Harper's Bazaar UK - 09.2026.pdf

时尚芭莎 2026年9月 ## 惊艳登场 以俏皮的廓形、戏剧化的妆容和夺目的珠宝自信亮相 ## 胜利之翼 凯特·布兰切特凯旋回归舞台 ## 亚历山大 THE GREAT 走进华伦天奴的高级定制大师 --- # 2 ---

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纪梵希 艾娃·赫齐戈娃 巴黎 尤尔根·泰勒 --- # BAZAAR ## LYDIA SLATER 总编辑，时尚芭莎及 Harperbazaar.com / ak 总编辑执行助理 ELLIE HENNIKER-HORN 副编辑 FRANCES HEDGES 编辑业务总监 CONNIE OSBORNE 运营总监，赫斯特英国 SOPHIE WILKINSON 工作流总监 CARLY LEVY 编辑业务经理 JESSICA BORGES 代编辑业务经理 DELILAH MOSES ## 时尚 集团时尚、腕表及珠宝总监 AVRIL MAIR 预约总监 LAURA NICHOLSON 预约编辑 TOM CASEY 预约助理 AMELIA GRIMSHAW 编辑 HOLLY GORST 购物编辑 GRACE CLARKE 高级助理 NADYATUOFIQ 助理 LAURYN DOHERTY, NINA GAHREN WILLIAMSON, GALKLEIN 代助理 OLIVIA SANDFORD-WILSON 实习生 GLORIA MADENGE 特约编辑 MIRANDA ALMOND, LEITH CLARK, CRYSTALLE COX, CHARLIE HARRINGTON

特写 (FEATURES)

特写与特别项目总监 HELENA LEE 特写编辑 CHARLOTTE BROOK 会员总监 MARIE-CLAIRE CHAPPET 特约文学编辑 ERICA WAGNER

才艺 (TALENT)

集团娱乐总监 LOTTIE LUMSDEN 娱乐编辑（奢侈品） OLIVIA BLAIR 娱乐编辑（特别项目）兼代理娱乐编辑（奢侈品） NICOLA FAHEY 娱乐邀约负责人 NATALIE ZANNIKOS 代理娱乐邀约负责人 FURVAH SHAH

美容与健康 (BEAUTY AND HEALTH)

集团美容总监 KATY YOUNG 编辑 MEDINA AZALDIN 作者 KATIE WITHINGTON 助理 URMI PANDIT 实习生 JENNA WAGGITT

编辑制作 (EDITORIAL PRODUCTION)

集团首席副编辑 / 制作编辑，国际（）与家居 DOM PRICE 首席副编辑 AMY DAVIES-ADAMS, MICHELE JAMESON 副首席副编辑 CAMILLA REDMOND, KIRTEY VERMA 副编辑 KATIE BAXTER, DINA NAGAPETYANTS, DANIELLA PARETE CLARKE, FIONAS BUFFLET

艺术 (ART)

集团创意总监 ZOYA KALEEVA 艺术总监 LISA BARLOW-WRIGHT 艺术编辑 EMILY LORD 高级设计师 LILY PICHON FLANNERY 设计师 LUCY JACKSON, MIA JUNGREIS

摄影 (PICTURES)

摄影总监 JESSICA HARRISON 摄影制作编辑 GEMMA ROBERTS 摄影编辑 ARI HOLLISTER 摄影研究员 LEILA FREDRICHSEN 摄影助理 JODY KINDOKI

数字媒体 (DIGITAL)

多平台总监 SARAH KARMALI 代理时尚特写编辑 HANNAH BANKS-WALKER 多平台总监 AMELIA BELL 社交媒体负责人 AMY BREWSTER 高级编辑，电子商务 ROBERTA SCHROEDER

特约编辑 (CONTRIBUTING EDITORS)

ELLA ALEXANDER, LISA ARMSTRONG, HANNAH BETTS, RAVINDER BHOGAL, HELENA BONHAM CARTER, MARISSA BOURKE, MARIE-CLAIRE CHAPPET, LAUREN CUTHBERTSON, ELIZABETH DAY, ES DEVLIN, SOPHIE ELMHIRST, HELEN FIELDING, TERESA FITZHERRERT, GALA GORDON, KATY HESSEL, LURAINA HIMID, ANNA MURPHY, JULIET NICOLSON, ANDREW O'HAGAN, JUSTINE PICARDIE, HANNAH RIDLEY, ELIF SHAFAK, SASHA SLATER, NAZANIN ZAGHARI-RATCLIFFE

特约摄影师 (CONTRIBUTING PHOTOGRAPHERS)

CAMILLA AKRANS, LUC BRAQUET, BACHEL LOUISE BROWN, SIMON BROWN, BETINA DU TOIT, DAVID FERRUA, BOO GEORGE, PAMELA HANSON, EMMA HARDY, ERIK MADIGAN HECK, OLIVER HOLMS, KENSINGTON LEVERNE, ALEXI LUBOMIRSKI, KATE MARTIN, THERESA MARX, JEM MITCHELL, ERDEM MORALIOGLU, RICHARD PHIBBS, PIP, AGATA POSFRESZYNSKA, DAVID ROEMER, KARIM SADLI, JOSH SHINNER, PHILIP SINDEN, SOPHIA SPRING, EMMA SUMMERTON, FIONA TORRE, IONA WOLFF, PAUL ZAK

时尚芭莎 (Harper's Bazaar) ISSN 0341-0547 由 赫斯特英国 (Hearst UK) c / o Express Mag, 12 Nipco Way, Plattsburgh, NY, 12901 在同年出版。期刊邮资已在纽约州普拉茨堡 (Plattsburgh, NY) 支付，邮政局长：请将地址变更发送至 Harper's Bazaar c / o Express Mag, PO Box 2769, Plattsburgh, NY 12901-0259。时尚芭莎由 Frontline Ltd, Peterborough (917) 5 555 1603 分销。澳大利亚和新西兰的唯一代理商为 Gordon & Gorkh (Australia) Ltd。南非代理商为 Central News Agency Ltd。版权所有 © 赫斯特英国杂志 (Hearst Magazines UK), 2020年9月。期号 7 / 10。我们深表遗憾，在英国销售的杂志中所包含的任何免费礼品、附录、书籍或其他物品，在英国境外购买的副本中均无法提供。

ALEX UNITT

首席商业官

SHARON DAVIES-RIDGEWAY

组合总监，首席官 JACQUELINE EUWE

HUB

时尚与关键客户负责人 MARIA IORDANOU 全球负责人 ANNA KETTER (原姓 WINKLER) 腕表与珠宝负责人 ANNA O'SULLIVAN 全球客户总监 STEPH TOMLINSON 客户总监 SHAUNA CALLAHAN 腕表与珠宝客户总监 LAUREN BOLTER-BOOTH

赫斯特商业 (HEARST COMMERCIAL)

客户合作伙伴负责人 JAMIE DOUBLEDAY 交易与代理负责人 AMY BROWN 赫斯特全球解决方案高级副总裁 GIANLUCAENA 赫斯特全球解决方案负责人 JOE GRIMSDALE

HEARST MADE

Hearst Made 总监 SARAH NEWTON BOYD 品牌内容总监 ISABEL FREDERIX

STYLE - 47 趋势报告

尽享 2026 秋冬时装秀的所有色彩、活力与优雅 - 55 风格档案 设计师 Susie Cave 热爱善良、鞋履以及伊莎贝尔·阿佳妮 (Isabelle Adjani) - 57 请教 AVRIL 《时尚芭莎》时尚总监为你解决穿搭难题

JEWELLERY - 59 高光时刻

璀璨的钻石、红宝石与蓝宝石，为你的晚装增添气场 - 68 珠宝齐鸣 来自全球最顶尖珠宝品牌的惊艳高级珠宝系列

AT WORK - 80 她的领域

Brooke Theis 对话变革者 Eva Omaghomi——查尔斯国王的顾问，以及为所有人创造机会的推动者。此外：助力职业飞跃的建议与资源

TALKING POINTS - 85 魔力色彩

本月文化亮点，包括艺术家 Rachel Spelling 受《时尚芭莎》启发的艺术作品；吉莉安·安德森 (Gillian Anderson) 引人入胜的恐怖电影；《Call My Agent!》星光熠熠的回归；以及秋季必读小说

LIVING - 97 极致时髦

带你参观 Elle Peugeot 充满宝藏的巴黎公寓。此外：家居时尚联名，涵盖艾米莉亚·威克斯蒂德 (Emilia Wickstead)、Erdem、Ozwald Boateng 和 Zoë de Givenchy；以及能改变厨房氛围的秀场色彩 - 107 现代之爱 大量中世纪风格单品，提升你的室内格调

摄影：EMMA SUMMERTON, ERK MADIGAN HECK 32 HARPER'S BAZAAR 2026年9月

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FENDI

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PALAZZO MONTI 艺术家驻留项目 © GRAFECOM

G R A F F

世界上最迷人的珠宝 2026年9月

FEATURES

110 多面女性 我们的封面之星凯特·布兰切特告诉 Sasha Slater，时尚如何作为一种行为艺术，以及她回归国家剧院的经历 160 神圣时刻 Alessandro Michele 谈论如何追随伟大的华伦天奴 (Valentino) 之脚步 170 约翰·多恩及其他秀场偶像 作家 Katherine Rundell 揭秘过去的文学人物如何启发她的衣橱选择

FASHION

128 野性与自由 32 页作品集，呈现 26 秋冬系列中最令人心向往之的造型

BEAUTY

176 波西米亚狂想曲 化妆师 Peter Philips 用绚丽的绿色与金色唤起 1970 年代的精神 185 KATY 的美容经 《时尚芭莎》美容总监分享她的专家建议 186 美容编辑精选 我们最喜爱的设备，从 LED 面膜到高科技吹风机 187 美容灵感板 卓越的调香师 Oliver Polge 谈论他最新的清新香氛

ESCAPE

190 唯有你我 Douglas Booth 与 Bel Powley 在马尔代夫的梦幻蜜月 194 虎之国度 Lydia Slater 前往印度寻找神秘的大猫 196 动物磁场 Beatrice Aidin 的塞伦盖蒂野生动物之旅 198 内部指南 设计师 Huishan Zhang 谈青岛

REGULARS

40 编辑信 44 贡献者 202 闪光时刻！伦敦最火热的派对 218 为什么不……品尝一下由香奈儿 (Chanel) 提供的神之果实？

主编信 2026年9月

如果你和我一样，你会发现要将衣橱从度假模式无缝切换到满足新时尚季节的需求是一项挑战。在穿了几个月的凉鞋后，我的双脚对高跟鞋产生了畏惧，被阳光晒干的头发处于永久的毛躁状态，而腰带带来的束缚感似乎令人难以接受。幸运的是，《时尚芭莎》的九月刊成了我的救星，涵盖了我重新进入状态所需的一切知识：我们有关于时尚（第 47 页起）、美容（第 175 页起）和珠宝（第 59 页起）的趋势报告，最后是以最新系列亮点为主题的 32 页时尚大片（从 128 页开始）。与此同时，在 160 页，目前正在重塑华伦天奴（Valentino）品牌的才华横溢的设计师 Alessandro Michele 接受了 Alexander Fury 的罕见独家采访，分享了他的创作过程；随后在 170 页，畅销书作家 Katherine Rundell 阐述了她自己独特的时尚哲学。当然，我们的封面之星凯特·布兰切特（Cate Blanchett）在赢得最佳着装赞誉方面，就像赢得表演奖项一样驾轻就熟。她告诉我们，时尚“是一种表演艺术，重点在于‘表演’而非‘艺术’”，她在由 Emma Summerton 拍摄的一组非凡大片中证明了这两点，她在片中扮演多个角色，并与自己以及与我们进行对话。看着这个故事，我想起时尚的第一条规则应该是趣味而非痛苦——因此，我正带着全新的热情重新潜入我的衣橱。

LYDIA SLATER 总编辑

凯特·布兰切特（Cate Blanchett）穿着 Jean-Paul Gaultier 以及由 Stephen Jones 设计的头饰。本月封面故事中的军事风（第 110 页）

£3,250, Net-a-Porter 上的华伦天奴（Valentino）

主编精选

在决定让时尚变得更有趣之后，我倾向于 Michele 的华伦天奴（Valentino），在那里，优雅被注入了一抹机智与奇思妙想。精选之作，香奈儿（Chanel）腕表

本月，我享受...

在冠达邮轮（Cunard）的安妮女王号（Queen Anne）上参加《时尚芭莎》的海上健康之旅 泰特现代美术馆（Tate Modern）充满活力的弗里达·卡罗（Frida Kahlo）展览 躺在吊床里，凝视天空

BAZAAR Harper's PRIVÉ 加入俱乐部：立即申请加入 HARPER'S BAZAAR PRIVÉ 我们的专属社区将带您走进杂志内部，与一群充满活力且志同道合的人一起参加仅限邀请的晚餐、优雅的派对、私人艺术与文学活动以及高层讨论。如需申请会员并了解更多信息，只需扫描二维码。

摄影：EMMA SUMMERTON, RICHARD PHIBBS 40 HARPER'S BAZAAR 2026年9月

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www.tasaki.co.uk

TASAKI

danger!

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B. 1

ASHOKA

BOODLES 1798

贡献者

凯特·布兰切特（CATE BLANCHETT）

当这位巨星回归伦敦舞台，在国家剧院（National Theatre）的新剧《Electra / Persona》中带来令人心跳加速的双重角色表演时，她与 Sasha Slater 坐下来讨论表演、AI 和学术。

让你感到强大的穿着是什么？ “我脱掉鞋子。赤脚时我觉得自己更加脚踏实地。”

你最好的时尚投资 “用我的第一份薪水，我买了一套 Armani 西装，至今仍保留并穿着。”

谁是你的风格偶像？ “戴安娜·弗里兰（Diana Vreeland）。”

你的开胃酒（aperitivo）点单是什么？ “清酒和橄榄。”

为了寻找灵感，我... “去散步。当我到达一个新地方时，我必须走出去探索。”

R A C H E L S P E L L I N G

作为与《时尚芭莎》（Harper's Bazaar）一项令人兴奋的新合作的一部分，这位艺术家深入挖掘了我们的档案，创作了一幅名为《哑光与光泽色调》（Shades of Flat and Lustre Finishes）的独家版画。在“谈话要点”（Talking Points）专栏中，她分享了自己从壁画画家转变为微缩艺术家的心路历程，并首次公开了该作品。

穿什么能让你感到充满力量？ “我有一件 1940 年代的黑色西装外套，尺寸非常合身。穿上它时，我觉得一切皆有可能。”

谁是你的风格偶像？ “朱丽叶·比诺什（Juliette Binoche）。”

你的开胃酒（aperitivo）点单是什么？ “一杯辣味玛格丽特。”

为了寻找灵感，我会…… “在周日早起去逛汽车后备箱集市。那是极大的享受，能给我带来大量的新想法。”

M E G M A S O N

出生于新西兰的作家梅格·梅森（Meg Mason）在澳大利亚已成名，其作品《悲伤与极乐》（Sorrow and Bliss）在全球引起了轰动。她与我们的文学编辑埃里卡·瓦格纳（Erica Wagner）探讨了她将于本月出版的新小说。

穿什么能让你感到充满力量？ “结构感面料的高腰裤。任何垂坠感太强的衣服都会让我感到莫名地疲惫。”

你最成功的时尚投资 “用第一本书的预付款，我买了一个 Jérôme Dreyfuss Billy 包，至今我依然很喜欢它。”

你的开胃酒（aperitivo）点单是什么？ “一杯泰亭格（Taittinger）香槟，用浅碟杯（coupe）装（笛形杯太笨拙了），然后紧接着再来一杯。”

为了寻找灵感，我会…… “在伦敦漫步，让自己随意走进任何看起来有趣的街道。”

E V A O M A G H O M I

作为一名文化战略家和传播专家，奥马戈米（Omaghomi）曾在英国王室担任顾问 17 年。去年，她离开了该职位，创立了自己的咨询公司 Forster Jones & Associates，以及一个非洲奢侈时尚平台 Brand63Africa。在“工作中”（At Work）专栏中，她讨论了自己多样化的职业生涯和未来。

“我的发型必须完美。我拥有天然的非裔卷发，它是整体造型的一部分。”

你最成功的时尚投资 “大约 20 年前，我一个叫 Bethlehem Teshome 的学校朋友用意大利马海毛为我制作了一件深红色的和服风开襟衫，它非常耐穿。现在人们还是会问我是在哪里买的。”

谁是你的风格偶像？ “我的母亲和祖母。她们看起来惊艳极了。”

“一杯朗姆酒潘趣和辣味坚果。”

“旅行并观察人们。”

文字：CHARLOTTE BROOK 摄影：EMMA SUMMERTON, PHILIP SINDEN, ANNE FEEFERS, MARIANO VIVANCO, FABIO LOVINO, ELLE PEUSZOT 提供, DOUGLAS BOOTH 和 BEL POWLEY 提供, PAWEI PYST。

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2026 年 9 月

A L E S S A N D R O M I C H E L E

这位意大利时尚远见者在执掌古驰（Gucci）期间，带领品牌进入了一个令人眼花缭乱的极繁主义时代；如今，作为华伦天奴（Valentino）的创意总监，他正在引领这个传奇品牌迎来另一次令人惊叹的复兴。亚历山大·富里（Alexander Fury）在品牌罗马总部与他进行了对话。

穿什么能让你感到充满力量？ “没什么，因为我不确定‘力量’这个词是否真的适用于我。我相信一双舒适且漂亮的鞋子，能陪我进行一次漫长而愉快的散步。”

你最成功的时尚投资 “我那只非常古老的爱马仕（Hermès）Kelly 包。”

谁是你的风格偶像？ “[路易吉·皮兰德娄 1926 年的小说] 《一个、没有和十万个》（One, None and a Hundred Thousand）。”

你的开胃酒（aperitivo）点单是什么？ “蓝莓汁。”

为了寻找灵感，我会…… “生活。”

E L L I E P E U G E O T

在伦敦担任人权律师之后，Peugeot 移居巴黎，并开启了令人惊喜的第二职业——室内设计师，专注于历史建筑内的高端住宅项目。在我们的“生活（Living）”板块中，我们将带您走进她的巴黎公寓。

穿什么能让你感到充满力量？ “我的迪奥（Dior）Bar 夹克。在那些我需要力量的日子里，它能帮我撑起场面。”

你最成功的时尚投资 “一位优秀的裁缝。我买了很多古着，而寻找的过程本身就是一大乐趣。”

你的餐前酒（aperitivo）点单是什么？ “一杯皮斯科酸酒（pisco sour）。”

为了寻找灵感，我会…… “过去常去英国的高级家具拍卖会。我告诉自己那是为了研究。最终，我将这个习惯变成了我的职业。”

B E L P O W L E Y A N D D O U G L A S B O O T H

这对演员夫妇在 2016 年电影《玛丽·雪莱》（Mary Shelley）的片场初识，并于 2023 年结婚；在延迟两年后，他们前往马尔代夫的 Soneva 度蜜月。在《只有我们两人》（'Just the two of us'）中，他们讲述了这场期待已久的浪漫逃离。

穿什么能让你感到充满力量？ DB：“一条干净的裤子总是一个好的开始。”

你最成功的时尚投资 BP：“一件古着 Versace 海军蓝羊毛丝绸西装外套。我有许多西装外套，但这一件才是真爱！我几乎每天都穿它。”

谁是你的风格偶像？ BP：“夏洛特·兰普林（Charlotte Rampling）。”

你的餐前酒（aperitivo）点单是什么？ DB：“晚餐前一杯脏马丁尼（dirty martini），不需要零食。晚餐后一杯带柠檬皮的马丁尼（martini with a twist）。”

K A T H E R I N E R U N D E L L

畅销书作家 Rundell 的小说《不可能的生物》（Impossible Creatures）在 2024 年获得了年度儿童小说奖，她还出版了一部关于约翰·多恩（John Donne）的传记，而她的博士论文正是基于后者的作品。她是牛津大学圣凯瑟琳学院的院士，偶尔能被发现正在攀爬这座城市的屋顶。在本期中，她反思了文学与时尚之间持久的关系。

“我祖母的订婚戒指。她才华横溢且刚毅果敢。”

“一件 Margaret Howell 的黑色大衣。它让我与糟糕的天气达成和解。”

谁是你的风格偶像？ “詹姆斯·鲍德温（James Baldwin）。”

“威士忌酸酒和爆米花。”

为了寻找灵感，我会…… “阅读约翰·多恩。”

September 2026 HARPER'S BAZAAR 45

Vivienne Westwood

Vivienne Westwood AW2627 摄影：尤尔根·泰勒（juergen teller）

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BAZAAR style

编辑：GRACE CLARKE

趋势报告

一种全新的氛围正席卷时尚领域，它充满了丝带、装饰且极具趣味。是时候对奢华说“是”了。 摄影：ANTI

贴身剪裁

利落的廓形是当下的主旋律。干练、纯净的线条和量身定制的风格永远看起来很时髦：随着季节变换，只需将甜美的花卉印花和短裤切换为袖口、衣领和西装马甲。

BOTTEGA VENETA

STELLA McCARTNEY

流苏红利

没有什么比点缀流苏更能体现戏剧感了：可以像 Schiaparelli 那样选择金色，或者尝试一件来自 Stella McCartney 的前卫配饰。

纪梵希（GIVENCHY）BY SARAH BURTON

SCHIAPARELLI

JACQUEMUS

September 2026 HARPER'S BAZAAR 49

特别报道

本季的 T 台上出现了大量的珠饰、亮片和装饰。你可以像 Simone Rocha 那样用丝带装点自己，或者借鉴 Celine 的灵感，将时尚视为盔甲，用全身锁子甲搭配一件风衣，打造大胆的日夜兼顾造型。

STYLE FILE SUSIE CAVE

这位设计师啜饮着茉莉花茶，全身涂满玫瑰精油，并且无法停止购买鞋子。

我的风格标志是…… 首尾呼应。黑色的亮发和黑色的漆皮鞋。

最能代表我风格的品牌是…… Susie Cave Weddings & Funerals 以及白色的 Dickies 工装裤。

我的风格偶像时…… 伊莎贝尔·阿佳妮（Isabelle Adjani），尤其是她在《致命之夏》（L'Eté meurtrier / One Deadly Summer）中的样子。那部电影中关于她的一切都让我记忆犹新：她的外貌、服装、氛围、她的狂野以及她的脆弱。

我最成功的时尚投资是…… 鞋子。无论我穿得正式还是随意，只要穿着一双美丽的鞋子，无论身上穿了什么，我总能感觉到自己处于最佳状态。

我衣橱中不可或缺的单品是…… Niparons 乳贴。我用它们代替文胸，因为我觉得文胸太不舒服了。我热爱自由的感觉！

我的标志性香味是…… 玫瑰精油。凯莉·米洛（Kylie Minogue）闻起来总是很迷人，因为她也用这个。

我收到的最伟大的风格建议是…… “昂首挺胸，管他们怎么想（fuck 'em all）。”这是我婆婆的格言。

对我意义最深的珠宝是…… 我的结婚戒指。自从 1999 年我们结婚的那次日食之日起，它就从未离开过我的身体。

我最常用的美容产品是…… 任何来自 Officina Santa Maria Novella 的产品。在我的记忆中，我一直忠于这个品牌。尼克（Nick）也非常喜欢它。

我的床头柜上放着…… 生物相同激素。

我读的最后一本书是…… 柯莱特（Colette）的《谢里》（Chéri）——我的发型师推荐的！

我信奉的准则是…… 善良。永远如此。

我最喜欢的艺术作品是…… 我丈夫创作的任何一件美丽的陶瓷作品。我也热爱托马斯·豪萨戈（Thomas Houseago）的所有作品：他是一位亲爱的朋友，在我们相识的这些年里，他送给我们许多精彩的作品，尤其是那尊我倍加珍惜的猫头鹰雕塑。

我收藏的是…… 鞋子，其中许多是来自设计师朋友的稀有款式：薇薇安·威斯特伍德（Vivienne Westwood）、约翰·加利亚诺（John Galliano）、海德·阿克曼（Haider Ackermann）。每当尼克想给我买礼物时，我都会要鞋子，而他总是说：“噢不，又来了。”

我最近购买并喜爱的东西是…… 一个 Alaïa 手袋。在我看来，Azzedine Alaïa 是最伟大的设计师。

我无法放弃的纵容是…… 茉莉花茶、牛奶巧克力和我的丈夫。

对我意义最深的地方是…… 我的床。我最喜欢的仪式是洗个澡，在皮肤还潮湿时涂满身体油，然后钻进洁白的纯棉床单中入睡。

由尼克·凯夫（Nick Cave）撰写、多米尼克·伊瑟曼（Dominique Issermann）拍摄的《Susie》（£35, Thames & Hudson 出版）将于 9 月 16 日出版。

摄影：SUE SUNZEBO 2026 年 9 月 时尚芭莎 55

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JOIN THE CLUB

你有机会成为 Harper's Bazaar Privé 的一部分，这是我们不断壮大的远见女性社区。

过去几个月，Harper's Bazaar 的会员俱乐部一直非常忙碌。从 6 月在伦敦 Rosewood 酒店举办的迷人晚宴，到 8 月在 Glyndebourne 的歌剧与野餐下午茶，我们与志同道合的女性一起享受了一系列专属体验。现在加入，即可获取我们的秋季活动计划，包括伦敦时装周庆祝活动、Power Salon 系列以及著名的 * Art* 派对。

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Harper's PRIVÉ 申请加入 *HARPER'S * PRIVÉ 会员

我们这个由充满活力的女性组成的专属社区将带你走进杂志内部，参加仅限邀请的晚餐、优雅的派对、艺术与文学活动以及高层讨论。扫描二维码了解更多信息。

摄影：OLIVER HOLMES, HEATHER CHILTER, IONA WOLFF, NATALIE MARTINEZ

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STYLE

咨询 AVRIL

我们的时尚总监 Avril Mair 为您轻松化解衣橱难题

仅仅因为进入了新的时尚季节，我就真的需要更新衣橱吗？简单回答是：不需要。让重复穿着你喜欢的东西成为常态。如果你购买得精良且明智，这将构建起一个经久耐用的衣橱——这也意味着你永远不会因为收到邀请函或面对着装要求而感到恐慌。我是在看到心仪之物时购买，而非在需要时购买，因此我 总是 有衣服可穿，永远不会在最后一刻冲向 Zara。我的购物支出在古着、设计师品牌和商业街品牌之间平均分配，但我一直在寻找能够经受时间考验的单品。造型是让单品焕发新鲜感的方式：有时一件新的配饰就能改变整体效果，尤其是当它有些出人意料，或者像时尚圈人士常说的，带点“off”感时。针对 26 年秋冬季，我计划投资一双红色的香奈儿高跟鞋，它们与任何东西都不匹配，因此能搭配所有衣服——绯红色是本季的流行色。

我刚刚开始一份新工作，办公室的着装要求相当正式。您能建议一些值得投资的职场装吗？最重要的是让自己感到自在。你需要的是一种轻松感，但同时也要有一定的结构感：一件合身的夹克搭配宽松的缎面长裤；一件一件式连衣裙；一条中长裙搭配短袖针织衫。无论你的风格如何，都可以将其转化为职场装。在商业街品牌中，COS 和 Jigsaw 的职场服装非常出色——不要忘记 M&S，尤其是鞋类。在稍高一点的价格区间，Me + Em 和 the Fold 的剪裁非常卓越，既有有趣的色彩，也有中性色调。这些九分阔腿裤（见右图）可以用十几种不同的方式搭配。

我预留了一笔存款准备买新手袋，但不知道从哪里开始：它需要兼顾实用与优雅，并且在未来几年依然好看。我该买什么？与其选择大 Logo 的奢侈品，不如将注意力转向英国品牌。我们在工艺精良且价格合理的皮包方面享有盛誉——值得一提的是，其中许多品牌得到了威尔士王妃凯瑟琳在国际舞台上的推崇。你应该已经知道 Strathberry 了，但还有其他品牌：DeMellier, Métier, Aspinal of London，当然还有 Mulberry。随着 Christopher Kane 出任新任创意总监，且伦敦时装周秀场定于 9 月举行，现在是重新审视标志性 Bayswater 包的时候了。

我想在秋天穿一条吸睛的裙子。商业街品牌中有不错的选择吗？时尚界的极繁主义氛围由香奈儿的 Matthieu Blazy 带来，他的系列充满了极具感染力的愉悦感。这是一种彻底的氛围转变，每个人都想加入其中。可惜，这需要付出高昂的代价。如果你无法投资他的主打中长裙，可以关注 H&M，或者 All Saints，其分层不对称裙是长久以来的热门单品。该品牌刚刚任命了来自东伦敦的年轻才俊、LVMH 奖决赛入围者 Aaron Esh 为首席创意官，因此预计很快会出现更多接近 T 台的造型。

□ 摄影：MAXTRIE 2026 年 9 月 时尚芭莎 57

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MALLORY

始于 1898 1 的卓越珠宝 1-5 BRIDGE STREET, BATH BA2 4AP +44 (0)1225 788800

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BAZAAR jewellery

编辑：AV BILL MAIR 除非另有说明，所有价格均来自选集。 白金镶钻耳环，梵克雅宝 (VAN CLEEF & ARPELS)

高调的钻石饰品是本季时尚宣言的巅峰之作。摄影：AVNIE LAL 造型：HOLLY GORST 2017-04-19 © GEBI GIVATUM ---

白金、钻石、emerged 及大号耳环，卡地亚 (CARTIER) --- 珠宝 本页：羊毛胸衣，JIL SANDER。对面页：丝绸上衣，CALVIN KLEIN COLLECTION 左手，从上至下：白金及钻石戒指，FOPE。白金及钻石戒指，香奈儿 (CHANEL) 高级珠宝。黄白金、电气石及钻石戒指（右手），BUCCELATTI。白金及钻石项链，戴比尔斯 (DE BEERS) ANNIELAI 2026年9月 时尚芭莎 (HARPER'S BAZAAR) 61 --- 珠宝

黄金、铂金、粉色尖晶石及钻石 lining，TIFTAW & CO.。白金、clay 及钻石 laminate。MALLORY 白金及钻石项链。1950S 1904 L1281 © 时尚芭莎 (HARPER'S BAZAAR) 2020年9月 附录 A1 --- 铂金、粉色 spirell 及钻石项链。BOODLES

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白金、白祖母绿及钻石耳环，GRAFF。白金、钻石及珍珠戒指（左手），TASAKI。黄白金、红宝石及钻石戒指（右手），宝格丽 (BULGAR!) --- 珠宝 铂金、红宝石、粉色蓝宝石及钻石耳环；配套项链，均为海瑞温斯顿 (HARRY WINSTON) THE TRAVEL CASHPEIRE (DOY'S) FIT, 2600 S. 8TH STREET, 24, 225, 8, 10TH MICHEL, KORS COLLECTION, OPPOSITE DUCHESSE SATIN DHESS, NZ1 ANNIE LAI 2026年9月 时尚芭莎 (HARPER'S BAZAAR) 65 --- # 珠宝 白金及钻石戒指（左手），萧邦 (CHOPARD)。玫瑰金、铂金、红与粉色 stained、红宝石及钻石项链，PIKOET。粉金、钻石及 medallie 戒指（右手），宝诗龙 (BOUCHERON)。发型：Yoshi Miyazaki (Debbie Jones Management)，使用 Hair by Sam McKnight。妆容：Victoria Martin，使用 Rose Beauty。美甲：Jasmin Samavali (One Represents)，使用 Elemic 造型助理：Gloria Modenga。场景设计：Joseph Butta。模特：Marvamo Musse (Premier Model Management)

背心：6950, CARMEN ANNIELAI ---

或者您更倾向于一些更显眼的东西？ 无需预约 我们打造大件链条 香槟供应 Pol Roger & Co. 德国 POL ROGER 香槟 傲然于低调之中 始于 1849 --- # 宝石合唱团 完美无瑕的宝石敲响和谐之弦 在卡地亚 (Cartier) 的高级珠宝系列 Le Chœur des Pierres 中，一切都围绕着顶级的宝石展开。从哥伦比亚祖母绿到形状独特的钻石以及闪耀的托帕石，宝石是核心也是灵感。“每一次都是一场邂逅，一种与我们的愿景以及对卡地亚理想之追求产生共鸣的炼金术，”高级珠宝创作总监 Jacqueline Karachi-Langane 表示。“创作是为了服务于宝石，揭示其细微差别、光辉、闪烁及其内在的震动。”该系列涵盖 125 件作品，耗时超过 8.5万,000 小时。在图中所示的杰作——Haryma 项链中，一只镶嵌珠宝的老虎在五颗瑰丽的帝国托帕石之上潜行。AVRIL MAIR 项链，选自卡地亚 (Cartier) Le Chœur des Pierres 系列 68 时尚芭莎 (HARPER'S BAZAAR) 2026年9月 图片由卡地亚 (CARTIER)、盖蒂图片社 (GETTY IMAGES) 提供 --- 珠宝

驭光而行

这些闪耀的爱马仕（Hermès）作品灵感源自品牌的马术图腾。一个名为 Into the Horsescape 的高级珠宝系列，唯有爱马仕才能想象得出。凭借极高的机智与同等的精湛工艺，该品牌的珠宝创意总监 Pierre Hardy 为品牌的精神动物献上了一首精致且自信的赞歌。“其象征意义蕴含在每一件作品之中，”他说道。这个由 90 件作品组成的系列——是他为该品牌设计的第九个系列——光彩夺目且极具几何感，将从马鞍到马镫的实用物件与宝石及细腻的手工艺巧妙结合。一款非凡的手镯，其末端采用了长阶梯形切割钻石和黑色尖晶石打造的马蹄造型。当然，还有一匹马：一枚可活动的戒指，设计为套在手指上，由白钻、褐钻、粉色欧泊和黄金打造。AM 所有作品均选自爱马仕 into the Horsescape 系列。照片由爱马仕提供。

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珠宝

幻梦之思

迪奥（Dior）以绿松石与祖母绿花卉勾勒出一个超凡脱俗的宇宙。Diorissima 是一个与威尼斯背景相得益彰的高级珠宝盛宴，在卡西诺宫（Palazzo del Casinò）的走秀中精美呈现，其中包含由 Jonathan Anderson 创作的 20 套独家高级定制造型。该系列由迪奥珠宝（Dior Joaillerie）艺术总监 Victoire de Castellane 以大师级的胆识设计，共 141 件作品，将抽象主义与自然主义相结合，探索了三个非凡的世界：葱郁的绿植、深邃的水域以及璀璨的星 constellation。这些作品采用了双层（doublet）工艺，即将一种宝石叠在另一种宝石之上，使设计焕发出闪耀的生命力。AM 耳环、手镯、胸针，均选自迪奥高级珠宝 Diorissima 系列。照片由迪奥、纽约公共图书馆 / UNISPLASH 提供。

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照片由路易威登（LOUIS VUITTON）提供 2026年9月 时尚芭莎 71

珠宝

绝美之城

这是一场对罗马的赞歌，宝格丽（Bulgari）的此次呈现汲取了这座城市永恒的魅力。宝格丽雄心勃勃的高级珠宝新作 Eclettica 是一次大胆想象的实践。该系列副标题为“与艺术的生动对话”，从雕塑、绘画和建筑中汲取灵感，推出了 150 件由壮丽宝石打造的作品。“罗马是一个几个世纪的艺术共存并不断产生新美的场所。Eclettica 提炼了这种精神，”首席执行官 Jean-Christophe Babin 表示。该系列的核心是九件杰作：其中这款 Secret Garden 项链唤起了这座城市隐藏庭院的意象，镶嵌了一颗罕见的 26 克拉粉橙色蓝宝石；而 Incontro Segreto 戒指则受到弗朗切斯科·海耶兹（Francesco Hayez）绘画作品《接吻》（The Kiss）的影响，将一颗 8 克拉钻石与一颗 5 克拉祖母绿相配。AM 项链、戒指，均选自宝格丽高级珠宝 Eclettica 系列。照片由宝格丽提供。

世俗之乐

蜜蜂嗡鸣，藏红花盛开，尽在 Chaumet 对天堂的璀璨愿景之中

名为“自然之旅”（A Journey Through Nature）的 Chaumet 全新高级珠宝系列，是对植物世界的活力致敬。这是一个恰如其分的主题：这家法国珠宝屋自 1780 年创立以来便被誉为“自然主义珠宝商”，深切关注环境，并采用完全可追溯的原材料和符合伦理来源的宝石。其成果是一系列构思精巧、色彩绚丽的设计，其中包括 25 款以蜜蜂和蜂巢为主题的胸针，以及七件以黄钻和珐琅打造的向藏红花致敬的作品。

AM

照片由 CHAUMET, EUROPEAN / UNISPLASH 提供 2026年9月 时尚芭莎 73

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雏鸟之金

蒂芙尼（Tiffany）的最新之作是一场色彩斑斓的珠宝羽翼幻想曲

“秘密花园”（Hidden Garden）是对盛放自然的颂歌，也是蒂芙尼（Tiffany & Co）《蓝色之书》（Blue Book）的新篇章，这个迷人的系列描绘了葱郁的秘密世界。该系列由首席艺术官 Nathalie Verdeille 创作，通过闪烁的动植物图案，向品牌传奇设计师 Jean Schlumberger 的才华致敬。一系列胸针重新演绎了著名的 1965 年“岩上鸟”（Bird on a Rock）设计，每件作品都展现了一只幻想生物栖息在珍贵宝石之上的模样。

AM

照片由 TIFFANY & CO. GETTY IMAGES 提供

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珠宝

幸运女神

梵克雅宝（Van Cleef & Arpels）的标志性护身符以甜美粉色迎来女性化升级

很少有珠宝能像 Alhambra 系列那样具有标志性。梵克雅宝（Van Cleef & Arpels）于 1968 年推出了四叶草符号，此后它成为了该珠宝屋的幸运符，并不断使用从缟玛瑙到瓷器等不同材料进行重新演绎。威尔士王妃凯瑟琳曾佩戴珍珠母贝版本走红毯；而现在，一个新的版本采用了半透明粉色珐琅，其中点缀的微小气泡赋予了作品不同寻常的深度。经过多年的研发，该系列包括两条项链、一个吊坠、一只手链和一对耳环。“得益于我们工作室的创新能力，”品牌总裁兼首席执行官 Catherine Rénier 表示，“珐琅为 Alhambra 的世界带来了原创的美学和色调。”

AM 项链，珐琅，均选自梵克雅宝（Van Cleef & Arpels）标志性系列

照片由 VAN CLEEF & ARPELS 提供 2026年9月 时尚芭莎 75

珠宝

宗教狂喜

精神象征是 Dolce & Gabbana 西西里杰作的核心

Dolce & Gabbana 的 Divina Devozione Siciliana 系列在陶尔米纳的圣多明各宫殿（San Domenico Palace，曾是一座多明我会修道院）展出，其灵感源自数百年的虔诚信仰。此处所示的“圣心”项链，将这座岛屿最受喜爱的虔诚图案之一，转化为一种情感深沉且极具个人色彩的 alta gioielleria（高级珠宝）表达，代表了信仰、记忆与美的融合。该项链由白金和粉金打造，吊坠镶嵌有粉色和红色的电气石以及红宝石，并点缀有圆形和梨形明亮式切割钻石。

AM 项链，选自 Dolce & Gabbana Divina Devozione Siciliana 系列

76 时尚芭莎 2026年9月

照片由 DOLCE & GABBANA, THE NEW YORK PUBLIC LIBRARY, 1962-1964 提供

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BAZAAR Harper's Studio Spelling 隆重推出 Rachel Spelling 的《Shades of Flat and Lustre Finishes》（2026）——这是一件为《时尚芭莎》创作的 40 x 66cm 艺术品，将在接下来的三期杂志中陆续揭晓，并将推出 300 幅限量版版画供购买。 10月8日开售 – 扫描二维码注册以获取优先购买权。 摄影：PHILIP SINDEN --- # BAZAAR at work 编者：MARIE CLAIRE CHAPPET ## Head space 战略传播领导者、前王室顾问 Eva Omaghomi 谈关系构建、创业精神以及叙事的力量。此外，还探讨了语言学学位在现代职场中的关键作用。 造型外套：#1490, poetry, music, food, education, period of BAZAAR, H&M, 封面耳环, #440, VSC, #8, eda-bed, J.S. & STRATHBERRY, 长款-造型师私物。 摄影：BAZAAR, 造型：GRACE CLAIRE CHAPPET, EVER STEEPER LECOMOTER, MAGAZINES, 造型：GALLAGHER STYLES BY GALLAGHER STYLES BY GALLAGHER ---

她的专属领域

近 20 年来，Eva Omaghomi 始终在王室核心部门工作，协助未来的君主掌控公众关注度。现在，她向 Brooke Theis 讲述了她如何将影响力扩展到宫墙之外。

Eva Omaghomi 很少走到聚光灯下。 相反，她的职业生涯致力于为那些已经在聚光灯下的人提供建议。从皇室成员、文化名人到商业领袖，她的客户寻求她在全球范围内建立深层联系方面的专业知识。当我们交谈时，她刚刚完成了 SXSW（西南地区）伦敦站第二届活动的筹备工作，她在该活动的咨询委员会担任主席，协助开展慈善合作伙伴关系并提升节日的社会影响力。其中一位主讲嘉宾是 Michelle Obama，她讨论了自己的职业生涯，在其中她曾在律师、第一夫人和播客主持人等不同角色之间“切换”。“她的到来让梦想成真，”Omaghomi 说，“对于我们这些转向人生新领域的人来说，她的故事非常令人鼓舞。”

就在去年，Omaghomi 自身也做出了重大职业变动，成立了她的传播咨询公司 Forster Jones & Associates，以向她的外祖父致敬；而今年 2 月，她推出了 Brand63Africa，这是一个面向非洲及海外非洲裔奢侈时尚品牌的英国先驱平台。这一决定标志着她离开了在最高级别公共服务领域工作 20 年的岗位。在曾任时任伦敦市长 Ken Livingstone 的办公室工作人员——期间她参与了伦敦成功申奥的工作，并协助处理 7 / 7 爆炸案后的后续事宜——之后，Omaghomi 加入了王室，并在那里工作了 17 年。在任职期间，她策划了未来国王公众生活中的许多重要时刻，包括访问 70 多个国家的国事访问，与 Barack Obama 和习近平等世界领导人的外交接触，以及旨在加强君主制与英国及英联邦各界多元受众关系的倡议。

2021 年，她成为了时任威尔士亲王的首位社区参与总监，随后在 2023 年为国王和王后的加冕礼提供建议。

80 时尚芭莎 2026 年 9 月 --- 职场

Omaghomi 的国际视野是她工作的核心。她出生于尼日利亚的拉各斯，在小学期间移居英国。“我的父母在这里相识并就读大学，所以英国一直是我生活的一部分，”她说。“搬到这里塑造了我对文化和融入的思考方式。这让我想要研究人们如何融合与互动。”她在东伦敦大学获得了人类学学位，随后在伦敦大学亚非学院（SOAS）完成了媒体人类学的硕士学位。这是她与国王共同的热情所在，后者曾在剑桥大学学习考古学和人类学——这一平行点在 Omaghomi 的工作中具有重要意义。“这种尝试满足未尽需求并理解人们如何参与的想法，是我坚持下去的巨大动力，”她说。

作为国王信托国际（King's Trust International，原名为王子信托基金）的全球战略顾问，Omaghomi 制定了一套方案，帮助该机构在 25 个国家转变为一股慈善力量。在她的管理下，该信托基金为其非洲计划以及与 CNN 和 Charlotte Tilbury 等品牌的合作伙伴关系筹集了超过 £100 万。她还参与了 2023 年的 Windrush 75 活动以及王室首次举办的庆祝英国东亚和东南亚社区的招待会，以及 2025 年的《国王音乐室》（The King's Music Room）——这是一次与 Apple Music 合作的广播节目，展示了由查尔斯国王挑选的来自整个英联邦的歌曲播放列表。“这些都与国王此前作为威尔士亲王时所做的事情保持一致，”Omaghomi 指出，“关键在于将这些内容在特定的组合中清晰地表达出来。”这展示了深思熟虑的叙事力量：塑造他人如何理解一个组织，可能与工作本身一样必要。

对于我们大多数人来说，在王室担任高级职务将代表职业生涯的巅峰。而对于 Omaghomi 来说，这成了她开启“第二幕”的跳板——证明了利用现有技能进行职业重塑是一次值得尝试的飞跃。“建立关系是我目前工作中以及我的名声中非常重要的一部分，”她说，“人们会记得你多年前所做的工作。有一句话说，‘你对待一件事情的方式，就是你对待所有事情的方式’。”因此，Omaghomi 从未向客户推销过自己的服务；每一位客户都是直接找上她的。她将此归功于“随时间积累的公信力”——这是一堂关于深耕长线重要性的课。“这就是关于在交谈中将听到的事情保密。”

伊德里斯·艾尔巴（Idris Elba）现在是她的客户名单成员，她也继续就社区参与事务为查尔斯国王提供建议（她最近担任了一部即将上映的 Netflix 纪录片的执行制片人，在片中，国王与曾受益于国王信托基金的艾尔巴共同追溯该基金 50 年来的影响力）。虽然从公共服务转向创业看起来变化很大，但 Omaghomi 表示，她工作背后的动力保持不变。“这个想法源于一个问题：你想要产生什么样的跨代影响？当你不在的时候，你希望人们如何评价你？”她说，主要区别在于“决定你将要做什么和不做什么；决定你接受哪些客户以及不接受哪些客户。你要确保双方在思维上是一致的。”到目前为止，她抵制了进一步扩大业务规模的压力。“我希望它保持精品规模，因为挑战在于确保我们有足够的时间用于构建长期愿景和产生跨代影响。”

Omaghomi 试图产生切实影响的一个领域是支持非洲时尚品牌。“由于我社区里的人，比如拉各斯时装周的创始人 Omoyemi Akerele 向我推荐设计师，我开始穿得更多，”她说。随后，一张她身着加纳品牌 Duaba Serwa 的亮粉色造型出席查尔斯国王加冕典礼的照片在网上疯传。“人们说，在那个场合出现具有创新性且代表非洲时尚的事物是非常特别的，”她回忆道。

