Runway Magazine

Cerulean Blue – Origins, Historical Secrets, and Global Impact. Analyses by Guillaumette Duplaix, Editor of RUNWAY MAGAZINE: https://runwaymagazines.com/cerulean-blue-origins-historical-secrets-and-global-impact/

Elevated to the status of an icon by the film The Devil Wears Prada, Cerulean Blue conceals a history far richer than its Hollywood reputation.
Born from the science of pigments in the 19th century, it revolutionized Impressionist painting before becoming the secret weapon of the greatest couturiers.

The origin of this color choice in the film stems from here: Pantone announced its very first Color of the Year in 2000, and Cerulean Blue was chosen (even though The Devil Wears Prada was only released in 2006).

The word “Cerulean” draws its roots from the Latin caeruleus (dark blue) and caelum (the sky or heaven). Originally, coeruleum or ceruleum designated a pigment used in painting and decoration to capture the exact nuances of a pure sky and crystalline waters. Its strength lies in its stability: it is a permanent color that does not alter under artificial lighting.

Cerulean Blue is a shade of blue that can range from a light azure blue to a more intense sky blue. It can also be blended with green. In comparison with turquoise blue, cerulean blue has a more pronounced, soft blue-green hue, whereas turquoise blue is generally more vivid and more green.

In the 1870s, Cerulean Blue became a central element in the palette of artists such as Claude Monet, Paul Signac, and Pablo Picasso. Marketed as synthetic paint in tubes, it proved extremely easy to transport, revolutionizing open-air painting (pleinairisme).

Ultimately, Cerulean Blue remains a shade of exceptional richness. Mastering its history, its technique, and its geographical subtleties allows it to be used no longer as a mere aesthetic cliché, but as a true tool of visual storytelling and brand strategy.

Gucci Resort 2027 – Gucci Core “Times Square, Bandaids, and the Illusion of “Gucci Core”. Story by Eleonora de Gray, Editor-in-Chief of RUNWAY MAGAZINE: https://runwaymagazines.com/gucci-resort-2027-gucci-core/

Ah, New York. The city of dreams, flashing lights, and now, apparently, the ultimate stage for Demna Gvasalia’s latest exercise in supreme irony. For the Gucci Resort 2027 collection, our new creative director decided to bypass the usual understated luxury venues and plant himself smack in the middle of Times Square. Because nothing screams “exquisite Italian heritage” quite like the neon glow of consumerist chaos and the smell of roasted nuts.

Demna called this his “homecoming” act, a self-proclaimed genius move to merge La Famiglia with “Generation Gucci.” The goal? To introduce GucciCore—a permanent collection of “pragmatic, wearable pieces.” He wanted to show clothes on “the kind of people you might pass on the street.” And to his credit, he absolutely achieved that. Specifically, the kind of people you might pass on the street at 3:00 AM outside a questionable nightclub.

The Irony of Selling the “Real”
The most amusing part of this entire spectacle was the giant hall of mirrors created by the Times Square screens. While fake AI-generated gardens and “Gucci Water” commercials flashed above, the collection underneath tried desperately to prove that Demna can, in fact, make a normal coat.

Demna wants us to believe this is a permanent evolution of a wearable wardrobe. But stripping away the heritage to replace it with shock-value casting—from a brunette Paris Hilton to bandaged sports stars—proves that while you can take the designer out of the underground, you can’t take the underground out of the designer. It’s loud, it’s commercial, and it’s unmistakably trying too hard.

La Fabrique du Temps Louis Vuitton – Tambour Taiko Arty Automat “The Pulse of the Machine: A Mechanical Miracle”: https://runwaymagazines.com/la-fabrique-du-temps-louis-vuitton-tambour-taiko-arty-automat/

La Fabrique du Temps Louis Vuitton reimagined time as a performer. The Tambour Taiko Arty Automata is not merely a watch; it is a mechanical heartbeat, a “miracle” born from the marriage of 17th-century clockwork soul and 21st-century artistic defiance.

In an era of digital perfection, there is something profoundly moving about a device that relies on the physical tension of springs and the precise alignment of gears to tell a story. This is horology as high theater.

To look at the face of the Tambour Taiko is to peer into a psychedelic dreamscape. Using the champlevé enamel technique—a signature of La Fabrique des Arts—the dial is carved and filled with luminous, saturated pigments that seem to vibrate with their own light.

This timepiece represents a singular depth of craft. It is rare to see the “Metiers d’Art” converge so seamlessly. The bezel, set with a rainbow of refined stones, acts as a halo for the miniature painting that lives beneath the sapphire crystal.

The Tambour Taiko Arty Automata is a reminder that luxury is not about the price of the gold or the rarity of the stones, but about the preservation of human wonder. It is a piece of art that beats in time with the wearer, a mechanical miracle that proves, quite beautifully, that the heart of Louis Vuitton still beats for the extraordinary.

The Best Costumes The Met Gala 2026. Story by Kate Granger, Editor of RUNWAY MAGAZINE. Photo / Video Courtesy: GettyImages / Dior: https://runwaymagazines.com/the-best-costumes-the-met-gala-2026/

The first Monday in May has come and gone, and the 2026 Met Gala certainly left its mark—both for the art on the carpet and the noise outside the gates. This year, the Costume Institute leaned into the eternal debate with the theme “Costume Art: Fashion Is Art,” turning the steps of the Met into a literal gallery.

For the first time, the event’s backbone was fortified by a new kind of power couple. Jeff Bezos and Lauren Sánchez Bezos stepped in as lead sponsors and honorary chairs, reportedly injecting $10 million into the gala’s logistics. While their influence ensured a production that was, by all accounts, “incredible” in its scale, it didn’t come without a side of drama.

In the end, while the Bezos sponsorship might have changed the “vibe” behind the scenes, the artistry on the steps reminded us why we still watch. As fashion sheds its commercial shell, the world stands breathless before a new era of artistic brilliance.

CHANEL Cruise 2026-27 Biarritz. Story by Eleonora de Gray, Editor-in-Chief of RUNWAY MAGAZINE. Photo Courtesy: Chanel: https://runwaymagazines.com/chanel-cruise-2026-27-biarritz/

Fast forward to April 28, 2026. Matthieu Blazy, in his first Cruise collection for the House, has returned to this “fashion pedestal.” Titled Sous le salon la plage (Under the salon, the beach), the collection is a masterful dialogue between the rigorous architecture of Art Deco and the fluid, shimmering fiction of the deep sea. It is a world where French workwear, leisure, and grandeur collide, dispensing with hierarchical clothing codes to create a new “CHANEL folklore.”

Blazy’s vision is “sensorially pleasurable and experimental.” He treats the House codes not as a rigid brand exercise, but as an elemental architecture. The double C is woven into the very structure of the garments, reflecting the sinuous contours Gabrielle introduced in the 1930s.

One cannot ignore the heavy, intellectual wink to John Galliano’s newspaper era. Throughout the runway, there is an echo—a sarcastic homage to the “newsprint” suits and dresses that once scandalized the industry. In Blazy’s hands, this is refined. We see springy tweeds and washed cotton canvas suiting that carry a graphic, ink-on-paper energy, particularly in the sharp-shouldered silhouettes that command attention before they even reach the light.

The “salon” has officially slipped into the beach, and the result is a folklore of fashion that Gabrielle herself would have recognized: a smart, attractive modernity that demands nothing less than total freedom.

The question remains: in this new era of “barefoot” luxury, are you ready to be the caterpillar by day and the butterfly—or perhaps the mermaid—by night?