Miami’s Art Basel 2025 attracted the world’s top artists, collectors, and cultural figures, but a few celebrity appearances quickly drew the eye. Rihanna and A$AP Rocky arrived at a high-profile event over the weekend, turning heads with their distinctive fashion choices.

Rihanna wore a Saint Laurent windbreaker from the Resort 2026 collection in golden-yellow and burnt-orange, paired with a dark leather pencil skirt. She completed the look with lace-up sandals and minimal accessories, keeping the outfit sharp while allowing the jacket to dominate. Photographers captured every angle as she moved through the venue, confirming why her style consistently leads trends.

Credit – Instagram

A$AP Rocky chose a Chanel knit from the Métiers d’Art 2026 collection, inspired by classic superhero imagery and reworked with the brand’s signature logo. He layered it over a crisp white shirt with a dark tie, pairing it with tailored trousers. Ray-Ban sunglasses completed the outfit, adding polish while keeping the look approachable.

The couple’s arrival highlighted how fashion and art intersect during one of the world’s most influential cultural weekends. Guests included collectors, artists, and industry insiders, all documenting the looks alongside the hundreds of installations and exhibitions on display.

Credit – Instagram

By combining high fashion with accessible silhouettes and recognisable brands, Rihanna and A$AP Rocky demonstrated how celebrity style now operates alongside art, culture, and social media. Their appearances provided a clear reminder of why the pair remains at the forefront of influence, setting trends that resonate globally.

David Beckham’s appearance at the Qatar Grand Prix quickly became one of the weekend’s main off-track talking points, which fits neatly with the idea of him stepping away from the pitch and into a very different sporting arena. His arrival at the Lusail International Circuit drew immediate attention, particularly when he was joined by Rio Ferdinand, Steven Gerrard and Gary Neville. It was a sight familiar to British football fans but less expected in the middle of a Formula 1 paddock. The group did not behave like detached VIPs. They moved through restricted areas with the confidence of people long accustomed to major sporting environments.

David Beckham – Instagram

Beckham made a clear effort to engage with what was happening behind the scenes. He spent time along the pit lane before the start, watched teams work through final checks and held conversations that suggested he was genuinely interested in the technical side of the sport. Those who follow his previous visits to Lusail would recognise this approach. He rarely treats these outings as simple guest appearances. Reports from the weekend noted how naturally he blended into the bustle of the paddock, and how often he found himself in conversations about race strategy, team dynamics and the wider pull Formula 1 now has in the UK and abroad.

David Beckham – Instagram

His involvement was not confined to the circuit. Beckham attended Qatar Airways’ unveiling of its F1-branded aircraft, an event filled with figures from sport, entertainment and business. He moved through the crowd with the ease of someone fully aware of the weight his name carries. Since retiring from football, he has built a profile that places him in the middle of major global events without forcing the connection. His time in Qatar reflected that ongoing shift. He may no longer be on the pitch, yet he has found a way to remain part of the international sporting conversation.

David Beckham – Instagram

The Qatar Grand Prix itself has grown into a weekend that draws far more than motorsport diehards, and Beckham’s attendance underlined the scale of that change. What was once a race focused purely on drivers and teams has become an event watched closely by a much broader audience. Beckham did not distract from the competition. Instead, he contributed to the atmosphere surrounding it, helping turn the paddock into a meeting point for personalities whose influence stretches beyond any single sport. His appearance at Lusail served as a reminder that, even away from football, he remains a central figure in the kind of global moments that define modern sport. This time, he traded the pitch for the pit lane with ease.

Pam Hogg’s death on 26 November 2025 was confirmed by her family. They said she died at St Joseph’s Hospice in Hackney, where she was with close relatives. Tributes from designers, musicians and long-time collaborators followed almost immediately. Their responses underscored the distinct space she occupied within British fashion and the wider creative scene.

Pam Hogg – Instagram

Born in Paisley, Scotland, Hogg began making clothes as a child and later studied Fine Art and Printed Textiles at Glasgow School of Art before completing her master’s degree at the Royal College of Art in London. By the early 1980s she was part of the capital’s club circuit, where self-made outfits functioned as a point of entry and a form of identification. Her first collection, Psychedelic Jungle (1981), established the visual language she would return to repeatedly. It featured sharp contours, saturated colour and a punk-rooted confidence that resisted softening.

Pam Hogg – Instagram

Hogg became closely associated with the latex catsuit, which she produced in various interpretations over decades. She approached the piece as a sculptural garment that altered how a wearer presented themselves. Her work attracted artists who were comfortable with strong visual statements, among them Debbie Harry, Björk, Kylie Minogue, Lady Gaga, Rihanna and Beyoncé. Their use of her designs helped keep her work visible outside traditional fashion channels, even during periods when she was not showing on major schedules.

Pam Hogg – Instagram

When the 1990s pushed fashion toward minimalism, Hogg stepped away from the runway and focused on music. She performed with her band Doll, toured with established artists and directed her own videos and stage concepts. The shift aligned with the way she moved across creative spaces without adjusting her perspective to match prevailing trends.

Her return to fashion in 2009 marked a new phase. Even then, her working model stayed the same. She produced her pieces herself in her East London studio and continued to show collections that prioritised concept over commercial viability. By 2012 she was presenting in Paris. The work remained firmly connected to her earlier ethos. Her 2024 collection addressed themes of conflict and injustice and incorporated recycled materials. It reflected her habit of responding directly to current issues rather than re-using past ideas.

Pam Hogg – Instagram

The response to her death reflects her position within London’s underground and alternative fashion communities, as well as her influence on performers and stylists working far beyond those circles. Hogg maintained an independent practice for more than four decades, moving through fashion, music and art on her own terms. Her career shows how a designer can operate inside the industry while remaining deliberately outside its centre. It also shows how such an approach can shape conversations around identity, performance and self-presentation.