{"id":8086011,"date":"2026-09-25T12:12:57","date_gmt":"2026-09-25T19:12:57","guid":{"rendered":"https:\/\/www.thewrap.com\/?p=8086011"},"modified":"2026-09-25T12:13:05","modified_gmt":"2026-09-25T19:13:05","slug":"milan-fashion-week-proves-italian-style-is-reinventing-itself","status":"publish","type":"post","link":"https:\/\/www.thewrap.com\/culture-lifestyle\/fashion\/milan-fashion-week-proves-italian-style-is-reinventing-itself\/","title":{"rendered":"Milan Fashion Week Proves Italian Style Is Not Done With Its Period of Reinvention Just Yet"},"content":{"rendered":"\n\n\n

Milan Fashion Week opens with another edition of Vogue World starring Jennifer Lopez, Cardi B and runway robots. Prada makes a compelling case for skirts for Spring 2027.\u00a0Artificial<\/em>\u00a0director Luca Guadagnino and his go-to film production designer Stefano Baisi launch a wide-ranging collection for Zara and Zara Home. David Lynch\u2019s photographs showcase noir L.A. at Pace Gallery, while Reiko Sud\u014d\u2019s textiles are a must-see (and shop) at LACMA.<\/p>\n\n\n\n

\"Lorenzo
Lorenzo Musetti and Jennifer Lopez walk the runway during Vogue World: Milano 2026 at Galleria Vittorio Emanuele II on Sept. 22, 2026 in Milan, Italy. Source: Getty<\/figcaption><\/figure>\n\n\n\n
\"\"\/<\/figure>\n\n\n\n

Milan’s Fashion Flurry<\/h2>\n\n\n\n

Milan Fashion Week opened Tuesday with a celebration of the skirt, a Vogue World extravaganza set at the Galleria Vittorio Emanuele II and a flurry of industry news suggesting that Italian fashion is not done with its period of reinvention just yet.<\/p>\n\n\n\n

Setting the tone for the week at Prada, Miuccia Prada and Raf Simons put the skirt front and center \u2014 literally \u2014 every one of the collection\u2019s 63 looks had one. It was fitting for Mrs. Prada, as she\u2019s always called, who has long worn the traditional garment as a personal uniform and reinvented it dozens of times through the years of her collections, with surrealist lipstick prints, painterly postcard prints, dip-dye ombr\u00e9s, crystal and mirror embellishments, and much more.<\/p>\n\n\n\n

\"A
A model walks the Prada Spring 2027 runway at Milan fashion week, Sept. 22, 2026. Source: Getty<\/figcaption><\/figure>\n\n\n\n

This time, the brand didn\u2019t suggest a single skirt look so much as an argument for the skirt as a canvas \u2014 and perhaps a battleground, with some models clenching their skirts in their hands as they walked.<\/p>\n\n\n\n

The skirts came in a multitude of styles \u2014 knee-length, pleated and A-line; straight sheer pliss\u00e9, masquerading as leather and latex; wrap skirts secured with crystal-embroidered Velcro or with translucent layers revealing florals and plaids underneath. The skirts were worn all kinds of ways \u2014 lots with bralettes, some with sweaters and shirts, others with leather jackets. In other words, something for everyone.<\/p>\n\n\n\n

While there was much to like and wear, I miss the days when Prada shows didn\u2019t look back so much as look forward, giving us something more meaty to think about.<\/p>\n\n\n\n

\"Prada
Prada Spring 2027. Source: Getty<\/figcaption><\/figure>\n\n\n\n

Front row guests included Uma Thurman, Naomi Watts, Michelle Williams and Emilia Clarke, along with Hunter Schafer, who carried the skirt story into the evening, wearing a Prada bra top and embellished skirt to Vogue World: Milano, which took over the Galleria Vittorio Emanuele II on fashion week\u2019s opening night, setting the runway amid the famous shopping arcade\u2019s boutiques and cafes.<\/p>\n\n\n\n

\"Hunter
Hunter Schafer arrives at Vogue World: Milano. Source: Getty<\/figcaption><\/figure>\n\n\n\n

