Arift in a sea of digital apps for every imaginable function, we often feel our needs are met better today than in any previous era. But consider the chatelaine, a device popularized in the 18th century that attached to the waist of a woman’s dress, bearing tiny useful accessories, from notebooks to knives.
Then again, during the entirety of the three-day affair, sandwiched between Christmas and New Year's, white and black tie were the easiest dictates of a quartet of dress codes that included Gaucho and Tango Smart.
The arrival of the bride, meanwhile, who emerged on the bow of the wooden speedboat like a living figurehead, veil whipping in the wind, was mirage-like, for even the most jaded fashion folk in attendance. Her Valentino couture dress, which required 1,800 hours' worth of bas-relief pearl and crystal embroider, forsook the traditional bridal white for pale chalcedony tulle that blended seamlessly into the soft gray of the beach and the murky green [...]
Joan could not have chosen a more dramatic moment to defy a dress code. Costume historians identify the high Middle Ages as the arrival of fashion in western Europe. Cotton from Egypt; silks from the Ottoman Empire; improved dyes and dyeing techniques; complex patterns and new fabrics, like brocade and velvet, made possible by Chinese innovations in weaving: crusaders went east bearing murder and returned home with the ingredients for haute couture. And the increased social mobility that accompanied the aristocracy’s loss of power strengthened the yet ruling nobility’s resolve to assign and maintain standards of dress that identified a peasant as a peasant, no matter how much money [...]
In 1936, Meret Oppenheim, the Swiss Surrealist artist, had tea with Pablo Picasso at the Café de Flore, in Paris. Oppenheim was wearing a bracelet, of her own design, that was clad in ocelot fur. Picasso admired it, noting that one could cover anything with fur. Soon afterward, Oppenheim produced her most famous work: [...]
If the dual firings of Mr. di Marco and Ms. Giannini came as a surprise, that was nothing compared with the reaction to the person whom Kering, Gucci’s parent company, soon chose to install in Ms. Giannini’s place: Alessandro Michele.
Within hours of the news of Ms. Giannini’s firing, names surfaced in the news media about who would fill her post, suddenly the most coveted job in fashion. Would it be Riccardo Tisci, the star designer who took a drifting French label, Givenchy, and transformed it into the must-have uniform for rock stars and celebrities? Or the rising American designer Joseph Altuzarra? Or maybe Hedi Slimane, who had recently [...]
Benedict might not have won the Oscar—but he certainly won the absolutely perfect girl.
[Ansel] Elgort has swiftly proved to be multifariously talented as both an EDM DJ (last month, he played Ultra Music Festival in Miami under the sobriquet Ansolo) and, particularly, as a social-media sensation.
Turns out there is such a thing as an ambitious bohemian.
I’m never one to shy away from a challenge, especially when it comes to dressing etiquette: a big gown worn with messy hair, a red lip with a pair of beat-up jeans, a twinset paired with leather pants.
I really liked Nathalie Atkinson's thorough deconstruction of the makeover montage. "The important step forward in happily ever after begins—and ends—with the right shoe," Atkinson says. True in films, true in life. (I think!?!?! Seems legit.)
I particularly enjoyed this part:
Hollywood loves a fashion film almost as much as a makeover story and has a glossy tradition of cinematic fairy tales à la mode, with a side of Cinderella. Give or take a totemic ball gown and glass slipper. The latest is the Canadian film After the Ball, set in the garment industry of Montreal.
Change your clothes, change your fate. This is [...]