Treating the boutique price as your price

The original retail price is not a reliable guide to today’s resale value. Demand, condition, and the exact reference all matter; some sought-after models can sell above their original retail price, while others sell below it. A dealer’s purchase offer also needs to leave room for resale costs and a margin. Compare current market evidence rather than treating the original receipt as a price guarantee.

Many sellers price their watches using live listings, but an asking price only tells you what someone hopes to get. Completed-sale records are a better starting point, though a displayed price may not reveal an accepted private offer. On eBay, the sold-items filter helps separate completed sales from current asking prices. Compare the same reference number in similar condition rather than assuming every model follows the same price trend. Then work back to net proceeds, the amount you’ll actually keep. A $10,000 private listing can shrink fast once you subtract platform fees, payment charges, insured shipping, and the cost of a return if the buyer disputes condition.

Settling for the first quote you get

Quotes for the same watch can differ by hundreds because each buyer has a different plan for resale. A grey market dealer who buys outright wants room to resell quickly. A consignment partner can often aim higher since you wait for the right buyer and pay a commission from the sale. A private listing can look best on paper until fees and time eat the difference.

Don’t accept the first number as final. Get two or three written quotes and compare the payout and terms alongside the headline price. Because each channel quotes differently, finding a suitable way to sell directly affects what you keep after allowing for fees and time. For a trade-in, compare the complete transaction: the credit for your watch and the price of the replacement. A generous credit is not necessarily the best deal if you pay more for the next purchase.

Selling light on paperwork and details

Buyers want a clear account of what is included. A full set with original box and papers can make an offer more attractive. Matching documents provide useful background, but they do not prove that every component is original or replace inspection of the watch. A watch without papers isn’t automatically fake. Papers get lost in moves and safes get cleared out. Say what’s missing up front so buyers can assess the offer accurately.

Pull together the details you can support. Note the reference number from the watch or its documentation; its location varies by maker and model. Keep a clear record of the serial, but avoid displaying the full number in public listings. List service history with dates and receipts, explaining what work was performed. Keep any warranty or certification documents with the set, without treating them as proof of the watch’s present condition. Be exact about replacement parts. A dial or bezel that doesn’t belong to that reference raises flags fast, and buyers may walk away or demand proof of originality. You don’t need to be a watchmaker. You need to be specific about what you’re selling.

Polishing the watch before you list it

A bright finish isn’t always what a buyer wants. Collectors may prefer original surfaces and crisp case edges, which aggressive polishing can change permanently. A gentle wipe with a suitable soft cloth is usually enough for presentation. Don’t arrange polishing just to remove light scratches before a sale; ask prospective buyers whether refinishing would help or hurt their interest in this particular watch.

If the watch runs poorly, servicing addresses a different issue from polishing. Service receipts help buyers understand what was repaired or tested and when. They do not guarantee current performance, and a pre-sale service may cost more than it adds to an offer. Ask prospective buyers whether they prefer to arrange the work themselves. There’s a simple test to apply before having the watch refinished. If you can’t name what’s wrong, don’t fix the look. Present it honestly and let the next owner decide.

Getting loose with checks and payment

Know your watch well before talks start. State the reference number and share service receipts for work done, with matching serial photos where safe. A knowledgeable buyer may inspect markings, parts, and movement details, rather than relying on your description alone. If you don’t know a component’s history, say so rather than guessing. If numbers look altered or parts don’t match, get an assessment from a qualified watchmaker or authenticator before listing. Disclose any findings clearly, including replacement components.

Private deals can go wrong at the last step. Don’t ship based only on a payment shown on a screen; ask your bank about the funds’ status and any remaining reversal risk. A bank wire may be preferable to cash apps and personal checks for larger sums, but ask your bank about the risks before proceeding. Hand over in a public place with cameras or at your bank, bring ID, and write a simple bill of sale recording the reference and serial numbers, the price, and the date. Keep copies.

A well-prepared sale starts with protecting the paperwork and keeping the finish honest, then comparing channels on net payout and closing carefully.

The post Common Mistakes to Avoid When Selling a Luxury Watch appeared first on KIMU.

