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FASHION and lifestyle MAGAZINE

QP SEPTEMBER 2026 VOL. 2

INTERVIEWS Steph G & Zara Zeglam

FASHION The New Language of Luxury

MISHA

SKOVA BY DOMINIQUE LABRECQUE

TRAVEL DESTINATION St. Barth, French Caribbean

WWW.SETAAPPAREL.COM

www.astrid-agnes.com

TEAM FOUNDER/EDITOR-IN-CHIEF JOSE-MARIA JIMENEZ EXECUTIVE EDITOR JENNIFER CARTER Head of Brand Strategy, MISHA SKOVA Marketing & PR BRAND AMBASSADOR AITANA LOPEZ

CONTENT CREATORS CLAUDIA LOMBARDO SHARON JANE retoucher MARK SAPRYKIN FASHION STYLIST CHELSEA FRANK HAIR AND MAKEUP ARTIST TEAL DRUDA

COTRIBUTING EDITOR HILLARY STREITBERGER

LETTER FROM THE EDITOR Dear Readers, Some moments in a magazine’s journey feel particularly meaningful, and this cover is one of them. As QP Fashion Magazine continues its 15-year journey, we are delighted to welcome someone very special to our family: MISHA SKOVA, our September cover star and the newest addition to the QP team as Head of Global Branding, Marketing & PR. Misha is a woman of remarkable creativity, vision, and versatility. A model, designer, creative, and entrepreneur, she brings a unique perspective to the world of fashion, shaped by her experience and passion for innovation. After years of friendship and collaboration, having her officially join QP represents more than a professional milestone; it marks the beginning of an exciting new chapter built on trust, shared ambitions, and a belief in the power of creative collaboration. Misha, welcome to the team. We are thrilled to have you with us. In this issue, we celebrate the many dimensions of contemporary creativity. We sit down with the talented artist Steph G, who introduces FLAWLESS, her new fragrance created in association with Aromas de Salazar, and explore the vision of fashion designer Fatima Zahra Zeglam, founder of ZAHRA ZEGLAM. Our travel pages take us to the captivating shores of St. Barthélemy, a French Caribbean destination where natural beauty, refined elegance, and effortless glamour come together. Meanwhile, The New Language of Luxury examines how luxury continues to evolve, moving beyond traditional symbols of status toward craftsmanship, authenticity, and personal expression. With nine fashion editorials, this issue also offers an expansive visual journey through diverse creative perspectives, distinctive styling, and the artistry that continues to shape modern fashion. Each story reflects our ongoing commitment to celebrating talent, individuality, and the ever-changing language of style. As we look toward the future, we remain inspired by the people who make QP what it is: our contributors, creative partners, readers, and friends. Fifteen years is a remarkable milestone, but we believe the most exciting chapters are still ahead.

JOSE-MARIA JIMENEZ

Founder/Editor-in-Chief - QPmag

QP FASHION MAGAZINE BELLO MEDIA GROUP @BELLOmediaGroup 8285 Sunset Blvd, Suite 01 WEST HOLLYWOOD, CA 90046 IMAGE NATION STUDIO L.L.C. California, USA

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COVER

MODEL: MISHA SKOVA @mishaskova PHOTOGRAPHER: DOMINIQUE LABRECQUE @iceandtidestudio CREATIVE DIRECTION: BRANDBLOOM 360 @brandbloom360 FASHION STYLIST: MISHA SKOVA @mishaskova

Dress HOUSE OF CB Belt VINTAGE, THRIFTED, SOURCED IN PARIS Earrings VINTAGE GIVENCHY SOURCED VIA FOREIGN OBJECTS

PRIVATE VIEW PHOTOGRAPHER: MARCEL INDIK @marcelphoto MODEL: BEX ALLRED @bex_allred AGENCY: FORD MODELS @fordmodels FASHION STYLIST: ROYAL JOURNEY @royaljourney MAKEUP ARTIST: JESSICA LE BLEIS @leloupmakeup 9

Dress MISTRESS ROCKS Necklace VINTAGE, AMARSI PARIS Earrings ETSY

Dress HOUSE OF CB Scarf HOUSE OF CB Necklace GIVENCHY SOURCED VIA FOREIGN OBJECTS Earrings VINTAGE MONTY C. 1980S Bangles VINTAGE, THRIFTED

Dress RAT & BOA Necklace RABANNE SOURCED BY STYLIST IN A VINTAGE SHOP IN PORTUGAL Earrings VINTAGE, SOURCED BY STYLIST AT A LOS ANGELES FLEA MARKET Bangles VINTAGE, SOURCED BY STYLIST AT A LOS ANGELES FLEA MARKET 14

Dress HOUSE OF CB Scarf HOUSE OF CB Necklace GIVENCHY SOURCED VIA FOREIGN OBJECTS Earrings VINTAGE MONTY C. 1980S Bangles VINTAGE, THRIFTED

Dress HOUSE OF CB Earrings VINTAGE 1980S, SOURCED BY STYLIST FROM ADIRAS VINTAGE BOUTIQUE IN PASADENA Belt VINTAGE-INSPIRED BELT, ETSY

Pink dress LIZ CLAIBORNE

Swimsuit HERSEAS

Dress HOUSE OF CB Earrings VINTAGE 1980S, SOURCED BY STYLIST FROM ADIRAS VINTAGE BOUTIQUE IN PASADENA Belt VINTAGE-INSPIRED BELT, ETSY

Dress HOUSE OF CB Earrings VINTAGE 1980S, SOURCED BY STYLIST FROM ADIRAS VINTAGE BOUTIQUE IN PASADENA Belt VINTAGE-INSPIRED BELT, ETSY // Boots STEVE MADDEN

