Louis Vuitton is back at the checkerboard, but this time it has made the squares much bigger. Two years after Le Damier de Louis Vuitton first turned one of the Maison’s most recognisable signatures into fine jewellery, the collection returns with eight new additions that push its graphic language into larger proportions, more adventurous styling and a distinctly unisex direction.
The original collection arrived in 2024 to translate the Damier motif — first created in 1888 — into refined gold and round diamonds. Conceived around repetition and continuity, the alternating squares recall the pattern’s infinite visual loop. With these latest entries, the universe expands to over 30 different offerings, maximising opportunities for self-styling and personal expression across generations.
This new chapter makes earrings a primary focus. Three large hoops arrive in yellow, white and rose gold, complementing the existing small hoops and set with 96 diamonds each for 1.34 carats in total. Meanwhile, two ear cuffs add another route into multi-wear stacking, available in single or double constructions that can be worn dynamically from day to night.
Charlotte Stouvenot and Thomas Lagrange for Louis Vuitton.
A fully adjustable sliding pendant necklace takes the Damier into a more versatile territory. Set on a supple gold chain and featuring the signature two-row silhouette, the mechanism allows the jewel to sit at different lengths — draped elegantly along the neckline or dropped lower into an everyday bolo tie style. A delicate new yellow-gold chain bracelet translates the exact same fluid signature onto the wrist.
The collection’s ultimate statement piece is a striking new two-row cuff. Measuring 9mm, the meticulously crafted bracelet carries 120 diamonds totalling 2.8 carats, each selected for exceptional brilliance to give the neat geometry an undeniable visual presence.
The engineering beneath these pieces is just as crucial as the design that catches the light. Hand workmanship dictates every step, particularly within the bracelets where an average of 50 to 70 individual links are manually assembled. An almost invisible gap is left between each link — similar to a watch bracelet — to ensure absolute suppleness and a smooth fit against the skin.
The technical mastery continues down to the stone placement, using a four-grain setting where each round diamond is hand-set into slightly oblique squares. A clear, geometric central line adds sharpness and modernity to the layout, keeping the checkerboard instantly legible. Finally, precise hand-polishing delivers a mirror finish that yields exceptional comfort through the ring shank’s inner contouring, providing a sensuous volume without ever flattening the integrity of the historic pattern.
The new Le Damier de Louis Vuitton creations are available to explore online. Discover more here .
photography. courtesy of Charlotte Stouvenot and Thomas Lagrange for Louis Vuitton words. Gennaro Costanzo
By the time this collection is released, Tibi will be 30 years old. The once fledgling label started by Amy Smilovic in a tiny Hong Kong corner office in 1997 will be celebrating three decades of being “doggedly independent” (her words) in 2027. But fashion has a penchant for impatience, so Tibi, naturally, is celebrating early.
To mark this milestone, they stepped into fragrance with a self-titled luxury eau du parfum, in partnership with Abel, in a clear oblong-shaped bottle, composed of 18 natural ingredients including top notes of timut pepper and orange molecule. They also launched a retrospective of candid home videos collected from its people over the years.
The Spring collection leaned into this nostalgic storytelling, taking inspiration from a research trip to Nashville, Tennessee, and its sights and sounds and the legends who had found their way onto its stages. Inspired by the guts and the glory of these authentic contrarians, Smilovic and Senior Vice President of Design, Traci Bui-Amar , used this as a jumping-off point for the collection.
Mindful not to leave their corporate customer in the tumbleweed, they landed somewhere between cowgirl core and tycoon tailoring. The Spring/Summer 2027 collection was as rich in modern suiting, think slouchy oversized boyfriend blazers with matching trousers or denim, and python print pumps, as it was in novelty.
Subtle details like studded hardware and metallic wingtip collars brought the country flair. A kind of 1950s rockabilly sensibility that not only took us down memory lane but could also make even the safest looks cool.
Silk vintage car-printed shorts and skirts, tassel and fringe embellishments and leather pants were a few of the pieces that got the heart racing. The ironically unironic Americana style that has been served up to consumers like apple pie for decades seemed perfectly aligned here.
Then, as the finale neared, a familiar twang of guitar chords and the warm sound of Dolly Parton’s honey-dripped vocals serenaded the speakers. “I Will Always Love You,” she cried. The audience gave a heartfelt round of applause.
Discover the Spring/Summer 2027 collection here .
photography. courtesy of Tibi words. Malcolm Thomas
At Aknvas , as the late Bill Cunningham once said, “the show starts on the street.” Guests dressed in pieces from the Autumn/Winter collection — feathers, fur and frenetic fringe danced on 10th Avenue. The front row appeared to be immune to the lingering summer heat.
A sprinkle of fairy dust perhaps? Now in its third chapter, ‘Swans Before Innocence’, Christian Juul Nielsen continued his narrative arc inspired by Hans Christian Andersen’s epic fairytales centred around a Danish princess.
This season, she was on a mission to rescue her brothers from an evil spell. Spring/Summer 2027 was Nielsen’s take on ‘The Wild Swans’, which took us on a harrowing journey into the woods.
