Moncler Introduces Pre-Fall 2025 Collection of Seasonal Wardrobe Staples
Monclerhas just unveiled its Pre-Fall 2025campaign, titled 'London, A Love Affair,' starringBrooklynand Nicola Peltz Beckham in a romantic and refined ode to the city. Dressed in elevated seasonal looks, the couple embodies the collection's effortless sophistication and modern sensibility.
The collection focuses on autumn layering with sharp tailoring and structured silhouettes that enhance the form while maintaining an elegant, wearable feel. Soft tailoring is key, with fine wools, tweeds and bouclé rendered in a rich palette of khaki, ecru and taupe with some pieces embellished with gold detailings — offering a timeless, seasonal aesthetic.
While the collection primarily highlights clothing, it also introduces a new footwear design dressed in a beige off-white colorway and constructed with GORE-TEX materials. The shoe features a distinctive sole with spike-like tread extending into the toe box, offering enhanced grip and stability while adding a bold, sculptural edge to its silhouette.
Designed as both functional outerwear and elevated wardrobe staples, the pieces move away from traditional bulk, instead favoring sleek, polished layers. Refined nylon elements and updated knit collars complement the muted earth tones, giving minimalist looks a touch of quiet luxury. Altogether, the collection strikes a perfect balance between style, structure and comfort. The collection is available now exclusively in selectMonclerstores and onthe Moncler website.
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CNN
an hour ago
- CNN
‘We're creating an illusion for ourselves': Photographer explores how humans have lost touch with nature
Visual artsFacebookTweetLink Follow Zed Nelson spots the painting on the wall behind me almost as soon as we begin our interview. 'It's perfect,' he said. The canvas depicts a sleeping tiger draped across a velvet cushion, floating among pastel-shade leaves and flowers. The London-based photographer doesn't mean 'perfect' as in 'masterfully painted;' he means it's the perfect metaphor for the idealized, human-centric relationship we've cultivated with nature. The painting reminds him of another artwork, 'A young Tiger Playing With Its Mother,' by the French Romantic artist Eugene Delacroix, who used a captive tiger at a zoo and his pet cat as models. 'The Romantic movement in painting began with the human divorce from the natural world. As we removed ourselves from nature, and it receded from our imagination, we reenacted these hyper-romantic versions of nature,' said Nelson. It's the central thesis of his latest project, 'The Anthropocene Illusion,' which earned him Photographer of the Year at the 2025 Sony World Photography Awards. Captured across 14 countries and four continents over six years, the images show nature as imagined by humans: staged habitats in zoos, manufactured ski slopes, indoor rainforests, and artificial beaches. In his previous project, 'Love Me,' Nelson explored the homogenization of beauty standards. 'There's some echo of that here. It's about how this artificial, idealized version of nature is being — I mean, I want to say sold back to us, but we're willing participants in it, too,' Nelson explained. 'While we destroy the real thing, we seem to be creating more and more artificial or choreographed, curated versions of nature.' It's this 'psychological disconnect' that Nelson is most interested in exposing. The collection is equal parts ironic (a Maasai tribesman posing beside a picnic blanket for an 'Out of Africa' champagne brunch in Kenya) and dystopian (a child perched on a fiberglass rock at a beach in the world's largest indoor rainforest, the canvas of the sky slightly ripped behind him). 'That's very sort of Truman Show-esque. He's gone to the very edge of that artificial world,' said Nelson of the photo. More than anything, though, there's a feeling of sadness that permeates the collection: taxidermied museum dioramas of endangered species; vibrant fish shoals swimming in dark aquariums with plastic pipes, captive elephants paraded to a bathing spot for the benefit of flocks of Instagram influencers; a caged polar bear crouched beside a mural depicting an Arctic landscape it will never know. 'What we replaced real nature with becomes an unwitting monument, really, for what we've lost,' Nelson observed. The term 'Anthropocene' refers to the age of humans. It's not an official epoch — yet. But Nelson believes firmly that, in years to come, today's society will mark the beginning of this new era, evident in elevated carbon dioxide levels from fossil fuels, an abundance of microplastics, and layers of concrete. 'The usefulness of renaming an epoch, in this instance, would be to focus people's attention on our impact on the planet,' said Nelson. As he sees it, 'the language of (environmental action) has become sort of tired or stale; you become kind of immune to it.' He wanted to counter this collective numbness with visuals that 'make you think or feel differently.' Bleak but beautiful, his photos reveal a paradox. Less than 3% of the world's land remains ecologically intact, according to a 2021 study, yet nature-based tourism and biophilic architecture, a design philosophy that mimics nature, are surging in popularity. Global wildlife populations have dropped by an average of 73% in the last 50 years; meanwhile, there are more tigers in captivity than in the wild, globally. Arctic ice sheets are on course for catastrophic 'runaway melting' that would see rising sea levels devastate coastal communities. But at the same time, cocktail bars in Dubai are importing ancient glacier ice from Greenland to provide the wealthy with pollution-free drinks. 