Colour and ease lift Paris Men's Fashion Week
Colours ran wild and silhouettes softened at Paris Men's Fashion Week, which ends Sunday, as designers brought a rare breath of fresh air to a gloomy fashion climate.
Despite the heavy news cycle and economic turbulence affecting the luxury sector, this Fashion Week was a "shot of creativity that felt incredibly good", Alice Feillard, men's buying director at Galeries Lafayette, told AFP.
The spring-summer 2026 season "is much more creative than the previous ones, which were a bit duller", said Adrien Communier, the fashion editor at GQ France.
Both experts observed a more relaxed vibe, with Feillard pointing to "good humour" and "optimism", while Communier noted a "lighter mood".
"With so many debuts, there was a sense of renewal. And so, I found that people were more curious," he added.
After a notable women's show in March, Julian Klausner made waves Thursday with his first menswear show for Dries Van Noten, while Jonathan Anderson's long-awaited debut at Dior drew applause on Friday.
A renewed burst of creativity lit up the runways, most visibly through bold colour choices. Brown tones and pastels made way for a richer, more saturated palette for next summer.
Saint Laurent opened the week with violet, navy, orange and moss green, while Pharrell Williams at Louis Vuitton channelled Indian motifs and hues.
Dries Van Noten made a splash with bold fuchsia and blood red, while Kenzo exploded with candy pink, aquatic blue and chick yellow.
- 'nonchalant elegance' -
Dior Homme took a more restrained approach, showcasing rich tones like a deep forest green on structured pieces.
The tones sometimes appeared as prints -- tiger at Kenzo, childlike safari at Louis Vuitton and floral at Dior.
At Comme des Garcons Plus, prints leaned into pop-style 1970s geometry -- a look also seen at Amiri, Saint Laurent and Junya Watanabe, who embraced flared trousers.
Stripes were ubiquitous but subtle, adding detail without overwhelming.
Designers leaned into fluidity with flared trousers, long jackets, open shirts and an ongoing pyjama trend.
"There's a sort of nonchalant elegance in having a very fluid yet thoughtfully designed silhouette," Communier said.
Last season's neo-dandy look is now much more relaxed.
"Tailoring is still omnipresent in the collections, but it's becoming more fluid. There's still formality, but it's far more relaxed and remains very elegant," said Feillard.
Bags were omnipresent, from clutch to shoulder, styled for both casual outings and evening occasions.
Finally, flip-flops made a major comeback, seen at Officine Generale, Auralee and even Hermes, "worn in an almost formal way", said Communier. A perfect example of relaxed chic.
mdv/srg/gv/tc
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
33 minutes ago
- Yahoo
How to watch the FIFA Club World Cup: Round of 16 schedule, channel, where to stream and more
If you buy something through a link in this article, we may earn commission. Pricing and availability are subject to change. The 2025 FIFA Club World Cup began with 32 of the world's best soccer teams, and after nearly two weeks of competition, the Round of 16 will begin on Saturday. All games from here on out will be knockouts, which means that every goal counts. One of the weekend's most anticipated matches will be between Lionel Messi and Inter Miami and Messi's previous team, Paris Saint-Germain, this Sunday. Miami has exceeded expectations so far at the tournament, but can they defeat the UEFA Champions League winners? You can watch every remaining game of the tournament — for free! — on DAZN. Select games will also air on TBS and TNT, which you can tune into across platforms like Hulu + Live TV, DirecTV, Max and more. Here's everything you need to know about this year's FIFA Club World Cup, how to stream every match, and how to get tickets to go to the games. How to watch the FIFA Club World Cup: Dates: June 14- July 13, 2025 Advertisement TV channel: TNT, TBS, truTV Streaming: DAZN, Hulu + Live TV, DirecTV, Sling, Max and more When is the FIFA Club World Cup? The FIFA Club World Cup began on June 14. The tournament consists of 63 games, with a championship final on July 13, 2025. What channel is the FIFA Club World Cup on? The FIFA Club World Cup is available for free by registering for DAZN. For even more sports coverage, you can purchase a month-to-month subscription through DAZN for $23.99, or you can pay $13.99/month