
<h2 class="wp-block-heading">Sun’s out, vibes up. On the dreamy coast of the French Riviera, it’s all about salty air, glowing skin, and bold fits that pop.&nbsp;And maybe we can add some Pucci’s styled with Manc bags!&nbsp;Join Naz Koral as she lives her best&nbsp;summer so far—mixing color, confidence, and carefree energy into every look. It’s giving endless summer, and we’re here for it.</h2>



<p><strong>Bikini of this season? </strong></p>



<p>Anything Pucci, of course. It’s Pucci summer! It’s not just a bikini, it’s a whole mood and it screams Naz!</p>



<p><strong>3 things in your beach bag? </strong></p>



<p>Anything can be a beach bag for me — this time I brought my MANC Monogram Bella Bag to Jacquemus Beach Club in Monaco. Inside? My essentials: phone, earbuds, and bronzer. That’s all I need! Sorry SPF girlies!</p>



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<p><strong>Your favorite summer destination?  </strong></p>



<p>My favorite summer destination? I’d normally say Bodrum—the sea there is unmatched. But for this summer, I think it has to be Hôtel Le Negresco in Nice, France. Maybe it’s because of the beautiful memories I made there, but it truly felt special.</p>



<p>Happy me, in a happy place!</p>



<p><strong>Ice cream or cocktails? </strong></p>



<p>Ice cream, no doubt! I can never say no to sugar, and honestly, I hate the bloated feeling that comes with alcohol. Give me a scoop (or two) any day!&nbsp;🍦</p>



<p><strong>Green plum or watermelon?</strong></p>



<p>One thing is never quite enough! But if I had to choose, it’s definitely watermelon…&nbsp;Preferably with a side of carbs. Because what’s summer without a little sweet and a little crispy?</p>



<p><strong>Show your summer selfie!</strong></p>



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HOTLIST: Naz Koral


<p><strong>Fragments for Venus, directed by French filmmaker Alice Diop, is the 30th chapter in Miu Miu Women’s Tales. This acclaimed short film series brings together some of the most original and profound women directors of today to interrogate what femininity and appearance mean in the 21st century. Diop’s film focuses on the politics of the gaze; the Western-centric gaze sees the Black woman as an object to be possessed or categorized. Beginning from this reduction of identity to appearance, the film reverses the gaze. And it is precisely there that it transforms into a poetic gesture of owning, celebrating, and freely expressing Black womanhood beyond this frame.</strong>&nbsp;</p>



<p>Two Black women, two settings: one moving through a museum, reflecting on images of Black women throughout art history; the other, a poet wandering the streets of Brooklyn, quietly adoring the women she encounters, seeing them as the Venuses of today.&nbsp;</p>



<p>Alice Diop first encountered American poet Robin Coste Lewis’s Voyage of the Sable Venus (2015) through her friend and translator Nicholas Elliott. The poem’s title refers to enslaved Black women sent to the West Indies, while its central section draws from titles, catalogues, and exhibition notes documenting the representation of Black women’s bodies in Western art, spanning back to 38,000 BC.</p>



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<p>Diop describes her Women’s Tales film Fragments for Venus as both a “cinematic gesture” and a tribute to the Black American artists who inspired her: Robin Coste Lewis, Claudia Rankine, Saidiya Hartman. She recalls the joy of seeing Black women in New York’s streets, recognizing her own existence through theirs. For her, making this film was an act of self-celebration, a healing gesture.</p>



<p>Though only 21 minutes long, Diop considers Fragments for Venus as significant as her feature Saint Omer, stressing that its quiet rhythm is itself a political stance. At its core, the film is about “looking at gazes,” a central concern of feminist film theory since the 1970s. As Diop explains: “We, Black people, come from the history of images. Throughout that history, we have been marginalized, objectified.”</p>



<p>The message is clear: “We, as artists, writers, thinkers, are here now and we are ready to express ourselves.”</p>



<p>Fragments for Venus, premiered on August 30 at the Venice Film Festival and will be available to stream on MUBI starting September 15.</p>


Fragments for Venus, the 30th Chapter of Miu Miu Women’s Tales


<h2 class="wp-block-heading"><strong>Nothing is linear. Not rules, not roles, not even masculinity. A whole new story can unfold with one deceptively simple question: “What if there is another way?” Prada taps into this energy with the house’s new masculine fragrance Paradigme by inviting its community to imagine alternative routes to expression, creativity and connection. The question brings a quiet clarity and a bold call to carve your own path like nobody else did before.</strong></h2>



<h2 class="wp-block-heading"><strong>Fronted by Tom Holland, Paradigme comes to life through the lens of Oscar-winning director Thomas Vinterberg. The two create a collage of moments: Holland running up hills, sharing meals, revisiting childhood memories</strong><strong>; r</strong><strong>eliving while constantly evolving, all anchored by that central question. Vinterberg, whose work is defined by curiosity and authenticity, steers the narrative toward openness. Holland, ever the creator of his own story, embodies Prada’s invitation to craft a new paradigm.</strong></h2>



<h2 class="wp-block-heading"><strong>Join us as we delve into the intricacies behind the campaign in an intimate conversation with Tom Holland</strong></h2>



<p><strong>What initially intrigued you about the </strong><strong><em>Prada Paradigme</em></strong><strong> project? How did it resonate with you?&nbsp;</strong></p>



<p>TH: I mostly resonated with the idea of “What if there’s another way”. As young people we are living in a world that is changing rapidly day by day and the thought of what if there’s another way is a great way for us to tackle new and different challenges. It promotes the idea that change is good as long as it’s for the better.</p>



<p><strong>Prada has a very distinct identity as a brand. What resonates with you personally about Prada, and how do you see its values reflected in the </strong><strong><em>Paradigme</em></strong><strong> fragrance?</strong></p>



