The moment I began dressing like my mother began with the “navy heather”
Baxter parka from L.L.Bean. Two years ago, after many impractically prepared
winters and faced with another potential polar vortex, I scrutinized and
researched suitable puffy coats online. I found one posh, not-foul parka to wear
in public: a black Étoile Isabel Marant puffer with a real-but-detachable fur
hood. It was perfect. It was also $600. Then there was L.L.Bean’s waterproof,
goose-down insulated parka, a much more practical option. It was exactly the
type of item — utilitarian, affordable, weatherproof — my mother would wear.
That’s when some hitherto unknown pragmatic decision making dawned on me: The
Étoile coat is 65 percent cotton, rendering me a walking wet blanket in a
snowstorm, I realized. The Baxter parka boasted being “field tested in the
extremes of New Hampshire’s White Mountains.” Fearing the cold, I bought the
Baxter parka. I love it.
This is ironic considering I once wrote a (very bad) essay about not dressing
like my mother so as to not become her. But also because growing up on the
island of Oahu, a place where rubber slippers and Aloha shirts and maxi dresses
and bikinis are de rigueur, I shunned casual clothing and comfort — two
adjectives that represented a sort of aesthetic laziness in my mind.
Until the sixth grade, like other children my age with parents of a certain
tax bracket, I frequented Abercrombie & Fitch and Hollister. I collected the
raw-hem denim mini skirts, the tight, distressed jeans, and the colorful,
formfitting moose- or seagull-embroidered T-shirts. Yet in middle school, it
didn’t matter what I wore to conform. I was the problem: My voice was too low,
my stature too tall, my demeanor too outspoken. I began avoiding the mall, and
started frequenting my local Salvation Army, trawling the racks for anything
irreplaceable, even adult — like the red-and-white polka-dot Valentino silk
blouse I once uncovered and the many oversized men’s dress shirts I’d wear
By seventh grade, I could name designers and models over international
leaders. I clicked Style.com endlessly and perused the Fashion Spot’s online
threads. Clothing, I quickly learned, can differentiate you from the masses.
In high school, my aesthetic skewed older, pseudo-professional. While my
friends picked Free People and Urban Outfitters threads, I preferred J.Crew or
Marc by Marc Jacobs. (I once walked into class junior year when an immediate
hush fell over the room. “Sorry,” my friend Phil said, after a couple of
seconds. “We thought you were the teacher.”) In college, when I moved to New
York for school, I immersed myself in the fashion world, aiming to emulate the
Giovanna Engelbert, Viviana Volpicella, and Garance Dorés of the world I had so
I coveted whatever was currently covetable: the Céline luggage bags, YSL
turquoise Arty rings, Proenza Schouler PS1s. I patronized sample sales
frequently. I bought a Loeffler Randall faux-fur coat for $150 at the Barney’s
Warehouse sale. (My father, after discovering its price, surveyed me and
declared, “Looks like you paid $150 too much.”) There was the white linen Band
of Outsiders blazer and two-toned Lanvin high-heeled sandals priced at a
Of my sartorial choices, my mother would cluck disapprovingly. “How can you
walk in that?” she’d wonder aloud. Or, “Won’t you be cold?” Before I moved to
New York, she (with complete earnestness) suggested I bring my ski pants to wear
on snowy days.
It would be unfair to say my mother doesn’t have style. Her look is certainly
her own, assembled through catalogs like Land’s End, REI, and, of course,
L.L.Bean. But I didn’t admire her fashion sense the way I admired her friends’ —
women like Mrs. Pearce, who carried new Louis Vuitton and Gucci purses
seasonally and subscribed to Vogue. “Can’t you dress like them?” I’d implore my
mother, the woman who carried machine-washable, nylon handbags.
Looking back, my mother’s inability to dress like her peers — her refusal to
buy designer purses and relegating herself to forgettable catalog clothing —
exemplifies her inherent defiance. All her life, she’s chafed against what’s
expected; refusing to subsume herself to her surroundings, especially through
style. In the ‘60s, when she married her high-school sweetheart, she wore a red
turtleneck dress to the ceremony. Her auburn hair was curled and teased and the
tight silhouette hugged her waist before falling to the floor. After the
divorce, I’m unsure what she wore daily but she didn’t marry again for ten years
and didn’t have me until 40.
