The 2026 CFDA Fashion Awards have found their voice for November: Keke Palmer, the multi-hyphenate entertainer whose career mirrors the very ethos the awards celebrate, fearless creative ambition across disciplines. Hosting on November 2 at the American Museum of Natural History, Palmer brings comedic timing, authentic fashion enthusiasm, and a platform built on controlled narrative (her book Master of Me literally wrote the blueprint) to an evening that has become non-negotiable for American design.

But this year’s announcement arrives with an undercurrent worth examining. Amazon Fashion returns as presenting sponsor, a partnership that crystallizes a tension reshaping American fashion‘s highest honors: the industry’s most important gatekeeping moments now depend on capital from companies whose relationship with fashion itself remains fundamentally extractive.

The CFDA Awards matter. They determine which American designers get international visibility, which emerge  into retail placement, which narratives dominate the conversation around American creativity. For 30 years, the awards have functioned as the industry’s truest meritocracy, a night where the CFDA Fashion Awards Guild (designers, editors, stylists, retail executives, influencers) votes on craft, not sales. The 30th anniversary of the CFDA Scholarship Fund underscores this commitment: the organization just raised a record amount to fund the next generation of American talent, a direct pipeline from emerging voices to established ones.

Yet the presenting sponsor slot increasingly belongs to corporations whose business models orbit fashion without necessarily advancing it. Amazon Fashion operates at scale, yes, but within an infrastructure predicated on rapid inventory turnover, algorithmically-driven recommendations, and price-point pressure that historically conflicts with the kind of considered design the CFDA celebrates. The company didn’t build its empire on championing emerging American designers; it built it on accessibility and convenience.

This mirrors a larger pattern. The Met Gala, fashion’s most visible fundraiser, sold its title sponsorship to Condé Nast in 2024 after Vogue’s longtime partnership with the Costume Institute. The specificity of that tie, Vogue editors curating the exhibition, designing the narrative, dissolved into a more transactional arrangement. And before that, luxury conglomerates and tech giants have gradually colonized fashion’s top  events, each adding capital and reach while subtly reshifting what “important” looks like.

The 2026 CFDA Awards will be a good night. Palmer will make it fun. The winners will deserve their recognition. But the sponsorship architecture tells a different story: that even American fashion’s most fiercely independent institutional moment has accepted a bargain with the machinery that flattens most of what it claims to celebrate.

The contradiction isn’t secret. Steven Kolb, CFDA’s CEO and President, praised Palmer’s authenticity and presence, language that affirms the awards’ values. But those values now coexist with a presenting partner whose algorithms don’t care about artistic vision, only conversion rates. It’s not malicious. It’s structural. Amazon needs the cultural cache; the CFDA needs the resources to operate and fund scholarships. Palmer, for her part, is genuinely the right choice, a storyteller who understands how fashion communicates before language even enters the room.

The 2026 CFDA Awards will be a good night. Palmer will make it fun. The winners will deserve their recognition. But the sponsorship architecture tells a different story: that even American fashion’s most fiercely independent institutional moment has accepted a bargain with the machinery that flattens most of what it claims to celebrate.

The real power of the evening will be seeing whether the designers and voters still manage to honor craft over convenience. That’s always been the CFDA’s actual gift to the industry, not the trophy, but the assertion that some things still get decided by people who know the difference.

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Alo presented its Fall 2026 collection with a campaign starring Kylie Jenner, captured by fashion photography duo Mert & Marcus in Los Angeles. The collection includes activewear and lifestyle pieces, with select styles appearing in the brand’s newly introduced Pink Marshmallow colorway. The project marks Jenner’s first official campaign with Alo after years of wearing the label outside of formal partnerships.

SPORTSWEAR

Alo builds the campaign around the parts of Jenner’s life that remain outside public view. The concept focuses on the routines that give her time away from cameras, including exercise, time with her children and slower moments during the day. Jenner connects these periods with feeling present and maintaining a sense of privacy within a life that has remained highly visible since childhood.

“Some of the most meaningful parts of my life happen when no one’s watching,” Jenner says in the campaign material. She adds that these periods of stillness help her feel grounded and that she has learned to protect them. For Jenner, the campaign reflects the importance of creating room for experiences that belong to her alone.

The collaboration grew from an existing connection with Alo. Summer Nacewicz, the brand’s EVP of Marketing and Creative, says Jenner had already supported and worn Alo for years before the two sides developed the campaign. Nacewicz describes the project as an opportunity to show a side of Jenner outside her public persona and connect it with the everyday habits behind Alo’s wellness message.

The Fall 2026 collection focuses on fitted activewear, cropped proportions and lightweight layers, with fabrics and finishes giving each piece a distinct character. The Alosoft Intuition Bra and High-Waist Intuition Capri come in Pink Marshmallow Heather and use Alo’s soft, breathable Alosoft fabric. The bra has a minimal, low-cut shape, while the capri introduces a below-the-knee length that shifts away from the full-length leggings usually associated with the category.

The Airlift Intrigue Bra uses Alo’s sculpting Airlift fabric, which offers a close and supportive fit with a smooth finish. The Alosoft Better Together pieces continue the softer side of the collection through a bra and 7/8 legging, while the Splendor Bra introduces a more delicate shape within the performance selection. The Aspire Tank adds another cropped option, including a Pink Marshmallow and white version.

Lightweight outerwear includes the Prismatic Jacket, made from fabric with an iridescent finish and offered in Pink Moonlight as well as black. The High-Waist Prismatic Short uses the same lightweight material, extending that reflective surface into another activewear category. The Sway Full Zip Hoodie brings a softer, more casual layer into the selection.

Footwear comes through the Alo Sunset Sneaker, including a Pink Marshmallow version. Across the collection, Alo works with Alosoft, Airlift and lightweight technical fabrics, while Pink Marshmallow, Pink Moonlight, black, gray and white shape the color palette. The range includes bras, capris, shorts, leggings, tanks, hoodies, outerwear and sneakers, keeping the focus on familiar activewear pieces while introducing new lengths, textures and seasonal shades.