The fifth Vogue World, following editions in New York, London, Paris and Hollywood, was a tribute to Italian fashion’s creativity and craftsmanship.<\/p>\n\n\n\n

\"Models
Models walk the runway at Vogue World: Milano. Source: Getty<\/figcaption><\/figure>\n\n\n\n

The clothes referenced everything from Renaissance artistry to\u00a0La Dolce Vita<\/em>\u00a0to Italy\u2019s tailoring heritage, and looked toward the digital fashion future with a gimmicky scene that had robots walking the runway. (Guessing we\u2019ll see more of that when\u00a0Vogue World: San Francisco<\/a>\u00a0happens next year.)<\/p>\n\n\n\n

\"A
A model walks the runway at Vogue World: Milano. Source: Getty<\/figcaption><\/figure>\n\n\n\n

True to form, the event had star and star-athlete power (though perhaps not as much as in other years). Jennifer Lopez walked the runway in Dolce & Gabbana with tennis champ Lorenzo Musetti; Cardi B wore Versace; Alicia Keys, who also gave a surprise performance, appeared in Francesco Risso\u2019s Bureau of Imagination; and Ejae made her modeling debut in a sculptural archival Roberto Capucci gown, while Pamela Anderson, Dakota Johnson, Monica Bellucci, Taraji P. Henson, Jason Momoa and Naomi Campbell were among the guests in the seats.<\/p>\n\n\n\n

\"Cardi
Cardi B walks the runway wearing Versace at Vogue World: Milano. Source: Getty<\/figcaption><\/figure>\n\n\n\n

Meanwhile, at the Diesel Spring 2027 show, Glenn Martens staged a rave-like runway farewell after six years as creative director, turning his final show into a celebration of sexy, subversive club culture \u00e0 la Berlin\u2019s Berghain. Performers from the Marseille collective (LA)HORDE, planted among the audience, began kissing, writhing and head-banging as the show descended into controlled chaos.<\/p>\n\n\n\n

The clothes followed suit, with Diesel\u2019s signature denim subjected to the trompe-l\u2019oeil treatments, laser cutting and distressed finishes that have been Martens\u2019 signatures, while skirts and shorts grew progressively more brief and models adopted a morning-after look with smeared lipstick and makeup.<\/p>\n\n\n\n

Talk about going out with a bang.<\/p>\n\n\n\n

\"Looks
Looks from the Diesel Spring 2027 show Sept. 22, 2026 in Milan, Italy. Source: Getty<\/figcaption><\/figure>\n\n\n\n

There was big Milan fashion news happening off the runway, too. Donatella Versace, who stepped down as chief creative officer of her family’s company in 2025, used the beginning of fashion week to announce her surprising next act: a joint venture with L.A.-based Revolve Group to create a new independent beauty and fashion brand. And Dario Vitale\u2014the designer who briefly and spectacularly succeeded her at Versace before departing following Prada Group’s acquisition of the house\u2014joined another Italian sartorial stalwart, Emporio Armani, as creative director.<\/p>\n\n\n\n

\"Gucci
Gucci creative director Demna Gvasalia; Balenciaga creative director Pierpaolo Piccioli; Donatella Versace; and Valentino creative director Alessandro Michele attend Vogue World: Milano Source: Getty<\/figcaption><\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"Luca
Luca Guadagnino and Stefano Baisi. Source: Zara\/David Sims<\/figcaption><\/figure>\n\n\n\n

Italian Film Director Luca Guadagnino Designs For Zara<\/h2>\n\n\n\n

Luca Guadagnino may be fashion\u2019s favorite film director at the moment, but he\u2019s as likely to be designing a room (or a runway set) as directing a movie.<\/p>\n\n\n\n

The director of Call Me by Your Name<\/em>, Challengers,<\/em> Queer, After the Hunt<\/em> and the upcoming Artificial<\/em> has spent nearly a decade working in interiors through Studio Luca Guadagnino, the Milan design practice he founded in 2017, creating residences, hotels and retail spaces with the same attention to color, texture and environment that characterizes his films.<\/p>\n\n\n\n