Swimsuit HERSEAS

SCULPTED IN LIGHT PHOTOGRAPHER: ADASAT BARROSO @adasat MODEL: LORENA RUIZ @lorenaruiiz_esp HAIR AND MAKEUP ARTIST: JUANJO GRAGERA @juanjogfont FASHION DESIGNER: CHRISTIAN PATER @christianpater

INTERVIEW

STEPH G FLAWLESS BY DESIGN Interview by JOSE-MARIA JIMENEZ

For Steph G, independence is more than owning her music—it is the freedom to move at her own pace, trust her instincts and create without limits. Raised in Brownsville, Brooklyn, the recording artist, songwriter and entrepreneur has transformed the resilience of her surroundings into a distinctly self-assured creative voice, moving effortlessly between English and Spanish while refusing to compromise the woman behind the work. From her bars-first music to her visual storytelling platform Steph G Unfiltered, she has built a career around authenticity, ownership and the conviction that no one else should define the boundaries of her ambition. Now, that philosophy takes on a new form with Flawless, her debut fragrance created in collaboration with Aromas de Salazar. Developed over a year through an intensely personal process of sampling and refinement, the scent extends Steph G’s aesthetic into a world of bergamot, coconut, jasmine, gardenia, vanilla, sandalwood and amber, wrapped in a striking red presentation inspired by her signature hair. But Flawless is ultimately less about perfection than self-possession: an invitation for women to embrace exactly who they are, celebrate their victories, learn from their setbacks and walk confidently into whatever comes next. In conversation with QP, Steph G reveals the woman behind the music—and the vision behind the brand. TALENT: STEPH G @stephg

PHOTOGRAPHER: SAMEER COPPER @copperstillphotography Makeup Artist: STEPHANIE J. MENDIZABAL @stephaniee.J HAIR STYLIST: CASSEY ALLEN @cassdollofficial PR Firm: GCPR HQ @gcprhq

STEPH G

ou describe yourself as an independent operator, artist and founder. What does independence mean to you today, beyond simply owning your music? Independence today means to me freedom to move at your own pace, having no limit to where creativity can take you to , and being your own boss ! I love being able to make my own decisions at my own time. You grew up in Brownsville, Brooklyn. How did your environment shape your voice, your confidence, and ultimately the way you move through the world as an artist? Brownsville shaped me in so many ways. It taught me to be tough in a world where we have to be nowadays with this new age of social media & bullying , but most importantly it taught me to remain humble and never forget where you come from. Your music moves naturally between English and Spanish. What does that duality allow you to express that you might not be able to communicate in just one language? Sometimes things just sound better in one language than the other sonically. Also, I like to spice my music up. I love my roots and where I come from so it’s a blessing to be able to express myself through both languages hence they both represent me and a big part of my culture. There is a strong sense of confidence and femininity in your work, but it never feels like confidence for the sake of performance. Where does that self-assurance come from? That self assurance comes from growth from my inner self who was once not so confident . I had to re-learn myself , and re-assure myself who I was. Once I took that step there was nothing nobody could tell me that could bring me down! You have chosen to remain deeply involved in everything from writing and releasing music to

marketing and the business behind it. What have you learned about yourself by refusing to hand over control? What I have learned about myself in this process is that I am very overprotective over my work. Sometimes in this industry you will come across a lot of people who want to get involved with what you have going on , but you can’t just let anybody in. I treat my career and business as my babies so I’m very careful on who I let in . Your current single, “Pop It,” feels like a very direct expression of attitude, energy and female confidence. What was the woman you had in mind when you created it? The woman I had in mind is myself, but most importantly the woman who I would want every woman to be . Confident , bold , a woman who celebrates her wins and learns from her lessons, and a woman who’s ready to conquer the world. You have also developed Steph G Unfiltered, expanding your creative world beyond music. What are you trying to reveal about yourself through stories that listeners might not discover through your songs? With Unfiltered I want to give the world the raw Steph G. I know artists are used to selling a certain persona online, but I wanted to be able to connect with my fans on a deeper level. I want them to love me for the authentic me first. Now you are entering the world of fragrance with Flawless. What made scent feel like the right medium for your creativity? When did the collaboration move from an idea into a serious fragrance project? I’ve always been a girly girl and I love to smell good! I’m literally obsessed with fragrance so it was only right I made my own. It moved from an idea to a serious fragrance project once my PR Lamarra Rice connected me with Aromas de Salazar and the rest was history. We connected and made the fragrance happen a year later. The fragrance took a year to develop with Aromas de Salazar. What surprised you most

“I love my roots and where I come from.”

about the process of creating a perfume compared with creating a song? What surprised me the most was how small of a detail can change the whole fragrance lol. It’s usually like that with music too but maybe after 1 or 2 revisions I like the song . With the fragrance it took multiple revisions to get to my liking because there’s so many notes to play with . After a year of samples and back and forth we finally got it to where it should be! You were involved not only in the fragrance itself but also in the bottle, packaging and overall presentation. What did you want Flawless to communicate visually before someone even smells it? I wanted Flawless to be an extension of what Steph G represents but an elevated version. Everyone knows me for rocking the red hair so I said the box has to be red! The composition moves from bergamot, lime and coconut into jasmine, gardenia and ylangylang, eventually settling into sandalwood, vanilla, ambergris and oakmoss. Which part of the fragrance feels most like you-and why? I would have to say the jasmine, gardenia , and vanilla fits my vibe the most . I love to smell sweet and floral . At the same time I didn’t want this to smell like anything else on the market so we did play with notes to give it a unique smell. The name Flawless carries a very strong message. Is it about perfection, or is it more about owning yourself exactly as you are? It’s more about owning yourself exactly as you are which goes back to being a confident woman no matter what. I believe every woman

is beautiful and should feel flawless in their skin. Self love is the best love . You are who you think you are ! There is an interesting connection between fragrance and music: both can create atmosphere, trigger memories and stay with you after the moment has passed. Do you see Flawless as another form of songwriting? I definitely see Flawless as a form of songwriting. Songwriting takes a lot of thought , always has a message behind it , and takes time to perfect, just like Flawless. It’s an art. As an entrepreneur, what have you discovered about building a brand around yourself without allowing the brand to overshadow the artist? I’ve learned that a brand can take you far in any market. Once people know the brand, it becomes easier to follow your endeavors in music or anything else that you wish to pursue. With that being said, I take my brand very seriously. You have built your career on your own terms, from Brownsville to music, visual storytelling and now fragrance. When you look at the next chapter ofSteph G, what do you want people to experience, rather than simply know, about you? In my next chapter I would like the people to experience the elevated version of myself , the Steph G that worked hard to become who she is today while still remaining my most authentic self. I want to show women that nothing is impossible and that you can knock down any door that they tried to close on you!

