And they were made for curves.
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Thursday, February 28, 2019
Everything you need to know about Rihanna’s new fashion house
When news broke that Rihanna was reportedly launching her own luxury fashion house alongside LVMH, we questioned whether the development was just too good to be true. However, as new findings supporting the venture emerge, it would seem it’s not.
While we’re yet to uncover just what Rihanna plans to offer us via the launch of a new label, given the success that both Fenty Beauty and Savage X Fenty have seen, we have no doubt she’ll once again fill another gap in the industry’s market.
Said to be coined Project Loud Fashion—supposedly a nod to her 2010 album, Loud—Business of Fashion is reporting that the label will see to the “conception, fabrication, distribution, commerce, importation and exportation” of products ranging from womenswear, menswear, childrenswear, footwear and eyewear, to leather goods, sportswear, “goods linked to lifestyle”, high-tech products, office supplies, home decor and garden products.
According to WWD, Rihanna has enlisted Jean-Baptiste Voisin, LVMH’s chief strategy officer, to assume the role of Project Loud Fashion’s president. In addition, LVMH has been said to have also already pulled multiple employees from Louis Vuitton and Celine that are now set to join the new label, with the address listed as 24-32 Rue Jean Goujon in Paris, the same address as the LVMH Fashion Group.
Via a series of financial findings acquired by French accounting firm Ledouble, Business of Fashion has confirmed that through her company Denim UK Holdings, Rihanna will be a 49.99 percent shareholder. As such, the multi-hyphenate has reportedly already invested over AU$47 million into her new label, while LVMH has contributed a little over that same figure.
As we await an official release date, further details regarding the venture and confirmation of the products Project Loud Fashion will offer, we’ve already begun picturing just what an armchair, iPhone case, and collection of office supplies designed by the singer will look like. Hint: we’re guessing quite unlike any other.
This article originally appeared on Vogue.com.au
Also Read:
Rihanna reveals her biggest skin issues, and how she deals with them
18 times Rihanna turned the sidewalk into her own runway
Of course, Rihanna is the first to wear Virgil Abloh’s Louis Vuitton
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Chanel announces Virginie Viard and Eric Pfrunder as co-creative directors
Chanel has named Virginie Viard and Eric Pfrunder as co-creative directors of the house, following Karl Lagerfeld’s death last week. Lagerfeld passed away aged 85 in Paris, with the news being announced on February 19, 2019, and then confirmed by Chanel. At the time, the historic French house stated that Virginie Viard, the director of Chanel’s fashion creation studios and a close collaborator of Lagerfeld, had been “entrusted” with the “creative work for the collections” but did not confirm her role.
According to Business of Fashion, Chanel has now clarified studio chief Virginie Viard will indeed be stepping into a creative director role, alongside image director Eric Pfrunder, who is also a longtime associate of Lagerfeld. As per Business of Fashion, Viard’s title is artistic director of fashion collection, while Pfrunder has been appointed artistic director of fashion image, making them co-creative directors of the house.
Lagerfeld had a lifetime contract with Chanel and held a 36-year tenure there before passing away last week. Viard joined Lagerfeld at the label in 1987, only four years after the iconic creative director and although she went to Chloé for a short time, it was also under Lagerfeld’s lead. Meanwhile, Pfrunder has also been at the house for three decades.
Alain Wertheimer, co-owner of Chanel, “confirms his confidence in the team that worked with Karl Lagerfeld for over 30 years,” a statement from the brand said, according to Business of Fashion.
This article originally appeared on Vogue.co.au
Also read:
Karl Lagerfeld remembered by his friends and collaborators
Vogue India remembers Karl Lagerfeld in a touching tribute
Karl Lagerfeld: Life in pictures
A Chanel loyalist pays her tribute to the late Karl Lagerfeld
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Wednesday, February 27, 2019
Deepika Padukone by numbers
Our June 2014 cover star is used to multiple digits. She does, after all, have a habit of racking up box office figures like they’re numbers on a pedometer (Chennai Express made approximately Rs 227 crore, making it the second-highest earner of 2013).
We track her best scores so far:
11 months
The age at which Deepika moved to Bengaluru. She was born in Copenhagen.
20 years
The age at which she made her debut with the Kannada film Aishwarya (2006)
6.32 million
Followers on Twitter
3,07,807
Instagram followers
100 fan pages on Facebook
Her official fan page has 18,310,524 ‘likes’
15 years
The age till which she was a state-level badminton player
149 crores
The global revenue her Bollywood debut, Om Shanti Om, made, making it the highest grosser of 2007
7
Vogue covers to date
Excerpted from the February 2014 issue of Vogue India. To read more, subscribe to the print edition or get the single digital copy now.
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Cover story: Leading lady
Girls growing up in the ’90s would attest to the overarching influence that Bollywood had on the street style of the country’s towns and smaller cities. This was the decade of Madhuri Dixit and that aubergine sari and red lace dress of Hum Aapke Hai Koun! (1994), Kajol and her wide-as-a-forehead cloth headbands of Kuch Kuch Hota Hai (1998) and A-line dresses of Dilwale Dulhaniya Le Jayenge (1995), of ripped magazine pages, annoyed tailors and factory-made knocks-offs, of satisfactory experiments and fashion crimes. Kangana Ranaut’s came in 1997, with Dil To Pagal Hai—but it wasn’t Karisma Kapoor’s hotpants that you’d imagine an adolescent would veer towards. “I was in the sixth standard, really tiny, and I would wear these transparent kurtas with the little bustier that Madhuri Dixit wore in the film, and my teachers would scold me for that…”
Now, she’s the one setting the template. Ranaut recently won the National Award for her role in Queen (2014), where she played Rani, a shy, protected girl from Delhi’s Rajouri Garden, who, ditched by the groom on the wedding day, decides to trudge to her Parisian honeymoon alone. In an industry centred on a certain kind of narcissism, where a pair of horn-rimmed glasses are often known to stand between the timid girl-next-door and her inherent bombshell-dom, the role of Rani was endearing for the honesty Ranaut brought to her portrayal. There was no attempt to bridge character and actor by clinging on to a vanity that demands that one can never look less than perfect, or that one should, at least, keep hinting at the perfection lurking right beneath the surface. In the end if Rani emerged transformed, she didn’t turn into Kangana Ranaut with her pumpkin carriage tucked around the corner.
