Plutonic Rainbows

I thought I would experiment with a Whitney variant for the body text to see how the overall layout performs in practice. I’ve been using the same typeface for several years now, and while it has served me well, I’m curious whether switching to something closer to Whitney might improve readability in a noticeable way. Typography plays such a critical role in user experience, and even subtle changes can influence how comfortably text is read over longer sessions.

To properly evaluate this, I plan to test not only the aesthetic feel of the new font but also its technical performance. Specifically, I need to compare the latency and rendering speed of two fonts across different environments. This will help determine whether the change is purely cosmetic or if it has a measurable impact on responsiveness and user interaction. Ultimately, the goal is to find the right balance between visual clarity, reading comfort, and performance efficiency.

I refined the blog's typography after realizing the headings were too large and overwhelming the content. By implementing fluid CSS scaling with clamp() functions, I was able to create a more balanced visual hierarchy where headings guide rather than dominate the reading experience. The changes also improved mobile readability by increasing the minimum font size and eliminated the jarring jumps that occurred at the old 600px breakpoint. While these are relatively small adjustments, they should make the blog more comfortable to read across all devices and create a more professional, proportioned layout that better serves the content.

I was a great admirer of Superleggera, a limited-edition Allure that is now sadly discontinued — a short-lived gem that has since taken on almost mythic status among collectors. Bleu de Chanel has probably been my least favourite from their range, lacking the distinctive character I’ve come to expect from the house. I’ve been purchasing from Chanel’s men’s line for over thirty years, during which time I’ve witnessed the evolution of their fragrance portfolio from the classic post-war elegance of Pour Monsieur to the bold, leathered chypre of Antaeus in the 1980s, and the daring, unconventional Égoïste of the early 1990s. These three form what I consider an untouchable trinity — each one a benchmark of its era, yet all timeless in their appeal.

When Allure arrived in the late 1990s, it marked another shift in Chanel’s olfactory direction, offering a smoother, more modern sophistication that still retained depth and character. I was instantly captivated, and I’ve enjoyed many of its variations over the years. By contrast, Bleu de Chanel felt — and still feels — generic, a scent that could have been from almost any brand. That said, I remain hopeful that the new L’Exclusif will embody the heritage, daring, and artistry that have defined Chanel’s greatest men’s fragrances, delivering the masterpiece they truly should have created all along.

Beautiful new EP that forms a collaboration with fashion house Jil Sander, guided by the creative direction of Simone Bellotti. The album weaves minimalist electronic landscapes with analog warmth, uniting meticulous sound design and a fashion-forward sensibility.

The project is a collaborative EP between Jil Sander and Italian electronic producer Bochum Welt that doubles as Simone Bellotti’s opening statement as the house’s new creative director. Titled JS EP, it was conceived in Hamburg — Jil Sander’s birthplace — and introduced mid-July 2025 with the 'Wanderlust' video, ahead of a boutique/online vinyl release (two cover variants) and wider streaming rollout. Across seven tracks — the record blends ambient/IDM textures and analog warmth with meticulous, minimalist sound design, mirroring the brand’s rigor-meets-emotion aesthetic and signaling Bellotti’s long-term plan to make sound a defining element of the Jil Sander identity.