This follows Miss Sohee’s appointment as a guest house of the prestigious Fédération de la Haute Couture, which recognises exceptional artistry and creativity within the French fashion industry. 

_{Sohee Park}

Structured, opulent, and detailed, Miss Sohee’s designs re-awaken an old-worldly creativity and glamour with a new-gen fine-tuned attention to quality, materials, and waste. Sohee Parks founded her Haute Couture label in 2020 after graduating from Central St Martins, and since then, Park’s pieces have been worn by the likes of Cardi B, Bella Hadid, Vice President Kamala Harris, Naomi Campbell. 

_{Miss Sohee SS24}

_{Miss Sohee SS24}

Inspired by Park’s own Korean heritage, Miss Sohee foregrounds the high-quality of traditional Korean techniques including intricate embroidery and staggeringly structured fabric manipulation, with garments taking on the forms of pearls, shells, and flowers. Miss Sohee’s designs also take Korean Minhwa (traditional folk art) as well as antique motifs as muses.

_{Miss Sohee SS24}

_{Miss Sohee SS24}

Miss Sohee will be the only South Korean couturier to showcase during Paris’ Spring/Summer 2025 season. Sohee Park explains “this moment is not only a personal triumph but also a celebration of my heritage. My work weaves the rich tapestry of Korean artistry with the timeless grace and innovation of Haute Couture. Each design seeks to honour traditional techniques through a contemporary perspective”.

by Ella Mansell

The post South Korean brand Miss Sohee joins the Fédération de la Haute Couture  first appeared on The Glass Magazine.

The actor, singer, philanthropist, and public figure, Kim Yoona, rose to fame as a member of K-pop group GIRLS’ GENERATION whose debut hit single Into The New World released in 2007, followed by their 2008 self-titled debut album, helped propel the group into international stardom. Since, Yoona has graced the screens of both films and TV dramas, including King The Land (2023) and The Big Mouth (2022). 

_{Lim Yoona for Valentino}

Founded in the Italian capital of Rome in 1960, Maison Valentino is now helmed by Creative Director Alessandro Michele, who stepped into the coveted role in March earlier this year. Michele debuted his first collection, titled Pavillon des Folies, for the House in September at Porte de Châtillon in Paris, which brought the bohemian chic of floral motifs and polka dots to the Italian heritage brand. 

_{Lim Yoona for Valentino}

Lim Yoona comments “having attended the Pavillon des Folies show, I was profoundly captivated by the elegance and beauty embedded in every aspect of Valentino’s designs, as well as the distinctive fusion of modern sensibilities” and is set to appear across Maison Valentino’s exciting calendar of upcoming events. 

by Ella Mansell

The post Valentino appoints Lim Yoona as its new Brand Ambassador first appeared on The Glass Magazine.

Christmas is not yet over, nor have we started popping Champagne ready for New Year, but Self-Portrait is serving a sparkling reminder that Chinese New Year is just around the corner, and that the upcoming Year of the Snake is set to be an exciting – and well-dressed – one. 

_{Carina Lau for Self-Portrait Lunar New Year}

Malaysian-born Han Chong, Founder and Creative Director of Self-Portrait, explains that “Lunar New Year is a time to honour the traditions that shaped my upbringing, while embracing the future with positivity, hope, joy.”

Fierce, joyful, and cinematic, the new Self-Portrait campaign homages the creative lineage of Hong Kong-produced TV dramas with lead actress Carina Lau in line with this special annual celebration.

Capturing the drama, the campaign titled ‘Acts behind the silver screen’ is performed via two acts: Act I where celebrations of Lunar New Year are underway at the famed Yat Lok restaurant, followed by Act II at the Island Shangri-La hotel, where the personal and private lives of the starring actors star to blur amongst the whirling vibrance of the city. 

_{Carina Lau for Self-Portrait Lunar New Year}

Joining actress Carina Lau, who has graced the screens of many Hong Kong TV dramas including one of Hong Kong’s most-watched series ever Looking Back in Anger, are Bowie Wu Fung who rose to fame with Men’s Hearts, and infamous art director and producer William Chang, completing the classic and cinematic lineup. 