Because, Kangana Ranaut, you see, is not Rani. Yes, she’s very, very nice, as anyone who’s met her will tell you. We’re in a vanity van parked in a dilapidated mill compound off Mumbai’s Colaba Causeway. While her trademark curls are being combed out and rolled up, the make-up artist is dabbing away. “Some tea?” she asks, before offering to hold my dictaphone. You’d think you’re in her drawing room and not a pre-shoot hair and make-up session, with the attendant blow-drying and curling and spritzing and stippling.
Unlike Rani, though, it’s hard to imagine Ranaut not holding her own anywhere. Whereas the former’s scariest daylight nightmare involved being chased down the streets of Paris by the looming Eiffel, Miss Ranaut was front row at Dior at Paris Fashion Week this March, very much at ease getting clicked backstage with Raf Simons. Kangana Ranaut is totally, naturally stunning, but she’s also one of our most fashionable actors, who’s let her gentle intelligence percolate to a natural, instinctive knack for putting together looks that look personal in an overly choreographed circuit.
There could be an emerald Gauri & Nainika gown one day, a sheer-panelled nude dress from Rohit Gandhi + Rahul Khanna on another, and then a Tom Ford sequinned jersey dress over fishnet stockings if she feels like it.
At an award function a year ago, where a red-carpet reporter asked her what she’d rather flaunt, cleavage or legs, she pointed to her little Red Valentino dress, laughed good-naturedly and exclaimed, “But I’m showing both!” She’s worked hard at training her eye, and is more often than not on-trend, pairing metallic pointy pumps with a billowing Dior bustier gown from spring/summer 2014, marcel waves with an old-Hollywood-esque floor-length Gucci gown, or keeping it simple in an embellished Zara sweater and faux leather pencil skirt at a film premiere. For the actor who describes her personal style as a bit of “grunge” and “rugged”, shopping sprees span the gamut from Valentino and Miu Miu pieces from Milan to buried treasures unearthed at vintage stores in London and Paris.
When one’s off-screen persona assumes a certain character, one much liked and admired, isn’t it tempting to retain a part of it on screen? How does a fashionable actor, who’s invited to sit front row at fashion weeks, seem so comfortable letting go of that aspect of oneself while assuming roles that aren’t always flattering?
“I don’t get carried away with the glamour of our business. I would never let it affect what I do. If I’m told to play a 40-year-old—which I did in Revolver Rani—I would do everything to fit the role. I used prosthetics to make my nose appear crooked, I had scars all over my body. I would not compromise on the character just because I’m called a ‘style icon’ or because people think I’m pretty. If a role requires me to be this person with a very funny dress sense, my primary concern is to do justice to that,” says the actor.
To read the whole interview, subscribe to the print edition or get the single digital copy of the June 2015 issue of Vogue India now.
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On-fleek slang at fashion week to get with, like now
You abbreviate the names of your favourite snacks, and that was all it took to invent a code in your family. At fashion week, the rules are different. Did you know what ‘ELI5’ stands for? No it’s not a trending colour of polish and neither does ‘goals AF’ have anything to do with fantasy football leagues. And did the president of the FDCI, Sunil Sethi, just admit that everyone was ‘rekt’ at the afterparty? We made some cool discoveries at fashion week that you need to add to your vocab to save you from being tongue tied at the hippest scenes in town.
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Vogue chronicles the closets of five women who wear their values
#IchooseModesty
Summiyya Shah, blogger, House of Misu
Image: Indra Joshi/Vogue
“A common misconception about modest dressing is just because you’re covered up your thinking is orthodox and backward,” says blogger Summiyya Shah of a correlation she’d like to see challenged. For the 29-year- old, who cites Halima Aden (the first hijab-wearing model to appear on the cover of British Vogue) and Blake Lively in her suited avatar as her pin-ups, modesty is more than just a buzzword. “I come from a conservative background and I’ve dressed this way for as long as I can remember but that has never curbed my enthusiasm for fashion,” she adds. When it comes to her career choice (Shah is co-founder of millennial-minded blog House of Misu), the decision to not show skin has come with roadblocks but none that couldn’t be overcome with a few modest modifications—clever layering, she says, is key. “I’ve lost count of the number of times I’ve paired a crop top or a camisole dress with a shirt.” With modest-friendly labels making their way into the industry, the country’s couturiers, too, are willing to cater to the demand. When Shah tied the knot, she was dressed by designers spanning Abu Jani Sandeep Khosla and Gaurav Gupta. “They knew I had to be covered but that didn’t take away from anything. They took it as a challenge.” —Neharika Manjani
#IchooseVintage
Divya Saini, stylist and founder of Bodements
Image: Indra Joshi/Vogue
“I recently acquired an Emmanuelle Khanh jacket from Berlin. Very ’70s, something you would imagine Freddie Mercury wearing!” says Divya Saini, stylist and owner of lived-in fashion label Bodements. Two years ago, Saini chose to stop shopping cheap and cheerful fast fashion; a prerogative that resulted in Bodements, where she curates well-loved vintage from monolithic labels like Burberry, Jean Paul Gaultier and Saint Laurent. “I have an affinity for fashion steeped in history, like YSL’s legacy of introducing menswear codes in womenswear,” says the vintage collector who realised bringing back little treasures from her travels through Europe could grow into a business endeavour. So far, it’s been a series of successful pop-ups in Mumbai, Delhi and Paris. But has India really warmed up to the idea of pre-owned fashion? “Buying pre-loved and worn-in clothes can make some uncomfortable. For me, though, promoting a more ethical fashion industry and dressing accordingly is not just exciting, it’s rewarding.” As someone who references the past through her closet, for the shoot she handpicks a snake-print polo layered under a psychedelic patterned suit and scuffed cowboy boots that tell a story of their previous wearers. I inquire about their origins and promptly comes her reply, “I can never tell you! An important lesson I’ve learnt as a vintage professional is to never reveal my sources!” —Akanksha Kamath
#IchooseMenswear
Vasu Primlani, stand-up comedian, triathlete and social entrepreneur
Image: Indra Joshi/Vogue
