Lifestyle
Low on PTO? Join the Gen Z travelers taking international ‘microtrips’
One Friday night last year, Akylah Cox and her boyfriend took a red-eye flight from Pennsylvania to Dublin for a whirlwind adventure. The trip lasted less than 30 hours. They hit up an impressive number of spots: the Guinness Storehouse, the Book of Kells experience at Trinity College, Ha’penny Bridge, Capel Street for thrifting (“I gave myself only 30 minutes to do this, but it had to get done,” Cox says) and the Celtic Nights dinner and show.
They were back home on Sunday and went to work the next day.
She shared her experience on TikTok with the caption, “Was this crazy?!” The responses varied.
“I would be tired the rest of the week,” one person commented with two woozy-face emojis.
“This inspired me!” another said.
“I’m tryna be this level crazy,” commented another.
Akylah Cox and boyfriend Akram Imam in Dublin in February 2025.
(Akylah Cox)
For Cox, who was working full time in engineering and pursuing an MBA while her boyfriend was completing his medical residency, creating an ultra-compacted itinerary was the only possible way to travel. And she loves the practice. On TikTok, she shares her itineraries for “microtrips” — short, usually international trips lasting 24 to 72 hours.
“You can just leave,” says Cox, who lives in Chicago. “You can have that quick break, that quick reset.”
She’s part of a new wave of travelers, particularly Gen Z, opting for these types of trips over extended vacations, according to an AirBnb trend report. Partly fueled by a viral TikTok trend in which people break down how they spent one to two days in another country, young travelers are no longer waiting for spring break or to accumulate paid time off to cross destinations off their bucket lists. A recent Expedia survey found that 25% of Gen Z and millennial travelers said they plan to take a microtrip in 2026, with Toronto; Nassau, Bahamas; and San Juan, Puerto Rico, being the most popular destinations.
“Short trips can fit busy schedules much better than a longer vacation can, which allows more people to explore the world without committing to long absences from work or family,” says Airbnb communications lead Ali Killam. “I think people are really embracing this idea that even brief changes of scenery can really recharge you, your mind and spirit.”
Another driver of the trend could be the fact that younger generations consider travel a top priority in their lives. In 2023, Gen Z and millennial travelers took an average of five trips per year, compared with Gen Xers and baby boomers who took less than four. Gen Zers and millennials allocate an average of 29% of their income for travel, reports the management consulting firm McKinsey & Co. (though a study last year by Savings.com found that a growing number of parents are helping their adult children out financially more than ever). Among younger generations, there’s also a mantra of doing things “for the plot” and taking chances because the future feels uncertain.
“Younger millennials and Gen Z are really creating their own version of the American dream, which I think is really based off of experiences and the memories that you’re able to create,” said N’Dea Irvin-Choy, 30, an L.A.-based content creator who posts about luxury travel, skiing and tennis experiences.
Kareen Hill, 27, of New York, is another microtrip crusader on social media. Since October, he’s been taking trips to explore the food scenes of various cities. In January, he went to London for two days and posted a recap video on TikTok that received more than 1.5 million likes. He now tries to take a trip, either international or domestic, about every two weeks.
“I just realized you do have free will,” says Hill, who works at an airport. “Like why not?”
N’Dea Irvin-Choy at the Eiffel Tower in Paris, left, and Kareen Hill at the Colosseum in Rome.
(N’Dea Irvin-Choy; Kareen Hill)
Beyond convenience, microtrips can also be more affordable than longer trips — an important factor as oil prices rise and airfares are already beginning to surge. With the help of credit card points and a travel credit, Cox’s trip to Dublin was just under $450. She says these quick trips are a “low barrier to entry” to international travel because you only have to plan an itinerary for one or two days. And the more flexible you can be on the timing or destination, the better chance you’ll have at finding deals.
Another benefit is how short trips force you to be intentional about how you spend your limited time. “You can get a lot more done than maybe you think you can,” she said. During a three-day trip to Japan with her mother and grandparents in May (not including the travel time), they were able to squeeze in a food tour and multiple tourist attractions in Tokyo and Mt. Fuji.
Of course, a common concern about microtrips is how exhausting they can be, especially if you’re traveling across time zones. And, yes, the fatigue can be real and travelers should certainly consider their bodies’ limits. But the purpose of these trips is to explore a destination rather than relax, Cox says. Once you’re in that mindset, you can better embrace the experience. “You really don’t have the impact of jet lag because you’re purely running on adrenaline,” she says.
