TRANSLATION - ENGLISH
Identity in Deconstruction: Margiela in the Hands of Glenn Martens – A Return to the Old DNA?
Glenn Martens is a Belgian fashion designer who, surprisingly, has quite a lot in common with Martin Margiela himself. He may not have a Polish father like Margiela, but their career paths sound strikingly similar: both graduated from the Royal Academy of Fine Arts in Antwerp, both moved to Paris right after their studies, and both began as assistants in Jean-Paul Gaultier’s atelier. Coincidence that Glenn became John Galliano’s successor? Perhaps not.
Since 2020, Martens has been the creative head of one of the hottest brands of the 1990s. Maison Margiela, which, like Diesel and other labels, belongs to the OTB Group, founded by Renzo Rosso, the creator of Diesel. Rosso’s mission is to celebrate creativity at every level, challenge stereotypes, and go against the grain – making Martens the perfect partner.
His surprising, unconventional approach to fashion and his keen sense of construction have brought Diesel back to the top, once again making it one of the most exciting topics in the industry. Martens has crafted a new visual language, blending ‘90s nostalgia with bold, wild shows that were also accessible to students and young audiences. In 2023 alone, the brand’s revenue rose by 13% thanks to his new direction. He launched eye-catching accessories, led by the best-selling 1DR bag, and established himself as a dynamic and media-savvy personality. Rosso’s decision to put him in charge of Margiela was only a matter of time.
As Rosso himself said of Margiela’s new era:
“I had to give Margiela a new era. The house was fantastic with Martin, fantastic with John. And now we’re bringing it into a contemporary world, where everything is copied and looks the same. I think we’re one of the few companies still focused on creativity.”
Martens’s first Artisanal collection made it clear this wasn’t about replicating Margiela, but rather engaging in a dialogue with his spirit. The show was raw, theatrical, and emotional. It brought us back to basics and again questioned the concept of identity, paying tribute to the garment, not the individual wearing it. Many models’ faces were covered, silhouettes were genderless and abstract, everything personal was subordinated to form.
The show featured deconstruction, layering, unusual fabrics, and references to archival silhouettes, but all filtered through Martens’s unique sensitivity. One of the first looks showed a model in a cocoon-like structure, as if literally dressed in a process of transformation. The craftsmanship was evident in every seam, many pieces looked like they were sewn from memory, not fabric.
Martens didn’t just adopt Margiela’s codes, he rewrote them in his own language. The Artisanal collection in his hands is not a reconstruction, but a revision. Whether he’ll become the “next Margiela” remains to be seen, but one thing is certain: he understands that the future of the house lies not in nostalgia, but in boldness.
Demna (Gvasalia) was the first to question the definition of haute couture, introducing t-shirts and trash-bag-style jackets into Balenciaga’s artistic collections, creating a total shock. Now, the same can be said of Glenn Martens’s debut for Margiela. He too is deconstructing the concept of couture, but in a different way: more subtly, and more deeply rooted in Margiela’s original DNA.
So what does haute couture mean today? Must it mean a tulle gown costing half a million euros? Or is it rather about craft, thought, time, and concept?
In Martens’s new collection, we see both classic and modern faces of haute couture. Some looks seem haphazardly stitched from scraps, others are sculptural, precise, almost monumental. The first look was a manifesto of contemporary couture; the last, a homage to its tradition.
Take Look No. 4, for instance: the dress resembled brushstrokes by Gustave Moreau, and the inside of the collar was embedded with leftover crystal jewelry in silver and beige tones. Clothes that appear to be pieced together from leftovers turn out to be the brand’s most exclusive products, because in reality, they are the result of hundreds of hours of labor, handcrafting, and conceptual discipline. It’s an illusion, but one that is precisely controlled and rich with meaning.
In his Margiela debut, Glenn Martens proved that haute couture doesn’t need to be literal to be relevant. He didn’t rely on nostalgia or provocation – only on concept and courage to open a new chapter in the story of a house that was built not on answers, but on questions.
TRANSLATION - ENGLISH
Netflix Tells the Story of American Apparel’s Downfall: “Trainwreck” Exposes a Fashion Cult That Spiraled Out of Control
Netflix is releasing the documentary Trainwreck: The Cult of American Apparel — a story about how the fashion empire beloved by teenagers during the Tumblr era collapsed in front of the whole world. It’s a tale of a meteoric rise, cultural phenomenon, and an equally spectacular fall.
From the beginning, American Apparel stood out from other retail competitors: bold, often controversial campaigns, clothes made in the USA, manifestos posted in store windows, and slogans that sounded like they were ripped from internet forums — for example: “If you see someone shoplifting, let them know we’re hiring.” The brand was young, rebellious, sexy, and perfectly captured the Tumblr-era aesthetic. It was an absolute triumph—until it wasn’t.
