SPECIAL DISCOUNT UPDATE:
A new model of masculinity was on display at the men’s runway shows for spring as designers tapped into today’s tectonic cultural shifts to offer softer, more fluid and gender-bending styles, including pearls and handbags for men. It all generated an artistic vibe, as seen here in a Comme des Garçons coat with pleated sleeves and shorts suit.
Sex, love, glamour and immigration.
All these hot topics, mixed with masculine queer culture, set the tone for Willy Chavarria’s runway return to New York — and boy, was he missed.
Known for his Chicano heritage vibes, Chavarria’s former stint in the Nineties, the creation of “The Love Garage,” a club in San Fransisco that embraced rave culture and gritty house music, served as one of the key components of his take on what minimalism can mean.
In this case, the usually big, oversize silhouette that has defined Chavarria took a sophisticated turn that still managed to maintain a tough edge.
The first portion of the show showcased standouts such as a black washed satin robe with matching shorts, along with an array of flared and high-waisted denim numbers, often paired with souvenir jackets or matching oversize boxy shirts. Quilted leather handbags, an item typically associated with high luxury, adorned most of the models, along with black and gold chains used as necklaces, belts and handbags, which provided a refined touch.
Part two featured a collaboration with athletic brand K-Swiss: a Nineties California Chicano tennis prep collection — oversize pastels in blue and pink with a bit of neon that enhanced sweatshirts, baggy shorts and
GETTING SUSTAINABLE: OVS is taking another step toward a more sustainable future.
The Italian retailer, operating 1,700 stores, said that by 2020, 100 percent of the cotton used for its collections will be sustainable. It will include organic cotton, cotton coming from cultivations certified by Better Cotton Initiative, a nonprofit promoting better standards in cotton farming and practices across 21 countries, as well as recycled cotton.
This significant commitment will enable OVS to save 14 billion liters of water, 15 tons of pesticides and 6,000 tons of carbon dioxide.
OVS was the first Italian company in 2016 to support Better Cotton Initiative, which listed the retailer among the 15 more virtuous companies in the world thanks to its important contribution to the sales of products crafted from materials sourced from more sustainable cultivations.
In addition, with the spring 2020 season, OVS will further increase the use of sustainable alternatives for a range of materials, including viscose produced with cellulose certified by FSC, as well as nylon and polyester obtained recycling plastic bottles.
All these initiatives are part of OVS’ #wecare launched in 2016 and aimed at accelerating the sustainable revolution across the company’s different business units, including product offering, retail and human resources.
In March this
The Hyperloop project aims to transport people inside high-speed pods along underground tunnels.
BBC News – Technology
SPECIALS DISCOUNT UPDATE:
Who are the upcoming free agents for the next two offseasons? We have the lists for every team in the league.
www.espn.com – NBA
Chloé and Parris Gordon drew on their recent, first visit to Japan for inspiration, and delivered a clean, modern lineup with a healthy amount of artistry. They used a bright orange, ultra-thin yet super-strong fabric to craft a series of romantic blouses and dresses — unfussy cuts with carefully dosed ruffled accents, or puffy sleeves. Also uplifting: a paper-thin waxed cotton made into a bright, orange rain dress. Who needs a traditional raincoat?
The pair likes to take their clients from day to evening. With this in mind, they crafted a transformable, button-up blouse with an extra flap to wrap around the neck like a handkerchief; similarly transformable, a tan suit jacket, with straps to cinch around the waist or leave open, with a different effect. Trained at a design school in Nova Scotia that teaches all stages of the garment-making process — down to weaving materials to make fabric — the designers seek to make sturdy, well-made pieces that exude effortless chic. In a nod to their artistic mother, who encouraged their creativity growing up — they recalled she would unfurl rolls of brown paper for them to decorate — they used one of her paintings as a pattern for
Zoë Jordan worked a lively, Ibiza-flavored lineup of sporty knitwear apt for the festival circuit — or the beach. Keeping things easy, her signature cashmere tracksuits came in chic ivory tones or bright, tie-dyed numbers, reflecting her lifestyle change from the city in London to that Mediterranean outcrop where the jet-set crowd lets loose. Long, mesh tops with low, drawstring waists came in lizard green or melon yellow, new accents in a universe dominated by pinks and oranges; an Eighties-flavored layer to toss over a swimsuit. Slightly distressed touches and cutout holes added a touch of shabby chicness of the techno-festival sort, including the frayed bottom of a tie-died skirt and holes in the arms of a bright pink sweater that was dip-dyed — a new technique for the label. Also new, a crocheted dress, cut like an extra-long tank top, all stripes. The sportier looks were also striped, including halter tops and shorts, anchoring the profusion of papaya-pink.
For the spring collection of Isabel Marant’s Étoile line, the designer worked her trademark volumes into a fashionable lineup that melded seduction with comfort. Amped-up shoulders added heft — on a feminine, embroidered peasant blouse or gray acid washed jean jackets and vests. There were a lot of one-piece looks, including a vest-shorts combo in a faded tie-dye print, a long trouser jumpsuit in a western-inspired floral pattern and a dark boiler suit, cinched at the ankle, with ample volumes on the shoulders and arms. Fluidity came in the form of airy blouses and flower-printed dresses in silk chiffon while structured numbers included a double-breasted flannel suit and quilted jackets. In the footwear department, choices included ivory cowboy boots or studded white wide-leg heels.
With his second runway outing during the Paris couture shows — the first was two years ago — Australian designer Toni Maticevski stayed true to his structural ethos, intentionally blurring the boundaries between his couture and resort pieces so the observer struggled to tell them apart.
Taking moths and butterflies as one of his themes — notably their metamorphosis and the way they are attracted to a flame — he draped and built his chrysalis-like shapes, encasing the body.
His structured and draped tailoring curled up around the face like flower petals — a recurrent theme in Maticevski’s designs. Voluminous ruffles like intricately woven cocoons sheathed several more dramatic looks.
Embroidered panels like moths’ wings fluttered on the backs of gowns in black and white, just one of the intentionally clashing patterns — a rarity for the designer — Maticevski built into the collection. In the same register, he mixed animal motifs, including leopard butterflies and zebra moths.
The metallic glitter of several looks, including draped tailoring and gowns in burgundy or black or, in a more extreme manifestation, with panels and ruffles of aluminum foil-coated translucent silk, suggested the attraction of a torch at night.
Andrew Gn is an avid collector of antiques, so it was only a matter of time before vintage fabrics found their way into his designs. In addition to channeling old porcelain patterns and wallpaper motifs in his resort collection, he has also incorporated a stock of lace from the Sixties.
“I hate wastage,” explained Gn, adding that using dead stock, some of which he buys at auction, dovetails with his approach of designing heirloom pieces that women will keep and wear for a long time. “We try to produce less and produce only the best.”
The vintage black lace was used as an overlay on the pleated skirt of a pink dress, and was mirrored in the modern guipure-and-lace medallion design on its bodice.
That oval pattern, borrowed from a Forties-era greeting card that he found at a flea market, appeared on everything from a casual ivory sweater to a monochrome blouse worn with a raw-edged miniskirt covered in oversized lettering spelling out the word “butterfly.”
Indeed, the insect was another recurring theme, rendered in graphic black lace on a white tweed coat, and in psychedelic sequined appliquès on Sixties-tinged evening wear. You could picture the bell-sleeved Empire-line dresses on someone like Marisa Berenson,
Donatella Versace went Western for resort.
The signature cowboy aesthetic met the brand’s quintessential sensuality and femininity in a flamboyant, strong collection.
Foulard and Western motifs were combined with Versace’s signature baroque patterns on silk dresses showing draping, knots and bold shoulders, these last also defining a leather jacket worn with a handkerchief skirt printed with a desert view at sunset.
Baroque insets peppered suede outerwear and studs, as well as rhinestones, drew graphic motifs on denim trucker jackets.
Inspired by blankets, fringed coats were decorated by jacquard motifs reproducing Gianni Versace’s autograph, which also became an all-over Swarovski pattern on a two-tone dress showing a plunging V-neck.
Suits came with mannish elongated blazers matched with flared pants, while tweed in vibrant colors gave a refined attitude to mini skirts and frocks worn with coats enriched with very Versace motifs. Meanwhile, leopard patterns worked in sunset-inspired colors put the accent on the brand’s wildest side.
