Group projectSS26
Pop-up Cornerinside La Rinascente
Buying orders and Visual renderings — the Mugler SS26 “Meta-Morph Lab” pop-up in La Rinascente, Milano.
- Bhanvi Bansal
- Camilla Caccialanza
- Tamanna Gupta
- Purna Hemnani
- Simona Ye
Enter the lab
Buying orders and Visual renderings — the Mugler SS26 “Meta-Morph Lab” pop-up in La Rinascente, Milano.
“Clothes should empower women, not make them feel like OBJECTS”
— Manfred Thierry Mugler
Thierry Mugler was not just a fashion designer but also a photographer, director and performer, which strongly shaped the brand’s theatrical and futuristic identity.
His designs focused on sharp tailoring, exaggerated silhouettes, corsetry and dramatic forms that celebrated strength, sensuality, and power rather than softness or minimalism.
Unlike traditional luxury designers, Mugler blurred the boundaries between fashion and performance creating runway shows that felt like cinematic events.
Overall, Thierry Mugler laid the foundation for a fashion house that goes beyond clothing and functions as a statement of power, identity, and transformation.
On 1 April 2025, Miguel Castro Freitas, a Portuguese fashion designer and graduate of Central Saint Martins, became the new Creative Director of Mugler, replacing Casey Cadwallader in the position.
Before his appointment, Freitas had gained a lot of experience in the key European fashion houses, including working at Dior under John Galliano, Yves Saint Laurent under Stefano Pilati, and Lanvin under Alber Elbaz.
This experience base indicates a career that is well-established in technical craftsmanship, tailoring of clothes and knowledge of the heritage of luxury, which makes him a leader who can strike a balance between the historical identity of Mugler and modern innovation.
The appointment of Freitas is an opportune time in the creative development of Mugler, a transition to designers who are more focused on structural rigor and technique without disregarding the avant-garde heritage of the house.
His first collection under the Spring/Summer 2026 was to be shown at Paris Fashion Week, which highlights the brand’s desire to introduce its new design language to the world.
It is observed that his less visible public image is a contrast to the more visible tenure of his predecessor, but industry commentary and early creative manifestations indicate a calculated re-setting of the visual and cultural narrative of the house under his leadership.
Danièle Lahana-Aidenbaum is the Global President of Mugler Fashion and Fragrances, which she took over in October 2022 as part of the L’Oréal Produits de Luxe International division after being promoted to the position following her previous leadership positions in the L’Oréal organization.
She replaced Sandrine Groslier and Lahana-Aidenbaum reports to the senior management, which is a reflection of the merging of the fashion and fragrance business units of Mugler under a single global strategy.
Her career in L’Oréal includes leadership roles in skincare and cosmetics marketing, general management roles in brands such as Lancôme France and It Cosmetics Europe, and senior roles in global marketing in Lancôme fragrances.
As Global President, Lahana-Aidenbaum is in charge of managing:
This position has entailed striking a balance between the daring heritage of the house and the modern market needs, whereby the creative and business interests are in tandem in the international markets.
Mugler has undergone changes in leadership under her watch and has strengthened its position in the luxury segment of L’Oréal, which is an indication of a wider corporate focus on maintaining the unique identity of Mugler and expanding its reach in selective luxury markets.
Progressive atelier that is inspirational due to fearless inventiveness, it strives to create structured, sculpted clothes that will give wearers a very special kind of visual armor. In perfumes, it aims to break the rules by introducing hyper-characterized perfumes with a combination of alchemy and harmony with daring key notes. Every campaign will be formatted as a theatrical storytelling performance, which adds fantasy and drama to the introduction of products.
The brand is to be a force of radical self-acceptance and diversity and build a strong community of people sharing mutual values of freedom and confidence.
To subvert all identities in using the MUGLER aesthetic to sublimate all types of people on the runway and in campaigns by celebrating and championing diversity based on gender, age, ethnicity and body type. The brand holds the belief in the freedom of expression without restriction.
To create the Mugler Circle, which people will desire to be a part of, it is necessary to create a place where it is believed that the shared values of joy, energy, and audacity can change the world.
…is to become a transformational, cross-disciplinary universe in which anything can be created to disrupt all traditional codes of luxury and beauty to evoke the sense of complete, hyper-charged self-expression.
The brand is essentially motivated to:
Thierry Mugler is a luxury fashion and fragrance house defined by its refusal of boundaries, compromise, and consensus, positioning itself as a brand of today built on a bold and unconventional legacy.
