And the trailer for Lindsay Lohan's OWN series is unveiled.
Cara Delevingne Gets a TV Gig: The world just can’t get enough of Cara Delevingne. The omnipresent supermodel’s face turns up in nearly every magazine on stands, and she just finished a month-long fashion tour-de-force, appearing on runways in London, Milan, and Paris. Amid it all, Delevingne has found the time to extend her CV, this time with an acting gig in a new TV drama, Timeless. Airing June 19, the series follows a young woman whose soon-to-be husband is serving in Afghanistan. Although Delevingne has a few movie appearences under her belt, this is the model's first television drama. [Vogue UK]
Dior Documentary to Debut at Tribeca Film Fesitval: Christian Dior is the lastest fashion house allowing viewers a peak into its private world. Previewing at the Tribeca Film Festival in April, the documentary, Dior and I, follows designer Raf Simons as he produces his debut collection for Dior. The crew captured a “dedicated, charming, and often humorous group of collaborators” that worked feverously for eight weeks—half the time normally allotted for production. The film is directed by Frédéric Tcheng, who has worked on documentaries on Diana Vreeland and Valentino. [The Telegraph]
Following Marc Jacobs's exit, Louis Vuitton's new creative director Nicolas Ghesquière presented an outstanding debut collection for the brand that was fresh, intricately crafted, and timeless.
The New Louis Vuitton woman, of Nicolas Ghesquière's making, wears knee-high leather boots, retro mini-skirts, and leather jackets. Ghesquière, formerly of Balenciaga, made his much-awaited debut for the brand on Wednesday in Paris, taking things in a different direction than former creative director Marc Jacobs had during his tenure.
The collection was free from any major house logos. Sexy coats with suede lapels were worn over white roll-neck tops. Petite a-frame suede mini-skirts featured patchwork pockets or cut-out patterns on leather. Some of the minis were printed with busy, floral-seeming decorations, but were worn with leather, v-neck tops with cut-out sleeves that were tucked into the skirts. Others were paired with sportswear-inspired tops—think a tracksuit zip-up made glam with diagonal decorative panels.
The runways of three of the top fashion houses were all fun—while maintaining their traditions of quality high fashion—during the first day of Paris Fashion Week’s grand finale.
From the golden lapels on Alexandre Vauthier’s dynasty jackets to the neon, club-kid inspired designs of Manish Arora, the range of styles seen on the Paris Fashion Week runways is inevitably as varied as the women who buy them. One thing that has connected the collections this season, however, is the sheer beauty and craftsmanship of the clothing. The Fall/Winter 2014 catwalks have been magical, visual candy for lovers of fine clothing and fabulous design, ranging from young designer Damir Doma’s richly autumnal collection to Elie Saab’s lavish ballgowns with ultra-wide hips from yesteryear.
This theme was continued during the first day of Paris’s grand finale, the last two days fashion week when most of fashion’s largest houses present their highly anticipated collections. Valentino, Chanel, and Alexander McQueen delivered runway shows that were playful and fun—think art as inspiration, supermarket chic, and furry, creature-like models—that also maintained their traditions of luxury high fashion.
A group of Japanese designers are challenging the classic aesthetic of Paris Fashion Week, delivering powerful and outlandish collections filled with originality and technical wizardry.
Among the historic French houses—think Dior, Chanel, and Valentino—that present at Paris Fashion Week, another contingent of designers has become the must-sees for original shows that are more spectacle than traditional runway. The Japanese contingent, including designers like Rei Kawakubo, Issey Miyake, Yohji Yamamoto, and Kenzo’s Humberto Leon and Carol Lim, bring their Eastern heritage and otherworldly, artistic perspectives to the historic Parisian salons, presenting collections that are outlandish and particularly unwearable in the most intriguing and powerful way. And again this year, they didn’t disappoint with their Fall/Winter 2014 presentations.
For his Fall/Winter 2014 ready-to-wear collection—set in a vast tent in the Jardin des Tuileries—Issey Miyake sent models down the runway in simple black outfits, while carrying circular clutches. The collection could have been all about the bags—which were a statement in and of themselves—but instead, Miyake put on a show: think a minimalist performance reminiscent of a Maiko dancer twisting a fan set to an avant-garde live music set.
When seeing the work of artists, we are constantly wondering: where do they get their inspiration? A new exhibit attempts to explain the source of designer Dries Van Noten's creativity.
Fashion designers—creative people of all stripes, really—are constantly being pressed to describe their sources of inspiration. The result, usually, is a soundbite with quickly-rattled-off references. This begs the question: can creative people coherently explain the myriad of ideas swirling in their minds? In Dries Van Noten: Inspirations, a new exhibition in Paris at the Musée des Arts Décoratifs (on display until August 31), the question is given serious reflection over two-floors of space dedicated to the Belgian designer. Van Noten’s clothing is juxtaposed with famous paintings on loan, archival garments from museum collections, and video clips of runway shows and his favorite movies. Altogether, this assortment produces a multi-dimensional moodboard of the sources that have fed the designer’s imagination and resulted in his fashion creations.