Over the past few seasons, the St. John woman has been offered expanded categories in the brand’s staples — knitwear for day and evening, extended sportswear and private-jet-esque getaway loungewear, along with more modern takes on their classic tweed jackets. For the resort season, the St. John team steered toward more graphic waters through a maritime-influenced lineup. Prints were more literal — there were colorful nautical scarf prints on silk dresses and blouses — and knitwear were given sail-knot-like stitches and cross-hatch buttons.
Another main emphasis of the collection came from the idea of monochromatic layerings head-to-toe, as in luxurious but easy knit sets, aquatic natured in scuba and sale blues or more subtle in cork, navy and cream neutrals. Elsewhere, a navy trenchcoat and baby-cuffed trousers helped to refresh the brand’s more signature, updated offerings.
Marcus Mariota and Jameis Winston could hit the market next year. Same with Leonard Fournette, Solomon Thomas and more.
www.espn.com – NFL
With a closet as chock-full as her agenda, Alexis Mabille’s A-list client needs an extra reason to splash out on something new. Here’s what he thought she could use: a gown sturdy enough to be tucked away in a small suitcase — and unfurled when needed. Elegance in an instant.
Not that one could imagine squeezing any of these long, silky dresses into luggage.
Mabille kept the resort collection soothing and easy — always on the upper end of the luxury scale. His signature cape dresses came with V-necks, skimming the knee or the floor. The color palette felt fresh, with lots of whites, pale pinks and a bit of black. Another trademark silhouette — the short bustier dress — came in bright red, lined with a spray of jagged-edged tulle on the top of the chest and at the bottom. Adding to the fluidity of this lineup were draped dresses, asymmetric numbers in a peach pink, the folds worked just-so, enhancing the right places — the shoulders and a hip. A flattering, floor-length dress in black with a slightly splayed collar and long sleeves had a timeless feel to it, a surefire hit. Patches of lace, the occasional bow and sprigs
Strongly associated with Easter — and the Eighties — pastels made major inroads at the European men’s shows for spring 2020. At Louis Vuitton, men’s artistic director Virgil Abloh opened and closed his outdoor display with a range of loose tailoring and sportswear in dusty shades.
What better a context for showcasing hats than a night at the races? That was Miuccia Prada’s thinking for the presentation of her knockout collection on Saturday at the picturesque Hippodrome d’Auteuil race track in Paris’ 16th arrondissement.
The open-air event, in the midst of a European heatwave, kicked off with a horse race as guests including Céline Dion, Nicole Richie and Gabrielle Union excitedly flapped their Miu Miu fans in the stands.
“For a moment I thought I was in England, I was like, ‘Where’s my hat?’” deadpanned Dion, taking in the expansive race course, the Eiffel Tower spiking the horizon. “It’s full of firsts for me — my first Miu Miu show, my first time betting on a horse… and the set-up is extraordinary with the drones, the grass, the horses getting ready. It’s fun and that’s what life should be about,” added the singer.
Mixing Forties and Seventies references, Prada’s spin on “conservative” occasion wear read like an homage to Yves Saint Laurent’s iconic “Scandal” collection for Spring 1971, inspired by wartime fashion.
Finishing off the silhouettes — paraded on a striped runway running the length of the viewing stands — were clunky platforms, including lace-up cork styles, and high pile-ups
Yeohlee Teng is fashion’s quiet pioneer. She left behind the traditional wholesale model to focus on experiential retail years ago, and focused on concepts like gender fluidity and sustainability before they become hot-button issues. Her resort collection continued the conscious thread from fall, utilizing only archival fabrics that in effect produces less waste.
At face value, the collection was fluid and drapey, brimming with minimalist geometric details the designer has long championed. The flag drapes on a metallic dress were rectangles. The back of a high-waisted faille and satin skirt was stitched in a way that created a rounded shape in back. Stripes were a recurring motif, ranging from a textured seersucker top with malleable sleeves to a knit skirt meticulously cut in one piece that transitioned from a straight grain to bias grain to cross grain.
Conceptually, there were harmonious design contrasts that reflected life’s beautiful chaos, underscored by the idea of creating interest around sustainable fashion through thoughtful design. “The collection is built around not just the fabrics from the archive, it’s also a contrast of weight, texture and weave,” Teng said in her showroom, adding: “There’s soft and collapsible, hard and woven, plays on shine and matte; it’s about
“It’s kind of disco, but bohemian at the same time.…Why not go into your evening looking like this?” remarked Reem Acra during a walk-through of her fall collection, pointing to look book images of models clad in her dresses, which she referred to as “couture,” accessorized with new headscarves. “I wanted to show a new way of dealing with couture, and giving it a bit of an edge without going overboard,” Acra said of her designs. In place of fall’s golden armour, the designer debuted a tightly edited, “mini” collection of fresh, Seventies-influenced disco-meets-bohemian dresses for the resort season.
“All of the drama,” Acra described. Gowns were light as air with tulle trains and capes (both attached or as separates), while even her full beaded offerings held lightness in their pastel palette of lavender, blush and blues against the metallics of silver and gold. Acra’s handwork and meticulous placement of embellishments against her fluid fabrics made for a strong collection, especially when it came to a long-sleeve lavender number with purposely mesh-encased embellished belt — no snagging here. All the opulence and glamour while being free spirited and easy, without the worry.
Men’s wear designers amped up the volume for spring — from looser cuts on suits and trousers to flowing ponchos and baggy knitwear. Rei Kawakubo at Comme des Garçons captured the style with her stellar collection, which played on the theme of Virginia Woolf’s “Orlando,” and also hit the genderless trend.
Cobalt blue, rich teal and deep navy were some of the predominant tones in Y’s spring 2020 collection, quite a departure for the predominantly monochrome brand designed by Yohji Yamamoto’s creative team.
Both the label’s “Black” and “Pink” lines focused on artisanal techniques. A stunning selection of velvet dévoré pieces — a dress, a blouse, a top and trousers — were crafted by dipping the initially white velvet in a box of dye, creating unique patterns for each piece. Dark blue moons were then carved out of the velvet, their irregular edges giving an eerie effect.
There was a particular focus on denim pieces, lending the collection a more youthful aspect than previous offerings. High-waisted jeans and boxy jackets were hand-bleached — very Eighties — while dark blue stitches on a pair of straight white jeans were left unfixed, meaning their dye trickled along pant legs and clouded the pristine denim.
For the “Pink” line, the studio took elements from two previous Yohji Yamamoto collections to add to their silhouettes. A wing motif from the fall 2001 collection was added to the back of silk jackets and dresses, hand-painted by an atelier in Kyoto. Another standout piece was a long, white dress with
Bold prints and patterns were all over the men’s runways for spring, with many designers collaborating with artists on the looks. Turning the process on its head, and creating a new paradigm, was artist Sterling Ruby, who has added “designer” to his résumé with his brand S.R. Studio. LA. CA., coming up with one of the standout collections of the season.
Elie Saab took to the Mediterranean for his resort collection, weaving a lineup that navigated between ivory-toned romance and a sharper version of chic, all of it capturing a breezy, seaside feeling. The dominant force came in a rich pattern of tropical leaves and flowers in broad strokes of blues, greens and orange set against a dark navy blue. He used this for a series of sweeping dresses — a brand staple. This included wide-sleeve caftan numbers, puffy sleeved ballgowns and a long skirt with a slit running to the thigh, paired with a pocketed, army-style shirt that had short wide sleeves — crisp and light at once.
Using this same pattern, he also threw in a suit jacket and shorts combo, as well as a bolero jacket, embellished with patches of yellow and white tropical flowers embroidered with wide sequins. Further playing with texture, the designer offered a mango-colored dress with metal, chain straps, while a sheer skirt had lines of shiny, gold sequins, like sunrays.
On the romantic side, ivory-toned ensembles included dresses, flowing skirts, blouses, capes and culotte trousers with panels of ivory lace interspersed throughout. Here was another display of the airy chicness — also seen in the
The roving cruise and men’s shows this season have taken the fashion pack to destinations as far-flung as Marrakech, Malibu and Shanghai. And so it was that a day after the close of Paris Fashion Week Men’s, a clutch of editors found themselves sitting in a lavender field somewhere in the South of France.
Guests including Emily Ratajkowksi, Jeanne Damas and Bruna Marquezine gathered near the small town of Valensole in Provence to help Simon Porte Jacquemus celebrate the 10th anniversary of his label with his first joint women’s and men’s show.
