Sandra‘s Closet

Walking into the John Madejski Garden on Wednesday evening, you could feel that this one was special. The V&A Summer Party was turning ten, and the museum had pulled out all the stops, throwing open its courtyard for what has quietly become the most coveted night in London’s summer calendar.

With interior designer Pernilla Bennet of House of Bennet

A decade ago the museum turned its annual fundraiser into something far cleverer than a gala. The concept is simple and rather brilliant. Every summer the V&A invites a committee of leading creative voices to shape the evening and, crucially, to bring emerging talent into the room.

One of my favorites and definitely one of the most outstanding talents at the moment: Harris Reed, who officially stepped down as the creative director of Nina Ricci in March 2026, after a three-and-a-half-year tenure, is now focusing entirely on his eponymous namesake demi-couture label that is to die for!

Another designer I adore is London-based Molly Goddard, who is a real sweetheart, and truly deserves the title «Queen of Frill».

This year that committee included Harris Reed, David Furnish, Grayson Perry, Sandy Powell and Yinka Ilori, and the result is a guest list where a fresh Central Saint Martins graduate might find themselves deep in conversation with the patron who goes on to change their career. The party raises vital funds for the museum, but it also does something money cannot buy. It keeps British creativity alive, connected and celebrated.

Opening speech by Tristram Hunt, Director of the Victoria and Albert Museum.

Returning this year carried its own meaning, because the party had taken a break in 2025. In the past the evening often doubled as the curtain raiser for a major new show. When I last attended in 2024, the night marked the opening of Naomi: In Fashion, the museum’s glorious tribute to Naomi Campbell. This year there was no exhibition opening to coincide with the celebration, which personally speaking I missed. Half the thrill has always been stepping into a brand new world the moment the doors open.

The weather, for once, played its part beautifully. Glasses of Nyetimber caught the last of the evening light, Jessie Ware took to the stage, and the garden hummed with that particular energy you only find when fashion, art, music and a little British eccentricity collide all at once.

Performance by Jessie Ware.

I will be honest with you. I did not see everyone. The garden was so full of wonderful people that I spent most of the night lost in the kind of conversations you simply do not want to walk away from. That, for me, is the real luxury of an evening like this. Not the spectacle, but the company.

Photos: @gettyentertainment

The room held its share of icons, too. Mick Jagger, effortless as ever. Ellie Goulding, radiant. Maya Jama, Akshata Murty, Edie Campbell, Olly Alexander and Munroe Bergdorf were among the faces moving through the candlelit garden, alongside what felt like the whole of London’s fashion and art world gathered in one glorious place.

Always fun seeing my friend Mark-Francis Vandelli, who stars in «Ladies of London».

Ten years in, the V&A Summer Party has lost none of its magic. It remains a love letter to creativity, a celebration of one of the great cultural institutions of our time, and proof that the best nights are the ones spent among brilliant people under a perfect summer sky.

Here is to the next ten.

LoL, Sandra

So nice seeing Juergen Teller again with whom we worked so much at Marie Claire Germany many years ago. He is one of the best photographers I know that has a very special language.

Photos: © Sandra Bauknecht
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«Embroidery is to Haute Couture what fireworks are to Bastille Day.» – François Lesage

I love CHANEL‘s Métiers d’Art collections, that are always a visual treat for the senses, showcasing the craftsmanship for which the luxury house is revered. Those runway shows take place each year outside the traditional fashion schedule.

The name itself reveals it: Métiers d’Art means «art professions». They are considered demi-couture, right between ready-to-wear and haute couture; although the designs are not bespoke, their ornamentation and craftsmanship rely on couture techniques. The collections and their elaborate themes are brought to life by the small specialist workshops that CHANEL began buying in 1984, in order to preserve the expertise and craftsmanship associated with French luxury, among them the buttons and accessory maker (Desrues), costume jewelers (Goossens), embroiderers (Lesage and Montex), feather and flower makers (Lemarié), milliners (Maison Michel), shoemakers (Massaro) and so on. Today these ateliers have become essential to the everyday running of the fashion house, providing CHANEL with everything from lace to embroidered buttons.

For the Métiers d’Art collection 2020, named Paris – 31 Rue Cambon, Virginie Viard, who was with CHANEL’s haute couture department for more than 30 years before taking the helm as the Maison’s creative director in 2019, brought the show back to the legendary designer’s apartment, creating the magnificent set-up that placed emphasis on Coco Chanel’s famous mirrored staircase.

Her favorite look of the collection was number 34, and it was also mine. It is a piece of art, created using the intricate trompe-l’œil embroidery done specifically at the ateliers of Lesage, and the attention to detail is undeniable.

The story began in 1858, when Charles Frederick Worth opened his haute couture fashion house, and started making use of the prodigious talent of the embroiderer Albert Michonet, whose studio was purchased by Albert and Marie-Louise Lesage in 1924. This was the beginning of a period of fruitful and close collaboration with the best-known names of the time. They introduced tambour embroidery to the studio using the Lunéville technique, which could respond to the voracious demand for beaded and sequinned gowns during Les Années Folles.

In 1949, on the death of his father, François Lesage (1929 – 2011) took over management of the company at the tender age of 20. For 50 years, he has cleverly combined the skills of a traditional craft with meeting the pioneering requirements of the new generation of fashion designers. In 2002, the company became part of the CHANEL family.

Coming back to Look 34, that I am wearing in this outfit post. It features the Lunéville technique that involves using a crochet hook to chain stitch small decorations (black and gold beads) to the underside of the fabric. In this case, over 25,000 gold beads and 35,000 black tube beads are used to form the embroidered braids, before the seamstresses at the tailleur atelier carefully place them along the edges and cuffs of the wool tweed jacket and trousers. The classic handbag was created to complement the look, crafted in the same red-and-black wool tweed and finished with the embroidered braid detailing all around the edges.

Why am I explaining all of this to you? Those pieces are one-off creations that continually push the boundaries to showcase the fine arts that are only alive and well today because of CHANEL’s continued patronage. If you love fashion, you will appreciate the craftsmanship of those eternal items. This look is very dear to my heart.

My look: Tweed jacket with embroidery, matching tweed pants, and classic handbag, layered pearl necklace with bows, and two-tone slingback shoes, all by CHANEL (Look 34 Métiers d’Art 2020 Paris – 31 Rue Cambon),  velvet and Leavers lace-trimmed stretch-tulle halterneck bodysuit, and gold-tone, enamel and faux pearl clip earrings, both by Saint Laurent, and Carretto-print face mask, by Dolce & Gabbana.

LoL, Sandra

Photos: © David Biedert Photography
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EZGI CINAR launched her Zurich-based namesake demi-couture label in 2016. Her dreamlike collections are an homage to independent, passionate women, combining Swiss craftsmanship with Turkish romance. Dedicated to the woman who refuses to follow rules, preferring instead to make her own.

Me wearing the «All Dressed Up» mask

Now, she has taken her creativity further with the design of the most glamorous face masks that you can imagine. Made from scuba neopren, they are coated with mesh metal and / or crystals and lined on one side with a silicone strap to ensure the perfect fit for the ultimate protection.

Turning the mask around, you can see the immaculate craftsmanship. 

Personally speaking, I find them extremely comfortable to wear and the most stylish on the market.

TO SHOP EZGI CINAR FACE MASKS, CLICK HERE.

LoL, Sandra

Photos: Courtesy of Ezgi Cinar and © Sandra Bauknecht