The Netflix documentary follows the journey of this retail icon of the 2000s and early 2010s: from loft showrooms in Los Angeles to global stores filled with neon leggings, basic tees, and mini skirts. It includes interviews with former employees and industry insiders who were part of the brand’s rise—and its later unraveling. One interviewee sums up their experience with: “I loved every second of it,” immediately followed by: “I’ll probably need therapy until I die.”
Behind American Apparel’s success was Dov Charney — the charismatic and controversial founder who not only designed the clothes but was also the face and soul of the brand. Thanks to his innovative approach, American Apparel quickly became a cult: attracting young, creative people who identified with its rebellious style, local production, and declared environmental consciousness.
For years, American Apparel’s marketing was seen as especially authentic. Mainly because their campaigns looked like they were shot by friends, not advertising agencies. The photos were raw, often underexposed, barely edited, with natural lighting and an amateur aesthetic. Much like today’s imagery from Brandy Melville. The models looked more like girls next door than polished fashion industry professionals.
But behind that “authenticity” was something more. American Apparel’s ads were highly sexual, at times outright provocative, objectifying bodies in a way that would spark fierce debate today. Sex sold—but wrapped in a DIY package: no retouching, no filters, just shameless honesty and rawness. It was that rebellious, sexy, unapologetic mix that made the brand iconic for millennials.
Initially, Charney was hailed as a visionary and pioneer of modern retail. But over time, his presence became a burden for the company. Scandals, sexual harassment allegations, a toxic work environment, and chaotic leadership began to surface—even while the brand was still riding high. What had long been dismissed as the eccentricity of a genius later turned out to be something much more toxic. In the post-#MeToo era, Charney’s story stands as one of the most high-profile examples of a cult of personality gone off the rails.
Running in the background of the documentary is a broader message—about what happens when a brand becomes a religion. About how a cult of youth, authenticity, and sex can slowly morph into something dangerous.
Trainwreck is not just the story of American Apparel. It’s also a warning to any brand that starts believing too quickly in its own myth.
TRANSLATION - ENGLISH
Instagram Full of Fake Encounters: Ronaldo, Billie Eilish, Elon Musk, and AI in Action
Cristiano Ronaldo and Donald Trump in a single photo. Billie Eilish and Ronaldo looking like old friends posing for a joint photo shoot. Elon Musk partying with CR7 as if they just got back from an exclusive afterparty. What’s strange about it? None of these encounters ever happened.
An Instagram account is gaining popularity by using artificial intelligence to create hyper-realistic images of celebrities in fictional situations. At the center of the creator’s focus are Cristiano Ronaldo and his biggest rival, Leo Messi. In the images, we see them hugging, eating McDonald’s, or doing face masks together as if they’ve been best buddies for years.
The creator’s imagination is surprising. Alongside absurdly realistic pairings like Ronaldo and Trump sipping champagne, you’ll find Messi pictured with Mia Khalifa – looking as if the photo was taken just after a romantic dinner. All of it, of course, is generated by AI, but refined to such an extent that for a moment, you might actually be fooled.
And even though each post includes a note mentioning the use of artificial intelligence, it doesn’t change the fact that our eyes, trained by endless scrolling and rapid consumption, can be easily deceived. The inevitable question arises: can we still tell what’s real and what’s just a digital illusion?
For some, it’s just a fun play on imagination and a form of modern art. For others, it’s a troubling sign of the times. In a world where false information spreads faster than the truth, and technology increasingly imitates reality, these images start to feel less like memes and more like trailers for a digital dystopia.
We already know the story of deepfakes. Is this the next step? Or just fan-made creativity that happens to mimic the truth a little too well?
Unlike traditional deepfakes, this case doesn’t try to deceive or manipulate anyone. There are no attempts to interfere with public discourse or portray celebrities in controversial contexts. It’s more of a visual experiment with new technology, something like digital fan fiction, just in photo form.
But even this light-hearted form raises questions. Because today it might be Ronaldo eating a burger with Messi, but tomorrow we could see something much more disturbing. Is the line between “harmless fun” and influencing our perception of reality becoming more and more blurred?
Technology entertains, fascinates, and surprises, but it’s worth remembering that every tool, even one used playfully, might one day spin out of control.
TRANSLATION - ENGLISH
Rapper Diddy Cleared of Most Serious Charges, Including Human Trafficking and Extortion — But Found Guilty in Two Cases of Promoting Prostitution
Sean “Diddy” Combs—one of the most powerful musicians and entrepreneurs in the hip-hop industry—has been cleared of the most severe accusations, including conspiracy and human trafficking. However, he has been found guilty in two instances of promoting prostitution.
Combs is a three-time Grammy winner, founder of the Sean John fashion brand, former ambassador for Cîroc, and creator of Revolt TV. His empire was recently valued at nearly $900 million, but following the scandal and his arrest, his wealth has shrunk to around $400 million. The question remains: Can he regain his lost millions?