An hour’s drive north of Aix-en-Provence, they arrived in rolling lavender fields where a pink felt ribbon of a runway unfurled as far as the eye could see, against the stunning backdrop of the Alpilles mountain chain.
“I wanted a place that looked like a postcard — almost too much like a postcard, even. It was important to me to turn that cliché into something artistic, with that pink line running through the middle like a contemporary art installation by Christo, or a painting by David Hockney,” the designer told WWD.
The invitation came in the form of a small bottle of SPF 50 sunscreen printed with the words “Le Coup de
It didn’t start very well: Guests arriving at the Pigalle Paris spring show were informed that there was only one elevator — able to transport seven people at the time — to go up to the seventh floor of the parking lot where the presentation was held. Mayhem ensued, with bouncers striving to enforce health and safety measures, and the presentation finally started 45 minutes behind schedule — not ideal on the last day of fashion week.
But what a view: a panoramic view of Paris taking in the colorful tubes of the Centre Pompidou, the Grand Palais and the Eiffel Tower, with the Sacré Coeur looming behind the show space. As has become its trademark, Pigalle Paris set out to celebrate the city of its birth, parading the clothes in front of a triptych of panels depicting a futuristic version of the City of Light, its grey slate roofs turned lilac. Guests could play “spot the difference” by comparing the artwork to the actual view behind it.
Models in the first part of the presentation, wearing mirrored helmets, were decked out in pristine silk tracksuits and flowing Champagne-colored suits. It was street couture at its very best: A slouchy oversized leather
For his second showing in Paris, Jannik Wikkelso Davidsen took inspiration from the Danish working class wardrobe. Taking elements of “mom’s wardrobe, dad’s wardrobe, the teenager’s wardrobe…” he mixed them up, usurping stereotypes and putting his distinctive, almost abrasive stamp on what is seen as “the norm.”
Davidsen’s casting – with models of all different shapes, sizes and physiques – enhanced that effect. “I’m trying to represent society as it is today,” he said backstage after the show. Along the runway, original workers’ union flags billowed thanks to fans operated by a guy on a rowing machine, moving tirelessly back and forth in time to the soundtrack.
Eighties-style office wear took on new meaning through shirts and tops made from tie fabric and paired with pants in black alligator-effect leather or draped crushed velvet – many worn with ties. The tailored silhouettes, with exaggerated square shoulders, were almost like something out of a dark comic strip.
A giant necktie became a dress, wrapped around the body but leaving little to the imagination on one of the women’s looks in the coed lineup. One guy walked the runway in a catsuit made from draped leather, another example of the designer’s play on androgyny.
Rei Kawakubo continued elevating classic shirts into veritable pieces of art for spring 2020, working with the estate of American artist Karl Benjamin and the Louis Stern Fine Arts gallery in Los Angeles on the Comme des Garçons Shirt collection.
Patchwork and printing techniques were used to recreate some of Benjamin’s paintings, which feature colorful, geometric elements.
Here, an Oxford shirt with dusky pink sleeves and collar featured vertical, asymmetric printed panels in the likes of yellow, light blue, green and cobalt. Another model, with a blue-and-white striped front, came with multi-hued printed shapes on the sleeves. Various versions of the intricate, eye-catching combinations were displayed, with up to 16 different screens needed for printing on just one shirt.
Likewise, patchworking could become highly involved, with as many as 23 different parts needed to be sewn together for one look. A shirt, worn with knee-length navy shorts, was comprised of materials with stripes of various widths and shades of blue, plus white fabric patches.
Color-blocking appeared on rainwear, in orange, mustard yellow, pink, red and light blue, for instance. While striped raincoats were worn over button-down shirts emblazoned with kaleidoscope swirls of geometric shapes and hues.
Kawakubo’s artistry gave yet another new, multi-dimensional spin on
As he gets ready to celebrate his label’s 10th anniversary, David Koma began thinking about the type of glamour and femininity that’s always had him dreaming.
That’s why he turned to Hollywood classics from the late Nineties starring actresses like Kim Basinger, Michelle Pfeiffer and Sharon Stone and channelled the same sense of power and femininity those women embodied, in his latest resort collection.
The aim: To create “the dream wardrobe for the dream girl.” And in Koma’s world, a dream wardrobe consists of sharp tailoring, bold embellishments and cocktail dresses galore.
He’s been maintaining a sharp focus on owning the cocktail dress throughout his brand’s 10-year lifespan, pouring all of his efforts on quietly working behind-the-scenes to deliver the most flattering cuts or most luxurious custom-made fabrics — in this case metallic slip dresses cut at the bias or a blazer dress in the ideal shade of cream.
It’s an approach that has served him well: His company has had steady growth and a loyal clientele who turn to him for many an important occasion.
But now he’s ready to take everything up a notch. That’s why he dialled up on the glamour and the embellishment he’s been toying with for the past few
Albino Teodoro wanted to deliver “relatable, real clothes,” while also retracing the original purpose of resort collections: presenting clothes intended for summer escapes.
Hence his moodboard filled with images of socialites, celebrities and businesswomen captured inside holiday estates by American photographer Slim Aarons in the Fifties. The chic and relaxed attitude of these personalities informed this lively collection, which at the same time felt approachable.
A roomy, A-line bougainvillea pink dress with a shirt collar was refined but not pretentious, while a chiné dress with ochre floral motifs and a cotton frock with a raw, tactile feel recalling bathrobes and printed with hibiscuses, were summer cocktail-ready.
In keeping with his penchant for dramatic silhouettes, Teodoro delivered a range of outerwear pieces with couture-level craftsmanship. A plum billowing parka was crafted from nylon for a shimmering effect, while a short khaki cape done in nylon and cotton duchesse nodded to the Fifties.
A few loose striped knitwear pieces further telegraphed the effortless vibe of the collection and injected a dash of reality in Teodoro’s signature style.
Plastic: once hailed as a miracle material, now condemned as a major pollutant – and possibly about to be considered a work of art, according to Virgil Abloh.
The designer’s customary clear plastic invitation for his Off-White show this season came printed with the word “plastic” – in quote marks, naturally – in one of the meta statements he has made a signature of the brand. “It’s using it as a metaphor,” Abloh explained backstage at the show, using one of his favorite terms.
“Within our generation, a banal term all of a sudden turns into a whole different context, basically in a matter of moments. Plastic is this material that was man-made to be very useful in different circumstances, and this invite, which I do every season, it’s now transformed into an art work,” he explained.
Underscoring the fleeting nature of value, street artists who were once seen as vandals now command stratospheric prices, Abloh said. He noted that a painting by KAWS sold for $ 14.7 million, largely above its $ 1 million estimate, at a sale of streetwear designer Nigo’s art collection held at Sotheby’s in Hong Kong in April.
Abloh wrote the foreword for the auction catalog, and tapped Futura, a contemporary
Creative director Martin Andersson introduced new tailoring-focused silhouettes and shapes for the Theory men’s spring 2020 collection, with the intention of reminding consumers what the brand stands for and redefine what a suit should look like and how it should feel.
The designer looked to “the entrepreneurial spirit of New York City,” Theory’s home and its pulse, and “Tropical Modernism,” a concept created by Geoffrey Bawa in Asia in the Fifties that promotes “clean modern lines without any adornments,” for the overall feeling and theme of the collection, as well as “Mega Death” by Tatsuo Miyajima for the blue color palette, patterns and layering.
“I think for a long time, certainly my own aesthetic and I think in general, men’s wear has been very buttoned up and uptight and now I’m feeling a return to effortlessness,” Andersson said at the Theory showroom.
The “effortlessness” is evident in softer, unstructured suits that conform to the body. Despite the flowing nature of the fabrication, Andersson used words like “precision” and “technical” to describe the tailoring. A new double-breasted jacket in navy Italian cotton stretch fabrication is paired with a navy linen shirt for monochromatic uniformity and contrast, and fabrications such as paper nylon and Japanese
Performance was the key word at Woolrich, where creative director Andrea Canè focused on the use of wind and water-resistant materials guaranteeing protection in extreme conditions.
Mountain jackets and field styles, injected with the brand’s signature urban take on sportswear, were crafted from a range of high-end materials, spanning from Gore-Tex to Italian fabrics paired with special membranes.