I have also adopted her resistance. In New York’s environment, where
everyone’s hyperconscious of style, exercising slovenliness (by the city’s
standards at least), especially since I work in fashion, makes me feel singular
again. That’s because clothing has always allowed me to differentiate myself.
Yet in Hawaii, fashion was an armor of sorts, allowing me to transform my
inherent deficiencies into something purposefully different. In New York, I
realized, I was Just Like Everyone Else. That’s to say, I adopted fashionista’s
appearance simply to establish my supremacy, mask my innate insecurities,
My mother’s style, unlike the fashion set, is something few people clamor to
imitate. The same could be said of any eccentric, our reigning monarchs of
nonconformity like Isabella Blow, Vivienne Westwood, and Yayoi Kusama. Of Blow’s
outfits, the writer Andrew O’Hagan wrote that they were “a complete reflection
of her psychology and her convictions … She didn’t care what people thought.”
The same, I realize, can be said of my mother. Embracing yourself, eschewing
trends, especially as a woman, seems like the most radical statement of all.
Of course it helps that my mother does not live here; in the absence of her
presence, there’s only myself (and the city) to rebel against. Now, like my
mother, if I cannot walk for miles in shoes I will not buy them; if clothing
requires constant tugging I will not wear it; if an item will not keep me warm
in the winter or cool in the summer I will disregard it entirely. Aside from my
L.L.Bean coat, I wear Uniqlo Heattech under everything. Sometimes I willingly
browse Patagonia. I own only two pairs of high heels, and instead switch between
white Converse, black flat boots, or Maryam Nassir Zadeh sandals. My closet is
filled with easy silhouettes and unfussy fabrics: billowing linen jumpsuits by
Black Crane, flattering cotton trousers from Caron Callahan, vintage denim
Levi’s, linen, and well-worn T-shirts. For handbags, I toggle between two
leather Baggu totes or a Clare V. crossbody bag.
A few seasons ago, I wore my L.L.Bean coat to an Eckhaus Latta fashion show,
where I looked like a tourist who had wandered in from Canal Street. I
interviewed Demi Moore’s offspring, one of whom wore a black men’s topcoat and
had a furry Fendi keychain dangling from her purse. Surrounded by editors and
“It” girls and industry folk I knew by face from my teenage years of study, I
smiled at my slovenliness in comparison. “I used to care,” my mother would often
tell me, after I had chastised her clothing. Finally, I understood what she
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The unauthorized sale of genuine products can cause real damage for luxury
brands, both in terms of serious and lasting reputational damage, and loss of
profits. But all is not lost; here we take a high level look at some of the
avenues brand owners have in the European Union (“EU”) for challenging
unauthorized sales, and what to consider about when approaching this issue.
A common theme among luxury brand owners is the desire to minimize the harm
caused by the unauthorized sale of both authentic and infringing/counterfeit
goods. This includes taking action as quickly and efficiently as possible, while
also balancing the cost of initiating such a battle with the potential damages
recovery and the prospective deterrent effect that will come from such
The unauthorized sale of goods raises multiple legal issues and we view the
different legal rights and causes of action as an armory from which different
rights can be deployed depending on the circumstances of each case and the legal
climate in the jurisdiction.
Gray Market Goods
Where the goods are imported from outside the European Economic Area (“EEA”)
– in other words, from locations aside from the member states of either the EU
or the European Free Trade Association, and thus, amount to gray market goods –
we would look to trademark rights as the first option.
This is because when goods have not been authorized for sale in the EEA by
the brand owner, the brand owner will still have a cause of action – in
accordance with trademark law – as their rights will not be deemed to be
'exhausted.’ In short: The goods are deemed to be unauthorized and as a result,
will be considered to infringe the brand owner's trademarks. This is relatively
straightforward provided that the brand owner is confident that the goods have
not been explicitly or implicitly authorized for sale in the EEA.
