A member of one of Korea’s most popular boy bands has died at age 27. Kim Jong-hyun (better known as Jonghyun), who performed as the de facto lead singer of the hit K-pop group Shinee, was reportedly found unconscious in his Cheongdam-dong apartment in the Gangnam District after his sister filed a report with concern for his welfare. He was pronounced dead at the hospital. Police told the BBC Korean Service that suicide will be investigated as a possibility.
Shinee was founded in 2008 and soon came to be called “the princes of K-pop” for their chart-topping prowess and reputation as one of the biggest groups in both Japan and Korea, recording a string of Japanese-language albums and selling out the 55,000-seat Tokyo Dome. They staged their first U.S. tour with full-length concerts in 2017.
Jonghyun had also branched out with a successful solo career in 2015, performing two concerts in Seoul just this month, but he was the only original member of Shinee to participate in the band’s reformation earlier this year, which coincided with their fifth Korean album release. In addition, Jonghyun made headlines for his outspoken views in favor of LGBT rights, writing personal messages of support to fans questioning their sexuality, in a demonstration that reportedly made him the target of extremist Internet trolls.
The Yonhap news agency reported that the singer had texted his sister shortly before his death: “Please let me go. Tell me I did well. Final farewell.”
Wednesday, 20 December 2017
Monday, 20 November 2017
5 Victoria’s Secret Newbies Share Their Travel Essentials
Getting the opportunity to walk the Victoria’s Secret Fashion Show is a big deal–especially for first-timers. With the whole world watching not just the fashion show itself but the millions of Instagram posts, Snapchat updates, and street style moments that lead up to the event, it serves as an incredible source of exposure for newcomers. To make a good impression, the models want to look great 24/7, which means they have to choose their pre-show wardrobe carefully.
Packing for the trip requires the ability to anticipate each photo op. For some, that means a lot of luggage. “I’ve already packed three suitcases, so I’m sure I’ll have everything I need!” shared the Parisian model Estelle Chen, whose carry-ons were filled with outfit options. The more-is-more sentiment is echoed by Chen’s fellow first-timers. “Of course I’m packing all of my cutest clothes!” says Gizele Oliveira, the Brazilian model and fashion blogger. “You have to really bring your A-game.” With that in mind, take a look at what the brand’s newest faces have brought with them to Shanghai and why they can’t live without these items.
Friday, 20 October 2017
Namie Amuro, “The Madonna of Japan,” Is Retiring, But Her Style Influence Lives On
The golden rule of stardom is always leave your audience wanting more, and no one understands that better than Japanese music star Namie Amuro. Dubbed the Madonna of Japan, Amuro has been making hits since the mid-’90s, delivering a provocative, hip-hop-influenced sound that has proven influential. She has been the reigning queen of the J-pop scene for 25 years, inspiring both the music and the style of the acts that followed her. In a business defined by its revolving door of teenage talent, she is one of a few performers to successfully make the transition from girl group member to solo act and maintain her relevance for decades. Amuro has created songs that have become iconic—her track “Can You Celebrate” remains the top-selling Japanese single by a solo artist more than 20 years after its release—while cultivating an image as a rule-breaker, which makes her latest move all the more fascinating. This past September, on the eve of her 40th birthday, she announced that she’d be stepping away from public life.
The impact of Amuro’s retirement on the music industry is clear. But her songs aren’t the only important aspect of her legacy. Amuro’s influence in the world of fashion was every bit as interesting. She dabbled in modeling after debuting as part of girl group Super Monkey’s back in 1992, and her confidence in front of the camera brought her the attention that would eventually propel her to the position of group leader. When the group rebranded itself as Namie Amuro with Super Monkey’s, it was clear that she was stealing a page from Diana Ross’s playbook. By the time she went solo with “Body Feels Exit” in 1995, Amuro had established herself as an alternative to the typical idol. She spawned the “Amuraa” style, a look focused on tan skin, short skirts, and platform combat boots, inspiring a legion of fans who emulated her every outfit. Avoiding the cutesy school girl looks favored by her contemporaries, Amuro instead sought out pieces that were daring. In an era when idols weren’t yet clad in head-to-toe designer looks, she was influenced by the runways, frequently wearing pieces from Chanel and Versace. She also embraced the bling-y luxury aesthetic of ’90s hip-hop videos, helping to popularize the oversized streetwear look in Japan.
Amuro often challenged Japanese social mores by simply living her life. When she decided to get tattoos in honor of her son and mother, her much-discussed body art broke with tradition. As she was one of the only women in J-pop to sport prominent ink, it was a bold statement. Likewise her status as a performer over the age of 30 who fearlessly sports sexier styles, such as ruffled mini-skirts, corsetry, and thigh-high boots, made her an anomaly within the teen-focused music scene.
Amuro’s influence on fashion is certainly clear at the shows of Tokyo Fashion Week, which are currently in full swing. Labels including DressedUndressed and HARE are doubling down on the elevated streetwear and cool ’90s fashion trends she pioneered. While it has become common for musicians to “retire” only to return shortly thereafter—Jay-Z, Justin Bieber, and Lauryn Hill have all stepped away from music at one point—Amuro has made her intentions clear. Updating her social media with the equivalent of a two weeks notice letter, she gave fans an end date—September 16, 2018—while thanking them for their years of devotion. With a final tour set for early next year, it’s likely that there are still a few great fashion moments in her future, but the legacy she’s created will live on long after she’s sung her last tune.
