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  • Chloé Resort 2026 Ready-to-Wear Runway, Fashion Show & Collection Review

    Chloé Resort 2026 Ready-to-Wear Runway, Fashion Show & Collection Review

    You could get lost in Chemena Kamali’s fascinating, dense mood boards for Chloé, which typically stretch across several boards, and for resort 2026 span Hollywood movies, indie films, avant-garde German photography and Karl Lagerfeld-era runway images — all culled from the early ‘80s.

    The styles depicted dovetail with Kamali’s instincts and current personal penchant for wearing more pronounced, rounded shoulders, Spencer jackets and cropped leather bombers, pleated trousers and stronger, Guy Bourdin-esque colors.

    She’s eased up on the free-flowing garments that are so typically Chloé, sensing the same shift in the fashion mood that compelled Lagerfeld to sketch a coat with an inverted triangle shape that signaled a new era of power dressing.

    “Variety,” a 1983 indie film by Bette Gordon that Kamali recently rewatched, similarly exemplifies a shift in the sociology of women in film, when “she becomes the subject and controls the narrative,” the designer related during a preview.

    Kamali ruminated on all of that, yielding a more streamlined, structured collection that elaborated on the don’t-mess-with-me shoulders she debuted on the runway for fall 2025, showing different facets of the Chloé girl.

    Her blouses and sweaters for resort also incorporate pronounced shoulder padding, while still telegraphing the fluid, feminine spirit of the brand via silky fabrics, polka dots and floral prints.

    Like most collections labeled resort or spring and delivered in November, the collection skews wintry in palette and styles, incorporating shearling chubbies, woolen peacoats and puffer styles in squishy plongé leather.

    Kamali also eased up on the size and scale of charms dangling from her bags, including a fetching take on the bowling shape and some industrial-strength clogs that fit the retro mood. She conscripted photographer Johnny Dufort for the look book shoot, which mirrors her mood board’s cinematic leanings.

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  • Welcome to Glenn Martens’s Maison Margiela — ‘It’s going to be quite loud’

    Welcome to Glenn Martens’s Maison Margiela — ‘It’s going to be quite loud’

    Part of the specific challenge with Maison Margiela, he continues, is just how influential the founder’s thinking became across all of fashion. “I myself am one of those children of the Margiela generation. And I think Martin is more than a designer, he is a school that has changed a lot of people’s thinking… The Japanese were a bit before, but I think in Europe it was Martin who made this change, this thought that garments don’t have to follow a classic structure. It was trying to find a different way of looking at beauty, of looking at construction and looking at fashion at large. And this has been a design ethos for so many designers since, some of them more directly and some of them less so. I have always been someone, I think quite clearly, who has followed that way of thinking.”

    Which leads to questions of originality, ownership and identity. Martens laughs again as he recounts the sometimes creatively confronting nature of his deep dive into the Margielian world. “When I arrived here, I asked my stylist to bring out all of Martin’s archive pieces. Because I had always only ever seen them in books. And finally, seeing the real items, I was so disappointed in myself. I was like: ‘My God, I just copied everything before when I was at Y/Project!’”

    If Martens’s 13-year output as creative director at that Parisian indie label was unconsciously saturated by Margiela’s influence, there are some who have taken a far more premeditated approach to incorporating his new house’s creative canon. “Margiela has been a source to so many designers and brands, some more literally than others,” he says. “I love this house for its founding DNA, but definitely a lot of that DNA has been fully plundered; literally plundered, this is the best word for it. Reclaiming some of these elements, trying to reclaim them with elegance, and finding my own way to work through them is what I want to do.”

    Another factor for Martens to calculate is the enormous contribution to the house from John Galliano, who served as creative director from October 2014 to December 2024. Martens says: “I love everything he has done here… John is a genius in couture. He created his own fantastic world, and the product was very much linked to it. I could never be John; I am not such a good storyteller.” Galliano arrived at Margiela three years after the end of his 13-year stint at Christian Dior, where he had created some of the most opulent and narratively expressive couture shows fashion has ever seen. His unique articulation of that apex house of mainstream French luxury was duly refracted through his work at Maison Margiela.

    This, Martens implies, offers him a distinct route forward as he plots his path. He says: “I think in the days of Martin this world was much more niche. The luxury was more about the exclusivity of it through an independent way of thinking. Now, it is also about the craftsmanship and the tailoring: John brought that in and we need to continue building it, because it is part of the development of this house.”

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  • ‘Like an academic’: private papers reveal John le Carré’s attention to detail | John le Carré

    ‘Like an academic’: private papers reveal John le Carré’s attention to detail | John le Carré

    The extent of John le Carré’s meticulous research and attention to detail are among insights into his working methods that will be revealed when the master of spy thrillers’ private archive goes on display for the first time this autumn.

    His classic cold war-era espionage novels have sold tens of millions of copies worldwide and inspired acclaimed films and television adaptations.

    The Bodleian libraries at the University of Oxford have announced an exhibition starting in October, titled John le Carré: Tradecraft, drawing on thousands of papers in his vast private archive, which it holds.

    Le Carré, whose real name was David Cornwell, wanted the archive to be placed with his alma mater, and after his death in 2020 aged 89 it was officially donated to the nation through the acceptance-in-lieu scheme, preventing its loss overseas.

    Referring to his greatest fictional character, the self-effacing, quintessentially English spymaster George Smiley, le Carré once said: “Oxford was Smiley’s spiritual home, as it is mine.”

    Exhibits seen for the first time will include his copious notes on his characters, as well as sketches in which, like a film director, he visualised those individuals in the margins of his manuscripts.