if you commit to an annual subscription. It's important to note that despite Fubo recently teaming up with DAZN for a new add-on option, subscribers to DAZN via Fubo will not be able to view Club World Cup matches via their subscription. They can however, just like any other viewer, create a free DAZN account directly to tune into games. Advertisement Select games of the tournament will also air on TNT, TBS and truTV, which are available on platforms like Max. You can find a breakdown of which games air on those channels here. Where to watch the FIFA Club World Cup: Watch the FIFA Club World Cup on DAZN Dazn This year, you can watch all 63 games of the FIFA World Cup on DAZN for free. You can catch all the action simply by registering on DAZN's site, which will give you full access to the tournament. If you want even. more sports coverage, including crossover boxing, women's soccer, pool matches and more, you can also sign up for a monthly subscription which is now available for just $13.99/month. Free at DAZN FIFA Club World Cup Round of 16 game schedule: The scheduled Round of 16 matches are listed below. You can check out the complete schedule for all 63 FIFA Club World Cup matches here. (All times Eastern) Saturday, June 28 Match 49: Palmeiras vs. Botafogo - Lincoln Financial Field, Philadelphia, 12 p.m. Match 50: SL Benfica vs. Chelsea FC - Bank of America Stadium, Charlotte, 4 p.m. Sunday, June 29 Match 51: Paris Saint-Germain vs. Inter Miami CF - Mercedes-Benz Stadium, Atlanta, 12 p.m. Advertisement Match 52: Flamengo vs. FC Bayern München - Hard Rock Stadium, Miami, 4 p.m. Monday, June 30 Match 53: FC Internazionale Milano vs. Fluminense - Bank of America Stadium, Charlotte, 3 p.m. Match 54: Manchester City vs. Al-Hilal - Camping World Stadium, Orlando, 9 p.m. Tuesday, July 1 Match 55: Real Madrid vs. Juventus - Hard Rock Stadium, Miami, 3 p.m. Match 56: Borussia Dortmund vs. Monterrey - Mercedes-Benz Stadium, Atlanta, 9 p.m. More ways to watch the FIFA Club World Cup:
Yahoo
2 hours ago
- Yahoo
28 Years Later: 17 Behind-The-Scenes Secrets You Probably Didn't Know
28 Years Later has been in cinemas for just over a week, but it's fast becoming one of the most talked-about cinematic events of the year. Landing rave reviews from critics and a great reception at the box office, the long-awaited latest instalment in Danny Boyle's iconic post-apocalyptic horror franchise has most definitely lived up to the hype. Starring Jodie Comer, Aaron Taylor-Johnson, Ralph Fiennes and newcomer Alfie Williams, the third instalment in the series follows a survivor community living on an island, before some of the group leave to uncover the secrets and horrors that lie on the mainland. And this is only the first in a whole new trilogy continuing the story, with sequel 28 Years Later: The Bone Temple having already been shot and due for release early next year. To tide you over before then, though, here are 17 behind-the-scenes secrets about how the new movie was made… The Oscar-winning director famously shot 2002's 28 Days Later on digital cameras, giving the movie its distinctive grainy look and kinetic urgency. But for the new sequel 28 Years Later, the Trainspotting director went for something a little different. According to IGN, certain sequences were shot with iPhones, sometimes using as many as 20 at a time. Danny described that method of shooting with a rig as 'basically a poor man's bullet time', referencing the iconic slow-mo effect pioneered by The Matrix. 'Wherever, it gives you 180 degrees of vision of an action, and in the editing you can select any choice from it, either a conventional one-camera perspective or make your way instantly around reality, time-slicing the subject, jumping forward or backward for emphasis,' he said. 'As it's a horror movie, we use it for the violent scenes to emphasise their impact.' While the director outlined the technical reasoning for shooting on iPhones, there was also another important consideration that motivated his decision-making. 'Filming with iPhones allowed us to move without huge amounts of equipment,' Danny told Wired in an interview. 