Saturday, 23 September 2017
Lucie and Luke Meier Say the New Jil Sander Will Be Soulful, Relevant, and Absolutely Not Disposable
Lucie and Luke Meier’s Jil Sander show is surely one of the most anticipated debuts of the Spring 2018 season. The label has experienced countless twists and turns since its founder left in 2000, including but not limited to the two times Sander herself made brief returns in 2003 and 2013. Bringing back stability, forging a believable yet fresh perspective, achieving a healthy bottom line—this is what will be required of the Meiers. Let’s say that they have their plates quite full.
The Meiers arrive with cool backgrounds. Born in Switzerland to an Austrian mother and a German father, Lucie’s fashion credentials are impeccable: She worked at Louis Vuitton under Marc Jacobs, at Balenciaga under Nicolas Ghesquière, and at Dior under Raf Simons as head designer of women’s haute couture and RTW collections. When Simons left Dior, she assumed the role of co–creative director for five collections. She comes across as reserved, thoughtful, and driven. Luke was born in Canada to an English mother and a Swiss father. He studied finance and international business at Georgetown University and Oxford, before changing gears. It was while he was at the Fashion Institute of Technology in New York that he met James Jebbia, founder of Supreme, the sensationally successful label that sits at the pinnacle of unremitting coolness. Luke worked for eight years as the brand’s head designer. Then in 2014 he launched Over All Master Cloth, aka OAMC, which he describes as a “new luxury for men.” He’s brainy and focused, and charming in a serious way.
Together, the Meiers make for an interesting couple—different from each other but with complementary characteristics, as they say. I sat down with them a few days before the show at the brand’s Milan headquarters; over cappuccinos, we discussed the label’s high standards, its soulfulness, and what they’ve learned from their many meetings with the still-forward-thinking Sander.
You work as a couple, but what I’d like to know is your individual takes on the brand.
Luke Meier: I think we’re quite different [in our] work experience, but we share quite a bit of life experience. We’re both first generation from diverse backgrounds. We both share an understanding of a global perspective on things, a perspective from where you watch things a little bit from the outside, without bearing a really heavy weight of history or identity or citizenship. Maybe today it’s helpful to relate to many different references and to be able to bring them into your work; if you have a certain life experience it can lend a sort of subconscious text to what you’re trying to say with your work. The experience I’ve had in design is a bit more sociological rather than purely focused on the product. That’s how I got interested in fashion and design in the first place, as a platform where people can show their own perspective and ideas. But I was also very captivated by how a certain logo or branding could be so powerful that people would gravitate toward it without even questioning it; for me that’s really interesting, and I’ve spent a great deal of energy analyzing this.
Lucie Meier: The way I like doing things is not so much about analyzing; my approach is definitely more emotional and intuitive. We’re very different but complementary, and that’s what makes our partnership so strong. Even when simply looking at a picture, we point out different elements. As a woman, I always come back to myself: How do I feel; how do I look when I wear something? It’s a very personal, intimate approach.
Right, I definitely felt a feminine flair in the pre-collection, which I didn’t expect to be explored in a label considered almost as a template for sharp precision. Have you brought it about intentionally, or has it just happened intuitively as a subtext?
Luke: It was something that was there with intention. The very first opinion or image people have of Jil Sander, the feeling they get from it, is very rigid, minimal—but if you really go deeper . . .
Lucie: . . . it’s really soulful.
Luke: That’s very important to us, that kind of soulful, sensitive approach.
Lucie: It’s about an emotional connection with the clothes. I got into fashion because my mother was a huge fan of Jil Sander. I was fascinated by her clothes, the way she looked and how she was wearing them. It was really an emotional feeling for me.
The brand has gone through many ups and downs. Despite the timeless quality of its values, one questions the relevance it can have today. Do you think it’s possible to bring it back to a consistent, interesting place in the fashion system and in the marketplace?
Lucie: Jil Sander to me is still extremely relevant, in that the values of the brand are very strong: the extremely high quality, the idea that the collection is part of a lifestyle and not the other way around. I feel that today a lot of things are very disposable; there’s so much out there, that I like the idea of something that lasts, to create something that becomes part of your life and stays with you for a long time. And the aesthetic of the brand is still so modern, so timeless and alive.
Luke: The point is not creating a trend that after a few months is over. We don’t believe that in the times we’re living in now it feels right to create something disposable. It’s not an appealing process. The way we see the brand is that of an incredible quality, an incredible soulfulness, a true appreciation for the fine art of making clothes. We think that the value of the brand is in touch with what is happening right now; there’s an element of innovation, being very open to new technologies, to new experiences, even to how people are living. High quality and craftsmanship are very modern concepts; they’re not something that will ever be outdated. For us this very simple, very correct approach of making things is very important.
Jil Sander’s levels of execution were always exacting; she was utterly uncompromising on this.
Luke: Again, it’s a matter of values. You can’t take shortcuts. You have to be honest about it and say: Look, if you want a full canvased tailoring made by hand, then you have to be ready to pay for it. It’s also our job to “educate” people in appreciating such standards, which isn’t easy, of course, in this business, not at all easy! But we think it’s important to find a balance and to catch people’s attention, bring them in and show them our universe, show them how three millimeters in cutting the right pocket makes a difference, and make them appreciate that.