<p>TH: I’ve worked with Prada for years now and continue to opt for their clothes on carpets. An environment that usually makes me uncomfortable and Prada have never failed to fill me with confidence when I’m stepping out. I instantly felt the same the first time I discovered Prada Paradigme.&nbsp;&nbsp;</p>



<p><strong>Wearing </strong><strong><em>Prada Paradigme</em></strong><strong>, what emotions or sensations does the fragrance evoke in you?</strong></p>



<p>TH: It&#8217;s interesting, because it&#8217;s not just one thing. It&#8217;s got this warm, woody base&#8230;but then there&#8217;s this fresh, vibrant energy to it. It&#8217;s both grounding and invigorating. It gives you a little boost of confidence without shouting about it – subtle, not overpowering.</p>



<p><strong><em>Prada Paradigme</em></strong><strong> redefines confidence as curiosity and success as the freedom to be singular. How do you personally interpret this concept, and does it reflect your own journey?</strong></p>



<p>TH: I think wearing a fragrance is a great way to leave the house feeling special and confident. Success for me is happiness and a life fulfilled. I love when a fragrance becomes identifiable to a singular person. Someone close to me has always worn the same fragrance and if I smell it out and about it always reminds me of my good friend.</p>



<p><strong>The fragrance also embraces the concept of identity being something that’s constantly in motion. Do you agree with this – and how do you see it reflected in your own life?</strong></p>



<p>TH: Definitely. I think we&#8217;re all constantly evolving, changing, growing. &nbsp;And, as someone who is constantly on the move it’s nice to have constants. Prada Paradigme has absolutely become a constant for me. I love it and bring it with me everywhere now.</p>



<p><strong>“What if there is another way?”, how was this idea stayed with you since embarking on the journey with Prada Beauty?&nbsp;</strong></p>



<p>TH: That question, ‘What if there’s another way?’ It’s really stuck with me. It makes you question everything…look at things from a different angle. It encourages you to think outside the box, to challenge the status quo. That’s something I try to do in all aspects of my life.</p>



<p><strong>What is your earliest memory of fragrance?</strong></p>



<p>TH: My dad bought me a fragrance for Christmas, and I’ll never forget it because I remember getting a compliment on it from the girl, I had a crush on at school. That was a very good day.</p>



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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p>That question, ‘What if there’s another way?’ It’s really stuck with me. It makes you question everything…look at things from a different angle. It encourages you to think outside the box, to challenge the status quo.</p>



<p>Tom Holland</p>
</blockquote>



<p><strong>What role does fragrance play in your life and sense of self-expression?</strong></p>



<p>TH: I&#8217;m not someone who wears loads of fragrance, to be honest. I like things understated. But I do think a good scent can make a difference. It’s like… an invisible accessory. It&#8217;s not something people necessarily notice right away, but it adds this subtle layer of confidence, of individuality. It can enhance how you present yourself to the world. Paradigme, for example, is interesting because it&#8217;s complex. Sometimes I want something fresh and energetic, sometimes I want something warm and comforting. Paradigme is great for that, because it&#8217;s got both.</p>



<p><strong>The </strong><strong><em>Paradigme</em></strong><strong> bottle is designed to be refilled. When you learned about Prada Refills, what surprised you the most?</strong></p>



<p>TH: How easy it is! I was worried that it was going to be complicated and that I would get it wrong, but it’s so intuitive!</p>



<p><strong>As an actor, what do you find most creative or exciting about being on a film set?</strong></p>



<p>TH: For me what I love the most is the unanimous collaboration. Everyone is there to make the movie better and being a part of a team of driven creatives is awesome.&nbsp;</p>



<p><strong>What was your first thought when you learned Thomas Vinterberg would be directing the </strong><strong><em>Paradigme</em></strong><strong> campaign? What excited you most about working with him, and how did that anticipation translate to the actual experience?&nbsp;</strong></p>



<p>TH: I’m obsessed with Thomas and his work, so I was incredibly excited to work with him. I’m delighted to say that I was not disappointed. He was a joy to work for.&nbsp;</p>



<p><strong>What was the collaborative process like with him? Did anything surprise you?</strong></p>



<p>TH: I found Thomas incredibly collaborative. We talked a lot about the concept of Paradigme, about what it means to challenge conventions, to find your own way. I loved how he encouraged me to lean into dancing and root it in the freedom of a child. We become more self-conscious as we get older and for me the film is about letting go and being your best kid again.</p>



<p><strong>Tell us a little bit about the </strong><strong><em>Paradigme</em></strong><strong> campaign shoot. How was the experience? Is there a specific favourite memory that stands out?&nbsp;</strong></p>



<p>TH: The shoot was absolutely fantastic. We had a great team with amazing creatives and, all in all, it was really fun.</p>



<p><strong>The campaign incorporates a very personal touch – a video from your childhood. How did this idea originate, and what was it like weaving your own memories into the project?</strong></p>



<p>TH: I loved the idea of including me as a baby because it felt personal and uplifting. When Thomas [Vinterberg] spoke about dancing, it made me think about the way I often kind of overthink when I dance in front of people. I love that video and often think about it when I’m working, and I have to fully commit to something that makes me a little uncomfortable. Just be yourself, my mum would say.&nbsp; And then I thought, wouldn’t it be cool if that little kid was a part of the film. So, my mum dug out the tape and that’s how it all came about.</p>



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<p><strong>The campaign also features a dinner scene with you and friends. Tell us about the conversations or atmosphere during that scene?</strong></p>



<p>TH: Thomas was convinced that the scene needed to feel authentic, like a real gathering of mates. The vibe was very relaxed, very natural&#8230;lots of laughter and good conversation. We were given a few talking points designed to catch us off guard a little bit and evoke genuine reactions, but otherwise the dialogue was completely improvised. Thomas really encouraged us to just be ourselves, to let the conversation flow naturally. We talked about everything.&nbsp;</p>