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Set in central Athens, xenodocheio Milos is a five-star boutique hotel shaped around the Greek concept of philoxenia.

HOTELS

With 42 individually designed rooms and suites, the property offers an intimate urban stay defined by contemporary interiors, personalized service and close proximity to many of the city’s best-known destinations.

Location

The hotel occupies a central position within Athens, within walking distance of Syntagma Square, Ermou Street, Plaka, Monastiraki and the Acropolis. This makes it particularly suited to travelers who want to experience the city largely on foot, with shopping, historic districts and major cultural sites nearby.

Athens International Airport is approximately 35 kilometers from the property, while the hotel can arrange transportation for arrivals, departures and travel around the city.

Architecture and Design

xenodocheio Milos takes a contemporary approach to Greek luxury, favoring restrained interiors and natural materials over elaborate decoration. Marble and wood recur throughout the property, creating consistency between private rooms and shared areas.

The relatively small number of guestrooms also shapes the atmosphere. With 42 accommodations, the hotel maintains a more intimate scale than many larger five-star properties in Athens and places greater emphasis on individualized service.

Views provide another connection to the city. Selected accommodations overlook Lycabettus Hill and the Old Parliament House, while terrace rooms allow guests to spend more time outdoors without leaving the privacy of their room.

Rooms and Suites

Accommodation ranges from Classic Rooms and Executive Rooms to Junior Suites, terrace categories and the Milos Signature Suite. Families can choose the Classic Family Room, while several categories provide private terraces.

Wooden floors, marble bathrooms, Simmons beds, high-quality linens and bespoke amenities establish the basic room experience. Selected layouts introduce larger living areas and outdoor space, particularly within the Milos Terrace Room, Premium Milos Terrace Room and Milos Terrace Suite.

Each room also includes a Smart TV with streaming capabilities, Nespresso machine, tea-making facilities, minibar, rain shower, air conditioning, laptop-size safe, premium bathrobes and slippers, bottled water and high-speed Wi-Fi.

Amenities and Wellness

The hotel operates a 24-hour reception and concierge service, with staff available for transportation arrangements, luggage assistance and other requirements throughout the stay. Evening turndown, laundry and dry-cleaning services add another level of convenience.

For wellness, guests have access to a fitness suite equipped with Technogym machines and the Ariadne Spa Suite. The property also offers express check-in and check-out and complimentary Wi-Fi throughout the hotel.

Private spaces accommodate smaller meetings, executive gatherings and events, giving the hotel a practical business component alongside its leisure offering.

Dining

estiatorio Milos forms the hotel’s principal dining destination, serving Mediterranean and authentic Greek cuisine with an emphasis on fresh seafood and seasonal ingredients.

A signature breakfast is served daily, while 24-hour in-room dining gives guests access to the hotel’s culinary offering throughout the day. Private dining can also be arranged for meetings, gatherings and exclusive events.

With its compact scale and central location, xenodocheio Milos works particularly well for travelers seeking a refined base in Athens. Its combination of contemporary interiors, terraces, wellness facilities and attentive service creates a hotel experience closely connected to the pace and character of the city.

xenodocheio Milos
Kolokotroni 3-5, Athina 105 62, Greece
+30 21 6600 3300
info@xenodocheiomilos.com
www.xenodocheiomilos.com

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Finding the right hat begins with colour and shape, then extends to materials, fit and how the piece works with your wardrobe. A well-made custom hat can reflect your personal style, suit your daily needs and offer a level of comfort that standard designs often lack. Whether you need an everyday accessory, branded headwear for a business or a unique piece for an event, the result depends heavily on the maker you choose.

With many providers offering personalised headwear, knowing what to assess can help you balance quality, style and affordability. Here is how to find a custom hat maker that matches your needs and budget.

Start With What You Need

Before comparing hat makers, decide how the hats will be used and how many you need. A small order for a private event may allow greater attention to fabric, shape and individual details, while promotional or team orders usually require consistent sizing, durable materials and a supplier equipped for larger quantities.

Your deadline will also affect which suppliers can take on the project. A custom hat maker should be able to confirm production capacity and delivery timing before you place the order.

Review the Available Hat Styles

Not every manufacturer offers the same selection of hats. Choosing a custom hat maker with a varied catalogue gives you more freedom to compare shapes, materials and finishes before settling on the final design.

Look for options that include baseball caps, snapbacks, trucker caps, bucket hats, dad caps, beanies and wide brim hats. A wider range makes it easier to find a style that suits the design, intended use and budget.

Assess the Quality of Materials

The material affects how a custom hat looks, feels and wears over time. Cotton and cotton twill suit everyday styles, canvas offers a firmer structure, wool blends work well for colder seasons, and polyester fabrics support lightweight or performance focused designs. Trucker caps may also use mesh panels to improve ventilation.

Ask the maker which fabrics are available for each style and how they respond to embroidery, printing or patches. Lower cost materials may reduce the initial price, though they can also affect comfort, durability and the finish of the final design.

Review the Customisation Options

A professional custom hat maker should offer enough flexibility to translate your design into the finished product. Embroidery, screen printing, sublimation, woven or leather patches, custom colours, branded labels and personalised sizing each allow different levels of detail and adjustment.

Check which techniques each maker offers and whether they suit the chosen fabric and hat style. The more flexible the customisation process, the easier it becomes to create hats that accurately represent your business, organisation, or personal style.

Compare Pricing Carefully

Price matters, though the lowest quote may leave out services or fees that appear later. Ask each supplier for a full breakdown before comparing offers.

Check whether the price includes:

• Minimum order quantities
• Setup fees
• Artwork charges
• Shipping costs
• Bulk order discounts
• Design support

A transparent quote makes it easier to compare suppliers and understand the total cost before placing the order.

Review Previous Work and Client Feedback

A supplier’s portfolio can reveal the quality of its embroidery, stitching, colour reproduction and overall finish. Review completed projects closely to see whether the work remains consistent from one design to the next.

Customer testimonials and independent reviews can also offer insight into product quality, communication, delivery times, service and reliability. Consistent positive feedback can help confirm whether the supplier delivers what it promises.