Dubbed India’s Ellen DeGeneres for her man style and pithy comic timing, Vasu Primlani has always worn the pants—on the job or at home. “My father served in World War II, and he raised me like a soldier. I was to sit up straight, follow discipline, and perform the traditional role of a man around the house.” Four decades later, it’s an upbringing that has filtered into her wardrobe. Her steely disposition matches her perfectly ironed pantsuits, while her wit complements a growing collection of quirky bow-ties. Not one to borrow from the boys but rather reach out for the racks in the men’s section, Primlani admits to a style that comes with no frills attached. “I’m training for the Ironman at least 1.5 hours every day, 2-4 hours on Saturday and 4-8 hours on Sunday. So, I’m almost always in sportswear,” she says, citing functional shoe label Keen as her favourite in footwear. On occasions when she has been presented with awards like the Nari Shakti by the President of India, she turns to traditional saris. “I love gamcha saris in earthy tones and vegetable dyes.” Following an impactful 17-year stint as an environmentalist in America, Primlani found her voice in stand-up comedy, where she calls out social issues. Her loudest and most clear message yet—her choice of a gender bending closet. “In India, society conforms a tad excessively to what men and women can and cannot do.” —Akanksha Kamath
#WechoosePéro
Azi, Mercy, Kuvelü And Alüne Tetseo, folk musicians
Image: MKT
Other than a fondness for folk music, what binds the Nagaland-born Tetseo sisters—a cross-generational quartet made of mother-of-two Azi, content curator Mercy, fashion blogger Kuvelü and medical student Alüne—together is their loyalty to designer Aneeth Arora’s label, Péro. Arora’s allure lies in her ahead-of-time aesthetic, they explain. “She is always thinking up the most colourful ways of reinterpreting weaves, colours and prints. Her clothes are so much fun, not to mention always a conversation starter. There is a story to every piece,” says Azi. Today, the label not only dominates their personal but also their professional wardrobes; Arora has on more occasions than one customised pieces for their performances. “The designs are sustainable, ethical and true to traditions. They are earthy yet contemporary,” says Mercy of Péro’s philosophy, one that is mirrored in their mantra as musicians. “We as folk artists are truly proud of our culture. We celebrate simplicity in every way possible while staying true to traditions. We try to make our music more relatable and contemporary, appealing to both young and old, local and foreign,” adds Alüne. Like the proverbial travelling pants, the sisters’ favourite Péro purchases routinely swap hands. “We share regularly. Some of our favourites are the shirt dresses, wool sweaters, reversible coats and dresses, pyjamas, the embroidered bolero jackets and of course the customised wool tops embroidered with our names and a Péro heart,” says Kuvelü.—Neharika Manjani
#IchooseHandloom
Prabhleen Kaur, designer, creative director and textile enthusiast
Image: Indra Joshi/Vogue
You might recognise Kaur from the Vogue.com video, meandering through the lanes of Delhi’s Shahpur Jat, sourcing fabrics, hand-dyeing them with local artisans and conjuring up designs that she then wears herself. Welcome to a day in the life of Prabhleen Kaur, design head at NorBlack NorWhite. “I don’t wear labels. It’s usually me rummaging through my collection of indigenous textiles—handloom cottons and silks from the regional markets of Chennai, Kolkata and Karnataka—to construct new silhouettes,” says Kaur, who grew up in Punjab, where, with limited access to designer labels, she started creating pieces of her own with locally available textiles and make-do resources. “Handwoven fabrics stuck around for me during this time, like a steady relationship,” she adds. As a 28-year-old, Kaur makes a strong case for a return to craft. “The notion that handloom is dull and boring isn’t true. On the contrary, Indian textiles have never been shy of bright, stirring prints. And there are no rules—you can use them in an athletic bomber jacket, or an elegant wrap kimono. You make the call.” For Kaur, the texture of a natural loom-made fabric (with slubs and everything) trumps any mill- or machine-made fabric. “Climate and cultural symbolism all affect the nature of handmade textiles. It’s what renders them unique. What fun is it wearing something whose life cycle you can’t trace?”—Akanksha Kamath
Also read:
These Indian women left careers in other spheres for the love of fashion
Why the Indian industry has its sights set on street
The enduring appeal of the trench coat, and how to wear it now
There’s a new vintage store in Mumbai and it’s a must-visit
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All the fashion trends spotted at Milan Fashion Week autumn/winter 2019
While London Fashion Week embraced the traditional simplicity of the trench coat and demure skirt suiting, Milan was about a fresh start, with head-to-toe white and full-throttle biker leathers ruling the Italian catwalks.
Here’s your recap of Milan Fashion Week’s biggest trends for autumn/winter 2019:
The trend: Head-to-toe white
Where we’ve seen it: Alberta Ferretti, Jil Sander, Max Mara
Alberta Ferretti. Image: GoRunway
Jil Sander. Image: GoRunway
Max Mara. Image:GoRunway
What you need to know: If spring/summer 2019’s beige trend is already upping your dry-cleaning bill, autumn/winter doesn’t offer much respite, with floor-sweeping trousers and coats cast in pristine white. Think of Milan’s new love affair with head-to-toe white as your wardrobe’s fresh start.
How to wear it now: Start by switching the black knit for a chalky cashmere style to ease yourself in. Also: Reconsider ordering red wine at dinner.
The trend: Dramatic capes
Where we’ve seen it: Prada, Etro, Salvatore Ferragamo
Prada. Image: GoRunway
Etro. Image: GoRunway
Salvatore Ferragamo. Image: GoRunway
What you need to know: Fashion is obsessing over theatrical silhouettes right now (the puffball dresses on LFW’s catwalks were case in point). The influence can be seen in outerwear, where the sweeping cape—featuring detailed embroidery, fringing and showstopping shades—guarantees a dramatic entrance during daylight hours.
How to wear it now: Not ready to invest? Try throwing a large blanket scarf over your shoulders (as seen at Etro) and fix in place with a slim leather belt.
The trend: Luxe leather
Where we’ve seen it: Bottega Veneta, Marni, Tod’s
Bottega Veneta. Image: GoRunway
Marni. Image: GoRunway
Tod’s. Image: GoRunway
What you need to know: Fashion editors are currently fawning over the roomy, ultra-luxe leather that marked Daniel Lee’s ready-to-wear debut at Bottega Veneta, and rightly so. Lee graduated from Phoebe Philo’s Céline design studio to show a covetable selection of sculpted leather dresses, sumptuous trousers and a standout motorcycle jacket for the prestigious Italian house. Elsewhere, Marni styled inky leather into full-length shirts (with pyjama-style piping); while Tod’s did butter-soft panelled day dresses.
How to wear it now: Shop for a vintage motocross jacket to pair with the straight leg leather trousers you already own. Set the alarm for an hour later on weekends and lose the smoky eyeliner—this time around rebellious full-look leather has a fresh-faced (rather than an up-all-night) feel.
