bob Dylan, the iconic voice of 1960s protest folk.

The show also paid tribute to Walk the Line (2005), the biographical drama chronicling the lives of Johnny Cash, portrayed by Joaquin Phoenix, and June Carter, played by Reese Witherspoon. Their costumes were brought to the runway by Wali and Scarlett White.

Act V, "Avant-Garde," paid tribute to costume designer Sandy Powell.

The act drew its primary inspiration from Orlando (1992), Sally Potter's acclaimed masterpiece renowned for its exploration of time and gender. Hunter Schafer appeared in a sumptuous period costume, faithfully reinterpreting the one originally worn by Tilda Swinton.

Todd Haynes's Velvet Goldmine (1998), the musical drama celebrating the golden age of glam rock, was also spotlighted during the act. On the runway, Bodine van Galen in the foreground and Clara Denison behind her wore the original costumes of Jonathan Rhys Meyers as Brian Slade, capturing the flamboyant, free-spirited essence of the 1970s.

Act VI, "Afrofuturism," honored costume designer Ruth E. Carter, celebrating Black culture through the lens of cinema and fashion.

Ryan Coogler's Black Panther (2018) took center stage during the act. Angela Bassett reprised her role as Queen Ramonda, wearing her original screen costume, while Danai Gurira and Teyana Taylor embodied the legendary Dora Milaje, also appearing in the original costumes from the film.

The act also paid tribute to Spike Lee's Malcolm X (1992), with Yahya Abdul-Mateen II wearing an authentic zoot suit from the film. An iconic style of the 1930s and 1940s, the zoot suit was embraced by African American and Latino communities as a symbol of cultural resistance and self-expression in the face of discrimination.

Act VII, "New World," paid tribute to costume designer Jacqueline West, exploring distant worlds and the creation of new horizons.

Denis Villeneuve's Dune franchise, renowned for its striking visual universe and sweeping desert landscapes, provided several original costumes for the show. Model Loli Bahia walked the runway in the costume worn by Chani, portrayed by Zendaya, while Bianca Balti embodied Lady Jessica in the outfit she wears upon arriving on the desert planet Arrakis.

Alongside Dune, Alejandro González Iñárritu's The Revenant (2015) was also represented. Matthew Noszka walked the runway in the original costume worn by Leonardo DiCaprio as Hugh Glass, embodying the resilience of a character forced to survive in one of the world's most unforgiving environments.

After an edition as spectacular as it was rich in cinematic references, it's hard not to wonder what inspirations Vogue World will bring to life next. Which film tribute stood out to you the most this year? One thing is certain : the anticipation for the next edition has never been greater.

Women have always occupied a unique place in the art world. Feminist art, a contemporary artistic movement that emerged during the 1960s and 1970s, seeks to challenge and expose the way women have been viewed in society. When we think about art history, relatively few female artists come to mind, not because they did not exist, but because many of them were forced to create in the shadows.

Denied access to the same training opportunities as men and often excluded from prestigious academies, women did not enjoy the same privileges or visibility within the art world. In response to this inequality, art historian Linda Nochlin published her essay Why Have There Been No Great Women Artists?, a text that would become essential to the feminist art movement.

As a result of their exclusion, many women artists began exploring subjects rooted in their own lived experiences, topics that had long been silenced within a patriarchal society. They addressed taboo issues such as menstruation, childbirth, sexual violence, and reproductive rights, while reclaiming ownership of their bodies and sexuality.

Feminist art acts as a mirror of women's lived realities, bringing attention to the injustices and challenges they continue to face. In the art market, for example, women remain underrepresented, accounting for less than a quarter of artists represented in major collections and sales. Their works are often undervalued and sold for significantly less than those created by men.

At the same time, the objectification of women's bodies remains deeply implanted in society. A woman who simply chooses to show some skin is often subjected to judgment, reinforcing restrictive and sexist gender norms. The term "vulgar," for instance, is disproportionately applied to women. It is frequently assumed that a woman who embraces her appearance does so solely to attract male attention, as though she could not possibly dress, create, or express herself for her own satisfaction.

Too often, women are confronted with the idea that their existence is defined through the male gaze. Whether going out with friends, choosing an outfit for the day, or putting on makeup simply to feel confident, there remains a persistent assumption that these actions are performed for men's approval. Yet the reality is far more complex. At its core, this is a struggle to be recognized as autonomous individuals rather than objects of desire. Women should be free to act according to their own wishes without constantly considering how men might perceive or interpret them. They have the right to express themselves through style, appearance, and creativity without it being viewed as an invitation or a search for male validation. Ultimately, this is a fight for freedom and for the fundamental right to exist fully as independent human beings.

In response to these social issues, feminist artists have multiplied across all artistic disciplines, using their work to challenge gender inequality and make their voices heard. Among the most influential are the Guerrilla Girls, an activist collective known for preserving their anonymity by wearing gorilla masks. Through provocative posters, public interventions, and educational campaigns, they protest the underrepresentation of women in the art world.