Confirm Production and Delivery Times

Production times can vary depending on the order size and level of customisation. Before placing an order, ask when the design will be approved, how long manufacturing will take and when the hats are expected to arrive.

Check whether the supplier offers rush production when needed. Confirming the schedule early can help prevent delays before an event, campaign or product launch.

Check the Available Design Support

You may have an idea for the hat without finished artwork ready for production. Many custom hat makers offer in house design support to prepare logos, graphics and other details for the chosen style and manufacturing method.

This service can be especially valuable for businesses creating branded merchandise or individuals developing unique fashion pieces. An experienced design team can recommend suitable embroidery sizes, colour combinations, logo placement, and hat styles that enhance the final product.

Choose Experience and Industry Knowledge

An experienced custom hat maker understands how different fabrics, stitching techniques and production methods affect the finished product. Their expertise can help prevent common issues and ensure the hats meet both aesthetic and functional expectations.

Established manufacturers are also more likely to have refined quality control processes and reliable production systems that deliver consistent results.

Finally, choosing the right custom hat maker involves looking beyond price. By evaluating product quality, available styles, customisation options, customer reviews, design support, and production timelines, you can find a supplier that delivers outstanding value without compromising on quality.

Whether you are creating branded merchandise, promotional apparel, team uniforms or a personalised fashion accessory, comparing these factors can help you find a supplier that suits your style, budget and practical requirements.

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Purple has long carried associations with status, ceremony and creative expression. Its meaning changes with every shift in shade, material and setting. Pale lilac may give a room a softer atmosphere, while deep plum can add intensity to a fashion image. Violet flowers create a different impression from aubergine velvet or glossy purple packaging. Designers, florists and brands use these variations to shape how people experience an object, space or image before they consider its details.

The color’s history explains part of its visual authority. Ancient producers created Tyrian purple from secretions taken from Mediterranean sea snails. The process required extensive labour and large quantities of raw material, making the dye rare and expensive. Rulers, religious leaders and wealthy patrons used purple textiles to communicate rank and ceremonial importance throughout several ancient Mediterranean societies and the Byzantine Empire.

Access changed during the nineteenth century. British chemist William Henry Perkin discovered mauveine in 1856 while attempting to synthesise quinine. His synthetic dye allowed manufacturers to produce purple textiles at a much greater scale. Colors once associated with privilege entered popular fashion, printed fabric and domestic decoration. Purple kept its connection with ceremony, while new uses linked it with experimentation and individual taste.

Reading Different Purple Shades

Lavender, lilac and mauve create the lightest readings within the purple family. Their pale appearance often suits interiors, packaging and floral arrangements that seek a gentle or intimate quality. A lilac wall can soften a bedroom, while lavender paper can give fragrance or skincare packaging a delicate finish. White, cream and pale green can make these shades feel clearer and lighter.

Violet, orchid and amethyst create a stronger visual presence. Fashion and beauty brands often use these shades to attract attention while maintaining a polished character. They work well with charcoal, silver, dark brown and muted green, though the surrounding palette can make them appear cooler or warmer.

Plum, mulberry and aubergine bring greater density. These shades gain depth on velvet, satin, lacquer and polished leather because each surface reflects light differently. Matte paint, paper and wool absorb light and produce a heavier effect. The same dark purple can appear theatrical on silk and restrained on a structured coat.

Purple in Floral Design and Gifting

Florists use purple tones to establish the mood of an arrangement. A purple flower bouquet can range from formal to delicate depending on the flowers and tones selected. Violet calla lilies, lisianthus and dark dahlias create a denser arrangement, while lavender roses, sweet peas and freesia give it a lighter character. Mixing dark and pale flowers adds contrast, while green foliage gives the composition structure.

Flower type also changes the impression. Orchids can bring a sculptural quality, while lilac stems create a looser seasonal arrangement. A monochrome bouquet directs attention toward shape and texture. Cream, blush or green additions soften the color and make the arrangement feel less formal.

Purple works well for gifting because it can suit several occasions without relying on the familiar codes attached to red, white or yellow flowers. A deep violet arrangement may suit a formal event, while lavender tones can work for a birthday, personal gesture or intimate dinner. The recipient’s preferences should guide the selection. Choosing a shade that reflects their style makes the gift feel considered.

Purple in Interior Design

Scale plays an important role when purple enters an interior. Deep plum on every wall can make a small room feel enclosed, particularly when natural light remains limited. Used on one wall, an upholstered chair, curtains or a rug, the same color can add depth while leaving space for lighter materials.

Lavender and muted mauve suit bedrooms, dressing rooms and reading areas. Darker shades can bring warmth to dining rooms, libraries and hotel interiors. Brass, dark wood, stone and cream textiles work particularly well with plum and aubergine. Linen and plaster soften purple, while mirrored surfaces and lacquer increase its intensity.

Lighting can change the result throughout the day. Lilac may appear cool in morning light and warmer under evening lamps. Dark purple can feel rich in a bright room and heavy in a space with limited light. Designers therefore consider the color alongside orientation, materials and the room’s function.

Branding and Fashion

Purple gives brands an alternative to the blues, reds and blacks that dominate many visual identities. Electric violet can suit entertainment, and digital platforms, while muted mauve often appears in beauty, fragrance and editorial design. Typography and packaging materials determine whether the color reads as playful, refined or experimental.

Fashion reveals how strongly material shapes purple. Satin reflects light and gives violet a fluid appearance. Velvet intensifies darker shades, while wool creates a denser and more structured effect. Mulberry, wine and red-based purples tend to feel warmer, while blue-based violets appear cooler.

Purple works best when designers treat it as part of a complete composition. Shade, texture, proportion and surrounding colors define its effect. In flowers, interiors, branding and clothing, purple communicates through the details around it. Those details give the color its range and explain why it continues to hold such a distinctive place in visual culture.

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Troye Sivan launches a new chapter with “She’s the Best,” the first single from his upcoming fourth studio album, accompanied by a music video co-starring Nicole Kidman. Directed by Gordon Von Steiner, the video also arrives as Charli XCX makes a brief vocal appearance at the end of the song. Sivan will release the album She’s the Best on October 9.

