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\n\n

\n 'Mythes' is a new exhibition, curated by Simon Porte Jacquemus\n

\n\n

\n\n\n

If it wasn’t already clear, culture is in its Antiquity era.

In London last week, the British Museum hosted its inaugural gala, drawing a constellation of stars to celebrate a new exhibition titled ‘Ancient India: Living Traditions’. In Paris, the month will close with the opening of Mythes, a new exhibition curated by Simon Porte Jacquemus, the fashion designer and marketing savant whose Instagram visuals routinely break the internet. For his curatorial debut, Jacquemus looks back to the classical geometry that forms the lineage of his own silhouettes: the masterpieces of Antiquity.

\n\n

\n\n $\"\n'Mythes'$ \n\n

\n\n

\n'Mythes' at the Collège des Bernardins, Paris\n

\n\n

Mythes creates a dialogue between ancient sculptures and the works of Aristide Maillol, the celebrated French sculptor. Maillol, an ardent admirer of the ancients, drew on Egyptian art and archaic and classical Greek sculpture to shape his own vision of the female form – which is, in turn, said to have inspired Picasso, Henri Matisse, and Henry Moore. Maillol’s oeuvre has also become one of Jacquemus’ key reference points: a shared devotion to geometry and to the harmony between human presence and elemental form.

The exhibition opens this week at the Collège of Bernardins, a former Cistercian college at the historic University of Paris. It was created in collaboration with the Galerie Chenel on Quai Voltaire - a family business founded in 1999 and driven by a love of sculpture - and the Galerie Dina Vierny where it will be on view until late December. Dina Vierny was herself Maillol's last model, and her namesake gallery drew major attention for showcasing the great sculptor's works when it first opened in the 1940s.

\n\n\n

\n\n $\"Pomona$ \n\n\n

\n\n

\n Pomona with Lowered Arms (Pomone aux bras tombants), Aristide Maillol, Solomon R. Guggenheim Museum, New York\n

\n\n

With the modern world feeling ever more chaotic, it’s no wonder that creative visionaries are returning to long bygone eras: the ancient world offers enduring artistic solace. In its myths and materials, we find an order that transcends time. It’s this lineage of meaning and beauty that inspires 39BC – and the rituals we’re building around it.

'Mythes' runs from October 20 to 24, 2025, at the Collège des Bernardins, Paris. After its initial showing, the exhibition will move to Galerie Dina Vierny from October 30 to December 20.

\n\n","handle","mythes-and-the-modern-world","gid://shopify/Article/618267607305",{"_15":182,"_183":-5,"_22":184,"_102":185,"_100":186},"gid://shopify/ArticleImage/237071040777","altText","https://cdn.shopify.com/s/files/1/0939/6702/4393/articles/mythes-is-a-new-exhibition-curated_by-simon-porte-jacquemus_f0177570-b394-491f-8bee-39aa5405068c.jpg?v=1780174368",1920,2400,"publishedAt","2026-05-30T20:51:20Z","'Mythes' and the Modern World",{"_178":191},"letters",{"_173":193,"_176":194,"_178":195,"_15":196,"_86":197,"_187":202,"_38":203,"_163":204},{"_17":175}," $\"39BC$ \n\n

\n\n

\n 39BC Founder Sharmadean Reid and Professor Joann Fletcher\n\n

\n\n

The back-to-school energy was palpable last night as 39BC hosted an intimate evening at The Petrie Museum of Egyptian Archaeology, nestled within the autumn-leaf-strewn campus of University College London in Bloomsbury.

Guests arriving at The Petrie were welcomed by one of the world’s most significant collections of Egyptian and Sudanese artefacts – and the first reveal of 39BC’s debut collection.

\n\n\n

\n\n $\"Dina$ \n\n

\n\n

\n Dina Asher-Smith and Sharmadean Reid\n

\n\n

Winding through the museum’s labyrinth of glass cabinets, filled with relics of ancient beauty and power, attendees including Olympian Dina Asher-Smith, journalist Raven Smith, and entrepreneurs Michelle Kennedy and Isamaya Ffrench, sipped wine and explored 39BC’s intoxicating shower oils for the first time.

For Dina, Silk Veil was a clear standout: “I just love Ylang Ylang,” she said, alluding to the product’s signature top note. “That’s my forever favourite.”

Meanwhile, Mile co-founder Jordan Grant was transported by Fig Milk. “I’m just being sucked into this world,” said the tastemaker (and 39BC muse), fabulous as ever in an oversized YSL leather jacket and knee-high thong-toe boots. “Sharmadean is building this whole brand universe and I just want to be a part of it.”

