Sistazz of the Nitty-Gritty for Miu Miu.

What does it take to turn looking into an act of healing? For her latest collaboration with Miu Miu , French filmmaker Alice Diop is taking that question beyond the cinema screen, transforming the Palais d’Iéna into a deep encounter between art, memory and the voices of Black women.

Titled ‘ Geste de Consolation ’, the exhibition marks Miu Miu’s third year as Art Basel Paris Public Program Official Partner, with an ambitious commission that brings together photography, film, literature, sculpture, dance and live music.

Conceived at the invitation of Miuccia Prada, the project continues a conversation begun with Diop’s 2025 ‘Women’s Tales’ film, ‘Fragments for Venus’, exploring how Black women have been depicted throughout art history and the consequences these images continue to carry. “I want my curation to centre on acts of consolation conceived by Black women artists, each active in their own discipline, to repair the fetishising gaze to which centuries of art history have confined us,” Diop says.

The journey begins with a photograph by South African artist Zanele Muholi before entering a two-screen installation in which Diop brings archival photographs and film excerpts into conversation, tracing the images that have shaped her perspective. From there, ‘Chambre à soi’ opens into a living room and library, with colourful patchwork carpets featuring a motif by American artist Mary Lee Bendolph.

The collection of books offers a glimpse into the ideas that have shaped Diop’s intellectual life, while creating a space for visitors to read, reflect and imagine different possibilities.

The exhibition then shifts into performance, with readings of texts by writers including Audre Lorde, Zora Neale Hurston, June Jordan and Zadie Smith. Elsewhere, Ivorian choreographer Nadia Beugré brings dance to the stage through an adapted version of ‘Prophétique’, followed by music from Chicago composer and musician Angel Bat Dawid and her ensemble, Sistazz of the Nitty-Gritty .

Simone Leigh’s ‘Sentinel (Mami Wata)’ for Miu Miu.

At the end of the route stands Simone Leigh ’s monumental bronze ‘Sentinel (Mami Wata)’. Nearly five metres tall, the sculpture depicts an elongated female figure encircled by a serpent, drawing on the West African water spirit whose symbolism has travelled across Africa and its diasporas. Both guardian and imposing presence, it becomes the exhibition’s final encounter and most imposing symbol.

‘Geste de Consolation’ is open to the public at the Palais d’Iéna until 25 October. Find out more here .

photography. courtesy of Miu Miu words. Gennaro Costanzo

All Louis Vuitton ’s handbags are masterpieces in their own way, so why not celebrate their timeless designs among some of the greatest artists of our time? At this year’s Art Basel Paris , the Maison is offering the Capucines a little art history lesson, bringing seven years of artist-designed bags together at the Grand Palais from 23 to 25 October.

The presentation marks a new chapter for Artycapucines, the project that has invited contemporary artists to turn the House’s signature leather silhouette into a canvas for their own ideas.

Set on the Balcon d’Honneur, the exhibition brings together 14 artists, with their original works displayed alongside the bags they inspired. The setting takes its cues from art shipping and archival storage, with open crates, aluminium plinths and trunk-like structures recalling the journey artworks make between studios, galleries and collectors.

And it shouldn’t come as a surprise its inherent tribute to Louis Vuitton’s origins as a trunk-maker — even as the exhibition looks firmly towards contemporary art.

Since Artycapucines began in 2019, the collection has become a meeting point for wildly different approaches to making art. American artist Alex Israel ’s ‘Cut-Out-Fin (Golden Hour)’ (2019) brings his colourful, cut-out aesthetic into view, while Swiss artist Urs Fischer ’s ‘Fruits’ (2026) sits alongside a bag featuring a suspended banana.

American painter Sam Falls ’ ‘Western Wind’ (2025) echoes the botanical impressions found in his design, while fellow American artist Tschabalala Self ’s ‘Kitten’ (2026), composed of painted and textile elements, reflects the layered treatment of figures that runs through her work.

Elsewhere, German artist Gregor Hildebrandt ’s ‘Ich möchte eiskunstlaufen (Lebanon Hanover)’ (2019), made using cassette tape, offers a contrast of surfaces and graphic patterns. American sculptor Kennedy Yanko brings a different material sensibility with ‘Because of its blues’ (2025), while Malawian-born, South African artist Billie Zangewa ’s embroidered-silk work ‘Soldier of Love’ (2020) highlights the possibilities of textile.

The retrospective also revisits the Maison’s longstanding artistic partnerships, including Japanese artists Takashi Murakami and the late Yayoi Kusama, whose ‘Great Gigantic Pumpkin’ (2023) joins the display, alongside fish-shaped lamps by Canadian-American architect Frank Gehry .

A new Artycapucines collection dedicated to American artist Keith Haring adds another chapter to the project. Comprising 13 limited-edition designs and developed with the Keith Haring Foundation, the collection draws on the artist’s lively figures, dancing silhouettes and running heart which appear across the bags.

Among the standout pieces is the Capucines Nano Running Heart, a silver-toned evening bag covered in more than 12,000 hand-set crystals, while the Capucines East-West Mini Maze takes an intricate route, with thousands of beads and traditional embroidery requiring around 240 hours of work. The Capucines BB Holiday looks beyond New York to a drawing Haring created in Naples in 1983, featuring interconnecting dolphins and human figures.

Perhaps the most poignant connection, however, lies in the Capucines MM Genesis and Valisette Genesis, inspired by a 1930s Louis Vuitton suitcase that Haring customised in 1984 with his signature Radiant Baby figures.