From the warming, collective memories that come through food and holidays of Act I to the dramatic twists and turns of Act II, each shot around Hong Kong by Feng-Li, Self-Portrait beautifully dresses the character of both cinema and the city. 

_{Carina Lau for Self-Portrait Lunar New Year}

_{Carina Lau for Self-Portrait Lunar New Year}

‘Acts behind the silver screen’ teases the launch of Self-Portrait’s coinciding capsule collection that will drop over the course of the next month, featuring many of the brand’s house codes from mini sequin-clad dresses with beaded necklines, ultra-feminine two-piece skirt suits, and a stand-out candyfloss pink fur coat. 

_{Carina Lau for Self-Portrait Lunar New Year}

Like campaign star Carina Lau eloquently explains, “Hong Kong is more than just a backdrop, it’s a living, breathing character in our stories, a place where tradition meets modernity and imagination thrives” and Self-Portrait’s modern and playful clothing is showing us how to ring in the new year in style. 

by Ella Mansell

The post Carina Lau stars in Self-Portrait’s Lunar New Year campaign first appeared on The Glass Magazine.

Whisper the words ‘Jimmy Choo’ and the unabashed, feminine, and fun glamour of the brand’s signature Saeda, Azia, and Anise, shoe styles decked in pearls and dripping in diamonds step forward. This dynamic energy is an enigmatic pairing with New York City, one that also underscores the luxury fashion house’s connection to New York City. 

_{Jimmy Choo Madison Avenue Store}

Sandra Choi, Creative Director of Jimmy Choo, enthuses “dynamic, modern, vibrant and free – New York is a kindred spirit, a home from home for the brand connecting with our values and ethos, our attitudes to 21st-century glamour.”  And it’s none other than the TV fashion franchise, Sex and The City, that Jimmy Choo names as one of the milestones for making Jimmy Choo a household name, so expect the same feminine frivolity and playful OTT spirit we all love about the show. 

_{Jimmy Choo Madison Avenue Store}

_{Jimmy Choo Madison Avenue Store}

Devised by Interior Designer Nebihe Cihan – also behind Jimmy Choo’s beautiful Avenue Montaigne Paris store – the new flagship store takes the shape of a trio of salons, including a VIP room, each with a different vibe.

Decked with vintage furniture and objects d’art including seating by Luigi Pellegrin and lighting by Tommaso Bertocco and Kueng Caputo, the brand’s renewed retail aesthetic mirrors the exclusivity of the one-of-a-kind Jimmy Choo pieces on sale here. 

_{Jimmy Choo Madison Avenue Store}

Just in time for the holidays, the new boutique flagship store will debut the Jimmy Choo Winter 2024 collection showcasing a range of shoes and accessories alongside leather accessories, jewellery, fragrance, and eyewear. 

by Ella Mansell

The post Jimmy Choo opens flagship boutique on New York’s Madison Avenue  first appeared on The Glass Magazine.

The China night played host to the French brand’s latest collection; as the dusk descended across Hangzhou’s West Lake, Chanel’s Métiers d’art designs paraded across its silvery waters, while wooden planks of lagoon pontoon creek underfoot, journeying the brand from Paris to Hangzhou within the space of minutes. 

A testament to the standard-setting calibre of the Maison, Chanel’s Métiers d’art collections are a conversation between craftsmanship and culture, where the talent of the artisans behind the brand shines through each piece.

The 2025 show opened with black ensembles as deep as the surrounding night, where the house’s signature tweed suiting took on the form of long, shouldered coats, adorned with frogging crafted by Atelier Paloma Paris, and silver floral motifs traipsing up the centre seam and around sleeve cuffs.

A fusion between the trench and a raincoat fashioned from fine silk also flitted across the lakeside runway while pagoda sleeves and mandarin collars embroidered by Atelier Montex subtly glistened under the waning light. The minute attention to detail is acute across every garment, from medallions and cuffs made by Goossens to pleats and flounces by Lemarié and Lognon, and Robin Hood and suede hats by milliner Maison Michel. 