The Future of Luxury: An Evolution of Culture, Capital & Consciousness, published by Cambridge Scholars Publishing and edited by Issa PR founder and CEO Viet N’Guyen, brings together leading voices from fashion, film, art, automotive, media, photography and cultural strategy to examine where the global luxury industry is heading.

What makes the book distinctive is its interdisciplinary approach. Rather than treating luxury simply as a question of products, price or craftsmanship, it explores the wider cultural forces now shaping value. Across contributions from eight thought leaders in London and New York, the book considers how technology, sustainability, shifting demographics, social responsibility and cultural relevance are redefining the relationship between luxury brands and their audiences.

Among its central ideas is the suggestion that exclusivity alone is no longer enough. Authenticity, identity, community and meaning are increasingly important markers of prestige. Cultural capital has become a significant driver of brand value and loyalty, while consumers are placing greater emphasis on the values and impact behind the brands they choose.

The book also ventures into some of the most rapidly developing areas of the industry. It explores AI and its role in storytelling, photography and filmmaking, the rise of “phygital” experiences that combine physical and digital worlds, the digital transformation of art, and the evolving influence of fashion, entertainment and culture.

Its contributors bring perspectives from across these fields. British menswear designer Bianca Saunders examines the future of fashion, filmmaker Bruno Centofanti considers luxury storytelling and cinematography, while automotive filmmaker Felipe Franco looks at the future of luxury mobility. Other contributors explore digital art, cultural strategy, consumer diversity, design, travel, the workplace and photography.

At the centre of the project is N’Guyen, whose Future of Luxury think-tank, established in 2020, has brought together international changemakers to debate emerging trends and future possibilities. The book develops that conversation into a substantial academic and industry resource.

Its launch in London tonight therefore represents more than the arrival of another luxury title. It marks an attempt to capture a moment of transition, when the industry is being challenged to reconsider not only what it sells, but why it matters.

For professionals, academics, students and innovators, The Future of Luxury offers a cross-disciplinary examination of an industry increasingly defined by the intersection of culture, capital, technology and consciousness.

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That sense of hospitality was central to a collection about belonging. Born in Germany to an Iranian family and now based in London, Regensburger grew up between cultures, once feeling she had to conceal her heritage to be accepted. For SS27, she turned that experience into her most personal collection yet, bringing Persian memory into dialogue with the Western wardrobe she grew up around.

BombayMami opened the show with a chant and her single, before Maryam shared a Sufi dance, whilst DJ Kiki Fazli’s soundtrack introduced the voices of young women from Baluchistan answering the question, “What does freedom mean to you?” The answer unfolded through the clothes, the casting and the performances which also included Shalini Rani and drummer Japa Dasi.

Regensburger’s clash of cultures was literal and beautifully resolved. Sharp tartan tailoring, a quintessentially British reference, was hand-stitched with Iranian Panj coins, a motif inherited from her grandmother and now the symbol of her new sub-brand, PANJ. Vegan banana leather jackets carried paisley motifs and intricate Baluchi needlework made by young women in Baluchistan through Loug Chokan, while Persian poetry inspired catsuits and a model carried Hafez, whose verses were part of Regensburger’s childhood home. Mirrorwork recalled Tehran’s Golestan Palace, Bandari masks met contemporary tailoring, and Persian rugs and termeh, the ceremonial hand-woven textile, became clothing and accessories.

The vegan philosophy running through the collection was equally important. Regensburger has long treated veganism as a design principle rather than a trend, creating fashion without animal-derived materials while preserving the richness, craft and desirability expected of luxury. Her 2022 PETA Designer of the Year award is part of that wider commitment, but at Assia House the message was simply embedded in the clothes: ethical fashion can carry heritage, sensuality and serious craft without compromise.

Stylist Rebekah Roy brought the references together, with shoes by Sophie Park, hats by Katherine Elizabeth Millinery, jewellery by Farids Design, glasses by Victor Wong and henna by Huq That. Hair by Chrystoph Marten and Beautick Official and make-up by Astrid Kearney and the Ardell Beauty UK team completed a cast that felt deliberately diverse and overwhelmingly female: Manijeh, Shalini, Lauren, Mariama, Jei, Pixie, Varshini, Yassin, Dolly, Tanya and Zuza.