The clothes told the tale in three acts. Act 1: ‘Eleven Shirts’, the most pragmatic of the bunch, was Nielsen’s way of refreshing the work shirt.
Mixed-stripe cottons in bubblegum pastel blues and pinks were fashioned with hand-embroidered florals and swans patched on breast pockets. Rip-stop anoraks were made dainty with ruffles, peplums and corsage collars.
Princess Eliza was taking shape, and her feather crown was simply a reminder that our protagonist’s adventure was just beginning.
Act 2: ‘Forest Nymph’ leaned into utility with acid-washed denim and structured bustiers as the focal points. Purple-hued jackets hugged white lace blouses hiding underneath. Flora hung off the skirts of black bustier corsets, teasing the ground as models walked by. The raised stiffness of the skirts meant to mimic swan wings. Models accessorised with wild branches under their arms, some spilling out of supple leather handbags. Our princess was not leaving empty-handed.
Act 3: ‘Wild Swans’ was the finale of the story, also known as the gala portion of the offerings. Here, dramatic trains graced the runway in a variety of fabrics, among them: pink satin and sheer tulle.
A nude dress, a mixture of a bodysuit and a gown, was the most approachable, something that required little imagination to envision at a red carpet on a rosy-cheeked starlet, aiming to make a subtle but pointed statement.
At the end of the show, some questions remained. Did the princess ever find what she was looking for, or like most of us, was she still searching? We may never know, but at least the journey was fun.
photography. courtesy of Aknvas words. Malcolm Thomas
The Royal Oak has been through enough incarnations to qualify for its own memoir, but Serena Williams has given it a particularly personal new chapter. Today, Swiss manufacturer Audemars Piguet unveils the Royal Oak Selfwinding Chronograph ‘Serena Williams’ Limited Edition .
After more than a decade as a house ambassador, the legendary athlete has had a direct hand in shaping a timepiece that brings together her sporting heritage, her interest in design and a convincing argument for putting pink on a ceramic sports chronograph.
The reference measures 38 mm and comes dressed almost completely in white ceramic, a demanding material that shapes the case middle, bezel, crown, push-pieces and integrated bracelet. Audemars Piguet hand-finishes each component with an alternation of satin-brushing and chamfering to highlight the signature octagonal architecture.
“Working with Audemars Piguet on this watch has been special because it reflects so many parts of who I am. I’ve always believed that strength and feminine energy can exist side by side.
People often see strength, determination and competition, but there’s also creativity, intuition and joy,” says Williams. “The white ceramic feels strong and resilient, while the pink mother-of-pearl dial brings warmth and softness.
Every detail was intentional. To me, this watch is a reminder that you don’t have to choose between power and grace – you can embrace both.”
That refined, pink-tinted mother-of-pearl dial fully alters the visual mood, offering a soft iridescence that contrasts with the robust white casing. The layout features 18-carat white gold hands and luminescent markers, with rhodium-toned pink gold threads encircling the chronograph counters.
A coordinated pink date window with white numerals sits between 4 and 5 o’clock. For a more casual option, the package includes an additional pink rubber strap featuring white ceramic studs and a titanium folding clasp.
Inside the 11.1 mm case lies Calibre 6401, the manufacture’s latest-generation integrated automatic chronograph movement. Composed of 350 components and 44 jewels, this in-house calibre replaces the historic Calibre 2385, which has powered the brand’s smaller chronographs for nearly three decades.
The redesigned architecture moves the minute and hour counters to 9 and 3 o’clock, using an integrated column wheel and a simplified, patented vertical-clutch system engineered to enhance structural reliability. The mechanism runs at a frequency of 4 Hz, guarantees a 55-hour power reserve and showcases its 22-carat pink gold oscillating weight through a sapphire caseback framed in titanium.
The watch highlights a long-term connection to Williams’ own timeline, running parallel to her historic return to professional tennis. Having joined Audemars Piguet in 2014, she has worn the brand’s sports models in high-performance settings, competing in a Royal Oak Offshore Diver during her 2021 Australian Open run and a pink-dialled Offshore at Wimbledon earlier this year.
The release continues a lineage of athlete-focused collaborations for the Royal Oak chronograph, which launched in 1997 and has previously honoured figures like sailing team Alinghi, cricket icon Sachin Tendulkar and football legend Leo Messi.
“Serena’s influence extends far beyond sport. Through discipline, constant reinvention and a strong sense of community, she continues to open paths for women across fields,” says Ilaria Resta , Chief Executive Officer at Audemars Piguet. “Our relationship is rooted in the belief that progress is collective, shaped over time and forged by those who support and challenge us along the way.”
Limited to 500 pieces worldwide, the titanium caseback frame is engraved with ‘Limited Edition,’ marking the latest chapter for one of watchmaking’s most recognisable designs.
The new Audemars Piguet Royal Oak Chronograph ‘Serena Williams’ edition is available to explore through authorised boutique channels. Find out more here .
photography. courtesy of Audemars Piguet words. Gennaro Costanzo