Although the jury acquitted him of the most serious charges, such as trafficking and conspiracy, Combs still faces consequences. Over several weeks of trial, 34 witnesses testified, including his former partner Cassie (Casandra Ventura), who described years of abuse, manipulation, and violence. Prosecutors accused Diddy of forcing women to participate in drug-fueled “freak off” parties and running a criminal enterprise for over two decades.
In the end, the rapper was found guilty of transporting women—including Cassie and another former partner—across state lines to arrange paid sexual encounters involving male escorts. Instead of life in prison, he now faces a lengthy sentence. Until the sentencing, scheduled for October 3, the 55-year-old remains in custody, with the judge denying bail due to concerns over violence and flight risk.
First arrested in September 2024, Sean “Diddy” Combs has finally faced trial, but the result has left prosecutors unsatisfied. Former federal prosecutor and criminal law expert Neama Rahmani commented that Combs may ultimately avoid major consequences. Promoting prostitution carries a maximum 10-year sentence, but because he was acquitted of the most serious charges, Rahmani says he’s likely to get a light sentence or none at all.
“It’s hard to believe the federal government would launch this case if they thought Diddy would only be convicted of two charges,” Rahmani told PEOPLE.
“This was an overwhelming victory for the defense and a huge loss for the prosecution. There’s no other way to put it.”
This has now become the most expensive prostitution trial in U.S. history.
During the trial, the jury was shown shocking footage of Combs chasing, beating, and kicking Cassie in a Los Angeles hotel lobby in 2016. She claimed the attack occurred when she tried to leave one of the “freak off” sessions.
The seven-week trial was full of dramatic moments—not just during witness testimony. At one point, a woman in the courtroom shouted a string of curses, and Judge Arun Subramanian ordered her to leave. Upon hearing the possible consequences he now faces, Combs reportedly fell to his knees, overwhelmed by the weight of the situation.
For Diddy, the stakes are not just a potential sentence but also the future of the legacy he spent decades building as a powerful figure in music, fashion, and business. Other rappers like Kodak Black, Tekashi 6ix9ine, and Chris Brown have managed to return to the spotlight after scandals and convictions, though often with limited industry support and closed doors to major partnerships.
In Combs’s case, the situation is even more complicated: the violent footage, multiple accusations, and media frenzy make reputation recovery extremely difficult. Although his team is already working to present him in a better light, the lost contracts, financial fallout, and upcoming civil lawsuits suggest that this crisis is far from over.
Can the man who once dictated the rules of pop culture survive the greatest trial of his career? Only time will tell.
TRANSLATION - ENGLISH
Iga Świątek’s Strawberry Pasta Has Taken the Internet by Storm — and Not Just Online
Iga Świątek surprised Wimbledon not only with her excellent form and towel collecting—but also with her favorite post-training meal. For us Poles, it’s nothing unusual, but the Italians were absolutely outraged: pasta with strawberries and yogurt.
In addition to TikTok tutorials and viral taste tests, Iga’s dish ignited social media and even made it into the press. This unexpected combo became the viral hit of the season and quickly inspired food brands—for example, Lubella, which announced a limited edition of pasta shaped like tennis rackets. The brand asked internet users to help name the product. Among the most liked suggestions were “Igattoni” and “Świątki.” Others proposed names like “Paletti” or simply “Rakietki” (“Little Rackets”)—to celebrate not just Iga’s success, but Poland’s double win at Wimbledon.
Because while the world is currently talking about Świątek, Alan Ważny was quietly celebrating his own victory in the juniors’ Wimbledon tournament. The 18-year-old Polish talent, playing doubles with Finnish player Oskari Paldanius, won the title and captured the hearts of fans. A promising beginning, a source of national pride… who knows, maybe one day his name will end up on a pasta label, too?
Pasta with strawberries and yogurt is a dish well known to most Poles, but abroad it provokes more confusion than nostalgia. American tennis player Amanda Anisimova, who faced Świątek in the final, commented on a photo of the dish with a shocked reaction: “Pasta… with what?” This was truly something new for her.
By reminding the world of this classic Polish recipe—treated in Poland as both lunch and dessert—Iga brought herself even closer to her fellow countrymen. She showed that despite her sporting greatness, she’s still the “girl next door” that people can easily relate to.
Because this dish is more than just a taste—it’s a bit of childhood, carefree summer days, and proof that true comfort food doesn’t need an explanation. Even if the rest of the world is scratching its head.
TRANSLATION - ENGLISH
We have the first trailer for Yorgos Lanthimos’ new film – Bugonia.
