Tilda Swinton by Sølve Sundsbø for Cartier.
Tilda Swinton has found herself surrounded by more animals than you would normally expect on a film set. For her first project as Cartier ’s new global ambassador, the Scottish actress steps into ‘ Into the Wild ’, a high-jewellery campaign populated by tigers, parrots, carp, crocodiles and rhinoceroses, alongside the Maison’s enduring Panthère.
Cartier’s relationship with animals goes back to the early 20th century, when birds and insects first entered the Maison’s jewellery vocabulary before reptiles, big cats, chimeras, zebras and elephants joined the cast. The Panthère eventually became the undisputed star, first appearing as a three-dimensional sculptural creation in 1948. ‘Into the Wild’ now gives some of its less familiar creatures their own moment too.
Swinton lends her voice to a series of short films exploring the artisans and techniques behind Cartier’s animal creations. Gold lacquer, marquetry, mosaic and other specialist crafts become part of the story, turning the animals from static jewels into characters with their own little worlds.
“We celebrate here the exceptional beauty of these rare techniques, and the dedication of the artisans involved. They have created the perfect imaginary world to showcase Cartier’s savoir-faire and how it comes to life in precious wild fauna creations,” she says.
“I am very proud to become a Cartier ambassador and to lend my voice to this shared creative adventure.”
Tilda Swinton by Sølve Sundsbø and Paola Dossi for Cartier.
At the heart of the collection is a series of Faune & Flore de Cartier rings, each built around the head of one of five animals: tiger, parrot, carp, crocodile and rhinoceros. They are intentionally substantial, with jaws, beaks and muzzles extending across the hand rather than sitting politely on a finger.
Cartier’s artisans have pushed the sculptural quality further through combinations of white, yellow, and rose gold, lacquer and an elaborate selection of precious and ornamental stones.
The Faune & Flore de Cartier tiger ring is particularly striking in shades of blue, using sapphires, aquamarine, diamonds and dumortierite quartz to recreate its stripes, while the parrot ring turns up the colour with a platinum and yellow gold base, coral, onyx, and tsavorite garnets. The rhinoceros ring gets spessartite garnet, grey agate and smoky quartz, giving its enormous head a more muted orange and opaline palette, while the crocodile ring combines diamonds, emeralds and onyx spikes in Cartier’s familiar high-contrast language.
The tiger and crocodile also escape the confines of the ring with matching bracelets and necklaces. Their heads are comparatively realistic, but the bodies take a more abstract route, formed from articulated links and graphic stone patterns that move with the wearer.
The Faune & Flore de Cartier crocodile bracelet and matching necklace feature a head clasp whose articulated mouth actually bites onto the back of the strap, while diamonds, onyx, chrysoprase and rubellites run through the flexible body.
The Faune & Flore de Cartier tiger bracelet and necklace follow the same idea in a colder palette of sapphires, aquamarine, chalcedony, and dumortierite quartz, with movable gold links creating a body that shifts around the wrist. Its clasp is hidden inside the animal’s mouth, a piece of engineering that Cartier developed specifically so the mechanism would not interrupt the silhouette.
Then, naturally, there is the Panthère. Cartier’s most famous feline returns in an immaculate white gold Panthère de Cartier bracelet, its two panther heads covered in diamonds arranged in contrasting caviar and galuchat-effect settings to suggest fur and light.
The collection also introduces a Panthère jewellery watch, a medallion-shaped creation inspired by the ancient art of cameos and crafted by the Maison des Métiers d’Art in La Chaux-de-Fonds. On its dial, onyx forms the nose and surface details, tsavorite garnets become the eyes and diamonds take over the bezel and lugs.
The feline footprint extends into a yellow gold Panthère de Cartier bracelet with black lacquer spots, matching diamond earrings and a sleek black karung leather Panthère Double mini bag fitted with a gold-finished chain.
“The Cartier fauna is distinguished by its character. First of all, in the choice of species – big cats, reptiles, savannah animals… – and also in the creative treatment, between naturalism and extreme stylisation,” explains Pierre Rainero, Director of Image, Style and Heritage at Cartier.