At a moment when culture feels increasingly divided, that casting felt significant. Women were not simply presenting the collection; they were embedded in its story, from the Baluchi artisans whose needlework appeared on the runway to the voices in the soundtrack and the women performing throughout the evening.

Then came the most poignant moment. The final T-shirt carried the Panj symbol on its front and 1962 in Farsi on the back, the birth year of Regensburger’s mother. Sarah and her mother then closed the show together in matching leaf-print suits. After a collection about inheritance, displacement and finding a home between cultures, it was an affecting reminder that belonging can be passed from one generation to the next.

With production by Holly Stanton, PR by Aristos Patsalidis, photography by Lauren Marsh and film by Mav the Filmmaker, Diaspora felt like reclamation. Regensburger took the things she once feared might make her different, Persian coins, poetry, craft, family, veganism, and made them impossible to overlook. In the intimacy of Assia House, that felt quietly radical: not choosing between worlds, but finally allowing them to belong to one another.

Credit Catwalk Photography: Lauren Marsh

BTS Header Image: Zena Fawzy Abdou

The post Sarah Regensburger’s Diaspora Turns London Fashion Week Into a Celebration of Belonging appeared first on KIMU.

The controversy erupted when PETA demonstrators interrupted the COS runway show to protest the use of animal-derived materials, particularly wool. At least two protesters entered the runway carrying signs and chanting messages calling for sheep to be protected. Video footage shows Kolb confronting the demonstrators and attempting to remove their signs before physically restraining them.

One of the most disturbing moments involved PETA supporter Mason Melito. Footage appears to show Kolb putting his hands around Melito and covering his mouth as he tried to stop him from chanting. Another protester was pulled to the floor, with Kolb appearing to cover her mouth and restrain her arms and body as she continued protesting. Melito later said his colleague felt as though she was being suffocated and required medical attention at an urgent-care facility.

Descriptions of the incident have included allegations that Kolb choked and gagged a protester. However, the currently available reporting more specifically describes him putting his hands around a protester and covering his mouth, rather than establishing a criminal finding that he choked or gagged anyone. That distinction matters because no charges have yet been reported as filed against Kolb. The protesters went to a local police precinct after the confrontation and said they were considering pressing charges. As of the latest reports, Kolb had not been arrested.

The incident has generated anger because of the contrast between the CFDA’s public messaging around ethical fashion and the behavior captured on video. The CFDA announced that its official NYFW schedule would prohibit fur beginning in September 2026, positioning American fashion as a leader on animal welfare and material innovation.

For critics, the COS confrontation raises a straightforward question: if peaceful protesters can be removed from a runway, where should the line be drawn between security and physical force? Calls for Kolb to face police scrutiny are likely to intensify as footage of the confrontation continues to circulate online.

The post CFDA’s Steven Kolb Branded “Pro-Animal Abuse” as Calls for His Arrest Explode After PETA Protest Clash at NYFW appeared first on KIMU.

Inversa Leathers has managed something remarkably disingenuous: it has taken the uncomfortable reality of invasive species and turned it into a luxury-fashion success story.

The pitch is simple. Lionfish are invasive. Burmese pythons are invasive. Carp are invasive. They damage ecosystems, so Inversa pays people to remove them and turns their skins into expensive leather. Suddenly, buying an exotic-leather handbag or pair of shoes is not framed as consumption of an animal product. It is framed as “restoration,” “regeneration,” and even a positive act for biodiversity. Inversa itself describes its materials as a “humane byproduct of ecosystem restoration” and says its leathers “restore balance to nature.”

It is a marketing narrative.

But it is not the same thing as a vegan or animal-free solution, and the distinction matters.

A genuine environmental problem does not automatically justify a commercial animal product

There is no serious argument that invasive species can be harmful. Lionfish have caused significant ecological concern in Caribbean and Atlantic reefs, while Burmese pythons have contributed to severe declines in native wildlife in the Everglades. Conservation organisations, governments and scientists have invested heavily in controlling invasive species. This is all ultimately rooted in speciesism and human supremacy.