MUSIC

The video places Sivan inside a club filled with drag performers, including Sasha Colby. Kidman watches from the room while sipping a drink as Sivan performs the track. By the end, the two appear together as Sivan performs in drag. Von Steiner previously directed Sivan’s videos for “Rush,” “Got Me Started” and “One of Your Girls,” all connected to his 2023 album Something to Give Each Other.

Kidman and Sivan already share a connection through Boy Erased, where they met in 2018. Sivan later described Kidman as someone who represents the feminine energy that inspired the new project. He sent her the song along with visual references for the video before she agreed to take part.

“She’s the Best” focuses on an unnamed woman and the small details that make her fascinating to Sivan. He described the song as a collage inspired by several women and feminine people in his life.

Sivan wrote the track with George Daniel, Jack Antonoff, Leland and Kaelyn Behr. Sivan, Daniel and Antonoff handled production alongside Styalz Fuego. The collaboration marks Sivan’s first time working with Daniel, drummer for The 1975 and Charli XCX’s husband.

Charli appears briefly at the end of the track. Sivan explained that her presence carries personal meaning for both him and Daniel because of their close relationships with her. The cameo also fits the broader focus of the song and album, which Sivan connects to the women and feminine people who have remained constant throughout his life.

The new material also shifts Sivan away from some of the subjects that shaped his earlier songwriting. He described “She’s the Best” as the first song where he stopped examining himself so closely and stopped writing about men. Instead, he turned toward the women who have surrounded him throughout different periods of his life.

Sivan describes the album as a record shaped by contrasting emotional states. Some songs capture the intense energy of the past few years, while others focus on solitude, longing and his private thoughts. He sees the project as layered, organic and alive, with both chaotic and introspective elements contributing to its overall direction.

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George Jaques has built his career both in front of and behind the camera, working as an actor, writer, director and producer. At 25, he has already acted opposite Jude Law in The Third Day: Autumn, appeared in The Serpent Queen and A Town Called Malice, and established himself as a writer, director and producer through his own projects. He founded Athenaeum Productions at just 16, staging his own theatre projects while still at school. His feature debut Black Dog, co-written with Jamie Flatters, premiered at the 2024 BFI London Film Festival and introduced a filmmaker interested in young characters, emotional instability and the relationships that form when people find themselves between one stage of life and another.

With Sunny Dancer, Jaques takes that interest into a very different setting. Written, directed and produced by him, the film stars Bella Ramsey as a teenage cancer survivor sent to a summer camp for young people affected by cancer, alongside Neil Patrick Harris, James Norton, Jessica Gunning, Ruby Stokes and a wider young ensemble. The film opened at the 2026 Berlin International Film Festival and draws partly from Jaques’ own experience after his mother was diagnosed with cancer when he was a teenager, as well as from his work as an ambassador for Teenage Cancer Trust.

It was never one big ‘ta-da’ moment where I discovered cinema – it was always about finding different ways to tell stories.

Jaques approaches the subject through comedy, friendship, music, first love and the awkward intensity of being young. In conversation with DSCENE editor Ana Markovic, he speaks about the early theatre work that led him into filmmaking, what acting taught him about directing, why Sunny Dancer needed humour, his collaboration with Ramsey and Este Haim, and how personal experience became the starting point for a film that sees its characters as young people beyond their cancer diagnoses.

When did cinema first become something you wanted to take part in, rather than simply watch? And what kind of films made you understand the power of storytelling early on?

I actually started my company when I was 16, but at the time my focus was primarily theatre because that felt like everything I wanted to do. There’s something so special about a live, in-the-moment experience. I’d done school plays, but setting up the company was really my first introduction to the professional world. I put on a play about teenage drug culture in an abandoned railway arch, which was a pretty unconventional way to start, but I think that’s where I got the itch.

I never really saw myself as someone who only wanted to do theatre. I was always fascinated by storytelling, whatever form that took. I made three plays before I was 18, then got my first lead acting role and made my first short film around the same time. It was never one big “ta-da” moment where I discovered cinema – it was always about finding different ways to tell stories.

That’s remained the constant throughout my career, whether it’s writing television, making feature films, creating short films or working in theatre. It’s always been about collaborating with actors, working with people, and telling stories that make you laugh, make you cry, or leave you feeling something.

In terms of the films that shaped me early on, I remember my grandparents always having Little Miss Sunshine on, and I’d watch that every time I visited. That film felt perfect to me. I also loved Juno and coming-of-age films that could completely break your heart. But I’ve always had a real mix of tastes. I loved films like Gladiator and Nobody too. Whether it’s a quiet character piece or a big action film, I think what draws me in is always a great story and characters you care about.

What part of the process feels closest to you: writing the first idea, directing actors, performing, or shaping the final film? And how have your experiences as an actor, writer, director and producer shaped one another?

I genuinely love all parts of the process. There are things I prefer about each one, and there are definitely things I find challenging about each one too. But when I’m making films now, I think my favourite part is working with actors in rehearsals because it feels completely pressure-free. It reminds me a lot of theatre – a group of like-minded people coming together, getting really nerdy about the story and finding the characters together.

With Sunny Dancer, for example, we’d play music, pack the actors’ bags for camp, look through the costume rail, go raft building, and just talk about life. It’s such a joyful part of directing because you’re getting to know these people, building those relationships, and watching them create a character from nothing. I love that collaborative process.

I think my experience as an actor has hugely shaped the way I direct. Working on other people’s sets, from Death on the Nile with Kenneth Branagh, to my first lead role in The Third Day: Autumn with Jude Law, as well as projects like The Serpent Queen and A Town Called Malice – I learnt so much by watching how different people work. You see how directors approach their days, how crews collaborate, how costume designers build a world, and how different actors find their characters. It’s such a rich tapestry of experiences.

I think a lot of my favourite directors have acted at some point, and I can see why. Having that experience gives you a real understanding of what it feels like to be an actor on set, which naturally makes you more empathetic and more aware of how to support them in the process.

After making Black Dog, what did you carry into Sunny Dancer, and what did you want to do differently this time?