The trend: Remixed grey suiting
Where we’ve seen it: Fendi, Prada, Marni
Fendi. Image: GoRunway
Prada. Image: GoRunway
Marni. Image: GoRunway
What you need to know: The stately grey suit has returned, but this season it’s mixing business with pleasure. At Prada, the look was styled with pavement-pounding fuchsia boots; while Salvatore Ferragamo’s smoke-grey suiting elevated the dressing-gown jacket.
How to wear it now: Grey needn’t mean dull. Consider switching your faithful black blazer for a winter-sky grey, and enliven the look with bright neon accessories.
The trend: Grunge renaissance
Where we’ve seen it: Agnona, Prada, Marni
Agona. Image: Getty
Prada. Image: GoRunway
What you need to know: Faded plaid checks and snuggly beanies made a catwalk appearance at Agnona—a show that will persuade you back into socks and sandals for autumn 2019. Prada, on the other hand, opted for a high-tech twist on Nineties grunge, meshing sheer lace with slouchy, striped sweaters.
How to wear it now: Luxe references to the grunge era can work in the office and after dark. Take a cue from Marni and slip a checked cocoon coat over a silk evening dress or sober tailoring for a nod to the new slouchy silhouette. Now is also the perfect moment to give a lace dress extra mileage by styling a striped tee below.
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Tuesday, February 26, 2019
Protected: Everything on how to style this 90s inspired sneaker that Gigi Hadid and Reebok collaborated on
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Spotify is finally in India, and it’s about to change your Instagram stories
There is a new entrant to the ever-growing digital streaming market in India— Spotify, the world’s largest music streaming service, has finally made it to the country. The music streaming app, available on Android, iOS, desktop and tablet, has been one of the most anticipated launches and is focusing on English and Hindi music, as well as Punjabi, Tamil and Telugu music in India.
Like in other nations, Spotify says it will offer personalised, local-flavoured playlists to Indian listeners. But avid Instagrammers have another reason to be happy: with the app finally in India, Spotify users will be able to share music on their stories (and listen to the music shared by Instagrammers across the globe—a facility that was so far not available in India. As it is globally, Spotify offers a free version supported by advertisements. With a premium version, the customers will get one-month free trial. The subscription starts at competitive price of Rs 119 per month (as opposed to $9.99 in the US); users can also choose from daily and weekly plans.
What gives Spotify an edge over current music streaming services in the Indian market? According to music aficionados, the recommendation and artist suggestions features are better than any other apps in the market, and so is the user experience, making it easier to discover new music of your taste. It offers a web player, which is not available on Apple Music. And the fact that it does offer a free version means that you can share a song with any of your friends who have that app, again, not available if you are an Apple Music user. And if you’re really into pop, Spotify has a featured series called Secret Genius, which has songwriters talk about their top hits.
The launch in India comes amid a continued battle with Warner Music over licensing fees. Spotify was able to secure direct licensing agreements with Sony Music and Universal for the Indian market, but couldn’t come to an agreement with Warner. Instead, the music service is relying on statutory licensing for the use of music from Warner’s catalogue.
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Protected: Give the mood board a rest, here’s where to get the perfect wedding invite
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Deconstructing Dior’s AW19 with Maria Grazia Chiuri
Maria Grazia Chiuri is in a reflective mood when she meets Vogue at Christian Dior’s design headquarters in Paris, ahead of their AW19 show. The artistic director of the French fashion house, now aged 55, first met Karl Lagerfeld when she was a 25-year-old designer at Fendi, and news of his passing has led her to contemplate her role in the fashion world. “He was the original creative director, the first to work under another house name like Chanel and Fendi,” she says. “You have to reflect the history of a brand when you are designing for somewhere like Dior, people on the outside recognise the code, and the most important code of Dior is the Fifties silhouette.”
But this season, Chiuri didn’t want to rely solely on the nipped waists and voluminous skirts of Dior’s iconic New Look. She is excited by the “completely new point of view” that curator Oriole Cullen has brought to the Christian Dior: Designer of Dreams exhibition at London’s Victoria and Albert Museum (until 14 July). The show centres on Mr Dior’s anglophile leanings—not only did he famously dress Princess Margaret, he had a penchant for Savile Row suits, enjoyed starting the day with a traditional English breakfast and, in his own words, loved “English traditions, English politeness, English architecture”. And so, Chiuri started looking for her own new point of view for Dior’s AW19 collection.
Image: Jamie Stoker
The Teddy Girls-inspired silhouette
“You never know where inspiration is going to come from when you work in fashion,” says Chiuri. For this season’s boxy blazers in leather, denim and corduroy we have Stephen Jones to thank. About six months ago, the British milliner—who has been creating headpieces for the house of Dior since 1996—brought Chiuri a photograph taken by his friend’s father, the late film director Ken Russell. In the 1950s, before directing films like the Oscar-winning Women in Love (1969), and The Who’s rock opera Tommy (1975), Russell spent time documenting the Teddy Girls and Boys of London on his Rolleicord camera. The photograph that Jones gave to Chiuri was of 14-year-old Jean Rayner, who befriended Russell and introduced him to this post-war subculture. “She had attitude by the truckload,” Russell told the Guardian in 2010. “They were tough, these kids… they knew their worth. They just wore what they wore.” The Teddy Girls created an arresting visual identity by styling Edwardian drape coats—an aristocratic hallmark—with American rock-and-roll-inspired fashion, such as rolled-up jeans and flat shoes. They exemplify, Chiuri says, everything that fascinates her about British style: “It speaks about tradition, but at the same time it really breaks the rules.”
T-shirt prints quoting feminist literature
When Chiuri joined Dior in July 2016—the first woman creative director in the house’s 73-year history—she took the opportunity to rethink her approach to design. “I was very naive when I started working in fashion, it was all about self-expression back then,” she says. “Now, I see it as my job to deliver a positive message to society. I really believe that we are responsible for the next generation.” At Dior, Chiuri has instilled that message via her collaborators—choosing photographer Brigitte Lacombe to shoot the campaigns and commissioning women artists from around the world to redesign the Dior Lady bag. Her objective, she says, is to create a “global conversation around femininity”. For her SS17 collection, Chiuri printed the title of Chimamanda Ngozi Adichie’s essays, We Should All Be Feminists on white T-shirts; and for AW19, she has once again emblazoned the cotton basic with feminist directives, this time with the cover art of Sisterhood Is Global, the international women’s movement anthology by American author Robin Morgan. “It’s a promotion for the book,” she adds. “I want Dior to be about collaborating with other women to support one another’s point of view.”