Copad SA v. Christian Dior Couture SA
However, even if the goods have been authorized for sale in the EEA, all is
not lost: The brand owner can still object to unauthorized sales if the goods
are being sold in a way that damages its reputation under principles set out in
Copad SA v. Christian Dior Couture SA, Vincent Gladel, as liquidator of Société
industrielle lingerie. In that case, Dior argued that when one of its licensees
sold its luxury lingerie to a discount store in breach of the terms of its
license (which prohibited licensees from selling Dior goods to “wholesalers,
buyers’ collectives, discount stores, mail order companies, door-to-door sales
companies or companies selling within private houses without prior written
agreement”), the sale constituted not only a breach of contract, but also an
infringement of its trademark. In a landmark ruling, the European Court of
Justice sided with Dior, ruling that a trademark holder may limit the kind of
customers to whom their licensees can sell where this would damage the
reputation of the trademark.
A particularly noteworthy excerpt from the court’s decision states: The
selective distribution system here, which seeks to ensure that the goods are
displayed, positioned, advertised and packaged in a way that enhances their
value, is significant in sustaining the aura of luxury surrounding the goods. It
is therefore conceivable that the sale of these goods outside of the permitted
network could affect the quality of the goods so that a contractual provision
barring such sale falls within the scope of the Directive.
This is a particularly important point for luxury brands, as often the
unauthorized sale of their goods are done so in outlets that do not match the
brand's reputation and the products are sold amongst low quality or even
counterfeit products, which could serve to further diminish the aura of luxury
associated with the brand.
An approach that cites unauthorized distribution will be strongest where the
brand strictly manages its distribution system and has legally compliant
qualitative criteria for its authorized retailers. Where an unauthorized
distributor sells in circumstances that clearly do not meet these criteria, and
thereby stands to subject the brand to reputation damage, there should be a good
cause of action (though it is worth noting that the courts in France have held
that the mere existence of a selective distribution network does not mean that
sales outside of that network are automatically damaging).
Even if these circumstances are not established, the luxury brand owner may
still be able to assert that the unauthorized distributor is giving the
impression that it is commercially connected to the luxury brand when it is not,
which may also constitute a legitimate reason to oppose further sales of the
goods on trademark grounds, or may give rise to claims of passing off or unfair
competition in certain jurisdictions.
It is also worth considering each link in the supply chain up until the point
at which the goods are being sold. If it is possible to determine that the
entity that sold outside of a brand’s authorized distribution system – and
thereby in breach of its contract – was the entity who was responsible for
placing the goods on the market in the EEA, then there may be grounds for the
brand owner to claim that the goods have not been put on the market with its
consent. This would give the brand owner grounds for claiming trademark
This will, of course, depend on the intricacies of the specific supply chain,
including when economic value for the goods has been realized by the brand
owner, and whether the terms in the contract that were breached are terms that
specifically spoke to the quality of the goods.
Lastly from the intellectual property (“IP”) side, there may be ancillary
claims around use of copyright-protected works and trademarks by unauthorized
sellers. Whilst sellers of genuine goods will generally be entitled to use the
brand owner's trademarks to denote the origin of the goods, there may be
arguments around specific prominent use of logos (where such use goes beyond
honest and commercial practices), as well as copyright-based claims in
connection with the use of copyright images without consent. These actions may
not address the underlying sale of goods, but they will help to minimize damage
and confusion that may be suffered by the brand in connection therewith.
If IP rights do not apply, there may also be grounds in tort law to address
the sale of unauthorized goods. These laws are not harmonized in the EU and so,
they will differ depending on the jurisdiction.
France, for instance, stands out in this regard with its extremely useful
Commercial Code provisions which protect selective and exclusive distribution
networks and provide brand owners with a cause of action against direct or
indirect breaches of their distribution network. There has been great success
using these provisions in the French courts where the Courts have found
unauthorized resellers liable even where they bought products at a judicial sale
of a bankrupt authorized distributor.
This position is not as easy in most other EU jurisdictions, but there will
generally be one or more tort laws which may apply, including inducing breach of
contract and/or profiting from breach of contract. Depending on the
circumstances, such claims may be brought by the brand owners or their
authorized resellers who are suffering loss.
The general takeaway here is this: If you are suffering from unauthorized
sales, do not lose heart. There are many ways in which to approach the issue of
unauthorized sales in the EU, particularly for luxury brands for whom reputation
is so vital. The key is understanding the local and EU-wide picture and
deploying the actions best suited to the case.
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Neelam Gill Is the New Face of L'Oreal Paris U.K.
