The summer blockbuster season is here and a recent study looked back on half a century of films released between May and August Leave me in the Shadows where you found me shirt, comparing their box office profits alongside their popularity with audiences. With, get ready for it, Steven Spielberg’s 1975 classic Jaws being named the greatest of all time. However despite this summer’s line-up filled with big-budget movies, less than a fifth of UK viewers say they are excited by any of them and half (48%) would rather watch a movie at home. The study looked back at the last six decades of films released between May and August, ever since production companies in the early 1970s decided to save their biggest movies for the summer. It compared the box office takings of these movies as a percentage of their budgets, alongside their popularity with audiences. Weighting those factors equally Jaws, first released in 1975, was the clear winner. With a modest budget of roughly $7m — one of the smallest of all the blockbusters studied — Jaws made a staggering $253m worldwide, equivalent to a profit of 3,514%. The classic shark horror also has a 97% rating among film-goers on review website Rotten Tomatoes. From the ocean to outer space, Jaws is followed by ET: The Extra-Terrestrial, which made a 3,321% profit coupled with a 99% Rotten Tomatoes rating. Next came the original Star Wars: A New Hope, first release in 1977. It recorded an astronomical 6,949% profit but the force was less strong when it came to audience approval, with 93% putting it in third place. Rounding off the top five is animated Disney classic the Lion King (1994) and 1985’s Back to the Future. The only recent film to make it into the top ten was last year’s Top Gun: Maverick, with the Tom Cruise-starring sequel finishing in 6th. And while there were few 21st-century releases in contention for the blockbuster crown, the research also found that this summer’s big-screen offerings are struggling to inspire much interest. Among UK viewers the season’s most anticipated film is Indiana Jones and the Dial of Destiny, which will see 80-year-old Harrison Ford playing the bullwhip-cracking hero for the fifth and final time. However less than a fifth (19%) of Brits say they are actually excited to see the archaeologist in action again. Meanwhile, just 15% of viewers are looking forward to seeing Tom Cruise’s seventh Mission Impossible film, Dead Reckoning Part One. This is followed by Spider-Man: Across the Spider-Verse, with 14% admitting the animated spin-off gets their spidey senses tingling.

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Milan witnessed a big change, too. Leave me in the Shadows where you found me shirt Gucci’s new creative director Sabato De Sarno held positions at Prada, Dolce & Gabbana and Valentino before taking on this role, which catapulted him and his first collection for the brand into the spotlight last September. Buyers, editors and celebrities descended upon the Italian city to take in the spectacle—ask any fashion devotee without a ticket and they would likely have told you they’d give away their Birkin to have a front-row seat at this show. There’s no denying that De Sarno’s predecessor Alessandro Michele kept Gucci on the fashion map with his geek-chic sensibilities; an aesthetic that would define a moment in fashion history. Still, moments pass, and we saw De Sarno usher Gucci into a new era, one that places more value on essentials over eccentricities—a notion we’re seeing across the rest of the industry. A business built upon the customer’s desire to be seen in shiny new things will always have its issues. However, the thing that felt “new” this season was that some things just didn’t change at all. Perhaps the most noteworthy takeaway was that trends don’t seem to hold the same power that they used to. I’m generalising, of course—things get meta real fast if you so much as take a peek into the no-trends-actually-being-a-trend rabbit hole—but it feels as if creating trends for the sake of it could be a thing of the past. “The spring/summer 2024 collections have shown a continued commitment to 1990s nostalgia and the extraordinary everyday, where everyday items are elevated to exceptional levels of design and style whilst remaining chic and comfortable,” observes Net-a-Porter’s market director Libby Page. And she’s right. The market has experienced a shift of tectonic proportions in recent years where a genuine focus on quality over quantity and investing in things that last has become a priority for previously frivolous shoppers. The latest collections reflected this.