Their goal is clear : to shock audiences, expose institutional discrimination, and encourage viewers to question the established norms of the art industry. Their work demonstrates that art can be a powerful tool for social change and a vital weapon in the fight for gender equality.

Another influential figure is Barbara Kruger, a politically engaged artist known for her critique of mass media, consumer culture, and the role of women in society. Through her collages, which combine striking text with images drawn from advertisements, magazines, and other forms of popular media, she challenges the social construction of femininity and the messages constantly imposed on women.

By exposing the contradictions and hypocrisies implanted within media culture, Barbara Kruger encourages viewers to think critically about the images they consume and to question the social norms often presented as unquestionable truths.

Among the most influential figures of feminist art, Niki de Saint Phalle holds a particularly significant place, since she dedicated much of her career to advocating for women's rights and challenging patriarchal norms. Through her series the Nanas, she portrayed powerful, liberated female figures that stood in stark contrast to traditional stereotypes of femininity.

Her work explores a wide range of female experiences, depicting pregnant women, brides, sex workers, and scenes of childbirth, offering a more diverse and inclusive vision of womanhood. By rejecting the reductive portrayal of women as mere objects of desire, Niki de Saint Phalle celebrated their strength, resilience, and beauty in all their complexity.

Finally, there is Orlan, whose work The Artist's Kiss (Le Baiser de l’Artiste) challenged deeply rooted stereotypes that confine women to predetermined roles. Through this performance, she confronted the traditional opposition between the saint, symbolized by the Virgin Mary, and the prostitute, represented by Mary Magdalene, exposing the limiting ways in which women have historically been categorized and judged.

The work provoked considerable controversy at the time, with many critics viewing Orlan's artistic approach as too radical. Yet beyond the scandal, The Artist's Kiss stands as a powerful statement on women's freedom and self-determination. By challenging conventional representations of femininity, Orlan transformed her art into a form of activism, demonstrating how artistic practice can become a vehicle for both social critique and emancipation. Her work remains a compelling example of the intersection between artistic innovation and feminist resistance.

In conclusion, feminist art plays a vital role in challenging the way women are perceived in society. While significant progress has been made toward gender equality, social reality remains shaped by prejudices and stereotypes that continue to position women as inferior to men. These biases persist in many aspects of everyday life, from the excessive sexualization of women's bodies to the dismissal of their lived experiences.

Some may argue that feminism is no longer necessary, claiming that legal equality has already been achieved. Yet women continue to face expectations, judgments, and social pressures that limit their autonomy and shape how they are perceived. Too often, they are reduced to objects rather than recognized as individuals capable of defining themselves on their own terms.

Women also continue to navigate fears and vulnerabilities that many take for granted. Something as ordinary as taking public transportation alone at night can be accompanied by concerns about harassment, violence, or unwanted attention. These realities remind us that equality extends beyond laws and institutions, it must also be reflected in everyday experiences.

In response to these challenges, feminist art serves as a powerful form of resistance. By questioning established norms, confronting injustice, and giving voice to underrepresented experiences, it creates space for women to express their identities freely and authentically. More than an artistic movement, feminist art is a call for visibility, empowerment, and social change, encouraging us to imagine a more inclusive and equitable future.

Cinema has always been fascinated by taboos, and The Substance, the latest film by Coralie Fargeat, is a perfect example. Winner of the Best Screenplay Award at the Cannes Film Festival, this body horror film delivers a sharp critique of ageism and society's obsession with youth, carried by remarkable performances from Demi Moore and Margaret Qualley. The Substance hits hard both visually and emotionally, making it impossible to remain indifferent.

Demi Moore stars as Elisabeth Sparkle, a former movie star who has reinvented herself as a fitness icon. At fifty, her producer makes it clear that she is now considered "too old" to attract audiences. Devastated, Elisabeth discovers a mysterious miracle treatment known as The Substance, which promises to create a younger version of herself. This is how Sue, played by Margaret Qualley, comes into existence, a younger, seemingly improved version of Elisabeth. But what initially appears to be an escape from aging soon turns into a nightmare. The two versions of Elisabeth, the original and her younger double, become trapped in a cycle where even the slightest mistake leads to horrifying consequences.

With The Substance, Coralie Fargeat uses body horror to denounce the cult of youth and the pressure placed on women to conform to society's beauty standards. From its opening moments, the film immerses viewers in a grotesque universe where every disturbing detail is captured in extreme close-up. By playing Elisabeth, Demi Moore allows herself to appear completely vulnerable, quite literally stripping herself bare to reveal the marks of aging and the often absurd lengths we go to in order to resist them.

By pushing situations to their most extreme limits, the film invites audiences to reflect on the absurdity of certain beauty ideals. Sue's appearance, emphasized through hyper-sexualized poses and imagery, symbolizes the artificial perfection sought by many industries, an ideal that no one can sustain forever without self-destruction. In interviews, Demi Moore has explained that the film resonated deeply with her own experience in Hollywood, where actresses are constantly expected to meet unrealistic physical standards.