\n\n\n

\n\n $\"$ \n\n

\n\n

\n Mile Co-Founder Jordan Grant\n\n

\n\n\n

\n\n

After an hour of mingling and enthusiastic sampling of the full four-piece Shower Oil range, Georgia May Jagger, designer Henry Holland, Bleach co-founder Alex Brownsell, and Alighieri founder Rosh Mahtani took their seats for the evening’s main event: a captivating conversation between 39BC founder Sharmadean Reid and esteemed Egyptologist, Professor Joann Fletcher.

Over the next hour, the pair offered an animated crash course in the life and legend of Cleopatra VII — last Pharaoh of the Ptolemaic Kingdom of Egypt and the guiding muse behind the 39BC brand. Surrounded by the museum’s astounding collection — from pyramid texts to intricate cosmetic utensils and statues of the goddess Isis — Professor Fletcher brought Cleopatra to life, from her perfumed silk-sailed journeys down the Nile to her dramatic death via cobra venom, administered with the help of her loyal hairdresser using a disguised hairpin.

\n\n

\n $\"Sharmadean$ \n

\n\n

\n Sharmadean Reid and Professor Joann Fletcher in conversation\n

\n\n

\n\n\n

By night’s end, guests described the event as a kind of return to university – one with perfume-scented glamour and professor-level storytelling.

“I feel enriched,” said Dina Asher-Smith. “I’ve never been that interested in history before, but now I’m wondering why I haven’t immersed myself,” added Jordan Grant.

\n\n\n

\n\n $\"Guests$ \n\n

\n\n

\n Guests took home a 39BC Gift Bag with one of the four shower oils inside\n

\n \n

\n\n

For Professor Fletcher - whose halo of crimson curls echoed the 39BC silk-draped backdrop - the evening was a joyful chance to share her life’s work with a newly spellbound audience:

“It’s such a unique and beautiful way to share the story of Cleopatra and her world. 39BC is just genius, and the whole evening has been a privilege and a pleasure.”

And her personal pick from the 39BC collection?

“Oh, it’s absolutely Denarii,” she said. “It’s spicy, with real depth – and I love the patchouli. I’m just an old hippy at heart.”

\n\n

\n\n $\"Georgia$ \n\n

\n\n

\n Georgia May Jagger and Alex Brownsell\n

\n\n \n

\n\n $\"$ \n\n

\n\n

\n Jordan Grant and Michelle Kennedy\n\n

\n\n

\n\n $\"Henry$ \n\n

\n\n

\n Henry Holland\n

\n $\"Naomi$ \n\n

\n\n

\n Naomi Smart, Otegha Uwagba, Lena de Casparis\n

\n\n

\n $\"Isamaya$ \n\n

\n\n

\n Isamaya Ffrench\n

\n\n

\n\n $\"Raven$ \n\n

\n\n

\n Raven Smith\n

\n\n\n

\n\n

\n\n\n\n","a-night-at-the-museum","gid://shopify/Article/618267640073",{"_15":198,"_183":-5,"_22":199,"_102":200,"_100":201},"gid://shopify/ArticleImage/237071171849","https://cdn.shopify.com/s/files/1/0939/6702/4393/articles/39bc-founder-sharmadean-reid_686bef08-b70b-43a2-be8a-70d423fb85ef.jpg?v=1780175043",3709,5563,"2026-05-30T20:56:05Z","A Night at The Museum",{"_178":191},{"_173":206,"_176":207,"_178":208,"_15":209,"_86":210,"_187":215,"_38":216,"_163":217},{"_17":175},"

Women Before 10 a.m. was not a sleeper hit.

Published by powerHouse Books in 1998 — the same Brooklyn art house that would become synonymous with countercultural image-making — this slim volume was their breakout hit, their first bestseller.

\n\n

\n\n $\"Women$ \n\n

\n\n

\n Women Before 10am, Véronique Vial\n

\n\n

The photographer was Véronique Vial, a French transplant in Los Angeles who had been cutting her teeth backstage with Cirque du Soleil. Naturally with this pedigree, she understood spectacle, which is why her decision to photograph the absence of it feels so subversive. In Women Before 10 a.m., she turned her lens not on the stage but on the hours before the stage even exists. Hair unbrushed. Sheets twisted. Coffee cups half-empty. Children clinging. Bodies unclothed, but not for the camera.

Her sitters were actresses, models, musicians — faces you’d recognise in magazines, but here they resist the performance. They’re not stars. They’re selves. And that’s the revelation.

\n\n

\n\n $\"Women$ \n\n

\n\n

\n Women Before 10am, Véronique Vial\n

\n\n

The book runs to 144 pages, duotone stillness from cover to cover. No gloss, no filter, no stylist hiding in the corner. Each frame is ritual at its rawest: waking, washing, stretching, mothering, staring into nothing. It’s radical in its simplicity. Identity before curation. Power before performance.