“I wanted Flawless to be an extension of what Steph G represents but an elevated version.”

Aromas de Salazar approaches perfumery as an exercise in individuality, craftsmanship and creative freedom. Moving beyond the familiar codes of both designer and niche fragrance, the brand creates distinctive compositions with a sense of character and unexpectedness. Each scent is carefully made by hand, drop by drop, reflecting a meticulous dedication to quality and consistency. The result is a collection of refined and original fragrances that transform the act of wearing perfume into something far more personal—an olfactory signature that feels as unique as the person who wears it. 41

VELVET SHADOWS 42

Cowboy hat DIVISION PR Top MYNESETS Denim jacket ZARA Pants LEVI´S

PHOTOGRAPHER: CAROLINE MALOUF @carolinemaloufphotography MODEL: EMELINA ADAMS @emelinaadams FASHION STYLIST: JOI SALVADOR @stylebyjoi HAIR AND MAKEUP ARTIST: MICHELLE VANDERHULE @beautybymichellev WARDROBE PROVIDED BY PR SOLO @pr_solo

Corset + Skirt KRISTINA K

Dress OXFOLD Earrings & Bracelet VERONICA THARMALINGAM

Dress AŚADY Earrings VERONICA THARMALINGAM

Corset ALPANA NEERAJ Ring VERONICA THARMALINGAM

Dress OXFOLD

Top & Skirt OXFOLD

COVER

MISHA SKOVA

THE ART OF CREATING A VISION Interview by JOSE-MARIA JIMENEZ

Fashion has always been about more than what we wear. It is a language of identity, a reflection of culture, and a creative force shaped by the people who dare to look beyond the obvious. For MISHA SKOVA, that journey has unfolded across multiple dimensions of the industry, from modeling and design to entrepreneurship, branding, and creative direction. Her experiences in front of the camera have given her an instinctive understanding of imagery, while building her own brands, including SKOVA and LACAUSA, has deepened her appreciation for the vision, craftsmanship, and strategic thinking behind a successful fashion business. Inspired by travel, architecture, nature, and the unexpected beauty of everyday life, Misha approaches creativity as an evolving dialogue between intuition and purpose. In this special issue of QP FASHION MAGAZINE, Misha Skova takes on two significant roles: our cover star and the newest member of the QP team as Head of Brand Strategy, Marketing & PR. Her arrival marks an exciting new chapter for a magazine that has been publishing internationally since 2011. In this exclusive interview, Misha reflects on her multifaceted career, the importance of authentic brand building, sustainability, and the relationship between creativity and business. She also shares her vision for QP’s future, exploring new ways to connect with readers, creators, and brands while preserving the editorial identity that makes the magazine unique.

MODEL: MISHA SKOVA @mishaskova PHOTOGRAPHER: DOMINIQUE LABRECQUE @iceandtidestudio CREATIVE DIRECTION: BRANDBLOOM 360 @brandbloom360 FASHION STYLIST: MISHA SKOVA @mishaskova

ou have experienced fashion from so many different perspectives - as a model, designer, entrepreneur and creative strategist. When you look at your career today, how do you define yourself? I don't feel like I have to choose one title anymore. I'm a designer and founder who also happens to understand what it feels like to be in front of the camera. Modeling taught me instinct, while building SKOVA and LACAUSA taught me how much work has to happen after the beautiful photograph is taken. Most days, I'm moving between a mood board and a business decision, which feels very natural to me. You began your career in front of the camera, but eventually became increasingly interested in what was happening behind the scenes. What was it about design and creative direction that made you want to move from being part of the image to creating the vision itself? I became fascinated by everything happening around the camera. I'd find myself watching how the photographer framed the shot or how one styling change completely shifted the feeling of the image. Eventually, I didn't only want to wear the clothes. I wanted to shape the full idea, from the first reference image to the final photograph. Your work has always been strongly influenced by travel, art, architecture, nature and different cultures. How does travelling change the way you see fashion - and where does your creativity usually begin? Travel pulls me out of what I already know, and that always changes how I look at fashion. I can become inspired by the color of an old building in Brno, the texture of a handmade piece, or the way someone has styled herself on the street without overthinking it. My creativity usually begins with one visual detail that stays in my mind. I'll photograph it, save it, and later it may become the starting point for an entire concept. You have built and developed your own brands,

including SKOVA, while also working in branding and business strategy. What have those experiences taught you about the difference between creating something beautiful and creating a truly successful brand? A beautiful product may get someone's attention, but a successful brand gives them a reason to remember it. Building SKOVA taught me that the smallest choices matter, including the packaging, photography, and how the customer feels when the order arrives. Working on LACAUSA has reinforced the importance of knowing exactly who made the product and why it deserves to exist. The creative idea has to be supported by a clear business structure, even if spreadsheets aren't quite as romantic as a campaign shoot. Sustainability and ethical production have become increasingly important conversations in fashion. How do you approach sustainability without allowing it to become simply another marketing message? I think sustainability has to be visible in the decisions a brand makes, not simply printed in its marketing. With LACAUSA, the bags are made by artisans in Madagascar, so the people and the production process are part of the brand from the beginning. I'd rather explain how something was made than use broad language that could apply to almost anything. Customers are very good at recognizing when a message is real. Fashion is constantly changing, particularly in the age of social media, creators and rapidly evolving consumer expectations. What do you believe makes a fashion brand relevant today and what makes it remain relevant tomorrow? A relevant brand understands what's happening now without changing its entire personality every time a new trend appears on social media. People want to see the product, but they also want access to the ideas and people behind it. A thirty-second video from a shoot can sometimes create a stronger connection than a perfectly polished campaign. What lasts is a clear point of view and consistency in how the brand shows up.

