Beyond "You Can See Everything" — A Pop Digest for November

A rotating gif showcasing a series of things, including a film still from a bedroom, a floral tablescape in a pink light, a crowd having fun, an abstract painting, and a woman sat on a velvet armchair — Feat. the few things that managed to put an end to our doomscrolling.

(Image credit: A24, Spazio Cinna, © 2026 Estateof Duncan Grant. All rights reserved, DACS. Photo ©Tate (Reece Straw), Getty Images)

I have always found autumn, with its sudden changes in temperature and daylight, quite a fitting time to plunge back into my interests, whether it means picking up a book that's been sitting for far too long on my dressing table, undisturbed, or finally making my way to that exhibition I have longed to see before it closes. This month, my Instagram Saves folder confirms that: currently, I struggle to keep up with all the design openings, book and film releases, collection launches, and art showcases that populate my feed daily. But that's to your benefit, really.

Among all the cultural moments I have felt obliged to boomark on my socials this month, the five listed below stand out for their ability to capture where art, design, fashion, literature, and hospitality are heading today: a place where creative expression alone is no longer enough, but is better, more resonant, when shared with others, be it directly — like a new destination in Milan strives to do with its public programme — or more subtly, through a densely emotive page of writing by a French auteur whose prose never ceases to move and unite the crowds. Carry on reading to discover the key faces, launches, and exhibitions setting the scene for November.

The Literary Mood: Annie Ernaux, Revisited

A woman with dark long hair poses for the camera in a vintage interior. — 2022 Nobel Prize in Literature winner Annie Ernaux, the French diarist behind *The Years* and *A Woman's Story*, has been enjoying a moment of renewed fame thanks to the double-book release of two new translated works, *Hotel Casanova and Other Brief Texts*, an unprecedented waves of stage adaptations of her books, and her relentless social and political activism.

I know what you think: after a mention in our earlier pop digest from October, here she is again, but what can I do if, at 86, Annie Ernaux is as unflinching as ever? Two new English translations of her works landed on 27 October: Hotel Casanova and Other Brief Texts and the collage-like Writing, The Other Life. Meanwhile, her A Girl's Story opens on stage in Paris this autumn, at La Reine Blanche from November 25 and the Manufacture des Abbesses from November 29. As a result, Ernaux has conquered a space on the front pages and digital dashboards of some of the world's leading newspapers and magazines.

The Craft Moment: Make It Playful

A playdough-looking, miniature rendition of an earthily tinted interior with facing oversized sofas in neutrals, two brown armchairs, a tiled beige fireplace, and other objects. — Garcé Dimofski's miniature reproduction of their furniture collection gives viewers an excuse to approach interiors as they would approach play: with a curious eye and a spirited mind.

Stumbling on Garcé Dimofski's miniature reproduction of its furniture collection on Instagram, I felt something click. Squint, and those tiny, hand-molded silhouettes look a lot like the lumpy shapes we once made with playdough. Founded by Olivier Garcé and Clio Dimofski, the Porto-Lisbon studio is hardly alone in this. Many of our favorite designers lean into the motif, from Gustaf Westman, the mind behind last year's sold-out IKEA collection and this year's ever-so-whimsical Disney homeware line, to award-winning British creative powerhouse Faye Toogood. It confirmed my conviction that, deep down, so many of today's foremost artists embrace creativity as a means of feeling — that's right — a bit like a child again.

A quirky setup styled inside a warehouse with exposed cement pillars, cement floors, and white-washed ceilings, features lacquered pink, yellow, and brown furniture, and pale blue and green curtains. — Milan's newest design destination, Spazio Cinna is an independent space for creative minds wanting to get loose, connect, and feel inspired.

If Dimofski plays on paper, Milan's Spazio Cinna does it quite literally. Founders Giorgia Calia and Sofia Spini opened this independent Milanese space in Porta Venezia on 31 October with a question: Do You Still Play? Local artists, designers, writers, and fashion insiders are all invited to get loose, connect, and, why not, make a mess. The opening photos say it all: glossy pink benches, little yellow tables and a pared-back, industrial shell lit up by irreverence. Yes, this is exactly what we need in these dark times: the very joyful spirit I found lacking during Frieze Week this year. Creativity, it turns out, is better when nobody is taking it or themselves all too seriously.

The Fashion Story: "Your Glassware Needs Jewelry"

Two young women dressed in dark trousers and beige tops stand in a sleekly decorated room with lacquer brown and gray walls and an esagonal table topped by cocktails in sculptural glassware. — Glassware disruptor Sophie Lou Jacobsen and unisex jewelry designer Justine Clenquet just announced their first collaboration: a series of occasion glasses paired with statement cocktail picks, and we're obsessed already.

