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The brief that David Sims (@davidsimsofficial) gave Charlotte Cotton, the curator of his show at the MOP Foundation in A Coruña, Spain, was loose, to say the least: “Just don’t put any dresses in.”
One of the most sought-after photographers in fashion, Sims’ curatorial counsel seemed contrarian to a fault. But after speaking for a few hours, @TimBlanks saw it was in character. “I’m not really interested in clothes,” he explains.
Ahead of the show’s public opening on November 21, the photographer spoke to Blanks about his path from early-90s upstart to one of the most prolific names in fashion photography. Read more #linkinbio
📷 @davidsimsofficial
02 Nov 2026
Earlier this year, Miuccia Prada and I were talking about her brand’s old ad campaigns, particularly my favourites, the ones that Glen Luchford photographed with Amber Valletta in 1997 and 1998. She remembered Luchford waiting all day for the perfect light, then taking one picture. That reminded her of the month she spent in 1988 working on Prada’s very first collection catalogue with her close friend and fashion confidante Manuela Pavesi and photographer Albert Watson. “A month! Imagine that!” she marvelled. Such different times. “We lived in an open and creative world, but also it was much smaller. Now the world is all.”
Now we’re in Milan, stewing in the heatwave of the century, which is even more incentive to wonder if Miuccia misses those early days, especially in the wake of Pavesi’s death in 2015. “This is always the question,” she says. “First of all, not in principle, because your life and your work is to understand the present and live with it and engage with it, but for sure, nostalgia can be strong. You recognise the good things of that moment, the free spirits. The world was small, now the world is all around you, so you have to understand, respect and accept everybody. This moment is as exciting because it’s so difficult, so different, so new. But for sure, it’s not easy.” So that is the warp and weft of the modern world which we find ourselves reviewing for a couple of hours. From the outset, she is an extraordinarily good-humoured interviewee with the most contagious chuckle, which arrives with gratifying frequency.
For the first of this year’s #BoF500 Cover Stories, #MiucciaPrada sat down with editor-at-large @TimBlanks in Milan to discuss the future of Prada Group and what she’ll leave behind. Read now #linkinbio
📷 #NigelShafran
05 Oct 2026
The second day of Paris Fashion Week saw Saint Laurent, Dior and Maison Margiela take three very different approaches to navigating a changing fashion landscape.
Read Tim Blanks’ (@timblanks) full report on day two and join the conversation on site to see what BoF Professional members have to say #linkinbio
📷 Spotlight/Launchmetrics.com, @ysl, @dior, @maisonmargiela
30 Sep 2026
For the last twelve months, @Demna has played therapist to @Gucci’s ‘multiple personality disorder.’
“After [my runway debut in] February, I realised I needed to really understand what my Gucci identity is,” said the designer. “I think my aesthetic at Gucci is more snobby than sexy. I needed to take apart all of the layers of this messy mille-feuille to understand what the ingredients are and to come up with my own recipe.”
His latest session for Spring/Summer 2027 was a breakthrough.
“This is finally my idea of Gucci. You like it or not, this is what it is.”
Read @TimBlanks’ full report and join the conversation online #linkinbio
📷 Spotlight/Launchmetrics.com
🎥 @imranamed
26 Sep 2026
It’s been three years since Christopher Kane closed his much-mourned namesake label. That was enough to make his comeback on Sunday afternoon as creative director of British heritage brand @mulberryengland the most anticipated show of London Fashion Week. Over the decades, Mulberry accrued a motley kind of cool via football casuals in logo-ed sweatshirts, yuppies clutching croc-covered Filofaxes and “It Girls” toting purses named for them, but it’s been nearly 10 years since it’s been seen on a London catwalk. Call this a double comeback, then.
What makes it fascinating — doubly so — is that designer and brand seem like such an odd couple. Kane acknowledged as much when he said the approach came as a surprise. But start looking for similarities, not differences, and a more nuanced picture emerges.
Read the full interview and more about the show by Editor-at-Large @TimBlanks #linkinbio
📷 @dougie_irvine for BoF
🎥 @an_gel_n
20 Sep 2026
@antonperich was among the first to document New York’s art, fashion and nightlife with a Sony Portapak, capturing Andy Warhol, the city’s clubs, fashion shows and creative underground. His archive remains one of the most immediate records of downtown New York from the 1970s onwards.