<p><strong>There is a refreshing honesty to the </strong><strong><em>Paradigme</em></strong><strong> campaign, it seems you were keen for it to feel very authentic. Can you elaborate on your personal approach and why that was important to you?</strong></p>



<p>TH: I think with anything I do it’s important to be authentic. In this new digital age, it’s very easy to hide behind the screen and I hope this film feels like a true representation of who I am.</p>



<p><strong>How do you select which projects – on-screen or otherwise – to be involved in?</strong></p>



<p>TH: There are loads of different factors when picking the next project. You very rarely will tick all the boxes, and that risk is what makes it so exciting.&nbsp;</p>



<p><strong><em>Prada Paradigme</em></strong><strong> is about personal experimentation and embracing one’s ever-evolving sense of identity. How does this resonate with your approach to acting? Is there a role or character you would like to play that’s different from your earlier work?</strong></p>



<p>TH:<em> </em>I think the idea of Paradigme, this constant evolution and experimentation, really resonates with me. As an actor, I&#8217;m always looking for ways to push myself, to explore different characters and genres.</p>



<p><strong>You&#8217;ve expressed an interest in directing. What draws you to that side of the camera?</strong></p>



<p>TH: Directing is about shaping the narrative…building a world, bringing a story to life. That’s what really excites me. I love the idea of having that level of creative control, of being able to steer the ship and create something from the ground up.</p>



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A New Paradigme: Tom Holland for Prada


<p><strong>Some photographers capture moments; Anton Corbijn created identities. His work defined the visual language of entire generations of musicians and artists, turning photographs into lived experiences. To talk about the look of modern music is, in many ways, to talk about Corbijn.</strong></p>



<p><strong>With his moody black and white photography he almost creates different atmospheres for each of the subject he works with. Each photograph tells a different story. He has a way of shooting in such a raw, intimate way that reveals the mask of the artist’s persona: Leaving us face to face with their realest self.  </strong></p>



<p>Anton Corbijn is a lot of things: A photographer, a filmmaker, a creative director, a stage designer… But most importantly he’s a visual architect of famous bands. Acting as a bridge between music and visuality. Granting bands like Depeche Mode and U2 their own aesthetic universe.</p>



<p>In the early 70s, he was just a band geek taking pictures of musicians performing at local concerts in the Netherlands with his father’s camera. For him, his photography was a way of getting closer to the music, not a career. The ritualistic performance of music mesmerized him and he sought to preserve it through his lens. His career took of in 1979 when he moved to London and became a photographer for the NME magazine: Photographing bands like Joy Division and Echo &amp; The Bunnymen. His photographs blurred the line between the artists’ personas and their real selves: Unveiling tales upon tales frame by frame. From there, it was only natural that his mastery of visual storytelling would expand into the moving image: Directing music videos.</p>



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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p>“I make stars look interesting, not beautiful”</p>



<p>Anton Corbijn<strong>&nbsp;</strong></p>
</blockquote>



<p>If you love the ‘90s music video aesthetic you probably owe it to Anton Corbijn. He directed most of U2 and Depeche Mode’s music videos, worked with Nirvana, Metallica, Joy Division, Red Hot Chili Peppers, Echo &amp; the Bunnymen, Front 242, Coldplay, The Killers… His somber, hauntingly dramatic, sacral aesthetic aligned seamlessly with these bands’ music and the imagery of their songs.</p>



<p>It’s clear that music is a big inspiration for him. His work flourishes when he artistically connects with a band and their sound. He didn’t stop creating for music with just music videos, band photoshoots, stage photographs, musician portraits or album cover designs. He also worked beyond his lens: Designed stages for Depeche Mode and U2. These stages, paired with the projections he created specifically for each song, connected spiritually with the bands and transformed the concerts into almost religious experiences. And because he also filmed these performances, even those who couldn’t be there in person can still share in this sacred spectacle.</p>



<p>Anton Corbijn’s visual additions to music give songs a multi-dimensional quality, transforming them from something to be merely heard into experiences to be lived by the audience. And maybe that’s the ultimate question his work leaves us with: Music alone can move us but with can it transcend us?</p>



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="677" src="https://cms.basedistanbul.com/wp-content/uploads/2025/09/dave-1024x677.jpeg" alt="" class="wp-image-69018" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/09/dave-1024x677.jpeg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/09/dave-360x238.jpeg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/09/dave-680x450.jpeg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/09/dave-1536x1015.jpeg 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/09/dave-2048x1354.jpeg 2048w, https://cms.basedistanbul.com/wp-content/uploads/2025/09/dave-16x11.jpeg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/09/dave-1200x793.jpeg 1200w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>


Anton Corbijn’s Visual Poetry of Music


<p>Shopping used to be a sport. You and your friends in a mall, hyping each other up, clowning on the bad fits, claiming the last size before anyone else could. Then came e-commerce, and suddenly shopping got lonely. Scroll, click, checkout. Efficient, sure. But soulless. Enter livestream shopping which is chaotic, addictive, unfiltered revival of shopping as a social event.</p>



<p>Livestreams feel less like a store and more like a group chat that exploded onto your screen. The host is trying on clothes, twirling, cracking jokes, struggling with a zipper while thousands of people are spamming the chat with fire emojis.</p>



<p>You’re not just buying a sweater. You’re part of the chaos. The collective gasp when something sells out. The inside jokes that only the live crew gets. Forget the velvet ropes and front rows. Livestream fashion is democratic. No invite list, no exclusivity, no “you can’t sit with us.” Everyone’s in. Everyone’s watching. Everyone has a voice. And that’s what makes it powerful. It’s not polished. It’s not Photoshopped. It’s raw, glitchy, and real. Fashion as performance but stripped of pretension.&nbsp;</p>