New York's godmother of 2020s dinner parties, Sophie Lou Jacobsen, and French jewelry designer Justine Clenquet are getting ready to throw a feast. Announced earlier this week, their first-ever collaboration pairs occasion glassware, including Jacobsen's crystal-embellished Venezia set of Collins glasses, with Clenquet's silver pendant cocktail picks, which look suspiciously like piercings for your olives. A softer, gold-toned Fritter set joins them. Isn't this exactly how we should be enjoying our drinks? As the mood turns festive this year, forget the plain stirrer. A little sparkle on the rim and a dangling charm in the glass turn a Tuesday-night martini into a can't-miss event. You bet we're here for the excess.

The Film Set: "You Can See Everything" by Nathan Fielder and Lance Oppenheim

A woman in denim blue jeans and an ochre top sits on a gray couch in a wood-clad cabin, talking to a man wearing a navy blue top. On the right, we can see a baby's body, dressed in a white bodysuit. — A claustrophobic setting heightens the suspense-filled storyline of Nathan Fielder and Lance Oppenheim's co-directed documentary *You Can See Everything*.

With box-office hits The Drama and Backrooms released earlier this year, 2026 has been huge for A24, and the last few weeks of 2026 are no different. Hyped psycho-doc You Can See Everything, which reaches UK cinemas on 20 November and is the latest movie to hit the big screen from the production company, centers on Elizabeth Holmes, the Stanford dropout who founded the blood-testing start-up Theranos. She was convicted of defrauding investors after claiming her technology could run hundreds of tests from a few drops of blood. You Can See Everything follows her through the 34 days before she began her 11-year sentence, then for roughly two years afterwards.

Co-directors Nathan Fielder and Lance Oppenheim film inside her rented Del Mar beach house. Here, a growing sense of claustrophobia and uneasiness is built into the frame. Cinematographer David Bolen shoots in a boxy 4:3 ratio with long zooms, letting faces fill the screen pore by pore under naturalistic light. Even as a documentary, its grain feels startlingly cinematic, blurring the line between what's real and what's fabricated, much like the protagonist's own doing — or so I have heard. Alex DiGerlando designed the recreated locations. As the movie is yet to come out in England, I have been desperate to know what the fuss is about, and whether I'll get as obsessed with it as everyone else I have seen talking about it all over socials. Will you be watching?

The Gallery Show: "Vanessa Bell & Duncan Grant: Inside Bloomsbury"

A painted interior with wooden shelves stacked with colorful books, a striped green and red rug, colorful curtains, a floral tableclothed table, and an armchair with a woman reading on it. — *Vanessa Bell Interior with the Artist's Daughter*, c.1935-36.

Opening at Tate Britain on 12 November, Vanessa Bell and Duncan Grant: Inside Bloomsbury gathers more than 300 works from the pair's five-decade partnership. Its centerpiece is the Charleston studio, restaged inside the museum for the first time for the exhibition. It's a portrait of the home as an artwork: painted doors, tables, and textiles, and a relationship that was, by turns, friendship, collaboration, and unconditional love. Today, it makes a quietly radical case for domestic spaces made by hand, feeding into the ongoing DIY revival. My favorite piece from the display, Bell's Interior with the Artist's Daughter shows how to face the cold season the right way: wrapped in warm textiles, surrounded by the objects and titles we love most, with enough time on our hands to dive into stories and pick up new hobbies and forms of making.

Can't get enough of our recommendations? Fill up on the inspirations defining the spirit of today with editor Hugh Metcalf's monthly Zeigeist Edit. Expect exclusive interviews with today's tastemakers from our lifestyle pages, and a full immersion into design, 360 degrees, by joining our newsletter today. Thank us and the weekly sendouts later.

TOPICS

Gilda Bruno is Livingetc's Lifestyle Editor. Before joining the team, she worked as an Editorial Assistant on the print edition of AnOther Magazine and as a freelance Production Journalist, Sub-Editor, and Writer on the Life & Arts desk of Financial Times. Gilda's arts and culture writing has appeared in several books and publications including Apartamento’s Liguria: Recipes & Wanderings Along the Italian Riviera, Sam Wright’s debut monograph The City of the Sun, The British Journal of Photography, DAZED, Document Journal, Elephant, The Face, Family Style, Foam, Il Giornale dell’Arte, HUCK, i-D, PAPER, VICE, Vogue Italia, and WePresent, among many others.