The foundations of Mugler’s identity are anchored in the creation of an immersive universe that functions as a portal to a world where anything is possible — an “out of this world” space in which luxury is understood as excess, intensity, and the extraordinary rather than restraint.
Mugler’s DNA is expressed through:
The brand’s value proposition lies in its ability to merge creativity, provocation, and transformation, offering consumers an expressive platform where individuality, sensuality, and power are amplified. In this universe, Mugler redefines contemporary luxury as limitless, performative, and unapologetically bold.
“A portal to a universe where anything is possible, a place out of this world where luxury means excess, no limit, extraordinary.”
The logo of the brand has been dominated by the use of a wordmark, which is reminiscent of the signature of Thierry Mugler, and the only significant change in its design occurred once: fonts like La Compagnie Des Ombres and Southern Aire come to mind with the recognizable sharp, angular lines in the logo.
The logo underwent slight changes over the years. Whose changes were mainly concerned with the colour palette that started with a blue scheme, then to a black scheme, and finally to a blend of black and light blue.
After the recruitment of David Koma as the creative director, the redesign of the visual identity of the brand was done. The present-day logo has been updated to feature exclusively the wordmark of Mugler, which is written in all caps in a custom typeface similar to Nexa Bold.
The font is very sleek and contemporary and its lettering has been very well spaced detailing the brand philosophy and values by depicting a creative, powerful, sophisticated and exquisite brand.
In the packaging approach, Mugler focuses on the fact that the bottles of perfume are not disposable but sculptural objects that should be used over an extended period. The designs of the Angel star and Alien bottles (talisman) can be seen as iconic as they contain bold geometry and jewel-like faceting to make the brand more recognizable and communicate:
This strategy makes the packaging of Mugler more related to collectible design, which contributes greatly to brand equity.
Since 1992, refillability has been a key focus of the brand as customers are able to use the original bottles they purchased on a second occasion. Mugler was one of the first luxury fragrance houses to make refilling a retail service, and it has developed a home refilling service.
Mugler believes that refillability is at the core of its sustainable actions; it aims at increasing the lifespan of its beautifully designed bottles instead of redesigning materials. The brand balances between luxury and sustainability by maintaining the practice of care in its packaging waste reduction.
Secondary packaging, like gift sets and cartons, further disseminates this effort by incorporating FSC-certified cardboard along with a smaller number of plastic components, which will provide visual continuity across every scent line, but, in addition, enhance sustainability.
Sustainability at Mugler focuses on its innovative refillable perfume system, which fosters the idea of a circular economy, giving clients an opportunity to refill their bottles by using its so-called Fountains or by home refill services, significantly reducing waste (glass, plastic, metal, cardboard) and environmental impact, and is dedicated to ethically sourced and naturally found ingredients, eco-designed packaging and pop-ups, which make it one of the first responsible luxury fragrance.
The sustainability of Mugler in the field of beauty is its innovative 360-degree refill system, which has existed since 1992.
The fashion house has also gone further in the more responsible direction under the leadership of Casey Cadwallader.
Mugler operates a hybrid luxury business model that balances cultural impact with commercial scalability.
The brand uses fashion as a high-visibility creative engine while relying on fragrances as its primary revenue driver and global access point. This structure allows Mugler to maintain avant-garde credibility while achieving international scale.
Supported by L’Oréal’s global infrastructure, Mugler benefits from strong distribution, operational efficiency, and long-term brand sustainability while preserving its disruptive positioning.
The Keller’s Model applied to Mugler explains why the brand hits so hard for a very specific crowd.
At the base, salience is high thanks to instant fashion recognition and pop-culture visibility. Move up and you get performance and imagery: sharp tailoring, body-sculpting fits, and a futuristic, sensual aesthetic that doesn’t bother being subtle. That feeds into judgements of boldness and innovation, and feelings of confidence and empowerment.
At the top sits resonance where Mugler earns niche loyalty and a strong identity. Not mass appeal, not trying to be. The point is devotion, not democracy.
The digital identity of Mugler is very similar to its historical status as a luxury brand that is avant-garde and future-oriented.
The brand has continued to bring its themes of transformation, sensuality, and fantasy into the digital realm, so that there is continuity between its physical products and its online presence.