\"Baisi
Baisi Guadagnino for Zara Home. Source: Zara\/Valerie Sadoun<\/figcaption><\/figure>\n\n\n\n

Of course, he has overlapped with fashion, too. Guadagnino\u2019s creative relationship with Jonathan Anderson is particularly close. Anderson designed the costumes for Challengers<\/em>, Queer<\/em> and the upcoming Artificial,<\/em> while Guadagnino and his go-to film production designer Stefano Baisi designed the runway set for Anderson\u2019s first Dior women\u2019s ready-to-wear show in October 2025, with a monumental inverted Louvre pyramid.<\/p>\n\n\n\n

Now Guadagnino and Baisi are bringing their passions somewhere even more accessible with Baisi Guadagnino for Zara Home, launching worldwide Sept. 26.<\/p>\n\n\n\n

\"Baisi
Baisi Guadagnino for Zara Home. Source: Zara\/Valerie Sadoun<\/figcaption><\/figure>\n\n\n\n

The collection encompasses more than 200 designs including furniture, lighting, tableware, rugs, decorative objects and fragrance, alongside Zara ready-to-wear, effectively allowing customers to inhabit, and dress for, a Guadagnino film. (And let’s be real, it’s accessible to a point; prices range from $40 to $460 for clothing and up to $18,000 for furniture.)<\/p>\n\n\n\n

Conceived as an \u201cAtlas of Desire,\u201d the collection pulls from a number of sources, including Viennese Secessionism, French Art Deco and Brazilian Modernism, and many of the pieces (both for the home and the closet) are quite chic, from plush sofas to colorful gowns, glittery brooches to botanical print sneakers.<\/p>\n\n\n\n

\"Baisi
Baisi Guadagnino for Zara ready to wear. Source: Zara<\/figcaption><\/figure>\n\n\n\n

The collaboration is accompanied by a short film directed by Guadagnino, starring Jamie Bell, Chase Sui Wonders, Michael Stuhlbarg and Patricia Arquette. The collection will also come to life during a two-day installation at Milan Fashion Week.<\/p>\n\n\n\n

Baisi was working in interiors when he joined Studio Luca Guadagnino in 2017, and Guadagnino eventually brought him into film, asking him to make the leap into production design starting with Queer<\/em>.<\/p>\n\n\n\n

It’s a very cool collab, and yet another indicator of Zara’s ambitions to go upmarket, following collections with Bad Bunny, Willy Chavarria and the upcoming one planned with John Galliano, if it goes forward.<\/p>\n\n\n\n

Though I can’t recall seeing a project fusing fashion, interior design and Hollywood at this scale before, the crossover is not unprecedented. L.A.’s Tony Duquette was the ultimate creative multi-hyphenate, moving from film sets and costumes, to fantastical interiors, fine jewelry, furniture and decorative arts. One of my favorite high-low fashion collaborations of all time was with Duquette’s estate and Coach back in 2012, which yielded some fabulous costume jewelry I still wear today.<\/p>\n\n\n\n

It\u2019s all about world-building.<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n
\"David
David Lynch, Untitled (Nudes and Smoke), 1994. Source: The David Lynch Estate and Pace Gallery<\/figcaption><\/figure>\n\n\n\n

David Lynch\u2019s Moody, Ominous L.A. on Display at Pace Gallery<\/h2>\n\n\n\n

There\u2019s something about the work of the late filmmaker David Lynch \u2014 dark, moody and ominous \u2014 that always seems even more powerful when it\u2019s served up as a counterweight to the eternally sunny disposition of Los Angeles.<\/p>\n\n\n\n

And that\u2019s just what\u2019s happening at Pace Gallery, where David Lynch: L.A.<\/em> showcases photos (and one very bizarre-looking lamp) created between 1979 and 2008 that riff on \u201cthe myth and mystery of Los Angeles and its emotional landscape \u2026 the dream of the city and its archetypes: the ing\u00e9nue, the shapeshifter, the beauty and darkness.\u201d<\/p>\n\n\n\n