The problem is the next step in the argument.

Inversa’s proposition is essentially: these animals need to be removed, therefore let’s create a market for their skins.

But conservation and fashion are not interchangeable.

In fact, Inversa openly describes its model as using fashion to change the economics of invasive-species removal. Conservation International says the company doubled the dock price paid for lionfish by two fishing cooperatives and sought to make hunting the fish financially attractive. The Ocean Risk and Resilience Action Alliance similarly describes a model designed to encourage large numbers of lionfish to be caught through financial incentives.

That may provide an economic mechanism for increasing removal. But it also means the animals have become a commercial commodity.

And that is precisely where the ethical question begins.

“They’re invasive” does not make their skins vegan

There is an obvious but strangely overlooked fact at the centre of all of this:

The animals are still being killed. Their skins are still being used. The resulting material is still animal leather.

Calling it “ethical exotics” does not change that.

Calling it “regenerative” does not change that.

Calling it a “humane byproduct” does not change that.

And putting it on a runway does not change that. There is no humane way to kill and animal.

Veganism is not a synonym for sustainability. Something can have a lower carbon footprint than conventional leather and still be entirely non-vegan.

This is especially important because the fashion narrative risks making consumers believe they have discovered an ethical loophole: I can buy exotic animal leather without participating in the ethical problems associated with exotic animal leather because this particular animal is invasive.

But that is not veganism. It is a different ethical position: using the bodies of animals deemed undesirable by humans because doing so may have an ecological benefit.

People are perfectly entitled to argue for that position. What they should not do is pretend it is the same thing as eliminating animal use.

The most troubling part is the commodification

Inversa does not merely say that it accepts skins from animals that would otherwise be killed.

It explicitly wants to scale the model.

Its own press material describes a trajectory from 50,000 animals removed towards “500,000, five million, 50 million.” British Vogue reported the company’s ambition to reach five million removals and quoted its CEO describing the ability to scale the leather as a virtue.

That should make us pause.

If the conservation objective is fewer invasive animals in an ecosystem, then success should ultimately be measured by ecological outcomes: healthier native populations, functioning habitats, restored biodiversity and reduced invasive-species pressure.

But when the animal’s skin becomes the product, there is suddenly another metric: how many skins can the fashion industry sell?

Those two objectives may sometimes align. They can also conflict.

A conservation programme should never become dependent on consumers continuing to buy products made from dead animals.

The fashion press has bought the story remarkably easily

This is where the fashion industry’s coverage deserves scrutiny.

Inversa has received attention from Vogue, CNN, The Guardian, Fast Company, the Financial Times and other major publications, while its materials have appeared with brands including Gabriela Hearst and Khaite.

The attraction is obvious.

The fashion industry has a huge leather problem. Conventional leather has serious environmental impacts. Synthetic alternatives can involve fossil-fuel-derived plastics and create their own environmental concerns. Exotic leather carries particularly uncomfortable associations with animal welfare and wildlife exploitation.

Inversa offers fashion something much more appealing:

the ability to keep selling leather while telling consumers that buying it is actually helping nature.

That is an irresistible story for an industry searching for sustainability narratives.

But a compelling narrative is not the same thing as proof.

A 2026 scientific review examining conservation claims associated with wildlife fashion found a broader problem in this sector: claims that commercial wildlife products benefit conservation can lack sufficiently independent evidence, and the researchers argued that relying on commercial-sector information without greater transparency is problematic. The paper was not specifically an audit of Inversa, so it should not be used to claim that Inversa’s particular figures are false. It does, however, reinforce why companies making extraordinary conservation claims should be held to an exceptionally high evidentiary standard.

So what should Inversa actually do?

This is where the conversation needs to become constructive.

If Inversa genuinely wants to be a conservation company rather than simply a more palatable leather company, it should put ecosystem restoration before leather production.

First, invest heavily in prevention. Invasive species are often spread through human activity. Preventing new introductions is vastly preferable to waiting for populations to establish and then figuring out how to kill millions of animals.