'We're engaged in creating an illusion for ourselves; either to hide what we're doing, or as something that we can retreat into for reassurance, because we crave the very thing that we've lost,' said Nelson. There's a spectrum to the illusion, ranging from managed outdoor landscapes to contrived scenes that simply evoke the idea of nature. Nelson likens it to fast food: 'We don't want to grow it and prepare it; we just want it delivered to us with no thorns, no danger, with a nice walkway in a car park. We want to consume it and then come home. We are complicit in it.' Despite his criticisms of the 'consumerist' qualities of today's manufactured natural experiences, Nelson emphasizes that he's not necessarily against any of these things: people should enjoy safaris, be awe-inspired at aquariums, relish their time in a local park, and not 'destroy ourselves with guilt.' 'We have this enduring craving for nature, for a connection to the natural world. That's real,' he observed. There's a limit to what the individual can do, too: the kind of sweeping change required to protect the environment needs to come from major corporations and political leaders, which, in Nelson's view, is sorely lacking. 'It's important to remind ourselves, it's not that we don't have ideas for things that can be done,' he said, reeling off a long list of environmental policies that could change the course of climate change. Perhaps this book, with its stark juxtaposition of astonishing wildlife and human interference, can be a reminder of just how in control of the world we are — with the power to remodel it in our own image, or protect and restore the landscapes we feel so connected to. 'When you're surrounded by something so much, it can become utterly invisible,' Nelson said. 'Photography is a way of trying to make it visible again, trying to expose it for what it actually is.' After the call ends, I can't unsee the Anthropocene illusion in my home. It's not just the anthropomorphic tiger on the wall. It's a Himalayan rock salt lamp, a plastic monstera plant and paper carnations. A cockatoo-shaped ceramic jug next to pine-scented candles and an aluminum 'lemon-wedge' bottle opener. Floral-print cushions and a jungle-themed throw. It's hard to shake Nelson's words about our collective complicity; our willingness to participate in reconstructing the natural world, instead of saving it.
CNN
an hour ago
- CNN
‘We're creating an illusion for ourselves': Photographer explores how humans have lost touch with nature
Visual artsFacebookTweetLink Follow Zed Nelson spots the painting on the wall behind me almost as soon as we begin our interview. 'It's perfect,' he said. The canvas depicts a sleeping tiger draped across a velvet cushion, floating among pastel-shade leaves and flowers. The London-based photographer doesn't mean 'perfect' as in 'masterfully painted;' he means it's the perfect metaphor for the idealized, human-centric relationship we've cultivated with nature. The painting reminds him of another artwork, 'A young Tiger Playing With Its Mother,' by the French Romantic artist Eugene Delacroix, who used a captive tiger at a zoo and his pet cat as models. 'The Romantic movement in painting began with the human divorce from the natural world. As we removed ourselves from nature, and it receded from our imagination, we reenacted these hyper-romantic versions of nature,' said Nelson. It's the central thesis of his latest project, 'The Anthropocene Illusion,' which earned him Photographer of the Year at the 2025 Sony World Photography Awards. Captured across 14 countries and four continents over six years, the images show nature as imagined by humans: staged habitats in zoos, manufactured ski slopes, indoor rainforests, and artificial beaches. In his previous project, 'Love Me,' Nelson explored the homogenization of beauty standards. 'There's some echo of that here. It's about how this artificial, idealized version of nature is being — I mean, I want to say sold back to us, but we're willing participants in it, too,' Nelson explained. 'While we destroy the real thing, we seem to be creating more and more artificial or choreographed, curated versions of nature.' It's this 'psychological disconnect' that Nelson is most interested in exposing. The collection is equal parts ironic (a Maasai tribesman posing beside a picnic blanket for an 'Out of Africa' champagne brunch in Kenya) and dystopian (a child perched on a fiberglass rock at a beach in the world's largest indoor rainforest, the canvas of the sky slightly ripped behind him). 'That's very sort of Truman Show-esque. He's gone to the very edge of that artificial world,' said Nelson of the photo. More than anything, though, there's a feeling of sadness that permeates the collection: taxidermied museum dioramas of endangered species; vibrant fish shoals swimming in dark aquariums with plastic pipes, captive elephants paraded to a bathing spot for the benefit of flocks of Instagram influencers; a caged polar bear crouched beside a mural depicting an Arctic landscape it will never know. 