<p>The hosts who feel like friends. For the usernames they recognize every week. For the feeling that they’re not shopping alone. It’s fandom energy, not customer loyalty. Buying becomes a way of saying: I’m part of this culture. The product is almost secondary.</p>



<p>Livestream shopping is proof that retail doesn’t have to be sterile or solitary. It’s messy, loud, funny, and addictive. It’s fashion with a pulse.&nbsp;The future of shopping isn’t a cart. It’s a crowd.</p>


Fashion’s New Social Club


<p><strong>Three different women. Three different approaches to love. One man.&nbsp;</strong></p>



<p><strong>Christina dreams of love that will consume her, tear her away from boring reality. She wants to dive right in the middle of it. Vicky on the other hand, approaches love timidly, dipping just her toes in the sea. Reluctant with the idea of following where her emotions could take her, heart locked in a box deep in the prison of her logic. But when desire creeps in, logic disappears. She finds herself head deep in a forbidden desire she interprets as love. And Christina finds herself in a love triangle with the madwoman unleashed, María Elena. Or perhaps a love square, collapsing under its own desire.</strong></p>



<p>When you look into these characters -especially Vicky, Cristina and María- it’s merely showing us their surface. It’s so obvious that a male director wrote and directed this movie: They’re not roundly written, that’s for sure. They’re archetypes of love, desire, lust and logic. Vicky is the angel; Cristina is the muse and María Elena is the madwoman in the attic, unleashed. And Juan Antonio is the catalyst. Seducing different archetypes of woman and bending their logic into lust. And when the fire of lust burns out, the illusion of love leaves its ashes on the floor: a mess you don’t want to clean up.&nbsp;</p>



<p>Although, flat characters can make a movie look hollow and ornamental, the idea of this movie was to show different approaches to desire. Or how lust and desire are interpreted differently by different types of people. So, although it’s problematic in the sense of storytelling, it ends up serving the idea it set out to prove: that desire is never neat, never whole. And maybe that’s what makes it captivating and destructive.&nbsp;</p>



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<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p>“I was in love with the most incredible woman then in the end she put a knife into me”&nbsp;</p>
</blockquote>



<p>María Elena and Juan Antonio’s relationship is destructive, self-harming, hating, lusting, bruising, fighting, yelling, biting, consuming… However the thing that makes this dynamic all fire and no smoke is María Elena’s archetype: the madwoman. Except this time she’s not locked behind locked doors like Bertha Mason in Jane Eyre: She’s a catalyzer in the plot; she’s alive, fuming and destroying. However her real problem is still sweet under a rug, sugarcoated by lust and desire. What she needs is no ménage a trois, but a mirror. For her, love is just a way to muffle the voices inside her head. She tries to silence the cacophony within her mind by screaming louder into Juan Antonio’s face: Or by putting a knife in him, or by shooting at him with a gun.</p>



<p>If we have to put these three archetypal women on a spectrum: Cristina -the muse- would be right in the middle of Vicky and María Elena. Like María Elena, she also wants give into her desires and lose herself in the sea of lust and love: She wants <em>something different, something more… </em>So she throws herself in headfirst.<em> </em>But like Vicky, in the end the madness her throuple dynamic entails makes her logic creeps in and sweeps her away back to reality.&nbsp;</p>



<p>Vicky is seduced outside her logic of love. At first she believes love is tamed, rational. But the moment she bites into the apple of lust, restraint collapses. The angel archetype is tempted to give in to sin. After all, lust doesn’t wait. It seduces and slaps you out of reality in an instant. So the safe relationship she has with her fiancé who later becomes her husband cannot come near the lust she feels for Juan. Juan’s erotically charged attitude transforms her place on the spectrum of madness. Starting off as the timid one, still scared she tries to give herself in to thrill of lust and desire. But the madwoman attacks, she gets shot on her hand by María Elena’s gun. And the self-destructive force of lust scares her: Snapping herself back to reality with the scarring of the bullet left on her hand.&nbsp;</p>



<p>The angel is put to the stake, the muse runs away, the madwoman devours the very vice that keeps her alive. Vicky, Cristina, Barcelona will leave you questioning the reality of love. Can love exist? Or is it just an excuse for other emotions like lust, desire and ire? In the end, the only certainty is that desire burns longer than love ever could. Maybe love was never the point, only the chaos it excuses.</p>



<p>As this crossroads of love comes to breaking point, we invite you to our playlist curated by the movie:</p>



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Vicky Cristina Barcelona


<h2 class="wp-block-heading">There are times when the world slows down, there are places where silence isn’t empty but alive. On certain beaches, the shoreline transforms into something more than sand and sea temporary installations that invite people to shed pretense and step fully into themselves. Lalin Akalan reminds these moments with her summer picks. </h2>



<p><strong>A song that reminds you of summer?&nbsp;</strong></p>



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<p><strong>Define a perfect sunday on summer days.</strong></p>



<p>A book, and a shade &#8211; where silent beaches become temporary installations.</p>



<p><strong>Your favorite summer destination?</strong></p>



<p>Ibiza &#8211; where people can be unapologetically themselves.</p>



<p><strong>Sunrise or sunset?&nbsp;</strong></p>



<p>Sunrise! Waking up early at festival site and gazing out.</p>



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<p><strong>Best summer outfit?&nbsp;</strong></p>



<p>Simple linens. Jewelery hacks! Patterns &amp; healthy fabrics.&nbsp;&nbsp;</p>