“I became fascinated by everything happening around the camera.”

As someone who has worked both in front of and behind the camera, what do you think makes an image genuinely powerful? Is it the clothes, the model, the photographer, the concept - or something more difficult to define? A powerful image has a feeling you notice before you begin analyzing the clothes or lighting. I've seen beautiful pieces fall flat because the image felt too controlled, and I've seen a spontaneous frame become the one everyone remembers. When I photographed in the streets of Brno, the architecture added something I couldn't have created inside a studio. The strongest images leave a little room for something unexpected to happen. You have spoken about the importance of combining creativity with structure and strategy. How can creative people protect their artistic vision while also thinking about business, positioning, marketing and growth? Creative people need enough structure to protect their ideas, because without it, the business side can quickly take over everything. I like beginning with a clear brief so everyone understands the feeling we're trying to create before budgets and timelines enter the conversation. Then the practical decisions have something to answer to. Structure shouldn't flatten the idea; it should help the idea survive production. You are now joining QP Fashion Magazine as our new Head of Brand Strategy, Marketing & PR. What attracted you to QP, and what do you see in the magazine that made you want to become part of its next chapter? I joined QP because I genuinely love being in a creative space. Photography and fashion have always been a huge part of my life, and being around other creative people keeps me inspired and moving forward each day. QP already has a strong visual identity, so I saw an opportunity to bring my experience in branding and PR into a world I naturally connect with. It felt like a very comfortable yes.

QP has been publishing since 2011 and has built an international identitythrough fashion, beauty, travel, culture and strong visual storytelling. From your perspective, what opportunities do you see for QP to grow its global presence and connect with a new generation of readers and brands? QP has been publishing since 2011, which gives it history and credibility that can't be created overnight. The opportunity now is to translate that identity across digital platforms while keeping the editorial quality that makes a magazine feel special. I'd love to bring readers closer to the process through behind-thescenes stories and conversations with the people creating the work. That also gives brands more meaningful ways to participate than simply placing an advertisement. As Head of Brand Strategy, Marketing & PR, what would you like people to associate with the QP name in the future? What kind of image, voice and relationship with its audience would you like to help build? I'd like people to associate QP with a strong visual point of view and work that feels genuinely worth their time. The voice should feel knowledgeable but still human, like someone you trust to show you what's interesting before everyone else is talking about it. I also want the relationship with the audience to feel more personal, whether they discover QP through a printed cover or a short video from a shoot. The magazine should feel established without feeling distant. Finally, this issue marks two important things: you are our cover star, and you are becoming part of the QP team. If you could write one sentence describing this new chapter - for yourself and for QP - what would it say? This chapter brings me back to the creative world I love, with the chance to help QP grow while becoming part of the story myself.

“I'd like people to associate QP with a strong visual point of view and work that feels genuinely worth their time.”

Lingerie GUESS

AFTER HOURS PHOTOGRAPHER: EVA DISENKO @disenko_photography & SASHA @sasha.ph5 MODEL: LIDIA FERRER @lidiaferrerv SPECIAL THANKS TO PAUL MARCIANO @paulmarciano

Lingerie GUESS

Dress GUESS

Lingerie GUESS

Denim set GUESS

WILD THINGS

PHOTOGRAPHER: ALESSANDRA FIORINI @alessandrafioriniphotography MODEL: MACKENZIE BRODERICK @_mackenziebroderick FASHION STYLIST: CRISTINA CELLINI @nobodysugly HAIR AND MAKEUP ARTIST: JAN TINKLEY @jtinkstermua

Jacket ZARA Fuschia fingerless gloves STYLIST OWN

Top hat STYLIST OWN Army green coat SAINT LAURENT Vintage vest CHAINMAIL Black blouse MAJE Print shorts REDEMPTION Tights WOLFORD Black suede boots GIANVITO

Black velvet jacket OSCAR DE LA RENTA Victorian gray dyed dress VINTAGE Tights WOLFORD Nude lace up suede boots GIANVITO

Silk dress JUAN VIDAL Tist top JUAN VIDAL Electric blue vest VIVIAN WESTWOOD Faux jacket ZARA Tights WOLFORD Black suede boots GIANVITO

Animal print coat CHLOE Flower dress ZIMMERMAN Tights WOLFORD Black suede boots GIANVITO

Silver long dress L’AGENCE Crochet burgundy shawl VINTAGE

Vintage runway dress MARC JACOBS Jacket RALPH LAUREN Hat VINTAGE Tights WOLFORD Nude lace up suede boots GIANVITO

INTERVIEW

ZAHRA ZEGLAM

MY STRENGTH HAS NO GENDER Interview by JOSE-MARIA JIMENEZ

For Fatima Zahra Zeglam, fashion is not about becoming someone else—it is about giving form to who you already are. The founder of Zahra Zeglam has built her vision around a powerful dialogue between her Moroccan roots and the discipline of Italian tailoring, drawing on childhood memories of her grandfather’s fabric shop in Casablanca and transforming them into a contemporary language of structure, precision and understated elegance. Her collections place women at the centre of tailoring codes historically associated with menswear, creating garments that feel authoritative without sacrificing femininity or freedom. At the heart of Zahra Zeglam is a philosophy of quiet confidence. Its suits, blazers and gilets are designed not as armour, disguise or decoration, but as an architecture that allows a woman to occupy space on her own terms. In this conversation, Fatima Zahra Zeglam reflects on the personal journey behind the brand, the meaning of Made in Italy, the relationship between heritage and modernity, and her belief that strength has never belonged to one gender. Her approach is ultimately less about challenging fashion through provocation than redefining it through precision—one shoulder, one silhouette and one woman at a time.