Classic tweed suiting contrasted with flashy gold two-pieces helped the collection flirt between the historic city of Paris and China’s tech capital Hangzhou, enhanced by the travel-themed accessories of the vanity case-style handbags and suitcase-style bags. Oversized clutches resembling silk pillows also envelop the evening tone, for the collection’s overall trance-like impact. 

Cloaked in darkness, the night helped introduce the key inspiration for the collection: Coromandel screens. Characteristic of the intimate boudoir as well as staging lacquer commemorations of important works of Chinese art, the influence of the Coromandel at the French label extends back to Gabrielle Chanel, who herself hung a hand-painted Coromandel against the walls of her 31 rue Cambon, Paris apartment.

For Métiers d’arts 2025, many coloured and textured panellings of appliqué add depth to jackets, while also nodding to the multi-screen and in-depth composition of lacquer Coromandel art, also heightened in the metallic sheen of silver and gold materials as well as plumage that gently floats across quilted silk evening jackets. 

Painting the ornate intricacy of traditional Coromandel art with Chanel house codes, the Camelia (a long-time symbol of the maison) symbolising faithfulness, purity, and longevity, blossoms in pinks and silvers and blacks and whites across the collection, while the resilience and strength of the lotus also made subtle appearances. 

A short film by director Wim Wenders featuring house ambassadors Tilda Swinton, Leah Dou and Xin Zhilei teased the collection, who each interact with the elaborate craft of Coromandel art. The film concludes poignantly with the words ‘Gabrielle Chanel never travelled to Hangzhou. In the coming days, the house of Chanel finally will.’

This visual poetry across the whole collection is an ode to the incredible artisans working under Chanel’s wing, expressing the savoir-faire of a self-assured heritage Maison. The result is an oeuvre that sleep-walks purposefully between the romance and refinement of both the night and the Coromandel screens in a classically-Chanel elegance.

by Ella Mansell

The post Chanel unveils its Métiers d’arts 2025 collection by Hangzhou’s West Lake first appeared on The Glass Magazine.

Undoubtedly considered one of the most celebrated jewellery houses in the world, turn the page of your favourite magazine and a glossy ad displaying signature pieces such as the Panther ring or Love bracelet will glisten back at you.

From the brand’s humble beginning in 1847 when Louis-François Cartier took over the workshop of Adolphe Picard in Paris inaugurating Maison Cartier, to the emergence of the brand in Parisian high society, to today where the brand is globally renowned, Cartier’s trajectory continues to break luxury jewellery moulds. 

_{Tiara, Cartier London, 1937. Aquamarine, diamonds and platinum. Vincent Wulveryck, Collection Cartier © Cartier.}

The V&A’s new exhibition, simply titled Cartier, traces the distinguished heritage of this iconic watch and jewellery brand from the turn of the 20th century to the present. 

Divided into three main sections that chart design, craftsmanship, materials, as well as the brand’s cultural references, before culminating in a glistening array of tiaras, Cartier will boast an impressive 350-plus objects.

Standout pieces include the Williamson Diamond brooch; a floral brooch encrusted with diamonds of different cuts (brilliants, baguettes, and marquises) and centred by a rare 23.6-carat pink Williamson diamond that was commissioned by Queen Elizabeth II in 1953, and worn part of her Silver Jubilee festivities, will step out of the archives.

Also on display, is the Scroll Tiara worn by Queen Elizabeth II for her coronation in 1953 and then later styled by none other than pop star Rihanna for the cover of W magazine in 2016.  

Exhibition curators Helen Molesworth (Senior Jewellery Curator at the V&A) and Rachel Garrahan (Project Curator at the V&A and Jewellery Director) enthuse “this exhibition will explore how Louis, Pierre and Jacques Cartier, together with their father Alfred, adopted a strategy of original design, exceptional craftsmanship and international expansion that transformed the Parisian family jeweller into a household name.” From royal commissions to celebrity clients, Cartier delves into the shining heritage of the watches and jewellery makers. 

Cartier will take over The Sainsbury Gallery, a temporary exhibition space housed underneath the V&A’s famous welcome courtyard, an expansive, moody gallery lit by the jagged skylights that will make a dramatic addition to the coveted Cartier exhibition.

by Ella Mansell

_{Cartier will run at The Sainsbury Gallery, V&A from 12 April to 16 November 2025.}

_{Tickets are available at vam.ac.uk/exhibitions/cartier}

The post V&A to open UK’s first major Cartier exhibition in over 30 years next Spring first appeared on The Glass Magazine.