With Black Dog, I made a small independent film that I’m incredibly proud of. I was 21 when I shot it and 18 when I wrote it. It’s a story about two boys travelling from London to Scotland on a road trip, experiencing life, grief and everything in between.

Even though Sunny Dancer has bigger locations, bigger costumes and bigger production design, ultimately it’s still about the characters and the people at the centre of it.

The thing with Black Dog was that it was a very intimate, small film, and while I’m so proud of the performances and everything we achieved, I wanted to push myself with Sunny Dancer and explore something on a bigger scale. I wanted it to feel more expansive, transatlantic and have that Americana coming-of-age feeling that you get from films like Juno, Lady Bird and Little Miss Sunshine, while still keeping that very British sensibility at its core.

What I loved about Black Dog and wanted to carry through was making sure the performances remained the heart of the story. Even though Sunny Dancer has bigger locations, bigger costumes and bigger production design, ultimately it’s still about the characters and the people at the centre of it. That’s always the thing I care about most.

What inspired the story of Sunny Dancer, and how much of it comes from personal experience?

My mum was diagnosed with cancer when I was 15, so I always knew I wanted to tell a cancer story, but I wanted to do it in my own way. I wanted to make a comedy about cancer because while that period of my life was filled with so much darkness, there were also moments where you were laughing – sometimes at the strangest things – and I found that really fascinating as a writer.

Alongside that, I wanted to make a 90s-style ensemble film and bring back that feeling of The Breakfast Club-inspired coming-of-age movies. Those two ideas were always at the heart of it.

I then started working with Teenage Cancer Trust as an ambassador, which has been one of the greatest joys of my career. Meeting so many young people affected by cancer made me realise that cancer is actually the least interesting thing about them. They’re funny, full of life, chaotic, rebellious and completely themselves. I wanted to capture that side of the experience.

It was actually my editor Caitlin who mentioned that she used to go on summer camps for young people affected by cancer, and I remember thinking, that’s the movie.

I feel really proud that we were able to show a different side of the cancer story. We’ve seen so many films that focus on the darkest moments – the hospital scenes, the fear, the heartbreak – and I wanted to explore what happens afterwards: the remission period, when young people are trying to figure out who they are again and learn how to just be young people. That felt like such an important and underrepresented part of the story.

How did you approach writing a coming-of-age story set around cancer without making illness the central focus?

I think it started with the people. I wanted to tell a story about these young people who had been through something incredibly difficult, but who were still able to find joy in the most unexpected places.

When you’ve been pushed to such an extreme point in life, the things that might once have felt huge can suddenly feel much smaller. Sneaking out of camp, breaking the rules, having your first snog – those things become moments of freedom and normality.

I think humour, when it’s used in the right places, actually adds to the emotional weight of a story rather than taking away from it.

What I loved about setting the story at a camp was that it gave them space to be teenagers again. They’ve gone through something incredibly adult and frightening, but they’re still young people who want to have fun, cause trouble, fall in love and experience all those classic coming-of-age moments.

That contrast felt really special to me: characters who have faced something so serious, but who are finally being given the chance to just be young again.

How did you find the balance between comedy, discomfort and emotional honesty? And did you ever worry that humour could undermine the story’s emotional weight?

Truthfully, no. I think humour, when it’s used in the right places, actually adds to the emotional weight of a story rather than taking away from it.

I think the reason people have responded so strongly to Sunny Dancer – saying things like they’ve never laughed so hard in a cinema or cried so much – is because it allows both emotions to exist together. When you’re crying with laughter in one scene and then completely heartbroken in the next, that contrast is what makes those moments hit even harder.

I think that’s true of life as well. Laughter and crying aren’t actually that far apart; they’re both such intense emotional releases and you can move between them very quickly. That was certainly true of what my mum went through. There were moments of incredible sadness, but there were also moments of laughter and joy. That’s part of the reality of going through something like that -you don’t get to experience just one side of it.

The film brings together characters who share a life-changing experience, but still have very different personalities. How did you approach building that group dynamic?

I think I wanted to bring a little bit of everyone I’d grown up with into the film – friends, people I’ve known, and even parts of myself. I didn’t want to define these characters by their treatment or their illness. Of course, I had done a lot of research and kept a diary while writing about what they’d been through, but ultimately I wanted to focus on who they were as people.

I really wanted to capture that feeling of being young, where everything feels incredibly serious and completely unserious at the same time.

I was interested in those familiar personalities that exist in every friendship group. You have the quiet one, the loud one, the chaotic one, the person who keeps everyone together. I wanted to create an ensemble where audiences could recognise someone they know – maybe there’s a Ralph in your life, an Ivy, an Ella, or maybe you see a bit of yourself in one of them.

The most exciting thing was seeing how those very different personalities came together and created something electric. The same was true with the casting. I can do so much on the page, but those actors brought their own experiences, energy and little details to the characters. They became the beating heart of the ensemble, and I’m so grateful to each of them because they elevated the writing and made the world feel even more alive.

What did you want the film to capture about being young that you rarely see treated honestly on screen?

I always say that this was a film made by young people, for young people. I was 23 when I wrote it and 24 when I directed it, which was really special because it wasn’t that long ago that I’d experienced many of those same feelings myself.

The world changes and the details change – young people might vape now or drink less than previous generations – but the patterns stay the same. They’re still sneaking out, falling in love for the first time, making mistakes, testing boundaries and feeling like every emotion is the biggest thing that’s ever happened.

Cancer is actually the least interesting thing about them. They’re funny, full of life, chaotic, rebellious and completely themselves.

I really wanted to capture that feeling of being young, where everything feels incredibly serious and completely unserious at the same time. Those moments of first love, first heartbreak, first experiences – they can feel overwhelming because everything is so new.

I also believe young people don’t sit still. They’re constantly moving, exploring and experiencing life, and I wanted the film to reflect that. These characters have been through something incredibly difficult, and now they’re being given the chance to really live – to dance, to laugh, to make memories and to experience everything that comes with being young again.

How did your work with Teenage Cancer Trust influence the film?