Blue Ivy's Gucci Dress Was Modeled After a $26K Gown
Over the weekend, Beyonce, Blue Ivy and Jay Z staged a photoshoot to show off
their Gucci ensembles before slipping out to attend the premiere of Beauty and
the Beast. Five-year-old Blue Ivy was especially dressed up for the occasion,
donning a custom, tiered green and pink kids' version of a gown that retails for
$26,000. Bey's green ensemble put her very pregnant belly on full display, while
Jay Z opted for a more casual denim jacket.
Neelam Gill Named First British Indian Ambassador of L'Oreal Paris U.K.
Neelam Gill has been named the first British Indian ambassador for L'Oreal
Paris U.K. The model made waves in 2015 when she became the face of the revamped
Abercrombie and Fitch — a brand which had a history of casting primarily white
models — and has since worked for major brands like Burberry and Dior. Gill also
was part of L'Oreal Paris U.K.'s campaign with The Prince's Trust to promote
Nordstrom and Warby Parker Remove Ads from Breitbart
An anonymous consumer watch dog group called Sleeping Giants has been working
to encourage brands to rescind their ads from the conservative news outlet
Breitbart. Their efforts, which have been ongoing since November, have been
successful, with many companies — from fashion brands like Nordstrom, Lululemon,
Sephora and Warby Parker to food and home brands like Kellogg's and Jessica
Alba's The Honest Company — pulling their ad dollars from the site. (Many
companies' ads ended up on the site unbeknownst to them, thanks to a third-party
advertising algorithm.) Amazon is one of the few companies which continues to
advertise on Breitbart.
Emanuel Ungaro Parts Ways with Creative Director
Emanuel Ungaro has parted ways with its creative director, Fausto Puglisi,
after five years. Marco Colagrossi, a former senior designer at Giorgio Armani,
has been hired to take his place. The French fashion house has also decided to
move its production in-house after its licensing company, Modalis, was unable to
produce its spring 2017 collection. Colagrossi's first collection for the house,
which skipped the fashion calendar this season, will be June's cruise
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The Dries Van Noten show proves that older models deserve their place on the
Dries Van Noten marked his 100th fashion show in Paris with a gracious
celebration of womanhood, casting models who had participated in some of the
designer’s previous shows. The familiar faces of young and older women included
Amber Valletta, 42, Cecilia Chancellor, 50, Emma Balfour, 37, Erin O’Connor and
Malgosia Bela, both 39.
In a fashion month that has shown many designers making an effort to be more
diverse in their casting, using more non-white models, as well as older and
non-professional models, it nevertheless made for a unique and strangely moving
event. Van Noten said he wanted to celebrate “without nostalgia and with little
There was no artifice to these women who wore their laughter lines as well at
the clothes. So many beautiful older faces, often exchanging smiles with each
other as they passed (unheard of on the catwalk these days), could have been a
distraction from the clothes, but actually proved the perfect enhancement to a
nonchalant and luxury collection, which epitomized Van Noten at his best.
The move to cast older models has been bubbling under during this latest crop
of fashion weeks. In London last month, the designer Simone Rocha also cast
artists and older models including Chancellor - the British model who made her
name in the 1990’s and who was photographed for the cover of The Telegraph’s
Stella magazine last month - as well as 73-year-old Benedetta Barzini and Jan de
De Villeneuve also appeared on the Osman catwalk in London in a show that
repeated his idea from the previous season (he got there first) of casting his
friends and customers to walk along the catwalk. During Milan Fashion Week in an
irreverent and fun show Dolce & Gabbana had the same idea, asking women who
were not necessarily models but rather “friends of the brand” to model their
"Life doesn’t end when you start getting a pension," de Villeneuve, who began
modelling in 1966 told The Telegraph in an interview after London Fashion Week.
"Older women love fashion too. I’ve always thought it would be nice if people of
all ages, shapes and sizes were included because that’s more relevant to
This seems to be resonating with designers. Rocha, who designs clothes with
her friends and her mother Odette in mind, has talked about how one of the great
satisfactions of her job is serving a wide age range of women. “These are my
customers, “ she said after her show. “What I do is for all types of women and
that’s what I wanted to reflect in my casting.”