For System Issue No. 25, @timblanks revisits Perich’s archive across a print feature and an accompanying film, bringing together hundreds of hours of footage from one of New York’s most remarkable visual archives.
Written and narrated by @timblanks.
Discover the complete story in System Issue No. 25, and follow @publicaccess.movie for more information on the forthcoming release of the 'Public Access' documentary.
#AntonPerich #TimBlanks #SystemMagazine
23 Jul 2026
Épisode 2 of the @timblanks interview is out on all your favorite platforms! #aucoeurdelamode #pfw
08 Jul 2026
Chanel is once again fashion’s fairy tale, and the man responsible deliberately framed and presented his new collection in fairytale terms. He’d originally been planning “something extremely minimal, pure and a little bit Chanel” until he saw a documentary about the origin and transmission of stories, the great primal narratives that lie at the root of human myths and legends.The way, for example, that “David and Goliath” precedes “Jack and the Beanstalk.”
Blazy became obsessed with that particular story, wondering how it could be applied to Gabrielle’s own: the urchin who climbs the social ladder and finds enormous success.
His inspiration was confirmed when he came across Contes des Fées while he was browsing in Gabrielle’s library. This ancient, tiny and clearly cherished compendium of fairy stories derived from masters such as Charles Perrault and the Grimm Brothers became Blazy’s bible for his collection.
Read Tim Blanks (@timblanks)’ full report on Matthieu Blazy’s sophomore couture collection for Chanel at the #linkinbio
📷 @chanelofficial, Spotlight/Launchmetrics.com
08 Jul 2026
Designer Lutz Huelle (@lutz_huelle_paris) has just signed a long-term licensing agreement with DAL Trading, a family-owned manufacturing company based in Italy’s Marche region, and its promise is a new model for independent designers.
Huelle’s career is an unwitting paradigm for how all the small miracles of fashion were crushed by the wheels of industry. “Felipe Oliveira Baptista, AF Vandervorst, Anne Valérie Hash, Gaspard Yurkievich, Jeremy Scott, that was my generation,” he muses. “The only person who kind of managed to come back now is Haider Ackermann. Otherwise, from my generation, there’s no one left, and it makes me really sad to be honest.”
Tim Blanks (@timblanks) spoke to Huelle about fashion's lost generation—and the deal he hopes will change the script. Read more #linkinbio
📷 @simonhabegger, @lutz_huelle_paris
07 Jul 2026
The Jean Gabin of fashion! @timblanks reflects on his astounding career on AU CŒUR DE LA MODE et l’épisode est doublé en français! The @bof fashion critique superstar tells all! Dont miss the two épisodes on all streaming platforms! #fashion
01 Jul 2026
Fashion’s Mona Lisa is Canadian model Kirsten Owen as she was photographed in the mid-’80s by Paolo Roversi in his friend Romeo Gigli’s designs. Owen was 16 when she first sat for Roversi, but her haunted, haunting composure belies her age. She is quite the match of Leonardo’s Renaissance original. “My angel of light,” Roversi calls her now. “Much better than a muse, she was really unique, the first model who taught me that fashion photography could touch another dimension.”
It’s that other dimension that gives Roversi’s work its power. Imagine if someone had a camera in Byzantium. “I think my work is very spiritual, because I’m not satisfied only by reality. I’m always trying to touch another energy.”
Read the full interview where Roversi opens up to Tim Blanks (@timblanks) about the soul, doubt and paradox that powers his work. #linkinbio
📷 @roversi
19 Jun 2026
For four decades, Dries Van Noten defined a singular path in global fashion with a universe rooted in intellectual rigour, exquisite craftsmanship and independence. When he stepped back from his eponymous brand last year, it wasn’t a retreat into a quiet retirement. Instead, Van Noten has embarked on a profound transition — moving from the relentless, dictated rhythm of fashion to a new life as a custodian of culture in Venice.
Van Noten has established a new foundation (@fondazionedriesvannoten) at the Palazzo Pisani Moretta, a space dedicated to the beauty of craftsmanship and the belief that in a world marked by global uncertainty, the act of making something beautiful is the ultimate form of protest.
In this special episode of The BoF Podcast, our editor-at-large Tim Blanks (@timblanks) speaks to Dries Van Noten about this remarkable transition to becoming a custodian of beauty.
🎙️ Listen now #linkinbio #TheBoFPodcast
📷 Fe Pinheiro
02 May 2026
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