这一时刻凸显了非洲设计师在英国时尚产业中的巨大潜力，以及他们改变人们对服装奢侈品认知的能力。随后，循环生物经济联盟（Circular Bioeconomy Alliance）委托开展了一项研究，探讨如何加强非洲时尚品牌在英国市场的机遇。在研究结果的启发下，Omaghomi 在今年 2 月的伦敦时装周期间创立了 Brand63Africa——其名称源自非洲联盟成立的年份 1963 年。其首批入选的品牌包括五个：Abiola Olusola、Studio Namnyak、the Cloth、Sukeina（娜奥米·坎贝尔和阿迈尔·克鲁尼都是其粉丝）以及 Christie Brown（其设计曾被碧昂丝穿着）。“我不是时尚专家，”Omaghomi 实话实说，“但我喜欢衣服以及它们所传递的文化信息——而且我很擅长为人们提供机会。”事实上，Brand63Africa 在启动时就与哈罗德百货（Harrods）建立了独家零售合作伙伴关系，这意味着该平台的设计师作品将于今年秋季在店内上架。“在别人不敢询问的地方，我会问——而有时答案是‘可以’。”我们中的许多人因为自我审查而错失机会，但 Omaghomi 的成功证明了大胆行事的益处。在创造那些原本可能不会出现的机遇这一愿望的驱动下，这种特质引领她跨越了不同的机构和行业。“我希望被定义为一个在人们认为没有机会时提供机会的人，”她说，“我希望人们说，‘她足够勇敢去询问，然后亲手打开了大门。’” “我喜欢衣服以及它们所传递的文化信息——而且我很擅长为人们提供机会” 造型：ADAM PAUL 摄影：MARIANO VIVANCO, ERNEST SIMONS --- 报道

迷失在翻译中

语言学家可以填补 AI 驱动型职场中的最大空白 作者：HELENA LEE

现代语言和古代语言已经面临一段时间的形象问题。在我们经历一场技术主导的工业革命时，STEM（科学、技术、工程、数学）学科一直备受欢迎。2025 年所有 A-Level 考试中，有 46% 与 STEM 相关，而高等教育政策研究所（Higher Education Policy Institute）的一份 2025 年报告揭示了语言学习的“灾难性”下降：参加体育 A-Level 考试的人数比参加法语、德语和古典语言考试的总人数还要多。卡迪夫大学的现代语言系规模缩减了一半，且在去年 11 月，诺丁汉大学提出了停止提供语言学位的方案，这反映出人们认为没有科学背景资历的人就业机会正在减少。

然而，我们的劳动力市场可能低估了那些能够精通语言的人所习得的技能。在牛津大学创立皇后学院翻译交流中心（QCTE）的夏洛特·赖兰（Charlotte Ryland）认为，语言思维带来的益处超出了沟通能力。她主张，通过语言教育培养的解决问题能力、共情力、协作能力和韧性，对于职场至关重要。“我们接触的律师事务所和咨询公司都在寻找广泛的技能——尤其是人与人之间的连接，”赖兰解释道，“这关乎你如何解读人们所说的话，以及如何读懂弦外之音。”

通过 QCTE，她在基层和政策层面开展工作。在后者方面，她支持一个跨政府语言小组，运行将研究人员与政策制定者联系起来的项目，并且是“像语言学家一样思考”活动的策划者。赖兰认为，在必须说一种外语时所涉及的冒险精神，以及通过这种方式获得的自信，能让学生为职场生活做好充分准备。

BBC 播报员兼记者维克·霍普（Vick Hope）对此表示赞同。青少年时期，她自学了西班牙语，随后在剑桥大学学习现代语言。为了完成学位，她在布宜诺斯艾利斯留学一年。“我当时正走出我的语言舒适区。过了好一段时间，我才达到不需要在脑中进行翻译的程度，”她回忆道，“这段经历不仅仅是逐字翻译，而是关于解读。人际交往能力是任何行业工作中重要的一部分。”

现在的 AI 工具翻译质量更高：例如，有些能够实现同步翻译，而另一些在超越字面意思方面更为先进。这给语言学家的就业前景以及社会对语言学习的重视程度带来了进一步的威胁。赖兰认为，语言学家不应回避这些进步，而应正面迎接；毕竟，理解文化背景和细微差别是关键。“语言学家是非常谨慎且具有批判性的阅读者，”她说，“他们将成为能够最有效地驾驭 AI 世界的人，尤其是随着技术变得更具共情力。”

科技教育先驱凯瑟琳·帕森斯（Kathryn Parsons）也持有相同观点，她曾在剑桥大学学习古典文学，并自学了普通话和日语。“‘解码’能力是语言学家磨练的一种独特技能：批判性地思考源材料，在不同的文化背景和视野中理解信息，然后以一种有意义的方式使其生动起来——从字面上讲，就是赋予信息意义，”她解释道，“你听到多少次技术人员在解释一个概念时，完全忽略了是什么让这项技术具有意义，或者只是将其简单地理解，而未能深刻地理解？”

这不仅适用于活语言，也适用于对文化、历史以及过去社会语言的研究。“我认为 AI 为人类文明的未来提出了非常重大的问题，而人类文明一直依赖于人类的学习，”她说道。“但在一个机器能比我们学得更好的世界里，成为人类意味着什么？AI 不仅仅是语言和技术，而是一个文明问题。这就是为什么古典学者能够绝佳地处于这些世界的交汇点；在这一深刻的变革时刻，为我们进行翻译并提供引导。”因此，在您下一次招聘时，不要陷入忽视语言学家的陷阱：他们很可能能为您提供所需的前瞻性保障。 □ 82 时尚芭莎 2026年9月 --- 职场 我是如何走到今天的

SULTANA TAFADAR

这位御用大律师（King's Counsel）分享她攀登法律职业顶峰的历程

从小我就想成为一名律师。 我看了很多关于法律和政治阴谋的剧集，在我的认知中，法律一直是实现公平与平等的工具。

我的第一份工作是在国家民意调查中心（National Opinion Poll）。 那里就像一个呼叫中心——我们要给人们打电话并询问他们的看法。

获得见习律师资格（pupillage）是我人生中的重大突破。 这是为了获得出庭律师执业证书而进行的为期 12 个月的培训。每年整个行业有数以千计的申请者，但只有几百个名额。

建立执业基础是很困难的。 我是一名亚裔女性且佩戴希贾布（hijab）；因此我经历过歧视，至今仍在与之抗争。一旦你获得丝绸袍（take silk）成为御用大律师，这种情况并不会消失。在某种程度上，你在职业生涯中攀登得越高，面临的挑战就越多，因为在那个空间里，像你这样的人更少。

我的专业领域是恐怖主义和国家安全工作。 我参与的第一个重大案件是 2005 年 7 月 7 日的爆炸案。我非常渴望磨练技巧，学习如何在陪审团面前进行交叉质询。我联系了其中两名被告的事务律师 Imran Khan，抱着试一试的心态说道：“我想您可能需要一名初级律师来顶替。” 结果我在该案件的大部分时间里都参与其中。

恐怖主义案件在多个维度上都很有趣。 我们的工作基于“未经证明有罪之前即为无罪”的原则。我坚信获得公正审判的权利，并认为无论被指控什么，每个人都应该拥有法律代表。只有在拥有优秀的

检察官和优秀的辩护律师时，这套系统才能运作，而我们希望正义最终能够胜出。

成为御用大律师感觉像是毕生的心愿达成。 我想成为最优秀的人之一，有时你会想：“我能达到那个高度吗？” 然后，一旦你做到了，你会问自己：“现在，我能做些什么来提升他人？” 因为我现在处于一个能够带来真正改变的位置。

我并不真正将失败视为失败。 我将其视为一个暂时的故障。如果我为自己设定了一个特定的目标，我不会接受“不行”这个答案。通往顶峰有多种路径——你只需要找到正确的那一条。

自从获得丝绸袍后，我的领导风格变得更具协作性。 我喜欢拥有一个多元化的团队，因为来自不同背景、拥有各自经验的人能带来真正深层的视角。最终，我会决定在特定情况下最好的前进方向，但能够获得充分的信息并从各种角度看待问题是有益的。

我想给年轻时的自己建议的是坚持。 沿途无疑会有障碍，但失败与成功之间的区别就在于永不言弃的精神。

INK THE DEAL

用奢华钢笔，以格调签署协议

由 BROOKE 记录 插画：MA JUNGARIS 摄影：GETTY IMAGES

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RADO SWITZERLAND

材质大师

TRUE SQUARE OPEN HEART

感受它！

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BAZAAR talking points

EDUZO IN CHARLOTTE BROOK

受《时尚芭莎》 130 年以上的历史启发，艺术家 Rachel Spelling 用微缩模型营造了一个梦幻世界。此外，本月最引人注目的文化时刻尽在此处。

摄影：PHILIP SHEDEN，每本艺术书，2013

TALKING POINTS

艺术

细节之美 (THE FINE PRINT)

艺术家 Rachel Spelling 将《时尚芭莎》（Harper's Bazaar）丰富的档案转化为一件定制艺术品 作者：CHARLOTTE BROOK 肖像摄影：PHILIP SINDEN

在过去的五年里，Rachel Spelling 凭借其微型绘画赢得了一批忠实追随者——对于一位此前专注于壁画创作的艺术家来说，这令人惊讶，直到疫情导致那项工作陷入停滞。“它关上了一扇门，但也猛然开启了数百万种创意可能，”她回忆道。“虽然我已经从事艺术创作多年，但我一直在寻找一种对我而言有意义的个人视觉语言。”在封锁期间的一天，她在厨房餐桌旁浏览 Farrow & Ball 的色卡，突然意识到这些矩形色块（即所谓的色片）就像是“一组微小的墙壁，已经准备就绪，等着我在上面讲述故事”。于是，她拿出了最小的画笔和一支丙烯颜料，在色片上画了一条锦鲤，就这样开始了。“我把色卡看作我的理想工作——一座拥有上百个不同颜色房间的房子，我可以穿梭其中，安装来自现实或想象的象征性图像，”她说。

Spelling 曾与邱园（Kew Gardens）和 Fortnum & Mason 合作，她认为自己作品的力量在于如何将大量且互有关联的图案统一起来。“每片色片就像一件独立的乐器：聚集在一起，它们就成了一个管弦乐团。”她在 Thames-Side Studios 有一个工作室，那是位于 Woolwich 的一座规模宏大的 19 世纪旧工厂。在这里，她的白墙上摆满了油漆桶、刷子罐、一个彩虹飞镖盘、明信片以及她珍视且精心搜集的古董色卡；但在我访问时，占据最大空间的是过去几十年来《时尚芭莎》页面的扫描件。为了一次特殊的合作与委任，这位艺术家在过去一个月的时间里潜心研究我们的档案，她将创作一件原创艺术品，以此对 150 年以上的理念、意象和态度进行重新演绎。该作品的 300 件限量版将于 10 月 8 日起发售。

Spelling 发现自己的创作方式与《时尚芭莎》之间存在共同点，无论是在形式层面——文字与图像之间美丽且往往充满机智的交汇——还是在更广泛的艺术实践方面。她在 30 年代的杂志中发现了曼·雷（Man Ray）的作品和其他超现实主义设计——勒内·马格里特（René Magritte）及其《图像的叛逆》（Treachery of Images）对她的创作方式产生了重要影响，她经常在色片上绘制一个与其颜色或油漆名称含义不同的图像。对于 Spelling 而言，这反映了我们大脑中同时持有多种、有时甚至是矛盾想法的方式，同时也表达了杂志和时尚产业如何不断变换形态并进化。

我们将分三期在三本杂志中揭晓这部名为《哑光与亮光色调》（Shades of Flat and Lustre Finishes，40cm x 66cm）的作品，从本期开始，随后在 10 月正式发售。这 72 片色片代表了 72 个机会，让 Spelling 能够探索杂志所珍视且与她产生共鸣的主题。“我想描绘《时尚芭莎》女性的梦幻空间——那些在精致的鞋子、修剪整齐的手或一顶黄帽子周围隐形盘旋的、相互竞争且有时相互矛盾的想法、期待、希望、梦想与遗憾，”她说。

如果你仔细观察，就会开始发现 Spelling 所称的“无声连接”，她悄悄地将这些连接潜入图片之间，希望不同的观众能读出不同的对话。你可能会看到两个相隔数栏的时髦女性之间有眼神交流；一根电话线空灵地在某些色块之间蜿蜒；一只戴着手套的手向邻近之物伸出——所有这些设计都受到了该杂志艺术总监 Alexey Brodovitch 所在的世纪中期时代的启发，Spelling 正是爱上了他的美学。在我离开之前，我瞥见了她为《时尚芭莎》创作的圣诞卡——印刷奢华且风格得体。“我不希望它太‘节日化’——而要更具魅力，”她说。Spelling 显然是一位在多样性和多元性中获得灵感的艺术家：这使得她的作品如此引人入胜——作品始于一系列平凡的物体，一种由彩色长方形组成的僵硬网格格式，但最终却充满了图像学和思想。正如她自己所说：“我不想只画一个故事。”

Rachel Spelling 为《时尚芭莎》创作的《哑光与亮光色调》（Shades of Flat and Lustre Finishes）将于 10 月 8 日起限量发售 300 份，每份售价 £300。接下来的 24 个色块将在 10 月号中揭晓。如需在正式发售前注册优先购买权，请扫描二维码。

86 时尚芭莎 2026 年 9 月

发型与妆容由 LUCE PEMBERTON 完成，使用了 MERIT 和 BUMBLE AND BUMBLE 产品 ---

室内墙面

淡绿色 薄荷绿 薄雾色 柔黄色 新绿色 苹果绿 含羞草色 玉米色 尼罗河绿 草地绿 阳光色 奶油色 柔翡翠绿 鼠尾草绿 海岸色 柠檬色 湖绿色 常春藤绿 稻草色 深黄色 森林绿 阴影绿 深金色 蜂蜜色 Rachel Spelling 的《哑光与光泽饰面色调》中的前 24 款色卡 ---

时尚

起源故事

一本探索克里斯汀·迪奥（Christian Dior）早年生活的书籍，揭示了这位高级定制设计师的远见卓识。 在 1947 年他的首个系列描述中，克里斯汀·迪奥以“Tian”签名，这是他小时候的昵称。现在，一部新作品记录了那些塑造他人格的早年时光。 他的童年好友、后来成为迪奥销售总监的苏珊娜·卢林（Suzanne Luling）对此评价得最为恰当：“这一切都始于格朗维尔：诺曼底、海洋、人物，以及那份坚韧……” 这部作品为人们深入了解这位全球最具影响力的设计师之一提供了迷人的视角。 CB 由 Laurence Benaïm 撰写的《迪奥：童年回忆》（Dior: Memories of Childhood）（£32.50, Rizzoli）将于 9 月 8 日出版。

左上：模特 Anne Sainte-Marie 身着迪奥 S.S.5 系列。左：克里斯汀·迪奥在 Les Rhumbs 别墅的花园中。

电影

重生

让你的心跳加速——《米亚斯玛营地的青少年性与死》（Teenage Sex and Death at Camp Miasma）这部电影具备了 20 世纪 80 年代典型砍杀片的血腥所有特征，同时也是对恐怖类型片本身的一次耐人寻味的分析。 该片由 Jane Schoenbrun 执导，围绕着年轻的酷儿电影制作人 Kris（Hannah Einbinder 饰）以及她所痴迷的一位古怪的老年女演员 Billy（Gillian Anderson 饰）展开。 做好准备——该片将于 8 月 21 日在电影院上映，绝对令人毛骨悚然。

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议题 电视

成长蜕变

Kaya Scodelario 讲述她如何从饰演一个问题少年成长为黑帮头目 作者：FURVAH SHAH

“我从来没有回看过去的作品。我觉得没有人想在屏幕上看到 14 岁的自己，”Kaya Scodelario 在谈到她 2007. 年在邪典剧集《Skins》（E4 频道）中的出道之作时说道。自那时起，这位女演员确实走过了很长的一段路，她在盖·里奇备受赞誉的犯罪喜剧剧集《绅士们》（The Gentlemen）中饰演强大的犯罪头目 Susie Glass，给人留下了深刻的印象，该剧本月将回归第二季。

“我觉得我天生就是演 Susie 的料，”Scodelario 说。“电影和电视最美妙的地方在于你可以捕捉人类的情绪并将其夸张化。我可以突破界限。有趣的是，你永远不知道她的下一步行动是什么，也不知道她的忠诚所在。”事实上，在该系列剧中，这个角色开辟了新局面，她与 Theo James 饰演的 Eddie Halstead 共同经营的非法企业，从英国乡村扩展到了意大利湖区。

她解释说，拍摄这部剧几乎和它的剧情一样不可预测。“盖是一位独特的导演——他可能会在拍摄当天决定不喜欢某个场景并想要重写。在当时看来可能不合理，但当你回看时，它非常精彩。作为演员，我们习惯于背好台词并做好准备，但 Theo 和我已经学会了拥抱变化。”

Scodelario 在伦敦北区的一套市政公寓中长大；小时候她热爱表演，但专业演戏对她来说似乎遥不可及。《Skins》的一次公开试镜改变了这一切——这部打破常规的剧集还开启了 Dev Patel、Daniel Kaluuya 和 Nicholas Hoult 的职业生涯，它以最民主的方式将她推向了聚光灯下。“那个过程是唯一给我自信的事情，”她说。“艺术应该向所有人开放，让每个人都能参与其中。”

这次制作教会了她重要的教训。“对于一个十几岁的青少年来说，在大多数是成年人的片场工作是一个巨大的调整，因为你得学习理解工作环境以及如何为自己争取权益，”她说。由于自己最初也感到不知所措，她现在热衷于帮助年轻同事站稳脚跟。“我会告诉他们：‘如果你害怕任何事情或感到不舒服，我会为你发声。’”

从在 Andrea Arnold 2011 年的电影《呼啸山庄》中饰演 Cathy，到出演 Robbie Williams 的单曲《Candy》的音乐录影带，Scodelario 建立了一段以多样性为定义的职业生涯，并且她渴望继续迎接挑战。“我永远不想感到安逸，”她说。“兴奋感来自于学习新事物和挑战自我。”

《绅士们》第二季现已在 Netflix 上线。 □

书籍

母性身影

Romalyn Ante 的这部强有力的小说探讨了我们以家庭之名所做的牺牲

前护士兼获奖诗人 Romalyn Ante 的处女作小说《The Left-Behind Child》借鉴了她自己的经历，对一段远距离的亲子关系进行了令人信服的刻画。故事设定在 2001, 年，当时 Neneng 的母亲从菲律宾搬到英国为 NHS 工作，11 岁的她被留在家中照顾父亲、不听话的兄弟姐妹以及各种亲戚。这部小说是对家庭和归属感的深层审视，在故事过程中，Neneng 独自走向成年，发现了内心深处的坚韧，并逐渐理解了她的母亲最初为何必须离开。

KATIE BAXTER Romalyn Ante 所著之《The Left-Behind Child》（£16.99, Vintage）于 13 August 出版。

2026 年 9 月 时尚芭莎 89

文字：BORN AGAIN 作者：KATIE BAXTER 摄影：KARAN RADKA / GETTY IMAGES, COURTESY OF MUSIC, CHRISTOPHER RAPHAEL / COURTISY OF NETFLIX, HISTORICAL PHOTOGRAPHIC PRINTS, GRANVILLE, CHRISTIAN DIXON MUSICUM

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书籍

字里行间

梅格·梅森（Meg Mason）将她标志性的温暖与机智注入了一个设定在文学世界的故事中 作者：埃里卡·瓦格纳（ERICA WAGNER）

《悲伤与极乐》（SORROW AND BLISS）是新西兰作家梅格·梅森的成名作，该书在2021.夏天发行时恰逢其时。你还记得那个夏天：新冠疫情、封锁，世界在轴心上倾斜。这个关于婚姻、精神疾病和姐妹之情的故事设定在牛津和伦敦之间，是她在英国出版的第一部作品，并成为了全球畅销书。现居悉尼的梅森对这部作品的成功感到欣喜，但她承认，对于某些领域将其描述为一种名为“忧郁女孩文学”（sad girl lit）趋势的一部分，她对此持谨慎态度。“我觉得这个词相当具有贬义，我不明白为什么女性会将它应用于自己的作品，”她告诉我。她不至于说这是她决心摆脱的一种情绪，但我感觉到，这促成了她新书《伫立在那里的索菲》（Sophie, Standing There）中那位勇敢且直率的女主角的塑造。

索菲是一位37岁的技术人员，在某座无名城市一个历史悠久的文学节工作，她艰难地走过了离婚的阴影但依然前行。她的工作是为登台的著名作家佩戴麦克风：她为他们的作品而活，为阅读而活，但她自己始终处于背景之中。在发现一位名为莱拉克·邓恩（Lilac Dunne）的畅销书作家——索菲对其产生了一种迷恋——将出现在她的活动场地后，当邓恩似乎主动发起一段看起来像友谊的关系时，索菲感到震惊。索菲在向她的偶像敞开心扉时，心中交织着渴望与敬畏，并好奇邓恩究竟想从她身上得到什么。透露太多就不合适了，但“永远不要去见你的偶像”这句话提供了一个提示。梅森用她标志性的同理心和幽默感探讨了这段关系的复杂性。

这部小说展现了梅森自身经历的两面。她谈到了在《悲伤与极乐》成功后，突然成为那些著名作家之一是什么感觉——那是一段“疯狂的时光”，有时她会发现自己坐在签名桌前，面对一位告诉她“我爱你”的读者。然而，她也记得并依然能共情地感受到作为桌子另一端的读者，去见一位她感到有共鸣的作家的心情。梅森希望她的读者能从索菲的坚韧和韧性中获得勇气：正是她的成长和力量，将这本书从那些“忧郁女孩”的陈词滥调中拉了回来。“我想表达的是，当我们孤独时，感觉就像是永恒。而痛苦之处在于，你不仅感到孤独，而且为这种状态感到羞耻，”她说。“孤独是一个季节，而不是终身监禁。”

邓恩完全是梅森的虚构，但现实生活中的作家——安·帕切特（Ann Patchett）、乔治·桑德斯（George Saunders）、大卫·尼科尔斯（David Nicholls）——在书中客串出场，你可以将这本书称为一封写给文学生活的情书。索菲最好的朋友名叫艾玛（Emma）：巧合的是，简·奥斯汀的小说是梅森进入阅读世界的敲门砖，尽管当我指出这一点时，作者感到很惊喜——并坚持说这只是巧合。“起名字是最令人愉悦的拖延方式，为了保持进度，我的规则是只要名字普通且平实，我第一个想到的名字就是该角色的名字，”她说。“我很感谢我的潜意识为了致敬而抛出了‘艾玛’这个名字！”除了奥斯汀，她还将南希·米特福德（Nancy Mitford）视为她的文学偶像——事实上，两人都拥有同样的幽默感和敏锐的观察力。《伫立在那里的索菲》展示了梦想变为现实的快感与危险；同时也给了我们一位女主角，她发现自己能够、且一直能够独立行走，走出她的想象世界。

梅格·梅森的《伫立在那里的索菲》（Sophie, Standing There）（£20, Bloomsbury 出版社）于 27 August 出版。 □

电视

尽情享受 Ted Lasso 又迎来一个充满活力、精彩纷呈的获胜赛季

世界杯或许已经结束，但那些渴望足球的人们可以庆祝这个国家最受欢迎的虚构本土球队回归。在《Ted Lasso》（现已在 Apple TV 上线）的第四季中，由 Jason Sudeikis 饰演的这位乐观得无可救药的美国教练迎接了一项新挑战：执教里士满的女子二队。除了 Hannah Waddingham 和 Juno Temple 等熟悉的面孔，一批新角色也将加入其中，包括由《Sex Education》的 Tanya Reynolds 饰演的一名助理教练。

DANIELLA PARETE CLARKE 90 时尚芭莎 2026年9月

ALL CREATURES BY DANIELLA PARETE CLARKE PHOTOGRAPHS: ANNE FLETCHER, 9, GHISLAINE HOWARD COURTESY OF THE ARTIST PHOTO: ADRIAN LAMBERT PHOTOGRAPHY & MCCLUGHLIN COURTESY OF THE ARTIST, COURTESY OF APPLE TV

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TALKING POINTS

文具

ALL CREATURES 卡片与信封，10 张 £30

展览

细心呵护

一场温柔的展览向助产士的关键工作致敬

对于我们中的许多人来说，在这个世界上见到的第一个人就是助产士。现在，曼彻斯特的 Whitworth 画廊通过一场精心策划的展览来赞颂这一职业，该展览基于与从业者的对话和研讨会，其中一些从业者还贡献了自己的艺术作品。婴儿喂养专家 Lizzie McLoughlin 就是其中之一；她的精美作品与 Marina Abramović 和 LS Lowry 的作品形成对话。新生命的细腻与喜悦在所有作品中均有体现。

CB “The Labour of Care”在 Whitworth 画廊（whitworth.manchester.ac.uk）展出至 8 月 29 日。 右图：Lizzie McLoughlin 的《Oneke's Story - A New Chapter》（2025）。 顶部：Ghislaine Howard 的《The New Child》（1993）。

彼得兔及其棉尾巴兄弟姐妹们与 Jemima Puddle-Duck、Mr Jeremy Fisher 以及其他伙伴一起，成为了 Smythson 新推出的 Beatrix Potter 灵感文具系列的明星，该系列包含日志本、素描本和通信卡。

笔记本，右图及下图，每本 £80

肥沃之地

在萨默塞特郡的核心地带，全新的 Big Brue 艺术节提供了一个在思想上与风景一样丰富的景观，将艺术、文化及其他领域的顶尖才智汇聚一堂。 作者：CATHERINE FAIRWEATHER

二十五年前，当我的未婚夫唐·麦卡林（Don McCullin）第一次邀请我参加在他布鲁顿（Bruton）附近家中的晚餐时，我预想的是在雪莉酒杯旁进行关于天气和作物轮作的礼貌闲谈。然而，唐在《星期日泰晤士报》时期的前同事、敏锐的喜剧作家兼专栏作家布里吉德·基南（Brigid Keenan）主持的这场晚餐会上，我们被鼓励谈论对巴勒斯坦和以色列的看法。那晚的氛围怎么说呢，极其热烈，但我们最终在愉快的氛围中接受了分歧。我认为那场晚餐是一次“洗礼”，它也成为了 Big Brue 的灵感来源。那种开放、文明的探究与辩论精神，以及好奇心和乐观主义，激励了我们几个住在萨默塞特郡的人——包括玛丽埃拉·弗罗斯特鲁普（Mariella Frostrup）和她的丈夫、人权律师杰森·麦库（Jason McCue）——共同打造一个庆祝不同观点、辩论与讨论的艺术节。我们希望证明，布鲁顿虽然是个小镇，但拥有宏大的思想。

当我于 2002 年与唐结婚时，布鲁顿还不是如今这样的艺术中心——如果你能找到像卡布奇诺这样“异域”的饮品就算幸运了。但在 2014 年，富有远见的画廊主伊万·维尔斯（Iwan Wirth）和曼努埃拉·维尔斯（Manuela Wirth）将一座破旧的 18 世纪谷仓和农舍建筑——这里曾是朱丽叶·比诺什在电影《巧克力》中的氛围背景——变成了他们的艺术与款待帝国 Hauser & Wirth Somerset 的总部。现在，这里成为了举办文化与对话周末的绝佳地点。

在艺术节上，我将采访精力充沛的布里吉德和餐饮业者普鲁·莱斯（Prue Leith），探讨她们所克服的障碍，以及在人生第三幕中告别青春所带来的巨大补偿与不可避免的怀旧之情。同样，我迫不及待想听艺术家兼非政府组织工作人员迪奥妮·罗奇（Dione Roach）讲述她与史蒂夫·哈皮（Steve Happi）——一名曾被关押在喀麦隆杜阿拉新贝尔监狱（New Bell Prison）后被宣告无罪的前囚犯——如何在监狱围墙内建立 Jail Time Records 音乐工作室。这段关于冤狱与康复的故事已被拍成纪录片，并在今年的翠贝卡电影节首映并获得三项奖项。此外，来自时尚、电影、政治和博物馆领域的演讲者也将加入其中，包括艾丽斯·坦普利（Alice Temperley）、乔·赖特（Joe Wright）、埃丝特·弗洛伊德（Esther Freud）、《时尚芭莎》的 Helena Lee 以及纳扎宁·扎加里-拉特克利夫（Nazanin Zaghari-Ratcliffe）。各项讲座之间穿插着朝圣之旅、手工饮品与当地农产品的品鉴、桑拿和工作坊，旨在赞美这个非凡的地点以及作为纽带的社区。

Big Brue (bigbrue.com) 将于 9 月 19 日至 20 日在 Hauser & Wirth Somerset 举行。

☐ 92 时尚芭莎 2026 年 9 月

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从最左起：来自《我的经纪人！》的演员，包括文森特·马凯恩（Vincent Macaigne）、格雷戈里·蒙特尔（Grégory Montel）、蒂博·德·蒙塔尔朗贝尔（Thibault de Montalembert）和劳拉·卡拉米（Laure Calamy）。下方：法妮·西德尼（Fanny Sidney）和卡米尔·科廷（Camille Cottin）。 电影

HAUTE SHOTS

法式魅力与辉煌混乱在《Call My Agent!》的大银幕首秀中相遇 作者：MARIE-CLAIRE CHAPPET

关于电影的电影几乎和电影本身一样悠久。本月，又一部作品加入了这一行列：《Call My Agent! The Movie》将这部绝妙的法国电视剧改编成了长篇电影……讲述的是关于拍摄一部长篇电影的故事。在经历了四个极受欢迎的季度后，该剧于 2020 年随着经纪公司的关闭以及核心角色们的各奔东西而完结。对于 Samuel Kerr 经纪公司来说，这似乎是一个终点——但现在，其明星员工 Andréa Martel（由 Camille Cottin 完美演绎）实现了从经纪人到导演的跨越。故事的下一章将跟随她的脚步，记录她完成处女作电影的过程。

对于导演 Émilie Noblet 来说，这是一次令人困惑的体验。“我们用一个真实的电影剧组去拍摄一个虚构的电影剧组，”她说，“在第一天，我们有点分不清扮演剧组人员的演员和我们真正的工作人员。但有趣的是，演员们在拍摄间隙会偷偷观察他们——他们吸收了我们所说的一切和所做的一切，并将其运用其中。这既令人困惑又极其搞笑。”至于 Cottin，她在塑造角色对待工艺的方式时，很大程度上模仿了 Noblet，甚至在某些场景中引用了导演的笔记。

对于编剧 Fanny Herrero 来说，最幽默的时刻深深植根于娱乐产业固有的荒诞之中。“Andréa 所经历的是这个行业的真实现状，”她解释道，“在拍摄开始前两周让你失望的演员、合同竞争、可能危及整个项目的夸张费用……这些全部严格忠于生活。”一个格外令人捧腹的片段是，公司的一位顶尖选角导演将一只宠物接纳为客户。除了动物行为，电影并未回避面对行业的生存威胁——其中包括气候紧急情况对制作的影响。“它提出了一个非常元叙事的问题：在当今世界，电影是否仍然可行，”Herrero 说道。

不过，就目前而言，这部电影是对演艺圈所有混乱辉煌的颂歌。正如电视剧中包含了 Monica Bellucci 和 Isabelle Huppert 等法国电影巨擘的客串一样，电影引入了好莱坞才子 George Clooney。这部电影充满愉悦的自指性，令人捧腹大笑，且继承了原著的法式不羁，正是该行业目前所需要的元电影。《Call My Agent! The Movie》将于 9 月 10 日起在 Netflix 上线。☐

ART

THROW SHAPES

把握 9 月的返校精神，通过由工艺大师 Emma Louise Payne 主持的两场工作坊（一场在城镇，一场在乡村）尝试陶瓷艺术。Payne 在伦敦南岸的 County Hall Pottery (countyhallpottery.com) 以及她在雷丁郊外一座改造谷仓中的迷人教学工作室 (emmalouisepayne.com) 开设课程。

上图：County Hall Pottery 摄影：GETTY IMAGES, ED REEVE, JANA ROBERGE, KCHRISTOPHE BRACHET 2020 NETFLIX, INC.

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BOOKS

家庭真相

对于美国作家兼幽默作家David Sedaris而言——他的新散文集是又一次令人捧腹的成功——残酷的童年和尴尬的邂逅提供了无穷无尽的喜剧素材。

David Sedaris 是那种会让人们不由自主地想向其倾诉的作家。他写了 14 本书，以冷面且犀利的幽默探索日常生活中更为荒诞的一面。他的最新散文集《土地及其人民》（The Land and Its People）探讨了在异乡成为陌生人的感受（Sedaris 现居英国西萨塞克斯郡），以及他与丈夫 Hugh 及其众多兄弟姐妹的关系。在这里，他谈到了衰老、喜剧写作的艺术以及成为大家庭一员的乐趣。

KAITLYN GREENIDGE

我的姐姐 Amy 曾在地铁上。她坐在一个占据了很多空间的男人旁边，另一边则坐着一个大约 22 岁的女孩。Amy 在阅读，每次她翻页时，都会不小心戳到那个女孩的肋骨。于是 停了下来，把书收了起来，这时那个女孩转向 说：“仅仅因为你年纪大了，并不意味着你不需要遵守规则。”出于某种原因，这比有人对我这么说更让我生气。当你意识到自己老了的时候，有一个瞬间；但当你意识到你的兄弟姐妹也老了的时候，那是另一个完全不同的瞬间。我想，“老？ 不老。”然后我想，“好吧，她 65. 岁了。所以如果你 22, 岁，在她看来确实老了。”当你到了某个年龄，你可以看出人们年轻时的样子。如果我看一个 65, 岁的人，我可以想象他们 25, 岁时的样子，以及他们当时看起来多么出色。但你年轻时做不到这一点。你看到的只是一个满脸皱纹的人，他们对你来说甚至不像个真正的人。我想，“好吧，也许有办法把那篇日记条目变成一篇散文。”

我认为在大家庭中长大让你为面对世界的残酷做好了准备。我的意思是，这就是身边有很多孩子的一部分。如果你是独生子女，你第一次被欺负或恐吓很可能是在上学时，然后你会为此感到惊慌失措。但如果你是六个孩子中的一个，那是日常。现在很多人是独生子女，他们被教育相信自己的身体是神圣的，任何人都不应该干涉。我知道养孩子很贵。我理解这一切。但当我遇到只有一名孩子的人时，我总是觉得那个孩子很可怜。此外，我觉得可怜是因为那个孩子在成长过程中会知道，在某个时刻他们必须照顾父母。这被交付的责任太重了。而对于六个孩子来说，你只会想，“我要搬到尽可能远的地方。而当需要把他们送进养老院的时候，那将是你的责任，因为你从未离开这个州。”

我成长在很久以前，所以“有毒”（toxic）这个词当时并不存在。没有人会说，“好吧，我的姐姐是有毒的，所以我不再与她保持任何关系。”你没有选择。你不会把父母从你的生活中剔除。没有人那样做。因为我来自一个大家庭，这让我拥有了更厚的心皮。这就是我所做的：我嘲笑我自己。我在审视自己多么琐碎。我在审视自己多么自负。我在审视自己多么令人厌烦。这有一个限度——你只能走到一定程度——但我认为，我在寻找一种可接受的厌烦程度。

詹姆斯·瑟伯（James Thurber）有一段话：“机智者嘲笑他人；讽刺者嘲笑世界；幽默作家嘲笑自己，但在这样做时，他将自己与人们——即世界各地的人们——联系在一起，这不是为了拆解他们，而仅仅是为了揭示他们的真实本性。”

94 HARPER'S BAZAAR 2026年9月 --- TALKING POINTS

当你承认自己的缺陷时，我觉得这反而让你更像读者或听众。每个人都能看出谁在装模作样。真的，没人能瞒天过海。人们可能不会当面指出，但每个人都能看出来，就像那些“美德信号”（virtue signalling）一样。那种行为被一眼就能看出是在标榜美德。而且你还以为自己瞒过去了？我的意思是，你可以让自己被一群同样这么做的人包围，但其他人依然能看穿其本质。这有点像被抓到在假笑，我也干过这件事。我参加过电台采访，有时主持人想幽默一下。你不想显得没礼貌，但任何听众都能听出那是假笑。我总觉得我没什么事能瞒得过去。我在签书时，有人走过来给我讲个笑话，如果讲得不好，或者只是个陈词滥调的冷笑话，比如，“什么东西是棕色的且有黏性的？一根木棍（stick）”，这几乎算不上笑话。这就像小孩的笑话。如果我有个四岁孩子讲这个笑话，我会直接把他赶回房间，并告诉他：“你就待在里面，直到你能想出比这更好的东西为止，因为这根本不算什么。这是一个毫无意义的笑话。”如果我保持面无表情，人们会感到非常尴尬。所以我并不为此感到自豪。但我也曾为了挽回别人的尊严而假笑。我觉得哭很容易，但要笑得自然且真诚很难，即使是在电影里演戏也是如此，你不觉得吗？当我面对观众朗读时，因为观众身处黑暗中而我看不见他们，所以他们没有回应的压力。他们笑，或者咳嗽。如果他们咳嗽，基本上就像是在向我扔骷髅头。我能感觉到他们失去兴趣，能感觉到他们心不在焉。他们是极佳的第一批读者，真的。今天早些时候在车里，我开始根据观众给我的反馈，重写昨晚朗读的内容。我没有询问任何人关于那篇散文的看法，事后也没有人对此发表评论。我只是在朗读时记录下他们发笑的地方，以及他们发出呻吟的地方。昨晚我学到了很多有趣的东西。那篇散文是关于一个我见过一次的患有小阴茎症的男人的，我特意让内容不要变成嘲笑那个男人的小阴茎。这种情况可能发生在任何人身上。

上方：2022年的 David Sedaris。对面：1980年在北卡罗来纳州罗利市的作家及其家人。

所以当观众在听到小阴茎的部分发笑时，我想，“我没完成我的任务”，因为我不希望他们嘲笑那个。我希望他们嘲笑我对这件事的反应。当我大声朗读时，我没有完全意识到这会变得多么复杂，但现在复杂性让我兴奋，因为我觉得我知道有办法能让它奏效。我知道有办法，而且我通常是对的。荒诞感太棒了。这就是我一直在寻找的。对我而言，越多越好。这是我的生存之本。我刚才是不是说了“生存之本”（bread and butter）？抱歉。我的意思是，每当我看到荒诞的事物时，我总是很高兴。我的眼睛时刻在寻找它，而且你不能强求。你不能试图说服人们某件事是荒诞的。当它本身就是荒诞的且你将其呈现给他们时，他们自然会意识到。但我经过训练，因为我从事这个行业太久了，所以我总是在猎寻这种感觉。《The Land and Its People》，作者 David Sedaris（Little, Brown Book Group 出版）现已上市。

右图：Leslie Mann 在《Spa Weekend》中。左图：Isla Fisher、Mann 和 Michelle Buteau 在电影中。

电影 GIRLS ALOUD 看一次健康度假之旅如何陷入混乱

高尔夫球车、一只爱用头顶人的山羊，以及一场失控的闺蜜之旅：欢迎来到《Spa Weekend》，这部电影由《宿醉》的编剧团队打造。艾斯拉·费舍尔饰演的角色携带了一个迪斯科球、亮片上衣以及数件性爱器具，这些东西将令她认识了 30 年的朋友们大吃一惊——而这仅仅是这场狂欢之旅的开始。8 月 21 日起在电影院上映。插画：LILY PICHON FLANNERY；照片由 SEDARIS 家族、ANNE FISHER 提供，以及 BLACK BEAR PICTURES 提供。---

S M E G

探索更多 smeguk.com 月光：片刻的宁静。

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BAZAAR living

由 FRANCES HEDGES 编辑

极致时髦

俯瞰郁郁葱葱的花园，艾莉·标致（Ellie Peugeot）的巴黎公寓将传统与现代完美融合。此外，本季最令人向往的时尚与家居跨界合作；一个新的设计地标入驻首都，以及为您家中准备的最佳中世纪风格单品。

艾莉·标致巴黎住宅的餐厅

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浴室位于艾莉·标致的公寓内，配备了来自 Prammoole 的浴缸、D725 embaucher 以及来自 Zuber 的壁纸。对面从上至下依次为：标致与她的爱犬 Lailia。带有抽屉的床头柜由 Émile-Asseues-Rubinson 设计，Pigeon 灯由 François-Xavier Labanac 设计。Robert Kane 的硬装，以及 Gérard Graesote 的喷涂。

LIVING

正在创造的历史

对于从人权律师转型为室内设计师的艾莉·标致（Ellie Peugeot）来说，她的巴黎公寓是其不断扩充的现代与复古设计收藏品的优雅展示空间。

撰文：FRANCES HEDGES 摄影：LUDOVIC BALAY

艾莉·标致表示，是她的梦想之屋找到了她，而非相反。“我们当时在最后一刻决定从伦敦搬到巴黎，需要尽快找个地方，”她回忆道。这处房产是一套位于三楼的 L 形公寓，俯瞰着一座 18 世纪罗斯柴尔德家族拥有的府邸中修剪整齐的花园，距离爱丽舍宫仅几步之遥——从购买的角度来看，它起初并不太合理：它仅够一个四口之家居住，且需要大量修缮才能入住（首先，这里没有可以使用的厨房）。“但我们之前住在诺丁山的一个花园广场，我想要一个感觉充满绿意的地方——我热爱从每扇窗户都能看到树木。第一次参观时，我就说：‘我绝不离开。’”

这次投资还有一个次要动机：这套公寓是她与丈夫爱德华（Edouard，一名金融家，标致家族成员）在 2019 年购买的，它成为了她当时尚处于起步阶段的室内设计事业的完美试验场。标致出生于英国父亲和伊朗母亲，她原本没想过从事创意职业：她接受过培训并开始担任人权律师——由于她的背景，她被这个领域所吸引。她的父母在就读于美国的学生时代相识，但在标致仅两岁时就分开了；面对伊斯兰革命引入的严苛离婚法，她的母亲带着女儿逃离伊朗，在英国寻求政治庇护，她在那里长大，青少年时期曾在加拿大生活过一段时间。法律看起来既是一个合适的选择，也是一个稳妥的选择，直到标致开始为朋友设计室内空间，她才发现了自己的真正热情。她很幸运能够接触到一些非凡的房产——包括她婆婆在贝尔格莱维亚伊顿广场上一套“相当前卫”的公寓（原业主为伊莎贝拉·布洛），随后她和丈夫偶然发现了这处巴黎住宅，标致决心将其打造出自己的风格。

2026年9月 时尚芭莎 99

生活

“我在三个月内完成了所有工作，”她在谈到装修时说道，其中包括拆除大部分她所谓的“拿破仑风格”的冗余装饰：仿大理石、贴金以及天花板上的复制壁画。她修复了由 19 世纪法国 Féau 工作室制作的原始木护墙板，重新给拼花地板上色，并在走廊铺设了回收的古董石灰岩。在结构方面，也有很多工作要做。“我们打通了两个房间，以创建一个正式的厨房，”标致解释道，她选择了英国品牌 Neptune 的橱柜、Waterworks 的水龙头以及一台经典的 La Cornue 范围炉。她特别喜欢在中央岛台上内置的阶梯式大理石表面，孩子们——九岁的特里斯坦（Tristan）和七岁的艾莉亚（Aria）——在那里用餐：“它感觉不像儿童餐桌，但他们很喜欢拥有自己的空间。”

在整个公寓中，白色和奶油色的柔和色调为标致广泛的艺术品收藏——其中包括特蕾西·艾敏（Tracey Emin）的自画像、塔西塔·迪恩（Tacita Dean）的习作和卢齐奥·封塔纳（Lucio Fontana）的蚀刻画——以及古董提供了宁静的背景。除了来自 Jamb 的乔治亚风格设计和位于客厅中心的 Rose Uniacke 沙发，这里还大量展示了 20 世纪 30 年代和 40 年代的家具，标致在为巴黎 PAD 艺术展一个专门研究该时期的画廊设计展位后，产生了这一兴趣。

几年前的一次艺术博览会。“我融合了很多风格，所以我会在英国的拍卖行——Dreweatts、Woolley & Wallis、Roseberys——购买单品，也会从意大利以及巴黎的 Artcurial 购买。当然，大多数周末我都会去 Les Puces 逛逛，”她说。“只要给物品留出呼吸的空间，这种融合就是有效的。”空间很快将不再是奢侈品，因为在一次惊人的好运下，相邻的公寓最近被挂牌出售——这对夫妇迅速将其买下。在我们交谈时，连接这两套公寓的工程正在进行中（合并后将形成一个 450 平方米的 U 型房产），Peugeot 对将这次冲动购物转化为家庭“永久居所”的前景感到兴奋。计划中包括一间客房套房、一个家庭影院、一个配备桑拿房和冷水池的健康空间（“我正计划用希腊复兴风格的圆柱来设计它——灵感来自法国南部的 Kérylos 别墅”）以及一个她打算将其打造得“尽可能具有美感”的健身房，其中配备了由一家名为 Hock 的德国公司生产的橡木设备。从 Peugeot 的角度来看，最令人兴奋的是将旧的主卧室改造为一个宏伟的装饰艺术风格图书馆，其木镶板将根据 Féau 的档案重新打造。相比于那些高科技投资，她在谈到这项工程的遗产方面时明显更加活跃 100 HARPER'S BAZAAR September 2026 --- “我就是热爱历史，”她说。“我热爱人们花时间钻研的细节水平，以及那种工艺。如今的东西太工业化量产了，而我的室内设计则相当有灵魂且富有层次感。当框架具有历史感时，效果会更好，因为你可以讲述更多的故事。”Peugeot 对过去几个世纪建筑的热情，在她担任法国世界古迹基金会（WMF）国际委员会主席一职后得到了进一步激发，该慈善机构负责保护包括凡尔赛宫、索邦大学礼拜堂和圣欧斯塔什教堂在内的建筑的未来。自 2024, 年被任命以来，Peugeot 为董事会带来了新鲜的活力，带头在凡尔赛宫的 Potager du Roi 组织了一场筹款晚宴（请参阅翻页，阅读关于她的朋友 Zoë de Givenchy 受此次活动启发而推出的新系列）。她与 WMF 的参与继续塑造着她作为室内设计师的工作：“在参观那些令人惊叹的空间时，我得到了很多灵感——就在上周，我们去了科茨沃尔德的 Rousham House，我爱上了 William Kent 的门楣。”她还发现自己拥有一个现成的专家网络，可以在项目中调用他们的才华，“无论是寻找最合适的人来重新给镶板贴金，还是修复木护墙板（boiserie）”。今年的这些项目包括她规模虽小但不断增长的事务所承接的几个伦敦重大委托：包括位于皮姆利科 Warwick Square 的 Thomas Cubitt 前住所，肯辛顿 Earls Terrace 的一座联排别墅，以及贝尔格莱维亚 Eaton Square 转角处的一套一楼公寓。与此同时，今年 Frieze Masters（Peugeot 目前也是其委员会成员）的参观者将能通过她为古董画廊 Charles Ede 设计的展位看到她的创意展示。Peugeot 视觉想象力的广度反映了她成长过程中接触到的多样化风格。“我的审美非常融合，因为我曾在这么多不同的地方生活过，”她反思道。“我没有根，所以我忙于吸收一切，并且找到了将这一切融合在一起的方法。”随着她自己的宏大改造工程计划于今年秋季完工，她无疑将拥有一个巨大的画布来进行实验。□