I became an ambassador for Teenage Cancer Trust, and through that I met so many incredible young people. The biggest thing I learnt was that, as I said earlier, cancer is the least interesting thing about them. They are so much more than their diagnosis.

The charity was also incredibly thoughtful in the language they used. For example, you don’t say “kids”, you say “young people”, and you don’t describe someone as “brave” because it can feel patronising. You start to understand that the way we talk about people’s experiences really matters.

When you’ve been pushed to such an extreme point in life, the things that might once have felt huge can suddenly feel much smaller.

I also had the opportunity to meet doctors, parents who had lost their children, and so many young people along the way. It became this incredibly authentic and emotional journey. We were even able to cast two young people in the film who had experienced Teenage Cancer Trust units themselves, which was really special. To give opportunities to people who had lived through that experience and then see them go on to become actors with agents and thriving careers has been amazing. I’m so proud of them.

I honestly couldn’t be prouder to be an ambassador for Teenage Cancer Trust. The work they do genuinely saves lives. One of the things that really struck me was learning that, while survival rates for both adults and younger children were improving, outcomes for teenagers and young adults weren’t changing at the same rate. A big part of that was because young people were missing treatment because they wanted to continue living their lives – going to school, seeing friends, being teenagers.

When Teenage Cancer Trust started creating specialist units for young people, those outcomes began to improve again. That’s the power of what they do. No one should have to go through cancer alone, and I feel incredibly lucky and proud to play even a small part in supporting such an important organisation.

Did you have Bella Ramsey in mind while writing Ivy, and how did the collaboration come together? What did they bring to the role that you may not have anticipated?

When I was writing Ivy, I didn’t have anyone specific in mind. My casting directors Daniel Edwards, Tom Payne and Lucy Allen, who worked on Heartstopper, suggested Bella Ramsey, and I remember thinking, “There’s absolutely no way Bella’s going to do it.” They’d just come off The Last of Us and were one of the most exciting young actors in the world, so I couldn’t imagine we’d get them.

They encouraged me to send it to Bella’s agent, Georgie Adams, who read the script, loved it and passed it on. A few weeks later, I got an email saying Bella would love to have a Zoom call with me, and I remember thinking, “Okay, this is actually happening.”

Bella was extraordinary. Their ability to move between anger, comedy, vulnerability and love is just incredible.

My team kept reminding me how huge it would be for the film if Bella came on board, and I definitely felt that pressure. But when we got on the call, I just said, “Bella, I want to start by saying I really want you to do this film,” and Bella replied, “Well, I really want to do it too.” From there, we just talked about life, and that really sums up our collaboration.

Bella is a one-of-a-kind talent. They’re unbelievably kind, generous and trusting, incredibly talented, and they’re someone who brings so much care to everyone around them – from the cast to the crew. They were always prepared, always on time, and they were the most brilliant person to have leading the film.

I think the reason our collaboration worked so well is because we trusted each other completely. There was a great piece written about Sunny Dancer giving Bella another chance at childhood, and I think that came from the fact that we created an environment where they felt safe to explore. If I pushed Bella, they knew why I was pushing them, and we became a really strong team.

What excited me about casting Bella was that I hadn’t seen them play a role quite like Ivy before. They’d done incredible work in Game of Thrones, The Last of Us, Catherine Called Birdy and Time, but Sunny Dancer required something very stripped back. There’s nowhere to hide in this film, and that can be scary because it’s often easier to cast someone in a role you’ve already seen them do.

But Bella was extraordinary. Their ability to move between anger, comedy, vulnerability and love is just incredible. I’m so proud that they were the lead in my second feature, and I couldn’t imagine anyone else bringing Ivy to life.

How did you approach the music in Sunny Dancer, from Este Haim’s score to the wider soundtrack, and what did you want it to bring to the film?

When I brought Este Haim on board, there was a really special synergy between her and Ivy because Este had been to diabetes camp herself. She understood that feeling of being different, of feeling like an outsider, and then finding a place where you suddenly belong. That emotional connection to the story was really important.

She also brought on the incredible Zachary Dawes, who plays bass for Lana Del Rey, and together they created something really special. We always talked about how coming-of-age films – particularly British ones – often don’t have the budget for huge soundtracks because budgets are stretched, and ours was no exception. So the fact that we ended up with 15 major tracks in the film feels pretty amazing.

I wanted the score to feel alive, emotional and almost like another character in the film.

That was thanks in no small part to our music supervisor Phil Canning and Universal, who went above and beyond to help make it happen. There were also some amazing moments of luck along the way. I was sat next to Alison Goldfrapp at an event and asked if we could use Ooh La La. The Scissor Sisters even went to Elton John for approval for I Don’t Feel Like Dancin’ because he co-wrote it with them, and thankfully he said yes.

We also had original songs from Olivia Dean and CMAT, which was incredibly exciting. Ultimately, we wanted music to feel like a huge part of the film because it’s such a massive part of being a teenager. I didn’t want the score to just sit in the background between the big soundtrack moments – I wanted it to feel alive, emotional and almost like another character in the film. I wanted it to feel big and loud and joyful, and that was one of the most exciting parts of creating the world of Sunny Dancer.

What did you want Sunny Dancer to add to the tradition of British coming-of-age films?

I wanted to be a little bit cheeky and make a big nod to those classic British coming-of-age films, while also bringing in that Americana influence that I love from films like Juno, Lady Bird and Little Miss Sunshine.

I think there’s a tendency to think that British films have to be small and intimate, but I wanted to show that we can make stories here that have a real international appeal and feel bigger in scale. I wanted Sunny Dancer to have that British humour and cheekiness at its heart, but also have the scope, energy and visual ambition of a much bigger film.

Ultimately, I wanted to make something that could connect with audiences anywhere in the world – something that was funny, emotional and full of heart – and I’m really proud of what we created.

Looking ahead, are you drawn to stories that challenge genre expectations, or do you prefer exploring familiar structures with a fresh voice? And what’s next for you, what are you most excited to explore moving forward?

I think, honestly, it’s a bit of both. I’d love for someone to eventually come into a George Jaques film, TV show or theatre piece and think, “I feel like I know what this is… but there’s going to be a completely unexpected spin on it.” That’s the kind of storytelling I’m drawn to.