Emma Stone Will Be Kidnapped by a Conspiracy Theorist Who Thinks She’s an Alien — This Is the Premise of Bugonia, the Latest Screen Fusion of Lanthimos and Stone
The film will hit theaters on October 24 in limited release, and a week later — on October 31 — it will expand to wide distribution.
After Poor Things and Kinds of Kindness, any remake might seem like a step back into safer waters. But Lanthimos — the intricate constructor of cinematic traps for the senses — has chosen to adapt the 2003 South Korean sci-fi comedy Save the Green Planet! into English, which feels like a natural progression in his career.
The original by Jang Joon-hwan told the story of Lee Byeong-gu, who kidnaps the powerful CEO of a pharmaceutical company, convinced he is an alien from Andromeda planning to invade Earth. The film initially flopped in its home country but has since been hailed as one of the greatest Korean films of all time. Park Chan-wook even called it “the best Korean film in history.”
In Bugonia, Stone will play the CEO who is kidnapped by two friends obsessed with conspiracy theories. The screenplay was written by Will Tracy — known for his work on Succession and The Menu. Alongside Stone, the cast includes Jesse Plemons, stand-up comedian Stavros Halkias (in a role that could launch him into the acting big leagues), Alicia Silverstone, and Aidan Delbis.
Behind the camera, Lanthimos has brought back his trusted team: editor Yorgos Mavropsaridis, cinematographer Robbie Ryan, production designer James Price, and composer Jerskin Fendrix. The movie was shot on 35mm film using VistaVision cameras in High Wycombe, England — as always, Lanthimos favors cinematic craftsmanship over digital convenience.
The production is being handled by Element Pictures, Ari Aster’s Square Peg, and CJ ENM — the Korean company behind the original. Focus Features won the bidding war for distribution rights, marking Lanthimos’ departure from Searchlight Pictures after three prior collaborations.
Peter Kujawski from Focus Features called Lanthimos “a visionary filmmaker with a truly unique voice.” Jerry Kyoungboum Ko of CJ ENM promises “a dynamic chemical collision.” When the film industry uses that kind of jargon, it usually means one thing: prepare for a film that grabs you by the throat — and doesn’t let go until the credits roll.
TRANSLATION - ENGLISH
He sold out the PGE Narodowy twice and officially said goodbye to his fans — “The Last Concert” marks the definitive end of Quebonafide’s music career.
A two-part artistic project marking the closure of the musical journey of one of Poland’s most influential rappers, Quebonafide, began online last Thursday. Act I, titled “North / South”, surprised fans with an intimate monologue by the artist and an hour-long multimedia event that balanced between multiple music genres. A key element of the project was the integration of film and Quebonafide’s music.
During the two final concerts in Warsaw, Quebonafide was joined by icons of the Polish music scene as well as international guests — including Tommy Cash, Sobel, Oki, Mata, and opera star Jakub Józef Orliński. He also invited the Szczecin Maritime University Choir.
As the choir’s conductor, Professor Sylwia Fabiańczyk-Makuch, recalled, the live event was a unique blend of classical, rap, and jazz — something the Polish music scene had never experienced before. It’s hard to simply call this a “concert” — it was a fully-fledged artistic spectacle.
Around 140,000 people participated in this emotional and surprising event — with both uplifting and slightly disappointing moments. Many fans had hoped for a Quebonafide and Taco Hemingway reunion on stage during the final show. But that reunion never happened, which left part of the audience a bit disappointed.
Still, Quebonafide made up for it with a spectacular three-hour performance. During the song “c’est la vie”, the audience witnessed a live act where he shaved half his head on stage. There were also deeply moving moments — like a saxophone solo by Polish jazz legend Henryk Miśkiewicz following the song “Szubienica, Pestycydy, Broń”, as well as choreographed performances involving dancers and a mysterious figure emerging behind the rapper. Absurd? Mystical? Maybe both.
But the biggest surprise was… no goodbye. On Friday, after the first concert, Quebo left the stage, got into a car, and drove off — without saying a word. Only the next day did he explain himself on stage:
“I was a bit afraid of all the sentimentality — that I’d break down. Please know I deeply appreciate what you’ve done for me. That I’m standing here… I don’t want to get too poetic, but I know very well that if it weren’t for you, I wouldn’t be here. And this time, from the bottom of my heart, I have to promise you — this is the last time we see each other in this role.”
“But I don’t want all this to sound like some kind of creative death, because there are still many projects I’d like to pursue — not necessarily musical ones. I hope I’ll surprise you soon and that we’ll hear and see each other again. (…) You’ve been truly amazing.”
This isn’t the end of Quebonafide’s creative career — as he mentioned, it’s more of a shift in format. The artist stepped off the stage without grand fireworks, tears, or a final hit. Instead, he took the audience on a journey through the stages of his musical life — a tribute to a nonconformist artist who never followed the conventional path. One thing is certain: Quebonafide will not return to us in the musical form we knew.