客厅里的标致（Peugeot）。上方：Neptune 厨房，配有来自 1st Dibs 的复古吧台凳和 Woka 的 Adolf Loos 吊灯。左侧：办公室，配有一张定制石英石办公桌、一件 Maarten Baas 的“Plain Clay”灯具以及一把来自 Herman Miller 的伊姆斯（Eames）椅 --- 设计

强强联手

我们精选的本季时尚与家居领域最令人向往的跨界合作 作者：FRANCES HEDGES 下方：盘子，£187；手套，£77，均来自 Zoë de Givenchy x Le Potager du Roi。右图：Zoë de Givenchy 在法国的家中。

最适合“绿色女神”

ZOË DE x LE POTAGER DU ROI

在泥土中深陷膝盖并除草时，还能保持优雅吗？对于 Zoë de 来说，答案是肯定的。这位在自然环境中长大的常驻加利福尼亚的澳大利亚家居设计师于 2020 年推出了她的品牌 ZdG，其灵感源自她的姻亲叔叔、传奇法国时装屋创始人 Hubert de 对工艺的执着。现在，她与凡尔赛宫的 17 世纪花园 Le Potager du Roi 联手，推出了一系列旨在赞美她对园艺热爱的产品。该系列旨在为保护包括凡尔赛宫在内的遗产地在内的世界古迹基金会（World Monuments Fund）筹款，这组充满生机的系列将带有格架果树图案的 faience（锡釉）餐具与园艺配件相结合：修枝剪、浇水壶，甚至还有在照料花床时佩戴的完美帽子。“在路易十四时代，Potager 真正像一座剧场——国王会出来观看一排生菜被锄地的壮观景象，”de 说道。“我认为园艺既可以具有功能性，也可以是美丽的，我希望人们对我新设计的看法也是如此。”

从左上角起顺时针方向：丝巾，£164；修枝剪，£107；玻璃杯，£149；篮子，£305；围裙，£92，均来自 Zoë de x Le Potager du Roi。

摄影：TOM MANNON, PIERGIORGIO SORGETTI, THE INVISIBLE COLLECTION, BILLAL BARUK TARIGHT, SEAN THOMAS 102 HARPER'S BAZAAR 2026年9月

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生活

最适合时髦购物者

KELLY WEARSTLER x H&M HOME

“我的穿着方式就是我的设计方式，”Kelly Wearstler 在谈到她对时尚的热情与她作为美国顶尖室内设计师数十年的职业生涯（她的 A 级客户包括卡梅隆·迪亚兹和格温·史蒂芬妮）之间的联系时说道。“总有一些当代且酷的东西与经典且复古的东西混合在一起——我喜欢这种张力。”因此， 即将推出一个基于日常仪式概念的家居与成衣双重系列，这十分契合。在室内设计方面，模块化家具——包括可以拼接的桌子和可以组合成双人沙发的小椅子——与雕塑般的装饰品并列，例如一个让人想起罗马双耳瓶的深色木制花瓶。与此同时，由八件单品组成的女装胶囊系列包括一件宽松的白色衬衫、宽腿裤（ 的标志性造型）和一件短款皮夹克——其设计与家居产品一样，旨在适应不同的场景。正如 所言：“这是为了创造一个所有东西都能和谐共存的世界。” hm.com

上方：新系列的花瓶。左图：台灯。£149.99

最适合植物艺术

ERDEM x CHRISTOPHER FARR

自然成为 Erdem 为 Christopher Farr 及其姐妹品牌 CF Editions 打造的两款新地毯系列的中心，所有地毯均在阿富汗手工打结。您可以从 Botanicals 系列和定制的 Flora 系列中选择，后者提供三种配色：蓝月 (Blue Moon)、珍珠玫瑰 (Pearl Rose) 和洋甘菊 (Camomile)。“我一直被工艺、艺术性和叙事性所吸引，” 表示。“我希望这些地毯感觉像是更大叙事中的片段。我感兴趣的是创造那些能成为人们生活一部分的物品，随着时间的推移承载它们自己的故事。”定制的 Christopher Farr x Flora 系列可在 christopherfarr.com 购买。CF Editions x Botanicals 系列可在 .com 购买。

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家居 最适合传承与现代之美

OZWALD BOATENG x SAVOIR BEDS

传统的加纳肯特布 (Kente cloth)——一种由棉质和丝质条带缝合成图案的纺织品——是 Ozwald Boateng 为 Savoir Beds 打造的首款设计的灵感来源，该设计采用了编织皮革饰面，并搭配实心橡木底座。“肯特布在加纳是皇室之布，它一直是我品牌创意语言的基石——是我与文化根源的直接联系，”Boateng 说道。“将其融入一件家具，一件你与之亲密共处的物品，感觉是一种自然的演进。”在这件定制作品中，也能发现这位设计师在萨维尔街 (Savile Row) 的传承痕迹：床头板的背面衬有绿色棉缎，就像一套剪裁利落的西装内里一样。savoirbeds.com

上方：茶杯及茶托，£120；餐巾，四件套 £136。右侧：盘子，£135

最适合定制优雅

EMILIA & ANGELA WICKSTEAD

“我热爱像一件工艺精湛的桌布这样简单的事物，能够成为一件传家宝，代代相传，”艾米莉亚·威克斯蒂德 (Emilia Wickstead) 在谈到吸引她设计家居用品的原因时说道。今年早些时候，这位出生于新西兰的时尚设计师邀请她的母亲安吉拉 (Angela) 加入——安吉拉直到最近还在经营自己成功的室内设计品牌——以监督其家居部门的扩张，在现有的餐具系列中增加了针对卧室、浴室和餐桌的奢华亚麻系列。“我的母亲教会了我很多关于服装结构、剪裁以及工艺重要性的知识——这些教训在我的整个职业生涯中一直伴随着我，”威克斯蒂德解释道，她将“建筑线条、古典比例和一种旧世界的优雅感”视为其设计哲学的核心原则。对于安吉拉而言，她通过一项包含定制刺绣和字母 monogram 等元素的定制服务来诠释这一点，品牌的精髓在于其匠心根源。“我们的衣橱和家都是我们是谁的表达，”她说，“我认为让自己被那些经过深思熟虑、经久耐用且精心制作的物品所环绕具有极大的价值。”emiliawickstead.com

104 时尚芭莎 2026年9月 摄影：MAX FIRE, AMY HEYCOCK

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美食与饮品

时尚美食家

三款格调高雅的饕餮体验

在...就餐 BUVETTE, COVENT GARDEN 乔迪·威廉姆斯（Jody Williams）在纽约创立的“美食馆”（gastrothèque）现已进驻考文特花园（Covent Garden），提供带有西村（West Village）时髦气息的法式经典料理。

饮用... 日间餐前酒（A DAYCAP） 你不再需要等待“某个地方到了五点钟”：下午的餐前酒正风靡一时。尝试 Pampelle，即使假期结束，也能让地中海风情延续。 £21.20, Ocado

沉溺于... PIERRE MARCOLINI 高级定制巧克力 九月在时装秀之间奔波？这些“小确幸”（petits bonheurs）（£53）是绝佳且精致的能量补给。 marcolini.co.uk

Katto 的玻璃纤维柄刀具在谢菲尔德手工打造

家居用品 彩虹之高 将 T 台的色彩带入你的家中

斯美格（Smeg）标志性的 1950 年代 Fab 系列冰箱提供马卡龙色和亮色两种选择

Abask 是色彩斑斓的玻璃器皿宝库

Fermoie 的箱褶灯罩提供八种色调

牛排刀，一套四把 £85, Katto。玻璃器皿，选自系列产品, Abask。冰箱，£1,399 起, 斯美格（Smeg）。灯罩，£275 起, Fermoie。

Fortuny 为 RH Estates 设计的吊灯，£1021万,210 崇拜之店

CAPITAL GAINS

RH 将其洗练的美国风格带到了伦敦，在梅费尔（Mayfair）开设了一家全新的旗舰店：在历史悠久的银行大厅内设有金箔天花板，您可以前往大理石饰面的葡萄酒吧饮一杯，或在茶沙龙（Tea Salon）中放松身心。然而，店内最令人向往的座位位于屋顶露台，由开创性设计师安努斯卡·亨佩尔（Anouska Hempel）——她曾设计包括南肯辛顿 Blakes 在内的多家精品酒店——打造了一个名为 Perch 的奇幻户外用餐区。她表示，灵感来自去年访问 Aynho Park 的经历，在那里她发现了“欧洲豪宅的回响、英式花园、修道院般的宁静以及旅行的浪漫”。在梅费尔，她将自己的设计描述为具有“一种亲密感、优雅感和安静的戏剧感”：访客可以在烟熏玻璃顶篷下的吧台点单，并坐在巨大的玻璃鸟笼中品啜鸡尾酒。弗里德曼（Friedman）表示，RH 进入伦敦标志着他计划“扎根并成为社区永久的一部分”。因此，即使您的客厅无法容纳该品牌最畅销的深座沙发，您也很可能很快就能理解它所讲述的故事。FH London, the Gallery in Mayfair (.com)。

London, the Gallery in Mayfair

“建立在稀有性的基础之上，并对前人之作心怀敬畏。”这就是 （原名 Restoration Hardware）首席执行官加里·弗里德曼（Gary Friedman）对这家总部位于加利福尼亚的家具品牌在英国首都首家分店的描述。该店位于伦敦少数幸存的帕拉第奥式府邸之一，就在皇家艺术学院对面。 London, the Gallery in Mayfair 由 Foster + Partners 重新设计，涵盖了两栋相邻的二级登录建筑，对于设计爱好者来说，这是一个五层楼的奇境，陈列着公司标志性的亚麻面料沙发、灯具和户外生活系列，以及全新的 Estates 系列。对于弗里德曼而言，建筑框架与家具是无缝连接的：“这些建筑拥有丰富的历史，为书写它的下一个章节以及我们的章节提供了一个具有挑战性且美丽的画布。”除了在美国、加拿大和欧洲（包括巴黎香榭丽舍大街和米兰威尼斯路）的近 100 家门店外，该品牌在英国已通过位于地标性约翰·索恩（John Soane）设计的 Aynho Park 庄园的 England 建立了影响力。The Gallery in Mayfair 于 6 月在众多关注中开业，玛格特·罗比（Margot Robbie）、亨利·卡维尔（Henry Cavill）、海莉·阿特维尔（Hayley Atwell）和珍妮·杰克逊（Janet Jackson）等嘉宾出席，这巩固了英国市场在 扩张计划中的重要性。它被构想不仅是一个购物空间，更是一个生活方式目的地：在餐厅享用鱼子酱，餐厅位于

边桌，£1,290

Michael Taylor 为 Estates 设计的沙发，£9,340 起

照片由 提供

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生活 2026年9月 时尚芭莎 107

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时尚芭莎 2026年9月

本月，凯特·布兰切特（Cate Blanchett）反思她重返伦敦舞台的心路历程；作家凯瑟琳·伦德尔（Katherine Rundell）揭秘为何约翰·多恩（John Donne）是她的风格偶像；亚历山德罗·米凯莱（Alessandro Michele）带我们走进他对华伦天奴（Valentino）的愿景。此外，我们还将身着最新秋冬时装系列中最亮眼的造型亮相。

摄影：EMMA SUMMERTON

凯特·布兰切特（Cate Blanchett）穿着 JEAN PAUL GAULTIER 系列网眼连衣裙。亚克力头饰，£1,200, STEPHEN JONES MILLINERY。

凯特·布兰切特（Cate Blanchett）穿着 MATIÈRES FÉCALES 丝绸连衣裙，约 £3,900,。皮革靴，£1,615, CHRISTIAN LOUBOUTIN

摄影：EMMA SUMMERTON 造型：CHARLES VARENNE

多面女性

凯特·布兰切特回归舞台，挑战双重角色演出——但这位女演员早已习惯于扮演多种人生。在难得的休息时间，她与 Sasha Slater 在国家剧院坐下来，探讨家庭、时尚以及为什么女性应该主导世界。

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针织连衣裙，约 £8,550，粘胶纤维紧身裤，约 £835，均来自 LOEWE。皮革高跟鞋，£820，CHRISTIAN LOUBOUTIN。白金、黄金与钻石项链（右上角前景），选自 LOUIS VUITTON HIGH JEWELLERY。 摄影：EMMA SUMMERTON

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皮革与针织背心，选自；针织背心，£3,750，配套背心，£1,140，均来自 LOUIS VUITTON。 摄影：EMMA SUMMERTON

凯特·布兰切特坐在伦敦南岸国家剧院 Lasdun 餐厅的一根柱子后面。她穿着一件巧克力色的上衣和栗色灯芯绒裤，与这座粗野主义建筑的棕色地毯相呼应，同时啜饮着一杯无酒精的尼格罗尼（negroni）。但当然，她完全没有被淹没在背景中。相反，她那苍白且轮廓分明的脸庞焕发着活力，言语如泉涌，想法在欢乐的旋涡中飞快跳跃，从解决气候危机到如何让她的巴哥犬 Doug 保持健康。

“抱歉，我现在的状态有点乱。我的大脑有点混乱，”她说。

这是布兰切特新剧 Electra / Persona 排练第二天 的晚上，她一直与“一屋子深受喜爱的同事”一起工作，其中包括本尼迪克特·安德鲁斯（Benedict Andrews），他在 2009 年曾在悉尼剧团执导她出演了一场长达八小时的莎士比亚马拉松剧。她将与德国女演员妮娜·霍斯（Nina Hoss）共同主演，后者在 2022 年获得多项奥斯卡提名的电影 Tür 中饰演布兰切特的妻子，该片讲述了一位陷入 MeToo 丑闻的指挥家的故事（稍后详述）。

这部由三人主演的新剧还由爱尔兰女演员艾拉·莉莉·海兰德（Ella Lily Hyland）参演，它将融合索福克勒斯关于阿伽门农和克吕泰斯特拉之女复仇故事的 Electra，以及英格玛·伯格曼 1966 年梦幻般的心理剧 Persona。在后者中，一名著名的女演员（电影中由莉芙·乌尔曼饰演）陷入沉默，由一名年轻护士（比比·安德森）照顾，而护士逐渐无法将自己与病人区分开来。

Tür 的作曲家希尔杜尔·古德纳多蒂尔（Hildur Guðnadóttir）负责配乐，而布兰切特本人是国家剧院的信托委员会成员，这里是她在伦敦最喜欢的两座建筑之一（另一座是巴比肯中心）。难怪她觉得这是一次“回家”，尽管并非轻松的回归。

“我一直很喜欢排练室，”她说，“因为那里可以非常强而有力。有时在友谊中，你会觉得彼此很亲密。但我热爱艺术友谊的一点是，它们能真正挑战你。”

这是安德鲁斯与布兰切特合作的第四部剧，他说与她一起在排练室就像在基利安·姆巴佩或尤塞恩·博尔特处于巅峰状态时与他们在一起一样。“这其中有一种快乐和兴奋感，”他说。“她可能会变得极其强势且沉浸在自我之中，但她能将这种能量转化为向外的输出，这太神奇了。她是一个敢于冒险的人。”

他觉得他、布兰切特和霍斯正是在“一起跳崖”。这部剧的演出要求将更高，因为布兰切特和霍斯每晚都会互换角色。

“我以前从未尝试过这样做，”布兰切特说。“我总是觉得我对整体持有参与感和责任感，而不仅仅是我扮演的角色。我想这就是这种感觉的一次大胆延伸。我们可能会发现自己趴在地上扮演一个角色，而另一个人可能会提出建议，然后你就在另一个人扮演该角色的情况下继续排练。”

57 岁的布兰切特在自己的生活中扮演过数量惊人的不同角色。她曾担任悉尼剧团（Sydney Theatre Company）的共同首席执行官兼共同艺术总监，致力于舞台艺术，并在契诃夫和田纳西·威廉姆斯等作家的备受赞誉的剧作中担任主演。在电影领域，她在《蓝色茉莉》和《飞行员》中凭借精湛演技斩获奥斯卡奖。在商业大片模式下，她曾以《指环王》中精灵女王加拉德丽尔的形象惊艳中土世界，在饰演克格勃特工伊琳娜·斯帕尔科时试图杀死印第安纳·琼斯，并且是漫威宇宙中首个主要的女性反派，最终在与克里斯·海姆斯沃斯饰演的雷神对抗中失败。而这还仅仅是冰山一角。她的演艺事业必须与她的社会活动并行。她与包括史蒂文·索德伯格在内的其他艺术名流共同创立了一家名为 RSL Media（意为“极简许可”）的非营利技术组织。这将成为一个登记册，人们可以在其中记录自己是否同意 AI 公司抓取其创意作品和图像用于机器学习。“当这项技术开始爆发时，许多处于前沿的人员向政府反映：‘我们已经做到了这一步；我们该如何使用它？风险是什么？’ [一切] 都如此两极分化，以至于没有人觉得他们能坐到同一张桌子上讨论这些挑战，而核心问题就是‘同意’。”不过，她并非一个苦行僧式的卢德分子，她认为只要我们能回答“它如何提供帮助？”这个问题，AI 就有“很多优点”。注册是免费的，她还自嘲地补充道，“非常简单，连我都能理解，这已经说明问题了”。她还是一位坚定的环保主义者。在悉尼剧团工作期间，她和丈夫、剧作家安德鲁·厄普顿（Andrew Upton）通过让公司脱离电网，率先采用了绿色能源——她带着可以理解的自豪感表示，这使该公司在当时成为“南半球最大的 [碳中和] 组织”。现在，她与大卫·爱登堡（David Attenborough）和威尔士亲王共同担任地球之奖（Earthshot Prize）委员会成员，寻找应对气候变化的技术解决方案。那么，她经常和威廉王子一起出没吗？“噢是的，一直在一起。”她笑着说，“那个男人，他有大把的时间。”严肃起来时，她说他一直是一位“非凡的领导者，以一种一致且实际参与的方式亲力亲为”。她认为这归功于他的成长环境和他的父亲：“他继承了这种兴趣。他是在这种环境下长大的。”而她自己对环境破坏的意识则源于她在澳大利亚墨尔本的童年。“我在一个大萧条时期的 2026 年 9 月 时尚芭莎 115 --- 2022 人造皮草大衣，每件 £6,900，均来自 EMPORIC ARMANI 太阳镜，£990，JACQUES MARIE MADE，Tigers，Twist 自有 TEMMA SUMMERFON --- 12 --- 蕾丝缎面连衣裙，£3,600，STELLA McCARTNEY。太阳镜，£760，JACQUES MARIE MAGE。麂皮高跟鞋，£825，GIANVITO ROSSI --- 斜纹连衣裙，约 £1,940，SIMONE ROCHA。太阳镜，£760，JACQUES MARIE MAGE EMMA SUMMERTON --- 网眼连衣裙，选自：JEANPAUL GAULTIER 亚克力头饰，£1,200。STEPHEN JONES MILLINERY EM VA SUMMERTON ---

“讨论失误很重要。如果你能为事情承担责任，你就不会再犯。”她的祖母曾这样教导她，而对祖母而言，浪费是极其厌恶的。我认为这就是根源所在。我会关掉灯光开关。她讨厌美国餐厅里巨大的分量：“如果你不需要那么多，为什么要用那么多？我对这个世界的态度从来不是一种‘圈地抢夺’。”当其他人（她指的是硅谷的科技巨头）将金钱视为“高于一切的成功标准、价值衡量标准”时，对她而言，成功是“心流时刻，即所有神经元都在放电的时刻”。她在东萨塞克斯的家中一直积极地践行“绿色生活”：“我尽可能地言行一致。”当我问她是否有电动汽车时，她反问道：“我们有一匹马。我准备好了。”在过去的两天里，她带来了自备的午餐，里面有“我自己的西兰花、我自己的西葫芦、我自己的洋葱。我太兴奋了！”但今晚，在喝着我们的“Negronis”鸡尾酒时，她点了鳀鱼和土豆，因为“昨晚有其他人点了，而且他们赢了”。她还搭配了牡蛎以补充“锌”，上面淋了 Tabasco 辣酱。她喜欢这种酱 partly 是因为她的父亲——一名广告主管，在她 10 岁时去世——曾主导将 Tabasco 引入澳大利亚的营销活动，“所以我成长过程中，后橱柜里有 1,000 瓶这种酱”。她的三个儿子分别在伦敦电影业工作、在纽约大学就读以及刚完成 A-level 考试，他们对一个名为 Fermentalists 的澳大利亚辣酱品牌“痴迷”。与自 1997 年起结婚的丈夫 Upton，以及 11 岁的女儿 Edith 共同生活，加上儿子们不时往返，这样的家庭生活听起来既有趣又混乱。除了女儿的小马和巴哥犬，家里还有一只维兹拉犬与春季猎犬的混血犬：“我女儿可以给它起名，她说‘Penis!’（阴茎），当我们问她是否还有其他想法时，她说‘Politics!’（政治）——显然，这两个主题在我们家被讨论得很多。所以，这只狗叫 Polly。”这个动物园里还增加了一只名叫 Hamlet 的变色龙和一群鸡。布兰切特的母亲 June 现年 87 岁，“依然在开车”，也和他们住在一起。“我们的房子非常嘈杂，但我绝不会为了任何东西放弃这种生活，”她微笑着说，并引用了精神分析学家唐纳德·温尼科特（Donald Winnicott）的理论，即“你不需要父母完美无缺，只要‘足够好’即可”。“我不知道我们是否在做正确的事，但我也许能达到那个标准。”布兰切特每天早上五点起床喂鸡，进行每日的冷水浸浴，遛狗并接送孩子上学。“我想是因为在电影业工作了这么多年，那里总是需要早起，”她沉思道，“但我也是一个戏剧之人，所以我热爱深夜——当所有人都上床睡觉，而我可以独享整栋房子的时候。”我指出，这样就没留下多少睡眠时间。“是的，大约一年前我跟自己严肃地谈了一次，我说，‘你真的需要超过四个小时的睡眠’。”考虑到布兰切特生活中发生的一切，这听起来令人精疲力竭。“生活总是在出岔子，”她同意道，“一直如此。”这家人在“刚好赶上脱欧”的时候搬到了英国。她认为奇怪的是，那些对英国离开欧盟负责的人中，没有一个人愿意承认他们错了。“讨论失误、错误真的非常重要……羞耻感是事情中非常重要的一部分。如果你能为事情承担责任，你就不会再犯。”这让她想到了希腊悲剧，以及“希腊人讲述并反复讲述的故事是如何关于暴力的循环性质，以及一个看似个人行为、一个复仇时刻，如何对整个家庭和后代产生涟漪效应的”。她认为我们正处于一个“故意忽视历史教训的时刻”。难怪她的新剧感觉如此及时。

那些被忽视的教训之一便是关于 MeToo 运动，她过去曾表示，这场运动“很快就被扼杀了”。她现在补充道：“我们曾处于一个令人兴奋的时刻。但我们从未实现薪酬平等，而且 MeToo 不仅被推翻，而且被极快地抹黑；甚至在世界上最大的民主国家之一 [美国] 出现了一种讨论，认为女性因为‘家庭投票’而不应拥有投票权。”她认为女性没有掌控世界是一件憾事：“并不是说我们完美……但我们已经非常接近了。而目前的情况显然是不奏效的。”她对整形手术、GLP-1 类药物以及影响她小女儿的毒性漩涡保持警觉。她自己的面部表情极其丰富，看起来没有动过刀或打过针，她说当她看到一张“新鲜的面孔，一张所谓的‘不完美’的面孔时，我会惊叹于它的美”。布兰切特意识到伊迪丝正处于“所有这些事情的边缘，但你必须保持沟通的大门敞开。如果你试图控制或策划她们与朋友或数字世界的关系，她们能感知到”。因此，她没有设定严格的屏幕时间限制，而是询问：“你为什么需要它？你在做什么，是以纸笔无法完成的？”她尝试“与孩子们进行相互尊重的争论，并解释我的观点”。母亲这个角色，就像她的其他角色一样，是一种协作。她是一个团队合作者，这就是为什么她热爱剧场，因为它能将人们聚集在同一个空间中分享共同的体验。就在这时，服装设计师 Bina Daigeler 加入了餐桌，她曾与布兰切特合作打造了 Lydia Tar 那套时髦且中性的衣橱。我们的谈话转向了时尚，Daigeler 表示“她一点也不难搞，而且她对为角色设计服装的过程‘超级感兴趣’”。布兰切特多次获得最佳着装奖，她补充说，对她而言，“时尚是一种行为艺术，重点在于‘行为’而非‘艺术’”。作为路易威登女装大使，她发现“秀场上的创意被提炼并传播”到街头的方式非常迷人。正如她生活的其他领域一样，布兰切特将她惊人的敏锐、智慧和风格带入到服装问题中，同时也带着她对浪费的厌恶。她的原则是，如果一件衣服四个季度没穿，她就会把它送给或借给朋友；在某个时间点，它可能会回到她身边，也可能不会。这个习惯是慷慨、体贴与节俭的典型结合。此时，我起身准备离开并结账。但 Lasdun 的工作人员挥手拒绝了我的提议。我们的生蚝和无酒精鸡尾酒由店方请客。当然如此。凯特·布兰切特或许想让自己只是群体中的一员——但所有人都知道，她才是这场演出的主角。《Electra / Persona》将于 8 月 19 日至 10 月 10 日在国家剧院（nationaltheatre.org.uk）的 Lyttelton 剧院上演。□ 2026 年 9 月 时尚芭莎 121 --- 羊毛夹克，配套裙装，选自 JACQUEMUS 系列；白金、黄金镶钻项链，选自 LOUIS VUITTON HIGH JEWELLERY 系列；皮革高跟鞋，$7,060，LOUIS VUITTON --- Bredlyon --- 皮革装饰连衣裙，选自 LOUIS VUITTON 系列 --- EMMA SUMMERTON --- 粘胶混纺大衣，选自 ACNE STUDIOS 系列。亚克力遮阳帽，£435，HOUSE OF FLORA。发型由 Sam McKnight 打造，使用 Hair by Sam McKnight 产品。发型助理：Valerie Benavides。妆容由 Streeters 的 Val Garland 打造。化妆助理：Paula Maxwell。美甲由 Agency 41 的 Abena Robinson 打造。场景设计由 Patricia McMahon 的 Trish Stephenson 打造。制作由 Shiny Projects 负责。造型助理：Olivia Sandford-Wilson --- EMMA SUMMERTON --- 摄影：ERIK MADIGAN HECK 造型：MIRANDA ALMOND

GIVENCHY BY SARAH BURTON 从左至右，该系列将 20 世纪 40 年代的元素融入 20 世纪 50 年代。20 世纪 50 年代是最受欢迎、最著名且在 20 世纪 50 年代中最负盛名的。20 世纪 50 年代是最著名且在 20 世纪 50 年代中最负盛名的。

野性与自由

秋冬系列号召你大胆尝试，引导一种更凭直觉的着装方式。通过戏剧性的斗篷、柔软的皮革、浪漫的蕾丝和流畅的丝绸，传递新季节的动感氛围，开启随心所欲的生活方式 --- 路易威登 (LOUIS VUITTON) 羊毛斗篷，选自系列产品；配套背心，£1,400，配套长裤，£1,200 2016 FLORES VUITTON --- 香奈儿 (CHANEL) 粗花呢 2.4425万,425， 裙，2.5万,000，斜纹裙，EX915，麂皮和 EU299 --- بسم الله الرحمن الرحيم --- # 爱马仕 (HERMÈS) 从左起：Ava 穿着羊绒和丝绸针织衫，羊毛和丝绸上衣（内穿）；羊皮 ；丝绸领带；均选自系列产品。All head 穿着羊毛和羊皮连衣裙，选自系列产品；玫瑰金钻石耳环，£8,180；小牛皮靴，选自系列产品 FRIX MARIGAN BECK --- 埃尔曼诺·谢尔维诺 (ERMANNO SCERVINO) 欧根纱和蕾丝连衣裙，£6,680，闪光木屐，£780 ERIK MARIGAN BECK 1 --- 巴黎世家 (BALENCIAGA) 皮革飞行员夹克，粘胶纤维长裤，均选自系列产品 --- # 1 --- 麦昆 (McQUEEN) 从左起：Luoyi 穿着丝绸乔其纱连衣裙，£8,800；缎面凉鞋，£1,100。Ava 穿着皮革 大衣，£6,700；丝绸连衣裙，£5,300；压花红色面具，£5,300；皮革靴，£1,350。Londone 穿着丝绸和蕾丝连衣裙，选自系列产品；丝绸卡普里裤，£650；皮革 ，£1,350。Athena 穿着蕾丝和欧根纱连衣裙，£4,100；皮革高跟鞋，£890。ERIK MADIGAN REGL --- 博柏利 (BURBERRY) 剪羊毛大衣，选自系列产品；皮革长裤，£3,490；配套腰带，£345 ERIK MADIGAN HECK --- 赛琳 (CELINE) 从左起：Ava 穿着羊毛克雷普连衣裙，£3,250；皮革穆勒鞋，£730。连裤袜，造型师私物。Luoyi 穿着粘胶纤维缎面上衣，£1,700；配套长裤，£1,350；皮革平底鞋，£690 --- MICHAEL KORS COLLECTION 羊毛和粘胶纤维西装外套，£1,870；羊绒针织衫，£762；棉质针织衫，£370；粘胶纤维针织衫，£292；粘胶纤维和羊毛衬衫，£1,270；皮革牛津鞋，£320 --- ERIK MADIGAN REEK ---

RALPH LAUREN COLLECTION 从左起：Ava 穿着棉质和皮革 tongs；£250，帽子；钢制；1.5mm，£500，丝绸裙，£500。Luoyi 穿着棉质衬衫，£250，羊毛混纺领带衬衫，£250，皮革裙，£680，皮革 tongs，£150。

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TOD'S 皮革包，3m，独特，选自系列

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HOLCE & GAMBANA 采用蓝色木材 wood，黑色棉质，丝绸，棉质连衣裙，£7591 两周剪裁，铅，铅或选自系列，丝绸，棉质连衣裙，£7591 手持围巾，£335。Linedome 为棉质 barboard，£6000，制作于 1891，£6000，面部，除来自 dam both 外，£6000，缎面 beets，£5000，手穿，棉质衬衫，£6000，夹克，£6000，缎面 beets，£5000。

ERIK MABGÂN HECK

PRADA Framum，4, 6 周缎面干 N. 62, 120, p.s.o. - Vag. £7,20 棉质包，£8,60，缎面高跟鞋，£7,400，Landoine 穿着尼龙，leach £5,200，穿着 tumblers，£1,610，棉质裙，£1,610，配套 finishers，穿在下方，£2,010，棉质锁，£860，系列高跟鞋，£1,110

GIORGIO ARMANI 提花，选自系列；配套裤装，£1.2万,000；天鹅绒靴，£1,450

MAX MARA 从左起：Londone 穿着 mahbir 和羊毛，frohve 选自系列，纳帕麂皮手套，£540。Athena 穿着丝绸缎面，£1,770。手套，由造型师提供。

ERIK MAHRAN HEIK

FERRAGAMO 丝绸欧根纱衬衫，£1,310；配套裙装，£1,085

DIOR 丝绸欧根纱夹克，sebum 刺绣迷你裙，均选自系列，pizza-dot 领口。£900 ERIK MADRIS Y HECK

MIU MIU 从左起：Ava 穿着羊毛，£2,950；聚酰胺裤装，£1,330；聚酰胺和剪羊毛帽子，£780。Londone 穿着丝绸，£2,750；薄纱，£2,650；水洗丝绸，£1,560。Athena 穿着羊毛，£2,950；配套裤装，£2,100。Luoyi 穿着羊毛夹克，£3,850；配套裤装，£2,100；水洗丝绸（刚看到），£1,560

ERIK MADIGAN HECK

GUCCI 从左起：Luéri 穿着 elk 夹克，£210，配套衬衫，£040，乔其纱衬衫，£040。Tlights，由造型师提供，Athene 穿着丝绸上衣，£150，针织 leagrings，£775

2

VALENTINO 从左起：Lvay，穿着乔其纱上衣；缎面裙，珍珠和水晶耳环；lupta 紧身袜，均选自系列。麂皮凉鞋，选自系列。VALENTINO GARAVANI 凉鞋：years 缎面斗篷；缎面裙，珍珠和水晶耳环，均选自系列。麂皮、山羊皮和皮革高跟鞋，选自系列。VALENTINO GARAVANI

CHLOE，six，£6,555，配套裙装，£8,259，小牛皮靴，£2,120 ERIK MADIGAN HECK

FEND1 从左起：Athena 穿着天鹅绒，£3,700；皮革衣领，£630；棉袜，£170。Ava 穿着棉质，£4,900；皮革衣领，£630；丝绸短裤（穿在下方），£810；棉袜，£170。Luoy 穿着羊毛，£2,350；皮革衣领，£630；剪羊毛围巾（在手中），£4,900；棉袜，£170；皮革高跟鞋，£870。Londone 穿着丝绸，£4,050；皮革衣领，£630；丝绸胸罩，£810；配套短裤，£810；棉袜，£170 ERIK MADIGAN HECK

发型由 Premier Hair & Make-up 的 Declan Sheils 打造，使用 Hair by Sam McKnight。妆容由 Andrew Gallimore 打造。资深造型助理 Hadya Tuofia。造型助理：Gloria Madenge 和 Lauryn Doherty。模特：Londone, Myers（来自 Next）；以及 Athena Wilson, Ava Good 和 Luo Yi（来自 Premier Model Management）。发型助理：Fabio Carniero。妆容助理：Nic Marilyn（来自 Vision Curate）。场景设计由 Patricia MacMahon 的 Charlotte Lawton 打造。场地制作：Lucy Watson Productions

FORTUNE'S BAY FOR PRISMS

时尚摄影由 AGATA POSPIESZYNSKA 拍摄

神圣时机

Alexander Fury 获准采访华伦天奴（Valentino）的创意总监 Alessandro Michele。他那大胆且具颠覆性的手法——将美与混沌、传统与创新相融合——正为这家标志性的罗马时装屋的神话增添一个出人意料的章节。

摄影 FABIO LOVINO ---

在罗马，作为华伦天奴（Valentino）这座宏伟时装屋气势磅礴的总部，米尼亚内利宫（Palazzo Mignanelli）内有一间宽敞的办公室，其创意总监亚历山德罗·米凯莱（Alessandro Michele）在这里显得出奇地自在。之所以说出奇，是因为这间宽敞的办公室曾是宫殿贵族层（piano nobile）的一座舞厅，空间比例宏大，配有复杂的木质拱形天花板，看起来简直就像梵蒂冈的某个分支机构，一个为电影《教宗选举》（Conclave）准备好补拍几场戏的片场。这间巨大的房间是专门为已故的伟大设计师华伦天奴·加拉瓦尼（Valentino Garavani）——被世人尊称为“华伦天奴先生”——而选择的。他虽非时尚界的教宗，但用《女装日报》（Women's Wear Daily）的话来说，他是“时髦之酋长”（Sheikh of Chic）；根据其商业伙伴吉安卡洛·贾梅蒂（Giancarlo Giammetti）的说法，这间房被设计成一个足够令人印象深刻的“框架”。在 20 世纪 80 年代由 Tommaso Ziffer 和 Massimo Zompa 对宫殿进行翻修期间，贾梅蒂曾宣称：“人们必须意识到自己已经进入了华伦天奴的书房。”哦，直到今天你依然能感受到这一点。然而，你也同样知道米凯莱并非华伦天奴。两人的外在形象——以及设计风格——截然不同。事实上，他们简直天差地别。蓄着胡须，留着像十二使徒那样飘逸的长发，53 岁的米凯莱——这位前古驰（Gucci）创意总监，现已就任新职两年——比起那个衣冠楚楚、皮靴锃亮的华伦天奴式男性典范，他更像那些曾经悬挂在他工作室高耸墙壁上的、面相慈祥的文艺复兴时期圣徒。今天，他坐在一幅极像剧院背景的极乐世界油画前，穿着一件印有 APOLLON 和 DYONISOS 标语的白色 T 恤，颜色正是那款闻名全球的标志性亮红色——华伦天奴红。这两位神祇（顺便一提，是希腊神而非罗马神）代表了相反的两极：和谐与神圣秩序，对抗激情、情感与本能。华伦天奴绝对属于前者；而米凯莱则更像是 50 / 50. 的结合体。坦白说，他简直是时尚界的混沌之神——他曾让模特们穿着透明的缎面礼服在好莱坞大道的水沟中行走，在手术室般的 T 台上拿着自己头部的复制品，而在他的首场华伦天奴高级定制秀上，他将美得令人窒息、具有卢奇诺·维斯康蒂式比例的舞会礼服与受墨西哥摔跤（lucha libre）启发的面具并置。他甚至曾在一个汗涔涔的公共厕所复制场景中举办过一场华伦天奴发布会，这引起了许多人的质疑，甚至激怒了一些人。在他重新构思的华伦天奴品牌中，这种对立极点的博弈在一次壮观的 2026 秋冬成衣秀中得到了充分展示。这场秀在罗马巴贝里尼宫（Palazzo Barberini）更为精致的环境中举行，这是他在自己以及品牌故乡举办的首场秀。对于米凯莱而言，罗马是一个塑造其时尚方法的关键要素，对于华伦天奴先生来说亦然。

但他们对这座城市的看法截然不同。“罗马，它关乎非常不同种类的美，”他说。“有一种美是庄重的；它令人惊叹；它宏大。那是希腊语和拉丁语中女神与众神的语言之美，是fontana（喷泉）大理石的雄伟。”他将这些女神与华伦天奴理想化的女性联系在一起，她们身披风格化的褶皱丝绸，垂坠感完美。“但另一方面，这里还有所有这些层叠的混乱，不同种类的信息与情感。”的确，漫步在罗马前往西班牙广场（Piazza di Spagna）——华伦天奴的宫殿就俯瞰此处——就像是以惊人的速度在建筑之间进行时间旅行，这些建筑涵盖了从古代世界到文艺复兴，从巴洛克时期到1900年代的资产阶级以及1930年代的理性主义，所有这一切同时呈现。“就像你面对着好莱坞最宏大的电影——拥有最高预算来打造最高的天花板、房间、窗户和宫殿。”他笑着说。“还有那些混乱。”你可以在他的华伦天奴服装中看到这种融合——如果说Michele为华伦天奴无懈可击的Roma带来了什么，那就是一种受欢迎的凌乱感。这或许就是为什么Michele将这个系列命名为“Interferenze”（干扰）。的确，这场后现代之美的游行，由全长皮草大衣、紧身裤以及搭配硕大宝石的精致蕾丝和雪纺礼服等出人意料的组合组成，感觉恰恰如此，当它们穿过那些Michele说起来比足球场还大的壁画沙龙时。它们并不协调。但这个标题的含义比这些衣服更广泛。“我的工作方式，总是像一种干扰，”Michele轻声且深思地说道。“在过去20年里，创意总监的工作，就是成为一个品牌故事中、或者他人作品中的interferenza或干扰。而这很美，两种不同的事物结合在一起——它们汇聚，创造出某种全新的东西。”他的interferenza尤其指向华伦天奴。你会好奇，一位谨小慎微的高级定制师——据说他在孩童时期，当母亲试图让他给一套衣服加上一个“粗糙”的领结时，他哭到呕吐——与前述的、自十年前首次作为古驰创意总监登上全球舞台以来就定义了Michele时尚方法的疯狂创意混沌之间，能找到怎样的共同点。你可以想象，那些构成华伦天奴傲慢贵族客户群、以优雅著称的“天鹅”们，会对Michele所钟爱的那些邋遢、波西米亚风的摇滚流浪儿嗤之以鼻。而且，尽管他完美地融入了华伦天奴的办公室，Michele本人也坦然承认这些对立，甚至在品牌创意方向的延续性方面也是如此。“Pierpaolo和Maria Grazia，他们就像是华伦天奴的侄子和侄女，”Michele在谈到Piccioli和Chiuri时说道，这两位设计师在2008年至2024年期间领导了品牌的创意方向——起初是搭档，随后由Piccioli独立执掌。他们在1999年开始在该品牌工作，就在Michele本人加入之前。

162 时尚芭莎 2026年9月 摄影：AGATA FOSPIESZYNIKA

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所有服装，选自：Valentina 2025秋冬系列

再次为RESINDIA拍摄 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99

“我认为我正试图围绕一个世界去构思并创造一部电影。我总是关注大局。”

在古驰（Gucci）担任创意总监的漫长任期达到了顶峰。考虑到许多员工已在此服务数十年，“我是真正的‘新人’”，这就是米凯莱（Michele）对自己在华伦天奴（Valentino）地位的描述。“我像一名客人或这座房子的新居民一样观察事物。”正因如此，米凯莱能够挑战我们对华伦天奴的固有认知——将前卫与优雅揉合在一起，通过加入一些简单的、甚至可以说是“错误”的鞋子、手套或歪斜的帽子，来扭曲那些标志性的晚礼服，而这些元素是华伦天奴先生本人绝不会梦到添加的。

然而，创始人与这位最新客人的之间存在着不可否认的纽带。其中一个出人意料的共同点便是“魅力”（glamour），例如，人们很容易将此与华伦天奴流畅的晚礼服联系起来。两者几乎是同义词。米凯莱呢？他的系列曾参考过《皇家特南鲍姆》（The Royal Tenenbaums）中的“极客时髦”（geek chic），似乎并非如此。但米凯莱并不认同。“年轻时，我一直被好莱坞、让·哈洛（Jean Harlow）等充满魅力的世界所吸引……我发现我也在从我的视角去欣赏这种魅力。”他微笑着说，“我想我在玩这个游戏时一直非常叛逆。”

好莱坞是一个有趣的切入点——因为电影是直接将两人联系在一起的另一件事。在 20 世纪 50 年代担任让·德塞（Jean Dessès）的助手期间，华伦天奴为当时的女演员们勾勒“梦幻礼服”——其中一件就命名为“伊丽莎白”，即泰勒（Elizabeth Taylor）。（华伦天奴后来为她设计服装，最著名的可能是 1991 年她与拉里·福滕斯基的最后一次婚礼。）

米凯莱同样痴迷于电影；他的母亲曾在罗马著名的电影城（Cinecittà）工作室工作，担任一名电影高管的助手，这让她的儿子接触到了意大利版好莱坞的壮丽景象，那里聚集着费里尼、罗西里尼、贝托鲁奇等人——事实上，还包括在曼基维奇 1963 年的《埃及艳后》（Cleopatra）中出演的泰勒。米凯莱的母亲经常给他讲在城里咖啡馆与她擦肩而过的故事。

因此，米凯莱将自己比作一名电影导演。“我认为我正试图围绕一个世界去构思并创造一部电影，”他说，“我总是关注大局。”而且，像导演一样，他将自己的角色视为尝试“利用这个剧本创造一些新东西”。尽管看起来不太可能，但不可否认的是，米凯莱的华伦天奴比他的前任们在更大程度上根植于创始人编写的剧本之中。

“我并不觉得借鉴不同的东西会有罪恶感，”他说。因此，他挖掘了档案库，参考了华伦天奴 20 世纪 80 年代鼎盛时期一些鲜为人知的片段，米凯莱认为这些片段永远令人着迷。在他的第一个系列中，出现了一系列直接引用参考的单品，从轻盈的蕾丝裙到科罗曼德尔亮片夹克。他的首场高级定制秀提出了一件由德博拉·图尔比维尔（Deborah Turbeville）在 1977 年拍摄的红色褶皱薄纱裙的巨幕规模重制版。而其他一些造型可能会将《虚荣之火》（Bonfire of the Vanities）中华伦天奴晚礼服的精致褶皱胸衣与牛仔裤拼接，或者将一件轻盈的蕾丝“名媛午餐”衬衫搭配在男士的脏乱风 Y 型内裤之上。

米凯莱出生于 1972 年，在罗马长大；他记得 13 岁时第一次见到华伦天奴先生的情景：对方抱着他的巴哥犬，透过西班牙广场新开的麦当劳窗户映入眼帘。（这种高低反差正是让米凯莱的作品产生电击感的元素，不是吗？）“他就像一次启示，”他在回忆那次出人意料的初见时说道，“像一位神一样。”

因此，华伦天奴先生在他所选的家乡备受推崇。他实际上是在距离那里约 300 英里的伦巴第大区沃格拉长大，但凭借强大的意志力，他成为了最具有罗马特质的高级定制设计师，与这座永恒之城密不可分。当这位设计师在 1 月去世，享年 93 岁时，他的葬礼规模和仪式感犹如国家元首一般。作为一种致敬，Michele 在接下来的高级定制秀开场时，选用了一件华伦天奴红的修身柱状裙。这场罗马成衣秀以一件类似的款式收尾，它看起来像是向华伦天奴原版作品的致敬，但并非如此。“那件裙子，看起来太像华伦天奴了，”他说。“我想到了艾尔莎·佩雷蒂（Elsa Peretti）在蒂芙尼工作的那段时期——形状必须非常有机且时髦，但同时也要性感，因为你能真切地感受到内部的身体。我想表达的是，这不仅仅是一种颜色，这是一种宣言，一种心态，一种生活状态，一种你想要呈现的样子，以及当时女性的样子……没有任何配饰，只有一对耳环和这件裙子。这其实并不太像我的风格。”面对这样的遗产必然会令人感到压力——为了抛出另一个罗马元素，像 Michele 这样的设计师必须成为雅努斯（Janus），同时向后看并向前看。或许，他也在回头观察华伦天奴和贾梅蒂（Giammetti）的反应，这两者都是巨大的存在。贾梅蒂出席了 Michele 为该品牌举办的秀场，并大声鼓掌；尽管华伦天奴因病无法亲临现场，但 Michele 仍能感受到他。“这很奇怪，他不再与我们在一起了。”他是否曾寻求华伦天奴的认可？Michele 停顿了一会儿，陷入沉思。“这可能是一种潜意识里的东西，”他缓慢地说道。“我想是的，因为知道华伦天奴先生可能在观看这场秀……我一直觉得自己在做这些事情时非常自由且紧密相连，但我认为，在一种非常潜意识的方式下，我内心深处在发生着某些事情。而且，如你所知，有时潜意识比意识更强大。”人们自然也会问，他觉得自己在美学和哲学上从华伦天奴那里继承了什么。“他创立了这个品牌，并真正向世界展示了想象力的力量、创造力的力量、一种颜色的力量，以及一种态度的力量。这就像在巨大的壁画上，那些微小细节所拥有的力量。在创作方面，我从未在如此强大的品牌中工作过。”