FATIMA ZAHRA ZEGLAM Founder

our brand and your identity are inseparable: when did you first realise that you would become Zahra Zeglam?

There was no moment when I "became" Zahra Zeglam, as if I had taken on a persona. The brand gave concrete form to something that had existed in me for a long time: the memory of fabrics in my grandfather's shop in Casablanca, the value of work, the need to build my independence, and a very precise idea of elegance. I understood that the project could come to life when I had finally gained the stability and freedom I needed to return to that dream and turn it into a business. Zahra Zeglam is not a mask: it is the most rigorous synthesis of my story.

rhythm. I do not use Marrakech as a visual shortcut to tell the story of Morocco: I prefer to start from my real experience. Creatively, the most authentic dialogue is therefore between the memory of Casablanca and the rigour of Italian tailoring. Was there a defining moment when you chose to reject traditional fashion pathways and build your own vision? The defining moment came around my thirties, when I found myself having to rebuild my life. I understood that there is no timetable by which a woman must have "arrived", and that time can become a tool for building rather than an enemy. For years I worked, learned and strengthened my independence. I did not reject fashion's expertise and knowledge; I rejected the idea that there is only one legitimate path into it. Zahra Zeglam was born from a personal trajectory transformed into method and vision. You emphasise that your designs are not "borrowed from men", but created for women: can you explain that distinction in your own words? We do not take a men's jacket and simply scale it down or superficially adapt it to a woman's body. We start from authentic tailoring codes - a constructed shoulder, clean lapels, proportion, structure - and design them from the outset with the woman as the subject. The suit is not a disguise, and the woman is not a guest in the male wardrobe. She is the one who gives those codes new meaning through her body, her story and her way of being in the world. The structure remains rigorous; the fit and freedom of interpretation are entirely feminine. What does menswear-inspired tailoring offer a woman that traditional womenswear often does not? I do not believe there is a single "traditional" way to dress the feminine, but tailoring offers an important alternative: structure, space and precision without asking a woman to be decorative or seductive. A well-constructed suit can support her presence, bring order to the line and allow her to enter a room with intention without having to raise her voice. It is not there to hide or stiffen the body; it creates a point of

“My origins My origins taught me that elegance does not come from ostentation. taught In Casablanca, I watched my grandfather, a composed and me that understated man, in his fabric shop: from his suits I learned that elegance does elegance is first and foremost about posture, dignity and care. From not come my parents, I learned the tangible value of work and sacrifice: while from my mother worked in Morocco, my father had moved abroad to help support the family. From both of ostentation.” How have your Italian-Moroccan roots shaped your personal definition of elegance?

them, I absorbed the same work ethic, rooted in responsibility, commitment and perseverance. Italy gave me discipline, method and the manufacturing culture through which I could transform that memory into a product. My idea of elegance therefore comes from the meeting of an emotional Moroccan root and a deeply Italian sartorial construction. Milan and Marrakech are central to your story: what do these cities represent to you emotionally and creatively? I would like to gently correct one premise: the city at the heart of my personal story is Casablanca, not Marrakech. Casablanca is the old city, my family, the souk, my grandfather's fabric shop; it is the emotional root from which my perspective comes. Milan, by contrast, represents the fashion system, professional exchange, and a contemporary, international

stability from which she can move freely. It is an architecture that accompanies a woman without defining her for her. How do you technically approach tailoring to ensure structure and durability without sacrificing femininity? Durability comes from construction, not from a generic feeling of luxury. We work with structured shoulders, clean lapels, controlled proportions and precise fittings, with regular, slim and oversized volumes that offer different interpretations. Fabrics and trims, cutting, garment construction and packaging are all developed in Italy; the fabrics come from the Biella textile district. Femininity is not added through a decorative detail: it emerges from the balance between structure and body, from the quality of movement and from the freedom to choose one's own silhouette. Technical rigour must support the woman, never constrain her. Do you see your work as a form of quiet rebellion against traditional gender codes in fashion? Yes, if by rebellion we mean changing the meaning of things without turning everything into a slogan. Zahra Zeglam does not fight the male wardrobe and does not want to dress women "like men". It simply challenges the idea that authority, structure and decisiveness belong to one gender. Ours is a quiet rebellion because it takes place in the cut, the shoulder, the posture and in the way a woman inhabits the garment. It does not ask permission and does not need to provoke: it shifts the boundary with precision. Your brand speaks to women who "made it on their own": who is the woman you design for today? I design for a woman who has built her own centre and can freely choose who and what to have beside her. She may be a professional, a

mother, an artist, an entrepreneur, or still be in the midst of her own transformation. She is not defined by age, role or visible success. She is a woman who does not need to change her identity to assert herself, and who recognises in restraint, precision and presence a language close to her own way of being. How does clothing become a tool of empowerment in your philosophy? A garment cannot emancipate a person on its own, and I do not want to attribute magical power to fashion. It can, however, give visible form to a choice already made internally. When a garment does not impose seduction, fragility or conformity, but offers structure and freedom, it allows a woman to occupy space more consciously. For me, the suit is not armour: it is architecture. It does not create strength, but it can make that strength visible, preserve its balance and accompany a woman as she expresses her identity. The phrase "My strength has no gender" is powerful: what does it mean to you personally? It means that qualities such as authority, discipline, decisiveness and courage are not masculine or feminine: they are human. For a long time, certain aesthetic codes made strength seem incompatible with femininity, or suggested that a woman had to "borrow" it from men. I do not believe that. A woman wearing a constructed shoulder or a rigorous suit is not taking on someone else's identity: she is making visible a strength that already belongs to her. Femininity loses nothing when it chooses structure; on the contrary, it can define itself with greater freedom. Do you believe fashion still imposes rules on women, and how does your brand challenge that idea? Fashion often imposes rules quietly: about

“I design for a woman who has built her own centre and can freely choose who and what to have beside her.”