Debuting as Self-Portrait’s new resident creative director, he has launched his debut collection with a stunningly seductive thirty-piece capsule. 

_{Christopher Kane for Self-Portrait}

Self-Portrait has quickly established itself as the fashion-savvy Londoner’s guide to party dressing. Founded 11 years ago by Han Chong, oversized bows, appliqué sequins, and ultra-feminine silhouettes have become synonymous with the brand, which has come to define festive dressing across the capital and beyond. This new collection spotlights Christopher Kane’s “inimitable designs” as Han Chong describes, which have long performed as the fashion brand’s muses and inspiration. 

_{Christopher Kane for Self-Portrait}

Unveiled to a live audience at Alva Coachwork Studios in North London, photographer George Eyres took centre stage shooting the lookbook live with Larissa Hofmann taking charge after to capture the campaign. From the first minute, the collection defined itself as liveable and performative, sparing no drama.

_{Christopher Kane for Self-Portrait}

“Self-Portrait Residency represents an ambition I’ve had for years: to create a space where creatives can come together, experiment feely, and shape something entirely unique” as Creative Director Han Chong describes. And unique it certainly is. 

The garments fuse Christopher Kane’s fascination with contrasting female tropes – whether sensual seductress or gothic – as well as his known experimentation with different fabric combinations, from lace to crystal chainmail to bias cut satin. The colour palettes are varying too, flirting between pastel pinks and yellows so sharp they borderline neon to a rich black and baby blue. 

_{Carine Roitfeld for Christopher Kane x Self-Portrait}

_{Carine Roitfeld for Christopher Kane x Self-Portrait}

Christopher Kane comments: “This partnership celebrates the spirit of collaboration, and I couldn’t be more proud of what we’ve achieved”. Amping up the heat and powerful female energy of the clothing is the first face of the collection to be released – French Fashion Editor Caroline Roitfeld and long-time supporter of Kane. 

_{Carine Roitfeld for Christopher Kane x Self-Portrait}

From the sherbet-lemon ruffles adorning mini dresses and matching socks to the sheer black lace cut-out skirts and tops, this sophisticated collection pairs well with a high heel, confident attitude, and an invite to the hottest events of the season. We are undoubtedly RSVPing ‘Yes’.

by Ella Mansell

The post Christopher Kane launches inaugural Self-Portrait capsule as resident designer  first appeared on The Glass Magazine.

Mark’s Club, the cornerstone property of the illustrious group, has long reigned as an affluent and quintessentially British haunt in central London. Since opening as an alternative Gentlemen’s Club in 1972, Mark’s Club has welcomed a crowd of Londoners who enjoy an English refinery akin to the country’s 18th-century glamour. 

_{Mark’s Club Lounge}

_{Mark’s Club Terrace}

This September, Mark’s Club reopened its doors following a carefully-considered refurbishment and redesign. Floor plans have opened up and new Old Master artwork has been introduced to amp up the regality of each space. Overseen by Richard Caring, the result is nothing if not elegantly extravagant. 

As soon as you enter Mark’s House (via a discreet entrance on Charles Street, in keeping with the privacy of the members-only guestlist) a new open plan layout as well as a newly-acquired George Stubbs painting greet you.

_{Mark’s Club Drawing Room}

Downstairs, the Living Room takes on a new identity as a light-filled sanctuary with the recently uncovered traditional mantelpiece warming the room. Upstairs in the Drawing Room, members will still be able to divulge in a traditional Afternoon Tea or early aperitif by the open fire – a covetable spot on a cold London winter evening. 

_{Mark’s Club Dining Room}

The Dining Room will still serve its classic menu, filled with all of the club favourites, including the Mark’s Club Salad, Crepe Suzette, as well as the Loch Duart Smoked Salmon and Dover Sole carved tableside.

The newly added light-flooded and plant-filled Green House also offers silver-service, offering comforting plates of Beef Fillet and Fish & Chips in the winter and a retractable roof in the summer months. 