摄影：AGATA FOSTER / STYRE 2026年9月 时尚芭莎 167

约翰·多恩

以及其他

T台偶像

对于畅销书作家Katherine Rundell而言，风格本身就是一种语言。她解释了为什么文学经典是她最持久的时尚灵感来源。

肖像摄影：PAWEL PYSZ

几天前，是我新书《The Neverfear》的预展派对。而我完全不知道该穿什么。每当我不知道穿什么时，我经常会想到约翰·多恩（John Donne）来寻求灵感。他是英语世界中最伟大的性与爱之诗人；作为莎士比亚的同代人，他描写欲望的方式在之前和之后都无人能及。他不仅英俊得惊人，而且极其热爱时尚，是一个懂得衣服不仅仅是缝线和布料之和的人：它们是一种语言形式。在多恩的诗作中，人们穿着衣服是为了争取地位，将其作为盔甲，或者将其作为他们容易在穿着上被欺骗的偶然证据。多恩生活在一个服装受到非常字面意义上的“时尚警察”监管的时代——伊丽莎白时期的“禁奢法”规定，例如，只有皇室成员才能穿紫色丝绸，而只有骑士的妻子才能穿塔夫绸——因此，没有人认为如何着装是轻率的问题：裤袜填充过多可能会让你入狱。

但这同样是一种更深层的理解：我在多恩的传记《Super-Infinite》中写道，他明白当我们穿衣时，我们是在向世界提出某种要求。所有衣服都在说话。它们在说“渴望我”，或者“请忽略我”，或者“请赋予我的话语比我不戴这顶帽子时更多的严肃性”。

几年后，《Super-Infinite》在时尚界产生了独立的影响。Vivienne Westwood的Andreas Kronthaler阅读了这本书，它与由尤尔根·泰勒（Juergen Teller）拍摄的配套广告大片一起，成为了他 2023 春夏系列的灵感来源。该秀场的节目单大部分由我书中的引文组成：这是我从未预料到多恩会出现的地方。这场秀以一件像文艺复兴盔甲一样打造的漆皮连衣裙开场，搭配镶嵌水钻的骑士靴。男模特穿着绣有多恩同心圆意象的内裤。一名模特的拉夫领覆盖了整个头部。想到在写这本书和进行研究的 10 年里，我竟然在不知不觉中完成了一次时尚行为，这让我感到非常愉快。

我在写作时并不穿得时髦，但我穿得有目的。我的潜意识将美丽的衣服解读为既脆弱又需要独立关注的事物，因此我发现穿着裙子或任何丝绸材质写作要困难得多。我不喜欢合成纤维，所以 2026 年 9 月 时尚芭莎 171 ---

Katherine Randell --- 如果我要描述我梦想中的工作造型，那将是“20世纪20年代乡村别墅派对上第一个被谋杀的男人”：厚实的带褶高腰羊毛裤，一件领口和袖口磨损的刷毛棉衬衫，一件针织衫，以及一双优质皮靴。为了写作，我需要能够“自我打理”且完全不干扰想象力的衣服：不需要我付出任何关注的东西。（相反，我的一位朋友在写硕士论文时，如果工作进展不顺，就会穿上铅笔裙和高跟鞋，这样她就可以假装自己是自己的秘书，冷静地处理项目，而没有学术工作经常带来的那种神经质的紧张感。）

我的时尚偶像很少是好莱坞明星。在我的看来，他们的风格总是像是由他人代劳的。对于年轻时的我来说，那看起来像是自由与创造力的反面。相反，我的偶像一直是作家，那些将服装视为语言的人：阿尔贝·加缪竖起的衣领，柯莱特的戏剧感，詹姆斯·鲍德温 1969 年在旧金山将围巾当作领带佩戴并穿着天鹅绒长裤的样子——那是当时地球上最纯粹的酷。琼·狄迪恩和她的打包清单：“2 条裙子，2 件针织衫或紧身衣，1 件套头毛衣。”在 AI 垃圾信息泛滥、为了愉悦而阅读的人数下降的时代，我相信魅力能帮助我们打赢这场正义之战。如果每个教室里都挂着萨缪尔·贝克特穿着渔夫毛衣和破旧法兰绒裤子、看起来像个 sartorial god（服装之神）的那张黑白照片，那么我坚信会有更多孩子开始阅读；他们会发现贝克特思想中的克制与敏锐，与他服装中的蜿蜒优雅相得益彰。

服装是无法逃避的。乔治·艾略特像多恩一样明白，穿着“沉默”的衣服是不可能的。《米德尔马契》拥有我最喜爱的文学开篇之一，其中对多萝西亚·布鲁克的描述是：“布鲁克小姐拥有一种似乎能被简陋衣着衬托得更加鲜明的美。她的手腕和手部线条如此精致，以至于她穿着的袖子可以像意大利画家笔下的圣母那样毫无装饰；她的侧脸以及身材和仪态，似乎因其朴素的衣着而显得更有尊严，在地方时尚的衬托下，她给人一种像是在今日的报纸段落中出现了一句精妙的圣经引用——或是一位古诗人的诗句——那样令人印象深刻。”多萝西亚为了显得不在意服装而进行的装扮，本身就是一种深思熟虑的装扮。（艾略特是我最崇拜的英雄之一，她也证明了美丽并不总是一份天赋。在当时的观点中，她是个相貌平平的孩子；人们认为她平庸得惊人，以至于没人会娶她。亨利·詹姆斯将她描述为“壮丽的丑陋，令人愉悦的难看”。她的父亲决定给她足够的教育，让她能自食其力。如果玛丽·安·埃文斯出生时拥有一只纽扣鼻，我们可能会失去英语语言中一些最伟大的艺术作品。）

弗吉尼亚·伍尔夫既被服装的快感所困扰，又时刻不安地担心自己穿错了。（“今天是六月的最后一天，我陷入了深深的绝望，因为克莱夫嘲笑了我的新帽子。”）她在日记中写道：“下次我想写作时，必须记得写写我的衣服。我对衣服的热爱让我深感好奇：但这并非爱；至于它究竟是什么，我必须去发现。”她知道，穿衣的麻烦在于这是一个双刃剑般的困境：一部分是关于时间、成本、精力的挫败感与绝望，而另一部分则是

不知道自己看起来是否如预期般理想，总觉得此时此刻或许能做些更有用、更慷慨的事情；但另一部分则是纯粹的喜悦与亢奋，关于自由地做出选择，成为我们想要成为的人，关于懂得什么是美，致敬我们所爱之物，赞美美感，沉溺于巧思与色调、光泽与流畅、质感与色彩以及工艺。伍尔夫在《奥兰多》中写道：“有充分的理由支持这样一种观点：是衣服在穿我们，而不是我们在穿衣服；我们可以让衣服贴合手臂或胸部的形状，但它们却按照自己的喜好塑造我们的心、大脑和舌头。”衣服是像水银一样难以捉摸的东西：它们承载着历史、阶级、财富、支配与侵略，包含着细微差别与不确定性，同时也包含着发现一种能静静地穿在身上的语言时的喜悦。如果一个人有幸拥有时间与少许金钱的奢侈，那么将它们花在学习如何表达自己的喜悦上是值得的。但有许多人出于经济利益，试图让你相信只有他们拥有美的答案：这些人正是需要被反抗的。我不是个运动员，除非你把阅读视为一项小众运动，但我很乐意花时间构思一支由穿着华丽的作家组成的完美幻想球队。我的主力前锋，身穿9号球衣的，将是约翰·多恩。中场核心则是著名的组合：穿着马里布羽毛袖口的多莉·阿尔德顿，萨缪尔·贝克特，以及穿着精心挑选的细棉布裙的简·奥斯汀。边路由琼·迪迪恩和穿着精美粉笔条纹西装的T.S.艾略特把持。中后卫由奇玛曼达·恩戈齐·阿迪契担任，因为她将印花运用得如歌曲一般。然后是科莱特：她的书主张诚实地表达女性欲望，她也是伟大的异装者和造型发明家——她是香奈儿之前的香奈儿。阵容中还包括莱姆恩·西赛：一位美丽的作家，一个才华横溢的人，更是色彩天才。他穿着藏红花色的方式值得深入研究。清道夫是扎迪·史密斯，她一贯的风格与优雅如此多变，以至于她可以在球场的任何位置踢球。弗吉尼亚·伍尔夫担任守门员。替补席同样令人惊叹，有维塔·萨克维尔-韦斯特，詹姆斯·鲍德温，以及唐娜·塔特及其西装那大胆且有力的肩线。或许最好的衣服是那些能给你勇气的人。比尔·坎宁安曾说过一句名言：“时尚是生存于日常生活现实中的盔甲。”我自己并不时尚——我见过太多真正时尚的人，对此深信不疑——但我有几套能给我勇气的衣服。Max Mara和Lardini的裙子，搭配我在Vestiaire购买的香奈儿靴子，以及一件我在新加坡购买的刺绣上衣，当时我面对着一千个孩子，才意识到我没带任何适合在他们面前穿的衣服。（永远不要犯这种错误，认为孩子不会注意到你的衣服。他们会，尤其是当你坐在地板上时，他们会注意到你的鞋子。）一件由Barbara Casasola为我定制的、腰部收紧的连衣裙。一条红色格子裙和一件红色的薇薇安·西伍德连衣裙。在图书派对上，我最终穿了一件向一位高得多的朋友借来的Alice Temperley金色连体裤。《The Neverfear》本身讲述的是危险与喜悦，围绕着赫拉克勒斯的任务和夺取金苹果展开。在世界上穿衣打扮是一项艰巨的任务：但其中蕴含着金色的光芒。凯瑟琳·伦德尔是《Impossible Creatures》的作者。她的系列第三本书《Impossible Creatures: The Neverfear》（£16.99, Bloomsbury）于8月27日出版。 □ 2026年9月 时尚芭莎 173 --- 在 fragrancefoundation.org.uk 探索香氛家族。香氛持久 The

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夜色渐浓。浓郁的香气弥漫在空气中。温暖的香料与木质乳香，在甜美香草的柔化下交织。琥珀色系香氛沉浸于奢华之中，激发着纵情享受的欲望。丝绸披肩轻覆在冰冷的肩头，随即滑落，揭开更多层叠。

THE FRAGRANCE FOUNDATION UK

BAZAAR beauty

由 KATY YOUNG 策划

GOLDEN YEARS

妆容使用了 Diorshow 5 Couleurs 365 Charmed Green 眼影盘、Dior Backstage Rosy Glow Stick 107 Dragonfruit 腮红棒、Dior Backstage Glassy Glow Stick 098 Glazed Mint 高光棒以及 Rouge Dior On Stage Shine 999 唇膏。

Angel eyes

在迪奥的彩妆大师 Peter Philips 的指导下，以闪耀的七十年代风格妆容舞动整夜。此外，本期还将介绍提升福祉的高科技工具、一款标志性香氛的全新演绎，以及我们美容总监最喜爱的长效增强产品。 摄影：SARAH DAVID FERRUA

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NIGHT FEVER

通过涂抹大面积的色彩来提升色调的热烈感，从而营造出更柔和的光泽。如本组所示，使用 Diorshow Coulours 365 Charmed Green 为双眼增添光彩，Dior Forever Glow Luminzer 0.6 Pink Strobe 为脸颊点缀，再涂上一层 Rouge Dior On Stage Matte 346 Auburn Mystery 的丝绒唇色，最后以 Dior Vernis 309 Charm 的美甲画龙点睛。 所有服装均选自 DIOR A / W 26 系列

摄影：DAVID FERRUA 造型：TANIA RAT-PATRON

DAVID FERRUA

SMOKE ON THE WATER 本季的烟熏妆采用了浆果色调，呈现出一种成熟而迷人的风格。如本组所示，使用 Diorshow 5 Couleurs 883 Lucky Rosewood 作为眼影，Diorshow Overvolume 971 Overplum 作为腮红，并搭配 Dior Addict 541 Wishes 唇膏。

SHADOWPLAY

利用色彩突出五官特征。如本组所示，使用 Diorshow 5 Couleurs 883 Lucky Rosewood 为眼睑带来虹彩光泽，Dior Backstage Glassy Glow Stick 001 Glazed Pink 和 035 Glazed Ice 让脸颊看起来更饱满，而 Rouge Dior On Stage Ink Blur 200 Nude Pulse 则让双唇更显丰盈。 DAVID FEBRU

THE ROSE 在一次关于同色系妆容的大师课中，Philips 将玫瑰金、糖果色和花瓣粉通过不同的质感结合在一起。光泽感十足的 Diorshow 5 Couleurs 883 Lucky Rosewood 用作眼影，Dior Backstage Rosy Glow Stick 103 Toffee 营造出晶莹的红晕，而 Rouge Dior On Stage Matte 383 Mauve D-Vibe 则打造出精致的哑光唇妆。 妆容：PETER PHILLIPS，发型：BASTIEN ZORZETTO（来自 WALTER SCHUPPER MANAGEMENT），美甲：MAGDA S.。造型助理：ALESSIA UBBIORI，模特：NINA SOMMERFELD（来自 PREMIER MODEL MANAGEMENT）

SUGAR, SUGAR

对比鲜明的糖果色被无缝地晕染和融合，形成一个甜美和谐的色调组合。在这里，Philips 在眼睑上使用了 Diorshow 5 Couleurs 365 Charmed Green，在脸颊上使用了 Dior Backstage Rosy Glow Stick 015 Cherry，并搭配 Dior Addict S2 Grigri 唇膏。 DAVID FERRICA

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从获奖产品到经典之作，这个系列将我们最喜爱的美容偶像汇集在一次奢华的编辑中：13 款每套流程中都应具备的美容挚爱产品。价值 £496，现在仅需 £96 即可拥有。

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KATY 的美容秘籍

我们的美容总监 Katy Young 揭秘她的护肤流程。

MAC Strobe Beam 液体腮红，£22 Nars Insatiable 液体腮红，£35.50

全新绽放 为你的肤色寻找完美的腮红，选择正确的质地与选择色号同样重要。我的最爱包括 Violette FR 的天鹅绒质感面霜（可转化为粉末状），以及 Nars 和 MAC 的液体配方。

Violette FR Plume 腮红，£35

时光机

兰蔻（Lancôme）与一家瑞士生物技术公司合作，推出了一款开创性的新护肤系列，旨在增强细胞寿命。你可以在兰蔻柜台使用 CellBio 打印机测试皮肤的生物年龄，然后在使用了产品三个月后再次回来测量其效果。

K18 Future IQ 头发长寿精华液，£115

长远之计

“这是为了让你的头发密度和色素在未来也能保持良好状态，”K18 的全球大使 Tom Smith 在谈到该品牌全新的头发长寿精华液时说道，“此前还没有任何产品能同时实现这两点。”将这款精华液融入你的日常护理中，预计在三个月内可以看到效果。

完美融合

由世界顶尖调香师梦之队打造——其中包括我一直以来最喜爱的 Dominique Ropion（《Portrait of a Lady》背后的才华之士）——雅诗兰黛（Estée Lauder）的 Glimmer 浓香水融合了覆盆子、玫瑰和琥珀，充满了温暖感与磁场。

Kama Ayurveda Kum Kumadi 精油，£135

痴迷之选...

每一瓶 Kama Ayurveda 的 Kum Kumadi 精油都利用了 600 片以上藏红花花瓣的抗氧化特性，提供最奢华的肌肤疗法。

摄影：MARTINE, GETTY IMAGES 2026年9月 时尚芭莎 185

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美容

减压最佳之选

Nurosym，£599 通过旨在支持神经系统平衡的迷走神经刺激，这款产品承诺能缓解心理和生理压力。

健康追踪最佳之选

Oura Ring 5，£399 一款时尚的健康监测设备，可测量睡眠、压力、心脏健康和恢复情况，现采用纤薄的钛金属设计。

轮廓塑造最佳之选

Zip Halo 2.0，£379.99 这款塑形工具利用微电流提升并紧致肌肤，同时促进淋巴排毒并减轻泛红。

水合补水最佳之选

Shark Beauty Facial Pro Glow，£299.99 通过去角质、补水以及冷热疗法解决杂质和浮肿，促进肤色更加明亮。

睡眠最佳之选

Ozlo Sleepbuds，£299 使用这款带有睡眠检测传感器的降噪耳机，聆听播客、音乐或创建静谧的声景。

2026 BAZAAR 编辑之选

美容编辑精选

美容仪器 2026 年最值得尝试的先进技术，从健康追踪器到护发救星。

提亮最佳之选

Nooance Smartech Elite X600，£699.99 600 颗 LED 灯珠提供均匀的红光覆盖，以帮助增强弹性并抵消疲惫之相。

牙齿护理最佳之选

Oral-Bi010 电动牙刷，£800 使用这款牙科工具实现最佳的覆盖范围、刷牙时间和压力，它设有针对牙龈护理和美白等问题的设置。

皮肤修复最佳之选

Foreo FAQ501，£449 这款 LED 设备提供宽光谱和窄波长光疗，旨在针对细纹、晒斑和不均匀的肤质。

最佳吹风机

GHD Speed，£299 GHD 最快的离子吹风机采用双气流技术，将暖气流和冷气流相结合，以最大限度地减少热损伤并保护头皮。

最佳卷发工具

Dyson Airwrap Co-anda2x 多功能造型器，£579.99 这款产品的气流比之前的型号强 30 倍，可实现快速干燥、抚平及增加发量效果。

186 时尚芭莎 2026年9月 文字：KATIE WITHINGTON

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美妆灵感板

Crush Absolu 为香奈儿 Coco Mademoiselle 香氛系列开启了一种明亮的新基调

Kitty D'Alessio 和 Jacques Polge 自 2001, 年推出以来，Coco Mademoiselle 吸引了无数粉丝——足以使其成为香奈儿在英国香氛产品线中的核心支柱。其产品宇宙涵盖了发香喷雾、身体护理产品，甚至还有一款旨在增强香味浓度的保湿“香水打底膏”。今年，香奈儿的主调香师 Olivier Polge 推出了迄今为止最大胆的版本：Coco Mademoiselle Crush Absolu。

“它的灵感源自于一个新开始的想法以及某种出乎意料的感觉：一场让你猛然惊醒的邂逅，”Polge 说道。这转化为一款令人惊叹的焦点之作，开篇即是多汁的荔枝和葡萄柚的冲击——这些果香调为其花香琥珀调的组合带来了活力。华丽的广藿香、丰盈的香草以及干燥的木质香根草增加了深度，使这款香气能一直萦绕至次日早晨。

对于 Polge 而言，在香奈儿工作是一件家族事业（他的父亲 Jacques 曾担任其调香师 37 年），但 Crush Absolu 展示了他为品牌历史悠久的香水系列注入当代前卫感的意图。“现在正是推出一款反映全新开始的香水的正确时机，”他说，“它为新 era, 提供了一种感官和情感体验，捕捉了大胆的精神。”凭借其丰富的质感和持久的 sillage（留香），其结果比深受喜爱的原版更加绚烂。

MEDINA AZALDIN 香奈儿 Coco Mademoiselle Crush Absolu 浓香水，100ml £160。

Olivier Polge 插画：LILY PICHON, FLANNERY 摄影：GETTY IMAGES, MAXIMIZE, ALEXANDRE TABASTE

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MAGNUM® 忠于愉悦

mini 愉悦时刻 M ---

BAZAAR 逃离

编辑：HELENA LEE

纵身一跃

Bel Powley 和 Douglas Booth 在马尔代夫度蜜月期间，在印度洋与鲨鱼一起潜水。此外，我们还开启了两场野生动物之旅——一次非洲冒险和一次亚洲寻虎之旅；设计师 Huishan Zhang 则带我们领略他中国家乡的风景。

摄影：SHINH DALY 马尔代夫 Baa Atoll

只有我们两人

对于并非新婚不久的贝尔·鲍利（Bel Powley）和道格拉斯·布斯（Douglas Booth）来说，在如画般的马尔代夫隐世之所度过的一次延迟但幸福的蜜月，证明了好事多磨。

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逃离

从左起顺时针方向：道格拉斯·布斯和贝尔·鲍利。Soneva Fushi 的 Flying Sauces 餐厅。Gaucho Grill 烤肉店。对面：贝尔·鲍利。

当我们为期待已久的蜜月预订马尔代夫的 Soneva 时，距离我们的婚礼已经过去了两年多，我们当时并不太清楚那里是什么样子。当然，我们听过一些传闻：人们在谈论它时，仿佛它并不真实，或者也许是想将其作为自己的秘密收藏。现在我们去过了，很容易理解为什么。

我们在首都马累（Malé）经停于 Soneva 那极其时髦的私人休息室后，乘坐水上飞机抵达，在那里我们可以在长途飞行后洗漱整理。当我们降落在那片完美的青绿色海洋上时，一艘快艇几乎像变魔术般出现，载走了我们的行李和鞋子。直到我们踏上回程的飞机之前，都没有再见到后者。

整个抵达过程既流畅又轻松，因为不同寻常的是，这里没有正式的办理入住手续——你会被直接带到你的别墅。室内设计极简而精美，兼具有机感与奢华感，由温暖的木材和其他天然材料打造，仿佛是从周围景观中借用而来。我们别墅的露台有一个被茂密植物和树木环绕的户外浴缸，而露天厨房则配备了备有冰啤酒和果汁的小酒吧，为漫长的下午做好了准备。

2026年9月 HARPER'S BAZAAR 191 ---

逃离烈日。在露台之外，我们拥有一片专属海滩，洁白的沙滩上摆着两把躺椅，俯瞰着晶莹剔透的海水。每位宾客都配有一名管家，每当我们想要预订远足行程或晚餐时，只需通过 WhatsApp 发条消息即可。他拥有一种预判天赋：有些事情在我们还没想到要询问之前就已经完成了，比如晚餐前我们偏好的葡萄酒已被冰镇，或者我们最爱的鸡尾酒冰块和配料在日落时分恰好送达别墅。Soneva Fushi 创造了“赤足奢华”的概念，而这里完美地诠释了这一理念。酒店位于巴环礁（Baa Atoll），坐落在自己的葱郁私岛上，规模之大让人觉得总有新事物等待发掘。每天骑行穿梭在茂密的丛林小径中，寻找隐藏的角落，成为了此次旅行的高光时刻之一：我们偶遇了为餐厅供应食材的厨房花园，藏在香草和花床间的微型酒吧，以及隐藏在高树之上的餐桌——当光线渐暗，果蝠在头顶盘旋。我们的大部分时间都在水上度过，与海龟一起在绚丽的珊瑚花园中浮潜，巨大的曼塔鳐鱼在我们下方静静滑行。在如此清澈的水中漂浮，前一分钟在浅滩发现小鲨鱼，下一分钟看到色彩斑斓的热带鱼，这种感觉略带超现实色彩。有一次，我们被送到一座荒岛上进行私人野餐。在海中游泳，除了周围游动的几只鳐鱼和海龟外完全是一个人，我们体会到了那种罕见的彻底逃离感。整个旅程中的食物都极其出色。我们吃到的每一道菜都让人感到用心、制作精美且不矫揉造作。此外，用餐与冒险相伴：尤其令人难忘的是 Flying Sauces 餐厅，你可以通过森林中的滑索，在岛屿高处的树冠之间用餐。我们至今仍在回味那道扇贝薄片，它简单、精致，且在某种程度上地完美。另一个心头好是 So Primitive，这里将传统的马尔代夫菜肴（例如用传统香料腌制的当地整鱼）在沙地下慢炖，并在海滩上的火光中呈上。一天晚上，我们走过一座长长的木桥，来到一家名为 Fresh in the Garden 的极具浪漫气息的餐厅，在那里我们享用了另一顿绝佳的晚餐——松露宽面配几内亚禽类，随后我们一起躺在私人的树顶顶篷下凝视星空，喝完了一瓶可能真的是我们喝过最好的葡萄酒——冰镇黑皮诺。然而，真正留在我们心中的是这里的人。Soneva 的每位员工都如此热情，这体现在工作人员照顾你的方式中。没有任何感觉是强迫或排练过的。最令人赞叹的是每个人的知识之渊博，无论他们是在谈论葡萄酒、海洋生物、马尔代夫食材，还是生长在岛上的原生植物。蜜月之旅的第二部分，我们乘坐 45 分钟的水上飞机前往 Soneva Secret，这是该品牌的第四家物业，位于马尔代夫最西端的马库努多环礁（Makunudhoo）海域。这里的别墅更加偏远，有一种更安静的“鲁滨逊漂流记”般的感觉。我们在水上别墅下方波涛的声音中醒来，让日子惬意地流逝：直接从别墅台阶游入大海，在午后阳光下喝玛格丽塔，像孩子一样一次次从滑梯上冲入海中。Soneva Secret 的团队竭尽全力将一切个性化。行政主厨 Ben 大方地满足了我们的偏好：一天午餐是新鲜辛辣的泰式沙拉，第二天晚上则是中东面饼和烤肉。有一次，工作人员甚至将我们别墅的一部分改造成了一个临时电影院，以便我们观看阿森纳的比赛。

这两个岛屿最出色之处在于，它们在提供奢华体验的同时毫无拘谨之感。它们固然美丽，但同时也充满趣味、轻松且真正令人愉悦。这是一次值得等待的蜜月之旅。Soneva Fushi (soneva.com) 带泳池的别墅套房，每晚 £1,810 起。 Secret 的一卧室海滩别墅，每晚 £3,682 起。

--- 右图：蜜月夫妇。下图： Fushi 的九卧室住宅。对面页，从上至下：酒店的海滩别墅； Secret 的 Beach Reserve

上方： Fushi。右图：海滩上的日落晚餐

September 2026 HARPER'S BAZAAR 193 ---

从下方起顺时针方向：Lydia Slater 和她的丈夫在中央邦。他们在进行野生动物游猎。他们在 Oberoi Vindhyavilas Wildlife Resort 奢华帐篷内的场景。一只长尾猴。帐篷及其私人花园。对面页：一只孟加拉虎，由作者的丈夫拍摄

虎之国度

在中央邦的丛林中追踪那些行踪诡秘的大猫。Lydia Slater 体验印度荒野之美、庄严以及那令人心跳加速的戏剧性瞬间。

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逃离

大约是早上 6.30，我和丈夫正坐在一辆敞篷四驱车里，停在的一片空地上。我们裹着毯子，紧握着热水袋，尽量不发出任何声音。而我们周围的野生动物则毫无顾忌。随着太阳升起，第一波警报声响起：斑鹿发出尖锐且像咳嗽般的吠叫，长尾叶猴在头顶的树间巡逻，发出低吼的咕噜声。“老虎在走动！”陪同我们的自然主义者 Bhuwan 低声说道。一只冠鹰栖息在沙树上，对日益喧闹的环境不以为意，抖动着羽毛抵御晨间的寒意。

我们来到中央邦的班达夫加尔国家公园（Bandhavgarh National Park），寻找这些行踪诡秘、身披条纹的丛林之王。尽管全球都在努力保护，但野外仅存不到 6,000 只老虎，其中大部分分布在印度。这座公园是 135 只壮丽猛兽的家园——但即便如此，每平方英里的地形中仍不足一只老虎，因此我们不敢掉以轻心。在过去的 24 小时里，我们看到了大猫活动的鼓舞人心的迹象：有盘子大小的爪印；还有一棵树的树皮被巨大的爪子撕成了碎片，抓痕高达地面 6. 7 英尺。

现在，一阵怪异的呻吟声在树林间回荡——是一只母虎在召唤幼崽吃早餐。“她那里一定有一只鹿，”Bhuwan 提高嗓门，试图盖过那些日益歇斯底里的猴子。但半小时后，我们依然没看到哪怕一条条纹：也许她在告诉幼崽，趁我们的四驱车还在原地时离远点？于是我们前往一个围起来的区域，在那里我们可以安全地享用自己的早餐——一个装有糕点、燕麦片和萨莫萨三角饺的柳编篮，配上热咖啡——我们在阳光下温暖冰冷的四肢，早餐就摆在车盖上。

直到那天下午晚些时候，我们才走运。我们正处于一条干涸的河床边缘，叶猴的警告声再次响起。但这次的老虎并不打算隐藏；事实上，他的低吼声在几分钟内似乎让地面都随之颤抖，随后他沿着河床中心缓缓现身。Bhuwan 告诉我们他是一只“亚成年雄虎”，但在我们看来，他体型巨大，橙色得惊人。他带着从容的力量漫步，对我们兴奋的低语完全不感兴趣。我们沿着河岸行驶，尽可能长时间地注视着他，直到他走进一片竹林小憩。

直到那时我才意识到，我被他的气场震撼得如此之深，以至于完全忘记了拍照。但我并不在意——那只大猫的形象，正如威廉·布莱克（William Blake）诗中所写，在我的视网膜上闪耀地燃烧着，任何模糊的手机照片都无法与之相比。

我们现在身处《丛林之书》的领地（鲁德亚德·基普林在其著名的儿童文学作品中，将地理和野生动物设定在中央邦），但我一直不明白他为什么要把老虎谢利·汗（Shere Khan）设定为故事中的反派。这只庄严的生物绝对没有任何卑劣或懦弱之处——同样，也没有任何理由能说服我在他面前走出车外。

这次漫长的朝圣之旅是值得的：先是飞往德里的过夜航班，然后再次飞行 90 分钟到达贾巴尔普尔（Jabalpur），最后乘车数小时抵达欧贝罗伊温迪亚维拉斯酒店（Oberoi Vindhyavilas），该酒店位于班达夫加尔国家公园边界外几英里的一处乡村地带。

我曾在几家欧博罗伊（Oberoi）度假村入住过，而这里无疑是最不拘礼节的一家，旨在让客人们尽可能地亲近自然。我们的住所被描述为“豪华帐篷”，但当我走进带有顶篷的卧室，看到抛光木地板以及通向精致花园的玻璃门时，此前关于艰苦条件的担忧便烟消云散了。有一晚，我们在湖边享用了一顿由巴格尔坎德（Baghelkhandi）特色菜组成的多道菜晚餐，营火带来温暖，星光点亮夜空。另一晚，我们品尝着由丛林草药调制而成的鸡尾酒，透过主楼的 Crittall 窗户眺望花园，与其他客人讨论关于老虎的话题。我们的日子仿佛带有某种幻觉般的特质：从在黎明的寒意中驱车前往公园开始，到在疲惫但满足地返回营地享用日落饮品结束，心中充盈着初次见证这一切的震撼。当我们颠簸在公园数英里坑洼不平的轨道上时，我们遇到了长着绒毛鹿角的斑鹿群，以及在草丛中快步走过的野猪家族和金背胡狼。我们见到了无数鸟类，从鹳到翠鸟；惊叹于被攀缘植物覆盖的雕像；在看到巨型蜘蛛时惊叫；并对着一只从树洞中审视我们的巨蜥那憨傻的表情大笑。我们的团队——司机 Dev、森林向导 Manjit 以及博学的 Bhuwan——给予了我们极其细致的照顾，在最后一天与他们告别时，我不禁眼眶湿润。我想，这将是一次我永远不会忘记的经历，事实也的确如此。在回程途中，我们在德里停下来采购圣诞礼物。当我们走到著名的香料市场 Khari Baoli 门外时，我听到身后传来一阵阵剧烈的咳嗽声。在这里，这完全是正常现象，是因为呼吸了充满胡椒粒和肉桂粉颗粒的空气而产生的自然反应；但在那一瞬间，我的心跳漏了一拍，仿佛回到了丛林之中，听到了警报呼唤，并在灌木丛中搜寻着一只我既渴望又恐惧见到的掠食者。Oberoi Vindhyavilas 野生动物度假村 (oberoihotels.com)，每顶帐篷每晚 £550 起。 这只老虎并没有试图隐藏；在它潜行出现之前，低沉的吼声便震动了大地。摄影 ALAN, GETTY, THE OBEROI VINDHYAVILAS WILDLIFE RESORT, INDIA SLATER 2026年9月 时尚芭莎 195 ---

动物磁场

Beatrice Aidin 沉醉于坦桑尼亚惊心动魄的美景之中，塞伦盖蒂无垠的远景展现出自然界最壮丽的一面。

在抵达之前，我们就已经开始了这场狩猎之旅。 我们这个六人小组受邀成为坦桑尼亚塞伦盖蒂国家公园新开业的 Wild Wakati 营地的首批客人。当我们乘坐四驱车在通往营地的九英里土路上轻轻颠簸时，我们发现溪边有一对鳄鱼，其中一只的下颚紧紧咬住猎物斑马，确保同伴不会将其抢走作为午餐。不久之后，我们停下来欣赏一群正在晒太阳的母狮，它们在仅几英尺之遥的地方悠闲地观察着我们，随后我们又经过了一群斑马和奔跑的长颈鹿。疣猪以一种迷糊且滑稽的魅力追逐着自己的尾巴；事实证明，它们是塞伦盖蒂的“多莉”（Dorys）。“它们的记忆力真的很短，所以它们可能会开始奔跑，然后忘记为什么而跑，”向导之一 Slim 告诉我们。尽管这些景象令人振奋，但在经历了从伦敦出发，经多哈中转七小时，最后飞抵乞力马扎罗的两场飞行后，我们感到疲惫不堪。在那里，Wild Wakati 的创始人——坦桑尼亚狩猎向导 Michael Shayo 和英国酒店业企业家 Matt Wilkey 接待了我们。我们在距离乞力马扎罗机场一个半小时车程的 Arusha Coffee Lodge 停留了一晚，这里坐落在坦桑尼亚最大的咖啡种植园内，以便在从阿鲁沙飞往塞伦盖蒂中心地带的 Seronera 跑道之前稍作休息。两小时后——在与鳄鱼相遇之后——我们抵达了 196 时尚芭莎 2026年9月 --- 右图：Wild 营地。对面底部：咖啡种植园 我们接下来五晚的住所。工作人员以微笑、歌唱和舞蹈迎接我们，他们对欢迎 Wild 营地的首批客人感到非常兴奋。我想访问 的原因是他们采取了不同的经营方式。这不仅仅是一个营地：Shayo 为员工创建了一个酒店业培训基地。许多人是来自当地村庄和更广泛的马赛社区的行业新人，他们正在接受指导，为未来的领导岗位做准备。这是一个半永久性营地，不会留下持久的足迹；整个企业采用太阳能供电，可以在不给塞伦盖蒂留下伤痕的情况下被整体移走。能源和水的消耗量很低。 刚刚获得了 Long Run 的会员资格，这是全球最大的基于自然的旅游可持续旅行组织，其加入标准非常严格，这证明了它对保护、社区、文化和商业这“四个 C”的承诺。这并不是说住宿条件简陋； 提供的是我称之为“随性奢华”的体验。这里有延伸至近 40 英里的开阔荒野的无遮挡景观。10 顶巨大的手工帆布帐篷（包括两顶家庭房）均由当地制作，家具亦然。帐篷内部配备了特大号床铺，并设有套内浴室、冲水马桶、双洗手池和管道淋浴。我最期待的是桶淋浴，工作人员用太阳能加热的水填满水桶，通过滑轮控制水流。天气多变——每天两次狩猎之旅，我觉得自己穿过了每一个季节的服装，从寒冷的雨天到酷热的高温，但这正是将自己交给大自然的一部分乐趣。凌晨 4.30 分开始的热气球之旅因暴雨而受阻，于是我们坐在卡车里，喝着咖啡，吃着蛋糕。我们的飞行员 Amanda Brodbeck 是一位来自科罗拉多州的两届美国女子国家热气球冠军，她决定我们第二天早晨可能会有更好的运气。

结果我们确实成功了。我第一次乘坐热气球的感觉令人心潮澎湃。天空晴朗，于是我们发现了一群大象正优雅地缓缓前行，由年长的雌象带领着幼象，母亲们则在队尾。布罗德贝克指出了水牛群，“它们是‘五大猛兽’中最危险的”。幸运的是，我们在它们上方 6,000 英尺的高度，在飞行 45 分钟、超过 13 英里后，我们还看到了长颈鹿、羚羊、鬣狗和狮子。每天傍晚，一个由三名厨师组成的团队会准备丰盛的餐点：当地特色“丛林鸡”——实际上是几内亚 fowl——或者是星空下的烧烤牛排。在前往向导通过“丛林电报”（对你我而言就是 WhatsApp）推荐的当晚最佳日落观赏点之前，我们会啜饮一杯日落酒。Wakati 在斯瓦希里语中意为“时间”。在这个非凡的营地里，我们发现了以心灵为核心的无尽冒险，并享受在塞伦盖蒂逗留的每一分钟。Wild Wakati 营地的全包及游猎套餐 (enduatacamps.com)，每人约 £380 起。☐ 视野可延伸至近 40 英里的开阔荒野

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内部指南 张卉山谈青岛

时装设计师揭秘这座出生城市的心头好

青岛是我的家乡。 我在这里出生，我的父母也住在那里，我的工作室也设在那里。尽管它是中国第二大海港城市，但这座城市非常悠闲，以青岛啤酒和海鲜而闻名。很多人在这里拥有第二套房，因为从北京或上海出发都很方便。

最佳旅游时间是樱花盛开的春季或秋季。 我会避开夏季，尤其是啤酒节期间，因为那时到处都是游客。由于城市三面环海，所以天气永远不会太热——即使在七月，气温也不会高出 30 度太多。

由于历史原因，青岛在建筑风格上是一座不寻常的城市。 德国人在 1898 年租赁了这片领土并建设了海港，因此这里大部分建筑采用巴伐利亚风格，拥有红色的屋顶和黄色的墙壁。银鱼巷和中山路因其建筑和购物体验而极具吸引力。

德国给这座城市的另一份礼物就是著名的拉格啤酒。 我最喜欢的是仅在青岛销售的原浆生啤，通常装在塑料袋里。它使用来自崂山的天然水酿造，口感顺滑、甜美且富含矿物质。

金沙滩是黄海边一个巨大的粉末状沙滩，提供各种水上运动。 这座城市承办了 2008 年奥运会的所有帆船赛事，因此有很多俱乐部可以租赁船只或参加课程。

海滩边排列着售卖海鲜的小咖啡馆，随便哪一家都能让你享用一顿丰盛的大餐。 风干肉和鱼是当地特产，但我特别喜欢烤海星，味道有点像甜玉米。川哥鱼水饺是品尝海鲜饺子的绝佳去处。

小时候，父母经常带我去俯瞰全城的崂山野餐。 每当我需要清空思绪时，我仍然会来到这里，我发现这里的风景能给我的设计带来很多灵感。

崂山在中国被誉为道教的发源地。 山上遍布寺庙——拥有 2,000 多年历史的太平宫是不容错过的地方。此外，在古老的林地中徒步或参观龙潭瀑布也非常美。

瑞吉酒店拥有环绕的海景和令人惊叹的水疗中心。 如果你是团体旅行，我会建议在老城区租一栋带花园的历史建筑。

我经常步行，所以通常穿着优衣库（Uniqlo）的休闲牛仔裤。 我有三双不同颜色的普拉达（Prada）一脚蹬运动鞋——它们既实用舒适又时尚。我还喜欢 Valmont 的护肤品，气味非常好闻，并且我刚刚开始使用 Glo Skin Beauty Oil Free SPF 40+ 防晒霜。

阅读方面，我会带上《金花秘诀》。 这是一本关于冥想的古代道家书籍，启发了卡尔·荣格的心理学方法，篇幅虽小但力量强大。 □

198 时尚芭莎 2026年9月 口述：LYDIA SLATER 摄影：GETTY IMAGES, HUISHAN ZHANG, CHRISTOPHER CYBERST REGIS

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Celebrity XCEL

我们没有寻找你的快乐之地，我们将其打造。我们不只是建造了一艘船。我们打造了你将永远铭记的假期。你永远不会忘记的餐厅。一次好到能延续一整天的约会之夜。一个能让所有其他泳池日都黯然失色的泳池日。我们在你抵达欧洲之前，就为你打造了探索欧洲的新方式。为你打造前所未有的恢复身心的新机会。为你的人生清单增加一个新的勾选项。我们打造了你的快乐之地。迎接 Celebrity Xcel 的到来。现已在欧洲航行。Celebrity X Cruises 无可比拟 访问 CELEBRITYCRUISES.CO.UK / 致电 0800 2404 312 或联系您的旅行代理 ©2026 Celebrity Cruises Inc. 船舶注册地：马耳他和厄瓜多尔。Nothing Comes Close℠ 是 Celebrity Cruises, Inc. 的商标。

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MAGNUM 忠于愉悦

新 M SIGNATURE LA PISTACHE（开心果味）

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MAGNUM$^{®}$ 忠于愉悦

新$^{®}$ SIGNATURE LA PÊCHE（桃子味）

志同道合

志趣相投的艺术爱好者们聚集在一起，参加皇家艺术学院的年度庆典 摄影：IONA WOLFF

“互联性”是 2026 年皇家艺术学院夏季展的主题，这一主题在预展派对上得到了体现：在这个夜晚，一群艺术家、喜剧演员和演员与诗人及流行明星相互交流。Lily Allen 如天鹅般优雅地步入会场，身着一件 16Arlington 的羽毛礼服，挽着该品牌的设计师 Marco Capaldo 的手臂。在英国冷盘肉类、酸根草玛格丽特鸡尾酒和 Fortnum & Mason 香槟的陪伴下，Greta Bellamacina 与 Susie Cave 聊天，而委员会成员 Archie Madekwe 和 Grayson Perry 则为那些出色的提交作品以及艺术界夏季的正式开启而举杯庆祝。在庭院里，Katy Hessel 和 Grace Campbell 与《继承之战》中的前配偶 Brian Cox 和 Harriet Walter 共同拍了一张“功能失调”的家庭肖像照。随后，Clara Amfo 介绍了歌手 Sasha Keable 的表演，之后聚会散场，但大家在离开前都拿了一份佛手柑雪芭——或许还买了一件新作品——作为伴手礼。

CB 202 时尚芭莎 2026年9月

闪拍！

2026年9月 时尚芭莎 203

NEW WAVE

在墨西哥精神的激励下，一群时髦人士齐聚一堂，共赴一场令人难忘的盛宴 摄影：OLIVER HOLMS

204 HARPER'S BAZAAR September 2026

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FLASH!

在一个酷热的夜晚，Serpentine 夏季派对庆祝其第 25 个年度展亭——今年的展亭由墨西哥工作室 Lanza Atelier 打造，其祖国成为了此次庆典的核心。笑容灿烂的 Salma Hayek Pinault、导演 Alfonso Cuarón 以及电影制作人 Alejandro González Iñárritu 共同主持了这场狂欢之夜。派对上出现了一支全女性玛利亚奇（mariachi）乐队，以及由食物艺术家 Laila Gohar 创作的、与建筑风格相呼应的雕塑感点心。主办委员会主席 Isha Ambani 与 Lauren Santo Domingo 叙旧；Kristin Scott Thomas 直奔 Richard E Grant 身边；Sienna Miller 和 Alexa Chung 比较彼此的装扮；而对于几对权力夫妇来说，这是一个约会之夜，其中包括 Sophie Winkleman 与 Frederick Windsor，以及 Mark Strong 与 Liza Marshall。在永久展厅参观 Cecily Brown 的展览时，Michael B Jordan 与 Serpentine 的馆长 Hans Ulrich Obrist 讨论了艺术，以及他此次在城中拍摄的《托马斯·皇冠事务》（Thomas Crown Affair）翻拍片。黄昏降临，Emily Maitlis 直接从漫长的工作日中赶来，快活地问道：“现在酒吧到底在哪个方向？”幸运的是，酒吧就在不远处——随着 DJ 的曲调渐起，冰凉的 Paloma 鸡尾酒一直供应到深夜。

CB

Kristin Scott Thomas

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SOUND AND VISION

音乐界的名流与文化引领者齐聚 V&A 博物馆，共度一个狂欢之夜 摄影：NATALIE MARTINEZ

FLASH!