Want to take a microtrip yourself? Here are some tips:
- Book the earliest flight possible to your destination and the latest flight back so you can optimize your time, advises Irvin-Choy. Definitely try to opt for nonstop flights.
- Make it easy to move around your destination. Hill says it’s best to avoid checking a bag and to pack light. Cox recommends booking a hotel that allows you to store your bag even if your room isn’t ready.
- Prioritize your “musts.” For each of her microtrips, Cox uses the same formula: Pick three must-do activities or sights and plan the rest of your trip around those. One of her favorite things to do in any new city she’s visiting is go on a food tour.
- Prepare to jump back into the grind at home. Irvin-Choy recommends parking your car at or near the airport, which can sometimes be cheaper than opting for a ride share when it’s such a short trip. You also might want to wear your work clothes on the plane, so you can head straight into work if necessary.
- And finally, don’t forget to get some rest during your trip — even if it’s on the plane. “That’s the hardest part when it’s so short,” Irvin-Choy says. “But make sure you get some sleep at some point during the weekend.”
In the year since his death, there has been no hard pivot at Armani. The shadow of the founder has stayed in place over the Milan HQ, where the brand seems happy to leave it. Armani is not just plumbing the past for continued inspiration, it’s reselling it.
Today, Giorgio Armani is announcing Archivio, a grouping of 13 men’s and women’s looks, plucked from the brand’s back catalog and remade for today. (And, yes, at today’s prices.) There’s a jacket in pinstriped alpaca of 1979 vintage; a buttery one-and-a-half breasted jacket with a maitre d’s flair that first appeared in 1987; and an unstructured silk-linen suit that will activate ’90s flashbacks for die-hard Armani clients and those who want to capture that era’s nostalgia. The advertising campaign was shot and styled by Eli Russell Linnetz, who has his own label, ERL, but always seems to be the first call brands make when they want sultry photos with the aura of Details magazine circa 1995. (He did a similar thing for Guess recently.)
Linnetz’s images are a reminder of how Armani’s work still reverberates decades later.
Archivio is also a canny recognition of what shoppers crave now. On the resale market, Armani wares are as coveted as can be. Every week it seems as if I get an email from Ndwc0, a British vintage store, announcing a new drop of meaty-shouldered ’90s Armani power suits. They sell for less than $500. At Sorbara’s in Brooklyn, you can buy a tan Giorgio Armani vest for $225.
That vintage-mad audience is in Armani’s sights: To introduce the collection, it’s staging an installation, opening today, at Giorgio Armani’s Milan boutique. It will feature the hosts of “Throwing Fits,” a New York-based podcast whose hosts wear vintage Armani button-ups and shout out stores like Sorbara’s.
It’s prudent, if a bit disconnected. Part of the charm of old Armani is that it can be found on the cheap. I’m wearing a pair of vintage Giorgio Armani corduroys as I write this. I bought them for $76 on eBay. Archivio is reverent, but its prices, which range from $1,025 to $12,000, may scare off shoppers willing to do the searching themselves.
If you ask me, the next frontier of this archive fixation is that a brand — and a big one — will release a mountain of genuine vintage pieces. J. Crew and Banana Republic have tried this at a small scale, but a luxury house like Armani hasn’t gone there. Yet. Eventually, Armani (or a brand like it) is going to grab hold of the market that exists around its brand, but through which it gets no cut.
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Lifestyle
The story behind this rare architectural speaker from cult Japanese fashion brand TheSoloist
This story is part of Image’s April’s Thresholds issue, a tour of L.A. architecture as it’s actually experienced.
You hear it before you see it.
Turning the corner of the 15th floor corridor of the historic American Cement Building, a low thrum of electronic sounds seeps through the door of Archived, an L.A. luxury vintage curator. Inside, standing 43 inches tall, a silver speaker from Takahiro Miyashita’s brand TheSoloist vibrates high fidelity through the showroom.
Constructed of 3D-printed polycarbonate resin and aluminum, with a wide amp frequency range of 20Hz to 25KHz, the object looks less like a speaker and more like a relic of time. It is an artifact set in concrete, chiseled away to reveal a replica of the Flatiron Building in New York City. Containing seven audio channels and two bass speakers, its vibrations can be felt against the skin.
