Supermodel Georgia Fowler, represented by IMG Models, is one of the cover stars of DSCENE Magazine‘s Design Under Pressure issue. Fashion photographer Gary Lupton captured the New Zealand star at TWA Hotel, one of JFK Airport’s most recognizable design locations. For the cover, Fowler wears a look from Balenciaga. Daniel Jacinto served as stylist coordinator, with Giulia Schrappe styling on set. Beauty comes from hair stylist Rei Kawauchi at Bridge Artists and makeup artist Anastasia Vavina.

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Design Under Pressure looks at creative work under constant demand, shaped by speed, scrutiny, expectation, economics, and visibility. It examines how pressure changes the way ideas develop, how creative people protect their work, and what remains when ambition meets demand. The issue treats pressure as one of the defining conditions of contemporary culture, present across fashion, film, music, design, architecture, art, and public life.

Born in Auckland, New Zealand, Fowler built an international career across runway, editorial, and commercial fashion. Discovered at age 12 in Auckland, she moved to New York at 16 after signing with IMG Models. Over nearly two decades, she has maintained a steady presence in the industry, balancing luxury fashion bookings alongside major mainstream campaigns.

Her runway career developed on a dual track, proving her appeal to both high-end luxury designers and commercial brands. She established her high-fashion credentials early on, walking for Chanel at Versailles in 2012, and later regular fashion week bookings for luxury houses including Prada, Miu Miu, Balmain, and Armani. Parallel to this luxury work, Fowler achieved mainstream pop-culture fame by earning a coveted spot in the Victoria’s Secret Fashion Show, walking the runway for three consecutive years from 2016 to 2018.

Alongside her runway presence, Fowler has appeared on the covers of magazines such as Harper’s Bazaar, Elle, and L’Officiel, while fronting global commercial campaigns for major brands. Fowler also entered film, television, and music video projects. She appeared in Nicolas Winding Refn’s 2016 psychological horror film The Neon Demon, a story set within the darker side of the fashion industry. She hosted the inaugural season of Project Runway New Zealand, bringing her experience back to a format tied to fashion talent and competition. She also starred in the music video for Kygo and Selena Gomez’s hit single “It Ain’t Me.”

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Photographer GARY LUPTON
Stylist coordinator DANIEL JACINTO
Stylist on set GIULIA SCHRAPPE
Editor in Chief / Producer ZARKO DAVINIC
Hair Stylist REI KAWAUCHI at Bridge Artists
Makeup Artist ANASTASIA VAVINA
Model GEORGIA FOWLER at IMG Models
Retouching ANDREA VILLA
Photo assistant SETH BINSTED
Digital Technician CHRIS GLOVER
Stylist Assistants GABRIELA CUNHA, DEBORA MEDEIROS
Special Thanks to TWA HOTEL at JFK Airport 103

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BTS, Madonna, and Shakira will perform during halftime of the FIFA World Cup final on Sunday, July 19, at MetLife Stadium in East Rutherford, New Jersey. Global Citizen announced the lineup, confirming a major first for the tournament: the FIFA World Cup final will feature a halftime show for the first time.

SPORT

Global Citizen revealed the news through a social video starring Coldplay’s Chris Martin with Sesame Street characters Elmo and Cookie Monster, along with Kermit, Miss Piggy, and more from The Muppets. The video also brings BTS into the announcement through a FaceTime call, adding a playful rollout to one of the biggest music moments planned for the 2026 tournament.

 

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The announcement follows earlier links between Shakira and the 2026 FIFA World Cup, which takes place across the United States, Canada, and Mexico. The Colombian superstar already joined the tournament through “Dai Dai,” her official 2026 World Cup song with Burna Boy. The track gives Shakira her second official FIFA World Cup song, following “Waka, Waka (This Time for Africa),” recorded for the 2010 tournament in South Africa. Shakira also begins the 2026 dates of her Las Mujeres Ya No Lloran World Tour in June, with shows scheduled for July 14 in New Jersey and July 20 in New York around the final at MetLife.

