Vaquera has always been a fashion industry disruptor, and for Fall/Winter 2025, the brand demonstrated yet again that revolt and refinement can coexist in perfect disarray.
Set against a backdrop of Afrofuturism, Yaku Stapleton offers us The ImPossible Family Reunion, a presentation which paints imagery of finding oneself as we traverse into the unknown. Upon entering, it becomes immediately apparent that this designer has a particularly outstanding knack for world-building.
STADION’s Fall/Winter 2025 collection is more than just clothing; it’s a manifesto. In an age where artificial intelligence is reshaping human identity, STADION asks us to consider: if algorithms replace the inner self, will fashion be the last recognisable characteristic of individuality?
In the world of fashion, where the bold and the traditional often intersect, Geordie Campbell’s ‘Michaelmas’ collection emerges as a narrative-rich tableau, redefining British sartorial norms with its audacious yet respectful nod to heritage.
“Accessories are an extension of our bodies – they move with us, adapt to us, and become part of our daily rituals. They’re not just decorative; they serve as functional expressions of who we are and how we navigate the world,” Claudio Pagani, founder of Astria, explains to The Cold Magazine.
When we think of a jazz band, and particularly the saxophonist, the image that often comes to mind is that of a man with a classic, elegant, and sophisticated style.
This Valentine’s Day, Amy Spalding carves a new inscription with a collection of rings that don’t just symbolise devotion but honor the sapphic legacies that shaped today’s queer landscape.
Inspired by the legend of Iwa’s ghost, this project blends tradition, darkness, and beauty. A tribute to Japanese folklore, where the past never stops haunting us.
STADION’s Fall/Winter 2025 collection is more than just clothing; it’s a manifesto. In an age where artificial intelligence is reshaping human identity, STADION asks us to consider: if algorithms replace the inner self, will fashion be the last recognisable characteristic of individuality?
At the beginning of the year, Pinterest projected “castlecore” as one of fashion’s in-trends for 2025, a mezze plate of Internet-inflected medieval gestures including coquettish white lace, chainmail accoutrements, and ornate antique jewellery.
In 1951, in a Mexico City apartment, William S. Burroughs raised a handgun toward his wife Joan Vollmer during what was supposedly a drunken game of ‘William Tell.’ The shot that followed would haunt him – and American literature – forever.
David Lynch gave us fever dreams on film that feel more real than reality itself, breaking the rules to create his own bizarre language of backward-talking dwarves, industrial soundscapes, and cherry pie that somehow means more than just dessert.
In a dimly lit performance space, tucked away in Old Street, HAIRFUCK by artist Vittoria Penalosa unfolded as a visceral confrontation with the pressures imposed on women.
Originally a film, the work was reimagined as a performance art piece for the MENG x The COLD Magazine launch, where five figures—bound by a single braid of hair—embodied the tensions and enforced competition born from unattainable beauty standards.
The early 2000s and 2010s were an era of spectacle, where fashion collided with reality TV to create a world of heightened ambition and manufactured drama.
In recent years, there’s been a growing fascination among women and girls of the 21st century with true crime. An ambiguous fetish, woven through podcasts, series, and literature, it has found its way into the lives of people from all walks of life, united by one common denominator: being female.