很少有活动能让伦敦人离开一场英格兰队的世界杯比赛，但再次在博物馆庭院举行的 V&A 夏季狂欢派对做到了。当壮丽的毛地黄花丛在微风中沙沙作响，身着米色西装的服务人员端着 Nyetimber 香槟穿梭其间，Mick Jagger 与 Helen Fielding 和 Mariella Frostrup 进行了长时间的交谈并爆发出许多顽皮的笑声；随后两人挽着手臂在派对上漫游，用前者的话说，是在“寻找麻烦”。与 Bob Geldof 一起，今年的委员会成员——包括 Sandy Powell、Harris Reed 和 Yinka Ilori——最终聚集在一起，观看身着亮黄色礼服、光彩照人的 Jessie Ware 在池塘中央的小岛上带来一场精彩绝伦的音乐会。她辉煌的嗓音和迪斯科热潮引发了博物馆受托人 Vick Hope 的热烈掌声，以及 Maya Jama 充满活力的舞姿，让派对真正进入高潮。

CB

September 2026 HARPER'S BAZAAR 207

周年快乐

Edeline Lee 的品牌与《时尚芭莎》主编 Lydia Slater 共庆生日

“Edeline Lee 的裙装在《时尚芭莎》深受喜爱，以至于我们在参加派对前必须互相商量，以确保我们不会穿着同一款不同颜色的礼服同时出现，”杂志主编 Lydia Slater 在五月的一个夜晚，于新开业的 Aki London 餐厅面对一群时髦宾客时透露道。在一场双重庆典中，Bazaar Privé 齐聚一堂，共同庆祝这位设计师品牌成立 15 周年（ 开玩笑说：“我们现在可以正式称自己为‘青少年’了”），同时也是我们主编的生日。这两位主角乘坐路虎车抵达，迎接她们的是包括伏特加金姆雷特（vodka gimlet）在内的鸡尾酒，后者的口感十分强劲。Celia Imrie、June Sarpong 和 Jodhi May 与 Privé 成员们在展示着 精美作品的人体模特之间交谈， 为每位宾客准备了标志性的发带作为派对伴手礼。在为一座华丽至极的 Lily Vanilli 蛋糕的到来鼓掌之后，所有人前往楼下的 Kiyori Bar，在 Gem Precious 和 Suni Side Up 的 DJ 音乐中彻夜起舞。 MARIE-CLAIRE CHAPPET 208 时尚芭莎 2026年9月

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城中焦点

在 Bazaar 为 Privé 成员及好友举办的璀璨晚宴上，交谈（与气泡酒）在流动

“女士们，以及部分先生们，请安静，有请 Lydia Slater！”在 Harper's Bazaar Privé 夏季派对陷入沉静之前，赫斯特国际杂志社总裁 Jonathan Wright 用他那悦耳且浑厚的男中音宣布道。在 Rosewood London 壮丽的露台上，宾客们一边享用 Laurent-Perrier 香槟和清爽的 Hugo spritzes，我们的主编一边向日益壮大的 Privé 社区举杯致意，并介绍了一场由 Levantes Dance Theatre 带来的奇幻表演。Narges Rashidi 和 Charity Wakefield 交流了她们那几乎一模一样的柠檬绿裙装（“这是这个夏天的流行色”），而作家 Lucy Foley 则身着一件经典的小黑裙（LBD）出席。编剧 Jessica Swale 正忙于赞美老派浪漫喜剧，此时她和 Rejina Pyo 的眼睛同时亮了起来，因为 Dinner for One Hundred 的美食披萨送到了。当夕阳西下，Sheila Atim 和 Zawe Ashton 带领着包括 Kukua Williams 和 Lara Mullen 在内的活跃人群进入室内，进行温馨的交谈并享用美味的睡前酒。 MARIE-CLAIRE CHAPPET

扫描二维码以了解更多信息并注册您对 Privé Bazaar 的兴趣 PRIVE 2026年9月 时尚芭莎 209

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BAZAAR 必备单品

蜕变自信：从精神健康护理到创业者

在纽卡斯尔（Newcastle upon Tyne）创立 Skin & Soul Medical 之前，Lucie Royer (BSc INP) 曾担任多年的精神健康护士，支持人们度过人生中最艰难的时刻。正是在那里，她对身心健康、自我认知与自信之间的关系产生了深刻的理解。这种理解至今仍在塑造她的工作。虽然她的职业路径发生了改变，但她的目标始终如一：帮助人们在内心感到更加自在。通过 Skin & Soul Medical，Lucie 建立了一家以自我护理、自信和自然效果为中心的诊所，采取整体方案，关注整个个体，而非仅仅治疗某个问题。

出于对教育和持续发展的热情，她定期与全球领先的从业者一起培训，并于近期推出了 The Academy by Skin & Soul Medical，旨在指导下一代医美专业人士。如今，Skin & Soul Medical 被公认为东北部领先的医美诊所之一。然而，对于 Lucie 而言，成功的衡量标准不是完成了多少次治疗，而是恢复了多少自信，赢得了多少信任，以及对生活产生了多少积极影响。因为当你真正感到自在时，自信就成了你唯一需要的配饰。

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奢侈品的新语言：源自印度

世界长期以来一直赞赏印度珠宝的艺术造诣。如今，SOHNAA 品牌正以当代视野重新定义这一传承。

由屡获殊荣的设计师 Sonali Shah Sheth 创立，这家高级珠宝品牌被认可为全球三大珠宝初创公司之一。每件作品均受艺术、建筑、自然和人类情感的启发，采用 18k 金、天然钻石以及该品牌的专利珐琅工艺打造。

随着奢侈品拥抱原创性和有意义的设计，SOHNAA 代表了来自印度的全新声音，将卓越的工艺与艺术创新相结合，创造出一种独特的装饰语言。

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ADORA AESTHETICS

Heather Zade 是 Adora Aesthetics 和 Adora Academy 的创始人兼首席执行官。作为一名在全国范围内获得认可的美学领导者、教育家和企业家，她正在重新定义医疗美学的卓越标准。作为一名拥有超过 17 年临床经验的认证执业护士，她凭借将医学专业知识、艺术造诣与创新相结合，以打造自然且具有蜕变效果的成果而享有盛誉。Heather 以其标志性的面部协调方法和广受认可的 3 点注射唇部填充技术而闻名，已成为全美最炙手可热的注射师之一。她的工作使其连续四年被评为全美前 100 名美学注射师，巩固了她在行业中作为权威专家的地位。除了患者护理，Heather 还是教育和女性创业的坚定倡导者。通过 Adora Academy，她培训了数千名医疗专业人员，赋予下一代注射师成功所需的技能、信心和卓越的临床水平。作为演讲者、导师和企业主，Heather 在这个快速发展的行业中不断突破障碍。她的使命根植于赋能——帮助女性建立信心，拥抱个性，并创造出能够反映其最大潜能的生活和事业。通过领导力、创新和不懈的奉献，Heather 在塑造美学未来的同时，激励女性大胆且自信地领导。

KLARE JEWELERS

在 Klare Jewelers，每一颗钻石都始于一次对话，并由大师之手精心打造。从定制的单钻戒指到铺镶杰作以及重新设计的传家宝，我们将卓越的、来源合规的钻石与精准的镶嵌相结合，打造出永恒且独一无二的奢华之作。 347-957-8354 / info@klarejewelers.com / klarejewelers.com

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于 7 月推出的首个系列为英国晚装带来了独特的视角。其设计专注于毫不费力的轮廓、精致的剪裁以及随身体律动并增强女性曲线的流线型垂坠造型。紧随其后的是今年 9 月推出的第二个系列；同样经过深思熟虑，同样充满匠心。可持续发展是该品牌的创立原则，每件作品均采用在英国境内采购的库存面料开发而成。不仅如此，每一件作品都由设计师本人手工定制。

其结果是打造出一种具有低调奢华感的高端晚装。请前往 www.theelarlabel.com 选购这两个系列，并在 Instagram 和 TikTok 上关注 @the.elar.label。时尚芭莎读者可使用代码 BAZAAR15 享受 15% 的折扣（有效期至 31 / 10 / 26）。

你首先会穿谁的设计？

坦白说：很多内衣给人的感觉就像是为了保持隐形而设计的。它完全忘记了，穿衣的过程应当像是在唤醒你内心深处的女神。总部位于纽约的 Maison ZIFAN 打造高级定制内衣，旨在确保当你穿上它的那一刻，就能感受到自己最女性化且最强大的一面。采用意大利丝绸、瑞士刺绣并手工点缀施华洛世奇水晶，每一件作品都将贴身衣物视为一种深刻的个人仪式，它是女性力量的第一层，也是最核心的一层。因为最终，你的内衣讲述着你的故事，并在其他一切之前，向世界精准地展示你是谁。在 www.maisonzifan.com 探索你最女性化的力量 / Instagram: @maisonzifan

“如果你能在脑海中看到它，你就能将其握在手中。” —— BOB PROCTOR

5D Yoga Loungewear 诞生于一个由韧性、律动和目标塑造的愿景。受贝尔法斯特运动休闲市场空白的启发，该品牌旨在提供兼具风格、品质与意义的高端瑜伽和普拉提服装。由一位移民单身母亲创立，5D 根植于自信、自由、社区和自觉创造。它不仅仅是运动装，更代表了一种心态和一种有意识的生活方式。“5D”这个名字反映了对成长、可能性以及成为最完整自我的信念。这是一个为那些有意识地律动、有目的地着装，并相信能够创造心中愿景生活的人而设计的品牌。

5DYOGALOUNGEWEAR 在 5dyogaloungewear.co.uk 探索更多，关注 @5dyogaloungewear，或扫描二维码浏览系列产品。

自觉奢华：LAYLA SWIMWEAR 的精髓

Layla Swimwear 是慢时尚的化身，为那些既重视风格又重视可持续发展的敏锐人士而打造。设计灵感源自伊比萨岛（Ibiza）的活力精神，并在巴厘岛精心手工制作，每一件作品都体现了工艺水平和伦理生产。我们使用可持续材料，在提供永恒设计的同时，确保对环境的影响降至最低。Layla Swimwear 不仅仅是海滩装，它是一种自觉生活的宣言。在 www.laylaswimwear.com 探索该系列并关注这段旅程。

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JULIA MATHIAS JEWELLERY

探索一个由独立设计和手工打造的专属系列，灵感源自天然宝石的美感与形态。将建筑感与有机感相结合，每一款独特的设计都是独一无二的，采用美丽且不寻常的宝石和镶嵌方式，反映了创作者对设计的热情。除了孤品，还有少量限量版产品可供选择。

探索真正反映你个性的珠宝。 在此购买该系列：www.juliamathias.co.uk 在 Instagram 上关注 @juliamathias44 时尚芭莎读者使用代码 HBJMJ10 可享受 10% 折扣

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探索由 Caroline Joseph Jewellery 打造的手工向日葵珠宝之美，在这里，伦理采购、可持续发展和英国工艺定义了每一件作品。这些精美的 18ct 镀金向日葵吊坠在英国精心打造，每一个复杂细节均完全由手工完成。采用一项专业技术，从废弃的 NHS X 光片中回收纯银，在释放关键医院存储空间的同时，将其价值回馈给 NHS 信托基金。吊坠以 Fairmined Gold（公平开采金）收尾，中心点缀醒目的黑铑，每个吊坠都预留了定制刻字的空间，精致、富有意义且经久耐用。

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EVEYSPRELOVED... 二手奢侈品设计师手袋的信赖之选

探索经过精心挑选的正品奢侈品设计师手袋与珠宝系列，在真正个性化的服务中获得十足的信心。Eveyspreloved 诞生于对奢侈时尚的纯粹热爱，为买家和卖家提供一对一的定制体验。无论您是在寻找一件永恒的经典之作、一件稀有的收藏品，还是希望出售心爱的手袋，Evey 都会在每一步为您提供指导。Eveyspreloved 建立在信任、真实性和卓越的客户关怀之上，通过口碑传播、回头客以及数百条五星好评赢得了忠实的追随者。请访问 eveyspreloved.com 或关注 @eveyspreloved，寻找您的下一款永恒之包。

为热爱生活的现代女性打造的精选时尚

Something Chic 诞生于对永恒风格和随性优雅的共同热爱，旨在帮助女性在生活的方方面面都感到自信。这家精品店提供精心策划的、多功能且高品质的单品系列，旨在超越季节与趋势。从提升质感的日常穿着到出彩的场合礼服，每个系列的选择都聚焦于风格、舒适度和自信心。Something Chic 不仅仅是一个时尚目的地，它致力于激励女性拥抱个性，打造让她们感觉状态最佳的衣橱。扫描二维码探索最新系列。

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有关分类广告的详情，请致电 020 4553 2900 或访问 WWW.HEARSTMAGAZINESDIRECT.CO.UK --- # 时尚芭莎艺术

年度艺术家 萨图·梅措拉 (SATU METSOLA)

直觉、冥想与临在的艺术

萨图·梅措拉 (Satu Metsola) 艺术家 - 芬兰 pic.satu.metsola

在很长一段时间里，萨图·梅措拉完全没有绘画。当她最终回归绘画时，灵感如同一股不间断的浪潮般袭来——一次持续数小时——重新开启了她原以为早已悄然放弃的实践。那一刻标志着她以一种更稳健的方式回归绘画：一种由耐心、自律以及对直觉坚定信任所塑造的回归。

如今，梅措拉的作品以其柔和而鲜明的色彩爆发而著称——这些画作似乎承载着芬兰夏季转瞬即逝的光芒，那是她成长地的风景。在这些明亮的光影表面之下，隐藏着一个更深层的叙事：关于她如何开始将自己理解为一名艺术家的故事。

“当我担任策展人时，我与一位艺术家合作，对方鼓励我也在他们身边尝试绘画，”她回忆道，“我已经很多年没拿起过铅笔了。起初，我感到完全被阻塞了，直到某个瞬间豁然开朗，我连续画了好几个小时。”

在她的工作室里，常规高于自发性。“你在这里看不到任何行动绘画，”她说道，并描述了她经常在画布前坐很长时间才落下第一笔的情况。冥想被融入她的日常实践中，使她锚定在“临在”状态，并允许直觉引领。

“它主导我的决定，”她解释道，“它引导我手的动作——那些我无法总是用理性解释的选择。”

同样这种专注力决定了一幅画何时完成。“我会根据需要一直画下去，”她说，“画作会告诉我何时结束。当它揭示出自己的名字时，我知道它完成了。”她的作品没有一件是无题的；如果作品没有名字，她就知道这幅画尚未解决。

梅措拉的作品在伦敦时装周展出，我们的对话便是在那里展开的。

在你的作品中，是否有一个反复出现的主题、情感或问题？

萨图：我的创作过程漫长且缓慢，我在绘画过程中经历的一切都会被带入作品中。这些画作是抽象的——体验它们没有正确或错误的方式。我经常探讨人类的情感：爱、失去，以及我们与内在和外在世界的联系。我对隐藏在平静表面之下的生活风暴感兴趣。

你的策展人视角如何影响你作为艺术家的实践？

萨图：我非常清楚当前的趋势，但我只画我注定要画的东西——没有表现压力。成为一名艺术家带给我的理解比书籍能提供的更多。许多艺术家发现与我合作很轻松，因为我理解他们的创作过程。我们说着同样的语言。

近期是否有某个时刻改变了你对艺术创作的思考方式？

萨图：在芬兰群岛的一次艺术家驻留期间，我意识到我为自己设定了非常精确的目标，从而远离了自觉的临在。放弃这种控制改变了一切。我的作品变得更加开放，更加自由。接受不完整性至关重要，而意外的邂逅引导我走向了全新的想法。

展望未来，是否有你好奇想要探索的新形式？

萨图：我一直在实验。最近，我在一场当代舞表演中展出了抽象陶瓷雕塑。我的最新系列将油画棒绘画与抒情文本相结合，探索声音、语言和图像如何交织在一起。

最终，梅措拉的实践揭示出其根源不在于确定性，而在于专注。她的作品缓慢展开，由直觉而非预期塑造，并由一种愿意对未知保持开放的态度所引导。无论媒介如何变化，她的方法始终如一：一种对临在的安静承诺，每一个标记、手势或文本片段都成为一种演进语言的一部分。她并不寻求确定性的答案，而是让她的作品为模棱两可留出空间；邀请观众将其视为一种需要去感受，而非去理解的事物。

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[数据参考] 以下原文数字因单位格式转换可能未在译文中完整体现（供参考）：4438800、25000、85000、10210、24425、12000

Harper's BAZAAR

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The Ground Truth image displays a single, solid horizontal line. According to Rule 2 (UNDERSCORE & LINE RULES), this is a stylistic or background line, not a placeholder underscore. Therefore, the OCR result must ignore it and output nothing or only meaningful text. The provided OCR content is "____", which consists of four underscores. This is an incorrect interpretation of the line as a placeholder, violating the rule that stylistic lines must be ignored. The OCR has hallucinated underscores where none should exist based on the GT's visual context. Hence, the OCR result is inconsistent with the Ground Truth.

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BAZAAR

LYDIA SLATER

Editor-in-chief, Harper's Bazaar and Harperbazaar.com/ak

Executive assistant to the editor-in-chief ELLIE HENNIKER-HORN Deputy editor FRANCES HEDGES

Editorial business director CONNIE OSBORNE

Director of operations, Hearst UK SOPHIE WILKINSON

Workflow director CARLY LEVY

Editorial business manager JESSICA BORGES

Acting editorial business manager DELILAH MOSES

FASHION

Group fashion, watches and jewellery director AVRIL MAIR

Bookings director LAURA NICHOLSON

Bookings editor TOM CASEY

Bookings assistant AMELIA GRIMSHAW

Fashion editor HOLLY GORST

Shopping editor GRACE CLARKE

Senior fashion assistant NADYATUOFIQ

Fashion assistants LAURYN DOHERTY, NINA GAHREN WILLIAMSON, GALKLEIN

Acting fashion assistant OLIVIA SANDFORD-WILSON

Fashion intern GLORIA MADENGE

Contributing fashion editors MIRANDA ALMOND, LEITH CLARK,

CRYSTALLE COX, CHARLIE HARRINGTON

FEATURES

Features and special-projects director HELENA LEE

Features editor CHARLOTTE BROOK

Membership director MARIE-CLAIRE CHAPPET

Contributing literary editor ERICA WAGNER

TALENT

Group entertainment director LOTTIE LUMSDEN

Entertainment editor (luxury) OLIVIA BLAIR

Entertainment editor (special projects) and acting entertainment editor (luxury) NICOLA FAHEY

Entertainment booker NATALIE ZANNIKOS

Acting entertainment booker FURVAH SHAH

BEAUTY AND HEALTH

Group beauty director KATY YOUNG

Beauty editor MEDINA AZALDIN

Beauty writer KATIE WITHINGTON

Beauty assistant URMI PANDIT

Beauty intern JENNA WAGGITT

EDITORIAL PRODUCTION

Group chief sub-editor/Production editor, International (Luxury) & Homes DOM PRICE

Chief sub-editors AMY DAVIES-ADAMS, MICHELE JAMESON

Deputy chief sub-editors CAMILLA REDMOND, KIRTEY VERMA

Sub-editors KATIE BAXTER, DINA NAGAPETYANTS,

DANIELLA PARETE CLARKE, FIONAS BUFFLET

ART

Group creative director ZOYA KALEEVA

Art director LISA BARLOW-WRIGHT

Art editor EMILY LORD

Senior designer LILY PICHON FLANNERY

Designers LUCY JACKSON, MIA JUNGREIS

PICTURES

Photography director JESSICA HARRISON

Picture production editor GEMMA ROBERTS

Picture editor ARI HOLLISTER

Picture researcher LEILA FREDRICHSEN

Picture assistant JODY KINDOKI

DIGITAL

Multiplatform director SARAH KARMALI

Acting fashion features editor HANNAH BANKS-WALKER

Multiplatform beauty director AMELIA BELL

Head of social media, luxury AMY BREWSTER

Senior editor, luxury ecommerce ROBERTA SCHROEDER

CONTRIBUTING EDITORS

ELLA ALEXANDER, LISA ARMSTRONG, HANNAH BETTS, RAVINDER BHOGAL, HELENA BONHAM CARTER, MARISSA BOURKE, MARIE-CLAIRE CHAPPET, LAUREN CUTHBERTSON, ELIZABETH DAY, ES DEVLIN, SOPHIE ELMHIRST, HELEN FIELDING, TERESA FITZHERRERT, GALA GORDON, KATY HESSEL, LURAINA HIMID, ANNA MURPHY, JULIET NICOLSON, ANDREW O'HAGAN, JUSTINE PICARDIE, HANNAH RIDLEY, ELIF SHAFAK, SASHA SLATER, NAZANIN ZAGHARI-RATCLIFFE

CONTRIBUTING PHOTOGRAPHERS

CAMILLA AKRANS, LUC BRAQUET, BACHEL LOUISE BROWN, SIMON BROWN, BETINA DU TOIT, DAVID FERRUA, BOO GEORGE, PAMELA HANSON, EMMA HARDY, ERIK MADIGAN HECK, OLIVER HOLMS, KENSINGTON LEVERNE, ALEXI LUBOMIRSKI, KATE MARTIN, THERESA MARX, JEM MITCHELL, ERDEM MORALIOGLU, RICHARD PHIBBS, PIP, AGATA POSFRESZYNSKA, DAVID ROEMER, KARIM SADLI, JOSH SHINNER, PHILIP SINDEN, SOPHIA SPRING, EMMA SUMMERTON, FIONA TORRE, IONA WOLFF, PAUL ZAK

Harper's Bazaar ISSN 0341-0547 is published in the same year by Hearst UK c/o Express Mag, 12 Nipco Way, Plattsburgh, NY, 12901. Periodicals postage paid at Plattsburgh, NY, POSTMASTER: send address changes to Harper's Bazaar c/o Express Mag, PO Box 2769, Plattsburgh, NY 12901-0259. Harper's Bazaar is distributed by Frontline Ltd, Peterborough (917) 5 555 1603. Sole agents for Australia and New Zealand. Gordon & Gorkh (Australia) Ltd. Agents for South Africa. Central News Agency Ltd. Copyright © Hearst Magazines UK, September 2020. Issue No 7/10. We regret that any free gifts, supplements, books or other items included with the magazine when it is sold in the UK are not available with copies purchased outside the UK.

ALEX UNITT

Chief commercial officer

SHARON DAVIES-RIDGEWAY

Portfolio director, luxury

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RALPH

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LAUREN

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Contents

Cate Blanchett wears Louis Vuitton in this month's cover story

ALL OUR SUBSCRIPTIONS INCLUDE INSTANT ACCESS TO THE LATEST ISSUE IN THE HARPER'S BAZAAR APP

For details of how to subscribe, turn to page 54

COVER LOOK Cate Blanchett wears embellished leather cape, matching dress, both from a selection; leather heels, £1,060, all Louis Vuitton. White gold and diamond earring, from a selection, Louis Vuitton High Jewellery Mythica collection. Styled by Charles Varenne. Har by Sam McKnight, using Har by Sam McKnight. Make-up by Val Garland at Streeters. Manicure by Abena Robinson at Agency 41. Photograph by Emma Summerton

STYLE

• 47 THE TREND REPORT Savour all the colour, vibrancy and elegance of the autumn/winter 2026 catwalk shows
• 55 STYLE FILE The designer Susie Cave loves kindness, shoes and Isabelle Adjani
• 57 ASK AVRIL Bazaar's fashion director solves your dressing dilemmas

JEWELLERY

• 59 HIGH PROFILE Scintillating diamonds, rubies and sapphires to add attitude to your eveningwear
• 68 A CHORUS LINE Show-stopping fine-jewellery collections from the world's most prestigious maisons

AT WORK

• 80 A COURT OF HEROWN Brooke Theis talks to the changemaker Eva Omaghomi, an advisor to King Charles and a creator of opportunities for all. Plus: advice and resources to turbocharge your career

TALKING POINTS

• 85 COLOURS OF MAGIC The cultural highlights of the month, including the artist Rachel Spelling's Bazaar-inspired artworks; Gillian Anderson's intriguing horror movie; the starry return of Call My Agent!; and must-read novels for autumn

LIVING

• 97 HEIGHT OF CHIC We take a tour of Elle Peugeot's treasure-trove Paris apartment. Plus: stylish collaborations for the home, featuring Emilia Wickstead, Erdem, Ozwald Boateng and Zoë de Givenchy; and catwalk colour to transform your kitchen
• 107 MODERN LOVE A cornucopia of mid-century pieces to elevate your interiors

PHOTOGRAPHS: EMMA SUMMERTON, ERK MADIGAN HECK

32 HARPER'S BAZAAR September 2026

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SEPTEMBER 2026

FEATURES

110 WOMAN OF PARTS Our cover star Cate Blanchett tells Sasha Slater about fashion as performance art and her return to the National Theatre 160 DIVINE TIMING Alessandro Michele on following in the footsteps of the great Valentino 170 JOHN DONNE AND OTHER CATWALK ICONS The author Katherine Rundell reveals how literary figures of the past inspire her wardrobe choices

FASHION

128 WILD AND FREE A 32-page portfolio featuring the most covetable looks from the A/W 26 collections

BEAUTY

176 BOHEMIAN RHAPSODY The make-up artist Peter Philips summons the spirit of the 1970s with glorious greens and gold 185 WHAT KATY DOES Bazaar's beauty director shares her expert advice 186 THE BEAUTY EDIT Our favourite gadgets, from an LED face mask to a hi-tech hairdryer 187 BEAUTY MOODBOARD Parfumier par excellence Oliver Polge on his latest zesty fragrance

ESCAPE

190 JUST THE TWO OF US Douglas Booth and Bel Powley's heavenly Maldives honeymoon 194 TIGER COUNTRY Lydia Slater heads to India in search of the enigmatic big cats 196 ANIMAL MAGNETISM Beatrice Aidin's Serengeti safari 198 INSIDER'S GUIDE Designer Huishan Zhang on Qingdao

REGULARS

40 EDITOR'S LETTER 44 CONTRIBUTORS 202 FLASH! London's hottest parties 218 WHY DON'T YOU... sample the fruit of the gods, courtesy of Chanel?

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Editor's letter

SEPTEMBER 2026

If you're anything like me, you will find it a challenge to switch your wardrobe seamlessly from holiday mode to meet the demands of the new fashion season. After months in sandals, my feet shrink from high heels, my sun-dried hair is in a state of permanent frizz and the prospect of a waistband seems

unacceptably constricting.

Fortunately, Bazaar's September issue has come to my rescue, covering everything I need to know to be back in the swing of things: we have trend reports on fashion (from page 47), beauty (from page 175) and jewellery (page 59), culminating in a 32-page fashion shoot featuring highlights of the latest collections (starting on page 128). Meanwhile, on page 160, the multi-talented designer Alessandro Michele, now reinventing the house of Valentino, gives a rare exclusive interview on his process to Alexander Fury; then on page 170, the bestselling author Katherine Rundell explains her own idiosyncratic fashion philosophy.

And, of course, our cover star Cate Blanchett is as used to winning best-dressed accolades as acting gongs. Fashion, she tells us, 'is a performance art, with an emphasis more on performance than art', and she demonstrates both in an extraordinary shoot by Emma Summerton, in which she plays multiple roles and is photographed in dialogue with herself as well as with us. Looking at the story, I was reminded that the first

rule of fashion is that it should be playful rather than painful – so I'm diving back into my wardrobe with fresh enthusiasm.

LYDIA SLATER EDITOR-IN-CHIEF

Cate Blanchett wears Jean-Paul Gaultier and a headpiece by Stephen Jones. Military in this month's cover story (page 110)

£3,250, Valentino at Net-a-Porter

EDITOR'S CHOICES

Having resolved to have more fun with fashion, I'm leaning into Michele's Valentino, in which elegance is spiced with a touch of wit and whimsy.

From a selection, Chanel Watches

THIS MONTH, I ENJOYED...

Bazaar's Wellness At Sea cruise on Cunard's Queen Anne The vibrant Frida Kahlo exhibition at Tate Modern Lying in a hammock, gazing at the sky

BAZAAR Harper's PRIVÉ

JOIN THE CLUB: APPLY NOW TO HARPER'S BAZAAR PRIVÉ

Our exclusive community brings you inside the magazine for invitation-only dinners, elegant parties, private art and literary events and high-level discussions, alongside a dynamic and like-minded group. To apply for membership and find out more, simply scan the QR code.

PHOTOGRAPHS: EMMA SUMMERTON, RICHARD PHIBBS

40 HARPER'S BAZAAR September 2026

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Contributors

C A T E

B L A N C H E T T

As the star returns to the London stage for a thrilling dual-role performance in the new play Electra/Persona at the National Theatre, she sits down with Sasha Slater to discuss acting, AI and academia. What do you wear to feel powerful? 'I take my shoes off. I feel much more grounded when I'm barefoot.'

Your best fashion investment 'With my first paycheck, I bought an Armani suit that I still have and wear.'

Who is your style icon? 'Diana Vreeland.'

What's your aperitivo order? 'Sake and olives.'

To find inspiration, I...

'go for a walk. When I arrive somewhere new, I have to get out and explore.'

R A C H E L

S P E L L I N G

As part of an exciting new collaboration with Harper's Bazaar, the artist has delved into our archives to create an exclusive print titled Shades of Flat and Lustre Finishes. In Talking Points, she shares her journey from mural painter to miniaturist, as well as a first glimpse of the work.

What do you wear to feel powerful? 'I have a black blazer from the 1940s that fits perfectly. Anything feels possible when I wear it.'

Who is your style icon? 'Juliette Binoche.'

What's your aperitivo order? 'A spicy margarita.'

To find inspiration, I... 'get up early on a Sunday and go to a car-boot sale. It's bliss and floods me with new ideas.'

M E G M A S O N

Already established as a novelist in Australia, the New Zealand-born writer Meg Mason made a global splash with Sorrow and Bliss. She talks to our literary editor Erica Wagner about her next novel, out this month.

What do you wear to feel powerful? 'High-waisted trousers in a structured fabric. Anything drapey makes me feel strangely fatigued.'

Your best fashion investment 'With my first book advance, I bought a Jérôme Dreyfuss Billy bag, which I still love.'

What's your aperitivo order? 'A coupe of Taittinger (flutes are so awkward), then another straight afterwards.'

To find inspiration, I... 'walk around London, letting myself take any street that looks interesting.'

E V A O M A G H O M I

A culture strategist and communications expert, Omaghomi spent 17 years as an adviser in the Royal Household. Last year, she left her post there to found her own consultancy, Forster Jones & Associates, as well as Brand63Africa, a platform for luxury African fashion. In At Work, she discusses her varied career and future.

What do you wear to feel powerful? 'My hair has to be on point. I have natural Afro hair and it's part of the outfit.'

Your best fashion investment 'A school friend of mine called Bethlehem Teshome made me a deep-red kimono-style cardigan in Italian mohair about 20 years ago, and it has lasted so long. People still ask me where I got it.'

Who is your style icon? 'My mother and grandmother. They looked phenomenal.' What's your aperitivo order? 'A rum punch and spicy nuts.'

To find inspiration, I... 'travel and people-watch.'

WORDS BY CHARLOTTE BROOK PHOTOGRAPHS: EMMA SUMMERTON, PHILIP SINDEN, ANNE FEEFERS, MARIANO VIVANCO, FABIO LOVINO, COURTESY OF ELLE PEUSZOT, COURTESY OF DOUGLAS BOOTH AND BEL POWLEY, PAWEI PYST.

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SEPTEMBER 2026

A L E S S A N D R O

M I C H E L E

The Italian fashion visionary led Gucci into a dazzlingly maximalist era during his tenure at the helm of the house; now, as the creative director of Valentino, he's establishing another startling revival of a legacy brand. Alexander Fury speaks with him inside the brand's Roman headquarters.

What do you wear to feel powerful? 'Nothing, because I'm not sure the word "powerful" really belongs to me. I believe in a beautiful pair of comfortable shoes for a long, lovely walk.'

Your best fashion investment 'My very old Hermès Kelly bag.'

Who is your style icon?

'[The 1926 novel by Luigi Pirandello] One, None and a Hundred Thousand.'

What's your aperitivo order? 'Blueberry juice.'

To find inspiration, I... 'live.'

E L L I E P E U G E O T

After a career as a human-rights lawyer in London, Peugeot moved to Paris and carved out a surprising second act as an interior designer, specialising in high-end residential projects within historical buildings. In our Living section, we peek inside her own Paris apartment.

What do you wear to feel powerful? 'My Dior Bar jacket. On the days I need strength, it does the heavy lifting.'

Your best fashion investment 'A good tailor. I buy quite a bit of vintage and the hunt is half the pleasure.'

What's your aperitivo order? 'A pisco sour.'

To find inspiration, I... 'used to visit fine-furniture auctions in the UK. I told myself it was research. Eventually, I made this habit my career.'

B E L P O W L E Y

A N D D O U G L A S B O O T H

The acting couple first met on the set of the 2016 film Mary Shelley and married in 2023; after a two-year delay, they headed to Soneva in the Maldives for their honeymoon. In 'Just the two of us' they recount their long-awaited romantic escape.

What do you wear to feel powerful? DB: 'A clean pair of pants is always a good start.' Your best fashion investment

BP: 'A vintage Versace navy wool-silk blazer. I have a lot of blazers, but this is the one! I wear it almost daily.'

Who is your style icon? BP: 'Charlotte Rampling.'

What's your aperitivo order? DB: 'A dirty martini before dinner, no snack. A martini with a twist after dinner.'

K A T H E R I N E

R U N D E L L

A bestselling author whose novel Impossible Creatures won the Children's Fiction Book of the Year in 2024, Rundell has also published a biography of John Donne, on whose work she wrote her doctoral thesis. She is a Fellow of St Catherine's College, Oxford, and can occasionally be found climbing across the city's rooftops. In this issue, she reflects on the enduring relationship between literature and fashion.

What do you wear to feel powerful? 'My grandmother's engagement ring. She was brilliant and ferocious.'

Your best fashion investment 'A black greatcoat by Margaret Howell. It reconciles me to bad weather.'

Who is your style icon? 'James Baldwin.'

What's your aperitivo order? 'Whisky sours and popcorn.'

To find inspiration, I... 'read John Donne.'

September 2026 HARPER'S BAZAAR 45

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Vivienne Westwood

Vivienne Westwood AW2627 photo by juergen teller

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BAZAAR

style

EDITED BY

GRACE CLARKE

The trend report

A new mood is sweeping across the fashion landscape, one that is beribboned, embellished and lots of fun. It's time to say yes to excess

PHOTOGRAPH: ANTI

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STYLE

CLOSE FITTING

Sharp shapes are the order of the day. Crisp, clean lines and tailored style always look chic: simply transition from pretty floral prints and cropped trousers to cuffs, collars and waistcoats as the season changes.

PHOTOGRAPHS: GETTY IMAGES, MAXTREE

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BOTTEGA VENETA

STELLA McCARTNEY

FRINGE BENEFITS

Nothing says drama like a touch of tassel: go for gold like Schiaparelli, or embrace an outré accessory courtesy of Stella McCartney.

GIVENCHY BY SARAH BURTON

SCHIAPARELLI

JACQUEMUS

September 2026 HARPER'S BAZAAR 49

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STYLE

EXTRA EXTRA

This season's catwalks had beads, sequins and embellishment galore. Bedeck yourself in ribbons à la Simone Rocha, or take your cue from Celine and treat fashion as armour, styling top-to-toe chainmail with a trench for a bold day-to-night look.

THE GLOVES ARE ON

Make every event feel like a night at the opera when you model a maxi glove with a coat or evening gown.

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PHOTOGRAPHS: GETTY IMAGES, INAATREE

FLAPPER FORWARD

Dropped waists, dramatic skirts and sleek silhouettes put a modern twist on the aesthetic of the Roaring Twenties. Play with proportions by layering an oversize blazer over a fringed or pleated skirt.

September 2026 HARPER'S BAZAAR 51

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STYLE

CHECKMATE

An angular approach was in evidence at the shows, with bold geometric lines giving extra emphasis to strong, generously cut outlines.

52 HARPER'S BAZAAR September 2026

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STYLE

STYLE FILE

SUSIE CAVE

The designer sips jasmine tea, douses herself in rose oil and can't stop buying shoes

My style signature is... topping and tailing. Black shiny hair and black patent shoes.

The brands that best represent my style are... Susie Cave Weddings & Funerals and white Dickies overalls.

My style icon is... Isabelle Adjani, especially in L'Eté meurtrier (One Deadly Summer). Everything about her in that film has stayed with me: the way she looks, the costumes, the atmosphere, her wildness, her vulnerability.

My best fashion investment is... shoes. Whether I'm dressed up or down, if I'm wearing a beautiful pair of shoes, I always feel my best, no matter what else I have on.

The item in my wardrobe that I couldn't live without is... Niparons nipple covers. I wear them instead of a bra because I find bras so uncomfortable. I love to feel free!

My signature scent is... rose oil. Kylie Minogue always smells beautiful because she wears it too.

The greatest style advice I ever received... 'Head held high and fuck 'em all.' It was my mother-in-law's mantra.

The piece of jewellery that means the most to me is... my wedding ring. It hasn't left my body since the day of the solar eclipse, back when we got married in 1999.

My most used beauty product is... anything by Officina Santa Maria Novella. I've been devoted to the brand for as long as I can remember. Nick adores it too.

On my bedside table I have... bioidentical hormones.

The last book I read was... Chéri by Colette – my hairdresser recommended it!

The rule I live by... Be kind. Always.

My favourite work of art is... any of my husband's beautiful ceramics. I also love everything by Thomas Houseago: he's a dear friend and has given us wonderful works over the years we've known him, particularly an owl sculpture that I treasure.

I have a collection of... shoes, many of them rare pairs from designer friends: Vivienne Westwood, John Galliano, Haider Ackermann. Whenever Nick wants to buy me a present, I ask for shoes, and he always says: 'Oh no, not again.'

The last thing I bought and loved was... an Alaïa handbag. In my opinion, Azzedine Alaïa was the greatest designer.

The indulgences I can't live without are... jasmine tea, milk chocolate and my husband.

The place that means most to me is... my bed. My favourite ritual is to have a bath, cover myself in body oil while my skin is still damp, climb into the crisp white cotton sheets and fall asleep.

'Susie' by Nick Cave, with photographs by Dominique Issermann (£35, Thames & Hudson), is published on 16 September.

PHOTOGRAPH: SUE SUNZEBO

September 2026 HARPER'S BAZAAR 55

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JOIN THE CLUB

Your chance to become part of Harper's Bazaar Privé, our growing community of visionary women

The past few months have been busy for Harper's Bazaar's membership club. From our glamorous soirée at Rosewood London in June to an afternoon of opera and picnicking at Glyndebourne in August, we have enjoyed a host of exclusive experiences in the company of like-minded women. Join now to gain access to our autumn events programme, including our London Fashion Week celebration, Power Salon series and the famous Bazaar Art party.

BAZAAR Harper's PRIVÉ

APPLY FOR MEMBERSHIP OF HARPER'S BAZAAR PRIVÉ

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PHOTOGRAPHS: OLIVER HOLMES, HEATHER CHILTER, IONA WOLFF, NATALIE MARTINEZ

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STYLE

ASK AVRIL

Our fashion director Avril Mair makes light work of your wardrobe quandaries

Do I really need a wardrobe refresh just because it's a new fashion season? The short answer is no. Normalise rewearing the things you like again and again. If you buy well and wisely, this should build a wardrobe that lasts – it also means that you're never panicked by an invitation or dress code. I pick up things I love when I see them, not when I need them, so I always have something to wear and never succumb to a last-minute Zara dash. My shopping is split evenly between vintage, designer and high street, but I'm constantly looking for pieces that will stand the test of time. Styling is how you make things feel fresh: sometimes a new accessory can transform everything, particularly if it's a bit unexpected or, as fashion folk like to say, 'off'. For A/W 26, I plan to invest in a pair of red Chanel heels that match nothing so will go with everything – scarlet is the colour of the season.

I've just started a new job where my office is considerably smarter. Can you suggest some workwear to invest in? More than anything, the key is to feel comfortable in yourself. What you want is a sense of ease, but also some structure: a fitted jacket with loose satin trousers; a one-and-done dress; a midi-skirt with a short-sleeve jumper. Whatever your style, you can adapt it to workwear. On the high street, COS and Jigsaw are brilliant at office-appropriate clothes – and don't forget M&S, especially for shoes. At a slightly higher price point, Me + Em and the Fold excel at tailoring, both in interesting colours and neutral shades. These cropped palazzo pants (pictured, right) could be worn in a dozen different ways.

I've set aside savings for a new handbag, but I don't know where to start: it needs to be functional yet chic, and look good for years to come. What should I buy? Rather than opting for big-logo luxury, turn your attention towards the Brits. We have quite a reputation for well-crafted, fairly priced purses – helpfully, many of these brands have been championed on the international stage by Catherine, Princess of Wales. You should know Strathberry

already, but there are others: DeMellier, Métier, Aspinal of London and, of course, Mulberry. With Christopher Kane as the new creative director and a LFW show scheduled for September, it's time to reconsider the iconic Bayswater bag.

I'd love a statement skirt for autumn. Are there any good high-street options? Fashion's maximalist mood comes courtesy of Matthieu Blazy at Chanel, whose collections are infused with an infectious sense of joy. It's a total vibe shift and everyone wants in. Alas, it's yours at significant cost. If you can't quite invest in his major midis, look to H&M, or else All Saints, whose tiered asymmetrical skirts are a perennial favourite. The brand has just appointed the young east-London talent and LVMH Prize finalist Aaron Esh as chief creative officer, so expect more catwalk-adjacent looks soon. □

PHOTOGRAPHS: MAXTRIE

September 2026 HARPER'S BAZAAR 57

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BAZAAR

jewellery

EDITED BY AV BILL MAIR

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High profile

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September 2026 HARPER'S BAZAAR 61

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September 2026 HARPER'S BAZAAR 65

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A CHORUS LINE

Note-perfect gemstones strike a harmonious chord

In Cartier's high-jewellery collection Le Chœur des Pierres, everything centres around superlative stones. From Colombian emeralds to uniquely shaped diamonds and sparkling topazes, gems are the focus and inspiration. 'Each is an encounter, an alchemy that resonates with our vision and our quest for the Cartier ideal,' says the director of high-jewellery creation Jacqueline Karachi-Langane. 'The creation serves the stone, revealing its nuances, its brilliance, its sparkle and its inner vibration.' The collection spans 125 pieces, requiring more than 85,000 hours of work. In the masterpiece pictured here – the Haryma necklace – a jewelled tiger prowls over five glorious imperial topazes. AVRIL MAIR

Necklace, from a selection, Cartier Le Chœur des Pierres collection

68 HARPER'S BAZAAR September 2026

PHOTOGRAPHIC COURTESY OF CARTIER, GETTY IMAGES

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JEWELLERY

REIN AND SHINE

These gleaming Hermès creations take inspiration from the house’s equine motifs

A high-jewellery collection titled Into the Horsescape could only be imagined by Hermès. With a great deal of wit and an equal amount of savoir-faire, the label’s creative director of jewellery Pierre Hardy offers a sophisticated, self-assured ode to the maison’s spirit animal. ‘Its symbolism lives within each piece,’ he says. Glittering and graphic, the 90-strong collection – his ninth for the house – juxtaposes utilitarian objects, from saddles to stirrups, with precious stones and delicate handiwork. An extraordinary bracelet features ends with hooves in baguette-cut diamonds and black spinels. And there is, of course, a horse: an articulated ring designed to sit over the finger, created in white and brown diamonds with pink opal and yellow gold. AM

All pieces, from a selection, Hermès into the Horsescape collection

PHOTOGRAPHS COURTESY OF HERMÈS

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JEWELLERY

MAGICAL THINKING

Dior conjures an otherworldly universe with turquoise and emerald blossoms

Exquisitely presented in a catwalk show at the Palazzo del Casinò, featuring 20 exclusive couture looks created by Jonathan Anderson, Diorissima is a high-jewellery spectacle worthy of its Venetian setting. Designed with masterful audacity by Victoire de Castellane, the artistic director of Dior Joaillerie, the 141-piece collection mixes abstraction and naturalism, exploring three extraordinary worlds: lush greenery, aquatic depths and celestial constellations. The pieces are crafted using the doublet technique, which involves layering one jewel over another, bringing the designs to glittering life. AM

Earrings, bracelet, brooch, all from a selection, Dior Haute Joaillerie Diorissima collection

PHOTOGRAPHIC COURTESY OF DIOR, THE NEW YORK PUBLIC LIBRARY/UNISPLASH

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PHOTOGRAPHS COURTESY OF LOUIS VUITTON

September 2026 HARPER'S BAZAAR 71

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JEWELLERY

LA GRANDE BELLEZZA

A paean to Rome, this Bulgari presentation draws on the city's eternal allure

Bulgari's ambitious new high-jewellery presentation Eclettica is an exercise in audacious imagination. Subtitled 'A Living Dialogue with Art', it takes inspiration from sculpture, painting and architecture to offer 150 pieces created with spectacular gems. 'Rome is a place where centuries of art co-exist and constantly generate new beauty. Eclettica distils this spirit,' says the CEO Jean-Christophe Babin. At the heart of the collection are nine masterpieces: this is the Secret Garden necklace, evoking the city's hidden courtyards and featuring a rare 26-carat pink-orange sapphire, while the Incontro Segreto ring is influenced by Francesco Hayez's painting The Kiss, with its pairing of an eight-carat diamond and a five-carat emerald. AM

Necklace, ring, both from a selection, Bulgari High Jewellery Eclettica collection

PHOTOGRAPHIC COURTESY OF BULGARI

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EARTHLY DELIGHTS

Bees buzz and saffron crocuses bloom in Chaumet’s glittering vision of paradise

Titled A Journey Through Nature, Chaumet’s bewitching new high-jewellery collection is a vibrant tribute to the botanical world. It’s a fitting theme: the French maison, known since its founding in 1780 as the naturalist jeweller, cares deeply about the environment and works with wholly traceable raw materials and ethically sourced stones. The result is a series of beautifully conceived, colourful designs, among them 25 brooches featuring bee and honeycomb motifs, and seven pieces that pay tribute to saffron, executed in yellow diamonds and enamel. AM

PHOTOGRAPHS COURTESY OF CHAUMET, EUROPEAN/UNISPLASH

September 2026 HARPER'S BAZAAR 73

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NEST EGGS

Tiffany's latest offering is a feathered fantasia of colourful jewels

A celebration of nature in full bloom, Hidden Garden is the new chapter in Tiffany & Co's Blue Book, an enchanting collection that portrays verdant secret worlds. Created by the chief artistic officer Nathalie Verdeille, it pays homage to the brilliance of the maison's legendary designer Jean Schlumberger through scintillating motifs of flora and fauna. A series of brooches reimagine the famous 1965 Bird on a Rock design, each featuring a fantastical creature perched atop a precious gemstone. AM

PHOTOGRAPHS COURTESY OF TIFFANY & CO. GETTY IMAGES

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JEWELLERY

LUCK BE A LADY

Van Cleef & Arpels' signature charm gets a feminine update in pretty pink

Few pieces of jewellery are as iconic as Alhambra. Van Cleef & Arpels launched its four-leaf-clover symbol in 1968 and it has since become the maison's lucky charm, constantly reinvented with different materials, from onyx to porcelain. Catherine, Princess of Wales has walked the red carpet in a mother-of-pearl version; now, there is a new iteration featuring translucent pink enamel, enlivened with tiny bubbles that offer an unusual depth. The result of years of research and development, the set includes two necklaces, a pendant, a bracelet and earrings. 'Thanks to our workshops' capacity for innovation,' says the brand's president and CEO Catherine Rénier, 'enamel brings an original aesthetic and shade to the Alhambra universe.' AM

M

Necklace, enamel, both from a selection, Van Cleef & Arpels' signature collection

PHOTOGRAPHS COURTESY OF VAN CLEEF & ARPELS

September 2026 HARPER'S BAZAAR 75

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JEWELLERY

RELIGIOUS ECSTASY

Spiritual symbolism is at the heart of Dolce & Gabbana's Sicilian masterpiece

Presented in the San Domenico Palace in Taormina, once a Dominican convent, Dolce & Gabbana's Divina Devozione Siciliana collection is inspired by centuries of piety. The Sacred Heart necklace, seen here, transforms one of the island's most beloved devotional motifs into an emotional and profoundly personal expression of alta gioielleria that represents the convergence of faith, memory and beauty. Crafted in white and pink gold, it features a pendant with pink and rubellite tourmalines and rubies, alongside round and pear-shaped brilliant-cut diamonds. AM

Necklace, from a selection, Dolce & Gabbana Divina Devozione Siciliana collection

76 HARPER'S BAZAAR September 2026

PHOTOGRAPHS COURTESY OF DOLCE & GABBANA, THE NEW YORK PUBLIC LIBRARY, 1962-1964

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BAZAAR Harper's Studio Spelling

Introducing Shades of Flat and Lustre Finishes (2026) by Rachel Spelling – a 40 x 66cm artwork for Harper's Bazaar that will be revealed over the next three issues and will be available to buy in a limited edition of 300 prints.