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how a body should look, what is appropriate at a certain age, and how much seduction or discretion a woman should show. Zahra Zeglam does not propose a new rule to replace the old ones. It offers different silhouettes and a precise structure, leaving each woman free to choose her own posture. Our aim is not to tell her who to be, but to create garments through which she can make her own story visible without asking for approval. Italian tailoring is synonymous with excellence: how do you reinterpret this heritage through your vision? Italian tailoring, to me, is a method made of proportion, material, expertise and time. I reinterpret it by placing the woman at the centre of codes historically associated with menswear, without simplifying them or turning them into decoration. Zahra Zeglam's entire supply chain is Italian: from fabrics and trims to cutting, garment construction and packaging. Heritage is not used as a label, but as a responsibility. Every shoulder, stitch, button and fitting must prove that Made in Italy still stands for the ability to build with precision, exercise control and create something that lasts. Where do Moroccan influences appear most subtly in your collections? Moroccan influences do not appear through recognisable ornamental motifs or folkloric references. That would be too easy a reading and would not correspond to my story. They are present in my almost instinctive relationship with fabrics, in the tactile memory of my grandfather's shop, and in the sense of dignity and presence I absorbed in Casablanca. Morocco is the origin of my gaze, not a decorative theme to apply to garments. The collection remains rigorously contemporary and Italian in its construction, but carries within it a personal memory that guides its

meaning. How important is the story of craftsmanship in a world increasingly dominated by fast fashion? It is fundamental, provided the story can be verified. Telling the story of craftsmanship does not mean romanticising manual work, but making skills, time, responsibility and provenance visible. In fast fashion, speed tends to erase the people and processes behind a garment. We want to do the opposite: state our supply chain clearly, value the quality of materials and explain why construction requires precision. Our collaboration with Colori Vivi for the SS27 gilets follows the same logic: a specific, transparent and concrete commitment built on real work and expertise. You position Zahra Zeglam as "accessible luxury": how do you reconcile exclusivity and accessibility? I prefer to clarify that Zahra Zeglam's current positioning is contemporary luxury tailoring, not "accessible luxury" understood as a price promise. Exclusivity comes from the quality of construction, the Italian supply chain, the rigorous selection of fabrics and a deliberately essential collection. For us, accessibility is primarily about language: the possibility for different women to recognise themselves in the message and interpret the garment according to their own identity. We do not want to make the product more accessible by lowering standards; we want to make luxury clearer, more coherent and less distant in its relationship with those who choose it. Your "seasonless" approach challenges the traditional fashion calendar: why was it important for you to implement it? Here too, it is useful to clarify the positioning: Zahra Zeglam works through collections, such as SS27, and today does not define itself as a strictly seasonless brand. We are, however, interested

“Italian tailoring, to me, is a method made of proportion, material, expertise and time.” 103

in challenging the logic of rapid obsolescence. We design a concise wardrobe made up of suits, blazers and gilets that can speak to one another and remain relevant beyond the launch moment. Longevity does not come from the absence of seasons, but from quality, consistency of proportion and the possibility of continuing to wear a garment because it retains its form, function and meaning. As founder and face of the brand, how do you manage the pressure of representing Zahra Zeglam? I manage it by distinguishing image from responsibility. Fashion and television taught me what it means to be in front of a camera, but also how much work exists behind the scenes; event production gave me method, discipline and coordination skills. I do not want to be a "cover CEO": I want to be a credible founder, present in decisions and consistent with what the brand promises. I can lend my face to the project because its origin is authentic, but Zahra Zeglam must be bigger than my image: it must live in the product, the team, the supply chain and the women who wear it. What does success look like for Zahra Zeglam over the next five years, both creatively and globally?

Success means becoming an Italian and international reference point in women's contemporary luxury tailoring without diluting what makes us recognisable. Creatively, it means building a coherent language in which structure, quality and presence are immediately legible. Globally, it means growing through selective distribution, solid relationships with clients and buyers, and a reputation built on product rather than noise. It also means maintaining specific and transparent social commitments. I do not measure success only in volumes: I measure it in trust, in the longevity of the brand and in the ability for a Zahra Zeglam garment to be recognised without having to shout its name. If a woman wears one of your blazers for the first time, how would you want her to feel in that exact moment? I would want her to feel supported, aligned and unmistakably herself. Not transformed, not disguised and not forced to play a role. I would want her to feel the precision of the shoulder and the line as a space that belongs to her, and for the garment to allow her to enter a room with intention without having to raise her voice. The most beautiful thought would be a simple one: "This does not tell me who I have to be. It allows me to be here, in my own form."

“I do not want to be a "cover CEO": I want to be a credible founder, present in decisions and consistent with what the brand promises...”

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FASHION

THE NEW LANGUAGE OF LUXURY

WHEN SOPHISTICATION SPEAKS THROUGH FABRIC, FORM, AND INTENTION For years, fashion's symbols of status were defined by logos, monograms, and recognizable brand signatures. Today, sophistication is increasingly expressed through craftsmanship, proportion, quality materials, and personal style. The new language of luxury is not about owning more, but understanding what makes a garment exceptional and enduring. From tailored coats to refined leather accessories, modern luxury speaks through subtle details, while individuality and expressive silhouettes ensure that restraint never becomes uniformity.