Madonna also enters July with a packed release calendar. The Queen of Pop will release Confessions II on July 3, positioning the album as a sequel to her 2005 record Confessions on a Dance Floor. She has released two songs from the project so far: “Bring Your Love,” her duet with Sabrina Carpenter, and “I Feel So Free.”

BTS returned to music earlier this year with ARIRANG, their sixth studio album and first project after the group paused activities while each member completed military service. The group launched the ARIRANG WORLD TOUR in Goyang, South Korea, last month before bringing the tour to the United States on April 25. International dates continue through next March.

 

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Global Citizen and Chris Martin will curate the halftime show with a fundraising goal tied to the FIFA Global Citizen Education Fund. The initiative aims to raise $100 million to expand access to education and football for children worldwide. The fund has already raised more than $30 million, with $1 from every World Cup match ticket directed to the cause throughout the tournament. Global Citizen and Martin also worked together on last year’s Club World Cup final halftime show, headlined by Doja Cat, J Balvin, and Tems.

FIFA recently announced more music programming for the 2026 World Cup, with Katy Perry, Future, Tyla, LISA, and Anitta set for opening ceremony performances across the United States, Canada, and Mexico. Perry will headline the Los Angeles opening ceremony before the U.S. men’s national team faces Paraguay on June 12, while Future will perform at SoFi Stadium with DJ Sanjoy.

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There is something strangely comforting about the way Diesel approaches disaster. While most luxury campaigns still chase polished escapism, Diesel’s Spring Summer 2026 story leans directly into the chaos of everyday life, flooded apartments, broken technology, public embarrassment, urban mishaps, and turns them into a sharp meditation on modern survival.

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Titled Smile Through It, the campaign captures the emotional contradiction of contemporary living: everything feels slightly out of control, yet somehow we are all expected to keep moving, keep posting, keep dressing well. Rather than resisting that tension, Diesel embraces it with irony, humor, and a surprisingly refreshing sense of honesty.

Creative director Glenn Martens continues to push the brand deeper into its post-reality aesthetic, building a universe where exaggerated emotion and artificial environments feel more truthful than perfection ever could. Together with art director Christopher Simmonds and photographer Mark Peckmezian, the campaign unfolds like a series of beautifully styled worst-case scenarios. Models grin through collapsing ceilings, domestic accidents, and supermarket avalanches with an almost uncanny calmness, creating images that sit somewhere between satire and social commentary.

What makes the campaign work is its refusal to romanticize perfection. Diesel understands that contemporary style is no longer about appearing untouchable, it is about looking convincing while everything around you unravels. The smiles become less about happiness and more about resilience, performance, and attitude.

That same philosophy runs through the collection itself. Denim remains the foundation, but this season it arrives with sharper experimentation and a distinctly kinetic energy. Athletic references cut through the lineup via triple-stripe detailing, racing silhouettes, and layered jersey constructions that evoke early 2000s sportswear without slipping into nostalgia. The pieces feel active, adaptive, almost defensive, clothes designed for movement inside unstable environments.

Martens also continues his exploration of distortion and altered proportion. Twisted constructions, layered surfaces, and manipulated tailoring disrupt otherwise classic silhouettes, while cracked leather outerwear introduces texture that feels intentionally worn, imperfect, and lived-in. Particularly strong are the X-ray bleached denim treatments, which give garments an almost spectral depth, as if the fabric itself has been weathered by experience.

Accessories amplify the collection’s dystopian undertone. Oversized Chelsea boots, futuristic eyewear, metallic jewelry, and updated versions of the iconic 1DR bag create the impression of fashion designed for a near-future city constantly on the verge of collapse. Yet despite the dramatic visual language, nothing feels costume-like. Diesel keeps the collection grounded in wearability, balancing conceptual styling with pieces that naturally translate into everyday wardrobes.

What Smile Through It ultimately captures is a very current emotional reality: the idea that composure has become its own form of rebellion. In Diesel’s world, style is not about escaping chaos, it is about learning how to exist inside it without losing personality, humor, or confidence.

You can find DIESEL’s latest collection at Fashion&Friends stores in Belgrade, Novi Sad, Pančevo, Kragujevac, and Niš, at the monobrand DIESEL store in Galerija Mall, online at fashionandfriends.com, and through the Fashion&Friends app.