Ultimately, I just love telling stories that make people laugh, make them cry and make them feel human. Even if the world isn’t necessarily familiar or realistic, I want the emotions at the centre to feel real and relatable.

That contrast felt really special to me: characters who have faced something so serious, but who are finally being given the chance to just be young again.

Ultimately, I just love telling stories that make people laugh, make them cry and make them feel human.

That’s something I’m really proud of with Sunny Dancer. Whether you’ve been to a cancer camp, a regular camp, or neither, I think there’s still something you can connect to because we’ve all experienced loss, grief, love and those moments that shape who we are. There’s something nostalgic about that shared human experience.

Looking ahead, I’m really excited to keep exploring the space between music, fashion, film, television and theatre. I love the idea of collaborating with brands and artists to tell stories in different ways, and using music and partnerships with people like Haim to add another layer, scale and emotional impact to projects. That intersection is something I’m really enjoying exploring.

Talent: George Jaques – georgejaques
Photographer: David Reiss

Sunny Dancer is released nationwide in cinemas on 14th August 2026, and will be released in US cinemas in September.

The post George Jaques on Sunny Dancer, Bella Ramsey and Coming of Age appeared first on DSCENE.

New Balance introduces the 991v2 “Walnut/Shitake,” a new Made in England edition of the 99X series model scheduled to launch on August 20, 2026. The release uses a palette of Walnut brown and Shitake grey-brown to give the streamlined silhouette a seasonal update built around layered materials, tonal detailing and a cushioning system that combines several of the brand’s established technologies.

SNEAKERS

The upper brings together suede overlays, smooth leather panels and breathable mesh. New Balance distributes the two main shades throughout those materials, allowing the construction of the 991v2 to remain clearly visible even within a restrained color scheme. Walnut introduces the richer brown element, while Shitake adds a softer grey-brown tone.

Suede covers key sections of the design and gives the shoe a textured finish. Smooth leather creates a cleaner surface on additional panels, while mesh introduces a lighter visual element and provides breathability.

Deep brown continues through the inner lining and rubber outsole, extending the palette beyond the upper. New Balance keeps the branding within the same tonal direction. The familiar “N” logos remain visible on the sides, while debossed “991v2” stamps identify the model without introducing a contrasting color treatment.

The 991v2 retains the streamlined proportions associated with the 99X series while using its material combinations to define the individual sections of the shoe. The Walnut and Shitake treatment gives the model a distinctly earthy appearance, with brown shades carrying from the upper into the lining and outsole.

Underfoot, the 991v2 uses full-length FuelCell foam with ABZORB pods and ENCAP support for cushioning and stability. The “Walnut/Shitake” edition places its strongest emphasis on color, texture and material variation. New Balance will release the Made in England 991v2 “Walnut/Shitake” on August 20, 2026.

Name: New Balance 991v2 “Walnut/Shitake”
Colorway: Walnut/Shitake
SKU: U991WL2
MSRP: $250 USD
Release Date: August 20, 2026
Where to Buy: New Balance

The post New Balance 991v2 Gets a “Walnut/Shitake” Update appeared first on DSCENE.

Hudson Williams joins the upcoming Netflix limited series The Altruists in the recurring role of Duncan Rheingans-Yoo. The eight-episode drama arrives November 19 and follows the rise and collapse of cryptocurrency exchange FTX. The project marks another television appearance for Williams following his breakout performance in Heated Rivalry.

TV

At the center of the series are Caroline Ellison and Sam Bankman-Fried, two key figures in the FTX scandal. Julia Garner plays Ellison, while Anthony Boyle takes the role of Bankman-Fried. The series follows the two ambitious young idealists as they attempt to transform the global financial system before accusations that they stole $8 billion change everything. Their relationship drives the story as the drama examines the rise and collapse of FTX and the enormous financial pressure they faced while still in their twenties.

Williams appears within a wider ensemble that includes Alex Lawther as Sam Trabucco, Matt Rife as Ryan Salame, Madison Hu as Constance Wang, Karan Soni as Nishad Singh, Eugene Young as Gary Wang and Naomi Okada as Claire Watanabe. The recurring cast also includes Jennifer Grey as Sarah Fisher Ellison, Terry Chen as CZ, Elizabeth Adams as Hannah, Hannah Galway as Lucy, William Mapother as Dr. Lerner, Paul Reiser as Joe Bankman, Robin Weigert as Barbara Fried, Maddie Hasson as Lauren Platt and Marianna Phung as Lily Zhang.

The Altruists arrives during a period of growing attention around Williams’ work. The Canadian actor gained wider recognition through Heated Rivalry, where he stars as professional hockey player Shane Hollander opposite Connor Storrie. The series adapts Rachel Reid’s Game Changers novels and became the project that brought Williams to a much larger international audience.

Williams won the 2026 Canadian Screen Award for Best Lead Performer in a Drama Series for his performance, while Heated Rivalry won Best Drama Series. The series collected 16 Canadian Screen Awards in total.

Born and raised in Kamloops, British Columbia, Williams later moved to Vancouver and graduated from Langara College’s Film Arts program. His success with Heated Rivalry quickly led to broader industry recognition. With The Altruists, Williams now adds a Netflix limited series to a growing screen career while stepping into a very different story from the project that first brought him widespread attention.

The post Hudson Williams Joins “The Altruists” Coming to Netflix This November appeared first on DSCENE.

August in Malta carries a reputation. The island swells with tourists, temperatures soar, and the idea of visiting during peak summer feels counterintuitive for anyone seeking a thoughtful travel experience. Yet we arrived at Corinthia Palace in San Anton with open minds, and what unfolded over our stay fundamentally shifted our perspective on both Malta and what it means to be genuinely looked after as a guest.

The Pisani family’s 1968 vision, transforming a successful restaurant into a hotel, set a tone that still resonates today. There’s something about a property built on hospitality DNA that runs deeper than most. From the moment we stepped onto the immaculate grounds, it was clear this wasn’t a transaction. We were guests in the truest sense, and the 144-room property, with its careful balance of scale and intimacy, understood that distinction.