ON SALE 8 OCTOBER – SCAN THE QR CODE TO SIGN UP FOR PRIORITY ACCESS

PHOTOGRAPH: PHILIP SINDEN

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BAZAAR

at work

EDITOR IN MARIE CLAIRE CHAPPET

Head space

The strategic-communications leader and former Royald household advisor Eva Omaghomi on relationship-building, entrepreneurship and the power of storytelling.

Plus the pivotal role of language degrees in the modern working world.

Section jacket: #1490, poetry, music, food, education, period of BAZAAR, H&M, cover earrings, #440, VSC, #8, eda-bed, J.S. & STRATHBERRY, long-stylist's own.

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A COURT OF HER OWN

For nearly 20 years, Eva Omaghomi worked at the heart of the Royal Household, helping the monarch-in-the-making command public attention. Now, she tells Brooke Theis about expanding her influence beyond the palace walls

IT IS RARE FOR EVA OMAGHOMI TO STEP INTO THE SPOTLIGHT. Instead, she has built a career advising those who are already there. From royalty and cultural figures to business leaders, her clients look to her for expertise on forging meaningful connections on a global scale.

When we speak, she has just finished working on the second edition of SXSW (South by Southwest) London, where she is chair of the advisory council, assisting with charitable partnerships and increasing the festival's social impact. One keynote speaker was Michelle Obama, who discussed her working life, in which she has 'swerved' between different roles, including lawyer, Flotus and podcaster. 'Having her there was a dream come true,' says Omaghomi, 'and her story was very encouraging to hear for those of us who have pivoted into new areas of life.' Just last year, Omaghomi made a major professional move herself, establishing her communications consultancy Forster

Jones & Associates, named in tribute to her maternal grandfather, while back in February, she launched Brand63Africa, a pioneering UK platform for luxury-fashion brands from Africa and the diaspora.

The decision marked a sidestep away from two decades at the highest levels of public service. After a stint serving in the office of the then Mayor of London Ken Livingstone – during which she worked on the city's successful Olympics bid and helped navigate the aftermath of the 7/7 bombings – Omaghomi joined the Royal Household, where she stayed for 17 years. During her tenure, she orchestrated many significant moments in the future King's public life, including state visits to more than 70 countries, diplomatic engagements with world leaders such as Barack Obama and Xi Jinping, and initiatives aimed at strengthening the monarchy's relationship with diverse audiences across Britain and the Commonwealth. In 2021, she became the first

80 HARPER'S BAZAAR September 2026

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AT WORK

director of community engagement to the then Prince of Wales, later advising on the King and Queen's coronation in 2023.

Omaghomi's international outlook is integral to her work. She was born in Lagos, Nigeria, and relocated to the UK while in primary school. 'My parents met and went to university here, so the UK has always been a part of my life,' she says. 'Moving here moulded the way that I thought about culture and fitting in. It made me want to study how people mix and interact.' She earned a degree in anthropology at the University of East London, before completing a master's in the anthropology of media at SOAS. It's a passion she shares with the King, who studied archaeology and anthropology at Cambridge – a parallel that was significant to Omaghomi in her role. 'That idea of trying to meet unmet needs and understand how people engage was a great impetus for me to stick around,' she says.

As the global strategic adviser to the King's Trust International (formerly the Prince's Trust), Omaghomi outlined an approach that helped transform the company into a philanthropic force across 25 countries. Under her stewardship, the Trust secured more than £1 million for its African initiatives and partnerships with brands such as CNN and Charlotte Tilbury. She also worked on Windrush 75 and the Palace's inaugural reception to celebrate the British East and South-East Asian communities, both in 2023, as well as The King's Music Room in 2025, a radio broadcast in collaboration with Apple Music that presented a playlist of songs from across the Commonwealth chosen by King Charles. 'These were all in keeping with things that the King had done before as Prince of Wales,' Omaghomi notes. 'It was really about articulating that in a particular portfolio.' This shows the power of thoughtful storytelling: shaping how others understand an organisation can be as necessary as the work itself.

For most of us, a senior role at the Palace would represent the pinnacle of a career. For Omaghomi, it has been a springboard to her second act – proof that professional reinvention with your existing skills can be a leap worth taking. 'Relationship-building has been a huge part of the work that I'm doing – and my reputation,' she says. 'People remember the work that you did years ago. There's a saying, 'How you do one thing is how you do everything.' As a result, Omaghomi has never had to pitch to a client; each one has approached her directly. This she attributes to 'credibility over time' – a lesson in the importance of playing the long game. 'It is about keeping the stuff that you're told in conversation to yourself.' Idris Elba is now on her roster, and she continues to advise King Charles on community engagement matters (she recently executive-produced a forthcoming Netflix documentary in which the King and Elba, a former beneficiary of the King's Trust, trace its impact over its 50 years).

While the shift from public service to entrepreneurship might appear significant, Omaghomi says the motivation behind her work remains unchanged. 'The idea comes from asking: what is the multigenerational impact that you want to have? What do you want people to say about you when you're no longer here?' The main difference, she says, lies in 'deciding what you will and won't

do; which clients you will and won't take. You want to ensure that you align in your thinking.' So far, she has resisted pressure to scale the business further. 'I want it to stay boutique because the challenge is ensuring that we have the time required for long-term vision-building and multigenerational impact.'

One area in which Omaghomi has sought to make a tangible impact is championing African fashion brands. 'I started wearing more, thanks to people in my community, like Omoyemi Akerele, the founder of Lagos Fashion Week, pointing out designers to me,' she says. Then, a photograph of her attending King Charles' Coronation in a hot-pink look by the Ghanaian label Duaba Serwa went viral. 'People were saying that having something innovative and representative of African fashion in that space was very special,' she remembers.

The moment highlighted the significant potential for African designers within the British fashion industry and their ability to shift perceptions of sartorial luxury. Subsequently, the Circular Bioeconomy Alliance commissioned research into how opportunities for African fashion brands in the UK market could be strengthened. Prompted by their findings, Omaghomi established Brand63Africa – named after the African Union's founding year, 1963 – at London Fashion Week in February this year. Its inaugural cohort comprised five brands: Abiola Olusola, Studio Namnyak, the Cloth, Sukeina (which counts Naomi Campbell and Amal Clooney as fans) and Christie Brown (whose designs have been worn by Beyoncé). 'I'm not an expert in fashion,' Omaghomi says matter-of-factly. 'But I like clothes and what they say about culture – and I'm very good at giving people access.' Indeed, Brand63Africa launched with an exclusive retail partnership with Harrods, meaning the platform's designers will be stocked in-store this autumn. 'Where other people will not ask, I will – and sometimes it's a 'yes'.'

Many of us miss opportunities through self-censorship, but Omaghomi's success is a testament to the benefits of being bold. It has carried her across institutions and industries, driven by a desire to create chances that might not otherwise present themselves. 'I would like to be defined as someone who gave access when people thought there wasn't any,' she says. 'I want people to say, 'She was brave enough to ask, and then to open the door herself.''

'I like clothes and what they say about culture – and I'm good at giving people access'

STYLING BY ADAM PAUL PHOTOGRAPHS, MARIANO VIVANCO, ERNEST SIMONS

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REPORT

LOST IN TRANSLATION

Linguists could fill the AI-powered workplace's biggest gaps

BY HELENA LEE

MODERN AND ANCIENT LANGUAGES HAVE HAD AN IMAGE problem for a while. As we experience a technology-led industrial revolution, Stem subjects have remained ever popular. Forty-six per cent of all A-Level exams taken in 2025 were Stem related, while a 2025 report by the Higher Education Policy Institute uncovered a 'catastrophic' decline in language learning: there have been more A-Level entries for physical education than for French, German and the classical languages combined. Cardiff University's modern-languages department has halved in size and, last November, the University of Nottingham put forward proposals to stop offering language degrees, reflecting the perception that job opportunities are dwindling for those without science-based qualifications.

Yet our workforce may be underestimating the skills acquired by those able to master languages. Charlotte Ryland, who founded the Queen's College Translation Exchange (QCTE), based at the University of Oxford, believes that the benefits of a linguistic mindset reach beyond the ability to communicate. She argues that problem solving, empathy, collaboration and resilience – proficiencies developed through language education – are essential to the world of work. 'The law firms and consultancies we talk to are looking for a broad range of skills – but in particular human connection,' Ryland explains. 'It's about how you interpret what people are saying and read between the lines.'

With QCTE, she works at both a grassroots and policy level. For the latter, she supports a cross-government languages group, running projects connecting researchers with policymakers, and is the brain behind the 'Think like a Linguist' campaign. Ryland argues that the risk-taking involved in having to speak a different language, and the confidence gained through doing so, prepares students well for working life.

The BBC broadcaster and journalist Vick Hope agrees. As a teenager, she taught herself Spanish, and went on to read modern languages at the University of Cambridge. For her degree, she spent a year abroad in Buenos Aires. 'I was stepping out of my linguistic comfort zone. It took a while to get to the point where I didn't have to do the translation in my head,' she recalls. 'The experience wasn't just about translating word-for-word, but about interpretation. Interpersonal skills are an important part of a job in any industry.'

AI tools now translate with a higher degree of quality: for instance, some have the ability to do so simultaneously, while others are more sophisticated in going beyond the literal. This poses a further threat to linguists' employment prospects, and to the value society places on language learning.

Ryland thinks that, rather than hiding away from the

advances, linguists are best placed to meet them head on; after all, understanding cultural context and nuance is key. 'Linguists are very careful and critical readers,' she says. 'They will be the ones who can navigate an AI world most effectively, especially as the technology becomes more empathetic.'

The tech-education pioneer Kathryn Parsons, who studied classics at Cambridge University and taught herself Mandarin and Japanese, concurs. 'The ability to "decode" is a unique skill that linguists hone: to think critically about source material, to understand information within different cultural contexts and horizons, and then to bring it alive in a meaningful way – literally, to give information meaning,' she explains. 'How many times have you heard a technical person explain a concept and completely miss what makes the technology meaningful, profoundly understood or merely understood in its simplest terms?'

And this applies not just to live languages, but to the study of culture, history and the language of past societies. 'I think AI poses really big questions for the future of human civilisation, which has depended on human learning,' she says. 'But what does it mean to be human in a world where machines can learn better than us? AI is not just a language and technology but a civilisation issue. That's why Classicists are brilliantly placed to be at the intersection of those worlds; to translate and guide us through this profound moment of change.' So, on your next recruitment drive, don't fall into the trap of overlooking linguists: they may well provide the future-proofing you need. □

82 HARPER'S BAZAAR September 2026

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AT WORK

HOW I GOT HERE

SULTANA TAFADAR

The King's Counsel barrister shares her path to the top of the legal profession

Since childhood, I wanted to be a lawyer. I watched a lot of legal and political-intrigue dramas, and I always saw law as a tool to bring about fairness and equality.

My first job was working for the National Opinion Poll. It was akin to a call centre – where we'd ring people and ask them for their opinions.

Getting pupillage was my major break. It's the 12 months of training you do to get a certificate to practise as a barrister. There are thousands of applications and only a few hundred spots across the entire profession every year.

It's hard building a practice. I'm an Asian woman and I wear a hijab; I've experienced discrimination as a result, and I still grapple with it all. Once you take silk and you become King's Counsel, that doesn't fizzle out. In some ways, the higher you rise in the profession, the more challenges you face, because there are fewer people like you in that space.

My specialist area is terrorism and national-security work. The first big case I worked on was the 7 July bombings in 2005. I really wanted to cut my teeth and learn how to cross-examine in front of juries. I approached the solicitor for two of the defendants, Imran Khan, and trying my luck, I said: 'I thought you might need a junior to stand in.' I ended up staying for a significant part of the case.

Terrorism cases are interesting from multiple dimensions. We work on the basis that people are innocent until proven guilty. I feel strongly about the right to a fair trial, and believe everybody should have representation irrespective of what they're accused of. The system only works if you have good

prosecutors and good defenders, and you hope justice prevails. Becoming King's Counsel felt like the work of a lifetime. I wanted to be among the best, and sometimes you think: 'Will I ever get there?' Then, once you do, you ask yourself: 'Now, what can I do to lift others?' Because I'm in a position where I can bring about real change.

I don't really see failure as failure. I see it as a temporary glitch. If I set myself a particular goal, I don't take 'no' for an answer. There are multiple routes to the summit – you've just got to find the right one.

My leadership style has become more collaborative since taking silk. I like having a diverse team, because people from different backgrounds with their own experiences bring a real depth of perspective. Ultimately, I make a decision on what's the best way forward in a particular situation, but it's good to be well-informed and to see things from various angles.

The advice I'd give my younger self would be to persist. There will undoubtedly be obstacles along the way, but the difference between failure and success is the never-give-up mentality.

INK THE DEAL

Luxury pens for signing on the dotted line in style

AS TOLD TO BROOKE THIS ILLUSTRATION BY MA JUNGARIS PHOTOGRAPHS GETTY IMAGES

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BAZAAR

talking points

EDUZO IN

CHARLOTTE BROOK

Inspired by more than 130 years of Harper's Bazaar, the artist Rachel Spelling conjures a dreamlike world in miniature. Plus, the month's most compelling cultural moments all in one place

PHOTOGRAPH: PHILIP SHEDEN, ART BOOK EACH, 2013

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TALKING POINTS

ART

THE FINE PRINT

The artist Rachel Spelling transforms Harper's Bazaar's rich archive into a bespoke work of art

BY CHARLOTTE BROOK PORTRAIT BY PHILIP SINDEN

OVER THE PAST FIVE YEARS, RACHEL SPELLING HAS GAINED a cult following for her miniature paintings – which is surprising for an artist who previously specialised in mural-making, until the pandemic brought that line of work to a halt. 'It closed one door but also blasted open a million creative possibilities,' she recalls. 'Although I'd been an artist for years, I'd always been looking for my own visual language that was meaningful to me.' At her kitchen table one day during lockdown, she was perusing a Farrow & Ball paint chart and it occurred to her that the catalogue of rectangular colour swatches, or chips as they're known, was akin to 'a collection of tiny walls, already prepped and ready for me to tell stories on'. So, she whipped out her smallest brush and a tube of acrylic, adorned a chip with a koi carp and was off.

'I saw the chart as my dream job – a house of a hundred differently coloured rooms through which I could move, installing symbolic images from reality or my imagination,' she says. Spelling, who has collaborated with Kew Gardens and Fortnum & Mason, believes the strength of her works lies in how she unites a mass of motifs, many of which are linked. 'Each chip is like an individual musical instrument: together, they make an orchestra.'

She has a space at Thames-Side Studios, a sprawling 19th-century former factory in Woolwich. Here, her white walls are lined with paint tins, jars of brushes, a rainbow darts board, postcards and her precious, carefully sourced vintage colour charts, but when I visit, the largest amount of real estate is given over to scans of Harper's Bazaar pages from decades past. The artist has spent the last month in our archives for a special collaboration and commission that will see her create an original artwork that riffs on more than 150 years of ideas, imagery and attitude. Three hundred editions will be available from 8 October.

Spelling has found common ground between her own approach and Bazaar's, both on a formal level – the beautiful, often witty intersection of words and pictures – and in terms of the wider artistic

practice. She alighted upon Man Ray's work and other surrealist designs in the magazine of the Thirties – René Magritte and his Treachery of Images is an important influence on her approach, where she often puts an image onto a chip that has a different connotation from its colour or paint name. For Spelling, this reflects the way we hold multiple, sometimes contradictory ideas in our heads at the same time, but also expresses how magazines and the fashion industry shapeshift and evolve.

We will reveal the work, titled Shades of Flat and Lustre Finishes (40cm x 66cm), in thirds over three issues, starting with this one, ahead of it going on sale in October. The 72 chips represent 72 opportunities for Spelling to explore themes that the magazine holds dear and that chime with her. 'I want to depict the dreamspace of the Bazaar woman – the competing and sometimes contrasting thoughts, expectations, hopes, dreams and regrets that hover invisibly around a beautiful shoe, a manicured hand or a yellow hat,' she says.

If you look closely, you'll start spotting what Spelling calls 'silent connections' that she has quietly slipped in between the pictures, in the hope that different viewers will read different conversations. You might see eye contact between two very chic women several columns away from each other; a phone cord snaking ethereally between certain chips; a gloved hand reaching out to its neighbour – all designs prompted by the mid-century era of the magazine's art director Alexey Brodovitch, with whose aesthetic Spelling has fallen in love. Before I leave, I glimpse the Christmas card she's created for Bazaar – sumptuously printed and suitably stylish. 'I want to make it not too "festive" – a bit more glamorous,' she says.

Spelling is clearly an artist who thrives on variety and plurality: it's what makes her works – which start as a series of mundane objects, a rigid format of gridded oblongs of colour, but end rich in iconography and ideas – so compelling. As she herself puts it: 'I don't just want to paint one story.'

'Shades of Flat and Lustre Finishes' by Rachel Spelling for Harper's Bazaar will be available in a strictly limited run of 300 editions for £300 each from 8 October. The reveal of the next 24 chips will be in the October issue. To sign up for priority access before general release, scan the QR code.

86 HARPER'S BAZAAR September 2026

HARP AND MADE-UP BY LUCE PEMBERTON, USING MERIT AND BUMBLE AND BUMBLE

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FOR INTERIOR WALLS

PALE GREEN

PEPPERMINT

MIST

SOFT YELLOW

NEW GREEN

APPLE

MIMOSA

MAIZE

EAU DE NIL

MEADOW

SUNBEAM

BUTTER

SOFT EMERALD

SAGE

SEASHORE

ZEST

LAKE GREEN

IVY

STRAW

DEEP YELLOW

FOREST

SHADED GREEN

DARK GOLD

HONEY

The first 24 chips in 'Shades of Flat and Lustre Finishes' by Rachel Spelling

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FASHION

ORIGIN STORY

A book exploring Christian Dior's early years sheds light on the couturier's visionary spirit

In the description for his first collection, in 1947, Christian Dior signed off as 'Tian', his nickname as a boy. Now, a new title chronicles those formative years. Few put it better than his childhood friend Suzanne Luling, who went on to become Dior's sales director: 'It all started in Granville: Normandy, the ocean, the characters, the perseverance...' This volume gives a fascinating insight into one of the world's most influential designers. CB 'Dior: Memories of Childhood' by Laurence Benaïm (£32.50, Rizzoli) is published on 8 September.

Top left: the model Anne Sainte-Marie wearing Dior S.S.5. Left: Christian Dior in the garden at the Villa Les Rhumbs

FILM

BORN AGAIN

Set your pulse racing with Teenage Sex and Death at Camp Miasma, a film that bears all the blood-soaked hallmarks of the quintessential 1980s slasher, while also being an intriguing analysis of the horror genre itself.

Directed by Jane Schoenbrun, the film revolves around Kris, a young queer film-maker (Hannah Einbinder), and Billy, an eccentric ageing actress with whom she has become obsessed, played by Gillian Anderson. Brace yourself—it's in cinemas from 21 August and is positively spine-tingling.

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TALKING POINTS

TELEVISION

ALL GROWN UP

Kaya Scodelario on her route from playing a troubled teenager to gangster head honcho

by FURVAH SHAH

'I'VE NEVER WATCHED IT BACK. I DON'T THINK ANYONE WANTS to see their 14-year-old self on screen,' says Kaya Scodelario of her debut in the cult E4 drama Skins in 2007. The actress has certainly come a long way since then, making a powerful impression as the formidable crime boss Susie Glass in Guy Ritchie's acclaimed crime comedy-drama The Gentlemen, which returns for a second season this month.

'I felt like I was born to play Susie,' says Scodelario. 'What's wonderful about film and television is you can take human emotions and exaggerate them. I could push the boundaries. It's fun that you never know what her next move will be and who her allegiances lie with.' Indeed, the series sees the character break new ground as her illegal enterprise, which she shares with Theo James' Eddie Halstead, expands from the British countryside to the Italian lakes.

Filming the show was, she explains, almost as unpredictable as its storylines. 'Guy is a unique director – he might decide on the day that he doesn't like a scene and wants to rewrite it. It may not make sense in the moment, but when you watch it back, it's brilliant. As actors, you're conditioned to learn your lines and be prepared, but Theo and I have learnt to embrace change.'

Scodelario grew up in a north-London council flat; as a child, she loved performing, but acting professionally felt out of her reach. An open casting call for Skins – the boundary-breaking show that also launched the careers of Dev Patel, Daniel Kaluuya

and Nicholas Hoult – changed all that, bringing her into the spotlight in the most democratic of ways. 'That process was the one thing that gave me confidence,' she says. 'The arts should be open to everyone to take part in.'

The production taught her important lessons. 'It's a big adjustment for a young teen to be on set with mostly adults, when you're learning to understand the working environment and how to advocate for yourself,' she says. As a result of her own initial sense of feeling overwhelmed, she's now passionate about

helping young colleagues find their feet. 'I'll tell them: 'If you're afraid of anything or feel uncomfortable, I'll speak up for you.''

Having built a career defined by variety – from playing Cathy in Andrea Arnold's 2011 film Wuthering Heights to starring in Robbie Williams' music video for 'Candy' – Scodelario is keen to keep embracing challenges. 'I never want to feel safe,' she says. 'The excitement is in learning new things and pushing myself.' Season two of 'The Gentlemen' is streaming on Netflix now. □

BOOKS

MOTHER FIGURE

Romalyn Ante's powerful novel explores the sacrifices we make in the name of family

The former nurse and prize-winning poet Romalyn Ante's debut novel The Left-Behind Child draws on her own experiences to offer a compelling portrayal of a long-distance parent-child relationship. Set in 2001, when Neneng's mother moves from the Philippines to the UK to work for the NHS, the 11-year-old is left behind to care for her father, unruly siblings and

various relatives. The novel is a layered interrogation of family and belonging, over the course of which Neneng approaches womanhood solo, discovers her inner reserves of strength and gradually comes to understand why her mother needed to leave in the first place. KATIE BAXTER The Left-Behind Child by Romalyn Ante (£16.99, Vintage) is published on 13 August.

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WORDS: BORN AGAIN BY KATIE BAXTER PHOTOGRAPHS: KARAN RADKA/GETTY IMAGES, COURTESY OF MUSIC, CHRISTOPHER RAPHAEL/COURTISY OF NETFLIX, HISTORICAL PHOTOGRAPHIC PRINTS, GRANVILLE, CHRISTIAN DIXON MUSICUM

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BOOKS

BETWEEN THE LINES

Meg Mason brings her signature warmth and wit to a story set in the literary world

BY ERICA WAGNER

SORROW AND BLISS, THE NEW ZEALANDER MEG MASON'S breakout novel, hit just at the right time when it was released in the summer of 2021. You remember that summer: Covid, lockdown, the world tilted on its axis. The tale of marriage, mental illness and sisterly love set between Oxford and London was her first to be published in the UK, and became a global bestseller.

Mason, who now lives in Sydney, is delighted by its success – but admits she was wary of how it was described, in some quarters, as part of a trend called 'sad girl lit'. 'I find it quite pejorative, and I don't know why women would apply it to their own work,' she tells me. She won't go so far as to say it was a mood she was determined to get away from, but I get the sense that it contributed to the creation of the courageous and forthright heroine of her new book Sophie, Standing There.

Sophie is a 37-year-old techie at a well-established literary festival in an unnamed city who has struggled through a divorce but keeps on going. It's her job to mic up the famous authors who take to the stage: she lives for their work, for reading, but she herself is always in the background. After she discovers that a bestselling author called Lilac Dunne – with whom she has developed something of a fascination – will be appearing at her venue, she's shocked when Dunne seems to initiate what looks like a friendship. Sophie feels a mix of desire and awe as she opens up to her idol and wonders what Dunne might really want from her. It wouldn't do to give any more away, but 'never meet your heroes' offers a hint. Mason explores the trickiness of this relationship with her trademark empathy and humour.

The novel shows two sides of Mason's own experience. She talks about what it was like to become, quite suddenly, one of those famous authors after the success of Sorrow and Bliss

– a 'mad time' when she would sometimes find herself at a signing table in front of a reader telling her 'I love you'. Yet she also recalls and still relates to being a reader on the other side of that table, meeting a writer she felt a connection with.

Mason wants her audience to take courage from Sophie's tenacity and resilience: it's her growth and strength that pull the book back from those 'sad girl' tropes. 'I'm trying to express the fact that when we're lonely, it seems like it's forever. And the pain is that you're not only lonely, but you're ashamed of being that way,' she says. 'Loneliness is a season, not a life sentence.'

Dunne is wholly Mason's creation, but real-life authors – Ann Patchett, George Saunders, David Nicholls – make cameo appearances in the book, which you could call a love letter to the literary life. Sophie's best friend is called Emma: as it happens, the Jane Austen novel was Mason's gateway drug into reading, though when I point this out, the author is delighted – insisting it is a coincidence. 'Choosing names is the most enjoyable form of procrastination, so to keep up the pace, my rule was that whatever name I thought of first was the character's, so long as it was common and plain,' she says. 'I'm grateful to my subconscious for throwing up Emma in homage!' Alongside Austen, she calls Nancy Mitford her literary idol – indeed, the pair share a drollness and a sharp observational eye.

Sophie, Standing There shows the pleasures – and perils – of dreams becoming reality; but also gives us a heroine who discovers she can, and always could, stand on her own two feet, outside the world of her imagination.

'Sophie, Standing There' by Meg Mason (£20, Bloomsbury) is published on 27 August. □

TELEVISION

GET YOUR KICKS

Ted Lasso scores another winning, action-packed season

The World Cup may be over, but those in need of a football fix can celebrate the return of the nation's favourite fictional local team. In season four of Ted Lasso (out now on Apple TV), Jason Sudeikis' relentlessly optimistic American coach takes on a new challenge in the form of

Richmond's second-division women's squad. Alongside the familiar faces of Hannah Waddingham and Juno Temple, a fresh cast of characters will kick off the action, including an assistant coach played by Sex Education's Tanya Reynolds. DANIELLA PARETE CLARKE

90 HARPER'S BAZAAR September 2026

ALL CREATURES BY DANIELLA PARETE CLARKE PHOTOGRAPHS: ANNE FLETCHER, 9, GHISLAINE HOWARD COURTESY OF THE ARTIST PHOTO: ADRIAN LAMBERT PHOTOGRAPHY & MCCLUGHLIN COURTESY OF THE ARTIST, COURTESY OF APPLE TV

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TALKING POINTS

STATIONERY

ALL CREATURES

Cards and envelopes, £30 for 10

EXHIBITIONS

HANDLED

WITH CARE

A tender show pays tribute to the essential work of midwives

For a lot of us, the first person we ever meet in the world is a midwife. Now, the profession is celebrated at Manchester's Whitworth gallery in a carefully curated exhibition drawing on conversations and workshops held with practitioners, some of whom have also contributed art of their own. The infant-feeding specialist Lizzie McLoughlin is one of them; her beautiful piece is shown in dialogue with works by Marina Abramović and LS Lowry. The delicacy and joy of new life are present in all. CB

'The Labour of Care' is at the Whitworth (whitworth.manchester.ac.uk) until 29 August.

Right: 'Oneke's Story - A New Chapter' (2025) by Lizzie McLoughlin. Top: 'The New Child' (1993) by Ghislaine Howard

Peter Rabbit and his cotton-tailed siblings join Jemima Puddle-Duck,

Mr Jeremy Fisher and the rest of the gang as the stars of Smythson's new Beatrix Potter-inspired stationery collection, featuring journals, sketchbooks and correspondence cards.

Notebooks, right and below, £80 each

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TALKING POINTS

FERTILE GROUND

In the heart of Somerset, the new Big Brue festival offers a landscape as rich in ideas as it is in scenery, bringing together the best and brightest minds in art, culture and beyond

BY CATHERINE FAIRWEATHER

TWENTY-FIVE YEARS AGO, WHEN MY husband-to-be Don McCullin invited me for the first time to a dinner close to his house near Bruton, I had visions of polite chitchat about the weather and crop rotation around some sherry glasses.

Instead, Brigid Keenan, Don's former colleague from the Sunday Times days, a sharp comic author and columnist, hosted a dinner where we were encouraged to talk about our views on Palestine and Israel. The evening was animated to say the least, but we all settled down to disagree agreeably. I think of that dinner as a baptism of fire; and it became the inspiration for Big Brue. That open, civilised spirit of enquiry and debate, the sense of curiosity and optimism, inspired a few of us who live here in Somerset – including Mariella Frostrup and her husband, the human-rights lawyer Jason McCue – to put together a festival that

celebrates different perspectives, debate and discussion. We hope to show that Bruton is a small town with big ideas.

When I married Don in 2002, Bruton was not the artistic hub it is today – you were lucky if you could find anything as exotic as a cappuccino. But in 2014, the visionary gallerists Iwan and Manuela Wirth turned a crumbling 18th-century barn and farm buildings – which had also served as an atmospheric backdrop for Juliette Binoche in the film Chocolat – into the HQ of their art and hospitality empire Hauser & Wirth Somerset. Now, it's the perfect spot to hold a weekend of culture and conversation.

At the festival, I will be quizzing the indefatigable Brigid and the restaurateur Prue Leith about hurdles they have overcome, and the immense compensations and inevitable nostalgia of leaving youth behind in their third act. Equally, I can't

wait to hear Dione Roach, an artist and NGO worker, talk about how she and Steve Happi – a former inmate at Douala's New Bell Prison in Cameroon who was later acquitted – set up Jail Time Records, a music studio within its walls. The story of wrongful incarceration and rehabilitation has been turned into a documentary that premiered and won three awards at Tribeca Festival this year. She'll be joined by speakers from the worlds of fashion, film, politics and museums, including Alice Temperley, Joe Wright, Esther Freud, Bazaar's Helena Lee and Nazanin Zaghari-Ratcliffe.

Talks are bookended with pilgrimages, tastings of craft drinks and local produce, saunas and workshops, all designed to celebrate this remarkable location and the glue that is community. Big Brue (bigbrue.com) is at Hauser & Wirth Somerset from 19 to 20 September. ☐

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From far left: stars from 'Call My Agent!' including Vincent Macaigne, Grégory Montel, Thibault de Montalembert and Laure Calamy. Below: Fanny Sidney and Camille Cottin

FILM

HAUTE SHOTS

Gallic glamour meets glorious chaos in Call My Agent!'s big-screen debut

BY MARIE-CLAIRE CHAPPET

There have been films about films almost as long as there have been films themselves. This month, another joins the ranks: Call My Agent! The Movie sees the fabulous French TV series become a feature-length film... about making a feature-length film.

After four hugely popular seasons, the show came to an end in 2020 with the shuttering of the agency and the central coterie of characters going their separate ways. It seemed like the end for Agence Samuel Kerr – but now, its star performer Andréa Martel (played to perfection by Camille Cottin) has made the leap from agent to director. The next chapter of the story will follow her progress as she completes her debut feature.

For the director, Émilie Noblet, this made for a discombubulating experience. 'We had a real film crew shooting a fictional film crew,' she says. 'On the first day, we got a bit muddled between the actors playing crew members and our actual ones. But the funny thing was that the actors spied on them between takes – they soaked up everything we said and did, and used it. It was equally confusing and hilarious.' Cottin, for her part, modelled much of her character's approach to her craft on Noblet's, even quoting her director's notes in certain scenes.

For its writer Fanny Herrero, the funniest moments are deeply rooted in the entertainment industry's inherent absurdities. 'What Andréa experiences is the actual reality of the business,' she explains. 'Actors who let you down two weeks before shooting starts, contract rivalry, exaggerated fees risking a whole project... That's all strictly true to life.' A particularly hilarious sequence sees one of the agency's top casting directors take on a pet as a client.

Animal behaviour aside, the film doesn't shy away from confronting the industry's existential threats – among them the climate emergency's impact on productions. 'It raises the very meta question of whether movies are even viable in today's world,' says Herrero.

For now, however, the film is a celebration of showbiz in all its chaotic glory. Just as the TV series included star cameos from titans of French cinema such as Monica Bellucci and Isabelle Huppert, the film introduces Hollywood talent in the form of George Clooney. Joyously self-referential, laugh-out-loud funny and full of the original's Gallic irreverence, this is exactly the meta-movie the industry needs right now.

'Call My Agent! The Movie' is streaming on Netflix from 10 September. ☐

ART

THROW SHAPES

Seize September's back-to-school spirit and try your hand at ceramics, through two workshops – one in the town, one in the country – hosted by the master craftswoman Emma Louise Payne. Payne curates classes at County Hall Pottery (countyhallpottery.com) on London's South Bank, and at her own charming teaching studio in a converted barn outside Reading (emmalouisepayne.com).

Above: County Hall Pottery

PHOTOGRAPHS: GETTY IMAGES, ED REEVE, JANA ROBERGE, KCHRISTOPHE BRACHET 2020 NETFLIX, INC.

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BOOKS

HOME TRUTHS

For the American writer and humorist David Sedaris – whose new collection of essays is another side-splitting triumph – a dog-eat-dog childhood and awkward encounters offer an endless wellspring of comedic material

David Sedaris is the type of writer to whom people feel compelled to tell things. He has written 14 books in which the more absurd aspects of daily life are explored with a dead-pan, cutting humour. His latest essay collection, 'The Land and Its People', explores being a stranger in a strange land (Sedaris lives in West Sussex, England) and his relationship with his husband Hugh and his many siblings. Here, he talks about ageing, the art of comic writing and the pleasures of being part of a big family. KAITLYN GREENIDGE

My sister Amy was on the subway. She was sitting next to a man who was taking up a lot of room. And she was sitting beside a girl who was about 22 years old. Amy was reading, and every time she'd turn the page, she would wind up poking the girl in the ribs. So Amy stopped and put her book away, and then the girl turned to Amy and said, 'Just because you're old doesn't mean you don't have to follow the rules.' For some reason, that made me angrier than if someone had said it to me. There's a moment when you realise that you're old, but there's a whole other moment when you realise that your siblings are. I'm thinking, 'Old? Amy's not old.' And then I thought, 'Well, she's 65. So if you're 22, that's old to you.'

When you get to be a certain age, you can tell what people looked like when they were young. If I look at somebody who's 65, I can see them as 25, and I can see how great they looked. But you can't do that when you're young. You just see someone who's got wrinkles, and they're not even really a person to you. I thought, 'Well, maybe there's a way to turn that diary entry into an essay.'

I think growing up in a big family prepares you for the

cruelty of the world. I mean, that's just part of having a lot of kids around. If you're an only child, chances are the first time you'll be bullied or intimidated is when you go to school, and then you freak out about it. But if you're one of six kids, that's just daily. So many people now, they're an only child, and they're brought up to believe their body is a sacred thing and no one should be able to interfere with it.

I understand it's expensive to have kids. I understand all of that. But when I meet someone and they have just one child, I always feel sorry for that child. Also, I feel sorry because that child's going to grow up knowing that they have to take care of the parent at some point. And that's just a lot of responsibility to be handed. Whereas with six kids, you just think, 'I'm going to move as far away as possible. And when the moment comes to move them into a home, it's going to be your responsibility because you never left the state.'

I grew up a long time ago, so the word toxic didn't exist. No one would ever say, 'Well, my sister is toxic, so I'm no longer going to have any relationship with her.' You didn't have a choice. You didn't cut your parents out of your life. Nobody did that. Since I came from a big family, it left me with a much thicker skin.

That's what I do: I make fun of myself. I'm looking at how petty I am. I'm looking at how boastful I am. I'm looking at how irritating I am. There's a limit – you can only go so far – but I'm looking for an acceptable amount of irritation, I suppose. There's a quote from James Thurber: 'The wit makes fun of other persons; the satirist makes fun of the world; the humorist makes fun of himself, but in so doing, he identifies himself

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TALKING POINTS

with people – that is, people everywhere, not for the purpose of taking them apart, but simply revealing their true nature.'

When you admit a flaw, I just think it makes you more like the reader or more like the listener. Everybody can tell when someone's being phony. Really, nobody's getting away with it. People maybe won't point it out to you, but everybody can tell, like virtue signalling. That just reads so clearly as virtue signalling. And to think that you're getting away with it? I mean, you can surround yourself with other people who do it, but everyone's still seeing it for what it is. It's sort of like being caught fake laughing, which I've done. I have fake laughed. I've been in radio interviews, and sometimes the host will try to be funny. You don't want to be rude, but anyone listening can read that as a fake laugh. I just feel like I'm not getting away with much.

I'll be signing a book, and somebody will come up and have a joke for me, and if it's not told well or if it's just a tired old joke, like, 'What's brown and sticky? A stick,' that's an almost joke. That's like a kid's joke. If I had a four-year-old who told that joke, I would just send them to their room, and I would say, 'You stay in there until you come out with something better than that, because that's nothing. That is a nothing joke.' If I just remain stone-faced, people are so embarrassed. So I'm not proud of it. But then I have fake laughed to save someone's dignity. I think it's easy to cry, but it's hard to laugh and sound genuine, even if you are acting in a movie, don't you think?

When I am reading to an audience, the audience, because the people are in the dark and I can't see them, is under no pressure to respond. They laugh, they cough. If they cough, they're basically throwing skulls at me. I can feel them lose interest. I can feel them check out. They're a wonderful first reader. They really are.

In the car earlier today, I started rewriting what I read last night based on what the audience told me. I didn't ask anybody about the essay. No one commented on it afterward. I just made notes while I was reading about the things that they laughed at, things that they groaned at. I just learnt a lot of interesting things last night.

The essay was about a guy whom I'd met once who had a micropenis, and I went out of my way to make it not about making fun of the guy's micropenis. It could happen to anybody.

Above: David Sedaris in 2022. Opposite: the writer and his family in Raleigh, North Carolina, in 1980

So when the audience laughed at the micropenis, I thought, 'I'm not doing my job,' because I don't want them to laugh at that. I want them to laugh at my response to it.

When I read it out loud, I didn't quite realise how complicated it was going to be, but now complications excite me, because I feel like I know there's a way I can make it work. I know there's a way, and I'm usually right.

Absurdity is great. That's what I'm always looking for. The more, the better, as far as I'm concerned. It's my bread and butter. Did I just say it's my bread and butter? I'm sorry. I mean, I'm always happy when I see something that's absurd. My eyes are open for it all the time, and you don't want to force something. You don't want to try to convince people that something's absurd. When it's absurd and you present it to them, then they recognise it as such. But I've been trained because I've been at this for so long that I'm just always on the hunt for it.

'The Land and Its People' by David Sedaris (Little, Brown Book Group) is out now. □

Right: Leslie Mann in 'Spa Weekend'. Left: Isla Fisher, Mann and Michelle Buteau in the film

FILM GIRLS ALOUD

Watch a wellness getaway go haywire

Golf buggies, a headbutting goat and a girls' trip gone rogue: welcome to Spa Weekend, a film from the writers behind The Hangover. Isla Fisher's character has packed a disco ball, spangly tops and several sexual devices that will come to shock her friends of 30 years – and that's only the start of this rollicking ride. In cinemas from 21 August.

ILLUSTRATION BY LILY PICHON FLANNERY PHOTOGRAPHS, COURTESY OF THE SEDARIS FAMILY, ANNE FISHER, COURTESY OF BLACK BEAR PICTURES

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S M E G

Discover more smeguk.com

Moonlight

A moment of calm.

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BAZAAR

living

EST FED BY FRANCES HEDGES

Height of chic

Overlooking lush gardens, Ellie Peugeot's Parisian apartment is an elevated blend of tradition and modernity. Plus, the season's most desirable fashion and interiors collaborations; a new design destination comes to the capital, and the best mid-century-inspired pieces for your home.

The dining room of Ellie Peugeot's Paris home

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The bathroom is Elite Peugeot's apartment, featuring a bathtub from Prammoole, a D725 embaucher and wallpaper from Zuber. Opposite, from top, Peugeot with his dog Lailia. The motor bed-door, with a kind of drawers by Émile-Asseues-Rubinson, the Pigeon lamp by François-Xavier Labanac. Hard, wreck by Robert Kane and spouting by Gérard Graesote.

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LIVING

History in the making

For Ellie Peugeot, a human-rights lawyer turned interior designer, her Parisian apartment is an elegant showcase for an ever-expanding collection of modern and vintage designs

BY FRANCES HEDGES PHOTOGRAPHS BY LUDOVIC BALAY

ELLIE PEUGEOT SAYS THAT HER DREAM HOME FOUND HER, rather than the other way round. 'We were making a last-minute move to Paris from London and we needed somewhere very quickly,' she recalls. The property – a third-floor, L-shaped apartment that overlooks the manicured gardens of an 18th-century Rothschild-owned mansion, mere moments from the Elysée Palace – didn't immediately make sense as a purchase: it was only just big enough for the family of four and it needed significant work to make it habitable (there was no functioning kitchen, for a start). 'But we'd been living in a garden square on Notting Hill and I wanted something that felt really green – I loved that you could see trees from every window. The first time I visited, I said, "I'm not leaving.''

There was a secondary motivation for the investment: the apartment, which she and her husband Edouard, a financier and member of the Peugeot dynasty, bought in 2019, proved the perfect testing ground for what was then a fledgling interior-design

career. Born to an English father and an Iranian mother, Peugeot hadn't expected to pursue a creative profession: she had trained and begun working as a human-rights lawyer – a field she was drawn to because of her background. Her parents had met as students in the US, but split up when Peugeot was only two; faced with punitive divorce laws introduced by the Islamic Revolution, her mother fled Iran with her daughter to seek political asylum in the UK, where she grew up before spending some of her teenage years in Canada.

The law felt like both an appropriate and secure choice, and it wasn't until Peugeot started taking on interiors for friends that she discovered her true passion. She was fortunate to be able to get her hands on some extraordinary properties – including her mother-in-law's 'quite funky' apartment on Belgravia's Eaton Square, formerly owned by Isabella Blow – before she and her husband stumbled upon the Parisian residence, which Peugeot was determined to make her own.

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LIVING

'I did everything in three months,' she says of the renovations, which included stripping out most of what she calls the 'Napoleonic-style' excesses: faux marble, gilding, a replica fresco on the ceiling. She restored the original wood panelling by the 19th-century French workshop Féau, re-stained the parquet flooring and laid reclaimed antique limestone in the hallway. Structurally, there was a lot to do as well. 'We knocked through two rooms to create a proper kitchen,' explains Peugeot, who chose cabinetry from the British brand Neptune, taps from Waterworks and a classic La Cornue range cooker. She is particularly fond of the stepped-down marble surface she had built into the central island, at which the children – Tristan, nine, and Aria, seven – eat their meals: 'It doesn't feel like a kids' table, but they love having their own space.'

Throughout the apartment, a muted colour palette of white and cream provides a serene backdrop for Peugeot's extensive collection of artworks – among them a Tracey Emin self-portrait, a study by Tacita Dean and a Lucio Fontana etching – and antiques. Alongside Georgian-inspired designs from Jamb and a Rose Uniacke sofa centre-stage in the living-room, there is a strong showing of 1930s and 1940s furniture, an interest Peugeot developed after designing a booth for a gallery specialising in the era for the Paris PAD art

fair a couple of years ago. 'I mix a lot of styles, so I'll buy pieces from the English auction houses – Dreweatts, Woolley & Wallis, Roseberys – but also from Italy and Artcurial in Paris. And, of course, I'll go to Les Puces most weekends,' she says. 'The blend works as long as you give things space to breathe.'

Space will soon no longer come at a premium as, in a remarkable stroke of fortune, the adjacent apartment recently came up for sale – and the couple were quick to snap it up. When we speak, work is underway to connect the two flats (which will together form a 450-square-metre U-shaped property), and Peugeot is excited about the prospect of transforming what began as an impulse purchase into the family's 'forever home'. In the plans are a guest suite, a home cinema, a wellness space complete with

sauna and plunge pool ('I'm designing it with columns in a Greek Revival style – the inspiration is Villa Kérylos in the South of France') and a gym that she intends to make 'as aesthetically pleasing as possible', featuring oak equipment by a German company called Hock. Most thrilling from Peugeot's perspective is the conversion of the old master bedroom into a grand art deco-esque library with wood panelling recreated from Féau's archives.

She is noticeably more animated about the heritage aspects of the undertaking

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than the more hi-tech investments. 'I just love history,' she says. 'I love the level of detail people took the time to go into, the craftsmanship. Things are so mass-produced these days, whereas my interiors are quite soulful and layered. It works better when the frame is historical because you can do much more storytelling.'

Peugeot's enthusiasm for the architecture of centuries past has been further stimulated by her role as chair of the International Council for the World Monuments Fund (WMF) in France, a charity responsible for safeguarding the future of buildings that include the Palace of Versailles, the Chapel of the Sorbonne and the Church of Saint-Eustache. Since her appointment in 2024, Peugeot has brought a fresh energy to the board, spearheading the organisation of a fundraising dinner in the Potager du Roi at Versailles (see overleaf to read about her friend Zoë de Givenchy's new collection inspired by the event). Her involvement with the WMF continues to shape her work as an interior designer: 'I get so many ideas from visiting incredible spaces – just last week, we went to see Rousham House in the Cotswolds and I fell in love with the William Kent architraves.' She also finds herself with a ready-made network of experts whose talents she can call upon for projects, 'whether that's the best person to re-gild a panel or restore boiserie'.

Those projects this year include a number of major London commissions for her small but growing practice: on the books are Thomas Cubitt's former home on Warwick Square in Pimlico, a townhouse on Kensington's Earls Terrace and a first-floor apartment on the corner of Eaton Square in Belgravia. Meanwhile, visitors to this year's Frieze Masters, on whose council Peugeot now sits, will be able to see her creativity on show in the form of a booth designed for the antiquities gallery Charles Ede.

