Vivian Wilson on Killing the Robot Inside Your Head

The stark white room in which the conversation took place also doubled as a showroom for the clothing. Cow print jackets, butterfly sandals, bell-bottoms, and stone-washed slogan tees with the campaign’s tagline, “Born to Disobey,” splashed the walls with color. Various mannequins sporting Wilson’s signature rapunzel-like locks were styled in statement chain belts and tasseled purses overflowing with Y2K influence, making them seem like Steve Madden bobbleheads come to life.

The actual Vivian Wilson was styled indistinguishably from the mannequins, and across from Odell, also in Desigual, but in a nearly floor-length ombre orange dress, the youthful aims of the collection became quite clear. Having Odell as a moderator seemed to present a picture of womanhood for Wilson to grow into. When asked to describe the campaign in one sentence, Wilson quipped, “We do a little bit of looking camp right in the eye.”

The campaign features Wilson entangled with a robot. She walks it like a dog, operates on it, and tells it that “some things aren’t meant to be fixed.” The story is injected with Wilson’s bubbly public persona, something that is refreshing compared to the rigidity of the fashion world, but that’s what makes her so appealing to the public in the first place.

When asked to describe the campaign in one sentence, Wilson quipped, 'We do a little bit of looking camp right in the eye.'

Her online humor and outspokenness is what’s pushed her into the public eye, regardless of any familial ties, and yet in some ways her affect reflects a young girl who's being pulled along by the whims of an industry. I asked Wilson what drives her to this kind of work, after she spoke to Odell about getting into acting while she continues to model.

I wondered whether this hyper-visibilty is something that’s been thrust upon her or something she actively chooses to move towards. She thought for a moment, then responded, “I mean it’s a bit of both, it’s a lot of fun.” This was followed by a bout of laughter that I had gotten used to throughout her conversation with Odell. She continued, “Obviously my introduction to the modeling industry with Teen Vogue was unconventional, but I’m embracing it.” Succinct and charming, I wished she had gone just a little bit deeper, if only to show what lies beyond the veneer of sudden celebrity. Before the Teen Vogue article, Wilson was making waves fighting the right, and by extension her father Elon Musk, on the internet. Since then, she’s appeared in a Katseye music video and debuted with Gucci at Milan fashion week, walking the same runway as Kate Moss and Emily Ratajkowski.

Sudden fame and the glamour of being a campaign star is always something that people on the other side want to know about, but for Wilson it seems like just another line through the bucket list. As a young trans woman myself, I was especially keen to hear what she had to say about appearing so publicly. However, Wilson was more keen to talk about the military-industrial complex, and encouraged people to “be cringey, be wild, be a little bit unclean!” She seems to take her positioning in the social landscape seriously, and spoke about the need to “[question] the societal expectations placed upon you, where things come from… having a sense of your own morality.” From someone else, these words could be read as platitudes, but her subjectivity as a young trans woman laughing in the face of immense public scrutiny gives them weight. Then, about thirty seconds later, she pointed at her pants and said, “these are a bit topsy-turvy, what’s going on?”

I wondered whether this hyper-visibilty is something that’s been thrust upon her or something she actively chooses to move towards. She thought for a moment, then responded, 'I mean it’s a bit of both, it’s a lot of fun.'

Fashion

Camp Twink Is in Session

The TwinkByTwink show kicked off NYFW ahead of the CFDA calendar with a simple ideology: “strip away the anxiety and elitism of fashion week and make everyone in the room feel like a star.” And that he did. Rather than a sterile runway show with expressionless models and robotically observant audience members, the room became a level ground where attendees and talent gawked at and cheered eachother on. The venue was abundant in queer culture, maximalism, and an overwhelming sense of safety to express yourself to the fullest.

Before entering the show, I noticed a guy holding a Dunkin’ coffee with a strawberry sprinkle donut slipped through the straw. God, I thought. That donut looks good. Who brings Dunkin’ to a fashion show? Little did I know.

On the runway, we saw many extravagant mixed-media art pieces that double as fashion statements. Among them, a Dunkin’ Donuts logo-themed outfit with built-in whipped cream bottle breasts. Adding theatrics, the model held a real bottle of whipped cream in hand. She approached the man with the sprinkled donut. Oh no. Sprayed it all over his face, sometimes into his mouth. But he liked it.

With an Americana influence thematically coursing through the show, it’s only natural that Dunkin was everywhere. Fun fact: Twink can be found at Dunkin nearly on the daily.

That wasn’t the only unexpected look. The runway was full of fur roadkill outfits, bright reds and blues, and the occasional butt cheek. The designs were, at their core, a political subversion. Made almost entirely of donated, recycled, and found items, the show was both a critique of fast fashion and a critique of the pretension in the art and fashion worlds alike.

The show was a celebration of individuality and community in the same beat. It was the kind of show that leaves you inspired, leaves you wanting more. More expression. More style. More fun. More donuts. And yes, I did have to get a strawberry sprinkle donut at Dunkin after the show, in honor of Twink.

Fashion

Stine Goya and Umbro Are Meeting in 90s Britain

September 08, 2026

Stine Goya and Umbro are back with another sport-chic collaboration. This time, they’re bringing their love for football and fashion indoors, highlighting the beauty of lived-in spaces and decorative settings through “Where We Meet.”

Described as an eclectic world of “greasy spoons with chipped mugs and checkered floors, pub corners humming with weekend chants, and tiled club bathrooms covered in graffiti, lipstick messages, confessions and declarations,” the visual universe of this campaign is one that explores not only the fashion-forward culture of sports but the in-between spaces that allow such youth culture moments to flourish. The campaign incites memories through its storytelling and holds faint echoes of cheer and wonder. Music in changing rooms ahead of a big game, chants in the pub or in living rooms, and post-game rituals are all ideas that float within this world. They create an aesthetic language for the community and the excitement that is felt around football culture.

In this capsule collection, we see a slim-fit T-shirt, three box-cut jerseys, and a muted yellow sweatshirt with red doodles, bows, and hearts that are reminiscent of the grunge-like graffiti found on the walls of a vibrant pub’s restroom. Umbro’s crest also makes its way into these designs, adding a layer of femininity. The pieces are 90s Britain in a collection— a melting pot of new-age counterculture with remnants of bygone British eras.

Words by Selena Aiyla

Fashion

ZEGNA Introduces Su Misura

At the centre of Su Misura are three ZEGNA signatures; Trofeo, the Abito #1, and the Falcon Jacket. Trofeo, made from Australian super-fine merino, has been part of the house since 1965, while The Abito #1 looks back to ZEGNA’s early history, taking inspiration from the suits worn by founder Ermenegildo Zegna in the 1930s. Made from 100% Australian wool, it is recognised as ZEGNA’s first suit.

The Falcon Jacket comes from a different part of the ZEGNA world. Inspired by the falcon and its ability to see beyond, the jacket takes its cues from Oasi Zegna, the vast natural territory in the Italian Alps that has long been connected to the values of the house. The result is an outerwear piece that brings together practicality and refinement.