It\u2019s the first presentation of Lynch\u2019s work in his adopted hometown (born in Missoula, Montana, he moved to L.A. in 1972) since his 2025 passing. Anchoring the three-room exhibition are five large-scale photographs from a series called\u00a0Figures and Smoke<\/em>. Featuring tightly cropped images of women\u2019s mouths framed in vivid red lipstick, slightly agape as they exhale smoke, they\u2019re as captivating as any moving pictures to his credit.<\/p>\n\n\n\n

\"David
David Lynch, Untitled (Los Angeles), 1979. Source: The David Lynch Estate and Pace Gallery<\/figcaption><\/figure>\n\n\n\n

This room is also home to the most overtly L.A. of all the photos, depicting decaying city architecture from decrepit pool halls to a charred Thrifty drugstore facade, all of them devoid of people but, thanks to the director\u2019s peculiar talent, full of emotion.<\/p>\n\n\n\n

The standout, especially given the oeuvre Lynch is famous for, is a silver gelatin print (untitled, 1979) that depicts the ticket booth of an Art Deco-style movie house, a swirl of details from the starburst-patterned ceiling to the small sign in the ticket window that, if you squint, you\u2019ll see has the showtimes for the horror films They Came From Within<\/em> and Dawn of the Dead<\/em>.<\/p>\n\n\n\n

Also in the mix are black-and-white images that explore a more intimate topography: that of the female form; shadow-shrouded close-ups of hips, lips and faces. Prints from his \u201cCouch Series\u201d feature a reclining nude and wisps of smoke, but with the female form multiplied, manipulated, layered and blurred to the point where she all but disappears. In one work titled \u201cSmoke on a Couch\u201d (1992), she does, leaving behind just the telltale tendrils of what looks like exhaled cigarette smoke.<\/p>\n\n\n\n

If you\u2019re not familiar with Lynch beyond his film and TV work (Blue Velvet<\/em>, Twin Peaks<\/em>, Mulholland Drive<\/em>), consider this a good, 35-work starter pack in advance of future exhibitions since, as the press materials note, the Los Angeles County Museum of Art is in the early stages of preparing a David Lynch retrospective.<\/p>\n\n\n\n

\u201cDavid Lynch: LA,\u201d<\/a><\/em>\u00a0through Dec. 23 at Pace Gallery,\u00a01201 S. La Brea Ave., Los Angeles<\/a>.<\/p>\n\n\n\n

\"David
David Lynch, Couch Series #13, 2008. Source: The David Lynch Estate and Pace Gallery<\/figcaption><\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"A
A recreation of the original NUNO store that opened in Tokyo in 1984 serves as a central hub for the Textile Alchemy: The Art of Reiko Sudo exhibition at LACMA. Source: Booth Moore<\/figcaption><\/figure>\n\n\n\n

Meet the Artist Behind the (LACMA) Curtain<\/h2>\n\n\n\n

If you\u2019ve been to the Los Angeles County Museum of Art\u2019s new David Geffen Galleries<\/a>, you\u2019ve already seen the handiwork of Japanese designer Reiko Sud\u014d \u2014 in the form of the floor-to-ceiling chrome-sputtered curtains that pull off the nifty trick of letting in the SoCal sunlight while protecting the priceless works of art at the same time.<\/p>\n\n\n\n

Now, with the opening of Textile Alchemy: The Art of Reiko Sud\u014d & NUNO<\/a><\/em> (ironically, not in the Peter Zumthor-designed building where her custom creation hangs, but in the Resnick Pavilion across the plaza), you\u2019ll get a chance to take a deep dive into the world and extraordinary work of the artist behind the curtain.<\/p>\n\n\n\n

\"Reiko
Reiko Sud\u014d, Curtains: LACMA \u00d7 NUNO Sputtered Chrome Matte (2025) NUNO Corporation. Source: Iwan Baan<\/figcaption><\/figure>\n\n\n\n