'A lot of Northumbria looks like it would have looked 1,000 years ago. So we were able to move quickly and lightly to areas of the countryside that we wanted to retain their lack of human imprint.' While this was seemingly partly a creative decision, it feels like a particularly significant choice from the director, whose 2000 movie The Beach infamously drove tourists to the picturesque Thai island where it was filmed and caused significant coral reef damage. View this post on Instagram A post shared by 28 Years Later (@28yearslatermovie) 28 Years Later's grim Bone Temple site featuring a towering pyre of human skulls took around six months to construct, with the design team using over 250,000 replica bones and 5,500 skulls, according to Time Out. This set was located in Redmire, a village and civil parish in North Yorkshire, with production designer Carson McColl claiming: 'There was something about that location that felt that it's remained unchanged for a long, long time'. It may have come as a bit of a surprise to cinemagoers to see Northumberland's famous Sycamore Gap tree briefly featured in one scene, given that it was felled in an act of vandalism in 2023, resulting in two men being found guilty of two counts of criminal damage. Standing for over 150 years, it was made internationally famous in 1991's Robin Hood: Prince in Thieves starring Kevin Costner. However, as 28 Years Later only began shooting in May of last year, The Beach director revealed how he recreated the tree with the help of some special effects. Speaking to Sky News, he explained: 'It had already been destroyed by the time we came to film, so we recreated it for the same reasons that you see the Queen in this… all the things that have happened to us in the last 28 years have not happened.' The tree stump still stands, which could take another 150 years to return to its former glory. 'So we've recreated it deliberately to say that it was still growing… which is a wonderful tribute,' Danny added. Speaking at a Newcastle gala screening in June, the director hailed the North East region of England as a 'magic' place to make movies. Not only did he describe the area's landscapes as 'spectacular', he revealed that one location in particular drew him up North for 28 Years Later. 'The first reason we're here is Holy Island,' he explained, according to Cultured North East, referring to the island also known as Lindisfarne. 'It's a wonderful premise for a story, and the idea of a tidal causeway island is captivating. People get that idea very quickly,' he continued. 'So in many ways it's the perfect setting for this kind of film and this kind of idea.' It goes without saying that Danny Boyle's movies are iconic for their music choices, from Underworld's Born Slippy in Trainspotting to A.R. Rahman's Jai Ho in Slumdog Millionaire. Of course, the music for 28 Years Later was never going to be an afterthought. Scottish hip-hop group Young Fathers were tasked with this mighty responsibility, with Danny describing them as 'sort of like the Beach Boys, but so hardcore' in an interview with Rolling Stone UK. 'It was a huge risk because they'd never done a movie before and it's that thing with any pop group, are you gonna trust the whole movie to them? But you go yeah! Yeah!' Can you remember the last time a movie trailer sent chills down your spine like this one did? The terrifying chant that you hear in the teaser – which also features briefly in the film – is a recitation of the poem Boots by Rudyard Kipling. Kipling's poem was first published in 1903 and was intended to capture the monotony of soldiers marching in war, while the recording used in 28 Years Later is more than 100 years old, recorded in 1915 by the actor Taylor Holmes. Holmes' recitation of the poem starts quite formulaic, but grows more frenzied by the end, and is considered so disturbing that it has even been used by the American military to train soldiers to resist psychological torture, used in what is called SERE (Survival, Evasion, Resistance, and Escape) schools. Director Danny knew that they'd found the right vibe for the trailer as soon as he heard the chilling poem for himself. 'And then we watched the first trailer that Sony sent us – Alex [Garland] and I remember it vividly – and there was this [recording] on it, and we were like, 'Fucking hell!' It was startling in its power,' Danny told Variety. 'The trailer is a very good trailer, but there was something more than that about that [recording], about that tune, about that poem. We tried it in our archive sequence, and it was like it was made for it.' The recording made its way into the trailer on the suggestion of Megan Barbour, then director of music at the Buddha Jones agency, who knew the recording via someone who had actually been in the SERE training. 