The set designed by artist Tomaso Binga
“When you collaborate with another artist you have to give them freedom to express themselves,” says Chiuri. For AW19, she asked 88-year-old Italian artist Bianca Pucciarelli Menna to create the set. “I met her to speak out the project and then left her to it,” Chiuri continues. Menna is better known by her male alter ego Tomaso Binga, which she adopted in order to penetrate the misogynistic art world in the 1960s, before revealing her true identity as a form of protest during the feminist movement of the 1970s. Building on two bodies of work from the latter decade—Living Writing and Alfabetiere Murale—Menna photographed herself naked in poses that resemble letters. These prints have been arranged around the interior of the Musée Rodin in Paris, where the Dior show is taking place, so the letters spell out one of Menna’s poems. “Words are a very important source of inspiration to me,” says Chiuri. “Books aren’t like a film where everything is defined, when you read, you dream.”
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How to Stay Motivated When You Hit a Rut
Last year was a whirlwind, to say the least. I had a second baby, bought a home, and launched my fall collection — which are all exciting changes that I couldn’t be more grateful for. But despite all of these positive developments, I found myself struggling to stay motivated going into the new year. Now that it’s almost March, the colder weather and shorter days are cozy, but they don’t always exhilarate me. And to be honest, the amount of travel we did last year, along with managing Girl With Curves, a side project and our kids’ schedules, I’ve been feeling totally exhausted and overwhelmed these first few months of the year.
The good news is, I’ve dealt with these feelings before and have to remind myself each year that I do know the way out. If you’re also a superwoman trying to do it all — as many of us are — it’s important to stop and recalibrate before you hit complete burnout. Here are 3 ways I’ve found to do it over the year:
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Watch Dior’s fall/winter 2019 show live here
Paris Fashion Week 2019 kickstarted yesterday, and Dior is all set to present their fall/winter 2019 collection today. Being Dior’s first female artistic director , Maria Grazia Chiuri has been favouring the idea of feminism ever since she got on board in 2016. Basis Dior’s latest teasers on Instagram featuring British model Ruth Bell—who, along with her twin, May Bell, became the muse for Chiuri in 2016 answering the question “Why do you wear what you wear?” the collection will be nothing less than bold and statement-making. Wondering what Maria Grazia Chiuri has up her sleeve this time? Watch the Dior fall/winter 2019 show live from Paris Fashion Week here.
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These are the most famous Chanel bags of all time
Few design houses have amassed a bag archive as storied as Chanel’s. From the founder’s era-defining creations to Karl Lagerfeld’s later novelties, the list of iconic Chanel bags is remarkably lengthy. Here, Vogue take a look at the most celebrated Chanel totes, clutches and cross-body bags in handbag history…
Chanel 2.55
Coco Chanel and Marie Helene Arnaud at the gala performance of “A Frenchman in Moscow” in Paris in 1960. Image: Rex Features
French actress Brigitte Bardot in Hampstead north London for the filming of ‘The Adorable Beast’ in 1963. Image: Getty
When Gabrielle Chanel created the 2.55 in February 1955, (hence the name,) scandal ensued. It was the first bag for women to come with a shoulder strap—a detail that offered freedom from the impractical constraints of the clutch. It was considered rebellious, even uncouth, but women were enraptured the practicality it afforded. Chanel herself loved the way she could slip both hands into the pockets of her coat, striking a free, determined pose. The 2.55 was a revelation, and instantly became a house icon.
As the first bag created with women’s everyday needs in mind, the 2.55 was packed with practical details. The chain strap (inspired by the tiny chains Chanel would use to weight the hems of her suit jackets) could be doubled up and swung from one shoulder, while the hidden zip pocket was ideal for secretly storing love letters (as the designer, in the midst of a romantic affair, reportedly did.) The back slip pocket was earmarked for cash, and the central compartment perfectly shaped for a lipstick.
The 2.55 also marked the introduction of the two lasting Chanel signatures. The deep burgundy hue of the interior was inspired by the designer’s childhood uniform at the Aubazine Abbey orphanage, and the diamond-stitched quilting was borrowed from the jackets worn by men at the races.
Chanel Classic
Lisa Hahnbueck carrying the velvet Chanel Classic bag. Image: Getty
Street style, Copenhagen. Image: Getty
Also referred to as the 11.12, Karl Lagerfeld’s 1980s remix of the original 2.55 remained loyal to the original design while adding a touch of the era’s signature decadence.
A handful of differences set these two bags apart. In the Classic, the chain strap is interlaced with black leather, and the original ‘Mademoiselle’ twist-lock clasp has been replaced with an instantly recognisable CC lock—a calling card that encapsulated the logomania decadence of the era.
Chanel Boy
Street style, Dusseldorf. Image: Getty
Karl Lagerfeld’s 2011 launch was a tribute to Chanel’s first love, Boy Capel. The sturdier structure riffs on the boxy silhouette of a hunter’s cartridge bag, while the tougher, chunkier chain and oxidised metal hardware nod to the androgynous tendencies of the house’s original collections.
A campaign fronted by Alice Dellal solidified the Boy’s rock ‘n’ roll personality, and this rebellious member of the Chanel family has since become a symbol of the house’s androgynous heritage. Each season sees the Boy recreated in various guises and a host of sizes, from micro minis to enviably roomy silhouettes.
Chanel Grand Shopping Tote
Image: Rex Features
The Grand Shopping Tote (or GST for short) is one of the roomiest—and most coveted—styles in Chanel handbag history.
Discontinued in 2015 to the disappointment of many a Chanel lover, it’s now one of the most in-demand styles on the secondary market—so if you spot one in a vintage store, don’t hesitate to make it yours.
Chanel Gabrielle
Chanel presents womenswear fall/winter 2018-19 at Paris Fashion Week 2018. Image: Getty
Karl Lagerfeld’s homage to Mademoiselle herself, the Gabrielle became an instant Chanel classic when it launched during the SS17 ready-to-wear show. The distinctive shape was inspired by the structured silhouette of a binocular case.
The Gabrielle’s supple leather body allows for a satisfying slouch when swung from one arm, yet the rigid, moulded base ensures it remains easy to locate your smallest possessions at the base of the bag.
Notably, the Gabrielle tote was the first Chanel bag to be positioned as a unisex style, with Pharrell Williams starring in the campaign. Its practical silhouette and chunky, antiqued hardware—the long strap allows for a supremely versatile carry—opened the house up to a younger audience.
