An evocative new Tate Britain show captures an era when the UK’s newly flush creative industries teamed up with a generation of skint dreamers to bring the decade into vivid colour

Here is Kate Moss, with pink hair splayed across a pillow, her face scrubbed of makeup, her smile sweet and wonky. Sarah Lucas’s Pauline Bunny artwork with its confrontational hosiery on a charity shop chair. Sean Ellis’s collaborative knights-in-grubby-armour shoot with Alexander McQueen. Here are happy ravers, in a club, or saluting the sun as it stretches and yawns over a litter-strewn hill.

These photos are old. They were taken a long time ago. But they’re young, too. They are curated by Edward Enninful for the Tate’s exhibition The 90s: Art and Fashion (Enninful worked at i-D in the 90s) and almost everyone involved is shiny and fresh. The models, whether professional or not, are mostly in their 20s, and the photographers are early in their careers. It gives the photos a youthful fizz, a verve. But the energy also comes from an understanding between photographer and subject. In many of the pictures you can feel the shared mischief, a “yes we’re serious about our ideas” but also a “look, we’re getting away with it!” delight.

‘The tabloids will always try to sensationalise. But it was 6.30pm. If Kate really had been falling out the door blind drunk, it’s not a picture I’d particularly want to take’

I have photographed Kate Moss a fair few times. The first time was probably around 1990, during the Johnny Depp days. I also shot her with Jefferson Hack and many of her other boyfriends, but it was only on official occasions, Topshop launches and things like that.

There was a period when whatever she did, 200 photographers would turn up. For her 33rd birthday, I was asked to cover her party at the Dorchester hotel. Then I got a call saying she was at the Donmar Warehouse theatre watching a matinee of a play with Rhys Ifans in it. “Could I go over there and get a picture of her leaving before arriving at the birthday party?” When I got there, there must have been 200-250 people outside. They had the front door surrounded – photographers, camera crews, fans, you name it. It was absolutely packed. I quickly realised that getting a decent picture was going to be very difficult.

Sabrina Carpenter, a car crash, a urinal, Kate Moss and, of course, those perplexing green lasers: Confessions II has it all. Let’s make some sense of it …

Madonna’s new video is called Confessions II because it’s the follow-up to her album Confessions on a Dance Floor, released in 2005. Nope, wrong: that was not more than 20 years ago. That was last week. Years are for little people. Madonna can hold back the passage of time with the power of her imagination, and that has always been true. But what, exactly, in a 10-minute video that brought the house down at the Tribeca festival and has since been watched more than a million times on YouTube, is Madonna trying to say? It feels a bit rude to ask, like asking Jackson Pollock what all the squiggly lines mean. So think of it as a homage to the woman who invented rudeness.

With a new film about the model out this week, it’s the perfect excuse for some Mosstalgia

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There are models, there are supermodels and then there is Kate Moss. Scouted aged 14 while waiting for a flight at New York’s JFK airport, the Londoner quickly went on to define the fashion aesthetic of the 90s. There have been countless magazine covers including 43 issues of British Vogue, scads of advertising campaigns spanning Calvin Klein to Chanel and Tom Ford and hundreds of catwalk moments including, most recently, a thong-baring appearance at Demna’s Gucci debut.

She’s been sung about by Pete Doherty and Playboi Carti, sculpted by Marc Quinn and painted by Chuck Close, Banksy and Lucian Freud. The latter is now the subject of a new film, Moss & Freud. Directed by James Lucas and executive produced by Moss, it explores the model’s friendship with the then – 80-year-old painter during 2002 when she sat, pregnant, for him. That lifesize naked portrait later sold for £3.5m. Ahead of the film’s release on Friday, our writers reflect on their Mossy memories from the nineties to now.

Event chairs Nicole Kidman, Beyoncé, Venus Williams and Anna Wintour have guests dress to the theme ‘Fashion is art’ at the event controversially funded by new honorary chairs Jeff Bezos and Lauren Sánchez Bezos

From catwalk versions to online vintage finds, the workwear staple is being recast as a marker of laidback cool

In many wardrobes, the thick, checked shirt is usually found among the gardening clothes, or it might be worn as an extra layer on a bitterly cold day. But, in 2026, for the first time since the 90s, it’s becoming a bona fide fashion item.

Flannel shirts have recently been worn by fashion editors and stylists on the front row, by the models Adwoa Aboah and Emily Ratajkowski and the Manchester City manager, Pep Guardiola. Brands including Marni, Chloé and Chanel had versions in their recent shows. And more significantly, this week comes the much anticipated new series of the Gen Z drama Euphoria, stills from which show Jacob Elordi’s character, Nate Jacobs, wearing a Bottega Veneta “flannel” shirt made of leather. Originally from the spring/summer 2023 collection, and worn by Kate Moss on the catwalk, it costs £4,600 in the shops.

From a gold-covered Dennis Rodman to Jack Nicholson sitting in the snow, Albert Watson has spent a career shooting the stars – as well as the occasional giant coffee spoon