'What we replaced real nature with becomes an unwitting monument, really, for what we've lost,' Nelson observed. The term 'Anthropocene' refers to the age of humans. It's not an official epoch — yet. But Nelson believes firmly that, in years to come, today's society will mark the beginning of this new era, evident in elevated carbon dioxide levels from fossil fuels, an abundance of microplastics, and layers of concrete. 'The usefulness of renaming an epoch, in this instance, would be to focus people's attention on our impact on the planet,' said Nelson. As he sees it, 'the language of (environmental action) has become sort of tired or stale; you become kind of immune to it.' He wanted to counter this collective numbness with visuals that 'make you think or feel differently.' Bleak but beautiful, his photos reveal a paradox. Less than 3% of the world's land remains ecologically intact, according to a 2021 study, yet nature-based tourism and biophilic architecture, a design philosophy that mimics nature, are surging in popularity. Global wildlife populations have dropped by an average of 73% in the last 50 years; meanwhile, there are more tigers in captivity than in the wild, globally. Arctic ice sheets are on course for catastrophic 'runaway melting' that would see rising sea levels devastate coastal communities. But at the same time, cocktail bars in Dubai are importing ancient glacier ice from Greenland to provide the wealthy with pollution-free drinks. 'We're engaged in creating an illusion for ourselves; either to hide what we're doing, or as something that we can retreat into for reassurance, because we crave the very thing that we've lost,' said Nelson. There's a spectrum to the illusion, ranging from managed outdoor landscapes to contrived scenes that simply evoke the idea of nature. Nelson likens it to fast food: 'We don't want to grow it and prepare it; we just want it delivered to us with no thorns, no danger, with a nice walkway in a car park. We want to consume it and then come home. We are complicit in it.' Despite his criticisms of the 'consumerist' qualities of today's manufactured natural experiences, Nelson emphasizes that he's not necessarily against any of these things: people should enjoy safaris, be awe-inspired at aquariums, relish their time in a local park, and not 'destroy ourselves with guilt.' 'We have this enduring craving for nature, for a connection to the natural world. That's real,' he observed. There's a limit to what the individual can do, too: the kind of sweeping change required to protect the environment needs to come from major corporations and political leaders, which, in Nelson's view, is sorely lacking. 'It's important to remind ourselves, it's not that we don't have ideas for things that can be done,' he said, reeling off a long list of environmental policies that could change the course of climate change. Perhaps this book, with its stark juxtaposition of astonishing wildlife and human interference, can be a reminder of just how in control of the world we are — with the power to remodel it in our own image, or protect and restore the landscapes we feel so connected to. 'When you're surrounded by something so much, it can become utterly invisible,' Nelson said. 'Photography is a way of trying to make it visible again, trying to expose it for what it actually is.' After the call ends, I can't unsee the Anthropocene illusion in my home. It's not just the anthropomorphic tiger on the wall. It's a Himalayan rock salt lamp, a plastic monstera plant and paper carnations. A cockatoo-shaped ceramic jug next to pine-scented candles and an aluminum 'lemon-wedge' bottle opener. Floral-print cushions and a jungle-themed throw. It's hard to shake Nelson's words about our collective complicity; our willingness to participate in reconstructing the natural world, instead of saving it.
Hypebeast
an hour ago
- Hypebeast
Christelle Oyiri Turns Up the Volume with 'Perpetual Remix'
Under the low-slung ceilings ofTate's Tanks, a sculptural symphony of flesh and machine unfolds. The London institution tapped French artist, DJ and producerChristelle Oyirifor its inaugural Infinities Commission, and her resulting work delivered nothing short of stunning. In a perpetual remix where is my song?examines the impact of digital art on the ways we construct identity, reconsidering bodily form in an age of cut-and-splice technologies and the uncanny parallels between DJing, cosmetic surgery and online image-making. Oyiri's bronze casts of female forms sit atop speaker plinths. Caught between stages of metamorphosis, spotlights move from one figure to the next, as an accompanying soundscape warps from above. Projected behind them is a marriage of filmed footage and found imagery that flickers between internet ephemera and personal archive, bringing forth a hypnotic loop of beauty and performance. 'In a hyperconnected society, where the image is perpetually staged and corrected, how do the virtual and the material come together in the quest for the ideal body? How do aesthetic practices influence our perception of reality and desire?' the artist asks. Now on view through August 28,In a perpetual remix where is my song?marks the debut work for the Infinities Commission, an annual commission that aims to platform artists disrupting the boundaries between creative arenas. This year's panel is chaired by Chief Curator Catherine Wood, alongside the likes of Brian Eno, Ouilimata Gueye, Anne Imhof, Andrea Lissoni and Legacy Russell. Tate ModernBankside,London SE1 9TG,United Kingdom