Neutrals, such as beige, khaki and navy, were juxtaposed with pops of yellow, red and electric blue, while patterns included Woolrich’s signature buffalo checks and a revisited camouflage motif.
The brand’s offering of shirts was enlarged to include a broad selection of options, such as denim and plaids, all paired with cargo shorts or trousers cut in comfortable silhouettes.
His garments suspended in an installation inspired by the soul-nurturing ritual of gardening, Lucio Vanotti created a mood of softness and protection, with exaggerated shawl collars on long coats, jackets and trenches to wrap the body in.
Focusing on natural fibers, the designer tinkered with classic men’s wear fabrics, including the glen check and the pinstripe, which was reinterpreted on shirts and jumpsuits in bold vertical stripes.
Certain silhouettes had an ethnic allure that was reinforced by the palette, like a pale green tunic shirt — cut short at the front, long at the back — with a Mao collar and matching pant.
Exaggerated apron-inspired silhouettes in robust cottons also informed the bags, while Vanotti in this serene, elegant collection also expertly mixed soft tailoring with workwear structures.
To present their second collection for the new Be Blumarine brand, Mirko Fontana and Diego Marquez created a temporary lounge at Milan’s ice cream shop Gelati Italiani. Open until July 12, the all-pink Be Blumarine Lounge serves a special ice cream flavor and a coffee with pink chocolate.
In keeping with the vibe of the location, the brand’s cute collection was injected with a certain sweetness, conveyed especially through sorbet colors, delicate fabrics, such as macramé lace and eyelet cotton, as well as hyper-feminine silhouettes.
The romantic appeal was tempered by contemporary and urban designs, including a cool suit with a double-breasted jacket and Bermuda pants printed with thick stripes, as well as asymmetric dresses and separates with a patchwork of fabrics in different motifs. A circus-like inspiration was channeled through the maxi polka dots peppering long frocks and ruffled tops, while sequins in subdued colors added a touch of discreet glamour.
“For me it’s the perfect serendipitous moment. I’d been looking to do a show and I wanted to do something very special, and then the invitation came,” said Givenchy’s Clare Waight Keller, who for her debut stand-alone men’s runway display on Wednesday evening in Florence, as the special guest of the Pitti Uomo trade show, chose the luxuriant gardens of the Villa Palmieri as the stage for a collection fusing Old and New World aesthetics. The storyline was fed through a minimalist, Nineties filter, with a focus on clean, monochromatic total looks. It was easy to see the commercial potential in the line, which felt very urban and of the moment, with the airy, summery mood extending to the 30 tailoring silhouettes.
The designer sent out endless variations on the suit with a wide diversity of fits, including the return to the three-button silhouette with a slightly softer shoulder and a subtly pearlized luster in the fabric; boxy silhouettes echoed on shirts with drop sleeves, and a spin on the three-piece suit, pairing a coat with a matching jacket worn over bare skin. Waight Keller also included a couple of girls in the lineup, cementing the collection’s de facto genderless feel,
Daniel Lee said he’s “cementing the new codes of what Bottega Veneta is becoming” as he guided a visitor through of the brand’s resort collection in Milan. To be sure, Lee evolved some of the previous fabrications and techniques, giving the lineup more ease and softness. The designer said he wanted to convey “a sense of simplicity and cleanliness which felt very relevant.”
There was some fluid tailoring, as in a beautiful brown pantsuit. But not too fluid, as fabrics always had a level of structure to help the designs hold their shape. The suit was shown with a light and soft turtleneck in leather — a material that continues to be key for Bottega Veneta. It got a waterproof treatment for a practical poncho. Functionality, in addition to craftsmanship, was a priority for Lee. “The clothes are very substantial. I don’t want the designs to be superfluous or decorative for the sake of it, everything has a reason,” he explained.
Leather was also printed over a gabardine trenchcoat for a cool graphic effect. Another leather trench came with a sophisticated ribbing on the back.
Bottega Veneta’s intrecciato weave, a starting point for the designer, was reworked as a drape on a knitted
Despite the cold wind and torrential rain, Bethany Williams outdoor show in the Garden Museum was beautifully serene. “It was so stressful, we had to change the whole set and format because of the weather,” she said backstage.
One would never have known and instead, the weather added drama to the clothes. Colors stood out against the dreary backdrop. Williams worked once again with artist Giorgia Chiarion to pay homage to Spires’ Butterfly Café – a safe space where vulnerable women meet to develop skills in arts and crafts.
“It’s called the Butterfly Café because it represents the development, transformation and growth that these women experience,” the designer said.
This was depicted with bright orange, yellow and pink swirled patterns that popped against a forest green track suit and a navy blue boxy suit.
Williams also worked with recycled tent material this season that took shape in a long parka, a zippered vest top and straight-legged trousers.
The designer introduced more fitted silhouettes and tailored pieces. A highlight was a woven multicolored coat with oversized lapels. Her collection was strong in its design and craftsmanship as her pieces weathered the storm.
The next-generation console will have a new Halo game among its first titles.
BBC News – Technology
SPECIALS DISCOUNT UPDATE:
Xander Zhou has spent a lot of time reflecting on life’s meaning. “I focused on what essentially makes us human, our consciousness, our ability to have emotions. Then I thought about how this will look in the future with AI and technology,” he said.
The audience at his spring show was invited to ponder such questions, too. Sweet incense wafted through the vaults at Tobacco Docks, and guests were asked to slip on wrap skirts and sit on poufs as meditative music played. Then a wall lit up to show human and computer-generated models walking across the screen.
“The digital runway shows how technology and spirituality can come together. Mixing in CGI models underscores this transcendence. Many pieces have been inspired by ceremonial dress, as attending a fashion show in some ways is quite similar to attending a ceremony,” Zhou said.
All 73 looks were all based on skirts, from midi to maxi to pencil to A-line to voluminous and floor-length. While some models slid across the screen shirtless and wearing prayer beads and skirts, others wore T-shirts with SS2020 emblazoned across the chest.
Zhou also focused on tops. He presented washed denim shirts alongside traditional Chinese side-button shirts with Mandarin collars. There were
Art School continued to make a case for gender blending and their spring collection was reminiscent of what girls might have worn to an Eighties prom: silver sequined dresses that fell off the shoulder, cropped bustiers or a leopard print tube dress.
While some pieces looked like mirror balls come to life, the rest of the collection was a sea of black.
However, designers Eden Loweth and Tom Barratt created interest by using different textures. Cue a shimmery four-pocket shirt jacket and a feathered vest.
A highlight included a one-shouldered sequined and feathered cocktail dress with an asymmetric hem.
It’s been a full fashion calendar year since Francesco Fucci came on as creative director at Theory. He was tasked with refining the sportswear brand, and has done so beautifully with a sense of romance drawn from his European upbringing. Resort marked the first time his focus turned to the energy of New York, and really honing in on the brand’s workwear roots for women who lead dynamic lives.
He wanted the clothes to reflect what you might find in a corporate office environment — workwear, after all, should be clothes meant for work — in a utilitarian language with bright sporty touches. He played on balances of classic and futuristic, men’s and women’s wear, in crisp and minimal silhouettes like shirting, trousers with sharp lines, and sleek angular tailoring. Fundamental Theory ingredients like suiting and pants maintained a clear boyish thread. “As a European, for me this is very modernist American,” Fucci said during a private appointment, adding: “It feels very New York in my imagination.”
He made sure to offset what he deemed “thoughtful boringness” with cheeky touchstones. An urban parka, for instance, featured a built-in sash so you could sling the garment over your shoulder when it gets too
Erdem Moralioglu wove together references from Seventies’ Italian cinema, the Belle Epoque and his fascination with how different decades have interpreted history for this dreamlike collection full of bows, floral patterns and flourishes. If that all sounds too overblown, it wasn’t. Moralioglu tempered the froth with printed puffer jackets, sleek Forties-style dresses and neat, tailored suits with flared trousers, giving this collection a practical, contemporary edge.
For every printed dress with an overblown bow, there was another, similar one with a more subtle tie at the neck while tailored coats and belted dresses counterbalanced long, flowing, more romantic styles. Prints were based on big silk scarves the designer had developed over the years while shoes were flat with big bows, lending an innocence to this collection.
Moralioglu says he loves designing resort and thinking about the ways his looks can be worn all year. There was certainly plenty here to love 12 months of the year, especially those waisted dresses and coats with subtle bows, polka dots, ruffles or little pouf sleeves, a historical, cultural mash-up, Erdem-style.