NUNO is the Japanese textile collective led by Sud\u014d (the word nuno translates as cloth, fabric or material), and a recreation of the original NUNO store that opened in Tokyo in 1984 serves as a central hub for the exhibition, displaying shelved bolts of fabric with dangling price tags on one side (not for sale) and an assortment of gorgeous bags, scarves and pieces of clothing (very much for sale) on the other.<\/p>\n\n\n\n

Arranged thematically around that hub are more than 100 limited-edition textiles, as well as garments, drawings, sketches, tools, raw materials and videos of textile weaving in progress projected against the gallery walls. The word \u201calchemy\u201d in the exhibition\u2019s title feels apt, since the yardage of fabric hanging tapestry-like on the walls feels almost magically transformed through the use of some seriously mind-boggling experimental materials and manufacturing techniques that go beyond simple variations of warp and weft.<\/p>\n\n\n\n

Think textiles made from slices of abalone shell, resin-coated newsprint or copper telephone wire that are baked, burned out using acetic acid, stencil-dyed or sputtered with chrome molecules in a technique borrowed from auto parts.<\/p>\n\n\n\n

\"Reiko
Reiko Sud\u014d and Sayuri Shimoda for NUNO in collaboration with Tsuguo and Tsunemi Senk\u014d Stained Glass, 1998, Los Angeles County Museum of Art. Source: Museum Associates LACMA\/Jonathan J. Urban<\/figcaption><\/figure>\n\n\n\n

The Sustainability and Reuse section has textiles made using thread made from kibiso, the traditionally discarded coarse outer surface of the silkworm cocoon, and others using fabric remnants that were essentially disassembled \u2014 their threads unraveled, respun and rewoven to incredible effect.<\/p>\n\n\n\n

The Experimentation section features pieces that truly push the limits of what\u2019s possible (and what\u2019s fabric, actually), including Sud\u014d\u2019s Metal series, which uses industrial coatings from the auto industry to create glittery, metallic but pliable fabric.<\/p>\n\n\n\n

This includes\u00a0Stainless Steel Gloss<\/em>\u00a0(aka\u00a0Sputter Gloss<\/em>\u00a0and\u00a0Sputtering Gloss<\/em>), 1994, the textile that originally inspired those LACMA curtains. The original is a polyester plain weave sputter-plated with iron, nickel and chrome. Nearby is the version that hangs in the Geffen Galleries, formally known as\u00a0LACMA \u00d7 NUNO Sputtered Chrome Matte<\/em>, 2025, the result of a yearslong development process to find a version that wasn\u2019t flammable. (You can buy a $135 origami-folded bag made of the same fabric in the NUNO shop and\u00a0online at LACMA<\/a>.)<\/p>\n\n\n\n

The entire exhibition is filled with \u201chow did they do that?\u201d exercises in experimentation. Some of the most memorable include\u00a0Hane Organza<\/em>\u00a0(1993, in collaboration with Tsuguo), a double-layer organza with hand-inserted guinea fowl feathers that appear to float ephemerally, and\u00a0Circle Bricks<\/em>\u00a0(2024, in collaboration with Hy\u014dd\u014d Orimono), a merino wool jacquard that leaves the loom as a fabric patterned with multicolored ovals but, once finished in a hot-water bath, shrinks into something more akin to springy crepe \u2014 with the ovals transformed into circles.<\/p>\n\n\n\n

\u201cTextile Alchemy: The Art of Reiko Sud\u014d & NUNO”<\/em><\/a>\u00a0through March 7, 2027, at LACMA,\u00a05905 Wilshire Blvd., Los Angeles<\/a>.\u00a0<\/p>\n\n\n\n

\"Reiko
Reiko Sud\u014d for NUNO, Twenty-first Century Isesaki Meisen Project: Kimono (kosode), aka renga (Red Bricks) Ensemble 2016-2021, Los Angeles County Museum of Art. Source: Museum Associates LACMA\/Jonathan J. Urban<\/figcaption><\/figure>\n\n\n\n
\"\"\/<\/figure>\n\n\n\n