How to address a historic label’s values is such a hot topic today. Respect over disruption, interpretation over appropriation—there are so many different recipes and strategies. What’s your take?
Luke: It’s definitely interpretation. We truly think that Jil Sander’s approach is already so brilliant, and it’s extremely crucial for us that it stay relevant in the context of today. When Jil was running the brand in the ’90s, when it kind of exploded, her approach was really modern at the time; it cut through the noise and it made many things feel very old very quickly. So we actually started to approach the philosophy of the product and all the world around it, trying to find a way to engage around it—the social media, the marketing, the image. The intention was to proceed deeply and step-by-step, not cleaning out everything that has been done before.
And so what will be the defining element that you’ll bring to the table in your new vision for the brand?
Lucie: Emotion. Which is something that Jil Sander herself, being a woman, already expressed in her own way; there was definitely a lot of emotion in creating a brand the way she did, and to me this makes it so special—maybe this aspect hasn’t been explored as much as we think it should. The label speaks very personally to us; we feel deeply connected with its values. I project myself very personally into Jil’s work; we feel it’s having a real connection and not only doing “a job.” I’ve always regarded Jil Sander as being a very feminine brand, even if it has quite a masculine side to it. It’s about sensuality, a bit of softness and a sensitive approach; it’s what the world needs right now, I think.
Well, she’s definitely one of the greats. The Museum of Applied Arts in Frankfurt is slated to open an exhibition of her work in November. It will incorporate her complete aesthetic vision: her architectural decisions, her plans for the private gardens, her visual arts collections and installations. Will you attend? And have you met her?
Luke: Definitely we’ll go, and, yes, we have met her many times. She is amazing. She is very powerful but also very warm; she has opened up a lot (with us), explaining a lot of things, her philosophy, her point of view. She was kind of reinforcing what we really believe in; it’s about quality, about being modern and fresh, being current, even being cool, about doing something that’s invigorating now, not looking at the past or dwelling in any of these old things, but to keep progressing, to keep looking forward, trying to be very conscious of making something very, very well at the highest-quality level. It was great to hear all these things coming from her directly. It was really special.
Lucie: When she launched her label, the aesthetic was very different; there were lots of very loud brands, aesthetically noisy. Yet she kept sticking to what she liked, saying that you have to fight hard for what you believe in.
Luke: She’s cool, very intense; she’s up to date on everything. People think that she has stepped away from fashion, but she definitely has a finger on the pulse; a couple of references that she mentioned, they actually happened yesterday! She was one of the first to take on a collaboration with Puma in the ’90s; merging high-end fashion with an athletic sport brand was unheard of at the time. She was always forward.
Lucie: She’s been very encouraging and supportive.
Definitely she broke rules. At that time, there were still quite a few rules to break. But what about today? It seems that everything has already been experienced and that boundaries are as flimsy as ever.
Luke: I can’t speak for her, but probably the intention wasn’t of breaking rules but to do what felt right and what you were passionate about or feeling some respect about. Probably breaking rules was just a by-product of the intention. Today I think you have to take the same approach; today there aren’t many things that shock people. Even my experience with Supreme wasn’t really intentionally “disruptive,” but again a by-product. We did things we thought were great, in which we believed; there wasn’t a disruptive strategy per se. Here at Jil Sander we’re going deeper into layers of meaning. It’s almost like when you’re attracted to people; the attraction usually starts with a very simple aesthetic fascination—then if you get closer you can see and feel a quality, and then again deep down there’s a subtle communication about perspectives, about shared values. This was the strength about Jil Sander—but also about Helmut Lang, for instance, these layers of meaning you can perceive if you take the time to see what’s behind the collection. It’s quite complex, and it’s never a first-degree approach, ever.
The Meiers arrive with cool backgrounds. Born in Switzerland to an Austrian mother and a German father, Lucie’s fashion credentials are impeccable: She worked at Louis Vuitton under Marc Jacobs, at Balenciaga under Nicolas Ghesquière, and at Dior under Raf Simons as head designer of women’s haute couture and RTW collections. When Simons left Dior, she assumed the role of co–creative director for five collections. She comes across as reserved, thoughtful, and driven. Luke was born in Canada to an English mother and a Swiss father. He studied finance and international business at Georgetown University and Oxford, before changing gears. It was while he was at the Fashion Institute of Technology in New York that he met James Jebbia, founder of Supreme, the sensationally successful label that sits at the pinnacle of unremitting coolness. Luke worked for eight years as the brand’s head designer. Then in 2014 he launched Over All Master Cloth, aka OAMC, which he describes as a “new luxury for men.” He’s brainy and focused, and charming in a serious way.
Together, the Meiers make for an interesting couple—different from each other but with complementary characteristics, as they say. I sat down with them a few days before the show at the brand’s Milan headquarters; over cappuccinos, we discussed the label’s high standards, its soulfulness, and what they’ve learned from their many meetings with the still-forward-thinking Sander.
You work as a couple, but what I’d like to know is your individual takes on the brand.
Luke Meier: I think we’re quite different [in our] work experience, but we share quite a bit of life experience. We’re both first generation from diverse backgrounds. We both share an understanding of a global perspective on things, a perspective from where you watch things a little bit from the outside, without bearing a really heavy weight of history or identity or citizenship. Maybe today it’s helpful to relate to many different references and to be able to bring them into your work; if you have a certain life experience it can lend a sort of subconscious text to what you’re trying to say with your work. The experience I’ve had in design is a bit more sociological rather than purely focused on the product. That’s how I got interested in fashion and design in the first place, as a platform where people can show their own perspective and ideas. But I was also very captivated by how a certain logo or branding could be so powerful that people would gravitate toward it without even questioning it; for me that’s really interesting, and I’ve spent a great deal of energy analyzing this.