Continue reading for DSCENE Travel and Milan Contributor Abishek Neil.

Surprise of Staying Put

Here’s what we didn’t expect: we almost didn’t leave the hotel. Malta, of course, demanded exploration. Valletta’s layered history, Mdina’s medieval streets, the archaeological weight of the islands, these were reasons we came. But Corinthia Palace presented a genuine paradox, one we’re still unpacking. The outdoor pool, positioned within manicured grounds that blur the line between carefully tended garden and Mediterranean sanctuary, became our anchor point. The rooms, spacious and thoroughly air-conditioned (a blessing in August), felt like capable home bases rather than pit stops between excursions.

The design of the property itself invites lingering. Whether you’re claiming one of the 61 Deluxe Rooms, the 55 Premium Rooms with Garden View, or upgrading to a suite, there’s a coherence to the experience. The balconies frame views that make you want to sit with your morning coffee longer than planned. The interiors are restful without being anonymous, high ceilings, thoughtful furnishings, the kind of comfort that doesn’t announce itself but rather wraps around you quietly.

What surprised us most was how easily we could have spent our entire stay within the hotel’s boundaries and felt completely satisfied. That’s not a critique of Malta; it’s a compliment to Corinthia. The property offers genuine abundance: the Athenaeum Spa with its seven treatment rooms, indoor pool, sauna, and hydrotherapy options; the fitness centre; the impeccable grounds themselves. Everything required for a restorative retreat was present.

Art of Attentiveness

But Corinthia’s staff transformed what could have been self-contained luxury into something more generous. They understood a crucial distinction: anticipating needs while respecting autonomy. When we expressed interest in exploring Malta beyond the gates, the team didn’t simply hand us a map. They became curators, offering genuine recommendations rooted in their knowledge of what would resonate with our sensibilities as editors and travelers.

This is where Corinthia Palace Malta distinguished itself most profoundly. The staff facilitated our sightseeing with the kind of attentiveness that feels almost invisible in execution but unmistakable in effect. They organized logistics without fussing, suggested experiences without overselling, and somehow managed to be everywhere we needed them while never hovering. It’s a hospitality skill that can’t be taught through training manuals alone, it requires genuine investment in the guest experience.

We ventured out. We explored. But we did so from a position of ease, knowing that the hotel had our back, that our rooms would be perfectly maintained, that the evening awaited with its own pleasures.

Dining as Destination

The culinary offerings at Corinthia Palace Malta deserve their own consideration, because they fundamentally anchor the guest experience. Francesco Mazzei’s residency at Villa Corinthia brings Southern Italian traditions into conversation with Maltese seasonal ingredients, a collaboration that feels neither forced nor precious. The menu respects both chef and source material, which is the only way such partnerships work.

But it was the hotel’s secret garden, the Secret Garden, where evening rhythm found its perfect expression. There’s something about dining surrounded by carefully tended greenery, with Mediterranean air carrying hints of salt and herbs, that makes time move differently. Josephine’s, the plant-based coffee shop, offered mornings of unexpected sophistication, proving that dietary consciousness and genuine indulgence aren’t opposing forces. And BAHIA, the Michelin-starred restaurant on Villa Corinthia’s upper floors, provided the kind of contemporary gastronomy that demands attention and rewards it.

Each restaurant represents a different mood, a different intention. Corinthia understood that travelers eat differently depending on circumstance and appetite. The variety felt curated rather than scattered, intentional rather than compensatory.

Logistics of Ease

Small details compound into larger impressions. The courtesy bus service to Valletta eliminated the friction of transportation without forcing dependency. The 24-hour in-room dining meant that if evening brought exhaustion rather than appetite for the restaurants, sustenance was available. The Dean Gera hair salon, the laundry service, the car hire options, these amenities aren’t revolutionary, but their seamless integration into the property’s operation means guests never feel the machinery of hospitality grinding beneath them.

The business centre and meeting facilities, while primarily designed for corporate guests, also signal something about Corinthia’s philosophy: it accommodates the full spectrum of adult travel, from leisure to work to hybrid combinations. The ballroom’s capacity for 500 standing, 450 sitting underscores that the property thinks beyond the individual guest room.

Malta Reconsidered

My only previous visit to Malta was for a very warm Christimas holiday, thus after a Euro heatwave our arrival carried the usual August skepticism. Peak season, peak heat, peak crowds. But Corinthia Palace’s position in central Malta,  granting easy access to San Anton Palace across the road, to Valletta and Mdina within reasonable distance, to Mediterranean beaches across the island, provided strategic advantage. The hotel became a base camp that was itself a destination, a rare combination.

Malta revealed itself gradually. The historical weight of the islands, the particular quality of Mediterranean light, the layered narratives of conquest and commerce and culture, these emerged as we ventured out. But they were enhanced, not diminished, by returning each evening to Corinthia’s quieter embrace.

The hotel’s architecture and grounds manage the paradox of being historically rooted while remaining utterly comfortable for contemporary travel. The immaculate grounds don’t feel like a theme park recreation of Mediterranean luxury; they feel like a well-maintained garden that happens to be part of a hotel. That distinction matters.

Finally, Malta in August works if you approach it correctly. Corinthia Palace is the correct approach. It’s not simply a hotel where you sleep before exploring; it’s a considered environment that enhances whatever experience you’re seeking, whether that’s retreat, exploration, culinary discovery, or some combination thereof.

Discover more of the Corinthia Palace Malta in our gallery: 

View Gallery 38 images

The staff’s understanding that genuine hospitality means knowing when to be present and when to recede made all the difference. They orchestrated our experience without making it feel orchestrated. Every need was met. Every moment of independence was respected. The property itself, the pool, the rooms, the grounds, the dining options, provided genuine comfort and genuine pleasure. August in Malta isn’t a compromise if you’re staying at Corinthia Palace. It’s an excellent idea.

Corinthia Palace Malta, De Paule Avenue, San Anton, Malta. +356 2144 0301. for booking your stay and more log on to corinthia.com/palace.

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