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The beauty market has become less forgiving of surface appeal. McKinsey notes that consumers now expect hyperpersonalization, scrutinize quality, and are less easily convinced by image alone. Tattooing sits squarely in that shift, because unlike most aesthetic choices, it is meant to last.

Once a tattoo meets the body, it must maintain shape, movement, and visual balance in three dimensions, Roman Sirko argues. That principle has shaped his work across different tattoo cultures: he built his practice in Ukraine, where he became one of the leading artists within a large studio network, conducted internal seminars, and reviewed other tattooists’ work. Now based in Canada, he works at La Manigance, a well-known tattoo studio in downtown Toronto. His approach earned him third place in the Best of Show category at the Quebec Tattoo Show 2024, one of the major international tattoo events, and later led to an invitation to judge at the Calgary Tattoo & Arts Festival.

In this piece, we break down Roman’s professional thinking and the three principles behind tattoos that retain their depth, clarity, and structure after healing, which can help tattoo professionals attract clients from abroad.

Start with anatomy instead of the sketch

A tattoo can lose its force the moment it is treated as a picture applied to skin. On paper, detail can do much of the work on its own. On skin, it cannot.

Roman Sirko argues that the body changes the image. As he explains it, the shoulder rounds a composition, the forearm narrows and turns it, and the back reveals whether a design can truly hold scale. That is why, in his view, a tattoo has to be built for the specific body part that will carry it. Otherwise, even well-drawn artwork can begin to break apart once it meets movement, curvature, and proportion. In Roman’s approach, the composition is developed around anatomy, so the tattoo reads as one intentional structure rather than a set of visually striking fragments.

Build depth through hierarchy, not through detail alone

While working on large-scale compositions and cover-ups, Roman noticed that sheer density does not make a tattoo feel dimensional. Hierarchy does. Hence, he creates background planes with broader shadow fields, lets the main subject come forward through stronger contrast, and keeps secondary elements more restrained so they support the composition instead of competing with it. The point is to control what advances, what recedes, and where the eye lands first. Without that order, a large piece can flatten into one dense surface, no matter how much technical labor went into it.

One of Roman’s upper-arm pieces is built around a classical female figure set within an architectural frame; the tattoo relies on controlled recession rather than sheer density. “In that piece, I didn’t want the figure, the frame, and the lower ornamental movement to sit on the same visual level,” he says. “I pushed the background deeper, kept the strongest contrast on the figure itself, and let the lower forms open the composition instead of clogging it. That way, the shoulder still carries one image with depth, rather than several detailed elements fighting for attention.”

Judge the work by how it heals, not by how it looks fresh

Roman’s third principle is technical, but the result is visual. For that, he controls speed, amplitude, contact, extraction, depth, and density to create cleaner saturation and more predictable healing, rather than chasing an overly dramatic fresh result.

In the first couple of weeks, the skin is still recovering, the surface can look harsher than it will later, and the tones have not fully settled yet. The important thing is to let it heal properly and evaluate the work once the skin has calmed down.

Following these principles allows his work to travel across markets as well as across platforms. In Ukraine, Roman Sirko taught other tattooists inside a large studio system, and over time, other artists, along with their clients, repeatedly asked to reuse or copy designs he had created as custom one-offs. In Canada, he has built long booking lead times and attracted clients from the United States.

For many tattoo artists, audience growth depends on deliberate promotion, paid ads, frequent content tactics, giveaway mechanics, collaborations, and constant visibility work. Roman’s Instagram grew differently. He added 15,000 followers in a year without paid promotion, with growth driven primarily by the work itself: its recognizability, consistency, and organic circulation among viewers and clients.

A Japanese-style phoenix sleeve made that dynamic especially clear online, with the composition designed to wrap and move through the arm: “When I posted that Japanese-style phoenix sleeve, people were reacting to the amount of work in it as well as to how the whole composition flowed. For me, that is always the best sign that the piece is working beyond the studio.”