Lucie Meier: The way I like doing things is not so much about analyzing; my approach is definitely more emotional and intuitive. We’re very different but complementary, and that’s what makes our partnership so strong. Even when simply looking at a picture, we point out different elements. As a woman, I always come back to myself: How do I feel; how do I look when I wear something? It’s a very personal, intimate approach.
Right, I definitely felt a feminine flair in the pre-collection, which I didn’t expect to be explored in a label considered almost as a template for sharp precision. Have you brought it about intentionally, or has it just happened intuitively as a subtext?
Luke: It was something that was there with intention. The very first opinion or image people have of Jil Sander, the feeling they get from it, is very rigid, minimal—but if you really go deeper . . .
Lucie: . . . it’s really soulful.
Luke: That’s very important to us, that kind of soulful, sensitive approach.
Lucie: It’s about an emotional connection with the clothes. I got into fashion because my mother was a huge fan of Jil Sander. I was fascinated by her clothes, the way she looked and how she was wearing them. It was really an emotional feeling for me.
The brand has gone through many ups and downs. Despite the timeless quality of its values, one questions the relevance it can have today. Do you think it’s possible to bring it back to a consistent, interesting place in the fashion system and in the marketplace?
Lucie: Jil Sander to me is still extremely relevant, in that the values of the brand are very strong: the extremely high quality, the idea that the collection is part of a lifestyle and not the other way around. I feel that today a lot of things are very disposable; there’s so much out there, that I like the idea of something that lasts, to create something that becomes part of your life and stays with you for a long time. And the aesthetic of the brand is still so modern, so timeless and alive.
Luke: The point is not creating a trend that after a few months is over. We don’t believe that in the times we’re living in now it feels right to create something disposable. It’s not an appealing process. The way we see the brand is that of an incredible quality, an incredible soulfulness, a true appreciation for the fine art of making clothes. We think that the value of the brand is in touch with what is happening right now; there’s an element of innovation, being very open to new technologies, to new experiences, even to how people are living. High quality and craftsmanship are very modern concepts; they’re not something that will ever be outdated. For us this very simple, very correct approach of making things is very important.
Jil Sander’s levels of execution were always exacting; she was utterly uncompromising on this.
Luke: Again, it’s a matter of values. You can’t take shortcuts. You have to be honest about it and say: Look, if you want a full canvased tailoring made by hand, then you have to be ready to pay for it. It’s also our job to “educate” people in appreciating such standards, which isn’t easy, of course, in this business, not at all easy! But we think it’s important to find a balance and to catch people’s attention, bring them in and show them our universe, show them how three millimeters in cutting the right pocket makes a difference, and make them appreciate that.
How to address a historic label’s values is such a hot topic today. Respect over disruption, interpretation over appropriation—there are so many different recipes and strategies. What’s your take?
Luke: It’s definitely interpretation. We truly think that Jil Sander’s approach is already so brilliant, and it’s extremely crucial for us that it stay relevant in the context of today. When Jil was running the brand in the ’90s, when it kind of exploded, her approach was really modern at the time; it cut through the noise and it made many things feel very old very quickly. So we actually started to approach the philosophy of the product and all the world around it, trying to find a way to engage around it—the social media, the marketing, the image. The intention was to proceed deeply and step-by-step, not cleaning out everything that has been done before.
And so what will be the defining element that you’ll bring to the table in your new vision for the brand?
Lucie: Emotion. Which is something that Jil Sander herself, being a woman, already expressed in her own way; there was definitely a lot of emotion in creating a brand the way she did, and to me this makes it so special—maybe this aspect hasn’t been explored as much as we think it should. The label speaks very personally to us; we feel deeply connected with its values. I project myself very personally into Jil’s work; we feel it’s having a real connection and not only doing “a job.” I’ve always regarded Jil Sander as being a very feminine brand, even if it has quite a masculine side to it. It’s about sensuality, a bit of softness and a sensitive approach; it’s what the world needs right now, I think.
Well, she’s definitely one of the greats. The Museum of Applied Arts in Frankfurt is slated to open an exhibition of her work in November. It will incorporate her complete aesthetic vision: her architectural decisions, her plans for the private gardens, her visual arts collections and installations. Will you attend? And have you met her?
Luke: Definitely we’ll go, and, yes, we have met her many times. She is amazing. She is very powerful but also very warm; she has opened up a lot (with us), explaining a lot of things, her philosophy, her point of view. She was kind of reinforcing what we really believe in; it’s about quality, about being modern and fresh, being current, even being cool, about doing something that’s invigorating now, not looking at the past or dwelling in any of these old things, but to keep progressing, to keep looking forward, trying to be very conscious of making something very, very well at the highest-quality level. It was great to hear all these things coming from her directly. It was really special.
Lucie: When she launched her label, the aesthetic was very different; there were lots of very loud brands, aesthetically noisy. Yet she kept sticking to what she liked, saying that you have to fight hard for what you believe in.