<p><strong>Favorite summer food?&nbsp;</strong></p>



<p>Fresh fish and cured fish!&nbsp;</p>



<p><strong>An artwork that reminds you of summer.&nbsp;</strong></p>



<p>Hard to pick one so, I have two pieces in my mind: A la Plage, Joan Miro. Somewhere between solid and dreamy this painting reminds me the power of the sun.</p>



<p><strong>Show us your summer selfie.</strong></p>



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="753" src="https://cms.basedistanbul.com/wp-content/uploads/2025/08/16-1024x753.jpeg" alt="" class="wp-image-68956" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/08/16-1024x753.jpeg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/16-360x265.jpeg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/16-680x500.jpeg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/16-16x12.jpeg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/16.jpeg 1170w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>


HOTLIST: Lalin Akalan


<p><strong>What happens when Italy’s two greatest performances share the same stage? Few countries stage excellence the way Italy does. From the poetry of football to the precision of tailoring. Now Juventus steps off the pitch in Giorgio Armani, dressed not for the match but for the gaze. The match may be limited to ninety minutes, it’s short lived and spontaneous. Looks aren’t part of the game. However off-pitch, the impression a sharp suit leaves in people’s minds is timeless. There’s no debate on that. </strong></p>



<p>Once the sweat of the game is gone, the suits remain. Juventus will be shining with their Armani designed relaxed hybrid suits, relaxed trousers, deconstructed jackets, crisp polos, cashmere overskirts. Sharp, composed, iconic in Armani’s midnight blue.</p>



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<p>It wouldn’t be the first time for Juventus to collab with a couture genius. They have flirted with fashion before but those were soft touchpoint compared to this. In 2013, Trussardi crafted the team’s formalwear for several seasons, and more recently Loro Piana held the sartorial reins. Armani’s arrival doesn’t break the pattern it elevates it. This isn’t just another luxury partnership, it’s the latest chapter in Juventus’ quietly curated wardrobe.&nbsp;</p>



<p>When two Italian icons collide, you don’t just watch the game, you watch the mise-en-scène. The performance doesn’t end at the sound of the whistle. Beyond the pitch, the performance continues. Two great performances in one go.</p>


When Two Italian Icons Collide: Juventus x Armani


<p><strong>Ever felt like the mess you left behind in your hotel room can be turned into a medium for art?  Sophie Calle surely did. On the 16th of February, 1981 she started working in a Venetian hotel as the chambermaid. She worked there as part of her project which will then be called <em>the Hotel</em>. And for three weeks she was the chambermaid assigned with twelve rooms of said hotel. However she had a secret agenda: She would be going through people’s stuff- their journals, bags, wardrobes, taking photos of their unmade beds, of the mess they left behind, trusting the secrecy of the maid. Little did they know it would turn into a well-known photo book by the one and only Sophie Calle. </strong></p>



<p>Blurring the lines between exclusive hospitality and incognito surveillence, she took photos as the chambermaid like a private investigator. Subjects, people who stayed at those rooms weren’t exposed but their most intimate stuff were. Which makes one think about the power the camera and the <em>shooting</em> principle withholds: Can the simple act of pointing a camera transform someone into an authority? </p>



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<p>It’s impossible not to think about the inversion of power dynamics in <em>the Hotel</em>. The photographer’s weapon is their camera. The act of shooting is the killing itself. And the camera is the mirror for the truth, a reflection of the unsaid, the hidden. A chambermaid is the silent one, the anonymous one. They’re the ones who clean up the mess: The ones who get rid of the traces people leave behind. In this equation they are the weaker link. This bubble of secrecy bursts open with the flash of a camera. The chambermaid, Sophie Calle, is granted authority by holding the camera in her hands and exposing people’s dirt, mess and secrets -one by one, room by room…</p>



<p>Calle is known for her usage of voyeurism in her work. In a way, her work can be seen as feminist activism. Twisting the patriarchal input of women being the idealized muse by pointing her camera towards her subjects, or in this case their objects. She stalked Henri B. In <em>Suite Venetienne,</em> found an address book and contacted the people listed inside in <em>the Address Book</em>, shot people while their sleeping in <em>the Sleepers</em> and captured hotel guests’ belongings in the Hotel. The prey, the muse, the saintly woman figure became the predator with her weapon, the camera.  </p>



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="707" src="https://cms.basedistanbul.com/wp-content/uploads/2025/08/room-25-pg-2-1024x707.png" alt="" class="wp-image-68916" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/08/room-25-pg-2-1024x707.png 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/room-25-pg-2-360x249.png 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/room-25-pg-2-680x470.png 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/room-25-pg-2-1536x1061.png 1536w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/room-25-pg-2-2048x1415.png 2048w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/room-25-pg-2-16x11.png 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/room-25-pg-2-1200x829.png 1200w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>



<p>There’s double power inversion in the Hotel. Dynamics are shifted both in this project itself and in Calle’s work in general. The chambermaid shifts into being the authoritative figure exposing people’s secrets. The one who should be cleaning up traces and forget about the stuff she sees becomes the withholder of their secrets. She becomes the one who knows rather than the one who cleans. Knowledge is the biggest power, after all, and using this power makes one the authority. The other shift in power dynamics is the male gaze being used by the woman herself. </p>



<p>Patriarchy deemed women to be the one who should be silenced, what Calle does breaks this idea as a whole: Exposing the hidden truths and using them in her art. The stalked becomes the stalker, the chambermaid becomes the twisted investigator, the photographer becomes the voyeur… And through this twisted work, she gives us a hole in the door to sneak in and take a look. And if you find her work to be over-exploitative that crosses the ethics of art, admit to yourself that you still enjoyed it. And really who is to blame? You knew exactly what the book portrayed, but still read it.</p>