“Through the interplay of design, materials, and execution, Cartier questions the very perception of the animal and opens up extraordinary possibilities for exploring forms. Each creature, each creation reveals its own symbolic force, reflects an attitude, a personality trait or a state of mind.
It becomes an opportunity to deliver a message about yourself.”
The campaign extends the collection beyond the jewellery itself, with white and yellow gold Faune & Flore de Cartier pins shaped as miniature crocodiles and tigers. With a diamond-covered panther, a smiling crocodile and enough precious stones to start a small geological museum, ‘Into the Wild’ makes one thing very clear: Cartier’s animal kingdom has never been one to stay put on the leash.
The new high jewellery creations are available to discover now across global flagship boutiques and online. Discover more here .
photography. courtesy of Sølve Sundsbø and Paola Dossi for Cartier words. Gennaro Costanzo
Sabrina Carpenter and Jonathan Anderson by Olimpia Taliani De Marchio.
Jonathan Anderson is taking Dior into a very unexpected new chapter, teaming up with A24 on a two-year creative partnership that will bring fashion, film, theatre and live performance into the same room. The Parisian house and New York’s notoriously cool entertainment company have announced a programme centred around Cherry Lane Theatre , but the collaboration has already arrived with a fittingly strange introduction: Sabrina Carpenter dressed as Anderson, walking on a treadmill.
Directed by Aidan Zamiri , the surreal short film sees Carpenter swap her usual pop-star wardrobe for Anderson’s recognisable flannel, jeans and trainers as she performs an uncanny impression of Dior’s creative director on a walking pad. Josh O’Connor, Drew Starkey , Camille Cottin and Sophie Wilde join her, each playing their own version of Anderson as the film turns the designer’s famously individual style into something funny, slightly bizarre and very A24.
The cast also showcases co-branded T-shirts, giving the partnership its first piece of merch before it has even properly begun.
The partnership itself is considerably larger than one internet-friendly fashion film. Dior will become the premier partner of Cherry Lane Theatre in Manhattan’s West Village, with the collaboration extending into a wider programme of film, theatre and live events designed to bring established and emerging artists from different creative worlds together.
Drew Starkey and Camille Cottinby by Olimpia Taliani De Marchio.
A24 acquired Cherry Lane in 2023 and reopened the historic venue in September 2025, giving one of New York’s oldest Off-Broadway theatres another life as a home for theatre, comedy, music and film. The venue has hosted generations of performers and writers since opening in 1923, including Eugene O’Neill, F.
Scott Fitzgerald and Lorraine Hansberry, while its current programme has included everything from Sofia Coppola’s ‘Sundays with Sofia’ screening series to live performances by Haim, Tame Impala and Lizzy McAlpine.
For the opening chapter of the Dior partnership, Cherry Lane will host ‘Both Ends’, a one-off performance by Justin Vivian Bond produced and directed by Zack Winokur and inspired by poet and playwright Edna St. Vincent Millay, one of the theatre’s founders. Anderson has designed Bond’s costumes especially for the performance, including an archival Paul Poiret piece connected to Millay and to Dior’s Winter 2026 collection .
That Poiret connection is particularly interesting because Anderson has been increasingly interested in the messy, entertaining relationship between fashion history and popular culture. His Dior collections have already played with cinema, art and historical references, while his recent Resort 2027 show in Los Angeles leaned knowingly into Hollywood clichés and featured collaborations with American artist Ed Ruscha.
“There’s something thrilling about putting two creatively driven worlds side by side,” Anderson says. “You start to see what they pull out of each other that neither could’ve found alone.
That’s where the interesting stuff happens.”
Sabrina Carpenter, Jonathan Anderson and Sophie Wilde by Olimpia Taliani De Marchio.
For Dior, the two-year programme will also include support for students and younger creatives, with opportunities intended to expose a new generation to both the artistic and practical sides of film and theatre. More details on the wider two-year programme will be announced at a later date. Find out more here .
photography. courtesy of Olimpia Taliani De Marchio for Dior , Cherry Lane Theatre words. Gennaro Costanzo
Loewe Perfumes is giving perfume the full art-object treatment again, but this time there are five new bottles to add to the cabinet. Following the launch of its Crafted Collection last autumn, the Spanish house is expanding its most luxurious fragrance line with ‘Field Diary’, ‘Sweet Woodland’, ‘Rosetopia’, ‘Smoky Rain’ and ‘Verdant Grove’, five scents that take familiar ingredients somewhere considerably more intriguing.