Dream Liu, along with his partner Marquel Williams, founded Archived in 2019 to resell rare vintage collectibles. Their designer wardrobe houses some of the most sought after pieces in the industry — like a 1990 Chrome Hearts biker jacket— but the collection of homeware, including a Giovanni Tommaso Garattoni glass chair or a Saint Laurent arcade machine, is what greets you when you walk in. “That’s one way we stand out from all the other archival brands,” Liu says. “We’re very much deep into everything design-related, not just fashion.”
Liu first encountered TheSoloist speaker a few years ago at the home of a friend, a lighting designer working in music who he admired. The speaker, he says, lived at the back of his mind ever since. Archived eventually sourced it directly through TheSoloist’s manufacturer, now acting as an intermediary seller. Only a few hundred of the silver color-way, on display in the showroom, were produced. Even fewer exist of the black, for sale on their website for $9,500.
Miyashita, the cult Japanese designer behind early-2000s punk label Number (N)ine and later TheSoloist, is known for fusing meticulous Japanese craftsmanship with distinctly American motifs. The speaker, for instance, pays homage to New York City, where he opened his original store. Without even seeing a single garment, his style is clear: avant-garde, grunge and very rock ’n’ roll.
(Archived)
Six months ago, Archived opened its MacArthur Park showroom, a brightly lit loft with exposed beams, floor-to-ceiling windows and a panoramic view of downtown. Today they are a team of about six people. Distinctive objects like TheSoloist speaker are an extension of not only the brand’s imprint, but the architecture that houses it. “The speaker fits perfectly into this space.”
Archived, whose clientele consists mostly of celebrities and high-profile curators such as Timothée Chalamet, Travis Scott and Don Toliver, sources its pieces through consignments from sellers and endless hours spent hunting across international marketplaces. When it comes to selecting which piece makes it to the floor, Liu looks for collectible items and whatever fits the brand’s taste, which can be described as minimal avant-garde with a touch of fine craftsmanship.
“Nothing is random,” Liu says. Every item at Archived has a story, from the Giseok Kim aluminum shelf where an unworn pair of 2005 reconstructed Nike Dunks are displayed, to the Marc Newson racks which archival Rick Owens hangs off.
The speaker is valuable, Liu admits, because of Miyashita’s reputation as one of the greats, placing him alongside designers like Jun Takahashi and Yohji Yamamoto. “Our audience knows his designs and all of his great collections,” he says. “So the speaker itself speaks volumes.”
Originally from West Palm Beach, Fla., Liu moved to California to study fashion merchandising at FIDM in San Diego. Before that, he had dabbled in architecture. “It’s always been in the back of my mind,” he says.
Liu said he recognizes that designers, after a time, get fatigued with profit-driven conglomerates and begin to delve into other art forms. “Fashion is just another art form, and I think eventually, when [designers] tire of making clothes — Helmut Lang as an example, even Tom Ford — they transition to art.”
If the nature of design is building upon and taking from existing works, then creating an archival space is collecting pieces of history. “Everything is a reference point,” Liu says. “Every piece here has made an impact on the current climate of fashion.”
To Liu, items like the speaker are worthy of preservation because some of them are only getting rarer and rarer to find. “Pieces like this deserve to be presented properly, and be in spaces that reflect the caliber of the clothing,” he says. “You can put random objects in a beautiful space and that object becomes important.”
The scene recalled the frenzy that unfolds backstage during fashion week: On a recent Monday, in a room full of clothing racks, the stylist Micaela Erlanger was working alongside a team of tailors and assistants. But they were not preparing for your average fashion show.
Ms. Erlanger and the group had assembled at her studio in Manhattan to prepare looks for the actress Meryl Streep, Ms. Erlanger’s client of 11 years, to wear during the press tour for “The Devil Wears Prada 2,” the buzzy sequel to a beloved film set at a fictionalized version of a certain glossy fashion magazine.
In the sequel, Ms. Streep steps back into the stilettos of Miranda Priestly, the publication’s glamorous editor in chief. She stars alongside Anne Hathaway and Emily Blunt, who also reprise their roles as Andrea Sachs and Emily Charlton, characters who served as Miranda’s assistants in the original film. Based on a novel and released in 2006, it has become a cult favorite among serious and casual followers of fashion alike.
To prime fans for the sequel, Ms. Streep has appeared on the cover of Vogue and, along with some of her co-stars, has traveled to Mexico, South Korea, China and Japan in recent weeks for premieres. On Monday, cast members appeared in New York, and they will travel to London for more events before “The Devil Wears Prada 2” is widely released on May 1.
Each affair has offered the cast members a chance to turn heads in finery on par with the clothing worn by the characters they play in the movie. Balenciaga, Chanel, Valentino and — yes — Prada are just some of the labels they have sported as they have traveled the globe.