Luke: She’s cool, very intense; she’s up to date on everything. People think that she has stepped away from fashion, but she definitely has a finger on the pulse; a couple of references that she mentioned, they actually happened yesterday! She was one of the first to take on a collaboration with Puma in the ’90s; merging high-end fashion with an athletic sport brand was unheard of at the time. She was always forward.
Lucie: She’s been very encouraging and supportive.
Definitely she broke rules. At that time, there were still quite a few rules to break. But what about today? It seems that everything has already been experienced and that boundaries are as flimsy as ever.
Luke: I can’t speak for her, but probably the intention wasn’t of breaking rules but to do what felt right and what you were passionate about or feeling some respect about. Probably breaking rules was just a by-product of the intention. Today I think you have to take the same approach; today there aren’t many things that shock people. Even my experience with Supreme wasn’t really intentionally “disruptive,” but again a by-product. We did things we thought were great, in which we believed; there wasn’t a disruptive strategy per se. Here at Jil Sander we’re going deeper into layers of meaning. It’s almost like when you’re attracted to people; the attraction usually starts with a very simple aesthetic fascination—then if you get closer you can see and feel a quality, and then again deep down there’s a subtle communication about perspectives, about shared values. This was the strength about Jil Sander—but also about Helmut Lang, for instance, these layers of meaning you can perceive if you take the time to see what’s behind the collection. It’s quite complex, and it’s never a first-degree approach, ever.
Monday, 21 August 2017
Beyoncé Finds the Perfect Date Night Dress for Under $200
When Beyoncé loves something, the whole world hears about it. The superstar fills her Instagram and Beyonce.com updates with perfectly composed selfies, featuring luxury brands like Gucci and Saint Laurent. But every so often, she does happen upon a great piece that’s also a steal. Taking to Instagram today to share her latest ensemble—a sultry crimson minidress with ruching—Beyoncé looked the part of a platinum-selling pop diva, but her come hither look was surprisingly accessible. At just $179, the House of CB tulle dress did not break the bank, but its curve-hugging silhouette was a show-stopping choice. Highlighting her post-baby curves and pairing perfectly with her teal velvet Bouguessa cape, the dress was the right look for an evening out.
Recently, affordable finds have become a regular part of Beyoncé’s wardrobe. She selected an oversize camo jacket from House of CB’s sister brand Mistress Rocks for a trip to Kendrick Lamar’s Los Angeles concert earlier this month. Beyoncé revealed her latest outfit with a cheeky Instagram video: Set to Prince’s “Kiss,” it hammered home her high-low message with the lyrics “you don’t have to be rich to be my girl.”
Tuesday, 25 July 2017
Melania Trump in Her Boldest Look Yet From Monique Lhuillier and Christian Louboutin
Earlier this evening, Melania Trump departed the White House for Andrews Airfield Base to join her husband for a rally in Youngstown, Ohio. To mark the occasion, Trump selected a dress with a classic silhouette, though the pattern was anything but familiar. Instead of the solid-tone sheaths she has favored in the past, the First Lady chose a dress from Monique Lhuillier with an eye-catching floral motif.
Trump’s wardrobe has focused on a palette composed of primary colors designed by her dresser-in-chief, Hervé Pierre. The custom dress she wore to pre-Bastille Day dinner in Paris with President and Madame Macron was finished with bold splashes of red and blue, for example. That said, it's not the first time that Trump has experimented with prints: for a visit from Prime Minister Narendra, she wore a floor-skimming floral print Pucci, while at the G20 in Hamburg, she was seen in printed coats and frocks from Dolce & Gabbana. This latest piece, however, was particularly exuberant. Christian Louboutin and flat-top shades were a neutral way to round out the ensemble.
Trump’s wardrobe has focused on a palette composed of primary colors designed by her dresser-in-chief, Hervé Pierre. The custom dress she wore to pre-Bastille Day dinner in Paris with President and Madame Macron was finished with bold splashes of red and blue, for example. That said, it's not the first time that Trump has experimented with prints: for a visit from Prime Minister Narendra, she wore a floor-skimming floral print Pucci, while at the G20 in Hamburg, she was seen in printed coats and frocks from Dolce & Gabbana. This latest piece, however, was particularly exuberant. Christian Louboutin and flat-top shades were a neutral way to round out the ensemble.
Monday, 26 June 2017
Extreme Long Hair Makes a Comeback! From Kim Kardashian West to the Victoria's Secret Models
There’s a certain kind of girl for whom the gender-bending cool of a buzzcut coincides nicely with heatwave season, while yet another camp of beauties has signed up for the reliable wash-and-go chic of a bob. But let’s not forget for the seasonless joy of a head of air-dried, gloriously untrimmed hippie hair.
That’s right, the back-from-the-beach look is still headlining the look of summer, along with a mane of air-dried pieces to prove it. Take Victoria's Secret Angel Candice Swanepoel, who ran with the bionic hair growth that comes with pregnancy (and perhaps a few stealth extensions) only to cancel trims indefinitely with her stylist ever since. Fellow model Elsa Hosk also did more than make peace with the New York City heat, letting the steamy Manhattan elements transform her hair into a thing of surfer-girl beauty.
Zendaya smoothed out her augmented lengths this week for a school-girl style made all the more youthful with a few flat-ironed strands tucked behind her ears—right as Kim Kardashian took a lanky set of pressed waves out for an on-duty-mom spin. The bottom line? Practice your hair toss.