When I found Women Before 10 a.m., it felt like a key text for 39BC. A spiritual cousin. Because bathing — like Vial’s mornings — isn’t about display. It’s about that private theatre of becoming. What struck me most was the regalnes in those images: intimacy not as softness, but as authority.

\n $\"Women$ \n

\n\n

\n Women Before 10am, Véronique Vial\n\n

\n\n

For me, the bathroom is the same stage. Before the perfume, before the dress, before the door opens to the world — there’s that moment of oil, water, and reflection. It’s where you exist most clearly. Women Before 10 a.m. reminded me that ritual is not always loud. Sometimes it’s duotone. Powerful people in sheets, unarmoured, vulnerable.

\n","women-before-10am","gid://shopify/Article/618267672841",{"_15":211,"_183":-5,"_22":212,"_102":213,"_100":214},"gid://shopify/ArticleImage/237071270153","https://cdn.shopify.com/s/files/1/0939/6702/4393/articles/women-with-dogs_7ef130d0-6826-4f11-a162-0dc792f7e138.png?v=1780175420",1080,1350,"2026-05-30T21:09:02Z","Women Before 10am",{"_178":191},{"_173":219,"_176":220,"_178":221,"_15":222,"_86":223,"_187":228,"_38":229,"_163":230},{"_17":175},"

Think of Benzoin as the quiet fragrance power player that you've probably never heard of. An unexpectedly sophisticated perfume note, it brings a rich depth that feels at once opulent and comforting.

Benzoin is a resin — harvested from the Styrax tree, native to the humid forests of Southeast Asia, where collectors have risked leopards and leeches for centuries to gather these precious amber drops.

\n\n

\n\n $\"Benzoin\"$ \n\n

\n\n

\n Benzoin\n

\n\n

Ancient harvesters would make diagonal cuts in bark that would bleed golden sap, with the learned knowledge that true benzoin requires patience — the best resin forms slowly, over months of careful scoring and collection, each tree yielding only small amounts of the crystalline drops that will transform into perfumer's gold.

The scent that emerges is warm, sweet, vanillic, with whispers of spice that suggest caramelised wood left too long in temple braziers. Not artificial sweetness, but the complex warmth that comes from organic materials transformed by time, heat, and careful handling.

\n\n

\n\n\n $\"Pendant$ \n\n\n

\n\n

\n Pendant perfume-ball; gum Benzoin with enamelled gold mount; studded with emeralds. © The Trustees of the British Museum\n\n

\n\n

Along ancient spice routes, where Arab traders carried benzoin from Indonesian ports to Damascus markets, its value as both sacred material and practical medicine was deeply understood. Mixed with oils, it became balm for wounds that refused to heal, for skin damaged by desert sun, for hearts broken by impossible distances.

Persian poets described benzoin as \"solidified honey from trees that knew the secret of eternal summer,\" understanding its power to bring tropical warmth to climates that had forgotten what heat felt like. The scent that could make winter bearable without promising spring's immediate return.

In traditional Chinese medicine, benzoin represented the sweet earth element — the stabilising force that could ground scattered energies, that provided a foundation for healing that addressed spirit as much as body. And Japanese incense masters valued benzoin for its ability to slow breathing, to create meditative states where important insights became possible. The resin that didn't demand attention but gradually drew consciousness into deeper, calmer rhythms.

\n\n\n\n\n\n

In FIG MILK, benzoin serves this same gentle diplomatic function — smoothing the base, deepening the cedar and soft woods while balancing violet leaf's coolness and fig's lush richness. It provides quiet sweetness that lingers, a steady hum that makes everything else feel more integrated, more harmonious.

","the-quiet-power-of-benzoin","gid://shopify/Article/618267738377",{"_15":224,"_183":-5,"_22":225,"_102":226,"_100":227},"gid://shopify/ArticleImage/237071794441","https://cdn.shopify.com/s/files/1/0939/6702/4393/articles/benzoin_24d1f296-1d79-44c2-813e-5d0333d95682.jpg?v=1780177014",1445,2129,"2026-05-30T21:29:59Z","The Quiet Power of Benzoin",{"_178":191},"pageInfo",{"_233":69,"_234":69,"_235":236,"_237":238},"hasPreviousPage","hasNextPage","endCursor","eyJsYXN0X2lkIjo2MTgyNjc3MzgzNzcsImxhc3RfdmFsdWUiOjYxODI2NzczODM3Nywib2Zmc2V0Ijo1MX0=","startCursor","eyJsYXN0X2lkIjo2MTgyNjc2MDczMDUsImxhc3RfdmFsdWUiOjYxODI2NzYwNzMwNSwib2Zmc2V0Ijo0OH0=","actionData","errors"]