Chanel perfume bottle
Street style, Dusseldorf. Image: Getty
Under the creative direction of Karl Lagerfeld, every Chanel runway is a treasure trove of need-it-now pieces for the collector. But few have commanded the fever-pitch demand of 2013’s perspex and glass perfume-bottle clutch. Modelled on the inimitable No5 flacon, this novelty bag is perhaps the ultimate Chanel conversation piece.
Chanel milk carton
Model carrying the Chanel milk-carton bag at Paris Fashion Week, autumn/winter 2014. Image: Rex Features
A move steeped in irony, one of Lagerfeld’s most fantastical runway spectacles was in fact set in the mundane aisles of a supermarket. AW14’s Chanel Shopping Centre was a feast of tongue-in-cheek creations, including the coveted milk-carton bag, constructed in smooth silver leather and studded with pearls.
Chanel giant hoop
Chanel presents womenswear spring/summer 2013 at Paris Fashion Week 2012. Image: Getty
The iconic 2.55 silhouette has appeared in endless guises over the years, and 2013’s iteration is one of the most memorable. The signature flap, nestled within a supersized hula hoop, made for an arresting sight on the SS13 runway. The silhouette encapsulated fashion over function to almost comical degree, but demand was not hampered: while the gargantuan original never went into production, a smaller iteration did (and promptly sold out).
Chanel Oh My Boy Graffiti bag
Street style, New York Fashion Week spring/summer 2015. Image: Getty
Chanel presents ready-to-wear spring/summer 2014 at Paris Fashion Week 2013. Image: Alamy
Imagine—just imagine—taking a felt-tip pen to a Chanel bag, the way a surly teenager would scribble on a school-era backpack. For AW14, Lagerfeld did just that, defacing a collection of shoulder bags and backpacks with a mash-up of graffiti prints and crafty embellishments. The Oh My Boy shoulder bag remains the ultimate vessel for any rebel at heart.
This article originally appeared on Vogue.co.uk
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Monday, February 25, 2019
PRINT TRENDS FOR SS19
Do prints take you to lala land or is it just another nightmare of yours? Well SS’19 season is full of prints. This must be nothing new to you, as you must have already spotted these on the racks of your favorite stores. A real print maniac would agree to mix and match prints in […]
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Meet the young Indian designer who showcased at London Fashion Week
At the showcase of the MA collections of Central Saint Martins at London Fashion Week, commenting on the body-conscious, confident collection of Kaushik Velendra, British Vogue noted the clothes “demonstrated a new acceptance of sexy, or perhaps of human nature.” In the black-and-white Dorian Gray-esque line, severe and lean menswear tailoring came with cleverly-placed sportswear touches, like a tuxedo jacket framed by shoulders that looked like they were melted onto the models’ form. For Chennai-based Velendra (28), who joined CSM five years ago and is pursuing a Master’s in menswear fashion there, the goal was clear: “To constantly evolve and rethink tailoring with an aim to create a new tailored man.” Vogue spoke to the young designer about his collection, from how he came up with the concept to the detailing showcased in his latest line-up. Excerpts below.
The idea
“My graduate collection was all about re-thinking the tailored man. The hybrid collection takes a modern dimension, observing the DNA of sportswear and the human anatomy. Tailoring and sportswear are deeply engaged with each other through their construction and relationship with the human body. My collection investigates the infinite possibilities of linking the two together, creating a new generation of a modern, futuristic, sophisticated and luxurious man.
What would it be like to redress a new masculinity? Could it help people look and feel better? And could it get rid of their insecurities? Naturally fascinated by this expression, my intention was to find a way to recreate those masculine shoulders, elegant elongated proportions and bold muscles using modified tailoring techniques and fabrication. The best way to explain my collection in short would be super-modern tailoring or tailoring for the future.”
The tailoring
“My speculation with sportswear and tailoring is of particular importance to the collection. It articulates the relationship between construction lines and the human body. These lines accentuate the silhouettes and allow possibilities to create new seams. The seams also allow for innumerable ways to restructure a tailored garment. This enables me to clearly understand the anatomy and grow proportions respectively. The influence of sportswear has led me to investigate newly evolved techniques and fabrication that could replace the traditional ways of tailoring and evolve a modern identity.”
The details
“I’ve used several futuristic materials to create my collection. A special heat-reacting felt was used to mould the shoulders, replacing the shoulder pads that are traditionally used in tailored garments. Magnetic zips have been used for closures. The most exciting part of the collection was my collaboration with Jean Francois Lesage and his amazing team at Vastrakala in Chennai—they beaded my collection with new materials and traditional Indian techniques of embroidery. This also gave me the opportunity to work with my fellow artisans from Chennai, and I was happy to represent their art at London Fashion Week. My shoes were handmade in Paris in collaboration with Fred Rolland (the former atelier of Christian Louboutin). The collection by itself was made across three different cities—London, Paris and Chennai.”
Also read:
London Fashion Week AW19: The biggest fashion trends on the runway
The must-see hairstyles and makeup trends from London Fashion Week AW 19
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Protected: Converse’s new collection is a must-have for every girl out there
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Sunday, February 24, 2019
SPRING SUMMER TRENDS 2019 – WOMENSWEAR
After the frost of February, comes the warmth of March and along it brings fresh vibrant spring summer trends! 2019 is all about paying an ode to the past decades, however, with a twist; making the frumpy, fun and introducing a frutilicous colour palette to play with. Let’s look at what this season has in […]
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Saturday, February 23, 2019
This at-home facial can give you glowing skin in just six easy steps
There’s nothing like a good self-care session on the weekend to take the edge off a busy work week. Whether your routine is more centred around relaxation (like taking a long bath or dry brushing), or dedicated to prepping your face for a busy night ahead, the ritual of slowing down and focusing on yourself is an important time out. This Sunday morning routine is my favourite thing to do on waking up—it sets the tone for the week ahead, readying my skin for the early mornings, rushed nights and incessant makeup requirements of the coming week. The best part? It’s quick, easy to do, and you’ll feel so accomplished when you’re done. So, sip on some cucumber water and make these six steps a part of your Sunday skincare regimen to achieve that perfect lit-from-within glow.
My six-step at-home facial for radiant, luminous skin
First, I ice my face
If you have woken up with puffy eyes and face, fold a thin napkin over a few cubes of ice and dampen it with some water. Dab it on your face for five to 10 mins—the best way to do this is to make outward rolling motions as you massage your face. Due to the cold temperature, ice is able to sooth irritation and inflammation, which is important for those with redness-prone or puffy skin. Since cold temperatures cause blood vessels to constrict, they lead to a shrinking effect on the appearance of pores. Let your face rest for another 10 mins before the next step.