That’s right, the back-from-the-beach look is still headlining the look of summer, along with a mane of air-dried pieces to prove it. Take Victoria's Secret Angel Candice Swanepoel, who ran with the bionic hair growth that comes with pregnancy (and perhaps a few stealth extensions) only to cancel trims indefinitely with her stylist ever since. Fellow model Elsa Hosk also did more than make peace with the New York City heat, letting the steamy Manhattan elements transform her hair into a thing of surfer-girl beauty.
Zendaya smoothed out her augmented lengths this week for a school-girl style made all the more youthful with a few flat-ironed strands tucked behind her ears—right as Kim Kardashian took a lanky set of pressed waves out for an on-duty-mom spin. The bottom line? Practice your hair toss.
Tuesday, 23 May 2017
At 47, Naomi Campbell Turns the World Into Her Runway
There is only one Naomi Campbell. The star, who turns 47 today, has long exemplified everything a supermodel ought to be. With countless magazines covered and shows walked, she’s more than made her presence felt within the fashion industry. Naturally, Campbell’s influence extends far beyond the runways. Never one to adopt the off-duty wardrobe of ripped jeans and worn-in concert tees, she’s embraced the idea that glamour doesn’t come with an off switch. As a 24-7 muse, Campbell never steps out without her makeup perfectly done, hair expertly coiffed, and the kind of designer gear that is typically reserved for editorials. For her public appearances, Campbell prefers to go all out, wearing her favorite labels with a confidence few could muster.
At Cannes this week to lead the pack at the annual Fashion for Relief charity runway show, Campbell has been putting her supermodel sisters to shame. Arriving at the event in cream-color Atelier Versace covered in Swarovski crystals, she stole the show. In her element amid the sea of ball gowns and larger-than-life jewelry, she saves her finest for the red carpet, often tackling tricky looks with ease. Choosing slinky black and silver Azzedine Alaïa for this year’s Met Gala, Campbell eschewed the Comme des Garçons theme but stayed true to her personal look by keeping things minimal and letting her gown’s pointed shoulders and revealing slit speak for themselves.
Though she loves dramatic fashions, Campbell knows better than to overpower a look. When the masters create the dresses, you don’t need much else—and once she’s added on jewelry or a barely-there clutch she’s ready to go. There are only a few people who can turn the entire world into a runway and, even among that group, Campbell stands out as an icon of sexy, self-assured style.
At Cannes this week to lead the pack at the annual Fashion for Relief charity runway show, Campbell has been putting her supermodel sisters to shame. Arriving at the event in cream-color Atelier Versace covered in Swarovski crystals, she stole the show. In her element amid the sea of ball gowns and larger-than-life jewelry, she saves her finest for the red carpet, often tackling tricky looks with ease. Choosing slinky black and silver Azzedine Alaïa for this year’s Met Gala, Campbell eschewed the Comme des Garçons theme but stayed true to her personal look by keeping things minimal and letting her gown’s pointed shoulders and revealing slit speak for themselves.
Though she loves dramatic fashions, Campbell knows better than to overpower a look. When the masters create the dresses, you don’t need much else—and once she’s added on jewelry or a barely-there clutch she’s ready to go. There are only a few people who can turn the entire world into a runway and, even among that group, Campbell stands out as an icon of sexy, self-assured style.
Monday, 24 April 2017
Happy 75th, Barbra Streisand! A Look Back at the Pop Legend’s Most Iconic Fashion Moments
Every generation has its pop star fashion icon. Onstage chameleons like Rihanna and Lady Gaga may reign supreme at the moment, but their ability to generate headlines and shape trends owes much to the legacy of music legends like Barbra Streisand. The star, who turns 75 today, was among the original red carpet risk-takers, defying convention during the ’60s and ’70s with audacious, ahead-of-the-curve style. Switching seamlessly between styles, from Biba to mod to disco queen, Streisand was always au courant—and her willingness to be playful with fashion resulted in many an iconic moment.
A fan of print, color, and over-the-top statement accessories, Streisand went for clothes with oomph to match her outspoken nature. Whether she was stepping out in a hot pink striped suit with matching turban, as she did to a fundraiser in 1967, or sitting front row at a Chanel show in 1966 in head-to-toe leopard print, she kept things unapologetically bold. Of course, not everyone got it: The transparent Arnold Scaasi pantsuit she wore to pick up her 1969 Oscar for Funny Girl remains one of the event’s most controversial looks—but her choices have stood the test of time.
Streisand has reportedly hung on to her vintage treasures, storing them in an underground “mall” beneath her Malibu house, complete with distinctive storefronts for each type of item. (She even once let Lady Gaga and writer producer Ryan Murphy take a firsthand peek at the goods.) Here, the next-best thing to a private tour: a look back at the superstar’s most iconic fashion moments.
A fan of print, color, and over-the-top statement accessories, Streisand went for clothes with oomph to match her outspoken nature. Whether she was stepping out in a hot pink striped suit with matching turban, as she did to a fundraiser in 1967, or sitting front row at a Chanel show in 1966 in head-to-toe leopard print, she kept things unapologetically bold. Of course, not everyone got it: The transparent Arnold Scaasi pantsuit she wore to pick up her 1969 Oscar for Funny Girl remains one of the event’s most controversial looks—but her choices have stood the test of time.