“Talking about rock ‘n’ roll, they [the musicians] didn’t have any means. They didn’t buy designer clothing, they were inventive. To me, that’s what’s intriguing,” Nili Lotan expressed during a walkthrough of her resort collection. The designer had recently seen The Rolling Stones’ new, unreleased “Rock and Roll Circus” remastered and reissued film featuring old footage of the rock-‘n’-roll world including Jimi Hendrix, who proved as inspiration for her latest lineup. “Not just him, but the way he dresses. People like him and Mick Jagger [another rock-’n’-roll forefather who continually influences Lotan’s aesthetic] put themselves together in a way that’s just so cool, effortless,” she remarked.
To convey Hendrix’s rock-’n’-roll attitude and flamboyant, eclectic style, Lotan introduced three novelty jackets — a gold-trimmed band jacket, a military style with red piping and gold buttons and a black leather one with gold, leopard-print embossed shoulder panels. The jackets were piled over silk and cotton ruffled burgundy striped- or snakeskin-print blouses, piped band-pant trousers, and leather and velvet leopard-print miniskirts, to name a few.
Lotan’s strength throughout was consistency across her main collection and more price friendly NL daywear line, differentiated via fabrics. One could throw on a new NL novelty graphic T-shirt
An exotic vibe ran through Missoni’s charming collection. The brand’s signature graphic motifs were juxtaposed with revisited wild animal patterns, motifs of leaves and flowers, as well as a new arty camouflage worked in a multicolored palette.
Imaging a modern Lauren Hutton taking adventurous trips in far-flung locales, Missoni creative director Angela Missoni introduced a slightly Seventies, free-spirited feeling, which also resonated in the sophisticated hues, including bronze and rust tones.
The laid-back mood of the comfortable, fluid shapes in pants, maxi cardigans, spring coats and sleeveless dresses cut in clean silhouettes contrasted with the textures, which included sparkling lame touches, rich jacquards and a cascade of fringes giving a bold look to mini frocks.
The flamboyancy was tempered by the mannish suits in classic sartorial fabrics, while a tribal feel was introduced via artisanal mini bags and sandals showing interwoven leather laces.
“Even rebellion can be done with elegance.” Electing Marlene Dietrich and David Bowie as his inspirations for the Max Mara Resort 2020 collection, creative director Ian Griffiths admitted his recent infusion of “punk attitude” into the brand. “I myself was a punk — but an elegant punk,” the designer said with a smile, speaking ahead of the show, which was held on Monday at Berlin’s Neues Museum — the first such event at the location.
“It’s been one of my lifelong ambitions to do something about Berlin or in Berlin, ever since my day in art school in the Eighties, I was fascinated by Bauhaus, Marlene Dietrich and the cabaret,” Griffiths explained. “Berlin’s contribution to contemporary culture is so enormous and it deserves recognition.”
As the head designer of Max Mara, a “Berlin coat” was a natural tribute to the city and a starting point for Griffiths. “This is the look I designed first,” he said of the piece worn on the runway by one of Max Mara’s muses, Carolyn Murphy. “I fell in love with the Meissen archive and craftsmanship and I didn’t know how to introduce that in the collection until I saw their exquisite porcelain flowers and I wanted
Clare Waight Keller took to the street for her Givenchy resort collection, channeling everyone from city slickers on their morning commute to fashion week peacocks strutting the sidewalk like their own personal runway.
As creative director of the Paris-based brand, the British designer shuttles between London and the French capital — hence the mix between streetwise looks like shredded denim jackets or a Day-Glo peach bomber jacket, and symbols of élégance à la française.
“I have either really beautiful clothes to wear for evening events and going to specific parties, and then lots of the time I’m dressing kind of chic casual. Gone is this sort of middle ground of office wear. I think it’s really morphed into two camps,” she said.
“That’s being reflected in the way sales are driven and the way the customers respond to the collection,” Waight Keller added. “The really elevated part of the collection can actually be really beautiful and gorgeous and somewhat limitless, and then the part that is everyday is actually very practical and just immediately desirable.”
Nodding to the bourgeois trend, she scattered rows of gold buttons on everything from a roomy camel sweater to a military-inspired coat with a bright red sash. Round buttons
The resurgence began during the men’s shows in January and is likely to continue as the spring 2020 collections kick off, beginning with Saint Laurent in L.A. and Prada in Shanghai next week, and then moving on to London, Milan and Paris.
Khaite’s Catherine Holstein has long admired the aesthetic history of the American Southwest — namely its vast landscape, texture and colors — as a way of connecting to her American roots and to inform her preseason collections.
She evolved on fall’s city-oriented traveler’s tale for resort, but with more sculptural silhouettes geared toward night. She expanded on core categories that have performed well, such as cotton dresses, and explored new techniques to enhance them into evening appropriate options. Spoiler alert: she’ll be donning a yellow version that’s completely boned, corseted and structured to the upcoming CFDA Awards, where she’s nominated for Emerging Designer of the Year.
Other nontraditional-yet-sophisticated styles included a delicate tulle top that allowed her to play with draping, an ethereal flesh tone tulle gown that played on proportions tight and flowy, and a crinkled viscose button down and pouf skirt set. Yet in the Khaite world, nothing is too precious: the top was paired back to jeans, and the dress and crinkled viscose set were grounded by suede lace-up flats.
The DNA of the brand lies in such balances of feminine and masculine, ease and weight. For example, a supple trench-like motorcycle jacket was styled with skinny jeans, shirting was
“We wanted to do a board-game runway but we couldn’t afford it,” Laura Kim said backstage at the Monse show she and Fernando Garcia showed Friday afternoon. Instead, the designers worked an existing artifact to impressive effect, their models strolling around and through the formidable yet fanciful sculpture, Jean Dubuffet’s Group of Four Trees, installed on the courtyard at 28 Liberty Street.
That less-is-more approach proved exactly that – more – while indicating the pragmatism Kim and Garcia have imposed upon themselves without hindering their creative output. Example B: staging a full-on show for resort. During an Oscar de la Renta resort appointment earlier in the week, Kim said that, several seasons into their double-duty at de la Renta and Monse, they’ve realized that producing two shows in one season “is too much for us.” At the same time, their resort Monse business is significantly larger than spring, so the choice to put Monse on the runway for resort seemed like a no-brainer.
As for the fanciful runway that wasn’t, the collection’s stated inspiration was the 2017 book Georgian and Victorian Board Games: The Liman Collection. Kim and Garcia took from it a range of visual imagery, mostly numbers and playing-piece objects
Joseph Altuzarra loves a cinematic reference. For resort, he looked to “3 Women,” Robert Altman’s dreamy, dangerous tale of a bizarre personality exchange between two of the titular characters. Fashion plays a big role — one woman obsessed with style and artifice, the other, a meek church-mouse type, with both personalities telegraphed to perfection in their clothes.
Altuzarra drew less from that disturbing dichotomy than from the film’s physical setting, a Southwestern desert town. From there, he took his palette, which was dominated by earth tones injected with splashes of brights, as well as, he said, “the general American heritage of Western wear”; from 1977, the year of the film’s release, he took whiffs of retro from the relaxed, body-con silhouettes so prevalent during that decade.
The trope worked well for the suitings that are consistently the brand’s top-selling category. That said, Altuzarra applied the suiting concept loosely, in unmatched tailored pieces such as a shrunken beige jacket worn over pants cut lean and flared, a row of buttons running up several inches from the hem creating a bit of unfussy interest. Speaking of unfussy, a utilitarian horse blanket inspired a sturdy-chic wrap skirt paired with a cropped sweater with various semiprecious
After the death of Karl Lagerfeld in February, Fendi paid homage to its legendary creative director with the fall 2019 runway show, unveiling the designer’s last collection. But the company remains silent about the future of the top creative spot.
Even if Lagerfeld’s passing clearly left a huge void to fill, Fendi continues to navigate the challenging waters of fashion. No loss of direction, no hesitation: instead, the brand presented a beautiful resort collection that offered a powerful take on its signature sophistication.