Her Camera, Her Weapon: Sophie Calle’s Power Games in the Hotel


<p><strong>On Aegean coast, where the horizon melts into a canvas of endless blue, summer begins. Here we are with Barış Çetin. It is a world of languid afternoons and salt-kissed air. Refined, restrained, uncompromising. For him, sunrise belongs to the rhythm of dance, while sunset is claimed by the quiet ritual of drinking.&nbsp;</strong></p>



<p><strong>A song that reminds you of summer?&nbsp;</strong></p>



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<p><strong>Pick a place and a occasion that are part of your annual summer routine?&nbsp;</strong></p>



<p>My summers always begin on Turkey’s Aegean coast what I consider the most beautiful sea — all blue horizons and slow afternoons.&nbsp;</p>



<p><strong>Favorite cocktail?&nbsp;</strong></p>



<p>I’m not much of a cocktail boy — no room for extra calories. Just vodka on the rocks, Beluga or Haku. If I really have to commit, make it a vodka martini.&nbsp;</p>



<p><strong>Sunrise or sunset?&nbsp;</strong></p>



<p>Sunrise if I’m dancing, sunset if I’m drinking &lt;3&nbsp;</p>



<p><strong>Best summer outfit?&nbsp;</strong></p>



<p>Havaianas in the city — paired, of course, with blue jeans.&nbsp;</p>



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<p><strong>Favorite summer food?&nbsp;</strong></p>



<p>Watermelon, Turkish feta and rakı, an unbeatable trio!&nbsp;</p>



<p><strong>Best spot to take summerish shots?&nbsp;</strong></p>



<p>On deck, sun glasses on. Little wind would help too !</p>



<p><strong>Bodrum or çeşme?</strong></p>



<p>Bodrum, without a doubt. I grew up spending my summers there. I love Çeşme too, but never in high season!&nbsp;</p>



<p><strong>Show us your summer selfie!</strong></p>



<figure class="wp-block-image size-large"><img loading="lazy" decoding="async" width="1024" height="1365" src="https://cms.basedistanbul.com/wp-content/uploads/2025/08/9-1-1024x1365.jpeg" alt="" class="wp-image-68897" srcset="https://cms.basedistanbul.com/wp-content/uploads/2025/08/9-1-1024x1365.jpeg 1024w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/9-1-360x480.jpeg 360w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/9-1-680x907.jpeg 680w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/9-1-1152x1536.jpeg 1152w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/9-1-16x21.jpeg 16w, https://cms.basedistanbul.com/wp-content/uploads/2025/08/9-1.jpeg 1200w" sizes="auto, (max-width: 1024px) 100vw, 1024px" /></figure>


HOTLIST: Barış Çetin


<h2 class="wp-block-heading"><strong>From Mykonos to Milos, Duygu’s summer is a tasting menu of lived sunsets and salt-kissed days. The magic is hidden in small ritual; fun, carefree, yet deeply tied to the rhythms of the Mediterranean. No wonder she’ll happily trade a cocktail for a scoop of stracciatella! HOTLIST: Duygu Özaslan continues with childhood memories and dreams dipped in blue waters.</strong></h2>



<p><strong>A song that reminds you of summer?</strong></p>



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<p><strong>Favorite summer destination?&nbsp;</strong></p>



<p>From Mykonos to Milos&#8230; Greek islands, fun and serene, basically my summer personality.</p>



<p><strong>A song that reminds you of summer?</strong></p>



<p>I&#8217;ll give you a playlist instead. Childhood memories compilation, pretty self-explanatory.</p>



<p><strong>Sunrise or sunset?&nbsp;</strong></p>



<p>Sunset. Always. Any time of the year. Gives me all kinds of chills.</p>



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<p><strong>Favourite summer outfit?</strong></p>



<p>Summertime is for mixing, matching and having fun.</p>



<p><strong>Favorite summer food?&nbsp;</strong></p>



<p>Seafood and snacking on olives while sipping champagne! My Mediterranean menu.</p>



<p><strong>Bikinis or one-piece?&nbsp;</strong></p>



<p>Nothing beats a jet2 haha, a cute bikini set.</p>



<p><strong>Cocktails or ice cream?&nbsp;</strong></p>



<p>Can&#8217;t say no to Skinos but if I have to choose, I might pick stracciatella over everything.</p>



<p><strong>Show us your summer selfie</strong></p>



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HOTLIST: Duygu Özaslan


<p><strong>“Ahãma. In Lycian, means beloved.”</strong> <strong>That was our first sentence at Günlüklü Bay. On the turquoise coast, by the protected sweetgum forest, we glide toward a new living space embraced by nature. This is where the balance between blue and green is preserved, a place that symbolizes love for nature. The sacred sweetgum trees, revered by locals, remain uncut; pathways curl around them, and fallen trunks are left as they are. Home to rare examples of sweetgum trees found in only a few places in the world, the forest welcomes Ahãma—a living space far removed from traditional hotel concepts.</strong></p>



<p>Its architecture fuses Tokyo’s wabi-sabi philosophy with the ancient soul of Lycia; neutral tones and natural materials take the lead. No structure stands apart from nature. The tranquility of togetherness can be felt with every step. The landscaping, crafted by Spanish landscape architect Álvaro Sampedro and Gabriela Palatchi’s creative team, deepens your experience with nature. Every detail has been carefully considered. Look around, and no structure feels separate from its surroundings.</p>



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<p>Mexican architect Héctor Esrawe has designed the “Temple of Sound” nestled in the forest. Each day at 3 p.m., the temple invites you to a “Sound Journey.” This ritual transforms your time dedicated to nature into a deeper understanding. Every step at Ahãma is designed to awaken body and mind. Begin the day with morning yoga, renew your spirit with breathwork facing the bay.</p>



<p>Ahãma’s philosophy of presence extends into its restaurants, which focus on Aegean traditions. With a “farm-to-table” ethos, dining becomes a ritual of healing.<br>In this living space that honors the ancient Lycian culture at every turn—calling it a hotel would hardly do justice—time slows down, and you remember you are part of nature. This place reminds you that summer, above all, means reuniting with the natural world. To feel the sun on your skin, to merge your rhythm with the blue of the sea, to breathe in the shade of sweetgum trees, but most of all, to listen to the birds… To watch swans and ducks gliding in the water, to follow squirrels darting past as you sit on the shore—it will do you good.</p>



<p>For your rendezvous with nature this summer, you have a new address: Ahãma.</p>


A hotel or, a ritual of nature?