The Substance also pays tribute to several classics of horror and body horror cinema, with clear references to Stanley Kubrick, David Cronenberg, David Lynch, and others. The film's carpet design, for instance, unmistakably recalls The Shining (1980), with its geometric patterns and vivid colors reinforcing an unsettling atmosphere reminiscent of Kubrick's symmetrical visual style.

Meanwhile, the scene featuring Sue's lips evokes Cronenberg's Videodrome (1983), a film in which identity is manipulated through technology and screens.

Elisabeth's psychological descent in The Substance also serves as an homage to David Lynch's Lost Highway (1997), a reference openly acknowledged by Coralie Fargeat. Known for his experimental approach to storytelling, Lynch directly inspired a scene in which Elisabeth makes a mysterious phone call. The framing, illuminating only the lower half of her face while leaving the upper part in shadow, recreates a memorable shot from Lost Highway in which Patricia Arquette is filmed in a nearly identical way during an enigmatic telephone conversation.

The themes of bodily invasion and parasitism in The Substance also recall Alien: Covenant (2017), particularly through the birth of Sue's "Other Self" from her back, a direct nod to the iconic "backburster" scene in the Alien franchise, where a Xenomorph erupts from a human spine. Both films explore the idea of the body being overtaken by another entity, disrupting the natural order and transforming birth into a deeply traumatic experience.

In its final act, The Substance embraces a level of violence seen in Carrie (1976). The moment Monstroelisasue literally floods the stage with blood evokes Carrie’s brutal revenge at the prom. This parallel highlights female rage in the face of an oppressive society and the destructive impact of patriarchal expectations.

Elisabeth’s obsessive pursuit of youth and perfection draws on themes from The Picture of Dorian Gray (2009). Like Dorian’s cursed portrait, Elisabeth suffers the consequences of her hedonistic choices through monstrous physical transformations, a metaphor for moral decay and consuming vanity.

Finally, the treatment of deformity and the search for acceptance in The Substance recalls David Lynch’s tragic The Elephant Man (1980). When Elisabeth, in her monstrous form, looks at herself in the mirror, her despair and desire to be seen echo John Merrick’s condition, condemned to marginalization. This poignant moment underscores the sacrifices made for validation and social acceptance, central themes in both films.

With these carefully chosen references, The Substance stands as an homage to the history of horror cinema. It's a movie that will not appeal to everyone. Indeed, the film is divisive, with some viewers even leaving screenings. Yet beyond its graphic horror, Coralie Fargeat offers a daring reflection on the obsession with youth and the dangers of an unattainable beauty ideal.

Of all artists, Niki de Saint Phalle is by far my favorite, not only because of her artistic work, but also because of her life and personal story. She was a strong woman who managed to persevere and rebuild herself despite the tragedies and violence she experienced from a very young age. I admire her values : she was socially engaged, fiercely independent, and deeply committed to fighting inequality.

Born in 1930, Niki de Saint Phalle established herself in an art world largely dominated by men, rejecting the role of housewife that society and patriarchal expectations had assigned to her. Throughout her career, she collaborated extensively with Jean Tinguely, the great love of her life, whom she married in 1971.

"I started painting among the mad... There I discovered the dark world of madness and its healing. There I learned to translate my feelings into painting : fear, violence, hope, and joy."

As a self-taught artist, she first gained recognition through her Tirs (Shootings), works that combined painting, sculpture, and performance. She created plaster structures coated in white paint and then fired a rifle at them. Hidden bags of colored paint would burst upon impact, splattering pigment across the surface like blood from a wound. The victim was society, injustice, her father, her brother, but mostly herself.

"I was fortunate enough to discover art because, psychologically speaking, I had everything it takes to become a terrorist. Instead, I used the rifle for a good cause : art."

Later, Niki de Saint Phalle created her famous Nanas, a celebration of femininity in all its power and vitality. Through these sculptures, she explored representations of women in art while challenging the beauty standards imposed by society. She sculpted figures with generous curves, emphasizing breasts and hips while reducing the head to a faceless form, allowing viewers to see themselves reflected in every Nana.

The Nanas were a powerful political and social statement. They represented Niki de Saint Phalle's contribution to the feminist movement, challenging patriarchal norms that reduced women to objects of desire or confined them to domestic roles. Their monumental scale embodied strength, while their bright colors and decorative motifs, such as hearts, suns, and flowers, celebrated joy, life, and freedom.

She also broke artistic conventions by using accessible materials such as plastic and polyester. One of her most significant contributions to the representation of women was her commitment to diversity. Among her Nanas are sculptures depicting Black women, including the famous Black Rosie. Through these works, she celebrated beauty in all its forms, affirming that every woman deserves to be represented and celebrated, an especially radical statement in her time.

"The power of the Nanas is really the only possibility. Communism and capitalism have not been particularly successful. I believe the time has come for a new matriarchal society. Do you think people would still die of hunger if women had a say?"

Through both her life and her work, Niki de Saint Phalle embodies the power of self-expression and resistance against social injustice. Beyond the sculptures, beyond the rifle shots, she demonstrated that art can be a catalyst for change and a means of liberation. In doing so, she paved the way for a more authentic form of self-expression and a more inclusive society.