His expertise was recognized not only by potential clients but by the professional tattoo community as well. Among more than 300 tattoo artists from around the world, Roman Sirko took third place in the Best of Show category at Quebec Tattoo Show, a major international industry event. Later, at the Calgary Tattoo & Arts Festival, the largest show of its kind in Canada, he was invited to serve as a judge. There, he contributed his professional evaluation on a contest stage where a panel of judges inspects tattoos and selects winners across categories.

For other artists, that offers a practical lesson: a strong visual method does more than improve the tattoo. It makes the work legible at a glance, helps expertise spread online, and creates the kind of recognition that can bring in new clients and support real growth. In Roman’s case, the formula is not mysterious. Build for anatomy. Control hierarchy. Work for the healed result. Everything else, the audience, the demand, the reputation, has a better chance of following from there.

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Converse and Los Angeles-based clothing brand Madhappy return with a new collaboration, following their first release in December 2025. The latest pack honors the West Coast through five limited-edition versions of the Chuck 70, offered in both Hi and Ox silhouettes. The release places Madhappy’s modern, optimistic perspective inside one of Converse’s most recognizable designs, using material updates, enlarged details, and hand-done finishes to give the sneaker a fresh seasonal identity.

SNEAKERS

Gene Gallagher fronts the campaign, photographed by Angela Hill. The imagery builds on the visual language Madhappy and Converse introduced with their first collaboration, focusing on youth through instinct, energy, and constant motion.

The collection centers on the Chuck 70, a silhouette that already carries a strong visual history within Converse. Madhappy approaches the model through intentional details and premium materials, giving familiar elements a more playful scale. Felt patches bring a nostalgic note to the design, while oversized star cut-outs in suede create a clear visual marker. Pinstripe interiors add another layer to the construction, and cursive co-branding brings both names into the design with a softer graphic touch.

The five colorways give the pack its full range. Graystone, Lipstick Red, Natural Ivory, Black, and Thunderdaze Pinstripe shape the lineup through Americana hues, giving each pair its own place within the release. The palette keeps the collection grounded while allowing Madhappy to adjust the Chuck 70 through color, texture, and finish.

Both silhouettes carry the same collaborative direction, giving the pack a broader range for different styling choices. The Hi version brings the taller Chuck 70 shape into focus, while the Ox gives the collaboration a lower profile. The Graystone colorway of the Chuck 70 Hi will release exclusively through Madhappy. The Converse x Madhappy Chuck 70 collection launches Friday, May 15, through Madhappy website, Madhappy Shops, Converse website, and select retailers.

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Kith introduces Summer 2026 with a campaign starring actor Jonah Hill and a collection built around time spent between the coast and the city. The season expands one of the brand’s most recognizable summer categories, shirting, while bringing in swimwear, travel-ready layers, elevated sets, accessories, and the return of 8th St by Ronnie Fieg for Clarks Originals.

SPRING SUMMER 2026

The brand develops pieces for days by the water, evenings in the city, and the transitional moments between them. Materials include silk linen, cupro linens, crochet jerseys, and overdyed cotton. Indigo seersucker appears through the Daley Shirt, offered in short sleeve and long sleeve versions. The Julian Jersey introduces seasonally exclusive artwork, while poplin button-down shirts return as a core wardrobe piece for the season.

Kith builds the collection through artwork, print, texture, and travel-focused silhouettes. Novelty graphics and prints appear across the lineup, along with hand-beaded artwork. The brand also introduces pieces designed for movement through summer settings, including layerable outerwear such as the Eddy Jacket, Connor Blouson Jacket, and Ito Blazer. Tailored sets, trousers, and shorts extend that direction, with the Lambert Pleated Trouser, Cedar Short, and Mosaic Mandala Active Short among the key styles. Swimwear also receives clear attention through the Printed Collins Swim Short, designed for wear in and out of the water.

Kith Classics returns alongside the main collection with familiar favorites and new silhouettes. The Thompson Camp Collar Shirt arrives with new embroidery and seasonal colors such as Inferno, Fresh, and Tiger, along with staple tones from the Kith Palette. Summer denim plays a major role through the Textured Indigo Alonzo Jacket and the Denim Warwick Shirt in Washed Pastel, paired with matching Lewis Shorts. The Webster Chill also returns for the season.