Then, I cleanse
After icing, I cleanse my face. Use a dollop of your favourite cleanser and massage onto damp skin for a minute to dislodge all traces of grime, oil or last night’s skincare products left on the skin surface. In the morning, wash with a gentle cleanser that won’t rock the boat too much. If your skin already feels dry in the morning, just water or a swipe of toner will suffice. A good rule of thumb to know if you need to wash with water over a cleanser in the morning is to note if your face feels tight. If it does, skip the suds.
It’s time to steam
If you have a steamer, there’s nothing like it. But if you need to go the DIY route, there’s two things you can do. I usually put a towel over my head and hold my face over a pot of steaming hot water. Breathe in and out for five minutes to let the steam work its magic. Steam helps to dilate pores, and softens the sebum lodged inside. Plus, the heat leaves skin with a rosy glow almost immediately. This step improves the benefits of the next one—exfoliation.
Don’t forget to exfoliate
This cannot be skipped, especially if you have dull or dry skin. Dull skin is caused due to a build-up of dead skin cells on the surface, which don’t reflect light and lay dormant on the upper layers of the skin. If you want to take the physical scrub route, you can make one at home depending on your skin type. I like using orange peels, crushed walnuts or almonds to slough off the dead skin, especially when mixed with a soothing hydrator like olive oil or honey. I apply the scrub on my face, leave it on for five minutes and then scrub around my nose and chin, and in an upward motion from my cheeks to the temples. I massage it in for 10 minutes and rinse my face with cold water. This leaves my skin feeling soft to the touch and radiant. If you want to use a chemical exfoliator like an acid instead of a physical scrub, this would be a good time to implement the step.
Luxuriate in a face pack
Now, the fresh skin cells are ready to receive ingredients to sooth, brighten and hydrate. I like using a face pack and leaving it on for 20 minutes till it feels tacky to the touch. I usually choose a sandalwood, charcoal or dead sea pack. Packs with charcoal, muds or clays (like those with multani mitti) will further exfoliate the skin while tightening it. These masks will fight excess grease and congested pores. Once it feels dry, I gently rinse the pack off my face using circular motions. It is best to do this in the shower and wash your hair right after, because the face mask inevitably reaches my hair at the edges.
Finish with a sheet mask
After exfoliating, mattifying, tightening and detoxing, the skin can feel slightly raw. I like to finish with a hydrating sheet mask that puts moisture and balancing fatty acids back into the skin. I leave this on for 20 minutes (while I watch Netflix) and then take it off. In case you don’t know which sheet masks works best, our edit of the best budget-friendly sheet masks will get you started.
Also read:
The best skincare and haircare hacks Bollywood has shared with Vogue
Should you buy a skincare fridge? We got three dermatologists to weigh in
Confession: My nightly skincare routine takes 17 products and 38 minutes
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Friday, February 22, 2019
Fashion in film: The best designer and director collaborations
Fashion and film have been inextricably linked for the past century, with designers drawing inspiration from the silver screen and auteurs going to great lengths to secure the perfect costumes for their characters. Would Holly Golightly have become a pop culture sensation without Hubert de Givenchy’s sophisticated designs? And what would Belle de Jour be without Yves Saint Laurent or Barbarella without Paco Rabanne? Below, Vogue presents 14 of the best designer and director collaborations of all time.
Dior in Stage Fright
Image: Alamy
Image: Getty
Image: Getty
Alfred Hitchcock’s films are some of the most stylish in history: just think of Tippi Hedren’s mint-green suit in The Birds, Kim Novak’s black gown in Vertigo and Grace Kelly’s dresses in To Catch a Thief. While the legendary costume designer and eight-time Oscar winner Edith Head dressed many of his leading ladies, the Marlene Dietrich-starring 1950 noir Stage Fright marked a turning point. “No Dior, no Dietrich,” the German actress told producers and so the Master of Suspense hired the designer to create her costumes. There were wasp-waisted suits, tulle gowns and feathers galore—ideal for a woman playing a flamboyant West End singer who is accused of a monstrous crime.
Balmain in And God Created Woman
Image: Getty
Image: Getty
Roger Vadim’s frothy melodrama that turned his then wife Brigitte Bardot into a star overnight features her sauntering around the sun-dappled French Riviera in search of potential suitors. Bardot is Juliette, a young woman whose sexual appetite and lack of inhibition shakes up a sleepy fishing village. With its ravishing visuals and controversial sexual politics, the film caused a stir upon its release in 1956, but Bardot remains its main attraction. Frequently barefoot with pouty lips and tousled hair, she is a vision in linen shirt dresses, boat-neck tops and cinched-in pencil skirts designed by Pierre Balmain. The couturier also brought his signature brand of understated glamour to Bardot’s next movie, the 1957 comedy La Parisienne.
Chanel in Last Year at Marienbad
Image: Getty
Image: Getty
Filmed in pristine black and white, Alain Resnais’s Golden Lion-winning drama is a defining work of the French New Wave. It centres on a mysterious couple played by Delphine Seyrig and Giorgio Albertazzi, who meet at a baroque hotel. Seyrig’s elegant wardrobe, comprised of little black dresses, long chiffon gowns and feather-trimmed capes, was created by Coco Chanel. The designer was no stranger to making costumes, having spent much of the 1930s in Hollywood dressing the likes of Gloria Swanson and Ina Claire, but 1961 marked her return to the big screen and the result was spectacular. Coco Chanel’s successor, the late Karl Lagerfeld also paid tribute to the movie, most memorably during his SS11 show where models walked around a replica of the gardens at Marienbad.
Givenchy in Breakfast at Tiffany’s
Image: Getty
Image: Getty
Image: Getty
A cocktail dress with a wide-brimmed hat, a double-breasted orange wool coat with kitten heels, a beige trench paired with a matching headscarf—it’s no surprise that Blake Edward’s Breakfast at Tiffany’s is still the most referenced film in fashion. It was of course Hubert de Givenchy who created Audrey Hepburn’s principal wardrobe for the film. The designer and actress met during the production of the 1954 film Sabrina, and collaborated again on Funny Face (1957), Love in the Afternoon (1957), Charade (1963), Paris When it Sizzles (1964), How to Steal a Million (1966) and Love Among Thieves (1987). Holly Golightly’s era-defining little black dress remains Givenchy’s most celebrated creation, fetching £467,200 at auction in 2006.