Fendi is a company built and developed by women, which Lagerfeld always took into consideration with his celebration of a strong femininity. Now, at least for the time being, the house’s creative team is once again being driven by women, especially Silvia Venturini Fendi, who in this transition phase developed the collection with the brand’s design studio. In light of this, the muse who inspired the resort collection could only be a woman, in particular Jeri Dawn, the protagonist of the Eighties classic “Gloria” who was played by Gena Rowlands. Her attitude, strong and decisive yet deeply emotional and sensitive, infused the development of the lineup, which combined a sartorial sensibility with a delicate sense of romance.
Beautifully constructed blazers
“I’m feeling Gucci.” Harry Styles, probably.
No one throws a party quite like the fashion powerhouse and its Cruise 2020 Collection runway show was no different. On Tuesday,…
E! Online (US) – Fashion Police
Special Tip Update!
Zac Posen has had a whirlwind month. He’s currently in Japan celebrating 40 years of Brooks Brothers operations there, before jetting off to Hong Kong and Shanghai for various projects. He dressed a host of guests for the Met Gala, among them Nina Dobrev and Jourdan Dunn, in 3-D-printed “glass” dresses, for which he’s already fielded exhibition requests.
During the look book shoot for resort at his showroom last week, the designer didn’t discount the possibility of incorporating such 3-D-printed elements into his main line. After all, he’s an engineer in his own right — albeit of a different medium — creating garments at the intersection of design and fantasy.
His lineup was heavy on gowns that balanced drama with elegance. Though there were many, it wasn’t repetitive. An array of color, shoulder, sleeve and neck details provided plenty of interest. A black wide-collar silk faille gown featured seaming that perfectly accentuated the body. A pink moire number that could double as a coat had dramatic ruffles as elongated sleeves, while a lightly embroidered green dress kept the volume higher up with short puff sleeves. There was even a sporty accent to a voluminous ombre taffeta gown through paracord ties.
There were also
Simplicity with a playful, lively twist. That’s the message Jil Sander creative directors Lucie and Luke Meier telegraphed with their resort collection, a lineup that felt in line with the designers’ personal approach: discreet and apparently detached, yet emotional and spirited.
The sophisticated rigor of the sculptural silhouettes of the frocks and shirtdresses was interrupted by unexpected details, such as asymmetric folds at the neckline and light draping at the waist. Charming traditional shibori prints injected quirkiness into oversize fluid separates crafted from paper-like silk, while laser-cut circular embellishments conveyed a tribal feel on suede designs rendered in spicy tones.
The collection’s irreverent side was expressed through a mannish tuxedo crafted from soft chenille and crochet designs put the focus on the artisanal mood running throughout.
While the collection was clearly aimed at the brand’s most loyal fans looking for Jil Sander’s minimal urban elegance, it also felt appealing for more fashion-oriented, younger women.
In his first runway show for a cruise collection, Giorgio Armani touched down in the island nation of Japan, and brought with him even more of an island vibe.
“The collection is a condensed version of my style, which has remained consistent over the years — like an island in the fashion system,” the designer said. “The burnt, neutral colors and tactile, raw textures reference characteristic island landscapes.”
Even the runway itself resembled water flowing over sand, with clear Plexiglass panels covering a beige carpet and throwing ripple-like reflections onto the surrounding walls. The show began with looks in neutral shades, eventually moving on to more vibrant reds and blues. But each look was relaxed and easy, with lots of fluid shapes.
Armani also made ample use of soft, natural textures. Linen, silk and satin were accented with leather trim and sumptuous knits. Lightweight fabrics were often used in voluminous pieces, from oversized women’s blouses and flowing ponchos to pleated men’s trousers that gathered at the ankle like jogging pants.
The accessories were also big and bold. Wide belts with exaggerated buckles defined the waist of coats and pants, tortoiseshell necklaces were chunky and layered and brooches and earrings packed a punch
“Romancity” reads the title of the inspiration book Valentino’s Pierpaolo Piccioli brought with him from Rome for his resort presentation in New York on Wednesday evening. Intentional or not, it’s a multitiered title if ever there was one (and for a resort collection, no less). Piccioli, who loves to tout Valentino’s identity as a Roman couture house, photographed his look book at a lush garden in the center of the Eternal City, and drew inspiration from its voluptuous chic past.
Yet the title could be dissected into Romance City, and romance Gotham the designer did for WWD’s shoot, directing his models out to the Fifth Avenue border of Central Park, where nature and asphalt beautifully coexist, and where, urban Uber obsession aside, yellow taxis still deliver their iconic manufactured sunshine.
As for his Roman inspiration, Piccioli cited “the fantasy of Seventies extravagance…the moment before decadence.” He interpreted that moment in an exuberant lineup that at times wore the decade’s references obviously, including in some looks derived from specific pieces done by the house founder. Piccioli worked from photos and drawings rather than from the actual archival items. That way, he said, he achieves “a dream of the original” rather than a replica.
For resort, Camilla Freeman-Topper and Marc Freeman wanted to explore the “uncomfortable tension” between “the dichotomy of elements between order and disorder.” In simpler terms, the duo decided to explore contrasts for their latest Camilla and Marc collection — sharp, signature tailoring to slightly oversize, slightly voluminous shapes or clean, monochromatic looks to busy, distorted floral printed silhouettes. The contrasts here weren’t so black and white, and the best came in the details. The yellow top stitch on an hourglass blue dress or contrasting hues on the gusset of their new cross-body Luna bag.
Freeman-Topper described the first look, a distorted floral printed silk cotton blouse with poet’s sleeves and matching car-wash hemmed, high-waisted pencil skirt, as a hero piece of the collection because it “talks directly to the inspiration in the balance of disconnection of order and disorder.” The playful print, designed in-house, clashed with its softer, flowy silhouette. But that was the goal. Meanwhile, an exaggerated, enlarged version of the distorted floral in tennis ball green printed on a white cotton day dress felt fresh and new. Throughout the remainder of the collection, tailoring continued to be a hallmark of the brand.
Overall, the collection held a more playful, experimental
In the past few seasons, Dean and Dan Caten created a clearer separation between their runway lineups and pre-collections. While they let their creativity and exuberance fly for the catwalk, they stay focused for pre-fall and resort. Their latest collection was in line with this strategy. Cautious? For sure. But also appropriate for the brand.
A Seventies bohemian look took center stage in the lineup, which offered a breadth of wardrobe staples for real women. Flared denim pants were matched with charming leather jackets injected with a military feel, while mini and maxi frocks were crafted in lightweight fabrics and splashed with micro flowers. In addition, parkas were enriched with floral silk inserts, logos popped up on T-shirts and sweatshirts and crochet tops revealed multicolor geometric motifs.
The brand’s fans won’t have problems finding revisited Dsquared2 icons to amp up their wardrobe, such as drop-crotch jeans and sleek perfecto jackets. Those looking for fresh and directional fashion messages will have to wait for the Dsquared2 coed show in June.
Riccardo Tisci has been refining his vision for Burberry with each collection, and for pre-spring 2020 his woman has a multiplicity of moods: There’s the bourgeois lady, in her animal or fish print silks, faux fur and chain-handle bags and sharply tailored jackets with soft edges.
Alongside the elegant signora is the London kid, dressed in a Burberry football scarf, worn as a shrug over a denim jacket, or the punk in a short leather dress with fat silver grommets.
Tisci said he started designing the collection with “the breadth of the attitude of Burberry in mind, and this idea of uniforms. I wanted to start to play with more extreme versions of the classic and fashion sides that I’ve been focusing on with my work here.”
Tisci referenced “chic trench coats, super elegant fluid jersey gowns and sharp tailoring, as well as relaxed washed denim, crystal cocktail dresses and down jackets,” along with evolved versions of the bags and shoe styles that he introduced when he joined the house last year.
The handsome collection, like his previous ones, had something for everyone — mothers, daughters, fathers and sons, with standouts including silk blouses with cape details around the shoulders and down the sleeves,
MONTE CARLO — Alberta Ferretti knows her customers, and while she continues to deliver those dreamy and feather-light chiffon gowns that the designer herself admits have forged her identity, she is also seeking to add a “touch of eccentricity.”
Speaking ahead of her resort show here on Saturday evening, Ferretti said her recent increased attention to daywear continues ”with a more precise image,” as she works to offer sophisticated alternatives to the “strong women” who are her customers.
“There has been so much talk about streetwear, but I think there is a desire to be more eccentric and unique, to explore a more personal and special language. Women today are no longer afraid to dare,” said Ferretti.
The designer explained that she wanted to emphasize Italian craftsmanship. “In a global world, Italian fashion needs to continue to have its own identity and we need to talk about this.”