Second, invest in non-lethal research. For established invasive populations, non-lethal control is not currently a realistic universal solution. That is precisely why research should focus on alternatives such as biological control, reproductive interference, ecological barriers, targeted deterrence and other species-specific interventions. For lionfish and Burmese pythons, no existing non-lethal technique can simply replace current removal programmes at the required scale, and pretending otherwise would be scientifically dishonest.

Third, where lethal removal is genuinely unavoidable, the conservation programme should not depend on selling the animal’s skin. Removal should be justified by ecological evidence, independently monitored and conducted according to strict welfare standards, regardless of whether the animal can be turned into a luxury handbag.

Fourth, Inversa should separate its conservation funding from its leather sales. If selling leather is genuinely incidental to restoration, prove it. Publish independently verified data showing how many animals are removed, where they are removed, what happens to populations afterwards, what native species recover, how much revenue comes from skins, how much is reinvested in restoration and whether demand for skins changes removal pressure.

And finally, fashion brands should stop presenting the purchase of animal leather as the conservation action itself.

Fund the conservation work. Don’t make buying the skin the conservation message.

There is a better role for fashion

Fashion could actually contribute something valuable here without turning invasive animals into luxury commodities.

Brands could fund invasive-species prevention, habitat restoration, scientific research and community conservation programmes. They could use genuinely animal-free materials, including plant-based, cellulose-based, fungal and other emerging alternatives. They could put money into the problem rather than requiring consumers to purchase a dead animal in order to participate in its solution.

And if an animal has already been killed for a legitimate conservation intervention, there is an argument for using the body rather than wasting it. But that is fundamentally different from building a fashion industry around the idea that wildlife removal should generate an endless supply of luxury skins.

Conservation should not need a handbag

The most uncomfortable question for Inversa is therefore not whether invasive species are harmful. They clearly can be.

The question is:

Why does solving that ecological problem require us to make their bodies valuable to the luxury-fashion industry?

If the answer is that the economic value incentivises removal, then Inversa needs to demonstrate, independently and transparently, that this incentive produces better ecological outcomes without creating new perverse incentives.

If the answer is that the leather has a lower environmental footprint than bovine leather, that still does not make it vegan.

If the answer is that the animals are going to be killed anyway, then the company should demonstrate that the removal would happen at the same scale without the commercial value of their skins.

And if the answer is simply that consumers want exotic leather, then we should have the honesty to call it what it is: animal leather with a conservation story attached.

Inversa may have identified a genuinely innovative way of financing invasive-species removal. That deserves serious investigation, not dismissal.

But the fashion industry’s eagerness to call this “regenerative” should not allow the central contradiction to disappear.

An animal does not become a sustainable material because it is an invasive species.

And conservation does not require a runway.

The genuinely transformative solution would be one in which ecosystems are restored without making killing animals and wearing their skins the consumer product. Until then, Inversa’s model should be treated not as the final answer to invasive species, but as a controversial experiment in turning ecological destruction into a luxury commodity, one that deserves far more scrutiny than applause.

The post Inversa Leathers: Why Turning Invasive Animals Into Luxury Leather Does Not Make Killing Them Vegan or Sustainable appeared first on KIMU.

Tate McRae has added another major fashion moment to an already huge year, becoming the face of Calvin Klein’s Fall 2026 denim campaign, “Feel the Fit.” Launched globally on August 25, the campaign puts McRae’s background as a professional dancer front and centre, with the singer moving, stretching and dancing through a series of cinematic scenes while wearing Calvin Klein’s latest denim styles.

The campaign was directed and photographed by Carlijn Jacobs, while the choreography was created by Sergio Reis. The accompanying film uses Deee-Lite’s 1990 hit “Groove Is in the Heart,” giving the campaign a deliberately nostalgic ’90s Calvin Klein feel while still making it distinctly Tate. Calvin Klein says creators will also be invited to recreate Reis’ choreography for social media, meaning the dance could have a life beyond the original advert.

Perhaps the most impressive detail is just how quickly McRae had to learn the choreography. In an interview with Harper’s Bazaar, she revealed that she had only around 20 minutes to learn the movements before filming. Rather than seeing the pressure as a problem, McRae said she actually enjoys that kind of spontaneity and having to react to the space in the moment. It is a particularly revealing detail considering how technically demanding her performances have become.