The breadth of Peugeot's visual imagination reflects the diversity of styles she grew up with. 'I have a very blended aesthetic, because I've lived in so many different places,' she reflects. 'I didn't have roots, so I was busy absorbing everything, and I've found a way to mix it all together.' With her own ambitious conversion scheduled for completion this autumn, she will certainly have a large canvas on which to experiment. □

Peugeot in the living-room. Above: the Neptune kitchen with a vintage bar stool from 1st Dibs and pendant lights by Adolf Loos from Woka. Left: the office, with a bespoke quartz desk, a 'Plain Clay' lamp by Maarten Baas and an Eames chair from Herman Miller

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DESIGN

POWER PAIRINGS

Our pick of the season's most covetable crossovers between the worlds of fashion and interiors

BY FRANCES HEDGES

Below: plate, £187; gloves, £77, both Zoë de Givenchy x Le Potager du Roi. Right: Zoë de Givenchy at home in France

BEST FOR GREEN GODDESSES

ZOË DE GIVENCHY x LE POTAGER DU ROI

Can you ever look chic while knee-deep in soil and digging up weeds? For Zoë de Givenchy, it's a resounding yes. The California-based Australian homeware designer, who grew up immersed in nature, launched her brand ZdG in 2020, inspired by the commitment to craftsmanship of her uncle-in-law Hubert de Givenchy, founder of the legendary French fashion house. Now, she has joined forces with Le Potager du Roi, the 17th-century garden in Versailles, to unveil a line of products that celebrate her love of horticulture. Raising money for the World Monuments Fund,

which protects heritage sites including Versailles, the verdant collection combines faience (tin-glazed) tableware featuring motifs of espalier fruit-trees with gardening accessories: secateurs, watering cans and even the perfect hat to wear while tending to flowerbeds. 'In the age of Louis XIV, the Potager was really a theatre – the King would come out to see the spectacle of a row of lettuces being hoed,' says de Givenchy. 'I think gardening can be beautiful as well as functional, and I hope people think the same of my new designs.' zdgofficial.com

Clockwise from above left: silk scarf, £164; secateurs, £107; glass, £149; basket, £305; apron, £92, all Zoë de Givenchy x Le Potager du Roi

PHOTOGRAPHS: TOM MANNON, PIERGIORGIO SORGETTI, THE INVISIBLE COLLECTION, BILLAL BARUK TARIGHT, SEAN THOMAS

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LIVING

BEST FOR CHIC SHOPPERS

KELLY WEARSTLER x H&M HOME

'I dress how I design,' says Kelly Wearstler of the connection between her passion for fashion and her decades-long career as one of the US's top interior designers (her A-list clients have included Cameron Diaz and Gwen Stefani). 'There's always something contemporary and cool mixed with something classic and vintage – I like that tension.' It's fitting, then, that Wearstler is set to launch a dual collection of homeware and ready-to-wear clothing, rooted in the concept of everyday rituals. On the interiors side, modular furniture

– including tessellating tables and accent chairs that can be coupled to form a love-seat – sits alongside sculptural decorative objects such as a dark-wood vase reminiscent of a Roman amphora. Meanwhile, the eight-piece womenswear capsule features a boxy white shirt, voluminous trousers (Wearstler's own signature look) and a cropped leather jacket – designed, much like the homeware, to be adaptable to different settings. As Wearstler puts it: 'It's about creating a world where everything can sit together beautifully.' hm.com

Above: vases from the new collection. Left: table lamp. £149.99

BEST FOR BOTANICAL ARTISTRY

ERDEM x CHRISTOPHER FARR

Nature takes centre-stage in two new rug collections by Erdem for Christopher Farr and its sister brand CF Editions, all handknotted in Afghanistan. Choose from the Botanicals suite and the made-to-order Flora pieces, available in three colourways: Blue Moon, Pearl Rose and Camomile. 'I've always been drawn to craftsmanship, artistry and storytelling,' says Erdem. 'I wanted these rugs to feel like fragments of a larger narrative. I'm interested in making objects that become part of people's lives, carrying their own stories over time.' The made-to-order Christopher Farr x Erdem Flora collection is from christopherfarr.com. The CF Editions x Erdem Botanicals collection is available at erdem.com.

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LIVING

BEST FOR HERITAGE AND MODERNITY

OZWALD BOATENG

x SAVOIR BEDS

Traditional Ghanaian Kente cloth – a textile made from cotton and silk strips sewn together into a pattern – is the inspiration behind Ozwald Boateng’s debut design for Savoir Beds, which features woven-leather upholstery teamed with a solid-oak base. ‘Kente, which in Ghana is a cloth of royalty, has always been a cornerstone of the creative language of my brand – a direct

connection to my cultural roots,’ says Boateng. ‘Bringing it into a piece of furniture, something that you live with intimately, felt like a natural progression.’ There’s a touch of the designer’s Savile Row pedigree to be found in the made-to-order piece, too: the back of the headboard is lined with green cotton satin, much like the inside of a sharp suit. savoirbeds.com

Above: teacup and saucer, £120; napkins, £136 for set of four. Right: plate, £135

BEST FOR BESPOKE ELEGANCE

EMILIA & ANGELA

WICKSTEAD

‘I love that something as simple as a beautifully crafted tablecloth can become a family heirloom, passed down through generations,’ says Emilia Wickstead of what attracts her to making pieces for the home. Earlier this year, the New Zealand-born fashion designer brought on board her mother Angela – who, until recently, ran her own successful interiors label – to oversee an expansion of her homeware division, adding a line of luxury linens for bed, bath and table to the existing tableware collection. ‘My mother taught me so much about garment construction, fit and the importance of craftsmanship – lessons

that have stayed with me throughout my career,’ explains Wickstead, who cites ‘architectural lines, classical proportions and a sense of old-world elegance’ as the core tenets of her design philosophy. For Angela, who has interpreted this through a made-to-order service that incorporates elements such as bespoke embroidery and monogramming, the essence of the brand lies in its artisanal roots. ‘Both our wardrobes and our homes are expressions of who we are,’ she says, ‘and I think there is great value in surrounding ourselves with objects that are considered, enduring and made with care.’ emiliawickstead.com

104 HARPER'S BAZAAR September 2026

PHOTOGRAPHS: MAX FIRE, AMY HEYCOCK

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FOOD & DRINK

THE FASHIONABLE FOODIE

A trio of stylish gourmet experiences

DINE AT...

BUVETTE, COVENT GARDEN

Jody Williams' New York 'gastrothèque' has arrived in Covent Garden, serving French classics with an edge of West Village chic. buvette-london.com

DRINK...

A DAYCAP

You no longer have to wait until it's 'five o'clock somewhere': afternoon aperitifs are all the rage. Try Pampelle to keep the Mediterranean mood alive even when the holidays are over. £21.20, Ocado

INDULGE IN...

PIERRE MARCOLINI HAUTE COUTURE CHOCOLATES

Running between fashion shows come September? These 'petits bonheurs' (£53) are a perfect – and pretty – pick-me-up. marcolini.co.uk

Katto's knives with fibreglass handles are handmade in Sheffield

HOMEWARE RAINBOW HIGH

Bring the colours of the catwalk into your home

Smeg's iconic 1950s Fab fridges come in both pastels and brights

Abask is a treasure-trove of colourful glassware

Fermoie's box-pleat lampshades are available in eight hues

Steak knives, £85 for a set of four, Katto. Glassware, from a selection, Abask. Fridges, from £1,399, Smeg. Lampshades, from £275, Fermoie

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Pendant light by Fortuny for RH Estates, £10,210

CULT SHOP

CAPITAL GAINS

RH brings its brand of sleek American style to London with a new Mayfair flagship

a gold-leaf ceiling within the historic banking hall, go for a drink in the marble- clad wine bar or relax in the Tea Salon.

The most coveted seats in the house, however, are on the rooftop terrace, where Anouska Hempel – the pioneering designer behind boutique hotels including Blakes in South Kensington – has created a whim- sical outdoor-dining area known as the Perch. Her inspiration, she says, came from visiting Aynho Park last year, where she found 'echoes of European grand houses, English gardens, monastic calm and the romance of travel'. In Mayfair, she des- cribes her design as having 'an intimacy, an elegance and a quiet theatricality': visitors can order from a bar beneath a smoked-glass canopy and sip cocktails while seated inside grand glass birdcages.

Friedman says that RH's arrival in London signifies his plans to 'plant real roots and be a permanent part of the com- munity'. So, even if your living-room can't accommodate one of the brand's best- selling deep-seat sofas, chances are you'll soon understand the story it has to tell. FH RH London, the Gallery in Mayfair (rh.com).

RH London, the Gallery in Mayfair

'BUILT ON A FOUNDATION OF RARITY, AND a reverence for what came before.' This is how Gary Friedman, chief executive of RH (formerly Restoration Hardware), describes the California-based furniture brand's first outpost in the British capital, located in one of the city's few surviving Palladian mansions, opposite the Royal Academy of Arts. Redesigned by Foster + Partners to encompass two adjoining Grade II-listed properties, RH London, the Gallery in Mayfair, is a five-storey wonder- land for design aficionados, housing the company's signature linen-upholstered sofas, lighting and outdoor-living collec- tion, as well as the new RH Estates line. For Friedman, the architectural framework and the furniture are seamlessly connec- ted: 'The buildings have a rich history and presented a challenging yet beautiful can- vas to write its next chapter and ours.'

Along with its almost 100 stores across the US, Canada and Europe (including in Paris, on the Champs-Elysées, and on Corso Venezia in Milan), the brand has an existing British presence in the form of RH England at Aynho Park, the landmark John Soane-designed estate. The Gallery in Mayfair – which opened to much fan- fare in June, with Margot Robbie, Henry Cavill, Hayley Atwell and Janet Jackson among the guests in attendance – cements the importance of the UK market in RH's expansion plans. It has been conceived not only as a space for shopping, but also as a lifestyle destination: convene over caviar in the Dining Room, set beneath

Side table, £1,290

Sofa by Michael Taylor for RH Estates, from £9,340

PHOTOGRAPHS, COURTESY OF RH

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LIVING

September 2026 HARPER'S BAZAAR 107

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Harper's BAZAAR

SEPTEMBER 2026

This month, Cate Blanchett reflects on her return to the London stage; the author Katherine Rundell reveals why John Donne is her style icon; and Alessandro Michele takes us inside his vision for Valentino. Plus, we step out in the most vibrant looks from the new autumn/winter fashion collections

Photograph by EMMA SUMMERTON

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Cate Blanchett wears

mesh dress, from

a selection, JEAN PAUL

GAULTIER. Acrylic

headpiece, £1,200,

STEPHEN JONES

MILLINERY.

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Cote Blanchett wears silk dress, about £3,900, MATIÈRES FÉCALES. Leather boots, £1,615, CHRISTIAN LOUBOUTIN

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Photographs by EMMA SUMMERTON Styled by CHARLES VARENNE

WOMAN of PARTS

Cate Blanchett returns to the stage for a challenging dual-role performance – but the actress is no stranger to leading multiple lives. Taking a rare break, she sits down with Sasha Slater at the National Theatre to discuss family, fashion and why women should be running the world

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Knit dress, about £8,550, viscose tights, about £835, both LOEWE. Leather heels, £820, CHRISTIAN LOUBOUTIN. White and yellow gold and diamond necklace (above right, in foreground), from a selection, LOUIS VUITTON HIGH JEWELLERY

EMMA SUMMERTON

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Leather and knit gilet, from a selection, knit gilet, £3,750, matching vest, £1,140, all LOUIS VUITTON

EMMA SUMMERTON

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ate Blanchett is sitting tucked behind a pillar in the National Theatre's Lasdun restaurant on London's Southbank. She's dressed to match the brutalist building's brown carpets, in a

chocolate-coloured top and chestnut corduroys, and sipping a non-alcoholic negroni. But of course, she doesn't blend in at all. Instead, her pale, sculpted face glows with energy, her words tumble over each other and ideas zing about in a joyous whirl, from solving the climate crisis to how to keep Doug, her pug, fit. 'I'm sorry, I'm all over the place. My brain is a bit scrambled,' she says.

This is the evening of day two of rehearsals for Blanchett's new play Electra/Persona, and she's been working with 'a room full of beloved colleagues' including Benedict Andrews, who, in 2009, directed her in an eight-hour Shakespeare marathon at the Sydney Theatre Company. She will be co-starring with Nina Hoss, the German actress who played Blanchett's wife in the multi-Oscar-nominated 2022 film Tür, telling the story of a conductor caught up in MeToo scandals (more on that later). This new three-hander, also starring the Irish actress Ella Lily Hyland, will blend Sophocles' Electra, about Agamemnon and Clytemnestra's vengeful daughter, with Ingmar Bergman's dreamlike 1966 psychological drama Persona, in which a famous actress, played in the film by Liv Ullmann, has retreated into silence and is cared for by a young nurse (Bibi Andersson) who becomes increasingly unable to separate herself from her patient. The Tür composer Hildur Guðnadóttir is doing the music, and Blanchett herself is on the board of trustees of the National, which is one of her two favourite buildings in London (the other is the Barbican). No wonder she feels this is a 'homecoming', though not a relaxing one. 'I always love rehearsal rooms,' she says, 'because they can be so robust. And sometimes, with friendships, there's a sense that you're cosy with each other. But what I love about artistic friendships is that they really challenge you.'

This is Andrews' fourth play with Blanchett and he says that being in a rehearsal room with her is like being with Kylian Mbappé or Usain Bolt at the height of their powers. 'There's a joy and exhilaration to it,' he says. 'She could be monstrous and wrapped up in herself, but she turns the energy outwards and it's amazing. She's a risk-taker and so is he. He feels that he, Blanchett and Hoss are 'leaping off a cliff together'.

This play will be even more demanding to perform because Blanchett and Hoss will swap parts each night. 'I've never done

that before,' says Blanchett. 'I always feel engaged and responsible for the whole, not just the character I'm playing. I guess this is a wild extension of that. We might find ourselves on the floor playing one role and the other person might make a suggestion, and then you continue the rehearsal with the other person playing that part.'

At 57, Blanchett has, in her own life, played a dizzying number of different characters. There's her commitment to the stage as the former co-CEO and co-artistic director of the Sydney Theatre Company, as well as her starring roles in well-received productions of Chekhov and Tennessee Williams, among others. In film, she has had Oscar-winning turns in Blue Jasmine and The Aviator. In blockbuster mode, she has graced Middle-earth as Galadriel, the Elf queen in The Lord of the Rings, tried to kill Indiana Jones as the KGB agent Irina Spalko and was the first major female villain in the Marvel universe, pitted – ultimately unsuccessfully – against Chris Hemsworth's Thor. And that's not even the half of it.

Her acting has to work around her activism. With other arts luminaries, including Steven Soderbergh, she has started a technology not-for-profit organisation, RSL Media, which stands for Really Simple Licensing. It will be a register where people can log whether they are comfortable having their creative work and image scraped by AI companies for machine learning. 'When this technology started to blow up, a lot of the people who were at the cutting edge were going to governments and saying, 'We've done this; how are we going to use it? What are the risks?' [Everything's] so polarised no one feels they can get round the same table to discuss the challenges, and the central one is consent.' She's not a hair-shirted Luddite, though, and thinks there are 'a lot of pluses' to AI if only we answer the question: 'How is it helping?' It's free to register and, she adds self-deprecatingly, 'so simple, even I can understand it, and that's saying something'.

She's also a committed environmentalist. At the Sydney Theatre Company, she and her husband, the playwright Andrew Upton, pioneered green energy by taking the company off-grid – which, she says with understandable pride, made it 'the largest [carbon-neutral] organisation in the southern hemisphere' at the time. She now sits on the Earthshot Prize Council, looking for technological solutions to climate change, along with David Attenborough and the Prince of Wales. So, does she hang out with Prince William? 'Oh yes, all the time.' She laughs. 'He's got so much time on his hands, that man.' More seriously, she says he has been an 'extraordinary leader, very hands-on in a consistent and practically engaged way'. She thinks it's down to his upbringing and his father: 'He has inherited that interest. He's grown up with it.' Her own awareness of environmental damage is thanks to her childhood in Melbourne, Australia. 'I grew up with a Depression-era

September 2026 HARPER'S BAZAAR 115

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2022

Faux-fur coats, £6,900 each, both EMPORIC ARMANI Sunglasses, £990, JACQUES MARIE MADE, Tigers, Twist's own

TEMMA SUMMERFON

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12

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Lace and satin dress, £3,600, STELLA McCARTNEY. Sunglasses, £760, JACQUES MARIE MAGE. Suede heels, £825, GIANVITO ROSSI

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Twill dress, about £1,940, SIMONE ROCHA. Sunglasses, £760, JACQUES MARIE MAGE

EMMA SUMMERTON

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Mesh dress, from a selection: JEANPAUL GAULTIER Acrylic headpiece, £1,200. STEPHEN JONES MILLINERY

EM VA SUMMERTON

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'IT'S IMPORTANT TO TALK ABOUT MISSTEPS. IF YOU TAKE RESPONSIBILITY FOR THINGS, YOU WON'T DO THEM AGAIN'

grandmother and, to her, waste was anathema. I think that's at the base of it. I turn the light switches off. She hates the giant portions in American restaurants: 'Why would you use that much if you don't want that much? My relationship to the world has never been a land grab.' Where others (she means Silicon Valley's tech giants) have prioritised money 'above anything else as a measure of success, a measure of value', success for her is 'moments of flow, when all your neurons are firing'.

She has been actively 'greening' at home in East Sussex: 'I walk the talk as much as I can.' When I ask if she has an electric car, she counters: 'We've got a horse. I'm prepared.' For the past two days, she has brought in a packed lunch of 'my own broccoli, my own courgettes, my own onions. I was so excited!' But tonight, along with our 'nogronis', she orders anchovies and potatoes because 'someone else ordered it last night and they won'. She teams it with oysters 'for the zinc', topped with Tabasco, which she enjoys partly because her advertising-executive father, who died when she was 10 years old, did the campaign that brought Tabasco to Australia, 'so I grew up with a back cupboard that had 1,000 bottles in it'. Her three sons, who are variously at work in the London film industry, studying at New York University and just finished with A-levels, are 'obsessed with the Fermentalists', an Australian hot-sauce brand.

Home with Upton, to whom she has been married since 1997, and her 11-year-old daughter Edith, and her sons coming and going, sounds as fun as it is chaotic. As well as her daughter's pony and the pug, there's a vizsla-springer-spaniel cross: 'My daughter got to name her, and she said 'Penis!', and when we asked if she had any other ideas, she said 'Politics!' – two much-discussed subjects in our house, obviously. So, the dog is called Polly.' Added to the menagerie is a chameleon called Hamlet and a flock of chickens. Blanchett's mother June, now aged 87 'and still driving', also lives with them. 'Our house is so noisy and I wouldn't give that up for the world,' she says with a smile, citing the psychoanalyst Donald Winnicott's theory that 'you don't want parents who are anything better than good enough.' 'I don't know whether we're doing anything right, but I can maybe reach that.'

Blanchett gets up at five every morning to feed the chickens, make her daily plunge into cold water, walk the dogs and do the school run. 'I suppose it's years and years in the film industry, which is all early starts,' she muses. 'But I'm also a creature of the theatre, so I love late evenings – the moment when everyone else goes to bed and I've got the house to myself.' It doesn't leave much time for sleep, I point out. 'Yes, I had a hard word with myself about a year ago and said, 'You really need more than four hours.' With everything else going on in Blanchett's life, it sounds exhausting. 'The wheels are constantly falling off,' she agrees. 'Constantly.'

The family moved to England 'just in time for Brexit'. She thinks it's strange that no one who was responsible for the UK leaving the EU wants to admit they got it wrong. 'It's really important to talk about missteps, mistakes... shame is such an important part of things. If you take responsibility for things, you won't do

them again.' This takes her back to Greek tragedy and how 'the stories the Greeks told and retold were about the cyclical nature of violence and the way what seems like a personal action, a moment of vengeance, has ripple effects for whole families and future generations'. She thinks we are 'in a moment of wilful ignoring of the lessons of history'. No wonder her new play feels timely.

One of those ignored lessons is on the MeToo movement, which, she has said in the past, 'got killed very quickly'. 'We were at an exciting point,' she adds now. 'But we've never reached equality of pay, and not only has MeToo been rolled back, and superquickly discredited, but there's a conversation in one of the biggest democracies in the world [the US] about women not having the right to vote because of household voting.' She thinks it's a shame that women aren't running the world: 'Not that we're perfect... But we're pretty bloody close. It certainly isn't working at the moment.'

She's alert to the pressures of cosmetic surgery, GLP-1s and the vortex of toxic influences on her young daughter. Her own face, intensely mobile, looks untouched by knife or needle, and she says that when she sees a 'fresh face, a quote-unquote imperfect face, I marvel at its beauty'. Blanchett is aware that Edith is 'on the cusp of all that stuff, but you have to keep the door to conversation open. They'll sense if you're coming to control or curate their relationship to their friends or the digital world'. So, instead of hard screen-time limits, she asks, 'Why do you need it? What are you doing that you can't do with a pen and paper?' She tries to 'have respectful arguments with my kids and explain my point of view'.

Motherhood, like her other roles, is a collaborative one. She's a team player, which is why she loves the theatre for the way it gathers people together in one space for a shared experience. It's at this moment that Bina Daigeler, a costume designer Blanchett worked with to create Lydia Tar's chic, androgynous wardrobe, joins the table and our talk turns to fashion, with Daigeler saying 'she's not at all difficult but she's super interested' in the process of creating a costume for her characters. Blanchett, a multiple winner of best-dressed awards, adds that, for her, 'fashion is a performance art, with an emphasis more on performance than art'. An ambassador for Louis Vuitton womenswear, she finds it fascinating how 'the ideas from runway shows get distilled and disseminated' out onto the street. As in every other area of her life, Blanchett brings her prodigious 'eian, intelligence and style to the question of clothes, as well as her loathing of waste. Her rule is that if she hasn't worn something for four seasons, she'll give or lend it to a friend; at some point, it may come back to her, or it may not. The habit is a characteristic blend of generosity, thoughtfulness and frugality.

At this point, I get up to leave and make to pay the bill. But the staff at Lasdun wave away my offer. Our oysters and mocktails are on the house. Of course they are. Cate Blanchett may want to be just one of the gang – everyone else knows she's the star of the show. 'Electra/Persona' is at the Lyttelton Theatre, National Theatre (nationaltheatre.org.uk), from 19 August until 10 October. □

September 2026 HARPER'S BAZAAR 121

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Wool jacket, matching skirt, bath from a selection, JACQUEMUS White and yellow gold and diamond necklace, from a selection, LOUIS VUITTON HIGH JEWELLERY Leather heels, $7,060, LOUIS VUITTON

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Bredlyon

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Leather-embellished dress, from a selection, LOUIS VUITTON

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EMMA SUMMERTON

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Viscose-mix coat, from a selection, ACNE STUDIOS. Acrylic visor, £435, HOUSE OF FLORA. Hair by Sam McKnight, using Hair by Sam McKnight. Hair assistant: Valerie Benavides. Make-up by Val Garland at Streeters. Make-up assistant: Paula Maxwell. Manicure by Abena Robinson at Agency 41. Set Design by Trish Stephenson at Patricia McMahon. Production by Shiny Projects. Stylist's assistant: Olivia Sandford-Wilson

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EMMA SUMMERTON

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Photographs by ERIK MADIGAN HECK Styled by MIRANDA ALMOND

GIY ENCHY BY SARAH BURTON From left to right, the collection of the 1940s is taken from the 1950s. The 1950s are the most popular and most famous and the most famous of the 1950s. The 1950s are the most famous and the most famous of the 1950s.

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WILD AND FREE

The autumn/winter collections beckon you to be bold, inviting a more instinctive approach to dressing. Channel the dynamic mood of the new season in dramatic capes, buttery leathers, romantic lace and fluid silks for happy-go-lucky living

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LOUIS VUITTON Wool cape, from a selection, matching vest, £1,400, matching trousers, £1,200

2016 FLORES VUITTON

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CHANEL Tweed loc. tel. 24,425, mulch bng skirt, 25,000, twill skirt, EX915, suede and wind-skin dinglands, EU299

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بسم الله الرحمن الرحيم

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HERMÈS

From left: Ava wears cashmere and silk jumper, wool and silk top (worn underneath); lamb-skin mes-skin; silk tie; all from a selection. All head wears wool and lamb-skin dress, from a selection; rose gold and diamond earrings, £8,180; calf-skin boots, from a selection

FRIX MARIGAN BECK

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ERMANNO SCERVINO

Tulle and lace dress, £6,680, glitter clogs, £780

ERIK MARIGAN BECK

1

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BALENCIAGA Leather bomber jacket, viscose trousers, both from a selection

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1

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McQUEEN From left: Luoyi wears silk georgette dress, £8,800; satin sandals, £1,100. Ava wears leather kurrish-coat, £6,700; silk dress, £5,300; embossed red mask, £5,300; leather boots, £1,350. Londone wears silk and lace dress. from a selection; silk capri pants, £650; leather bagels, £1,350. Athena wears lace and organza dress, £4,100; leather heels, £890.

ERIK MADIGAN REGL

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BURBERRY Shearling coat, from a selection; leather trousers, £3,490; matching belt, £345

ERIK MADIGAN HECK

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CELINE From left: Ava wears wool crepe dress, £3,250; leather mules, £730. Tights, stylist's own. Luoyi wears viscose satin top, £1,700; matching trousers, £1,350; leather flats, £690

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MICHAEL KORS COLLECTION Wool and viscose blazer, £1,870; castmore jumper, £762; cotton jumper, £370; viscose jumper, £292; viscose and wool shirt, £1,270; leather Oxford shoes, £320

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ERIK MADIGAN REEK

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RALPH LAUREN COLLECTION

From left: Ava wears cotton and leather tongs; E1,250, cap; steel; 1.5mm, E1,500, silk skirt, E2,500.

Luoyi wears cotton shirt, E1,250, wool-blend tie shirt, E1,250, leather skirt, E680, leather tongs, E1,150.

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TOD'S Leather case, 3m, unique, cloth from a selection

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HOLCE & GAMBANA made with blue wood wood, black cotton, silk, cotton dress, E3 7591 two weeks shearing, lead, lead or selection, silk, cotton dress, E2 7591 handheld scarf, E335. Linedome was a cotton barboard, E3 6000, made in 1891, E3 6000, face, except from a dam both, E3 6000, satin beets, E2 5000, a hand wear, cotton shirt, E3 6000, jacket, E3 6000, satin beets, E2 5000.

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ERIK MABGÂN HECK

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PRADA Framum, 4, 6 weeks satin dry N. 62, 120, p.s.o. - Vag. £7,20 cotton packs, £8,60, satin heels, £7,400, Landoine wears nylon, leach £5,200, wear tumblers, £1,610, cotton skirt, £1,610, matching finishers, sworn underneath, £2,010, cotton locks, £860, collection heels, £1,110

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GIORGIO ARMANI Jacquard dress, from a selection; matching trousers, £12,000; velvet boots, £1,450

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MAX MARA From left: Londone wears mahbir and wool dress, frohve selection, nappa suede gloves, £540. Athena wears silk satin dress, £1,770. Gloves, stylist's own.

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ERIK MAHRAN HEIK

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FERRAGAMO Silk organza shirt, £1,310; matching skirt, £1,085

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DIOR Silk organza jacket, sebum-embroidered mini-skirt, both from a selection, pizza-dot necks. £900

ERIK MADRIS Y HECK

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MIU MIU From left: Ava wears wool dress, £2,950; polyamide trousers, £1,330; polyamide and shearling hat, £780. Londone wears silk dress, £2,750; tulle dress, £2,650; washed-silk dress, £1,560. Athena wears wool dress, £2,950; matching trousers, £2,100. Luoyi wears wool jacket, £3,850; matching trousers, £2,100; washed-silk dress (just seen), £1,560

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ERIK MADIGAN HECK

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GUCCI From left: Luéri wees elk jacket, E2,210, match-ng-shirt, E1,040, crape de chine shirt, E1,040. Tlights, stylist's own, Athene wears silk top, E1,150, jersey leagrings, E775

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2

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VALENTINO From left: Lvay, wears georgette top; satin skirt, pearl and crystal earrings; lupta tights, all from a selection. Suede sandals, from a selection. VALENTINO GARAVANI Sanders: years satin cape; satin skirt, pearl and crystal earrings, all from a selection. Suede, goat-skin and leather heels, from a selection. VALENTINO GARAVANI

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CHLOE, six dress, £6,555, matching skirt, £8,259, calf-skin boots, £2,120

ERIK MADIGAN HECK

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FEND1 From left: Athena wears velvet dress, £3,700; leather collar, £630; cotton socks, £170. Ava wears cotton dress, £4,900; leather collar, £630; silk shorts (worn under dress), £810; cotton socks, £170. Luoy wears wool dress, £2,350; leather collar, £630; shearling scarf (in hand), £4,900; cotton socks, £170; leather heels, £870. Londone wears silk dress, £4,050; leather collar, £630; silk bra, £810; matching shorts, £810; cotton socks, £170

ERIK MADIGAN HECK

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Hair by Declan Sheils at Premier Hair & Make-up, using Hair by Sam McKnight. Make-up by Andrew Gallimore. Senior stylist's assistant, Hadya Tuofia. Stylist's assistants: Gloria Madenge and Lauryn Doherty. Models: Londone, Myers at Next; and Athena Wilson, Ava Good and Luo Yi at Premier Model Management. Hair assistant: Fabio Carniero. Make-up assistant: Nic Marilyn at Vision Curate. Set design by Charlotte Lawton at Patricia MacMahon. Location production: Lucy Watson Productions

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FORTUNE'S BAY FOR PRISMS

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FASHION PHOTOGRAPHS BY AGATA POSPIESZYNSKA

DIVINE TIMING

Alexander Fury enjoys an audience with Valentino’s creative director Alessandro Michele, whose bold, disruptive approach – one that blends beauty with chaos, and tradition with innovation – is adding an unexpected chapter to the iconic Roman house’s mythology

PHOTOGRAPH FABIO LOVINO

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I

n a grand office, in the grand Palazzo Mignanelli that serves as the imposing headquarters to the grand house of Valentino in Rome, its creative director Alessandro Michele looks oddly at home. It's odd because that grand office, a former ballroom on the palazzo's piano nobile, proportioned accordingly and with an intricate

vaulted-wood ceiling, looks like nothing less than some Vatican offshoot, a set primed and ready for Conclave to film a few extra scenes. The vast room was specifically chosen for the late, great Valentino Garavani – known universally, respectfully, as Mr Valentino. He wasn't a pope of fashion but, in the words of Women's Wear Daily, the 'Sheikh of Chic', and this room was intended as a suitably impressive 'frame', according to his business partner Giancarlo Giammetti. During the palazzo's renovation by Tommaso Ziffer and Massimo Zompa in the 1980s, Giammetti declared: 'One has to know one has arrived in Valentino's study.' Oh, you still know it today.

You do, however, also know that Michele isn't Valentino. The two don't look – nor indeed design – alike. Actually, they couldn't be more different. With his beard and flowing Twelve Disciples hair, 53-year-old Michele – the former creative director of Gucci, now two years into his new role – more readily resembles the beatific Renaissance saints whose likeness once hung on his studio's soaring walls than the dapper, suited-and-booted Valentino-male archetype. Today, he's seated before an oil painting of an Elysian scene that almost looks like a theatrical backdrop, and is wearing a white T-shirt printed with the slogans APOLLON and DYONISOS in that bright, signature shade of scarlet known throughout the world as Valentino red.

Those two gods – Greek, incidentally, rather than Roman – represent opposite poles: harmony and divine order versus passion, emotion and instinct. Valentino definitely belongs to the former camp; Michele is more 50/50. He's kind of the fashion god of chaos, honestly – he has sent models trailing pellucid satins in the gutters of Hollywood Boulevard, out onto an operating-theatre catwalk carrying facsimiles of their own heads and, for his debut Valentino haute couture show, wearing ballgowns of breathtaking beauty and Luchino Viscontian proportions juxtaposed with lucha libre-inspired masks. He has already staged a Valentino presentation in a sweaty reproduction of a public bathroom, which raised many eyebrows and some hackles.

The opposing poles at play in his reimagined Valentino were amply demonstrated by a spectacular autumn/winter 2026 ready-to-wear show. It was held in the rather more refined environs of the Palazzo Barberini in Rome, the first in his own and the brand's hometown. Rome is, for Michele, an essential component that shapes his approach to fashion, and that of Mr Valentino, too.

But their perspectives of the city are divergent. 'Rome, it's about very different kinds of beauties,' he says. 'There is one that is solemn; it's incredible; it's big. The beauty of the Greek and Latin language of the goddesses and gods, the majesty of the marble of the fontana.' He allies those goddesses with Valentino's idealised women, perfectly draped in stylised plissé silk. 'But, on the other side, there is the mess of all these layers, different kinds of messages and emotions.' Indeed, traipsing through Rome to the Piazza di Spagna, overlooked by Valentino's palazzo, is to time-travel with mind-boggling speed through architecture that runs the gamut from the ancient world to the Renaissance, the Baroque period to the 1900s bourgeoisie and 1930s rationalism, all at once. 'It's like you are in front of the most colossal movie from Hollywood – with the biggest budget for the biggest ceiling, the biggest room, the biggest window, the biggest palace.' He's laughing. 'And also the biggest mess.' You can see that mix in his Valentino clothes – if there's one thing Michele is bringing to Valentino's impeccable Roma, it's a welcome bit of messiness.

That is perhaps why Michele called this collection Interferenze. Indeed, the parade of post-modern beauty, comprising unanticipated combinations of full-length fur coats, leggings and exquisite lace and chiffon gowns worn with globules of gems, felt like just that, as they passed through frescoed salons that, Michele says, seem larger than a football field. They didn't belong. But the title was broader than just these clothes. 'The way I work, it's always like an interference,' Michele says softly, thoughtfully. 'The work of a creative director over the past 20 years, it's being an interferenza or interference in the story of a brand, in the work of someone else. And it's beautiful, the way that two different things, they go together – they come together, to create something new.'

His interferenza is especially pointed at Valentino. You wonder at the common ground to be found between a fastidious couturier who, as a child, perhaps apocryphally, cried until he vomited when his mother tried to make him add a 'coarse' bow-tie to an outfit, and the aforementioned madcap creative chaos that had characterised Michele's approach to fashion since he first emerged on the global stage as creative director of Gucci a decade ago. You can imagine the legendarily soignée Swans who comprised Valentino's imperious aristocratic clientele turning up their noses at the grubby, bohemian, rock-and-roll waifs and strays that Michele adores. And, although he fits right in to Valentino's office, Michele himself readily acknowledges those dichotomies, even in terms of the continuum of the house's creative direction. 'Pierpaolo and Maria Grazia, they were like the nephew and niece of Valentino,' says Michele of Piccioli and Chiuri, the designers who led the house's creative direction – first as a duo, then Piccioli solo – between 2008 and 2024. They began work at the label in 1999, just before Michele himself joined

162 HARPER'S BAZAAR September 2026

PHOTOGRAPH: AGATA FOSPIESZYNIKA

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All clothes, from a selection: Valentina autumn/winter 2025 collection

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PHOTOGRAPH AGAIN FOR RESINDIA

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'I THINK THAT I'M TRYING TO INVENT AND CREATE A MOVIE AROUND A WORLD. I ALWAYS LOOK AT THE BIG PICTURE'

Gucci, culminating in a long stint as its creative director. 'I'm the really new one,' is how Michele describes his place at Valentino, given that many members of staff have served for multiple decades. 'I'm looking at the things as a guest or the new inhabitant of the house.'

That is how Michele can challenge our preconceptions of Valentino, by mashing together edge with elegance, by twisting those hallmark evening dresses with something as simple as the kind of wrong shoe, glove or skew-whiff hat that Mr Valentino himself would never have dreamt of adding. Yet there are undeniable links forged between the founder and his newest guest. An unexpected one is glamour, something you readily associate with Valentino's sleek evening gowns, for instance. They're almost synonymous. Michele? With collections that have referenced the geek chic of The Royal Tenenbaums, not so much. But Michele begs to differ. 'I've been very attracted to the glamorous world when I was younger, from Hollywood, from Jean Harlow... I'm discovering that I like glamour also from my point of view.' He smiles. 'I think I've been very rebellious, playing this game.'

Hollywood is an interesting take – because cinema is something else that directly connects the two. While an assistant at Jean Dessès in the 1950s, Valentino sketched 'dream dresses' for the actresses of his day – one of the first was named Elizabeth, as in Taylor. (Valentino would later dress her, possibly most famously for her final wedding, to Larry Fortensky, in 1991.) Michele, too, has a fascination with film; his mother worked at Cinecittà, the famed Roman studios, assisting a movie executive, exposing her son to the spectacle of Italy's own Hollywood, peopled with Fellini, Rossellini, Bertolucci and the rest – including, actually, Taylor, during her turn in Mankiewicz's 1963 Cleopatra. Michele's mother used to tell him stories about rubbing shoulders with her at coffee shops in the city.

Michele, accordingly, compares himself to a film director. 'I think that I'm trying to invent and create a movie around a world,' he says. 'I always look at the big picture.' And, like a director, he sees his role as trying to 'invent with this script something new'.

Unlikely though it seems, it is undeniably true that Michele's Valentino is rooted in the script written by the founder, to a far greater degree than his predecessors. 'I don't feel guilty taking different things,' he says, and he has, accordingly, plundered the archives, referencing obscure grabs from Valentino's 1980s heyday, which Michele finds perpetually fascinating. In his first collection, there was a jumble of outright referential pieces, from filmy lace dresses to Coromandel-sequined jackets (a note: Valentino's versions predate Karl Lagerfeld's at Chanel by six years). His first haute couture show proposed a jumbotron-scale reissue of a red ruffled tulle dress photographed by Deborah Turbeville in 1977. And some other looks might graft the exquisite draped bodice of a Bonfire of the Vanities Valentino evening

gown to jeans, say, or transpose a filmy lace lady-who-lunches blouse to top off a pair of grungy Y-front briefs on a guy.

Michele was born in 1972 and grew up in Rome; he remembers his first sighting, aged 13, of Mr Valentino, clutching his pugs and framed through the windows of the new McDonald's in Piazza di Spagna. (How about that for the type of high-low contrast that electrifies Michele's work?) 'He was like an epiphany,' he says, recalling that unlikely first sighting. 'Like a god.'

Mr Valentino was – is – thus revered in his adopted hometown. He actually grew up in Voghera in Lombardy, some 300 miles away, but through sheer force of will, became the most Roman of couturiers, indelibly entwined with the Eternal City. When the designer died in January, aged 93, his funeral had the scale and ceremony of that of a state potentate. As a form of homage, Michele opened his following haute couture show with a slender column dress in Valentino red. The Roman ready-to-wear offering closed with a similar number that seemed a throwback to a Valentino original, but wasn't. 'That dress, it looked so Valentino,' he says. 'I was thinking about the era of Elsa Peretti working with Tiffany – the shape must be very organic and chic, but also sexy, because you can really feel the body inside. I was trying to say, this is not just a colour, this is a statement, it's a state of mind, of life, of the way that you want to look and how the women were... There was nothing, just a pair of earrings and the dress. And it's not really me.'

Facing off with that legacy must be daunting – to throw out another Roman reference, a designer like Michele has to be Janus, looking back and forwards at the same time. He was also, perhaps, glancing over his shoulder to see the reactions of Valentino and Giammetti, both looming presences. Giammetti attended Michele's shows for the brand, applauding loudly; and although Valentino was too unwell to be there in person, Michele could still sense him. 'It's very strange, that he is not any more with us.'

Did he ever seek Valentino's approval? Michele takes a moment to pause, to reflect. 'It probably was something unconscious,' he says, slowly. 'I would say yes, because knowing that Mr Valentino was probably watching the show... I feel always very free and very connected with the things that I'm doing, but I think that, in a very unconscious way, something was going on inside me. And, as you know, sometimes that's stronger than the conscious way.'

It's also a natural question to ask what he feels he has inherited from Valentino – aesthetically, and philosophically. 'He founded this brand and he really showed the world the power of imagination, the power of creativity, the power of a colour, the power of an attitude. It's like the power of the little detail, on these huge frescoes. I have never been in such a powerful brand in terms of creation.'

PHOTOGRAPH: AGATA FOSTER/STYRE

September 2026 HARPER'S BAZAAR 167

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PHOTOGRAPHS: ADATA POSTESZYNIKA

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PHOTOGRAPHS: ALAMY, GETTY IMAGES. © JOHN MINMAN / NATIONAL PORTRAIT GALLERY, LONDON, PANEL P152

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JOHN DONNE

AND OTHER

CATWALK ICONS

For the bestselling author Katherine Rundell, style is a language of its own. She explains why the literary canon is her most enduring source of fashion inspiration

Portraits by PAWEL PYSZ

A few days ago, it was the preview party for my new book, The Neverfear. And I had no idea what to wear. When I don't know what to wear, I often end up thinking about John Donne for inspiration. He was the greatest poet of sex and love in the English language; a contemporary of Shakespeare, he wrote about desire in a way that hasn't been equalled before or since. He was also fantastically handsome and seriously into fashion, and a man who understood that clothes are more than the sum of their stitching and cloth: they are a form of language.

People appear in Donne's poetry using clothes as a bid for status, as armour, and as accidental evidence of their susceptibility to being sartorially hoodwinked. Donne lived at a time when clothing was regulated by a very literal fashion police – the Elizabethan 'sumptuary laws' had decreed that, for instance, only the royal family could wear purple silk, while only knights' wives could appear in taffeta – and therefore nobody was under the impression that the question of how to dress was frivolous: over-padding your hose could land you in prison. But it was, too, a more fundamental understanding: I wrote in my biography of

Donne, Super-Infinite, that he understood that when we get dressed, we ask something of the world. All clothes speak. They say desire me, or oh ignore me, or endow my words with greater seriousness than you would were I not wearing this hat.

A couple of years later, Super-Infinite took on a fashion life of its own. It was read by Andreas Kronthaler at Vivienne Westwood and became the inspiration for his spring/summer 2023 collection, together with an accompanying ad campaign shot by Juergen Teller. The programme notes for the show consisted largely of quotations from my book: not a place I had expected Donne to appear. The show opened with a patent-leather dress forged like Renaissance armour and styled with rhinestone-encrusted knight's boots. Male models wore underpants embroidered with Donne's imagery of concentric circles. One model had a ruff covering their entire head.

It gave me great pleasure to think that, in the 10 years the book and the research took me, I had been unknowingly committing an act of fashion. I do not, while I write, dress stylishly, though I do dress purposefully. My subconscious interprets beautiful clothes both as fragile and as demanding constant attention in their own right, and therefore I find it much harder to write in a skirt or anything silk. I dislike synthetics and so if

September 2026 HARPER'S BAZAAR 171

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Katherine Randell

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I were to describe my dream working look, it would be 'the man in the 1920s countryside-house party who is murdered first': thick high-waisted wool trousers with a pleat, a brushed-cotton shirt with frayed collar and cuffs, a jersey, good leather boots. I need, in order to write, clothes that can mind themselves and intrude not at all on the imagination: nothing that demands anything of me. (Conversely, a friend of mine, when writing her master's thesis, used to dress in a pencil skirt and heels when the work was going badly, so that she could pretend she was her own secretary, working dispassionately on a project without the neurotic intensity that often comes with academic work.)

My fashion icons have rarely been Hollywood stars. Their style always seemed to me as though someone did it for them. It looked to my young self like the opposite of freedom and creativity. My icons have instead been writers, people who see clothes as language: the upturned collar of Albert Camus, the theatricality of Colette, James Baldwin wearing a scarf as a tie and velvet trousers in San Francisco in 1969, the purest iteration of cool on the planet in that moment. Joan Didion and her packing list: '2 skirts, 2 jerseys or leotards, 1 pullover sweater.' And in an age of AI slop and falling numbers of those who read for pleasure, I believe that glamour helps us fight the good fight. If every schoolroom had that black and white picture of Samuel Beckett wearing his fisherman's jumper and his battered old flannels and looking like a sartorial god, then I am convinced more kids would start reading; and they would discover the austerity and the sharp thinking of Beckett's mind match the sinuous elegance of his clothes.

Clothes cannot be escaped. George Eliot understood, like Donne, that it is impossible to wear silent clothes. Middlemarch has one of my most-loved openings in literature, a description of Dorothea Brooke: 'Miss Brooke had that kind of beauty which seems to be thrown into relief by poor dress. Her hand and wrist were so finely formed that she could wear sleeves not less bare of style than those in which the Blessed Virgin appeared to Italian painters; and her profile as well as her stature and bearing seemed to gain the more dignity from her plain garments, which by the side of provincial fashion gave her the impressiveness of a fine quotation from the Bible, — or from one of our elder poets, — in a paragraph of to-day's newspaper.' Dorothea's dressing to appear not to think about clothes is itself a form of thoughtful dressing. (Eliot, one of my great heroes, is also proof that it's not always a gift to be beautiful. She was a plain child in the opinion of the day; it was thought so remarkably plain that nobody would marry her. Henry James described her as 'magnificently ugly, deliciously hideous'. Her father decided to educate her sufficiently to earn a living of her own. Had Mary Ann Evans been born with a button nose, we might have been denied some of the greatest works of art in the English language.)

Virginia Woolf was haunted both by the pleasure of clothes and by the constant unease that she was getting it wrong. ('This is the last day of June & finds me in black despair because Clive laughed at my new hat.') She wrote in her diary: 'I must remember to write about my clothes next time I have an impulse to write. My love of clothes interests me profoundly: only it is not love; & what it is I must discover.' She knew that the trouble with getting dressed is that it is a double-edged dilemma: one part frustration and despair at the time, the cost, the effort, the

not knowing if you look as you hope you look, the sense you could be doing something more useful and generous; but one part is pure joy and exhilaration, about making our choices freely, being who we want to be, the knowing what looks good, honouring the things we love, celebrating beauty, relishing ingenuity and tone, shine and sleekery, texture and colour and craft. Woolf wrote in Orlando: 'There is much to support the view that it is clothes that wear us and not we them; we may make them take the mould of arm or breast, but they mould our hearts, our brains, our tongues to their liking.' They are quicksilver, slippery things, clothes: they hold history, class, wealth, domination and aggression, nuances and uncertainties in them, and also the joy of discovering what it is to have found a language you carry silently on your body. If one has the luck and luxury of time and a small amount of money, it is worth spending them in learning what it is that one might take joy in saying. But there are many who have financial interest invested in making you believe that only they have the answer to the question of beauty: those are people to defy.

I am not a sportsperson, unless you count reading as a niche sport, but I would gladly spend time conjuring a perfect fantasy team of sartorially glorious writers. My star striker, in the number-nine shirt, would be John Donne. In central midfield, the well-known combination of Dolly Alderton in malibu feather cuffs, Samuel Beckett and Jane Austen in carefully chosen muslin. Playing out on the wings, Joan Didion and TS Eliot in his beautiful chalk stripe. For central defence, Chimamanda Ngozi Adichie for her use of print as a kind of song. Then Colette: her books championed the honest expression of female desire, and she was one of the great cross-dressers and inventors of looks — Chanel avant Chanel. Also in the line-up, Lemn Sissay: a beautiful writer and a brilliant man, and a genius with colour. He wears saffron in ways that would reward much study. The sweeper is Zadie Smith, whose consistent style and elegance is so versatile that she can play anywhere on the pitch. Virginia Woolf is in goal. The subs bench is also a thing of wonder, with Vita Sackville-West, James Baldwin, and Donna Tartt and the bold, emphatic shoulders of her suits.

