At Copenhagen Fashion Week this August, editors and street photographers noticed something impossible to ignore: bags are getting bigger. On the runways, Ferragamo and Louis Vuitton sent out models with large clutches that demanded a two-hand hold, while in the front row, guests tucked oversized suede pouches beneath sharply tailored coats. The message was clear after years of pretending we could fit our lives into Jacquemus micro-minis; fashion has swung hard in the opposite direction. The oversized clutch has emerged as a trend and a cultural correction. It is practical, sculptural, and designed for a world that craves both beauty and function in equal measure.

When Vogue's September issue landed in 2012, it was a literal doorstop. 916 pages with Lady Gaga on the cover, the heft of glossy paper echoing the weight of cultural power. Thirteen years later, the September story looks entirely different. Emma Stone fronts the 2025 package, but the magazine is no longer bound to page count. Instead, it is built around a couture-inspired capsule by Nicolas Ghesquière, photographed by Jamie Hawkesworth, and extended into films, podcasts, and behind-the-scenes reels. The September issue still exists, but its power is no longer measured by how high it stacks on the coffee table.

Beneath the golden sun of the French Riviera, a red carpet unfurls along the steps of the Palais des Festivals. Cameras flash. Gowns sweep the floor. And for a few days each spring, Cannes becomes something more than a film festival. It becomes a global stage where cinema meets fashion in its most spectacular form.