Online, the campaign has generated plenty of attention. A major talking point has been the comparison with Sydney Sweeney’s American Eagle denim campaign, with some social-media users noting similarities between the blonde stars, provocative styling and the wider celebrity-jeans trend. However, coverage has also highlighted what makes McRae’s campaign different: Calvin Klein is using her dancing ability as the central selling point rather than relying solely on still images or a provocative slogan.

Meanwhile, fans are also watching closely for McRae’s fourth studio album. Her previous album, So Close to What, arrived in February 2025 and became her first Billboard 200 No. 1. McRae has confirmed that she is working on the follow-up and recently joked about fans complaining that she is “everywhere but the studio,” insisting that she is, in fact, recording.

There is no official release date yet, so claims that the album is definitely arriving on a particular date should be treated as speculation. Fans have spotted possible clues suggesting an October announcement, but nothing has been confirmed. For now, the safest expectation is that the new era is taking shape behind the scenes, with an announcement potentially coming later in 2026.

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According to reports from Variety, the film will be directed by acclaimed filmmaker Andrew Haigh, best known for All of Us Strangers and Weekend. Rather than a traditional cradle-to-grave biopic, Wild Bird is described as a short film that imagines McQueen and Blow embarking on a symbolic road trip in search of “emotional redemption.”  

Tovey will portray McQueen, while Colman takes on the role of Blow — the eccentric fashion editor widely credited with discovering the designer early in his career. Their relationship was famously intense, creative and ultimately tragic. Blow championed McQueen’s early collections and helped launch him into the fashion world, but their friendship deteriorated after his rise to international fame at Givenchy.  

The emotional weight of the story is heightened by the real-life tragedies surrounding both figures. Blow died in 2007, and McQueen later dedicated a fashion show to her memory. McQueen himself died in 2010, cementing his legacy as one of Britain’s most visionary and tortured designers.  

Tovey, who also wrote the screenplay, has spoken passionately about his fascination with McQueen. In comments reported after the announcement, the actor said he had long wanted to portray the designer and explore the “beautifully tragic” bond between McQueen and Blow.  

The production also boasts serious fashion pedigree behind the scenes. Three-time Oscar-winning costume designer Sandy Powell is attached to the project, raising expectations that the film will faithfully recreate McQueen’s dramatic and theatrical designs. BAFTA-winning producer Susie Hall is producing alongside Haigh and Tovey.  

Wild Bird is being produced for WePresent by WeTransfer, though no release date has yet been announced. Still, with Colman and Tovey leading the cast and Haigh directing, the project is already shaping up to be one of the most anticipated fashion films in development.

The post Alexander McQueen Biopic Starring Russell Tovey and Olivia Coleman as Isabella Blow Set to Expose the Designer’s Turbulent Inner Circle appeared first on KIMU.

In this new world, women occupy positions of power across society, while men are marginalized, objectified, and often dismissed. The trailer highlights Damien struggling to navigate this unfamiliar environment, facing the same types of behavior and systemic bias he once ignored or benefited from. Scenes show him being interrupted in meetings, reduced to his appearance, and treated as less competent, all played for both humo7r and discomfort.

Rosamund Pike plays Alex Fox, a powerful executive who mirrors Damien’s former status. In this reversed world, she dominates the workplace with authority and confidence, becoming both his professional rival and a key figure in his personal transformation. Their dynamic appears to blend sharp workplace tension with elements of romantic comedy, suggesting the film may explore both conflict and connection between the two characters.

The tone of the trailer is deliberately exaggerated, using physical comedy and social satire to underline its themes. Moments such as women catcalling men or displaying stereotypically toxic workplace behavior are presented as direct inversions of real-world dynamics. These scenes are designed to highlight the absurdity and imbalance of gender-based power structures by placing them in a new context.

Alongside the humor, the trailer hints at a deeper narrative arc. A supporting character, played by Richard E. Grant, suggests that Damien must change in order to return to his original reality. This implies a journey of self-awareness, where he is forced to confront his previous attitudes and develop a more empathetic perspective.