At Dries Van Noten show, where the designer received a standing ovation, the
mood was also celebratory. The designer said that the clothing was about “women
dressing as they would like to dress themselves, expressing themselves, being
comfortable, mixing menswear with womenswear, everything that we stand for.” In
other words, making clothes for ‘real’ women - that overused phrase that
nevertheless seems to be resonating with fashion brands. “It can only be a good
thing that beauty can be represented by all ages and races in fashion,”
Chancellor told The Telegraph earlier this month. “I do hope that it continues
to evolve that way.”
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We are just three days out from awards season's golden child: the Oscars.
In addition to the 24 gilded statues to be handed out, there will also be
fantastic food, insanely pricey swag bags and a red carpet parade of actresses
in drop-dead looks put together with the help of stylists, makeup artists, hair
stylists and manicurists collectively known as glam squads.
But though the Oscars prep process is fascinating, we are reminded by The
Representation Project's #AskHerMore campaign that actresses are more than the
dresses they wear and the shade of Chanel Rouge lipstick on their lips.
Ahead of Sunday's show, Pret-a-Reporter spoke with Jennifer Siebel Newsom,
founder of the campaign and filmmaker behind Miss Representation, to talk about
the future of #AskHerMore in this feminist moment and the role of the
organization's new ambassadors (Sally Field, Rosario Dawson and others) in the
Yes! The Representation Project is keeping up the pressure at the Oscars by
live-tweeting the red carpet with #AskHerMore. And we're not stopping there —
we're demanding better representation for all during the award ceremony as
This year, we're celebrating the fact that the Academy Awards features
non-white nominees in every acting category for the first time in a decade.
Additionally, Joi McMillon, the co-editor of Moonlight is the first
African-American woman ever to be nominated for film editing. Barry Jenkins is
only the fourth black filmmaker nominated for Oscar best director and could
become the first to win with Moonlight.
While this represents major progress, we still have a long way to go. Since
the Awards started in 1929, only 6.7 percent of acting nominations have gone to
“non-white actors.” This year, women make up only 20 percent of the nominees,
with no women directors or cinematographers and only one woman writer nominated.
We can and must do better.
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When Jennifer Lopez and Giuseppe Zanotti met to explore a creative union, it
wasn’t the kind of bonding moment the designer had envisioned.
“It was in the morning, and she was without makeup in a casual setting [at
her Los Angeles home, about two years ago],” Zanotti recalled. “She was
beautiful as usual. She opened up her life to me, and I saw a lot of shoes from
my collection from years ago. Somebody then asked if I wanted coffee, and when I
went to look at the shoes, I was excited and forgot about my coffee. It spilled
on the white carpet, and it was a disaster.”
While the designer was embarrassed about the incident, he soon felt at ease:
“She was so kind with me.”
Lopez, a longtime Zanotti fan, only had fond memories of that meeting. “He is
such a friendly and spontaneous man,” the singer-actress said. “I was
immediately impressed by his sweet personality.”
The instant connection formed the seeds of the Giuseppe x Jennifer
collaboration. For Lopez, it felt like a natural fit after years of wearing
Zanotti’s shoes. “I have always loved his designs, but I became a real Zanotti
fan when I got a pair of his high-heeled sneakers,” she said. “I thought, ‘Oh, I
can live in these.’ ”
Zanotti started with prototypes for them to discuss and edit — and according
to the designer, Lopez was definitely hands on. “She’s very tough because she
knows what she wants,” he said. “She told me what to cut and what she
Lopez said Zanotti gave her an in-depth education about the intricacies of
high-end footwear design.
“When you work with an artist like Giuseppe, who is so skilled with the
details, you learn so much,” explained Lopez. “I would say, ‘Should we make the
straps skinnier in the front?’ And he would say no. ‘Can I add crystals here?’
He would say yes. It was a fun collaboration.”
The result is a collection of sultry and edgy styles, including a platform
sneaker, crystal stiletto booties, strappy sandals with ankle ties and gladiator
heels with snakeskin touches. The debut collection, which launched last month,
includes six silhouettes in hues such as navy, gray, blush and gold. In all,
there are 15 styles ranging from $795 to $2,995. Retailers including Neiman
Marcus and Saks Fifth Avenue picked up the collection, and it is nearly sold out
at every store and on the pair’s website.