Official Mugler Instagram account
One of the most important achievements in the digital strategy of Mugler was its move into Web3 and digital art with the launch of digital collectibles to mark the 30th anniversary of Angel fragrance. The NFTs were designed in partnership with digital artist Marc Tudisco and reimagined the Angel universe in 3D digital avatars and surreal imagery.
Mugler has incorporated the use of augmented reality in its marketing approach, especially in the launch of fragrances like Angel Elixir. In some European airports, AR mirrors were installed that enabled consumers to engage with the brand digitally by overlaying visuals based on the cosmic and star-related iconography of Mugler.
These passports allow authentication, traceability and access to exclusive digital content, which is indicative of Mugler using digital identity as a transparency and long-term consumer engagement tool. Mugler launched digital product passports on a blockchain platform Arianee in collaboration with a few fashion products, especially handbags.
The digital identity of Mugler is also supported by the highly stylized social media content and celebrity-based digital campaigns. Instead of concentrating on product, the digital communication of Mugler is based on emotion, empowerment and cultural influence. The brand employs Instagram to enhance bold visual stories, performance-based images, and inclusive portrayals of identity.
Mugler naturally falls under “Excitement” because the brand is: bold · provocative · futuristic · emotionally charged. It thrives on visibility, performance and transformation, using fashion as a tool for power and sensuality rather than subtle elegance.
Its image is defined by sculptural silhouettes, corsetry and dramatic design language, reinforced through strong celebrity presence and pop-culture relevance.
Was the biggest commercial engagement between the brand and the largest scope of consumers, making the signature corsetry, cut-outs, and sculptural silhouettes of the Mugler brand accessible to more people. It was sold out fast and increased the global recognition without hurting the luxury status of the brand.
Is among the most significant long-term partnerships, which involves the body-oriented design of Mugler and Wolford technical fabric experience. It was able to translate the second-skin concept of Mugler into repeatable and wearable products.
Brought an element of the Mugler futuristic style to eyewear, which was highly appealing to Gen Z and Asian markets without showing disrespect to the visual language of the brand.
Partnerships with singers are more image than product based and they represent the Mugler woman of the present day. Their red carpet and performance appearance made Mugler designs trendy viruses.
The main Mugler customer is mostly those aged between 25 and 45. It targets all sexes, which indicates a high degree of inclusivity. Mugler’s customers are mostly professionals working in the creative sector and in professional jobs in cities. The level of income is generally medium-high to high.
The largest sector of consumers of Mugler can be found in the world fashion centres and big cities, including:
The Mugler consumer is assertive, assured and self-reliant and fashion is a means of expressing themselves and gaining power. This consumer cares about body positivity, inclusivity, and identity freedom. As consumers, they are emotionally oriented and they are swayed by high visual narrative and cultural identity.
Mugler’s consumers can be picky and choose deliberately, as they prefer iconic clothes rather than the basic elements of their wardrobe. The consumer is very digitally active and needs to find products on social media, celebrities and runway imagery.
Mugler is also competing in a low-impact design, body empowerment, and visual boldness niche. The brand is stylistically distinct with sculptural tailoring, allusions to the future and heavy focus on transformation, which puts it in direct competition with Jean Paul Gaultier, Rick Owens, and Balmain.
Appeals to the same need to have power and glamour, but with a traditional luxury and celebrity-driven approach. Regarding the pricing strategy, Mugler is strategically placed between embodiment and affordability.
An important competitor with its capabilities to transform provocative aesthetics and body-focused silhouettes into a more affordable product line.
The closest stylistic competitor because it has a common background of corsetry, sensuality, and cultural provocation.
Works on an emotional and conceptual level, which provides a different image of power based on dystopian minimalism.
This competition enables Mugler to capture luxury customers interested in the iconic style and the younger generation interested in the bold and trend-setting imagery, reinforcing the brand as a cultural icon and expanding its market share.
Jean Paul Gaultier was established in 1976 under the name Jean Paul Gaultier who soon gained a reputation as the enfant terrible of the French fashion due to his radical, anti-conformist approach.
The stylistic characteristic of Jean Paul Gaultier is characterized by corsetry and lingerie clothing, gender fluidity, and provocative body shapes. The references to icons like cone bras, body-conscious tailoring, and fetish help the brand come very close to the aesthetic world of Mugler.
Nonetheless, where Mugler focuses on the futuristic, sculptural accuracy and strength, Gaultier applies a more ironic, light-hearted and dramatic stance, relying frequently on the use of humor and cultural commentary.