'We wanted to work off the strength of the visuals and didn't want a lot of dialogue,' David Fruchbom, Sony EVP of global creative advertising, told Variety. 'Buddha Jones [submitted] three different teaser trailers, and the one that had 'Boots' was clearly the way to go.' With more than 80% of the film being shot at North East locations including Holy Island, Hexham and Waskerley in County Durham, 28 Years Later provided an opportunity for locals to be in the movie. Among extras was Hexham town councillor Roger Higgin, who told the Hexham Courant: 'It was a great experience, and it's fabulous that so much of the region provided the locations and the cast. I'm confident it'll be an amazing film.' Another extra called Peter Thompson put himself forward for the opportunity because he heard casting was looking for runners and cyclists. 'I do a lot of cycling around South West Northumberland,' he shared, being chosen as one of the 'infected'. A supermarket worker called Laura Fulguzi was stacking shelves in Asda when she got the message that she'd been selected, according to the BBC. With the movie taking place nearly three decades after the rage virus infected society in his original story, Danny highlighted the logic behind one very key detail. 'I mean, if you're recently infected, you'd have some clothes, but if you've been infected for a long time, the clothes would just disintegrate with the way that you behave,' he told People. In other words, the infected are naked. However due to the presence of now 14-year-old Alfie Williams in the movie, fully naked actors were not allowed on set under the Child Sex Offences Act. 'We never knew that going in, it was a nightmare,' Danny added. 'Interestingly, because there was a 12-year-old boy on set, you're not allowed for anybody to be naked, not really naked, so they look naked, but it's all prosthetics,' he elaborated. That only came to light during a conversation with the intimacy coordinator on the set. 'So it's like, 'Oh my God,' so we had to make everybody prosthetic genitals.' When the trailer for 28 Years Later arrived, excited fans believed they had spotted an infected character who bore an uncanny resemblance to Cillian Murphy – who, of course, starred as bicycle courier Jim in 28 Days Later. Before this was debunked, the internet ran wild with fan theories, suggesting that his character had succumbed to the virus in the new version of the story. Speaking to Empire, Danny admitted that he waved away concerns that people might mistake the mystery character for Cillian. 'I showed my girlfriend the trailer and she said, 'People will think that's Cillian.' I said, 'Don't be silly,'' he said. 'I ignored her. So I've eaten a bit of humble pie since.' First there was 28 Days Later, then 28 Weeks Later (directed by Juan Carlos Fresnadillo, while Danny stayed on as executive producer). Surely the logical sequel would be 28 Months Later? Well, that was definitely a possibility at one point. 'There was a time when Months was absolutely on the table,' writer Alex Garland told Polygon. He even wrote a script under that name, but his relationship with the director became rocky after they worked together on the 2007 movie Sunshine together, before they later patched things up again. Speaking to NME in a 2022 interview for the anniversary of 28 Days Later, Cillian himself noted that completing the trilogy could be tricky: 'I think there's a problem with that, in that I'm 20 years older…' However they seem to have solved that problem by going with Years, instead, but we don't know how much was carried over between scripts. It might be the last movie you'd expect to influence a zombie thriller in 2025, but Ken Loach's iconic 1969 coming-of-age drama Kes was a big inspiration to writer Alex Garland. 'I ripped off this film called Kes, a very unexpected thing to rip off in a zombie movie,' he explained in an interview with ScreenRant. 