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Forty years ago, Fashion Week in New York was focused on the clothes. Not
celebrities. Not street-style stars. Not social media. Guests gathered in the
often dingy showrooms around Seventh Avenue, and photographers took their places
along the runway. And the models walked. They sold the clothes with a knowing
nod or jaunty strut.
The audience was filled with retailers, magazine editors and newspaper
journalists from all around the country. Back then, there was no digital media,
but there was an awful lot of print media representing the big cities on both
coasts as well as lots of midsize cities in between — places like Detroit,
Cleveland and Kansas City, Mo.
The fashion world was small and clubby. Its members set the style agenda. And
the news was disseminated in an orderly, controlled manner. It didn’t matter
where you lived. Everyone — every woman — took part in the same fashion
Today, the industry is global, the audience is expansive and the conversation
is lively but fractured. As the fall 2017 womenswear collections roll out this
month in New York — followed by debuts in London, Milan and Paris — design
houses will roll out their wares to a live audience that numbers in the
hundreds. Some shows will be live-streamed and accessible to anyone with an
Internet connection. And by the time the last model has sashayed off the runway,
the entire extravaganza will be posted to Instagram.
Many of the changes are for the better. More people have access to
thoughtfully designed clothes. The industry makes a more substantial
contribution to the economy. It helps to shape and define our culture for the
future. And it still has the capacity to make people dream.
Fashion is more professional now, but also more corporate. In some cases, it
has to answer to Wall Street, and so the stakes are higher. A lucrative new idea
is knocked off in the blink of an eye with few consequences. Department stores
have consolidated and are under pressure as everything from e-commerce to fast
fashion degrades the integrity of the old system. And at a fashion show, you’re
more likely to meet a social media influencer from Detroit than a journalist
from one of that city’s daily newspapers.
These photographs, taken in March 1980, are a lesson in fashion history. A
reminder that a circus did not always swirl around the runways. Hollywood stars
used to buy clothes — not borrow them — and got dressed without the continued
supervision of a stylist. And designers worried about only two seasons, spring
and fall — and perhaps “cruise,” for those exceptional women who regularly spent
part of their winter at a spa.
It was a simpler time for the fashion industry. When the pace wasn’t so
relentless, the field wasn’t so crowded and there was really only one way to
sell a frock. Everything moved at a more measured pace. Women waited until
designer duds arrived in stores or the copies turned up a year later at a
Business was different, but it was still challenging and not for the faint of
heart. American designers were the underdogs to their more established Paris
counterparts, whom critics and customers alike deemed more creative. Designers
needed business savvy, too, because even though the big stores weren’t as big as
they are today, retailers still had the upper hand. The designers who would
ultimately make it — the ones who’d enter our popular consciousness — were more
salesmen than artists. They wove a mythology around simple ideas: a Polo shirt,
a peacoat, a bodysuit.
The pictures of a much younger Ralph Lauren, Calvin Klein and Donna Karan —
each of them in their studio, or in the case of Karan, in the Anne Klein
showroom along with her colleague Louis Dell’Olio — remind us that fashion, no
matter how corporate or far-reaching, begins with a bolt of fabric, a model and
an idea. Look at what they’re wearing or how they are standing and you can get a
quick sense of their design aesthetic. Klein wears a minimalist but sexy
T-shirt. Lauren has a preppy crewneck pulled over a Polo shirt with its collar
popped. Karan’s body language expresses the ease and sensuality of her clothes,
which at Anne Klein and, later, her own label, would appeal to so many women
building careers outside the home. Karan is draped over a chair, modeling a
shoe. Her arms are wrapped around each other. And the late Bill Blass looks
jaunty and debonair — a gentleman from another time — in his tailored suit with
a cigarette dangling from his lips.
There is also a picture of Perry Ellis, who was known for his youthful,
effervescent sportswear and who died in 1986. He is a reminder of how much of
the fashion industry was decimated during the height of the AIDS crisis. And
also a reminder of what might have been.
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From David Beckham to modern masculine suiting for girls: five things to know
about Victoria Beckham’s runway
She might be a Brit, but by now Beckham’s shows are a coveted staple of the
New York fashion week circuit, each time with husband David Beckham and children
sitting front row lending their support. The transformation of her personal look
however has been well documented over the years, informing the evolution of her
brand towards a more mature, confident, minimal and masculine outlook, and none
more so apparent than here for her Autumn-Winter 2017 line.
