The Monocle Minute

It’s only a matter of time until you start spotting trends at runway shows. Paris Fashion Week, which wrapped on Tuesday, was no exception. Designers, from Jonathan Anderson at Loewe to Maria Grazia Chiuri at Dior, seemed to lean towards shorter hemlines, while Chemena Kamali at Chloé made a case for the return of 1970s-inspired, bohemian summer dressing.

But the biggest trend to make a comeback this season? Gossip. Editors, stylists and retailers in attendance seemed more preoccupied with the game of designer musical chairs than the collections on show. Who will be the next person to leave their high-profile post and who has what it takes to assume the top position at Chanel? What will former Valentino creative director Pierpaolo Piccioli do now? Those were some of the questions and new scenarios that show attendees discussed with those sitting next to them.

As many predicted, Celine creative director Hedi Slimane announced his departure on Wednesday, a mere four days after he debuted a charming spring/summer collection inspired by Françoise Sagan. There’s no harm in a little gossip between colleagues. I have always enjoyed sharing opinions and laughing at all the far-fetched rumours that have been going around with my peers. It lightens things up in an industry that usually takes itself way too seriously.

It’s an issue, however, when those unsubstantiated rumours are then broadcasted online or even printed in reputable publications, citing nothing but anonymous sources. In their search for clicks and likes, many in the fashion media have forgotten to abide by basic journalistic principles and ask the real questions: why can’t brands retain talent and what’s the effect on the end consumer?

At a time when people are preoccupied with appearing politically correct and avoiding causing offence, a little behind-the-scenes gossip is welcome. But when it comes to conversations on the record, I hope to start seeing more fact-checked information and honest criticism about the many changes taking place in the industry.

Natalie Theodosi is Monocle’s fashion director. For more opinion, analysis and insight, subscribe to Monocle today.

One of the most prestigious educational institutions for European studies, the College of Europe, unveiled its new campus in Tirana this week. Designed by Oppenheim Architecture, a firm based between Miami and Basel, the project is the first purpose-built campus for aspiring Eurocrats. The College of Europe already has campuses in Bruges and Warsaw. The design seeks to foster collaboration between students, EU delegates and the Albanian public, hence its sensitivity to the country’s history, culture and vibrant social life.

The campus is organised around a sunken amphitheatre topped by a concrete dome that reinterprets Albania’s ubiquitous concrete bunkers, a hangover from the Cold War. The rounded agora will become a hub for lectures, conferences and artistic performances that will take place under a ceiling painted with scenes of Albanian life. There is also a library, museum and event space, as well as accommodation for visiting EU diplomats.

As the College of Europe’s first Balkan opening, this may be a promising sign for hopefuls of the country’s pending EU membership (it’s currently a candidate for accession). If successful, Albania will already be home to one of the bloc’s dedicated academies.

“Cinema still excites me as much as it did when I was a child,” says Thai filmmaker Apichatpong Weera­sethakul. The director, who is known for his dream-inspired films such as Palme d’Or winner Uncle Boonmee Who Can Recall His Past Lives and Memoria, splits his schedule between being an independent auteur – who writes his own scripts and secures funding – and being a busy artist, hosting exhibitions around the world. This October sees two exhibitions open at the Centre Pompidou in Paris.

Night Particles, which runs until 6 January 2025, is an exhibition in which projectors channel Thai horror films. In contrast, A Conversation with the Sun marks his debut in virtual reality accompanied by a score from late Japanese composer Ryuichi Sakamoto. Weerasethakul views virtual reality as an “open space” for storytelling rather than a new cinematic frontier. As such, the experience invites audience interaction and requires a reservation for its limited run until 14 October. Looking ahead, his forthcoming project – filmed in Sri Lanka and inspired by Arthur C Clarke – reflects a lifelong passion. “Looking through a camera makes me feel as curious as I was when I first encountered science fiction as a child.”

A longer version of this piece features in Monocle’s Octoberissue, which is out now.

This week’s photo focuses on the enduring charm of the 189th Oktoberfest. The world’s largest Volksfest is currently underway in Munich, where it has been celebrated annually since 1810. Originally a royal wedding celebration, it has evolved into a vibrant festival of Bavarian culture, attracting visitors to the city from far and wide. Revellers adorned in lederhosen and dirndl dresses savour hearty fare, raise steins of beer and enjoy lively music. It’s a testament to community and tradition – as well as a successful exercise in city branding.

Petri Burtsoff tells the story of Havis Amanda, a beloved fountain and statue in Helsinki, which has recently been restored.