Perhaps the best clothes are the ones that give you courage. Bill Cunningham famously said: 'Fashion is the armour to survive the reality of everyday life.' I am not myself stylish — I have met too many truly stylish people to be in any doubt of that — but I have a handful of outfits that give me courage. Max Mara and Lardini skirts that I wear with Chanel boots bought on Vestiaire, and an embroidered top I bought in Singapore when I was faced with a thousand children and realised I had not packed anything to wear for them. (Never make the mistake of thinking children don't notice your clothes. They do, in particular your shoes, if they are sitting on the floor.) A dress made for me by Barbara Casasola, tight at the waist. A red tartan skirt and a red Vivienne Westwood dress. For the book party, I ended up wearing a gold jumpsuit by Alice Temperley, borrowed from a much taller friend. The Neverfear itself is about peril and joy, based around the tasks of Hercules and the seizing of a golden apple. It is a Herculean job, getting clad in a world: but there is gold in it. Katherine Rundell is the author of 'Impossible Creatures'. The third book in her series 'Impossible Creatures: The Neverfear' (£16.99, Bloomsbury) is published on 27 August. □

September 2026 HARPER'S BAZAAR 173

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Explore the families at fragrancefoundation.org.uk

Fragrance lasts

The

A M B R É E

Fragrance Family

Night-time closes in. Heady scents fill the air. Warm spices and woody frankincense, softened with sweet vanilla. Ambrée fragrances revel in luxury and inspire indulgence. A silk wrap around cool shoulders, that soon slips to reveal yet more l a y e r s.

THE FRAGRANCE FOUNDATION UK

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BAZAAR

beauty

SHORTED BY KATY YOUNG

GOLDEN YEARS

Look created using Diarshow 5 Couleurs in 365 Charmed Green palette, Dior Backstage Rosy Glow Stick in 107 Dragonfruit, Dior Backstage Glassy Glow Stick in 098 Glazed Mint and Rouge Dior On Stage Shine 999 lipstick.

Angel eyes

Dance the night away in shimmering Seventies-style make-up looks, courtesy of Dior's master of maquillage Peter Philips. Plus hi-tech tools to promote wellbeing, a fresh incarnation of an iconic fragrance, and our beauty director's favourite longevity booster.

PHOTO: SARAH DAVID FERRUA

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NIGHT FEVER

Turn up the heat on pigments by applying washes of colour that offer a gentler glow, as seen here with

Diarshow's Coulours in 365 Charmed Green, which adds lustre on the eyes, Dior Forever Glow Luminzer in 0.6

Pink Strobe on cheeks, and a silky layer of Rouge Dior On Stage Matte in 346 Auburn

Mystery on the lips, heils painted with Dior Vernis in 309 Charm provide the final flourish.

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ALL CLOTHING THROUGHOUT, FROM A SELECTION, DIOP A/W 26

Photographs by DAVID FERRUA Styled by TANIA RAT-PATRON

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DAVID FERRUA

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SMOKE ON THE WATER Berry tones offer a glamorously grown-up take on the smoky eye this season, as illustrated here with Diorshow 5 Couleurs in 883 Lucky Rosewood used as eyeshadow, Diorshow Overvolume in 971 Overplum for the blush and Dior Addict lipstick in 541 Wishes.

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SHADOWPLAY

Use colour to highlight features, as seen here with Diorshow 5 Couleurs in 883 Lucky Rosewood, which brings iridescence to the lids, Dior Backstage Glassy Glow Stick in 001 Glazed Pink and 035 Glazed Ice to make cheeks look fuller, and Rouge Dior On Stage Ink Blur in 200 Nude Pulse to plump the lips.

DAVID FEBRU

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THE ROSE For a masterclass in tonal make-up, Philips combined rose gold, candy and petal pink, using different textures. Lustrous Diorshow 5 Couleurs in 883 Lucky Rosewood is worn as shadow, Dior Backstage Rosy Glow Stick in 103 Toffee gives a glazed flush, and Rouge Dior On Stage Matte in 383 Mauve D-Vibe offers a pretty matte lip.

MAKE-UP BY PETER PHILLIPS, HAIR BY BASTIEN ZORZETTO AT WALTER SCHUPPER MANAGEMENT, MANICURE BY MAGDA S. STYLIST'S ASSISTANT, ALESSIA UBBIORI, MODEL NINA SOMMERFELD AT PREMIER MODEL MANAGEMENT

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SUGAR, SUGAR

Contrasting candy colours are seamlessly blurred and blended for a sweetly harmonious palette.

Here, Philips used Diorshow 5 Couleurs in 365 Charmed Green on the lids and Dior Backstage Rosy Glow Stick in 015 Cherry on the cheeks with Dior Addict in S2 Grigri on the lips.

DAVID FERRICA

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BEAUTY

WHAT KATY DOES

Our beauty director Katy Young reveals the secrets of her routine

MAC Strobe Beam Liquid Blush, £22 Nars Insatiable Liquid Blush, £35.50

NEW BLOOM Finding the perfect blush for your complexion is about choosing the right texture as much as the shade. My favourites include a velvety cream by Violette FR that melts into a powder, and liquid formulas by Nars and MAC.

Violette FR Plume Blush, £35

Time machine

Lancôme has worked with a Swiss bio-tech company on a pioneering new skincare line to boost cell longevity. Test your skin's biological age with a CellBio Print Machine at a Lancôme counter, then return after three months of using the products to measure their effects.

K18 Future IQ Hair Longevity Serum, £115

The long game

'This is about future-proofing your hair density and pigment,' says Tom Smith, K18's global ambassador, of the brand's new Hair Longevity serum. 'There hasn't been anything that does those two things together before,' Build the serum into your daily routine and you can expect to see results within three months.

Perfect blend

Created by a dream team of world-class perfumers – including my all-time favourite, Dominique Ropion, the talent behind Portrait of a Lady – Estée Lauder's Glimmer eau de parfum, a blend of raspberry, rose and amber, is full of warmth and magnetism.

Kama Ayurveda Kum Kumadi Oil, £135

MAD ABOUT...

Each bottle of Kama Ayurveda's Kum Kumadi Oil uses the antioxidant properties of more than 600 saffron petals for the most luxurious skin therapy.

PHOTOGRAPHS: MARTINE, GETTY IMAGES

September 2026 HARPER'S BAZAAR 185

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BEAUTY

BEST FOR REDUCING STRESS

Nurosym, £599

With vagus-nerve stimulation designed to support nervous-system balance, this promises to relieve mental and physical tension.

BEST FOR HEALTH

TRACKING

Oura Ring 5, £399

A sleek wellness monitor that measures sleep, stress, heart health and recovery, now in a slim titanium design.

BEST FOR CONTOURING

Zip Halo 2.0, £379.99

This sculpting tool uses microcurrents to lift and tighten the skin while promoting lymphatic drainage and easing redness.

BEST FOR HYDRATION

Shark Beauty Facial Pro Glow, £299.99 Exfoliation, hydration and hot-and-cold therapy tackle impurities and puffiness, promoting a brighter complexion.

BEST FOR SLEEP

Ozlo Sleepbuds, £299

Listen to a podcast or music or create a silent soundscape using these noise-cancelling earbuds, with sensors that detect when you fall asleep.

BAZAAR EDITOR'S CHOICE

2026

THE BEAUTY EDIT

GADGETS

The most advanced technology to try in 2026, from health trackers to hair saviours

BEST FOR BRIGHTENING

Nooance Smartech Elite X600, £699.99

Six hundred LED bulbs give even red-light coverage to aid elasticity and counteract the appearance of fatigue.

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Oral-Bi010 Electric Toothbrush, £800

Achieve optimal coverage, brushing time and pressure with this dental tool, which has settings for issues such as gum care and whitening.

BEST FOR SKIN REPAIR

Foreo FAQ501, £449

This LED device offers broad-spectrum and narrow-wavelength light therapy to target fine lines, sun spots and uneven texture.

BEST HAIR DRYER

GHD Speed, £299

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BEST CURLING TOOL

Dyson Airwrap Co-anda2x

Multi-Styler, £579.99

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186

HARPER'S BAZAAR September 2026

WORDS BY KATIE WITHINGTON

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BEAUTY MOODBOARD

Crush Absolu signals a bright new mood for Chanel's Coco Mademoiselle fragrance family

Kitty D'Alessio and Jacques Polge

Since launching in 2001, Coco Mademoiselle has captivated legions of fans – enough to make it the leading pillar within Chanel's fragrance line in the UK. Its universe includes a hair mist, bodycare products and even a hydrating 'perfume primer' designed to boost the intensity of the scent. This year, Chanel's master perfumer Olivier Polge introduces its most audacious version yet: Coco Mademoiselle Crush Absolu. 'It is inspired by the idea of a new beginning and the feeling of something unexpected: an encounter that jolts you awake,' says Polge. This translates into a dazzling show-stopper that opens with a hit of succulent lychee and grapefruit – fruity notes that bring a vibrancy to its floral-amber composition. Opulent patchouli, plush vanilla and dry, woody vetiver add depth for a scent that lingers until the morning after.

For Polge, working with Chanel is a family affair (his father Jacques was its nose for 37 years), yet Crush Absolu demonstrates his intention to bring a contemporary edge to the maison's storied perfume collection. 'The time was right for a fragrance that reflects a fresh start,' he says. 'It offers a sensory and emotional experience for a new era, capturing the spirit of boldness.' With its rich textures and lasting sillage, the result is even more exuberant than the beloved original. MEDINA AZALDIN

Chanel Coco Mademoiselle Crush Absolu eau de parfum, £160 for 100ml.

Olivier Polge

ILLUSTRATIONS BY LILY PICHON, FLANNERY PHOTOGRAPHS, GETTY IMAGES, MAXIMIZE, ALEXANDRE TABASTE

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MAGNUM®

true to pleasure

mini

MOMENTS OF PLEASURE M

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BAZAAR

escape

EDITED BY HELENA LEE

Take the plunge

Bel Powley and Douglas Booth snorkel with sharks in the Indian Ocean on their Maldives honeymoon. Plus, we embark on two safaris – an African adventure and a tiger-spotting trip in Asia – and the designer Huishan Zhang takes us on a scenic tour of his hometown in China

PHOTOGRAPH: SHINH DALY

Baa Atoll in the Maldives

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Just the two of us

For the not-so-newlyweds Bel Powley and Douglas Booth, a deferred but blissful honeymoon in a picture-perfect Maldives hideaway proved that good things come to those who wait

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ESCAPE

Clockwise from left: Douglas Booth and Bel Powley. The Flying Sauces restaurant at Soneva Fushi. The Gaucho Grill. Opposite: Bel Powley

WHEN WE BOOKED SONEVA IN THE MALDIVES FOR OUR long-awaited honeymoon, more than two years after our wedding, we had little idea of what to expect. We had heard whispers, of course: people talking about it as though it wasn't quite real, or maybe wanting to keep it secret for themselves. Now that we've been, it's easy to understand why.

We arrived by seaplane after a pitstop in Soneva's impossibly chic private lounge in Malé, the capital, where we were able to freshen up after the long-haul flight. When we landed on that perfect turquoise ocean, a speedboat arrived almost as if by magic and on went our luggage and shoes. We didn't see the latter until we stepped back onto the plane home.

The whole arrival process is both smooth and relaxing as, unusually, there's no formal check-in – you're taken straight to your villa. The interiors are beautifully pared-back, both organic and luxurious, crafted with warm wood and other natural materials, as though borrowed from the landscape itself. The deck of our villa had an outdoor bath surrounded by dense plants and trees, while an alfresco kitchen was furnished with minibars stocked with cold beers and juices ready for long afternoons in

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the sun. Beyond the deck, we had our own stretch of beach, on which there were two loungers on the white sand overlooking the crystal-clear water.

All guests are assigned a butler, and ours was just a WhatsApp away whenever we wanted to book excursions or make a dinner reservation. He had a talent for anticipation: certain things would happen before we'd even thought to ask, such as our preferred wine being chilled ahead of dinner, or ice and ingredients for our favourite cocktail arriving at the villa just in time for sunset.

Soneva Fushi coined the idea of 'barefoot luxury', and it encapsulates that concept perfectly. Located in the Baa Atoll, the hotel is set on its own luscious private island and feels large enough that there is always something new to discover. Cycling through the dense jungle pathways and finding hidden corners each day became one of the highlights of the trip: we encountered kitchen gardens supplying the restaurants, tiny bars tucked among herbs and flower beds, and dining tables hidden high in the trees where fruit bats drift overhead as the light fades.

We spent many of our days out on the water, snorkelling over bright coral gardens alongside turtles, with huge manta rays gliding silently beneath us. There's something slightly surreal about drifting through water that clear, spotting baby sharks in the shallows one minute and colourful tropical fish the next. On one occasion, we were dropped off on a deserted island for a private picnic. Swimming in the sea, completely alone apart from a few rays and turtles moving through the water around us, we had that rare feeling of total escape.

The food throughout the trip was exceptional. Every dish we ate felt thoughtful, beautifully made and unpretentious. What's more, dining went hand in hand with adventure: particularly memorable was the restaurant Flying Sauces, where you zipline through the forest to eat high above the island amid the treetops. We still think about the scallop carpaccio, which was simple, delicate and somehow perfect. Another favourite was So Primitive, where traditional Maldivian dishes such

as whole local fish marinated in traditional spices are cooked slowly beneath the sand and served by firelight on the beach.

One evening, we crossed a long wooden bridge to an incredibly romantic restaurant called Fresh in the Garden, where we had another superb meal of truffle tagliatelle with guinea fowl before lying together in a private treetop canopy staring up at the stars, finishing what may genuinely have been the best bottle of wine we've ever had – a chilled pinot noir.

What really stayed with us, though, was the people. There's such warmth to everyone who works at Soneva, which comes through in how the staff look after you. Nothing ever feels forced or rehearsed. And most outstanding is how knowledgeable everyone is, whether they're talking about wine, marine life, Maldivian ingredients or the native plants growing across the island.

The second part of our honeymoon took us a 45-minute seaplane ride away to Soneva Secret, the fourth property from the brand, in the waters of the Makunudhoo, the western-most atoll in the Maldives. The villas are even more remote, with a quieter, castaway feel. We would wake up to the sound of waves beneath our overwater villa and let the days drift by happily: swimming straight into the ocean from our villa steps, drinking margaritas in the afternoon sun, repeatedly throwing ourselves into the sea off the slide like children.

The team at Soneva Secret go out of their way to personalise everything. Ben, the executive chef, catered generously for our preferences: fresh, spicy Thai salads for lunch one day, Middle Eastern flatbreads and grilled meats the next evening. At one point, the staff even transformed part of our villa into a makeshift cinema set-up so we could watch the Arsenal match.

What both islands do brilliantly is offer luxury without stiffness. They are beautiful, yes, but also playful, relaxed and genuinely joyful. It was a honeymoon that was worth the wait. A villa suite with pool at Soneva Fushi (soneva.com), from £1,810 a night. A one-bedroom beach villa at Soneva Secret, from £3,682 a night.

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Right: the honeymoon couple. Below: a nine-bedroom residence at Soneva Fushi. Opposite, from top: a beach villa at the hotel. The Beach Reserve at Soneva Secret

Above: Soneva Fushi. Right: a sunset dinner on the beach

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Clockwise from below: Lydia Slater and her husband in Madhya Pradesh. On their safari. Inside their luxury tent at Oberoi Vindhyavilas Wildlife Resort. A lungar monkey. The tent and its private garden. Opposite: a Bengal tiger, photographed by the author's husband

Tiger country

Tracking the elusive big cats through the jungles of Madhya Pradesh. Lydia Slater experiences the beauty, majesty and false-quickening drama of the Indian wild

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IT'S ABOUT 6.30AM, AND MY HUSBAND AND I ARE SITTING IN an open-top 4WD in a clearing, swathed in blankets, clutching hot-water bottles and trying not to make a sound. The wildlife around us has no such inhibitions. As the sun climbs in the sky, the first alarm calls start: the sharp, coughing bark of a spotted deer, snarling grunts from the long-tailed langur monkeys patrolling the trees above our heads. 'Tiger is walking!' whispers Bhuwan, the naturalist who's accompanying us. Unconcerned by the growing hullabaloo, a crested hawk-eagle perched in a sal-tree ruffles its feathers against the morning chill.

We have journeyed to the Bandhavgarh National Park in Madhya Pradesh in search of these elusive, stripy kings of the jungle. Despite global conservation efforts, there are fewer than 6,000 tigers left in the wild, the majority of which are found in India. This park is home to 135 of the magnificent beasts – but that's still not even one tiger per square mile of terrain, so we're not taking anything for granted. Over the past 24 hours, we have seen encouraging signs of big-cat activity: there have been dinner-plate-size paw-prints; and a tree whose bark has been shredded to rags by enormous claws able to reach seven feet above the ground.

Now, a series of eerie groans resounds through the trees – it's a mother tiger, calling her cubs to breakfast. 'She must have a deer in there,' says Bhuwan, raising his voice to be heard over the increasingly hysterical monkeys. But after half an hour, we still haven't spotted so much as a stripe: perhaps she's telling the cubs to stay away while our 4WD is in situ? So we head to a fenced-off area where we can safely have our own breakfast – a wicker hamper of pastries, granola and samosas, washed down with hot coffee – served on the car's bonnet as we warm our chilled limbs in the sunshine.

It's not until later that afternoon that we strike it lucky. We're on the edge of a dried-up river when the langurs' warning calls start up again. But this tiger isn't trying to hide; indeed, his rumbling growls seem to shake the ground for several minutes before he prowls into view down the centre of the riverbed.

Bhuwan tells us he's a 'sub-adult male', but to us he looks enormous and startlingly orange. He pads along with relaxed power, utterly uninterested in our excited whispers, and we drive beside

the bank, keeping him in sight as long as possible, until he turns into a bamboo thicket for a nap.

Only then do I realise that I've been so awestruck by his presence that I have completely failed to take any pictures. But I don't care – the image of that big cat is, in true William Blake style, burning bright on my retina, and no fuzzy camera-phone picture can possibly compare. We are in Jungle Book territory here (Rudyard Kipling based the geography and wildlife of his famous children's book on Madhya Pradesh), but I've never understood why he made the tiger Shere Khan the villain of the story. There's certainly nothing mean or cowardly about this majestic creature – and, equally, nothing that would persuade me to get out of the vehicle in his presence.

It has been worth the considerable pilgrimage to get here: an overnight flight to Delhi, then a further 90-minute plane trip to Jabalpur and, finally, several hours in a car to reach the Oberoi Vindhyavilas, which occupies a rural position a few miles outside the perimeter of the Bandhavgarh National Park.

I've stayed at several Oberoi resorts, and this is, by some margin, the least formal, designed to make guests feel as close as possible to nature. Our accommodation was described as a 'luxury tent', but any worries I had about roughing it are allayed when we enter our canopied bedroom to find it has polished-wood floors and glass doors opening onto an immaculate garden.

One night, we eat a multi-course dinner of Baghelkhandi specialties beside the lake, warmed by a campfire and lit by the stars. On another, we indulge in cocktails made with jungle herbs, gazing out at the gardens through the Crittall windows of the main building and talking tigers with the other guests.

Our days have a hallucinatory quality, starting with a drive through the dawn chill to reach the park, and ending with a trundle back into camp for a well-earned sundowner, overwhelmed with all we have seen for the first time.

As we've bounced around the park's miles of rutted tracks, we've encountered herds of spotted deer with furry antlers; and families of wild boars and golden jackals trotting through the grass. We've seen innumerable birds, from storks to kingfishers, marvelled at statues overgrown with creepers, shrieked at the sight of giant spiders and laughed at the goofy expression of a monitor lizard surveying us from a hole in a tree. Our team – Dev, our driver, Manjit, the forest guide, and the erudite Bhuwan – have looked after us with extraordinary care, and I find myself welling up as we say goodbye to them on our final day.

It's an experience I'll never forget, I think to myself, and I'm right about that. On the way home, we stop in Delhi to do some Christmas shopping. We're outside Khari Baoli, the famous spice market, when I hear a series of explosive coughs just behind me. It's a perfectly normal occurrence here, the natural result of breathing in air that's laden with particles of peppercorns and powdered cinnamon; but for an instant, my heart skips a beat and I'm back in the jungle, hearing the alarm calls and scanning the undergrowth for a predator I'm longing – and fearing – to see. Oberoi Vindhyavilas Wildlife Resort (oberoihotels.com), from £550 a tent a night.

This tiger isn't trying to hide; his rumbling growls shake the ground before he prowls into view

PHOTOGRAPHS ALAN, GETTY, THE OBEROI VINDHYAVILAS WILDLIFE RESORT, INDIA SLATER

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Animal magnetism

Beatrice Aidin falls for the breathtaking beauty of Tanzania, where the Serengeti's endless vistas reveal the natural world at its most magnificent

WE WERE ON SAFARI EVEN BEFORE WE arrived. Our group of six were invited to be the first guests at the new Wild Wakati Camp in Tanzania's Serengeti National Park, and as we gently bumped along the nine-mile dirt road towards the camp in a 4WD, we spotted a duo of crocodiles by a stream, one clenching his prey of zebra in his jaw, ensuring his companion didn't swipe it for his own lunch.

Shortly after, we stopped to admire a pride of sunbathing lionesses casually observing us from just feet away, then passed a dazzle of zebras and galloping giraffes. Warthogs chased their tails with dozzly comedic charm; as it turns out, they are the Dorys of the Serengeti. 'They have a really short memory, so they

can start running and then forget why,' Slim, one of the guides, told us.

Although these sights were energising, we were weary after two flights from London, via Doha with a seven-hour layover to Kilimanjaro, where we were greeted by the founders of Wild Wakati: the Tanzanian safari guide Michael Shayo and the British hospitality entrepreneur Matt Wilkey. We spent a night at the Arusha Coffee Lodge, an hour-and-a-half drive from Kilimanjaro's airport, set within Tanzania's largest coffee plantation, to break up the journey before a final flight from Arusha to Seronera airstrip in the heart of the Serengeti. Two hours later – after our encounter with the crocodiles – we reached

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Right: Wild Wakati Camp. Opposite, bottom: a coffee plantation

our home for the next five nights, greeted with smiles, singing and dancing by the staff, who were excited to welcome Wild Wakati Camp's first guests.

The reason that I wanted to visit Wakati was that they are doing things differently. This isn't just a camp: Shayo has created a hospitality-training ground for the employees. Many are industry newcomers from the local villages and the wider Maasai community, and are being mentored to prepare for future leadership roles.

It is a semi-permanent camp, and with no lasting footprint; the whole enterprise, which is solar-powered, can be lifted away without leaving a scar on the Serengeti. Energy and water consumption are low. Wakati has just been awarded membership of the Long Run, the world's largest nature-based tourism organisation for sustainable travel, which has strict criteria to join, proving its commitment to the 'four Cs' of conservation, community, culture and commerce.

That's not to say the accommodation was basic; Wakati offers what I'd describe as laid-back opulence. There are uninterrupted views stretching across nearly 40 miles of open wilderness. The 10 huge handmade canvas tents – including two with room for families – are crafted locally, as is the furniture. Inside, they are kitted out with emperor-size beds and come complete with en-suite bathrooms, flushing toilets, double sinks and a plumbed-in shower. I was most excited about the bucket shower, for which staff fill pails with solar-heated water and the flow is controlled via a pulley.

The weather was changeable – with two safaris a day, I felt as though I dressed for every season, from cold rain to soaring heat, but that is part of the fun of giving yourself up to nature. A 4.30am start for a ride in a hot-air balloon was thwarted by torrential rain, so we sat in the truck, drinking cups of coffee and eating cake. Our pilot Amanda Brodbeck, a two-time US Women's National Ballooning Champion from Colorado,

decided that we might have better luck the following morning.

And we did. My first time in a hot-air balloon was exhilarating. The sky was clear, so we spotted a herd of elephants elegantly plodding, led by the matriarch with the calves, the mothers bringing up the rear. Brodbeck pointed out herds of buffaloes, 'the most dangerous of the Big Five'. Fortunately, we were 6,000 feet above them, and after 45 minutes and more than 13 miles, we had also seen giraffes, antelopes, hyenas and lions.

Every evening, a team of three chefs would produce lavish meals: the local speciality 'bush chicken' – actually guinea fowl – or steak barbecued under the stars. We'd sip sundowners

before making our way to the best spot for that night's sunset, as recommended by our guides via the 'bush telegraph' (WhatsApp to you and me).

Wakati means 'time' in Swahili. At this remarkable camp, we discovered endless adventure, with heart and soul at its core, and relished every minute of our Serengeti sojourn.

Wild Wakati Camp's full board and game packages (enduatacamps.com), from about £380 a person. ☐

There are views stretching across nearly 40 miles of open wilderness

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INSIDER'S GUIDE

HUISHAN ZHANG ON QINGDAO

The fashion designer reveals his favourite haunts in the city where he was born

Qingdao is my hometown. It's where I was born, where my parents live and where I have my atelier. Despite being China's second-largest seaport, the city is very relaxed, famous for Tsingtao beer and seafood. Many people have second homes here, because it's easy to get to from either Beijing or Shanghai.

The best time to visit is in the spring, when the cherry blossom is out, or in autumn. I would avoid the summer months, and especially the Beer Festival, because the place becomes packed with tourists. As there's sea on three sides of the city, it never gets too hot – even in July, the temperature doesn't go much above 30 degrees.

Qingdao is an architecturally unusual city because of its history. The Germans leased the territory in 1898, when they constructed the seaport, so it's mostly built in the Bavarian style, with red roofs and yellow walls. Yinyu Lane and Zhongshan Road are interesting for their architecture and the shopping.

The other German gift to the city is the famous lager. My favourite is the unfiltered draught beer that is only sold in Qingdao, often in a plastic bag. It's made using water from Mount Lao, and it's smooth, sweet and full of minerals.

Jinshatan (Golden Beach) is a huge powdery-sand beach on the Yellow Sea that offers various water sports. The city hosted all the 2008 Olympic sailing events, so there are lots of clubs where you can charter a boat or take lessons.

The beaches are lined with little cafés selling seafood, any of which will do you a great meal. Sundried meat and fish are local specialities, but I particularly like barbecued starfish, which tastes a bit like sweetcorn. ChuanGe YuShui Jiao is the place to go for seafood dumplings.

When I was small, my parents would take me for picnics up Mount Lao, which overlooks the city. I still come here whenever I need to clear my head, and I find the scenery so inspiring for my designs.

Mount Lao is renowned throughout China as the birthplace of Taoism. The mountain is covered with temples – the Taiping Palace, which is more than 2,000 years old, is unmissable. It's also beautiful for hiking through the ancient woodlands or visiting Longtan Waterfall.

The St Regis has wraparound sea views and an amazing spa. If you're travelling with a group, I'd rent a whole historic house with a garden in the old quarter.

I do a lot of walking, so I typically wear relaxed jeans from Uniqlo. I have three pairs of Prada slip-on trainers in different colours – they're practical and comfortable as well as stylish. I also like Valmont skincare, which smells delicious, and I've just started using Glo Skin Beauty Oil Free SPF 40+ sunblock.

To read, I'll take The Secret of the Golden Flower. It's an ancient Taoist book on meditation that inspired Carl Jung's psychological approach, and is small but powerful. □

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AS TOLD TO: LYDIA SLATER PHOTOGRAPHS, GETTY IMAGES, HUISHAN ZHANG, CHRISTOPHER CYBERST REGIS

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BIRDS OF A FEATHER

Like-minded art lovers flocked together for the Royal Academy's annual celebration

PHOTOGRAPHS BY IONA WOLFF

'Interconnectedness', the theme of 2026's Royal Academy Summer Exhibition, was embodied by its preview party: an evening that saw a coterie of artists, comedians and actors cross-pollinate with poets and pop stars. Lily Allen glided in, swan-like, wearing a feathered 16Arlington gown, on the arm of its designer Marco Capaldo. Sustained by British charcuterie, meadowsweet margaritas and Fortnum & Mason Champagne, Greta Bellamacina chatted with Susie Cave, while Archie Madekwe and Grayson Perry, members of the committee, toasted the stellar submissions and the art world's official start to summer. In the courtyard, Katy Hessel and Grace Campbell created a dysfunctional family portrait with Succession's ex-spouses Brian Cox and Harriet Walter. Later, Clara Amfo introduced a performance by the singer Sasha Keable, after which the gathering dispersed, but not before picking up a bergamot sorbet – and, perhaps, a new purchase – for the road. CB

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FLASH!

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NEW WAVE

Animated by the spirit of Mexico, a chic crowd came together for a fiesta to remember

PHOTOGRAPHS BY OLIVER HOLMS

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On a scorcher of a night, the Serpentine summer party celebrated its 25th annual pavilion – this year created by the Mexican studio Lanza Atelier, whose home country was at the heart of the festivities. A beaming Salma Hayek Pinault, the director Alfonso Cuarón and the film-maker Alejandro González Iñárritu co-hosted the carnivalesque soirée, which featured an all-women mariachi band and sculptural snacks by the food artist Laila Gohar that echoed the architecture. The chair of the host committee Isha Ambani caught up with Lauren Santo Domingo; Kristin Scott Thomas made a beeline for Richard E Grant; Sienna Miller and Alexa Chung compared outfits; and it was date night for several power couples, including Sophie Winkleman and Frederick Windsor, and Mark Strong and Liza Marshall. Perusing the Cecily Brown exhibition in the permanent gallery, Michael B Jordan discussed art – and the Thomas Crown Affair remake he was in town to film – with the Serpentine's director Hans Ulrich Obrist. As dusk fell, Emily Maitlis arrived straight from a long day at work, demanding cheerfully: 'Now where on Earth is the bar?' Happily, it wasn't far away – and ice-cold palomas flowed until late as the DJ's tunes picked up. CB

Kristin Scott Thomas

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SOUND AND VISION

Music-world royalty joined cultural movers and shakers for an evening of revelry at the V&A

PHOTOGRAPHS BY NATALIE MARTINEZ

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Few events could draw Londoners away from an England World Cup match, but the V&A's summer bash, held once more in the museum's courtyard, managed it. As spectacular foxglove arrangements rustled in the breeze and cream-suited bar staff circulated flutes of Nyetimber, Mick Jagger was joined for an extended chat and many mischievous laughs by Helen Fielding and Mariella Frostrup, who proceeded to rove around the party, arm-in-arm, 'looking for trouble', as the former put it.

Along with Bob Geldof, this year's committee – including Sandy Powell, Harris Reed and Yinka Ilori – eventually gathered to watch Jessie Ware, resplendent in yellow, give a bravura concert from the island in the middle of the pond. Her glorious vocals and disco fever prompted enthusiastic applause from the museum trustee Vick Hope and energetic dancing from Maya Jama to get the party truly started. CB

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HAPPY ANNIVERSARIES

Edeline Lee's label and Lydia Slater, Bazaar's editor-in-chief, shared birthday celebrations

'Edeline Lee's dresses are so adored at Harper's Bazaar that we have to consult each other before parties to ensure we don't all arrive in the same gown in different colours,' revealed the magazine's editor-in-chief Lydia Slater, addressing a chic crowd at the new restaurant Aki London one May evening. In a double celebration, Bazaar Privé gathered to toast the designer's 15th anniversary ('We can now officially call ourselves teenagers,' Lee joked), which was also our editor's birthday. The women of the hour had arrived in Range Rovers to be greeted with cocktails, including a vodka gimlet that packed a serious punch. Celia Imrie, June Sarpong and Jodhi May mingled with Privé members among mannequins displaying exquisite creations by Lee, who handed each guest a signature hair ribbon by way of a party favour. After applauding the arrival of a fabulously ornate Lily Vanilli cake, everyone headed downstairs to Kiyori Bar for DJ sets from Gem Precious and Suni Side Up and dancing through the night. MARIE-CLAIRE CHAPPET

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TOAST OF THE TOWN

Conversation (and fizz) flowed at Bazaar's sparkling soirée with Privé members and friends

'Ladies, and some gentlemen, pray silence for Lydia Slater!' came the pleasingly booming baritone of Jonathan Wright, president of Hearst Magazines International, before a hush descended over the Harper's Bazaar Privé summer party. On the spectacular terrace at Rosewood London, as guests enjoyed Laurent-Perrier Champagne and refreshing Hugo spritzes, our editor-in-chief raised a glass to the growing Privé community and introduced a whimsical performance by Levantes Dance Theatre. Narges Rashidi and Charity Wakefield compared notes on their near-identical lime-green dresses ('It's the colour of the summer'), while the author Lucy Foley arrived in a classic LBD. The screenwriter Jessica Swale was busy singing the praises of the old-school rom-com when her eyes lit up, along with Rejina Pyo's, by the arrival of gourmet pizzas by Dinner for One Hundred. When the sun dipped, Sheila Atim and Zawe Ashton led a lively contingent, including Kukua Williams and Lara Mullen, indoors for cosy chats and delicious nightcaps. MARIE-CLAIRE CHAPPET ☐

Scan the QR code to find out more and register your interest in Privé Bazaar PRIVE

September 2026 HARPER'S BAZAAR 209

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"IF YOU SEE IT IN YOUR MIND, YOU WILL HOLD IT IN YOUR HANDS." – BOB PROCTOR

5D Yoga Loungewear was born from a vision shaped by resilience, movement and purpose. Inspired by a gap in Belfast's athleisure market, the brand was created to offer premium yoga and Pilates wear that combines style, quality and meaning.

Founded by an immigrant single mother, 5D is rooted in self-belief, freedom, community and conscious creation. More than activewear, it represents a mindset and a way of living with intention.

The name "5D" reflects a belief in growth, possibility and becoming the fullest version of yourself. It is a brand for those who move with intention, dress with purpose, and believe in creating the life they envision.

5DYOGALOUNGEWEAR

Discover more at 5dyogaloungewear.co.uk, follow @5dyogaloungewear, or scan the QR code to explore the collection.

CONSCIOUS LUXURY: THE ESSENCE OF LAYLA SWIMWEAR

Layla Swimwear is the embodiment of slow fashion, crafted for discerning individuals who value both style and sustainability. Designed with the vibrant spirit of Ibiza in mind and meticulously handmade in Bali, each piece reflects craftsmanship and ethical production. We use sustainable materials, ensuring minimal environmental impact while offering timeless designs. Layla Swimwear is more than just beachwear; it's a statement of conscious living.

Discover the collection and follow the journey at www.laylaswimwear.com

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JULIA MATHIAS JEWELLERY

Explore an exclusive collection of individually designed and hand made pieces inspired by the beauty and form of natural gems. Combining the architectural and the organic, each distinctive design is unique, using beautiful and unusual stones and settings which reflect the maker's passion for design. In addition to one off pieces there

are also some limited edition runs available in very small numbers.

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CRAFTED BY HAND

WORN WITH MEANING

Discover the beauty of handmade sunflower jewellery by Caroline Joseph Jewellery, where ethical sourcing, sustainability, and British craftsmanship define every piece. These exquisite 18ct gold vermeil sunflower pendants are meticulously crafted in the UK, with each intricate detail created entirely by hand. Using a specialist technique, fine silver is recovered from redundant NHS X-ray plates, freeing vital hospital storage while returning its value to NHS trusts. Finished in Fairmined Gold with a striking black rhodium centre, each pendant offers space for a bespoke engraved cipher, refined,

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EVEYSPRELOVED... THE TRUSTED CHOICE FOR PRELOVED LUXURY DESIGNER BAGS

Discover a beautifully curated selection of authentic luxury designer handbags and jewellery with the confidence that comes from a truly personal service.

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CURATED FASHION FOR A MODERN WOMAN WITH PASSION FOR LIFE

Founded from a shared passion for timeless style and effortless elegance, Something Chic was created to help women feel confident in every aspect of their lives. The boutique offers a carefully curated collection of versatile, high-quality pieces designed to transcend seasons and trends. From elevated everyday wear to standout occasion dressing, each collection is selected with a focus on style, comfort, and confidence. More than just a fashion destination, Something Chic is dedicated to inspiring women to embrace their individuality and

build wardrobes that make them feel their very best.

Scan the QR code to discover the latest collection.

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BAZAAR FASHION

COPPERFIL – WOVEN IN LIGHT

Born in Paris, CopperFil reimagines copper as a luxury material for the modern world. Founded by Maria Roma, the brand creates handcrafted bags and jewellery handwoven entirely from copper wire, transforming an ancient metal into contemporary works of wearable art. Guided by a vision of beauty with purpose, CopperFil draws inspiration from light, nature and human

connection. Each piece reflects a meeting of craftsmanship and meaning, inviting the wearer to express individuality while carrying a quiet sense of strength and harmony. At its heart, CopperFil is guided by the belief that beauty can inspire light, connection and positive transformation. www.copperfil.com

RENDERED FITS – SHOP IT. TRY IT. BUY IT.

Combining high-quality outputs with fast image generation and a seamless user experience, giving customers greater purchasing confidence. Brands adopting virtual try-on technology have seen reduced return rates, higher conversions, increased average order value and brand loyalty. Rendered Fits provides brands with a

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COMFORT, STYLE AND SUSTAINABILITY

Flare Street flares are defined by a sophisticated reimagining of 60s & 70's glamour, every item offers a statement silhouette and unrivaled allure. Each pair of Flare Street is meticulously produced within their private Melbourne workshop, prioritising impeccable craftsmanship, slow fashion and ethical transparency. From signature bell bottoms to exclusive textiles and motifs, the label fuses heritage with a high-fashion sensibility for the sustainably minded, conscious wardrobe. Find Flare Street flares in XXS-3XL and made in limited editions. Shop at www.flarestreet.com and @flarestreet.

POTTER & MOOCH

Gorgeous Stacking Jewellery From Potter & Mooch. Explore the newly launched collection, pictured, inspired by the Mediterranean Sea. Perfect for your travels! Waterproof and hypoallergenic. Stack multiple designs to create your own look. Matching climber earrings (Ear Wings) for a single piercing also available. Prices start from £26. 14ct Yellow Gold Filled or 925 Sterling Silver. Call (+44) 01903 331744 or visit www.potterandmooch.co.uk

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THE RETURN OF THE BONNET

Fashion is constantly a rotation of the past and let's be honest, the internet has so many vibrant videos of people going to estate sales and being blown away by the wardrobes of the people from the past, and Grandmamma is no different! We've searched through the archives of the yesteryears and landed on a product that should really be brought back to the forefront...BONNETS! We all know the woes of carrying around a wet umbrella, figuring out where to pop it down when you enter a shop. Having them turn inside out on a blustery day, and don't get me started on negotiating space in one's suitcase for widerbrim hats! But I think the grannies of the past were really onto something with their handy rain/sun bonnets and Grandmamma wants to bring back those good old days. Let's have fun in all sorts of weather again by being unapologetically stylish (and maybe feeling the rain on your skin- just a little bit).

Use the QR code to be a part of the movement or follow us on instagram @ourgrandmamma to follow along with our story and have a sneak peek of new products to come.

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Bazaar Fashion

FOR DETAILS OF CLASSIFIED ADVERTISING PLEASE TELEPHONE 020 4553 2900 OR VISIT WWW.HEARSTMAGAZINESDIRECT.CO.UK

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Bazaar Art

ARTIST of the YEAR SATU METSOLA

Intuition, Meditation, and the Art of Presence

Satu Metsola Artist - Finland pic.satu.metsola

For a long time, Satu Metsola did not paint at all. When she finally returned to drawing, it arrived in a single, uninterrupted surge-hours at a time-reopening a practice she believed she had quietly left behind. That moment marked the beginning of a more measured return to painting: one shaped by patience, discipline, and an unwavering trust in intuition.

Today, Metsola's work is recognised for its soft yet vivid bursts of colour-paintings that seem to carry the fleeting light of a Finnish summer, the landscape of her upbringing. Beneath their luminous surfaces lies a deeper narrative: the story of how she came to understand herself as an artist.

"When I was working as a curator, I collaborated with an artist who encouraged me to draw alongside them," she recalls. "I hadn't picked up a pencil in years. At first, I felt completely blocked until something opened, and I drew for hours on end."

In her studio, routine takes precedence over spontaneity. "You won't see any action painting here," she says, describing how she often sits with a canvas for long stretches before making a single mark. Meditation is embedded in her daily practice, anchoring her in presence and allowing intuition to lead. "It governs my decisions," she explains. "It guides the movement of my hand—the choices I make that I can't always explain rationally."

That same attentiveness determines when a painting is complete. "I paint for as long as necessary," she says. "The painting tells me when it's finished. I know it's complete when it reveals its name." None of her works remain untitled; if they do, she knows the painting is still unresolved.

Metsola's work is shown at London Fashion Week, where our conversation unfolds.

Is there a recurring concept, emotion, or question that returns in your work?

Satu: My process is long and slow, and everything I experience while painting is carried into the artwork. The paintings are abstract—there's no right or wrong way to experience them. I often work with human emotions: love, loss, and our connections to both inner and outer worlds. I'm interested in the storms of life that exist beneath a calm surface.

How does your curator's eye influence your practice as an artist?

Satu: I'm very aware of current trends, but I paint only what I'm meant to paint—without pressure to perform. Being an artist has given me more understanding than books ever could. Many artists find it easy to work with me because I understand their processes. We speak the same language.

Has there been a recent moment that shifted how you think about making art?

Satu: During an artist residency in the Finnish archipelago, I realised I had set very precise goals for myself and moved away from conscious presence. Letting go of that control changed everything. My work became more open, more free. Accepting incompleteness was essential, and unexpected encounters led me toward entirely new ideas.

Looking ahead, are there new forms you're curious to explore?

Satu: I'm always experimenting. Recently, I presented abstract ceramic sculptures alongside a contemporary dance performance. My latest series combines oil pastel paintings with lyrical text, exploring how voice, language, and image can intertwine.

In the end, Metsola's practice reveals itself as one rooted not in certainty, but in attentiveness. Her work unfolds slowly, shaped by intuition rather than expectation, and guided by a willingness to remain open to the unknown. Across mediums, her approach remains consistent: a quiet commitment to presence, where each mark, gesture, or fragment of text becomes part of an evolving language. Rather than seeking definitive answers, she allows her work to hold space for ambiguity; inviting the viewer to encounter it not as something to be understood, but as something to be felt.

FOR DETAILS OF CLASSIFIED ADVERTISING PLEASE TELEPHONE 020-4553 2900 OR VISIT WWW.HEARSTMAGAZINENDIREKTIOU.K

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WHY DON'T YOU... seize the low-hanging fruit?

Give in to temptation this autumn: Chanel's jewel-bright pomegranate bag looks ripe for the picking

Enamel and then in a small container

BONE, EYE, GEORG JENSEN, ZENT WALLMAYER, DAVID PER ROLL, JANNIE LIE VOLM

BROWN AND CO. PAUL ZAK 2017-2019 HADYATUOFIQ

DEUTSCHLANDSBERAT

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MAGNUM true to pleasure

NEW M SIGNATURE

LA PISTACHE À PÊCHE

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CRIME

PARIS

QA Report - Harper's Bazaar UK - 09.2026.pdf

Pipeline

• Extraction route: mistral-ocr
• extraction_route=mistral-ocr
• Translation chunks: 78
• Extraction warnings:
• [OCR-ROUTE] FORCE-MISTRAL: All PDFs route directly to MistralOCR.

Non-model Checks

• WARNING: missing numeric tokens from source: 1234, 29.99, 3503, 925
• WARNING: Missing proper nouns in translation: Aesthetic Injectors, African Union, Agence Samuel Kerr, Albert Camus, Almora Botanica, Aloe Vera, Alongside Austen, Alongside Georgian, Amal Clooney, Artist Residency
• WARNING: source dates, money, or percentage tokens may be missing

Model QA

经过严格审核，该翻译件存在多处严重缺陷，特别是将OCR错误分析文本直接翻译并保留在正文中，以及严重的数字量级错误。

以下是详细审核报告：

1. 致命缺陷 [BLOCKING]

• 交付标签/内部清理内容残留：

  • 问题：在“# 迪奥”部分，译文完整保留了一大段关于 OCR 规则的英文分析文本（"The Ground Truth image displays a single, solid horizontal line... Hence, the OCR result is inconsistent with the Ground Truth."）。
  • 原因：翻译人员直接将源文件中的 OCR 质量分析报告（Ground Truth 对比分析）当作正文进行了翻译/保留。
  • 影响：严重破坏阅读体验，属于典型的内部清理标签/分析文本未剔除。

• 数字量级错误：

  • 问题：在 RH 吊灯价格翻译中，原文为 £10,210，译文写成 £1021万,210。
  • 原因：将千位分隔符误认为万位，且格式混乱。
  • 影响：金额量级错误，导致产品价格从一万英镑变成了千万英镑。

2. 质量问题 [WARNING]

• 低中文密度区域/未翻译内容：

  • 问题：在“特约编辑 (CONTRIBUTING EDITORS)”和“特约摄影师 (CONTRIBUTING PHOTOGRAPHERS)”部分，所有的人名均未翻译，直接保留英文。
  • 核查：虽然人名可保留英文，但作为中文报纸翻译，通常需提供译名或统一处理。此处大段英文堆砌导致中文密度极低。
  • 问题：在末尾“为什么你不……”段落中，出现大段未翻译的英文人名和品牌名（BONE, EYE, GEORG JENSEN... DEUTSCHLANDSBERAT）。

• 术语/翻译不准：

  • 问题：A DAYCAP 翻译为 “日间餐前酒”，虽然意思正确，但缺乏对该特定时尚术语的润色。
  • 问题：CAPITAL GAINS（原意为资本利得/资本增值）在文中作为店铺标题，译文直接保留英文或翻译为“崇拜之店”（此处译文逻辑混乱，原文标题为 CAPITAL GAINS，译文下方出现了“崇拜之店”），未能准确传达双关语意。

3. OCR 根源问题 [SOURCE_OCR]

• 问题：译文中出现了 मध्य प्रदेश（印地语）以及 CATTACOM - 2008-1-1-2008 等无意义片段。
• 核查：经核对 SOURCE PREVIEW，这些内容确实存在于 OCR 结果中（属于 OCR 误读或扫描杂质）。翻译员未对这些明显无关的 OCR 噪音进行剔除。

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审核总结

结论：[BLOCKING] 无法交付

主要原因： 1. 严重幻觉/残留：将 OCR 审核分析报告（Ground Truth analysis）直接放入译文。 2. 数字错误：吊灯价格量级错误（£10,210 $\rightarrow$ £1021万）。 3. 清理不足：大量 OCR 噪音（印地语、随机日期）未剔除。

建议： 必须重新审核全篇，剔除所有非正文的 OCR 分析文本，修正金额量级，并清理 OCR 噪音。