1) The runway was an exercise in statement accessorising, done simply but
well: see the long, almost sinister, leather gloves and those hard box bags
models clutched at their hips. There’s plenty of covetable pieces to choose from
and these all feel very well styled and au currant.
2) She’s championing a professional woman’s palette - dark navy, burgundy,
smart office khaki and arty graphic colour blocked prints were all very serious
and sophisticated. A playful, plaid jacket and bright shot of coral red for a
pleated long skirt or silk dress however bought a bit of levity to the line.
3) An easy, masculine wide cut has often dominated her silhouettes of late
and this collection was no exception. This season it was all slouchy oversized
knits and broad shouldered, 80s inspired jackets or wintry coats. Pant legs were
wide and long, almost overwhelming the models, skirts long and conservative
skimming the ankles.
4) Let’s talk about those shoes. The knee high heeled boots came in single
colours and block heels, but it was the surprisingly addition of slightly punky,
pointed-toe buckled flats that bought a bit of rebellious edge to a very proper
way of dressing.
5) When British Vogue declared war on the cleavage, it seems like Beckham was
listening. A far cry from her corset days, all tops here were buttoned up to the
top, high neck or polos. Barely a silver of skin was shown, and where it was it
would be an ankle or a bare back on cut out knits.
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The Bafta Awards ceremony is always a star-studded event, but this year it
boasts the Duke and Duchess of Cambridge as its most famous guests.
They arrived last, after all the celebrities, on to an empty red carpet.
Kate was a show-stopper in an off-the-shoulder, Jacquard-patterned dress by
Alexander McQueen. To show off the dress's Bardot neckline, the Duchess opted
for a coiffed up 'do and accessorised with glittering diamond earrings.
Viola Davis, who is nominated for Best Supporting Actress, was reportedly
excited to see the Royal pair.
She told the Press Association: "I always feel like they are one dimensional
to me, I only see them in photos.
"So I would actually like to see them in person."
Anonymous insiders have told The Metro that Bafta organisers have had to
brief celebrities on Royal protocol.
Namely, not to take selfies with the young Royals.
"Many of the A-listers are used to being the biggest deal in the room, but
royalty is altogether different," a source close to the show told the
"They're not celebrities in the same way and bosses are taking no
Bafta told the paper: Bafta told Metro.co.uk: "As stated in our guidelines
for guests, we ask them to behave respectfully when attending the awards".
Earlier this year, there were reports the royals were banned lest they steal
However, the organisers roundly denied this.
"For clarity - this is nonsense. As we confirmed last night it's completely
untrue that BAFTA has suggested that our President attend on his own," Bafta
said in a statement.
"We would be delighted to welcome Their Royal Highnesses any year that they
are able to attend."girls
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Meet the Irish contestant set to wow the judges on Britain's Next Top
Alannah, the only Irish model competing to win a contract with Models 1 on
this year's series, has plenty of experience modelling thanks to her mother,
former Rose of Tralee Brenda Hyland.
"Mum is a former Rose of Tralee back in 1983. She was very well known around
Ireland after she won because she was the first ban garda to win the Rose of
Tralee and she got a modelling career out of it," Alannah told the Herald.
The Naas woman (22) said her mother taught her everything she needed to know
in order to become a model.
"She's taught me how to walk, how to present myself and basically how to be a
"She has her own business now. It's called the Irish School of Etiquette. She
organises a lot of fashion shows and that," she said.
Alannah, whose stunning looks are reminiscent of those Gigi Hadid and Rosie
Huntington Whitely, believes her athletic physique is best suited to the pages
of magazines like Sports Illustrated.
"I'm really big into fitness, nutrition. I'm very sporty. I might go down the
route of Sports Illustrated and promoting health."
"It's swimwear and lingerie. That's the route I want to go down," she
The aspiring top model said her time on the show was "an emotional roller
coaster," made more difficult by not being able to speak to her mother.
"I found it really difficult on the show not being able to talk to her.
"We weren't allowed phones, magazines, diaries, TV, nothing. You're going
through ups and downs, and it's such an emotional roller coaster and really
mentally draining and exhausting."
Alannah also said she applied for the show on a whim.