Sportswear continues through Kith Classics with pieces built around coordinated styling. Jacquard Towel Terry Ray Polos feature sport-inspired Kith artwork and matching shorts. The Otto Mesh Chase II Jersey and Ladder Lace Jason Jersey follow the same direction, extending the collection’s focus on sets, warm-weather texture, and relaxed structure. These pieces give the Classics range a clear summer identity while staying close to Kith’s established approach to casual dressing.

Footwear arrives through 8th St by Ronnie Fieg for Clarks Originals, which brings back the Ridgevale for Summer 2026. The silhouette combines the familiar language of the Clarks Wallabee with the structure of a contemporary fisherman sandal. Kith offers the Ridgevale in five seasonal hues. Green, Navy, Black, and Coffee use Kennet Grain leather, while Chestnut introduces a new suede fabrication. Each pair includes co-branding at the lace fobs and footbed, along with a crepe outsole.

Accessories complete the release with beach pieces, travel items, and leather goods. Canvas Monogram Totes, Bucket Hats, and new sunglass silhouettes sit alongside Tumbled Leather Bags, Card Holders, belts, and the Raffia Backgammon Board. The lineup also includes new Kith-branded artwork, headwear designed with New Era and ’47, premium cotton socks, and silk cupro scarves. With Jonah Hill fronting the campaign, Kith Summer 2026 frames the season through coastal dressing, city movement, and a full wardrobe built for the months ahead. The collection releases Friday, May 15 online, and on the Kith App.

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Reebok tapped rapper, singer, and songwriter Destroy Lonely for its global “Born Classic. Worn for Life.” campaign, placing him within the brand’s evolving Classics line. The campaign centers on key Reebok silhouettes and brings Destroy Lonely into a growing group of cultural voices connected to the brand’s current definition of Classic.

SNEAKERS

Destroy Lonely enters the campaign with a clear connection to contemporary music and style. Known for shaping today’s sound and image, he brings a distinct, moody perspective to Reebok Classics. His work as a rapper, singer, and songwriter gives the campaign a direct link to the current generation of artists who define taste through music, fashion, and personal identity. Reebok places that point of view inside a campaign built around longevity, daily wear, and recognizable design.

The “Born Classic. Worn for Life.” campaign uses Reebok Classics as its central language. For Destroy Lonely, that idea becomes “Born Classic. Worn Forever,” a personal interpretation of the larger concept. His presence gives the campaign a darker, more introspective tone, shaped by his lyricism and fashion-forward aesthetic. Reebok frames his role through individuality, self-expression, and personal style, allowing him to read the brand’s Classics line through his own lens.

The Workout Plus appears as one of the key silhouettes in the campaign. The style sits within Reebok Classics as a recognizable model with a direct visual identity. In this campaign, Destroy Lonely brings the sneaker into his own style code, connecting the shoe to a younger audience that reads footwear through music, mood, and personal presence.

The Club C 85 Vintage also appears in the campaign. The silhouette plays an important role within Reebok Classics and supports the campaign’s focus on pieces that carry long-term recognition. Through Destroy Lonely, Reebok presents the Club C 85 Vintage as part of a wardrobe shaped by attitude and everyday wear.

Destroy Lonely joins a growing roster of cultural voices tied to Reebok’s Classics direction. The campaign already includes PartyNextDoor, Tobe Nwigwe, and Reebok global ambassador Karol G. With Destroy Lonely, Reebok continues to build the “Born Classic. Worn for Life.” message through artists who bring their own audiences, aesthetics, and creative identities to the brand.

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Jingyuan Fang is a product designer working where immersive technology, telecommunications, digital health, and artificial intelligence overlap, the territory where systems evolve faster than the everyday behaviors needed to use them. Based in the United States, Fang holds a Master’s degree in Entertainment Technology from Carnegie Mellon University, and her work consistently returns to one central challenge: how to make unfamiliar technologies feel navigable, not by dumbing them down, but by giving users structure, orientation, and confidence.

Across industries, Fang has built interactive systems that translate complex technical logic into accessible experiences. Her practice is less interested in polishing familiar patterns, and more invested in defining new ones, particularly in environments where the user is asked to make decisions without fully understanding the system beneath the surface. Whether the context is multi-network connectivity, remote rehabilitation, or spatial movement in VR, her design work treats clarity as a form of care.

