The excitement for the new.
April and the big question — Do we pursue the new or just the familiar?
April arrives with an uncomfortable yet urgent question: Do we keep chasing the new, or are we just recycling what we already know? In a world obsessed with novelty, we live trapped in a loop of memories disguised as the future. Trends that return, styles that repeat, formulas that change names but not essence. And in the midst of that anxiety for “what’s next,” what’s truly new seems harder and harder to identify.
Fashion, for example, lives in an eternal déjà vu: Y2K, indie sleaze, coquette… nothing we haven’t seen before. But it’s not the repetition that worries us, but the speed with which we consume, forget, and bring it all back again. Perhaps true innovation isn’t in launching the next viral aesthetic, but in stopping to question why we can’t break free from the same cycle.
In technology, artificial intelligence promises originality, but it delivers optimized versions of what we already know. It reorganizes patterns, repeats successful formulas, and reinforces biases. The result? A future that dangerously resembles the past, unless we diversify who programs it and from where it draws its data.
Even visual language and media are experiencing an aesthetic stagnation. They present us with “new” releases using the same filters, the same digital tone, the same soft launch. What’s different shouldn’t just look different; it should mean something different.
However, there are glimpses of real disruption. Projects like Microsoft’s Mojave remind us that the new can indeed exist—when we abandon nostalgia and embrace the uncomfortable, the uncertain, and the genuinely unprecedented.
This is not a rejection of trends, but an invitation to think about them more thoughtfully. Being a trendsetter isn’t about blindly following fashion, it’s about having the courage to question it. And, above all, the power to rewrite it.
As Alexandre Szulc, cultural researcher, creative, and guest curator this April, aptly points out, understanding our time requires observing how the social, aesthetic, and technological intersect to redefine not only the future but also the present we are creating.
The Editors