Jean Paul Gaultier is in the luxury market with ready-to-wear and, most of all, haute couture products priced at the same or slightly higher price point than Mugler due to the strong couture heritage and artisanal complexity of the brand.
Other significant similarities between both brands. They both commonly work with stretch fabrics, corsetry forms, latex, mesh, technical knits, and body-enhancing materials intended to emphasize and make a statement out of the human form.
The two are also very dependent on suggestive imagery, inclusivity, a sense of solid sexual identity, and an appeal to pop-culture, making their clothes appear as instruments of empowerment and self-expression, not mere clothing items.
Mugler’s online showroom, analysed category by category: where the pieces are made, the colours that stand out, the fibres used, the price range and how many pieces are on the site today.
Pick a category to explore it — and open the catalogue pages as they appear in our analysis.
Based on Mugler’s Virtual Showroom category breakdown, the assortment is clearly led by Dresses (25.4%) and Tops (20.1%), supported by Outerwear (15.7%) and Trousers (11.2%).
This indicates Mugler’s core offer is built around silhouette-driven categories, while denim, leather and bodysuits play a smaller supporting role. We use this category mix as a benchmark to understand Mugler’s commercial focus before developing our channel-specific buying strategy.
One of the last Mugler outlets has already made a debut in China, which reflects new design and artistry. The store was designed together with the Creative Director of Mugler, Casey Cadwallader and has shown careful details especially on how the perfume stands are designed.
The design focuses on the bold and angular style, which reminds the lively air in Mugler fashion shows and films, though it is diluted with the help of hazy smoked glass that creates an air of mystery and scatters light.
The use of blue anodised aluminium as an element of the design is interesting in that it is a variation of the iconic Mugler blue and works as an effective way of displaying the luxury items. The name of the store is written on a shimmering silvery chrome background, which gives a good contrast to the blue background.
The perfume stand featuring geometric beauty of bismuth crystals is one of the most outstanding elements in design. This artwork has been designed with accuracy in order to rise the perfume bottles with each having a special dropper capable of taking out the dry perfume grains as well as embedded lights to increase the downward visibility.
The stands are made by Rizoma, which is known to be precise in the engineering of motorcycles mirrors.
It is worth noting that the store will be a temporary one, and it will stay in the Reel shopping district of Shanghai only a year. It has been designed with modularity, which implies that it can be dismantled and transported to other locations, as a way of both representing innovation in retailing space design and a desire to be brand flexible.
Pierre Balmain and Mugler are French fashion houses that will enhance their market share in Milan by establishing the first brick-and-mortar stores.
The segment of Balmain Paris, Pierre Balmain, has occupied 120 square meters of the baroque Palazzo Gallarati Scotti, the design concept is a blend of mid-twentieth century Parisian allusions and contemporary urban accents. It is expected to open the store on June 22, 2013, which will have the complete line of the brand in men and women apparel, as well as footwear and accessories.
Mugler, which is closely neighboring, will release its first store three days later in the form of a shop-in-shop boutique inside an ITS30 department store on 30 via Manzoni.
The interior design of the Mugler boutique covers a vast area of more than 90 square meters and is supposed to be made to convey the unique visual identity of the brand, which is a bold contrast between the original eighteenth-century frescoes and its contemporary elements made of metals.
It is also an important component in the overall global development plan of Mugler that includes the intention of opening independent boutiques in Paris and Hong Kong within the next two years to complement its current distribution through more than 100 multi-brand outlets around the world.
Selfridges in partnership with Mugler is also highlighting the iconic designs of the 1980s and 1990s in a pop-up exhibition with a new capsule line called Re/edit. This exhibition which started on July 6th and runs through October 12 highlights 24 reimagined objects, featuring the key aspects of the Mugler aesthetic in these 20 years, such as precision tailoring, lingerie-informed detail, and sculptural eveningwear that bring haute couture and ready-to-wear fashion into a new paradigm.
Random Studio has developed a brand set-up in Selfridges Corner Shop in London, to celebrate 30 years of the famous Mugler fragrance, Angel. The design of the installation is inspired by the female body, and the sculpture is deconstructed to illustrate a reclining woman. This new way of architecture involves the use of reflective materials where the space is distorted to produce images which break the space into separate retail spaces. The sculptures themselves have their inside painted in the same shade of blue as the Angel perfume bottle.