"I saw it advertised in February last year. I applied online and it took me
"Every time, it failed," she said.
Britain's Next Top Model is set to air on 16 March on Lifetime.
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The Duchess of Cambridge masters Parisian chic in an Alexander McQueen Little
Black Dress and pearls
There was a lot riding on what the Duchess of Cambridge might choose to wear
for a Friday night in the city of chic. After all, Paris is a byword for a very
particular breed of effortless elegance; perfectly put together but never de
In the end, Kate pulled a blinder in a black tweed dress hitting just above
the ankle, cinched at the waist with a leather belt and accessorised with a
co-ordinating set of pearl jewellery for this evening's reception at the British
Ambassador's residence, expertly ticking off the requisite tropes of classic
The black dress was by Alexander McQueen, the fashion house to which the
Duchess frequently turns, especially for these high-octane outings. Creative
director Sarah Burton famously designed Kate's wedding dress in 2011 while
before tonight's look, she had most recently created the floral-printed,
off-shoulder evening gown which she wore to the BAFTAs in February.
This weekend's visit to France has been billed as a 'charm offensive' for the
young royals as the UK prepares to trigger Article 50 and begin Brexit
negotiations with the EU. While that might all seem very much political rather
than fashion territory, the Duchess's choice of a McQueen design underlines the
cultural and business ties between Britain and France.
McQueen is a British label at its core; founded by Lee McQueen, son of a
Black Cab driver, in the Nineties and now under the creative directorship of
Macclesfield-born Sarah Burton. It is owned though by Kering, the international
luxury conglomerate founded by French businessman, François Pinault. Alexander
McQueen shows its collections at Paris fashion week twice a year.
The look was dazzling in a manner which the Duchess rarely toys with, imbuing
an air of sophistication without being an obvious statement showstopper. "One is
never over-dressed or under-dressed with a Little Black Dress," Karl Lagerfeld,
longtime creative director of Chanel once said, echoing the unfussy style
philosophy set out by the label's founder Gabrielle Chanel in a 1926
illustration published in American Vogue which compared the usefulness of the
Little Black Dress she had designed to a Ford car.
If confirmation were needed that a LBD was the logical style solution of the
evening, the French wife of the British ambassador, Lady Llewellyn was also
The Duchess's pearl jewellery- a gobstopper ring, bauble necklace and
Balenciaga earrings- was also a nod to classic Gallic style and added interest
to an otherwise pared-back look- a key consideration when impact is required for
those pictures which will be beamed around the world. The Duchess has often
referenced the Sixties look of Jackie Kennedy- most notably during another
recent diplomatic mission to the Netherlands- so her jewellery choice also plays
to that strategy; "Pearls are always appropriate," is one of Kennedy's best
known style mantras.
The striking simplicity of the LBD was harnessed by Princess Diana, who was
the first member of the royal family to wear the non-colour for anything other
than funerals. In 1994, she famously picked a Christina Stambolian
above-the-knee look for the Serpentine Summer Party which was also the night
when the interview in which Prince Charles confessed to infidelity was
broadcast. It was a sexy look which exhibited defiant nonchalance, marking her
out as a woman who was powerful rather than pitiable.
The message behind the Duchess's dress tonight? A respectfully diplomatic
study in Parisian chic.
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Gal Gadot Welcomes Her Second Daughter
Gal Gadot has welcomed her second baby girl.
The Wonder Woman actress announced the happy news via Instagram on Monday.
"And then we were four... She is here, Maya," she captioned a black-and-white
photo of herself with her husband, businessman Yaron Versano, and five-year-old
daughter Alma. "I feel so complete blessed and thankful for all the Wonders in
Gadot, 31, will star in the highly anticipated DC superhero film Wonder Woman
as the titular character. Earlier this month, the Israeli actress unveiled a new
trailer for the movie that showed the brutal training young Diana (aka Wonder
Woman) went through to become the ultimate warrior.
The actress previously shared that her daughter Alma made her realize how
important it was for girls to have female superheroes as role models after
having a conversation about princes and princesses. She recalled her daughter
saying that "the prince is always so brave and courageous and strong," while the
princesses "always fall asleep and then the prince is the one to wake them
"It made me feel really good about playing Wonder Woman," said Gadot, adding
that boys have "always had Batman and Superman and Spider-Man."
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