Directed by Thea Sharrock, the film blends elements of romantic comedy, fantasy, and social commentary. It is adapted from the French film I Am Not an Easy Man, reworking its central concept for a broader audience.

Overall, Ladies First appears to combine mainstream comedy with a pointed exploration of gender and power. Its impact will likely depend on how effectively it balances its comedic tone with the deeper themes suggested in the trailer.

Ladies First lands on Netflix on May 22.

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Whether you’re going to a wedding, having a nice dinner with friends or attending a big event, here are the classic tailoring trends that are very much back in right now: 

Reinterpreting The Dinner Suit

Traditionally associated with black-tie events, the classic dinner suit is back with a bang – and a whole new sense of meaning. People are starting to wear these suits on less formal occasions, simply because they look nice and make the wearer feel good. Men use it as a chance to dress up for dinner dates or to attend weddings – and there are some slight modern twists to the overall tailoring. 

As demonstrated by the dinner suits from Aristocracy London, you’re seeing slimmer cuts and more modern blends of fabric. Some of the designs are slightly more “out there” in this revival, too. Instead of the traditional black or navy tuxes, you get ones in deep reds or even camo patterns. It’s the return of an absolute classic piece of tailoring, just altered slightly for the modern world. 

Moving Away From Ultra-Skinny Fits

Skinny tailoring was one of the worst trends in the last ten years. Birthed by everyone’s love of reality TV shows and social media influencers, every man seemed to dress in suits that looked determined to squeeze them to death. You had trousers that revealed everything – and suit jackets/shirts that would rip with the slightest movement. 

Thankfully, we’re moving away from this trend and the era of wider and looser tailoring is back in. You still get the slimmer jackets here and there, but it’s mainly the trousers where you find the biggest difference. People are opting for baggier trousers that sit a bit lower on the leg, just like the old days. It’s not quite oversized fashion, but it might seem that way when compared with the skinny trousers of the 2010s. 

Waistcoats Make A Big Return

Once looked upon as something far too formal to wear on almost any occasion, the waistcoat is now an essential wardrobe accessory for modern tailoring. It’s back in fashion because men realise how versatile this piece of clothing is. 

You’ll find them as part of three-piece suits, but there’s an equally large number of guys who opt for the waistcoat and no jacket look. It’s a smart choice to look suave in the office or feel smart without a jacket causing too much warmth. 

It’s always fascinating to see how fashion changes with time, particularly when it comes to men’s tailoring. These trends certainly seem a lot better than the ones of previous years – especially if it means we won’t see ultra-skinny suit trousers ever again. 

The post The Classic Men’s Tailoring Trends Making A Modern Comeback appeared first on KIMU.

At the heart of the concept is a striking juxtaposition. Camouflage, a pattern designed for violence and survival, meets the sari, a garment of ancestry and womanhood. The result is not clever irony but alchemy. Camou Devi takes the militant and folds it into the intimate, offering a visual meditation on how many women have learned to disappear in order to endure. She shares how this work is dedicated to them – the women who hid their bodies, their voices, and their brilliance, just to survive.

Camou Devi is a yogini. Her body is not posed for consumption but anchored in breath, alignment, and intentional presence. This is yoga as resistance, and yoga as remembrance. Through movement and stillness, the artist embodies what she has formally named and trademarked as YOGALITARIANISM – a philosophy that merges yogic consciousness with militant awareness.

This project is radically decolonial. Camouflage is in essence a colonial artefact, born from imperial warfare and control. The sari, too often exoticized or reduced to tradition, is here asserted as a birthright. As a South Asian Indian woman, Camou Devi reclaims both. She refuses the narratives that have been imposed on brown female bodies, whether hyper-visible or erased. Instead, she authors her own mythology.

What makes Camou Devi entirely unique is that this has never been done before. Not as fashion. Not as performance. Not as spiritual practice. It is a new visual and conceptual language, one that centres women, and transmutes pain into power.

Camou Devi stands for empowerment without apology. She is power that does not mimic patriarchy, but dissolves it. She is camouflage no longer used to hide, but to declare presence. A goddess for those who survived by disappearing, and are now ready to be seen on their own terms.

You can learn more about Camou Devi via her Instagram.

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