Yves Saint Laurent in Belle de Jour
Image: Rex Features
When it came to creating subversive costumes for Séverine Serizy, the bourgeois housewife who spends her afternoons working as a high-class prostitute in Luis Buñuel’s 1967 classic, Yves Saint Laurent was the perfect choice. The designer dressed Catherine Deneuve in austere black frocks, pillbox hats and a series of showstopping coats in fur-lined leather, grey wool and black vinyl. For a film that recently celebrated its 50th anniversary, it feels remarkably modern.
Paco Rabanne in Barbarella
Image: Getty
Image: Getty
Many of Paco Rabanne’s space-age creations have been immortalised on film—among them Audrey Hepburn’s shimmering disc dress in the 1967 comedy Two for the Road—but the costumes in Roger Vadim’s 1968 zero-gravity romp Barbarella are unbeaten for sheer inventiveness. Jane Fonda plays the titular space adventurer on a mission to stop an evil scientist from destroying the galaxy. It’s worth watching for the fashion alone: chainmail two-pieces, studded bodysuits and thigh-high plastic boots accessorised with a cat-eye flick and bombshell bouffant.
Karl Lagerfeld in Maîtresse
Image: Alamy
Image: Alamy
While burgling a Parisian apartment, a small-time thief discovers the torture chamber of a professional dominatrix. So begins Barbet Schroeder’s 1975 film starring Gérard Depardieu and Bulle Ogier, which soon descends into a subterranean world of sadomasochism and deprivation. Karl Lagerfeld, then at the helm of Chloé, was on hand to design Ogier’s provocative costumes. By day she wears louche loungewear, while late nights call for leather trousers, elbow-length gloves, a purple cape, a blunt black wig and powder-blue eyeshadow.
Giorgio Armani in American Gigolo
Image: Alamy
Image: Alamy
The image of Richard Gere smoking in a belted camel coat in American Gigolo has come to define Giorgio Armani’s polished aesthetic. When the Italian designer was tapped to create powers suits for Paul Schrader’s 1980 drama about male escort Julian Kaye, he was still in the early stages of his career. Kaye’s impeccable tailoring caught the eye of the fashion industry and launched Armani’s career. It also sparked the designer’s lifelong love affair with the silver screen. Since then he has dressed the cast of The Untouchables, Christian Bale in The Dark Knight, Brad Pitt in Inglourious Basterds and Leonardo DiCaprio in The Wolf of Wall Street.
Azzedine Alaïa in A View to a Kill
Image: Alamy
Image: Rex Features
Few Bond girls were as well dressed as May Day, Max Zorin’s villainous henchwoman played by Grace Jones in John Glen’s A View to a Kill. While Roger Moore’s other love interest, the delicate and doe-eyed Tanya Roberts, wears floaty dresses in pastel shades, Jones is no damsel in distress. Her wardrobe is a lesson in executive realness featuring pinstripe blazers, bodysuits and hooded bandage dresses, many of which were designed by Jones’s friend Azzedine Alaïa. The King of Cling’s exaggerated silhouettes and strong block colours were perfect for a woman who was Bond’s equal in every sense—whether she was beating men to a pulp or parachuting off the Eiffel Tower.
Prada in Romeo + Juliet
Image: Alamy
Baz Luhrmann’s 1996 reimagining of Shakespeare’s star-crossed lovers sees the story relocate to a modern American suburb complete with gun violence and feuding mafia families. To dress the eclectic characters who populate Luhrmann’s world, costume designer Kym Barrett chose garish Hawaiian shirts, leather vests and sequinned ballgowns. Dolce & Gabbana outfitted the Capulet clan but when it came to Leonardo DiCaprio’s Romeo, only Prada would do: his navy-blue wedding suit was the first piece of clothing the director and designer ever collaborated on. 17 years later, Luhrmann, Prada and DiCaprio would reunite once again for The Great Gatsby.
Jean Paul Gaultier in The Fifth Element
Image: Alamy
Image: Rex Features
Image: Alamy
The enfant terrible of French fashion has worked with Pedro Almodóvar to design clothes for Bad Education and The Skin I Live In, but the costumes he is best remembered for are those in Luc Besson’s 1997 sci-fi epic. Between Milla Jovovich’s bandage bodysuit, Bruce Willis’s rubber vest, Chris Tucker’s rose-lined satin top and Gary Oldman’s sunset-hued, super-villain suit, it’s impossible to pick a favourite. Gaultier’s keen eye for detail is evident throughout: don’t miss the cartoonish McDonald’s girls or the mysterious Diva Plavalaguna, which inspire Halloween costumes year after year.
Raf Simons for Jil Sander in I Am Love
Image: Alamy
Image: Alamy
From Call Me by Your Name to A Bigger Splash, Luca Guadagnino’s films are packed with stylish characters—none more so than the 2009 romantic drama I Am Love, which stars the director’s long-time muse Tilda Swinton as a woman who marries into the upper echelons of Milanese society. Raf Simons, then creative director of Jil Sander, provided Swinton’s wardrobe: boxy shift dresses, jewel-tone knits and sleek coats that reflect the refined minimalism that was a hallmark of his tenure at the house.
Rodarte in Black Swan
Image: Alamy
Image: Rex Features
It was Black Swan’s Oscar-winning leading lady Natalie Portman who introduced director Darren Aronofsky to Kate and Laura Mulleavy, the sisters behind Rodarte. While costume designer Amy Westcott (who previously worked with Aronofsky on The Wrestler) created most of the film’s looks, she collaborated with the design duo on a number of elaborate tutus, including the feathered confections Portman wears on stage in the final scene. The designers’ mood boards referenced everything from the day-to-day wardrobes of dancers in the American Ballet Theatre to films like The Double Life of Veronique and The Piano Teacher.
John Galliano in Atomic Blonde
Image: Rex features
Charlize Theron plays a MI6 operative tracking down double agents on the eve of the collapse of the Berlin Wall in David Leitch’s 2017 thriller. Using the photographs of Helmut Newton as a reference point, costume designer Cindy Evans selected sharp suiting, monochrome dresses and 1980s-inspired separates from some of the industry’s most prominent fashion houses. Dior lent her a cherry-red coat from their archives, Burberry provided a signature trench and Saint Laurent a pair of studded ankle boots. But the piece that made the biggest impact? The high-shine white coat Theron wears in one of the earliest scenes, which John Galliano designed especially for the film.
Also read:
How the fashion community reacted to Karl Lagerfeld’s death
The best on-screen celebrity couples in recent movie history
From Ranveer Singh to Heath Ledger: 30 incredible on-screen transformations
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