_{Mark’s Club Green House}

From the vibrant wallpaper against the printed curtains in the Dining Room all the way through to the lantern-strung Green House and the huge bouquets of fresh flowers in every room, characteristic traits of Richard Caring’s creative touch sing against the traditional architecture of the Mayfair townhouse.

The result: Mark’s Club is an elegant ode to British countryside tradition in the heart of the capital. 

by Ella Mansell

The post Mark’s Club in Mayfair reopens its doors following an elegant redesign  first appeared on The Glass Magazine.

This year the Maison’s AW24 collection debuted in Paris which re-awoke the Miss Dior branding and dynamic styles originally designed by Marc Bohan and Philippe Guibourgé in 1967. This 2024 reiteration of DiorAlps claims motifs from this show as inspiration. 

_{DiorAlps 2024. Photograph: Sasha Marro}

_{DiorAlps 2024. Photograph: Sasha Marro}

Jackets, the Miss Dior bag, and snug après-ski boots are adorned with the bold Miss Dior Graffiti print – a focus for Dior this year – for an on-slope statement. On the jackets, the Miss Dior print is carefully aligned so that the ‘ss’ align to form slope-like swirls across the pieces to usher the magic of the mountains. 

_{DiorAlps 2024. Photograph: Sasha Marro}

DiorStar-studded, hooded knitwear in neutral greys and blacks as well as dusty-toned pale pink also steal the show, alongside ski goggles in the classic Dior Oblique print. The Plan de Paris print also returns this year, featuring the black-and-white sketch mapping Paris’ tangle of avenues on down jackets and gilets for a sophisticated style that pairs perfectly with a freshly powdered piste. 

_{DiorAlps 2024. Photograph: Sasha Marro}

_{DiorAlps 2024. Photograph: Sasha Marro}

Characteristic of Dior, there is a couture-like attention to craft in each of the garments as knee reinforcements enhance the durability of trousers and ski suites while full-length zips on each jacket ensure maximum protection from the harsh colder climes. 

DiorAlps is the new snow-chic capsule collection to know and wear on your next alpine adventure as well as all winter – whether it’s a white one or not.

by Ella Mansell

The post Dior presents the DiorAlps collection fit for a white winter  first appeared on The Glass Magazine.

Van Cleef & Arpels borrow the title and its feverish allure for uncovering riches from this literary tale with the brand’s largest High Jewellery collection to date. Spanning diamond-encrusted clips to necklaces decked with sapphires, Treasure Island by Van Cleef & Arpels spare no mystique – and just in time for festive shopping too!

_{Van Cleef & Arpels Treasure Island}

As Nicolas Bos, President and CEO of Van Cleef & Arpels, explains “Robert Louis Stevenson’s Treasure Island is a book laden with universal resonance and a powerful collective imagination” that is celebrated in the new High Jewellery drop. Van Cleef & Arpels have long maintained their prestigious reputation for high-quality jewellery that is loved and worn among the stars.

The latest release of High Jewellery only elevates this. The finest cut, clarity, colour, and weight of precious stones from across the world reign supreme here, while ornamental clips are each shaped by hand as Van Cleef & Arpels redraws Stevenson’s creative horizons within the decorative arts. 

_{Van Cleef & Arpels Treasure Island}

_{Van Cleef & Arpels Treasure Island}

There are three parts to Van Cleef & Arpels’ new jewellery journey: Chapter One: the boat journey; Chapter Two: the exploration of the island; Chapter Three: the quest for treasure. Across the three, over 125 items paint this glittering excitement of adventure and discovery, moving between maritime motifs to cartology and long-lost treasures.

Opening with the adventure at sea, the Maison reconstructs the Hispaniola as a clip, named after the ship in the epic novel, as a sailing boat with five sails in white gold set with diamonds to mimic the linen sailcloths of 19th-century boats. The boat clip riffs off both Steveson’s tale as well as the brand’s own aquatic history as soon after the Maison was founded in 1906, it fashioned a scale model of the Varuna tall mast ship from gold and enamel. Adventure and Van Cleef & Arpels have always come hand in hand.