The fragrance collection of Mugler is well-designed in the form of the leg segment of the structure, which is structured around a special drop-style fountain where the visitors can refill their perfume bottles. The body of the sculpture is used as an excellent changing room to put on the exhibited clothes. This brand experience is enhanced with another element, which is the Synesthesia Chamber, which includes the use of light, color, sound, and scent.
The visitors will be enticed into the installation by a siren-like voice that will be produced by a scent sculpture in the center of the installation that contains an oscillating light to help in adding up to the immersive quality of this pop-up installation.
Another well-done pop-up store was the one made in collaboration with GENTLE MONSTER, the Korean eyewear brand. On the official site of the Korean brand it is possible to read:
“Special pop-up events will take place in Seoul and Shanghai to celebrate Gentle Monster and Mugler’s collaboration collection, which will launch worldwide on July 18th. Explore pop-ups that embody the boldness and dynamism of Mugler and Gentle Monster through the movements of their kinetic objects”
In the middle of the store it was possible to see a robot with human appearance in motion wearing the glasses, key element of this collection in collaboration with Mugler. Around the robot they put some panels made with elastic metallic material recalling the iconic shapes and materials used by Mugler, enhancing the collaboration between the two brands.
Trend cards: The #WaistFocus blazer · Strong shoulder · The reworked shirt · Draped top · Fluted hems · #PrettyFeminine #SlipDress · #SoftVolume blouse · The voluminous column dress — tap to enlarge
S/S 2026 season is based on an international transition toward flexibility, personal comfort, and expressive uniqueness.
The consumers are demanding fashion that is easy, affordable, and stylish in response to social and economic uncertainty. The trend forecasting points out a shift from minimal, extremely manufactured clothing to the flexibility of shapes and flowing models.
Inspiration draws fromThis season represents a wish of the clothing that is personal, stretchy, and emotionally charged.
The major trends of S/S 2026 focus on wearable clothes with elements of statement:
These garments uphold the idea of modular style and promote the re-use in various situations.
Product categories gaining importance for S/S 2026 include:
sheer, asymmetric, halter-neck, and midi-length styles
relaxed pencil skirts, fluted hems, asymmetric cuts
Bermudas and culotte-style silhouettes
softened blazers, lightweight jackets, sleeveless tailoring
halter-necks, peplum-influenced shapes, structured yet fluid styles
S/S 2026 silhouettes reflect a change in direction regarding fluidity and movement:
The overall silhouette orientation is more relaxed, expressive and adaptable.
The S/S 2026 style direction can be described as relaxed elegance:
Demure dressing trends and modern bohemia trends are presented in the sophisticated, current form, which is interested in comfort, ease and uniqueness.
Material trends for S/S 2026 highlight lightness, texture, and movement:
Material choices enhance both comfort and visual depth.
The colour direction for S/S 2026 balances depth with freshness:
The S/S 2026 palette is built around versatile, tonal combinations:
Example palette groupings include: black, deep red and grey · teal, navy and soft blue · neutral bases layered with seasonal accent colours. This palette approach supports longevity, mix-and-match styling, and commercial viability.
The Mugler SS26 Pop-Up at La Rinascente Milano is conceived as an immersive temporary retail laboratory where fashion, technology and the human body intersect.
Rather than functioning as a conventional pop-up store, the project introduces an experiential retail format titled “Meta-Morph Lab”, transforming shopping into a performative journey of personal transformation.
The installation translates Mugler’s heritage of body architecture, futuristic sensuality and theatrical performance into a compact but highly immersive physical-digital environment.
The pop-up operates simultaneously asThe primary objective is to attract Generation Z and Millennial consumers by transforming shopping into a personalised and emotionally engaging experience, reinforcing Mugler’s positioning as one of the most radical and technologically advanced fashion houses in contemporary luxury.
Visitors enter the pop-up as themselves and exit with a personalised “Mugler Body”; a digital identity shaped by Mugler silhouettes, fragrance and styling recommendations.
The aim of this pop-up store is not only to make the sales perform more efficiently in the short term, but also to position the Mugler brand as a technologically advanced, body-centric and culturally relevant luxury house for a new generation of consumers.
The strategy is designed toTwo different but complementary OTBs are put in place, to reflect the different roles considered for the physical pop-up and for the digital channel.
This audience views fashion not merely as clothing, but as a way for personal branding, performance and identity construction. Mugler’s body-architectural DNA, sensual futurism and theatrical heritage have strong resonance with a generation that wants individuality, empowerment and visual impact.