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THE POWER OF PRECISION

The tailored blazer remains one of fashion's most enduring instruments of transformation. A well-constructed jacket can introduce structure to relaxed denim, sharpen a flowing dress, or establish an entirely new silhouette when worn with wide-leg trousers. Its appeal lies not simply in its formality, but in its ability to adapt. For the contemporary wardrobe, look for clean shoulders, balanced proportions, considered lapels, and fabrics with enough structure to maintain their shape. The most compelling tailoring does not necessarily follow a single silhouette. It can be sharply architectural, softly relaxed, or subtly sculpted around the waist.

THE COAT AS A SIGNATURE

Few wardrobe pieces possess the transformative power of a beautifully cut coat.

A camel wrap coat, a charcoal wool overcoat, or a precisely tailored black silhouette can establish the visual identity of an entire outfit. The appeal is both aesthetic and practical: a considered outer layer can be worn repeatedly, across different settings and styling combinations. The modern luxury coat is defined by more than its colour. Fabric weight, drape, finishing, and construction determine how it moves and how it wears over time.

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THE NEW NEUTRALS

Neutral dressing has evolved beyond the conventional idea of beige basics. Ivory, chocolate brown, charcoal, navy, stone, and deep black offer a foundation for creating wardrobes that feel cohesive without becoming predictable. Their strength lies in their ability to work together, allowing texture and proportion to become central to the visual composition. A cream knit paired with chocolate trousers creates warmth and contrast. Charcoal tailoring introduces an urban sensibility. Black leather accessories provide definition. The secret is not to eliminate colour, but to understand how colour can support the architecture of an outfit.

LEATHER, REFINED

Accessories can transform a wardrobe without overwhelming it. A structured leather handbag, a pair of sculptural sunglasses, or a carefully selected belt can introduce definition and personality to even the simplest ensemble. Their impact depends on proportion, material, and how naturally they integrate into the overall look. The modern approach to luxury accessories moves between discretion and design. A minimal bag can provide a quiet finishing touch, while an unusual shape or distinctive hardware can become the focal point of an outfit.

The objective is not to make every accessory compete for attention. It is to create a considered relationship between the individual pieces.

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THE SENSUALITY OF TEXTURE Luxury is experienced visually, but also through touch.

Cashmere, silk, fine wool, suede, and carefully finished leather introduce sensory qualities that can transform the way clothing is perceived. Their surfaces absorb and reflect light differently, creating a subtle richness that photography can capture through close-ups and movement. Texture also allows a restrained colour palette to become more expressive. A brushed wool coat against polished leather, or a fluid silk blouse paired with structured tailoring, creates contrast without requiring elaborate embellishment. In this language of luxury, the material is not an afterthought. It is part of the design's identity.

THE SHIRT, REIMAGINED

The white shirt has long occupied a central position in the fashion wardrobe. Yet its continued relevance comes from its ability to evolve.

Oversized proportions, sculptural collars, asymmetric closures, and fluid fabrics offer contemporary interpretations of a familiar essential. A shirt can be precise and architectural, relaxed and sensual, or deliberately understated. Its versatility makes it particularly valuable in a wardrobe built around repeated wear and thoughtful styling. The new luxury shirt is not defined by complexity. It is defined by the quality of its construction and the clarity of its design.

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THE SHOE THAT COMPLETES THE LOOK

A carefully selected shoe can influence the entire character of an outfit.

The polished loafer, the pointed pump, the refined ankle boot, and the minimal leather flat each offer a distinct approach to dressing. Their value extends beyond appearance: comfort, construction, and versatility influence how frequently a piece becomes part of a wardrobe. The contemporary luxury shoe balances design with wearability. It does not need to dominate the outfit to make an impression. A considered silhouette, a beautiful leather finish, or an unexpected proportion can provide the final detail that brings an ensemble together.

THE NEW INVESTMENT WARDROBE

The concept of investment dressing has evolved beyond the traditional designer purchase. A luxury wardrobe is not necessarily defined by its price tag, but by the relationship between quality, functionality, and longevity. A well-made coat that becomes a regular part of one's wardrobe may offer more practical value than an expensive statement piece worn only once. This approach encourages a more deliberate relationship with fashion: considering materials, fit, versatility, and the circumstances in which a garment will be worn. Investment dressing does not mean abandoning experimentation. It means creating a foundation that allows expressive pieces to coexist with reliable essentials.

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LUXURY IS PERSONAL

The new language of luxury is not a rigid set of rules. It is an invitation to look more closely at fashion: to appreciate the relationship between material and movement, construction and comfort, design and identity. A perfectly tailored coat can communicate confidence. A beautifully textured knit can express intimacy. A sculptural accessory can introduce a sense of individuality. The most sophisticated wardrobe is not necessarily the one that follows a single aesthetic. It is the one that reflects a considered understanding of personal style.

LUXURY BEGINS WHERE INTENTION MEETS EXPRESSION In a fashion landscape defined by constant change, the ability to create a wardrobe that feels authentic may be the most enduring statement of all. Beyond seasonal trends and fleeting moments of popularity, true style lies in the confidence to embrace what feels personal, meaningful, and timeless. It is found in the thoughtful combination of exceptional craftsmanship, considered silhouettes, and pieces that reflect individuality rather than simply follow convention. Ultimately, luxury is not measured by how much we own, but by how beautifully our choices express who we are, allowing fashion to become an extension of our identity, our lifestyle, and our unique perspective on the world.

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TRAVEL

SAINT-BARTHÉLEMY FRENCH CARIBBEAN AN ISLAND OF EFFORTLESS GLAMOUR

There are destinations that demand attention, and then there are destinations that effortlessly command it. Saint-Barthélemy, affectionately known as St. Barth, belongs to the latter. Set in the Caribbean, this small French island brings together pristine beaches, sophisticated hospitality, designer boutiques, and a distinctly European approach to leisure. Here, luxury is rarely about excess. It is found in the details: a leisurely lunch overlooking the sea, a beautifully designed villa, the sound of a sailboat departing Gustavia, or an afternoon spent discovering a secluded beach.