<p><strong>Back in the early days of the console wars, owning a PlayStation wasn’t just about gaming but a fever dream of the after-hours, tucked between MTV broadcasts and the allure of midnight piracy. In the &#8217;90s and early 2000s, before every piece of advertisement was filtered through an algorithmic focus group, Sony had a different idea in mind. Early PlayStation commercials were definitely a case of their own. When a console ad features a man confessing that he’s led a double life, or a talking duck inside a portal, you know you’re in freaky territory. PlayStation commercials were the weirdest teenager in the family, and I&#8217;m loving every second of it!</strong></p>



<p>The late-‘90s advertising landscape was anarchic, full of brands eager to push boundaries for attention, even if they didn&#8217;t always know how to do it effectively. Imagine a time where Pepsi thought it would be a good idea to give away a Harrier jump jet worth millions of dollars. It was the actual wild west: no rules, no filters, no apologies. I can’t stress enough the surrealness of mainstream advertising at the time: wild, often absurd and definitely untethered to reality.</p>



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<p>PlayStation’s early ads fit perfectly into this chaos, but with a twist: they didn’t pander to the mainstream. Where Pepsi’s stunt was winking at suburban youth, Sony’s campaigns embraced club culture, industrial design and countercultural angst. Before the internet and social media homogenized marketing, a game console&#8217;s commercials could be provocative and edgy but still make the cut for prime-time advertising.</p>



<p>This curated universe captured attention, and when the PS1 arrived in 1994, it changed gaming&#8217;s demographic. It ditched cartridges for cheap CD-ROMs and invited third-party developers to experiment with 3D worlds. This wasn&#8217;t just for kids, and Sony was eager to get the message across. One ad captured this ethos better than any design brief.&nbsp; Over a minute, nineteen everyday people confess to commuting, doing &#8220;hoi polloi&#8221; jobs, then living violent, morally dubious, and ecstatic lives after dark. The script ends with the tagline “Do not underestimate the power of PlayStation,” and the spot quickly became the most awarded commercial of 1999/2000. Marketing scholar Scott Steinberg praised its ability to transcend advertising, noting that the film’s casting and dialogue “capture every man’s desire to transcend the boundaries of mundane life” In other words, the PS1 tapped into the escapism culture we know today. Just like that, PlayStation got the reputation as gaming&#8217;s punk movement.</p>



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<p>Sony’s willingness to hand its brand to directors turned commercials into miniature art films.&nbsp; David Lynch directing a console ad sounds like an internet meme, but it actually happened. In 2000, he made &#8220;Welcome to the Third Place,&#8221; a monochrome PS2 commercial filled with flames, glowing women, organ-like objects, and a talking duck. A write-up of the ad notes that Lynch &#8220;crafted a fragmented narrative where the boundaries between reality and the virtual world were blurred,&#8221; featuring &#8220;bizarre characters&#8221; like a floating head and a fiery woman. The aim was to convey gaming as a hallucinatory journey rather than a product demonstration. Lynch was the only person who could communicate such a message, and he certainly did.</p>



<p>Lynch wasn’t the only director to bend reality for PlayStation tough. Print ads for the PS2 referenced Trainspotting, The Matrix, and Requiem for a Dream, juxtaposing mundane life with surreal abstractions. One controversial flyer distributed at Glastonbury in 1996 declared the console “More Powerful than God,” foreshadowing Sony’s taste for subversive slogans. The underlying premise was simple: real life is boring; PlayStation is a portal to uncanny realms.</p>



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<p>What made these commercials feel so radical was their embrace of dream logic. They didn&#8217;t summarize a game or list features; they evoked moods and let viewers project their own fantasies. Today’s ads, constrained by social‑media attention spans, rarely allow such digressions. Even Lynch recognized the cultural shift. In a 2008 interview, he railed against watching films on phones, saying: &#8220;You&#8217;ll think you have experienced it, but you&#8217;ll be cheated. It’s such a sadness, that you think you’ve seen a film, on your f**king telephone. Get real!” His rant wasn’t just about screen size; it was about the context in which we consume art.&nbsp;</p>



<p>So ask yourself: When was the last time an ad felt memorable? No, really, ask yourself, and you will find that it was not only AAA studios that gentrified art out of commercials, but also us, getting lazy with how we curate and consume. It&#8217;s honestly crazy to see how, despite having more access to creative tools than ever, creativity somehow keeps slipping out the door. Welcome to the modern day Schrödinger’s cat paradox.</p>



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<p></p>


PlayStation and the Art of Advertising Escapism


<p><strong>In a world that’s constantly online, being alone with yourself has become almost impossible. Between notifications, endless streams of content, and the algorithms pulling the strings of our lives, it’s harder and harder to focus and actually hear our own voice. Honestly, what did we even do before we were glued to our screens? Where did those small, quiet moments go? Castronomy invites you to remember them and to rekindle your curiosity for the unknown.</strong></p>



<p>The truth is, they never disappeared. They’re still right in front of our eyes, unfolding on their own. For eyes that have long been detached from reality, this is an invitation to return, one that has repeated itself every single year for centuries. If you recently caught a fleeting green streak across the sky, then you’ve already met them: the Perseid Meteor Shower.</p>