Streisand has reportedly hung on to her vintage treasures, storing them in an underground “mall” beneath her Malibu house, complete with distinctive storefronts for each type of item. (She even once let Lady Gaga and writer producer Ryan Murphy take a firsthand peek at the goods.) Here, the next-best thing to a private tour: a look back at the superstar’s most iconic fashion moments.
Tuesday, 21 March 2017
Penélope Cruz Is the Perfect Choice to Play Donatella Versace
When news hit that Ryan Murphy would be adapting Vulgar Favors, the chilling biography of Gianni Versace’s murderer, Andrew Cunanan, for the third installment of his American Crime Story anthology series, one thing immediately became clear: The show wouldn’t work without the right cast. To accurately portray Gianni and Donatella Versace, the team would have to be as good as the one assembled for Murphy’s trial-of-the-century drama, The People v. O.J. Simpson. And with today’s announcement that Penélope Cruz is set to fill Donatella’s heels, things just got a whole lot more interesting.
With her platinum hair, permanent tan, and smoky black eye makeup, Donatella has a look that is as famous as the brand she helms. Though many were set on singer and occasional Versace campaign star Lady Gaga for the role after her successful collaboration with Murphy on American Horror Story, the choice of Cruz is unexpected but arguably more compelling. Gaga’s resemblance to Donatella and their shared larger-than-life personalities make for an obvious comparison, but Cruz could be ideal for showcasing the woman behind the persona. With the bulk of the story taking place in the mid-’90s, before Donatella’s rise to prominence, the part will shed light on the years when she was strictly behind the scenes, in other words, the never-before-seen side of her story.
Donatella presents a challenging and nuanced character to play, and Cruz’s connection to the role runs deeper than performance. The Spanish actress has worn Versace throughout her career, frequently sporting the brand’s bold wares on press tours and at awards shows. A friend of the house—and of the designer—Cruz comes to the part with nearly two decades’ worth of Versace appreciation, something that certainly can’t hurt once it’s time to start filming.
With her platinum hair, permanent tan, and smoky black eye makeup, Donatella has a look that is as famous as the brand she helms. Though many were set on singer and occasional Versace campaign star Lady Gaga for the role after her successful collaboration with Murphy on American Horror Story, the choice of Cruz is unexpected but arguably more compelling. Gaga’s resemblance to Donatella and their shared larger-than-life personalities make for an obvious comparison, but Cruz could be ideal for showcasing the woman behind the persona. With the bulk of the story taking place in the mid-’90s, before Donatella’s rise to prominence, the part will shed light on the years when she was strictly behind the scenes, in other words, the never-before-seen side of her story.
Donatella presents a challenging and nuanced character to play, and Cruz’s connection to the role runs deeper than performance. The Spanish actress has worn Versace throughout her career, frequently sporting the brand’s bold wares on press tours and at awards shows. A friend of the house—and of the designer—Cruz comes to the part with nearly two decades’ worth of Versace appreciation, something that certainly can’t hurt once it’s time to start filming.
Monday, 20 February 2017
Emma Watson Gives the Disney Princess Look a High-Fashion Makeover
The live-action remake of Beauty and the Beast will waltz its way into theaters this March, with Emma Watson starring as Belle, and Dan Stevens as the beast. The British actress paid homage to her heroine’s French countryside beginnings when she posted a Louis Vuitton look to her new Instagram account earlier today. On location for a photo call at hotel Le Meurice in Paris, Watson took a page from the cartoon’s bookish protagonist, reimagining the sky blue pinafore Belle wears throughout the animated 1991 classic with a fashion-forward edge. The move was a marked departure for Watson, whose red carpet wardrobe generally leans toward the more gamine end of the style spectrum.
Her fashion risk paid off; indeed the cobalt blue asymmetric number hit a sophisticated note and the bold hip and midriff cutouts made for eye-catching and complementary details. Watson kept accessories to a minimum, a smart styling move on her part, one that kept the dress’s dramatic look in check. Leather ankle boots with a pointed toe evoked an Old World folkloric charm that was reminiscent of the sturdy galoshes traditionally associated with male characters of the storybook variety. Then again, Belle has always been one step ahead of her Disney princess peers from a feminist standpoint.
Her fashion risk paid off; indeed the cobalt blue asymmetric number hit a sophisticated note and the bold hip and midriff cutouts made for eye-catching and complementary details. Watson kept accessories to a minimum, a smart styling move on her part, one that kept the dress’s dramatic look in check. Leather ankle boots with a pointed toe evoked an Old World folkloric charm that was reminiscent of the sturdy galoshes traditionally associated with male characters of the storybook variety. Then again, Belle has always been one step ahead of her Disney princess peers from a feminist standpoint.
Wednesday, 18 January 2017
Victoria Beckham Leads The Woolmark Line-Up
VICTORIA BECKHAM, Lanvin creative director Bouchra Jarrar, and chairman of the British Fashion Council Natalie Massenet will join a host of fashion's most influential names to judge this year's International Woolmark Prize, the Woolmark Company announced this morning.
Set to take place in Paris on January 23, the event will see Beckham, Jarrar and Massenet joined by editor-in-chief of Vogue Germany, Christiane Arp; group fashion buying director for Harvey Nichols, Anita Barr; singer and actress Lou Doillon; Buro 24/7's Miroslava Duma; fashion and lifestyle editor-in-chief of Vanity Fair, Virginie Mouzat; chief brand officer at Lane Crawford, Joanna Gunn; general manager of womenswear at David Jones, Damian Burke; contributing editor to Vogue Paris, Suzanne Koller; senior vice president and fashion director of Hudson’s Bay Company, Suzanne Timmins; co-founder and co-CEO of Boutique 1 Group, Lena Jabbour Matta; founder of System Magazine, Elizabeth Von Guttman; and Stuart McCullough, managing director of The Woolmark Company to select the womenswear winner.