BY JOSE-MARIA JIMENEZ

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GUSTAVIA

Gustavia, the capital of St. Barth, is the ideal starting point for discovering the island's character. The harbour, lined with yachts and sailboats, creates a striking setting, while the surrounding streets offer boutiques, restaurants, and architectural traces of the island's history. The town's French and Swedish influences contribute to its distinctive identity, making it more than a place to shop or dine. It is a destination for exploring the island's cultural heritage.

THE BEACHES

A collection of Caribbean landscapes. St. Barth offers a remarkable variety of beaches, each with its own personality. From the lively setting of Saint-Jean to the quieter landscape of Colombier, the island's coastline provides opportunities for swimming, water activities, photography, and relaxation.

COLOMBIER

Accessible by boat or hiking trails, Colombier offers a more secluded coastal experience. Its location and natural surroundings make it one of the island's distinctive destinations.

SAINT-JEAN

Known for its soft sand, water activities, and nearby restaurants, Saint-Jean combines beach relaxation with a livelier atmosphere.

FLAMANDS

One of the island's largest beaches, Flamands features an expansive stretch of sand and clear waters.

THE EXPERIENCE

Plan a day dedicated to exploring the coast, ideally with a local guide or boat operator when visiting less accessible areas. Respect the island's protected natural environment and marine reserves. The official tourism board provides information on the island's beaches and nature conservation initiatives. 149

WHERE TO STAY

St. Barth's accommodation scene is defined by boutique properties, luxury hotels, and private villas. Rather than focusing exclusively on size, many properties emphasise location, privacy, personalised service, and architectural design.

CHEVAL BLANC ST-BARTH ISLE DE FRANCE

Located in Flamands, Cheval Blanc combines French hospitality with a beachfront setting. The property is recognised by the island's tourism accommodation listings as its only hotel awarded the designation of palace.

HOTEL LE CARL GUSTAF

Situated in Gustavia, Le Carl Gustaf offers a different perspective on the island, with a location overlooking the marina and access to the capital's restaurants and boutiques.

LE BARTHÉLEMY HOTEL & SPA

Located on Grand Cul-de-Sac, Le Barthélemy offers a beachfront setting with a focus on wellness, dining, and personalised hospitality. Its accommodation collection includes suites and rooms with different views and configurations, including options with private pools.

THE GASTRONOMIC EXPERIENCE

Food is an essential part of the St. Barth experience. The island's culinary scene reflects its French heritage while incorporating the pleasures of Caribbean living: fresh seafood, beautiful seaside locations, long lunches, and elegant evening dining. From sophisticated restaurants to relaxed beachfront venues, the experience is as much about the setting as it is about the menu.

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THE FASHION CONNECTION

St. Barth has a natural relationship with fashion. The island's visual identity is shaped by relaxed silhouettes, elegant resortwear, swimwear, and accessories designed for a warm-weather environment. The most interesting style direction is not necessarily the most conspicuous. It is the combination of comfort, quality, and personal expression. St. Barth is a natural setting for a fashion editorial built around the relationship between clothing and environment. The emphasis could be on effortless sophistication rather than overt luxury branding.

WHAT TO PACK

For daytime: Lightweight linen shirts Relaxed trousers Sophisticated swimwear Leather sandals A versatile beach tote

For evening: A flowing dress or tailored resort look Lightweight jackets for breezier evenings Minimal jewellery Comfortable yet elegant footwear

PHOTO: ANTOINE VERGLAS

ANTOINE VERGLAS

St. Barth is not only one of the world's most coveted destinations for luxury travel, but also a cherished location for fashion photography. Among those who have long been inspired by the island's natural beauty, distinctive character, and effortless glamour is our friend and contributor, the legendary fashion photographer Antoine Verglas. For Antoine, St. Barth represents far more than an idyllic backdrop. His connection to the island dates back to the early 1990s, when he first visited for a fashion assignment. Over the years, the island became an important part of his personal and professional life, providing the setting for numerous fashion shoots and creative projects. 151

OCTOBER IN ST. BARTH

October deserves particular attention when considering a visit to St. Barth. The island follows a seasonal rhythm, and some hotels, restaurants, and businesses temporarily close during August and September. As October arrives, establishments begin reopening for the new season. Le Barthélemy describes October as a period when the island gradually comes back to life, with returning visitors, renewed hospitality, and the reopening of businesses. This is the hotel's own description of its seasonal experience, rather than a guarantee that every establishment will reopen on the same date.

IMPORTANT TRAVEL CONSIDERATIONS

October falls within the Atlantic hurricane season. Travellers should: Check the latest weather forecasts. Confirm hotel opening dates. Verify flight connections. Review cancellation and travel insurance conditions. Confirm restaurant and activity availability.

St. Barth: A Destination for the Senses St. Barth's attraction is not limited to its beaches or accommodation. It is the combination of natural scenery, architecture, gastronomy, and the freedom to organise each day according to individual preferences. For some visitors, the appeal lies in an active itinerary filled with water activities and excursions. For others, it is the pleasure of remaining at a beautiful hotel, enjoying the sea, and moving at a slower pace. The island's identity is shaped by both its natural environment and its hospitality culture. 152

www.dianakassabov.com

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ELEMENTAL PHOTOGRAPHER: ALEX LLOBET @alexllobet.photography MODEL: CAROLINE MICHELE @carolinemichele__ AGENCY: ELITE MODEL MANAGEMENT MIAMI @elitemiami

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www.astrid-agnes.com

FASHION and lifestyle MAGAZINE

QP SEPTEMBER 2026 VOL. 2

LORENA

RUIZ BY ADASAT BARROSO