Van Noten was born in 1958 in Antwerp to parents involved in fashion and retail. He attended Antwerp’s Royal Academy and launched a men’s ready-to-wear line in 1986, with women’s ready-to-wear following the next season. When he began showing his collection, he was initially grouped with five Belgian friends who came to be known as “the Antwerp Six,” including Martin Margiela, Ann Demeulemeester, and Walter van Beirendonck.
And billionaire women hit an all-time high.
Anna Wintour Sat Second Row at Valentino: As it turns out, Vogue editor-in-chief is quite the selfless person—at least when it comes to her publication. At the Valentino show on Tuesday, Anna Wintour was spotted sitting second row behind her colleagues Tonne Goodman and Grace Coddington. As it turns out, Wintour apparently gave up her seat for writer Sarah Mower, who was reviewing the show for Vogue.com. She may not be the Devil Wears Prada after all. [Fashionista]
Studio 54 Founder To Release Book: Ian Schrager, founder of Studio 54 in NYC, has decided to share his intimate look into the legendary nightclub. “If the hunter does not tell the story, the lion will,” Schrager said. Schrager will source photos that highlight the club's nights of debauchery and show celebrities including Mick Jagger, Andy Warhol, Drew Barrymore, and Diana Ross. The collectable coffee table book will also include interviews with Clive Davis, Sandy Gallin, and Tom Ford. [Page Six]
And Katie Holmes parts from Holmes & Yang label.
Kendall Jenner Walks for Givenchy: She strutted down the Marc Jacobs runway in a sheer top in New York, and sat next to Anna Wintour at Topshop’s Fall/Winter 2014 show before taking the Giles catwalk in London. So, it was no surprise that the younger sibling of the Kardashian clan arrived in Paris for fashion season’s final round of shows. On Sunday, the 18-year-old, up-and-coming model appeared on the Givenchy runway donning a python top with a jeweled collar and a semi-sheer black maxi-skirt. Jenner's soon-to-be brother-in-law, Kanye West, beamed with pride as he watched from the front row. Talk about a family affair. [Fashionista]
Suzy Menkes Named Vogue's International Editor: After 25 years at the International New York Times (formerly the International Herald Tribune), world-renowned fashion journalist Suzy Menkes is moving to Vogue. Menkes will serve as the Condé Nast publication’s international editor, as well as a critic and reporter for its international websites, which include England, France, Japan, Italy, Germany, China, Russia, and Spain. “It’ll be great to have Suzy as part of the team,” British Vogue editor Alexandra Shulman stated. “Her experience is invaluable and I have always admired her.” [Vogue UK]
When Barbara Tfank dressed Uma Thurman in a Prada dress at the 1995 Academy Awards, she changed red carpet dressing forever. But now, despite the procession of dazzling designer dresses, she wonders why "people look so uncomfortable" on Oscars night.
It might seem strange to people watching the red carpet for the procession of famous-name designer gowns on Sunday night that prior to the mid-to-late nineties, actors and actresses attended the Academy Awards in pieces crafted by some of Hollywood’s greatest costume designers. Back then, the red carpet wasn't the province of Prada, Valentino, and Christian Dior. Instead, great movie dress designers including Helen Rose and Edith Head costumed the likes of Grace Kelly, Elizabeth Taylor, and Audrey Hepburn in one-of-a-kind pieces specifically crafted to fit their measurements, personality, and film role.
But Barbara Tfank (her surname pronounced tee-fank) arguably changed all that when she dressed a young Uma Thurman for the 1995 Academy Awards—where she received a Best Supporting Actress nomination for her role in Pulp Fiction—in a lavender, custom-made Prada gown. The moment was an Oscar’s night game-changer, propelling high-end designers to vie for dressing Hollywood’s biggest stars.
Even great actresses don’t always know the right way to navigate the red carpet at premieres and awards shows. Let stylists tell you how to walk the walk.
People usually remember three things about every Oscar ceremony when it’s over: who won, who was best dressed, and who was worst dressed. But increasingly, choosing a great dress is not enough for those looking to make a splash on the red carpet. They have to choose the right pose, too.
With red carpets more heavily photographed today than ever before, having the right red carpet pose can be the difference between an actress being deemed a fashion winner or a fashion loser. Additionally, the sheer number of red carpet events photographed today, from awards ceremonies, to film screenings, to charity events, means that actresses have to bring their fashion A-game just about every time they step out of the house. That means hiring stylists to help them select the perfect gown for a film premiere, and the perfect pose to go with it.
A group of young women is trying to prove that it’s possible to be hip and stylish, while still covering up. Can they break the stereotype of the hijab as a symbol of oppression?
Models are shown at a dream-like dinner party in a new video from CR Fashion Book entitled 'Entropy.'