Paraded at the Yacht Club overlooking the sleek multi-million dollar boats harboured below, it was “inevitable” for the collection to be inspired by the sea, or nature in general — a staple for Ferretti.
“Nature is what conveys emotions, a sense of life and beauty,” she said. Case in point: the chiffon gowns in the colors of the
On Monday, a year and a half after Jonathan Simkhai first visited Sydney’s Bondi Beach on vacation, he returned to the birthplace of surf lifesaving to present his resort 2020 collection during Mercedes-Benz Fashion Week Australia.
Staged at sunset at the North Bondi Surf Life Saving Club, one of Australia’s oldest surf clubs, which was founded in 1906 and reopened in 2013 after a modernist do-over by Sydney architectural firm Durbach Block Jaggers, the show and collection were inspired by what Simkhai calls the “magic hour.”
“When you’re with someone you love and it’s 5 o’clock and the sun’s setting and the person you’re with, their face is glowing and you have a drink in hand and you’re having the best time,” he explained backstage after the show. “I thought how can I make a woman feel like she can put her dress on and be in that moment?”
The answer apparently was via a skin-tight, blush pink napa leather flight suit, which was the collection’s departure point. This was followed by a series of leather wrap skirts, baggy trousers and sexy bralettes with criss-cross straps and tough chic hardware in tan, mustard and black and a jacquard jersey section featuring hand-painted “chain”
Tory Burch often looks homeward for inspiration. For resort, she started out musing on the family farm of her childhood. “I went back to American folk art, and where I grew up, Pennsylvania Dutch [country],” Burch said during a walk-through at her company’s headquarters. Yet lest the mind race to quaint costumes, she added a caveat: “That was the starting point — lightly referenced.”
That translates into a lineup that integrates expressive feminine elements with a robust earthiness, starting with a palette in which black and natural ivory play against russets, reds, deep greens and navy. Hearty tailoring belies a discreet Seventies vibe in clean-lined coats and jackets, often over A-line skirts. The most obvious folk-art references come through in floral motifs and craftwork, specifically embroidery and quilting, the latter handled, Burch said, “in a different way than everyone else has done it.” Case in point: a chic color-blocked coat in beige, green, gold and hot pink, horizontally quilted for a striped effect. Bold patterns carry throughout, as with large-scale, ebullient florals for a coat over a dress in a dark, almost sober, small floral. Worked in amidst the flowers and butterflies: a manipulated geometric or two, including a dress in
What a landing! The 2020 itinerant resort tour touched down at JFK on Wednesday evening, as Nicolas Ghesquière took his Louis Vuitton audience on a complicated first-class trip.
The much-hyped show took place at the much-hyped TWA Hotel, opening next week in the famous former TWA Flight Center designed in 1962 by Eero Saarinen as a marvel of mid-century architecture and abandoned in 2001 when the airline went kerplunk and was assimilated into American Airlines. The winged marvel of a building holds special resonance for Ghesquière, not only because he has long been architecture-obsessed but because the building provided his first impression of New York, in 1991.
“I’m old,” Ghesquière said with self-effacing charm backstage after the show, “so I landed here one trip. I always remember the place, here, this terminal. Arriving to this fantastic city…and at the same time, at this masterpiece of architecture.”
This proved a more high-profile arrival, the Flight Center now populated by a celeb-heavy throng of LV-clad revelers including Sophie Turner and Joe Jonas (just your typical honeymooners passing through JFK), as well as Emma Stone, Julianne Moore, Tracy Morgan, Jennifer Connelly, Willow Smith, Ruth Negga, Robyn, Indya Moore and even Armani loyalist Cate Blanchett.
They settled into
“Predator: Hunting Grounds,” a new asymmetric multiplayer game from Illfonic, is coming out in 2020, Sony revealed during its State of Play presentation on Thursday evening. The PlayStation 4 game will pit one group of players against the Predator, who will be played by one different player. For the group of players, they will control […]
SHOPPING DISCOUNT UPDATE:
The ESPN Analytics team ran 10,000 simulations of the season. The Chiefs are favorites, but there were plenty of surprises, including a Miami miracle.
www.espn.com – NFL
The invitation for Chanel’s cruise show was printed on a plain white card — symbolizing, perhaps, the blank page facing artistic director Virginie Viard as she prepared to write the next chapter in the history of the house that had been synonymous with Karl Lagerfeld for 36 years.
Guests arriving at the Grand Palais found a similarly low-key ambiance inside the venue. Its soaring steel-and-glass roof all but dwarfed the set, a retro train station where guests sat on wooden benches under signs bearing the names of cities that resonate in Chanel lore: Venice, Saint-Tropez, Rome or Edinburgh, among them.
An impulse kicked in to make a pun: All aboard the Chanel Express! But the space lacked the joyful effervescence of Lagerfeld’s bombastic sets, which invited guests to preen for selfies and journalists to conjure clichés about rocketships, icebergs, cruise liners or whatever phantasmagorical vision he dreamt up for the season.
“It’s very minimal,” one editor soberly observed. The press kit offered the first hint of change. A booklet, printed on glossy paper, featured images shot by Karim Sadli, marking the first time since 1987 that a photographer other than Lagerfeld had lensed the collection.
In it, hints of a lighter, more streamlined take
“Simplicity is rebellion.”
So said Miuccia Prada during a preview of the resort collection she showed on Thursday night. Prada referred specifically to the clothes, which she described as “naïve, cotton, simple,” but the thought extended to the event itself. At a moment when, in the luxury sweepstakes for sales and social media attention, her primary competition rents out major world monuments and airline terminals, Prada preferred to show at home. Or at one of her homes. In this case, her brand’s New York headquarters on 52nd Street overlooking the Hudson River. “I like to do the shows in my own spaces,” she said.
Yet while Prada may reject (for now at least) the kind of extravagant wanderlust of her competitors, this was no quiet little soiree. A star-studded guest list including Elle Fanning, Shailene Woodley, Uma Thurman, Naomi Watts, Joel Edgerton, Anderson Paak, Hailee Steinfeld, Marc Jacobs, Char Defrancesco and Sofia Coppola turned out, many reveling through four stages of festivities: boisterous pre-show cocktail, show, post-show informal dinner, after party.
Simple in its open concept and egalitarian flow — OK. Low-key — definitely not, offering an Instagrammable someone or something at every turn. Within that framework, Prada presented a lineup she characterized as simple
Tank for Tua? The 2020 NFL draft might be almost a year away, but it’s not too early to look at a loaded QB class and where they might all end up.
www.espn.com – NFL
MARRAKECH — Cultural appropriation is dead. Long live cultural appreciation!
That was the message of the Dior cruise show staged here on Monday night, which saw creative director Maria Grazia Chiuri collaborating with a host of guest designers from the African continent and beyond in a shared tribute to craftsmanship.
The location of the display, the remains of the magnificent El Badi Palace, spoke of ancient dynasties and rulers. The clothes themselves were a dialogue with the world of today, a celebration of globalization and inclusivity.
Celebrities including Jessica Alba, Shailene Woodley, Lupita Nyong’o and Diana Ross were among the roughly 800 guests who took in the mega-production, staged shortly after sunset around a water basin dotted with dozens of candles and seven flaming braziers.
To a hypnotic soundtrack of Jajouka musicians, accompanied by British electronic band The Orb, a diverse cast of models walked in more than 110 looks ranging from African wax separates to black evening gowns that carried a whiff of Yves Saint Laurent, the former Dior designer who considered Marrakech his second home.
Alba, flanked by her husband Cash Warren, was fresh off celebrating her 38th birthday the night before at a welcome dinner held at the neighboring Bahia Palace in a
Sega has announced four new games based on the Olympic and Paralympic Games Tokyo 2020.
The first of these is titled Olympic Games Tokyo 2020 – The Official Video Game, which will be released in Japan and Asia this summer for PlayStation 4 and Nintendo Switch, and worldwide in 2020. Sega describes this as “a fun-filled sports action game where you can create your own avatar and compete in Olympic Games events with people around the world.” Rather than featuring Sonic or other characters, it appears to have a more realistic – if simplistic – art style.
Mario & Sonic at the Olympic Games Tokyo 2020 will then hit Nintendo Switch during winter 2019. From the footage and screenshots released, it appears to be similar to previous Mario & Sonic titles release by Sega at previous Olympics, with a collection of mini games themed around different sports, and will make use of the Joy-Con features. As with the Rio Olympics title, there will also be an Arcade Edition launching at a similar time, which will use physical inputs such as jumping.