To pull off this fashion feat — and to avoid any style faux pas — Ms. Erlanger, 40, has been in constant communication with Erin Walsh, 43, Ms. Hathaway’s stylist of seven years, and Jessica Paster, 60, who has been styling Ms. Blunt for going on two decades. The women have been operating as something of a hive mind for months, sharing details of the actresses’ looks — the brands, the accessories, the color palettes — in group chats, calls and conversations on the sidelines of runway shows.
“I got to see Erin and Micaela at fashion shows,” Ms. Paster said. “We would whisper: ‘I like that. I like that. I like this. I like that.’”
In a conversation that has been edited and condensed, Ms. Paster, Ms. Erlanger and Ms. Walsh discussed their collaborative relationship, the stakes of styling press tours and the ways they have used fashion to build hype for “The Devil Wears Prada 2.”
How have you each approached dressing your client for the press tour?
MICAELA ERLANGER With Meryl, we leaned into this idea of powerful silhouettes and shapes that you haven’t necessarily seen her in. This is a fashion movie — we’re leaning into it. I would say that there are a lot of references that the fashion community will appreciate and enjoy. We have not just been referencing the first film, but referencing references within the film. I call it “meta dressing.”
JESSICA PASTER You have to remember that Emily Charlton was an assistant 20 years ago. She has evolved. So I’m approaching her as a little stronger — a girl with power. She doesn’t need to borrow clothes anymore. Designers are now giving her the clothes, and she’s out buying clothes.
ERIN WALSH I guess I am hesitant to tell you a theme. I don’t want to encapsulate it. Ultimately, it’s always about how we make a person feel their very best.
You said you communicate via group text. What are you saying to one another?
ERLANGER We have been, from logistics to creative, kind of strategizing among ourselves. What look works best here or there? What’s the other person wearing? Will they look great together?
PASTER I remember one text among us was like: “I’m thinking red. I’m thinking a little burgundy red. And I’m thinking red, too. Is it weird that they’re all wearing red?” I said, “No, let’s lean into that, and let’s do it all in red.”
What we do is make a picture more beautiful. If we have two people who are wearing red, and one is wearing white or purple or black, that is the girl that should be in the middle of a photo. It’s not about, “My girl needs to be in the middle.” If something goes viral, it’s going to help Erin; it’s going to help me; it’s going to help Micaela; and it’s going to help the movie because it gets everyone buzzing and excited.
WALSH With our job, there are always curveballs thrown your way. By working together, we can better navigate any kind of situation in a joyful way without having breakdowns.
Styling has a competitive aspect, in that there are only so many looks, and everyone can’t always get what she wants. How are you navigating that together?
PASTER There are a lot of stories about stylists competing with each other. We’re not. We are so busy. We do not have time. Micaela is calling me because she needs something. I have so many questions to ask Erin and Micaela. If one of these two girls needs me, I will be there for them.
WALSH Removing anything competitive or not collaborative from the equation makes us stronger. It makes our work better.
ERLANGER Collaboration also benefits our clients. Everybody wins when we are aligned.
I’m curious, where were you in your careers when the original “The Devil Wears Prada” premiered?
ERLANGER We have stages of our careers that directly relate back to the first movie. I was an intern at Condé Nast, the company that owns Vogue.
WALSH I was an assistant at Vogue when it came out. I watched Anne onscreen. “The Devil Wears Prada” I knew, you know, in my skin.
PASTER I was a stylist, and, in fact, I was trying to get Emily Blunt as a client.
Modern press tours can involve several premieres in addition to other events. How has that changed how you work?
ERLANGER Social media has made every moment a photo op. Even if it is a junket day when your clients are sitting in a room for on-camera interviews, those pictures get picked up. So every single moment has become press-worthy. And, therefore, there’s more intentionality behind what clients are wearing.
PASTER People forget that we just can’t bring in a dress or two, bust out a look and call it a day. Micaela and Erin are going with nine suitcases all over the world to fit their girls, and I have two trips of fittings in Ireland.
What clothes have you been wearing during the press tour?
WALSH You’ve got to look the part. I tend to, in these situations, reach for more empowering pieces, like a shoulder pad and heels. I don’t work in flats.
ERLANGER I need a flat, and I kind of want to be more comfortable. I’m in jeans and a blazer and a button down and a flat.
PASTER I’m working in sweats and with my hair in a bun.
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