'The script I delivered and Kes, both focused on the experience of a young lad, and because I am ripping it off, I wanna direct people to the source material.' We know scouser Jodie Comer is a master of accents, but when it came to playing a Geordie in 28 Years Later, she turned to inspiration in a very unlikely place. Speaking in an interview with Elle last year, the Killing Eve star revealed that she'd been watching old clips of Cheryl Tweedy from ber X Factor days to prepare. Jimmy Savile and 28 Years Later are two things you would never expect to find in the same sentence. Yet, in the new movie there's a truly wild twist that references the disgraced media personality (yes, seriously). At the end of the film, 28 Years Later introduces Jack O'Connell as cult leader Sir Jimmy Crystal. Jimmy and his followers can be seen wearing white-blond wigs and tracksuits, bearing a striking resemblance to the late presenter who, after his death in 2011, was accused of sexually abusing hundreds of people, including children. According to Danny, that's completely intentional, explaining to Business Insider: 'He's as much to do with pop culture as he is to do with sportswear, to do with cricket, to do with the honours system. 'It's all kind of twisting in this partial remembrance, clinging onto things and then recreating them as an image for followers.' 'He's a kaleidoscope, isn't he?' writer Alex noted, referring to the movie character. 'A sort of trippy, fucked up kaleidoscope.' Early on in the film, we see a young Jimmy watching Teletubbies in a group of children before the 'infected' break in and wreak havoc. As he makes his escape, the boy contemplates bringing a Power Rangers toy with him, but ultimately leaves it behind. When we see Jimmy and his followers, many have pointed out that their fight sequences references both Teletubbies and Power Rangers in a crossover no one could have predicted. After years of speculation about whether the 28 Days Later franchise would be revived at all, Danny Boyle has since confirmed his plans for a brand new trilogy. The next film, 28 Years Later: The Bone Temple, was actually filmed back-to-back with the new movie, and is currently slated to come out 16 January 2026. The Marvels writer Nia DaCosta will be directing that one in place of Danny (who is staying on as a producer), with Alex Garland having once again written the script. Speaking to The Hollywood Reporter, Danny explained that it would have been 'insane not to' shoot consecutively, due to practical and financial considerations. 28 Years Later is in cinemas now. 28 Years Later 'Alpha' Chi Lewis-Parry Answers Everyone's 1 Big Question About The Film 28 Years Later Director Explains Why New Film Reverses Major Plot Point From Previous Sequel 28 Years Later Viewers Are Still In Shock From That Teletubbies Callback In The Wild Final Scene
Associated Press
2 hours ago
- Associated Press
Fans criticize Beyoncé for shirt calling Native Americans ‘the enemies of peace'
A T-shirt worn by Beyoncé during a Juneteenth performance on her 'Cowboy Carter' tour has sparked a discussion over how Americans frame their history and caused a wave of criticism for the Houston-born superstar. The T-shirt worn during a concert in Paris featured images of the Buffalo Soldiers, who belonged to Black U.S. Army units active during the late 1800s and early 1900s. On the back was a lengthy description of the soldiers that included 'their antagonists were the enemies of peace, order and settlement: warring Indians, bandits, cattle thieves, murderous gunmen, bootleggers, trespassers, and Mexican revolutionaries.' Images of the shirt and videos of the performance are also featured on Beyoncé's website. As she prepares to return to the U.S. for performances in her hometown this weekend, fans and Indigenous influencers took to social media to criticize Beyoncé for wearing a shirt that frames Native Americans and Mexican revolutionaries as anything but the victims of American imperialism and for promoting anti-Indigenous language. A spokesperson for Beyoncé did not respond to a request for comment. Who were the Buffalo Soldiers? The Buffalo Soldiers served in six military units created after the Civil War in 1866. They were comprised of formerly enslaved men, freemen, and Black Civil War soldiers and fought in hundreds of conflicts — including in the Spanish-American War, World War I, and World War II — until they were disbanded in 1951. As the quote on Beyoncé's shirt notes, they also fought numerous battles against Indigenous peoples as part of the U.S. Army's campaign of violence and land theft during the country's westward expansion. Some historians say the moniker 'Buffalo Soldiers' was bestowed by the tribes who admired the bravery and tenacity of the fighters, but that might be more legend than fact. 