The launch showcases a material dialogue lensed by photographer Claudia Mauriño inside the legendary Silicon House, an avant-garde plastic and plexiglass structure designed by architects SelgasCano . Each heavy, handblown glass flacon acts as a sculptural object within the light-flooded rooms, capped with naturally textured granite blocks that ensure no two bottles look identical.
The original Crafted Collection was built around the idea of perfumery as an artisanal practice, with each fragrance presented in sculptural bottles inspired by hand-blown glass and finished with granite caps. The new additions continue that approach, treating scent as something that belongs as much on a dressing table as it does on the skin.
The lineup introduces ‘Field Diary’, a bright, citrusy blend of green mandarin, blood orange, and lychee supported by orange blossom and creamy sandalwood, running parallel to the warmer ‘Sweet Woodland’, which spikes mandarin and rose with rich cognac and dark patchouli. Florals receive a completely contemporary rewrite in ‘Rosetopia’, a scent that wraps Damascena rose and pink pepper in a crisp grapefruit and peony envelope.
For darker preferences, ‘Smoky Rain’ coordinates intense incense, white musk, and bergamot, while ‘Verdant Grove’ serves as a creamy gourmand choice, folding pistachio, powdery iris, and warm cedar-wood into a rich caramel base.
Loewe has also extended the collection beyond fragrance with a pistachio candle, alongside ‘Tomato Leaves’ body scrub and hand cream, creating a wider sensory world around some of the house’s favourite botanical references.
The house’s original Crafted fragrances were developed around unusually focused ingredients such as iris, vanilla and oud, with perfumer Nuria Cruelles using unexpected contrasts to pull familiar materials into new territory.
The new Crafted Collection fragrances are available now online. Find out more here .
photography. courtesy of Claudia Mauriño for Loewe Perfumes words. Gennaro Costanzo
Back in June, Michael Rider sent a pair of Reebok sneakers down the runway at his first dedicated menswear show for Celine , suggesting that the new creative director had plans for one of sportswear’s most recognisable silhouettes. Now the collaboration has been unveiled in full, with Celine giving the 1982 Reebok Freestyle Lo a distinctly Parisian makeover across eight colourways.
Introduced by Reebok in 1982, the style became closely associated with the era’s aerobics boom before gradually escaping the gym and settling into everyday wardrobes. Rider’s version keeps its low, rounded shape but replaces the original’s more overtly athletic feel with a smooth lambskin upper and a cleaner profile.
The collaboration follows Rider’s idea of “heritage two ways: Paris street, American movement”, bringing together Celine’s polished approach to everyday dressing with the distinctly American history of the Reebok sneaker. That tension was already visible throughout the Spring/Summer 2027 collection , where ballooning trousers, metallic leather jeans, colourful cummerbunds and slim shoes mixed preppy references with a distinctly Parisian attitude.
The slim, uncomplicated shape recalls the house’s Jazz Shoes, while the rubber sole retains enough of the Reebok sportswear character to stop the sneaker from becoming too precious. The effect lands somewhere between retro trainer and a wardrobe staple – which seems perfectly in keeping with Rider’s approach so far.
For the Freestyle Lo , the familiar Reebok side overlays have disappeared, leaving the lambskin upper much more exposed. Celine’s insignia replaces the traditional Reebok wordmark on the tongue, while the heel carries both brands, with Celine’s Triomphe on one side and the Reebok logo on the other. Each pair also comes with a removable leather tag featuring the two logos on opposite sides.
The collection arrives in eight distinct colourways, including optic white, black, butter, beige, peanut, dark brown, oxblood and fluo red, allowing the shape to coordinate with everything from tailoring to casual denim separates. The monochromatic treatment gives each shade its own personality while keeping the silhouette remarkably simple.
The Freestyle Lo is now available globally in boutiques and online, with an exclusive ‘ALLDAYEVERYDAY’ edition available at Celine Wooster in New York and Celine Omotesando in Tokyo. Find out more here .
photography. courtesy of Celine words. Gennaro Costanzo