Recognition for that approach has come from award bodies known for spotlighting applied innovation in product and experience design. Fang received Gold honors in two consecutive years at the MUSE Design Awards, a program recognized for its international juries and broad cross-industry categories. Her immersive VR project VR Boots Experience – VEKTOR was awarded for its exploration of spatial interaction and immersive storytelling, while her independent healthcare initiative Recovera later won Gold in the Medical category, alongside honors from the International Design Awards and the C2A Design Awards, both established platforms for evaluating design excellence across global creative industries.

Practice Built Around Uncertainty

Emerging technology tends to arrive as capability first, comprehension second. Fang’s work begins in that gap. Rather than optimizing established UI conventions, she focuses on the interaction problems that appear when the product itself is still new to the user, and sometimes new to the market.

Her approach emphasizes clarity, structured learning, and decision support. In practical terms, that means designing how information is introduced, how choices are framed, and how actions are guided when users are unsure what to do next. In healthcare, that uncertainty can be emotional and physical. In telecommunications, it is often technical and opaque. In immersive environments, it is spatial and embodied. Fang’s projects show a consistent ability to build interaction models that help users move forward, step by step.

Projects

VR Boots Experience – VEKTOR, EKTO VR

In immersive technology, the promise is intuitive movement, but the reality is often disorientation. On VR Boots Experience – VEKTOR, Fang led the first-time user experience and onboarding design, focusing on the most fundamental friction point: teaching the body how to move inside a digital space with confidence.

Developed with VEKTOR, a wearable technology company exploring natural locomotion in VR, the platform uses specialized boots that allow users to walk physically while navigating virtual environments. Fang led a cross-functional team of six focused on the first-time user experience, designing a tutorial that functioned less like a manual and more like a guided micro-journey. The tutorial introduced movement mechanics progressively, helping users understand spatial navigation while reducing early discomfort.

The team validated and refined the experience through eight rounds of usability testing with more than 90 participants, iterating toward clearer cues, smoother pacing, and better user comfort. This kind of onboarding system could help new users adapt quickly while reducing motion sickness during early interactions, a contribution later recognized with a Gold Award at the MUSE Design Awards.

Product design in telecommunications, US Mobile

Telecommunications is one of the most complex infrastructures people use daily, and one of the least transparent. At US Mobile, Fang led core product design initiatives aimed at making connectivity legible, especially as the industry shifts toward multi-network experiences.

Her work addressed a broader industry problem: connectivity is essential, but the logic behind it is largely invisible to the people paying for it. At US Mobile, Fang designed interfaces that help users understand and manage service across multiple network infrastructures within a unified product experience. Instead of treating network choice as a hidden technical layer, she built decision-support patterns that make performance comparisons, configuration options, and connectivity tradeoffs legible to everyday users.

She also led design for US Mobile’s international travel experience, treating it less as an add-on feature and more as a risk moment where connectivity failures become expensive fast. Fang shaped a pre-trip planning flow that helps users validate coverage by destination, confirm roaming readiness, and select the right option before departure. The intent was preventative clarity, moving the “will this work abroad?” question from a stressful airport problem to a decision users can resolve in advance.

Virtual physical therapy platform, Rightmove Health

During the COVID-19 pandemic, remote care became a necessity, and rehabilitation services faced the challenge of maintaining continuity without in-person sessions. Fang helped define the product experience for a virtual physical therapy platform, shaping the core remote rehabilitation workflows used by clinicians and patients during the shift to telehealth.

The work translated clinical routines into structured digital interactions. Fang designed clinician dashboards and patient-facing workflows that supported remote sessions, treatment plan management, and progress tracking, while keeping communication around exercises and recovery milestones clear.

She also established the platform’s design system, defining visual and interaction standards across therapist and patient interfaces to support consistency and scalability as the product evolved. The project helped extend physical therapy beyond the clinic, and it later informed Fang’s thinking on home recovery support.