They will be selecting from six womenswear designers from six regions: Toton from Asia; Macgraw from Australia and New Zealand; Faustine Steinmetz from the British Isles; Tim Labenda from Europe; Nachiket Barve from India, Pakistan and the Middle East; and Gabriela Hearst from the USA.
Also joining proceedings in Paris at the end of the month will be the menswear contingency of the prize. Munn from Asia; Ex Infinitas from Australia and New Zealand; Cottweiler from the British Isles; Tonsure from Europe; Bounipun from India, Pakistan and the Middle East; and Rochambeau from the USA will be vying for the top prize, which will be judged by some of the most esteemed names in menswear.
Imran Amed, founder and editor of the BoF; Rami Atallah, co-founder and CEO of Ssense.com; Jefferson Hack, CEO and co-founder of Dazed Media; Michael Hadida, director of development and men's buyer at Leclaireur; Olivier Lalanne, deputy editor at Vogue Paris and editor-in-Chief of Vogue Hommes; Michèle Lamy, Owenscorp partner; Benn McGregor, senior buyer of menswear at Harvey Nichols; Nelson Mui, VP of men’s fashion director of Hudson’s Bay Company; Shayne Oliver, creative director at Hood By Air; Fabrizio Servente, global strategy advisor of The Woolmark Company; Takehiko Suzuki, general manager of men's and sportswear at Isetan Mitsukoshi; Stefano Tonchi, editor-in-chief at W Magazine; and Leilah Weinraub, CEO of Hood By Air will be making the big decision.
All the brands that have reached the finals have already been awarded an AU $50,000 lump sum and mentoring for the last six months. If they win the grand final, they will win a further AU$100,000 prize and will have their collections hosted in top retailers around the world - including Harvey Nichols in London.
To mark the occasion, The Woolmark Company has commissioned Rankin to shoot the accompanying campaign entitled Unravelled, starring Jefferson Hack, Tim Blanks and Carmen Kass and featuring looks from this year's finalists. An accompanying trailer, shot by Isaac Lock, will be released tomorrow.
Set to take place in Paris on January 23, the event will see Beckham, Jarrar and Massenet joined by editor-in-chief of Vogue Germany, Christiane Arp; group fashion buying director for Harvey Nichols, Anita Barr; singer and actress Lou Doillon; Buro 24/7's Miroslava Duma; fashion and lifestyle editor-in-chief of Vanity Fair, Virginie Mouzat; chief brand officer at Lane Crawford, Joanna Gunn; general manager of womenswear at David Jones, Damian Burke; contributing editor to Vogue Paris, Suzanne Koller; senior vice president and fashion director of Hudson’s Bay Company, Suzanne Timmins; co-founder and co-CEO of Boutique 1 Group, Lena Jabbour Matta; founder of System Magazine, Elizabeth Von Guttman; and Stuart McCullough, managing director of The Woolmark Company to select the womenswear winner.
They will be selecting from six womenswear designers from six regions: Toton from Asia; Macgraw from Australia and New Zealand; Faustine Steinmetz from the British Isles; Tim Labenda from Europe; Nachiket Barve from India, Pakistan and the Middle East; and Gabriela Hearst from the USA.
Also joining proceedings in Paris at the end of the month will be the menswear contingency of the prize. Munn from Asia; Ex Infinitas from Australia and New Zealand; Cottweiler from the British Isles; Tonsure from Europe; Bounipun from India, Pakistan and the Middle East; and Rochambeau from the USA will be vying for the top prize, which will be judged by some of the most esteemed names in menswear.
Imran Amed, founder and editor of the BoF; Rami Atallah, co-founder and CEO of Ssense.com; Jefferson Hack, CEO and co-founder of Dazed Media; Michael Hadida, director of development and men's buyer at Leclaireur; Olivier Lalanne, deputy editor at Vogue Paris and editor-in-Chief of Vogue Hommes; Michèle Lamy, Owenscorp partner; Benn McGregor, senior buyer of menswear at Harvey Nichols; Nelson Mui, VP of men’s fashion director of Hudson’s Bay Company; Shayne Oliver, creative director at Hood By Air; Fabrizio Servente, global strategy advisor of The Woolmark Company; Takehiko Suzuki, general manager of men's and sportswear at Isetan Mitsukoshi; Stefano Tonchi, editor-in-chief at W Magazine; and Leilah Weinraub, CEO of Hood By Air will be making the big decision.
All the brands that have reached the finals have already been awarded an AU $50,000 lump sum and mentoring for the last six months. If they win the grand final, they will win a further AU$100,000 prize and will have their collections hosted in top retailers around the world - including Harvey Nichols in London.
To mark the occasion, The Woolmark Company has commissioned Rankin to shoot the accompanying campaign entitled Unravelled, starring Jefferson Hack, Tim Blanks and Carmen Kass and featuring looks from this year's finalists. An accompanying trailer, shot by Isaac Lock, will be released tomorrow.
Subscribe to:
Posts (Atom)