The pop-up is surrounded by a curated cluster of avant-garde and experimental luxury brands including:
This cluster creates a strong “Avant-Garde Luxury Zone” that naturally attracts early adopters, fashion students and trend-conscious shoppers. Positioned at the centre of this ecosystem, Mugler becomes the innovation nucleus of the fashion floor.
Sofia is ambitious, image-conscious, and strategically uses fashion to build professional credibility. Her shopping behaviour is frequent but curated, influenced by runway shows, editorials, and stylist recommendations — that is why she chooses to take some time for herself and go shopping at La Rinascente.
Marco is analytical, trend-aware, and highly knowledgeable about luxury positioning. His purchasing behaviour is rational and deliberate, influenced by seasonal collections, sales performance, and competitive brand mapping — that is why he frequently goes to La Rinascente: to keep in touch with trends.
The entire installation is designed as a single circular transformation machine titled the Meta-Morph Ring. At the centre of the space stands a cylindrical mirrored tower — the Meta Body Core — visible from all surrounding corridors. Around this core, visitors follow a slow circular path where experiential and retail functions are embedded along the perimeter.
This ring-based layout allows a complex narrative experience to unfold within a highly efficient footprint through:
The six stages function as layered touchpoints along one continuous circulation ring rather than six separate rooms. The layout prioritises perimeter-based merchandising and vertical / digital storytelling to preserve circulation and avoid congestion.
LED archive wall, RTW rails, fragrance bar and checkout pod remain flush to the perimeter, maintaining an open central field.
Digital slot booking for Body Scan and Meta-Morph Core. Waiting is managed outside the pop-up boundary along the corridor to prevent internal queues.
Body Scan Portal ~30 s per guest · Meta-Morph Core ~60–90 s per guest. Fitting uses La Rinascente’s central rooms via guided access, plus one compact quick-try corner for hero silhouettes.
Given the use of body-scanning technology, privacy protection is a core design principle of the Meta-Morph Lab. Only minimal biometric information is captured, limited to anonymous silhouette classification and posture mapping. No facial recognition, identity data or precise biometric measurements are stored. All avatars are generated using temporary session-based IDs and are anonymised by default.
Clear consent screens, visible data-use explanations and opt-out options ensure full transparency and GDPR compliance, reinforcing trust and ethical innovation.
Each hero product is linked to a blockchain-enabled Digital Fashion Passport providing:
Clients gain access to personalised ownership records, exclusive Mugler content, and invitations to future drops and private events.
The offline buy is built around statement categories that work best in a physical pop-up. The mix is led by tops and long dresses (together around half of total units), supported by a strong share of jackets. This creates a clear Mugler “silhouette-led” offer on the floor, while still keeping enough variety for styling and cross-selling.
Reason whyThis online buy is built around a tight core wardrobe mix (Denim / Jackets / Pants / Fully Fashioned Knits). Instead of spreading units across many fashion categories, the order concentrates on high-wear, high-repeat items that shoppers are more likely to search for and repurchase online.
Reason whyEvery outfit from the order, rebuilt as a floating runway composition. Move your cursor across the stage to tilt it, spin the ring to change look, and tap any garment to jump to its row in the order form.
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Vogue, Thierry Mugler retrospective. [Online] [Accesed 20 December 2025] https://www.vogue.com/article/vd-thierry-mugler
BluCactus, What is Jean Paul Gaultier’s marketing strategy?. [Online] [Accesed 15 December 2025] https://blucactus.blue/what-is-jean-paul-gaultiers-marketing-strategy
Diesel,Official website. [Online] [Accesed 15 December 2025] https://it.diesel.com/en
Jean Paul Gaultier, The designer. [Online] [Accesed 15 December 2025] https://www.jeanpaulgaultier.com/ww/en/gaultier-universe/the-designer
Le Monde (2025), Duran Lantink appointed creative director of Jean Paul Gaultier. [Online] [Accesed 15 December 2025] https://www.lemonde.fr/en/lifestyle/article/2025/04/15/duran-lantink-appointed-creative-director-of-jean-paul-gaultier_6740246_37.html
Victoria and Albert Museum, Alexander McQueen: an introduction. [Online] [Accesed 15 December 2025] https://www.vam.ac.uk/articles/alexander-mcqueen-an-introduction
Group project · Istituto Marangoni Milano · Fashion Management 3 · Economics and business management · Tutor Adriana Saralvo · Class 4 ENG