Two things were certain during Mugler’s SS25 performance. We didn’t see Cardi B’s chic and impractical look — and he or she didn’t either. Despite the indisputable fact that the rapper had a front row seat throughout Paris Fashion Week, his oblique bangs covered each eyes. And she wasn’t the just one.

Her look mimicked the fringe that models wore on the runway, matched by a wig Zhou Xue Ming. These blunt bangs were probably the most avant-garde look we have seen all season.

Cardi B’s hair reached the tip of her nose – sporting black lip liner and glazed pink lip gloss (which matched her short, square manicure). Meanwhile, the models’ wigs reached an additional two inches and touched the top of their lips.

Style brought temptation back Mugler in the Nineteen Nineties— which featured OG supermodels like Naomi Campbell and Iman. On the fiftieth anniversary, “the Mugler archive becomes fertile ground for reinterpretation,” we read in the program notes. In other words, an ode to the depths of great thing about the Home.

However, Cardi B has been showing off her range all week. At Balmain, she wore a black leather scarf and powdery eye makeup attended Rabanne in hot pink and a Rapunzel-style blonde wig with brown hair. She then rocked her Mugler hairstyle at Rick Owens, curling her veil bangs with a spiky bun. Much like the shows, she has proven to be one to look at this season.

The very topical topic of gentrification takes center stage in a comedic and moving show, the newest from Pulitzer Prize-winning playwright James Ijames. Starring Susan Kelechi Watson, well-known for her acclaimed role as Beth Pearson on , and Mamadou Athie, who recently starred on the Hulu series, the show offers a nuanced exploration of gentrification, community, and identity.

centers on Watson’s Aisha and her husband as they renovate a house in Aisha’s old neighborhood, creating suspense over the long run of their once famous community. At first glance, this may increasingly seem to be a straightforward story about urban revitalization and displacement, nevertheless it goes deeper and asks necessary questions on how people interact with the neighborhoods they find yourself in. Through the character of Aisha, the play explores what happens when people determine to remodel a community, relatively than understanding how they will contribute to it.

For Watson, returning to the stage was like coming home. “Theater is one of my greatest loves,” she explained. “For me, theater is the basis of acting. The return is always full of emotions. It’s a completely different muscle than film and television.” Watson, who boasts an in depth film and tv resume, also starred in the Public Theater’s 2022 production a singular version of Shakespeare’s play with an all-black forged set in South Harlem. “There is nothing like it,” he says of live performances. “Every time you perform, the audience is different and the atmosphere on stage will be different. There is nothing higher than doing something and it only exists in this space at the moment for these people.

For this particular series, Watson, who grew up in New York, was particularly drawn to the story and characters. “She is just. She’s just a real person. She’s very close to me,” Watson said. She connected deeply with Aisha’s background and experiences, noting how gentrification – one of the play’s main themes – mirrored her own observations of life in New York. “It’s only now that I’m coming to terms with the fact that it’s so different here. Much of what made this film special is no longer there, and that’s hard to regret. I saw things that seemed very steeped in culture completely change.”

Through , viewers are encouraged to think about the usually neglected complexities of gentrification. The dialogue between Aisha and her husband Travis highlights contrasting perspectives on whether to simply accept or resist the changes in their neighborhood. “What I like about our play,” Watson noted, “is that it delves into the complications of arguing about gentrification in the same community. Two Black people are talking about it. So what does this mean and what are these two points of view?”

Aisha’s journey reflects the strain between the need for positive change and respect for the lived experiences of those that already call a spot home. Watson says the play asks, “How can these two things exist at the same time and leaves room for people to be more understanding and compassionate about it.”

The balance of humor and social commentary that may be a hallmark of Ijames’ work allows the art to have interaction with a difficult subject in a way that’s more approachable and accessible, yet deeply moving. “When things are very deep, we often look for humor to lighten them up, and James is really good at that,” Watson says. “I love doing comedies, so it’s really nice to find those moments where it’s lighter, sharp, witty, where there’s just funny laughter, where it’s exaggerated, where it’s the most subtle. There are so many different types of comedy that it’s easy to fall back on the fact that this play has this tone.”

Watson personally finds humor especially funny. “I’m a big comedy fan – that’s what I mostly watch. That’s how I grew up. I am in such a family. Everyone is funny. That’s how we dealt with everything – with humor. In my opinion, sometimes this way you can make people hear something in a more relaxed way, allowing the sound to penetrate deeper.”

ultimately challenges us to rethink the dynamics of belonging and consider what it means to actually integrate right into a community, not as a force for change, but as a part of its fabric. It is a thoughtful and insightful exploration of the complexities of home, identity and community in a rapidly changing world.

There is barely one biggest player of all time in tennis and that’s champion Serena Jameka Williams. She is a 23-time Grand Slam singles champion (with 14 doubles wins) and a 4-time Olympic gold medalist with a formidable 367 profession victories.

But thanks to its foundation, it will not be only a tycoon within the cosmetics industry Wyn Beautya brand inspired by her movement on the court, she is a trendsetting beauty icon.

It can be a sin to mention the heroine without informing her about her relationship hair beads. Since her first Grand Slam on the US Open in 1999, Williams (and her iconic sister, Venus) dazzled with multi-coloured beads as their first signature look.

Although she ditched beads in 2001 (see: French braid at Wimbledon), she never lost her beauty balance, evolving through a wide range of looks over time: from blonde box braids to brown wigs, natural bobs, and draped bangs.

Just like her iconic hair moments, her makeup looks are equally noteworthy. We saw her shimmering lip gloss and thick black eyeliner in the course of the French Open 2013. Then, nude matte lips on the 2017 Met Gala and the set full eyebrows on the 2022 Vanity Fair Oscar party. Recently? Purple eye shadow and curled eyelashes on the Louis Vuitton Olympic event in Paris in 2024.

To have fun the tennis star’s forty third birthday, take a take a look at 9 moments that mark the evolution of her iconic beauty.

Serena Williams’ first Grand Slam on the 1999 US Open

2000 ATP Lipton Tennis Championships

Wimbledon 2001

A series of portraits from Los Angeles 2005

Wimbledon 2008

ITF World Champions Dinner 2013

Met Gala 2017

Vanity Fair Oscar party 2022

Paris 2024 Olympic Games event organized by Louis Vuitton