Recovera, AI-assisted home recovery guidance

If Fang’s telecom and rehabilitation work is about making complex systems legible, Recovera brings that same design logic into a more personal setting: the days after treatment, when patients are expected to monitor symptoms, follow instructions, and make judgment calls with limited support.

A self-initiated digital health project, Recovera explores how AI-assisted interfaces can provide structure during home recovery without pretending to replace clinical care. It is built for the gray areas patients often face, interpreting whether a symptom is normal, understanding what to track, and deciding when to escalate, all while feeling unwell and waiting for professional guidance.

Recovera proposes an interaction model centered on observation and orientation. Users can log symptoms, track recovery progress, and receive contextual prompts that translate complex medical information into more actionable, everyday language. The project received a Gold Winner at the MUSE Design Awards (Medical Category), alongside honors from the International Design Awards and the C2A Design Awards.

Designing what comes next

Fang’s work points to a practical shift already underway in product design: as AI, immersive systems, and networked services accelerate, the competitive edge is not only what the technology can do, but how quickly people can understand it, trust it, and use it correctly. In that landscape, interaction design becomes infrastructure. It determines adoption, safety, and support burden as much as it determines aesthetics.

Across telecom, digital health, and immersive systems, Jingyuan Fang has built frameworks that turn unfamiliar capability into usable behavior. Her impact is in the translation layer, the onboarding, decision support, and guided workflows that help users act with confidence when the system is new and the underlying logic is opaque. Rather than relying on borrowed UI patterns, Fang designs interaction models that make emerging technology legible, reducing friction, improving comprehension, and helping products move from novelty to something people can actually live with.

Words by DSCENE Features Editor Maya Lane

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Punk icon Billy Idol fronts Cutler and Gross x The Great Frog Modern Relics, a new titanium eyewear collection that brings the British eyewear brand together with the cult London jeweler. The collaboration connects Cutler and Gross optical expertise with The Great Frog hand-finished jewelry language, creating six sunglass styles conceived as future heirlooms.

EYEWEAR

Modern Relics takes its starting point from 70s experimentation, bohemian travel, and jewelry collected far from home. The collection looks to a period when fashion, music, and art shifted through youth culture, travel, and self-made style. Cutler and Gross and The Great Frog translate that energy into titanium frames with a sharp visual identity, drawing from semi-precious stones, silverwork references, and the idea of eyewear as an object with personal meaning.

The Great Frog brings its long association with counterculture into the collaboration. Known for jewelry tied to rock, rebellion, and London subcultures, the brand gives the eyewear a darker, more personal edge. Cutler and Gross brings precision, structure, and optical knowledge to the project, using modern Japanese titanium to give the six styles a refined construction.

Billy Idol gives the campaign its central presence. The punk icon appears in imagery that draws from late-70s Los Angeles, with sun-drenched streets, neon-lit nights, a vintage Ford, and motel scenes setting the tone. His image connects the collection directly to music culture, independence, and self-definition. The sunglasses appear as pieces worn with history, while Idol brings that idea into immediate focus.

The campaign arrives alongside the global release of Idol’s new documentary, I Billy Idol Should Be Dead. That timing gives Modern Relics a direct link to a wider cultural moment around the musician and his legacy. The collection speaks to several generations, from those who lived through punk’s first wave to younger audiences discovering its codes through fashion, music, and image-making today.

Each of the six sunglass styles reflects the shared values of both brands through form, material, and attitude. The titanium construction keeps the frames precise and durable, while The Great Frog references bring in the feeling of jewelry made to carry meaning. The result feels rooted in subculture, travel, and personal expression, with each style shaped as an object that can gather its own history over time. Modern Relics retail from $1,100 to $1,200 through Cutler and Gross and The Great Frog standalone stores. The collection also arrives at Cutler and Gross website and selected stockists globally.

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Mid-century modern design reshaped the home between 1945 and 1970 through clean lines, functional forms, natural materials, and everyday comfort. The postwar years changed how people lived. New houses, smaller apartments, open-plan rooms, and wider access to mass production created demand for furniture that could serve daily life with greater efficiency. Designers responded with lighter forms, smarter construction, and objects that treated usefulness as part of beauty.