Open to the public at the Grand Palais until 25 October, the retrospective places the Capucines at the intersection of collectible design, contemporary art and the Maison’s leather-working heritage. The Keith Haring Artycapucines collection will be available in Louis Vuitton stores worldwide from 1 January 2027. Discover more here .

photography. courtesy of Ophelie Maurus for Louis Vuitton words. Gennaro Costanzo

In Bang & Olufsen ’s illustrated world, a red speaker changes hands, a turntable sets the scene for a living-room lounge session, and familiar audio companions find their way into new homes. Behind these distinctive drawings is Chinese animator and illustrator Jiatong Liu , whose storybook imagery frames electronic restoration as a natural, emotional journey.

Rendered in washes of blue, with flashes of red drawing the eye towards the products, the illustrations for ‘ Reloved ’, the brand’s certified pre-owned programme, invite us to keep good design in circulation. Now, the Danish audio house is taking the programme beyond its online shop, bringing certified pre-owned pieces to selected stores across Europe.

“Reloved is about looking forward as much as it is about preserving what we have created,” says Dorte Vestergaard, Head of Reloved at Bang & Olufsen. “We want to give more of our products the opportunity to continue their story into new homes.”

Jiatong Liu for Bang & Olufsen, 1985 Form 2 headphones.

The expansion means visitors can browse an evolving selection of refurbished Bang & Olufsen originals in person, with monthly online drops continuing alongside the new retail offering. Previous releases have included the Beogram 5500 and Beogram 2000 turntables, as well as the compact Beoplay P2 portable speaker , giving collectors and curious newcomers the chance to discover older designs without trawling the second-hand market themselves.

Currently available products include the ultra-lightweight Beosound A1 2nd Gen portable speaker and the compact Beoplay M3 wireless speaker, alongside legendary heritage designs like the 1985 Form 2 headphones .

Each ‘Reloved’ product goes through an inspection, refurbishment and certification process before finding its next owner. Pieces are graded ‘Mint’, ‘Excellent’ or ‘Good’ according to their cosmetic condition, with a warranty of up to three years offering extra reassurance. In other words, a few signs of a previous life need not be a deal-breaker, especially when the engineering has been checked by the people who know the product best.

There is also a new way to join the cycle: at participating stores, customers can exchange eligible Bang & Olufsen products towards the purchase of something new. The returned item is then assessed, refurbished and certified before being offered to another buyer, creating a route from one owner to the next without sending a perfectly serviceable piece of audio equipment into retirement.

Since 1925, Bang & Olufsen has built its reputation on pairing audio technology with distinctive industrial design, creating speakers, turntables and other electronics that can hold their own as part of an interior. ‘Reloved’ extends that thinking beyond the first purchase, giving older pieces another audience and making the hunt for a design classic a little less dependent on luck.

The programme is available through monthly online drops and selected Bang & Olufsen stores across Europe. Browse the latest availability and discover more here .

illustrations. courtesy of Jiatong Liu photography. courtesy of Bang & Olufsen words. Gennaro Costanzo

George Rouy and Nikolaj Schultz at The Creative Table by The London EDITION and The Cultivist during London Art Week, Getty Images.

During London Art Week, The London EDITION and The Cultivist paid tribute to British painter George Rouy with an intimate edition of ‘The Creative Table’, bringing his work into the setting of Berners Tavern . The EDITION Hotels initiative invites artists to influence the dining experience itself, from the food and table design to the objects guests encounter along the way, turning a meal into another setting for creative expression.

Known for his shape-shifting figures and expressive brushwork, Rouy paints bodies that seem to emerge from, and disappear into, the canvas. Flesh-toned forms overlap and contort, hovering somewhere between figuration and abstraction, while blurred faces and tangled limbs lend his compositions a sense of collective movement.

Desire, identity and the instability of the human form run through his work, with individual figures often merging into something harder to distinguish. Rouy’s figures have a habit of gathering, stretching and dissolving on canvas — and at Berners Tavern, one of them found its way onto the napkins.

His 2026 painting ‘In Vitro’ was reimagined as bespoke linens for guests to take home. Among those joining the celebration were musician PJ Harvey, Akili Tommasino and jewellery designer Anissa Kermiche.

George Rouy honoured at The Creative Table by The London EDITION and The Cultivist during London Art Week, Getty Images.

In conversation with sociologist Nikolaj Schultz , author of ‘Land Sickness’ and ‘Fragments of a New Existentialism’, Rouy reflected on how his artistic language has developed through instinct and a love of painting. “I was guided by intuition and, probably, by a love of the work itself — a love of painting.

It comes from a place of passion,” he said. “As life goes on and time moves forward, we go deeper into these ways of working.

Things begin to reveal a more serious, different context than I originally intended. It’s when I sit and speak with someone like Nikolaj, and many other colleagues, that I realise there is a language, and my language is painting, art, expression and music.”

Since graduating from Camberwell College of Arts in 2015, the Kent-born artist has exhibited internationally and is represented by Hauser & Wirth and Hannah Barry Gallery, establishing himself as one of the most closely watched painters of his generation. Part of EDITION Hotels’ ‘The Creative Table’ series, the lunch brought Rouy’s artistic language into an unexpected setting.

The London gathering is one stop in a wider programme of art-world collaborations. Next, ‘The Creative Table’ heads to Art Week Tokyo, where Perrotin will join the project for an event shaped around French artist Jean-Michel Othoniel, before the series closes out the year at Art Basel Miami Beach with New York-based arts organisation Creative Time.

photography. courtesy of Getty Images words. Gennaro Costanzo