SHOPPING DISCOUNT UPDATE:
CLOSE TO HOME: Gucci is not traveling far for its cruise 2020 fashion show — instead, it has selected one of the most striking sites in Rome: the Capitoline Museums.
The show will be held May 28 and the choice of the location results from creative director Alessandro Michele’s ongoing interest in “the Old World,” said the company, “this time drawing from a place reminiscent of his childhood.”
Located on the Capitoline Hill, the museums display a large number of ancient Roman statues, inscriptions, and other artifacts; a collection of medieval and Renaissance art, and collections of jewels and coins, among others.
In line with his interests, most recently Michele shot the brand’s pre-fall 2019 collection in the archaeological parks of Pompeii, Herculaneum and Selinunte.
Previous Gucci Cruise shows were held at the Dia-Art Foundation in New York City; the Cloisters of Westminster Abbey in London; the Palatine Gallery at Pitti Palace in Florence, and last year, the Promenade Des Alyscamps in a Roman necropolis in the southern French city of Arles.
In addition, over the next two years the Florence-based company will make a donation to support the restoration project of the Rupe Tarpea, the Tarpeian Rock, a steep cliff of the southern summit
The US Democratic presidential hopeful tells a rally she is “sick of freeloading billionaires”.
BBC News – Technology
SPECIALS DISCOUNT UPDATE:
With a base price of $ 256,500, this potent convertible is the flagship of the brand’s Sport series, the closest thing McLaren has to ‘entry level.’ Dan Neil takes one out on the track.
SHOPPING DISCOUNT UPDATE:
Netflix has ordered a new Transformers anime prequel series, Transformers: War for Cybertron Trilogy, and it will premiere in 2020.
Netflix and Hasbro have partnered with Rooster Teeth to bring War For Cybertron to life and Polygon Pictures will act as the animation studio.
“In this Transformers origin story, we will explore the expansive universe of Cybertron in a way that audiences have never seen before – to the delight of both existing fans and those coming to the franchise for the first time,” said John Derderian, Director of Anime for Netflix. “The Transformers brand is a global phenomenon and we are thrilled to partner with Hasbro, Rooster Teeth and Polygon to bring this exciting new anime series to our members around the world on Netflix.”
SHOPPING DISCOUNT UPDATE:
Harris discusses her new memoir, “The Truths We Hold,” which recounts her childhood, her tenure as California’s attorney general and the political landscape we inhabit now.
NYT > Books
BOOK SALE UPDATE!
Doctor Who fans will have to wait until 2020 for the next series, although there will be a special episode on New Year’s Day to keep them happy.
Entertainment News – Latest Celebrity & Showbiz News | Sky News
Samsung is looking to get a first-mover advantage in 5G smartphones, as rival Apple is reportedly planning to sit out of the game until 2020. On Monday, Verizon and Samsung announced plans to launch one of the first commercial 5G smartphones in the first half of 2019, which will use chips from Qualcomm. Meanwhile, Apple will […]
SHOPPING DISCOUNT UPDATE:
After a five-year search NASA has chosen the Jezero Crater as the landing site for its Mars 2020 rover mission.
Tech News – Latest Technology and Gadget News | Sky News
COMPUTER & ENTERTAINMENT SPECIALS!
NFL rosters turn over quickly, and your favorite player could be gone soon. We predicted who will still be on their current teams in two years.
www.espn.com – NFL
Adults in England will be presumed to consent to donating their organs under “Max’s Law”.
BBC News – Health
HEALTH & WELLNESS UPDATE:
Some Yankees fans are more focused on November 2020 than October 2018, it would seem.
SPECIAL DISCOUNT UPDATE:
Elizabeth Vargas may be leaving ABC News, but “this is not goodbye.”
The longtime 20/20 co-anchor and former co-anchor of World News Tonight will be exiting the network at the end…
E! Online (US) – TV News
SPECIAL TIP UPDATE!
Predicting every NFL team’s 2020 QB
www.espn.com – TOP
NFL business: What will and won’t happen by 2020
www.espn.com – NFL
We have to admit that committee name is pretty catchy.
Entertainment News, Photos and Videos – HuffPost Entertainment
Entertainment News-Visit Adults Playland today for the hottest adult entertainment online!
One of the most likable men in Hollywood may have just announced his presidential bid for 2020.
After weeks of teasing a run for the presidency, Dwayne “The Rock” Johnson told America “I’m in” during the season finale of “Saturday Night Live” this weekend. The pro wrestler-turned-actor said he was officially running for president starting that night, right after Alec Baldwin awarded him his Five-Timers Club velvet jacket, to mark Johnson’s fifth time hosting the show.
“In the past, I never would have considered running for president. I mean, I didn’t think I was qualified at all,” Johnson joked. “But now I’m actually worried that I’m too qualified.”
Johnson also took the time to announce his running mate: the equally likable celebrity Tom Hanks.
The charming duo made their case for why they are the perfect picks to lead the United States of America ― and they were fairly convincing.
“The truth is, America needs us,” Hanks said. “No one can seem to agree on anything anymore except for two things: pizza and us.”
Hanks joked that the duo would get 100 percent of the vote because Hanks ― who’s “fought in World War II in like 10 different movies” ― would win the senior vote.
“And I, of course, would get the minority vote,” Johnson added. “Because everyone just assumes that I’m, well, whatever they are.”
Johnson delighted fans this month when he discussed his political ambitions in a GQ profile and called a presidential campaign “a real possibility.” A national poll suggested that Johnson could potentially win against President Donald Trump if he ran as a Democrat in the 2020 presidential election.
The actor later said in the monologue that he and Hanks were only joking, but then he offered a few words of patriotic encouragement.
“When it comes to politics, we need more poise and less noise,” Johnson said. “Americans deserve strong, capable leaders ― leaders who care about this country and care about its people.”
To which Hanks replied, “Uh, Dwayne, that kind of sounds like you and me.”
Then, with their hands held high, the two national treasures dropped their campaign banner and yelled, “We’re doing it!”
So is Johnson/Hanks 2020 really happening? Only time will tell.
— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.
James Cameron and Fox have set the release dates for the four “Avatar” sequels, starting on Dec. 18, 2020, for “Avatar 2.” “Avatar 3” will open Dec. 17, 2021, followed by a three- year break for “Avatar 4, set for Dec.20, 2024. “Avatar 5” will then open on Dec. 19, 2025. The news was announced… Read more »
SHOPPING DISCOUNT UPDATE:
What does that say?
SHOPPING DEALS UPDATE:
Rolls-Royce is planning to release the first of its fleet of crewless ships by 2020.
Tech News – Latest Technology and Gadget News | Sky News
COMPUTER & ENTERTAINMENT SPECIALS!
With Lola Berry, Australia’s favourite nutritionist and author of The 20/20 Diet, it’s never been so easy to eat and feel well.”Packed with unprocessed, nutritious and delicious recipes – and beautiful photographs – this book will have you eating healthy in no time.” Home IdeasLeading Australian nutritionist Lola Berry devised the simple yet groundbreaking 20/20 Diet based on her own personal weight journey and many years’ experience helping people to shed excess kilos. In The 20/20 Diet Cookbook, Lola shows you how simple it is to eat real foods that are as close to their natural state as possible: unprocessed, nutritious, seasonal and delicious. From breakfasts, smoothies and juices to nourishing snacks, mains and desserts, Lola shares her passion for fresh, healthy food in her own inimitable, charming style. More than 100 of her favourite recipes are included, such as Roast Chicken with Quinoa, Pistachio and Cranberry Stuffing, Banoffee Pie, moreish Crispy Kale Chips, Strawberry and Almond Pancakes, Mango, Avocado and Macadamia Salad and dreamy Raw Rose and Raspberry Tart. This is a specially formatted fixed layout ebook that retains the look and feel of the print book.
Sold by Kobo UK
The veil hiding the world of Scientology, the religion favored by celebrities including Tom Cruise and John Travolta, was largely lifted in March after HBO aired its chilling documentary Going Clear. The special portrayed the…
Los Angeles possibility as 2020 Super Bowl host
ESPN.com – NFL
Super Bowl by 2020?
NFL Football News : CBSSports.com