Forwarded this newsletter?<\/em><\/strong><\/p>\n\n\n\n

Subscribe here<\/a><\/strong> to get WrapStyle directly every week!<\/em><\/p>\n\n\n\n

Have a news story <\/strong>for our readers? Please email booth.moore@thewrap.com<\/a><\/p>\n\n\n\n

Interested in partnership<\/strong> opportunities? Please email Alex.vonBargen@thewrap.com<\/a><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

WrapStyle: Plus, director Luca Guadagnino and his go-to film production designer Stefano Baisi launch a wide-ranging collection for Zara and Zara Home<\/p>\n","protected":false},"author":10230,"featured_media":8086016,"comment_status":"open","ping_status":"closed","sticky":false,"template":"single-wrapstyle","format":"standard","meta":{"byline":{"profiles":[{"type":"byline_id","atts":{"term_id":512901,"post_id":7820793}}]},"_links_to":"","_links_to_type":0,"nb_breaking_email_type":"c062a28d-1094-4798-a87a-6f4a1ed22f26","nb_breaking_template":"single-story.html","nb_breaking_from_name":"TheWrap","nb_breaking_subject":"","nb_breaking_preview":"","nb_breaking_list":[],"nb_breaking_header_img":7555417,"nb_breaking_should_send":false,"nb_breaking_content":"\n\n\n\n\n\n\n

\n
\n\n<\/div>\n\n\n\n
\n\n<\/div>\n<\/div>\n\n\n\n
\n
\n
\n
\"\"\/<\/figure>\n<\/div>\n\n\n\n
\n

<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

\n\n\n\n
\"WrapPRO<\/figure>\n\n\n\n

Discover why entertainment executives and professionals rely on the WrapPRO platform daily for exclusive coverage, analysis, deeper reporting, and access to VIP events & screenings throughout the year.<\/p>\n\n\n\n

\n
\n\n<\/div>\n<\/div>\n\n\n","nb_newsletter_sent_breaking_post_id":[8086064],"apple_news_api_created_at":"2026-09-25T19:13:12Z","apple_news_api_id":"e32488b7-2c03-4ea0-8d2c-e72235b78eaf","apple_news_api_modified_at":"2026-09-25T19:13:13Z","apple_news_api_revision":"AAAAAAAAAAD\/\/\/\/\/\/\/\/\/\/w==","apple_news_api_share_url":"https:\/\/apple.news\/A4ySItywDTqCNLOciNbeOrw","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"hide_featured_image":false,"the_wrap_post_enable_full_width_featured_image":false,"the_wrap_post_enable_featured_video":false,"the_wrap_post_featured_video":"","the_wrap_post_disable_read_more":false,"wp_curate_deduplication":false,"wp_curate_unique_pinned_posts":false,"footnotes":""},"categories":[33376,335696],"tags":[517514,506071],"tw_data_partners":[],"columns":[],"byline":[512901],"class_list":["post-8086011","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","category-fashion","tag-milan-fashion-week","tag-wrapstyle"],"newsletter_builder_byline":"Booth Moore","is_pro_article":false,"apple_news_notices":[],"eyebrow":{"link":"https:\/\/www.thewrap.com\/culture-lifestyle\/fashion\/","text":"Fashion"},"tw_schema_org_review":{"name":"","type":""},"_links":{"self":[{"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/posts\/8086011","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/users\/10230"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/comments?post=8086011"}],"version-history":[{"count":4,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/posts\/8086011\/revisions"}],"predecessor-version":[{"id":8089765,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/posts\/8086011\/revisions\/8089765"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/media\/8086016"}],"wp:attachment":[{"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/media?parent=8086011"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/categories?post=8086011"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/tags?post=8086011"},{"taxonomy":"tw_data_partners","embeddable":true,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/tw_data_partners?post=8086011"},{"taxonomy":"tw_column","embeddable":true,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/columns?post=8086011"},{"taxonomy":"byline","embeddable":true,"href":"https:\/\/www.thewrap.com\/wp-json\/wp\/v2\/byline?post=8086011"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}