'At the end of the day, we really don't have that kind of information,' said Cale Carter, director of exhibitions at the Buffalo Soldiers National Museum in Houston. Carter and other museum staff said that, only in the past few years, the museum made broader efforts to include more of the complexities of the battles the Buffalo Soldiers fought against Native Americans and Mexican revolutionaries and the role they played in the subjugation of Indigenous peoples. They, much like many other museums across the country, are hoping to add more nuance to the framing of American history and be more respectful of the ways they have caused harm to Indigenous communities. 'We romanticize the Western frontier,' he said. 'The early stories that talked about the Buffalo Soldiers were impacted by a lot of those factors. So you really didn't see a changing in that narrative until recently.' There has often been a lack of diverse voices discussing how the history of the Buffalo Soldiers is framed, said Michelle Tovar, the museum's director of education. The current political climate has put enormous pressure on schools, including those in Texas, to avoid honest discussions about American history, she said. 'Right now, in this area, we are getting pushback from a lot of school districts in which we can't go and teach this history,' Tovar said. 'We are a museum where we can at least be a hub, where we can invite the community regardless of what districts say, invite them to learn it and do what we can do the outreach to continue to teach honest history.' Historians scrutinize reclamation motive Beyoncé's recent album 'Act II: Cowboy Carter' has played on a kind of American iconography, which many see as her way of subverting the country music genre's adjacency to whiteness and reclaiming the cowboy aesthetic for Black Americans. Last year, she became the first Black woman ever to top Billboard's country music chart, and 'Cowboy Carter' won her the top prize at the 2025 Grammy Awards, album of the year. 'The Buffalo Soldiers play this major role in the Black ownership of the American West,' said Tad Stoermer, a historian and professor at Johns Hopkins University. 'In my view, (Beyoncé is) well aware of the role that these images play. This is the 'Cowboy Carter' tour for crying out loud. The entire tour, the entire album, the entire piece is situated in this layered narrative.' But Stoermer also points out that the Buffalo Soldiers have been framed in the American story in a way that also plays into the myths of American nationalism. As Beyoncé's use of Buffalo Soldiers imagery implies, Black Americans also use their story to claim agency over their role in the creation of the country, said Alaina E. Roberts, a historian, author and professor at the University of Pittsburgh who studies the intersection of Black and Native American life from the Civil War to present day. 'That's the category in which she thought maybe she was coming into this conversation, but the Buffalo Soldiers are even a step above that because they were literally involved in not just the settlement of the West but of genocide in a sense,' she said. Online backlash builds ahead of Houston shows Several Native influencers, performers, and academics took to social media this week to criticize Beyoncé or decry the shirt's language as anti-Indigenous. 'Do you think Beyoncé will apologize (or acknowledge) the shirt?' an Indigenous news and culture Instagram account with more than 130,000 followers, asked in a post Thursday. Many of her critics, as well as fans, agree. A flood of social media posts called out the pop star for the historic framing on the shirt. 'The Buffalo Soldiers are an interesting historical moment to look at. But we have to be honest about what they did, especially in their operations against Indigenous Americans and Mexicans,' said Chisom Okorafor, who posts on TikTok under the handle @confirmedsomaya. Okorafor said there is no 'progressive' way to reclaim America's history of empire building in the West, and that Beyoncé's use of Western symbolism sends a problematic message: 'That Black people, too, can engage in American nationalism.' 'Black people, too, can profit from the atrocities of (the) American empire,' she said. 'It is a message that tells you to abandon immigrants, Indigenous people, and people who live outside of the United States. It is a message that tells you not only is it a virtue to have been born in this country, but the longer your line extends in this country, the more virtuous you are.'