_{Van Cleef & Arpels Treasure Island}  

Three different three-dimensional buccaneer clips also make their way into the collection, each hand-shaped and studded with a fine selection of rubies, pink sapphires, black lacquers, and diamonds (an impressive loot), while the Cordage Infini necklaces and earrings as well as the En Haute Mer transformable necklace and ring mirror sailors knots with figures of eights and boleyn patterns. 

_{Van Cleef & Arpels Treasure Island}

Further in the three-part High Jewellery saga, the Coquilles Mystérieuses bracelet evokes a popular style of the 18th century, Rococo ornaments, with a shell-like fan shape. With the articulate repetition in the piece, the clasp is hidden when worn, adding to the thrill of mystery. 

The collection culminates with the hidden treasure: rings that echo the grandeur of long-lost Oriental and Victorian treasure, made with multilevel structures, each decked by rows of precious stones and then topped with one cushion-cut violet or yellow sapphire. 

_{Van Cleef & Arpels Treasure Island}

No carat spared, Van Cleef & Arpels’ Treasure Island is spotlighting the gold in the Golden Age of Discovery, with High Jewellery set to quickly become collector’s items, just like the 1883 epic novel. So, where will your next piece take you?

by Ella Mansell

The post Van Cleef & Arpels debut its largest High Jewellery collection to date – Treasure Island first appeared on The Glass Magazine.

Eclectic tailoring experiments, alluring forms, and conceptual design have become house codes for the brand, as it converses with its Japanese roots within a Western fashion scene. TOGA’s binary stems from this sense of place and mood rather than gender – opting for fluidity here instead – as designer Yasuko Furuta re-situates Japanese craftsmanship within the context of British street and eveningwear.

The SS25 collection found a home in this hybridity. The Labor, Order, Humour title aptly summarises the polarising vibes of the clothes but also draws attention to the largely unseen process of creating and then displaying a fashion collection.

After a four-year hiatus and a two-season stint at Paris Fashion Week, TOGA was warmly welcomed back to London’s agile and animated fashion scene, where the runway was met with a cinematic collection.

Naming the film Beau Travail by Claire Denis, the performance piece Paradox of Praxis: Sometimes Making Something Leads to Nothing by Franci Alÿs, and the novel A Hora da Estrela by Clarice Lispector as sources of inspiration, Yasuko Furuta visually narrated a comedic tale of work and life for SS25.

And so, just as London Fashion Week is starting to wrap up, we were left with lots to think about – and look forward to.

The East Wing of the grand, Renaissance-designed Somerset House – a fashion week favourite – accommodated TOGA’s SS25 show. Inside, paired-back wooden flooring met panels of reflective gold plating, splitting the runway into parallel ideas like the collection itself. 

The salon setting permitted clothes to be seen and also see themselves in a new gold-tinged light, as an evanescent vie en or glared onto both the utility jumpsuits, indigo denim sets, and the voluminous metallic evening wear. Gold metallic toes on the slingback shoes matching the runway added cohesion and allowed an extra humorous glisten to reverberate through the collection. 

The garments playfully caricatured British sensibilities including plaid shirting repurposed as neckerchiefs, trench coats with gaping lapels, and enlarged tartan-like print in the suiting – each finding an exaggerated, poetic flair of English Romantic exuberance.

Pleated, wide and draping sleeves also nodded to the Japanese style of ‘swinging sleeves’.The looks oscillated between workwear staples and dainty dresses, some with regency-style pillowing backs. Hardy materials like denim and leather flirted with sensual spring sheers, as the clothes flitted between the raw and the romantic, all the while maintaining a clear focus on high-quality fabrics. Thick braided leather rope-like belting cinched waistlines and united many of the looks. 

Plenty of plumage peacocked down the runway with unusual placements including around the knees, low on the hips, and across the chest breaking up the eye-line and also drawing attention to unique choices of cuts in the trousers and bodices. The level of detail in each look through form, mixed materials, and colour also made it difficult to forget the labour-intensive work behind each piece.

From the utilitarian to the frivolous, TOGA’s SS25 collection found merit in a harmonious hybrid of place, labour, and the cheek of creativity. 

by Ella Mansell

The post LFW SS25: TOGA first appeared on The Glass Magazine.