
How The Matrix became fashion’s favourite film
While Breakfast at Tiffany’s and American Gigolo are held up as blue chip style classics, The Matrix might be this generation’s biggest fashion reference.
While Breakfast at Tiffany’s and American Gigolo are held up as blue chip style classics, The Matrix might be this generation’s biggest fashion reference.
The experimental Scandi duo have fused cottagecore, technolust and '00s rap for their new album Believer.
The French-Canadian filmmaker discusses his reflective new drama, Matthias and Maxime, and explains why he still feels ashamed of putting gay sex on screen.
Following a decades-long hiatus, the cult ’80s pioneer is being rediscovered by fans on TikTok – and FKA twigs. Now, with the help of his daughters, Craig wants to make this a family affair.
Starring Dior, Saint Laurent, Isabel Marant, Loewe, Balenciaga, Hermès, Givenchy, Vivienne Westwood, Maison Margiela, Stella McCartney, Chanel, Miu Miu and Louis Vuitton. Whew.
Off the Rails: Get to know stylist Ash Williams’ dreamworld of ultra-rare tees, one-of-a-kind get-ups and generally lurid gear that you’ll probably never find online. You won’t regret it, promise.
THE FACE's fashion team pick their favourites from the magazine this year.
Sexy or 9-5-appropriate? Cool or oh-so-smart? Who cares, there are styles for all. And designers from Prada to Martine Rose to Luke Derrick are all for it.
After EastEnders, Roots and Small Axe, the Londoner now stars in super-slick banking thriller Devils. But he does it all while championing the ethos learned alongside drama school mates Letitia Wright and John Boyega.
The rapper is set to release his tenth studio album, Donda, tomorrow – and he’s enlisted America’s fastest woman for the No Child Left Behind video.
The Face speaks to the co-founder of The Custom Movement, an online marketplace trading custom kicks at purse-friendly prices in a bid to restructure the resale market.
0-800-Beauty-Hotline: Got a beauty dilemma? We’re here to help you in your hour of need.
Jessie Buckley and Josh O’Connor, the doomed lovers in the National Theatre’s disruptive new play-as-a-TV-film, explain why their Shakespeare adaptation is the right drama for right now.