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<p>Let’s clear something up: what’s falling isn’t actually stars. They’re mostly cosmic dust and rocks. For the curious ones; the shower takes its name from the Perseus constellation, and it’s created by the debris trail of the Swift-Tuttle comet. Regardless of the details, one thing’s not up for debate: watching a meteor shower is pure magic.</p>



<p>This year, we were lucky enough to witness the Perseids thanks to a collaboration between Castrol and National Geographic. “Wait, what do you mean?” you might ask. That’s where Castronomy steps in. It’s the background story that’s been at work for over 60 years, making technologies possible in everything from NASA’s Apollo missions to the Mars Rovers, from the Space Shuttle Program to the International Space Station. Pretty cool, right?</p>



<p>And so we’re left with only a couple of questions: “How many wishes can I make for each shooting star?” or “Where should I look in the sky to see the most?” Maybe the answers don’t matter as much as the questions themselves. Because it seems like right now is the perfect time to dream.</p>


Perseids, Castronomy, and the Art of Wonder


<p><strong>When you start walking through Arter’s halls, you first feel the weight of silence. Then you realize: this silence is one of anticipation, tension, and endurance. <em>Under Pressure, Above Water</em> makes you experience exactly what its title suggests, both physically and emotionally: the effort to stay afloat under pressure, the will to survive, and resilience…</strong></p>



<p>The exhibition unfolds almost like a rhythm. As your eyes move from one work to another, your sense of time and space shifts; each piece breathes on its own, creating its own cadence. Michaël Borremans’ canvases or Alicja Kwade’s spatial installations bring together both physical and mental pressure. Curated by Nilüfer Şaşmazer, this experience brings 15 artists from different disciplines under one roof, teaching the audience both how to be shaken and how to remain standing.</p>



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<p><sub><strong>Claire Fontaine İsimsiz</strong></sub></p>
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<p class="has-text-align-right"><sub><strong>Nadia Kaabi-Linke, Kusursuz Suçlu</strong></sub></p>
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<p>Another dimension of the exhibition is its emphasis on collective and social memory. From Shilpa Gupta to Mariana Vassileva, the artists address not only individual but also collective stories of pressure and resistance. Each work feels like a drop that manages to stay on the surface of water; small yet powerful, fragile yet resilient. Blending with Arter’s architecture, the exhibition teaches the viewer not only to look, but also to feel. As you move from one room to the next, you realize how difficult, yet how precious, it is to stay afloat. Each piece, like a gently striking wave, both surprises you and reminds you of your own breath, your own resilience.</p>



<p><em>Under Pressure, Above Water</em>&nbsp;acts as a kind of meditation against today’s chaotic tempo and the pressures of both individual and collective life. Perhaps staying afloat is difficult, perhaps the pressure is heavy, but aesthetic resistance, beauty, and awareness are always possible.</p>



<p>This exhibition is created not only to be seen, but to be experienced. As you leave Arter’s halls, you rediscover the tremor of a drop on the surface, the rhythm of your own breath, and the bonds you form with your surroundings. To manage to stay on the water’s surface is perhaps life’s most aesthetic form of resistance… You are invited to experience water’s different effect at Arter until January 11, 2026.</p>


Basınç Altında Suyun Üstünde: Arter’de Zamanın ve Direncin Dansı


<p><strong>Jenna Ortega sadece ekranın değil, stil sahasının da yıldızı. “Wednesday” ile gotiğin karanlık, dramatik havasını benimsedi ve bunu günlük hayatına taşıdı. Siyahlar, danteller, dramatik silüetler… Ama tüm bu gotik klişeleri en modern ve cesur diliyle karşımızda.&nbsp;</strong></p>



<p>Kırmızı halıda ya da sokakta, zaman ve mekan algısından uzak Jenna Ortega’nın kombinleri adeta bir şiir gibi… Zaman zaman sofistike, ama her zaman asi. Simone Rocha’dan seçtiği tül etek, yeşil bodysuit ile birleşiyor; gotik sadece karanlık değil, aynı zamanda ışık ve gölgeyle oynayan bir estetik haline dönüşüyor.</p>



<p>Jenna’nın tarzı bir davet niteliğinde. “Kendin ol, cesur ol, sınırları zorla.” Fotoğrafları, genç jenerasyonun gotik hayallerini yeniden canlandırıyor. Siyah bir etek, dramatik bir ceket, biraz dantel…&nbsp;</p>



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<p>Gerçekçi olalım. Jenna Ortega, hepimizi yeniden maaşı dantel, tül ve simsiyah parçalara gömmeye ikna ediyor. Bekledik. Scrollladık. Günaha battık. Sonunda Topshop ikinci geliş gibi dirildi. Ama bu kez İsa değil, Jenna sahnede. İnternet ona çoktan <em>goth mommy</em> tacını taktı, o da bir gülümseme, bordo bir ruj ve platin kaşlarıyla feed’i sahipleniyor.</p>



<p>Jenna Ortega, gotik modayı modern bir bakış açısıyla yeniden yorumlayarak, bu estetiği geniş bir kitleye tanıtıyor. Onun stil yolculuğu, gotik modanın sadece geçmişin bir parçası olmadığını, aynı zamanda günümüz modasında da kendine sağlam bir yer edindiğini gösteriyor. Ortega&#8217;nın bu dönüşümü, gotik modanın yeniden doğuşunun simgesi haline gelmiş durumda. Simone Rocha&#8217;nın 2025 ilkbahar koleksiyonundan yeşil bir bodysuiti ve siyah tül etekle kombinlemek mi devrim? Ya da nude bir elbisenin bordo rujla kusursuz uyumundan haber olduğuna eminiz. O zaman sıra sizde, bu sefer kırmızı halı değil ama Instagram feedleri başrolde.</p>