    Pen and ink sketches, titled ‘Oxford Gesichte’ (Oxford Faces). Circa 1953. Illustration: Estate of John le Carré

    His annotated manuscripts will show the extent to which he revised his novels repeatedly. In a draft for Tinker Tailor Soldier Spy, he described Smiley as “small, podgy and at best middle-aged”, scribbling an insertion: “His legs were short, his gait anything but agile.”

    Le Carré worked as a diplomat and a secret agent for MI5 and MI6 before his name was passed to the Russians by the traitor Kim Philby, who inspired the Soviet mole who infiltrated the highest ranks of the Secret Intelligence Service in Tinker Tailor Soldier Spy.

    While le Carré elevated the spy novel to high art, creating a gritty antithesis to Ian Fleming’s glamorous James Bond, the exhibition will primarily portray him as a writer who had worked as a spy – as he saw himself – rather than as a spy who became a writer.

    It will show how he gathered information, plotted stories and developed iconic characters such as Smiley and his counterpart Karla, the wily KGB spymaster. The archival papers reveal intricate timelines of plots.

    The exhibition’s title plays on the term “tradecraft” that he used to describe the techniques of espionage, but which the curators said “might also be applied to his own skilled craft as a writer and social commentator”.

    Private letters to be shown include a handwritten note that reveals his discomfort with public speculation about his spying career before it was actually confirmed. “Why do people want me to have views about spying? If I wrote about love, or cowboys, even sex, people would take it that this was my interest and therefore I made up stories about it,” he wrote.

    A portrait of David Cornwall taken by his son. Photograph: Stephen Cornwell

    There is also a letter in which the actor Alec Guinness doubted his suitability to play Smiley in the first television adaptation of Tinker Tailor Soldier Spy because he was “not really rotund and double-chinned”. Le Carré persuaded him to take on one of his most memorable roles.

    The exhibition is co-curated by le Carré’s collaborator and longstanding friend Prof Federico Varese and Dr Jessica Douthwaite, of the Bodleian libraries, with the support of le Carré’s family.

    Further reflecting le Carré’s rigorous approach to research, it will explore his close collaboration with intelligence operators, corporate whistleblowers and humanitarians and his dedication to exposing corruption, such as unethical practices in the pharmaceutical industry.

    Varese, an Oxford professor of criminology whose books include The Russia Mafia, was among friends to whom le Carré would send early drafts of his novels. “He was very open to suggestions,” Varese said.

    Having studied the archive’s contents, he said he had been surprised by the extent of le Carré’s research. “He was like an academic. He would go to the places he would be writing about and do fieldwork like an anthropologist or a sociologist. He would read extensively, interview people in the field, take notes – and then write it up as fiction. He would do it for all the novels, which is quite extraordinary.”

    In staging the exhibition, he wants to “pay homage to a person I admire very much”.

    • John le Carré: Tradecraft opens at the Weston library, Bodleian libraries, on 1 October, running until 6 April 2026. An accompanying book, Tradecraft: Writers on John le Carré, will be released by Bodleian Library Publishing.

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  • Catch NGC 7686 in Andromeda

    Catch NGC 7686 in Andromeda

    You can enjoy this bright stellar group with binoculars or any telescope as it hangs high in the predawn sky.

    • NGC 7686 is a star cluster in the Andromeda constellation.
    • It’s visible to the naked eye under dark skies, but binoculars or a telescope enhance viewing.
    • Astronomers believe it’s not a true cluster, but stars appearing close together.
    • “NGC 7686 looks like a triangular grouping of stars,” said Michael Bakich.

    Climbing to 60° high in the east two hours before sunrise, the constellation Andromeda lies just to the upper right of the easy-to-spot W-shaped constellation Cassiopeia. This morning, let’s enjoy a view of the star cluster NGC 7686 in northwestern Andromeda, about 3° northwest of 4th-magnitude Lambda (λ) Andromedae. 

    This bright group of stars shines at magnitude 5.6 — visible to the naked eye for those with good low-light vision and clear, light-pollution-free skies. The 15’-diameter cluster is also readily visible through binoculars or any telescope; particularly at low power, Astronomy Associate Editor Michael Bakich notes NGC 7686 looks like a triangular grouping of stars. Larger apertures and higher magnifications will bring out more and fainter stars. 

    Although typically classified as an open cluster, astronomers have noted that based on the characteristics of its stars, NGC 7686 is more likely a superposition of many stars at different distances creating a visual overdensity, rather than a proper cluster. 

    Sunrise: 5:39 A.M.
    Sunset: 8:31 P.M.
    Moonrise: 7:20 P.M.
    Moonset: 3:10 A.M.
    Moon Phase: Waxing gibbous (95%)
    *Times for sunrise, sunset, moonrise, and moonset are given in local time from 40° N 90° W. The Moon’s illumination is given at 12 P.M. local time from the same location.

    For a look ahead at more upcoming sky events, check out our full Sky This Week column. 

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  • WEKA Debuts NeuralMesh Axon For Exascale AI Deployments

    WEKA Debuts NeuralMesh Axon For Exascale AI Deployments

    New Offering Delivers a Unique Fusion Architecture That’s Being Leveraged by Industry-Leading AI Pioneers Like Cohere, CoreWeave, and NVIDIA to Deliver Breakthrough Performance Gains and Reduce Infrastructure Requirements For Massive AI Training and Inference Workloads

    PARIS and CAMPBELL, Calif., July 8, 2025 /PRNewswire/ — From RAISE SUMMIT 2025: WEKA unveiled NeuralMesh Axon, a breakthrough storage system that leverages an innovative fusion architecture designed to address the fundamental challenges of running exascale AI applications and workloads. NeuralMesh Axon seamlessly fuses with GPU servers and AI factories to streamline deployments, reduce costs, and significantly enhance AI workload responsiveness and performance, transforming underutilized GPU resources into a unified, high-performance infrastructure layer.