Charles and Ray Eames helped define American modernism through molded plywood, fiberglass shells, and lounge seating shaped around comfort and engineering. Their Eames Lounge Chair and molded shell chairs remain among the most recognizable designs of the period. Hans Wegner refined the wooden chair through proportion, joinery, and hand-finished detail, with the Wishbone Chair showing how structure could carry warmth and grace. Arne Jacobsen connected furniture to architecture through pieces such as the Egg Chair and Swan Chair. Florence Knoll gave homes and offices a disciplined vocabulary of sofas, desks, tables, and storage. Pierre Paulin brought curved forms, low profiles, and ergonomic experimentation into French interiors through designs such as the Mushroom Chair and Ribbon Chair.

How to Recognize Mid-Century Modern Furniture

Mid-century sofas often run low, sideboards stretch horizontally, and chairs combine slim frames with generous support. Legs taper, arms stay clean, and cabinets rely on flat fronts, recessed pulls, sliding doors, and visible wood grain.

Teak, walnut, rosewood, oak, leather, wool, cane, chrome, glass, and molded plastic defined much of the period. Wood grain gave cabinets, tables, and chairs their character. Fiberglass allowed curved shells. Chrome gave chairs and tables a lighter frame. Cane softened structure. Leather and wool added texture and comfort.

The strongest pieces temper geometry with curves, rounded corners, shaped seats, and sculptural backs. A dining chair may look simple from a distance, then reveal complex joinery up close. A lounge chair may use one curve to support the body and define the silhouette. Form, comfort, and construction stay closely connected, which gives mid-century furniture its lasting relevance inside contemporary interiors.

Where to Find Authentic and Quality Reissued Pieces

Authentic mid-century furniture can come from vintage dealers, estate sales, auctions, specialist galleries, and design-led online selections. Each route offers a different kind of access. Auctions can bring rare pieces with documentation, while dealers often provide restoration history, maker details, and condition notes. Estate sales require a sharper eye, but they can reveal furniture that stayed in private interiors for decades.

Curated platforms such as The Oblist, which offers a selection of Mid century furniture from independent designers and editors, have become valuable resources for collectors and interior designers seeking authentic pieces.

Reissues require their own judgment. The most reliable examples come from licensed manufacturers connected to original design rights or archives, with dimensions, materials, and production standards that respect the first designs. Vintage pieces offer a different value: surface wear, earlier production details, and the material presence that comes from decades of use. A strong collection can include both, as long as each piece earns its place through proportion, quality, and relevance to the interior.

How to Integrate Mid-Century Pieces Today

A contemporary interior rarely needs a full mid-century scheme. One strong piece can give the room a clear point of view, whether that means a walnut sideboard in a dining area, a lounge chair near a window, or a low coffee table beneath large artwork. The strongest interiors use mid-century furniture as part of a wider conversation between periods, materials, and scale.

A vintage chair can work beside a contemporary sofa when the proportions feel considered, while a mid-century cabinet can bring warmth to a room shaped by stone, plaster, or glass. Wood, leather, cane, chrome, and wool give these pieces enough range to sit comfortably in current interiors, especially when the room allows contrast between texture, surface, and volume. The goal is balance. A strong mid-century piece should feel lived with, useful, and connected to the rest of the room.

Why Collectors Still Want It

Collectors return to mid-century modern furniture because the best pieces carry design history into daily use. A Hans Wegner chair, an Eames lounge design, or a Florence Knoll sofa can function inside a home while holding cultural and market value. Interest has grown around early editions, rare materials, documented provenance, and pieces that retain original details.

Durability gives the category another advantage. Many mid-century pieces have stayed in use for decades because their makers understood structure, proportion, and material behavior. A well-built cabinet, table, or chair can age with grace when owners maintain the wood, upholstery, joints, and finish properly.

Licensed reissues keep the category accessible to buyers who want major designs with correct dimensions and approved production standards. Vintage pieces offer patina, earlier manufacturing details, and a closer connection to the period. The choice depends on how the piece will live: a dining chair used every day may make sense as a reissue, while a rare cabinet or lounge chair may interest a collector who values age, surface, and documented history.

Images courtesy of The Oblist

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